Wie immer eine Freude, herzlichen Dank!

Great music. Where can I find the score? Thank you

Well played, Andreas & interesting notes, thank you. It worked very well to have the transposed chorale at the end. I wonder if you transposed by eye or by the score?

Another well-crafted composition from Sjögren! His harmonic language is unusual but it inspires confidence that he knows where he's going. Thank you, Andreas. This series of recordings is proving well worth exploring in its entirety.

I very much like the restrained mystical grandeur of this composition. Excellent playing, Andreas. Thank you!

A very pleasant performance of my favourite piece by Sorge. Thank you! 😁

Sorge seems to have had a gift for gentle melody that's very pleasing to the ear. Thanks Andreas.

A lively and enjoyable piece of 'galant' music. I enjoyed your video presentation too. Thank you.

Thanks - glad to hear more of this composer.

Thank you for this bright & likeable music. I think I need to hear the other piece mentioned in the notes!

A peaceful melody. 😊 I've a feeling this one would also work on a piano. Thank you.

Wie immer: allerbesten Dank, wunderschön und berührend Marco

Very beautiful & moving. Can't imagine a more perfect registration choice for this wistful & sincere tune. Thank you very much indeed, Andreas!

Those maddening fingers

Another welcome addition to your ever-increasing store of agreeable counterpoint. Thank you very much, Andreas.

Wie immer: herzlichen Dank, ich freue mich jedesmal eine neue Folge zu hören, einfach wunderbar, welch schönes Geschenk an uns alle... wünsche alles Liebe und Gute Marco

An atmospheric registration that suits the mystery of the piece. Thank you.

An unusual sound from the registration- at least to this UK organist. Lovely nonetheless! 😃

Very jolly & played with admirable tidiness too! Thanks a lot, Andreas!

This is certainly great fun Andreas and makes a change from your usual repertoire.

Danke - ich singe und musiziere auch, meist daheim!❤

Hat mir gut gefallen, dankesehr!

English version of the video description (Jacob Philipp) Adolph Scherzer is one of those composers who gained fame by means of a single piece, one that (at least in Bavaria) everybody knows -- even though most might struggle to name its author. On the one hand this is unfair, since someone capable of writing something like this no doubt possessed great talent, which his other, forgotten works must reflect too. On the other hand this march is anything but forgotten. Indeed in Bavaria it has advanced to the status of a kind of second state anthem, after the official one (heard here in a rather pretty government propaganda video: kzbin.info/www/bejne/eYObfZKOgKmDnZo -- no, I'm not currently planning an organ version...) It has become customary in Bavaria that when the minister president (head of government) visits, the local band will strike up this march ( kzbin.info/www/bejne/rWW5paSpodClmdU ). It is also heard before home matches of the football club, FC Bayern München ( kzbin.info/www/bejne/opKcfqeOgqqXeas ), and at the annual Oktoberfest the mayor of Munich is expected to "conduct" it (2013: kzbin.info/www/bejne/jWGnYnWQgKueoMk , 2023: kzbin.info/www/bejne/bnbMZJKQrJqGh7M). Scherzer, a Lutheran from the former Franconian possessions of the Hohenzollern dynasty, was not exactly a Bavarian archetype. Before 1806 his birthplace, the town of Neustadt an der Aisch, was governed from Berlin as part of the Hohenzollern dominions. In the 18th century members of the Scherzer family held the office of town wait at Erlangen and Ansbach. Johann Christoph Scherzer (1776-1832), from Ansbach, was a trumpeter with the Prussian garrison at Neustadt before becoming the town wait and "türmer" (tower watchman) there in 1807. (The latter post was better paid by far, perhaps because the town wait would be remunerated for the individual engagements of his band. In the local paper he advertised "musical evening entertainments" at public houses. Also I would be surprised if he actually kept the nightly fire watch himself. Presumably he had staff for that too. I suspect that in both capacities he may have been a kind of licensed entrepreneur.) According to the entry in the parish ledger, the godfathers for the fourth child from Johann Christoph's third marriage, born in 1815, were both from Ansbach: the municipal director of music, whom the ledger calls Philipp Adolph Scherzer, and Jacob, third son of the Ansbach town wait (the original entry is quoted in the German version). The first-named of the two, an elder brother (1775-1828) of Johann Christoph, was in charge of the music at both of the Lutheran town parish churches at Ansbach. His position was distinct from that of the "town organist" at Ansbach, listed separately in an 1820 address book for the area. In the address book the stadtkantor (municipal director of music) appears as Adolph Philipp, which seems to be the correct form: in the Neustadt ledger entry his first names are given in the wrong order. Adolph Philipp's son Otto Scherzer (1821-86) -- a cousin, thus, of the child to be baptised at Neustadt -- was to succeed Johann Georg Herzog ( kzbin.info/aero/PLJQG183QhFpC1qxaPnA83bWiMcOY5YL1z ) as organist and choirmaster of the Lutheran parish church in Munich and professor at the conservatory there in 1854, before becoming director of music of Tübingen University (where he succeeded Friedrich Silcher) in 1860. Otto Scherzer left organ works, of which one or more might some day find their way onto this channel ( is.gd/fP6S09 ; I prophylactically bought them). Other relatives of the babe-in-arms at Neustadt would also gain renown as musicians, though it was in the field of light music. The second godfather, likewise a brother of Johann Christoph, must be the Johann Jacob Scherzer that the aforementioned address book of 1820 lists as the municipal tower watchman at Ansbach. No doubt that meant he was also the town wait, just like Johann Christoph at Neustadt and like Abraham Georg Peter Scherzer, the father of Johann Christoph, Adolph Philipp and Johann Jacob. He, the grandfather, is the town wait at Ansbach to whom the ledger entry refers without giving his first names; he died in 1819. As his two elder sons were already provided for -- Adolph Philipp as Ansbach's director of music, Johann Christoph as town wait in Neustadt -- Johann Jacob, being, as the ledger tells us, the "third son", inherited his father's position in Ansbach. As was the custom at that time the newborn child was given the names of the godfathers (in the ledger entry: Jacob Philipp Adolph; throughout his life Adolph Scherzer stuck to the spelling with ph). Already in 1810 the whole area had become part of the Kingdom of Bavaria. It was, thus, in the Bavarian military that young Adolph was to make his career -- true to the family tradition, as a musician. a_osiander(at)gmx.net . andreas-osiander.net . facebook.com/andreas.osiander

I find Simon's music good-humoured, tuneful & well structured. You are a good advocate for it. Thanks very much!

Musical compositions full of faith & dignity. Very well put across to the modern audience! Many thanks.

Thank you for this well-played fugue - the registration seems very well chosen to highlight the dramatic intensity. 😊

Beautifully executed ornamentation. A very musical performance, if I may be permitted to say so. Peter A :) :) :)

Un piccolo gioiello questa fuga , molto bella .

👏👏👏👏👏👏👏👏👏👏👏

Splendid, Andreas! Thanks for showing the score. Looks fun.

Sehr interessant welche Geschichte hinter diesem Marsch steckt. Ich kenne ihn aus meiner Zeit als Blasmusiker, wusste aber nicht den Hintergrund. Vielen Dank!

Wie immer eine Freude, allerbesten Dank Marco

Nice work, Andreas. Thanks a lot.

This is an exquisite little piece Andreas and you play this with great sensitivity even though you were juggling around with all the accidentals! It reminds me of the Pièces en style libre by L Vierne.

Great march but more effective by a military band

Nicely done. How intriguing about these interludes between the lines! To hazard a guess in answer to the question you pose in the text notes about how the congregations knew when to sing, I think that the organist must have played them in the sort of well-delineated way that you managed. Also, they would have been used to the style in a way most of us just aren't today. One result of this manner of pausing might be that the line just sung might be more pondered upon. However, I confess that it had somewhat the opposite effect on me as I found I was waiting with interest for the next twiddly bit! Thanks as ever, Andreas.

COMPLIMENTI BRABVO

A very peaceful sounding legend. How delightful that it includes such curious chords as mentioned in the notes. Haha, if the composer asks for it, it's allowed! Well played, Andreas, & thank you.

Dramatic one! Could imagine all kinds of legends to fit this! Thanks.

Die nicht optimale Klangqualität bitte ich zu entschuldigen! Ursache wird noch erforscht (Übersteuerung ist es nicht). -- I apologise for the less than optimal sound quality, the cause of which I have yet to determine (it isn't clipping).

Great to hear you play one of my favourite pieces by Zipoli! Thanks a lot!!

Hello Andreas - excellent to see how much Zipoli you have here! An enjoyable set of pieces played with accuracy & nicely chosen registrations. Many thanks.

Die nicht optimale Klangqualität bitte ich zu entschuldigen! Ursache wird noch erforscht (Übersteuerung ist es nicht). -- I apologise for the less than optimal sound quality, the cause of which I have yet to determine (it isn't clipping).

A fine, rich sound & a well-paced, flowing performance, resulting in a piece that has dignified grandeur but at the same time sounds quite humble in its intentions. I like it. A good recording, thank you.

Eigentlich hieß der Marsch: Marsch für die böhmische Landwehr!

Thank you for this excellent recording & accompanying info. Grateful to be able to read the translation.

Molto bello questo brano , grazie Andreas

Thank you, Andreas. Very nice phrasing in this performance.

English version of the video description The son of a wealthy merchant F.W. Stade -- known as Wilhelm to his friends -- was born at Neumarkt, a municipality adjacent to the city of Halle, to which it was joined in the year of his birth. Stade received his musical training from Friedrich Schneider, organist and kapellmeister to the Dessau court. At the age of 18 he became director of music of the town of Schönebeck, but soon joined the itinerant theatrical company of Heinrich Levin Bethmann, which toured the towns and princely residences in the wider region around Halle and Erfurt. Stade's job was to conduct the many operas performed by this company. In 1838 (not 1845 as stated erroneously in the video) Stade successfully applied to the post of director of music of Jena University, where he achieved renown as a conductor, choir director, pianist, and organist, collaborating on a number of occasions with Franz Liszt, kapellmeister to the court at nearby Weimar. His salary, however, was meagre, and his requests for better pay were routinely ignored. At the beginning of 1853 Stade also became organist of the principal parish church (stadtkirche) at Jena, which increased his income. But, with his family growing, his financial situation remained precarious. Soon after his appointment as organist the organ of the Jena stadtkirche was rebuilt to his specification by the Peternell brothers (the instrument is not extant). In 1859 the organist of the castle church at Altenburg died. Fourteen candidates applied for the post. Stade was not among them, but was offered the position anyway. He hesitated. The prospect of better pay was tempting. But the musical life at Altenburg could not compare to what he would leave behind at Jena, where he was implored to stay. He was also now offered a better salary. Eventually he opted for Altenburg (1860). As a farewell present Jena University bestowed an honorary doctorate on him. He was succeeded there by Ernst Naumann, one of the applicants for the Altenburg post. Stade now set about improving the musical life at Altenburg, starting with the foundation of a choral society. In 1863 he was appointed kapellmeister to the Altenburg court, in addition to his duties as organist, and his salary was increased -- as it would be on a number of future occasions, even though he found himself falling once more into the habit of petitioning for this. (One drain on his resources must have been his eldest son, enrolled at the Leipzig conservatoire but far from a diligent student; it took him 10 years to obtain his diploma in 1869. He then found employment as an organist in Danzig.) Widowed in 1867, Stade remarried in 1869. Like her predecessor, whom Stade had met at the Bethmann company, his new wife was a singer. Aged only 21, she died the following year from complications at the birth of her first child, who himself died soon after. In 1871 a new theatre and opera house was inaugurated at Altenburg, far more magnificent than the previous modest buildings ( is.gd/UB4g72 ): here Stade now conducted operas, for the first time since leaving Bethmann. For the first season at the new venue the singer Marie Chmelick (1850-1931) was hired. She endeared herself to her audiences as well as to Stade, who married her in 1873. As with the two earlier wives this meant that Marie still performed as a singer but no longer appeared on stage. Stade for his part was irritated that despite the extra work caused by the operas he was not given another pay rise (the argument being that the last one had been rather recent). Moreover, his health was deteriorating. With a performance of Tannhäuser in 1874, Stade therefore bid farewell to the stage, too. He would henceforth limit himself to his duties as organist, as a conductor of orchestral works and as director of the choral society that he had founded in 1860. In the 1880s he gradually reduced his activities still further. Taking the waters at various spas did not have the hoped-for effect on his shaky health. Nevertheless in May 1890 it was Stade who wielded the baton for the concert at Altenburg Castle in honour of the emperor, Wilhelm II, who was paying an official visit to Duke Ernst of Saxe-Altenburg. At a service in the castle church on the following day, with the emperor present, Stade improvised at the organ on Ein feste Burg. Shortly after he travelled to Danzig, where his eldest son, organist of St John's Church, lay wasting on account of a "nervous disorder"; having been admitted to a psychiatric institution he died early in 1891. The portrait of Stade used in the video is taken from a special four-page supplement to the local newspaper, Altenburger Zeitung, published on the occasion of his seventieth birthday. There is now a detailed biography of Stade by Klaus-Jürgen Kamprad, published in 2022. This piece brims with strange harmonies. On this "subversive" dimension of Stade's music see my discussion here: kzbin.info/www/bejne/f2SvqJywqJl-l80 On Stade and the famous Baroque Trost organ at Altenburg see kzbin.info/www/bejne/bqeqmnerndmLppI a_osiander(at)gmx.net . andreas-osiander.net . facebook.com/andreas.osiander

You achieved a very jolly dancing effect in this music - nicely done. Thank you!