What a wonderfully played trio. The Stralsund sample set is simply wonderful. It's a dream come true for me that this organ now exists. Let's see if I can manage to put enough money aside for it ;-)
Very nice Ralph. There are a lot of rhythm changes between both hands. Both notes , quarter, eights and sixteens, but also in rhythmic figures. Typical Trio that doesn’t look too complicated, but isn’t easy to play. Very well done!
Thanks, Rien. It's a great piece, I like the energy in it. In fact, this is the second time I recorded it. Years ago I recorded it on the small Steinkirchen set.
It was very common at the time. Key signatures as we know them today started to be used regularly in the late XVIII century. Buxtehude for example regularly omits b flat when writing in d minor, or e flat when writing in g minor, or a flat when writing in c minor. It was a common practice.
As stated below, common practice back then. Sometimes it also has to do with church modes or Gregorian modes. Not sure if that's here the case, but I think this hymn has its origin in Gregorian chant.
What a wonderfully played trio.
The Stralsund sample set is simply wonderful. It's a dream come true for me that this organ now exists. Let's see if I can manage to put enough money aside for it ;-)
Yes, an expensive set, but I can assure you that the set is great.
Beautiful Ralph!😁👍👏👏👏
thanks
A fine crafted setting and superbe performance. Bravo!
Thanks, Markus!
Superb Trio never heard before.. thank you!
Thanks!
Thank you for the performance and url link to the music!
Thanks!
This chorale reminds me a little bit the style of Wie soll ich fliehen hin from the Schübler chorales.❤
Yes, I would probably use the same sort of registration.
Very nice Ralph. There are a lot of rhythm changes between both hands. Both notes , quarter, eights and sixteens, but also in rhythmic figures. Typical Trio that doesn’t look too complicated, but isn’t easy to play. Very well done!
Thanks, Rien. It's a great piece, I like the energy in it. In fact, this is the second time I recorded it. Years ago I recorded it on the small Steinkirchen set.
There is a lot of movement in this beautiful composition, great music, but for me it is too heavy... Best regards dear Ralph!
Thanks, I love that it constantly keeps moving.
It is weird that the key signature does not reflect the obvious key of D Minor.
It was very common at the time. Key signatures as we know them today started to be used regularly in the late XVIII century. Buxtehude for example regularly omits b flat when writing in d minor, or e flat when writing in g minor, or a flat when writing in c minor. It was a common practice.
that way you only have to notate the C# when ascending, and B (flat) when descending, more equal spreading of the accidentals
As stated below, common practice back then. Sometimes it also has to do with church modes or Gregorian modes. Not sure if that's here the case, but I think this hymn has its origin in Gregorian chant.