Adriano Falcioni
J.S.Bach In Himmerod Abbey

14,69 EUR

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Brilliant Classics
Release date: 09/Dec/2022

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Style:	Organ

Product No.:	2100718650

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Wir danken dir, Gott, wir danken dir BWV 29 (Kantate) (Auszug)

01. "Sinfonia (transkr. von Marcel Dupr?)"
Partita für Violine solo Nr. 2 d-moll BWV 1004 (Auszug)

02. "Ciaccona (transkr. von Ulisse Matthey)"
Konzert für Orgel d-moll BWV 596 (nach Antonio Vivaldis Konzert für Violine RV 565)

03. "1. (ohne Satzbezeichnung)"

04. "2. Grave"

05. "3. Fuge"

06. "4. Largo e spiccato"

07. "5. (ohne Satzbezeichnung)"
Pr?ludium und Fuge Es-Dur BWV 552 (Tripelfuge für Orgel) (aus Clavierübung III)

08. "1. Pr?ludium"

09. "2. Fuge"
Sonate für Fl?te und Cembalo Es-Dur BWV 1031 (Auszug)

10. "Sicilienne (transkr. von Louis Vierne)"
Chromatische Fantasie und Fuge d-moll BWV 903 (transkr. von Max Reger)

11. "1. Fantasie"

12. "2. Fuge"
Passacaglia und Fuge c-moll BWV 582

13. "1. Passacaglia"

14. "2. Fuge"

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Description:

This new recording presents the unique Klais organ of the Himmerod Abbey (Germany) in its full glory. The Klais organ was built in 1962. Judging from the stop list, the organ certainly fits the description â??typical Neobaroque.â? But having once heard the instrument, embedded as it is in the cathedral acoustics of the impressive Himmerod hall church, it is apparent that the organ is acoustically far ahead of its time. Particularly the warm, cantabile voices of the FlÃ¶tenchÃ¶re impart a distinct, light Romantic sound and the combination of gentle strings (Viola di Gamba) and their corresponding undulating stop, indispensable to the Catholic liturgy, was considered as a â??Neoromanticâ? tendency in 1962. The Himmerod organ created a new style, merging for the first time in a contemporary work the classic organ building tradition with a sound departing from the Neobaroque, thus creating an exemplary synthesis of styles and sounds. Italian organist Adriano Falcioni chose a fitting, spectacular program for this organ showcase: three organ transcriptions, the famous Chaconne (arr. Matthey), Chromatic Fantasy & Fugue (arr. Reger) and Sicilienne (arr. Vierne), a Vivaldi/Bach Concerto, and the mighty Passacaglia BWV 582. - .. ABBEY

In 1731, Johann Sebastian Bach was commissioned to write a cantata to mark the inauguration of the new town council in Leipzig. The resulting piece, Wir danken dir, Gott begins with a Sinfonia, based on a transcription for organ and orchestra of the prelude from Bach's own Partita No.3 in E major for solo violin BWV 1006. Bach's Chromatic Fantasia and Fugue BWV903 was originally written for harpsichord. Bach may have written this piece, like the Well-Tempered Clavier, as proof of the power of equal temperament to explore the various keys and get the most out of the instrument's tonal resources. Bach was a huge admirer of Antonio Vivaldi and transcribed several of his concertos for solo keyboard. The Concerto in D minor here is taken from Vivaldi's L'estro harmonico. The Chaconne from Bach's Partita No.2 in D minor BWV1004 is another solo violin transcription, arranged for organ by Ulisse Matthey. The Flute Sonata BWV1031, attributed to J.S. Bach but potentially composed by his son Carl Philipp Emmanuel, is divided into three movements, the most famous of which is undoubtedly the Sicilienne, here in the version transcribed for solo organ by Louis Vierne. The Prelude and Fugue BWV552 is considered one of the greatest achievements in the history of music. It is full of hidden symbolism, all celebrating the mystery of the Trinity: the three flats in the key signature, three themes in the Prelude and three subjects in the Fugue, are references to the numbers 9 (3×3) and 27 (3×3×3). The themes stylistically depict a part of the Trinity: the Father is solemn and majestic, the Son is livelier, and the Holy Spirit has a joyful feel.

Manufacturer No.:

1096615BRC

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