Wilhelm Karges, Sebastian Anton Scherer, Capricio Quarti Toni

Karges’ Capricio Quarta Toni is based on Scherer’s Intonatio Tertia Quarti Toni and Intonatio Quarta Quarti Toni. Karges follows the originals closely, though he is far from note perfect.

It is not always clear to me why Karges makes the changes he does. In the second Intonatio he leaves out the first statement of the theme in the bass voice. One could surmise he did that because it is a theme that is a little hard to play with the pedals. Nevertheless, in others places Karges just adapts that theme a little so that it is more easy to play with pedals. He coould have done that as well the first time the theme occurs in the bass voice. So why didn’t he? And there is no doubt that Karges wants some parts of the bass voice to be played by the hands and other’s with the pedals, because he explicitly notates “M” of “ped.”

Karges changes the ending of both Intonatio’s. For the second Intonatio he even creates two different endings. One end is written in a phrygian mode, the other in a ‘normal’ minor tonality. He probably did so, so he could adapt the ending of the piece to whatever was to come next in the service where he used this piece. I’ve written it before: this manuscript is first and foremost the organ book of a practical organist.

The recording was done with the Hauptwerk software and the sampleset, made by Sonus Paradisi, of the Hinsz organ in the Reformed church in the Midwolda (http://www.sonusparadisi.cz/en/organs/netherlands/midwolda-surround-sample-set.html).

Score
Karges (Scherer), Capricio Quarti Toni

Performance

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