This fascinating release is a unique project: the combination of church organ and percussion instruments performing early Italian keyboard music. This exciting and entertaining music has never been heard performed in this way by renowned organist Luca Scandali and percussionist Mauro Occhionero. The early keyboard music manuscripts not only included organ music for liturgical use, but also collections of dances, such as pavana, gagliarda, ricercada, saltarello, balletto, and canzona. The strong rhythmical element in these works is enhanced on this new recording by the use of percussion instruments as were in use in popular music of that period: drums, rattles, sticks, castagnets, claves, sistrum and such exotic instruments as def, djembe, darbuka, and tammorra. This music by Giovanni Picchi, Marco Cavazzoni, Gioseffo Guami, Christofano Malvezzi, and Giovanni Trabaci is recorded on a historical instrument built in 1551 by Onofrio Zeffirini.

Having studied with the great Bach bass Peter Kooy - who has made his own distinguished recordings of these solo albums - David Greco has established himself as a fine interpreter of oratorio and opera throughout Australia and Europe. He has sung with Ton Koopman's Amsterdam Baroque Soloists as well as Monteverdi with Le Nuove Musiche - acclaimed for their Brilliant Classics recordings of the madrigals - and taken the role of Aeneas in Purcell's opera at the Brisbane Baroque Festival. David Greco's partnership with Luthers Bach Ensemble stretches back to his time as a student in The Netherlands in 2009, and this album marks the culmination of over a decade of performing the works of J.S Bach together. These solo bass cantatas are often reserved for singers of more mature years due to their weighty themes of worldly fatigue, death and redemption, but the interpretations here are infused with youth and cosmopolitan openness, with the aim of finding a united expression and interpretation in order to pay tribute to the universal nature of J.S Bach's music, and to the personal, touching expression at the heart of each musical phrase. 'I've always had a deep affinity for this music,' says David Greco, who enjoyed a breakthrough moment in appearances with Dame Emma Kirkby, doyenne of early-music sopranos. 'I think it's an aesthetic thing because I find it to be super passionate and Romantic in the truest sense of the word. The boundless possibilities of expression interest me very much and I just feel so at home with it.' These three cantatas all date from the full flower of Bach's maturity as Capellmeister to the Church of St Thomas in Leipzig. All three explore the very Lutheran longing for death as a state in which the soul is reunited with God in peace, finally relieved from earthly torments. Lamentation and consolation are thus united in arias of sublime beauty.

Bach's virtuoso skill as an organist was world renowned, and he was particularly celebrated for his use of registration. Spanning 2 CDs, this compilation is dedicated to some of his best-known Preludes and Fugues, and also features the celebrated Sch�bler Chorales. While the former works betray the composer's unparalleled ability to give distinctive qualities to each of the fugal voices, the latter collection - compiled by the publisher Johann Georg Sch�bler in 1748 - is largely made up of chorales based on melodies from Bach's cantatas, and was intended for concert performance. The celebrated Fantasia and Fugue in C minor BWV357 and Toccata and Fugue in D minor BWV538, which Bach himself is said to have held in high esteem, complete the line-up. One of Europe's leading organists, Matteo Messori has recorded widely for Brilliant Classics. Here he combines energy with artistic flair to deliver consummate readings of these engaging works: a must-buy for the keyboard and Baroque connoisseur. Recorded in June 2011. Organs: Johannes Creutzburg (1735), St. Cyriakus church of Duderstadt; Eilert K�hler (1738), Kreuzkirche of Suhl. Unique historical organs located in Germany, which have a strong link with the great composer himself, organs which Bach might have known, and whose builders he greatly respected. Matteo Messori is one of the leading Baroque organists of Europe; his previous recordings for Brilliant Classics (Kunst der Fuge, and Clavier�bung, have been awarded 5 star reviews in international classical magazines.

The keyboard sonatas of C.P.E. Bach (1714-1788) bear hallmarks of a composer who lived through a significant moment in musical history: he composed his works during the transition from the Baroque to the Classical period. These works are musical landmarks that epitomize the style and values of an era. The Preussische and Werttembergische Sonatas, collected together on this new 3-disc set, exemplify Bach's celebrated style of composition, and reveal the impact of the period's stylistic influences.

Brilliant Classics have updated their popular Christmas-time collection of music by J.S. Bach for a new decade, adding a timeless recording of the Christmas Oratorio from Dresden, with such star-calibre soloists as Arleen Aug�r, Peter Schreier and Theo Adam. The cantatas are selected for their Christmas theme from the monumental cycle of Bach's complete sacred cantatas recorded for Brilliant Classics by the Holland Boys' Choir and Netherlands Bach Collegium under Pieter Jan Leusink. This updated set also features a new programme of organ music chosen for the Christmas season from the masterful survey of Bach's complete organ music on Brilliant Classics, performed by Baroque performance practice expert Stefano Molardi.

Manuel Tomadin is Young ECHO Organist of the Year 2012, having won the ninth International Schnitger Orgelconcours during the Orgel festival Holland in June 2011 in Alkmaar. He was born in 1977 but has already made recordings on various instruments of historical importance; he enjoys a high reputation among the organ fraternity.

J.S. Bach composed his St John Passion during his first winter in Leipzig, in advance of the Good Friday Vespers service of 1724. It is written for an intimate ensemble (much more modest than the scoring of his later St Matthew Passion) and was originally to be performed in the Thomaskirche, being moved to the Nikolaikirche at short notice. The music is a vivid representation of Christ's Passion as told in St John's Gospel, constructed of recitatives and choruses, with commentary in reflective chorales, ariosos and arias. The music is, by nature of the story, inherently dramatic, and tells the story of Jesus' death through the words of the Evangelist (tenor), Christ (bass) and a number of smaller roles including Pilate and Peter. Few who attended the service in the Nikolaikirche can have experienced, outside of the opera house, a work on the scale of the St John Passion, one that included such a large proportion of recitative. Today it, together with the St Matthew Passion, is regarded as a masterpiece of devout Lutheran church music, but in it's day it must have sounded radical. That being said, the chorales (or "hymns") within the work were designed to involve everyone in the performance, and these would have been familiar to the congregation (Melchior Vulpius's melody, for instance) - whether or not they ended up singing them. Some of the most affective moments of the work occur in these chorales as well as in the arias, which are remarkable for their range of expression as well as their instrumentation. Take, for instance, the poignant use of the bass viol in the accompaniment of Jesus' last words on the cross in the expressive aria 'Es ist vollbracht'. A masterpiece of expression and theatricality such as the St John Passion requires a masterful interpretation; in this recording, under the baton of Ludwig G�ttler - who shot to fame as a Baroque trumpeter - the Hallenser Madrigalisten and Virtuosi Saxoniae rise to the challenge, giving a "technically accomplished and expressive" performance (Gramophone). They are joined by acclaimed tenor Christoph Genz in the role of the Evangelist and Egbert Junghanns as Jesus. Bach's Johannes Passion may be on a smaller scale than the Matth�us Passion, it is by no means less monumental or dramatic. This reissue of a Berlin Classics recording achieves with it's relatively small ensemble and choir an intimate yet powerful performance in which the drama of Christ's suffering is presented in deeply moving arias and chorales. Played on modern instruments the Virtuosi Saxoniae under Ludwig G�ttler adhere to the principles of Historically Informed Performance Practice. The soloists include Christoph Genz, Christiane Oelze and Egbert Junghanns.

Like many musicians of the era, Bach reused his own melodic and harmonic material in combination and recombination that suggest possible lost "alternative" versions of favorite works. Fascinated by that possibility, performers Giorgio Sasso and Salvatore Carchioli conducted extensive research into authentic source material and reconstructed several concertos which "could have existed." the artists' superlative understanding of Bach's instrumental oeuvre is apparent in the sensitive decision-making that ties the project together. A fascinating dive into the mind of a Bach whom, were it not for the ravages of time, we very well might have known.

J.S. Bach: Complete Organ Music, Vol. 1, Composer Johann Sebastian Bach, Artist Stefano Molardi organ, Format 4 CD, Stefano Molardi is shaping his recorded survey of Bach's complete organ music as self-sufficient and musically satisfying recitals which, disc by disc, explore the diverse styles at the composer's disposal, the flexible usage to which he, the ultimate 'compleat musician', puts 'his' instrument through it's paces, and the different liturgical demands which he was required to meet during the course of his career as he moved from church to court and back again. Grand Weimar- and Leipzig-composed preludes and fugues rub shoulders with intricate trio sonatas which he had initially conceived as chamber music, and between them nestle intimate chorales from his C�then days. Accordingly, Molardi makes full use of the potential flexibility of his chosen Trost organ in the Stadtkirche 'Zur Gotteshilfe' in Waltershausen, deep in the provincial heart of Thuringia. This is Bach country, and although the organ has been periodically restored since it was finally inaugurated in 1755, almost 30 years after the work was begun, it retains the classic characteristics of it's age and situation: a thorough restoration in 1998 returned the instrument to it's original glory. Born in Cremona, Molardi has undertaken a Renaissance career as not only organist but harpsichordist, conductor and scholar, not only at home in the rarified confines of early music but a virtuoso who has performed the complete organ works of Liszt and Franck and made an extraordinary recording of Verdi arranged for organ. These Bach discs are, perhaps appropriately, less overtly spectacular but no less imaginative in their rhythmic and coloristic response. A new recording (2013) of Bach's complete organ works is, even in these overfed and crisis-stricken days, an event of the first order. First of all because the music is of such overwhelming beauty and power, one of the greatest creations of humanity, and secondly because there is still so much to discover and illuminate in these works. These recordings are based on the choice of instruments: organist Stefano Molardi chose German instruments from Bach's time, lending an authentic character to the project. This first set features the wonderful Trost Organ of the Stadtkirche Zur Gotteshilfe in Waltershausen, Thuringia, built in 1725 and gloriously restored in 1998. Stefano Molardi is a "renaissance man", organist, harpsichordist, scholar, historian and writer. He recorded extensively for Divox, DGG and other labels. His playing is clear, crisp, free and rhythmically vibrant. The CD's are programmed like concerto programs, a fine diversity of genres and styles, to avoid monotony and uniformity.

AUBERT: PIANO WORKS

Gonzalo de Baena's Arte novamente inventada pera aprender a t�ger (Newly devised method for learning to play) was the first book of keyboard music ever printed on the Iberian Peninsula. Lost for centuries, it was rediscovered in 1992, and early music keyboardist Bruno Forst has since painstakingly decoded it's unique tablature system and edited a modern edition, published in 2012. Baena compiled mostly polyphonic vocal music by various composers, from the old Flemish Masters he himself studied, to contemporaries thriving alongside him in the rich musical environment of Spain under the Catholic Monarchs, along with pieces of his own and several by his son, Antonio. To disseminate this music in arrangements for keyboardists, professional or amateur, Baena transcribed them in an easy to read tablature notation and ordered the pieces in increasing level of difficulty. While his collection, printed in 1540, was pedagogical in intent, Baena nevertheless left a valuable historic document to posterity, creating a faithful depiction of the place and time that gave birth to later masters such as Antonio de Cabezon.

These are the first-ever recordings of music composed by Jos� (Pepito) Arriola, whose works are virtually unknown. Born in Betanzos in the northern Spanish region of Galicia in 1895, Arriola was a celebrated child prodigy known at the time as a 'Galician Mozart', who dazzled audiences across Europe and American with his piano-playing. Most of Arriola's work was lost when his home in Berlin was destroyed during the Second World War. The manuscripts for the three concertos and two song-cycles presented here were discovered just a few years ago, and mysteriously vanished almost as soon as they had been photocopied for dissemination. They were composed in the final decade of Arriola's life: in 1946 he settled in Barcelona, where he lived quietly until his death in 1954. Arriola's music belongs to the second golden age of Spanish music, that of Alb�niz, Granados, Turina and Falla (and, a little later, Joaqu�n Rodrigo), flavoured by nationalism and the rich Spanish folk tradition, along with a verismo that concerned itself with the ordinary people of Spain and their suffering (as mirrored in Carmen, or Candela in El amor brujo). Yet in common with other post-Romantic composers, Arriola sought out a world of vanished beauty, experimenting with color, texture, unusual tonal combinations and harmony full of color, sensuality and emotion. As a student in Leipzig, Arriola had been taught by Richard Strauss, and his teacher's influence may be heard to positive effect in both the soaring vocal lines of the Tres textos cervantinos and the transplanted Classical idiom of the Horn Concerto. The piano-writing in the Concertino and Divertimento concertante is more compact and Stravinskian, while two songs from the cycle of Seis poes�as de Antonio Machado disclose yet another, more impassioned facet of Arriola's style.

Fernandes: Violin Concerto, Violin Sonata / Damas, Tomasik, Ray / Composer: Armando Jos� Fernandes / Performer: Carlos Damas, Anna Tomasik / Conductor: Emily Ray / Orchestra/Ensemble: San Jose Mission Chamber Orchestra / Number of Discs: 1. Armando Jos� Fernandes was a celebrated composer, musician and radio broadcaster in 20th-century Portugal. He was an integral member of the 'Grupo dos Quatro' - alongside Jorge Croner de Vasconcelos, Fernando Lopes-Gra�a and Pedro do Prado - which exerted substantial influential over Portuguese music in the mid-1900s. Violinist Carlos Damas made his solo debut aged just 15 with the Portuguese National Broadcasting Radio Symphony Orchestra. Among his more recent achievements is the release of an hugely successful CD featuring the works of Fritz Kreisler, which has been praised by The Strad as one of the best Kreisler discs on the market. Recorded in 2012. Armando Jos� Fernandes was one of the most important composers of 20th century Portugal. His musical language, based on an extended tonality, is influenced by Ravel and Debussy, with occasional hints of expressionism and even a touch of moody Shostakovich. Nevertheless there is a southern vitality in the basically romantic heart of this fascinating composer, whose works we hear for the first time on CD. Carlos Damas made his debut as a soloist at the age of 15, with the National Symphony Orchestra of Portugal. His successful career brought him all over the world, and his recordings won universal praise. The Strad named his Kreisler CD "one of the best". For Brilliant Classics he recorded works by Antonio Fragoso (BC 94158).

Mezzo soprano Lucia Sciannimanico has appeared in festivals across Europe and worked with renowned conductors such as Niholas Cleobury and Alessandro de Marchi. On this world premiere recording, Sciannimanico perfectly captures the popular and sometimes even vulgar (in the literal sense of the word, “of the people”) character of Milanuzzi’s fascinating music. 

Archduke Rudolph: Music For Clarinet And Piano / Archduke / Luigi Magistrelli (Clarinet) / Claudia Bracco (Piano) / Composer: Archduke Rudolf of Austri / Performer: Claudia Bracco, Luigi Magistrelli, Carlo Bernava / Number of Discs: 1, Length: 1 Hours 1 Mins. This one gets high praises for two reasons: first, the music is obscure (all of it unpublished, some of it unfinished); second, the music is heartbreakingly gorgeous and is played with limpid grace, on modern instruments, by two brilliant musicians. Archduke Rudolph of Austria is known today, where he is known at all, primarily as a patron and student of Beethoven, and while these works won't catapult him to world fame as a neglected genius, they are truly lovely and this disc is well worth acquiring. Recommended to all classical collections, especially those serving wind programs.