Samtliche orgelwerke, band 5 orgue+CD+CD-ROM

9780004183664: Samtliche orgelwerke, band 5 orgue+CD+CD-ROM
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1. Sonata 1 in Eb major BWV 525

2. Sonata 2 in C minor BWV 526

3. Sonata 3 in D minor BWV 527

4. Sonata 4 in E minor BWV 528

5. Sonata 5 in C major BWV 529

6. Sonata 6 in G major BWV 530

7. Trio in D minor BWV 527/1 (early version)

8. Trio in D minor BWV 528/2 (early version)

9. Trio in D minor BWV 528/2 (intermediate version)

10. Trio in D minor BWV 583

11. Concerto in C major after A. Vivaldi) BWV 594

12. Concerto in D minor (after A. Vivaldi) BWV 596

13. Concerto in G major (after J. E. v. Sachsen-Weimar) BWV 592

14. Concerto in A minor (after A. Vivaldi) BWV 593

15. Concerto in C major (concert movement; after J. E. v. Sachsen-Weimar) BWV 595

16. Trio in C minor (after J. Fr. Fasch) BWV 585 (in the appendix)

17. Aria [Trio] in F major (after Fr. Couperin) BWV 587 (in the appendix)

18. Trio in G major (unknown sourve) BWV 586 (in the appendix)

19. Trio in C major (after BWV 1014/3) (on CD-ROM)

20. Trio in C minor (after BWV 21/1) (on CD-ROM)

21. Trio in G major (after BWV 1027/1 bzw. BWV 1039/1) (on CD-ROM)

22. Trio in G major (after BWV 1027/2 bzw. BWV 1039/2) (on CD-ROM)

23. Trio in G major (after BWV 1027/4 bzw. BWV 1039/4) (on CD-ROM)

24. Trio in G minor (after BWV 166/2 (BWV 584)) (on CD-ROM)

25. Trio in B minor (after BWV 790) (on CD-ROM)
--Schott Music

Reseña del editor:

Genres such as sonata, trio and concerto were initially uncommon in the keyboard music of the early 18th century. Thus it comes as no surprise that many of the pieces in this volume are arrangements by Bach of original compositions and of works by other composers. Next to the Sonatas BWV 525-530 and the Concertos or concerto movements based on pieces by other composers BWV 592-596, this volume also contains the Trio in D minor BWV 583, the Trio settings BWV 585-587 as well as the early versions of BWV 527 and 528. Moreover, the CD-ROM offers eight arrangements of trio movements by Bach made by others. In his detailed introduction, Pieter Dirksen discusses various aspects of these pieces' origins, in as much as they help us better understand the works. The organist will especially welcome the comments on performance practice and registration. It is precisely the fact that these works derive from chamber-music models that leads to individual considerations for each work group.

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