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Bourdon 16' Principal 8' Principal 16'
Principal 8' Gedackt 8' Subbaß 16'
Rohrflöte 8' Violdigamba 8' Octave 8'
Quintadena 8' Voix celeste 8' Bourdon 8'
Octave 4' Octave 4' Octave 4'
Spitzflöte 4' Koppelflöte 4' Nachthorn 2'
Quint 2 2/3' Nasat 2 2/3' Mixtur VI-VIII
Octav 2' Octav 2' Pousane 16'
Tierce 1 3/5' Gemshorn 2' Trompet 8'
Mixture IV-VI Terz 1 3/5' Trompet 4'
Scharff VI Mixtur V-VII Cornet 2'
Trompet 8' Dulcian 16'
Baarpfeife 8' Trompet 8'
Trompet 4' Hautbois 8'
Couplers: Swell to Great
Great to Pedal
Swell to Pedal
Other: Burnished tin front pipes
Solid wood casework with carved pipe shades
Suspended key action
Mechanical stop action
Variable tremulant
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Bach - Sinfonia - Organ Concertos - Joan Lippincott Bach - Clavierubung III - Schubler Chorales - Joan Lippincott
Bach concertos for organ and orchestra?  Joan Lippincott makes a compelling and logical case for constructing organ concertos from the "organ sinfonias" of Bach's cantatas.  Booklet includes essay on these organ solo+orchestra pieces by noted Bach scholar, George Stauffer. Joan Lippincott continues her Bach series with two of the most substantial collections published during Bach's lifetime. The Clavierübung III follows Book I (Italian Concerto) and Book II (Goldberg Variations) and precedes Book IV (Art of Fugue), and altogether represents Bach’s highest achievements in the art of writing for the keyboard. Clavierubung III, sometimes called “The Organ Mass” begins with settings of the Kyrie and Gloria, but is structured after the German Lutheran catechism. Included in this recording are both the large chorales, the alternative chorales for manuals only and the four duetti. Bach’s collection of cantata movement transcriptions for organ published by Schübler in 1742 includes the famous “Wachet Auf!”, and rounds out this two-CD collection. Program notes by noted Bach scholar, George Stauffer.