Hieronymus Praetorius stands at the beginning of the North German organ school and is an important representative of the German-Venetian school, not least with his vocal works. His organ music is particularly interesting and appealing because it has not yet undergone the development of the "Amsterdam-Hamburg Sweelinck School" and therefore many performance-practical aspects are not yet clearly outlined. This raises a number of performance-practical questions, not least concerning the choice of registrations, to which Léon Berben would like to provide an answer with this recording. The choice of the two historic organs from Langwarden (1650) and Lemgo (1613) - two instruments ideally suited for 16th century music, of which there are hardly any recordings so far - complete the impression of an absolutely sound new recording.
5 Hymnus Christe qui lux es et dies~Versus 1 im Basso
6 Hymnus Christe qui lux es et dies~Versus 2 im Discanto
7 Hymnus Christe qui lux es et dies~Versus 3 im Basso
8 Hymnus Christe qui lux es et dies~Versus 4 im Discanto
9 Magnificat Quinti Toni~Versus 1 im Tenore
10 Magnificat Quinti Toni~Versus 2 im Discanto
11 Magnificat Quinti Toni~Versus 3 in Basso
12 Hymnus A solis ortus cardine~Versus 1
13 Hymnus A solis ortus cardine~Versus 2
14 Hymnus Iesu nostra redemptio~Versus 1
15 Hymnus Iesu nostra redemptio~Versus 2
16 Hymnus Iesu nostra redemptio~Versus 3 im Basso
17 Hymnus Vexilla regis prodeunt~Versus 1
18 Hymnus Vexilla regis prodeunt~Versus 2
19 Magnificat Secundi Toni~Versus 1 in Tenore
20 Magnificat Secundi Toni~Versus 2 im Discanto
21 Magnificat Secundi Toni~Versus 3 im Basso
22 Hymnus Deus creator omnium~Versus 1
23 Hymnus Deus creator omnium~Versus 2
24 Hymnus O lux beata trinitas~Versus 1
25 Hymnus O lux beata trinitas~Versus 2
26 Magnificat Quarti Toni~Versus 1 in Tenore
27 Magnificat Quarti Toni~Versus 2 im Discanto
28 Magnificat Quarti Toni~Versus 2 Alio modo Fuga
29 Magnificat Quarti Toni~Versus 3 im Basso
- Disc 2 -
1 Christ unser Herr zum Jordan kam
2 Magnificat primi toni (Zellerfeld Tabulatur)~Versus 1
3 Magnificat primi toni (Zellerfeld Tabulatur)~Versus 2 auff 2 Clavier Pedaliter
4 Magnificat primi toni (Zellerfeld Tabulatur)~Versus 3
5 Hymnus Dies absoluti praetereunt~Versus 1
6 Hymnus Dies absoluti praetereunt~Versus 2
7 Magnificat primi toni~Versus 1 im Tenore
8 Magnificat primi toni~Versus 2 im Discanto
9 Magnificat primi toni~Versus 3 im Basso
10 Magnificat tertii toni~Versus 1 im Tenore
11 Magnificat tertii toni~Versus 2 Vp 2 Clauier
12 Magnificat tertii toni~Versus 3 im Basso
13 Magnificat tertii toni~Versus 4 im Discanto
14 Hymnus Veni redemptor gentium~Versus 1 im Basso
15 Hymnus Veni redemptor gentium~Versus 2
16 Magnificat sexti toni~Versus 1 im Tenore
17 Magnificat sexti toni~Versus 2 im Discanto
18 Magnificat sexti toni~Versus 3 im Basso
19 Magnificat septimi toni~Versus 1 im Tenore
20 Magnificat septimi toni~Versus 2 im Discanto
21 Magnificat septimi toni~Versus 3 in Basso
22 Magnificat septimi toni~Versus 4 Vp 2 Clauier
23 Magnificat septimi toni~Versus 4 Alio modo im Tenore Vp 2 Clauier
24 Wenn mein Stündlein vorhanden ist auff 2 Clauier
Hieronymus Praetorius stands at the beginning of the North German organ school and is an important representative of the German-Venetian school, not least with his vocal works. His organ music is particularly interesting and appealing because it has not yet undergone the development of the "Amsterdam-Hamburg Sweelinck School" and therefore many performance-practical aspects are not yet clearly outlined. This raises a number of performance-practical questions, not least concerning the choice of registrations, to which Léon Berben would like to provide an answer with this recording. The choice of the two historic organs from Langwarden (1650) and Lemgo (1613) - two instruments ideally suited for 16th century music, of which there are hardly any recordings so far - complete the impression of an absolutely sound new recording.
