Notes by Transcriber: With these organ transcriptions of oratorios, cantatas and instrumental music I endeavored to create organ solo pieces, which are foremost playable (trying to strike a fine balance between “simple” and practical and being faithful to the intent of the original work) as well as organ-idiomatic. J. S. Bach set an excellent example for transcribing music for string ensembles or choral/solo/instrumental pieces from cantatas for the organ, i.e. borrowing or adapting traditionally non-organ idioms for the organ while retaining the organ’s uniqueness: Tutti String sections in Vivaldi’s Concerti Grossi were transcribed as an organ Plenum setting (i.e. Principal Chorus, Mixtures, rather than imitating the violin sound); much of the string idioms could be retained, but others, e.g. the original violin part’s idiomatic figurative motifs, were changed to organ-idiomatic ones. He also made use of double counterpoint (switching lines where necessary). In his transcriptions of his own Cantatas, the Schübler Choräle, Bach did not try to capture the full harmonic spectrum of the original Continuo, but merely alluded to it by reducing it to a single, contrapuntal line against the others. The pieces selected for this transcription volume express moods of either joy and praise to Christ, as well as comfort, hope and solace, even triumph in the face of death. A few comments on the seven transcriptions: 1. In « How brightly beams the Morning Star » (Cantata Finale for Chorus and Instrumental Ensemble, including Timpani) Bach’s harmonies were retained but coupled to the more dynamic original rhythm of the hymn, incorporating something of the timpani parts in the note-repetitions. 2. In « Jesu, Joy of Man’s Desiring » (Transcriptions # 2), I followed the example of some other transcribers, who have put the Cantus Firmus in the left hand an octave lower, covering the contrapuntal lines in the right, with the same registration maintained throughout. 3. »I know that my Redeemer liveth » is an abridged version of the solo aria from Messiah in its original key. 4. In « Sheep may safely graze » I preferred not to follow other transcriptions with the vocal solo part an octave lower in the left hand. Retaining the natural high register of the original vocal solo, though, posed certain challenges for the player in handling the transitions from the original flute parts to the solo part (and vice versa), which I tried to solve satisfactorily. It is not an easy transcription for the player but certainly playable. 5. In the introductory Sonatina from Bach’s funeral cantata, « Gottes Zeit ist die allerbeste Zeit » (“God’s time is the very best time”), set for two recorders, two gambes and continuo, the two recorders play in unison at times, then create minor second dissonances by playing the neighbouring second alternately (anticipating the “In Him we live and weave and have our being” and the sighing figures of « In deine Händen »). For practical purposes the two recorder parts had to be collapsed into a single part (Flute 8’), yet the effect of dissonance was maintained, by tying one note over while the second alternating note creates the momentary dissonance of an interval of a minor second. The two Gambe parts in the left hand and bass part of the basso continuo of the original were exactly retained. 6.The « Final Chorale » from Bach’s St. John’s Passion, « Lord, Thee I love with all my heart », is most fitting to play at the conclusion of funerals. It starts with a simple prayer, but then becomes transformed into a vision of resurrection and eternal praise. I kept the chorale as is, but selected stops and stop changes that express this transformation into joy and praise. 7. Händel’s « Hallelujah Chorus » is transcribed to serve as a solo piece or as accompaniment for a choir. The rapid chordal repetitions of “Hal-le-lu-jah” are not organ-idiomatic and required rewriting into alternating figurative motifs with a similar effect. I also tried to retain Handel’s counterpoint (with some double counterpoint at times) and to fit the articulation to reflect the natural diction of the text, while covering essential components of the orchestral accompaniment. Performance Notes: • Tempi indications are my own suggestions; • Manual indications (Gt. & Sw.) can be reversed according to the individual organ’s stop distribution (or adjusted to any two of three manuals on a three-manual organ); • Indicated stops can be adjusted for the individual organ while maintaining the prescribed textures (e.g. 8’, 2’; 8’+8’; etc.); • Articulation signs: marcato sign ( _ ) indicates a broad staccato, shortening the note by 1/4; staccato, shortening the note by 1/2; leggiero, requires same finger action as legato, but treating the keys lightly just to the point of establishing initial sound, resulting in a glittering effect. My sincere thanks to my friend, Trent Worthington, for his thorough work as copyist in the print setting of the work. Jacobus Kloppers