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Klassiek - Verschijnt op 23 augustus 2019 | Alpha

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Klassiek - Verschenen op 21 juni 2019 | Divine Art

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Piano solo - Verschenen op 24 mei 2019 | Le Palais des Dégustateurs

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica

Klassiek - Verschenen op 10 mei 2019 | harmonia mundi

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Klassiek - Verschenen op 26 april 2019 | harmonia mundi

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Klassiek - Verschenen op 12 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik

Klassiek - Verschenen op 12 april 2019 | harmonia mundi

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Klassiek - Verschenen op 5 april 2019 | Alia Vox

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Johann Sebastian Bach’s Saint Mark Passion is part of the catalogue compiled by his son Carl Philip Emanuel. The piece was performed on March 23, 1731 in Saint-Thomas of Leipzig, two years after Saint Matthew. Though the performance is well-documented, the music has completely disappeared, with only a libretto by Picander from 1744 remaining. It is therefore the interpreter’s task to recreate the piece, using older compositions. This is what Jordi Savall managed to do in the “pasticcio” manner used by Bach himself when he composed such masterpieces as Christmas Oratorio de Noël and Mass in B Minor.The process is tricky because even though it relies on a precise musicological study, the result remains just a hypothesis. This recording is not the first attempt, and others have tried before with varying efficiency and authenticity. What we know for sure is that Bach wanted his Saint Mark to sound different, with less choir and more choral, which was familiar to the audience.In his work, Jordi Savall used the 1744 libretto. He found inspiration in Funeral Ode, Saint John’s Passion, and Matthew, as well as in a few cantatas. Jordi Savall offers a new light and an original “recomposition” of the piece. © François Hudry/Qobuz

Klassiek - Verschenen op 29 maart 2019 | harmonia mundi

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Klassiek - Verschenen op 15 maart 2019 | harmonia mundi

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Klassiek - Verschenen op 8 maart 2019 | Sony Classical

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Klassiek - Verschenen op 22 februari 2019 | Ramée

Hi-Res Booklet Onderscheidingen Diapason d'or
Although we know of at least five concertos J.S. Bach wrote for solo organ we have no surviving Bach organ concertos with orchestral accompaniment. Contrast this with the 200+ cantatas: of these, 18 feature organ obbligato, which Bach uses as a solo instrument in arias, choral sections and sinfonias. The most obviously conspicuous date to 1726. In May to November of that year, Bach composed six cantatas which assign a prominent solo role to the organ. Most of these are reworkings of movements of lost violin and oboe concertos written in Bach’s time at Weimar and Köthen. Why Bach wrote such a number of obbligato organ cantatas in such a short period remains unknown. One possible explanation may lie in Dresden, where Bach had given a concert on the new Silbermann organ in the Sophienkirche in 1725. Some scholars think that, in addition to other organ works, he also performed organ concertos, or at least a few earlier versions of the sinfonias, with obbligato organ and strings in order to show off the organ. From the cantatas mentioned above, along with the related violin and harpsichord concertos, it is perfectly possible to reconstruct a number of three-movement organ concertos of this type. By using this method, we hope to bring some of the music which Bach may have performed in Dresden in 1725 back to life. © Ramée/Outhere
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Klassiek - Verschenen op 30 november 2014 | Brilliant Classics

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Klassiek - Verschenen op 4 augustus 2012 | Aeolus

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Klassiek - Verschenen op 4 augustus 2012 | Aeolus

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Kamermuziek - Verschenen op 16 november 2018 | col legno

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Klassiek - Verschenen op 12 november 2018 | Melodiya

Hi-Res Onderscheidingen Gramophone Editor's Choice
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Kamermuziek - Verschenen op 1 oktober 2018 | Aeolus

Hi-Res Booklet Onderscheidingen 5 de Diapason
No need to dwell on the The Art of Fugue’s one thousand and one secrets, whether real or presumed: let’s just play it, pure and simple. For too long, many considered it had been created more so for the eyes and mind than for the ears, and what a mistake that was! Bob van Asperen proves it once again with his incredibly deep 1741 Christian Zell harpsichord. Van Asperen only plays fourteen of the definite, finalised manuscript’s “contrapuntus”, adding a canon found annotated on the same manuscript, which was itself finalised. The other contrapuntus and canons in The Art of Fugue are drafts at various degrees of revision, and it is known that a monumental triple fugue remained unfinished. As a complement, the harpsichordist had the surprising yet outstanding idea to combine Berhard Klapprott and a second harpsichord to play two mirror fugues from other manuscripts, which require a large number of playing fingers. The sound disparities between both harpsichords help the listener follow Bach’s titanic contrapuntal inventions. It’s clear this music wasn’t intended for the eyes alone… © SM/Qobuz
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Klassiek - Verschenen op 4 augustus 2012 | Aeolus

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Klassiek - Verschenen op 4 augustus 2012 | Aeolus

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