{"id":11170,"date":"2023-09-05T19:00:17","date_gmt":"2023-09-05T17:00:17","guid":{"rendered":"https:\/\/partitura.org\/?p=11170"},"modified":"2023-07-09T15:02:13","modified_gmt":"2023-07-09T13:02:13","slug":"rudolf-low-trio-in-d-dur","status":"publish","type":"post","link":"https:\/\/partitura.org\/index.php\/rudolf-low-trio-in-d-dur\/","title":{"rendered":"Rudolf L\u00f6w, Trio in D Dur"},"content":{"rendered":"<p>Rudolf L\u00f6w (1832 \u2013 1898) was a Swiss organist and composer. He was a student of Carl Ferdinand Becker (Orgel) and Ignaz Moscheles (Piano). In 1864 he became first organist in the newly build Elisabethkirch. As composer he wrote mostly in a style inspired by the old masters of counterpoint like Bach and H\u00e4ndel. With the exception of a few Lieder, his output as a composer was never printed. <\/p>\n<p>A few years ago I published 12 organ compositions by L\u00f6w&#8217;s hamd (https:\/\/partitura.org\/index.php\/low-rudolf\/). Recently I got a reference to a further composition by L\u00f6w, a Trio in D Dur. The source for this Trio by Rudolf L\u00f6w is manuscript UBH kr 41,5, owned by the Universit\u00e4tsbibliothek Basel. This Trio shows L\u00f6w&#8217;s fondness for counterpoint. Subject and countersubject are exchanged through all three voices and the subject is presented in stretto as weel. At the same time, it is rather scholarlike and does not flow as fluently and naturally as the Trio&#8217;s of for example Rembt I published recently. <\/p>\n<p>The recording was done with the Sweelinq software and the sampleset of the Maarschalkerweerd organ in the Augustijnerkerk in Dordrecht (https:\/\/sweelinq.com\/nl\/product\/dordrecht-augustijnenkerk-maarschalkerweerd-organ\/)<\/p>\n<p><strong>Score<\/strong><br \/>\n<img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-128\" src=\"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2015\/02\/pdf_icon.jpg?resize=32%2C32&#038;ssl=1\" alt=\"pdf_icon\" width=\"32\" height=\"32\" \/><a class=\"count\" href=\"https:\/\/partitura.org\/wp-content\/uploads\/2023\/07\/Low-Trio.pdf\"data-kccpid=\"11170\">L\u00f6w, Trio<\/a><\/p>\n<p><strong>Performance<\/strong><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/NhsWi8WGLCo\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Views: 12<\/p>","protected":false},"excerpt":{"rendered":"<p>Rudolf L\u00f6w (1832 \u2013 1898) was a Swiss organist and composer. He was a student of Carl Ferdinand Becker (Orgel) and Ignaz Moscheles (Piano). In 1864 he became first organist in the newly build Elisabethkirch. As composer he wrote mostly in a style inspired by the old masters of counterpoint like Bach and H\u00e4ndel. With the exception of a few Lieder, his output as a composer was never printed. A few years ago I published 12 organ compositions by L\u00f6w&#8217;s hamd (https:\/\/partitura.org\/index.php\/low-rudolf\/). Recently I got a reference to a further composition by L\u00f6w, a Trio in D Dur. The source for this Trio by Rudolf L\u00f6w is manuscript UBH kr 41,5, owned by the Universit\u00e4tsbibliothek Basel. This Trio shows L\u00f6w&#8217;s fondness for counterpoint. Subject and countersubject are exchanged through all three voices and the subject is presented in stretto as weel. At the same time, it is rather scholarlike and does not flow as fluently and naturally as the Trio&#8217;s of for example Rembt I published recently. The recording was done with the Sweelinq software and the sampleset of the Maarschalkerweerd organ in the Augustijnerkerk in Dordrecht (https:\/\/sweelinq.com\/nl\/product\/dordrecht-augustijnenkerk-maarschalkerweerd-organ\/) Score L\u00f6w, Trio Performance Views: 12<\/p>\n","protected":false},"author":1,"featured_media":11174,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[309,7],"tags":[],"class_list":["post-11170","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-low-rudolf","category-scores","genre-trio"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2023\/07\/Low-Trio.jpg?fit=1125%2C720&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5LnuZ-2Ua","_links":{"self":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/11170","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"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=11170"}],"version-history":[{"count":3,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/11170\/revisions"}],"predecessor-version":[{"id":11177,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/11170\/revisions\/11177"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media\/11174"}],"wp:attachment":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media?parent=11170"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/categories?post=11170"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/tags?post=11170"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}