Score<\/strong> Performance<\/strong><\/p>\n
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L\u00f6w, Nun komm der Heiden Heiland<\/a><\/p>\n
Rudolf L\u00f6w (1832 – 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
The S\u00e4chsische Landes- und Universit\u00e4tsbibliothek in Dresden posesses a manuscript of 12 organ compositions by L\u00f6w’s hand. It is his opus 1, which he dedicated to his teacher Carl Ferdinand Becker. I intend to publish all 12 compositions, starting with the three chorale preludes suited for the Christmas period.<\/p>\n
The first one of these (it’s actually the seventhe composition in the manuscript) is a fugue on the first phrase of the chorale melody “Nun komm der Heiden Heiland”. Firmly set in the style antico, though with more modern harmonies, it shows L\u00f6w’s versitality in counterpoint. Each of the four voices plays the theme three times: first in the exposition, then in the course of the middle part, and finally in the concluding stretto. The order in each of the three presentations of the theme, exposition, middle and stretto is the same: soprano, alto, tenor and bass. <\/p>\n
It is a well written piece, though a bit dry and scholarship like. Nevertheless, with the Advent period near, it can come in handy for any organist looking for something new. As far as I know this composition has never been published before. <\/p>\n
The recording was done on the sample set of the Van Dam organ (1832) in Tholen by Voxus Organs<\/a> for Hauptwerk.<\/p>\n Score<\/strong> Performance<\/strong><\/p>\n
\nL\u00f6w, Nun komm der Heiden Heiland<\/a><\/p>\n