Easy Organ Pieces from the 19th Century Vol.3

1.

Vorwort

2.

Johann Christian Heinrich Rinck: Andante

3.

Johannes Barend Litzau: Praeludium

4.

Michael Gotthardt Fischer: Piu Allegro

5.

Michael Gotthardt Fischer: Fuga

6.

Johann Christian Heinrich Rinck: Alla breve

7.

Johannes Barend Litzau: Praeludium

8.

Johann Beranek: Fuga a 4

9.

Carl Gottlieb Umbreit: Andante

10.

Michael Gotthardt Fischer: Fuge

11.

Conrad Greve: Fuga

12.

Michael Gotthardt Fischer: Fuge

13.

Johannes Barend Litzau: Praeludium

14.

Johann Christian Heinrich Rinck: Andante

15.

Gustav Merkel: Andante

16.

Johannes Barend Litzau: Praeludium

17.

Johann Christian Heinrich Rinck: Adagio

18.

Johann Christian Heinrich Rinck: Moderato

19.

Johann Ernst Rembt: Fughette

20.

Johann Christian Heinrich Rinck: Adagio

21.

Johann Georg Herzog: Praludium

22.

Gustav Merkel: Andante

23.

Johann Christian Heinrich Rinck: Andante

24.

Carl Gottlieb Umbreit: Commodo

25.

Johann Christian Heinrich Rinck: Larghetto

26.

Carl Gottlieb Umbreit: Andante

27.

Carl Gottlieb Umbreit: Grave

28.

Gustav Merkel: Allegretto

29.

Johann Beranek: Fuga a 4

30.

Carl Gottlieb Umbreit: Allegretto

31.

Johann Georg Herzog: Praludium

32.

Johann Christian Heinrich Rinck: Fughetta

33.

Johann Christian Heinrich Rinck: Adagio

34.

Johann Beranek: Fuga a 4 uber den Namen BACH

35.

Carl Gottlieb Umbreit: Sostenuto

36.

Michael Gotthardt Fischer: Fuge

37.

Gotthilf Wilhelm Korner: Fughette C-Dur fur vier Hande

38.

Quellen und Anmerkungen

Volume 3 in our series of easy nineteenth-century organ music provides semi-professional organists with another collection of short one or two manual organ pieces. The editor Martin Weyer , an organist regarded as an authority on nineteenth-century organ music, has limited his selection to works that combine solid craftsmanship with ease of performance.

In essence, volume 3 follows the editorial principles of its two predecessors while increasing the number of truly easy pieces. Among the composers represented is the Dutchman Johannes Barend Litzau (1822–1893), whose Preludes op. 13 and 17 are simple yet elegant works for beginners. The Czech composer Johann Beranek (1813–1885), on the other hand, was more concerned with counterpoint; his Ten Fugues appear here for the first time with detailed analyses to underscore the volume’s “learned” slant. Carl Gottlieb Umbreit (1763–1829) and his colleague Michael Gotthard Fischer (1773–1829) stand at the borderline between a galant organ style derived from Kittel and the early romantic age. Another composer who took part in this subtle stylistic evolution was Johann Christian Heinrich Rinck .

The brevity of the compositions makes them perfectly suitable for use as preludes and postludes in church services of all denominations. The volume contains detailed comments on performance practice and a list of sources.

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편곡자 Weyer.M

작곡가 Various

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