Old Masters of the Organ, Book 3: Organ, Collections, Book

Straube's editions unlock some of the most rewarding music in the organ repertoire without requiring archaeological effort from the performer. These six pieces span the range of what made the North German school essential: intricate counterpoint, harmonic depth, and structural logic that rewards careful study. Book 3 offers a natural step up from beginner chorale prelude collections, with works that challenge technique while remaining musically transparent.

Austere, mathematically precise, yet deeply expressive. These pieces inhabit a world of intricate voice-leading where every note serves structural purpose, creating music that feels both intellectually rigorous and emotionally direct. The Ciaconna's relentless bass pattern grounds florid upper voices; the fugues unfold with architectural inevitability; the fantasias show Baroque composers thinking in broad, imaginative gestures.

Intermediate to advanced organists ready to engage with the canonical North German Baroque masters. Church musicians preparing liturgical or recital programs will find immediate application; students moving beyond popular arrangements into primary repertoire will discover pieces that demand real musical thinking. This book serves players who want to deepen their understanding of organ idiom through works that shaped the tradition.

• Approach the counterpoint as conversation. In the Buxtehude fugues especially, track each voice independently first so you hear how lines interact, then blend them into a unified texture.
• Let the Ciaconna breathe. The ground bass pattern creates momentum, but resist rushing; clarity in the upper voices matters more than speed.
• Use Straube's articulation marks as interpretive guides, not constraints. His slurs and detachings reflect his own organ aesthetic; experiment with how much pedal independence you need to match your instrument's character.
• Balance manual work with pedal independence in the praeludium-and-fugue pairs. These pieces often give the left foot significant material; map it out early so manual passages stay fluid.

Program individual pieces as substantial recital items, or pair complementary works from the collection to form a cohesive program study (the two Bruhns pieces work well together, as do the three Buxtehude pieces). These also serve well in liturgical settings where chorale prelude repertoire is expected, offering congregations and fellow musicians exposure to foundational Baroque organ music performed with authority.

• Pedal independence and foot agility in contrapuntal contexts
• Voice leading across four or more independent lines
• Baroque phrasing and articulation in preludes and fugues
• Registration sensitivity for different composers' harmonic languages
• Sight-reading fluency in continuo figuration and basso continuo notation