Mein Trost ist nur allein recitative. Calvin Bowman. Kurtag for piano duet. Gelobt sei Gott. John Rutter. A C Neumann. A C Neuman. Chris Hazell. Durufle for organ. Horne for 2 pianos. Jintak Moon. Jouni Somero. Kei Koito for organ. Mikhail Pletnev. Wilhelm Kempff. Eugene Ormandy. L Stokowski. Cyprien Katsaris.
Egon Petri. Howe for 2 pianos. John Barbirolli. Egon Petri for piano. Ward Swingle. John Williams. Clarence Lucas. Genug, mein Schatz geht nicht von hier. Vivace arr. Paul Wittgenstein. Isidore Philipp. K Dolan for flute and guitar.
O Duo for percussion. Erwin Fischer. Largo Arioso arr. Alessio Bax. J Szigeti. Leonhardt for harpsichord. WS d'Aragona Malheiro Prado. A Webern. Malheiro Prado. Gustav Martin Schmidt. P Froeding. Alexander Siloti. Daniel Cook.
David Briggs. Jorg Richter. Lothar Windsperger. Mischa Maisky. Gagne for organ.
Malcolm Sargent. Wagner Prado for piano. Bourree I - alternating with Bourree II.
Alexandre Tharaud. S Karg-Elert. Sarabande arr. Bruggen for recorder.
A Rudin. F Platino.
Although many 19th-century composers claimed to like the organ quite a bit and most composers of the period were known as excellent organists, Mendelssohn was one of the few 19th century composers who actually left published music for the instrument. The Sonatas for Organ, Op. After writing seven pieces, Mendelssohn grouped and expanded them into six multi-movement works.
arrangement Wo soll ich fliehen hin, BWV The fact that it has survived is due only to Bach's pupil Kirnberger, who collected twenty-four. Listen to Johann Sebastian Bach's Chorale Prelude 'Wo soll ich fliehen hin' (in Kirnberger collection) BWV , performed by Andrea Marcon. Discover and.
Many English organs of the time lacked the tonal and technical resources necessary to adequately perform the sonatas, slowing their public reception. They were, however, readily received on the Continent, where they had been published simultaneously. After an opening Allegro , the second movement offers a beautifully lyrical melody.
The third movement uses two divisions of the organ to achieve extreme dynamic contrasts, and it leads directly into the final movement in F Major , which includes arpeggios and running eighth-note lines more indicative of piano music, concluding with a bravura pedal line from top to bottom of the pedalboard. In the Baroque period, Praeludium was a generic title for any of a number of types of free style keyboard music. The current piece survives only in a volume copied by J. The name by which we know it today, Prelude, Fugue and Chaconne in C Major, is in deference to its tripartite structure.
A pedal solo opens, followed by free-form keyboard harmonies and running lines. A transition beginning with dotted, dance-like rhythms follows, leading to a contrapuntal section exhibiting typical fugal procedures of the period though with an emphasis on brevity, in this case. Another transition leads to the chaconne section, held together by a ground repeating bass of only three bars length. A concluding section recalls some elements of the opening section. Johann Sebastian Bach belonged to a dynasty of musicians.
In following inevitable family tradition, he excelled his forebears and contemporaries although he did not always receive, in his own lifetime, the respect he deserved. Bach spent his earlier career principally as an organist, latterly at the court of one of the two ruling Grand Dukes of Weimar. Thomas, with responsibility for music in the five principal city churches.
While in Leipzig, he also eventually took charge of the University Collegium musicum and occupied himself with the collection and publication of many of his earlier compositions. The chorale prelude was a form brought by J. As a teenager, I had the pleasure of tuning in each Sunday night to a weekly organ recital on the radio. On this broadcast from Independence, Missouri, Organist John Obetz would play an eclectic mix of organ pieces, many of which made an unforgettable impression on me.
They were probably sketched in the Weimar period — and rewritten in Leipzig — The chorale text for Wo soll ich fliehen hin O Whither Shall I Flee was written by one of the most important chorale-text poets, Johann Heermann — , who can be placed on the same level of Martin Luther and Paul Gerhardt as he takes his place chronologically between these two important figures.