{"id":1468,"date":"2016-01-09T12:22:48","date_gmt":"2016-01-09T10:22:48","guid":{"rendered":"http:\/\/partitura.org\/?page_id=1468"},"modified":"2017-10-20T17:53:27","modified_gmt":"2017-10-20T15:53:27","slug":"lohet-simon","status":"publish","type":"page","link":"https:\/\/partitura.org\/index.php\/lohet-simon\/","title":{"rendered":"Lohet, Simon"},"content":{"rendered":"
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Simon Lohet, Surviving organ works<\/a><\/h2>\n
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\n Posted on Nov 25th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n Simon Lohet (Loxhay) (c. 1550 \u2013 1611) was a Flemish composer, possibly born in Maastricht. All of Lohet\u2019s known works are contained in Johann\u2026 <\/p>\n

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Simon Lohet, Canzona<\/a><\/h2>\n
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\n Posted on Jul 3rd, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n The Canzona by Lohet is really a fugue in much the same style as most of his 20 fugues. Perhaps it is callec canzona, because of it's sing-like\u2026 <\/p>\n

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Simon Lohet, Compositio super coral Psalm 9<\/a><\/h2>\n
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\n Posted on Jul 15th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n Lohet's composition on the melody of psalm 9 is a nice example of dense renaissance contrapuntal writing. Each stanza of the choral gets a fugual\u2026 <\/p>\n

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Simon Lohet, Decima Fuga<\/a><\/h2>\n
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\n Posted on Mar 3rd, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n 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\u2026 <\/p>\n

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Simon Lohet, Decima tertia Fuga<\/a><\/h2>\n
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\n Posted on Mar 29th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n The thirteenth fugue by Lohet is more dance like than the preceeding fugue with its long lines. I think it is better suited to use the pedal with\u2026 <\/p>\n

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Simon Lohet, Duodecima Fuga<\/a><\/h2>\n
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\n Posted on Mar 19th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n The twelfth fugue by Lohet is a slow flowing piece. It's very reminisence of a Kyrie by da Palestrina: long lines intertwine gracefully with each\u2026 <\/p>\n

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Simon Lohet, Erbarm dich mein, Herre Gott<\/a><\/h2>\n
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\n Posted on Sep 30th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n Lohet's composition on the melody of psalm 51 sounds to me like it was originally written for voices. It's a more simple composition than his\u2026 <\/p>\n

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Simon Lohet, Fuga 14<\/a><\/h2>\n
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\n Posted on Apr 5th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n The fourteenth fugue of Lohet is again a calm flowing piece. It makes extensive use of syncopation, which makes a nice 'wobly' effect in the flow of\u2026 <\/p>\n

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Simon Lohet, Fuga 15<\/a><\/h2>\n
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\n Posted on Apr 10th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n In his fiftheenth fugue Lohet experiments with inversion. After the first statement of the first theme, it is immediately answered by its inversion.\u2026 <\/p>\n

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Simon Lohet, Fuga 16<\/a><\/h2>\n
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\n Posted on Apr 30th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n The sixteenth fugue of Lohet has no less then three different themes. But they all do not get more than one exposition and then the fugue is over.\u2026 <\/p>\n

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Simon Lohet, Fuga 17<\/a><\/h2>\n
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\n Posted on May 11th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n The 17th fugue of Lohet is a mono thematic fugue and an intricate one. In it Lohet explores the different ways in which the theme and its inversion\u2026 <\/p>\n

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Simon Lohet, Fuga Decima Nova<\/a><\/h2>\n
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\n Posted on May 12th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n The 19th fugue of Lohet is again a mono thematic fugue. There is hardly a measure where the theme is not present in one of the voices. In atmosphere\u2026 <\/p>\n

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Simon Lohet, Fuga Decima Octava<\/a><\/h2>\n
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\n Posted on Apr 24th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n Of course I had to try Lohet on my new sample set as well. Lohet's eighteenth fugue is again some dense contrapuntal writing. The first part of the\u2026 <\/p>\n

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Simon Lohet, Fuga Prima<\/a><\/h2>\n
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\n Posted on Jan 9th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n Simon Lohet (Loxhay) (c. 1550 \u2013 1611) was a Flemish composer, possibly born in Maastricht. During his live he was mostly active in Germany. He was\u2026 <\/p>\n

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Simon Lohet, Fuga Prima (version Lynar B3)<\/a><\/h2>\n
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\n Posted on Jul 26th, 2019 <\/span>\n <\/p>\n <\/div>\n

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\n Simon Lohet (Loxhay) (c. 1550 \u2013 1611) was a Flemish composer, possibly born in Maastricht. During his live he was mostly active in Germany. He was\u2026 <\/p>\n

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Simon Lohet, Fuga Quarta<\/a><\/h2>\n
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\n Posted on Jan 19th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n The fourth fugue of Simon Lohet offers a few surprises. At least to me. Firstly, parallel fifths and parallel octaves apparently weren't as\u2026 <\/p>\n

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Simon Lohet, Fuga Secunda<\/a><\/h2>\n
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\n Posted on Jan 11th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n The second fugue of Lohet from Johann Woltz\u2019s Nova musices organicae tabulatura (Basel, 1617). The harmonic progression in this second fugue\u2026 <\/p>\n

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Simon Lohet, Fuga Tertia<\/a><\/h2>\n
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\n Posted on Jan 14th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n The third fugue of Lohet from Johann Woltz\u2019s Nova musices organicae tabulatura (Basel, 1617). \r\n\r\nThe recording was done with the sampleset, made\u2026 <\/p>\n

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Simon Lohet, Fuga Vigesima<\/a><\/h2>\n
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\n Posted on Jul 2nd, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n Almost two months have passed since I posted Lohet's 19th fugue. So it's about time to publish the 20th and last fugue. It consists of two sections,\u2026 <\/p>\n

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Simon Lohet, Motet media vita in morte<\/a><\/h2>\n
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\n Posted on Jul 15th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n Lohet's transcription of the motet \"Media vita in morte\" has the main melody in whole notes in the bass voice. \r\n\r\nThe recording was done on the\u2026 <\/p>\n

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Simon Lohet, Nona Fuga<\/a><\/h2>\n
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\n Posted on Feb 8th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n 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\u2026 <\/p>\n

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Simon Lohet, Nun welche hie Ihr Hoffnung gar (Psalm 125)<\/a><\/h2>\n
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\n Posted on Oct 30th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n The last piece of Lohet there is for me to publish is a four voice treatment of Psalm 125. It's not based on the melody of Psalm 125 as we know it.\u2026 <\/p>\n

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Simon Lohet, Octava Fuga<\/a><\/h2>\n
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\n Posted on Feb 3rd, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n Another dance-like fugue of Lohet. Apart from some unusual (to our 'modern' ears) harmonic progressions, this piece could have been written a 100\u2026 <\/p>\n

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Simon Lohet, Quinta Fuga<\/a><\/h2>\n
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\n Posted on Jan 23rd, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n 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\u2026 <\/p>\n

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Simon Lohet, Septima Fuga<\/a><\/h2>\n
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\n Posted on Jan 31st, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n 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.\u2026 <\/p>\n

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Simon Lohet, Sexta Fuga<\/a><\/h2>\n
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\n Posted on Jan 28th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n 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\u2026 <\/p>\n

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Simon Lohet, Undecima Fuga<\/a><\/h2>\n
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\n Posted on Mar 11th, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n Playing the eleventh fugue of Lohet one wonders wether Bach knew the fugues of Lohet. The theme of the fugue BWV 878 is the same as the theme of\u2026 <\/p>\n

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