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| The prelude contains one unifying theme, which is utilized in a long pedal cadenza, interrupted by a transition marked with the tempo indication "Grave" and followed by a Fugue "Alla breve è staccato" which is quite reminiscent of the "Gigue Fugue" in the same key. |
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Credits: James Pressler for Pedal Harpsichord; Brett Milan for Martin samples; Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| One of Bach's most charming and well-known pieces, this piece transcribes convincingly for the Pedal Harpsichord. |
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Credits: Pedal Harpsichord by James Pressler; Martin samples by Brett Milan; Hauptwerk Virtual Pipe organ by Martin Dyde |
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| Paradies was born in 1712 in Naples and died in 1795 in Venice. He was a pupil of Porpora and a composer of operas and sonatas for the "Gravicembalo." This charming minuet makes very good use of simple materials. |
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Credits: Brett Miles for Martin 3-stop Saxon Harpsichord Samples |
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| A bit like a rondo, in that the opening section is repeated in the middle and at the end.. The arpeggios before the third repetition descend to the lowest notes of the harpsichord range, which is lower than organ manuals by a fifth. |
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Credits: Brett Milan for Martin 3-stop Saxon Harpsichord samples |
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| The ground bass is an English form comparable to the Passacaglia. A three-measure repeating bass line on the upper keyboard is contrasted with a second voice that hops between a syncopated motive on the same keyboard and an ornamented melody on the lower keyboard. |
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Credits: Brett Milan for Martin 3-stop Saxon harpsichord samples |
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| 4 short movements (Prelude-Almand-Courante-Minue) . Purcell at his simplest and most beguiling, Prelude and Almand share a simple rhythmic echo between left and riight hands. The Courante partakes of this device at the end, but has a slightly orgnamented melody. The minuet uses more ornamentation in a more homophonic (hymn-like) setting. |
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Credits: Brett Milan for Martin 3-stop Saxon Harpsichord samples |
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| This curious pairing of a dance movement in A minor and a sectional canzona ("song") in F Major show a bit of this 17-century "superstar virtuoso." |
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Credits: Brett Milan for Martin Saxon 3-stop Harpsichord samples |
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| Perhaps an early form of tone poem, Couperin describes these harpsichord pieces as "portraits: not only of people, but of moods, emotions, objects and incidents." This little piece musically captures the fleeting beauty of butterflies. |
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Credits: Brett Milan for Martin 3-stop Saxon Harpsichord samples |
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| Perhaps an early form of tone poem, Couperin describes these harpsichord pieces as "portraits: not only of people, but of moods, emotions, objects and incidents." The title of this rondeau seems to be suggest a wake-up call in the French military. |
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Credits: Brett Milan's for Martin 3-stop Saxon Harpsichord |
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| Quite reminiscent of Scarlattin in style, this expressive piece provides much textural and harmonic variety. |
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Credits: Brett Milan for Martin 3-stop Saxon Harpsichord |
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| An arrangement for Brass, Timpani and Organ of the end of the Bach's A minor Fantasy and Fugue, BWV 561. Though this fragment starts in the key of C, it ends in A Major. |
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Credits: Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| Transcribed from an organ trio for recorder and harpsichord. |
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Credits: Jonathan Orwig for OCR assistance |
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| Organ trio arranged for Flute, Oboe and Bassoon. |
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Credits: Jonathan Orwig for OCR assistance |
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| Mildly contrapuntal and straightforward setting of the familiar old hymn, transcribed for Brass Quintet. |
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| Three sparkling variations on one of the most emphatic chorales in the German tradition.
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| The Virtually Baroque Players' first attempt to "lighten up," with a jazzed up
version of the famous toccata using sampled piano, guitar, cello, assorted percussion and
pizzicato bass. Part of their new Souped-Up-Bach series.
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| The last chorale from Das Orgelbüchlein, this is a breezy portrayal of how fleeting life is. The flowing of waters, the drifting of clouds and something unspeakably futile about man's ascent and waning, scholars have read all that into this tiny piece. Arranged for Flute, 2 English Horns, 3 Clarinets, Bassoon and Contrabassoon. |
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| A tranquil acceptance of the concept that "all are mortal." Arranged for Oboe, 3 English Horns, and Bassoon. |
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| Motives of joy and devotion comingle in this energetic setting for two Woodwind choirs. A modern way to look at a text that implies passive acceptance is to adopt an intuitive spiritual approach to life rather than trying to micromanage things. |
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| Highly ornamented chorale over subdued but expressive background. For Oboe, 2 English Horns and Cello. |
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| The original Chorale is in an old rhythm, and was not harmonized by Bach. What follows is a short and serene setting (alio modo) arranged for Oboe, Clarinet, English Horn, Bassoon and Contrabassoon. |
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| The chorale is sounded on the harpsichord, then follows a simple but elegant trio arranged here for Flute, Harpsichord and Cello. |
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| Exuberant Christmas Chorale from the Little Organ Book, also known as Gottes Sohn Ist Kommen. Arranged for Brass Quartet. |
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| Truly weird and tortured chromatic changes. The Contrabassoon "falls" in sevenths, and the tonality shifts abruptly near the end. Other performers (the usual suspects) are the Oboe with the prominent "D," the plaintive English Horn and our usually cheerful Bassoon, covering more dynamic range than usual. |
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| From The Liturgical Year (Das Orgelbüchlein), a project of which Bach completed 45 of his projected 164 short chorale preludes for the church year, this beautiful and intimate setting of the Lord's Prayer is dominated by a four-note motive (A-E-G-F) and its inversion (A-E-C#-D), indeed one or the other appears in nearly every beat. Arranged for Oboe, Clarinet, English Horn, Bassoon and Cello. |
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| From the Orgelbüchlein, this closely imitative piece is a short but grand treatment of the chorale associated with the Ten Commandments. Arranged for WT Trumpet, Oboe, English Horn, Bassoon, Contrabassoon and Tuba. |
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| The second setiing of this beloved chorale is labeled "distinctius." The differences are subtle indeed. Arranged for Oboe, English Horn, Clarinet, Bassoon and Contrabassoon. |
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| The chorale is sounded in canon at the interval of a fifth, separated by only two beats. This is one of two versions from the Liturgical Year collection. Arranged for Oboe, Flute, English Horn, Clarinet, Bassoon and Contrabassoon. |
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| A hymn to the Holy Ghost as creative inspiration. Arranged for English Horn, Clarinet, Bassoon, Contrabassoon and Tuba. |
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| The last of 6 Easter chorales from Bach's Liturgical Year. The bell-like motive in the bass imparts a triumphant exuberance. Arranged for 2 Trumpets, 2 Trombones and Tuba. |
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| Canon at the octave between French Horn and Tuba, with English Horn and Bassoon contributing to the general merriment. |
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| Upward (and downward) surging scale passages join with upward (and downward) skips of a fourth (or fifth) create a satisfying swirl. Arranged for Woodwinds and Cello with Pizzicato Bass. |
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| A voluptuous setting of the Easter chorale, from Das Orgelbüchlein, or the Liturgical Year. Arranged for two Brass choirs: 2 Trumpets, Trombone and Tuba on the left, WT Trumpet, Trumpet, French Horn, and Tuba on the right. |
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| Short Easter prelude with gentle rocking rhythm as arranged for Oboe, English Horn and 2 Bassoons. |
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| A cheerful setting with pedal presenting the chorale in dimunition. Both are free settings of the melody, but not identical, so it is not a canon. The background is built upon the three opening notes of the Chorale, which is a triad. Because there is a full 9-note chord at the end of this keyboard piece, this arrangement required Flute (1), Clarinets (3), Bassoons (4) and Cello (1). |
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| Festive three part setting of an Easter chorale. For Brass quartet on the left and Woodwind quartet on the right, used in various combinations. |
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| Divided into three sections Fantasia, Adagio and Allegro, this piece is a lot smaller in scope than the enormous G Major Fantasie that follows it in the Schmieder catalog, but it is not without its charming moments.
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Credits: Brett Milan for Martin Saxon Harpsichord Samples; Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| A triple fugue based on a theme of Legrenzi. This relatively early piece consists of three parts: the first fugue subject is combined with the second fugue subject in the third section.
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Credits: Brett Miles for Martin Saxon Harpsichord samples; Martin Dyde for Hauptwerk Virtual Pipe Organ |
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| Absolutely perfect trio transcribed by Arno Rog, www.free-sheetmusic.org |
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Credits: Brett Milan, Martin Harpsichord and Buzard Organ samples |
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| This pinnacle of expressiveness for organ seems even more heartfelt when the hghly ornamented melody is played by the slightly reticent oboe, accompanied by with fervor by English Horn, Bassoon and Cello.
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| A perfect expression of the Nunc Dimittis, part of Das Orgelbüchlein (aka The Liturgical Year). Known in the Anglican liturgy as The Song of Simeon, the text has a bit of the German Pietism which contrasts the travails of everyday life with the tranquility of death. Arranged for Flute, English Horn, Clarinet, Bassoon and Contrabassoon, with Oboe on the first sounding of the Chorale. |
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| The Virtually Baroque Players have rearranged this haunting double canon for (sampled) oboe, English horn, clarinet and bassoon, preceding it with the Chorale upon which it is based.. |
MP3.com CD: Baroque Transcriptions -  buy it!
Credits: James Pressler |
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| A joyful song of thanksgiving for the Passion of Christ. Arranged for 2 Trumpets, Trombone and Tuba (the 1st trumpet changes to a brighter instrument after the initial chorale). |
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| Christmas Chorale with motives of joy permeating the accompaniment. Arranged for Woodwinds with English Horn and Bassoon in uncharacteristically high registers, followed by Clarinet in the Tenor and Contrabassoon in the Bass. |
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| The chorale is presented in two (at the end, three) Flutes, the tenor spins a restless web which alternates between Oboe and Bassoon, while the Contrabassoon vacillates between octave syncopations and thirds. This is one of two chorales classified by Bach under "Nunc Dimittis," or the Song of Simeon, describing the condition near the end of life when the burdens of life outweigh its benefits. |
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| One of the three preludes in the Orgelbüchlein devoted to the passing of the secular New Year. Arranged for Flute, Clarinet, English Horn and Cello. |
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| A gentle lilt pervades this joyful Christmas prelude. Arranged for Oboe, Clarinet, English Horn, Cello and Bassoon. |
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| Following the straightforward Chorale presentation, we suddenly have Bach at his most mysterious, the chorale is in the alto voice (English Horn), the Bassoon is constantly descending, the other two voices( Flute and another Bassoon) form an arabesque of unusual quiet joy. The words dwell on the mystery of Christ's incarnation, and its farflung consequences. A second Flute and third Bassoon round out the ending. |
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| This Prelude is dominated by a motive in the bass which is a modified version of what Schweitzer calls the "Beatific Peace Motive." The composition is filled with an intimate charm and stateliness. From The Liturgical Year, arranged for alternating Oboe and Flute on the melody, English Horn on the alto part, Bassoon on the Tenor, and Bassoon or Contrabassoon for the Bass. |
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| This Prelude expresses joyous praise with the chorale in the top part, accompanied by animated scale groups in alternating contrary and parallel motion. Arranged for Flute, Clarinet, Bassoon and Cello and preceded by the Chorale as found in Cantata 151. |
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| A transcription of the organ chorale setting (from the Large German Organ Mass) for Cello, Oboe, Clarinet, Bassoon and English Horn. |
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Credits: James Pressler |
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| The very first prelude in the Liturgical Year. A brief and heartfelt setting of the Advent hymn, preceded by the Chorale on which it is based. Arranged for 2 Trumpets, Trombone and Tuba. |
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| This is a sad and expressive farewell to the secular old year. Arranged for Oboe, English Horn, Bassoon and Contrabassoon. |
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| The rather perfunctory harpsichord rendering of the chorale gives way magically to a rather mystical depiction of angels descending and ascending at the time of Christ's birth. Arranged for Flute(s) and Harpsichord. |
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| The chorale is a close canon at the fifth between the Flute and English Horn, which gives an eerie effect, and the wandering accompaniment in the Bassoon and Contrabassoon seem to express the aimlessness of the unassisted human in singing the praise of God, which is the main thrust of the text. The opening Chorale uses the Oboe instead of the Flute for the soprano part.
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| A brief but joyous setting of the Christmas chorale "From Heaven on High." The melody is very slightly adorned, and the pedal has a step motive that to some expresses faith. Arranged for Brass Quartet: Two Trumpets, French Horn and Tuba. |
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| Short setting of a German Christmas chorale from the Liturgical Year, rearranged for woodwinds: Oboe, English Horn, Clarinet and Bassoon. The chorale is sounded first, then the short prelude. |
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| Haunting setting of a Christmas chorale from the Little Organ Book (Das Orgelbüchlein) or Liturgical Year. The Chorale is played by a woodwind ensemble consisting of flute, clarinet, Bassoon and Contrabasson, the Prelude itself by the aforementioned Flute & Clarinet, with the Cello on the tenor voice and bassoon on the bass voice. |
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| The tune is based on the plainchant "Conditor alme siderum," still sung in churches today as "Creator of the Stars of Night." Arraged for 2 English Horns, Bassoon and Contrabassoon. |
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| Charming and cheerful setting of an Advent chorale. Reference to the Morningstar in the text makes this also appropriate for Epiphany. With the original chorale sounded forth and arranged for Flute, English Horn, Bassoon and Cello.
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| Bach expands the usual 4-measure ground bass to 8 measures, and at one point the explicit theme departs, though it is hidden in arpeggios, one variation in contrary motion, the next in parallel motion; the implicit harmony is there, but if you circle the notes, you can find them hiding all over the keyboard, Cheshire-cat-like. Just when you think he might have exhausted all possibilities, he piles more variations on, the most virtuosic of which is a series of triplets in the right and left hand against the theme in the pedal. He then proceeds to use the first four measures of the Passacaglia theme in a well-thought out fugue, which is introduced with an appropriate counter-subjec |
MP3.com CD: Baroque Transcriptions - buy it!
Credits: John W. McCoy for Harpsichord Soundfont |
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| Short as it is, this Prelude is a double canon, the one at the octave is played by Flute and Clarinet, the one at an octave and a fifth is played by Oboe and English Horn, the Cello is used for the bass part, which is derived thematically from the first canon.
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| Intensely chromatic double canon on a Passion text, this piece describes Christ's suffering and torment with some tortured harmonies. Arranged for Trumpet, French Horn, Trombone and 2 Tubas. |
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| The words of the Chorale deal with the seven last words of Christ on the cross. Arranged for Oboe, Flute, Clarinet, English Horn, Bassoon and Contrabassoon. |
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| An elegant trio for organ with expressive sampled oboe. |
MP3.com CD: Krebs Chorales and Fantasia - buy it!
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| From Sonata in D minor, Op. 148, No. 11. Arranged for Oboe, Flute and Strings. |
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Credits: James Pressler |
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| Siciliana - Allegro - Minuet for Flute, Harpsichord and Cello. |
MP3.com CD: Solos of John Stanley, Opus 4 - buy it!
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| Duet from Cantata 146, arranged for Two Trumpets and Organ |
MP3.com CD: Baroque Transcriptions - buy it!
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| Andante for Harpsichord and JEUX Pipe Organ SoundFont. |
MP3.com CD: Soler 6 Concertos, Vol. 1 - buy it!
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| Minué for Harpsichord and JEUX Pipe Organ SoundFont. |
MP3.com CD: Soler 6 Concertos, Vol. 1 - buy it!
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| Bach's transcription of a violin concerto in three movements: Allegro - Adagio - Allegro. |
MP3.com CD: Bach Concerto/Sonatas Vol. 2 - buy it!
Credits: John W. McCoy for Harpsichord Sound font |
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| The first of six pieces written by Johann for his eldest son Wilhelm Friedeman Bach, to learn keyboard technique. He may have practiced them on a two manual and pedal clavichord. The movements are [Allegro moderato] - Adagio - Allegro. Special transcription for sampled Pedal Harpsichord. |
MP3.com CD: Bach Concerto/Sonatas Vol. 1 - buy it!
Credits: John W. McCoy for Harpsichord SoundFont |
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| Adagio - Poco allegro - Adagio - Menuet for Oboe, JEUX Pipe Organ SoundFont and Bassoon. |
MP3.com CD: Solos of John Stanley, Opus 4 - buy it!
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| This sonata consists of three movements: Vivace - Largo - Allegro. Each hand has a part to play on its own keyboard, and the bass part of the trio is played in the pedal. It was written as a practice piece for Wilhelm Friedemann Bach, and may have been played on a pedal clavichord as well as the church organ. This version is for sampled Pedal Harpsichord. |
MP3.com CD: Bach Concerto/Sonatas Vol. 1 - buy it!
Credits: John W. McCoy for Harpsichord SoundFont |
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| Concerted chorale for English Horn and JEUX 1.4 Pipe Organ SoundFont. |
MP3.com CD: Krebs Chorales and Fantasia - buy it!
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| This sonata consists of three movements, Andante - Adagio e dolce - Vivace. Arranged for sampled Pedal Harpsichord, only the middle movement uses repeats, which contrast regular stops with lute or buff stops. |
MP3.com CD: Bach Concerto/Sonatas Vol. 1 - buy it!
Credits: John W. McCoy for Harpsichord SoundFont |
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| Concerted Chorale for English Horn and JEUX 1.4 Pipe Organ SoundFont. |
MP3.com CD: Krebs Chorales and Fantasia - buy it!
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| The movements are Adagio / Vivace - Andante - Un poco Allegro. Another in the series of practice pieces for Wilhelm Friedemann Bach, this version for Pedal Harpsichord is refreshing and light. |
MP3.com CD: Bach Concerto/Sonatas Vol. 2 - buy it!
Credits: John W. McCoy for Harpsichord SoundFont |
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| Concerted Chorale Prelude for Oboe and the JEUX Pipe Organ Soundfont. |
MP3.com CD: Krebs Chorales and Fantasia - buy it!
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| The three movementsare Allegro, C Major - Largo, A minor - Allegro, C Major. |
MP3.com CD: Bach Concerto/Sonatas Vol. 2 - buy it!
Credits: John W. McCoy for Harpsichord SoundFont |
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| Standard four-bar theme in the bass is shared by harpsichord and cello, many registers of the John McCoy harpsichord Soundfont are used to create contrasts. Think of a large mythical pedal harpsichord and one lone cello player trying to keep up. |
MP3.com CD: Baroque Transcriptions - buy it!
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| This sonata consists of three movements: Vivace (G Major) - Lento (E minor) - Allegro (G Major) |
MP3.com CD: Bach Concerto/Sonatas Vol. 2 - buy it!
Credits: John W. McCoy for Harpsichord SoundFont |
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| The movements are Allegro - Fugue - Largo e spiccato - Allegro. |
MP3.com CD: Bach Concerto/Sonatas Vol. 1 - buy it!
Credits: John W. McCoy for Harpsichord Soundfont |
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| Sprightly writing by the old master in a dancing mood. |
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Credits: Virtual Pedal Harpsichord created by James Pressler from Martin Saxon Harpsichord samples by Brett Milan |
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| Very sad organ piece whose name says it all. |
MP3.com CD: Krebs Chorales and Fantasia - buy it!
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| Concerted Chorale for Oboe and JEUX 1.4 Pipe Organ SoundFont. |
MP3.com CD: Krebs Chorales and Fantasia - buy it!
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| From Cantata 41, arranged for Brass, Timpani and JEUX 1.4 Pipe Organ Soundfont |
MP3.com CD: Baroque Transcriptions - buy it!
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| Adagio - Allegro - Menuet for Flute, Organ and Bassoon. |
MP3.com CD: Solos of John Stanley, Opus 4 - buy it!
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| Concerted Chorale Prelude for English Horn and the JEUX Pipe Organ Soundfont. |
MP3.com CD: Krebs Chorales and Fantasia - buy it!
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| Andante realized for two harpsichords. |
MP3.com CD: Soler 6 Concertos, Vol. 1 - buy it!
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| Allegro, realized for two harpsichords |
MP3.com CD: Soler 6 Concertos, Vol. 1 - buy it!
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| Tempo de Minué, arranged for two harpsichords |
MP3.com CD: Soler 6 Concertos, Vol. 1 - buy it!
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| Concerted Chorale for sampled Trumpet and JEUX 1.4 Pipe Organ SoundFont. |
MP3.com CD: Krebs Chorales and Fantasia - buy it!
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| Adagio - Poco Allegro - Gigg arranged for Oboe, Harpsichord and Cello. |
MP3.com CD: Solos of John Stanley, Opus 4 - buy it!
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| Concerted Chorale for Oboe and JEUX 1.4 Pipe Organ Soundfont. |
MP3.com CD: Krebs Chorales and Fantasia - buy it!
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| Afectuoso - Andante non Largo, arranged for JEUX Pipe Organ Soundfont and Harpsichord. |
MP3.com CD: Soler 6 Concertos, Vol. 2 - buy it!
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| Minué and 4 variations, arranged for Harpsichord and JEUX Pipe Organ SoundFont. |
MP3.com CD: Soler 6 Concertos, Vol. 2 - buy it!
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| Siciliana - Allegro - Menuet arranged for Oboe, Organ and Cello |
MP3.com CD: Solos of John Stanley, Opus 4 - buy it!
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| Chorale for Christmas from the Orgelbüchlein, arranged for Trumpet, English Horn, Bassoon and Tuba. |
MP3.com CD: Baroque Transcriptions - buy it!
Credits: James Pressler |
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