Maurizio Croci - J. S. Bach: Dritter Theil der Clavier Übung (2026) [Hi-Res]
Artist: Maurizio Croci
Title: J. S. Bach: Dritter Theil der Clavier Übung
Year Of Release: 2026
Label: Arcana
Genre: Classical
Quality: FLAC (tracks) / 24bit-192kHz FLAC (tracks)
Total Time: 01:49:28
Total Size: 462 MB / 3.61 GB
WebSite: Album Preview
Tracklist:Title: J. S. Bach: Dritter Theil der Clavier Übung
Year Of Release: 2026
Label: Arcana
Genre: Classical
Quality: FLAC (tracks) / 24bit-192kHz FLAC (tracks)
Total Time: 01:49:28
Total Size: 462 MB / 3.61 GB
WebSite: Album Preview
01. Clavier-Übung, Teil III: Prelude and Fugue in E-Flat Major, BWV 552: I. Praeludium (9:30)
02. Clavier-Übung, Teil III: Kyrie, Gott Vater in Ewigkeit, BWV 669 (4:22)
03. Clavier-Übung, Teil III: Christe, aller Welt Trost, BWV 670 (6:12)
04. Clavier-Übung, Teil III: Kyrie, Gott heiliger Geist, BWV 671 (5:49)
05. Clavier-Übung, Teil III: Kyrie, Gott Vater in Ewigkeit, BWV 672 (1:50)
06. Clavier-Übung, Teil III: Christe, aller Welt Trost, BWV 673 (1:37)
07. Clavier-Übung, Teil III: Kyrie, Gott heiliger Geist, BWV 674 (1:36)
08. Clavier-Übung, Teil III: Allein Gott in der Höh sey Ehr, BWV 675 (3:34)
09. Clavier-Übung, Teil III: Allein Gott in der Höh sey Ehr, BWV 676 (5:52)
10. Clavier-Übung, Teil III: Fugetta super Allein Gott in der Höh sey Ehr, BWV 677 (1:16)
11. Clavier-Übung, Teil III: Dieß sind die heilgen zehen Geboth, BWV 678 (4:49)
12. Clavier-Übung, Teil III: Fugetta super Dieß sind die heiligen zehen Geboth, BWV 679 (2:11)
13. Clavier-Übung, Teil III: Wir gläuben all an einen Gott, BWV 680 (3:28)
14. Clavier-Übung, Teil III: Fugetta super Wir gläuben all an einen Gott, BWV 681 (1:15)
15. Clavier-Übung, Teil III: Vater unser im Himmelreich, BWV 682 (7:27)
16. Clavier-Übung, Teil III: Vater unser im Himmelreich, BWV 683 (1:22)
17. Clavier-Übung, Teil III: Christ, unser Herr, zum Iordan kam, BWV 684 (4:32)
18. Clavier-Übung, Teil III: Christ, unser Herr, zum Iordan kam, BWV 685 (1:24)
19. Clavier-Übung, Teil III: Aus tieffer Noth schreÿ ich zu dir, BWV 686 (7:27)
20. Clavier-Übung, Teil III: Aus tieffer Noth schreÿ ich zu dir, BWV 687 (5:01)
21. Clavier-Übung, Teil III: Iesus Christus, unser Heÿland, der von uns den Zorn Gottes wandt, BWV 688 (3:55)
22. Clavier-Übung, Teil III: Fuga super Iesus Christus, unser Heÿland, BWV 689 (5:12)
23. Clavier-Übung, Teil III: Duetto No. 1 in E Minor, BWV 802 (2:41)
24. Clavier-Übung, Teil III: Duetto No. 2 in F Major, BWV 803 (3:50)
25. Clavier-Übung, Teil III: Duetto No. 3 in G Major, BWV 804 (3:12)
26. Clavier-Übung, Teil III: Duetto No. 4 in A Minor, BWV 805 (2:50)
27. Clavier-Übung, Teil III: Prelude and Fugue in E-Flat Major, BWV 552: II. Fugue (7:27)
According to his first biographer Johann Nikolaus Forkel, Bach possessed an extraordinary ability to combine organ stops in a wholly unusual manner, astonishing the organists and organ builders of his time. However, very few accounts survive of how he actually made these timbral choices.
A valuable source of information is the Harmonische Seelenlust by Georg Friedrich Kauffmann (1733–36), a large collection of chorale preludes that displays striking points of contact with the third part of the Clavier-Übung (1739) — to the point of appearing almost as a model for it — and includes registrations so original and bold as to recall the style described by Forkel.
Having already distinguished himself with the award-winning Bach Mirrored (Preis der Deutschen Schallplattenkritik), organist Maurizio Croci draws on the timbral resources of the historic Treutmann organ at Grauhof (1737) to offer us a fresh reading of Bach's masterpiece which, taking inspiration from Kauffmann's registrations, places registration at the centre of expressive interpretation and proposes a renewed listening perspective.
A valuable source of information is the Harmonische Seelenlust by Georg Friedrich Kauffmann (1733–36), a large collection of chorale preludes that displays striking points of contact with the third part of the Clavier-Übung (1739) — to the point of appearing almost as a model for it — and includes registrations so original and bold as to recall the style described by Forkel.
Having already distinguished himself with the award-winning Bach Mirrored (Preis der Deutschen Schallplattenkritik), organist Maurizio Croci draws on the timbral resources of the historic Treutmann organ at Grauhof (1737) to offer us a fresh reading of Bach's masterpiece which, taking inspiration from Kauffmann's registrations, places registration at the centre of expressive interpretation and proposes a renewed listening perspective.
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