Johann Schneider, Vater unser im Himmelreich (2)
The second choral prelude by Johann Schneider on the choral “Vater unser im Himmelreich” was written pro organo pleno. It has the choral melody in the pedal in long solemn notes. In good baroque...
Partitura Organum
Johann Schneider, Vater unser im Himmelreich
Of the few surviving choral bound works of Johann Schneider, two are based on the choral “Vater unser im Himmelreicht”. They are both finely crafted works that show we have much to regret that...
Simon Lohet, Decima Fuga
The tenth fugue by Lohet is a lively piece. It’s not exactly a mono thematic fugue, as there are four different segments discernable. Actually quite an achievement for a piece of only 46 bars....
Johann Balthasar Kehl, So gehst du dann mein Jesu hin
Johann Balthasar Kehl (1724 – 1778) was a German organist, cellist and composer. A few months ago I started a series with Kehl’s choral preludes, but only uploaded one piece. So it’s time to...
Johann Schneider, Trio “Mein Gott das Herze bring ich dir”
Johann Schneider (1702 – 1788) was a German organist, violinist and composer. He was born in Oberlauter in Coburg as son of a miller. His musical training began at age 6. The first 8...
Simon Lohet, Nona Fuga
Lohet’s Nona fuga has a far more subdued character than most of the preceeding fugues. I think it can best be played with use of the pedals. But I made a manuals-only version as...
Simon Lohet, Octava Fuga
Another dance-like fugue of Lohet. Apart from some unusual (to our ‘modern’ ears) harmonic progressions, this piece could have been written a 100 years later than it actually was. The recording was done on...
Simon Lohet, Septima Fuga
Lohet’s Septima Fuga is actually two small fugues in one piece. Two different (but related) themes each get an exposition and then the fugue is over. Yet it is a pleasant dance like piece,...
Christian Geist, Lofvad vare du Jesu Christ
The third and last work by Christian Geist in the Uppsala manuscript is a choral prelude on “Lofvad vare du Jesu Christ”, in other parts of the world known as “Gelobet seist du Jesu...
Simon Lohet, Sexta Fuga
Lohet’s sixth fugue, though short, uses contrapuntal devices as stretto and diminution and combines them as well. In that respect it is more modern than the fifth fugue. The harmonic progression though is in...
Simon Lohet, Quinta Fuga
Lohet’s Quinta Fuga (I follow the designation in the original Edition, instead of naming it Fuga Quinta) shows its Renaissance roots more than the previous four. It uses frequent repeated chords, a device we...
Christian Geist, O Jesu Christ som mandom tag
The second chorale prelude by (presumebly) Christian Geist in the Uppsala manuscript uses the melody Wolfgang Dachstein wrote for “Aus tiefer Not schrei ich zu Dir”. It is a fine example of the Northern...
Christian Geist, Allenaste Gud i himmelrik
Christian Geist (c. 1640 – 1711) was a German composer and organist, who lived and worked mainly in Scandinavia. He was born in Güstrow, where his father, Joachim Geist, was cantor at the cathedral...
Simon Lohet, Fuga Quarta
The fourth fugue of Simon Lohet offers a few surprises. At least to me. Firstly, parallel fifths and parallel octaves apparently weren’t as ‘forbidden’ in Lohet’s days as they became in later years. In...
Simon Lohet, Fuga Tertia
The third fugue of Lohet from Johann Woltz’s Nova musices organicae tabulatura (Basel, 1617). The recording was done with the sampleset, made by Organ Art Media, of the Arp Schnitger organ in Steinkirchen. Score...