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ID: RK2702
Disk: 1
Type: CD
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Podkolekce: Organ
Sebastian Knebel plays on the seventeenth-century Coswig organ of the beautiful Alte Kirche. Since this is the only surviving organ of its type Knebel has chosen a programme of music written in the period the organ was built. This is a well thought out programme which explores the tonal nuances of the restored Coswig organ and rounds off with selected pieces for harpsichord. |
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ID: DCD34089
Disk: 1
Type: CD
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Kolekce: Organ CollectionPodkolekce: Organ
1 William T. Best (1826-97)
A Christmas Fantasy on Old English Carols
2 Johann Sebastian Bach (1685-1750)
Chorale: Vom Himmel hoch, da komm’ ich her
3 Johann Pachelbel (1653-1706)
Vom Himmel hoch, da komm’ ich her
4 Johann Pachelbel
Vom Himmel hoch, da komm’ ich her (Fughetta)
5 Johann Bernhard Bach (1676-1749)
Vom Himmel hoch, da komm’ ich her
6 Johann Sebastian Bach
Vom Himmel hoch, da komm’ ich her, BWV738
7 Max Reger (1873-1916)
Weihnachten, Op. 145 No. 3
8 Jean-François Dandrieu (1682-1738)
Noël cette Journée
9 Jean-François Dandrieu
Il n’est rien de plus tendre
10 Louis-Claude d’Aquin (1694-1772)
Noël X
11 Pierre Cochereau (1924-84), transcr. J. Filsell
Variations on ‘Adeste Fideles’
12 Alexandre Guilmant (1837-1911)
Noël Ecossais
13 Jeanne Demessieux (1921-68)
Adeste Fideles (Musette)
14 Jean Langlais (1907-91)
Noël Breton (Huit Chants de Bretagne)
15 John Ireland (1879-1962)
The Holy Boy (A Carol of the Nativity)
16 Sir Arthur Somervell (1863-1937)
Shepherd’s Cradle Song
17 Alfred Hollins (1865-1942)
Christmas Cradle Song
18 Garth Edmundson (1900-71)
Vom Himmel hoch (Toccata-Prelude IV)
19 The Bells of St Cuthbert’s Church
St Cuthbert’s Change-Ringers
Total playing time [77.50]
Carleton Etherington (organ)
Few ecclesiastical buildings in the United Kingdom can boast possessing two pipe organs; of those that can, fewer still can rival the quality of the ‘Grove’ and ‘Milton’ organs in Tewkesbury’s magnificent Norman abbey. It must have been something of a coup for the organ builders Michell & Thynne to hear the legendary organist William Thomas Best proclaim their latest instrument (on show at the Liverpool Exhibition of 1886) to be “the finest organ of its kind that I have ever played upon”. Their ‘model organ’ was designed to be as flexible as possible within the confines of the smallest number of stops, and the result was an immediate success: its first appearance at the 1885 Inventions Exhibition in London caused something of a sensation amongst the organ cognoscenti. The blind organist Alfred Hollins, not long out of college, was one of a number of players who gave regular recitals on the instrument both at the London exhibition, and subsequently the following year in Liverpool.
Tewkesbury Abbey’s other organ known as the ‘Milton’ is a happy example of enlargement and rebuilding over the decades, resulting in its current incarnation as a flexible and thoroughly contemporary instrument capable of interpreting a wide spectrum of the repertoire This recording demonstrates the unique qualities of each instrument in a programme of concert organ works by some of the finest organists and composers of the past two centuries. |
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ID: BAR2013-06
Disk: 1
Type: CD
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Podkolekce: Organ
Musiche di Mascitti, Fenaroli, Leclair, Cotumacci
Ensemble Labirinto Armonico
Pierluigi Mencattini violino barocco
Giovanni Rota violino barocco
Giovanni La Marca viola da gamba
Walter D’Arcangelo organo positivo |
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ID: MELCD1002265
Disk: 1
Type: CD
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Kolekce: Sacred MusicPodkolekce: Organ
Vladimir Spivakov, 1st violin
Anatoly Sheinyuk, 2nd violin
Yuli Turovsky, cello
Sergey Dizhur, organ
Firma Melodiya presents an album of Wolfgang Amadeus Mozart’s Church Sonatas.
Vladimir Spivakov is known for his Mozart interpretations as a soloist, chamber ensemble member and conductor. In his renditions, Mozart’s concertos, violin sonatas, ensembles, divertimentos, symphonies and masses preserve the combination of lightness and inner depth, youthful naivety and philosophic wisdom which were so characteristic of the great Salzburger.
From the first years of his artistic career, Spivakov showed interest in Mozart’s heritage composed in different genres.
Mozart wrote his Church Sonatas in the period of his service for the Prince-Archbishop of Salzburg in 1767 to 1779. Appointed as organist, he already
was a skillful violinist as well. Although his onemovement “sonatas” (in fact, these are ensembles for three string instruments and organ) were intended for divine services, they sound rather secular and buoyant.
Mozart’s fourteen Church Sonatas were recorded in 1974 by a constellation of brilliant musicians such as Vladimir Spivakov, violinist Anatoly Sheinyuk (now a professor of the Detroit Conservatory), Yuli Turovsky, a cellist and future
founder of the I Musici de Montréal Chamber Orchestra, and Sergei Dizhur, one of the best Soviet organists. |
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ID: DCD34075
Disk: 1
Type: CD
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Podkolekce: Choral and Organ
A significant Christmas release: Geoffrey Webber has put together a fantastic programme which Delphian had fun recording in the glorious acoustics of St Anne's Cathedral in Belfast. Fresh from their 2009 Gramophone Editor's Choice, Webber's choir has put together an intriguing programme in which medieval works illuminate contemporary settings by some of the UK's finest living composers. From the plangent innocence of Sweeney's The Innumerable Christ to the shining antiphony of Burrell's Creator of the Stars of Night, this selection will seduce. Caius, as we've come to expect, combine polish with verve, Webber's meticulous attention to detail floodlit by the bathing acoustics of St Anne's Cathedral, Belfast.
Track listing
1 Diana Burrell - Creator of the Stars of Night
2 Judith Bingham - Annunciation
3 Stuart MacRae - Adam lay y-bounden
4 13th-c. English - Edi beo thu
5 Richard Causton -Cradle Song
6 Francis Pott -That yongë child
7 John Dunstaple - Quam pulchra es
8 Gabriel Jackson -Salus aeterna
9 16th-c. English - Salvator mundi Domine
10 Howard Skempton - To Bethlem did they go
11 Judith Bingham - God would be born in thee
12 John Redford - Tui sunt caeli
13 Howard Skempton - Into this world, this day did come
14 William Sweeney - The Innumerable Christ
15 12th-c. English - Verbum Patris umanatur
16 Diana Burrell - Christo paremus cantica
17 Robin Holloway - Christmas Carol
18 15th-c. English - Nowell sing we
19 Judith Bingham - Incarnation with shepherds dancing
20 Gabriel Jackson - Nowell sing we Listen
Total playing time [75:28]
Choir of Gonville & Caius College, Cambridge, Geoffrey Webber |
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ID: DCD34071
Disk: 1
Type: CD
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Podkolekce: Choir
Following their highly acclaimed recording of the 16th-century John Taverner, Duncan Ferguson and his Edinburgh choir turn their attention to one of the 19th -century's compositional giants. This sequence of motets among them several little-known gems are a testament to Bruckner's profound Catholic faith and these performances blaze with fire and fervour in the vast cathedral's icy acoustic.
Bruckner:
Tota pulchra es, antiphon, WAB 46
Aequalis No. 1 for three trombones
Zwei Totenlieder I: O ihr, die ihr heut mit mir zum Grabe geht
Ave Maria (1861), WAB 6
Offertorium: Afferentur regi
Christus factus est
Ecce sacerdos magnus
Virga Jesse floruit
Locus iste, WAB 23
Pange lingua
Iam lucis orto sidere
Aequalis No. 2 for three trombones
Libera me, for choir & organ, WAB 21
Zwei Totenlieder II: O ihr, die ihr heut mit mir zum Grabe geht
Vexilla regis
Os justi meditabitur sapientiam
Inveni David, offertorium for male chorus & 4 trombones,WAB 19
Nicholas Wearne (organ)
The Choir of St Mary’s Cathedral, Edinburgh & RSAMD Brass, Duncan Ferguson |
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ID: DCD34077
Disk: 1
Type: CD
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Kolekce: Vánoční hudbaPodkolekce: Organ
Thomas Laing-Reilly (the organ of St Cuthbert's Church, Edinburgh) St Cuthbert's Change-Ringers
Situated in the shadow of Edinburgh Castle, St Cuthbert’s Church was the first parish church in Scotland to hold candlelit services on Christmas Eve. The two-thousand-strong congregation was regularly joined by people standing in the aisles! Today, the organ continues to combine its role of supporting the singing with solo performance of varied repertoire. Director of Music Thomas Laing-Reilly has at his hands an instrument seemingly able to speak any language. Its vast palette is demonstrated with striking clarity on his debut recording, in a range of repertory which crosses national borders with disarming ease.
Track listing
1 William T. Best (1826-97)
A Christmas Fantasy on Old English Carols
2 Johann Sebastian Bach (1685-1750)
Chorale: Vom Himmel hoch, da komm’ ich her
3 Johann Pachelbel (1653-1706)
Vom Himmel hoch, da komm’ ich her
4 Johann Pachelbel
Vom Himmel hoch, da komm’ ich her (Fughetta)
5 Johann Bernhard Bach (1676-1749)
Vom Himmel hoch, da komm’ ich her
6 Johann Sebastian Bach
Vom Himmel hoch, da komm’ ich her, BWV738
7 Max Reger (1873-1916)
Weihnachten, Op. 145 No. 3
8 Jean-François Dandrieu (1682-1738)
Noël cette Journée
9 Jean-François Dandrieu
Il n’est rien de plus tendre
10 Louis-Claude d’Aquin (1694-1772)
Noël X
11 Pierre Cochereau (1924-84), transcr. J. Filsell
Variations on ‘Adeste Fideles’
12 Alexandre Guilmant (1837-1911)
Noël Ecossais
13 Jeanne Demessieux (1921-68)
Adeste Fideles (Musette)
14 Jean Langlais (1907-91)
Noël Breton (Huit Chants de Bretagne)
15 John Ireland (1879-1962)
The Holy Boy (A Carol of the Nativity)
16 Sir Arthur Somervell (1863-1937)
Shepherd’s Cradle Song
17 Alfred Hollins (1865-1942)
Christmas Cradle Song
18 Garth Edmundson (1900-71)
Vom Himmel hoch (Toccata-Prelude IV)
19 The Bells of St Cuthbert’s Church
St Cuthbert’s Change-Ringers
Total playing time [77.50] |
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ID: DCD34064
Disk: 1
Type: CD
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Kolekce: Organ CollectionPodkolekce: Organ
Edinburgh’s city organist John Kitchen visits Scotland’s Mither Kirk and the country’s largest organ. Never before heard on disc, the 1939 Rushworth & Dreaper represents the zenith of British organ building. Kitchen harnesses this king of instruments in a varied recital, revelling in its sheer magnificence.
Asma:
Three hymn tune preludes
Fantasie over de Avondzang " 'k wil U o God mijn dank betalen"
Duruflé:
Méditation, Op. post.
Elgar:
Pomp and Circumstance March No. 1 in D major, Op. 39 No. 1
Guilmant:
Grand Choeur in D
Kee, C:
Variations on a Dutch song 'Merck toch hoe sterck'
Milford:
St Columba, Op. 14
Parry:
Croft's 136th
Rowley:
Benedictus
Stanford:
Prelude on St Columba, Op. 101 No. 6
Widor:
Organ Symphony No. 4 in F minor, Op. 13 No. 4
John Kitchen (organ) |
| 20.00 eur Temporarily out of stock |
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ID: ACDBO063-2
Disk: 1
Type: CD
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Kolekce: BaroqueThere are a number of recordings of the choral partita ‘Ach wie nichtig, ach wie flüchtig’ by Georg Böhm (1666-1733), including one on the great Arp Schnitger city organ in Hamburg (1693), 57 voices, beautifully played by Stef Tuinstra. The version heard here is played on Arp Schnitger’s smallest organ positiv, 8 voices, but it offers enough variation to register the 8 variations in a diverse manner. The suite in A Minor ‘Melpomene’ by Johann Kaspar Ferdinand Fischer (1665-1746) is taken from his Musikalischer Parnassus (1738). Melpomene was the muse of song and tragedy. The stylised dances are a slow Allemande, the fast Passepied, a Rondeau, alternately a refrain and a verse, a Chaconne, variations based on a descending series of 4 tones and finally a fast Gigue. The Fantasia on the hexachord Vt Re Mi Fa Sol La by Johann Jakob Froberger (1616-1667) was already a famous work during his lifetime., Athenasius Kirchner mentions the work in his Masurgia (1646) and it was published in an autograph in 1649. The seven parts of the work bring the hexachord in various rhythms and with various second voices. In the sixth and seventh parts he adds chromatic tones, thus deftly exploiting the meantone temperament in the strong effect of dissonants and consonants. A true masterpiece. Johann Jakob Froberger (1616-1667) wrote the Tombeau on the death of the lute player Blancheroche in Paris and added the following remark: ‘fait à Paris sur la mort de Monsieur Blancheroche: lequel se joue fort lentement à la discretion sans observer aucune mesure.’ The improvisational character of the piece strongly resembles the Preludes non mésuree by Louis Couperin, whom Froberger met in Paris in 1652. A striking feature of this work is its exploitation of the meantone temperament, e.g. Froberger twice prescribes a D flat for where a C sharp is tuned, using the dissonant here as an expressive device. The Preludium is one of the great free forms in keyboard music. Of Hans Kotter (1485-1541) we hear an early example, here called Proömium in re. Kotter was a pupil of Paulus Hofhaymer, the most important ‘Organistenmacher’ of the 16th century, just as Sweelinck was in the 17th century. The original of the Giusti instrument is now in the Tagliavini collection in Bologna/Italy. |
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