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Toccata Quinta

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Uploaded by: Agnus_Dei (06/09/14)
Composer: Eberlin, Johann Ernst
Sample Producer: Voxus Virtual Organs
Sample Set: Van Dam - Tholen
Software: Hauptwerk IV
Genre: Baroque towards transitional Classicism
Description:
Johann Ernst Eberlin (1702 – 1762) was a German composer and organist whose works bridge the baroque and classical eras. He was a prolific composer, chiefly of church organ and choral music. His first musical training began in 1712 at the Jesuit Gymnasium of St. Salvator in Augsburg. He began his university education in 1721 at the Benedictine University in Salzburg where he studied law, but then dropped out of university in 1723. In 1727 he became organist for the Archbishop of Salzburg, and reached the peak of his career when he was the organist for Archbishop Andreas Jakob von Dietrichstein. By 1749 he held the posts of Hof- und Domkapellmeister (Court and Cathedral chapel master) simultaneously. He was greatly respected while he lived, composing industriously and playing at church concerts. After his death however his strict choral pieces in the stile antico faded from popularity and only his keyboard works were remembered.

"Toccata Quinta" comes from his his "9 Toccatas and Fugues," which were dedicated to the Archbishop of Saltzburg. This one, in a bright C major, is an interesting piece, which features an extended "Andante" with "solos" in the Toccata, while the Fuga is more grandiose. Like all of these fugues, it is 2 sectional.
WARNING - I have used unusal registrations in this piece!!! The "Toccata" has "echos" in the "solo," with the "solo" played on the Carillon of the Rugwerk, and the "echo" on the 8'4'2' of the Bovenwek. All this is incorrect, I'm sure... ;-) The "Fuga" is DEFINITELY INCORRECT! I've played the first part on the Trompet of the Rugwerk, making it sound almost like Couperin. The second part begins on the "Grand Plein Jeu" with the distinctive "heavy tierce" in the mixture. First the Trompet of the Hoofdwerk is added, than of the Rugwerk, and finally the full Pedal for the last statement. NONE of this is as Eberlin would/could have done it... ;-) The listening perspective is "in the middle" of the church.
Performance: Live
Recorded in: Stereo
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