Delphin Strunck (1601-1694)
Ich hab mein Sach Gott heimgestellt
Lass mich dein sein und bleiben
Magnificat noni toni
Toccata ad manuale duplex
Ecce Maria Genuit nobis
Surrexit pastor bonus
Tibi laus, tibi gloria
Verbum caro factum est

Nicolaus Adam Strunck (1640-1700)
Caprice en sol
Caprice en la
Caprice en fa
Caprice en mi
Caprice sur "Ich dank dir schon durch deinen sohn"
Caprice en ré
Caprice en la
Ricercar en sol
Ricercar en sol "Sopra la Morte dellamia carissima Madre"

Christian Flor (1626-1697)
Aus meines Hertzens grunde
Ich dank dir schon
Werde munter mein gemüthe
Nun last uns Gott dem Herren
Wieschön leuchtet der Morgenstern
Ach Jesu dessen Treu
Jesu meine freüde
Jesu meines lebens Leben
Helfft mir Gotts güte preisen
Auf meinen Lieben Gott
Treüer Gott ich mus dir Klagen
Nun Lob mein Seel
Gelobet seistu Jesu Christ
Ein feste Burg ist unser Gott
Prélude en mi
Fugue en ré

Johann Decker (1598-1668)
Préambule en mi

Dietrich Meyer (XVIIème siècle)
Prélude en si

Marcus Olter (1625-1684)
Canzon en do

Friedhelm Flamme, orgues Schweimb des églises St Abdon et Sennen de Salzgitter-Ringelheim et orgue Thielemann de Dreifaltigkeitskirche de Gräfenhain

Vol. XI of our edition of Northern German Baroque Organ Works features the complete extant organ works of Delphin Strunck and his son Nicolaus Adam Strunck along with compositions by Christian Flor, Dietrich Meyer, Johann Decker, and Marcus Olter. Hardly anything is known about Delphin Strunck’s musical training, but he is thought to have been the son of the Braunschweig organist Joachim Strunck. He was active as an organist, discharged composing duties for the city of Braunschweig, and maintained good relations with Heinrich Schütz. He quite probably was also in contact with other Northern German musicians of the time, but hardly anything is known for certain. His eldest son Nicolaus Adam Strunck was indisputably one of the most remarkable and multifaceted German musician personalities of the second half of the seventeenth century. The breadth of his compositional oeuvre and his employment of forms of Italian or Southern German influence in his seven capriccios and two ricercari in the stile classico or stile antico introduced new elements into the Northern German school – as Matthias Weckmann had done a few years earlier during his occupation with Johann Jacob Froberger’s keyboard oeuvre.