Riepilogo carrello
Il tuo carrello è vuoto
Prodotti nel carrello: 0
Totale prodotti: € 0,00
Codice:
CVLD 334
Johann Sebastian Bach
Das wohltemperirte Klavier
The Well Tempered- Clavier - Book I
CD1
01 - No. 01: Prelude and Fugue in C major, BWV 846 - 4'23"
02 - No. 02: Prelude and Fugue in C minor, BWV 847 - 5'06"
03 - No. 03: Prelude and Fugue in C sharp major, BWV 848 - 5'43"
04 - No. 04: Prelude and Fugue in C sharp minor, BWV 849 - 7'15"
05 - No. 05: Prelude and Fugue in D major, BWV 850 - 4'11"
06 - No. 06: Prelude and Fugue in D minor, BWV 851 - 4'44"
07 - No. 07: Prelude and Fugue in E flat major, BWV 852 - 7'08"
08 - No. 08: Prelude in E flat minor and Fugue in D sharp minor, BWV 853 - 9'04"
09 - No. 09: Prelude and Fugue in E major, BWV 854 - 3'18"
10 - No. 10: Prelude and Fugue in E minor, BWV 855 - 4'18"
11 - No. 11: Prelude and Fugue in F major, BWV 856 - 2'59"
12 - No. 12: Prelude and Fugue in F minor, BWV 857 - 6'56"
Tot. Time: 66'13"
CD2
01 - No. 13: Prelude and Fugue in F sharp major, BWV 858 - 3'53"
02 - No. 14: Prelude and Fugue in F sharp minor, BWV 859 - 4'38"
03 - No. 15: Prelude and Fugue in G major, BWV 860 - 4'40"
04 - No. 16: Prelude and Fugue in G minor, BWV 861 - 4'26"
05 - No. 17: Prelude and Fugue in A flat major, BWV 862 - 4'25"
06 - No. 18: Prelude and Fugue in G sharp minor, BWV 863 - 4'54"
07 - No. 19: Prelude and Fugue in A major, BWV 864 - 4'53"
08 - No. 20: Prelude and Fugue in A minor, BWV 865 - 7'49"
09 - No. 21: Prelude and Fugue in B flat major, BWV 866 - 3'40"
10 - No. 22: Prelude and Fugue in B flat minor, BWV 867 - 5'23"
11 - No. 23: Prelude and Fugue in B major, BWV 868 - 3'59"
12 - No. 24: Prelude and Fugue in B minor, BWV 869 - 12'12"
Tot. Time: 64'58"
Nicola Lamon at the Silbermann harpsichord built by Romain Legros (Verona) Italy
24bit/88.2kHz original recording made at Main Hall, Villa Masiero e Centanin, Arquà Petrarca, Italy, on February, 12, 13, 14, 2021
Production: VELUT LUNA
Executive Producer: Marco Lincetto
Musical producer and editing engineer: Mattia Zanatta
Recording, mix and mastering engineer: Marco Lincetto
Design and Layout: L'Image
Critical text: Myriam Gugliemo
Con la stesura dei 24 Preludi e Fuga (BWV 846-869) Bach partecipa alla vexata quaestio intorno al “temperamento” e si inserisce in un dialogo che a partire dal Rinascimento raggiunge, con echi non meno intensi, le declinazioni novecentesche in merito alla suddivisione razionale dei suoni. Stabiliti gli elementi che costituiscono il modello compositivo, il preludio e la fuga, il compositore sperimenta le potenzialità armonico-contrappuntistiche del sistema basato sulle tonalità maggiori e minori cogliendo tutti gli stimoli provenienti dal crescente interesse verso l’ordinamento cromatico.
Anche nel Clavicembalo ben temperato, come in gran parte della produzione bachiana, emerge l’influenza dello stile musicale italiano. Nel caso specifico uno dei riferimenti principali è sicuramente Girolamo Frescobaldi, l’unico compositore italiano citato da Philipp Emanuel Bach tra gli autori apprezzati e studiati dal padre sin dagli anni della gioventù artistica.
With the drawing up of the 24 Preludes and Fugue (BWV 846-869) Bach takes part to the vexata quaestio about the “temperament” and is enclosed in a dialogue that, starting from Renaissance reaches, with not less intense echoes, 900hunderth declinations concerning the rational division sounds. Once the composer has set the elements constituting the composing model, prelude and fugue, the composer experiments the harmonic-contrapuntal potentialities of the system based on major or minor tonalities, taking all incentives deriving from the growing interest towards the chromatic arrangement.
Also in the Well-termpered Harpsichord, just like in most of Bach’s production, the influence of the Italian style stands out.in the specific case, one of the main reference points is definitely Girolamo Frescobaldi, the only Italian composer quoted by Philipp Emanuel Bach among the authors appreciated and studied by his father ever since the years of his artistic youth
Nicola Lamon ha studiato al conservatorio “B. Marcello" di Venezia diplomandosi nel 2001 con il massimo dei voti e la lode sia in Organo e composizione organistica con Elsa Bolzonello Zoja che in Clavicembalo con Sergio Vartolo e Marco Vincenzi.Ha conseguito inoltre il diploma in Canto Gregoriano a pieni voti con Lanfranco Menga. Nell’anno accademico 2005-2006, presso il Conservatorio “B. Marcello” di Venezia ha conseguito con il punteggio di 110 e lode il diploma accademico specialistico di II livello in organo. Ha partecipato a numerosi corsi di perfezionamento presso varie accademie internazionali: in organo e improvvisazione con H. Davidson e W. Porter a Smarano (TN), con J.L. Gonzalez Uriol a Daroca (Spagna), presso l'Accademia Chigiana di Siena, per il clavicembalo, con Cristophe Rousset, conseguendo il diploma di merito. Ha ottenuto diversi riconoscimenti in vari concorsi nazionali e internazionali: in organo il terzo premio a Borca di Cadore nel 2001 e nel 2005, il primo premio a Viterbo nel 2003 e il terzo premio a Fano Adriano (TE) nel 2006; in clavicembalo il primo premio a Fusignano (RA) nel 2003 e il primo premio a Pesaro nel 2005. Svolge l’incarico di secondo organista presso la prestigiosa Basilica di San Marco in Venezia, collaborando con la Cappella Marciana nelle esecuzioni concertistiche e discografiche. Segue e studia con particolare interesse il partimento storico e l’improvvisazione finalizzata alla ricerca e all’esecuzione del basso continuo. Con il collega David Brutti al cornetto ha fondato il duo “Seicento Stravagante” impegnato nella valorizzazione degli strumenti a tasto rinascimentali e barocchi partecipando a registrazioni discografiche e concerti. Svolge inoltre attività di organista e clavicembalista continuista in in diverse formazioni collaborando inoltre come tale a masterclass e corsi di perfezionamento.E’ stato docente a contratto presso il conservatorio “C.Pollini di Padova” di pratica della tastiera e lettura del repertorio vocale e, attualmente, svolge attività di accompagnatore al clavicembalo presso i conservatori Arrigo Pedrollo di Vicenza e Agostino Steffani di Castelfranco Veneto (TV). E’ impegnato altresì nella monumentale esecuzione integrale dei due libri del Clavicembalo ben temperato e l’Arte della Fuga di J.S.Bach
Nicola Lamon studied at the “B. Marcello" Conservatorium of Venice, obtaining in 2001 the degree with full marks in Organ with Elsa Bolzonello Zoja and harpsichord with Sergio Vartolo and Marco Vincenzi. He has got also the diploma in Gregorian Chant with full marks with Lanfranco Menga. In 2005-2006, at Conservatorio “B. Marcello” of Venice. He was given the Virtuositè Organ diploma with full marks and cum laude. He has attended several courses on Organ and organ improvisation with H. Davidson e W. Porter in Smarano (TN), with J.L. Gonzalez Uriol ,Daroca (Spain), at Accademia Chigiana of Siena, for harpsichord , with Cristophe Rousset. He has received several successes in National and International competitions: organ third prize in Borca di Cadore in 2001 and in 2005, first prize in Viterbo 2003 and third prize in Fano Adriano (TE) 2006; at the harpsichord first prize in Fusignano (RA), 2003 and first prize Pesaro , 2005. He is appointed as second organist in the historical Basilica di San Marco, Venice, collaborating with the Cappella Marciana in performances and recordings. He carefully studies particularly the historical praxis of improvisation, in the research and performance of the thorough bass. With David Brutti cornetto he founded the duo “Seicento Stravagante” to enlighten the renaissance and baroque keyboard and chamber music performing concerts and recordings. He participates as Organist and Harpsichord in several groups and ensembles. He has been teacher at Conservatorio “C.Pollini”di Padova for keyboard practice and reading vocal repertoire and now he is accompanist at the harpsichord at the Conservatoriums Arrigo Pedrollo, Vicenza, and Agostino Steffani di Castelfranco Veneto (TV). He is involved also in the monumental performance of The Well Tempered Keyboard of J.S. Bach.
Johann Sebastian Bach
Das wohltemperirte Klavier
The Well Tempered- Clavier - Book I
CD1
01 - No. 01: Prelude and Fugue in C major, BWV 846 - 4'23"
02 - No. 02: Prelude and Fugue in C minor, BWV 847 - 5'06"
03 - No. 03: Prelude and Fugue in C sharp major, BWV 848 - 5'43"
04 - No. 04: Prelude and Fugue in C sharp minor, BWV 849 - 7'15"
05 - No. 05: Prelude and Fugue in D major, BWV 850 - 4'11"
06 - No. 06: Prelude and Fugue in D minor, BWV 851 - 4'44"
07 - No. 07: Prelude and Fugue in E flat major, BWV 852 - 7'08"
08 - No. 08: Prelude in E flat minor and Fugue in D sharp minor, BWV 853 - 9'04"
09 - No. 09: Prelude and Fugue in E major, BWV 854 - 3'18"
10 - No. 10: Prelude and Fugue in E minor, BWV 855 - 4'18"
11 - No. 11: Prelude and Fugue in F major, BWV 856 - 2'59"
12 - No. 12: Prelude and Fugue in F minor, BWV 857 - 6'56"
Tot. Time: 66'13"
CD2
01 - No. 13: Prelude and Fugue in F sharp major, BWV 858 - 3'53"
02 - No. 14: Prelude and Fugue in F sharp minor, BWV 859 - 4'38"
03 - No. 15: Prelude and Fugue in G major, BWV 860 - 4'40"
04 - No. 16: Prelude and Fugue in G minor, BWV 861 - 4'26"
05 - No. 17: Prelude and Fugue in A flat major, BWV 862 - 4'25"
06 - No. 18: Prelude and Fugue in G sharp minor, BWV 863 - 4'54"
07 - No. 19: Prelude and Fugue in A major, BWV 864 - 4'53"
08 - No. 20: Prelude and Fugue in A minor, BWV 865 - 7'49"
09 - No. 21: Prelude and Fugue in B flat major, BWV 866 - 3'40"
10 - No. 22: Prelude and Fugue in B flat minor, BWV 867 - 5'23"
11 - No. 23: Prelude and Fugue in B major, BWV 868 - 3'59"
12 - No. 24: Prelude and Fugue in B minor, BWV 869 - 12'12"
Tot. Time: 64'58"
Nicola Lamon at the Silbermann harpsichord built by Romain Legros (Verona) Italy
24bit/88.2kHz original recording made at Main Hall, Villa Masiero e Centanin, Arquà Petrarca, Italy, on February, 12, 13, 14, 2021
Production: VELUT LUNA
Executive Producer: Marco Lincetto
Musical producer and editing engineer: Mattia Zanatta
Recording, mix and mastering engineer: Marco Lincetto
Design and Layout: L'Image
Critical text: Myriam Gugliemo