- J.S. Bach's Great Eighteen Organ Chorales
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J.S. Bach's Great Eighteen Organ Chorales
Please enter a search term. Use Facebook login. Email Address. Password forgot? Files of this type are not available at this time. Excellent booklet notes by [Andrew] Arthur and Franco Basso perfectly complement these fine and valuable performances. I found listening to this to be a most moving experience — one that was enhanced by the way in which the Resonus engineers had captured the sound within the accommodating chapel acoustic. The director Andrew Arthur also contributes to the excellent booklet notes that complete a most recommendable package. I admire the overall sound — there are no prima donnas here, nor the sense that this is just another routine performance.
The intensity of it all is maintained by the experienced and capable direction of Andrew Arthur, as is the sense of the different chori — well laid out in the structure of the work as it is in the performance. This is complemented by a revealing note on the Latin text by Franco Basso, which is then given with an English translation. There is such wonderful variety of mood and expression in this pioneering work, and we should be glad that it has received such skilled and musical a treatment. If you want a recording to complement a [one-to-a-part] performance, I recommend this CD wholeheartedly; and in its own right it is a fine advertisement for this director and his college choir.
Yet he uses them most effectively, drawing from them an intimacy and directness of expression which gets right to the core of the work. At no time do you feel that Andrew Arthur is in any sort of hurry to get through the work, and a sense that at every corner and turn he is content to linger contemplatively imbues this performance with a rare sense of ease. And although, during his first decade in Leipzig, J.
Bach was a conspicuous beneficiary of Reiche's celebrated dexterity, Farley is on a mission to show the trumpet's earlier evolution from something of emblemtaic of parade ground and battlefield to an instrument capable of chamber music subtlelty - Italy at the heart of a seismic shift But Italy doesn't have the field to itself. It's a danger evidently recognised in the careful programming which rings the textural changes from trumpet plus solo accompaniment to richly layered five-part sonatas including the ear-grabbing interpolation of bassoon in Schmelzer's Sonata in C. Incisive, rhythmically taut in fast movements, eloquently expressive in slow ones, Farley's artistry is perfectly complimented by the suave sophisication of Orpheus Britannicus.
And buttressed by vivid recorded sound, there's an alchemy at work that turns not-so-base metal into trumpet gold! Farley and the ensemble Orpheus Britannicus are impressive. The playing is spirited and stylish…Farley is an exquisite trumpeter with impeccable technique and finely varied tonal timbre. The performers are well recorded in a rich ambience; detailed booklet notes are provided…and, as the timing indicates, the disc is generously filled to the brim.
Altena, Fanfare USA. I was riveted from the first bar. There is no attempt to gild the lily. Andrew Arthur allows the music to speak for itself, which it does most eloquently. Ensemble is paramount. Do buy this wonderful disc, and enjoy the relaxed freshness from these consummate musicians. Alongside these pleasingly idiomatic features, the correlation between solo verses, string interludes and the full group in these pieces makes for a profoundly consequential experience, each section organically emerging from the last.
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Arthur never forces the pace or engages in quick-win mannerisms. The Bell Anthem is a case in point, where its lightly cascading opening sets the scene with an easy nonchalance, gradually injected with its delicious blend of inward reflection and balletic fervour Jehova, quam multi sunt , that most exquisite creation by a teenager, is afforded just the right balance between abstract wonder and rhetorical purpose.
With this kind of expert control and youthful responsiveness, the poignancy of the music should penetrate the hardest of hearts. The recorded sound is outstanding. Wir Christenleut, BWV 4. Jesu, meine Freude, BWV 5. Das alte Jahr vergangen ist, BWV Chorales for the Feast of the Purification 7.
Christus, der ist mein Leben, BWV Chorales for General Faith 9. Wie nach einer Wasserquelle, BWV Ach Gott, tu dich erbarmen, BWV Chorales for the Dying.
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- J.S. Bach: 18 Leipzig Chorales, BWV 651-668 / Alexander Knyazev, organ.
- Von Gott will ich nicht lassen, No. 8 from "18 Leipzig Chorale Prelude scored for Organ Solo;
- Concerto Grosso in F Major for Organ, Op. 6 No. 9, HWV 327: III. Larghetto;
Aus tiefer Not schrei ich zu dir, BWV Catechism Chorales 2. Wir glauben all einen Gott, BWV 5. Chorales for times of trouble 7. Was Gott, tut, das ist wohlgetan, BWV Gott ist mein Heil, BWV Allabreve, BWV Christ, der du bist der helle Tag, BWV Herzliebster Jesu, was hast du verbrochen, BWV Lumen ad revelationem gentium - Plainsong antiphon 2. O nata lux - Tallis 4. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.
Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. The picture is more fluid, even unclear, both as to the veracity of individual works and of their particular chronology.
Many of the preludes and fugues do not exist in autograph form, a fact that in most cases does not affect the question of authorship as much as that of the date of composition, although the authorship of some organ works previously assumed to have been by Bach have been called into question, like the Eight Short Preludes and Fugues, BWV— However, the fluidity of the corpus is not as interesting—or as significant—as the stylistic and generic variety it exhibits. Many of these are traceable to other contemporary German organ composers whose compositional style Bach would almost certainly have known.
J.S. Bach - Concertos d'après Vivaldi by Johann Sebastian Bach on Spotify
But how have they been covered in the literature? With that in mind, there seem to be two broad extra-musical contexts of particular relevance to the organ music of Bach in which purely musical observations can be worked out. These are theology, and aesthetics. The key that unlocks this dilemma is the observation made by John Butt, that for Bach, as for other Lutherans, music was intrinsically of eternal value.
We can be more specific and outline two ways in which the inherent theological nature of music, as it was understood, appears to have influenced the music Bach actually wrote. This primary affekt is then projected through the musical material, itself often consisting of harmonic and motivic workings-out of a single inventio, or dominant musical figure. In the organ music, this notion is perhaps most useful in approaching the chorale preludes—a genre that covers many of the organ works—where in many cases the background text, where clear, often illuminates both the general affekt of a given prelude, and the specificity of particular harmonies and figurations that have been chosen to illustrate it.
In this they serve as exemplars of the theology of another towering eighteenth-century Christian intellect, whose published thought also combined beauty and belief with an emphasis on the affections of the believer: the American pastor Jonathan Edwards, with whom Bach has once been compared. Edwards placed the affections-of-the-heart at the centre of his definition of genuine Christian experience, and thus taught that moving them God-ward was the primary aim of any means of grace in the church, whether preaching or music.
So says Russell Stinson, author of a useful book on the Eighteen Stinson p.
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This quote brings out something of the dual nature of the Eighteen, a duality that gets to the heart of some of the problems and issues surrounding trying to provide an accurate introduction to the collection. It is, certainly, a collection, and the sources we have for it reflect this: a collection of chorales that are later Leipzig revisions of earlier Weimar settings. Further, a title-page suggests an original design of seventeen chorales, a title later changed to eighteen.
Thus, it is not clear that the chorales as we have them reflect versions, or a collection, that was complete or in a final form intended for publication. However, the Eighteen as we have them do exhibit qualities as a set that suggested a degree of pre-meditated organization. The final chorale apart, chorales one and seventeen and form a theological book-end, with reference to the Holy Spirit.
The chorales all have enough common musical features to suggest intent: for the most-part chorale preludes that preserve the structure of the chorale, with long interludes in between the chants, with a common texture chorale plus 3 parts. But there is also a seemingly deliberate mixing of chorale-prelude forms to highlight variety: chorale trios, chorale motets, chorale partitas, ornamental chorales.