Bach, J S: Fantasia & Fugue in C minor, BWV537

Hyperion’s Bach Piano Transcriptions series reaches volume 8, and continues to surprise and delight with a disc containing many first recordings. The controversial figure of Eugen d’Albert was one of the greatest pianists of his day and, although largely forgotten now, a composer of genuinely international renown. A sometime student at the Royal College of Music, d’Albert rejected his British upbringing and nailed his colours to the mast of German music. Bach was an important part of his performing career—and like other great nineteeth-century pianists, d’Albert saw in the monumental scale of the organ works an opportunity to synthesize the works of the Master with the expanded capabilities of the modern piano.

Any collection of recordings of Johann Sebastian Bach (1685-1750) must include a good proportion of his compositions for the organ on which he must have been a master-performer and for which he provided a treasure trove of works. With organs requiring large acoustics they are usually to be found in churches, but such is the expense of maintaining them and the buildings in which they are housed that some are falling in to a state of disrepair or are being removed to be replaced by modern electrical or electronic instruments which, for all their good workmanship, completely fail to match the majesty of the original. Recordings, therefore, on a fine Hi-fi system are a superb alternative to travelling long distances to sit on often uncomfortable pews in cold churches (however that is not to say that they should completely replace the chance of hearing an original in real life, like other forms of music a live performance has added dimensions, it is just that it is becoming harder to attend such occasions). Lionel Rogg, in this second of several planned sets, brings together the remainder of the more extended works which are either a Fantasia, Prelude or Toccata followed by a Fugue, together with works which are Fantasias and Preludes without Fugues and some Fugues on their own.

This new recording features some unique historical organs in Germany, which have a strong link with the great composer himself, organs which Bach might have known, and whose builders he greatly respected.

This 2CD contains the famous Schübler Chorales, concert pieces based on the chorale melodies from Bach’s Cantatas, and a selection of famous Preludes and Fugues, testimony of Bach’s consummate contrapuntal skills.

Matteo Messori is one of the leading Baroque organists of Europe; his previous recordings for Brilliant Classics (Kunst der Fuge, BC 94061 and Clavierübing, BC 94201) have been awarded 5 star reviews in international classical magazines. His Schütz edition is a recorded landmark for that still neglected master.

J.S. Bach is widely regarded as the father of the Baroque period. A master of vocal, keyboard, orchestral and chamber repertoire, he is one of music’s greatest legends – a man whose works, which were truly revolutionary for their time, continue to inspire generations of composers.

Bach’s virtuoso skill as an organist was world renowned, and he was particularly celebrated for his use of registration. Spanning 2 CDs, this compilation is dedicated to some of his bestknown Preludes and Fugues, and also features the celebrated Schübler Chorales. While the former works betray the composer’s unparalleled ability to give distinctive qualities to each of the fugal voices, the latter collection – compiled by the publisher Johann Georg Schübler in 1748 – is largely made up of chorales based on melodies from Bach’s cantatas, and was intended for concert performance. The celebrated Fantasia and Fugue in C minor BWV357 and Toccata and Fugue in D minor BWV538, which Bach himself is said to have held in high esteem, complete the line up.

One of Europe’s leading organists, Matteo Messori has recorded widely for Brilliant Classics. Here he combines energy with with artistic flair to deliver consummate readings of these engaging works: a mustbuy for the keyboard and Baroque connoisseur.

Respighi had always been committed to the art of transcription, arranging Bach’s Violin Sonata in E minor in 1908-09 with acute perception. This was followed during 1929 and 1930 by even greater and more resplendent Bach settings. The powerful sense of orchestral colour acquired during his training under Rimsky-Korsakov is heard to bold yet subtle effect in the Three Chorale Preludes. The Prelude and Fugue in D major is even more gloriously lavish, drawing on the full resources of the modern symphony orchestra, as does the brilliantly realised Passacaglia and Fugue in C minor. Edward Elgar’s transcription is a work of sustained grandeur and rich musical intensity.

Respighi’s most famous transcriptions are probably still those of the ancient airs and dances, first published in 1917, but his Bach transcriptions are hardly less impressive. These richly coloured works rescore and reclothe Bach for Respighi’s time – 1929-30 – and do so brilliantly. They are exciting creations in their own terms, utilising every facet of a modern symphony orchestra, and so too is Elgar’s sole example.

This is a glorious and stunning CD. The Choir of Liverpool Cathedral here makes its first recording under its director David Poulter. The singing is of a high order and in the glorious acoustics of this famous cathedral the boys and girls together with the gentlemen put together a grand Choral Evensong which includes two full voluntaries played by Daniel Bishop before the service starts and the C minor Prelude and Fugue of Bach at the end of the service. This CD represents the fine and unique heritage that is a typical choral evensong sung at its best in a British cathedral and heard every day throughout the UK.

Includes Lessons and Creed.

The ensemble writes: “Even having worked together for 20 years, arrangements present us time and again with a very special and exciting task. This is a task with which we repeatedly have to confront ourselves, indeed want to confront ourselves, in our search for interesting repertoire.“

‘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.