Mendelssohn: Prelude & Fugue for organ in G major, Op. 37 No. 2

This page lists all recordings of Prelude & Fugue for organ in G major, Op. 37 No. 2, by Felix Mendelssohn (1809-47) on CD & download (MP3 & FLAC).

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April 2006

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Ein Hofer Königspaar

The Organs at St Mary’s and St Michael’s

Bach, J S:	Chorale Prelude BWV654 'Schmücke dich, o liebe Seele'
Battmann:	Marche du Sonneur
Brahms:	Chorale Prelude Op. 122 No. 5 'Schmücke dich, o Liebe Seele'
Dvorak:	Symphony No. 9 in E minor, Op. 95 'From the New World' - Largo (arr. C. Kelber and G. Stanek for trumpet and organ)
Karg-Elert:	Nun danket alle Gott, marche triomphale, Op. 65 No. 59
Lübeck:	Praeambulum ex G major LubWV 9
Mendelssohn:	Prelude & Fugue for organ in G major, Op. 37 No. 2 Elijah: O rest in the Lord (arr. L. Stuhlmeyer) Organ Sonata No. 2 in C minor, Op. 65 No. 2: III: Allegro maestoso e vivace
Merkel:	Fantasie in D minor, Op. 176
Purcell:	Sonata for Trumpet and Strings in D major, Z850 Cornelius Kelber (trumpet)
Rheinberger:	Abendlied, Op. 150, No. 2
Stühlmeyer:	Unsere Hoffnung Ave maris stella O splendidissima gemma

Georg Stanek (at the Heidenreich-Organ of St Michael’s) & Ludger Stühlmeyer (at the Steinmeyer-Organ of St Mary’s)

Georg Stanek and Ludger Stühlmeyer perform pieces on the city of Hof’s most historic organs. Recorded at St Mary's Church, Hof, on 24 July 2012 and St Michael's Church, Hof, on 25 July.

Rondeau - ROP6072

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Mendelssohn - Complete Organ Works Volume 3

Mendelssohn:

Prelude & Fugue for organ in G major, Op. 37 No. 2

Organ Sonata No. 3 in A major, Op. 65 No. 3

Fugue in D minor

Andante in D

Chorale-partita on "Wie gross ist des Allmacht gen Gute"

Nachspiel in D major

Andante con moto in G minor

Fugue in C (& alternative ending)

Praeludium in D minor (1820)

Allegro vivace in F

Andante in B minor

Chorale in A flat

Allegro moderato e grave in F

Andante alla Marcia in B flat

Jennifer Bate (organ)

Includes World premiere recordings

“…would Mendelssohn have approved of Jennifer Bate's performances? If he wasn't impressed by the easy fluency of her technique or her highly articulate and intelligent interpretations… then he was not the astute and sensitive musician history claims him to have been.” Gramophone Magazine, April 2006

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