Hommage au père de tous les musiciens Jean-Sébastien Bach, en toute humilité. L'écriture va sans cesse se densifiant, tous les ingrédients pour faire une fugue sont présents: sujet, contre sujet, contrepoint, chromatismes, thème par augmentation, diminution, tons voisins? l'écriture pour clavier peut s'appliquer à l'orgue, le clavecin ou le piano. / Orgue Ou Clavecin

Fantasien. Par SWEELINCK JAN PIETERSZOON. Sweelinck's fantasias belong to the most ornate and elaborate contrapuntal genre of early 17th-century keyboard music. Moreover, these 20 masterful works also form the undisputed climax of this genre. The four-volume edition of Sweelinck's 'Complete Works for Keyboard Instruments' by Harald Vogel and Pieter Dirksen - which has universally won plaudits for its exemplary editorial quality - comes to a glorious conclusion with the volume of fantasias. The comments of the two Sweelinck experts also contribute to establishing the outstanding quality of the 'practical source edition' which retains the special characteristics of the notation as much as possible. The volume also contains an essay by Pieter Dirksen in which he treats the important topic of the instruments in a comprehensive manner and gives the user indispensable information on this central work group./ Répertoire / Orgue ou Clavecin

Choral- und Psalmvariationen. Par SWEELINCK JAN PIETERSZOON. With Volume 3 of Sweelinck's complete works for keyboard instruments, 'Chorale and Psalm Variations, ' editor Harald Vogel presents a group of works that can enhance many of today's religious services. Vogel's approach to the fundamental issues of performance practice in this edition is exceptionally knowledgeable. He begins by supplying a 'practical source edition' of the works, in which he attempts to respect the unique aspects of the notation as much as possible. Moreover, in the appendix he provides the text and origin of all the chorale melodies on which the pieces are based. The second advantage of this new edition is Vogel's comprehensive essay on 'Sweelinck's Organs and the Sources for Registration, ' which provides the current state of Sweelinck scholarship on this problematic area and brings to light a previously unknown source. The organs that play a role in this context are described in detail. From his source studies, Vogel draws the essential conclusion that performance practice should make less use of the tutti and more of 'registrations with few stops' and 'a great variety of tone colors. '/ Répertoire / Orgue ou Clavecin