Old Masters of the Organ, Book 1: Organ, Collections, Book

Straube's curated selection moves deliberately through the architectural and harmonic language of the German Baroque, anchoring Bach's intricate counterpoint alongside the bold formal innovations of Buxtehude and Böhm. This collection reads as a guided masterclass in how the organ repertoire evolved, making it invaluable for organists building a foundation in essential works without having to hunt through scattered editions.

These works radiate architectural clarity and spiritual depth. The Bach opens with almost hymn-like simplicity, while the Buxtehude passacaglias build gravity through relentless harmonic grounding; the Böhm variation set demonstrates how constraint yields expressive richness. Moving through these six pieces is a meditation on form itself.

Organists preparing for advanced recital repertoire, serious students moving beyond beginner method materials, and teachers seeking historically grounded scores that document both the music and its interpretation. This collection also serves organ programs looking to build comprehensive Baroque collections without purchasing individual editions.

• Balance the dual manuals carefully in the Bach and Böhm pieces; the chorale melody must sing above the accompaniment without overpowering it.
• Approach the Buxtehude passacaglias and ciaconna with clear harmonic awareness; pedal point patterns anchor these works, so anchor them deliberately.
• Attend to Straube's fingering and registration suggestions in the score; they reflect performance practice informed by direct study of period instruments and sources.
• Use the varying demands of each work as an opportunity to explore different manuals and stop combinations; this book rewards systematic registration planning.

Program individual selections from this collection in recitals exploring Baroque counterpoint or German organ music; the variety of forms and keys allows flexible pairing with works from other periods. Use Book 1 as a core text in an organist's independent study of pre-Bach and Bach-era repertoire, or draw from it when building themed recital programs around specific composers.

• Reading and performing Baroque counterpoint across manual divisions
• Sustaining harmonic awareness through passacaglia and ground-bass forms
• Developing pedal independence in works requiring consistent bass patterns
• Interpreting historical performance practice through Straube's editorial choices
• Balancing multiple independent melodic lines on a two-manual instrument