{"id":5098,"date":"2018-02-01T22:46:19","date_gmt":"2018-02-01T20:46:19","guid":{"rendered":"http:\/\/partitura.org\/?page_id=5098"},"modified":"2018-02-01T22:46:19","modified_gmt":"2018-02-01T20:46:19","slug":"karges-wilhelm","status":"publish","type":"page","link":"https:\/\/partitura.org\/index.php\/karges-wilhelm\/","title":{"rendered":"Karges, Wilhelm"},"content":{"rendered":"
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Heinrich Scheidemann, Wilhelm Karges, Fantasia in D, WV 83<\/a><\/h2>\n
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\n Posted on Feb 12th, 2020 <\/span>\n <\/p>\n <\/div>\n

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\n Karges includes in his manuscript (AM B 340, owned by the Staatbibliothek Berlin) at least three works composed by Heinrich Scheidemann. One of those\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Johann Jakob Froberger, Fuga, d moll (FbWV 416)<\/a><\/h2>\n
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\n Posted on Mar 29th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Update, 27 december 2018: This fugue turns out to have been composed by Johann Jacob Froberger. The letters \"F.S.\" are either an misattribution, they\u2026 <\/p>\n

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\n \"\"<\/a>

Wilhelm Karges (?), Fantasia<\/a><\/h2>\n
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\n Posted on Apr 28th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Manuscript Am. B. 340, owned by the Staatsbibliothek Berlin, contains three works that are generally believed to be composed by Wilhelm Karges: a\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges (?), Fantasia in A<\/a><\/h2>\n
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\n Posted on Dec 21st, 2019 <\/span>\n <\/p>\n <\/div>\n

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\n Wilhelm Karges (1613 or 1614 \u2013 1699), was a German organist and composer in the North German organ tradition. He was born in Berlin, where he spent\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges (?), Fantasia in D<\/a><\/h2>\n
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\n Posted on Jan 1st, 2020 <\/span>\n <\/p>\n <\/div>\n

\n

\n [update, 21-03-2021] I finally deduced what the meaning is of this sign:\r\n\r\n\r\n\r\nIt signifies a repeat. That means that in this particular piece there\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges (?), Fantasia in G<\/a><\/h2>\n
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\n Posted on Jan 16th, 2020 <\/span>\n <\/p>\n <\/div>\n

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\n Manuscript Am.B. 340, owned by the Staatsbibliothek Berlin, contains some 45 organ pieces, presumably copied, adapted and\/or composed by Wilhelm\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges (?), Pr\u00e6ludium d moll<\/a><\/h2>\n
\n

\n Posted on Mar 22nd, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Manuscript Am B 340 contains three pieces that are generally believed to be composed by Karges himself. These are a Fantasia, Capriccio (though\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges & Johann Jakob Froberger, Capriccio<\/a><\/h2>\n
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\n Posted on Jan 8th, 2020 <\/span>\n <\/p>\n <\/div>\n

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\n Manuscript Am.B. 340, owned by the Staatsbibliothek Berlin, contains some 45 organ pieces, presumably copied by Wilhelm Karges. Of some of the\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, B.M, Capricio in A<\/a><\/h2>\n
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\n Posted on Mar 20th, 2020 <\/span>\n <\/p>\n <\/div>\n

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\n The Capricio in A, written on folio 27 of manuscript Am.B 340 bears the intials \"B.M.\". It is unknown which composer is meantby these initials. As\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Capriccio<\/a><\/h2>\n
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\n Posted on Feb 9th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n The third piece by Karges from manuscript Am. B340 is a piece called Capricio. Only the first half is (probably) written by Karges. The second half\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Capricio<\/a><\/h2>\n
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\n Posted on Nov 21st, 2022 <\/span>\n <\/p>\n <\/div>\n

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\n The last Capricio from manuscript Am.B. 340 shows the characteristics of one of the Caprici Karges based on the compositions of Francois Roberday.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Capricio in C<\/a><\/h2>\n
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\n Posted on Aug 10th, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n The last dozen or so compositions I published from manuscript Am.B. 340 were all compositions by either Sebastian Anton Scherer or Francois Roberday\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, F.S., Capricio in D<\/a><\/h2>\n
\n

\n Posted on Jan 27th, 2020 <\/span>\n <\/p>\n <\/div>\n

\n

\n Manuscript Am.B. 340 was presumably written by Wilhelm Karges. As was usual in those days composers were indicated with their initials rather than\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, F.S., Fuga<\/a><\/h2>\n
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\n Posted on Mar 19th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Manuscript Am B 340 contains two fugues, that have the initials \"F.S\" written beneath the title. Presumably those are the initials of the original\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Fantasia 1 after Jan Pieterszoon Sweelinck’s Fantasia Chromatica<\/a><\/h2>\n
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\n Posted on Oct 26th, 2022 <\/span>\n <\/p>\n <\/div>\n

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\n Karges edited several pieces by Jan Pieterszoon Sweelinck into more than one composition. He gives Sweelink's Fantasia Chromatica the same treatment.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Fantasia 2 after Jan Pieterszoon Sweelinck’s Fantasia Chromatica<\/a><\/h2>\n
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\n Posted on Nov 3rd, 2022 <\/span>\n <\/p>\n <\/div>\n

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\n Karges based at least two fantasia's in the manuscript on Sweelink's original Fantasia Chromatica. I say \"at least\" because there are two short\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Fantasia auff 2 Clavier<\/a><\/h2>\n
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\n Posted on Dec 1st, 2022 <\/span>\n <\/p>\n <\/div>\n

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\n This is the last Echo Fantasia from manuscript Am.B. 340. It consists of two echo episodes and a closing episodes in which the echo play is not as\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Fantasia auff 2 Claviere<\/a><\/h2>\n
\n

\n Posted on Oct 18th, 2022 <\/span>\n <\/p>\n <\/div>\n

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\n Four years ago I started publishing the compositions contained im manuscript Am.B. 340., owned by the Staatsbibliothek in Berlin. It has been a lot\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Wilhelm Karges, Fantasia Echo<\/a><\/h2>\n
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\n Posted on Nov 13th, 2022 <\/span>\n <\/p>\n <\/div>\n

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\n The next composition from manuscript AM.B. 340 is again an echo fantasia. It is either an original composition by Karges, or an adaptation of a\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Fantasia in A (2)<\/a><\/h2>\n
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\n Posted on Jan 19th, 2020 <\/span>\n <\/p>\n <\/div>\n

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\n The next composition in manuscript Am.B. 340 (after the Fantasia in G, published last week) is again an anonymous composition and I do not know on\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Fantasia in D<\/a><\/h2>\n
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\n Posted on Mar 6th, 2020 <\/span>\n <\/p>\n <\/div>\n

\n

\n The Fantasia in D, written on folio 25 of manuscript Am.B 340 is again an anonymous work. It is again an Echo Fantasia and has many similarities with\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Fantasia primi toni<\/a><\/h2>\n
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\n Posted on Feb 1st, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Wilhelm Karges (1613 or 1614 \u2013 1699), was a German organist and composer in the North German organ tradition. He was born in Berlin, where he spent\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Wilhelm Karges, Fran\u00e7ois Roberday, Capricio E vel A<\/a><\/h2>\n
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\n Posted on Jul 11th, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n Following the series of Caprici, based on composition by Sebastian Anton Scherer, manuscript Am.B. 340 contains several caprici based on compositions\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Fran\u00e7ois Roberday, Capricio in d<\/a><\/h2>\n
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\n Posted on Jul 23rd, 2022 <\/span>\n <\/p>\n <\/div>\n

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\n This Capricio in d is based on Roberday's \"Fugue 5me\". Karges largely follows Roberday's original, but he adapts it to suit his needs. As with a lot\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Fran\u00e7ois Roberday, Capricio in D<\/a><\/h2>\n
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\n Posted on Aug 2nd, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n This Capricio in d is based on Roberday's \"Caprice sur le mesme suject de Fugue 6me\". Roberday's original consists of three episode of which Karges\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Fran\u00e7ois Roberday, Capricio in g<\/a><\/h2>\n
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\n Posted on May 1st, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n Manuscript Am.B. 340, available as digital copy at the Staatsbibliothek zu Berlin, was presumably written by Wilhelm Karges (1614 - 1699). The\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Heinrich Scheideman, Fantasia in G (after Scheidemann’s Canzona WV 74)<\/a><\/h2>\n
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\n Posted on Feb 4th, 2020 <\/span>\n <\/p>\n <\/div>\n

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\n Even though Karges writes no initials below the title, the Fantasia in G is an adaptation of Scheidemann's Canzona, WV 74. Karges does not introduce\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Heinrich Scheidemann, Fantasia<\/a><\/h2>\n
\n

\n Posted on Feb 14th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n The original source of this piece in manuscript Am B 340 is a manualiter Toccata by Heinrich Scheidemann. The practical source is a manuscript in\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, J.P., Capricio in A<\/a><\/h2>\n
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\n Posted on Jan 31st, 2020 <\/span>\n <\/p>\n <\/div>\n

\n

\n Manuscript Am.B. 340 was presumably written by Wilhelm Karges. As was usual in those days composers were indicated with their initials rather than\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Wilhelm Karges, Jan Pieterszoon Sweelick, Fantasia in D (after SwWV 260)<\/a><\/h2>\n
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\n Posted on Mar 1st, 2020 <\/span>\n <\/p>\n <\/div>\n

\n

\n Karges was familiar with the compositions of Sweelinck through Andreas D\u00fcben (1597 - 1662). D\u00fcben was a pupil of Sweelinck in Amsterdam from 1614\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Jan Pieterszoon Sweelinck, Fantasia<\/a><\/h2>\n
\n

\n Posted on Feb 28th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n The original source of this piece in manuscript Am B 340 is a manualiter Toccata in D Dorian by Johann Pieterszoon Sweelinck. This Toccata is\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Jan Pieterszoon Sweelinck, Fantasia (2)<\/a><\/h2>\n
\n

\n Posted on Mar 6th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n The original source of this piece in manuscript Am B 340 is a manualiter Toccata in D Dorian by Johann Pieterszoon Sweelinck. This Toccata is\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Wilhelm Karges, Jan Pieterszoon Sweelinck, Fantasia d dorian<\/a><\/h2>\n
\n

\n Posted on Apr 7th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n The original source of this piece in manuscript Am B 340 is a Fantasia in D Dorian by Johann Pieterszoon Sweelinck. The original fantasia is some 12\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Jan Pieterszoon Sweelinck, Fantasia in D<\/a><\/h2>\n
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\n Posted on Feb 9th, 2020 <\/span>\n <\/p>\n <\/div>\n

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\n In manuscript Am. B. 340 Karges writes \"J.P.\" below the the title of this composition. And in this case it is certain that he means Jan Pieterszoon\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Johann Jakob Froberger, Capricio in F<\/a><\/h2>\n
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\n Posted on Feb 28th, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n Wilhelm Karges (1613 or 1614 \u2013 1699), was a German organist and composer in the North German organ tradition. He was born in Berlin, where he spent\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Wilhelm Karges, Pr\u00e6ludium<\/a><\/h2>\n
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\n Posted on Dec 13th, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n This Pr\u00e6ludium is the last composition from Am. B. 340. I started publishing the compositions from this manuscript almost 5 years ago and now\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Pr\u00e6ludium quatri toni<\/a><\/h2>\n
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\n Posted on Feb 5th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n The second piece by Karges from manuscript Am. B340 is a beautiful praeludium. It flows elegantly in long arching lines. There's not much in terms of\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Sebastian Anton Scherer, Capricio in C<\/a><\/h2>\n
\n

\n Posted on May 7th, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n Karges' Capricio in C is based on Scherer's Intonatio Secunda Quindi Toni. The capricio consists of three segments and only the middle one is a\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Sebastian Anton Scherer, Capricio in g<\/a><\/h2>\n
\n

\n Posted on May 11th, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n Karges' Capricio in g is based on Scherer's Intonatio Quarta Secunda Toni. The capricio consists of two segments and only the first one is a citation\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Sebastian Anton Scherer, Capricio in G<\/a><\/h2>\n
\n

\n Posted on Jun 29th, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n Karges' Capricio in G is based on Scherer's Intonatios Tertia and Secunda Octavi Toni.\r\n\r\nThe composition is almost identical to Scherer's original.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Sebastian Anton Scherer, Capricio Quarti Toni<\/a><\/h2>\n
\n

\n Posted on May 25th, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n Karges' Capricio Quarta Toni is based on Scherer's Intonatio Tertia Quarti Toni and Intonatio Quarta Quarti Toni. Karges follows the originals\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Sebastian Anton Scherer, Capricio Secundi Toni<\/a><\/h2>\n
\n

\n Posted on Jun 23rd, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n Karges' Capricio Secundi Toni is based on Scherer's Intonatio Tertia Secundi Toni. \r\n\r\nScherer's original only makes up the first half of Karges'\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Sebastian Anton Scherer, Capricio Septimi Toni<\/a><\/h2>\n
\n

\n Posted on Jul 5th, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n Karges' Capricio Septimi Toni is based on Sebastian Anton Scherer's Intonatios Tertia and Secunda Septimi Toni.\r\n\r\nAs with the Capricio in G the\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Wilhelm Karges, Sebastian Anton Scherer, Capricio Sexti Toni<\/a><\/h2>\n
\n

\n Posted on May 4th, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n Sebastian Anton Schere was a German organist and composer who lived from 1631 - 1712. In 1671 he became organist of the cathedral in Ulm and remained\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Wilhelm Karges, Sebastian Anton Scherer, Capricio Sexti Toni<\/a><\/h2>\n
\n

\n Posted on May 29th, 2022 <\/span>\n <\/p>\n <\/div>\n

\n

\n Karges' Capricio Sexti Toni is based on Scherer's Intonatio Tertia Tertii Toni and Intonatio Quarta Tertii Toni. \r\n\r\nKarges uses only the first 12\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Wilhelm Karges, Sebastian Anton Scherer, Ricercar Primi Toni<\/a><\/h2>\n
\n

\n Posted on Mar 9th, 2020 <\/span>\n <\/p>\n <\/div>\n

\n

\n In his adaptations Karges did not only shorten the original compositions he based his adaptations on, sometimes he elongated the originals as well.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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Views: 35<\/p>","protected":false},"excerpt":{"rendered":"

Views: 35<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5098","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P5LnuZ-1ke","_links":{"self":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/pages\/5098","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/comments?post=5098"}],"version-history":[{"count":0,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/pages\/5098\/revisions"}],"wp:attachment":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media?parent=5098"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}