Dale Carr | Præambulum ex d manualiter, 1637 den 10 Januarij by Heinrich Scheidemann, performed by Dale Carr @dalecarr6361 | Uploaded November 2021 | Updated October 2024, 3 hours ago.
Præambulum ex d manualiter, 1637 den 10 Januarij, by Heinrich Scheidemann (ca. 1596-1663) ;
Performed by Dale Carr on the organ in Midwolde {Westerkwartier}
on 18 July, 1987
This work is preserved in 2 manuscripts, of which one specifies 'manualiter' and the other the date of composition. Both indications suggest an organ comparable with that in Midwolde, which has no pedals, and which was built in 1630 {Levinus Eekman} and remodeled in 1660 {Andreas de Mare}.
The structure of the piece has an interesting symmetry: near the beginning {0'50"} there's a passage with harmonies ascending by 3rds {a-e, c-g, e-b}, which is rather unusual, especially in a sequence of this length. In the passage leading to the final cadence {3'13"} this ascent by 3rds is balanced by a descent by 3rds {d, b♭, g}, introducing the subdominant.
Between these passages with harmonic movement in 3rds are several passages moving up or down chromatically in one or another voice, with the other voices in harmony.
Though the concluding bass movement in descending 3rds is fairly rare, I can refer to 2 other works in which it can be heard:
- Bach, Kunst der Fuge, contrapunctus 1 {f, d, b♭, g}, youtube.com/watch?v=TQ2oVZgq_dM @ 2'50". This descent is followed/echoed by a bass ascent in 3rds {d, f, a, c} leading to the transformation of the c♮ from the exposition - which has been a harmonic thorn-in-the-side throughout the piece - into a c#;
- Tomkins, Pavan in 3 parts {c, a, f, d,}, @ the end of the 3rd section.
If listeners are aware of other similar passages, I'd be delighted to learn of them.
registrations:
{0'10"} 8' Roerfluit, 4' Prestant, 2' Octaaf
{0'50"} 8', 4'
{1'13"} 8', 4', 2'
{2'00"} 8', 4', 2', 1½' Quint {treble, then bass}
{2'55"} 8', 4', 2', 1½', Sesquialter {treble}
Præambulum ex d manualiter, 1637 den 10 Januarij, by Heinrich Scheidemann (ca. 1596-1663) ;
Performed by Dale Carr on the organ in Midwolde {Westerkwartier}
on 18 July, 1987
This work is preserved in 2 manuscripts, of which one specifies 'manualiter' and the other the date of composition. Both indications suggest an organ comparable with that in Midwolde, which has no pedals, and which was built in 1630 {Levinus Eekman} and remodeled in 1660 {Andreas de Mare}.
The structure of the piece has an interesting symmetry: near the beginning {0'50"} there's a passage with harmonies ascending by 3rds {a-e, c-g, e-b}, which is rather unusual, especially in a sequence of this length. In the passage leading to the final cadence {3'13"} this ascent by 3rds is balanced by a descent by 3rds {d, b♭, g}, introducing the subdominant.
Between these passages with harmonic movement in 3rds are several passages moving up or down chromatically in one or another voice, with the other voices in harmony.
Though the concluding bass movement in descending 3rds is fairly rare, I can refer to 2 other works in which it can be heard:
- Bach, Kunst der Fuge, contrapunctus 1 {f, d, b♭, g}, youtube.com/watch?v=TQ2oVZgq_dM @ 2'50". This descent is followed/echoed by a bass ascent in 3rds {d, f, a, c} leading to the transformation of the c♮ from the exposition - which has been a harmonic thorn-in-the-side throughout the piece - into a c#;
- Tomkins, Pavan in 3 parts {c, a, f, d,}, @ the end of the 3rd section.
If listeners are aware of other similar passages, I'd be delighted to learn of them.
registrations:
{0'10"} 8' Roerfluit, 4' Prestant, 2' Octaaf
{0'50"} 8', 4'
{1'13"} 8', 4', 2'
{2'00"} 8', 4', 2', 1½' Quint {treble, then bass}
{2'55"} 8', 4', 2', 1½', Sesquialter {treble}