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Track(s) taken from CDA67709

Prelude and Fugue in G major, BWV541

composer

Piers Lane (piano)
Henry Wood Hall, London, United Kingdom
Release date: March 2010
Total duration: 12 minutes 24 seconds

Cover artwork: Front illustration by Donya Claire James (b?)
 
Six Preludes and Fugues
1
Prelude  [2'26]
2
Fugue  [3'46]

Other recordings available for download

David Goode (organ)
Christopher Herrick (organ)

Reviews

'Lane takes no prisoners in these sonorous and exhilarating performances, conjuring up from the Steinway's richly resonant bass a cathedral's 32 foot pedal division to thrilling effect … I guarantee you will come away awed anew by the genuis of Bach and amazed by the ingenuity of d'Albert' (Gramophone)

'D'Albert's versions of the the C minor Passacaglia, and the Preludes and Fugues in C minor and A major, are extraordinary and exquisite, and Lane plays them with a ravishing finesse that belies their often monumental difficulty' (The Guardian)

'I found Lane's Prelude (Toccata) and Fugue in D minor, BWV538 unassailably alive to the possibilities that both Bach and d'Albert leave open. The rhythmic impulse never flags, the pithy contrapuntal detail keeps afloat and there is a subliminal sense of goal to keep the thing intact. The A major Fugue, BWV536 shows the pianist highly authoritative and, for me, underlines the highest musicianship' (International Record Review)

'Masterly performances by Piers Lane. D'Albert's versions … didn't attempt to make the instrument sound like a cathedral organ. In his ingenious hands, they become compelling piano pieces' (The Sunday Times)
Dating from the Leipzig years (1724/5) is the Vivaldian G major Prelude and Fugue, BWV541, and like that in B minor it seems clear that both movements were written at the same time and for each other. Here the pulsing chords of the prelude presage the repeated note and gruppetto of the fugue’s subject, which is turned to good account in stretto both before and after the dramatic pause that announces the coda.

from notes by Robin Langley © 1993

Le Vivaldien Prélude et Fugue en sol majeur, BWV541 date des années de Leipzig (1724/5) et comme pour celui en la mineur, il semble évident que les deux mouvements ont été écrits en même temps et l’un pour l’autre. Ici les accords palpitants du prélude présagent la note répétée et le grupetto du sujet de la fugue, qui est très bien mis à profit en «strette» à la fois avant et après la pause dramatique qui annonce la coda.

extrait des notes rédigées par Robin Langley © 1993
Français: Alain Midoux

Ein wenig früher, aber um die Leipziger Zeit (1724/25) enstanden Präludium und Fuge in G-Dur, BWV541, die Vivaldi nachempfunden sind. Wie bei dem Werk in h-Moll ergibt sich der Eindruck, daß beide Sätze gleichzeitig und füreinander geschrieben wurden. Schon die pulsierenden Akkorde des Präludiums lassen im vorliegenden Fall die wiederholten Noten und Doppelschläge des Fugensubjekts erahnen, das sowohl vor als auch nach der dramatischen Pause zur Ankündigung der Coda in bester Engführung abgerundet wird.

aus dem Begleittext von Robin Langley © 1993
Deutsch: Anne Steeb/Bernd Müller

Other albums featuring this work

Bach: Great Fantasias, Preludes & Fugues
CDD220622CDs Dyad (2 for the price of 1)
Bach: Organ Music
Studio Master: SIGCD261Download onlyStudio Master FLAC & ALAC downloads available
Bach: The Complete Organ Works
CDS44121/3616CDs Boxed set (at a special price) — Deleted
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