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In 1723, J. S. Bach dedicated this organ with a concert featuring his choir from St. Thomas Church in Leipziag and his wife, Anna Magdalena, as soloist. The organbuilder Hildebrandt achieved an unusually high variety and quality of tone for an instrument of this size, earning him Bach's lifelong admiration, and later his collaboration on larger projects, particularly the large Hildebrandt organ in Naumburg.
This is the only recording of one of the few extant organs played by Bach, largely in its original condition!
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Regarded as having one of the most beautiful organ cases in the world, the 1738 Christian Müller organ at the Bavokerk in Haarlem speaks nobly into one of the great acoustical environments of Europe. With 60 speaking stops, it was the largest organ in the world when built. Played on by Handel, the ten-year-old Mozart, Mendelssohn and countless other musicians over the past 275 years, this instrument continues to impress those fortunate enough to hear and play it. Grammy Award winner Jonathan Dimmock has recorded more than 35 CDs and concertized extensively on six continents. This recording features some of Bach's most popular works, including the famous Toccata in d minor.
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The first of three volumes (7 CDs total) of the complete organ works of Buxtehude; Volume One focuses on Buxtehude's best known works, and their relationship to mean-tone tuning temperament.
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Drawn by reports of the acclaimed organist of the Mariankirche in Lübeck, Dieterich Buxtehude, the 20-year old J. S. Bach traveled almost 300 miles to hear Buxtehude’s music first hand. On the second in our three-volume set of the complete organ works of Buxtehude, Hans Davidsson plays the ground-breaking repertoire that was known to Bach and his circle, and which may have influenced his musical compositions and performance.
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Known as the “Orpheus of Amsterdam,” Jan Pieterszoon Sweelinck was the greatest single influence on the succeeding generation of north European organists and composers, including H. Scheidemann, J. Praetorius II, M. Schildt, and both Samuel and Gottfried Scheidt.
Jonathan Dimmock brings these influential works to life on three landmark mean-tone organs in Holland and Sweden.
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Buxtehude's visit with Arp Schnitger in Hamburg in 1687 began an association that lasted for many years and resulted in the building of the four-manual organ at the Cathedral in Lùbeck, as well as modifications to the organ at Saint Marien. Hans Davidsson explores the encounter between Buxtehude and Schnitger using the four-manual organ in Gothenburg, Sweden in this final volume of the complete works of Buxtehude.
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Recent research shows that Buxtehude had only mean-tone organs at his disposal during his life. Although there are many good recordings on well-tempered organs (including some antiques), performing these works on mean-tone instruments requires both a radical re-assessment of traditional performance ideas and a large and extraordinary organ. Hans Davidsson is the ideal performer for this task, and he plays the huge “North German Baroque Organ” of Gothenburg, Sweden. The complete organ works are recorded here in three volumes totaling 7 compact discs.
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