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See Terms & Conditions for p&p rates. | |  | Bach - Cantatas
Agnes Giebel, Sheila Armstrong, Rotraus Hansmann (sopranos), Julia Falk, Helen Watts (altos), Bert van t’Hoff, Kurt Equiluz (tenors) & Jacques Villisech, Max van Egmond (basses) Monteverdi Choir Hamburg, Jürgen Jürgens “Patches of engaging music-making here, though giving more insight into 1960s Hamburg than 1720s Leipzig. Choruses are often woolly, soloists vary from off-the-voice big voices to insecure, boyish sounds.” BBC Music Magazine, March 2009 *** | | | In stock - usually despatched within 1 working day. |
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| |  | Bach & Brahms - Cello & Piano Transcriptions
“Here are two performers of one mind musically. Their interpretations of all three Bahms Sonatas are beautifully paced, distinctively shaped and detailed. Cooper's reading of Kurtág's arrangement of Bach's BWV106 'Actus tragicus' is a haunting gem.” BBC Music Magazine, August 2008 **** “[In the] Brahms's cello sonatas… Sonia Weider-Atherton and Imogen Cooper… hold the tension for the very soft, near nostalgic beauty of the E major coda, as they do for the many bars of pianissimo writing in the last movement of the Second Sonata. Not since Mstislav Rostropovich and Rudolf Serkin have these works been interpreted with such compulsive acuity... The Bach transcriptions are persuasive. ...Cooper steals this particular show in a meltingly moving re-creation of the Sonatina from Cantata No 106 that ought to be played first and last.” Gramophone Magazine, October 2008 “A perceived similarity between a theme in Bach's Art of Fugue and the opening of Brahm's first cello sonata led Sonia Wieder-Atherton and Imogen Cooper to experiment with musical relationships, arranging movements from Bach cantatas as punctuation marks between three Brahms sonatas. This unconvincing contrivance fails on many levels. It leaves the listener wanting more Bach while the Brahms sonatas - splendidly played, particularly in the turbulent outer movements - seem almost an interruption rather than an extension of a musical idea.” The Observer, 3rd August 2008 | | | In stock - usually despatched within 1 working day. |
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| |  | J S Bach - Actus tragicus
"Boasting a distinguished discography of 17-century German sacred music, Cantus Cölln takes a leap forward to Bach's initial forays into the cantata....Cantus Cölln is the undisputed master..." Gramophone | | | In stock - usually despatched within 1 working day. |
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| |  | Knabenchor Hannover
Critics have applauded the ensemble’s purity of sound, its controlled sensuality, and the profundity of its music-making: since Jörg Breiding took over the direction of the Knabenchor Hannover (Hanover Boys Choir) ten years ago, he has expanded the choir’s comprehensive repertoire with works by less-known composers. Excerpts from previously published CDs and from so-far unpublished recordings present a musical portrait spanning five epochs of European choral music. | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | JS Bach: Organ Masterworks Volume 2
Bach, J S: | Toccata & Fugue in D minor, BWV565 Chorale Prelude BWV659 'Nun komm, der Heiden Heiland' Trio super 'Nun komm der Heiden Heiland', BWV660 Chorale Prelude BWV661 'Nun komm, der Heiden Heiland' Trio super 'Herr Jesu Christ, dich zu uns wend', BWV655 Fantasia in C minor, BWV562 French Overture in B minor, BWV831 Toccata, Adagio & Fugue in C major, BWV564 Chorale Prelude BWV645 'Wachet auf, ruft uns die Stimme' Fantasia & Fugue in G minor, BWV542 'Great' Cantata BWV106 'Gottes Zeit ist die allerbeste Zeit' (Actus tragicus) Chorale Prelude BWV615 'In dir ist Freude' |
Kei Koito (Gottfried Silbermann-organ of the Cathedral (Hofkirche), Dresden) 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. | | | Usually despatched in 4 - 5 working days. |
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| |  | Mendelssohn and the organs in Leipzigoriginal works, transcriptions and improvisation
Bach, J S: | Chorale Prelude BWV654 'Schmücke dich, o liebe Seele' Cantata BWV106 'Gottes Zeit ist die allerbeste Zeit' (Actus tragicus) Chorale Prelude BWV654 'Schmücke dich, o liebe Seele' Improvisation von Rudolf Lutz Chorale Prelude BWV720 'Ein feste Burg ist unser Gott' Improvisation von Rudolf Lutz St Matthew Passion, BWV244: Ich will bei meinem Jesu wachen | Gade, N: | Tone Piece in F major from Tre Tonestykker, Op. 22 | Lutz, R: | Choralbearbeitung über "Schmücke Dich, o liebe Seele" Improvisation Concerto sopra "Innsbruck, ich muß Dich lassen" Improvisation über Sonate im klassischen Stil nach Motiven des "Actus tragicus" Klänge aus dem Appenzeller Land Der Mond ist aufgegangen Albumblatt | Mendelssohn: | O Haupt voll Blut und Wunden Prelude & Fugue for organ in C minor, Op. 37 No. 1 Overture St. Paul Op. 36 Transkriptionen für Orgel von Martin Schmeding | Mozart: | Fantasia in F minor for a mechanical organ, K608 | Schumann: | Six Fugues on B-A-C-H, Op. 60 |
Rudolf Lutz & Martin Schmeding (organ) Mendelssohn was a master of improvisation on the organ and on this CD Lutz and Schmeding follow in his footsteps, performing on instruments closely linked to Mendelssohn. | |
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| |  | J S Bach - Cantatas “Actus Tragicus”
The two works which have been chosen from the award-winning cycle of recordings of the complete cantatas of J. S. Bach by Ton Koopman and the Amsterdam baroque Orchestra and Choir for this album represent those composed by the younger Bach when he held positions as organist in Arnstadt (1703-07), Mühlhausen (1707-08), and Weimar (from 1708) and was not yet primarily responsible for vocal music. Supplying regular pieces for Sundays and holidays (“music of cantors”) was not part of the duties of an organist. Organists, however, frequently wrote works for funerals, weddings, and other special occasions. Bach apparently engaged in this kind of compositional activity from the very beginning even though only a fraction of pertinent works have survived. Bach’s earliest vocal works demonstrate impressively that he understood how to operate on the level of the greatest composers of the late 17th century, indeed how to compete with Buxtehude, Pachelbel, and the older members of the Bach family, including above all Johann Christoph and Johann Michael Bach. Moreover, he knew how to introduce new musical elements into composing sacred pieces. Works like BWV 106 and 21 demonstrate how, in a deliberate confrontation with traditional and modern trends, Bach laid the foundation for a lifelong and extraordinarily productive occupation with the cantata genre. The cantata “Gottes Zeit ist die allerbeste Zeit” BWV 106 was composed for a funeral or memorial service. It must have been written at around 1707. The oldest source is a copy dated 1768 and made in Leipzig. It bears the heading “Actus tragicus,” a title that clearly sets the tone of the piece. The cantata “Ich hatte viel Bekümmernis” BWV 21 shows a compositional design of a manner typical of the early Weimar period. It was not written for a specific liturgical occasion but could be performed “at any time.” However, the first documented performance took place in Weimar on the 3rd Sunday after Trinity in 1714. Yet the work is clearly of earlier origin even though its first version - most likely a setting of various psalm texts - did not survive. “These welcome reissues group by subject, rather than date of composition. However lack of texts/translations may, sadly, inhibit less confident purchasers. Tragedy and death were all-too-frequent visitors to Bach, inspiring deeply-felt-music. High pitch, though authentic in these early works, imposes some strain on voices.” BBC Music Magazine, October 2008 *** | | | This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched. |
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| |  | Bach - Actus Tragicus
“The singers are wonderful, never over-acting, and managing to sound as though this marvellous work is being minted afresh for us on the spot. The recording is a beauty: warm and full with plenty of bass, yet with all the soft-grained detail you
could ask for.” CD Review, 15/10/2005 Radio 3 Disc of the Week “The singers are wonderful, never over-acting, and managing to sound as though this marvellous work is being minted afresh for us on the spot...The recording is a beauty: warm and full with plenty of bass, yet with all the soft-grained detail you could ask for.” Andrew McGregor, bbc.co.uk, 17th October 2005 | | | This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched. |
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| |  | Bach - Early Cantatas Volume 1Mühlhausen Cantatas
"For sheer brilliance of technique, the Purcell Quartet and friends take the biscuit." International Record Review “…rhythmically supple performances with generally effective tempos and which demonstrate an awareness of the antecedent styles of Buxtehude and others.” BBC Music Magazine, May 2005 *** | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Bach - Cantatas
Recorded 1950-51 | | | Usually despatched in 2 - 3 working days. |
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