Gilberto Guarino plays Georg Böhm's third version of Luther's chorale "Vater unser": the ornamented chorale prelude "Vater unser im Himmelreich". Hauptwerk 4. Huß-Arp Schnitger Organ, SS. Cosmae and Damiani zu Stade - Metropolregion Hamburgs - Niedersachsen, Deutschland.
Georg Böhm (1661-1733), whose name has finally been linked to J. S. Bach's as his teacher in Lüneburg (apud "Weimarer Orgeltabulatur", Herausgegeben von Michael Maul und Peter Wollny - Baerenreiter), was the author of three versions of the chorale "Vater unser im Himmelreich".
As for Böhm's keyboard (organ and harpsichord) music, not even one autograph manuscript has ever reached us. We came to get in touch with this genius thanks to pre World War II non-autographic authenticated sources, which had fortunatelly been published prior to the disastrous conflagration.
In the present outstanding artistic offspring, Böhm, who was already under the spell of french organ music, assembles the figured bass (pedalboard), the german accompaniment (left hand) and the french aria (right hand), all resulting in one of the jewels of baroque organ music, the third version of the chorale above mentioned.
The instrument he played in St. Johannis Church in Lüneburg, from 1698 to 1733, when Böhm died, was a Niehoff-Droppa organ, now a Niehoff-Droppa-von Beckerath instrument.
After a few dubious modifications (to say the least...) carried out in this musical "Denkmal", Rudolf von Beckerath's intervention gave birth to a wonderful synthesis between the dutch renaissance and the baroque Northern german organ.
One of the illustrations shows the majestic masterpiece precisely as it was illuminated one afternoon in Lüneburg.