Seger's prelude in C (L 20) is probably meant as a manualiter piece. For the true virtuoso it is of course possible to play the bass line with the feet, but I would have a hard time playing it like that.

Among the many many compositions that may or may not have been written by Johann Sebastian Bach, is the little choral partita "Ach, was soll ich Sünder machen". It features a four part setting

Oley's fondness of canons sometimes leads to beautifull compositions, but every so often the result is stiff or just plain boring. An example of the latter is Oley's prelude to the chorale "Nun sich

Is it coincidence that Kehl usedone of his most beautiful compositions as the last composition in his "Erste Sammlung"? Or was it the decision of a clever business man, to wet the appetites for

Marpurg's fugue in D major, written for two voices, is an up tempo, spiritied composition. "Fugue" is probably not the most accurate description of this piece. The fugue theme appear a few times

This Capricio in d is based on Roberday's "Fugue 5me". Karges largely follows Roberday's original, but he adapts it to suit his needs. As with a lot of Karges' adaptations, Karges adds several

Manuscript Becker III.8.51, owned by the Universitätsbibliothek Leipzig, contains four fugues for organ or keyboard, from Friedrich Wilhelm Marpurg. They were copied from an unknown source by one J.A.

Manuscript Becker III.8.51, owned by the Universitätsbibliothek Leipzig, contains four fugues for organ or keyboard, from Friedrich Wilhelm Marpurg. They were copied from an unknown source by one J.A.

Manuscript Becker III.8.51, owned by the Universitätsbibliothek Leipzig, contains four fugues for organ or keyboard, from Friedrich Wilhelm Marpurg. They were copied from an unknown source by one J.A.

Manuscript Becker III.8.51, owned by the Universitätsbibliothek Leipzig, contains four fugues for organ or keyboard, from Friedrich Wilhelm Marpurg. They were copied from an unknown source by one J.A.

This Capricio in d is based on Roberday's "Fugue 5me". Karges largely follows Roberday's original, but he adapts it to suit his needs. As with a lot of Karges' adaptations, Karges adds several

The second appendix to the catalogue of compositions by Johann Sebastian Bach, contains the works of which Bach's authorship is doubtful. Of some of these compositions one wonders why they ever made to

The melody of "Wer nur den lieben Gott lässt walten" is of itself already a bit chromatic. Marpurg enhances this aspect in his prelude based on this melody, and creates a composition full of

Karges' Capricio Quarta Toni is based on Scherer's Intonatio Tertia Tertii Toni and Intonatio Quarta Tertii Toni. Karges uses only the first 12 bars of Scherer's Intonatio Tertia Tertii Tonie and skips

The next choral prelude by Marpurg's hand is the prelude to the famous melody of "O haupt voll Blut und Wunden". That melody was used for other chorals as well, and in this case Marpurg uses

The first part of Kreb's Klavier Übung was published in 1744 and consists of 13 works based on one choral melody. Each of these works consists of a preambulum, a chorale setting, and a chorale alio modo.

Next to all the music of which the authorship of Johann Sebastian Bach is without any doubt, there is also a lot of music that was once attributed to Bach, but where his authorship is uncertain. That list

Yesterday I wrote a little about my process of reconstructing Sorge's incomplete choral prelude "O Herre Gott, dein Göttlich Wort". Today I'm proud to be able to upload a sound recording of the

It is a fact that people like to have a name of the creator to go with a piece of art. Pieces that cannot be attributed to a person, are somehow less valuable. Probably because of the innate desire to

Rudolf Löw's opus 1 consists of 12 compositions for the pipe orgen. Of these, I have already published 11 (you can find the scores here: The 12th and final composition is a fugue in g minor, that to me