Organ Composers: The Prelude And Fugue In G Major

Organist Matthew Dirst is the first American musician to win major international prizes in both organ and harpsichord, including the national Young Artists Competition of the American Guild of Organist (1990) and the inaugural Warsaw International Harpsichord Competition (1993). He is the founder and artistic director of the period- instrument group Ars Lyrica Houston and Professor of Music at the Moores School of music at the University of Houston, and also serves as organist at St Phillip Presbyterian Church in Houston. Dirst’s degrees include PhD in musicology from Stanford University and the prix de virtuosite in both organ and harpsichord discs on the Centaur label and several CD’s with Ars Lyrica Houston on the Naxos and Sono Luminus labels. His recording with Ars
His Variations, which treat a topic that we now know to be by somebody other than Jannequin coasts from a tenderly modular start to a pleasingly unsettled fugato then back again to its modular moorings. Prelude, Trio, and Fugue in G Major, BWV 541- Johann Sebastian Bach (1705) The Prelude and Fugue in G Major, BMV 541 is one of Bach's most extravagant free works. The prelude consolidates the toccata figuration of the North German stylus phantasticus with the cadenced drive of the Vivaldian concerto. The rehashed note fugue subject, a genuinely normal device in German praeludia, bears a specific similitude to other Bach fugues, however the G-real fugue has its own identity take note of the emotional respite before the last stretto. The insertion between the prelude and fugue of the last development of the Trio Sonata in E minor (BMV 528/iii), delivering a concerto-like arrangement of developments, is proposed by surviving compositions of BMV 541 from the Bach circle. Adagio- Louis Vierne (1911) Louis Vierne's six organ orchestras are the summit of the late Romantic French