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BACH, Johann Sebastian - Skladatelé, page 17

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Edwin Fischer - J. S. Bach: The Well-Tempered Clavier

Edwin Fischer  - J. S. Bach: The Well-Tempered Clavier
ID: GI2025
Disk: 3
Type: CD
Kolekce: Historické nahrávky

31.00 eur Buy

O. KLEMPERER CONDUCTS the Cologne Radio Symphony Orchestra - Mozart, Bach, R. Strauss

O. KLEMPERER CONDUCTS the Cologne Radio Symphony Orchestra - Mozart, Bach, R. Strauss
ID: GM4.0082
Disk: 1
Type: CD
Kolekce: Orchestral WorksPodkolekce: Orchestr

12.00 eur Buy

Silent Night - Christmas Carols with The Choir of Christs Hospital

Silent Night - Christmas Carols with The Choir of Christs Hospital
ID: GMCD7170
Disk: 1
Type: CD
Kolekce: Sacred MusicPodkolekce: Cathedral Choir

Recorded in the Parish Church of All Saints, Hove
It’s history……. The young King Edward VI founded three Royal "Hospitals" towards the end of his reign. Christ’s Hospital, in the old buildings vacated by the Grey Friars, was to educate and care for fatherless children and other poor men’s children, St Thomas’ Hospital was to attend to the sick, and Bridewell Hospital was to give shelter and sustenance to beggars. Barely a century later the Great Fire of London claimed a large number of the Christ’s Hospital buildings, but it was almost entirely rebuilt within 30 years, thanks to the generosity of a number of city merchants. In 1673 Charles II founded the Royal Mathematical School within Christ’s Hospital, largely from the inspiration of Samuel Pepys, the famous diarist. He was the Secretary to the Admiralty and so was interested in ensuring that high quality mathematicians and navigators were educated for future sea-service. Much later Samuel Taylor Coleridge, Charles Lamb and James Leigh Hunt were boys at Christ’s Hospital, and the School has boarding houses named after them. The school was originally co-educational; however, from quite early in its history, the girls of the Foundation were educated separately at Hertford. In 1985, however, they rejoined the boys at Horsham, where the School had relocated in May 1902 in search of fresh air and space for proper relaxation and games. Today, Christ’s Hospital is the largest educational charity in the country, enabling this education to be offered to the most deserving children, irrespective of the ability to pay. All fees are means tested and on average parents meet less than 15% of the School’s costs. The Foundation therefore looks for children who will contribute most to, and benefit most from, a place at the School. …it’s music……. Historians have quite correctly emphasised that Christ’s Hospital was never merely an orphanage as such, for amongst the earliest academic appointments was "a schoole-maister for Musicke". So our musical tradition stretches back nearly 450 years: - longer, if one were to count the semi-monastic tradition that had been nurtured for centuries before by the Greyfriars by the Newgate of the City of London, for Christ’s Hospital took over their premises in November of 1552. It is far from fanciful to imagine the youthful voices of the children singing in the massive three hundred foot long church of Christ Church, Greyfriars, not far from Old St Paul’s, and we know for certain from Robert Dow’s Will for setting up a Song School in 1609 that boys were "to sing in the Quier of Christ Church", and that from 1613 a boy should "serve and be employed in playing of the organs of the said church". Alas in September 1666 the Great Fire destroyed that wonderful building, but the tradition itself continued in the rebuilt, though rather smaller church, designed by Sir Christopher Wren, which became known as Christ Church, Newgate Street. Today, the School has six full-time and thirty visiting music staff teaching some 500 individual lessons each week, as well as providing a full programme of rehearsals and concerts for ensembles of all sizes. Much emphasis is given to the development of musical ability through chamber music and the finest pupils give an annual concert at the Purcell Room on London’s South Bank. However, the School is also proud of its larger ensembles, the Choirs, the Orchestras, and the Marching Band, famous for its appearances each year at the front of the Lord Mayor’s Show, at Twickenham and at Lords. Music is an integral part of the School’s life, and continues to play an important role in the continuing strong links with the City of London. …and it’s choirs Standing on one side of the great central quadrangle of Christ’s Hospital is the Chapel. It is a collegiate-style building, spacious enough to seat the whole school of 830 pupils and 90 staff. Services are accompanied by the School Organist on the massive five-manual Rushworth and Dreaper organ, which was designed in 1931 by the Director of Music at that time, C. S. Lang. The 112 members of the Chapel Choir are seated centrally and antiphonally, ideally placed to lead the congregational singing. As well as singing hymns, anthems, canticles, psalms and responses for the regular weekly services, the choir also sings for a full programme of special occasions throughout the year including a service for St. Matthew’s Day in the City of London, attended by the Lord Mayor, re-emphasising the school’s strong links with its past. The choir performs in the famous "Bluecoat" Tudor uniform worn by all pupils of the school throughout the normal school week. The choir gives an annual performance of a major choral work - in recent years, Brahms’ German Requiem, J. S. Bach’s St Matthew Passion and Mozart’s Requiem. In addition the choir sings Choral Evensong at such venues as St Paul’s Cathedral, Chichester Cathedral, Guildford Cathedral, St George’s Chapel, Windsor, broadcasts for television and BBC Radio (Remembrance Sunday, Highway, Radio 3 Advent Carol Series, Sunday Half Hour) and the smaller chamber choir, Schola Cantorum, sing for many other special events. This is the Choir’s fourth CD recording. Details of earlier recordings are available from Christ’s Hospital Enterprises, Christ’s Hospital, Horsham, West Sussex, RH13 7LS.
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Back to Bach • Music by J. S. Bach, C. P. E. Bach, J. Ch. F. Bach - H. Webb, harp / S. Stocks, flute

Back to Bach • Music by J. S. Bach,  C.  P. E. Bach,  J. Ch. F. Bach - H. Webb, harp  / S. Stocks, flute
ID: GMCD7207
Disk: 1
Type: CD
Podkolekce: Flute

Recorded: The Goldolphin School, April 1999

Track 18 - arranged Bert Mayer
Tracks: 17, 19 - harp transcriptions by Hugh Webb
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In a Monastery Garden • Music by Ketèlby • Callahan • Culp • Rowley • Sowerby and others - Organ

In a Monastery Garden • Music by Ketèlby • Callahan • Culp • Rowley • Sowerby and others - Organ
ID: GMCD7212
Disk: 1
Type: CD
Kolekce: Organ CollectionPodkolekce: Organ

James Culp at the Great Organ of the First Presbyetrian Church Kilgore, Texas
Recorded at The First Presbyterian Church, Kilgore, Texas - February 1992
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J. S. Bach - The Universal Musician Masterworks for Clavichord - Derek Adlam

J. S. Bach - The Universal Musician Masterworks for Clavichord - Derek Adlam
ID: GMCD7232
Disk: 1
Type: CD
Kolekce: BaroquePodkolekce: Keyboard

Recorded: The Priory Church of Our Lady and St. Cuthbert, Worksop, Nottinghamshire on 1-4 January 2001 by kind permission of the Vicar, the Reverend Fr. Andrew Wagstaff SSC.

The instrument used in this recording.

The clavichord was made by Derek Adlam in 1982. It is a copy of an instrument of 1763 by Johann Adolph Hass, Hamburg, Russell Collection, Edinburgh.

Brass strung, the clavichord has a five octave compass of FF to f3, unfretted, with an additional 4 foot string in the bass. The pitch is a1 = 405Hz, an approximation of mid-18th century Hamburg pitch.

Tuning: a sixth-comma system is used (Young 2), allowing free modulation but retaining a sense of key and chord colour.

The Clavichord

The clavichord appeared in Europe towards the end of the 14th century. By 1404, the terms clavichordium and clavicymbalum described clearly distinct stringed keyboard instruments. Many 15th century representations of keyboard instruments appear in stained glass, carvings, and in paintings and manuscripts. No instruments survive from before 1480, the approximate date of an upright harpsichord in the museum of the Royal College of Music, London. No clavichord before about 1540 has come down to us, but many depictions, treatises and poems relating to the clavichord give us a clear view of these earliest instruments and their use.

The clavichord’s method of tone production is unlike any other stringed instrument. The strings pass over a bridge glued to a soundboard, and their opposite ends are wrapped in a ribbon of woollen cloth which prevents their vibration. The strings are sounded by metal blades called tangents, driven into the distal ends of the key levers. When a key is depressed, the tangent rises to strike the string and, remaining in contact with it while the finger rests on the key, defines its speaking length like a second bridge. The tangent also isolates the speaking section of the string from the damping material, leaving it free to vibrate. When a key is released and the tangent falls away from the string, the damping fabric can once again stop the string’s vibration.

>The singular feature of this simple system is that the tangent strikes the string at one end of its speaking length, i.e. a part of a string normally fixed. In striking the string at a non-vibrating part, the tangent can supply it with only a very small amount of energy. The tangent’s sudden but slight displacement of the string from its plane of rest, and a small shock wave which travels down it towards the bridge, cause it to vibrate and produce its sound.

What then is the advantage distinguishing the clavichord from the harpsichord? Despite the small sound, a clavichord player can achieve a considerable range of loud and soft tone. This effect was impossible to achieve on any other keyboard instrument by the fingers alone before the invention of the Florentine piano at the end of the 17th century. The clavichord player also is in contact with the string itself, so remains in control of the means of tone production. By varying the pressure, effects (including a vibrato) can be obtained which are achievable only on the clavichord. The instrument takes on some of the characteristic inflections and modulations of the human voice, an ideal instrumentalists have aimed at throughout the history of western music. Its intimacy of tone led to its association with personal expression and philosophical reflection. It became a spiritual confidant and comforter in times of distress.

Throughout the 17th century, use of the clavichord became more localized and especially in France, Italy and England, it gradually fell from favour. In these countries, schools of composition developed which exploited the rich tonal characteristics and potential for brilliant technical display of plucked keyboard instruments. In Germany, the clavichord remained highly important as a study and practice instrument, particularly for organists. It also suited a tendency towards spiritual introspection amongst German composers.

Despite the clavichord’s popularity in Germany, almost no music was written specifically for the instrument before the musical innovations of Johann Sebastian Bach’s sons and the growth of a new, expressive Empfindsamer Stil, the ‘style of sentiment’. We have no definite proof of Bach’s opinion of the clavichord beyond a statement by his first biographer, Johann Nikolaus Forkel, 1749-1818, whose information supposedly came from Bach’s sons:

"…. he considered the clavichord the best instrument for study and for any music performed in an intimate setting. He found it the most able to express his most refined thoughts …. [and] capable of so many subtleties within its small scale…."

Forkel was one of a group of enthusiastic "Bachists" who continued to revere the works of Johann Sebastian and to promote the clavichord as an ideal instrument even in the face of the increasing popularity of the fortepiano. Even if Forkel’s report is not completely impartial, clavichords would without question have been used frequently in Bach’s household. It is appropriate to perform Bach’s keyboard music on the clavichord, even when the scale of a work seems to suggest a more powerful and extravert instrument. The scale of the instrument may be small, but its dynamic and expressive range can meet the requirements of music conceived on the largest scale. When heard with a receptive and unprejudiced ear, the clavichord’s limitations become insignificant.
15.00 eur Buy

Te Deum - Music by Engel • Kreek • Bach • Nystedt

Te Deum - Music by Engel • Kreek • Bach • Nystedt
ID: GMCD7245
Disk: 1
Type: CD
Kolekce: Choral CollectionPodkolekce: Choral and Organ

Franz Hauk, org; Art of Brass Vienna, Estonian Phiharmonic Chamber Choir/ Paul Engel
15.00 eur Buy

J.S. Bach: French Suites and French Overture - Paul Parsons, harpsichord

J.S. Bach: French Suites and French Overture - Paul Parsons, harpsichord
ID: GMCD7258_9
Disk: 2
Type: CD
Kolekce: BaroquePodkolekce: Harp

25.00 eur Buy

J. S. Bach, Clavierübung III and Sei gegrüsset - David Ponsford - Organ

J. S. Bach, Clavierübung III and Sei gegrüsset - David Ponsford - Organ
ID: GMCD7262_3
Disk: 2
Type: CD
Kolekce: BaroquePodkolekce: Organ

David Ponsford - Organ
25.00 eur Buy

W. Furtwängler - Chronolog.Edition der Aufnahme Vol.2: 1930-1937

W. Furtwängler - Chronolog.Edition der Aufnahme Vol.2: 1930-1937
ID: IDIS277-78
Disk: 2
Type: CD
Kolekce: Orchestral WorksPodkolekce: Orchestr

Orchestral Music - Dvorak, A. / Bach, J.S. / Rossini, G. / Brahms, J. / Weber, C.M. Von and etc...(Chronological Edition of Recordings, 1926-45)
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