Nicolaus Bruhns – „Großes“ Praeludium in e-Moll

Download my compositions (PDF) ➝ https://cristianorizzotto.com/composi... Facebook ➝   / cristianorizzottovidalpessoa   Website ➝ http://www.cristianorizzotto.com Download my dissertation ➝ https://shareok.org/handle/11244/319757 Donate to my channel through Paypal ➝ https://www.paypal.com/cgi-bin/webscr... Dr. Cristiano (Kris) Rizzotto, organ Recorded live in concert at the C. B. Fisk Organ, Opus 111, in Gothic Hall at the University of Oklahoma (USA). Organ specifications ➝ http://www.cbfisk.com/instruments/opu... Nicolaus Bruhns (1665-1697) – Præludium in E-minor, The Great Videos like these take many days to make as well as expensive equipment. Please consider supporting the production of more high quality recordings like this by donating to my YouTube channel using one of the two PayPal links below: https://bit.ly/2kDDAsP https://www.paypal.me/krisrizzotto _ _ _ _ _ _ _ _ _ _ Having performed in North America, Europe and South America, Latvian Brazilian Dr. Cristiano Rizzotto (Kris Rizzotto) is an active recitalist who frequently performs the works of contemporary composers. Cristiano is the Organist & Choirmaster at Good Shepherd Catholic Church in the Twin Cities, Minnesota, and the Director of the Good Shepherd International Concert Series. Dr. Rizzotto became a published composer after Toccata was released by Wayne Leupold Editions in 2014. Cristiano was named a member of The Diapason‘s 20 Under 30 Class of 2017. Dr. Rizzotto was previously the titular organist at the Benedictine Abbey of Rio de Janeiro, owner of one of the oldest organs in South America and where the monks have kept the tradition of the chants and liturgy alive since the 16th century. _ _ _ _ _ _ _ _ _ _ The transition between the Renaissance and the Baroque era in music brought a great development in instrumental music conceived as an expressive means unto itself, independent from any vocal conceptions. From then on, new idiomatic styles for instruments took character and shape. Some of the earliest heights of organ music were reached in 17th century Northern Germany, particularly with the Stylus phantasticus. This was the freest art of composition and performance, constrained neither to melody, tempo, nor key, but only to harmony, only so that the performer could demonstrate his ability. Such pieces would normally be improvised, hence their spontaneity and variety of color. The German composer, organist, and violinist Nicolaus Bruhns was one of the most important representatives of this style, having influenced even the great J. S. Bach. His virtuosity, creativity, and skill can be glimpsed from testimonies of him playing the violin while accompanying himself with a bass part on the organ pedals. Bruhns’ surviving compositions are five organ works and twelve vocal works. This Praeludium follows the structure of the typical Northern German toccata, where free sections surround imitative (fugal) ones. Bruhns' vocal works include four sacred concertos that established a new level of virtuosity in the genre, and three sacred madrigal cantatas that represent a direct link with the next century and the work of Johann Sebastian Bach. Although the instrumental writing in most of these works suggests that Bruhns could only rely on musicians of average skill, there are movements, such as the opening sonatina of the solo cantata Mein Herz ist bereit, that feature highly developed, virtuosic textures. Bruhns almost certainly wrote chamber music, which may have been of the same high quality, but none of these works survive. The organ works comprise four praeludia and a chorale fantasia on the hymn "Nun komm, der Heiden Heiland". The most significant of these pieces is the larger of the two E minor praeludia, which is usually cited as one of the greatest works of the North German organ tradition. Although Johann Sebastian Bach's son Carl Philipp Emanuel Bach claimed that his father admired and studied Bruhns' work, no direct influence has been traced by scholars. Dieses Praeludium ist zweifellos Bruhns’ eigenwilligstes Orgelwerk. Es besteht aus zwei voneinander unabhängigen Fugen mit jeweiligem Vor-, Zwischen- und Nachspiel, in die freie Abschnitte eingestreut sind. Mit seiner enormen Vielfältigkeit treibt es den „Fantastischen Stil“ auf die Spitze. Apel verglich das Stück – möglicherweise in Anlehnung an eine Charakterisierung des Stylus Phantasticus in Matthesons Werk Der vollkommene Capellmeister – mit einem „magischen Theater, in dem jeden Augenblick neue Personen auftreten, sich über die Bühne bewegen und wieder verschwinden.“