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Johann Sebastian Bach: Prelude and Fugue in C major, BWV 545
Prelude and Fugue in C major, BWV 545: Prelude
Johann Sebastian Bach: Organ Sonata No. 5 in C major, BWV 529
Organ Sonata in C major, BWV 529: II. Largo
Prelude and Fugue in C major, BWV 545
Prelude and Fugue in C major, BWV 545: Fugue
Johann Sebastian Bach: Trio Sonata No. 4 in E minor, BWV 528
I. Adagio - Vivace
II. Andante
III. Un poco allegro
Johann Sebastian Bach: Fantasy and Fugue in A minor, BWV 561
Fantasia and Fugue in C minor, BWV 562: Fantasia
Johann Sebastian Bach: 6 Schubler Chorales, BWV 645-650
Kommst du nun, Jesu, BWV 650
Wachet auf, ruft uns die Stimme, BWV 645
Wo soll ich fliehen hin/Auf meinen lieben Gott, BWV 646
Wer nur den lieben Gott lasst walten, BWV 647
Meine Seele erhebet den Herren, BWV 648
Ach bleib' bei uns, Herr Jesu Christ, BWV 649
Johann Sebastian Bach: Prelude and Fugue in E flat major, BWV 552, "St. Anne"
Prelude
Fugue I
Fugue II
Fugue III
2010
“This is playing of heart-warming humanity and spiritual equilibrium, combining deep thought with complete spontaneity. Kee's control of the long, singing line goes hand in hand with a poetic command of Baroque instrumental articulation. Dip anywhere into the Schübler Chorales or to either of the Trio Sonata slow movements and you can hear the separate melodic lines not only given individual character, shape and direction but also combined with ease and gentle authority. Tempos in extrovert movements are unusually moderate, Bach's markings of Vivace and Allegro being taken by Kee as indications of mood rather than velocity, and yet the musical discourse is involving and full of wit, helped by registrations that are both simple and wise. The disc is crowned by a magnificent performance of the Prelude and Fugue in E-flat, one that fully exploits the vivid contrasts of theme and texture and yet binds the work into a structural unity without a hint of haste or stiffness. Rightly, the recording presents this refined, robust organ as heard within its natural acoustic habitat and Kee has subtly absorbed the church's acoustic into his interpretations.”
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