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BACH, J.S.: Partita diverse sopra O Gott, du frommer Gott / 8 Short Preludes and Fugues, BWV 553-560 (The Young Bach) (Vogel)

BACH, J.S.: Partita diverse sopra O Gott, du frommer Gott / 8 Short Preludes and Fugues, BWV 553-560 (The Young Bach) (Vogel)

The Classical Shop
release date: November 2011


Harald Vogel


Record Label




Total Time - 70:32
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BACH, J.S.: Partita diverse sopra O Gott, du frommer Gott / 8 Short Preludes and Fugues, BWV 553-560 (The Young Bach) (Vogel)



Select Complete Single Disc for

Prelude and Fugue in C major, BWV 531


Partita diverse sopra O Gott, du frommer Gott, BWV 767

2 Partita I 1:15
3 Partita II 3:07
4 Partita III 1:12
5 Partita IV 1:00
6 Partita V 1:37
7 Partita VI 1:09
8 Partita VII 1:36
9 Partita VIII 2:26
10 Partita IX 3:16

Herr Jesu Christ, dich zu uns wend, BWV 709


8 Short Preludes and Fugues, BWV 553-560

12 No. 1. Prelude and Fugue in C major, BWV 553 4:45
13 No. 2. Prelude and Fugue in D minor, BWV 554 3:59
14 No. 3. Prelude and Fugue E minor, BWV 555 4:00
15 No. 4. Prelude and Fugue in F major, BWV 556 3:19
16 No. 5. Prelude and Fugue in G major, BWV 557 3:57
17 No. 6. Prelude and Fugue in G minor, BWV 558 4:11
18 No. 7. Prelude and Fugue in A minor, BWV 559 3:00
19 No. 8. Prelude and Fugue in B flat major, BWV 560 4:09

Wie nach einer Wasserquelle, BWV 1119


Christ, der du bist der helle Tag, BWV 1120


Ach Herr, mich armen Sunder, BWV 742


Toccata in E minor, BWV 914

 Harald Vogel Soloist

The Young Bach" focuses on the time when Bach was just beginning his professional career as a musician. Orphaned at the age of 10, Bach moved to Ordruf, to live with his older brother Johann Christoph, who taught him keyboard playing and probably organ construction. At the age of 15, Bach left home and travelled to Lüneburg with a musical scholarship at St. Michaelis. At this age he undoubtedly heard the music of Georg Böhm, organist of the St. Johanniskirche, also in Lüneberg. The organ there was superb, but in poor condition at the time.

The young Bach also the opportunity to visit Celle, where the Duke of Brunswick-Lüneburg had created a court immersed in French music and culture. Bach also visited the large northern city of Hamburg, which had some of the greatest organs in Europe. The elderly Jan Adam Reinken played the large organ of St. Katharinen Church in Hamburg, and was also co-founder of the first opera company in northern Europe. His friendship with Bach would later be rekindled when Bach applied for the position of music director at the Jacobi Church only a couple of blocks away. These experiences shaped Bach’s musical career, and his style of composition. The adoption of French ornamentation style and a life-long infatuation with writing musical variations -- from the partitas, the Passacaglia, to the Goldbergs and Art of Fugue -- all begin during this period.

By the time he was 20, Bach had taken his first major job as organist on a new instrument in the town of Arnstadt in Thuringia. It was from Arnstadt that he took his famous trek north to Lübeck to meet Buxtehude. Buxtehude presided over one of the most important church music programs in northern Europe, and was so impressed with the young Bach that he offered to make Bach his successor. The only catch was that Bach would have to marry Buxtehude’s daughter, just as Buxtehude had married the daughter of his predecessor. Bach’s heart belonged to Barbara Maria Bach (whom he later married) and he declined the offer. Confident that he could command a good salary and have a promising career as an organist, Bach left Arnstadt for Mülhausen in 1707. He stayed there for less than one year, before taking a court appointment in Weimar - at double the salary.

In one sense, almost all of Bach’s organ works are youthful works. His job in Weimar was his last as an organist. When he left Weimar to serve as Capellmeister at the court of Köthen, he was in his early 30s. Although Bach continued to write for the organ, especially as Cantor of St. Thomas in Leipzig, the majority of his output for the instrument occurred during his Weimar years and before.

The Young Bach features the music of Bach in his teens and 20s – composed during the time he spent in Lüneburg, Arnstadt, Mülhausen, and Weimar.

Roger Sherman

"Several of Loft’s recordings can be seen as important documents of very specific areas or repertoire performed by highly skilled executants of the performance practices appropriate to that repertoire. This is one such release. Harald Vogel is justly famous for his performances of North German Baroque music and his championing of historical playing techniques. Here, Vogel has been recorded on one of the USA’s landmark organ reform instruments, John Brombaugh’s Opus 19 in Eugene, Oregon. The organ was inspired by North German instruments and sounds lively, direct and inspiring throughout with singing principals, prompt, smooth, Schnitgerian reeds and highly flexible wind. Vogel at least is clearly inspired, and consequently this is as good a player/instrument partnership as you’re likely to hear.Harald Vogel’s survey of some of Bach’s earliest organ compositions includes the Eigth Little Preludes and Fugues, together with the partita on O Gott, du frommer Gott, and the keyboard Toccata in E minor. On paper this may appear an unappetising feast, but it turns out not to be. As Abbey Siegfried points out in the booklet, “compositions by the young Bach present many challenging and fascinating problems…of chronological order, stylistic influence…and performance practice issues of registration and musical interpretation”. The booklet incidentally deserves a special mention as it is simply outstanding. It contains essays on the music by Roger Sherman, Harald Vogel - a fascinating contribution on the Eight Little Preludes and Fugues, including their authenticity, musical merits and performance practice issues - and Abbey Siegfried, an essay on the organ by John Brombaugh himself, and full registration details. I can hardly think of a better booklet in an organ recoding; in other words, other labels need to pull their socks up! Vogel’s approach is as ever impeccable. His ability to get the best out of both music and organ are simply beyond reproach. Roger Sherman’s recording is up to his usual standards. This is a model release and well worth tracking down."

The Organ magazine

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