KLA-VIER-HÄNDIG III im 5-Ton-Raum ist der direkte Folgeband zu KLA-VIER-HÄNDIG II 5 Ton-Unisono. Während dort die beiden Hände noch einstimmig mit relativ einfachen Rhythmen durch die Tonarten wandern, gibt es in Band III schon bald aufregendere und sogar mehrstimmige Stücke. Gegen Ende des Bandes kommen Sechzehntelnoten mit hübschen Synkopen, Achtel- und Vierteltriolen und sogar Quartolen vor. Im 5-Ton-Raum kann sich der Primospieler jedoch nicht verlaufen, und der Secondo trägt den Primo wie ein lebendiges Metronom. Alle Stücke sind sanglich zu spielen. Artikulation und Phrasierung sind auf ein Minimum beschränkt. Pedal ist auch hier die "Seele des Klaviers".

Quatres Suites – 4 Suiten New edition based on a Berlin manuscript from 1706 Jean-Adam Guillaume Guilain , originally of German descent and named Jean-Adam Guillaume Freinsberg, must have moved to Paris at an early age, where he worked as organist at Saint-Honoré, the church of the Jesuits and Franciscans. His artistic role model was his friend Louis Marchand (the famous organist to King Louis XIV), to whom he dedicated his Pièces d'orgue pour le Magnificat (Paris, 1706). This edition is based on a manuscript from the German National Library in Berlin. Content: - Suite du premier ton - Suite du second ton - Suite du troisième ton - Suite du quatrième ton

Johann Christoph Oley (1738–1789) became known as a composer through his four volumes of chorale preludes, some of which were published during his lifetime and some posthumously. A contemporary of Johann Ludwig Krebs and Johann Christian Leberecht Kittel, the composer drew on trends in the galant style for his chorale preludes, combining them with traditional compositional practice by using the canon of compositional techniques employed by his musical predecessors. Thus, chorale trios stand alongside cantus firmus arrangements that carry the chorale melody in the alto or tenor voice. The selection of Oley's chorale preludes offered in this edition, which are equally suitable for church services, concerts and teaching , is likely to enrich the repertoire of chorale-based organ music from the second half of the 18th century . Content: - Allein zu dir, Herr Jesu Christ - Der Tag ist hin, mein Jesu bey mir bleibe - Du, o schönes Weltgebäude - Ermuntre dich, mein schwacher Geist - Es ist vollbracht - Jesu meine Freude - Jesu, meines Lebens Leben - Jesus meine Zuversicht - Mach's mit mir, Gott, nach Deiner Güt' - Meine Hoffnung stehet feste - Nun bitten wir den heiligen Geist - Nun danket alle Gott - Nun freut euch lieben Christen g'mein - Sey Lob und Ehr dem höchsten Gut - Warum betrübst du dich, mein Herz - Warum sollt ich mich denn grämen - Was mein Gott will, das g'scheh' allzeit - Wenn meine Sünd' mich kränken - Werde munter, mein Gemüthe - Wie schön leucht der Morgenstern - Wir Christenleut' - Wir Christenleut' – Alio modo –

The famous Italian Giovanni Battista Martini (1706-1784) was born in Bologna, where he also received his musical education. He studied composition with the vocal composer Giacomo Antonio Petri, Kapellmeister at the Church of San Petronio. After Petri's death, Martini succeeded his teacher and continued in this position until his own death. However, his work as a teacher and music historian was more significant. His handwritten compositions include numerous vocal and orchestral works, instrumental concertos and other works for keyboard instruments, including the ‘Sonate sui flauti’ expressly intended for the organ and a large number of organ pieces for liturgical use. The present Sonatas V and VII for organ, harpsichord or piano are included in the collection of 12 sonatas published in Amsterdam in 1742. This new edition follows the text of the first edition. Content: Sonata V Sonata VII

Includes revision report Anton Holzner was born between 1598 and 1600, presumably in Mainburg (Lower Bavaria). In 1607, he joined the Munich court as a treble singer. From 1614, he served as organist to Duke Maximilian I, who later became Elector of Bavaria. In 1615, he went to Parma to study for two and a half years, followed by another year in Rome. In 1619, he returned to the Munich court, where he remained until his death. He was struck down by the plague in 1635. The canzonas published here have no year of publication. They appear in a handwritten organ tablature alongside works by Girolamo Frescobaldi, Christian Erbach, Giovanni Gabrieli and Hans Leo Haßler. The canzonas are in the form of the ricercar, which Holzner became acquainted with in Italy and then continued to use in Germany. Holzner was probably a pupil of Frescobaldi's organ class. In the strict style of the Roman school, incorporating modern compositional principles, he wrote 24 motets for one to five voices, 7 Magnificats for five or six voices and 7 masses for five to eight voices (also double choir).

Among the organ tablatures of the early 17th century, the intabulations of motet-like figural music by the Hamburg organist Heinrich Scheidemann are particularly noteworthy. In church services, it was expected that a motet, a type of figural music normally sung by the choir, would be performed at a certain point. The only choir in the city of Hamburg could usually only manage to perform at one of the four main churches. In all other church services, the organist had to take on the duty of playing the appropriate motet on the organ. The ability to transcribe vocal music for the organ was therefore essential for organists in Hamburg and was highly valued. In many cases, the transcriptions were taken over note for note. Occasionally, the organist would “compose” complex, ornate arrangements based on the vocal models. Heinrich Scheidemann is considered one of the most important organists of this genre. This edition was created with the aim of adapting the unique intabulation structure to a modern keyboard range, thus transposing the artistic arrangements into modern notation. Content: 10. Omnia, quae fecisti nobis, Domine 11. Surrexit pastor bonus 12. Verbum caro factum est Critical Commentary (Volume I - III)

Among the organ tablatures of the early 17th century, the intabulations of motet-like figural music by the Hamburg organist Heinrich Scheidemann are particularly noteworthy. In church services, it was expected that a motet, a type of figural music normally sung by the choir, would be performed at a certain point. The only choir in the city of Hamburg could usually only manage to perform at one of the four main churches. In all other church services, the organist had to take on the duty of playing the appropriate motet on the organ. The ability to transcribe vocal music for the organ was therefore essential for organists in Hamburg and was highly valued. In many cases, the transcriptions were taken over note for note. Occasionally, the organist would “compose” complex, ornate arrangements based on the vocal models. Heinrich Scheidemann is considered one of the most important organists of this genre. This edition was created with the aim of adapting the unique intabulation structure to a modern keyboard range, thus transposing the artistic arrangements into modern notation. Content: 5. Confitemini Domino et invocate Secunda pars: Narrate omnia mirabilia eius 6. De ore prudentis procedit me 7. Dic nobis Maria, quid vidisti in via 8. Dixit Maria ad angelum 9. Ego sum panis vivus

Among the organ tablatures of the early 17th century, the intabulations of motet-like figural music by the Hamburg organist Heinrich Scheidemann are particularly noteworthy. In church services, it was expected that a motet, a type of figural music normally sung by the choir, would be performed at a certain point. The only choir in the city of Hamburg could usually only manage to perform at one of the four main churches. In all other church services, the organist had to take on the duty of playing the appropriate motet on the organ. The ability to transcribe vocal music for the organ was therefore essential for organists in Hamburg and was highly valued. In many cases, the transcriptions were taken over note for note. Occasionally, the organist would “compose” complex, ornate arrangements based on the vocal models. Heinrich Scheidemann is considered one of the most important organists of this genre. This edition was created with the aim of adapting the unique intabulation structure to a modern keyboard range, thus transposing the artistic arrangements into modern notation. Content: 1. Alleluja Laudem dicite Deo nostro 2. Angelus ad pastores ait 3. Benedicam Dominum in omni tempore Secunda pars: In Domino laudabitur 5. Benedicam Dominum in omni tempore

Johann Christoph Kellner was born on 15 August 1736 in Gräfenroda (Thuringia). He was the son of Johann Peter Kellner (1705–1772), a prominent organist and composer of his time. In his youth, he received lessons from his father, and later, in 1754, from Georg Benda in Gotha. After spending time in Amsterdam and The Hague between 1762 and 1763, he settled in Kassel in 1764. In 1772, he was appointed court organist and cantor at the local Lutheran church. He died in Kassel in 1803. His compositional oeuvre is characterised above all by piano/harpsichord and organ works, cantatas, concertos and a theoretical work on thorough bass. His organ works follow the Baroque tradition, as do the present chorale preludes. Contents: 1. Jesus, my confidence 2. Dearest Jesus, we are here 3. O Lamb of God, innocent 4. Lord Jesus Christ, turn to us 5. Rejoice greatly, O my soul 6. Whoever lets the dear God rule

Organ Passion in eight parts