Ach Gott und Herr
Source: IMSLP
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Tag Archives: Baroque organ
Johann Gottfried Walther: Showcase Piece
Johann Gottfried Walther: Selected Recordings
Concerto h-moll
Lobe den Herren
Praeludium und Fuge in A
Johann Gottfried Walther: Complete Works
Ach Gott und Herr
Ach Gott, erhör mein Seufzen und Wehklagen
Christus der ist mein Leben (II)
Concerto in G major
Ein feste burg ist unser Gott
Fugue in F major
Gott der Vater wohn uns bei
Harmonisches Denck- und Danckmahl
Herr Gott, nun schleuß den Himmel auf
Kyrie, Gott Vater in Ewigkeit
Lobe den Herren, den mächtigen König der Ehren
Mach’s mit mir, Gott, nach deiner Güt
Meinem Jesu laß ich nicht
Nun komm der heiden Heiland
Nun lobe meine Seele den Herrn
Prelude and Fugue in A major
Prelude and Fugue in C major
Prelude and Fugue in D minor
Prelude and Fugue in G major
Sämtliche freie Orgelwerke
Toccata and Fugue in C major
Warum sollt ich mich denn grämen
Johann Gottfried Walther: Notes and Commentary
Johann Gottfried Walther, the cousin of Johann Sebastian Bach’s son, was a German music theorist, organist, composer, and lexicographer of the Baroque era. He was most well known as the compiler of the Musicalisches Lexicon (Leipzig, 1732), the first dictionary of musical terms written in the German language and the first to contain terms and biographical information about composers and performers up to the early 18th century. In all, the Musicalisches Lexicon defines more than 3,000 musical terms. Walther is thought to have drawn on more than 250 sources in compiling it, including theoretical treatises of the early Baroque and Renaissance. The single most important source for the work was the writings of Johann Mattheson, who is referenced more than 200 times.
In defining musical composition, Walther described it as a form of mathematical science. “Musica Poetica or musical composition is a mathematical science through which an agreeable and correct harmony of the notes is brought to paper in order that it might later be sung or played, thereby appropriately moving the listeners to Godly devotion as well as to please and delight both mind and soul,” he wrote. “It is so called because the composer must not only understand language as does the poet in order not to violate the meter of the text but because he also writes poetry, namely a melody, thus deserving the title Melopoeta or Melopoeus.”
Walther was the music teacher of Prince Johann Ernst von Sachsen-Weimar. He wrote a handbook for the young prince with the title Praecepta der musicalischen Composition, 1708. It remained handwritten until Peter Benary’s edition (Leipzig, 1955). As an organ composer, Walther became famous for his organ transcriptions of orchestral concertos by contemporary Italian and German masters. He made 14 transcriptions of concertos by Albinoni, Gentili, Taglietti, Giuseppe Torelli, Vivaldi and Telemann. These works were the models for Bach to write his famous transcriptions of concertos by Vivaldi and others. On the other hand, Walther as a city organist of Weimar wrote 132 organ preludes based on Lutheran chorale melodies. He lived from September 18, 1684, to 23 March 23, 1748. —Excerpted from Wikipedia
Johann Gottfried Walther: Books and Music
Selected Books
Musikalisches Lexikon oder musikalische Bibliothek
Bärenreiter; First Edition Thus edition (1953)
Johann Gottfried Walther
$199.67 on Amazon
Selected Music
Italian String Concertos, 1 CD
Complete Organ Music (2015), 12-CD set
Six Concertos for Organ, 1 LP
Johann Gottfried Walther, 1684-1748
Selected Recordings
Concerto h-moll
Lobe den Herren
Praeludium und Fuge in A
Selected Sheet Music
Ach Gott und Herr
Source: IMSLP
Showcase Piece
Jesu Meine Freude
Notes and Commentary
Johann Gottfried Walther, the cousin of Johann Sebastian Bach’s son, was a German music theorist, organist, composer, and lexicographer of the Baroque era. He was most well known as the compiler of the Musicalisches Lexicon (Leipzig, 1732), the first dictionary of musical terms written in the German language and the first to contain terms and biographical information about composers and performers up to the early 18th century. In all, the Musicalisches Lexicon defines more than 3,000 musical terms. Walther is thought to have drawn on more than 250 sources in compiling it, including theoretical treatises of the early Baroque and Renaissance. The single most important source for the work was the writings of Johann Mattheson, who is referenced more than 200 times.
In defining musical composition, Walther described it as a form of mathematical science. “Musica Poetica or musical composition is a mathematical science through which an agreeable and correct harmony of the notes is brought to paper in order that it might later be sung or played, thereby appropriately moving the listeners to Godly devotion as well as to please and delight both mind and soul,” he wrote. “It is so called because the composer must not only understand language as does the poet in order not to violate the meter of the text but because he also writes poetry, namely a melody, thus deserving the title Melopoeta or Melopoeus.”
Walther was the music teacher of Prince Johann Ernst von Sachsen-Weimar. He wrote a handbook for the young prince with the title Praecepta der musicalischen Composition, 1708. It remained handwritten until Peter Benary’s edition (Leipzig, 1955). As an organ composer, Walther became famous for his organ transcriptions of orchestral concertos by contemporary Italian and German masters. He made 14 transcriptions of concertos by Albinoni, Gentili, Taglietti, Giuseppe Torelli, Vivaldi and Telemann. These works were the models for Bach to write his famous transcriptions of concertos by Vivaldi and others. On the other hand, Walther as a city organist of Weimar wrote 132 organ preludes based on Lutheran chorale melodies. He lived from September 18, 1684, to 23 March 23, 1748. —Excerpted from Wikipedia
Books and Music
Selected Books
Musikalisches Lexikon oder musikalische Bibliothek
Bärenreiter; First Edition Thus edition (1953)
Johann Gottfried Walther
$199.67 on Amazon
Selected Music
Italian String Concertos, 1 CD
Complete Organ Music (2015), 12-CD set
Six Concertos for Organ, 1 LP
Complete Works
Ach Gott und Herr
Ach Gott, erhör mein Seufzen und Wehklagen
Christus der ist mein Leben (II)
Concerto in G major
Ein feste burg ist unser Gott
Fugue in F major
Gott der Vater wohn uns bei
Harmonisches Denck- und Danckmahl
Herr Gott, nun schleuß den Himmel auf
Kyrie, Gott Vater in Ewigkeit
Lobe den Herren, den mächtigen König der Ehren
Mach’s mit mir, Gott, nach deiner Güt
Meinem Jesu laß ich nicht
Nun komm der heiden Heiland
Nun lobe meine Seele den Herrn
Prelude and Fugue in A major
Prelude and Fugue in C major
Prelude and Fugue in D minor
Prelude and Fugue in G major
Sämtliche freie Orgelwerke
Toccata and Fugue in C major
Warum sollt ich mich denn grämen
Baroque Composer by Genre or Instrument: Organ
Jan Pieterszoon Sweelinck, 1562-1621
Girolamo Frescobaldi, 1583-1643
Heinrich Schutz, 1585-1682
Samuel Scheidt, 1587-1654
Johann Jakob Froberger, 1616-1667
Giovanni Legrenzi, 1626-1690
Dietrich Buxtehude, 1637-1707
John Blow, 1649-1708
Johann Pachelbel, 1653-1706
Johann Gottfried Walther, 1684-1748
Johann Sebastian Bach, 1685-1750
Carlos Seixas, 1704-1742
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Other instruments or genre:
Violin
Viol or cello
Harpsichord
Lute
Flute
Opera
Other vocal music
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By nationality:
English
French
German
Italian
Other European
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Samuel Scheidt: Selected Sheet Music
Samuel Scheidt: Notes and Commentary
Samuel Scheidt was a German composer, organist, and teacher of the early Baroque era. He studied with Jan Sweelinck, the distinguished Dutch composer, whose work had a clear influence on Scheidt’s style. Scheidt was the first internationally significant German composer for the organ, and represents the flowering of the new north German style, which occurred largely as a result of the Protestant Reformation. In south Germany and some other countries of Europe, the spiritual and artistic influence of Rome remained strong, so most music continued to be derivative of Italian models. Cut off from Rome, musicians in the newly Protestant areas readily developed styles that were much different from those of their neighbors.
Scheidt’s music is in two principal categories: instrumental music, including a large amount of keyboard music, mostly for organ; and sacred vocal music, some of which is a cappella and some of which uses a basso continuo or other instrumental accompaniment. In his numerous chorale preludes, Scheidt often used a “patterned variation” technique, in which each phrase of the chorale uses a different rhythmic motive, and each variation is more elaborate than the previous one, until the climax of the composition is reached. In addition to his chorale preludes, he wrote numerous fugues, suites of dances (which were often in a cyclic form, sharing a common ground bass) and fantasias. He lived from November 1587 to March 24, 1654.—Excerpted from Wikipedia
Samuel Scheidt Books and Music
More on Scheidt
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