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Of all instruments of musical expression Bach preferred the organ. At the time when he was employed as court organist and chamber musician to Duke Wilhelm Ernst in Weimar, Bach had to perform on the organ a great deal. He prepared a repertory for those performances which includes some of his greatest works as for instance: Fantasia & Fugue in G minor (The Great) Passacaglia in C minor, Prelude and Fugue in C Minor, 8 Little Preludes & Fugues and the wonderful Orgelbuechlein. Most of his organ works date from around 1708 to 1717, through the “Little” fugue in G minor was composed in 1700. This volume contains various Choral Preludes and a composition called 4 Duets. A “Duet” really means 2 part music, and not music for Clavier 4 hands.
Of all instruments of musical expression Bach preferred the organ. At the time when he was employed as court organist and chamber musician to Duke Wilhelm Ernst in Weimar, Bach had to perform on the organ a great deal. He prepared a repertory for those performances which includes some of his greatest works as for instance: Fantasia & Fugue in G minor (The Great) Passacaglia in C minor, Prelude and Fugue in C Minor, 8 Little Preludes & Fugues and the wonderful Orgelbuechlein. Most of his organ works date from around 1708 to 1717, through the "Little" fugue in G minor was composed in 1700. This volume contains various Choral Preludes and a composition called 4 Duets. A "Duet" really means 2 part music, and not music for Clavier 4 hands.
Now in paperback! Cloth edition 0-8108-2964-9 originally published in 1995.
Now in paperback! Cloth edition 0-8108-2964-9 originally published in 1995.
Larry Sitsky, professor emeritus at The Australian National University, is an internationally known composer, pianist, scholar, and teacher. His books are fundamental reference works on subjects such as Australian piano music, the 20th-century avant-garde, the piano music of Anton Rubinstein, the early 20th-century Russian avant-garde, and the classical reproducing piano roll. The Compleat Busoni is the result of Sitsky’s lifelong focus on the composer Ferruccio Busoni. Over three volumes, Sitsky surveys Busoni’s vast output, provides an ending to the unfinished opera Dr. Faust, and presents definitive realisations of the Fantasia Contrappuntistica in two-piano and orchestral versions. New insights into Busoni’s style and aesthetics are an integral aspect of this work.