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Catalogue

 

Boehm, Complete Harpsichord Works, I
Boehm, Complete Harpsichord Works, II
Boehm, Complete Organ Works, II
Buxtehude, Complete Organ Works, IV
Buxtehude, Complete Harpsichord Works, I
Buxtehude, Complete Harpsichord Works, II
Buxtehude, Complete Harpsichord Works, III
Buxtehude, Complete Harpsichord Works, IV
Buxtehude, Complete Organ Works, I
Buxtehude, Complete Organ Works, III

 

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Simone Stella plays Boehm, Complete Organ Works, I

Boehm, Complete Organ Works, I

Simone Stella

Catalogue:
Genre:
Period:
Tim. / Size:
Orig. res.:
OC74B
Classical Music
Baroque (1600 - 1750)
59:51 / 241
Available at 88.2 kHz * 24 bit

19 album(s) @onclassical.com!



Content
Boehm, Georg (1661-1733): Praeludium, Partitas and Corale-Preludes

To listen to specific tracks click on the single titles listed under 'Track-list/previews'.

Georg Böhm was one of the most important German organists and composers around the turn of the 18th century, and is considered to have had a major influence on the training of Johann Sebastian Bach.
The compilation focuses on the main nucleus of Böhm’s output, his works for keyboard, and divides equally into those for harpsichord and/or organ. Of chief interest among the pieces for the former instrument are the 11 Suites, works that were probably written for domestic performance, and these are joined by a range of other genres also common to the period. From the French Overture style of the Prelude in F to the art of variation that is the Chaconne in G, Böhm’s compositions abound in inventive detail, and we soon move onto the works for organ – where the composer’s most important contribution to North German keyboard music, that of the chorale partita, comes to the fore.
Simone Stella continues his survey of Pre-Bachian German keyboard works with the complete harpsichord and organ works of Georg Böhm (1661-1733). He is one of the leading harpsichordists and organists of Italy, his earlier issue of the complete keyboard works of Buxtehude received uniform praise in the international press: “Thoroughly imaginative and engaging” (Fanfare), “Convincing and surprisingly” (Klassic.com).”

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Recorded at: OnClassical Studio, Pove del Grappa, 2012
Engineer: Alessandro Simonetto
Photo/paint on cover: Graphic by OnClassical using photo by x1brett from flickr.com (CC BY)
Art-work: ©OnClassical

Original studio master is copyrighted: OnClassical, © 2012

Born in Florence in 1981, Simone Stella is a pupil of harpsichordist Francesco Cera. He also studied organ with Mariella Mochi and Alessandro Albenga and organ improvisation with Fausto Caporali and Stefano Rattini. Mr. Stella has attended many courses and seminars held by internationally acclaimed artists, including Ton Koopman, Matteo Imbruno, Luigi Ferdinando Tagliavini, Luca Scandali, Giancarlo Parodi, Stefano Innocenti, Klemens Schnorr, Ludger Lohmann, Michel Bouvard, Monika Henking, and Guy Bovet.


Simone Stella (photo by Alessandro Simonetto, © 2010)

Simone Stella is winner of the 2nd and 3rd “A. Esposito” Youth Organ Competitions held in Lucca (2004-05), and the 1st “Agati-Tronci” International Organ Competition held in Pistoia (2008).

He performs, especially as a soloist, in Italy, Spain, Germany, The Netherlands, Denmark and United States. His repertoire includes harpsichord and organ music from every historical era up to and including the present day. Particularly interesting is his live performance (2009-10) of the complete organ works by Dieterich Buxtehude in the historical Church of Orsanmichele in Florence, where he was titular organist.

He has recorded the First Book of Suites de pièces by Georg Friderich Handel exclusively for OnClassical, and the Complete Harpsichord and Organ Works by Dietrich Buxtehude, George Boehm, Adam Reincken, Johann Gottfried Walther (soon to be released); this grand project is also under the aegis of international renowned label Brilliant Classics which actively supports it and prints the CD-version.

There's no question that Stella has the proper Buxtehude style, which is to play with irregular meter and with the parts of both hands slightly out-of-synch much of the time, which creates a weird tension[...]. Stella is also excellent in the long sets of variations [...].
- Lynn René Bailey, Fanfare


   
 

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