Bach, J S: Chorale Prelude BWV599 'Nun komm, der Heiden Heiland'

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.

After La Valse à mille temps (FUG 577), Jan Michiels and Inge Spinette (the Yin-Yang Duo) return with a new two-piano programme for Fuga Libera. “This recording pays tribute to Bach, Bartók and Kurtág, and also to two legendary piano duos: Dittá and Béla Bartók, and Márta and György Kurtág. We don’t compose music ourselves; that’s why we have composed . . . a programme; with a “monument” by Bartók – one of the greatest pianists of his time – accompanied by Bach chorales in a Kurtágian landscape . . .” (Jan Michiels). A recording that highlights the strength of the union of two minds, which – like Dittá and Béla Bartók, Márta and György Kurtág, and . . . Inge Spinette and Jan Michiels – can phrase music with a rare degree of intensity and acuity.

This is a collection of 48 choral arrangements which takes us through the ecclesiastical year, although the work was never completed. Bruno Oberhammer plays the Rieger Organ in the Parish Church of St.Johann, Höchst, one of the most prominent neo-baroque churches in the Lake Constance area.

Pierre Bardon performs on the great organ of St. Maximin, giving us a striking interpretation of Bach's musical "Bible".