Buxtehude Mean Tone Organ Davidsson

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Buxtehude organ works, v.1: Buxtehude and the Mean-Tone Organ/Davidsson (2 CDs!)

Buxtehude and the Mean Tone Organ - Hans Davidsson

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Program and Notes

Reviews

Organ Registrations

Buxtehude organ works, v.1: Buxtehude and the Mean-Tone Organ

North German Baroque Organ, Gothenburg, Sweden

Hans Davidsson, organ

Click on REVEWS and ORGAN REGISTRATION tabs above for more info!

What is Mean-tone Temperament?

[1] Praeludium in C (BuxWV 137)

[2] Canzona in G (BuxWV 171)

[3] Praeludium in e (BuxWV 152)

[4] Canzonetta in C (BuxWV 167)

[5] Nun komm, der Heiden Heiland (BuxWV 211)

[6] Gelobet seist du, Jesu Christ (BuxWV 189)

[7] Gelobet seist du, Jesu Christ (BuxWV 188)

[8] Nun bitten wir den Heiligen Geist (BuxWV 209)

[9] Praeludium in g (BuxWV 149)

[10] Nun bitten wir den Heiligen Geist (BuxWV 208)

Auf meinen lieben Gott (BuxWV 179)

[11] Allemande

[12] Double

[13] Sarabande

[14] Courant

[15] Gigue

[16] Praeludium in g (BuxWV 163)

[17] Wie schön leuchtet uns der Morgenstern (BuxWV 223)

[18] Praeludium in D (BuxWV 139)

(Total time CD 1: 75.38)

CD2

[1] Praeludium in d (BuxWV 140)

[2] Ich ruf zu dir, Herr Jesu Christ (BuxWV 196)

[3] Praeludium in G (BuxWV 147)

[4] Vater unser im Himmelreich (BuxWV 219)

[5] Praeludium in F (BuxWV 157)

Nimm von uns, Herr, du treuer Gott (BuxWV 207)

[6] Vers 1 (Vater unser im Himmelreich)

[7] Vers 2

[8] Vers 3 (Vater unser im Himmelreich)

[9] Vers 4

[10] Praeludium in a (BuxWV 153)

Te Deum laudamus (BuxWV 218)

[11] [Exordium]

[12] Primus versus, Te Deum laudamus

[13] Secundus Versus – Auf 2 Clavier, Pleni sunt coeli et terra

[14] Te Martyrum, a 2 Clav. e Ped:

[15] Tu devicto, cum 3 subjectis

[16] Passacaglia in d (BuxWV 161)

[17] Toccata in d (BuxWV 155) 8.14

(Total time CD 2: 73.28)

"Audiophile Best Find" of 2007, "Classical Lost and Found (CLOFO.com) http://www.clofo.com/

Davidsson is a very musical player with a virtuosic flair well suited to this music. The phrasing in the chorale preludes is exquisitely sensitive. His interpretation of the Passacaglia is one of the best I’ve heard. This is an outstanding recording from every point of view. Bravo!

—American Record Guide

STAR RECORDING (Record of the month)

(review of both Volumes 1 and 2)

It is difficult to know where to begin with these four CDs. This is a monumental recording in all sorts of ways. It is special because of the mean-tone tuning and the effect that this has on the music and the way it sounds. While we cannot be sure how the music would have sounded originally, the Baroque Organ project led by GOArt and sited in the Örgryte nya kyrka has done so much to foster interest in, and knowledge of, organ building at the time. It is good that we now have these recordings so that we can hear for ourselves.

There are some delicious sounds throughout – partly the registers, partly the tuning – often challenging the listener, especially when the choice of stops is not what we might think of today – as for example playing fugues on reed stops in a kind of Grand Jeu. But it is the vast range of colour that is most impressive, including a delightful cymbelstern. The CDs use the ULSI recording technique, which certainly gives the listener a feeling of intimacy and contact with player and instrument and adds much to the overall quality of the recordings.

The second two CD set focusses on music which JS Bach and his circle studied, shared and admired. There is thus an added fascination when listening to these pieces for the insight that they give with regard to later organ music.

Hans Davidsson – such a fine player, especially in this context – is to be congratulated, as are all the team involved. The sleeve notes are full and well produced, though there is also a significant amount of additional material, including notes on each piece and a complete listing of all registrations used at www.gothic-catalog.com (click on the ORGAN REGISTRATIONS tab above...). These CDs are most highly recommended, and have to be a star recording of star recordings as far as I am concerned; they are an absolute must to buy.

—The Organ (UK)

Strange and wondrous sounding things happen when you hear early Baroque organ music performed on a mean-tone tempered instrument like the one here. That's because this method of tuning produces pure major thirds, which were all the rage in Dieterich Buxtehude's day (1637-1707) as they were thought to be the musical equivalent of "heavenly harmony." Not only that, but they intensify the contrast between consonances and dissonances in music thereby giving it greater emotional impact. So it's quite likely this is what you would have heard at the prestigious St. Mary's Church in Lubeck, Germany, when the composer was organist there. However, these "heavenly thirds" come at a cost, because pieces in certain keys can sound harsh or even dissonant on mean-tone instruments. So steps must be taken to ameliorate these incompatibilities. The most radical solution is to transpose the work in question to a more listener-friendly key, and in Buxtehude’s day organists did this all the time. Besides transposition though, there are several other ways to accomplish this. For instance, the organ for this recording has additional sub-semitone black keys and pedals just for this purpose (see the excellent album notes for an explanation and picture of them). These are necessitated by the fact that accidentals like d-sharp and e-flat, which are the same identical note and represented by just one black key on a conventionally tuned instrument, must take on slightly different pitches on a mean-tone one in order to minimize the problems mentioned above. Additionally the performer can downplay dissonant notes by shortening their length, camouflaging them with ornaments and/or even opting for leaner registrations that make them less apparent.

The highly versatile and talented soloist here, Hans Davidsson, uses every trick at his disposal to come up with some of the most colorful Baroque music that ever emanated from an organ pipe. As a matter of fact, after you've heard this album, Buxtehude on a conventionally tuned instrument comes off sounding rather drab! The one Davidsson plays here is located in Gothenberg, Sweden and it’s absolutely spectacular. That’s because it’s a modern day synthesis of the finest North German Baroque instruments from such builders as the great Arp Schnitger. Not only that, but this is one of the best sounding recordings of "The Pope of Instruments" to come along in some time. It utilizes Erik Sikkema's new ULSI recording technology, which does for church spaces what Ray Kimber's IsoMike does for the concert hall (see the 17 February 2007 newsletter). Accordingly, audiophiles who love organ music must have this release, and are encouraged to read about ULSI. (click here for details)

Musically, artistically and sonically producer Roger Sherman has a “Triple Crown” winner with this, the first of three albums from Loft Recordings devoted to the composer's complete organ works a la mean-tone. This one contains all of his better known ones, so it's perfect for those wanting a single highlights album. However, a word of warning, after you hear it, you may well find "you can't eat just one!" Those desiring more detailed information about what’s included can find it on the new, beautifully appointed Gothic Web Site.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com)
www.CLOFO.COM

Diderich ‘Hansen’ Buxtehude (1637–1707) was born in Denmark, and was active as an organist, composer, and cultural entrepreneur in Denmark and Sweden as well as in Germany, where he became known as Dieterich Buxtehude. He grew up in Helsingør, Denmark, and served as organist in Helsingborg (now in Sweden) and Helsingør before accepting one of the most prestigious musical positions in North Germany, that of organist at St. Mary’s Church, Lübeck, in 1668. During his nearly forty years of service there he achieved fame not only as an organist but also as the composer and director of a concert series known as the Lübeck Abendmusiken. Although he left an impressive corpus of arias, sacred concertos, and cantatas for voices with instruments as well as two printed editions of sonatas for strings, it is chiefly his organ works that captured the attention of performers both in his day and in our own. His organ music appeals to modern listeners because it is full of the fantasy, variety and unpredictability that characterises seventeenth-century music, yet is rooted in the major-minor tonal system familiar to our ears. The works fall into two broad categories, those based on chorale melodies and those freely composed. He set many chorales as short preludes, with a highly ornamented melody to be played by the right hand on one manual, a two-voice accompaniment for a second manual, and a continuo-like bass for the pedal. Despite their unity of style, they show endless variety in their ornamentation. His extensive chorale fantasias, on the other hand, develop each phrase of the chorale in a contrasting style. His free pedaliter praeludia are the works for which e is best known, demonstrating his virtuosity as both a composer and a performer. The large organ that Buxtehude played in St Mary’s in Lübeck had fifty-four stops on three manuals and pedal. Recent research suggests that it may have been in mean tone, a tuning in which the tonal excursions that Buxtehude included in some of his praeludia would have been difficult to play. Hans Davidsson’s bold undertaking of the recording of Buxtehude’s entire organ repertoire in mean tone gives us startling new insights into how this ‘heavenly harmony’ might have sounded in the seventeenth century. This beautifully produced double-CD is the first in a projected three-volume series from Loft Recordings and is essential listening for anyone interested in early organ music.

-- John Pitt, New Classics (UK)
New-Classics

Hans Davidsson has recently released a recording called ”Dieterich Buxtehude and the Mean-Tone Organ”. It is a double CD and the first of three sets that will cover the complete organ works of Dietrich Buxtehude. It is not merely another recording of the complete organ works of Buxtehude, but a recording with a vision and a pedagogical design.

The idea is to record Buxtehude on a large organ in mean-tone, something that has never been done before. The reason it hasn’t been done before is that that there has been a belief that the music of Buxtehude has been intended for well-tempered organs – but convenience has probably also played a part. Newer research has shown that the organ works of Buxtehude were written in a context where mean-tone temperament was an important ingredient. A counter-argument based around the existence of pieces in remote keys- such as the preludes in f#-minor and A major – is not sustainable since the keyboard compositions of Buxtehude’s time didn’t have the same function as they began to have around hundred years later in music history. Composing and improvising were still two parts of the same practice, so a composition lived a life that probably consisted of a large number of improvised versions and one or several written down versions (perhaps even in different keys). The written notation of a piece was a tool to develop and spread (to colleagues and students) that organ playing that was mostly improvised.

“Pedagogical design” is a somewhat clumsy way to say that Hans Davidsson’s recording is so much more than a recording. The buyer gets a richly illustrated booklet, and if he or she is not content with the exciting essays there are even more detailed program notes and registration indications of the record label’s website. The program notes are excellent examples of texts that contain a good balance of facts, speculations and explanations of musical choices.

I suspect a larger ambition behind this very complete production. The aurally and visually magnificent organs, the important role of the organist in both church service s and local musical life and a music making where composition, improvisation and interpretation were different sides of the same practice: all these aspects of the North German Baroque organ art can be made into a story about the golden age of organ art. And that is what Hans Davidsson achieves with rhetorical power in both playing and texts. The story of the golden age makes us question our present but also- paradoxically – enables us to shape our future. Presumably that is the intention, and I think that is excellent.

This is a double CD that can be recommended in every respect to be bought, listened to, studied and challenged by:

Buy this record if you are interested in sound recording and are curious about what Erik Sikkema’s USLI-technique means. It is enough to listen to it with just open ears to realize that organs seldom sounds this good on records, you can hear both the room and the details.

Listen to this music if you, in an increasingly more noisy, more tone deaf and more insensitive world are in need of good examples and inspiring role models to be able to continue your work as a church musician, organist or pedagogue! Here is a story from the golden age of organ art, from the 17^th century North Germany where the bourgeois proudly invested in magnificent organs and where the organist was a kind of musical preacher.

Study this production even if you have heard all earlier and current recordings of Buxtehude’s organ works, and even if you have played them all! There are new details to discover, new relationships to understand and new interpretations to experience. Hans Davidsson has begun a rereading of the musical heritage of Buxtehude; a rereading that surprises, challenges and pleases. It is for example an excellent idea to use the history of David and Goliath as an interpretive pattern for the battered Prelude Fugue and Ciacona in C-major. To play Buxtehude in mean-tone is a risky decision, but here it is so well argued and convincingly done that all you can say is: of course, this is the way it must be. It must be impossible not to be seduced by the lovely principals and flutes of the Örgryte organ.

Be challenged by this record if you think that music can’t be talked about. It is reasonable that you sometime not speak instead of playing or listening. But there is a rich tradition, at least within what is nowadays called western art music, to talk about music, and to let that speaking and knowledge enrich the interpretation and the listening. Hans Davidsson shows with his interpretation of the Preludium in D-major (BuxWV 139), that there is instrumental music that is so close to speech that even if it doesn’t speak, it can be understood clearly.

Hans Davidsson’s ”Buxtehude and the Mean-Tone Organ” is a brilliant combination of musicality, fantasy, learning and pedagogy. Buy it! Since both the musicianship and program notes are so rich in information the record should be enjoyed in small doses, but that is a good thing: it lasts longer!

Hans Hellsten, Swedish Church Music Journal
Professor of organ at the School of Music in Malmö, Sweden
Translation Fredrik Tobin

Köp den här skivan, ni som är intresserade av ljudteknik och är nyfikna på vad Erik Sikkemas så kallade ULSI-teknik innebär! Det räcker dock med ett par öppna öron för att upptäcka att så här bra låter orglar sällan på skiva, här hörs både rum och detalj.

—Hans Hellsten, Sweden

I bought your registration Dieterich Buxtehude and the Mean-Tone Organ employing the ULSI technique. It’s really fantastic the high level of quality you are able to extrapolate from the true sound of the organ.

—Gianni Movia, Italy

I just heard the Buxtehude. It’s incredible! Wow! The music, performer, organ, room and recording are perfectly matched with the highest quality. The sound of the organ came to the point of the true reproduction of the reality.

—Munetaka Yokota, organbuilder

Registration and sound – the multi-choral and concerto style

The concept of the North German city organs depended on at least three manuals, reflecting the ideal of multi-choral performance and allowing the organists to excel with echoes and other ornate and colorful effects. Toward the end of the seventeenth century, the new concerto-style with its dialogue between soloists and tutti, interspersed with solo improvisations, articulated a new aspect of this aesthetic. Buxtehude had at his disposal at St. Mary’s in Lübeck two three-manual organs dating from the sixteenth century, gradually expanded in the mid–seventeenth century and renovated by Friedrich Stellwagen: the main organ in 1637-41, and the so-called “Totentanz” organ in 1653-55. Although the organs that Buxtehude used in the St. Mary’s churches in Helsingborg and Helsingør had two manuals and pedal and belonged to a Danish-Swedish tradition, we must assume that the large city organs in Lübeck, Copenhagen, and Hamburg soon became the key references for Buxtehude’s organ music. The frame for the registration and sound of this recording project is the encounter between Buxtehude’s organ music and the four-manual organ concept of a city organ.

The tonal concept of the North German Baroque Organ in Göteborg is based on Hamburg, St. Jacobi (1688-91), in which Schnitger included several layers of stops from earlier traditions. Thus, like Buxtehude’s organs at St. Mary’s in Lübeck, the organ in Göteborg represents an evolution of the North German baroque organ aesthetic, a multiple-style concept, and thanks to its mean-tone temperament, choir pitch, and subsemitones, it is the self-evident choice for the purpose of this recording.

Whereas the original registration information for the organ music of Matthias Weckman is quite substantial, there is no detailed information about registration for Buxtehude’s music. The general performance information with regard to the four-manual and pedal organ is also rather limited. Thus, it is necessary to engage in an experimental process where the encounter between the music and an instrument inevitably generates new perspectives. In the seventeenth century, there was no need and perhaps no desire to document and communicate the Arcanum of any active guild. The knowledge was selectively transferred from Master to apprentice and journeyman, and this was the model applied for the organists as well. Thus, it is hardly a surprise that the registration art of the city organists is only described in fragments to us. Although not documented as a prerequisite for the performance in the sources, it is reasonable to assume that the use of more than two manuals was selectively explored in all music making. The following arguments speak in favor of this assumption: The main tradition of sacred music in the seventeenth century is that of multi-choral music, ultimately with four ensembles, reflected in the four-manual organ concept · At least three and often four of the divisions of these organs contain similar sounds suitable for echoes and dialogues (flutes, principals, and short-length resonator reeds respectively) A registration indication suggesting “Auf 3 Clavier” for a chorale fantasia in the Clausholm Fragments indicates that the standard was three rather than two manuals in the performance of chorale fantasias An example by Mattheson describing a registration for four divisions (including pedal) for the performance of a choral work for “two manuals and pedal” supports the same thesis The rather frequent appearance of textures with three to four identical or similar patterns in Buxtehude’s works—for example, in terms of echoes or sequences—could be rendered with manual changes Mattheson describes the Pleno (“das Volle Werck”) with a registration for all five divisions of the organ “where such are available” (the intention was not to describe a Pleno with all manuals coupled together because this was impossible and not desirable to facilitate on these instruments) Mattheson continues by describing that these Plenos are successive in terms of loudness, and also stated with regard to large organs with more than two manuals “that particularly the change of manuals should be considered, however also the selection of stops, for the multiple changes of sound that let themselves be done.”

The distribution of solo and accompaniment over at least two manuals was the standard in the main part of the organ music, always in chorale works and motet intabulations and sometimes in other contexts as well, for example in continuo playing where the bass could be played on a separate manual and sometimes in the free works. The indications used in the manuscripts for the “Auf 2 Clavier” performance, for example the R and O, should be understood as generic rather than specific. Thus, they should be interpreted as indications of what should be played as solo and accompaniment but hardly as designations for distribution of the parts to specific divisions of the organ. In the chorale fantasias, solos that can be engaged in dialogue or echoes should, depending on the texture, be played on two or three manuals with similar sounds, one manual division should be chosen for the accompaniment, and the pedal should usually serve as the bass, sometimes as a solo and occasionally it should have the function of both. When the solo turns from treble to bass, the choice of contrasting sounds of a kind that enhance the register, for example a reed registration in the bass, should be chosen. In general in the chorale works, and particularly in the organ chorales, the Affekt of the chorale text should be reflected in the choice of the registration. Although, the original solo registrations from the music of Weckman and his circle in Hamburg have been applied where the texture and context invite it, the broad range of possible solo registrations of the four-manual Schnitger concept have been used in relation to the texture and Affekt of the music.

The starting point for the performance of the preludes and toccatas is a pleno registration with the selective use of all divisions, where changes of manuals could be applied selectively for: echo and/or dialogue dynamic or tonal contrast, for example between different sections creation of dynamic development within a section a homophonic texture when one part, usually the treble, turns into a diminution solo line (compare this with intabulation practice where one part of a polyphonic setting was singled out with diminution and solo techniques) polyphonic textures where it is desirable (and possible) to perform the various parts on different sounds. Arp Schnitger designed the organs so that maximum freedom in terms of variety of pleno registrations could be achieved. This included: mixtures with almost continuous progression in the highest register suited to polyphonic textures mixtures with repetitions suited to homophonic textures. All these mixtures could be used either with a 16-foot or 8-foot bass. The pleno could be rendered without the mixtures and with the “Rauschpfeiffen”, or the Sesquialteras (which had the function of progressive third mixtures) or only with the principal choir of 8, 4, 3, and 2-foot stops; 8, 4, and 2-foot stops; or sometimes only 8, and 4-foot stops.

In general, the flue stops dominated in the manuals and the reeds in the pedal. Large mixtures with repetitions should be avoided in polyphonic textures, however the full pleno can occasionally be used without loss of clarity in rather simple and what was described as “merry” fugues. However, pleno is not the only option. In fact, none of the free works has any registration indication or annotation with “Volles Werk.” The general notion–stated by Werckmeister in his Orgelprobe—that the choice of registration and musical figuration and texture are closely intertwined, should always be considered rather than any normative concept. The polarity between the solo Principal and the full pleno is a generic feature of the secconda prattica, the new Italian-German style of the seventeenth century, and can be seen reflected in the standard tiratutti stop knob in the Italian organ concept. In fact some of the free works that are dominated by this style lend themselves very well to a performance primarily, or mainly, on the principal sounds.

There are many similarities between Buxtehude’s vocal and instrumental music, and the organ music. The multi-sectional form with contrasting sections is often very similar, and in particular the continuous pairing of strict, mostly polyphonic, and free, harmonically generated sections, sometimes elaborated with passaggio and string-idiomatic diminutions, is characteristic of his style. The concerto- and chamber- music style that appears in Buxtehude’s organ music can best be rendered with one, two, or a few principal stops, or the multiple categories of softer and more carefully selected stops (reeds, flutes and principals), that Harald Vogel has defined as consort-registrations: selected groups of stops reminiscent of instrumental ensembles.

The new edition of Buxtehude’s music by Michael Belotti, mostly in two-staff notation, confirming visually that the pedal part is not as clearly defined in the sources as we once thought. The general practice of the seventeenth century was to use the pedal selectively. Georg Muffat’s unusually detailed notation of the use of the pedal, showing exactly when the bass line should be played in the pedal with or without coupler, document the application of this flexible practice. Although the pedal has a new and more independent role in Buxtehude’s music, the notation is not as specific and consistent in terms of when the bass part should be played in the pedal; the polyphonic sections are, for example, often appropriate for manualiter. The different versions of the works preserved in multiple sources sometimes show different approaches, and can serve as inspiration for the final decision of each interpretation.

CD1

[1] Praeludium in C (BuxWV 137)

Ms 1–11 Hw/Bw: P16 O8 O4 SO2 Rp Mixt / P8 O4 Sexq Sch

Rp: D16 P8 O4 O2 Sexq Sch Ow: P8 O4 O2 Sch
Ped: Pos16 T8 T4 C2 Rpf Mix

Ms 12–19 Rp: Bp8 O4 O2 (rh) Ow: T8 O4

Ms 19–22 Hw: P16 O8 O4 SO2 Rp Mixt

Ms 22–30 Ow: VH8 Hf8 Rf8 Trem Rp: P8 Ped: P16 O8

Ms 30–36 Hw/Bw: P16 O8 O4 SO2 Rp Mixt / P8 O4 Sexq Sch
Ped: Pos16 T8 T4 C2 Rpf Mix

Ms 36–43 Rp: P8 O4 O2 Sexq Sch Ped: P16 T8 O4 Rp

Ms 43–49 Bw: P8 O4 Sexq Sch Ow: T8 O4 O2 (lh) Ped: P16 T8 O4 Rp

Ms 49–58 Ow: P8 O4 O2 Sch Ped: P16 T8 O4 Rp

Ms 58–67 Rp: P8 O4 O2 Sexq Sch Ped: P16 T8 O4 Rp

Ms 68–74 Hw: O8 O4 Ped: P16 O8 O4

Ms 75–99 Hw: P16 O8 O4 SO2 Rp Mixt
Ped: Pos16 T8 T4 Rpf Mix

Ms 99–103 Hw/Bw: P16 O8 O4 SO2 Rp Mixt / P8 O4 Sexq Sch

Ped: Pos16 T8 T4 Rpf Mix

[2] Canzona in G (BuxWV 171)

Ms 1–20 Rp: Bf4

Ms 21–36 Rp: Bp8 Bf4

[3] Praeludium in e (BuxWV 152)

Ms 1–18 Rp: P8 (rh) Trem Ow: P8 Ped: S16 O8

Ms 18–41 Ow: P8 Ped: S16 O8

Ms 42–44 Bw: P8 Trem Ped: S16

Ms 44–71 Rp: P8 Ped: S16 O8

Ms 71–76 Rp: P8 (rh) Trem Ow: P8 Ped: S16 O8

[4] Canzonetta in C (BuxWV 167)

Rp: D16 Bp8 O4 Ped: D16 T8

[5] Nun komm, der Heiden Heiland (BuxWV 211)

Rp: G8 Q8 Trem Ow: Hf8 Ped: S16 O8

[6] Gelobet seist du, Jesu Christ (BuxWV 189)

Rp: G8 Qp2(rh) Ow: Hf8 Sf4 Ped: S16 O8

[7] Gelobet seist du, Jesu Christ (BuxWV 188)

Ms 1–31 Rp: G8 O4 (solo) Sexq Hw: O8 Ow: Hf8 Sf4 N3 G2 (echo)

Ped: O8 or T8

Ms 32–37 Ow: +T8 (bass)

Ms 38–52 Bw: P8 O4 Sexq (solo) Hw: O8 Ow: Hf8 Sf4 N3 G2 (echo)

Ped: O8 or T8

Ms 53–62 Rp: G8 O4 Sexq Hw: O8 Ow: Hf8 Sf4 N3 G2 (echo) Bw: P8 O4 Sexq (Rp/Bw/Ow alternating)

Ped: O8 +/–T8

Ms 63–67 Rp: +O2 Ped: +S16

Ms 68–76 Rp: G8 Tremulant (rh) Bw: P8 Ped: O8

Ms 77–81 Ow: Vh8 Hf8 Tremulant (rh) Hw: Sp8 Ped: O8

Ms 82–85 Ped: –O8 +D16 (octave higher)

Ms 86–90 Rp: G8 Qp2 Tremulant (rh) Bw P8 Hf4 Ped: O8

Ms 91–98 Ow: T8 Hf8 Sf4 Hw: O8 Ped: O8 T8

Ms 99–138 Rp: G8 O4 O2 Hw: Sf8 O4 SO2 Ow: Rf8 O4 O2

Bw: P8 O4 Wf2 (Rp/Hw/Ow/Bw alternating) Ped: O8 O4 +/–T8

Ms 139–155 Rp G8 O4 O2 Sexq (rh) Hw: O8 O4

Bw: P8 O4 Wf2 Sexq (lh ms 147–155) Ped: P16 O8 T8 +Cimbelstern

[8] Nun bitten wir den Heiligen Geist (BuxWV 209)

Ow: Vh8 Hf8 Sf4 Trem Rp: Q8 Ped: O8

[9] Praeludium in g (BuxWV 149)

Ms 1–20 Rp: G8 O4 O2 Sexq Hw: O8 O4 Rp Ped: P16 O8 O4 Rp

Ms 21–49 Ow: T8 Z8 Ped: T8

Ms 49–54 Bw: P8 Ped: S16

Ms 55–72 Rp: D16 P8 O4 O2 Sexq Ped: Pos16 T8 T4 Rpf

Ms 73–78 +Hw: T16 O8 O4 Rp (rh)

Ms 78–119 Bw: P8 O4 Sexq Ow: T8 O4 Ped: O8 O4

Ms 119–123 Ped: –O4 +P16

Ms 124–144 Ped: –P16 +O4

Ms 136–144 Ped: –O8 +T8

Ms 145–151 +Rp: G8 O4 Sexq (rh)

Ms 151–154 Rp: G8 O4 Sexq (lh) Bw: P8 O4 Sexq

Ms 155 Rp: G8 O4 Sexq (rh) Hw: O8 O4 Rp Ped: O8 O4

Ms 156–159 Rp: –G8 +P8 Ped: +P16

[10] Nun bitten wir den Heiligen Geist (BuxWV 208)

Rp: Bp8 G8 Q8 Trem Hw: O8 Ped: D16

Auf meinen lieben Gott (BuxWV 179)

[11] Allemande Rp: G8 trem

[12] Double Rp: G8 Bf4

[13] Sarabande Bw: P8

[14] Courant Rp: O4

[15] Gigue Rp: G8 O4

[16] Praeludium in g (BuxWV 163)

Ms 1–9 Rp: P8 O4 Ped: S16 O8

Ms 10–21 Rp: Bf4

Ms 22–32 Ow: Sf4

Ms 33–43 Ow: P8 O4 // Rp: G8 O4 Ped: S16 O8

Ms 44–52 Rp: G8 O4

Ms 52–62 Ow: Rf8 O4

Ms 62–82 Rp: G8 O4

Ms 83–86 Rp: P8 O4 Ped: S16 O8

Ms 87 Ow: Sf4

Ms 88–97 Bw: P8

Ms 98 Ow: Sf4

Ms 99–104 Bw: P8 O4

Ms 105–110 Rp: G8 O4 Ped: S16 O8

Ms 110–112 Hw: O8 O4 Ped: S16 O8

Ms 113–151 Rp: P8 O4 O2

Ms 152 Ow: P8 O4

Ms 153 Rp: P8 O4 O2 Ped: S16 O8

[17] Wie schön leuchtet uns der Morgenstern (BuxWV 223)

Ms 1–29 Ow: Sf4 Trem Rp: B4 Trem (lh)

Ms 30–57 Ow: Hf8 Trem Bw: P8 (lh)

Ms 58–74 Ow: Hfl8 Sf4 N3

Ms 74–76 Bw: P8

Ms 77–96 Bw: P8 Hf4

Ms 96–117 Ow: Hf8 Sf4

Ms 117–131 Rp: G8 Bf4

Ms 131–135 Bw: P8

Ms 135–140 Bw: P8 O4

Ms 141–146 Ow: Rf8 O4

Ms 146–150 Rp: G8 O4

Ms 150–156 Ow: Rf8 O4

Ms 156–162 Rp: G8 O4

Ms 162–167 Ow: Rf8 O4

Ms 167–168 Bw: P8 O4

Ms 169–176 Bw: O4 Ow: Sf4 (echo)

Ms 177–181 Bw: P8 O4 Wf2

Ms 181–188 Ow: Rf8 O4 O2

Ms 188–190 Ow: Rf8 O4 O2 Rp: G8 O4 O2 (lh)

Ms 190–196 Rp: G8 O4 O2 P16 O8 O4

[18] Praeludium in D (BuxWV 139)

Ms 1–6 Rp: P8 O4 O2 Sexq Sch Bw: P8 O4 Sexq Sch

Ms 7–20 Hw/Bw: P16 O8 O4 SO2 Mixt / P8 O4 Sexq Sch
Ped: Pos16 T8 T4 Rpf Mix

Ms 21–30 Rp: P8 O4 O2 Ped: T8 O4

Ms 31–40 Ow: P8 O4 O2 Ped: T8 O4

Ms 41–54 Rp: P8 O4 O2 Ped: T8 O4

Ms 55–59 W: O8 O4 SO2 Mix Ped: Pos16 T8 O4

Ms 60–61 Bw: P8 O4 Sexq

Ms 62–69 Rp: P8 Trem Ped: S16 O8

Ms 70–86 Rp: P8 O4 O2 Sexq Hw: O8 O4 Rpf Bw: P8 O4 Sexq Ow: Hf8 Sf4 N3 G2 (alternating between the divisions) Ped: D16 T8 O4

Ms 87–88 Rp: P8 Trem Ped: S16 O8

Ms 89–90 Bw: P8 Ped: S16 O8

Ms 91–92 Ow: P8 Ped: S16 O8

Ms 93–94 Rp: P8 Trem Ped: S16 O8

Ms 95–110 Hw/Bw: P16 O8 O4 SO2 Rpf Mixt / P8 O4 Sexq Sch
Ped: Pos16 T8 T4 Rpf Mix

CD2

[1] Praeludium in d (BuxWV 140)

Ms 1–19 Hw/Ow: P16 O8 O4 SO2 Rp Mixt / P8 O4 Sch
Ped: Pos16 T8 T4 Rpf Mix

Ms 19–44 Rp: G8 Bp8 O4 Qp2 Q11/2 Hw: O8 O4 Rp Ow: T8 O4

Ped: T8 O4

Ms 45–54 Rp: P8 Trem Ped: S16 O8

Ms 55–64 Hw: O8 O4 O2 Ped: D16 S16 O8 O4

Ms 64–91 OW: T8 O4 Sch Ped: D16 T8 O4 Rp

Ms 91–102 Hw: P16 O8 O4 Rp Mix Ped: Pos16 T8 O4 Rp

Ms 102–118 Hw/Ow: P16 O8 O4 SO2 Rp Mixt / P8 O4 Sch
Ped: Pos16 T8 T4 C2 Rpf Mix

Ms 118–120 Ped: +Pos 32

[2] Ich ruf zu dir, Herr Jesu Christ (BuxWV 196)

Ms 1–10 Ow: T8 VH8 Sf4 Trem Rp: Bp8 Bf4 Trem Ped: S16 O8

Ms 11–20 Ow: T8 VH8 Sf4 Trem Hw: O8 Ped: S16 O8

Ms 21–26 Rp: Bp8 Bf4 (rh) Bp: D8 Hf4 Ped: S16 O8

Ms 26–31 Hw: O8 O4 Rp: Bp8 Bf4 (lh)

Ms 31–33 Ow: T8 VH8 Sf4 (rh) Hw: O8 Ped: S16 O8

Ms 33–39 W: +O4

Ms 39–43 Ped: +T8

Ms 43–47 Ow: T8 VH8 Sf4 (rh) Hw: O8 Ped: S16 O8

Ms 47–58 Ow: T8 VH8 Sf4 (rh) Bw: D8 Hf4 Ped: S16 O8

[3] Praeludium in G (BuxWV 147)

Ms 1–5 Hw: P16 O8 O4 SO2 Mixt
Ped: Pos16 T8 T4 C2 Rpf Mix

Ms 6–24 Hw: P16 O8 O4 SO2 Mixt

Rp: D16 P8 O4 O2 Sexq Sch
Ped: D16 T8 T4 Rpf

Ms 25–37 Ow: P8 O4 O2 Sch

Ped: D16 T8 O4 Rpf

Ms 37–48 Bw: D8 O4 Sexq Sch (first rh, then all parts)

Ms 48–58 Hw: O8 O4 SO2 Mixt

Ped: D16 T8 O4 Rpf

Ms 58–61 Hw: +P16

Ped: Pos16 T8 T4 Rpf Mix

Ms 61–65 Hw+Ow

Ms 66–70 Rp: D16 P8 O4 O2 Sexq Sch (rh)

Hw and Ped: like in M 58

[4] Vater unser im Himmelreich (BuxWV 219)

Rp: P8 Trem Ow: P8 Ped: S16 O8

[5] Praeludium in F (BuxWV 157)

Ms 1–12 Hw: O8 O4 SO2 Mixt Bw: P8 O4 Sch

Rp: P8 O4 O2 Sch Ow: P8 O4 Sch

(Rp/Bw/Hw/Ow alternating rh)
Ped: Pos16 T8 O4 Rpf

Ms 13–14 Ow: Hf8 G2

Ms 15–16 Rp: P8 Ped: S16 O8

Ms 17 Ow: Hf8 G2

Ms 18–19 Rp: P8 Ped: S16 O8

Ms 20–37 Hw: O8 O4 Ped: P16 O8 O4

Ms 38–69 Rp: Bp8 Bf4 Ped: O8 O4

Ms 69–81 Hw: O8 O4 SO2 Mixt Ped: Pos16 T8 O4 Rpf

Ow: P8 O4 Sch (dialogue)

Ms 81–91 Hw/Ow: P16 O8 O4 Rp Mixt / P8 O4 Sch

Ped: Pos 32 Pos16 T8 O4 Rpf

Nimm von uns, Herr, du treuer Gott (BuxWV 207)

[6] Vers 1 (Vater unser im Himmelreich)

Bw: O4

[7] Vers 2

Rp: G8 O4 Sesq Ow: T8 O4

[8] Vers 3 (Vater unser im Himmelreich)

Ow: Hf8 N3 Trem Rp: G8 Ped: O8

[9] Vers 4

Ow: VH8 Sf4 Trem Rp: Q8 Bf4

[10] Praeludium in a (BuxWV 153)

Ms 1–21 Hw: O8 O4 O2 Ped: P16 O8 O4

Ms 21–42 Rp: G8 O4 Ped: O8 O4

Ms 42–64 Ow: Rf8 O4 Ped: O8 O4

Ms 64–67 Rp: G8 O4 O2 Ped: S16 O8 O4 Rp

Ms 67–94 Hw: O8 O4 Rp Ped: P16 T8 O4

Ms 94–95 Ped: +Rp

Ms 96–102 Hw/Ow: O8 O4 Rp / T8 O4 Ped: P16 T8 O4 Rp

Ms 102–104 Ow: T8 O4 Ped: P16 O8 O4

Ms 105–110 Hw: P16 O8 O4 Rp Mixt Ped: Pos16 T8 T4 Rpf Mixt

Ms 111 Bw: P8 O4 Sch Ow: T8 O4 Sch (echo)

Ms 111–123 Hw/Bw: P16 O8 O4 SO2 Rp Mixt / P8 O4 Sch
Ped: Pos16 T8 T4 Rpf Mix

Te Deum laudamus (BuxWV 218)

[11] [Exordium]

Ms 1–10 Hw: O8 O4 Rpf Ped: P16 O8 O4

Ms 11–15 Rp: P8 Trem Ped: P16 O8

Ms 16–39 Ow: T8 O4 O2 Ped: D16 T8 O4

Ms 40–43 Hw: O8 O4 Rpf Ped: D16 T8 O4

[12] Primus versus, Te Deum laudamus

Ms 44–72 Hw: P16 O8 O4 Rpf Mix Ped: Pos16 T8 T4 C2 Rpf Mix

Ms 73–81 +Bw/Hw Bw: P8 O4 Sexq Sch

Ms 82–90 Hw: +T16

Ms 91–94 Ped: +Pos 32

[13] Secundus Versus – Auf 2 Clavier, Pleni sunt coeli et terra

Ms 95–112 Rp: Bp8 Bf4 Qf2

Ms 113–118 Bw: Tr8 Hf 4 (Echo)

Ms 119–137 Ow: T8 Z8 Sf4 N3 Hw: O8 Ped: P16 O8

Ms 138–167 Ow: T8 Z8 Sf4 N3 (rh) Rp: Bp8 Bf4 Ped: T8 O4

Ms 168–185 Rp: Bp8 Bf4 Bw: Tr8 (Echo)

Ms 186–190 Ow: T8 Z8 Sf4 N3 Hw: O8 Ped: P16 O8

Ms 191–192 Rp: Bp8 Bf4 Bw: Tr8 (Echo)

Ms 193–202 Ow: T8 Z8 Sf4 N3 Rp: Bp8 Bf4 Ped: P16 O8

[14] Te Martyrum, a 2 Clav. e Ped:

Ms 203–224 Ped: T8 Ow: P8 O4 (rh) Rp: D16 P8

[15] Tu devicto, cum 3 subjectis

Ms 225–234 Ow/Hw: T8 O4/T16 O8 O4 Ped: Pos 16 T8 O4

Ms 235–254 Rp: G8 Q8 Bp8 Bf4 Trem Ow: T8 Vh8 Hf8 Sf4 (rh) Trem Ped: O8 O4

Ms 255–268 Hw/Bw: P16 O8 O4 Rpf Mixt / P8 O4 Sexq Sch

Ped: Pos32 Pos16 T8 T4 Rpf

[16] Passacaglia in d (BuxWV 161)

Ms 1–32 Rp: P8 Ped: S16 O8

Ms 32–61 Rp: G8 Bf4 (rh) Ow: Hf8 Sf4 Ped: S16 O8

Ms 61–63 Bw: P8 O4

Ms 63–92 Hw/Ow: P16 O8 O4 Mix / T8 O4 Sch Ped: Pos16 T8 T4 C2

Ms 92–94 Bw: P8 O4 (rh) Ow: P8

Ms 95–123 Rp: G8 Bf4 (rh) Ow: P8 Ped: S16 O8

[17] Toccata in d (BuxWV 155)

Ms 1– 4 Hw: P16 O8 O4 SO2 Rp Mixt

Rp: P8 O4 O2 Sexq Sch (Octave lower)

Ped: Pos16 T8 T4 C2 Rpf Mix

Ms 5 Hw+Bw: +P8 O4 Sch

Ms 6–12 Hw/Bw: P16 O8 O4 SO2 Rp Mixt / P8 O4 Sch

Rp: P8 O4 O2 Sch (Octave lower lh)
Ped: Pos16 O8 O4 Rpf

Ms 12–18 Rp: P8 O4 O2 Sexq Sch (rh)

Ow: P8 O4 Sch
Ped: Pos16 T8 O4 Rpf

Ms 18 + Hw: O8 O4 SO2 Rp Mixt

Ms 19–45 Hw: P16 O8 O4 SO2 Rp Mixt

Ped: Pos16 T8 O4 Rpf Mix

Ms 46–52 Rp: P8 O4 O2 Sexq Sch Ow: T8 O4 Sch

Bw: P8 O4 Sch (echo)

Ms 53–61 Rp: P8 Trem Ped: S16 O8

Ms 62–107 Rp: P8 O4 O2 Ped: T8 O4

Bw: P8 O4 Wf2 (Ms 95–96)

Ms 108–121 Hw: P16 O8 O4 SO2 Rp Mixt

Ped: Pos16 T8 O4 Rpf Mix

Ms 122–140 Hw/Bw: P16 O8 O4 SO2 Rp Mixt / P8 O4 Sch
Ped: Pos 32 Pos16 T8 O4 Rp

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