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| Unusually heady ornamentation on a sparkling plenum, even for Grigny, with the cantus sounded on the Trompette in the pedal in slow notes. |
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Credits: Brett Milan for Grace Casavant samples; Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| The first of 4 verses, the chorale appears in the pedal on 8+4 reeds. The other 4 voices are played on the Grea torgan. |
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Credits: Brett Milan for Grace Casavant samples; Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| Lightly ornamented chorale tune played on a cornet combination and flutes, with a barely perceptible tremulant. |
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Credits: Brett Milan for Grace Casavant samples; Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| The fourth part of the Gloria from Organ Mass IV, this exquisitely expressive solo in the tenor voice is a jewel of the French Barioque by a composer who lived only 31 years. |
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Credits: Brett Miles for Grace Lutheran Casavant samples; Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| This version from the recently discovered Neumeister Chorales starts with a dirge-like setting of the chorale and is then followed by the familiar but intriguing double canon at the octave, with that haunting simplicity Bach can impart to four related lines of music. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ; Brett Miles for Buzard Opus 3 samples |
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| Heavily ornamented manual parts with chorale sounded at 8 and 4 reeds in the pedal. |
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Credits: Brett Miles for Grace Lutheran Casavant samples |
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| Lyrical as this piece is, it is marked for full organ. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| This is a very straightforward, slightly decorated homophonic version of the chorale, followed by the chorale itself in even simpler form. |
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Credits: Brett Milan for Buzard Opus 3 samples |
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| In this early masterwork, the bold pedal cadenza at the beginning introduces the main motif of the Prelude, which is imitated polyphonically in the manuals, with some strong repeated chords adding to the excitement. The insouciant fugue subject is played with in the manuals sufficiently for the listener to wonder if it will ever be stated in the pedal. When it finally enters, it's with more of the repeated chords, sometimes staggered between left and right hands. A brilliant flourish on the manuals brings this fugue to a surpringly sudden end. |
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Credits: Brett Milan for Grace Lutheran Casavant samples; Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| Four voice contrapuntal treatment of the chorale assiciated with the Lutheran creed, the soprano states the chorale in augmentation (half speed). |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ; Brett Milan for Grace Lutheran Casavant samples |
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| Highly ornamented setting of the German chorale associated with the Lord's prayer, which is quite recognizable throughout. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ; Brett Milan for Grace Lutheran Casavant samples |
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| The text is probably based on Psalm 130, and the tune is often sung during Lent as "Forty days and forty nights." A full harmonization of the chorale precedes an arpegiated and syncopated accompaniment to the relative unadorned chorale sounded on the Great. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ; Brett Milan for Grace Lutheran Casavant samples |
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| Straightforward canon between soprano and pedal. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ; Brett Milan for Grace Lutheran Casavant samples |
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| From the opening chorus of Cantata 2, this Lenten text seems to reflect the human predicament well for the new century. |
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Credits: Brett Milan for Casavant Samples; Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| In two movements. Adahio and Allegro, after a church sonata by Johann Friedrich Fasch (1658-1758). |
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Credits: Brett Milan, Samples; Martin Dyde, Hauptwerk Virtual Pipe Organ |
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| Some of the most tortured harmonies ever to surround C Major. It is in three sections, Introitus, Centrum, and Exitus, tempo Andante, and ending with a pedal point. |
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Credits: Brett Milan, Samples; Martin Dyde, Hauptwerk Virtual Pipe Organ |
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| Transcription by Bach of a trio for two melody instruments and continuo by Telemann. |
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Credits: Brett Milan, Samples; Martin Dyde, Hauptwerk Virtual Pipe Organ |
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| Based on Couperin's "L'impériale", 4th movement, from Les Nations. |
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Credits: Brett Milan, Samples; Martin Dyde, Hauptwerk Virtual Pipe Organ |
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Credits: Brett Milan, Samples; Martin Dyde, Hauptwerk Virtual Pipe Organ |
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| These two pieces constitute the beginning and ending of Bach's Die Klavierübung, Part III. The prelude utilizes three major textures: the first grand and stately; the second coy, almost childish; the third is like a rolling wave, starting small but eventually threatening to encompass everything in its path, but it finally reverts to the first texture. The fugue is based on the hymn tune known as "St. Anne," and also has three major sections, the first (Allebreve or cut time) based on the chorale, the second (with a time signature of 6/4) of a gentle rolling nature, and the third (in 12/8 time) introduces a dancelike characteristic rhythm which is punctuated with glimpses of the hymn tune, which finally emerges triumphantly in the pedal at the end |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| A youthful piece of Bach in three distinct sections: 1) Bright and perky; 2) Massive; 3) Virtuosic huge cadenzas in manuals with bass punctuation |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| A cheerful little fugue subject with occasional syncopations. There are three playful false entrances in the tenor voice about halfway tthough, each followed with a correct entrance in the bass (pedal). It ends with a pedal point and final statements of the fugue subject in alto and soprano voices. |
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Credits: Hauptwerk Virtual Pipe Organ |
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| Based on an unusual fugue subject with a prominent augmented 2nd, this fugue is almost Mendelsohnian in tone. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| The second movement of Handel's Organ Concerto in F. A transcription which utilizes the Swell & Pedal divisions as the orchestra, while the Great division provides the organ solo. |
MP3.com CD: Phantom Organist Wedding Album -  buy it!
Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| "[A]nother illustration of Bach's florid treatment of chorales containing the element of sadness. Words cannot begin to describe the depth of feeling expressed. It has been said by one who heard the statement, that M. Widor considered this the finest piece of instrumental music written. The expression, at the close, in music of the words 'Should bear our sins o'erwhelming load, the shameful cross enduring' is most striking. The climax on the upper B-flats is tremendous, and the dissonant relationships in the last line combined with the chromatic pedal is outstanding." -- Suggestions for interpretation by the editor, Albert Riemenschneide |
MP3.com CD: Phantom Organist Church Year 1 - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| Lübeck was a contemporary of Bach although 31 years his senior (1654-1740). Lesser-known these days, he was supposedly one of the most prolific composers for organ but only a handful of his compositions have survived. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| A bell-like motive in the pedal emphasizes the idea of ringing in the new year, but bursts of joy are appropriate any time. |
MP3.com CD: Phantom Organist Church Year 1 - buy it!
MP3.com CD: Everybody's Favorite Bach - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| The first movement of the German Organ Mass, which is itself part of Die Klavierübung, or keyboard practice. |
MP3.com CD: Bach Large German Organ Mass - buy it!
Credits: Martin Dyde for Hauptwark Virtual Pipe Organ |
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| The second part of the "Big" Organ Mass places the chorale in the Tenor voice, in very long notes. |
MP3.com CD: Bach Large German Organ Mass - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| Full organ with the chorale played slowly in the pedal. The highly chromatic ending is striking. |
MP3.com CD: Bach Large German Organ Mass - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| The first of the Schübler Chorales, so called because of the person who engraved them in copper, Georg Schübler. This is a transcription of the 4th movement of Cantata 140 for the 27th Sunday after Trinity (based on Matthew 25:1-13), which has the text "Zion hears the watchmen singing" (verse 2 in the lyric).
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MP3.com CD: Bach Small Organ Mass-Schübler - buy it!
MP3.com CD: Everybody's Favorite Bach - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Organ |
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| Johann Pachelbel (1653-1706), one of the major keyboard composers of
the late seventeenth century and a link between the southern and central
German schools, having studied in Vienna and finally settled in his native
Nuremberg, composed these Magnificat fugues while organist of St.
Sebald, Nuremberg's wealthiest church, where he was employed from
1695 on. For Hauptwerk sampled organ and John Mccoy's Harpsichord.
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Credits: Martin Dyde for Hauptwerk: A Virtual Organ Project |
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| From the French Baroque, this is a sweet but plaintive air. |
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Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| A light, cheerful and uncomplicated example of the rondo form from the French Baroque. |
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Credits: James Pressler, interpreter |
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| The Prelude opens with a fanfare-like pedal cadenze which is imitated in the manuals and punctuated with strong 6- and 7-note chords finally ending with some bravura recitative. The Fugue procedures regularly enough until the pedal entrance, where there are just some octave leaps instead of the subject. After soprano and alto entrances, the pedal finally sounds the fugue subject, which is tossed around a few imes playfully but never really enters on its own again. The fugue ends with the same kind of rapid recitativo figuration as the Prelude began. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| Gentle flues frolicking over a series of long notes on the pedal. Now supplemented with the last four movements. |
MP3.com CD: Phantom Organ Recital Vol. 4 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| Transcription of the 1st movement of the Cantata for the First Day of Easter, this extremely short piece sets a dramatic mood for this rest of the cantata. |
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Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| Transcription of the 1st movement of the Cantata for the Third Sunday of Easter, known as Jubilate. How, you might ask, does the text "Weeping, wailing, grieving, fearing, dread and need are the Christians' tearful bread" fit into the season? It must be a Lutheran thing. |
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Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| The text compares sowing of the Word of God to the rain and snow in agriculture. |
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Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| The words of the opening chorus expresses the sadness and hope of this piece: "I had so much distress and woe within my bosom; but still thy consoling restoreth all my spirit." |
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| Transcription of the 1st movement of the Cantata for the Twelfth Sunday after Trinity, this lively symphonia is reminiscent of the Brandenburg Concertos. |
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Credits: Andreas Simms for Die Pfeiffenorgel SoundFont |
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| The chorale melody is sounded at different times in the Swell and Pedal, and in addition, motives from the Chorale are
used in the accompaniment. The repeat uses a sampled Cornet with a slight vibrato instead of the Schalmei that is
used at the beginning and end. |
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Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| Actually by Johann Tobias Krebs, the composer of the Eight Little Preludes and Fugues. |
MP3.com CD: Phantom Organ Recital Vol. 1 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| This is an extremely playful early fugue of Bach. The subject is hesitant to proceed, but when all four measures are through, you pretty well know it is a fugue subject. The adagio at the end just continues the surprises. |
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Credits: Martin Dyde for Hauptwwerk Virtual Pipe Organ; Brett Miles for Grace Lutheran Casavant samples |
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| Although sequences are repeated endlessly, the tortured chromaticism at the end makes this an unusual piece. The Phsntom Organist has tried to vary registrations and phrasings to preserve interest throughout. And, it's pretty loud! |
MP3.com CD: Phantom Organ Recital Vol. 2 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| The prelude is in three parts, beginning with a D major scale in the pedal, proceeding to an Alla breve, and concluding with an Adagio which is actually a transition into the fugue, whose spirited subject alternates with arpeggios and block chords using as many as six voices. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| Originally a prelude for harpsichord in C from collection of J. P. Kellner. |
MP3.com CD: Phantom Organ Recital Vol. 1 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| Originally for harpsichord, based on a theme from Albinoni's Sonate, Op 1, Nos. 12, 3 and 8 (1710).Pedal part added at the end. |
MP3.com CD: Phantom Organ Recital Vol. 1 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| Fugue based on Cantata 131, perhaps not by J. S. Bach. |
MP3.com CD: Phantom Organ Recital Vol. 1 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| The most famous of Bach's solo organ pieces, the one that begins every CD, evokes pictures of madmen flailing an organ (or an orchestra), without which the complete organ works of Johann Sebastian Bach would certainly be incomplete. |
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Credits: Brett Milan, Samples; Martin Dyde, Hauptwerk Virtual Pipe Organ |
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| Arrangement of concerto by Prince Johann Ernst von Saxe-Weimar. In three movements: [Allegro] - Grave - Presto. |
MP3.com CD: Phantom Organ Recital Vol. 4 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel Soundfont |
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| Majestic setting of a Christmas chorale. |
MP3.com CD: Phantom Organist Church Year 1 - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Pipe Orrgan |
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| Eight fugues on the Magnificat in the Seventh Tone (one of the Church Modes). |
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Credits: Brett Milan for Grace Casavant samples; Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| An organ showpiece with parallel pedal solos and pedalpoints, a lyrical softer section, some antiphonal chordal passages, and a final pedalpoint culminating in a grand ending. |
MP3.com CD: Phantom Organ Recital Vol. 1 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel Soundfont |
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| An organ showpiece with parallel pedal solos and pedalpoints, a lyrical softer section, some antiphonal chordal passages, and a final pedalpoint culminating in a grand ending. |
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Credits: MartinDyde for Hauptwerk Virtual Pipe Organ; Brett Milan for Grace Lutheran Casavant samples |
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| Fughetta on the Christmas chorale in 4 voices with a couple of extra riffs. This prelude is also included in the Neumeister Collection. |
MP3.com CD: Phantom vs. Neumeister Vol. 1 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel Soundfont |
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| Three short sections of the German Organ Mass written for a one-manual organ. This is intimate counterpoint with no frills, starkly beautiful and devotional. |
MP3.com CD: Bach Small Organ Mass-Schübler - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Organ |
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| A most straightforward setting of a chorale associated with a scurrilous text that modern people may want to ignore. |
MP3.com CD: Phantom vs. Neumeister Vol. 2 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| Delicate 4-part manual treatment with repeats. |
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Credits: Brett Miles for Buzard Opus 3 samples; Martin Dyde for Hasuptwerk Virtual Pipe Organ |
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| A setting of the German version of the Lord's Prayer, Schweitzer calls this piece "A motet without words, in whicb the soul sends to Heaven the prayer of prayers." |
MP3.com CD: Phantom Organ Recital Vol. 3 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| A setting of the German version of the Lord's Prayer, Schweitzer calls this piece "A motet without words, in whicb the soul sends to Heaven the prayer of prayers." |
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Credits: Brett Milan for Buzard Opus 3 samples; Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| Unusual 24/16 meter, chorale in pedal. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| Here it is sounded entirely on the Buzard organ, then repeated on the Martin Harpsichord. |
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Credits: Brett Milan for Buzard Opus 3 and Martin Harpsichord samples |
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| Fughetta in three voices for one manual. |
MP3.com CD: Phantom Organ Recital Vol. 3 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel Soundfont |
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| Ultrasimple three-voice fughetta. |
MP3.com CD: Phantom Organ Recital Vol. 4 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| All in all, a very lovely interpretation of one of Bach's favorite chorales. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ with samples from St. Anne's Moseley |
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| Fughetta in 12/8 meter, for manuals alone. |
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Credits: Brett Miles for Buzard Opus 3 samples; Martin Dyde for Hasuptwerk Virtual Pipe Organ |
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| Autograph in the Klavierbüchlen for Anna Magdalena Bach. This delicate keyboard piece may not seem appropriate for some organs. |
MP3.com CD: Phantom Organ Recital Vol. 3 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel Soundfont |
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| A rambunctious early piece, with an ethereal middle movement (the Adagio in A minor is available elsewhere on this page by itself with a soft ending) that modulates rather sternly into the key of C again for a playful fugue. A minimum of registration changes seems to suit this piece perfectly. |
MP3.com CD: Everybody's Favorite Bach - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| The Prelude, for manuals alone, is published in a popular wedding album, and so has been heard often. I doubt that many have dealt with the fugue, which is unusual in that the pedal seems to be nearly always present, and the arpeggiated episodes puts one in mind of an Italian concerto. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ; Brett Miles for Grace Lutheran Cassavant samples |
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| For full organ and pedal, which takes a long time to come in, but is worth the wait. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organand samples from St. Anne's Moseley |
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| This evocative Fantasia is paired with the beginning of a 5-voice fugue which most players ignore completely. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ; Brett Miles for Grace Lutheran Casavant samples |
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| Fantasia for one manual, but with the embedded chorale reassigned to either an 8' or a 4' reed in the pedal during the long first section. The time signature abruptly changes to 3/8 for a gentle finish. |
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Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| The Christmas chorale soars out on the Swell Trumpet over a simple accompaniment made from fragments of the chorale. |
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Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| Brief fughetta in four voices, with pedal added at end to emphasize a fifth entrance |
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Credits: Andreas Sims for Die Pfeiffenorgel Soundfont |
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| Ornamented chorale for two keyboards and, finally, pedal. Bach specifies piano and forte and throws in some interesting interludes. |
MP3.com CD: Phantom Organ Recital Vol. 4 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel Soundfont |
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| This quiet dance-like trio is presented as No. 23 in Volume VI of the Widor-Schweitzer edition, but the Phantom Organist can't seem to find its BWV number. |
MP3.com CD: Phantom Organ Recital Vol. 2 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel Soundfont |
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| Gentle dancelike setting for one manual of the German Gloria |
MP3.com CD: Phantom Organ Recital Vol. 2 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel Soundfont |
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| Two voice setting with jolly burbling flute bass accompanying, with the Krumhorn alternating with the Trichtenregal for the chorale melody. |
MP3.com CD: Phantom Organ Recital Vol. 2 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| Another Chorale Harmonization with moderate flourishes between the phrases, based on a German Christmas chorale. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Prgan; Brett Milan for Grace Casavant samples |
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| Mild flourishes between each phrase of the German hymn. |
MP3.com CD: Phantom Organ Recital Vol. 2 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel Soundfont |
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| The score for this complete setting of the Te Deum contains instructions to alternate manuals, and put one in mind of antiphonal singing between choir and congregation, or the later practice of the left and right sides of the choir alternating verses in English churches (Decanus, the Deacon's side, and Cantoris, the Cantor's side). |
MP3.com CD: Phantom Organ Recital Vol. 2 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| Simple 3-voice treatment, with the chorale in augmentation at the end (the Phantom Organist used the buzzy sounding 16' Sordun in the pedal coupled from the Brustwerk). |
MP3.com CD: Phantom Organ Recital Vol. 2 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel Soundfont |
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| One in a series of Chorale Harmonizations where the figured bass usually used for congregational singing was written out, and each phrase ends with a cadenza.. As disruptive as it would sound to a modern congregation, this way of accompanying hymns was actually a common practice of the time, i.e. Bach didn't invent it, and he wasn't showing off. (Well, just a little.)
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MP3.com CD: Phantom Organ Recital Vol. 2 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel Soundfont |
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| For one manual and pedals. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ; Brett Milan for Grace Lutheran Casavant |
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| Fughetta for three voices on one manual. |
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Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| One of Bach's lightest and liveliest fugues. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ; Brett Milan for Grace Lutheran Casavant samples |
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| Two voices on the Oberwerk (Great), one voice on the Rückpositiv (Positive located behind the organist), that's what Bach prescribes, and the Phantom obliges. The two verses of the text have a rather contemporary sounding angst, though the desperate predicament described therein is belied by the cheerfulness of this setting. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ; Brett Milan for Grace Lutheran Casavant |
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| The Phantom Organist delivers the whole wedding march, without all the repeats. Complete with thrilling trumpet fanfares. |
MP3.com CD: Phantom Organist Wedding Album - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| An intriguing double canon at the octave, with that haunting simplicity Bach can impart to four related lines of music. |
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Credits: Samples by Brett Milan; Hauptwerk by Martin Dyde |
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| First it was by Purcell, then scholars considered it to be by Jeremiah Clarke, now, who knows. It's a favorite for brides who don't like the bad luck of something from Lohengrin by Wagner. |
MP3.com CD: Phantom Organist Wedding Album - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| Fantasia on the familiar Palm Sunday tune, for full organ and pedal. |
MP3.com CD: Phantom Organ Recital Vol. 3 - buy it!
Credits: Andreas Sims for Die Pfeiffenorgel SoundFont |
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| Very straightforward wedding processional, made elaborate by the Phantom Organist. |
MP3.com CD: Phantom Organist Wedding Album - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| The middle movement of the Toccata, Adagio and Fugue in C Major, this lovely piece is often played at weddings. |
MP3.com CD: Phantom Organist Wedding Album - buy it!
Credits: Martin dyde for Hauptwerk Virtual Pipe Organ |
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| The Phantom Organist took the original score and arranged it for infinitely dynamic virtual pipe organ. |
MP3.com CD: Phantom Organist Wedding Album - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| From Sonata in D minor, Op. 148, No. 11. |
MP3.com CD: Phantom Organist Wedding Album - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| The Phantom Organist has delivered the first 65 measures, which ends on a quiet chord. |
MP3.com CD: Phantom Organist Wedding Album - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| One of Bach's most charming and well-known pieces, this piece flows like well-oiled baroque machinery. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| Surprisingly comforting music with a gloomy text. The Phantom always found it reassuring at funerals. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| Transcribed by Alexandre Guilmant from the Twelfth Concerto Grosso. |
MP3.com CD: Phantom Organist Wedding Album - buy it!
Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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