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 this fugue there are some blatant examples of them, as well as in later fugues. And secondly, Lohet writes in this fugue some unexpected dissonances. They make this fugue sound far more modern than I thought instrumental music from around 1600 sounded.
The recording was done on the sample set of the Holzey organ of St. Peter and Paul in Weissenau by Prospectum.
Score
Lohet, Quarta Fuga
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