1. Allegro non piumolto inC-DurWoO33 (1794?) 6:21
2. Adagio in F-DurWoO 33 (1799) 5:46
3. AllegrettoWoO33 (1794?) 3:18
4. Scherzo inG-DurWoO33 (1799) 2:15
5. Allegro inG-DurWoO33 (1799?) 2:30
6. Rondo inC-DurWoO48 (1783) 2:31
7. Grenadiersmarsch in F-DurHess 107 (1803) 4:21
8. Präludiumdurch alleDur-Tonarten op.39, 1, Hess 310 (1789) 6:31
9. Bagatelle Es-Dur op.33, 1 (1802) 5:10
10. Bagatelle c-MollWoO52 (1797) 5:24
11. BagatelleA-Dur op.33, 4 (1802) 2:39
12. Bagatelle D-Dur op.33, 6 (1802) 3:44
13. Allegretto inC-DurWoO56 (1797) 1:32
14. BagatelleC-Dur op.33, 5 (1802) 3:24
15. Präludiumf-MollWoO 55 (1803) 3:32
16. FugeC-Dur Hess 64 (1795) 2:20
17. Präludiumdurch alleDur-Tonarten op.39, 2 (1789) 4:53
18. TrioNr.1 g-Moll (Carl Philipp Emanuel Bach, 1742) 2:42
19. TrioNr.2 es-Moll (Carl Philipp Emanuel Bach, 1743) 4:16
20. TrioNr.3 e-MollHess 29 (1793) 2:54
21. Fuge e-Moll Hess 29 (1793) 4:06
22. Fugaa3D-DurWoO31 (1793) 1:37

« Beethoven? But did he ever compose anything for the organ?» We do not know the exact answer to this question. Yet the theme of Beethoven’s relationship to the “King of Instruments” has time and again occupied, indeed fascinated musicologists, but above all organists. Why is this? Is it the hardly conceivable idea that the composer only wrote very little for the organ and above all – compared to his work overall – little of note? To supply proof that Beethoven bequeathed us compositions that – if indeed not expressly composed for organ – nonetheless may outstandingly be performed on the instrument of his youthful years for which he like many young people felt considerable fascination: such is the aim of the present recording…

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Recording: Langensteinbach, Ludwigskirche, April 2015; Maria-MagdalenaKaczor plays the Johann Ferdinand Balthasar Stieffell organ (1786) Ludwigskirche, Langensteinbach (Germany)