- Fantasia con Organo Pleno
- Sonata for organ in A minor, H. 85, Wq. 70/4
- Herzlich Thut Mich Verlangen
- Passamezzo antico, for organ
- Kyrie Martyrum
- Maria Zart for organ
- Fantasia for organ
- Allein Gott in der Höh sei Ehr, chorale prelude for organ (Clavier-Übung, Part I, No. 1), Krebs-WV 516: Choral
- Jesu, meine Freude, chorale prelude for organ (Clavier-Übung, Part I, No. 13): Choral
- Was Gott tut, das ist wohlgetan, chorale prelude for organ (Clavier-Übung, Part I, No. 9): Choral
- Jesus, meine Zuversicht, chorale prelude for organ (Clavier-Übung, Part I, No. 13): Choral
- Von Gott will ich nicht lassen, chorale prelude for organ (Clavier-Übung, Part I, No. 11): Choral
- Sei Lob und Ehr dem höchsten Gut, chorale prelude for organ (Clavier-Übung, Part I, No. 8): Choral
- Präambel und Fuge, for organ
- Fuga, for organ
- Erbarm dich mein, O Here Gott
- Chorale prelude for organ in G Minor, BuxWV 211, "Nun komm der Heiden Heiland"
- Chorale prelude for organ in A Minor, BuxWV 217, "Puer Natus in Bethlehem"
- Chorale prelude for organ in C major, BuxWV 184, "Ein' Feste Burg Ist Unser Gott"
- Fantasia for organ ("Meine Seele erhebt den Herren")
- Magnificat Fugue, for organ in tone 2, No. 10, T. 133
- Chorale Prelude "Wir glauben All' an einen Gott," for organ (Choräle 8), T. 8
- Chorale Prelude "Ein' feste Burg ist unser Gott," for organ, T. 31
- Ein feste Burg ist unser Gott, chorale prelude for organ (formerly BWV 720)
For his second volume of German organ music, Joseph Payne has selected works representative of Renaissance, Baroque, and Classical styles of organ writing. The majority of these pieces reflect the dominance of the Lutheran chorale, and the treatments of these melodies -- as chorale preludes, fantasias, and variations -- are central to this disc's program. In the works of Renaissance composers, such as Arnolt Schlick and Hieronymus Praetorius, the melody is elaborated with simple counterpoint but kept rather close to the strict Catholic tradition of composition over a cantus firmus. The flowering of the chorale in extended forms reaches its high point in the works of Johann Pachelbel, Dietrich Buxtehude, and J.S. Bach, and Baroque organ literature is replete with examples of their sweeping influences. But the advent of the Classical era, with its emphasis on secular forms, brought a decline in organ composition, and composers such as Johann Gottfried Walther, Johann Christian Kittel, and Johann Ludwig Krebs were among the last to add anything original to the chorale genre until Mendelssohn's nineteenth century revival. Payne's informed and sensitive performances are appropriate to the various styles, and the instruments he played for this recording -- located in Massachusetts, Iowa, Stockholm, and Wiesbaden -- are almost as varied in their registrations.