Fantasie G-Dur BWV 571 I 03:21 Fantasie G-Dur BWV 571 II Adagio 02:16 Fantasie G-Dur BWV 571 III Allegro 02:03 Sonata D-Dur BWV 963 I 03:14 Sonata D-Dur BWV 963 II 00:47 Sonata D-Dur BWV 963 III 02:13 Sonata D-Dur BWV 963 IV Adagio 00:37 Sonata D-Dur BWV 963 V “Thema all’Imitatio Gallina Cucca” 02:10 «Das alte Jahr vergangen ist» BWV 1091 01:55 «Erbarm dich mein, o Herre Gott» BWV 721 03:57 «Herr Christ, der einig Gottes Sohn» a 2 Clav. et Ped. BWV Anh. 55 02:08 «Wir Christenleut» BWV 1090 01:58
Capriccio sopra il genio del Bach giovanissimo: Toccata d-Moll BWV 913 14:40 Capriccio sopra la lontananza del fratello dilettissimo BWV 992 Arioso - Adagio. Ist eine Schmeichelung der Freunde
um denselben von seiner Reise abzuhalten. 01:58 Ist eine Vorstellung unterschiedlicher Casuum
die ihm in der Fremde könnten vorfallen. 01:19 Adagiosissimo - Ist ein allgemeines Lamento der Freunde. 02:33 Allhier kommen die Freunde, weil sie doch sehen
dass es anders nicht sein kann, und nehmen Abschied. 00:43 Allegro poco. Aria del Postiglione 01:10 Fuga all’imitatione della posta 02:44 Fuga e-Moll BWV 945 02:43 Partite diverse sopra il Corale “Ach, was soll ich Sünder machen“ BWV 770 Partita I 00:55 Partita II 00:45 Partita III 00:57 Partita IV 00:58 Partita V 00:30 Partita VI 00:42 Partita VII 00:50 Partita VIII 00:42 Partita IX Adagio 02:30 Partita X Allegro
The decision to begin the programme of this CD with organ music and to continue accompanying the interpreter on the harpsichord during the second part makes it possible for the listener to settle in to the pieces - the music is first revealed in the large acoustics of the church and then in the closeness and intimacy of the harpsichord.
The D-minor Toccata, BWV 913, primarily played on the harpsichord, is presented to us here in its organ version with a very beautiful introduction accompanied by the pedals. The same applies to the last harpsichord piece (the Partita on the chorale "Ach, was soll ich Sünder machen", BWV 770): it reveals the character of church music with its chorale melody and usually inspires the interpreter to play it on the organ. Since there is no obligatory pedal, however (except at the beginning where the chorale is introduced and a 16-foot pedal is usually used), and because the style luthe script is used in the Partitas IV and VI, there are enough reasons for playing these pieces on the harpsichord in domestic surroundings, completely in the spirit of the chorale partitas of J. Pachelbel and G. Böhm. ln this connection, we mention the collection "Musicalische Sterbens-Gedancken" (Musical Thoughts of Death), published in Erfurt by Pachelbel in 1683; this is a compendium of chorales that Pachelbel wrote after the horrendaus plague epidemic that robbed him of his wife and son. These are chorales that are performed in the home as a type of prayer transformed into music, including a keyboard instrument.
