Just Style Us Phantastic #1015

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Hour 1

DIETERICH BUXTEHUDE: Praeludium in C, BuwWV 137 –Ton Koopman (1693 Schnitger/Jacobikirche, Hamburg, Germany) Challenge Classics 72247

NICOLAUS BRUHNS: Praeludium in e –Jan Willem Jansen (1677 Delauney; 1982 Grenzing/St. Pierre de Chartreux, Toulouse, France) Temperaments CD-76

JOHANN ADAM REINCKEN: Fantasy, Was kann uns kommen an für Not –Bernard Foccroulle (1693 Schnitger/Jacobikirche, Hamburg, Germany) Ricercar 204

NICOLAUS HASSE: Chorale-prelude, Allein Gott in der Höh –Wolfgang Baumgratz (1720 Klapmeyer/Parish Church, Barmstedt, Germany) Dabringhaus und Grimm MDG 319 0962

JEHAN ALAIN: Fantasy Number 2 –Yoon-Mi Lim (1997 Goulding & Wood/St. Meinrad Archabbey, Saint Meinrad, IN) Pro Organo CD 7205

MAX REGER: Chorale-Fantasy, Ein feste Burg, Opus 27 –Hans Uwe Hielscher (1982 Oberlinger/Market Church, Wiesbaden, Germany) OrganoPhon 90109

Filler –JOHANN ADAM REINCKEN (see above)

Hour 2

VINCENT LÜBECK: Praeambulum in c –Karl-Bernhardin Kropf (1688 Schnitger/St. Pankratius Church, Neuenfelde, Germany) IFO 00 088

FRANZ TUNDER: Choral Fantasy, In dich hab ich gehgoffet, Herr –Pamela Ruiter-Feenstra (2000 GoART Replica/Örgryte nya kyrka [Örgryte New Church], Göteborg, Sweden) Loft LRCD-1048-49

PETER MORHARD: Chorale-preludes: Allein zu dir, Herr Jesu Christ; Meine Seele erhebet den Herrn; Alle Welt, was lebet –Friedhelm Flamme (1711 von Holy/Bartholomäuskirche, Dornum, Germany) cpo 777 343

BERT MATTER: Fantasy on Un jeune fillette –Olivier Latry (1724 Kastens; 1995 Lund/Garrison Church, Copenhagen, Denmark) Helikon 1054

LOUIS VIERNE: Fantasy Pieces, Opus 54, number 3, Etoile du soir, –Ben van Oosten (1890 Cavaillé-Coll/Église Saint-Ouen, Rouen, France) Dabringhaus und Grimm MDG 316 0847

J.S. BACH: Fantasy & Fugue in g, S. 542 –Wolfgang Rübsam (1969 Metzler/St. Nikolaus Church, Frauenfeld, Switzerland) Philips 438 170

Filler –DIETERICH BUXTEHUDE (see above)

Seventeenth-century author, scientist and inventor, a true baroque polymath, Athanasius Kircher [1602-1680] described the stylus fantasticus in his book, Musurgia Universalis: “The fantastic style is especially suited to instruments. It is the most free and unrestrained method of composing, it is bound to nothing, neither to any words nor to a melodic subject, it was instituted to display genius and to teach the hidden design of harmony and the ingenious composition of harmonic phrases and fugues.”