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£12.77 £10.64 Ex vat

THOMAS TROTTER
The Mitterreither (1773)/Flentrop (1973) organ of Eton College School Hall

34 in stock

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SKU: REGCD314 Categories: ,

Description

International organ virtuoso, Thomas Trotter, plays a selection of organ works, and other pieces suitable for the organ, by one of the most famous sons of JS Bach.
CPE Bach bestrides the transition between the late Baroque and early Classical periods, with finely-wrought fugues, expressive slow movements and airy, brilliant Allegros.

Track List

Prelude in D major, Wq 70/7, H 107
4:31
Sonata in F major, Wq 70/3, H 84
12:00
Allegro
4:55
Largo
3:22
Allegretto
3:43
Fantasia and Fugue in C minor, Wq 119/7, H 75.5
5:41
Fantasia
1:14
Fugue
4:27
Sonata in A minor, Wq 70/4, H 85
12:37
Allegro assai
5:04
Adagio
3:52
Allegro
3:41
Fugue on BACH (edited Trotter)
3:02
Sonata in G minor, Wq 70/6, H 87
14:13
Allegro moderato
5:52
Adagio
4:24
Allegro
4:57
Adagio in D minor, Wq n.v. 66, H 352
2:13
Sonata in D major, Wq 70/5, H 86
12:27
Allegro di molto
4:29
Adagio e mesto
4:14
Allegro
3:44

Total playing time: 66:48

Production credits

Recorded on 5/6 January 2009 in Eton College School Hlll

Producer and engineer: Gary cole

Sample audio extracts

Reviews

‘The name Thomas Trotter is synonymous with virtuosity, elegance, taste, intelligence, and exciting musicality, all of which contribute to his sterling performances of the music of C.P.E. Bach. Perhaps the best tribute to Trotter’s performances here can be borrowed from English music historian Charles Burney in describing Emanuel Bach, saying he played “with delicacy, precision, and spirit.” The instrument is equally well suited, with its incisive, quick-speaking voicing that provides clarity, sparkle, and color, especially well defined in the dynamic contrasts between principal ensemble and a single, clear flute. The program booklet includes an informative essay by David Gammie on the music of C.P.E. Bach, supplemented by Trotter’s registrations for each work.
This is a superb recording of significant yet often overlooked repertoire that bridges the musical plateaus of the Baroque and Classical eras.’  The American Organist August 2017