Sergio Vartolo - J.S. Bach: Clavierübung dritter Theil (2026) [Hi-Res]
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BAND/ARTIST: Sergio Vartolo
- Title: J.S. Bach: Clavierübung dritter Theil
- Year Of Release: 2026
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 02:08:36
- Total Size: mb / 2.34 gb
- WebSite: Album Preview
Tracklist
01. Præludium pro organo pleno, BWV 552-1
02. Kyrie, Gott Vater in Ewigkeit. Canto fermo in soprano a 2 clavier et pedale, BWV 669
03. Christe Aller Welt Trost. Canto fermo in tenore a 2 clavier et pedale, BWV 670
04. Kyrie Gott heiliger Geist à 5 voci. Canto fermo in basso cum organo pleno, BWV 671
05. Kyrie, Gott Vater in Ewigkeit. Alio modo manualiter, BWV 672
06. Christe aller Welt Trost. Manualiter, BWV 673
07. Kyrie, Gott heiliger Geist. Manualiter, BWV 674
08. Allein Gott in der Höh sey Ehr à 3 voci. Canto fermo in alto. Manualiter, BWV 675
09. Allein Gott in der Höh sey Ehr a 2 clavier et pedale, BWV 676
10. Fugetta super Allein Gott in der Höh sey Ehr'. Manualiter, BWV 677
11. Dieß sind die heil'gen zehn Geboth a 2 clavier et pedale. Canto fermo in canone, BWV 678
12. Fugetta super Dieß sind die heil'gen zehn Geboth. Manualiter, BWV 679
13. Wir gläuben all an einen Gott. In Organo pleno con pedale, BWV 680
14. Fugetta super Wir glaúben all an einen Gott. Manualiter, BWV 681
15. Vater unser im Himmelreich a 2 clavier et pedale. Canto fermo in canone, BWV 682
16. Vater unser im Himmelreich. Alio modo. Manualiter, BWV 683
17. Christ unser Herr zum Iordan kam a 2 clavier e pedale. Canto fermo in pedal, BWV 684
18. Christ unser Herr zum Jordan kam. Alio modo. Manualiter, BWV 685
19. Aus tieffer Noth schrey ich zu dir a 6. In Organo pleno con pedale doppio, BWV 686
20. Aus tieffer Noth schrey ich zu dir a 4. Alio modo. Manualiter, BWV 687
21. Iesus Christus unser Heyland, der von uns den Gotteszorn wandt a 2 clavier e pedale. Canto fermo in pedal, BWV 688
22. Fuga super Jesus Christus unser Heyland, der von uns den Gotteszorn wandt. Manualiter sub communion, BWV 689
23. Duetto I manualiter, BWV 802
24. Duetto II manualiter, BWV 803
25. Duetto III manualiter, BWV 804
26. Duetto IV manualiter, BWV 805
27. Fuga à 5 voci. Con pedale pro organo pleno, BWV 552-2
Published in 1739, Johann Sebastian Bach’s Dritter Teil der Clavierübung (Third Part of the Keyboard Practice) is one of the most profound monuments of organ literature. Conceived as a theological and musical summa, this cycle of chorale preludes framed by a majestic Prelude and Fugue reflects Bach’s deep Lutheran faith and his consummate mastery of counterpoint. Intended “for amateurs and especially for connoisseurs… for the recreation of the spirit,” it invites us into a world where intellect and devotion meet in perfect harmony.
This collection is not merely a set of organ pieces—it is a spiritual architecture in sound. Every element, from its opening tri-thematic Prelude to its closing five-voice Fugue, is imbued with symbolism, theological meaning, and artistic grandeur. For Bach, music was never just ornament; it was a language of faith, capable of expressing the mysteries of doctrine with clarity and beauty.
Bach’s models for this work were inspired from two great traditions: Italian Liturgical Collections – Above all, Girolamo Frescobaldi’s Fiori Musicali (1635), which provided organ music for the Catholic Mass. Frescobaldi’s influence is evident in the structural parallels: preludes before the service, organ verses alternating with chant, and pieces for specific liturgical moments. The other influence is the French Baroque Livres d’Orgue – Especially Nicolas de Grigny’s Premier Livre d’Orgue (1699), which Bach copied in his youth, and François Couperin’s organ masses. These works introduced Bach to the elegance of French ornamentation, the grandeur of the plein jeu, and the expressive possibilities of contrasting registrations. Bach absorbed these influences and reimagined them within the Lutheran framework, creating a cycle that parallels the structure of the Mass but substitutes chorales central to Reformed doctrine. In doing so, he forged a synthesis of Italian rhetorical expressiveness, French coloristic refinement, and German contrapuntal rigor.
Played with intense devotion and understanding by Sergio Vartolo. Sergio Vartolo is an Italian organist, harpsichordist, and conductor known for his expertise in early music, especially the works of Baroque composers. Born in Bologna in 1944, he studied organ, composition, and musicology, developing a deep interest in historically informed performance. Vartolo has performed widely across Europe and recorded extensively, bringing renewed attention to lesser-known Italian composers. His interpretations combine scholarly research with expressive musicianship, making him an influential figure in the early music movement.
01. Præludium pro organo pleno, BWV 552-1
02. Kyrie, Gott Vater in Ewigkeit. Canto fermo in soprano a 2 clavier et pedale, BWV 669
03. Christe Aller Welt Trost. Canto fermo in tenore a 2 clavier et pedale, BWV 670
04. Kyrie Gott heiliger Geist à 5 voci. Canto fermo in basso cum organo pleno, BWV 671
05. Kyrie, Gott Vater in Ewigkeit. Alio modo manualiter, BWV 672
06. Christe aller Welt Trost. Manualiter, BWV 673
07. Kyrie, Gott heiliger Geist. Manualiter, BWV 674
08. Allein Gott in der Höh sey Ehr à 3 voci. Canto fermo in alto. Manualiter, BWV 675
09. Allein Gott in der Höh sey Ehr a 2 clavier et pedale, BWV 676
10. Fugetta super Allein Gott in der Höh sey Ehr'. Manualiter, BWV 677
11. Dieß sind die heil'gen zehn Geboth a 2 clavier et pedale. Canto fermo in canone, BWV 678
12. Fugetta super Dieß sind die heil'gen zehn Geboth. Manualiter, BWV 679
13. Wir gläuben all an einen Gott. In Organo pleno con pedale, BWV 680
14. Fugetta super Wir glaúben all an einen Gott. Manualiter, BWV 681
15. Vater unser im Himmelreich a 2 clavier et pedale. Canto fermo in canone, BWV 682
16. Vater unser im Himmelreich. Alio modo. Manualiter, BWV 683
17. Christ unser Herr zum Iordan kam a 2 clavier e pedale. Canto fermo in pedal, BWV 684
18. Christ unser Herr zum Jordan kam. Alio modo. Manualiter, BWV 685
19. Aus tieffer Noth schrey ich zu dir a 6. In Organo pleno con pedale doppio, BWV 686
20. Aus tieffer Noth schrey ich zu dir a 4. Alio modo. Manualiter, BWV 687
21. Iesus Christus unser Heyland, der von uns den Gotteszorn wandt a 2 clavier e pedale. Canto fermo in pedal, BWV 688
22. Fuga super Jesus Christus unser Heyland, der von uns den Gotteszorn wandt. Manualiter sub communion, BWV 689
23. Duetto I manualiter, BWV 802
24. Duetto II manualiter, BWV 803
25. Duetto III manualiter, BWV 804
26. Duetto IV manualiter, BWV 805
27. Fuga à 5 voci. Con pedale pro organo pleno, BWV 552-2
Published in 1739, Johann Sebastian Bach’s Dritter Teil der Clavierübung (Third Part of the Keyboard Practice) is one of the most profound monuments of organ literature. Conceived as a theological and musical summa, this cycle of chorale preludes framed by a majestic Prelude and Fugue reflects Bach’s deep Lutheran faith and his consummate mastery of counterpoint. Intended “for amateurs and especially for connoisseurs… for the recreation of the spirit,” it invites us into a world where intellect and devotion meet in perfect harmony.
This collection is not merely a set of organ pieces—it is a spiritual architecture in sound. Every element, from its opening tri-thematic Prelude to its closing five-voice Fugue, is imbued with symbolism, theological meaning, and artistic grandeur. For Bach, music was never just ornament; it was a language of faith, capable of expressing the mysteries of doctrine with clarity and beauty.
Bach’s models for this work were inspired from two great traditions: Italian Liturgical Collections – Above all, Girolamo Frescobaldi’s Fiori Musicali (1635), which provided organ music for the Catholic Mass. Frescobaldi’s influence is evident in the structural parallels: preludes before the service, organ verses alternating with chant, and pieces for specific liturgical moments. The other influence is the French Baroque Livres d’Orgue – Especially Nicolas de Grigny’s Premier Livre d’Orgue (1699), which Bach copied in his youth, and François Couperin’s organ masses. These works introduced Bach to the elegance of French ornamentation, the grandeur of the plein jeu, and the expressive possibilities of contrasting registrations. Bach absorbed these influences and reimagined them within the Lutheran framework, creating a cycle that parallels the structure of the Mass but substitutes chorales central to Reformed doctrine. In doing so, he forged a synthesis of Italian rhetorical expressiveness, French coloristic refinement, and German contrapuntal rigor.
Played with intense devotion and understanding by Sergio Vartolo. Sergio Vartolo is an Italian organist, harpsichordist, and conductor known for his expertise in early music, especially the works of Baroque composers. Born in Bologna in 1944, he studied organ, composition, and musicology, developing a deep interest in historically informed performance. Vartolo has performed widely across Europe and recorded extensively, bringing renewed attention to lesser-known Italian composers. His interpretations combine scholarly research with expressive musicianship, making him an influential figure in the early music movement.
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