Praetorius / Abel / Bahr / Hasse / Flamme - Comp Organ Works - SUPER-AUDIO CD [Super Audio CD (SACD)]

Audite continues the three-part complete recordings of Louis Vierne's organ symphonies with the third and fourth symphonies. Recorded at the Goll organ of St. Martin in Memmingen, the recording is characterized by the warm, soft sound of the organ. It's sound creates unobtrusive power and fullness, making a symphonic effect in the church interior and yet always remaining clear. Details 1. Allegro Maestoso 2. Cantilène. Andantino Moderato 3. Intermezzo. Allegretto Non Vivo 4. Adagio. Quasi Largo 5. Final. Allegro 6. Prélude. Quasi Lento 7. Allegro. Allegro Risoluto 8. Menuet. Tempo Di Minuetto 9. Romance. Adagio Molto Espressivo 10. Final. Allegro

Details 1. Praeambulum in C Major 2. Christum Wir Sollen Loben Schon 3. Grates Nunc Omnes 4. Herr Gott Dich Loben Wir 5. Magnificat Germanice 6. Praeambulum in D minor 7. Vater Unser Im Himmelreich 8. Von Allen Menschen Abgewandt 9. Praeambulum in F Major 10. Wan Kann Uns Kommen An Fur Not 11. Durch Adams Fall Ist Ganz Verderbt 12. Herr Gott, Dich Loben Wir 1. Benedicam Dominum 2. No. 1 in G minor 3. No. 2 in D minor 4. No. 3 in G minor 5. No. 4 in E minor 6. Puer Natus in Bethlehem 7. No. 5 in E minor 8. No. 6 in F Major 9. No. 7 in F Major 10. No. 8 in C Major 11. Paduana 12. No. 9 in G Major 13. No. 10 in G Major 14. No. 11 in G Major 15. No. 12 in G Major 16. No. 13 in a Minor 17. Nun Komm Der Heiden Heiland

Henri Mulet was born in the immediate vicinity of the Sacré-Coeur Basilica in 1878 and studied organ with Charles-Marie Widor and Louis Vierne at the Paris Conservatory. Vierne ranked his student with the Inchmost brilliant of musical personalitiesInch and described him as Inchan outstanding virtuoso and a very fine improviser.Inch From 1923 to 1931 Mulet was a professor at the Schola Cantorum in Paris; Camille-Saint-Saëns was one of his colleagues, and Gabriel Fauré merits mention as one of his first students. Mulet's oeuvre focused first and foremost on the organ, and the Esquisses byzantines composed from 1914 to 1919 and published in 1920 has continued to be his most frequently performed collection of pieces. While the rhythms and meters in most of his pieces - the Inchquadrature of the compositional structureInch castigated by Richard Wagner - were rather conventional, the harmonies negotiating between Debussy, Wagner, and Vierne are very appealing.