Uploaded September 2026 | Updated September 2026, 3 weeks ago
00:00 Chorale Trio as written (CF Tenor)
02:09 Trio (Same piece, not a single note is changed, but here I transform the Soprano into a solo voice.)
Friedrich Kühmstedt (1809–1858) wrote O du Liebe, meine Liebe as a Chorale Trio, with the chorale melody, the cantus firmus, in the tenor.
In this recording I first play the piece as Kühmstedt intended it. But while studying and playing the music, I became fascinated by the countermelody in the soprano. To my ears, it has an exceptionally beautiful, reflective and almost celestial singing quality.
So I became curious. What would happen if I changed the musical perspective?
In the second performance I play exactly the same music, but instead of treating the tenor as the leading voice, I bring the soprano into the foreground. The Chorale Trio suddenly becomes something quite different. A regular trio in which the soprano seems to sing a completely new melody.
I find the result fascinating. Nothing in Kühmstedt’s music has been changed. Every note is still there exactly as he wrote it. The only thing that changes is which voice is given the listener’s attention.
First you hear Kühmstedt as written. Then you hear the same music from a changed musical perspective.
Sometimes a beautiful melody is already there. You just have to listen to it differently.
Played on the St. Margaret Organ from Munich.
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00:00 Chorale Trio as written (CF Tenor)
02:09 Trio (Same piece, not a single note is changed, but here I transform the Soprano into a solo voice.)
Friedrich Kühmstedt (1809–1858) wrote O du Liebe, meine Liebe as a Chorale Trio, with the chorale melody, the cantus firmus, in the tenor.
In this recording I first play the piece as Kühmstedt intended it. But while studying and playing the music, I became fascinated by the countermelody in the soprano. To my ears, it has an exceptionally beautiful, reflective and almost celestial singing quality.
So I became curious. What would happen if I changed the musical perspective?
In the second performance I play exactly the same music, but instead of treating the tenor as the leading voice, I bring the soprano into the foreground. The Chorale Trio suddenly becomes something quite different. A regular trio in which the soprano seems to sing a completely new melody.
I find the result fascinating. Nothing in Kühmstedt’s music has been changed. Every note is still there exactly as he wrote it. The only thing that changes is which voice is given the listener’s attention.
First you hear Kühmstedt as written. Then you hear the same music from a changed musical perspective.
Sometimes a beautiful melody is already there. You just have to listen to it differently.
Played on the St. Margaret Organ from Munich.
*CONNECT WITH ME & SUPPORT MY CHANNEL AND MY MUSICAL JOUNEY*
*Social Media*
Facebook: facebook.com/rienschalkwijk
Instagram: instagram.com/rien_schalkwijk
Website: https://rienschalkwijk.nl
*Memberships | Donations |*
YouTube Membership: youtube.com/channel/UCnEqeaKPj17_1oimf_oRtEw/join
Buy Me A Coffee: buymeacoffee.com/rienschalkwijk
Patreon: patreon.com/c/rienschalkwijk
*Sheet Music Store*
buymeacoffee.com/rienschalkwijk/extras
*One Time Support Options*
buymeacoffee.com/rienschalkwijk
paypal.com/paypalme/rienschalkwijk
