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Track(s) taken from CDA67709

Fantasia and Fugue in C minor, BWV537

composer

Piers Lane (piano)
Henry Wood Hall, London, United Kingdom
Release date: March 2010
Total duration: 15 minutes 20 seconds

Cover artwork: Front illustration by Donya Claire James (b?)
 
Six Preludes and Fugues
1
Prelude  [4'33]
2
Fugue  [3'07]

Other recordings available for download

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)
The fugue from the C minor Fantasia and Fugue, BWV537, an excellently wrought allabreve example with a chromatically rising second subject, shows Bach experimenting with da capo elements even in his late Weimar years (1716/7), while the accompanying fantasia forms a perfect foil with its deeply expressive, pliant imitation evolving over long-held pedal points.

from notes by Robin Langley © 1993

La Fugue en ut mineur, BWV537, exemple d’allabreve parfaitement œuvrée, avec un second sujet s’élevant chromatiquement, révèle Bach expérimentant avec des éléments da capo même dans ses dernières années à Weimar (1716/7), tandis que la fantaisie qui l’accompagne forme un contraste parfait avec sa souple imitation, profondément expressive, qui se développe sur des points de pédales longuement tenus.

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

Die Fuge in c-Moll, BWV537, ein hervorragend gearbeitetes Beispiel des Allabreve-Typus mit chromatisch ansteigendem zweitem Subjekt, demonstriert, daß Bach auch in den späten Weimarer Jahren (1716/17) noch mit Da-Capo-Elementen experimentiert hat. Die zugehörige Fantasie, deren höchst expressive, geschmeidige Imitation sich über lang ausgehaltenen Orgelpunkten entfaltet, bietet dazu das perfekte Gegenstück.

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: The Complete Organ Works
CDS44121/3616CDs Boxed set (at a special price) — Deleted
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