Vincent van Laar - The organ chorales of the Leipzig manuscript, Schübler chorales BWV 645-668 (2017) [DSD & Hi-Res]

Tracklist

CD1
01. Fantasia super Komm, Heiliger Geist, BWV 651
02. Komm, Heiliger Geist, BWV 652
03. An Wasserflüssen Babylon, BWV 653
04. Schmücke dich, o liebe Seele, BWV 654
05. Trio super Herr Jesu Christ, dich zu uns wend, BWV 655
06. O Lamm Gottes, unschuldig, BWV 656
07. Nun danket alle Gott, BWV 657
08. Von Gott will ich nicht lassen, BWV 658
09. Nun komm der Heiden Heiland BWV 659
10. Trio super Nun komm der Heiden Heiland, BWV 660
11. Nun komm der Heiden Heiland, BWV 661

CD2
01. Allein Gott in der Höh sei Ehr: canto fermo in Soprano, BWV 662
02. Allein Gott in der Höh sei Ehr: canto fermo in Tenore, BWV 663
03. Trio super Allein Gott in der Höh sei Ehr, BWV 664
04. Jesus Christus, unser Heiland, BWV 665
05. Jesus Christus, unser Heiland, BWV 666
06. Komm, Gott, Schöpfer, Heiliger Geist, BWV 667
07. Vor deinen Thron tret ich, BWV 668
08. Wachet auf, ruft uns die Stimme, BWV 645
09. Wo soll ich fliehen hin or Auf meinen lieben Gott, BWV 646
10. Wer nur den lieben Gott lässt walten, BWV 647
11. Meine Seele erhebt den Herren, BWV 648
12. Ach bleib bei uns, Herr Jesu Christ, BWV 649
13. Kommst du nun, Jesu, vom Himmel herunter, BWV 650



In the oeuvre of Johann Sebastian Bach (1685-1750), the chorale – the Lutheran congregational hymn - plays a central role. This is hardly surprising, since for the greater part of his life Bach was a church musician, composing music suitable for liturgical use. At the same time he was very familiar with the chorale from his youth, for it was standard material in the music tuition of his age. Moreover, as a student Bach became acquainted with the music of his predecessors, the North German organists Reincken, Böhm and Buxtehude and the South German Pachelbel, for whom the chorale was a musical point of reference. Without the chorale, Bach‘s oeuvre would have been inconceivable.

This album features 24 chorale preludes for the organ (BWV 645-668). Without exception, they stand in the tradition of the chorale-based music of Bach‘s predecessors. They therefore include pieces with the unornamented chorale tune in the pedal (BWV 651 and 661), others with the melody ornamented (BWV 653, 654, 659 and 662), chorale trios (BWV 655 and 664), and works employing traditional contrapuntal techniques like canon, fugue and imitation (BWV 652 and 665).

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