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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.Other information:- A new recording (2013) of Bach’s complete organ works is, even in these overfed and crisis-stricken days, an event of the first order. First of all because the music is of such overwhelming beauty and power, one of the greatest creations of humanity, and secondly because there is still so much to discover and illuminate in these works.- These recordings are based on the choice of instruments: organist Stefano Molardi chose German instruments from Bach’s time, lending an authentic character to the project. This first set features the wonderful Trost Organ of the Stadtkirche Zur Gotteshilfe in Waltershausen, Thuringia, built in 1725 and gloriously restored in 1998.- Stefano Molardi is a “renaissance man”, organist, harpsichordist, scholar, historian and writer. He recorded extensively for Divox, DGG and other labels. His playing is clear, crisp, free and rhythmically vibrant.- The CD’s are programmed like concerto programmes, a fine diversity of genres and styles, to avoid monotony and uniformity.- All information on the organ, liner notes and artist biography are included in the booklet....

Manuel Tomadin follows up his first album for Brilliant Classics, of Weimar-composed chorales by J.S. Bach (94456), with some little-known musical treasures from Hamburg c.1700 complemented by a bona-fide rarity by Bach, a chorale fantasia believed to date from between 1705 and 1710 and rediscovered as recently as 2008.Georg Dietrich Leyding, Andreas Kneller, Christian Geist may hardly be more than names even to organ aficionados nowadays, but they were all active and original composers in North Germany in the latter years of the 17th century, a generation or so younger than Johann Sebastian. Most of their music is lost, but Manuel Tomadin presents here all their extant works for organ, on a fine Dell'Orto & Lanzini organ, at Nostra Signora di Fatima, Pinerolo (2011): a modern instrument built with Barock principles in mind. These works range from Geist's relatively simple chorale settings to some elaborately florid chorale fantasias and preludes by Leyding and Kneller, demanding considerable virtuosity of the kind that would have delighted the great Bach himself.Tomadin has made a specialty of this musical period and repertoire. He was Young ECHO Organist of the Year 2012, having won the ninth Internationaal Schnitger Orgelconcours during the Orgelfestival Holland in June 2011 in Alkmaar. He was born in 1977 but has already made recordings on various instruments of historical importance; he enjoys a high reputation among the organ fraternity.Other information:- Recorded in 2012.- The city of Hamburg around 1700 was a prosperous, wealthy and international centre of business and art, attracting artist from all over Europe. This CD presents the complete organ works of composers active in the city around 1700, belonging to one generation before Johann Sebastian Bach, who himself is represented here with a recently (2008) discovered Chorale Fantasia.- Manuel Tomadin is one of the most interesting organists of his generation. He is winner of the ECHO Organist of the Year Award 2012, and winner of the Schnitger Organ Competition in Alkmaar/Netherlands. He plays a magnificent Dell'Orto & Lanzini organ, built on Baroque principles.- Little-known but delightful music.- Biographical and musical notes by the performer....

Stefano Molardi’s recorded integrale of Bach’s organ music on Brilliant Classics won golden opinions from the specialist pres. As in the four volumes of that cycle, Molardi has taken care to choose instruments to match repertoire, playing two magnificent instruments by Gottfried Silbermann (Bach’s favoured organ-builder) to record the complete organ music – the first such album to do so – by Johann Kuhnau.Kuhnau thrived as a church musician in Germany a generation or so before J.S. Bach. He was appointed cantor of the Thomaskirche in 1701, on the death of Johann Schelle, the previous incumbent. When Kuhnau died in 1722, it was J.S. Bach who took over his position after a protracted selection process. Kuhnau played a pivotal role in the evolution of music in central Germany. This was partly due to the beauty and refinement of his melodies, the neatness of his harmony, his skilful use of dissonance and the Corelli-like elegance of his compositions.However the lasting quality of Kuhnau’s music also derives from his ability to infuse his music with the fruits of his considerable learning in theology and rhetoric. This is particularly evident in the Sonate Bibliche, which narrate scenes from the Old Testament - David slaying Goliath and Gideon's victory evidently lend themselves to dramatic presentation, but there are more potentially intricate and abstract stories too: Jacob and Esau, Hezekiah's prayer among them. Published in 1700, the Sonate Bibliche were the culmination of Kuhnau’s output as a composer, achieving considerable commercial success, and they deserve a wider public now.Then there are seven sonatas of more conventional dimensions and character. These were published separately from the Sonata in B flat, a work of considerably greater scope and invention. As Kuhnau himself noted on the manuscript, this is perhaps the first time that the genre description was applied to a solo keyboard work. Finally, there are the preludes and fugues in Kuhnau’s two volumes (1689 and 1692) of Neuer Clavier Übung, which at points throw light on Bach’s own appropriation of the genre.This 3CD set presents the first complete recording of the organ works by Kuhnau! Johann Kuhnau (1660-1722) held several important posts in Germany, before settling in Leipzig, where he was for many years Cantor of the Thomaskirche, till his death in 1722, when Bach (a personal friend of his) took over.Kuhnau’s music is highly innovative: refined and beautiful melodies, skilful use of dissonances and a Corelli-like elegance. He introduced Monteverdi’s “affetti” in his organ works, creating the first instrumental “programme music”. His “Biblical Sonatas” are based on Old Testament scenes, depicted in expressive and telling phrases and instrumental effects.Stefano Molardi is one of the foremost Italian organists, specialised in Baroque music. His many recordings (among which a highly praised complete Bach cycle on Brilliant Classics) have won great acclaim in the international press.Played on a magnificent historic 1714 Silbermann Organ of the Freiberg Dom, the complete specifications of which are included in the extensive booklet....

Here Stefano Molardi adds to his definitive survey of Bach’s complete organ music an extensive assortment of chorale preludes, concertos after other composers and some of the largest works in the great composer’s 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 (small-scale works, many under one minute in duration). The brilliant Piece d’orgue BWV572 and the Toccata, Adagio and Fugue in C BWV564 show off Bach’s 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 highly-regarded 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 Bach’s 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....

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.Other information:Recorded in Gräfenhain, Thuringia in September 2013Contains detailed notes for every CD by the performer...

Recorded earlier this year, here’s a small but distinguished volume in the growing Brilliant Classics organ library. The songs and chamber music of Tarquinio Merula (1595-1665) now place him in estimation as one of the most vital and original figures of North Italian musical life after Claudio Monteverdi, but too little attention has been paid to his organ music, which has had only one or two comprehensive recordings – though when one hears the Capriccio Cromatico, it’s easy to hear why Gustav Leonhardt and others might pick it out to illustrate the most inventive and challenging works of 16th-century organ music from whatever country. Indeed the piece, and several others like it here, sounds as though it could have been composed yesterday. The juxtaposition of keys is always striking, the movement between them unexpected and yet keenly plotted: Merula leaves the outright bizarre to Gesualdo.As the organist Enrico Viccardi remarks in his helpfully contextual booklet notes, ‘it is the keyboard compositions that clearly reveal his originality and his readiness to experiment’. He highlights Merula’s debt to Claudio Merulo, but also the reworked, more advanced nature of that debt in the magnificent Toccata on the Second Tone.Viccardi has used an original 1647 organ, built by Giovanni Chiappani in the church of San Pietro Apostolo, Mezzana Casati and restored sympathetically in the 19th and 20th centuries. The temperament is uneven but not eccentrically so. This is a release that should receive wide attention in the organ press but also be of interest to anyone who is captivated by the music of Monteverdi and his time.Tarquinio Merula (1595-1665) was a foremost member of the Venetian School, active as a composer of a substantial vocal oeuvre and instrumental music for keyboard.This new recording contains the complete works for organ by Merula, consisting of Toccatas, Canzones, Capriccio and three Intonazione Cromatica. Keywords of Merula’s innovative style are chromatiscm and a great expressive intensity.Enrico Viccardi, one of Italy’s most venerable and respected organists, plays the historic Chiappani organ, built in 1647.The booklet contains extensive liner notes on the music written by the artist, the organ specifications and photo, plus an artist biography....

Płyta 1. Scandali, Luca - Sonate Fuer Orgel D-dur Wq 70,5 1. Allegro Di Molto 2. Adagio E Mesto 3. Allegro Scandali, Luca - Fuge D-moll Wq 119, 2 Allegro Di Molto Scandali, Luca - Sonate Fuer Orgel F-dur Wq 70,3 1. Allegro 2. Largo 3. Allegretto Scandali, Luca - Fuge D-moll Wq 119,3 Allegro Scandali, Luca - Sonate Fuer Orgel G-moll Wq 70,6 1. Allegro Moderato 2. Adagio 3. Allegro Scandali, Luca - Fuge D-moll Wq 119,5 Allegro Di MoltoPłyta 2. Scandali, Luca - Sonate Fuer Orgel A-moll Wq 70,4 1. Allegro Assai 2. Adagio 3. Allegro Scandali, Luca - Fuge D-moll Wq 1194 Allegretto Scandali, Luca - Sonate Fuer Orgel B-dur Wq 70,2 1. Allegro 2. Arioso 3. Allegro Scandali, Luca - Fuge D-moll Wq 119,6 Alle Breve Moderato Scandali, Luca - Fuge Fuer Orgel D-moll H 372 Moderato Scandali, Luca - Adagio D-moll Wq N.v.66 Scandali, Luca - Prelude D-dur Wq 70,7 Grave - Presto - Grave - Presto Scandali, Luca - Ich Ruf Zu Dir, Herr Jesu Christ Scandali, Luca - Aus Der Tiefe Rufe Ich, Herr, Zu Scandali, Luca - Choraele Mit Ausgesetzten Mittels Nr. 1 O Gott, Du Frommer Gott Nr. 2 Ich Bin Ja, Herr, In Deiner Macht Nr. 3 Jesus, Meine Zuversicht Nr. 4 Wer Nur Den Lieben Gott Laesst Walten Nr. 5 Komm, Heiliger Geist, Herre Gott Scandali, Luca - Fantasie Und Fugue C-moll Wq 119, Allegretto - Allegro...

The Organ Sonata by Elgar is relatively well-known, not least thanks to its orchestration by Gordon Jacob, but the only other work he originally composed for organ is the Cantique Op.3 No.1, which moves solidly forward in the Victorian tradition without suggesting the personal voice and unpredictable drama that would come to characterise Elgar’s style.The set of Vesper Voluntaries Op.14, and this has had far fewer recordings. These gloriously intimate and expressive miniatures date from 1889-90, shortly after Elgar’s conversion to Catholicism, and in their simple songfulness betray their origin as pieces for harmonium. Three other arrangements of Elgar at his most representatively English were made by later organists: the Imperial March, the first of the Pomp and Circumstance marches, and ‘Nimrod’ from the Enigma Variations.The Sonata in particular demands the full resources of the kind of English cathedral organ for which Elgar wrote it (with the main instrument at Worcester in mind) and the Norman and Beard organ at Leeds Cathedral is a fine example of the style, recently and thoroughly restored by Klais. Daniel Justin has been the Cathedral Organist since 2013, and has played on other Leeds-originated recordings for Brilliant Classics, including a complete set of Maurice Duruflé’s music for choir and organ (BC9264).This new recording contains Elgar’s complete original works for organ, as well as several arrangements of his famous showpieces, the first Pomp & Circumstance March, the Imperial March and Nimrod from the Enigma Variations, an iconic piece of English ceremony.The original organ works consist of the grand Organ Sonata and the Vespers Voluntaries, a touching expression of Elgar’s Roman Catholic faith.Played on the magnificent Norman and Beard organ of Leeds Cathedral, a setting which does full justice to the opulent and romantic character of Elgar’s music. Organist Daniel Justin is the Cathedral Organist since 2013.Booklet contains liner notes on the works and full details of the organ....

enturini, Matteo - Fantasie G-mollVenturini, Matteo - Fantasie Es-durVenturini, Matteo - Fantasie F-durVenturini, Matteo - Fantasie Es-durVenturini, Matteo - Stueck Fuer Orgel C-durVenturini, Matteo - Fugenfantasie C-durVenturini, Matteo - Durch Adams Fall Ist Ganz VerdVenturini, Matteo - Vater Unser Im HimmelreichVenturini, Matteo - Christe, Der Du Bist Tag Und LVenturini, Matteo - Herr Christ, Der Einig GotessoVenturini, Matteo - Jesu, Meine Freude (Thema MitThema: Jesu, Meine FreudeVariation 1Variation 2Variation 3Venturini, Matteo - O Traurigkeit, O HerzeleidVenturini, Matteo - Was Mein Gott Will, Das GeschaVenturini, Matteo - Herzlich Thut Mich VerlangenVenturini, Matteo - Fantasie G-dur

Opis - Here Stefano Molardi adds to his definitive survey of Bach"s complete organ music an extensive assortment of chorale preludes, concertos after other composers and some of the largest works in the great composer"s 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 (small-scale works, many under one minute in duration). The brilliant Piece d"orgue BWV572 and the Toccata, Adagio and Fugue in C BWV564 show off Bach"s 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 highly-regarded 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 Bach?s 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. Nazwa - J. S. Bach: Complete Organ Music Volume 3 Autor - Molardi Stefano Wydawca - Brilliant Classics Kod EAN - 5028421949819 Rok wydania - 2013 Nośnik - Płyta CD Podatek VAT - 23%