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Brilliant Classics

Mozart kallade den för ”Kungen av instrument”. Det är bara att hålla med.
Större och mindre samlingar med orgelmusik, bland annat JS Bachs samlade orgelverk, nu till mycket bra pris!
Visar 33 artiklar
Image 50CD-BOX: 500 Years of Organ Music
Manuel Tomadin, Roberto Loreggian, Adriano Falcioni, Simone Stella, Christian Schmitt, Massimo Gabba, Roberto Marini, Benjamin Saunders, Thomas Leech & Marco Ruggieri (organists)

A 50-CD set presenting the history of organ music over 500 years, a survey of unprecedented scope, variety, quality and historical importance!

A must for any organ aficionado and collector, a treasure trove of known and unknown gems, and a tribute to the "King of Instruments" (Mozart)!

533 kr (889 kr)
Image Complete Organ Music, Vol. 1 (4CD-box)
Stefano Molardi is shaping his recorded survey of Bach's complete organ music as self-sufficient and musically satisfying recitals which, disc by disc, explore the diverse styles at the composer's disposal, the flexible usage to which he, the ultimate 'compleat musician', puts 'his' instrument through its paces, and the different liturgical demands which he was required to meet during the course of his career as he moved from church to court and back again. Grand Weimar- and Leipzig-composed preludes and fugues rub shoulders with intricate trio sonatas which he had initially conceived as chamber music, and between them nestle intimate chorales from his Cöthen days.

Accordingly, Molardi makes full use of the potential flexibility of his chosen Trost organ in the Stadtkirche 'Zur Gotteshilfe' in Waltershausen, deep in the provincial heart of Thuringia. This is Bach country, and although the organ has been periodically restored since it was finally inaugurated in 1755, almost 30 years after the work was begun, it retains the classic characteristics of its age and situation: a thorough restoration in 1998 returned the instrument to its original glory.

Born in Cremona, Molardi has undertaken a Renaissance career as not only organist but harpsichordist, conductor and scholar, not only at home in the rarified confines of early music but a virtuoso who has performed the complete organ works of Liszt and Franck and made an extraordinary recording of Verdi arranged for organ. These Bach discs are, perhaps appropriately, less overtly spectacular but no less imaginative in their rhythmic and coloristic response.

83 kr (139 kr)
Image 4CD-BOX: Organ Music Vol. 2
With the second volume of this complete survey of the greatest organ music ever written, we reach the summit of Bachs output for his own instrument, the Clavierübung, a set of intricate chorale preludes structured as an organ mass and bookended by his grandest prelude and fugue, BWV552, with its magnificent French Overturestyle prelude and inexorably pressing fugue known as the St Anne toAnglophone listeners on account of the melodys superficial (and coincidental) similarity to a hymntune of the same name.But Molardi offers much more on this generous selection, which does not slavishly group works according to genre but offers satisfying juxtapositions of style and mood while concentrating on the mature Leipzig period from which derives Clavierübung III, and including more preludes and fugues of protoRomantic weight of expression, climaxing in the tragic energy of the B minor pair, BWV544, which is fully worthy of itscounterpart that ends the first part of the WellTempered Clavier. In between come more chorale preludes, mostly withdrawn and reflective in tone.Molardi plays two instruments of a size and colour that would have been wellknown to Bach himself, including a splendid Dresden instrument by the nonpareil of contemporary organbuilders, Gottfried Silbermann. With its modern recording techniques, imaginative programming, virtuosic playing and thoughtful booklet notes by Molardi himself, this cycle promises to be a definitive set of Bach organ works forour times.With the second volume of this complete survey of the greatest organ music ever written, we reach the summit of Bachs output for his own instrument, the Clavierübung, a set of intricate chorale preludes structured as an organ mass and bookended by his grandest prelude and fugue, BWV552, with its magnificent French Overturestyle prelude and inexorably pressing fugue known as the St Anne toAnglophone listeners on account of the melodys superficial (and coincidental) similarity to a hymntune of the same name.But Molardi offers much more on this generous selection, which does not slavishly group works according to genre but offers satisfying juxtapositions of style and mood while concentrating on the mature Leipzig period from which derives Clavierübung III, and including more preludes and fugues of protoRomantic weight of expression, climaxing in the tragic energy of the B minor pair, BWV544, which is fully worthy of itscounterpart that ends the first part of the WellTempered Clavier. In between come more chorale preludes, mostly withdrawn and reflective in tone.Molardi plays two instruments of a size and colour that would have been wellknown to Bach himself, including a splendid Dresden instrument by the nonpareil of contemporary organbuilders, Gottfried Silbermann. With its modern recording techniques, imaginative programming, virtuosic playing and thoughtful booklet notes by Molardi himself, this cycle promises to be a definitive set of Bach organ works forour times.With the second volume of this complete survey of the greatest organ music ever written, we reach the summit of Bachs output for his own instrument, the Clavierübung, a set of intricate chorale preludes structured as an organ mass and bookended by his grandest prelude and fugue, BWV552, with its magnificent French Overturestyle prelude and inexorably pressing fugue known as the St Anne toAnglophone listeners on account of the melodys superficial (and coincidental) similarity to a hymntune of the same name.But Molardi offers much more on this generous selection, which does not slavishly group works according to genre but offers satisfying juxtapositions of style and mood while concentrating on the mature Leipzig period from which derives Clavierübung III, and including more preludes and fugues of protoRomantic weight of expression, climaxing in the tragic energy of the B minor pair, BWV544, which is fully worthy of itscounterpart that ends the first part of the WellTempered Clavier. In between come more chorale preludes, mostly withdrawn and reflective in tone.Molardi plays two instruments of a size and colour that would have been wellknown to Bach himself, including a splendid Dresden instrument by the nonpareil of contemporary organbuilders, Gottfried Silbermann. With its modern recording techniques, imaginative programming, virtuosic playing and thoughtful booklet notes by Molardi himself, this cycle promises to be a definitive set of Bach organ works forour times.

83 kr (139 kr)
Image Organ Music For Christmas
The French word noël is closely associated with the organ, and this new recording from the Breton organist Christian Lambour introduces the listener to works from the 17th to the 20th century. Noëls provided organists with the opportunity to introduce variations on popular tunes, often making use of Christmas carols and shepherd songs. The evocative sound of these traditional melodies sung around the fire during advent are assured to get you in lesprit de Noël!The album takes in some of the countrys most assured writers for the instrument, from the wellknown figures of César Franck and Théodore Dubois to lesserknown his contrapuntal style names like MichelCorrette and Alexis Chauvet notorious among his contemporaries as le petit Bach, - whom the listener may be not so familiar with. Many of the contributors held distinguished organist positions in Parisian churches, such as Claude Balbastre at NotreDame de Paris and two members of the Dandrieu family both at one timeorganist at SaintBarthélemy en Cité, Paris.The melody incorporated into Puer nobis nascitur by Pierre Dandrieu will be recognised by many as a popular Christmas carol still commonly sung today. The music of Père Franck, as his students affectionately knew him, and Alexandre Guilmant provide a contrast with their noels which were revived in line with the emerging symphonic tradition of the 19th century. Christian Lambours masterful recital is rounded off with movements from Boëlys Messe du jour de Noël, published in 1842 for performance on Christmas Day.The historic organ used on this recording in the former Benedictine Abbey of Neu St Johann in Switzerland, built in 1779, is instrumental in bringing the music alive.

53 kr (89 kr)
Image Das Wohltemperierte Klavier (4 CD)
Bach’s immortal 48 Preludes and Fugues in all major and minor keys was written for Clavier, and in Bach’s time that could mean any keyboard instrument: harpsichord, clavichord or organ. There is no indication in the entire score which precludes a performance on the organ. The great advantage of the organ is that the notes are sustained, which enhances the harmonic and contrapuntal writing to a great extent. The long bass notes, which on the harpsichord die out quickly, keep their strength on the organ, maintaining the harmonic power. Daniele Boccaccio is one of the foremost Italian keyboard players, he already successfully recorded his own arrangement of Bach’s violin concertos for organ, which was favorably reviewed in the press. He plays on a beautiful Francesco Zanin organ, built in 2006. This is the first recording of the Well-tempered Clavier on organ.

83 kr (139 kr)
Image 4CD-BOX: Complete Organ Music, Vol. 4
Stefano Molardi, organ


The fourth volume in Stefano Molardi's authoritative collection of J.S. Bach's organ works, this four CD release brings together some of the German composer's most famous music. Chief among these is the Toccata and Fugue in D minor BWV565; with its unforgettable opening bars - doubled in the octave - flourished chromaticism, pauses and arpeggios on the diminished seventh, the piece has consistently drawn much critical attention. Some scholars have debated whether it was originally written for the violin, thanks to its astonishing virtuosity and use of parallel thirds and sixths, and others have questioned whether the composition was even penned by Bach himself.

Also included on this release are the 'Neumeister' chorales; assembled by Johann Gottfried Neumeister in the 18th century, the collection wasn't actually published until the 1980s, with the result that these little recorded preludes still have plenty of room for a new interpretation.

Most impressive of all is the range of styles Bach covers in his organ works; from the northern toccata style - which the composer began to utilise after a stay in Lübeck - a working of several intricate fugues finished with a toccata style coda, to the mid German Sangerhausen style, featuring unusually dissonant harmonisations. Stefano Molardi has chosen the Thielemann organ in Gräfenhain, Thuringia, especially for this release; dating from the 1720s and therefore from the time of the composer himself, its captures the spirit of the great composer's age, lending a certain authenticity to the performances and allowing for a vast range of styles both grand and intimate.

This 4th and last instalment of Bach's Complete Organ Works by Stefano Molardi contains some of the most famous organ works by the master: the iconic Toccata & Fugue in D minor BWV 565, the complete Neumeister Chorales, and suitably finishing with one of the most shattering and original organ works ever written: the monumental Passacaglia in C minor BWV 582.

The performances by Italian master organist Stefano Molardi have gained great international acclaim, most recently highly praised in BBC 3 CD Review. Playing on historical organs from the time of Bach (here on a magnificent 1720 Thielemann organ in Gräfenhain, Germany) he combines his scholarly historical knowledge with his deep understanding of the underlying human emotions of these eternal masterpieces.

The booklet contains excellent liner notes, as well as the full specifications of the organ used.

83 kr (139 kr)
Image 4CD-BOX: Complete Harpsichord and Organ Music
Simone Stella, harpsichord & organ

Spanning 4 CDs and presenting over three hours of absorbing listening, this charming release explores the musical output of Georg Böhm - one of the most important German organists and composers around the turn of the 18th century, and who is considered to have had a major influence on the training of Johann Sebastian Bach.

The compilation focuses on the main nucleus of Böhm's output, his works for keyboard, and divides equally into those for harpsichord and/or organ. Of chief interest among the pieces for the former instrument are the 11 Suites, works that were probably written for domestic performance, and these are joined by a range of other genres also common to the period. From the French Overture style of the Prelude in F to the art of variation that is the Chaconne in G, Böhm's compositions abound in inventive detail, and we soon move onto the works for organ - where the composer's most important contribution to North German keyboard music, that of the chorale partita, comes to the fore.

Performing all these works is Simone Stella, one of today's most celebrated early music specialists and whose discography already includes two recordings for Brilliant Classics (Buxtehude's Complete Organ Music 94422; Buxtehude's Complete Harpsichord Music 94312). The release offers a fascinating insight into what is perhaps a lesser-known facet of the Baroque repertoire, and is certain to delight keyboard music aficionados.

77 kr (129 kr)
Image Complete Organ Music (3 CD)
A previous Brilliant Classics release from the organist Sergio Militello (BC94483) offered an attractive taster course to the music of the most distinguished family in music history. Now, having recorded the complete organ works of both the family’s supreme craftsman and genius (BC95105), and a North-German predecessor Johann Kuhnau (BC95089), Stefano Molardi turns his attention to two earlier members of the Bach family who have inevitably been obscured by the shadow cast by Johann Sebastian. In fact as uncle to JS, Johann Christoph Bach exercised a significant influence over his musical education, as composer, organist and indeed organ-designer. Sacred vocal works such as the Requiem have been revived in recent times, but the scant surviving proportion of his keyboard music has received too little critical attention. They comprise a prelude and fugue, and three cycles of variations on chorales. The ‘free’ pieces reveal an inventive spirit, fantasy, a certain skill in handling counterpoint and the use of expressive devices which show him no less open than his nephew to the exuberant vitality of the Italian tradition represented by Frescobaldi and Monteverdi. Brother of Johann Christoph, Johann Michael was also father to the Maria Barbara who became Johann Sebastian’s first wife. He too worked in the town of Arnstadt where the 18-year-old Johann Sebastian took up his first post in what is now appropriately known as the ‘Bach Church’. Doubtless J.M. Bach’s production was no less industrious than his brother, if scarcely matching his nephew, but the only extant organ works are chorale settings – 24 of them – which elaborate flowing counterpoint over and around the familiar hymn melodies such as In dulci jubilo and Ich ruf zu dir, Herr Jesu Christ. On this release, Stefano Molardi plays a finely preserved instrument from 1732-37 by Franciscus Volckland in the Cruciskirche of Erfurt, just a quarter-hour’s car drive from Arnstadt. In considering the fourth volume of Molardi’s Bach survey (BC95005), Early Music Review took note of the Erfurt organ’s striking variety of tone colour, and praised his playing for its ‘considerable clarity’ and lack of histrionics, ‘without extremes of registration or tempi – just what you need for the purposes of study or reference.’ A FIRST RECORDING: the complete organ works by Johann Michael and Johann Christoph Bach! Johann Michael (1648-1694) and Johann Christoph (1642-1703) were brothers, and nephew of the great Johann Sebastian. The daughter of Johann Michael was Maria Barbara, the first wife of Johann Sebastian, and therefore mother of both Carl Philipp Emanuel and Wilhelm Friedemann Bach. The Bach dynasty held a long tradition of composers and performers. Both brothers were firmly rooted in the Central German organ school, with a strong emphasis on counterpoint, while also under the Italian influence of vocal melodies and fluent lines. The greatest part of both brother’s oeuvre consists of Choralvorspiele, while Johann Christoph wrote some substantial variation cycles. Played on the historic 1732 Volckland organ of the Cruciskirche in Erfurt, Germany, by Stefano Molardi, one of the foremost organists of Italy, whose Kuhnau recording for Brilliant Classics was longlisted for the Preis der deutschen Schallplattenkritik.

41 kr (69 kr)
Image 3CD-BOX: Organ Music Vol. 3
Here Stefano Molardi adds to his definitive survey of Bachs complete organ music an extensive assortment of chorale preludes, concertos after other composers and some of the largest works in the great composers sizeable organ repertoire.Rather than organising the music by collection, Molardi provides great variety in his recording by juxtaposing the delicacy of works like the Trio in D minor BWV583 with the imposing Toccata and Fugue in D minor BWV538 and a selection of chorale preludes from the Orgelbüchlein (smallscale works, many under one minute in duration). The brilliant Pièce dorgue BWV572 and the Toccata, Adagio and Fugue in C BWV564 show off Bachs compositional finesse in the French and Italian styles respectively. The fascinating Canonic Variations BWV769a (recorded here in the Leipzig manuscript version) were written as a kind of entrance exam for the highlyregarded Mizler society; Bach proves his ability in a rigorous mathematical structure which remains musically exciting. Molardi plays the Zacharias Hildebrandt organ of the St. Jacobikirche, Sangerhausen, which has a close affinity with Bachs organ music: the composer was friendly with Hildebrandt, who lived in Leipzig from 1734. The thrilling sound and variety of tonal colour offered by this instrument allows us to hear the music as closely as possible to how Bach himself might have known it.

59 kr (99 kr)
Image Complete Organ Works
Important historical recordings by the composer.

In his short life (1911-40) Jehan Alain composed some of the most fresh and original music for organ.The influences of composers such as Duruflé and Dutilleux mingle with Gregorian Chant and jazz and the exotic - the latter Alain discovered at the Colonial Exposition of 1931. Interestingly, many of the organ works were conceived for other forms - orchestra in the case of the Trois Dances, String Quintet for the Suite for Organ: Introduction and Variations for example. Many of the works started life as piano pieces, or for small chamber ensemble.

This 3CD set contains recordings made in the 1930s of the composer performing his Les Fetes de l'annee Israelite and Synagogue Music - fascinating historical documents.

77 kr (129 kr)
Image Joseph Rheinberger: Organ Music
Joseph Rheinberger was unquestionably the foremost German composer working within the framework of the Cecilian movement, which promoted Classical values within the tradition of sacred music in mid-19th century Germany: Mendelssohn was decisively influenced by its precepts, especially in his later sacred music and ‘Hymn of Praise’. A remarkably versatile musician, Rheinberger was best known as a teacher during his lifetime – of Engelbert Humperdinck and Wihelm Furtwangler, among many others – but he was a prolific composer, especially for his own instrument, the organ. The 20 organ sonatas speak most eloquently for his skill in infusing classical forms such as the Sonata with the warmth of late-Romanticism. The Fourth Sonata in A minor is now the most-often heard of those sonatas, especially for its masterful closing chromatic fugue. The first movement uses a medieval psalm tone which returns in glory at the climax of the fugue. The 214-bar Passacaglia from the Eighth Sonata is an even more impressive demonstration of Rheinberger’s mastery of Baroque forms, and a superb example of musical architecture. With the 12 Characteristic Pieces Op.156, Rheinberger returned to the language of Romanticism, which is immediately evident even in the choice of titles: Duetto, Canzonetta, Vision and Intermezzo. On this recording, Carlo Guandalino plays a new instrument constructed by Alessio Lucato in the style of the German Romantic organ for the church of San Michele delle Badesse in Padua. This is Guandalino’s second album for Brilliant Classics, after the complete keyboard music by Domenico Zipoli (BC95212). Joseph Rheinberger (1839-1901) was a German romantic composer of mainly works for the organ, his own instrument. He was one of the leading figures in the “Cecilian Movement” which, in a world of increasing secularization, propagated the return to religious values of the past, expressing itself in a renewed interest in Gothic architecture and polyphony. Rheinberger’s organ works are a happy blend of the Romantic spirit of his time and a healthy dose of polyphony and counterpoint, in this he was a worthy successor of Felix Mendelssohn. These newly recorded two CD’s are presented his popular 4th Organ Sonata, Ten Trios Op. 49 and the beautiful “12 Character Pieces” Op. 156. Italian organist Carlo Guandalino plays the organ in San Michelle delle Badese, a magnificent organ inspired by the romantic and symphonic German organ building, with 30 registers and 1885 pipes. The booklet contains liner notes in English and Italian, as well the specifications and photo of the organ.

53 kr (89 kr)
Image Organ Music
Marco Ruggeri, organ

First and foremost this set should offer a great deal of fun to organists and connoisseurs of organ music who are familiar with the rousing sorties of other 19th-century composers such as Lemare and Lefébure-Wély, but who are curious about a lesser-known name. Over two discs, Marco Ruggeri presents an array of music for mostly liturgical purposes by Giovanni Morandi (1777-1856). There are various voluntaries to be played at the Offertory, the Elevation and after Communion, and these are meditative in mood, written in the style of a plausibly Italian admirer of César Franck. Interspersed with them are the much more boisterous Allegro marziale, several sinfonias, a variation set, a Rondo with bell imitations and the splendidly titled ‘Good save the Queen – Inno Inglese dell’immortale Heudel in F’ – this is exactly how the work appeared in an Italian music catalogue of the time. Whether the spelling mistakes originated with Morandi or his publisher is now lost in the mists of time, but the work itself should raise smiles no less than the title. His wife was an opera-singer, and he often accompanied her on her tours; he wrote a vast amount of music, much of it influenced by the operatic culture in which he was immersed. The organs used on this recording are an instrument made by the Venetian builder Gaetano Callido for the Parish church of SS Simon and Thaddeus in Borca di Cadore in the province of Belluno (CD1); and on CD2, an 1830 instrument built by Antonio and Angelo Amati for the Parish church of SS Peter and Paul in Provaglio d’Iseo, Brescia. Full organ specifications are listed in the booklet, which also contains colour photographs of the organs and a brief introduction to the historical context of Morandi’s music.

53 kr (89 kr)
Image Toccata & Fugue - Famous Organ Music
Stefano Molardi, organ

This 2CD set presents a selection of the most famous, best-loved organ works by Johann Sebastian Bach, ranging from intimate Choralvorspiele, ingenious fugues, a sparkling Concerto transcription to the monumental Toccata & Fugue in D minor and the towering Passacaglia in C minor.

Award-winning organist, harpsichordist, conductor and scholar Stefano Molardi is a peerless interpreter, having complete the recording of Bach's Organ Music for Brilliant Classics (BC 95105). The instruments heard on this album date from Bach's time (Silbermann, Trost, Thielemann, ildebrandt) therefore bringing us as close as possible to the sound world of the great Leipzig Cantor and allowing us to hear them as he might have done himself.

53 kr (89 kr)
Image Alternatim Masses
Federico del Sordo, organ
Nova Schola Gregoriana; In Dulci Jubilo / Alberto Turco

Claudio Merulo (1533-1604) was an important composer, organist and publisher in Late-Renaissance Italy. He obtained the prestigious post of organist of the famous San Marco in Venice. His keyboard style is highly innovative, and was the basis of further development by composers like Frescobaldi and Sweelinck.

In his Masses Merulo alternates the choir and the organ in the different mass sections. The organ part starts out as a transcription of vocal polyphony but develops into ornamented fantasies of advanced virtuosity.

Beautifully sung by the famous Schola gregoriana "In Dulci Jubilo", conducted by specialist Alberto Turco, recorded in the great acoustic of the Verona Cathedral. The historical organ played by Federico Del Sordo, is built by Costanzo Antegnati (1565-1606).

53 kr (89 kr)
Image Organ Chorales
Gottfried August Homilius (1714-1785) was a favourite pupil of J.S. Bach, and was regarded as one of the best (if not the greatest) organist who ever lived. During his long professional live he held several important posts, his last 30 years as cantor of the Kreuzkirche in Dresden.

Homilius' Chorale Preludes are firmly rooted in the contrapuntal tradition of his great teacher J.S. Bach, with added elements of the Empfindsame Stil, dramatic expressions of emotion. They show incredible skill, master pieces in their genre.

This is the first time the complete Organ Chorales are recorded, several of which are not yet published.

Played on a magnificent 2007 Zanin organ, built in the tradition of 18th century baroque style. The complete specificatons of the organ are included in the booklet.

Felix Marangoni is a specialist in 17th and 18th century keyboard music, a scholar and devoted musician, winner of several important competitions, such as the Buxtehude Competition in 2007.

53 kr (89 kr)
Image Organ Music
Given his immense fame and popularity during his lifetime, it seems astonishing that Padre Davide da Bergamo, Italian organist and priest, seems to have been so quickly forgotten. One of the greatest organists of the Risorgimento, Da Bergamo was a pioneer of organ music, and his output was immense: he is thought to have composed over 2,000 organ works and more than 500 sacred choral pieces. His compositions came at a time of great change, just when organ music was beginning to detach from the Church and explore a more secular side. This recording features a selection of his works, all of which demonstrate Da Bergamos predilection for the colourful timbre and lyricism of the organ. The organ was going through a time of immense change, leading the composer to explore new genres for the instrument, such as the sinfonia, which had previously only been heard in a complex orchestral form. This release includes first recordings of Da Bergamos six sonatas and sinfonias, which were published as part of his 12 Sonatas manuscript of 18456.Marco Ruggeri has specially chosen two organs constructed during Da Bergamos lifetime to perform these pieces, allowing the listener to enjoy the music just as it would have sounded in the composers day. A renowned musician and scholar, Ruggeri has dedicated himself to Italian organ music and period organ restoration. Whilst his performance remains deeply rooted in research, Ruggeri is an expert at bringing Da Bergamos works to life, allowing the vivacity and breathtaking virtuosity of his music to come through. This recording is a rare treat for organ music lovers, documenting as itdoes an important stage in the organs development that took place during a fascinating period of history.

53 kr (89 kr)
Image Organ Music
Romantic Organ Music of August Gottfried Ritter August Gottfried Ritter The organist (1811 1885) had almost his entire active career in music as a cathedral organist in Magdeburg. The general music public likes his name may not be clear, under the connoisseurs of organ music, his compositions are greatly appreciated. The present double-CD summarizes the entire oeuvre for organ by August Gottfried Ritter: the variations on the Prussian Imperial Anthem Heil dir im Sieger Kranz op 1, the six chorale preludes op 7, the two cycles, each with three large chorale preludes opp... 8 and 9, some individual works and the four romantic organ sonatas in D minor, Op. 11??, E minor, Op. 19, A minor, Op. 23 and A-flat major, Op. 31. As organist of many for his recordings of the press (Diapason, organ Yearbook, Ars Organi, etc.) excellent Italian Massimo Gabba heard at the Sandri-organ of the Sanctuary Mary Help of Christians in Italy Aprica. The photographs were taken in September 2013 in the Sanctuary of Mary Help of Christians in Italy Aprica. The booklet contains notes for organ disposition, the composers and the works and a biography of the artist.

53 kr (89 kr)
Image Complete Apparatus Musico-Organisticus
53 kr (89 kr)
Image Schübler Chorales, Preludes and Fugues for Organ
Matteo Messori, organ

J.S. Bach is widely regarded as the father of the Baroque period. A master of vocal, keyboard, orchestral and chamber repertoire, he is one of music's greatest legends -- a man whose works, which were truly revolutionary for their time, continue to inspire generations of composers.

Bach's virtuoso skill as an organist was world renowned, and he was particularly celebrated for his use of registration. Spanning 2 CDs, this compilation is dedicated to some of his best-known Preludes and Fugues, and also features the celebrated Schübler Chorales. While the former works betray the composer's unparalleled ability to give distinctive qualities to each of the fugal voices, the latter collection -- compiled by the publisher Johann Georg Schübler in 1748 -- is largely made up of chorales based on melodies from Bach's cantatas, and was intended for concert performance. The celebrated Fantasia and Fugue in C minor BWV357 and Toccata and Fugue in D minor BWV538, which Bach himself is said to have held in high esteem, complete the line-up.

One of Europe's leading organists, Matteo Messori has recorded widely for Brilliant Classics. Here he combines energy with artistic flair to deliver consummate readings of these engaging works: a must-buy for the keyboard and Baroque connoisseur.

Recorded in June 2011.

53 kr (89 kr)
Image Clavier Übung III
Shortly after its release, Matteo Messori was awarded a Diaposon d'or for this recording!

'Third part of the Clavierubung consisting of various preludes on the catechism and other hymns for organ: For lovers and especially for connoisseurs of suchlike works, to refresh their spirits, provided by Johann Sebastian Bach, Royal Polish Court Composer and to the Elector of Saxony, and to the Director Chori Musici in Leipzig. Published by the author'

The 3rd book of the Clavierubung was the first collection of organ music published by Bach, and is his largest collection of works for the organ. The 1st part of the Clavierubung appeared in 1731 and consisted of the Partitas BWV 825-830 (published as his Opus1), and was followed by t6he 2nd part in 1735 which included such well know works as the Concerto in the Italian Style and the French Overtures BWV 831 and 971. Parts 1&2 are for harpsichord, the latter for an instrument with 2 keyboards. The 3rd part calls for an instrument with 3 keyboards (i.e the organ pedals), and requires an organist of considerable ability to perform its works. It is interesting that the inscription refers specifically to connoisseurs, a reference to the greater ability required from the performer.

The work has been likened to a German Organ Mass, and although it does contain a Kyrie and Gloria, but there is no Agnus Dei. There is a lot more music than would be required for an organ mass. In fact the collection can be divided in to 3 parts -- a Missa brevis (Kyrie and German Gloria) which form a Lutheran Mass -- there are 9 arrangements of these settings. Second there is a group of 12 arrangements of Catechism songs. The 3rd section moves away from the church and into more domestic music. The Four Duets can be played on either the harpsichord or organ, and this suggests their suitability for domestic music making.

This is Bach's magnum opus for organ.

71 kr (119 kr)
Image Complete Organ Music
Manuel Tomadin
Schnitger Organ of St Michaëlskerk, Zwolle, The Netherlands

This new recording features the magnificent Schnitger organ of the St. Michael Church in Zwolle, the Netherlands. It was built in 1721 by Arp Schnitger and his sons, and after careful restoration over the last decades by Flentrop the organ is restored in its full glory, one of the finest examples of the Golden Age of organ building, the Baroque.

The works on this recording are derived from the Husumer Orgelbuch (Husum organ book), a collection of organ works by North German major and minor masters. Presented are substantial Preludes by Georg Wilhelm Saxer, Choralvorspiele by Daniel Erich and two Concertos by Wolfgang Druckenmüller, written in the Italian style, as original compositions and not as transcriptions of Italian Concerti grossi, as was the custom of that period.

Manuel Tomadin is one of the foremost Italian organists, a scholar, teacher and passionate musician. He won the Grand Prix of the Schnitger Organ Competition of Alkmaar in 2011, and recorded several CD’s for Brilliant Classics, among which the complete keyboard works by Alberti (BC95161). He wrote the excellent liner notes for the booklet, which also contains all information on the organ.

53 kr (89 kr)
Image Organ at European Courts (The)
Francesco Cera
Positive organ: Neapolitan school, dated 1772

The organ is usually associated with the church and sacred music. However, in Renaissance and early baroque small organs were often used in noble mansions and courts for performance of secular music. Collections of instruments held by courts in England and Italy include a considerable number of small organs, often richly decorated and inlayed with ivory and turtle-shell.

This anthology offers a fascinating view on the secular repertoire that organists from 5 countries were performing on organs at royal courts.

Renowed Italian organist Francesco Cera plays a beautiful “Organo ottavino” from 1772 of Neapolitan build. He plays works by Antico, Frescobaldi, Gabrieli, Pasquini, de Cabezon, Scheidemann, Scheidt, Attaingnant and Du Mont.

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Image Organ Music
Although Mozart called it 'The King of instruments' he wrote comparatively few works for the organ, but what he wrote is of a special quality: the great Fantasia in F minor (a late work) is of deep emotional content, while the Adagio and Rondo K617 is in the tragic key of C minor. Also included is the delightful Suite in C K399, the beautiful Andante in F major K616 and some works the child prodigy Wolfgang wrote in London, the K15.Played by Italian master organist Ivan Ronda, internationally acclaimed by guest appearances in such venues as Westminster Abbey and King's College Cambridge.The booklet contains the information on the organ, artist biography and notes on the music.

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Image Overtures for Organ
Although usually performed by large orchestras, this new release brings the overture an introduction to an opera, ballet, suite or oratorio to the organ, in innovative arrangements for four hands. The transcription of orchestral materialonto the keyboard has proved popular throughout history, as it brought celebrated concert hall music to more intimate, domestic venues. Arrangements for two players became more fashionable during the second half of the 19th century, through virtuoso pianists such as Max Reger and Franz Liszt.On this recording, overtures from across the centuries are brought alive in imaginative duets. From the solemn, majestic introductions to Handels Water Music and Bachs third Orchestral Suite to the familiar strains of the troubadour song in the overture to Bizets Carmen, and the dreamlike, imaginary world of Tchaikovskys Nutcracker Suite overture, the grandiose repertoire heard here is nothing but diverse.In contrast to the piano, the different combinations of stops possible on the organallow a variety of timbres, so that the hue of the orchestral version remains largely intact. Italian organists Pietro Pasquini and Francesco Zuvadelli have also made further adjustments and additions to existing keyboard arrangements by established omposers, carefully bringing out a wealth of colours and phrases from the original compositions. They have selected two organs to reflect the contrasting nature of the music the pieces by Bach, Handel and Mozart were recorded on a Baroquestyle German organ, while the pieces by Beethoven, Bizet, Tchaikovsky and Rossini were recorded on a vast Italian organ of the 1800s, conceived and built like a large orchestra for the performance of the operatic music that held sway in Italy during the 19th century.

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Image Complete Organ Music
Brilliant Classics continues its fascinating survey of Pre-Bachian keyboard music with a new recording of the complete organ works of Nicholas Bruhns.

Bruhns, born into a musical dynasty, was organist, violist and violinist in Copenhagen, pupil of the famous Buxtehude, where he remained till his death, only 31 years old.

Bruhn's works make full use of the many newly developed possibilities of the organ in his days, and form a splendid display of keyboard (and pedal!) virtuosity, and intricate counterpoint. To complement Bruhns' complete organ works this recording presents other works by Sweelinck (his famous Chromatic Fantasy), Scheidemann, Scheidt and Buxtehude.

Adriano Falcioni is one of the foremost organists of this time, winner of many international competitions. He already made several organ recordings for Brilliant Classics (Franck, Muffat, Couperin, Duruflé). Includes liner notes by the artist and an artist biography.

Contains specifications of the magnificent organ of the Chiesa di San Giorgio in Ferrara, Italy.

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Image Complete Organ Music
Robert Schumann is probably best known for his copious amount of piano works and lieder - music that, fuelled by vivid imaginings and unfettered emotions, represents one of the highest expressions of the Romantic spirit. It shouldn't be forgotten, however, that the composer also wrote masterly works for the organ, an instrument which interested him only occasionally but which he praised in his Rules for House and Life (1850): 'If you pass near a church and you hear the organ playing, go inside and listen... Never waste an opportunity to practise the organ: there is no other instrument able so swiftly to dispense with all that is impure and imprecise, both in the music itself and in the manner of playing it.'

It was Schumann's deep admiration for J.S. Bach that led him to a detailed study of counterpoint - one which, together with his encounter with the Pedalflügel (a piano with a pedalboard), led him to compose the three groups of works comprising this release. Given that the pedal piano is now all but obsolete, the conventional organ suffices more than adequately for this type of repertoire, and the Mascioni Organ of Pontevico - inaugurated in 2009 and combining traditional elements with innovative design concepts - is a particularly fine specimen on which to play it. Roberto Marini, one of Italy's most accomplished organists and whose repertoire betrays his particular affinity with the Romantic and late-Romantic oeuvre (career highlights include a complete Reger cycle performance) begins his recital with the Six Studies Op.56, works written in strictly canonic form and which reveal the diverse aspects of Schumann's musical personality. The Four Sketches Op.58, pieces of poetic character, close to the style of chamber music, follow, leading to the final and crowning work of the set: the Six Fugues on BACH, a personal tribute the composer's inspiration and the first important composition in musical history to be based on the theme of Bach's name

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Image Complete Organ Music
Joseph de Torres was something of a multifaceted character, for not only was he appointed organist of the Spanish Royal Chapel, later becoming its maestro di capilla in 1718, but he was also responsible for founding a publishing house - where, exercising a virtual monopoly, he promoted many of the most important theoretical works of the time, in addition to the publishing of scores and incidental music.

De Torres was first and foremost, however, a composer of the upmost talent, and the fact that he achieved renown beyond the borders of his native Spain, receiving commissions from as far afield as Latin America (something highly unusual for the time), is a testament to the fine quality of his music. As for his small collection of organ works, they reflect the best of Spanish Baroque keyboard writing, especially that of the Daroca school (a tradition passed on directly to Torres by his teachers). Now preserved in manuscripts housed in Portugal and Mexico, they have been transcribed by the artist on this recording, Bruno Forst, who, as a devotee of the Iberian organ, has dedicated himself to studying tablature and to building up as accurate a picture as possible of 16th- to 18th-century keyboard performance practice - from a player's rather than a scholar's perspective. The pieces, which include a fugue, batalla as well as canción, make the most of the technical innovations introduced by the greatest Iberian organ-builders during the last decades of the 17th century and commonplace by the beginning of the 18th - including the frequent use of light-and-shade echo effects, splendidly illustrated by Forst in this recording.

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Image Arrangements for Organ
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Image Complete Organ Music
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Image Sonatas for Two Organs
Luca Scandali, organ
Hadrien Jourdan, organ & harpsichord

Bernando Pasquini was a musician of considerable reputation in 17th century Rome. Having held various organist posts throughout the city, he struck gold in 1666 when he was made organist and director of music to Prince Gianbattista Borghese. In 1706 he, along with his contemporaries and fellow musicians, Arcangelo Corelli and Alessandro Scarlatti, was made a member of the Arcadia, a movement begun by Queen Christine of Sweden.

Keyboard music in Italy in the 1600s was to undergo a radical change, with an introduction to Rationalism and simplicity; Pasquini himself is known to have been particularly enamoured with the works of Palestrina and Frescobaldi. Aside from his skills as a performer and composer, Pasquini was also an immensely gifted teacher. Each of the sonatas for two basso continuo instruments bears the hallmarks of the partimento teaching technique, which involves a kind of dialogue between teacher and student. The sonatas include the fashionable styles of keyboard music of the time, such as the Allegro da concerto, Adagio, Fugue, Corrente and Gavotte.

The recording boasts two multi-awardwinning organists. The first, Luca Scandali, was educated at the Conservatory 'G. Rossini' of Pesaro in his native Italy and has performed in festivals all over Europe. He is currently Professor of Organ and Composition for Organ at the Conservatory 'F. Morlacchi' of Perugia. The second, Swiss organist, Hadrien Jourdan, studied at the Conservatory of Geneva and regularly participates in festivals and recordings throughout Europe.

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Image Bach Family Organ Music

Heinrich Bach
Johann Michael Bach
Johann Bernard Bach
Johann Lorenz Bach
Wilhelm Friedemann Bach
Carl Philipp Emanuel Bach
Johann Ernst Bach
Johann Christoph Friedrich Bach
Johann Christian Bach
Wilhelm Friedrich Ernst Bach

Sergio Militello, organ

The most famous scion of a musical family which stretched across at least ten generations, Johann Sebastian Bach had a very strong sense of history, tradition, and his evolving place in it, and was instrumental in curating and adding to the library of the music of the Bachs, which was known as the Altbachisches Archiv. This archive mostly comprises vocal music; now the Italian organist has created a fascinating instrumental counterpart, with short organ works by ten members of the family ranging from Heinrich Bach (1615-1692) to Wilhelm Friedemann Ernst Bach (1779-1845). And so, during the course of the disc, we move, always guided by the constraints of Protestant thought and liturgy, through austere low Baroque chorales to spectacular, late-Classical fantasias.

Militello has chosen an organ of ideal size and disposition for this repertoire: a new instrument, built to Baroque specifications within the vestry of the magnificent Lower Austrian Benedictine Abbey of Melk, overlooking the Danube on a rocky outcrop and providing a dramatic backdrop to what is already music of continually shifting rhetoric and invention.

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Image Passacaglias
This original program brings together composers from 4 centuries: from Kerll, Couperin, Buxtehude and the monumental Passacaglia in C minor by J.S. Bach, far into the 20-th century with Reger, Shostakovich and Jan Welmers.

Consisting of variations framed in a constantly repeated basso ostinato, the passacaglia is a musical form with a long and fruitful history. This release is dedicated to eight such examples which, taken from four countries and all performed on the organ, divide either side of the year 1800 to reveal the form's extensive and inventive development over time.

The passacaglia was particularly popular during the 17th century, when it became known for its limited range of keys, slow triple meter and short, simple theme of two or four bars. While Couperin's use of elaborate ornamentation and rondo structure equate to a typically French rendition of the form, the leaps in Buxtehude's theme create bolder expression and are also prominent in J.S. Bach's C minor Passacaglia -- a summit in western classical music, whose influence can be felt in this compilation's remaining post-1800 works. From Mendelssohn's unabashed homage, distinguished by its unusual 4/4 time signature, to Reger's similarly Romantic appraisal of 17th-century contrapuntal techniques, the collection also showcases Shostakovich's highly dramatic working of the form -- whose complex harmonic explorations are pushed to shattering point in Welmer's 1965 atonal composition.

Though the passacaglia is by no means limited to the organ, this compilation demonstrates just how well the instrument's sustainable tone and majestic qualities suit the form. Matthias Havinga delivers an authoritative reading, full of colour and timbral invention.

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Image Italian Concertos
Although it would be almost impossible to believe from the lofty position J.S Bach occupies in the pantheon of the great composers, during his lifetime he was best known as one of the very greatest virtuosos and improvisers on the harpsichord and organ. He produced works of unrivalled contrapuntal art.
As a result of his duties at court and for the church, Bach never travelled beyond what we now call Germany. His musical interests and the influences upon his compositional style came from outside the borders of his homeland. It was in particular the music of the Venetian master -- Vivaldi and Marcello.
Through the young half brother of the Duke of Sachsen-Weimer (who was a very talented violinist) Bach received the scores of Vivaldi's op3 concertos, and he learned from the Prince of a Dutch organist, the blind Jan Jakob de Graaf, who could perform such concertos by heart, in three or four voices.
Bach's transcriptions demand an absolute technical mastery of an order unprecedented at the time. What fun he mast have had making these arrangements -- a welcome change from the day to day duties that kept him from travelling.

Other information
- Recording made in 2010
- Performed by prize-winning organist Matthias Havinga.
- Booklet notes

53 kr (89 kr)
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