About This Item
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 InchAmsterdam-Hamburg Sweelinck SchoolInch 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. Details 1. Magnificat Octavi Toni~Versus 1 im Tenore 2. Magnificat Octavi Toni~Versus 2 in Discanto 3. Magnificat Octavi Toni~Versus 3 in Basso 4. Magnificat Octavi Toni~Versus 4 in Basso 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 D
