Composer: Johann Sebastian Bach
Performer: Masaaki Suzuki
Number of Discs: 1
Format: FLAC (tracks)
Label: Bis
Release: 2019
Size: 1.39 GB
Recovery: +3%
Scan: yes
Prelude & Fugue in C major, BWV531
01. Prelude
02. Fugue
Fantasia & Fugue in C minor, BWV537
03. Fantasia
04. Fugue
05. Chorale Prelude ‘Allein Gott in der Höh sei Ehr’ BWV 717
06. Chorale Prelude ‘Allein Gott in der Höh sei Ehr’ BWV 711
07. Chorale Prelude ‘Allein Gott in der Höh sei Ehr’ BWV 715
Chorale Partita on ‘Ach was soll ich Sünder machen?’ BWV 770
08. Partita No. 1 in E Minor
09. Partita No. 2 in E Minor
10. Partita No. 3 in E Minor
11. Partita No. 4 in E Minor
12. Partita No. 5 in E Minor
13. Partita No. 6 in E Minor
14. Partita No. 7 in E Minor
15. Partita No. 8 in E Minor
16. Partita No. 9 in E Minor
17. Partita No. 10 in E Minor
18.Toccata in C major, BWV 566a
Bach, J S: Prelude & Fugue in C minor, BWV546
19. Prelude
20.
21. Chorale Prelude BWV709 ‘Herr Jesu Christ, dich zu uns wend’
22. Chorale Prelude ‘Herr Jesu Christ, dich zu uns wend’ BWV 726
23. Passacaglia & Fugue in C minor, BWV582
Born within a couple of years of each other, Gottfried Silbermann and Johann Sebastian Bach were acquainted, and we know that Silbermann in 1736 invited the composer to inaugurate the new organ that he had built in Dresden’s Frauenkirche. That instrument was destroyed during the bombing of Dresden in 1945, but some thirty of Silbermann’s organs are still extant. From robust pedal stops providing a sturdy bass fundament to silvery flute stops, his instruments were famous for their distinctive sound and contemporary sources often made use of a play on the name of their maker as they praised their ‘Silberklang’. Silbermann was based in Freiberg with his workshop only a stone’s throw away from the cathedral, where he built his first great organ in 1714. One of the finest and best preserved examples of his art, this is the instrument which Masaaki Suzuki has chosen for the third installment in his traversal of Bach’s organ music, following acclaimed recitals recorded in Groningen (the Netherlands) and Kobe (Japan). The programme takes us through various forms of organ compositions, including one of Bach’s most imposing preludes (BWV 546) with its intricate fugue, the multi-sectioned Toccata in C major (BWV 546a), examples of chorale preludes and partitas. Suzuki closes his recital with the famous Passacaglia and Fugue in C minor, probably composed during the same years that Silbermann was busy building the organ on which it is performed here.