J.S. Bach in Himmerod Abbey

This new recording presents the unique Klais organ of the Himmerod Abbey (Germany) in its full glory.
Composer: Johann Sebastian Bach
Artists: Adriano Falcioni organ

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In 1731, Johann Sebastian Bach was commissioned to write a cantata to mark the inauguration of the new town council in Leipzig. The resulting piece, Wir danken dir, Gott begins with a Sinfonia, based on a transcription for organ and orchestra of the prelude from Bach’s own Partita No.3 in E major for solo violin BWV 1006. Marcel Dupré’s highly virtuosic organ arrangement of the work removes the orchestra and adds a pedal line, giving all the various parts to the solo organ.
Bach’s Chromatic Fantasia and Fugue BWV903 was originally written for harpsichord. Bach may have written this piece, like the Well-Tempered Clavier, as proof of the power of equal temperament to explore the various keys and get the most out of the instrument’s tonal resources. Max Reger’s transcription uses changes of manual and stops and the technique of dividing the parts between the manuals and pedals to emphasise all the work’s unique aspects.
Bach was a huge admirer of Antonio Vivaldi and transcribed several of his concertos for solo keyboard. The Concerto in D minor here is taken from Vivaldi’s L’estro harmonico, a collection of soloconcertos that brought the composer much acclaim. Bach’s arrangement follows the original division into four movements and, interestingly, this work was one of the few times Bach noted the stops the organist should use.
The Chaconne from Bach’s Partita No.2 in D minor BWV1004 is another solo violin transcription, arranged for organ by Ulisse Matthey. A chaconne is a composition derived from a moderate-paced dance in ternary time, probably of Spanish or South American origin, comprising a series of variations over a basso ostinato. Matthey’s transcription for organ gives the listener an even greater appreciation of the complex polyphony and sophisticated counterpoint that pervade the piece’s 32 eight-bar variations.

The Prelude and Fugue BWV552 is considered one of the greatest achievements in the history of music. It is full of hidden symbolism, all celebrating the mystery of the Trinity: the three flats in the key signature, three themes in the Prelude and three subjects in the Fugue, are references to the numbers 9 (3×3) and 27 (3×3×3). The themes stylistically depict a part of the Trinity: the Father is solemn and majestic, the Son is livelier, and the Holy Spirit has a joyful feel. Like the chaconne, the Passacaglia is a moderate-paced dance in ternary time of Spanish origin. Here, once again, Bach’s writing conceals several numerical symbols: ternary time, three flats in the key signature, and seven groups of three variations, making a total of 21 variations (2+1=3).
Tracklist:

00:00:00 Sinfonia from Cantata No. 29
00:04:24 Ciaccona from Partita, BWV 1004
Concerto in D Minor from Antonio Vivaldi, BWV 596:
00:18:34 I. Senza indicazione di tempo
00:19:34 II. Grave
00:20:05 III. Fuga
00:23:27 IV. Largo e spiccato
00:26:20 V. Senza indicazione di tempo
Preludium and Fugue in E-Flat Major, BWV 552:
00:29:44 I. Preludium
00:39:14 II. Fugue
00:45:46 Sicilienne from Flute Sonata, BWV 1031
Chromatic Phantasie and Fugue in D Minor, BWV 903:
00:48:32 I. Phantasie
00:55:38 II. Fugue
Passacaglia and Thema fugatum, BWV 582:
01:01:33 I. Passacaglia
01:09:46 II. Fuga

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Видео J.S. Bach in Himmerod Abbey канала Brilliant Classics