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Catalogue

 

Buxtehude, Complete Organ Works, IV
Buxtehude, Complete Organ Works, II
Buxtehude, Complete Organ Works, V
Buxtehude, Complete Organ Works, VI
Buxtehude, Complete Organ Works, I
Buxtehude, Complete Harpsichord Works, IV
Buxtehude, Complete Harpsichord Works, I
Buxtehude, Complete Harpsichord Works, II
Buxtehude, Complete Harpsichord Works, III
Handel, Suites de pièces pour le clavecin, II

 

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Simone Stella plays Buxtehude, Complete Organ Works, III

Buxtehude, Complete Organ Works, III

Simone Stella

Catalogue:
Genre:
Period:
Tim. / Size:
Orig. res.:
OC63B
Classical Music
Baroque (1600 - 1750)
71:58 / 726
Available at 88.2 kHz * 24 bit

19 album(s) @onclassical.com!



Content
Buxtehude, Dietrich (1637-1707): Preludes, Fugues, Prelude-Chorales and other works

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

Buxtehude’s organ music is not only a fascinating precursor of his great admirer J.S. Bach but a body of work full of energy and beauty in its own right, a pinnacle of the early-Baroque Protestant aesthetic. Strict and florid counterpoint, lying at the centre of Bach’s style, is less important here; rather we can hear vibrant and directly illustrative responses to the texts which lie behind the chorales and instrumental versions of canticles such as the Magnificat and Te Deum. The toccatas and fugues are generally shorter and punchier than the mature Bach’s examples, and overall solemnity is generally eschewed in favour of exuberant virtuosity.
These characteristics fit well the mastery of Simone Stella, whose 3CD set of Buxtehude’s harpsichord music has already proved him a doughty advocate of the composer. As BBC Music Magazine remarked, “here we have an Italian eager to touch base with his inner Teuton, as Stella sets well-ordered lucidity above unfettered flamboyance.
The recording, a perfect-stereo one, with totally absence of any mastering effects nor equalisation, has obtained a lot of prizes around the world's music magazines including the 5 "diapason" mark.

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Recorded at: Chiesa di Sant'Antonio Abate, Padova, 2011
Engineer: Alessandro Simonetto
Photo/paint on cover: Johannes Vermeer: 'A Woman Holding a Balance', detail (1664-65)
Art-work: ©OnClassical

Original studio master is copyrighted: OnClassical, © 2011

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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