Tag: #TheOrganShow

playlist | from the Schneeberger Orgel- und Clavierbuch

Anonymous (c.1700) ” Ciaccona in Em ‘Schneeberger Clavierbuch’ (D-LEm : Becker II. 6. 22.)

The collection of manuscript music that is known today either as the ‘Schneeberger Clavierbuch’ or as the ‘Schneeberger Orgel- und Clavierbuch’ is a large three-part volume of keyboard works. It is housed in the Leipzig Municipal Library (D-LEm) at shelfmark Becker II. 6. 22. The manuscript’s last private owner was the Leipzig musician Carl Ferdinand Becker (1804–77) who gave the manuscript to the library in 1851. Quite how the manuscript came to be owned by Becker is not known.

St Wolfgang Schneeberg, DE.

It is the first section of this manuscript (43 pages) that is discussed here and for clarity I refer to it as Schneeberger: part 1. It is the work of Christian Umblaufft (1673–1757) the cantor of St Wolfgang’s church in Schneeberg (Saxony). It comprises 27 pieces of music by various central-German musicians working mainly in an area south of Leipzig during the late 17th century and the early 18th century. They are: David Heinrich Garthoff (?–1741) from Weissenfels; Gottfried Ernst Pestel [Bestel] (1654–1732) from Altenburg; Christian Pezold [Petzold] (1677–1733) from Dresden; Christian UmblaufftL from Schneeberg; Nicolaus Vetter (1666–1734) from Rudolstadt; Andreas Werckmeister (1645–1706) from Halberstadt; Christian Friedrich Witt (c.1660–1717) from Gotha.

Composer locations

Schneeberger: part 1 is one of only a handful of this period’s surviving  non-chorale-based German organ-music collections to originate outside the circle of J. S. Bach.  Also – and thus far – Schneeberg: part 1 contains Christian Umblaufft’s onl surviving keyboard works.

Christian Umblaufft was born in Bischofswerda (Saxony) the child of Christoph Umblaufft (n.d;  mother not identified) a cloth maker and town councillor. Christian’s first teacher was Bischoffswerda’s cantor Adolph Caschauer (fl. 1674–90). In 1684 Umblaufft took up a place at the St Thomas school in Leipzig under the tutelage of the cantor, Johann Schelle (1648–1701). From 1694 Umblaufft was enrolled at the local university and in 1696 was appointed to the post of cantor at St Wofgang Schneeberg where he remained for the rest of his life.

At some point Umblaufft passed Schneeberger: part 1 to Gottfried Linke (c.1695–1760) the Schneeberg church’s organist (1717-1760), possibly around 1719 after a disastrous fire in the town had destroyed all of Linke’s music. NB The second and third sections of D-LEm: Becker II. 6. 22. are the later work of Linke.

  • Playlist : more tracks coming soon

Manuscript Index
1. Christian Umblaufft (1673–1757) : Praeludium ex C
2. Christian Umblaufft : Praeludium ex c
3. Christian Umblaufft : Praeludium ex e
4. Christian Umblaufft : Praeludium ex g
5. Christian Umblaufft : Praeludium ex f
6. Christian Umblaufft : Praeludium ex D
7. Andreas Werckmeister (1645–1706) : Canzon ex g
8. David Heinrich Garthoff (d. 1741) : Praeludium ex C
9. David Heinrich Garthoff : Praeludium ex c
10. David Heinrich Garthoff : Praeludium ex D
11. David Heinrich Garthoff : Praeludium ex d
12. David Heinrich Garthoff : Praeludium ex E
13. David Heinrich Garthoff : Praeludium ex F
14. Anonymus : Air (con variatione) ex c
15. Christian Pezold [Petzolt] (1677–1733) : Fuga ex d
16. Anonymus : Praeludium ex d
17. Nicolaus Vetter (1666–1734) : Fuga ex G
18. Gottfried Ernst Pestel (1654–1732) : Ciaccona ex C
19. Anonymus : Alia Ciaccona ex e
20. Anonymus : Ciaccona [‘en rondeau’] ex d
21. Gottfried Ernst Pestel : Partie ex g: i. Gigue; ii. Allemande; iii. Courante; iv. Gavotte; v. Sarabande.
22. Christian Friedrich Witt (c.1660–1717) : Canzona ex B
23. Christian Friedrich Witt : Ciaccona ex B

References and further reading
::: Composers :::
– ‘David Heinrich Garthoff‘ [in German]. Wikipedia. Online resource, accessed 17 September 2023.
– ‘Gottfied Ernst Pestel [Bestel]‘. Wikipedia. Online resource, accessed 12 Jamuary 2024.
– ‘Chrsitain Pezold [Petzold]‘. Wikipedia. Online resource, accessed 10 August 2023.
– ‘Nicolaus Vetter‘. Wikipedia. Online resource, accessed 10 August 2023.
– ‘Andreas Werckmeister‘. Wikipedia. Online resource, accessed 10 August 2023.
– ‘Christian Friedrich Witt‘. Wikipedia. Online resource, accessed 2 January 2024.

::: Context & sources :::
– Jam van Blezen. ‘Het tempo van de Franse barokdansen’ [The tempo of French Baroque dances] in Tempo in de achttiende eeuw, red. K. Vellekoop, Utrecht 1984 (Stimu), 7-25, 37-59. [Abstract in English: web] | [Full version in Durch: PDF]
– Colin Booth. Did Bach really mean that? Deceptive notation in Baroque keyboard music. (Wells : Soundboard, 2010)
– D-LEm Becker II.6.22. Sachsen digital. Online resource, accessed 5 August 2023.
– Wolfgang Eckhardt. ‘Mitteldeutsche Tastenmusik um 1700: Zu Geschichte und Repertoire der Sammelhandschrift II.6.22 der Leipziger Städtischen Bibliotheken-Musikbibliothek‘. Ständige Konferenz Mitteldeutsche Barockmusik in Sachsen, Sachsen-Anhalt und Thüringen: Jahrbuch, 2002 (2004), 290-304. Online resource, accessed 5 August 2023.
– Howard Ferguson. Keyboard interpretation from the 14th to the 19th century: an introduction (Oxford: OUP, 1975)
– Natalie Jenne. ‘On the Performance of Keyboard Allemandes‘. Bach, Vol. 10, No. 2 (April 1979), 13-30. Online resource, accessed 12 Janiuary 2024.
– Enrico Lange. ‘Vorwort’ in Das Schneeberger Orgel– und Clavierbuch um 1705. (Altenberg: Hans Jürgen Kamprad, 2020) 5.
– Michael Maul. ‘The Schneeberger Clavierbuch: history and repertoire’. Sleeve-notes in the CD Das Schneeberger Orgel- und Clavierbuch um 1705. Enrico Langer, organist. (Kassel: Querstand, 2018. ASIN: B07Q5CPRZV)
– Karl Wilhelm Mittag. Chronik der königlich sächsischen Stadt Bischofswerda (1861). Online resource, accessed 5 July 2023.
– St. Wolfgang’s Church, Schneeberg. Wikipedia. Online resource, accessed 2 January 2024.
– Amy Zanrosso. ‘The Baffling Binary Gigue‘, La Scena Musicale. 1 February 2002. Online resource, accessed 12 January 2024.

Techincal Notes
– Edition. Das Schneeberger Orgel– und Clavierbuch um 1705. (Altenberg: Hans Jürgen Kamprad, 2020), edited by Enrico Langer.
– Temperament: Kirnberger II; pitch A=440
– Organ: Viscount Sonus 60
– Microphone: Zoom Q2N-4K
– Recordings: ©Andrew Pink (2023-2024). All rights reserved. Creative Commons licence: [Attribution-NonCommercial-NoDerivatives 4.0 International]
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playlist | Johann Christoph Bach: 44 Chorale Preludes

Portrait of a musician [Johann Christoph Bach (1642-1703)]. Anonymous, circa 1700. [Source: Berlin, ‘Archiv für Kunst und Geschichte’ (Prussian State Library)]
Johann Christoph Bach (1642–1703) – an older relative of the great Johann Sebastian Bach (1685–1750) – was employed as the organist of the municipal church of St George at Eisenach in the Thuringia region of Germany. The town was then the capital of the Dukes of  Saxe-Eisenach and Johann Christoph was separately employed as a harpsichordist at the ducal court.  NB He is not to be confused with:
– Johann Christoph Bach (1645–93) active in Arnstadt
– Johann Christoph Bach (1671–1721) active in Ohrdruf
– Johann Christoph Bach (1673–1727) active in Gehren
– Johann Christoph Bach (1676–1738) a son of our Johann Christoph Bach

History
The source of Johann Christoph Bach’s Choräle is a manuscript that is widely referred to as ‘Spitta MS.1491’, the scribe unknown. It comprises seventeenth-/eighteenth-century German keyboard works. The manuscript’s last private owner was the Bach scholar Phillip Spitta (1841–94). It is now in the library of the Berlin University of the Arts (UdK); shelf-mark RH 0093. The title-page of the Choräle translates as: Chorales / Which may be used as preludes during services / Composed & distributed by Johann Christoph Bach / Corporation of Eisenach. These pieces first appeared in print in 1929 as “44 Choräle zum Präambulieren” edited by Martin Fischer for  Bärenreiter (Kassel) and that edition, still in print, remains the only published source.

Chorale-prelude “Ach Gott von Himmel” by Johann Christoph Bach (1642–1703). Spitta MS 1491 | UdK Berlin RH 0093.
Title from the Spitta MS as given in the Bärenreiter (Kassel) 1949 edition, ed. Martin Fischer. [Catalog BA 285]
Johan Christoph Bach (1642–1703) ’44 Choräle zum Präambulieren’ (Kasel: Barenreiter, 2019)
Title page from the Spitta MS 1491 | UdK Berlin RH 0093.

Style
These chorale preludes are akin to written-down improvisations, using simple contrapuntal forms and close major-minor shifts. They are not arranged in any particular order. Each broadly has the same musical structure in which the first line of the hymn is played as a solo that is then given a straightforward imitative treatment, often in just three voices, interspersed with short melodic sequences, ending with a coda over a sustained pedal note.

St George’s church, Eisenach. 1515-20. Tower 1898–1902. [Image source: Wikimedia]
St George’s church. West-gallery organ by Silbermann 1696–1707. Designed by Johann Christoph Bach who died before its completion. [Image source: Wikimedia]
St George’s church, Eisenach. 1515-20. Interior looking east [Image source: Wikimedia]

Performance
Although not concert-programme material these charming, straight-forward little pieces are adaptable to a wide range of registrations and they can make a most respectable contribution to the work of the liturgical organist.

Playlist: click on any title to start the playlist

References and further reading
– ‘A Bach Manuscript Recovered: Berlin, Bibliothek der Hochshule der Kunste, Spitta Ms. 1491’ by David Schulenberg. Bach Notes: the newsletter of the American Bach Society. Fall 1998.
– ‘Constructing Johann Christoph Bach (1642-1703)’ by Daniel R. Melamed. Music & Letters, Vol. 80, No. 3 (Aug., 1999), pp. 345-65. 
– Johann Christoph Bach. Wikipedia. Accessed 6 April 2023. 
-‘Johann Christoph Bach’s New Organ for Eisenach’s Georgenkirche’ by Lynn Edwards Butler. Bach, Vol. 35, No. 1 (2004), pp. 42-60.
– Portrait of Johann Christoph Bach. Anonymous c.1700. Archiv für Kunst und Geschichte, Berlin. Online resource accessed 6 April 2023.
– Spitta MS 1491. Universität der Künste Berlin: shelfmark RH 0093.

Technical notes.
– Edition: Johann Christoph Bach (ed. Martin Fischer) 44 Choräle zum Präambulieren. Catalog BA00285. (Kassel: Bärenreiter, 1929; repr. 2019)
– Temperament: Werckmeister III; pitch A=440 
– Organ: Viscount Sonus 60 
– Microphone: Zoom Q2N-4K 
– Recordings: ©Andrew Pink (2023). All rights reserved. Creative Commons licence: [Attribution-NonCommercial-NoDerivatives 4.0 International]

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playlist | Eight short preludes & fugues attributed to J. S. Bach (BWV 553–560)

The set of ‘eight short preludes and fugues’ discussed here date to the period 1730–50 (Williams) but for stylistic reasons are no longer judged to be the work of J.S. Bach himself (Durr, Lohmann, William). However, they still retain their place in the Bach Werke Verzeichnis (BWV), the official J.S. Bach catalogue, as numbers 553–560.

The first page of BWV 553. [Source: Staatsbibliothek zu Berlin ‘D-B Mus.ms. Bach P 281’]
The earliest surviving source of ‘the eight’ is one of five separately copied manuscripts that are bound together into a single volume containing 12 keyboard works: ‘the eight’ plus copies of  BWV 913.2; 718; 916; 735.1. It has been suggested that the scribe  was Bach’s great-nephew J.C.G.  Bach  (1747–1814) and that subsequently the whole volume was in the possession of J.S. Bach’s last pupil J.C. Kittel (1732–1809) (Lohmann, Williams). The manuscript volume was latterly owned by Georg Poelchau (1773–1836) who was an avid collector of Bach materials. Since 1841 the manuscript has been in the collection of the Staatsbibliothek zu Berlin as ‘D-B Mus.ms. Bach P 281’.

Linking this copy of  ‘the eight’ to the circle of J. S. Bach is  strengthened by the fact that the same supply of paper used  for it was also used in three sections of another Bach manuscript, ‘D-B Mus.ms. Bach P 803’, one of whose scribes has been identified as J.L. Krebs (1713–80) (Williams), a pupil of Bach. NB A now-lost manuscript of ‘the eight’ – scribe unknown – was once owned by Bach biographer J.N. Forkel (1749–1818) and then by a promoter of Bach’s work F.C. Griepenkerl (1782–1849). It was used to produce the 1852 C.F. Peters (of Leipzig) edition of ‘the eight’ and is likely to have been a copy of Poelchau’s manuscript. (Durr)

Style
Given that nowadays ‘the eight’ is merely “attributed” to Bach commentators have tried to identify alternative composers but with no clear consensus emerging beyond stylistic traits, e.g. Italian concerto (no.1); durezze (no.3); neo-galant (no. 4); toccata (no.5); southern fugal styles (nos. 1, 4, & 5). (Durr, Lohmann, Williams).

My own hypothesis (2022) is that ‘the eight’ is likely to be by a student or students of Bach, based upon ‘partimento’. This was a well-established system of musical pedagogy that Bach used to teaching composition at the keyboard. Broadly speaking, ‘partimento’ uses a pre-composed bass line containing sufficient indications for the student to create a complete composition. (Milka).

In ‘the eight’ can be found some (not all) elements strongly familiar with some of those in the partimento-collection “L’A.B.C. Musical” (c.1734)  by Gottfried Kirchhoff (1685–1746), a composer-organist known personally to Bach (Milka). See the two examples below. This implies that there  will be other (as-yet unidentified) generative sources for ‘the eight’.

Furthermore, it is worth noting that ‘the eight’ is not an ‘ad hoc’ assembly. As with  other early eighteenth-century keyboard collections its content is ordered by ascending key progression and the pairing of major and minors keys – most famously seen in Bach’s Well-Tempered Clavier (BWV 846–93) – although in ‘the eight’ only one key is paired. Perhaps therefore ‘the eight’ is an incomplete Bach-student project planned to be a larger collection?

NB as its stands, the sequence of each piece’s tonic note forms the Mixolydian mode.

Performance
The attraction of this collection for me is not only that individual movements are useful in liturgical settings but also that the set, when played complete, makes a pleasing and varied baroque-period concert item.

In preparing these recordings of ‘the eight’ I have taken account of Baroque-period theory concerning the emotional character (affekt) of different musical keys, here pursuing a 1713 affekt-theory of the Hamburg composer and influential theorist Johann Mattheson (1681–1764). The instrument I am using is tuned according to the Baroque Werckmeister III system.

      1. C- major: … it has a rather hearty and confident character suited to the expression of joy.
      2. D-minor: … somewhat devout and calm, at the same time affecting, agreeable, and expressive of contentment … for the furthering of devotion in the church … ‘skipping’ music must not be written in it, whereas flowing music will be very successful.
      3. E-minor: … whatever one may do with it, it will remain pensive, profound, sad, and expressive of grief in such a way that some chance of consolation remains.
      4. F-major: … capable of expressing the most beautiful sentiments … generosity, steadfastness, love, or whatever else may be high on the list of virtues. It is natural and unforced when used to express such affects. It compares to a handsome person who looks good whatever he may do and who has, as the French say, ‘bonne grace’.
      5. G-major: … insinuating and persuasive … somewhat brilliant and suited to the expression of serious as well as joyful affects.
      6. G-minor: … almost the most beautiful key … rather serious combined with spirited loveliness, uncommon grace and affability … it lends itself well and flexibly both to moderate plaintiveness and tempered joy.
      7. A-minor: … somewhat plaintive, modest and relaxed … relaxing but not disagreeably so, These are qualities not immediately apparent in the free Stylus phantasticus manner of the prelude nor in the confident duple pulse of the fugue. While this music is neither ‘relaxed’ nor particularly ‘relaxing’ it has a plaintive quality, heightened by the sharp intonation of A minor in the baroque Werckmeister III temperament (tuning) of the instrument used here.
      8. Bb-major: … very diverting and showy … it can pass as both magnificent and graceful … it elevates the soul to greater things.

Playlist: click on any title to start the playlist.

References

  • Technical notes.
    – Edition: Johann Sebastian Bach Acht kleine Präludien und Fugen. Series: Barenreitr Urtext. (Kassel ; London : Bärenreiter 1990)
    – Temperament: Werckmeister III; pitch A=440    – Organ: Viscount Sonus 60
    – Microphone: Zoom Q2N-4K
    – Recordings: ©Andrew Pink (2022–23). All rights reserved.    Creative Commons licence: [Attribution-NonCommercial-NoDerivatives 4.0 International]

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playlist | Exordia ad missam : before the mass

The following exordia ad missam (tr. preludes to the mass) are short and mostly meditative pieces that I recorded during the UK’s various Covid-related restrictions of 2020–22 for use as part of live-streamed church services.

Recordings©Andrew Pink. 
Material on this page is published under the Creative Commons licence (CC BY-NC-ND 4.0) : Attribution-NonCommercial-NoDerivatives 4.0 International. All rights reserved.

Playlist: click on any item to start listening.

Scroll right down for biographical links

Biographies and individual listings

Emma Louise Ashford (1850–1930) 

Andrew Pink performs (2022) ‘Melody in B-flat: allegretto ma non troppo’ (The Organist Vol. 2/iv 1898)

Nadia Boulanger

Nadia Boulanger (1887–1979)

Andrew Pink performs (2021) ‘Inprovisation‘ (Trois Improvisations. 1911–12)

Kate Boundy (1863–1913)

Andrew Pink performs (2021) ‘Even Song‘ (The Village Organist. Vol. 11. 1898)

 Luigi Bottazzo (1845–1924)

Andrew Pink performs (2022) ‘Invocazione alla Regina della Pace‘. Raccolta di Sette Pezzi. Op.289. 1917)

Maude Campbell-Jansen (1884-1958) in 1910

Maude Campbell-Jansen (1888-1954)

Andrew Pink performs (2021) Meditation (1928). 

Hedwige Chrétien (1859–1944)

Andrew Pink performs (2022) ‘Musette‘ from Harmonies Religieuses: à l’usage du service divin. (Series ‘Echos des organistes contemporains’ Vol 3 . 1922)

Samuel Coleridge-Taylor (1875-1912)

Andrew Pink performs (2021) ‘Melody’ (Three Short Pieces. 1898). 

Elisa Delaye-Fuchs (1872–?)

Andrew Pink performs (2021) ‘Pièce en La bémol majeur‘ Op. 25 (Maîtres contemporains de l’orgue. Vol. 5. 1914. 93–94)

Jeanne Demessieux (1921–68)

Andrew Pink performs (2020) ‘Rorate caeli‘ (Twelve Choral-Preludes on Gregorian Themes. Op. 8. 1947) . 

Théodore Dubois (1837–1924)

Andrew PInk performs (2021) ‘Adoration‘ (42 Pièces pour Orgue ou Harmonium. c.1915. Op. Posth. 1925)

Marcel Dupré  (1886–1971)

Andrew Pink performs (2020) ‘Alma redemptoris mater‘ (Eight Short Preludes on Gregorian Themes. Op 45. 1958).

Robert Evans (c.1949–.)

Andrew Pink plays Divertimento for a Keyoboard: Allegro Energico (2014)

William Faulkes (1863–1933)

Andrew Pink performs (2021) ‘Idylle in D-flat major’ (William Faulkes: Compositions for the Organ. 1902)

Eugénie-Emilie Juliette Folville (1879–1946)Eugénie-Emilie Juliette Folville (1870–1946)

Andrew Pink performs (2022) ‘Verset sur le thème du “Tantum”, 6e ton’ (Maîtres contemporains del’orgue, Vol.3. 1912)

César Franck (1822–90)César Franck (1822–90)

Andrew Pink performs (2022) ‘Prélude pour l’Ave Maris Stella: andantino quasi allegretto’, 1858–63. (No. 28 in Pièces posthumes, ed. Georges Franck, 1905. )

Harvey Grace (1874–1944)

Andrew Pink performs (2021) ‘Cradle Song’ (Ten Compositions for the Organ. 1922) 

Walter Battison Haynes (1859–1900)Walter Battison Haynes (1859–1900)

Andrew Pink performs ‘Meditation in G: Introductory Voluntary‘ in The Village Organist (Vol. 1, Book 4,  1897)

Paul HIndemith (1895–1963)

Andrew Pink performs (2022) ‘Ruhig bewegt’ (Sonate 2, 1937)

Peter Hurford (1930–2019)

Andrew PInk performs (2022) ‘Wem in Leidenstagen‘ (Five Short Chorale Preludes, 1958)

Joseph Jongen (1873–1953)

Andrew Pink performs (2021) Petit Prélude (1937)

Jean Langlais (1907–91)

Andrew Pink performs (2020) ‘Interlude’ (Three Characteristic Pieces, 1957).

 

John Lee (1908–90)

Andrew Pink performs (2022) ‘Ecce panis angelorum’ Ten Organ Preludes for Liturgical Services. No 9. (1939)

Louis James Alfred Lefébure-Wely (1817–69)Louis J. A. Lefébure-Wely  (1817–69)

Andrew Pink performs (2022) ‘Andante: choeur de voix humaines‘ (Meditaciones religiosas op. 122/vii. 1858).

Kate Loder (1825–1904) Kate Loder (1825–1904)

Andrew Pink performs (2020) ‘Voluntary in B-flat‘ (Six Easy Voluntaries. Second set. 1891). ” … for the most part fresh and genial in character […] somewhat suggestive of Spohr in the numerous chromatic progressions.” (Musical Times. Vol. 32, No. 579 (May  1, 1891), p. 297). 

Robert–Charles Martin (1877–1949)

Andrew Pink performs (2022) ‘Élévation‘ (Parnasse des Organistes … First series, vol.1. 1911)

Olivier Messiaen (1908–92)

Andrew Pink performs (2021) Le Banquet Céleste (1928)

Andrew Moore (b.1954)

Andrew Pink performs (2021) Hymn-prelude ‘Bunessan’ (1996)

Ann Mounsey (1811–91)Ann Mounsey-Bartholomew (1811–1891)

Andrew Pink performs (2022) ‘Andante’ (The Village Organist. First Series, vol 2. 1872)

henri mulet in 1911Henri Mulet (1878–1967)

Andrew Pink performs (2020) ‘Noel’ (Esquisses Byzantines, 1920).

Max Oesten (1843–1917).

Andrew Pink performs (2021) ‘Christmas‘ (Festival Times. Op 205/i, 1899).

Flor PeetersFlor Peeters (1903–86)

Andrew Pink performs (2020) ‘Fantasie Inviolata‘ (Four Improvisations on Gregorian Melodies. Op.6/iv, 1946).

Incipit inviolata

Jean-Marie Plum OSM (1898–1944)

Andrew Pink performs ‘Bénédiction nuptiale‘ (Messe de mariage. Op.56/ii. Pub. posth, Paris. 1955)

Marie Prestat (1862–1933)

Andrew Pink performs (2021) ‘Offrande à la Vierge: Alma redemptoris mater ‘ (Maîtres contemporains de l’orgue. Vol.4..  Paris: 1914)

florence price Florence Price (1887–1953)

Andrew Pink performs (2021) Adoration (1951)

Noel RawsthorneNoel Rawsthorne (1929–2019)

Andrew Pink performs:(2020) ‘Interlude in C‘ (Adagio Collection, 1999)

Alec Rowley (1892-1958) Alec Rowley (1892–1958).

Andrew PInk performs (2021) ‘Picardy‘ (A Book of Hymn Tune Voluntaries [by various]. 1950)

Blanche Rozan (fl.1900–12)

Andrew Pink performs (2021) ‘Petite Prière: assez lentement’ (Maîtres contemporains de l’orgue. Vol. 2.. Paris: 1912)

Léonce de Saint-Martin (1886–

1954)

Andrew Pink performs (2021) ‘Interlude de Grand Orgue pour l’Élévation: infiniment calme‘ (Mass in E-minor, Op.13. 1932)

 Hermann Schroeder (1904–84).

Andrew PInk performs (2021) ‘Allegretto‘ (Kleine Präludien und Intermezzi. Op. 9. 1932)

Franz SchubertFranz Schubert (1797–1828)

Andrew Pink performs (2022) ‘Ave Maria’ (Ellens Gesang III, D. 839/vi. 1825), arr. Andrew Pink (2022)

Quentin Thomas (b. 1972)

Andrew Pink performs (2021) ‘Prelude on St Columba’ (1996)

Ralph Vaughan Williams c.1921Ralph Vaughan Williams (1872–1958)

Andrew Pink performs (2022) ‘Eventide‘ (from Two Hymn Tune Preludes for small orchestra (1936), arranged for organ (1938) by Herbert Sumsion (1899–1995)

 René Vierne (1878–1918)

Andrew Pink performs (2022) ‘Élévation’ (Archives de l’Organiste, vol 4. 1910)

Techincal notes
– Temperament: Equal; pitch A=440
– Organ: Viscount Sonus 60
– Microphone: Zoom Q2N-4K
– Recordings: ©Andrew Pink. All rights reserved.
Creative Commons licence: [Attribution-NonCommercial-NoDerivatives 4.0 International]

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@SWomenOrganists #InternationalWomensDay @rvw150 @InternationalOrganDay @internationalorganday

playlist | J. S. Bach’s ‘Orgelbüchlein’ (BWV 599–644)

J. S. Bach’s Orgelbüchlein (BWV 599–644) is a collection of short organ pieces that he composed over several decades from 1704 onwards. Bach’s idea  was to assemble 164 works in a variety of styles, all based on pre-existing Lutheran hymn-tunes, and arranged according to the Church’s calendar. The collection would serve Bach not only in church services but also in his teaching. Alas, the project remained incomplete at the composer’s death.

Bach arranged the collection by hymn-text themes as follows:
– Advent: BWV 599–602 | – Christmas: BWV 603–612 | – New Year:   BWV613–615 | – Purification: BWV 616–617 | – Passiontide: BWV 618–624 | – Easter: BWV 625–630 | – Pentecost: BWV 631–634 | – Catechism: BWV 635–638 | – General: BWV 639–644

  • Playlist: Click on a title to start listening

  • Useful  reading
    – Jon Laukvik. Historical Performance Practice in Organ Playing. Vol.1: The Baroque and Classical Periods. (Stuttgart: Carus, 1996).
    – Peter Williams. The Organ Music of J. S. Bach (Cambridge: Cambridge University Press, 2003)
    – John Scott Whiteley ‘Hermeneutics surrounding the Orgelbüchlein’ “RCO Journal” (Volume 11, 2017) 5-30.
  • Technical notes.
    – Edition: Johann Sebastian Bach Orgelbüchlein. (Ed. Heinz-Harald Lohlein)  Series: Neue Ausgabe sämtlicher Werke. IV/i. BA5171. (Kassel: Bärenreiter, 1984, repr. 1997)
    – Temperament: Werckmeister III; pitch A=440
    – Organ: Viscount Sonus 60
    – Microphone: Zoom Q2N-4K
    – Recordings: ©Andrew Pink. All rights reserved.
    Creative Commons licence: [Attribution-NonCommercial-NoDerivatives 4.0 International]
    – I made these recordings during the UK’s various Covid-related restrictions of 2020–22. For some of my other lockdown recordings go to: ‘Exordia ad missam’: my lockdown recordings.

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