The reason could be that it is the sonata which is most idiomatic for the harpsichord. This could well be the reason that Luca Scandali didn't include it in this 'complete' recording. Unfortunately he doesn't mention the issue. Rellstab also included the Sonata in d minor Wq 69 which has the addition a due tastature ; this sonata is also not included here. However, Scandali included six fugues which are catalogued as in the Wotquenne catalogue; the first is omitted, and again the reasons are not given.
Johann Sebastian Bach
Scandali also doesn't give the rationale for considering these pieces organ works; they are ranked among the 'keyboard works' in the work-list in New Grove. They date from , about the same time the sonatas were composed. At that time the fugue had become more or less old-fashioned, and they are more about expression than about a technically 'correct' use of the form. The sonatas are not fundamentally different from Bach's sonatas for stringed keyboard instruments, although they probably have more prominent galant features than most of those.
The changes in mood which are partly exposed through contrasts in dynamics, are realised here through alternation between the two manuals. Scandali makes the most of the opportunities his instrument has to offer and the contrasts within the fast movements come off very well.
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The slow movements include far fewer dynamic contrasts; here it is expression takes centre-stage. Scandali has chosen the appropriate stops to make this audible. That is also the case in most of the fast movements. Only in the fast movements of the Sonata in D do I find the registration a little too aggressive. It is plausible to assume that the organ which Princess Amalia owned was a rather modest instrument and therefore a more 'intimate' sound seems most appropriate. A specially enjoyable feature of Scandali's performances is his application of ornamentation - more than I have heard in other interpretations.
The recording includes other pieces, some of which are considered of doubtful authenticity. Scandali should have mentioned this in his liner-notes, or argue why he thinks that they are from Emanuel's pen. In the cases of the pieces based on chorales it is hard to see what could have been his reasons to write them. The harmonic language is typical of the generation of the Bach sons, and the chorale melodies are different - both melodically and rhythmically - from what we know from the previous era.
The organ includes a Zymbelstern which Scandali uses at the close of the Prelude in D. I wonder whether this is anachronistic; it was often used in the 17th century, but was probably out of fashion in Emanuel's time. This 'complete' recording includes more pieces than previous 'complete' recordings, although it is regrettable that the first sonata is omitted.
The organ works by Carl Philipp Emanuel Bach are not as well known as they deserve to be.
For that reason this release is very welcome, and Scandali's convincing interpretations make it an even more attractive proposition. Some items to consider Yes we are selling Acte Prealable again! All the sons of Johann Sebastian Bach were skilled keyboard players. Some items to consider. This work was written in and revised in , and was still a work considered modern and 'difficult'.
However, Stokowski and the Philadelphia Orchestra had been performing it regularly for the previous 15 years. Also recall that Stokowski and the Philadelphians had made a pioneering acoustic recording of Finlandia in April, This does not seem to be an impediment to the enjoyment of the work, especially in the restoration by the audio mastering and restoration expert, Marcos Abreu, offered in the link below.
Marcos Abreu's restoration seems to me excellent, transparent and subtle. He has added a very slight amount of ambiance to the recording, which adds some needed 'air', yet retains the original sound. Beyond the sound, this performance is electric with excitement. The Gramophone Magazine appreciated this performance in wrote:. There is a fine flare in this Finlandia; fire and weight too, and dignity, not surpassed in warmth by anything I know A slight negative is a cut from bars to that Stokowski makes at the end of the work.
This is a cut of about 15 seconds of music at of the finale, which consists of a drum-roll, followed by repeated chords.
This eliminated music, as written by Sibelius, normally follows the last notes of the music we hear in the Stokowski recording. Stokowski does not seem to have explained his reasons for this cut, but presumably he felt this ending was repetitive and superfluous to what is still a dramatic ending. A full orchestra was used in the Academy of Music: 18 first violins, 18 second violins, 13 violas, 12 celli, 10 double basses, 4 flutes, 4 oboes, 4 bassoons, 5 clarinets, 3 trumpets, 4 trombones, 8 horns, 1 tuba, 2 harps, 2 percussion and tympani.
Click here to listen to download the recording of Finlandia by Jean Sibelius. Today, this work is a staple of the concert hall, and a famous piece to show off the quality of someone's Hi Fi system and speakers. However, in , this work was not so frequently recorded, even if often performed.
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Stokowski's recording as a performance is dramatic and well-played. However, the recording, although done by Victor in the Academy of Music in Philadelphia, is of a surprisingly 'in your face' acoustic sound. It also seems that the microphones must have been placed unusually close to the orchestra. Stokowski gave constant attention to and was actively involved in the recording process, which helped him have recordings consistently superior in sound to most of his contemporaries.
However, this is not an example of superior sound, and we can only conjecture if Stokowski was experimenting with a closer, more direct microphone placement or perhaps that the Victor engineers were not those who had produced the amazingly open and effective recordings of Since Stokowski was so much 'hands on' during recordings, I would speculate that Stokowski may have been seeking more impact from this dramatic music. The bass from this recording is surprisingly 'boomy' considering its venue in the Academy of Music. I have attempted to compensate for this very close microphone placement with equalization and with added acoustical ambiance.
In spite of the miking, this is an effective and exciting recording, with many examples of virtuoso playing.
Bach Organ Works: Thierry Mechler | Edelweiss Emission
Listen, for example to Marcel Tabuteau's gorgeous oboe solo during the first minute. Also, the beautiful Philadelphia Orchestra string sound of this orchestra at the height of its form. A nuanced and exciting performance. Again, here, Stokowski cuts several bars of music from the conclusion of the Overture, presumably because he found them repetitive, or perhaps bombastic. In any case, for those familiar with this work, the sudden ending may come as a mild surprise. Another interesting effect at the ending is that Stokowski does not have the tubular bells damp their chimes at the end, but allows them to reverberate for several seconds.
Perhaps he liked this effect, suggesting a cathedral celebration.
Aus der Tiefe rufe ich, BWV745 (doubtful, perhaps by J.C. Bach)
In any case this seems to me a nice effect. From several of his compositions, Stokowski transcribed and orchestrated three pieces which he recorded on one 12 inch 30 cm Victor Red Seal disc These performances are lush and stately - fully upholstered Lully with a full string section and woodwinds. The mood and atmosphere of these 12 works of the first book provide a vivid impression of each of the subjects selected by Debussy.
Consider simply the titles he employed, such as "Les sons et les parfums tournent dans l'air du soir" "Sounds and perfumes turn in the evening air" to appreciate that these musical evocations intend to communicate a sensual impression. This orchestration by Stokowski and the performance certainly fulfills that instruction.
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Note also the delicate bassoon solo Walter Guetter and the mellow trumpet solo by Sol Caston in this recording made on April 30, The recordings in this site are files in mp3 format mbps encoded from my collection. The mp3 files in this site are usually encoded at mbps. This means that the files are of different sizes, according to the length of the music.
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In contrast, the Le Sacre du Printemps file is large. This means that a large file will take a longer time to download, depending on your internet connection speed. Please keep this in mind when you click to listen to - download a particularly music file. You may click the link to the music file, but need to wait a number of seconds or even minutes to listen to the file. If you have any comments or questions about this Leopold Stokowski site, please e-mail me Larry Huffman at e-mail address: leopold.