Johann Sebastian Bach

For the main work on this album of American recordings made at the time of the Great War, Bach’s Double Concerto in D minor (slightly abridged to fit on three 78rpm sides, Kreisler is joined by the Russian violinist Efrem Zimbalist. The Appendix features three tracks with soprano Geraldine Farrar and the only surviving recording of Kreisler-as-pianist, playing Dvorak’s Humoresque.

Producer and Audio Restoration Producer: Ward Marston

This re-release presents toccatas written in the ‘stylus phantasticus’ alongside variations on songs. These works by Bruhns, Buxtehude, Bach, Böhm and Sweelinck, covering one and a half centuries, offer a fascinating insight into the North German baroque organ tradition.

The carefully chosen instrument (built in 1991 by Riegner & Friedrich in Riegel/Kaiserstuhl), though not a copy, is modelled on historic North German organs. High-quality workmanship as well as the artistic talent of the voicer makes for an instrument whose fresh and always transparent sound is immediately appealing: “The full organ sound is bright and balanced, and the basic stops possess a vocal quality characterised by that gentle energy which is indispensable for an organ epitomising a musical instrument in the true sense of the word.” (Musica sacra)

Gerhard Gnann was awarded many prizes at international competitions, including the Bach Competition Brügge (Bruges), the Swiss Organ competition and the Grand Prix “Dom zu Speyer” (“Speyer Cathedral”). In 1997 Gerhard Gnann was appointed professor for artistic organ playing at the Johannes Gutenberg University Mainz. As an artist and teacher Gerhard Gnann is in high demand nationally and internationally, giving concerts and master classes e.g. in Italy, Poland, Norway, Denmark, France and Austria.

In 2007 I left the secure and familiar surroundings of the concert hall to fulfil a long-held ambition; to busk my way around the world, funding my travels by playing Bach’s music for unaccompanied violin on street corners wherever I found myself. My goal was to launch “Musequality”, a charity that funds music education projects for disadvantaged children in the developing world. During that journey across six continents Bach’s power to bridge linguistic and cultural divides never failed me. At the same time, it was my opportunity to explore the extraordinary world contained in one of the cornerstones of the violinist’s repertoire, his Six Sonatas and Partitas for Violin Solo. This recording is my next step in a journey that, I hope, will last a lifetime.

During his lifetime Bach never travelled further than 250 miles from his place of birth. I count myself exceptionally fortunate to have been able to spend an extended period travelling around the world with him as my constant companion. There was one other person who, having agreed to my deserting her and the family in order to indulge a whim, remained exceptionally close albeit at the other end of the phone.

That is my wife, Jane, to whom I dedicate this recording with love and gratitude.

David Juritz

After her magnificent Buxtehude box set in 2007 (502704-06), Japanese organist Kei Koito pursues her collaboration with Claves Records by laying down the foundation stone of a cycle dedicated to masterpieces by J.S.Bach and this release marks the second volume in the series. Kei Koito’s performance excels in these works, showing her deep affinity with the great composer.

Jaap Schröder needs no introduction with around 150 recordings to his credit, and covering numerous labels including Decca, Philips, Teldec and Harmonia Mundi. This recording focusing on music from the 17th Century is beautifully drawn together and performed on a baroque violin.

We have the pleasure to present a Bach programme performed on the exclusive little baroque organ from 1730 in the chapel of the Drottningholm palace near Stockholm. It was built by the most outstanding Swedish organ-maker of its time, Johan Niclas Cahman. Considering that it is a small instrument (only 1 manual, 6 registers), the great variation in sound is amazing, as tastefully revealed by the organist Bengt Tribukait.

The organ in the church of Leufsta Bruk (north of Uppsala) was built in 1726-28 by Johan Niclas Cahman, Sweden's foremost organ maker at the time. It is without comparison the most outstanding among the maintained baroque organs in Sweden. It has recently undergone a thorough restoration in order to bring it, as far as possible, back to its original state. Therefore, this CD demonstrates the sound and musical possibilities of the organ in all its former glory. Moreover, professor Fagius likes to show how congenially this instrument conveys J.S. Bach's matchless music.

In addition to the commentary by professor Fagius, the booklet contains beautiful colour photos of the organ and also of the interior and surroundings of the church.

It’s hard to believe that Martha Argerich is now approaching her 70th birthday – on 5 June this year. She has been recording for Deutsche Grammophon for 50 years, and has made some of the greatest recordings on the label, now fully documented on The Martha Argerich Collection capboxes (Solo Recordings, Concerto Recording, Chamber Ensemble Recordings).

Three generously filled CDs (nearly 240 minutes of music) portray the incredible virtuosity, style and range of this incomparable artist. We follow her solo and concerto career that is gradually subsumed in recordings with musical partners like Nelson Freire, Stephen Kovacevich, Mischa Maisky and Gidon Kremer – Argerich’s five decades of recording with DG and Philips (Decca) are surveyed in a magnificent chronological sweep.

Violinist Herwig Zack puts the spotlight on the unaccompanied four strings of his instrument, with J. S. Bach as the foundation, inspiring the 20th century composers Ben-Haim, Berio and Bloch.

Violinist Herwig Zack, who produced a compelling and imaginative solo recording with Essentials (AV2155), follows with an equally inspired recital that casts the spotlight on the “4 strings only” of his unaccompanied violin. With J. S. Bach providing the foundations on which arguably all solo violin repertoire was created, Zack places his Second Sonata at the heart of the program and surrounds it with four mid-20th century works which were indelibly inspired by the Baroque master. The two Solo Suites by Ernest Bloch were among his last works, and find Bach’s personality lurking in the Swiss composer’s modern polyphony and harmony. Israeli composer Ben-Haim’s Solo Sonata blends neo-Classical elements with and Eastern Mediterranean exoticness, whilst Berio’s Sequenza VIII is an overt homage to Bach’s Solo Partita in D minor, specifically the celebrated chaconne.