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 it's 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.
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 it's 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.
7318599924212

Details

Format: CD
Label: BIS
Rel. Date: 08/02/2019
UPC: 7318599924212

Suzuki Plays Bach Organ 3 (Hybr)
Artist: Masaaki Suzuki
Format: CD
New: Available 19.99
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DISC: 1
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1. Prelude & Fugue In C Major, Bwv 531: Prelude
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2. Prelude & Fugue In C Major, Bwv 531: Fugue
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3. Fantasia & Fugue In C Minor, Bwv 537: Fantasia
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4. Fantasia & Fugue In C Minor, Bwv 537: Fugue
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5. Allein Gott In Der Höh Sei Ehr, Bwv 717
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6. Allein Gott In Der Höh Sei Ehr, Bwv 711
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7. Allein Gott In Der Höh Sei Ehr, Bwv 715
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8. Ach Was Soll Ich Sünder Machen?, Bwv 770: Partita No. 1 In E Minor
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9. Ach Was Soll Ich Sünder Machen?, Bwv 770: Partita No. 2 In E Minor
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10. Ach Was Soll Ich Sünder Machen?, Bwv 770: Partita No. 3 In E Minor
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11. Ach Was Soll Ich Sünder Machen?, Bwv 770: Partita No. 4 In E Minor
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12. Ach Was Soll Ich Sünder Machen?, Bwv 770: Partita No. 5 In E Minor
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13. Ach Was Soll Ich Sünder Machen?, Bwv 770: Partita No. 6 In E Minor
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14. Ach Was Soll Ich Sünder Machen?, Bwv 770: Partita No. 7 In E Minor
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15. Ach Was Soll Ich Sünder Machen?, Bwv 770: Partita No. 8 In E Minor
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16. Ach Was Soll Ich Sünder Machen?, Bwv 770: Partita No. 9 In E Minor
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17. Ach Was Soll Ich Sünder Machen?, Bwv 770: Partita No. 10 In E Minor
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18. Toccata In C Major, Bwv 566a
19. Prelude & Fugue In C Minor, Bwv 546: Prelude
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20. Prelude & Fugue In C Minor, Bwv 546: Fugue
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21. Herr Jesu Christ, Dich Zu Uns Wend, Bwv 709
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22. Herr Jesu Christ, Dich Zu Uns Wend, Bwv 726
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23. Passacaglia In C Minor, Bwv 582

More Info:

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 it's 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.

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