Seattle Symphony, Ilkka Talvi, Gerard Schwarz - Bach: Orchestral Transcriptions By Respighi & Elgar (2012)
BAND/ARTIST: Seattle Symphony, Ilkka Talvi, Gerard Schwarz
- Title: Bach: Orchestral Transcriptions By Respighi & Elgar
- Year Of Release: 2023
- Label: Naxos
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 00:56:42
- Total Size: 226 mb
- WebSite: Album Preview
Tracklist
01. 3 Chorales, P. 167: I. Lento assai (After J. S. Bach's Nun komm, der Heiden Heiland, BWV 659)
02. 3 Chorales, P. 167: II. Andante con moto e scherzando (After J. S. Bach's Meine Seele erhebt den Herrn, BWV 648)
03. 3 Chorales, P. 167: III. Andante (After J. S. Bach's Wachet auf ruft uns die Stimme, BWV 645)
04. Violin Sonata in E Minor, P. 85 (After J. S. Bach's, BWV 1023): I. Allegro
05. Violin Sonata in E Minor, P. 85 (After J. S. Bach's, BWV 1023): II. Adagio, ma non tanto
06. Violin Sonata in E Minor, P. 85 (After J. S. Bach's, BWV 1023): III. Allemanda: Allegro moderato
07. Violin Sonata in E Minor, P. 85 (After J. S. Bach's, BWV 1023): IV. Giga: Vivace assai
08. Prelude and Fugue in D Major, P. 158 (After J. S. Bach's, BWV 532): Prelude: Allegro - meno mosso - Alla breve [Allegro] - Adagio -
09. Prelude and Fugue in D Major, P. 158 (After J. S. Bach's, BWV 532): Fugue: Allegro
10. Passacaglia and Fugue in C Minor, P. 159 (After J. S. Bach's, BWV 582)
11. Fantasy and Fugue in C Minor, Op. 86 (After J. S. Bach's, BWV 537): Fantasia
12. Fantasy and Fugue in C Minor, Op. 86 (After J. S. Bach's, BWV 537): Fugue
Respighi had always been committed to the art of transcription, arranging Bach’s Violin Sonata in E minor in 1908-09 with acute perception. This was followed during 1929 and 1930 by even greater and more resplendent Bach settings. The powerful sense of orchestral colour acquired during his training under Rimsky-Korsakov is heard to bold yet subtle effect in the Three Chorale Preludes. The Prelude and Fugue in D major is even more gloriously lavish, drawing on the full resources of the modern symphony orchestra, as does the brilliantly realised Passacaglia and Fugue in C minor. Edward Elgar’s transcription is a work of sustained grandeur and rich musical intensity.
Respighi’s most famous transcriptions are probably still those of the ancient airs and dances, first published in 1917, but his Bach transcriptions are hardly less impressive. These richly coloured works rescore and reclothe Bach for Respighi’s time – 1929-30 – and do so brilliantly. They are exciting creations in their own terms, utilising every facet of a modern symphony orchestra, and so too is Elgar’s sole example.
01. 3 Chorales, P. 167: I. Lento assai (After J. S. Bach's Nun komm, der Heiden Heiland, BWV 659)
02. 3 Chorales, P. 167: II. Andante con moto e scherzando (After J. S. Bach's Meine Seele erhebt den Herrn, BWV 648)
03. 3 Chorales, P. 167: III. Andante (After J. S. Bach's Wachet auf ruft uns die Stimme, BWV 645)
04. Violin Sonata in E Minor, P. 85 (After J. S. Bach's, BWV 1023): I. Allegro
05. Violin Sonata in E Minor, P. 85 (After J. S. Bach's, BWV 1023): II. Adagio, ma non tanto
06. Violin Sonata in E Minor, P. 85 (After J. S. Bach's, BWV 1023): III. Allemanda: Allegro moderato
07. Violin Sonata in E Minor, P. 85 (After J. S. Bach's, BWV 1023): IV. Giga: Vivace assai
08. Prelude and Fugue in D Major, P. 158 (After J. S. Bach's, BWV 532): Prelude: Allegro - meno mosso - Alla breve [Allegro] - Adagio -
09. Prelude and Fugue in D Major, P. 158 (After J. S. Bach's, BWV 532): Fugue: Allegro
10. Passacaglia and Fugue in C Minor, P. 159 (After J. S. Bach's, BWV 582)
11. Fantasy and Fugue in C Minor, Op. 86 (After J. S. Bach's, BWV 537): Fantasia
12. Fantasy and Fugue in C Minor, Op. 86 (After J. S. Bach's, BWV 537): Fugue
Respighi had always been committed to the art of transcription, arranging Bach’s Violin Sonata in E minor in 1908-09 with acute perception. This was followed during 1929 and 1930 by even greater and more resplendent Bach settings. The powerful sense of orchestral colour acquired during his training under Rimsky-Korsakov is heard to bold yet subtle effect in the Three Chorale Preludes. The Prelude and Fugue in D major is even more gloriously lavish, drawing on the full resources of the modern symphony orchestra, as does the brilliantly realised Passacaglia and Fugue in C minor. Edward Elgar’s transcription is a work of sustained grandeur and rich musical intensity.
Respighi’s most famous transcriptions are probably still those of the ancient airs and dances, first published in 1917, but his Bach transcriptions are hardly less impressive. These richly coloured works rescore and reclothe Bach for Respighi’s time – 1929-30 – and do so brilliantly. They are exciting creations in their own terms, utilising every facet of a modern symphony orchestra, and so too is Elgar’s sole example.
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