sign in sign up
<<
Home , Ariadne musica, Georg Joseph Vogler, Heinrich Scheidemann, Joseph Payne (musician), Michael Praetorius, Pedal keyboard

8.550964 GERMAN ORGAN Volume 1 Fischer Praetorius Bohm Scheidemann and others Joseph Payne, Organ GERMAN ORGAN MUSIC VOLUME 1

Organ music of the German-speaking countries is vast and varied, and more than anywhere else in Europe, it reached considerable complexity by the early 15th century. This repertory reflects the complex development of large, fixed organs, about which few generalizations can be made, as well as the more uniform evolution of smaller forms of organs. Among these was the portative, a small portable organ blown by a pair of bellows operated by one of the player's hands. Capable of performing only one part, this was a "monophonic" instrument used mainly in ensembles with other instruments and singers in the performance of polyphonic music. Somewhat larger and more or less stationary was the positive. It employed bellows that were operated by a second person, enabling the to use both hands so that several notes might be played simultaneously on a chromatic keyboard. Both these smaller types of organ employed flue pipes, while reed pipes were used in a third type, the . (There are many depictions of these small organs; a famous one can be found on the altar painting by Jan van Eyck at St. Bavo in Ghent). Towards the end of the Middle Ages, many tonal and mechanical features of the smaller organs were incorporated into the resources of the full-sized church Orgelwerk. This was a decisive step towards the modern organ: the organ came to be regarded as a composite of several instruments of various capabilities and functions, its resources controlled from several different keyboards. By the end of the fifteenth century, the organ had attained a form that does not differ principally from the instrument as it is today. in continued much in the style of this instrument, eventually embodying the Werkprinzip concept in which an organ could be altered or enlarged simply by adding new divisions. Thus the famous Totentanz organ of Lijbeck (destroyed in 1942) expressed, in its four divisions, the distinctive attributes of four separate periods: the Great organ, the late fifteenth century; the Choir organ, the mid-sixteenth century; the Brustwerk, the early seventeenth century, and lastly, completed in the mid-eighteenth century, was the towering Pedal organ. This accumulative approach is quite typical of all the extant old northern European organs. They are composites, constantly rebuilt, often altered in compass, and none of them remotely resembles its original state. In 1490, Adam von Fulda, a monk from the heart of Germany, wrote that wind- produced music spoke to the human character, while merely aroused passion. As humanism developed in southern Europe, the became the favourite instrument there, because of its ability to express intimate emotions, but with its majestic sonorities and great volume of tone, the organ aroused a mood of devotion; its personal characteristics erased, it freed the listener fmm subjective intrusions into contemplation of the divine; its solemnity was thought to convey a spiritual mood with more dignity than the passionate and sensuous violin. In Northern countries, where the did not make a clear break with medisval transcendentalism, the cultural environment preserved much of the tradition of past centuries. Eminently suited for religious worship, this vox dei ex machina developed at an unrelenting pace everywhere north of the Alps, from the French border in the West to Russia and the frontiers of Orthodox Christianity in the East. From the simple liturgical "" organ with its favourable balance of partial tones that sounded all at once, the organ builders passed on to sonorous solo stops - that is, rows of pipes, each row imitating the timbre of a particular wind instrument, though the contrasting neutral ground colour of the diapasons was seldom abandoned. With the pedal keyboard commanding an independent division of stops with very wide range, the organ eventually matured into the powerful instruments of the , whilst such gmwth was stunted in , England, and Southern France. In Italy, particularly, where the violin became the favourite instrument, its development took on a different character. We know a great deal about German organ building, design and performance. There exists a profusion of technical and didactic works from the early-fifteenth century onwards, and many were also experts in organ construction. The second volume of ' work on music (Syntagma musicum), called De organographia, of 1618-1620, gives us detailed information about the instruments of his day, with a very thorough treatment of the organ. It attests to the prominent position given the organ in the performance of polyphonic music which reached a highpoint in Germany in Praetorius' lifetime. From the time when Praetorius' discourse appeared, until after the time of J. S. BaCh, German organs underwent many transformations and were substantially improved; equalizing double bellows, a wind gauge controlling the wind pressure, and bowed pipes like the gamba were introduced. Among the most important names in German organ building were members of the Scherer and Schnitger families in the northern region, and, in the south, the Silbermann family of Alsace whose organs were esteemed by J. S. Bach. The art of organ building was never static and the old organs of Hamburg, Luneburg and Lubeck - that served Scheidemann, Bohm, and Buxtehude, respectively - were repaired, modified, and augmented many times. The organ at Buren an der Aare in Kanton Bern, Switzerland, heard in this recording, is an excellent example of how an instrument was constantly refined. Originally built in 1770 by Johann Conrad Speisegger in a beautiful rococo case by Samuel Niklaus Diwy, it was rebuilt and enlarged in 1862 by Weber, in 1907 by Goll, and in 1930 by Schafer. In 1970 Metzler rebuilt it again to include a new Ruckpositiv division in the style of Silbermann. The invention of pedals by the late fourteenth century is indicative of the special consideration that composers gave to the lower range of music in playing inner tenor or cantus firmus lines, in taking over one of the voice parts and therewith enhancing the contrapuntal possibilities. Double pedaling became a common practice - even music in four parts was possible with the use of the heels and arch of the foot. It was in keeping with the growing importance of temperament (the wilful alteration of the musical scale so that a layer could transpose into more remote keys without the necessity of retuning his jnsirument) that methods were devised to construct kevboards with two seDarate kevs, res~ectivelvsounding A flat and G sharp. Although the beginnings of mean-tone iemperameni had been achieved in the thirteenth century and afforded a bearable solution to the "out-of-tuneness" of harmonic orientation inherent in the "black keys", this was a limited solution produced by shortening the fifths. However, it imparted a most agreeable, pure character to the music as long as the modulations were confined, and was used, side-by-side with many other unequal temperaments, well into the nineteenth century. The slow evolution toward the total integration of the black keys - the semitones - into a system of tuning keyboard instruments so that a player could properly transpose into all distant keys did not occur before the early eighteenth century. The Saxon organist, Andreas Werckrneister (1645-1706), did not invent equal temperament, but his pamphlet, published in 1691, demonstrated a tuning method that had a profound practical effect on many composers, including Bach. Johann Kaspar Ferdinand Fischer, at the Baden court, wrote his cyclical work under the title musica (1715). (In , Ariadne, the Cretan princess, reveals to , her lover, the way out through the king's - the labyrinth here being the tangle of tonalities). The work contained a set of twenty with their preludes in nineteen different keys (omiting five keys) and is an important precursor of Bach's The Well-Tempered Clavier. The three organs heard in the set, as presently recorded, display different unequal tuning methods. Though these "recipes" are based on precise mathematical calculations, their subtle differences are readily perceptible to the natural ear. They were, after all, as Werckmeister himself indicated, wrought through trial and error and individual judgement. It was Gottfried Silbermann (1683-1753) who, in responding to the predominantly melodious music of the Gallant Age rather than the mystical profundity of Bach's polyphony, introduced certain departures from the typical baroque organ. Following French taste, generally, he reduced the number of reed and pedal stops, and established a new function of the mixtures based on a scientific knowledge of overtones propounded by Jean-Philippe Rameau. Though his tonal concept lost some of its contrapuntal dimension, he nonetheless built instruments that were elegant, mellifluous, and eminently suited to the music of the Enlightenment. The German organ, however, entered an aberrative phase of over-mechanization when its resour&were expanded in direct emulation of the rapid development of the instruments of the orchestra. Placing consideraMe emphasis on crescendo devices and imitative effects, some organ builders (Georg Joseph Vogler, for example) abandoned the basic organ quality of the rich diapasons almost entirely. Fortunately, the great classical tradition of German organ building was brought to America. In rural regions of Missouri, Iowa, Kansas and Texas, there remains today strong evidence of an anachronistic legacy: 'romantic" organs eminently suitable for the performance of contrapuntal music. Organ builders were amang the largest ethnic throng ever to seffle in the New World, as did Johann Georg Pfeffer, who arrived in America from Stetten in 1854 with his Alsatian wife. The powerful instruments that he built throughout the Archdiocese of St. Louis are a unique American phenomenon in their amalgamation of German principles with the growing influence of English organs. An important outgrowth of early twentieth-century musicology was the construction of an organ following the descriptions in Praetorius' treatise of 1618 under the guidance of a prominent German musicologist, Wilibald Gurlitt, in 1921. This event rekindled a passionate interest in the construction methods of the Baroque organ, leading to an international revival movement (Orgelbewegung). Its effect has lasted to the present day - though not always with favourable result. It did, however, give a new lease on life to authentic organ art. Many great new instruments were built according to historic Werkprinzip concepts and the restoration of important old organs was completed. A central German figure in this activity after World War II was the late Hamburg builder, Rudolf von Beckerath, whose apprentice, Fritz Noack, has established himself as a worthy heir and leading promulgator of the classical organ tradition in America.

The present collection of German music opens with a Prelude and and a prelude on Vater unser im Himmelreich by Dietrich Buxtehude, a and organist of Danish birth whose career from 1668, until his death in 1707, was spent largely in Lubeck, where he was heard by both Bach and Handel. He is a figure of the greatest importance in the generation before . Michael Praetorius, born about the year 1571 in Creuzburg, whose treatment of Vater unser im Himmelreich is included, represents a still earlier generation of musicians active in the Lutheran tradition. He is widely known for his encyclopedic Syntagma musicum and more popularly for the transmission of a number of well known melodies. The chorale included is one of a group of eight such compositions that survive. Among the most important early composers and performers of the North German organ school is , a pupil of Sweelinck, who, for much of his career, was organist at the Catharinenkirche in Hamburg, a position once held by his father. His chorale arrangements include an early version of the Vater unser. Georg Bbhm was from 1698 until his death in 1733 organist at LOneburg. He had a close association with the Bach family and seems to have influenced the young Johann Sebastian Bach, who attended school in LOneburg for three years. His treatment of the Vater unser, with variations of the chorale over a repeated , shows French influence in its ornamentation. Born, it is thought, perhaps in the 1650s or even later, Johann Kaspar Fischer first appears in su~ivingrecords in 1692. He was Hofkapellmeister to the Margrave of Baden and continued in the service of the ruling family until his death in 1746. His Ariadne musica neo-organoedum, published in 1702, makes interesting use of new possibilities brought about by changes in systems of tuning. His Preludes and Fugues here show something of South German influence, as might be expected. The name of Johann Georg Albrechtsberger is well known as one of the teachers of Beethoven in , in 1793 appointed Kapellmeister at the Cathedral of St. Stephen in Vienna, a position secured for him by Mozart, as he lay dying. A prolific composer, his keyboard works include an unusual for Four Hands, intended, it seems, for organ or pianoforte. Of French birth, was of remoter Scottish ancestry, but always considered himself German. He was employed from 1678 by the Archbishop of Salzburg and from 1690 until his death in 1704 Kapellmeister to the Bishop of Passau. A composer and organist, he published in 1690 his Apparatus musico- organisticus, which includes toccatas on the twelve church tones, of which the Toccata duodezima is, clearly, the twelfth. The name of Carl Czerny is better known as that of the composer of a series of technical studies that remain of importance. Born in Vienna in 1791, he was a pupil of Beethoven and the teacher of Lisd, and among the great pianists of his time. The Prelude and Fugue in A minor is a rarity among an immense number of compositions, many for the pianoforte. A pupil of Mozart, Johann Nepomuk Hummel was bom in Pressburg (the modem Bratislava) in 1778 and succeeded Haydn as Kapellrneister to the Esterhky family. Known particularly as a pianist, in the tradition of Mozart, he wrote a variety of works for other instruments, , incidental music, and . His organ Prelude in A flat, with two Fugues, was published posthumously in 1839, two years after his death. Q 1994 Keith Anderson

cording Tracks 1,2 & 27: Sacred Heart Cathedral, Davenport, lowa Frilz Noack, 1991 Recorded on 8 October 1993 Tracks 3.28 & 29: St. Joseph's Church, Fort Madison, lowa Moline Organ Company, 1890; restored by Phillip Hoenig, 1993

Tracks 4 & 5: Johanneskyrka, Choir organ: Bruno Christensen, 1967 Recorded on 30 August 1993 Tracks 6 - 10: St. Giiranskyrka, Stockholm A. MHrtensson, 1987 Recorded on 22 July 1993 Tracks 11 - 15: Jesuskirken, Jenaen & lhomsen, 1993 Recorded on 24 July 1993 Tracks 16 - 25: Pfarrkirche, Biiren an der Aare J. C. Speisegger, 1770; restored by Metzler, 1990 Recorded on 2 August 1993 Track 26: Church of the Redeemer, Boston Fritz Noack, 1991 Recorded on 17 September 1993 Joreph p.yne Joseph Payne was born in 1941 on the Chinese-Mongolian border, the son of British missionary parents. He received his earliest musical training as a cathedral chorister in England, and in Switzerland where he lived for several years before emigrating to the United States. He studied at Trinity College and Hartt College of Music and was a pupil of Raymond Hanson, Noretta Conci, Fernando Valenti, Clarence Watters, and . Based in Boston, where he has lived since 1965, he has taught at several major American universities and now appears throughout the world, performing over sixty concerts a year on the and oman. His many recordinas include the world- premiere &ording of the j3 ~eumeister&oralepreludes attrlbuied to J. S. Each and rediscoveredat in 1984. He has received grants and awards from the Lowell Institute at Hanrard University and the American Academy of Arts and Sciences. He has oroduced The Bach Connection. and other svndiated series for radio which have knheard coast-tocoast throughout North Arierica. Deutsche Orgelmusik Vol. 1

Um 1600 vollzieht sich in der europaischen Musik ein einschneidender Wandel, der zur Geburt neuer Gattungen (etwa der Oper und des Oratoriums) fuhrt, die neue Tonalitat etabliert und die bisherige Rangordnung unter den Musikern vollig auf den Kopf stellt. Die Tasteninstrumente beginnen in den Mittelpunkt des ~eschehenszu rijcken, und demzufolge steigt das Ansehen der organisten ganz betrachtlich. Im 16. Jahrhundert waren sie noch hau~tsachlichHand-Werker, die zwar iiber technische Fertigkeiten, nicht aber iiber griindliche musikalische Kenntnisse verfugen muOten: Beispielsweise war es nicht notig, daO sie Noten lesen und schreiben konnten - ihre eigenen Notationsarten, die sogenannten Tabulatoren, bestanden aus Griffzeichen, die iiber die Struktur der Werke nichts aussagten. Nun also wendet sich das Blatt, und die ehemals so bedeutenden Kapellsanger - die eigentlichen Meister der Komposition - rijcken in der Hierarchie nach unten: Die Gesangskunst wird zu einer mehr oder weniger technischen VirtuositP, die einstige umfassende musikalische Bildung ist entbehrlich. So ist es nicht verwunderlich, daO seit dieser tiefgreifenden Veranderung die Organisten die eigentlichen Schiipfer der neuen Musik sind - und das bedeutet nicht nur: der neuen Orgelmusik. GewiB, nicht jeder Komponist hat ein derart breit gefachertes Gesamtwerk hinterlassen wie etwa Georg Friedrich Handel, Johann Sebastian Bach oder dessen Sohn Carl Philipp Emanuel; doch die meisten komponierenden Orgelspieler oder orgelspielenden Komponisten bemuhten sich um eine Vielzahl der jeweils aktuellen Gattungen, und sie alle genossen an den Stiitten ihres Wirkens ein hohes bis uberragendes Ansehen. Dietrich Buxtehude, geboren um 1637 in DBnemark, gestorben 1707 in Liibeck, erhielt seine Ausbildung verrnutlich von seinem Vater. 1657158 wird er als Organist der St. Marien-Kirche von Helsinborg gefiihrt; 1668 bewirbt er sich nach dem Tode des weithin ben3hmten um dessen Nachfolge an der Marienkirche in Lubeck, wo er neben den Organistenpflichten auch das Arnt des Werkrneisters, des leitenden kirchlichen Rechnungs- und Verwaltungsbeamten, wahmimmt. Er hinterlieB ein Gesamtschaffen, das trotz seiner eindrucksvollen Vielseitigkeit wohl nur ein Bruchteil dessen ist, was er im Laufe seines Lebens geschrieben hat. Michael Praetorius (ca. 1571 in Creuzburg - 1621 in WolfenbOttel) warder Sohn eines protestantischen Geistlichen, der durch die nach Luthers Tod entbrannten Glaubensstreitigkeiten mehrfach gezwungen war, Pfarrstelle und Wohnsitz aufzugeben und mit seiner Familie schlieOlich nach kam, wo Michael Praetorius ausgebildet wurde. SpAter findet man ihn als Student der Theologie und Philosophie an der UniversitAt zu FrankfurVOder. Nach einer blographischen LOcke entdecken wir Praetorius schlieOlich als Herzoglich Braunschweigischen Ka~ellmeisterin Wolfenbottel wieder, wo er ietzt seinen Ruf als fohrender ~abllmeisterund Komponist im protestantischen Teil Deutschlands begrilndet. Nach dem Tode seines Dienstherrn laOt er sich in nieder, wo er klrnstlerische Kontakte zu Heinrich SchGtz unterhelt. Die letzten Lebensjahre verbringt er in Wolfentxittel, ohne seine ehemalige Stellung wiedererlangt zu haben. Mehr noch als durch seine Kom~ositionenhat Praetorius als Theoretiker auf die Nachwelt gewirkt. Sein dreibiindihs Syntagma musicum gehdrt zu den wichtigsten PuMikationen des 17. Jahrhunderts. Heinrich Scheidemann wurde um 1595 in Dithrnanchen geboren und arb1663 - hoch angesehen - in Hamburg. Ersten Unterricht ehietl er bei seinem Vater, der ihn dann mi! Untersttitzung der Stadt nach Amsterdam schickte, wo er bei dem alles Oberragenden Jan Pietersz Sweelinck sein Kdnnen vewollkommnete. Nach drei Jahren kehrt er In die Heimat zurClck. 1625 wird er Nachfolger seines Vaters als Organist an der Katharinenkirche in Hamburg. Seine Orgelwerke, unter denen die Choralbearbeitungen den grbMen Raum einnehmen, gelten als die bedeutenaPten Leistungen der norddeutschen Sweelinck-Schule. Georg BOhm wurde 1661 in Hohenkirdren bei Ohrdruf geboren; er starb am 18. Mai 1733 in Loneburg, wo er seit 1698 als Organist an St. Johannis thtig war. Mdglicherweise wurde sogar der junge Joharm Sebastian Bach von ihm in der Kunst des Orgelspiels unterwiesen. Wahrend dies8 Vermutung allerdings nicM zu beweisen ist, steht fest, daO BOhms Orgelmusik die Werke des speteren Leipziger Thomaskanton nachhaltig beeinfluBt hat. Die fruhen Lebensdaten des Johann Caspar Ferdinand Fischer liegen im Dunkel der Geschichte. Geboren wurde er irgendwann in der Zeit zwischen 1650 und 1660. Und er starb wahrscheinlich am 27. Mdrz 1746 in Rastatt. Fischer war am Hofe des Markgrafen von Aden in Schlackenwerth und Rastatt tatig, wo er unter anderem auch Opern schrieb. Seine Prilludien- und Fugen-Sammlung'Ariadne Musica" ist von ganz besonderem lnteresse insofem, als er hier die neue Stimmung der Tasteninstrumente erforschte, der Johann Sebastian Bach in seinem Wohltemperierten Klavier ein einzigartiges Denkmal setzte. Georg Muffat, 1653 in Savoyen geboren und 1704 in Passau gestorben, studierte in , wo er nach eigenen Worten die Prinzipien der Musik bei den besten Meistem lernte. Nach seiner Ausbildungszeit kehrte er in den ElsaO zuruck, wo er aufgewachsen war. Beim franz8si&h-dsterreichischen Krieg 1674 fluchtete er an den Hof Kaiser Le0~0ldsI. nach Wien. Von hier aus kommt er zum Salzburger Erzbischof, und schlieOlich wird er 1690 Kapellmeister und Edelknabenhofrneister am Hof des Bischofs von Passau. Seine Werke stellen einen Hbhepunkt der hochbarocken suddeutsch-osterreichischen Orgelmusik dar. Mit dem 1736 in Klosterneuburg geborenen und 1809 in Wien gestorbenen Johann Georg Albrechtsberger gelangen wir in die Zeit der Klassik. Trotzdern gilt Albrechtsberger als ein Bewahrer der Tonsatz-Traditionen. Vermutlich war die Behenschung der alten Kompositionstechniken ein Grund fur die Wertschatzung, die er als Lehrer geno0. Sein prominentester Schuler war . Ludwig van Beethoven wiederum war es, der das enorme Talent des jungen Carl Czerny (1791-1857) erkannte, als dieser ihm die Sonate "Path6tiqueHvorspielte. Aufgrund dieser Leistung nahrn er ihn als Klavierschuler an - und aus Carl Czerny wurde bald ein Klaviervirtuose reinsten Wassers, der als Komponist von den gefurchteten Etuden bis zu Konzerten ein geradezu unvorstellbares Oeuvre hinterlassen hat. Sein Werkverzeichnis nennt mehr als 1000 numerierte Kompositionen und theoretische Publikationen. Der Beethoven-Zeitgenosse Johann Nepornuk Hummel wurde 1778 in PreOburg geboren und starb 1837 in Weimar. Auch er war wie sein alterer Kollege Schuler von Albrechtsberger und Haydn und galt schon 1799 als einer der besten Klavierspieler Wiens. 1804 karn er auf Empfehlung Haydns an die Esterhdzysche Kapelle zu Eisenstadt, wo er allerdings wegen Vemachlllssigung seiner Pflichten 1811 seinen Abschied nehrnen muDte. Von 1819 bis zu seinern Tode wirkte er als GroBherzoglicher Kapellmeister in Weirnar. Sein riesiges kompositorisches Scheffen wartet - von wenigen Ausnahrnen abgesehen - noch auf seine W~ederentdeckung. Q 1994 Cris Posslac Musique d'orgue Vol. 1

Dans I'esprit de certains melomanes les dimensions et la valeur inestimable de I'oeuvre Dour oraue de Jean-SBbastien Bach occultent ~arfoisI'existence d'autres composi~eursd'origine germanique qui ont enrichi le repertoire de I'instrument de pages de grande valeur. Bach estimait d'ailleurs beaucoup certains d'entre eux. Ce fut le cas de Dietrich Buxtehude (1637 - 1707). Pour entendre ce dernier il effectua B pied le voyage d'Arnstadt B Liibeck, en octobre 1705. Buxtehude est I'auteut' de I'oeuvre d'orgue la plus vaste jamais Bcrite avant celle de Bach et marque I'apogbe d'une &ole d'orgue nee en Europe du nord avec le hollandais Sweelinck (1562 - 1621). On ne dira jamais assez I'influence decisive qu'exer~asur I'auteur de la Toccata et Fugue en r4 mineur I'Bcriture puissante et audacieuse de son ain6. L'oeuvre pour orgue de Buxtehude totalise un peu plus de 80 numeros dans le catalogue BuxWV. Le P4ude et Fugue en 16 majeur BuxWV 139 que I'on entend ici presente une structure quadripartite. II debute par un Pr4lude caracteris6 par des accords arpeges qui ont valu le surnom de "la Chasse" B cette oeuvre. Le deuxibme episode, une Fugue, puis le troisibme, note Adagio, mettent en Bvidence la maitrise polyphonique de I'auteur, tandis qu'une Toccata cld I'oeuvre avec brio. Avec prbs d'une trentaine de numdros, le choral represente un genre important dans la production pour orgue de Buxtehude. Dans le Choral BuxWV 219 "Vater unser im Himmelreich" (Notre Pbre qui 6tes aux Cieux) une melodie Mlicatement ornee se deploie dans une atmosphere m6lant douceur et fe~eur. Cexistence de Michael Praetorius se deroula entre 1571 et 1621. Tr& repute en son temps, le musicien devint maTtre de chapelle B la cour de Wolfenblittel en 1604. I1 a l6guB & la posterit6 une oeuvre vaste et diversifiee dont I'orgue ne represente qu'un aspect. Parmi les oeuvres qu'il destina B cet instrument on remarque en particulier les Hymnes latines et les Mdlodies lutheriennes auxquelles appartient le choral "Vater unser". Heinrich Scheidemann (1595 - 1663) qui fut Blbve de Sweelinck au debut des annees 1610, utilisa Bgalement ce "Vater uncrer" dans I'un des 35 chorals qu'il composa. A la difference de Praetorius, il ne produisit que pour I'orgue. D'une vingtaine d'annbes anterieur B Each dans la chronologie, Georg Bdhm (1661 - 1733) joua un r6le important dans la vie musicale de Hambourg B partir de 1698. 11 y fut titulaire de I'orgue de IUglise SaintJean de Liinenburg dont la maitrise wmptait, dans les toutes premieres annees du l8bme sibcle, un choriste nommB Jean- Sbbastien Each qui put y decouvrir ses oeuvres. Parrni celles-ci, I'admirable choral "Vater unser im Himmelreich" I'impressionna stlrement par le lyrisme pudique de sa melodie pourtant trbs ornee, soutenue par une construction toujours rigoureuse. Bach ne fut pas non plus insensible B I'apport de Johann Kaspar Ferdinand Fischer (1665 - 1746). Ce rnusicien dont la biographie demeure rnal connue occupa pendant de nombreuses annBes le poste de rnaTtre de chapelle du margrave de Bade. Grand admirateur de la musique fran~aise,Fischer contribua B sa diffusion outre-Rhin. Avec son Ariadne Muslca, probablernent compos6e au debut du 18Brne sikle, le cornpositeur s'engagea dans une voie qui inspira probablement Bach pour le Clavier Bien TempBrB, L'Ariadne regroupe dix-neuf brefs prBludes et vingt fugues oh Fischer utilise vingt des vingt quatre tons - qui seront tous explor6s par Bach dans le Clavier Bien Temp&. TrBs marquB, lui aussi, par la France oh il Btait nB et avait requ I'enseignement de Lully, Georg Muffat (1653 - 1704) passa une bonne partie de son existence B Salzbourg avant determiner sa carribre comme maitre de chapelle du prince4v8que de Passau. En 1690, il signa un cycle d'orgue intitul6 Apparatus rnusicosrganisticus constitub de 12 Toccate, d'une Ciacona et d'une Pasacaglia. Demibre des Toccate, la Toccata duodecima voit se sucdder des Bpisodes trbs varies. L'oeuvre dBbute par un Presto volubile. Suivent un Allegro caractBrisB par son Bcriture en imitation, puis un Adagio de couleur trbs franqaise. Un nouvel Allegro Bclatant conduit, aprbs quelques mesures adagio, B un Presto. Enfin, le tempo de I'ultime Adagio s'anime poco B poco et debouche sur une virtuose cadence presto. Trois compositeurs posterieurs B Jean-Sbastien Bach concluent le programme du present CD. Johann Georg Albrechtsberger vBcut entre 1736 et 1809 et partagea son activite entre une carribre d1ex6cutant- qui culmina avec sa nomination en 1772 au poste d'organiste de la Cour B Vienne, de compositeur et de pedagogue - il dispensa son enseignement B Ries, Czerny, Hummel et Beethoven. 8*550964 GERMAN ORGAN MUSIC riBi5-l piGiiEq Volume 1 Time: Joseph Payne, Organ DieLrich BUXTEHUDE (1:l~) PreludeandFugueinDMajor, (1:07) BmWV 139 (1:13) Vater user im HjmmelreIcb (1:53) (1:lQ Michael PRAETORIUS Na 16 in A Major (1:19) Vater uasu im Himmelreich (1:2Q HeMch S-N (200) Vater llnscr im Himmelreicb Na19inBMqjor (1:43) Georg BOHM Na 20 in C Minor (212) Vater onser im Eimnrelreicb (349) JohPM Ge0l.g JohKaspar Ferdinand ALBRECHTSBERGER Prelude and Fugue in C Major (506) FISCHER for Four Hands Arindne music8 (20 Preludes and Fugues) (Phoebe Payne, Rimo) NalinCMajor (1:20) (1:21) Gcog MUFFAT (1:50) Toecpta duodezima (7:W) (1:47) Carl CZERNY Prelude and Fugue in A Mhmr, (4:30) Op. 603, Na 3 (1:44) (1:m) Johm Nep~mukHUMMEL (1:46) Prelude in A Flat Major, Op. posth. 7 (235) (1:lQ Recorded between July and October, 1993. Producer: Scott Kent Engineers: Scott Kent, Jacques Robert, Wily Husmann Music Notes: Joseoh. Pavne. Texie en tanpis Cover: Braubach and the Castle of Marksburg, Rhine (hwina bv W. H. Bartlett. Engraved bv E. Brandard)