Dies sind die heilgen zehn Gebot (II), chorale prelude for organ, BWV 678 (BC K10) (Clavier-Übung III/10)
Fughetta super Dies sind die heilgen zehn Gebot, for organ, BWV 679 (BC K11) (Clavier-Übung III/11)
Prelude and Fugue, for keyboard No. 22 in B flat minor, BWV 867 (BC L101) (WTC I/22)
Aus tiefer Not schrei ich zu dir (I), chorale prelude for organ á 6, BWV 686 (BC K18) (Clavier-Übung III/18)
Prelude and Fugue, for organ in E flat major ("St. Anne"), BWV 552 (BC J16) (Clavier-Übung III/26): Fugue in E-flat major, "St Anne", BWV 552.2 a 5 (Clavier Übung III)
Vor deinen Thron tret ich hiermit (I), chorale prelude for organ, BWV 668 (BC K91) (Achtzehn Choräle No. 18)
Prelude and Fugue, for keyboard No. 11 in F major, BWV 880 (BC L114) (WTC II/11)
Wir glauben all an einen Gott (I), chorale prelude for organ, BWV 680 (BC K12) (Clavier-Übung III/12)
Prelude and Fugue, for keyboard No. 4 in C sharp minor, BWV 849 (BC L83) (WTC I/4): Fugue IV in D minor (originally, C-sharp), BWV 849 a 5 (Well-Tempered Clavier, Book I)
The Musical Offering (Musikalisches Opfer), for keyboard and chamber instruments, BWV 1079: Recercar, BWV 1079 a 6
Canon triplex à 6, for 4 unspecified instruments (or keyboard) in G major ("Portrait Canon"), BWV 1076
Harmonia Mundi's Bach: Alio modo features esteemed period viol consort Fretwork performing keyboard works of Johann Sebastian Bach as adapted by group leader Richard Boothby. The idea of playing Bach on a viol consort would have been a little retro for the composer, who was a capable violinist himself and regularly led groups that were among the predecessors of modern orchestras. Bach's flowing contrapuntal lines lie well on these instruments, and in terms of getting his counterpoint across, this setting works, although a ...
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Harmonia Mundi's Bach: Alio modo features esteemed period viol consort Fretwork performing keyboard works of Johann Sebastian Bach as adapted by group leader Richard Boothby. The idea of playing Bach on a viol consort would have been a little retro for the composer, who was a capable violinist himself and regularly led groups that were among the predecessors of modern orchestras. Bach's flowing contrapuntal lines lie well on these instruments, and in terms of getting his counterpoint across, this setting works, although a good organist or harpsichordist is perfectly capable of achieving the same end in this music. Not every listener can stand to listen to a recording of a pipe organ at home, as it reminds them of being in church, and others may share actress Joan Crawford's alleged disdain of the harpsichord. Perhaps this is the audience Fretwork is hoping to reach -- indeed, a listener afflicted with such inclinations would be missing out on some of Bach's finest musical utterances.The playing here is...
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