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Johann Sebastian Bach: Orgelbüchlein BWV 599-644

René Saorgin

Classical - Released September 1, 1997 | harmonia mundi

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Encounter

Igor Levit

Classical - Released September 11, 2020 | Sony Classical

Hi-Res Booklet Distinctions Diapason d'or / Arte
The latest album ‘Encounter’ by the German-Russian pianist is a particularly astonishing one, blending the diverse works of great composers such as Bach, Brahms and Morton Feldman. While the 2020 health crisis, due to the covid19 virus, has caused great anxiety among the general population it has also ignited the imagination of artists and musicians alike. Locked down in his apartment like so many us, the pianist Igor Levitt broadcasted a daily, live performance on his social media, even going as far as playing a 20 hour piece, Vexations by Erik Satie. ‘Encounter’, the product of Levitt’s self-isolation during lockdown, brings together an intelligent and pleasing array of composers. From Bach arranged by Busoni at the Palais de Mari, or the latest work from Morton Feldman for solo piano, to Brahms arranged by Reger, these are intimate connections between composers, as much as they are moments of solidarity at a time or great loneliness and isolation. Levitt’s poignant introspection and devotion to humanity shines throughout his album. © François Hudry/Qobuz
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Lux aeterna: Visions of Bach

Beatrice Berrut

Classical - Released January 12, 2015 | Aparté

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Bach : The Complete Works for keyboard, Vol. 2 / Part 2 (& Buxtehude, Pachelbel, Reinken)

Benjamin Alard

Classical - Released April 12, 2019 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - 5 étoiles de Classica
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53°32'46.0"N 9°59'42.4''E (Bach Organ Landscapes / Hamburg)

Jörg Halubek

Classical - Released December 3, 2021 | Berlin Classics

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You'll need your latest smartphone if you want to understand anything about the latest albums by the wacky German organist Jörg Halubek. Of course, the name Halubek is already a bit of an in-joke itself if one considers the journey to Lübeck (!) that Bach made in 1705, on foot, to meet Dietrich Buxtehude, the greatest German composer of his time. Underneath the GPS coordinates of the places and instruments frequented by Bach, we see Jörg Halubek from the back, looking out over the endless sea as in a painting by Caspar David Friedrich.More seriously, Jörg Halubek is a complete musician. An organist and harpsichordist, he also studied period performance practice with Jesper Christensen and Andrea Marcon at the Schola Cantorum in Basel, before forming his own ensemble, il Gusto Barocco, with whom he has made several recordings. This new volume of his Bach complete works, "Bach Organ Landscapes", undertaken since 2019 for the Berlin Classics label, takes us this time to Hamburg.Together with the Toccata in C, BWV 564, the works on this album represent the influence of the North German style on Bach's music. There are also some works composed before the trip to Lübeck and chorale preludes from his apprenticeship in Lüneburg. This project is based on ten historical organ builders who played a role in the life of Johann Sebastian Bach. © François Hudry/Qobuz
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Buxtehude: L'œuvre d'orgue, Vol. 5

Michel Chapuis

Classical - Released January 1, 1989 | naïve classique

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Durch Adams Fall ist ganz verderbt in A Minor, BuxWV 183

Ausra Motuzaite-Pinkeviciene

Classical - Released July 29, 2020 | Ausra Motuzaite-Pinkeviciene

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The Koroliov Series, Vol. 12

Evgeni Koroliov

Classical - Released January 1, 2010 | TACET Musikproduktion

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Johann Sebastian Bach: The Complete Works for Keyboard, Vol. 7: Orgelbüchlein, BWV 599-644 (with choir)

Benjamin Alard

Choral Music (Choirs) - Released October 14, 2022 | harmonia mundi

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With its forty-five chorale preludes, the Orgelbüchlein bears witness to a mastery of the art of improvisation on the organ, as the congregation heard it at the time before singing the hymn in its turn. It was a tempting experiment to revive this primary function: by collaborating with the combined forces of the Ensemble Vocal Bergamasque and the Maîtrise de Notre-Dame de Paris, Benjamin Alard gives the "little organ book" its full significance and expressive power. © harmonia mundi
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53°14'52.7"N 10°24'47.8"E (Bach Organ Landscapes / Lüneburg & Altenbruch)

Jörg Halubek

Classical - Released December 3, 2021 | Berlin Classics

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You'll need your latest smartphone if you want to understand anything about the latest albums by the wacky German organist Jörg Halubek. Under the GPS coordinates of the places and instruments frequented by Bach, we see Halubek, on the covers of his Bach complete works undertaken since 2019 for the Berlin Classics label, armed with a large black umbrella under a radiant sky, walking around with a cheerful face. Of course, the name Halubek is already a bit of an in-joke itself, if one considers the journey to Lübeck (!) that Bach made in 1705, on foot, to meet Dietrich Buxtehude, the greatest German composer of his time.More seriously, Jörg Halubek is a complete musician. An organist and harpsichordist, he also studied period performance practice with Jesper Christensen and Andrea Marcon at the Schola Cantorum in Basel, before forming his own ensemble, il Gusto Barocco, with whom he has made several recordings.This new album is devoted to early works composed in Lüneburg and Arnstadt. It contains the Orgelbüchlein ("Little Organ Book"), the famous collection of forty-six organ chorales composed by Bach between 1708 and 1717 and published in the mid-19th century, a must for all organist apprentices worldwide. The other side of this album is devoted to the Partitas BWV 770 and 766 to 768, in which Bach's unique personality is already apparent. © François Hudry/Qobuz
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Das Rheingold

Christian Elsner

Opera - Released May 1, 2013 | PentaTone

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Recorded live on November 22, 2012, in a concert setting, this performance of Das Rheingold continues Marek Janowski's exceptional hybrid SACD series of Richard Wagner's music dramas for PentaTone. Featuring powerful singers and the thrilling playing of the Berlin Radio Symphony Orchestra, this is the first opera in the tetralogy Der Ring des Nibelungen, and the excitement that's needed to kick off the cycle is quickly generated in the opening Prelude. The cast's standouts are baritone Tomasz Konieczny as Wotan, mezzo-soprano Iris Vermillion as Fricka, tenor Christian Elsner as Loge, and baritone Jochen Schmeckenbecher as Alberich, and even though the rest of the singers vary in intonation and vocal quality, the characterizations of unruly and argumentative Norse gods, giants, and dwarves give the performers considerable latitude for uneven or even unlovely singing. For many audiophiles, the vibrant sonorities and crisp details of the Berlin orchestra are the major attraction, and Janowski elicits extraordinary playing that is brilliantly captured in the mutichannel recording. This opening part of Der Ring des Nibelungen promises great things to come in the rest of the operas, and PentaTone's entire Wagner Edition is a fitting celebration of the bicentennial of the composer's birth.© TiVo
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Telemann: Harmonischer Gottes-Dienst, Vol. 7

Bergen Barokk

Classical - Released October 15, 2021 | Toccata Classics

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This is the seventh part in the first complete recording of the 72 cantatas in Georg Philipp Telemann’s collection Harmonischer Gottes-Dienst, published in Hamburg in 1726 – the first complete set of cantatas for the liturgical year to appear in print. The cantatas are designated for voice, an obligato instrument (recorder, violin, transverse flute or oboe) and basso continuo, and generally take the form of two da capo arias with an intervening recitative. Although intended for worship, both public and private, Telemann’s cantatas are a masterly blend of tunefulness with skilled counterpoint and vocal and instrumental virtuosity. © Toccata Classics
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J.S. Bach: Weihnachtskantaten

Philippe Herreweghe

Classical - Released September 1, 1996 | harmonia mundi

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Graun, Telemann & J.S. Bach: Wer ist der, so von Edom kömmt

Lóránt Najbauer

Classical - Released March 19, 2021 | Glossa

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The conductor György Vashegyi and his ensembles, the Orfeo Orchestra and the Purcell Choir, are fluent in various fields of baroque and classical music, with a particular predilection for French baroque opera. But one of their favourite lines of work is Lutheran sacred music, and a good example of this is this beautiful work, "Wer ist der, so von Edom kömmt", a period pasticcio with pieces by various composers. Graun (a composer at the court of Frederick II who was greatly admired by his contemporary colleagues), rubs shoulders here with Telemann and Johann Sebastian Bach, as well as with a mysterious unknown, who wrote several of the most impressive passages in the work. In fact, this is a Passion Oratorio, a reflection on the events related to the martyrdom of Christ based on freely chosen texts without following a precise Gospel and without summoning the usual characters of the drama into an imaginary setting. The originality of this patchwork also lies in the distribution of the text where – contrary to many passions of the time – the events of the last days of Jesus’ life are told by chorales that float in the meditative atmosphere of the recitatives, arias and choruses. These chorales are especially impressive in the second part: the density of the writing, the unique dramatic harmonies, the arrangement of the voices are of such an exceptional quality that their author could definitely be Johann Sebastian Bach himself... whom the author of the essay included in the libretto, Gergely Fazekas, also points to as the possible compiler of this masterpiece. © Glossa
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Kantaten im Januar

Anna Gschwend

Chamber Music - Released January 15, 2021 | Accent

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Sigiswald Kuijken's Bach cantata recordings, and in particular his complete series for Accent which culminated almost a decade ago now, haven't enjoyed quite the degree of international attention garnered by those of John Eliot Gardiner and Masaaki Suzuki with their own respective series, and this perhaps isn't completely surprising when Kuijken has consistently championed the one-voice-to-a-part approach. After all, even if one can get on board with one-to-a-part from a historical accuracy perspective, many find it a little harder to get on board with from a pleasure-listening angle, when the casualty of all that authenticity is textural variety – and indeed there's evidence that Bach himself was often frustrated by the slim vocal forces at his disposal. As ever, therefore, this three-strong, January-shaped return to the cantatas – for the third Sunday after Epiphany and the Sunday Septuagesima (the third Sunday before the start of Lent) - features one voice to a part, with La Petite Bande correspondingly chamber-forced. Also worth flagging up is that Kuijken has opted for a female rather than a male alto soloist. Inevitably therefore, the choruses lack the punch you'll hear from multi-voice offerings. However what you lose in weight, you gain in nimbleness, and the vocal performances here are all both enjoyable and text-aware. Likewise, the sound from La Petite Bande is sprightly, mostly attractive of tone, and with perhaps slightly less bite than heard from The English Baroque Soloists. The church acoustic meanwhile comes across with naturalness and a gentle bloom, and on the whole a good balance between parts, although the busy cello lines of BWV 92's Das Brausen von den rauhen Winden do rather cry out for a little more engineering love. If intimate, one-to-a-part Bach is of interest, this is certainly worth a listen. © Charlotte Gardner/Qobuz
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J.S. Bach: Himmelfahrts-Oratorium

Philippe Herreweghe

Classical - Released October 1, 1993 | harmonia mundi

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Bach: Cantatas BWV 41, 6 & 68

Ensemble Baroque de Limoges

Classical - Released January 1, 1996 | naïve classique

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Wanderer Without Words

Juliette Journaux

Classical - Released September 29, 2023 | Alpha Classics

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Oeuvres pour orgue (Édition 5.1)

Johann Sebastian Bach

Classical - Released October 23, 2012 | Aeolus

Hi-Res Booklet Distinctions La Clef du mois RESMUSICA