Praeludium in C-Dur Uploaded by: wimbomhof Composer: Heinrich Michael Keller (1638-1710) Organ: Noordbroek, Schnitger-Hinsz-Freytag Software: Hauptwerk IV Views: 67
Kleine Praeludium & Fuge in C Uploaded by: EdoL Composer: Krebs JT ??, Krebs JL ??, Bach JS probably not Organ: 1687 Arp Schnitger, Steinkirchen, Germany Software: Hauptwerk IV Views: 285
Praeludium et Fuga in c Uploaded by: marcothart Composer: Pachelbel, Johann Organ: Mascioni, Azzio (2016) Software: Hauptwerk IV Views: 140
Vom himmel hoch da komm ich heer Uploaded by: alberto63 Composer: Michael David Gattermann Organ: Laurenskerk - Transept Organ - 1959 Marcussen & Son Software: Hauptwerk IV Views: 86
Toccata in G Minor - Richardson Uploaded by: Romanos401 Composer: James J. Richardson b.1989 Organ: Laurenskerk - Transept Organ - 1959 Marcussen & Son Software: Hauptwerk IV Views: 167
Herzliebster Jesu Uploaded by: Romanos401 Composer: Rinck, Johan Christian Heinrich Organ: Laurenskerk - Transept Organ - 1959 Marcussen & Son Software: Hauptwerk IV Views: 148
"Gottes Sohn ist kommen," BWV 703 Uploaded by: MrStone Composer: Bach, J. S. Organ: Laurenskerk - Transept Organ - 1959 Marcussen & Son Software: Hauptwerk VI Views: 93
Rheinberger Trio No. 1, Op. 49 Uploaded by: Romanos401 Composer: Rheinberger, Josef Organ: Laurenskerk - Transept Organ - 1959 Marcussen & Son Software: Hauptwerk IV Views: 263
Burkhard Mohr (b. 1955) — Praeludium und Fuge in C/e (2009) for organ
German composer Burkhard Mohr (b. 1955) was born in Gambach/Oberhessen and was educated in Frankfurt where he studied music and theology. He also attended the Darmstadt new music courses with Stockhausen, Kagel, Ligeti, and Xenakis. He has worked as a church musician in Frankfurt-Höchst and Wiesbaden and also taught music for many years at the technical university in Frankfurt. Mohr has composed numerous musical works in many genres, including several operas and orchestral works along with much chamber music and music for choir and organ. Mohr’s music usually concerns itself with the blurry boundaries and connections between atonal (12-tone) and tonal (triadic) materials and with the unexpected (or traditionally extended) formal designs that can result from teasing out these connections.