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

This page lists all recordings of Chromatic Fantasia & Fugue in D minor, BWV903, by Johann Sebastian Bach (1685-1750) on CD, SACD, DVD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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The World of George Malcolm

The World of George Malcolm


Bach, J S:

Italian Concerto, BWV971

Chromatic Fantasia & Fugue in D minor, BWV903

Toccata in D major, BWV912

French Suite No. 5 in G major, BWV816

Couperin, F:

Pièces de clavecin III: Ordre 14ème in D major: Le rossignol-en-amour

Pièces de clavecin III: Ordre 14ème in D major: Le Carillon de Cithère

Daquin:

Le Coucou

Malcolm:

Bach Before the Mast

Paradies:

Toccata in A

Rameau:

La poule

Le rappel des oiseaux

Tambourin

Rimsky Korsakov:

Flight of the Bumble Bee

arr. Malcolm

Templeton:

Bach goes to Town


George Malcolm (harpsichord)

There were many worlds in George Malcolm’s (1917–1997) universe – organist, harpsichordist, pianist, composer, choral director and conductor – and this one demonstrates his unique skill as a solo performer who, throughout his career, more than any other individual defined the harpsichord’s identity in England. After World War II Malcolm became the most famous English harpsichordist of his day, with a brilliant technique, superb musicianship and an idiosyncratically modern approach to playing which, for his audiences, came to exemplify the very nature of the instrument itself. In celebration of the centenary of his birth (28 February 1917).

A series of four releases on Decca Eloquence, which includes CD premieres, pays tribute to this fascinating artist on his many recordings for Argo in the 1960s. The items on this collection were all recorded on several different examples of Thomas Goff’s instruments and demonstrate his brilliance as a performer as well as the aesthetic which he and Goff cultivated together. All of the works by Bach included here are taken from a 1961 Decca release (SXL 2259), which made quite an impression when it first appeared, its extraordinary use of frequent registration changes and crescendo/decrescendo effects astonishing even those critics who were used to the ‘Landowska’ style of modern harpsichord playing. In addition to the Bach works that form its core, this anthology demonstrates Malcolm’s approach to French harpsichord music. Malcolm’s art as arranger and composer is also documented here by way of his truly astonishing version of Rimsky-Korsakov’s Flight of the Bumblebee, and his own ingenious fugal fantasia on the Sailor’s Hornpipe, Bach before the Mast. Notes are by Peter Watchorn, an Australian-born, US-based harpsichordist, one of whose teachers, Harold Lobb, was also an associate of Malcolm.

“This little disc […] fully deserves to be a best-seller. George Malcolm is in spanking form … The Paradies Toccata […] is dazzling, and would have struck its composer rather as a supersonic jet would have struck Orville Wright … As for the Bumble-bee, this is one of the most coruscatingly brilliant transcriptions ever” Gramophone Magazine, December 1962 (Templeton, Malcolm, Paradies, Daquin, Rimsky-Korsakov)

“[Malcolm’s] obvious musicality, fluent and clean technique, rhythmic control and polished phrasing place him firmly among the world’s leading harpsichordists” Gramophone Magazine, February 1961 (Bach)

Released or re-released in last 6 months

Australian Eloquence - ELQ4825181

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$8.75

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Nelson Freire: Bach

Nelson Freire: Bach


Bach, J S:

Partita No. 4 in D major, BWV828

Toccata in C minor, BWV911

English Suite No. 3 in G minor, BWV808

Chromatic Fantasia & Fugue in D minor, BWV903

Keyboard Concerto in D minor (after Marcello), BWV974

Busoni:

Ich ruf zu dir, Herr Jesu Christ (Bach BWV 639)

Komm, Gott Schöpfer (Bach BWV 667)

Nun komm der heiden Heiland' (after Bach, BWV659)

Hess, M:

Jesus bleibet meine Freude

Siloti:

Organ Prelude in G minor (Bach)


Nelson Freire brings a lifetime’s experience to his first-ever album devoted to the music of J.S Bach. It was recorded in Freire’s 70th birthday year and provides a superb overview of Bach on the piano: towering original works such as the Fourth Partita and Chromatic Fantasy & Fugue; one of Bach’s own keyboard transcriptions (the sublime slow movement of Marcello’s Oboe Concerto) plus a selection of transcriptions by Busoni, Siloti and Myra Hess.

“A pianist half his age could feel elated with the pin-sharp, dancing articulation that so often trips from Freire’s fingers” BBC Music Magazine, June 2016 ****

“This, Nelson Freire's first disc devoted to Bach, is predictably personal. It speaks of a long acquaintance with the works on offer and you only need to sample the Fourth Partita's Sarabande to hear how lovingly he caresses the music, giving it a raptness that rivals Perahia” Gramophone Magazine, April 2016

Early Music

Decca - 4788449

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Ivan Moravec: Twelfth Night Recital

Ivan Moravec: Twelfth Night Recital


Bach, J S:

Chromatic Fantasia & Fugue in D minor, BWV903

Beethoven:

Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 ‘Moonlight'

Chopin:

Mazurka No. 32 in C sharp minor, Op. 50 No. 3

Nocturne No. 5 in F sharp major, Op. 15 No. 2

Nocturne No. 8 in D flat major, Op. 27 No. 2

Ballade No. 4 in F minor, Op. 52

Mazurka No. 41 in C sharp minor, Op. 63 No. 3

Debussy:

Clair de Lune (from Suite Bergamasque)

Mozart:

Piano Sonata No. 13 in B flat major, K333


Ivan Moravec (piano)

Recorded live at the Dvořák Hall of the Rudolfinum, Prague, on 6 January, 1987

This live recording of Ivan Moravec at the Rudolfinum in Prague was to have been first released on the occasion of his 85th birthday. The previously unreleased recording was discovered after 28 years in the Supraphon archives, and it managed to pass the test of the great artist’s uncompromising self-censorship.

Moravec’s playing of Bach, Mozart, Beethoven, Chopin, and Debussy at this concert meets the same standards as his finest recordings – technical refinement of details, carefully elaborated architecture, and rare inner vitality. Ivan Moravec’s masterful performance is further enhanced by the special atmosphere of a live concert. The earthly journey of this great pianist of the twentieth century and of this extraordinary person came to a close in July of 2015. This recording is left behind to us as his last message and statement about beauty.

A previously unreleased recording of a recital by Ivan Moravec – commemorating a great pianist of the twentieth century.

“To listen to Moravec is to be reminded of another era, one in which there was no political correctness surrounding Bach and the modern piano. He gives a warm, richly rhetorical reading of the Chromatic Fantasia and Fugue, one that is seemingly without ego and entirely compelling. The Mozart sonata is another highlight.” Gramophone Magazine, November 2015

GGramophone Magazine

Editor's Choice - November 2015

Early Music

Supraphon - SU41902

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D. Scarlatti: Sonatas

D. Scarlatti: Sonatas


Bach, J S:

Italian Concerto, BWV971

Chromatic Fantasia & Fugue in D minor, BWV903

Scarlatti, D:

Keyboard Sonata K146 in G major

Keyboard Sonata K33 in D Major

Keyboard Sonata K24 in A major

Keyboard Sonata K9 in D minor

Keyboard Sonata K544 in B flat major

Keyboard Sonata K505 in F Major

Keyboard Sonata K132 in C major

Keyboard Sonata K169 in G major

Keyboard Sonata K202 in B flat major

Keyboard Sonata K519 in F minor

Keyboard Sonata K380 in E major

Keyboard Sonata K245 in B major

Keyboard Sonata K8 in G minor

Keyboard Sonata K322 in A major

Keyboard Sonata K29 in D major

Keyboard Sonata K125 in G major


George Malcolm (harpsichord)

George Malcolm, who died in 1997, irreverently called the harpsichord the ‘jangle box’, yet he was a master of that instrument, and of several other musical domains as well. Of Scottish ancestry, he was born in London in 1917, and when he was just seven he was admitted to the Royal College of Music. He also excelled at the organ and at the piano (his first keyboard instrument), and as a choral conductor, he served as Master of Music at Westminster Cathedral, beginning in 1947. Pianist András Schiff, who recorded with Malcolm on several occasions, commented that he ‘was a great musician, a Renaissance man, a wonderful human being. He has been influential in the development of choral and instrumental music in Britain and abroad, and l consider myself one of the fortunate recipients of his immense knowledge, broad culture, and excellent taste. He should never be forgotten.’ In 1965 Malcolm was made Commander of the Order of the British Empire.

Although from an earlier age of Baroque performance practice, these recordings have a vividness and freshness that leap out of the speakers more than sixty years after they were made. They receive their first reissue on Decca CD.

“George Malcolm clearly delights in playing with colours […] this disc will prove very rewarding: the sheer technical brilliance of the playing … and the faultless rhythmic control make these performances outstanding” Gramophone Magazine, June 1954 (Scarlatti)

“‘Malcolm’s outlook on the Fantasia gives us new insight into its poetical and meditative aspects; he plays it as if he were in rapt contemplation of the quintessential Bach. […] The Italian Concerto, too, gains a new lease of life in this altogether splendid version. […] This is a disc which should form part of every Bach lover’s collection.” Gramophone Magazine, June 1955 (Bach)

Australian Eloquence - ELQ4820506

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János Starker plays Bach: Duo Recital 1971

János Starker plays Bach: Duo Recital 1971


Bach, J S:

Cello Suite No. 5 in C minor, BWV1011

Chromatic Fantasia & Fugue in D minor, BWV903

Viola da Gamba Sonata No. 1 in G major, BWV1027

Viola da Gamba Sonata No. 3 in G minor, BWV1029


János Starker (cello), Zuzana Růžičková (harpsichord)

János Starker (1924-2013) is considered by many to be one of the greatest masters of the cello in the 20th century. Born in Budapest, the third son of Jewish parents from Poland and Ukraine, he began cello lessons when he was five years old.

When he was eleven, he gave his first concert, and at age 14 he was playing Dvořák's Cello Concerto. Starker was an indisputable authority of the highest magnitude of every aspect of musical culture and was renowned for the sober brilliance of his musicality. At the same time, his recorded legacy has set an impossibly high standard of professionalism for future generations of cellists.

Zuzana Růžičková was one of the great harpsichordists of her generation. Born on January 14, 1927 in Pilsen into a Jewish family, she was 15 years old when she began her studies with Wanda Landowska in Paris, before the German occupation of Czechoslovakia. Theresienstadt, Auschwitz and Bergen-Belsen were to become gruesome chapters in her young life, until the liberation, when she returned to Pilsen, and with unwavering discipline regained her former skills. In 1951 she appeared as a harpsichordist for the first time publicly, and winning the first prize in the Munich ARD competition in 1956 opened the way for an international career.

When János Starker and Zuzana Růžičková met in Schwetzingen in 1971, two highly experienced, legendary Bach interpreters combined their vast experience, delivering an equally high-precision, energetically coherent interplay of exceptional accomplishment. So it was a matter of mutual respect that both appeared at the recital not only as a duo, but also with substantial solo contributions.

This recording is the living testimony of the encounter of these two extraordinary musicians.

Early Music

Hänssler - HAEN93726

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Reger: Complete Organ Works Vol. 8

Reger: Complete Organ Works Vol. 8


Bach, J S:

Chromatic Fantasia & Fugue in D minor, BWV903

Prelude & Fugue Book 1 No. 4 in C sharp minor, BWV849

Prelude & Fugue Book 1 No. 21 in B flat major, BWV866

Prelude & Fugue Book 1 No. 22 in B flat minor, BWV867

Prelude & Fugue Book 2 No. 1 in C major, BWV870

Prelude & Fugue Book 2 No. 3 in C sharp major, BWV 872

Prelude & Fugue Book 2 No. 5 in D major, BWV 874

Prelude & Fugue Book 2 No. 15 in G major, BWV884

Prelude & Fugue Book 2 No. 16 in G minor, BWV885

Fantasia & Fugue in A minor, BWV904

Toccata in D minor, BWV913

Two-part Inventions Nos. 1-15, BWV772-786

Toccata in F sharp minor, BWV910

Toccata in C minor, BWV911

Toccata in D major, BWV912

Toccata in G minor, BWV915


Fugatto Reger Complete Organ Works - FUG048

(CD - 2 discs)

$22.50

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JS Bach: Toccatas

JS Bach: Toccatas


Bach, J S:

Fantasia & Fugue in C minor, BWV906

Toccatas, BWV910-916

Prelude & Fugue in A minor, BWV894

Chromatic Fantasia & Fugue in D minor, BWV903

Keyboard Concerto in D major (after Vivaldi), BWV972

French Overture in B minor, BWV831


Early Music

DG Archiv Originals - 4791915

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Cembalo: Inspiration und Originalitat

Cembalo: Inspiration und Originalitat


Anglebert:

Suite II in G minor

Bach, J S:

French Suite No. 2 in C minor, BWV813

Chromatic Fantasia & Fugue in D minor, BWV903

Italian Concerto, BWV971

Froberger:

Toccata da Sonarsi alla Leuatione VI g-moll FbWV 106

Capriccio in C major, FbWV 506

Vivaldi:

Concerto for violin, strings and continuo in G, Op. 7/8, RV 299


Mechthild Winter (harpsichord)

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

Querstand - VKJK1217

(CD)

$14.25

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Bach: Chromatic Fantasia and Fugue

Bach: Chromatic Fantasia and Fugue


Bach, J S:

Chromatic Fantasia & Fugue in D minor, BWV903

Partita No. 4 in D major, BWV828

English Suite No. 3 in G minor, BWV808


Lisa Goode Crawford (harpsichord) 1624 Ruckers harpsichord, Musée d’Unterlinden, Colmar

The American harpsichordist and teacher, Lisa Goode Crawford, known for her performances of French baroque music and the music of Bach, is Emerita Professor of Harpsichord at the Oberlin Conservatory.

On this disc she plays a 1624 harpsichord built by Ioannes Ruckers.

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Naxos - 8572309

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Fur Elise - Kempff Transcriptions and Encores

Fur Elise - Kempff Transcriptions and Encores


Bach, J S:

Chromatic Fantasia & Fugue in D minor, BWV903

Chorale Prelude BWV659 'Nun komm, der Heiden Heiland'

arr. Wilhelm Kempff

Cantata BWV147 'Herz und Mund und Tat und Leben': Jesu, bleibet meine Freude

arr. Wilhelm Kempff

Chorale Prelude BWV727 'Herzlich tut mich verlangen'

arr. Wilhelm Kempff

Chorale Prelude BWV729 'In dulci jubilo'

arr. Wilhelm Kempff

Nun freut euch, lieben Christen g'mein, BWV388

arr. Wilhelm Kempff

Siciliano in G minor from Flute Sonata No. 2, BWV1031

arr. Wilhelm Kempff

Cantata BWV140 'Wachet auf, ruft uns die Stimme': Zion hört die Wächter singen

arr. Wilhelm Kempff

Beethoven:

Bagatelle in C minor, WoO52

Für Elise (Bagatelle in A minor, WoO59)

Couperin, F:

Pièces de clavecin III: Ordre 14ème in D major: Le Carillon de Cithère

Handel:

Keyboard Suite, HWV 430 in E major 'The Harmonious Blacksmith': Air & Variations

Minuet in G Minor, HWV 434/4

arr. Wilhelm Kempff

Rameau:

Le rappel des oiseaux

arr. Wilhelm Kempff


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.

Australian Eloquence - ELQ4801288

(CD)

$8.75

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