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In nomine {vi} by John Bull, performed by Dale Carr on the Schnitger organ in the Ludgerikirche in Norden, Ostfriesland on 6 October, 1998. 16th- and 17th-century English keyboard composers apparently enjoyed the musical challenge of complex rhythmic and metrical passages. Syncopations, unusual subdivisions of the measure, 3 against 2 {or 4 or 8} are normal in music of this period and island. These rhythmic and metrical challenges sometimes even dominate whole compositions, resulting in pieces in 5/4 or even 11/4 meter. Needless to say, the challenge was met with great compositional virtuosity. This setting of In Nomine, one of the most popular chant fragments among English keyboard composers, is a good example. It also exemplifies the common tendency to change the meter in the course of the piece. The triple meter is divided at the beginning into 3 beats - quarter-notes in the cantus firmus - subdivided into 3 groups of 4 sixteenth-notes in the 2 accompanying parts, which proceed mostly in parallel 3rds or 6ths in the first part of the piece. Later the measure is divided into 4 groups of 3 sixteenth-notes, or 4 + 3 + 3 + 2 sixteenth-notes, or 4x3 against 3x4. In the final section of the piece the measure is divided into 3x3 eighth-notes - we would call this 9/8 time - with frequent dotted rhythms and syncopations. The 4' Spitzfloit on the Hauptwerk at Norden makes all this beautifully audible; but I think one can enjoy the work without listening analytically to its complexities.