Johann Sebastian Bach

Recorded during live performances in Munich October 1957.

Cameron Carpenter’s Revolutionary threatens to turn the organ world upside down. Among organists it’s generally accepted that he’s unmatched technically, but this debut CD reveals that his approach to the organ is unlike anything currently in the market. He is such an exciting new artist that the Royal Albert Hall has invited him to make his debut performance in the UK in a solo recital on the 21st October

Cameron Carpenter has been lauded as “the Maverick organist”, “madly original”, and “a superstar of the 21st-century organ”. His debut recording, Revolutionary, showcases an artist who is not only breaking new ground, but who runs a musical gamut that any musician would be extremely hard-pressed to match. There are only four organ works included. Three are major pinnacles of the organ repertoire (Demessieux: Etude in Octaves;Dupré: Prelude and Fugue in B major; and Bach: Now Come, Saviour of the Gentiles) while the fourth is the world premiere recording of Cameron’s suggestive Love Song No. 1 (2008).

The album’s major departures are found in Duke Ellington’s Solitude (wittily combined with Bach’s Sheep May Safely Graze); Liszt’s Mephisto Waltz, and Vladimir Horowitz’ Carmen Variations. There are also two of Chopin’s Études in versions so convincing that they might have been organ music; and Cameron’s Evolutionary Toccata and Fugue in D Minor, an outrageous survey of the various instrumental arrangements that made Bach’s work famous.

The album was recorded not on a pipe organ, but on the equally revolutionary Marshall & Ogletree Virtual Pipe Organ at Trinity Church Wall Street in New York City – an organ that, rising out of the destruction of Trinity’s pipe organ on September 11, 2001, continues to challenge the status quo of the pipe organ and the artistic possibilities of organ playing in general.

Cameron Carpenter’s Revolutionary threatens to turn the organ world upside down. Among organists it’s generally accepted that he’s unmatched technically, but this debut CD reveals that his approach to the organ is unlike anything currently in the market. He is such an exciting new artist that the Royal Albert Hall has invited him to make his debut performance in the UK in a solo recital on the 21st October

Cameron Carpenter has been lauded as “the Maverick organist”, “madly original”, and “a superstar of the 21st-century organ”. His debut recording, Revolutionary, showcases an artist who is not only breaking new ground, but who runs a musical gamut that any musician would be extremely hard-pressed to match. There are only four organ works included. Three are major pinnacles of the organ repertoire (Demessieux: Etude in Octaves;Dupré: Prelude and Fugue in B major; and Bach: Now Come, Saviour of the Gentiles) while the fourth is the world premiere recording of Cameron’s suggestive Love Song No. 1 (2008).

The album’s major departures are found in Duke Ellington’s Solitude (wittily combined with Bach’s Sheep May Safely Graze); Liszt’s Mephisto Waltz, and Vladimir Horowitz’ Carmen Variations. There are also two of Chopin’s Études in versions so convincing that they might have been organ music; and Cameron’s Evolutionary Toccata and Fugue in D Minor, an outrageous survey of the various instrumental arrangements that made Bach’s work famous.

The album was recorded not on a pipe organ, but on the equally revolutionary Marshall & Ogletree Virtual Pipe Organ at Trinity Church Wall Street in New York City – an organ that, rising out of the destruction of Trinity’s pipe organ on September 11, 2001, continues to challenge the status quo of the pipe organ and the artistic possibilities of organ playing in general.

Massimo Nosetti once again proves why he is regarded as one of the foremost musicians in his field. This sonic spectacular is played with all the technical brilliance and assured musicianship we have come to expect of him. He performs on the Great Organ of Messina Cathedral, the third largest in Europe.

In celebration of the 75th birthday of Paul Meisen, MDG is releasing a retrospective of this remarkable flautist and internationally renowned music teacher.

The first ATMA recording by l’Orchestre symphonique de Québec (Quebec City Symphony Orchestra) of transcriptions of music by Debussy was a huge success and now ATMA present transcriptions of music by J S Bach. Conductor Yoav Talmi has not necessarily chosen the transcriptions you might expect. Of course we have Stokowski’s Toccata & Fugue in D minor but there are also transcriptions by William Walton, Edward Elgar, Gustav Holst, and even Anton Webern and Ottorino Respighi.

‘He (Bowyer) is supported by a recording of absolutely top-class quality……….He has the intellectual and technical wherewithal, as well as remarkable gifts for communication from the organ console, to produce performances of great authority.’ (Gramophone) of Vol.

Francesco Cera was born in Bologna, Italy, and studied organ and harpsichord under Luigi Ferdinando Tagliavini and later with Gustav Leonhardt. He is now one of Italy’s leading early music specialists, and is greatly admired as a performer for his extensive knowledge of styles and different musical expressions. He was member of the ensemble Il Giardino Armonico and since 1997 has been director of the Ensemble Arte Musica, with whom he performs Italian vocal music covering the period from Gesualdo’s madrigals to 18th century cantatas. Francesco Cera is particularly well-known for his performances of 17th century harpsichord and organ music. His recordings of the complete works of Michelangelo Rossi, Tarquinio Merula, Bernardo Storace and Antonio Valente were highly acclaimed by the most important music magazines. His audacious interpretations of the Domenico Scarlatti Sonatas bring out their innovative rhetorical and dramatic character, as well as their brilliance. Cera has recorded three CDs of these Sonatas from the manuscript dated 1742, and took part in the performance of the complete Scarlatti Sonatas at the Flanders Festival in Gent.

The ensemble I Barocchisti takes on the artistic legacy of the Società cameristica di Lugano (Switzerland), committing itself since the 50s to the performance of forgotten baroque works. The Swiss violinist and mandolin player Duilio Galfetti is their leader. I Barocchisti perform in variable numbers ranging from 5 to 40 members from Switzerland and Italy, all with comprehensive concert experience as soloists and in chamber music. Diego Fasolis studied at the Conservatory of Zurich receiving his diplomas for organ, piano, voice and composition with honours. He continued his studies with such renowned soloists as Gaston Litaize and Michael Radulescu, and he has earned prizes at the competitions of Stresa, Zurich and Geneva. Since 1993 he has been the conductor of the Coro della Radio Svizzera Lugano and since 1988 of I Barocchisti.

J.S. Bach wrote seven concertos for solo harpsichord, strings and continuo (BWV 1052-1058). All are thought to be arrangements made from earlier concertos for other instruments probably written in Cöthen. In many cases, only the harpsichord version has survived.