Bach, J S: Chorale Prelude BWV622 'O Mensch, bewein' dein' Sünde groß'

An original concept: the Orgelbüchlein BWV 599‐644 performed alternating the organ chorale with the same choral sung by a choir.

Bach wrote the chorales in the Orgelbüchlein as educational material, to teach how to treat a chorale in polyphonic writing, but as in most of his works, the didactic element is far surpassed by the spiritual content of these miniature masterworks. The alternation of the organ and sung chorale provides a fascinating insight into Bach different treatment of the same melody.

New recording with excellent performances by one of Italy’s most famous harpsichordists, Francesco Cera, and the Coro della Radiotelevisione Svizzera conducted by early music specialist Diego Fasolis.

For many, Johann Sebastian Bach is ‘the’ composer of the Baroque period, a master of harmony, counterpoint and genre. During his lifetime he was particularly renowned as a virtuoso organist, and his compositions for the instrument have formed the core repertory of any aspiring organist ever since. The content of the Orgelbüchlein – a selection of chorale preludes composed while Bach held the post of Ducal Organist at Weimar – includes several pieces that are considered to be among Sebastian’s finest works. There is evidence that they were written for ‘teaching the various ways of treating a chorale, and the use of the pedal’, but they also have a definite spirituality – the dedication reads: ‘To God Almighty in praise, to everyman for instruction’. The compositions divide into groups intended for use throughout the liturgical year, from Advent to Pentecost. Italian organist and harpsichordist Francesco Cera is a renowned interpreter of 17thcentury keyboard music. He has performed on historical organs throughout Europe, and has recorded four of J.S. Bach’s concertos for harpsichord as well as Domenico Scarlatti’s keyboard sonatas, which he has also performed at the Flanders Festival. He is joined on the recording by the Coro della Radiotelevisione Svizzera, directed by Diego Fasolis.

Jonathan Freeman-Attwood’s ‘A Bach Notebook for Trumpet’ is a celebration of the music of the famous Johann Sebastian and ten other lesser-known Bachs, re-imagined for the combination of trumpet and piano.

Bach specialist Daniel-Ben Pienaar has arranged music from a great uncle, close cousins, distant cousins, and five sons, all related to the great J. S. Bach in a wholly unique recital programme.

Aesthetic passions drive the repertoire and performance choices as the duo explore vocabularies not usually associated with trumpet and piano chamber music: brushing up against ‘period’ gesture, ornamentation and articulation, whilst also co-referencing less fashionable inspirations from the past, including those judged ‘romantic’ in coloration, whether in the use of the pedal, rubati or articulation.

Jonathan is an established authority on Bach interpretation, particularly as it challenges and refocuses historical  perspectives on ‘performance practices’ and how recordings of the past can influence current priorities and tastes.

As a trumpet player and recording artist, Jonathan Freeman-Attwood has attracted plaudits from the press; his producing career has resulted in over 200 recordings and several awards including Diapasons d’Ors, eight Gramophone Awards and many nominations.

Jonathan broadcasts regularly for BBC Radio 3 and is in demand as an essayist for EMI, Warner, Deutsche Grammophon and other major record labels.

Daniel-Ben is active as a recitalist and chamber musician. He has received great acclaim for his interpretations of Bach’s keyboard music: ‘Pienaar produces a breathless, highly energised reading’ Gramophone on his Goldberg Variations.

Recorded on the Great Tamburini-Bonato organ of Abano Terme, Padua

The new organ in Cranleigh School Chapel was built by Mander Organs in 2011, and was designed as a solo instrument suitable for the performance of organ music of all schools, as well as for teaching and accompaniment.

It is remarkably versatile with a vast array of colours and sonorities obtainable from a mere thirty-one stops.

Here Cranleigh School organist, and virtuoso recitalist, Philip Scriven, demonstrates the organ in a wide-ranging programme of music from the seventeenth to twentieth centuries.

This disc includes transcriptions by W. Braunfels, C. Tausig, Vaughan Williams, I. Iljin, C. Lucas, S. W. Didenko, I. Philipp, A. Malheiro Prado, and A. Brieskier performed by German pianist Angelika Nebel and includes some premiere recordings.

An ideal release for the penitential church season of Lent, with music for Lent, Passiontide and Holy Week, sung by the highly-accomplished Choir of Winchester College.

A varied selection of music ranging from the 16th to 20th centuries, framed by Tippett’s heart-rending settings of five spirituals.

Some of the greatest music ever written for the this solemn period of preparation for Easter, including Lotti’s Crucifixus, Tippett’s Five Spirituals, and works by Byrd, Purcell, Duruflé and John Ireland.