BMC 3 - BAROQUE ORGAN MUSIC on the Historic Hinsz Organ of 1738, Kampen NLPachelbel – Hanff – Lübeck – Buxtehude – Böhm – BachJohann Pachelbel, who was born in 1653 in Nurnberg and died there in 1706, was appointed organist of St. Stephen's Cathedral in
Vienna in 1673. In 1677 he became Court Organist in Eisenach, and in 1678 organist in Erfurt. His appointment in Eisenach brought
him naturally into contact with the Bach family, and led to a warm friendship with Ambrosius Bach, the father of Johann Sebastian.
Pachelbel's fame had reached great heights: in 1695 he was appointed, without the customary selection procedure, as Organist of the St.
Sebaldus Church in his birthplace, the climax of his career.
During his Viennese period he had come into contact with the Italian music of Frescobaldi and his contemporaries, which gave his music'Southern' traits. One of his greatest works is the Praeludium, Fugue and Ciacona in d-minor. The work opens with a striking andenergetic pedal-solo. The theme is taken over by the hands, supported by a pedal point, a typically Southern characteristic. The Fugue,
with its descending chromatic subject, makes a clear contrast. The Ciacona demonstrates both the composer's fantasy and hiscontrapuntal ingenuity. Above a simple pedal subject - an ascending line of five notes - he writes a most inventive and virtuoso
counterpoint, employing the full compass of the baroque organ.
Little is known of the life of Johann Nikolaus Hanff. He was born in 1655, studied music in Hamburg, and filled various organists'posts. In 1711 he was appointed to the respected post of Organist of the Cathedral of Schleswig. Unfortunately he died in the winter of
1711-2. His extant oeuvre is very limited, consisting of only three cantatas and six chorale preludes. These organ chorales are allcomposed according to the same technique: a four-voiced texture with the melody in the soprano voice, richly ornamented, giving theorganist the opportunity to play the melody on a solo registration, often on the Rugwerk.
The beseeching effect of the Chorale Ach Gott, vom Himmel sieh' darein is presented with sensitive chromatic lines, both ascending anddescending. The triumphant Ein feste Burg ist unser Gott is of an entirely different character. In the last line it is striking that Hanff gives
the melody in a dotted rhythm descending to the bass, possibly to symbolize the victory over evil.
Vincent Lübeck may be considered one of the greatest and most influential organists of his time, both as organist-composer as well asorgan consultant. He played two important Schnitger organs in the course of his career: that in the St. Cosmaekirche in Stade and the St
Nicolaikirche in Hamburg, His organ works consist of seven preludes and two chorale fantasias written in the North German style,which demands great virtuosity of both hands and feet. The high level of pedal playing at that time is apparent from the use of double
pedal in works of Lübeck, Bruhns, Bach and others. Lübeck's idiom is closely related to that of Buxtehude. The style is often capricious
and improvisatory; on the other hand, the works remain structurally clear because they are built from "blocks" which contrast with eachother in character and movement.
The Preambulum in c-minor can be divided into three sections: a lively opening in nearly constant sixteenths, then a stately middle
section in eighths, and finally an imitative section in which repeated tones play an important role and generate a lively, almost
abandoned character.
Dietrich Buxtehude is deemed one of the most important representatives of North German organ culture. He was born in c. 1637 in thecoastal town of Oldesloe on the German-Danish border, for which reason his nationality is disputed. In 1668 he succeeded Franz
Tunder as Cantor-Organist of the St. Marienkirche in Lübeck. For almost 40 years, until his death in 1707, he set an irreplaceable
stamp on the musical life of this city, not least as organizer of the Abendmusiken, evening church concerts in which his cantatas wereperformed.
The Passacaglia in d-minor consists of four blocks which contrast not so much in compositional technique, but rather in the fact thateach is in a different key: the first in d, the second in F, the third in a, and the last again in d. Each section presents the bass theme
seven times, creating a finely balanced structure.
The Präludium in g minor is also composed of various sections. The first is freely contrapuntal above a pedal tone g; the second is afugato on a melodic subject. The pedal introduces a short homophonic interlude, then another fugato, this time on a lively subject in16ths. The last section is fugal, on a stately 'gravitatisch' subject. The beginning of this subject is used in the concluding section as apedal ostinato.
Georg Böhm was born in 1661, studied at the university of Jena, and established himself in cosmopolitan Hamburg. This city had aflourishing musical life, with an opera house and the Jacobikirche with its Schnitger organ, of which Johann Adam Reincken was theorganist. In 1698 Böhm applied successfully for the post of organist at the Johanniskirche in Lüneburg, where he remained until his deathin 1733. Bach almost certainly came into contact with Böhm when he was a pupil at St. Michael's School at Lüneburg during Böhm'stenure as organist of the Johanniskirche. The Partita on Freu' dich sehr, o meine Seele has twelve variations. The first ten are lively; theeleventh is a marked contrast, making use of exclusively long notes and heavy chords. The last variation is a trio, with the chorale
melody in the middle voice.

And finally the composer whose name has already been mentioned several times, Johann Sebastian Bach, born in 1685 in Eisenach. His
youth was characterized by an unquenchable thirst for music, as witness his contact with Böhm, the famous trip by foot to Lübeck in
1705 to hear Buxtehude and the Abendmusiken, his copying by candlelight of De Grigny's Livre d'Orgue. In this way Bach got
acquainted with everything of importance in the European music of his time, in order to make his own synthesis.
The five-voiced Fantasia in c-minor is a work with strong vocal traits; the theme moves only by steps, and is by reason of this fact alone
very lyrical. It is introduced in the various manual voices above a pedal point on c.
After a rest follows a second presentation, this time above a dominant pedal. Hereafter follows a free development through diverse keys,
in which Bach manages to build up wonderful harmonic tension. The work ends with another long-held pedal point on c. Botharrangements of Liebster Jesu, wir sind hier come from the Orgelbüchlein, which Bach wrote to teach young organists the art of liturgicalorgan playing. The first is a fairly simple organ chorale, which shows nevertheless Bach's mastery of expressive dissonances. The second
setting is related to the organ chorales of Hanff and Böhm in its excessive use of ornaments in the chorale melody, which gives theupper voice a new melodic expressivity.
The Prelude and Fugue in C originated in Bach's period in Weimar, where he was appointed court organist in 1708. Duke Wilhelm of Weimar’s love of organ music was a great stimulus to the organ composer Bach. The work is majestic in character, and forms an excellent
conclusion to the program on this CD, in which all lines converge in Bach.
Lex Gunnink_____________________________________________________________________________________________The Historic HINSZ Organ of 1738. Though the organ history of the Broederkerk, Kampen, Netherlands, dates back to 1570, it

was in 1738 that Albertus Anthonie Hinsz was commissioned to carry out extensive work resulting in a major re-build. In 1993,
following many subsequent alterations, the Organ was restored by Van Vulpen to meet its original Hinsz specification, which reflected
the organ at the height of its evolution. The complete present-day specification is as follows:HOOFDWERK
Bordun16’
Praestant8’
Praestant DiscantRoorfluyt
8’Octaaf4’
Speelfluyt
4’
Quninta
3’
Octaaf2’
Mixtuir
IV
Fagot
6’
Trompet8’
RUGWERK
Fluyt Does 8’
Praestant DiscantPraestant4’
Gedakt Fluyt 4’
Nasat
3’
Octaaf2’
Sexquialter II
Dulciaan
8’
ONDERPOSITIEF
Holpyp8’
Quintadena 8’
Octaaf
4’
Quintfluyt 3’
Waldfluyt 2’
Sexquialter II-IIICimbel
IIIVox Humana
8’
PEDAAL
Subbas
OctaafOctaafBasuinTrompet

16’
8’
4’
16’
8’

16’

8’

Gosse Hulzinga was born in 1966 in Leeuwarden. He studied organ with Jelle de Jongh at the Municipal Musiek Institute from 1981 to 1988.
After 1992 he studied organ performance with Lucas Lindeboom, organist at the great St. Michael’s Church in Zwolle with its world-famousSchnitger Organ. At present he teaches in Kampen and is Organist of the Adventist Church in Zwolle. Recorded August 14-15, 1996. RecordingEngineer: Jan van Cleef.