Simon Lohet Vidéos
organiste et compositeur de la Renaissance
- orgue
- principauté de Liège
- compositeur ou compositrice, organiste
Dernière mise à jour
2024-06-15
Actualiser
Score available here: (http•••) Lohet’s transcription of the motet “Media vita in morte” has the main melody in whole notes in the bass voice. The recording was done on the sample set of the Silbermann organ of the Stadtkirche Zöblitz by Prospectum. Registration Ma: Principal 8′, Octava 4′, Quinta 3′, Octava 2′ Ped: Subbas 16′, Octavbass 8′, Posaunenbass 16′
Score available here: (http•••) Lohet's Fuga Prima is left without indication of a composer in manuscripot Ms Lynar B3. The composition that follows it, a Ricercar primi Toni, is equally left without an indication of the comnposer. It is therefore tempting to make the supposition that this work in composed by Lohet as well. However thempting that may be, there is actually no ground to base such a supposition on. And the handwriting shows that the Ricercar was written in the manuscript by another than the one who wrote Lohet's Fuga Prima in the manuscript. So this Ricercar remains without composer for now. It is nevertheless a charming well written work. As it is not too difficult to play, it can easily serve as an interludium during service or as a quick extension for a concert. The recording was done with the Hauptwerk software and the sample set of the Silbermann organ of the Stadtkirche Zöblitz by Prospectum ((http•••)
Simon Lohet Johann Woltz 1550 1611 1617
Score available here: (http•••) Almost three years a go I created a publication containing all organ works by Simon Lohet (Loxhay) (c. 1550 – 1611), a Flemish composer, possibly born in Maastricht. The primary source for Lohet’s remaining known works is Johann Woltz’s Nova musices organicae tabulatura (Basel, 1617). The bulk of Lohet's small surviving output consists of twenty keyboard fugues, which are also his most historically important works. Besides the 20 fugues there are four more compositions contained in Woltz's publication that explicitly name Lohet as the composer. So my 'complete' edition of Lohet's organ compositions contains these 20 fugues plus the four other works. On the contact page of my site, I received a comment, stating that the 'Fuga Colorata', a work that in Woltz's publication follows the 24 compositions by Lohet, is also a work by Lohet. Meaning that my complete edition would not be complete after all. However, I cannot verify this claim. The internet (perhaps strangely) does not offer a lot of information on a specialized topic as this. Perhaps someone reading this page knows whether or not this Fuca Colorata, number 74 in the Third part of Woltz's Nova musices organicae tabulatura (Basel, 1617), is a composition by Simon Lohet? Until I have a confimation of some sorts, I'll consider this Fuga Colorata an anonymous work. The question itself is however a nice reason to transcribe this piece and publish it. For those interested, the edition of Lohet's organ works can be found here: (http•••) The recording was done with the Hauptwerk software and the sampleset, made by Voxus, of the Matthijs van Deventer-orgel in the Grote Kerk, Nijkerk ((http•••)
Simon Lohet Johann Woltz Bach 1550 1581 1601 1611 1617
Score available here:(http•••) Simon Lohet (Loxhay) (c. 1550 – 1611) was a Flemish composer, possibly born in Maastricht. During his live he was mostly active in Germany. He was organist of the Württemberg court of count Louis VI. Lohet made several trips to the Low Countries in the 1570s and to Venice in 1581 to buy instruments and music. In 1601 he retired from his post. He remained in Stuttgart until his death in summer 1611. All of Lohet’s known works are contained in Johann Woltz’s Nova musices organicae tabulatura (Basel, 1617). The bulk of his small surviving output consists of twenty keyboard fugues, which are also his most historically important works. Most of them are short, averaging 20-25 bars, and eight are monothematic, exploring a single subject in a single section. They frequently use stretto entries, diminution and other contrapuntal devices, characteristic for the classic fugue of the late Baroque. It seems almost unbelievable the fugues were written almost a 100 years before Bach was born. The 20th fugue consists of two sections, each with a fugal treatment of a different theme. The first section is more strict then the second fugue. The other 19 fugues can be found on (http•••) as well. The recording was done on the sample set of the Müller-organ in the Sint Bavokerk in Haarlem by Voxus Organs for Hauptwerk. Registration Bw: Baarpijp 8′, Vox Humana 8′ Hw: Roerfluit 8′ Rw: Holpijp 8′, Tregter Regaal 8′ Ped: Subbas 16′, Holfluit 8′ Hw+Bw, Hw+Rw, Ped+Bw
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