S Bach. Praeludium C-Dur Ach wei nichtig, ach wie fluechtig Allein Gott in der Hoeh sei Ehr Auf meinen lieben Gott Aus tiefer Not schrei ich zu dir Christe, der du bist Tag und Licht Christ lag in Todesbanden Christum wir sollen loben schon Erhalt uns, Herr, bei deinem Wort Capriccio D-Dur Praeludium g-Moll Praeludium G-Dur Praeludium F-Dur Menuet G-Dur disc 2 Praeludium d-Moll Freu dich sehr, o meine Seele Gelobet seist du, Jesu Christ Herr Jesu Christ, dich zu uns wend Jesu, du bist allzu schoene Nun bitten wir den Heiligen Geist Vater unser im Himmelreich Vom Himmel hoch, da komm ich her Wer nur den lieben Gott laesst walten The fin de siecle years saw him enter the Paris Conservatoire.
He was an immensely gifted youth, and one by one his early compositions began to show a real mastery of conception and execution-before the s were out, he had produced such assured works as Habenera, Menuet antique, several fine songs, and Pavane pour une infante defunte. Lever du jour 8 ii. Pantomime 9 iii. You will enjoy amazing sound on this deluxe 2-channel hybrid SACD of favorites and rarities. Deluxe imported pressings and packaging from Germany. This recording is one of legendary engineer "Prof. Strauss - Dance of the Seven Veils from Salome Tchaikovsky - Hopak from Mazeppa Mussorgsky - Dance of the Persian Slaves from Khovanshchina Rabaud - Dances from Marouf, Cobbler of Cairo Rubinstein - Ballet Music from The Demon Dvorak - Polonaise from Rusalka Saint-Saens - Bacchanale from Samson and Delilah " The orchestra sounds full, natural, warm, and nicely spread out over the soundstage.
There is none of the glare that still seems to affect many orchestral digital recordings; even the highest register of the violins sounds smooth and musical. Climaxes are never congested, and the fullest textures still retain clarity Paul Pioneer Press "Oue's program offers an inventive combination of worthwhile obscurities interlocked with superb versions of popular classics.
The low frequency extension is superb, the hall has wonderful spaciousness, and the instruments are well voiced. IMHO, this may be a landmark recording. While no recording can capture the otherworldly magic of sitting in this hall surrounded with the most perfect sonics ever granted an orchestra by an architect, an acoustician, and the power of the premiere orchestra under the baton of Salonen, this recording comes as close as possible!
Salonen opens this 'concert' with Mussorgsky's original 'Night on Bald Mountain' - a sophisticated work not at all like the Disney Fantasia version. For those who are hearing this work in its original form for the first time the power of the effect may seem diminished, but repeated exposure allows hearing the inner lines of this very well orchestrated work.
It is rich in echoes of 'Bluebeard's Castle' and is a moody masterwork of extremes in dynamics and in tempi. The sonics from the hall capture all of the delicacies solo desk contributions are amazingly clear and satire of this rich score. But of course the raison d'etre for this first recording session is the Le Sacre du printemps and here Salonen and the Los Angeles Philharmonic give the most sensitively detailed, propulsive, earthy, exhilarating performance on record.
Le Sacre comes from within the brilliant mind and soul of Esa-Pekka Salonen and what he achieves is uncanny and right. The piece is now so familiar that comparisons come quickly, but few will be able to resist applauding not only the extraordinary sound here but also the profoundly moving performance.
Salonen gives it his all and the orchestra 'sounds' like the premiere ensemble it has become. This is a landmark recording that belongs in the library of every lover of classical music. It is breathtaking!
Friedhelm Flamme Vol. This is a great recording of obscure north German Baroque repertoire on a beautifully restored period instrument built in by Friedhelm Flamme. He is a stunning organist, uses the color resources of his instrument beautifully, uses informed historical practice but avoids the registration idiocy of staying on a full organ plenum for complete movements of baroque works. These are the complete works for organ of the two composers listed. The works by Bruhns are always great music for listening and playing. He is very adventurous harmonically and texturally, showing some characteristics of the great north German master Diderik Buxthehude, but with more artistic daring.
A few things are especially nice about the instrument. It is pitched higher than normal pitch and tuned in one of the variants of meantone, Chorton, which is the reason why Flamme plays some of the works one full step lower from e minor to d minor in order to avoid howling 6th problems caused by the lack of equal temperament. Of course, there are many that argue that such intervallic howls were expected by the composers and that is why they put their music in such keys. Still, this disc, like Flamme's Durufle's discs, is excellent.
The bass response and the rasp of the reeds on this instrument are nothing short of beautiful. There is plenty of bass on this recording as this instrument has a very solid bottom end, though there are NO 32 foot stops in the Pedal division. The 16 footers are very solid and the overall blend of the instrument, built by a man in the tradition of the Arp Schnitger shop, is breathtaking in its blend and tone.
The mixtures never scream, as happens with some instruments. Great recital with very musical playing. Again, worth every penny.
You will find yourself tapping your toes to the dance-inspired preludes and fugues on this disc. Bruhns, Praeludium in e gross. Bruhns, Praeludium in G. Bruhns, Adagio in D. Bruhns, Nun komm, der Heiden Heiland. Bruhns, Praeludium in g. Bruhns, Praeludium in e klein. Leyding, Praeludium in C. Leyding, Wie schoen leuchtet der Morgenstern. Leyding, Praeludium in B. Leyding, Von Gott will ich nicht lassen. Leyding, Praeludium in Es. Praeludium in C.
Praeludium in g. Praeambulum in F. Lob Gott, ihr Christen, allzugleich. Praeambulum in E. Praeludium in d. Nun lasst uns Gott, dem Herren. Praeambulum in c.
Jesus Christus, unser Heiland (alio modo), No. 16 from 18 Leipzig Chorale Preludes, BWV - Kindle edition by J.S. Bach. Download it once and read it on . Jesus Christus, unser Heiland (alio modo), No. 16 from 18 Leipzig Chorale Preludes, BWV eBook: J.S. Bach: elexanonde.ml: Kindle Store.
Praeambulum in G. Ich ruf zu dir, Herr Jesu Christ.
www.5kcolorfest.com/images/map2.php In dulci jubilo. Andreas Kneller - Praeludium in D minor. Andreas Kneller - Praeludium in G major.
Andreas Kneller - Praeludium in F major. Andreas Kneller - Nun komm, der Heiden Heiland. Christian Geist c. Johann Adam Reincken - Was kann und kommen an fur Not. Johann Adam Reincken - Toccata in G minor. Johann Adam Reincken - Fuga in G minor.
Johann Adam Reincken - Toccata in G major. Cosmas and St. V: Melchior Schildt , Peter Morhard?
Melchior Schildt - Herzlich lieb hab ich dich, o mein Herr Melchior Schildt - Praeambulum in g Melchior Schildt - Praeambulum in G Peter Morhard - Alle Welt, was lebet und webet Peter Morhard - Aus tiefer Not schrei ich zu dir Peter Morhard - Gelobet seist du, Jesu Christ Peter Morhard - Praeambulum in e Peter Morhard - Herr got, dich loben wir Peter Morhard - Kyrie - I. Kyrie Peter Morhard - Kyrie - II. Christe Peter Morhard - Wacht auf, ihr Christen alle Peter Morhard - Was furchtest du, Feind Herodes, sehr Franz Tunder - Praeludium in F Franz Tunder - Auf meinen lieben Gott Franz Tunder - Praeludium in g Franz Tunder - Christ lag in Todesbanden Franz Tunder - Ein feste Burg ist unser Gott Franz Tunder - Franz Tunder - Praeludium in g Franz Tunder - Herr Gott, dich loben wir Franz Tunder - In dich hab ich gehoffet, Herr Franz Tunder - Jesus Christus, wahr' Gottessohn Franz Tunder - Praeludium in g Fragment Franz Tunder - Was kann uns kommen an fuer Not Franz Tunder - Canzona in G JNicolaus Hasse - esus Christus, unser Heiland Nicolaus Hasse - Jesus Christus, unser Heiland He had additional studies with Anton Heiller in and In he started performing the organ works by J.
And like most of these boxes, this one is not complete. These are all early versions or variations, some of them not by Bach. These works are mostly never included. On the other hand, many of the doubtful pieces are included just like a few that are clearly not by Bach ao. I just have problems with the omission of lines 4, 5, 6 and 7 stated above.
The box gives no information about the recording, just DDD, so we must trust our ears. I think this is not an original surround recording but the sound is great. But the most important to me is the purity in the sound. The colours of all the stops are presented in a natural way, and especially in de very low voices one feels the wind going through the instrument. And even very deep, you still hear an organ. The small choir organ also is recorded in the same honest way. For little money you get much quality, I do recommend this box.
For a purist who wants every BWV-number I recommend other boxes to start with and go collecting the missing numbers here and there. Disc Triosonate Nr.
His surviving church music is praised for its high musical qualities rather than its progressive elements. It leads directly into the magnificent second part — Gravement —. Freu dich sehr, O meine Seele Liebster Jesu, wir sind hier, BWV , comprises two very simple movements, the one carefully ornamented. Again, worth every penny.
Vivace Lento Fugue Bach, composer unknown : Fantasia Fantasia con imitazione in B minor, BWV Fantasia Imitazione Fugue Disc Prelude a-moll BWV Fugue c-moll BWV Fugue g-moll BWV Trio d-moll BWV Tiro g-moll BWV Disc Canzona d-moll, BWV Kleines Harmonisches Labyrinth. BWV Concerto a-moll after Antonio Vivaldi op.
Concerto d-moll after Antonio Vivaldi op. Leipziger Orig. Buy two and give one to a friend Samuel Barber - Toccata Festiva op.