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Notes
for
A Baroque Sampler
Transcriptions and Editions for Organ
Foreword
In keeping with the spirit of performance and notation practices of the Baroque era, the addition of specific instructions for organ registrations has been avoided, although in the case of transcriptions from instrumental works, some original timbres are included. Terraced dynamics are suggested throughout and can be effectively achieved with manual and registrational changes. While all of the music presented here can be enhanced by the varied sonorities of a large instrument, many subtle effects and colors can be achieved by use of a wide palette of sensitive and expressive touches. Where multiple keyboards might be limited or unavailable, the illusion of a range of dynamic contrasts, from soft to loud ( p, mp, mf, and f ), can be created by alternating between degrees of legato and non-legato: for example, a repeated passage can first be played detaché and then repeated staccato as an echo, and a cantabile melodic line will sound out prominently against an accompaniment that is rendered in a sensitive detaché.A Baroque Sampler includes works by eighteen composers, many of them well-known names from an artistic era in music that is characterized by its florid and expressive nature. The selections of this collection have been drawn from various scores and sources and include music written originally for diverse ensembles, as well as compositions written expressly for keyboard that have been adapted for performance on the contemporary organ. Varying degrees of creative liberties have been applied to some of the movements, including the addition of occasional interpretive instructions, editorial musica ficta corrections, ornamental figurations, double-dotted rhythms, two transpositions, a new contrapuntal line for a well known aria, two recommended da capos to round out movements, a new variation for a partita, an added verse in a chaconne, and a cadenza for a fugue. These alterations are noted in the descriptions that follow below, or in the actual music scores.
Tempos are suggested in the broadest of terms, coupled with a given note value, but metronomic markings have been avoided. All original repeats have been retained throughout, although in some instances a performance can easily be abbreviated by occasional omissions. Performances will ultimately be affected by the individual instrument and acoustical setting, by the occasion, and will be tempered by the personality of the performer.
Copyright © 2004 Ennis Fruhauf
All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of Ennis Fruhauf.