49°18'10.3"N 10°34'26.2"E (Bach Organ Landscapes / Ansbach) Jörg Halubek

Album info

Album-Release:
2020

HRA-Release:
06.11.2020

Label: Berlin Classics

Genre: Classical

Subgenre: Chamber Music

Artist: Jörg Halubek

Composer: Johann Sebastian Bach (1685-1750)

Album including Album cover

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FLAC 96 $ 14.50
  • Johann Sebastian Bach (1685 - 1750):
  • 1Fantasia super Komm, Heiliger Geist, BWV 65106:44
  • 2Komm, Heiliger Geist, BWV 65209:00
  • 3An Wasserflüssen Babylon, BWV 653b04:44
  • 4An Wasserflüssen Babylon, BWV 65305:36
  • 5Schmücke dich, o liebe Seele, BWV 65407:25
  • 6Trio super Herr Jesu Christ, dich zu uns wend, BWV 65503:52
  • 7O Lamm Gottes, unschuldig, BWV 65607:18
  • 8Nun danket alle Gott, BWV 65704:38
  • 9Von Gott will ich nicht lassen, BWV 65804:03
  • 10Nun komm der Heiden Heiland, BWV 65904:53
  • 11Trio super Nun komm der Heiden Heiland, BWV 66003:01
  • 12Nun komm der Heiden Heiland, BWV 66103:14
  • 13Allein Gott in der Höh sei Ehr, BWV 66207:54
  • 14Allein Gott in der Höh sei Ehr, BWV 66306:19
  • 15Trio super Allein Gott in der Höh sei Ehr, BWV 66405:23
  • 16Jesus Christus, unser Heiland, BWV 66504:19
  • 17Jesus Christus, unser Heiland, BWV 66603:26
  • 18Komm, Gott Schöpfer, Heiliger Geist, BWV 66702:16
  • Canonische Veränderungen über Vom Himmel hoch, BWV 769:
  • 19Canonische Veränderungen über Vom Himmel hoch, BWV 769: Variatio 101:26
  • 20Canonische Veränderungen über Vom Himmel hoch, BWV 769: Variatio 201:18
  • 21Canonische Veränderungen über Vom Himmel hoch, BWV 769: Variatio 303:11
  • 22Canonische Veränderungen über Vom Himmel hoch, BWV 769: Variatio 402:36
  • 23Canonische Veränderungen über Vom Himmel hoch, BWV 769: Variatio 503:38
  • Johann Sebastian Bach:
  • 24Vor deinen Thron tret ich / Wenn wir in höchsten Nöten, BWV 66803:44
  • Total Runtime01:49:58

Info for 49°18'10.3"N 10°34'26.2"E (Bach Organ Landscapes / Ansbach)



The roots of the Franconian organ builder Johann Christoph Wiegleb are to be found in Thuringia. Surpassing even the achievements of Tobias Heinrich Gottfried Trost with his organs in Altenburg and Waltershausen, Wiegleb broke new ground with his great organ in Ansbach, now fully reconstructed (1738/2007). The abundance and fine differentiation of the foundation stops allow incredible combinations and prefigure the Romantic era with their wealth of tone colour; furthermore, Wiegleb built the first swell-box into a German organ. At about the same time in Leipzig, Bach was reworking eighteen chorale settings that he had composed much earlier. That is of course a coincidence – and yet an interesting example of how this fertile period of organ writing witnessed compositional ideas and soundscapes in a constant state of flux. Registrations were not noted down in Germany at the time, indicating an individual approach to organ sound. Joyous experimentation with colourful stop combinations is reported of Bach himself: in his Bach biography (Leipzig, 1802), Johann Nikolaus Forkel describes Bach’s “peculiar manner, with which he associated the different voices of the Organ with one another (…) It was so unusual, that many organ builders and organists were shocked, when they saw him choosing stops, (…) but were most amazed, when they later observed that the Organ sounded best just so, and had now acquired something strange and unaccustomed.”

Jörg Halubek, organ



Jörg Halubek
studied church music, organ and harpsichord in Stuttgart and Freiburg with Jon Laukvik and Robert Hill. At the Schola Cantorum Basiliensis, he specialized in period performance practice with Jesper Christensen and Andrea Marcon. He won first prize in the 2014 International Johann Sebastian Bach Competition in Leipzig in the Organ category.

In recent years, Jörg Halubek appeared in the first place as “Maestro al Cembalo”. As guest artist, Jörg Halubek directed from the harpsichord at such venues as the Komische Oper Berlin, Nationaltheater Mannheim, the Handel Festival in Halle, Innsbruck’s Festival Weeks of Early Music, the Wuppertal Opera and the Stuttgart Liederhalle. As guest conductor since 2012 at Kassel’s Staatstheater he is regularly in charge of opera productions, directing such works as Mozart’s “Lucio Silla”, Gluck’s “Iphigénie” and Handel’s “Saul”. His particular concern is for the dramatic relevance of the historical material and he is a strong advocate of making full use of early music’s freedoms in one’s interpretation.

Directing Il Gusto Barocco, the Baroque ensemble he founded, he was invited to bring it to the 2019 Bach Week in Ansbach as festival orchestra and was very well received. 2021 promises the continuation with “L’Orfeo” of the Mannheim Monteverdi cycle he began with Il Gusto Barocco in 2017. Jörg Halubek has extended his discoveries of forgotten operas and opera arrangements, documented in the recent CD release of his premiere recording of Johann David Heinichen’s “Flavio Crispo”, with his 2020 concertante staging of “Cleofida” – Handel’s opera “Poro, Re dell’Indie” in the arrangement by Georg Philipp Telemann with German-language recitatives – in Stuttgart’s Wilhelma-Theater and at the Early Music Days in Herne.

His expertise in the field of early music is well demonstrated by his prizewinning recordings of works for keyboard instruments and violin by Johann Sebastian Bach (2016) and Carl Philipp Emanuel Bach (2014) with Baroque violinist Leila Schayegh. Jörg Halubek has been Professor for Organ and Historical Keyboard Instruments at the Stuttgart Musikhochschule since 2016.

This album contains no booklet.

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