Tito Ceccherini - Petite Messe Solennelle - COMPACT DISCS [CD]

David Goode concludes his series of the complete organ works of Johann Sebastian Bach, played on the Metzler Söhne organ of Trinity College Chapel, Cambridge. This fourteenth volume concentrates on the 'Clavier Ubung III' book of works. David Goode is Organist at Eton College, combining this post with a flourishing performing career. A music scholar at Eton, and then organ scholar at King's College, Cambridge, he studied organ with David Sanger and in Amsterdam with Jacques van Oortmerssen. From 1996-2001 he was Sub-Organist at Christ Church, Oxford; following prizes at the 1997 St. Alban's Competition, and the 1998 Calgary Competition, he concentrated on a freelance career between 2001 and 2003. In 2003 he moved for 2 years to Los Angeles as Organist-in-Residence at First Congregational Church, home to the world's largest church organ. He has also developed a profile as a composer a set of anthems has been published, together with recordings by the choir of King's College, Cambridge; and his Blitz Requiem was performed in September 2013 by the Bach Choir at St Paul's Cathedral, and broadcast on Classic FM. He played at the AGO Convention in June 2016, and was a juror at the 2017 St. Alban's International Competition.

The distinctive instrumental instrumentation of two pianos and harmonium, Rossini's charismatic melodic arcs blossom in this highly-acclaimed firstever MDG recording lovingly remastered for CD

The conductor György Vashegyi and his ensembles, the Orfeo Orchestra and the Purcell Choir, are fluent in various fields of baroque and classical music, with a particular predilection for French baroque opera. But one of their favourite lines of work is Lutheran sacred music, and a good example of this is this beautiful work, Wer ist der, so von Edom kömmt (InchWho is this that comes from Edom?Inch), a period pasticcio with pieces by various composers. Graun (a composer at the court of Frederick II who was greatly admired by his contemporary colleagues), rubs shoulders here with Telemann and Johann Sebastian Bach, as well as with a mysterious unknown, who wrote several of the most impressive passages in the work. In fact, this is a Passion Oratorio, a reflection on the events related to the martyrdom of Christ based on freely chosen texts without following a precise Gospel and without summoning the usual characters of the drama into an imaginary setting. The originality of this patchwork also lies in the distribution of the text where - contrary to many passions of the time - the events of the last days of Jesus' life are told by chorales that float in the meditative atmosphere of the recitatives, arias and choruses. These chorales are especially impressive in the second part the density of the writing, the unique dramatic harmonies, the arrangement of the voices are of such an exceptional quality that their author could definitely be Johann Sebastian Bach himself... whom the author of the essay included in the libretto, Gergely Fazekas, also points to as the possible compiler of this masterpiece.