Bach, J S: Toccata in D major, BWV912

This is Dynamic’s second release performed by the Italian pianist Andrea Bacchetti.

His first release for Dynamic, J.S. Bach’s Two-Part Inventions and Sinfonias (CDS629/1-2), received many positive reviews and was made CD of the Month in BBC Music Magazine. This series will be followed up by Bach’s Goldberg Variations in the Autumn.

Who was the young Bach? A rebellious, provocative adolescent? A clever, stubborn careerist? An innovator, as gifted as he was prolific? Certainly a mixture of all three, replies the harpsichordist Andreas Staier in this selection of early works that are anything but run-of-the-mill.This programme shows how Bach, eager to call the music of his time into question, assimilated multiple influences and gave a 'new look' to the traditions of north Germany.

The Canadian musician Glenn Gould was undoubtedly one of the greatest pianists of all time. To mark the 75th anniversary of his birth, and the 25th anniversary of his death, Sony BMG Masterworks presents this seminal artist’s vinyl recordings as re-mastered CDs, designed to replicate the exact artwork of the original gramophone records in miniaturised form. Already issued as part of an 80-CD box set (88697130942), these albums are now being made available individually, with the first 20 in the series being released in November 2007.

Wilhelm Kempff's credentials as an organist and composer lend a naturalness and flexibility to these performances of some of Bach's best known Preludes and Fugues. There is also the very forward-looking, almost improvisatory piece of programme music - the Capriccio and a wonderful performance of the great D major Toccata and Fugue.

Wild, impetuous, rocking, fantastic – in short, Johann Sebastian Bach. That's how one could summarise Stepan Simonian's GENUIN Debut CD. All seven Bach Toccatas for piano are on it, works that have led a wallflower existence on the record shelves compared to other keyboard works of this great master. Are they not written skilfully enough? Not sufficiently developed? When one listens closely to the virtuoso playing of the 2010 Bach Prize winner, these commentaries dissolve into thin air. The music flashes and sparkles, large arches are formed and polished details are presented to the delighted listener… Groove factor: very high!

When, around 1705, Johann Sebastian Bach came to write his Toccatas, this form of keyboard music had already been known for over a century, and was strongly influenced by Italian, English and Flemish ideas. The Toccata was a product of both vocal and instrumental music, and preserved many of its distinctive features.

The Toccata first originated in the Gregorian chant heard in the Cathedral of St Peter's in Rome. It now functioned as a link between diverse cultural practices. During the Baroque era it was transplanted to the northern European countries, including England, where it made a decisive contribution to the development of secular keyboard music. These pieces, intended as much for the organ as for the harpsichord, combine the spectacular features of the northern virtuoso style with the rigour associated with the music of the Catholic church. When adopted by musicians from the Lutheran countries during the 17th century, it found yet another form of expression. Through its alternation between dramatic, religious passages and philosophical reflection, the Germanic Toccata provided a new sound model for a community in search of an ideal form of expression, allowing the individual to communicate with his Creator.

The impersonal phrasing of certain musical figures may be thought to express the speculative nature of Calvinism in Flanders, as in the interior scenes of Vermeer. The domestic musical tradition of this region was well known to Bach, in central Germany, through the music printed in Amsterdam, the new capital of music publishing. It was through this route that Frescobaldi's work became known in the north, in particular his Fiori musicali, a famous collection of keyboard pieces in the Roman Catholic style, which made such an impression on Bach that he copied them out by hand.