Jorg Halubek - 50 55' 12.4 N 13 20 36.7 E - Organ Landscapes - COMPACT DISCS [CD]

The title InchBach Organ LandscapesInch heralds a new complete recording of Bach's organ works, to be released over the next few years. The project is planned round ten historic organ builders who played a part in the life of Johann Sebastian Bach. No other instrument merges space with sound so strongly as the organ. The more closely we study the history of music, moreover, the more we appreciate the key role of regional developments certain organ builders and composers created instruments and composed organ works that in their totality form Inchorgan landscapesInch. And so we had to travel to the world of those organists. Bach's musical contribution to organ literature cannot be overestimated. It is a resounding testimony to his roots in an equally resounding landscape, which he himself shaped through his work as an organ expert and with organ builders. With two double albums from Ansbach and Waltershausen, Jörg Halubek invites you to join him on this journey. In Waltershausen, Bach's visionary composition InchDritter Theil der Clavier ÜbungInch is combined with Tobias Heinrich Gottfried Trost's Providence in organ building. Johann Christoph Wiegleb went one step further in Ansbach, whose organ from 1738 is made to sound in countless different colors by the Leipzig choral arrangements. Jörg Halubek studied church music, organ and harpsichord in Stuttgart and Freiburg with Jon Laukvik and Robert Hill. At the Schola Cantorum Basiliensis, he specialized in period performance practice with Jesper Christensen and Andrea Marcon. He won first prize in the 2014 International Johann Sebastian Bach Competition in Leipzig in the Organ category. Album Tracks 1. Prelude and Fugue, BWV 552~1. Praeludium pro Organo pleno 2. Kyrie, Gott Vater in Ewigkeit BWV 669 3. Christe, aller Welt Trost BWV 670 4. Kyrie, Gott heiliger Geist BWV 671 5. Kyrie, Gott Vater in Ewigkeit

The large-scale Bach Organ Landscapes project featuring J.S. Bach's entire organ oeuvre recorded on a range of instruments aims to provide an overview of organ-playing and organ-building traditions that were key to Bach's composing. With a keen eye to the unique cultural organ legacy of the places associated with Bach, Halubek has placed Bach's original sound at the heart of his project. The recordings are accompanied by digital material that offer an almost tactile access to the great composer's sound universe. This Album features the legendary Silbermann organ in Freiberg near Dresden. Album Tracks 1. Toccata Con Fuga in D BWV 565 2. Wie SCHÖN Leuchtet Der Morgenstern BWV 739 3. Du Friedensfürst, Herr Jesu Christ BWV 1102 4. Als Jesus Christus in Der Nacht BWV 1108 5. Praeludium in a BWV 569 6. Fuga in a BWV 958 7. Canzona in D BWV 588 8. Praeludium Cum Fuga in G BWV 535A 9. Allein Gott in Der HÖH Sei Ehr BWV 715 10. Allein Zu Dir, Herr Jesu Christ BWV 1100 11. Der Tag, Der Ist So Freudenreich BWV 719 12. Fuga in G BWV 577 13. Vater Unser Im Himmelreich BWV 737 14. O Lamm Gottes, Unschuldig BWV 1085 15. Choral O Lamm Gottes BWV 1085 16. Praeludium in a BWV 551 17. Fantasia in G BWV 542 18. Passacaglia BWV 582 19. Praeludium in E BWV 566 20. Praeludium Et Fuga in D BWV 532 21. Glockenspiel 22. Fuga in G BWV 542 23. Toccata in D BWV 565

At the age of 15, Johann Sebastian Bach attended the Latin school at St. Michael's Monastery in Luneburg for two years. There is also evidence of at least one trip to Hamburg during this time. The young Bach must have been impressed and inspired by the North German music scene with it's large organs and independent pedals, the diverse reed stops, the clear and InchsharpInch mixtures and, last but not least, his musical experiences in Hamburg's Gansemarkt Opera House.Bach's chorale partitas bear clear traces of the North German environment, for example in the operatic-ariose elaborations with French ornaments or in the very individual virtuoso arrangements of the variations, which suggest the text interpretations of individual song verses. In contrast to this is the Orgelbuchlein, composed in the somewhat later Weimar years, which forms the foundation for Bach's monothematic composition Here, the sound of a chorale is formed using just one characteristic motif. The roots of this compositional aesthetic can be traced back to Bach's early encounter with Georg Bohm in Luneburg.The history of the large organ in St. Michael's, which can be traced back to the 15th century, is eventful in 1708 the Schnitger pupil Matthias Dropa built a new organ and extended the existing instrument by Niehoff (1553) - the young Bach may have been able to follow the plans. After numerous alterations, the current specification corresponds to that of 1708, and a precise historical restoration is currently being planned. The tremendous richness of color and the tonal spirit of the Baroque period can be clearly heard despite the equal temperament. The Klapmeyer organ in Altenbruch (1730), on which Dropa also worked from 1697-1700, gives an authentic impression of the sound of this organ landscape in Luneburg thanks to the restoration by Jurgen Ahrend (2004). The specifics of the historical sound