Bach, J S: Chromatic Fantasia & Fugue in D minor, BWV903

Organist Mechthild Winter was born in 1969 and went on to study in Leipzig with Christine Schornscheim.

CD+DVD

DVD-ROM: Abode Acrobat Reader 9.0

Booklet 32 pages in English, French and German

This special multi-media project in a limited edition illustrates the encounter between an artist and an exceptional venue. This museum-quality publication, featuring Paradizo’s elegant packaging and presentation, includes recordings and documents witnessing one of the most important projects of the entire harpsichord revival and Early Music movement. Wanda Landowska’s performances and ideals at her Temple de la Musique Ancienne in Saint-Leu-la-Forêt, near Paris. This project commemorates Wanda Landowska’s vital impact on music making between the years 1927 and 1940. Wanda Landowska (1879 - USA 1959) recorded major Bach harpsichord works in 1935/36 in the legendary acoustics of her newly-built concert hall in Saint-Leu-la-Forêt, designed by Landowska and noted French architect Jean-Charles Moreux. These recordings are considered to be among the most remarkable Bach interpretations of the 20th -century. Remastered in 2010 with state-of-the-art transfers, they are accompanied by a DVD-ROM, containing over 150 images: photos, architect’s plans and letters on the Hall & Gardens from 1927-1940, with a commentary on each by Skip Sempe. It also includes unpublished documents from the archives of the architect Moreux. The DVD-ROM employs the latest version of Adobe Acrobat Reader.

Skip Sempe completes this project with an essay on the conception, design, architecture and history of the Temple de la Musique Ancienne and evoques the incredible musical emulation generated by this place and the major artist who was Wanda Landowska.

Paradizo is especially pleased to release this special project, which will help to increase awareness concerning plans for the restoration of the Temple de la Musique Ancienne and the revival of its activities. Hailed as "beautiful in conception and execution" since the first releases in 2006, Paradizo has scored the highest points throughout the major international music press - Gramophone, Diapason, Monde de la Musique, New York Times. Paradizo forged an immediate reputation which has ensured continued success through rave reviews, prestigious prizes and attractive sales figures. The Paradizo label was created by Skip Sempé after 15 years of recording for three major labels, many of which were distinguished with international awards. Paradizo features the new recordings of Skip Sempé as solo harpsichordist, chamber musician and director of the ensembles which he founded: Capriccio Stravagante, the Capriccio Stravagante Orchestra, the Capriccio Stravagante Renaissance Orchestra and the newly created Capriccio Stravagante – Les 24 Violons. Each title in the Paradizo catalogue is an indispensable reference for authoritative, bold music making, celebrating Skip Sempe and Capriccio Stravagante's renewed vision of creative interpretation of Renaissance and Baroque music.

Paradizo: Exuberant music making. Essential listening.

Kempff's Baroque pedigree stemmed from the influence of his father, also named Wilhelm Kempff, and his grandfather Cantor Friedrick Kempff, both of whom were organists, and who taught the budding prodigy much of the organ's core repertoire. In fact, Kempff's youthful debut as an organist took place before his first recital as a pianist in 1907. With help from the great German violinist Joseph Joachim, the nine-year-old Kempff was awarded two scholarships at the Berlin Hochschule: one in composition with Robert Kahn, the other studying piano with Heinrich Barth, who also taught Arthur Rubinstein.

While most of Wilhelm Kempff's recordings were made for Deutsche Grammophon, his early Decca LPs and EPs are collector's items. Here issued internationally on CD for the first time is the LP of his Bach recital coupled with a delicious record of miniatures by Couperin, Rameau and Beethoven, including the latter's ubiquitous Fur Elise. In his liner notes, Jed Distler compares Kempff's arrangements of Bach with those of Busoni, and his performances with those of Hess and others. 'Fur Elise gently soars from Kempff's fingers in full-throated, legato arcs that might convince you that the piano has lungs in addition to hammers and strings,' he writes, and concludes, 'The warm, naturally balanced and timbrally true sonic image typical of Decca's piano recordings of this vintage only enhance Kempff's singular artistry. Whatever one makes of his style, his spirit defines authenticity.'

"...excellently recorded programme of arrangements made by Kempff himself..." Gramophone.

George Malcolm performs the Chromatic Fantasia and Fugue, the Italian Concerto, Toccata in D major, 5th French Suite and the concertos for three and four harpsichords. He collaborates with Eileen Joyce, Thurston Dart, Denis Vaughan and the Pro Arte Orchestra conducted by Boris Ord. There are precious few recordings of Malcolm available in today’s market and this Heritage issue attempts to redress the balance.