Trio-Sonate I, op. 18, Nr. 1; Trio-Sonate II, op. 18, Nr. 2; Fantasie, op. 32; Vier Sätze aus dem 3. Teil der "Musikalischen Übung", op. 39; Präludium und Fuge; "Aus tiefer Not", Variationen über den Hassler’schen Choralsatz, op. 28, Nr. 1; Sonatine, op. 52; "In dulci jubilo", Variationen über den Hassler’schen Choralsatz, op. 28, Nr. 2; Fantasie und Choral op. 58 "Ein feste Burg ist unser Gott"; Partita über "Grosser Gott, wir loben dich"; Choral-Triptychon, op. 91; Partita über "Wer nur den lieben Gott lässt walten"
The young Willy Burkhard's receptiveness for the religious world became evident at an early age. In his entire oeuvre it was to be reflected in the large number of sacred works, in the careful, personal choice of texts, and the importance allotted to the Protestant hymn. In this connection it should be noted that, although many of Burkhard's works were inspired by religion, he did not write a great deal of 'church music' in the sense of music for church services. This is true of his organ works too. Scarcely any religious features can be detected in the two Trio Sonatas op. 18. Together with other works written in 1926/27, they document the young composer's investigation of the music of Bach. The composer's relations with well-known organists of his time were of importance for most of his organ works (as for example the masterly Sonatina op. 52). Willy Burkhard is undoubtedly one of the most significant, pioneering composers on the Swiss music scene of the 20th century. Giuseppe G. Englert, Klaus Huber, Rudolf Kelterborn, Ernst Pfiffner, Armin Schibler and Ernst Widmer were among his pupils.
Willy Burkhard (1900-1955)
Orgel: Christoph Wartenweiler, Hansjürg Leutert, André Manz, Monika Henking, Heinz Wehrle, Heinrich Gurtner, Bernhard Billeter, Rudolf Meyer, Verena Luz, Heinz-Roland Schneeberger, Theodor Käser, Hans Vollenweider.
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