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Messiaen, or Guillou. In these innovative, iconoclastic performances, virtuoso-composer meets virtuoso-composer, creator meets creator, and recreator meets recreator, all on an equal footing; together Bach and Guillou span the centuries like the Shakespearean colossus. Er ist dcr letzte einer distinguierten Reihe von Komponisten-Organisten, cin Virtuose, der schopferisch tiitig ist, ein Frescobaldi, ein Sebastian Bach, ein Liszt, ein Widor.
mudywehy.tk - The Complete Organ Works vol. 02 | Organroxx
Diese seltcnc Mischung von Schopfcr und Interpret durehdringt seine Wiedergabe von Bach's Orgelwerken miteinerbesonderen Vision, einem einmaligen Geist. The 78 RPM recording that Percy Grainger made of his conflation of the two arrangements is justly legendary. The stark harmonies, the insistent angularity, and the somber but relentless forward motion of both the Toccata and the Fugue have also made them standard repertory for any horror film anti-hero or villain who happens to play the organ. Under the circumstances, then, it is ironic that the Toccata and Fugue in D Minor may not have been conceived for the organ, that it was not originally in D Minor, and that it may not have been either composed or transcribed by Sebastian Bach.
Both sections of the work are undeniably violinislic; the Fugue is especially so.
J.S.Bach - The Complete Organ Works vol. 02
Where else is there in the music of J. Bach a minor plagal cadence at the close? Is it not odd to have a solo pedal entry in a fugue? Are the simple effects, such as the dramatic diminished 7 hs, really characteristic of J. The 46 settings of 44 different chorales that make up the incomplete anthology can be shown to be revisions, of chorale preludes, that Bach had begun working on as much as ten years earlier, while still in Arnstadt. Jean Cuillou has included two Chorale Preludes from the collection on this recording; both are settings of Christmas hymns.
How many Bach intended to include in this kunstbuch left unfinished at his death is unclear, although eighteen is certainly a likely number. All eighteen are revisions of chorale elaborations that Bach had written in Weimar, about In some cases, the changes are merely cosmetic; in others the rewriting is extensive. Ilerr Gott, " 13 WV , is the second of two settings of the Lutheran Whitsuntide hymn found in the collection.
Contemplative and introspective, it is the antithesis of its companion, a glittering and extroverted setting marked pro Organo pleno. Trio Sonata No. Friedemann, who must nave used them while studying to become the great organ player he afterwards was. One cannot say enough about their beauty. They were assembled during the composer's maturity and can be looked upon as his masterpieces of this kind.
Bach had experimented with the form as early as , when organist of the Neue Kirche in Arnstadt, and was still playing around with it in the lastyears of his life, as the revised version of the Chorale Trio, "HerrJe. Apparently all but the sixth Sonata are to one degree or another made up from reworked and reused material.
The C Minor Sonata seems to have such a pedigree only to a limited degree; the opening Vivace and the concluding Allegro both appear to have been conceived for the organ from the outset; it is the central Largo that seems to be a reworking of an instrumental composition that antedates the organ version but for which no primary source has been preserved. For BWV , Bach used the version in triple time. Once again the chorale tune is in the pedal. Finally, the setting of "Vom Himmel hoch, da komm ' ich her, " BWV , is a little fugue, one of seven such fughettas found in the Kirnberger Collection.