Cristiano Holtz – Bach: The Well-Tempered Clavier I (2021) [FLAC 24 bit, 96 kHz]

Cristiano Holtz - Bach: The Well-Tempered Clavier I (2021) [FLAC 24 bit, 96 kHz] Download

Artist: Cristiano Holtz
Album: Bach: The Well-Tempered Clavier I
Genre: Classical
Release Date: 2021
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 02:03:00
Total Tracks: 48
Total Size: 2,63 GB

Tracklist:

1-01. Cristiano Holtz – Prelude I in C Major, BWV 846 (02:08)
1-02. Cristiano Holtz – Fugue I in C Major, BWV 846 (01:57)
1-03. Cristiano Holtz – Prelude II in C Minor, BWV 847 (01:38)
1-04. Cristiano Holtz – Fugue II in C Minor, BWV 847 (01:43)
1-05. Cristiano Holtz – Prelude III in C-sharp Major, BWV 848 (01:36)
1-06. Cristiano Holtz – Fugue III in C-sharp Major, BWV 848 (02:52)
1-07. Cristiano Holtz – Prelude IV in C-sharp Minor, BWV 849 (02:47)
1-08. Cristiano Holtz – Fugue IV in C-sharp Minor, BWV 849 (04:01)
1-09. Cristiano Holtz – Prelude V in D Major, BWV 850 (01:41)
1-10. Cristiano Holtz – Fugue V in D Major, BWV 850 (02:28)
1-11. Cristiano Holtz – Prelude VI in D Minor, BWV 851 (01:58)
1-12. Cristiano Holtz – Fugue VI in D Minor, BWV 851 (02:12)
1-13. Cristiano Holtz – Prelude VII in E-flat Major, BWV 852 (04:29)
1-14. Cristiano Holtz – Fugue VII in E-flat Major, BWV 852 (02:09)
1-15. Cristiano Holtz – Prelude VIII in E-flat Minor, BWV 853 (03:31)
1-16. Cristiano Holtz – Fugue VIII in D-sharp Minor, BWV 853 (05:53)
1-17. Cristiano Holtz – Prelude IX in E Major, BWV 854 (01:40)
1-18. Cristiano Holtz – Fugue IX in E Major, BWV 854 (01:27)
1-19. Cristiano Holtz – Prelude X in E Minor, BWV 855 (02:31)
1-20. Cristiano Holtz – Fugue X in E Minor, BWV 855 (01:24)
1-21. Cristiano Holtz – Prelude XI in F Major, BWV 856 (01:36)
1-22. Cristiano Holtz – Fugue XI in F Major, BWV 856 (01:41)
1-23. Cristiano Holtz – Prelude XII in F Minor, BWV 857 (02:14)
1-24. Cristiano Holtz – Fugue XII in F Minor, BWV 857 (04:48)
2-01. Cristiano Holtz – Prelude XIII in F-sharp Major, BWV 858 (01:50)
2-02. Cristiano Holtz – Fugue XIII in F-sharp Major, BWV 858 (02:29)
2-03. Cristiano Holtz – Prelude XIV in F-sharp Minor, BWV 859 (01:26)
2-04. Cristiano Holtz – Fugue XIV in F-sharp Minor, BWV 859 (02:58)
2-05. Cristiano Holtz – Prelude XV in G Major, BWV 860 (01:09)
2-06. Cristiano Holtz – Fugue XV in G Major, BWV 860 (03:19)
2-07. Cristiano Holtz – Prelude XVI in G Minor, BWV 861 (01:59)
2-08. Cristiano Holtz – Fugue XVI in G Minor, BWV 861 (02:17)
2-09. Cristiano Holtz – Prelude XVII in A-flat Major, BWV 862 (01:35)
2-10. Cristiano Holtz – Fugue XVII in A-flat Major, BWV 862 (02:30)
2-11. Cristiano Holtz – Prelude XVIII in G-sharp Minor, BWV 863 (01:52)
2-12. Cristiano Holtz – Fugue XVIII in G-sharp Minor, BWV 863 (02:42)
2-13. Cristiano Holtz – Prelude XIX in A Major, BWV 864 (01:51)
2-14. Cristiano Holtz – Fugue XIX in A Major, BWV 864 (02:44)
2-15. Cristiano Holtz – Prelude XX in A Minor, BWV 865 (01:14)
2-16. Cristiano Holtz – Fugue XX in A Minor, BWV 865 (05:23)
2-17. Cristiano Holtz – Prelude XXI in B-flat Major, BWV 866 (01:34)
2-18. Cristiano Holtz – Fugue XXI in B-flat Major, BWV 866 (02:10)
2-19. Cristiano Holtz – Prelude XXII in B-flat Minor, BWV 867 (02:29)
2-20. Cristiano Holtz – Fugue XXII in B-flat Minor, BWV 867 (03:11)
2-21. Cristiano Holtz – Prelude XXIII in B Major, BWV 868 (01:29)
2-22. Cristiano Holtz – Fugue XXIII in B Major, BWV 868 (02:52)
2-23. Cristiano Holtz – Prelude XXIV in B Minor, BWV 869 (04:34)
2-24. Cristiano Holtz – Fugue XXIV in B Minor, BWV 869 (06:59)

Download:

Which “Clavier” did Bach have in mind? Apart from a “grand clavessin” by Michael Mietke, which he probably had at his disposal at the court in C”othen, there is evidence that he knew instruments by Gottfried Silbermann. A harpsichord with a 16′ stop by Johann Heinrich Harrass (today in the Berlin Musikinstrumenten-Museum) is also assumed to have been in Bach’s possession. A large instrument similar to this supposed “Bach harpsichord” was built by Zacharias Hildebrandt, who was closely associated with the composer during his Leipzig years.Since Bach travelled to Hamburg on various occasions, it can be assumed that he was familiar with the famous harpsichord building tradition of that city, represented by the workshops of Zell, Fleischer and Hass. Since he was known for using rich and unusual registrations on the organ, we can assume that he used equally flamboyant registrations on the harpsichord. Cristiano Holtz has therefore chosen a large instrument by Matthias Kramer after Christian Zell (Hamburg 1728).

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