The organ chorales of the Leipzig manuscript, Schübler chorales BWV 645-668 Vincent van Laar
- Johann Sebastian Bach (1685 - 1750):
- 1Fantasia super Komm, Heiliger Geist ~ canto fermo in Pedal ~ Organo pleno06:08
- 2Komm, Heiliger Geist ~ alio modo ~ à 2 Clav. et Pedal09:30
- 3An Wasserflüssen Babylon ~ à 2 Clav. et Pedal05:21
- 4Schmücke dich, o liebe Seele ~ à 2 Clav. et Pedal 07:21
- 5Trio super Herr Jesu Christ, dich zu uns wend ~ à 2 Clav. et Pedal04:14
- 6O Lamm Gottes, unschuldig ~ 3 Versus08:23
- 7Nun danket alle Gott ~ à 2 Clav. et Pedal ~ canto fermo in Soprano04:37
- 8Von Gott will ich nicht lassen ~ canto fermo in Pedal04:49
- 9Nun komm der Heiden Heiland ~ à 2 Clav. et Pedal04:32
- 10Trio super Nun komm der Heiden Heiland ~ a due Bassi e canto fermo02:39
- 11Nun komm der Heiden Heiland ~ in Organo pleno ~canto fermo in Pedal02:59
- 12Allein Gott in der Höh sei Ehr ~ à 2 Clav. et Pedal ~ canto fermo in Soprano07:15
- 13Allein Gott in der Höh sei Ehr ~ à 2 Clav. et Pedal ~ canto fermo in Tenore07:10
- 14Trio super Allein Gott in der Höh sei Ehr ~ à 2 Clav. et Pedal05:24
- 15Jesus Christus, unser Heiland ~ sub Communione ~ pedaliter03:50
- 16Jesus Christus, unser Heiland ~ alio modo03:09
- 17Komm, Gott, Schöpfer, Heiliger Geist ~ in Organo pleno ~con Pedale obligato02:20
- 18Vor deinen Thron tret ich04:44
- 19Wachet auf, ruft uns die Stimme ~ à 2 Clav. et Pedal ~ canto fermo in Tenore04:03
- 20Wo soll ich fliehen hin or Auf meinen lieben Gott ~ à 2 Clav. et Pedal01:58
- 21Wer nur den lieben Gott lässt walten03:36
- 22Meine Seele erhebt den Herren ~ à 2 Clav. et Pedal02:31
- 23Ach bleib bei uns, Herr Jesu Christ02:54
- 24Kommst du nun, Jesu, vom Himmel herunter03:39
Info zu The organ chorales of the Leipzig manuscript, Schübler chorales BWV 645-668
In the oeuvre of Johann Sebastian Bach (1685-1750), the chorale – the Lutheran congregational hymn - plays a central role. This is hardly surprising, since for the greater part of his life Bach was a church musician, composing music suitable for liturgical use. At the same time he was very familiar with the chorale from his youth, for it was standard material in the music tuition of his age. Moreover,
as a student Bach became acquainted with the music of his predecessors, the North German organists Reincken, Böhm and Buxtehude and the South German Pachelbel, for whom the chorale was a musical point of reference. Without the chorale, Bach‘s oeuvre would have been inconceivable.
This album features 24 chorale preludes for the organ (BWV 645-668). Without exception, they stand in the tradition of the chorale-based music of Bach‘s predecessors. They therefore include pieces with the unornamented chorale tune in the pedal (BWV 651 and 661), others with the melody ornamented (BWV 653, 654, 659 and 662), chorale trios (BWV 655 and 664), and works employing traditional contrapuntal techniques like canon, fugue and imitation (BWV 652 and 665).
Vincent van Laar, organ
Vincent van Laar
studied organ and harpsichord at the conservatories of Utrecht and The Hague with Nico van den Hooven, Harald Vogel, Glen Wilson and Bob van Asperen.
He gained solo diplomas for organ and harpsichord in 1984 and 1988 respectively, and won prizes at organ competitions in Zeerijp (1981), Toulouse (1983) and Alkmaar (1991).
Vincent’s greatest interest and musical passion is for the performance of Baroque solo and continuo music, in particular the works of J.S.Bach and the seventeenth-century North-European school.
Vincent has an international career as a soloist and continuo player, and has played on many recordings for radio and CD, including the complete works of Sweelincks’ pupil Melchior Schildt and Bach cantatas with organo obligato. He also participated in the complete recording of Sweelinck’s keyboard music. The latter was awarded the Netherlands most illustrious prize, the Edison. Recently he recorded the 24 Capricetten by Jacob Wilhelm Lustig.
Along side his solo career,Vincent van Laar is a member of Concerto d’Amsterdam and The Northern Consort. He also regularly plays as a guest with Musica Amphion.