Artist: Jeremy Filsell, Saint Thomas Choir of Men & Boys
Album: JS Bach: Clavier-Übung III
Genre: Classical
Release Date: 2022
Audio Format:: FLAC (tracks) 24 bit, 192 kHz
Duration: 01:51:55
Total Tracks: 37
Total Size: 3,89 GB

Tracklist:

1-01. Jeremy Filsell – Clavier Übung III: Prelude (“St Anne”), BWV 552a (09:04)
1-02. Jeremy Filsell – Chorale: Kyrie, Gott Vater (00:48)
1-03. Jeremy Filsell – Clavier Ubung III: Kyrie, Gott Vater in Ewigkeit, BWV 669 (02:47)
1-04. Jeremy Filsell – Chorale: Christe, aller Welt Trost (01:29)
1-05. Jeremy Filsell – Clavier Übung III: Christe, aller Welt Trost, BWV 670 (04:29)
1-06. Jeremy Filsell – Chorale: Kyrie, Gott heiliger Geist (01:01)
1-07. Jeremy Filsell – Clavier Übung III: Kyrie, Gott heiliger Geist, BWV 671 (05:03)
1-08. Jeremy Filsell – Clavier Übung III: Kyrie, Gott Vater in Ewigkeit, BWV 672 (01:11)
1-09. Jeremy Filsell – Clavier Übung III: Christe, aller Welt Trost, BWV 673 (01:24)
1-10. Jeremy Filsell – Clavier Übung III: Kyrie, Gott heiliger Geist, BWV 674 (01:11)
1-11. Jeremy Filsell – Chorale: Allein Gott in der Höh’ sei Ehr (00:58)
1-12. Jeremy Filsell – Clavier Übung III: Allein Gott in der Höh sei Ehr, BWV 675 (03:03)
1-13. Jeremy Filsell – Clavier Übung III: Allein Gott in der Höh sei Ehr, BWV 676 (04:48)
1-14. Jeremy Filsell – Clavier Übung III: Allein Gott in der Höh sei Ehr (Fughetta), BWV 677 (00:59)
1-15. Jeremy Filsell – Chorale: Dies sind die heil’gen zehn Gebot’ (00:44)
1-16. Jeremy Filsell – Clavier Übung III: Dies sind die heiligen zehen Gebot, BWV 678 (05:06)
1-17. Jeremy Filsell – Clavier Übung III: Dies sind die heiligen zehen Gebot (Fughetta), BWV 679 (01:55)
1-18. Jeremy Filsell – Chorale: Wir glauben all an einen Gott, WV 680 (02:24)
1-19. Jeremy Filsell – Clavier Übung III: Wir gläuben all an einen Gott, BWV 680 (03:25)
1-20. Jeremy Filsell – Clavier Übung III: Wir gläuben all an einen Gott (Fughetta), BWV 681 (02:13)
1-21. Jeremy Filsell – Chorale: Vater unser im Himmelreich (00:55)
1-22. Jeremy Filsell – Clavier Übung III: Vater unser im Himmelreich, BWV 682 (07:05)
1-23. Jeremy Filsell – Clavier Übung III: Vater unser im Himmelreich, BWV 683 (01:23)
1-24. Jeremy Filsell – Chorale: Christ unser Herr zum Jordan kam (01:22)
1-25. Jeremy Filsell – Clavier Übung III: Christ unser Herr zum Jordan kam, BWV 684 (03:42)
1-26. Jeremy Filsell – Clavier Übung III: Christ unser Herr zum Jordan kam, BWV 685 (01:48)
1-27. Jeremy Filsell – Chorale: Aus tiefer Noth schrei ich zu dir (01:18)
1-28. Jeremy Filsell – Clavier Übung III: Aus tiefer Not schrei ich zu dir, BWV 686 (06:00)
1-29. Jeremy Filsell – Clavier Übung III: Aus tiefer Not schrei ich zu dir, BWV 687 (05:07)
1-30. Jeremy Filsell – Chorale: Jesus Christus, unser Heiland (00:47)
1-31. Jeremy Filsell – Clavier Übung III: Jesus Christus, unser Heiland, der von uns den Zorn Gottes wandt, BWV 688 (03:25)
1-32. Jeremy Filsell – Clavier Übung III: Jesus Christus, unser Heiland, der von uns den Zorn Gottes wandt (Fugue), BWV 689 (04:54)
1-33. Jeremy Filsell – Clavier Übung III: Duet I in E Minor, BWV 802 (03:09)
1-34. Jeremy Filsell – Clavier Übung III: Duet II in F Major, BWV 803 (03:30)
1-35. Jeremy Filsell – Clavier Übung III: Duet III in G Major, BWV 804 (02:41)
1-36. Jeremy Filsell – Clavier Übung III: Duet IV in A Minor, BWV 805 (03:48)
1-37. Jeremy Filsell – Clavier Übung III: Fugue (“St Anne”), BWV 552b (06:40)

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On this recording, the Choir of Men & Boys sings the Lutheran chorales preceding Bach’s organ settings. There are five organs in the church of this recording, three of which reside in the church space; the Miller-Scott Dobson Chancel organ (2018), the rear gallery Loening-Hancock mechanical action instrument, built by Taylor & Boody (1996), and the Martha J. Dodge continuo organ built by Taylor & Boody (2001). The Tower carillon space houses a Peter Collins mechanical action organ (2008), and a 2-manual Aeolian-Skinner practice organ (1957) resides in the Choir Rehearsal Room. The Miller-Scott Dobson Organ is one of North America’s most significant pipe organs, supporting the parish’s internationally- renowned liturgical and musical life, while the rear gallery instrument, inspired by the tradition of organ building active in the Netherlands and North Germany in the 17th and 18th eighteenth centuries, provides foil to the Dobson’s eclecticism.