Up to 30% off Brilliant Classics

An original concept: the Orgelbüchlein BWV 599‐644 performed alternating the organ chorale with the same choral sung by a choir.

Bach wrote the chorales in the Orgelbüchlein as educational material, to teach how to treat a chorale in polyphonic writing, but as in most of his works, the didactic element is far surpassed by the spiritual content of these miniature masterworks. The alternation of the organ and sung chorale provides a fascinating insight into Bach different treatment of the same melody.

New recording with excellent performances by one of Italy’s most famous harpsichordists, Francesco Cera, and the Coro della Radiotelevisione Svizzera conducted by early music specialist Diego Fasolis.

For many, Johann Sebastian Bach is ‘the’ composer of the Baroque period, a master of harmony, counterpoint and genre. During his lifetime he was particularly renowned as a virtuoso organist, and his compositions for the instrument have formed the core repertory of any aspiring organist ever since. The content of the Orgelbüchlein – a selection of chorale preludes composed while Bach held the post of Ducal Organist at Weimar – includes several pieces that are considered to be among Sebastian’s finest works. There is evidence that they were written for ‘teaching the various ways of treating a chorale, and the use of the pedal’, but they also have a definite spirituality – the dedication reads: ‘To God Almighty in praise, to everyman for instruction’. The compositions divide into groups intended for use throughout the liturgical year, from Advent to Pentecost. Italian organist and harpsichordist Francesco Cera is a renowned interpreter of 17thcentury keyboard music. He has performed on historical organs throughout Europe, and has recorded four of J.S. Bach’s concertos for harpsichord as well as Domenico Scarlatti’s keyboard sonatas, which he has also performed at the Flanders Festival. He is joined on the recording by the Coro della Radiotelevisione Svizzera, directed by Diego Fasolis.

The C minor Passacaglia and Fugue is one of the great masterpieces for the instrument and one which inspired countless responses from composers great and lesser. So it's all the more astonishing to think that Bach wrote it while still a twenty‐something hireling in Weimar, where his Kapell meistership to the Duke ended badly with the composer being clapped in irons for touting his availability for other jobs, frustrated as his ambition was by the restrictions of the position.

He had, however, managed to overhaul the organ of the court chapel in 1712–13, by collaborating with an organ‐builder friend by the name of Trebs; both men had had plenty of experience upgrading instruments elsewhere, and it showed both in the colourful specification of the new instrument and the music that Bach was thereby able to write for it – none more spectacular than the spectrum of registers which the successive variations of the Passacaglia seem to cry out for.

Bach also wrote plenty of 'bread and butter' chorales while in Weimar, of course, and later elaborated them, as was his wont, in Leipzig; here's a rare chance to hear the original versions. Manuel Tomadin is Young ECHO Organist of the Year 2012, having won the ninth Internationaal Schnitger Orgelconcours during the Orgelfestival Holland in June 2011 in Alkmaar. He was born in 1977 but has already made recordings on various instruments of historical importance; he enjoys a high reputation among the organ fraternity.

One of Bach’s most festive religious works, the Christmas Oratorio, celebrating Christ’s Nativity.

Performance based on Historic Music Practice, on authentic instruments.

The recording of Diego Fasolis was awarded numerous international record prizes, among which the prestigious Diapason’d Or.

Compiled from secular cantatas and first published in 1734, Bach’s Christmas Oratorio is remarkable in that it was conceived to be performed in two churches over six feast days, across a two-week period. Gathering together suitable cantatas to form a larger work was not an unusual practice, and Bach’s Easter and Ascension Oratorios (BWV 249 and 11) are both compiled from secular cantatas. It is indeed possible that Bach had in mind recycling the cantatas into a larger work when he originally composed them.

The Christmas Oratorio was composed for the church year of 1734/5. A particular pattern of dates in this year meant that it could only be performed again during a church year with the same day and date sequence. During Bach’s term in office this only allowed 3 possible performances - in 1739/40, 1744/45 and 1745/46 - as a re-order is not possible.

The music of this recording is glorious late Bach. Composed after the St John and St Matthew Passions and the B minor Mass, his maturity as a composer is evident in both the structure of the work and the subtle orchestration and contrapuntal writing of the chorales.

Recording made in 2003.

Booklet notes and texts.

Period performance practice.

'Third part of the Clavierubung consisting of various preludes on the catechism and other hymns for organ: For lovers and especially for connoisseurs of suchlike works, to refresh their spirits, provided by Johann Sebastian Bach,Royal Polish Court Composer and to the Elector of Saxony, and to the Director Chori Musici in Leipzig. Published by the author’ The 3rd book of the Clavierubung was the first collection of organ music published by Bach, and is his largest collection of works for the organ. The 1st part of the Clavierubung appeared in 1731 and consisted of the Partitas BWV 825-830 (published as his Opus1), and was followed by t6he 2nd part in 1735 which included such well know works as the Concerto in the Italian Style and the French Overtures BWV 831 and 971. Parts 1&2 are for harpsichord, the latter for an instrument with 2 keyboards. The 3rd part calls for an instrument with 3 keyboards (i.e the organ pedals), and requires an organist of considerable ability to perform its works. It is interesting that the inscription refers specifically to connoisseurs, a reference to the greater ability required from the performer. The work has been likened to a German Organ Mass, and although it does contain a Kyrie and Gloria, but there is no Agnus Dei. There is a lot more music than would be required for an organ mass. In fact the collection can be divided in to 3 parts - a Missa brevis (Kyrie and German Gloria) which form a Lutheran Mass - there are 9 arrangements of these settings. Second there is a group of 12 arrangements of Catechism songs. The 3rd section moves away from the church and into more domestic music. The Four Duets can be played on either the harpsichord or organ, and this suggests their suitability for domestic music making. This is Bach’s magnum opus for organ.

Bach’s Easter Oratorio (a re-working by Bach himself of a secular Cantata) is a substantial Cantata in eleven parts, in which the festive character of the Resurrection is caught in joyful trumpet fanfares in the first two instrumental Sinfonias.

Eloquent recitatives and intimate arias complete Bach’s musical celebration of Easter. Sung texts included.

A firm place for this powerful but somewhat neglected Oratorio in the MUSICA SACRA series!

Probably no great composer has been ‘arranged’ more often than Bach. Be it the C major Prelude from Book 1 of the Well Tempered Clavier which has another life as Gounod’s Ave Maria, or the jazz piano trio arrangements of Jacques Loussier of his keyboard concertos, his music shines through, and endures, reaching wider audiences. The Sitkovetsky arrangement of the Goldberg Variations (originally for harpsichord) ranks as one of the finest arrangements. It is the most recent in a long and honourable tradition that has seen Mozart arrange Bach’s fugues for string trio and quartet, and, indeed the great Johann Sebastian arrange Vivaldi’s concertos for keyboard.

Sitkovetsky’s arrangement treats all three instruments as different registers of a single instrument – all three are equal partners. Bach dedicated the ‘Aria’ ‘ to music lovers for the benefit of their souls’. This arrangement was certainly made in the spirit of Bach’s dedication.