This is my entry for the Secrets of Organ Playing Contest, Week 106. I play Sorge's choral prelude on the melody of "Helf mir Gottes Güte preisen".
Georg Andreas Sorge (1703 – 1778) was a German organist, composer, and, most notably, theorist. Sorge’s first professional appointment was at the age of 19 as court and town organist at Lobenstein, a position that he maintained until his death. Though Sorge is mostly remembered as theorist, he was also a prolific composer. His 12 Trios for organ are still used in organ playing education.
That Sorge had a knack for writing trios is also clear from his choral preludes. His best choral preludes are the ones that were conceived as choral trios. Typically Sorge writes a three part introduction and accompanies the choral melody with a two part accompaniment.
Sorge's choral prelude on the melody of "Helft mir Gottes Güte preisen" is a very nice example of this type of choral prelude. Sorge writes a very lively introduction in three parts and accompanies the choral melody with a two part accompaniment employing the same motives as the introduction.
Sadly, Sorge just finishes the piece where the chorale melody ends. I would have expected Sorge to repeat the introduction. As I like the introduction a lot, I decided to add it at the end of the piece. I think it creates a nice musical structure, though I had to add half a bar to create a firm ending in g minor.
Of course it's very debatable to adjust someone else's composition in this manner. I think it creates a satifying whole. What do you think?
As per the contest rules here's the youtube vdeo:
The score is available on my website: http://partitura.org/index.php/georg-andreas-sorge-helft-mir-gottes-gute-preisen/
▶️ 3Speak
Hehehe, so you just added the introduction as you said 😎 Upgraded version 👌
I don't want to repeat myself, but man, I am here again impressed with your agile left hand 🙌
I'll take that as a big compliment and I thank you for it.
Like I said, I had a little help from mother nature and a lot of pratice. Organ music literature has lots and lots of music like this (Trio writing) where both hands and feet are treated equally, as if each was a seperate instrument. Every organist needs two agile hands and two agile feet. You should see my post about Bach's a minor fugue, BWV 543. Lots and lots of sixteenth notes for the feet....
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Thanks for your entry!
Very good choice to add the ritornello at the end! Bravo!