(2026) Bach: Organ Masterworks Vol. VI
Category(ies): Ancient music Repertoire
Instrument(s): Organ
Main Composer: Johann Sebastian Bach
CD set: 1
Catalog N°:
CD 3044
Release: 26.06.2026
EAN/UPC: 7619931304427
(Will be sent some days before release date).
This album is now on repressing. Pre-order it at a special price now.
CHF 18.50
This album is no longer available on CD.
This album has not been released yet. Pre-order it from now.
CHF 18.50
This album is no longer available on CD.
CHF 18.50
VAT included for Switzerland & UE
Free shipping
This album is no longer available on CD.
VAT included for Switzerland & UE
Free shipping
This album is now on repressing. Pre-order it at a special price now.
CHF 18.50
This album is no longer available on CD.
This album has not been released yet.
Pre-order it at a special price now.
CHF 18.50
This album is no longer available on CD.
CHF 18.50
This album is no longer available on CD.
NEW: Purchases are now made in the currency of your country. Change country here or at checkout
See more info on cart page.
BACH: ORGAN MASTERWORKS VOL. VI
About the programme
This recording’s programme, performed on the magnificent Wiegleb organ in Ansbach, features free compositions in various styles, prelude and fugue, fantasia, as well as chorales in diverse forms. These works are comparable to vocal compositions in which both the composer’s spiritual life and his speculative research are reflected.
Fantasia/“Pièce d’Orgue” in G major, BWV 572
This work stands as a sublime testament to the young Bach during his Weimar period. Among the various sources, this recording is based on the title “Pièce d’Orgue à 5 avec la pedalle continu [sic]”. The date of this composition is subject to debate: G.B. Stauffer places the first version of the work between 1708 and 1712, J.-Cl. Zehnder during the first three years in Weimar (1708–1711), and S. Rampe even later. The revised version dates from around 1720, the main difference compared to the first version being an expansion of the first part of the triptych.
The work consists of three parts. The first part of the original version contains no tempo indication, but in the revised version, it is marked “très vitement” (very quickly). It is a manual solo, akin to a toccata introduction. Here, a long, sustained monodic melody – already containing the principal subject of the entire work – features a hexachord scale in diminution. This writing is in an improvised style, reminiscent of a passagio.
The second part begins with a surprising entry: a pedal attack on the tonic G. In the first version, it bears the indication Gayement (gaily), and in the revised version, Gravement (gravely). The manual part enters immediately after the initial pedal attack, weaving a five-voice polyphony over an alla breve pulse characterised by harmonic audacity featuring numerous appoggiaturas, likely inspired by French models, and including, among other things, the indication Grand plein jeu suggested by Jacques Boyvin in his two Livres d’orgue (Books of Organ Music, Paris, 1690 and 1700). This is a classic example of French stop combination emphasizing harmonic development while avoiding contrapuntal writing. However, in order to highlight the underlying counterpoint, particularly in the extraordinary tenor solo (successively baritenor/taille/haute-contre, bars 118 to 127), the performer opted rather for a combination of a mixture stop and a reed stop.
Several passages here reveal the connection between France and Italy. Also present is the great tradition of the “hexachord fantasy” from the 16th and 17th centuries, as found in the works by English virginalists, as well as in those of Sweelinck, Frescobaldi and Froberger with passages in durezze e ligature, creating rich, dissonant suspensions in a style of the “réunion des goûts” (union of tastes).
Harmonic tension increases from bar 157, reaching a climax on the dominant that spans nine bars and rises over two octaves. This section comes to a dramatic, abrupt end with a broken cadence on a diminished seventh chord.
The low B note on the pedal (bar 94) was not present on all organs known to Bach. It existed on French organs with an extended pedalboard (ravalement) or on many harpsichords. It reappears later in the Ricercare a 6 from The Musical Offering and in The Art of Fugue.
The third part consists of broken-chord arpeggios with acciaccatura, accompanied by a chromatic descent in long values played on the pedal. This section leads to a climax on the dominant before the long-awaited final cadence triumphs with the main subject of the hexachord scale in diminution. This third part bears the indication Lentement (slowly), whereas in the revised version, there is no tempo indication.
This final section is a creation unique to the young Bach. His bold use of repetitive motifs, as well as the idea of mobility within immobility and/or immobility within mobility, foreshadows some of today’s minimalist composers. It is plausible that this highly original idea might be a kind of response to the music-theoretical disputes between J. Mattheson and J.H. Buttstedt in the second decade of the 18th century, with a view to promoting the modern system. With the Pièce d’orgue, Bach could thus be supporting Mattheson’s progressive stance.
Prelude & Fugue in C minor, BWV 546
The Prelude and the Fugue were not composed during the same period. The Prelude, in a concertante style, unfolds in segmental, ritornello-like movements and provides an excellent example of rhetorical structure: propositio, confutatio, confirmatio, and peroratio. Its 144 bars allow for a systematic division of the A-B-A form in an alla breve metre (2/2). In the episodic divertissements, Bach employs a motoric figure with a remarkable accelerando effect, featuring teeming motifs in minims, crotchets, quavers, semiquavers, triplets, and even dotted rhythms. Nowhere else in Bach’s keyboard works are all these elements brought together. This prelude unfolds in a powerfully grave and dramatic atmosphere. Elements of a vocal nature alternate here with tight, purely instrumental writing, producing strongly contrasted effects.
The very rich polyphony, the tense writing bristling with chromaticism, and the use of the lamento and suspiratio (one of the Baroque rhetoric figures) do not prevent this prelude from being infinitely expressive; on the contrary, they enhance it. It is one of the most monumental works in Bach’s organ repertoire. One might even compare it to the great sacred vocal works. This masterpiece was, moreover, written between 1725 and 1729, precisely during the same period as the St John Passion (1724) and the St Matthew Passion (1727). The style of this concerto-like prelude is significantly shaped by the influence of chorale cantatas. The melodic material in dialogue is very close to the beginning of Cantata 47 (1726), to four of the six Motets for double choir, BWV 225, 226, 228, 229 (1723–1729), and to the opening chorus of the St Matthew Passion.
Composed around 1715 during the Weimar period, the Fugue is built in five voices and actually comprises two fugues. The first deploys a diminished seventh chord, which characterises the beginning of the Prelude and is notably found in the famous “Royal Subject” from The Musical Offering (1747). The second fugue, without an exposition, develops as a figurative elaboration of the first fugue’s divertissement. The same figuration is found in the Ricercar a 6 from The Musical Offering, also written in C minor. This fugue nonetheless demonstrates remarkable dexterity in the art of polyphony.
Prelude & Fugue in C major, BWV 545
By deploying the highest and lowest notes, the opening three bars and the coda offer, in a rather imposing manner, a broad and lyrical character. This is reminiscent of the beginning of the Overtures/Suites for orchestra composed between 1725 and 1738/39, and of the definitive version of this Prelude BWV 545, revised by Bach around 1730 from the original diptych version, written between 1712 and 1717. The Prelude’s introduction is immediately followed by violinistic motifs in diminution of the fugue subject, in unrelenting semiquavers, which are employed in an almost obstinate, even exuberant fashion. These motifs, set over a sustained pedal point, fall directly in line with the “OrgelpunktTokkata” practised by his predecessors in central Germany (Pachelbel, Fischer, etc.) and develop throughout this rather brief prelude. However, this is not merely a matter of stylistic idiom; it is instead treated with great variety and vivacity, progressing quite theatrically to a conclusion in seven voices (!).
The theme C, D, E, F has been explored many times by numerous composers before Bach. Drawing on the sequence of notes C, D, E, F (corresponding to ut, re, mi, fa: ut relevet miserum fatum, to alleviate miserable fate), the young Bach also demonstrates his talent through the use of this theme. It is also found in the Allabreve in D major for organ, the Fugue in C major BWV 846/2, from Book I of The Well-Tempered Clavier, and even in the Dona nobis pacem/Gratias agimus of the Mass in B minor. This Fugue BWV 545 features elements of stile antico with a rigorous alla breve pulse, and very concertante and propulsive divertissements, forming, together with the last three bars, a brilliant conclusion.
Fugue in C minor, BWV 575
Admired by musicologists and leading Bach scholars such as Philipp Spitta, Hermann Keller, and Georg von Dadelsen, this formidable fugue is treated in a seductive manner. Characteristic of the young Bach’s irresistible vivacity, this work has indeed been hailed as one of the finest of all fugues written during the Arnstadt period.
The subject of this Spielfuge, written between 1703 and 1707, is in the canzonetta-style that is notably found in the works of Reincken and Buxtehude, under the influence of Italian string music. Once past the sudden surprise effect of the F# in the pedals (bar 65), in the manner of a toccata in the stylus phantasticus of North Germany (Bruhns, Böhm, Buxtehude…), one also finds here the writing of chamber music in “goûts réunis” (union of tastes) that the very young Bach encountered during his time in Lüneburg. According to his Necrology, it was precisely during this period that he bore his first fruits in the art (technique and composition) of the organ (Bach-Dokumente, III/666).
The 6 Schübler Chorales, BWV 645–650
The Sechs Choräle von verschiedener Art (Six Chorales of Various Kinds) for organ, a collection of six chorale preludes by J.S. Bach, published around 1747/48.
The title “Schübler Chorales” comes from the name of the engraver and publisher, Johann Georg Schübler (1720/25–1755), likely a student of Bach, whose name appears on the title page. Most of these chorales transcribed by Bach originate from his own cantatas. [..] - Kei Koito
Translation from French by Michelle Bulloch – Musitext
Kei Koito
Kei Koito is widely acclaimed as one of the most exciting performers of our time for Baroque organ music. After having given numerous concerts with the romantic and the avant-garde repertory, including many world premieres, since 1985, she has specialized in Baroque music, notably that of J.S. Bach and his most important predecessors. Her interpretive approach is the result of her tireless research into historical performance practice, musicological field, her extensive investigation of period instruments and her personal intuition and inspiration.
Born into a family of artists, Kei Koito started studying music at the age of six, taking lessons in piano, cello, voice and harpsichord. At the age of twelve, she decided to study the organ, her favorite instrument, in Tokyo, Geneva and Toulouse. Thereafter, she studied Early music with the organist, harpsichordist and musicologist Luigi Ferdinando Tagliavini in Fribourg, as well as Baroque music with Baroque violinist and conductor Reinhard Goebel in Cologne. She also studied philosophy and musical aesthetics at Tokyo University of Fine Arts & Music, and attended courses, in composition, orchestration and musical analysis from the 16th century to the present day with composer Éric Gaudibert in Geneva.
As part of her career as a recitalist/concert organist, Kei Koito has performed all over Europe, Great Britain, the United States, Canada, South America, Russia, Poland, Czechia, Bulgaria, Serbia, Israel and Japan. She has also collaborated, among others, for Bach’s organ sinfonias/cantatas and Handel’s organ concertos with Musica Antiqua Köln (dir. Reinhard Goebel), for the Italian Renaissance, French pre-classical and classical repertoires with Ensemble Gilles Binchois (dir. Dominique Vellard). In addition, she has performed, for example, a Haydn’s organ concerto with the Lausanne Chamber Orchestra and Poulenc’s Organ Concerto with Suisse Romande Orchestra.
Her recordings have consistently received high praise from the press and have been awarded multiple prizes, including several “Diapason d’Or”, “Choc”/Le Monde de la Musique/Classica, “Choix du mois”/France Musique, “Instrumental Choice”/BBC Music Magazine, “Clé”/ResMusica, “ffff - Événement exceptionnel”/Télérama, “10/10”/Répertoire, “5/5”/Early Music Review, “5/5 & Referenz”/Journal für die Orgel, “5/5”/Choir & Organ, as well as “Editor’s Choice”/Gramophone, Musik & Theater, Toccata-Alte Musik Aktuell, Record Geijutsu, etc. and have also received a warm and enthusiastic welcome from the general public.
A highly sought-after pedagogue, Kei Koito has been Professor of organ at the Lausanne University of Music/ Haute École de Musique/Musikhochschule since 1992. From the very start, her classes have brought together students from all over the world. Since 2012, she has devoted herself entirely to comparative research on the repertoire of Bach, his predecessors, precursors and contemporaries.
She gives lectures and masterclasses as a visiting professor at the Royal Academy of Music in London, at the Baroque Academy of Gmunden/Salzburg, at the Conservatories of Rouen, Quebec and Buenos Aires, at the University of Belgrade as well as at various American universities. She is also frequently invited to be part of the jury of international organ competitions (Geneva, Maastricht/Liège/Aachen, Wasquehal/Lille/St-Omer, Alkmaar/Schnitger competition, as well as Lausanne/Grand Prix Bach and St Albans/ the 50th jubilee year Competition).
Since the creation in 1997 of the Lausanne Bach Festival/Festival Bach/Bachfest, Kei Koito, Founder, has been Artistic Director.
Her recent recordings with VEVO videos for ancient repertory have released on Sony/Deutsche Harmonia Mundi label : “Organ Music before Bach”, works by Pachelbel, Froberger, Muffat, Kerll & Fischer, “Baroque Organ Concertos”, works by Haendel, Vivaldi, Telemann, Albinoni & Torelli, “Splendour”, Golden Age of North German Music, also “Back to Bach” album.
Kei Koito pursues her collaboration with Claves Records for a cycle “Bach, Organ Masterworks” played on different outstanding and fascinating historical organs.
(2026) Bach: Organ Masterworks Vol. VI - CD 3044
About the programme
This recording’s programme, performed on the magnificent Wiegleb organ in Ansbach, features free compositions in various styles, prelude and fugue, fantasia, as well as chorales in diverse forms. These works are comparable to vocal compositions in which both the composer’s spiritual life and his speculative research are reflected.
Fantasia/“Pièce d’Orgue” in G major, BWV 572
This work stands as a sublime testament to the young Bach during his Weimar period. Among the various sources, this recording is based on the title “Pièce d’Orgue à 5 avec la pedalle continu [sic]”. The date of this composition is subject to debate: G.B. Stauffer places the first version of the work between 1708 and 1712, J.-Cl. Zehnder during the first three years in Weimar (1708–1711), and S. Rampe even later. The revised version dates from around 1720, the main difference compared to the first version being an expansion of the first part of the triptych.
The work consists of three parts. The first part of the original version contains no tempo indication, but in the revised version, it is marked “très vitement” (very quickly). It is a manual solo, akin to a toccata introduction. Here, a long, sustained monodic melody – already containing the principal subject of the entire work – features a hexachord scale in diminution. This writing is in an improvised style, reminiscent of a passagio.
The second part begins with a surprising entry: a pedal attack on the tonic G. In the first version, it bears the indication Gayement (gaily), and in the revised version, Gravement (gravely). The manual part enters immediately after the initial pedal attack, weaving a five-voice polyphony over an alla breve pulse characterised by harmonic audacity featuring numerous appoggiaturas, likely inspired by French models, and including, among other things, the indication Grand plein jeu suggested by Jacques Boyvin in his two Livres d’orgue (Books of Organ Music, Paris, 1690 and 1700). This is a classic example of French stop combination emphasizing harmonic development while avoiding contrapuntal writing. However, in order to highlight the underlying counterpoint, particularly in the extraordinary tenor solo (successively baritenor/taille/haute-contre, bars 118 to 127), the performer opted rather for a combination of a mixture stop and a reed stop.
Several passages here reveal the connection between France and Italy. Also present is the great tradition of the “hexachord fantasy” from the 16th and 17th centuries, as found in the works by English virginalists, as well as in those of Sweelinck, Frescobaldi and Froberger with passages in durezze e ligature, creating rich, dissonant suspensions in a style of the “réunion des goûts” (union of tastes).
Harmonic tension increases from bar 157, reaching a climax on the dominant that spans nine bars and rises over two octaves. This section comes to a dramatic, abrupt end with a broken cadence on a diminished seventh chord.
The low B note on the pedal (bar 94) was not present on all organs known to Bach. It existed on French organs with an extended pedalboard (ravalement) or on many harpsichords. It reappears later in the Ricercare a 6 from The Musical Offering and in The Art of Fugue.
The third part consists of broken-chord arpeggios with acciaccatura, accompanied by a chromatic descent in long values played on the pedal. This section leads to a climax on the dominant before the long-awaited final cadence triumphs with the main subject of the hexachord scale in diminution. This third part bears the indication Lentement (slowly), whereas in the revised version, there is no tempo indication.
This final section is a creation unique to the young Bach. His bold use of repetitive motifs, as well as the idea of mobility within immobility and/or immobility within mobility, foreshadows some of today’s minimalist composers. It is plausible that this highly original idea might be a kind of response to the music-theoretical disputes between J. Mattheson and J.H. Buttstedt in the second decade of the 18th century, with a view to promoting the modern system. With the Pièce d’orgue, Bach could thus be supporting Mattheson’s progressive stance.
Prelude & Fugue in C minor, BWV 546
The Prelude and the Fugue were not composed during the same period. The Prelude, in a concertante style, unfolds in segmental, ritornello-like movements and provides an excellent example of rhetorical structure: propositio, confutatio, confirmatio, and peroratio. Its 144 bars allow for a systematic division of the A-B-A form in an alla breve metre (2/2). In the episodic divertissements, Bach employs a motoric figure with a remarkable accelerando effect, featuring teeming motifs in minims, crotchets, quavers, semiquavers, triplets, and even dotted rhythms. Nowhere else in Bach’s keyboard works are all these elements brought together. This prelude unfolds in a powerfully grave and dramatic atmosphere. Elements of a vocal nature alternate here with tight, purely instrumental writing, producing strongly contrasted effects.
The very rich polyphony, the tense writing bristling with chromaticism, and the use of the lamento and suspiratio (one of the Baroque rhetoric figures) do not prevent this prelude from being infinitely expressive; on the contrary, they enhance it. It is one of the most monumental works in Bach’s organ repertoire. One might even compare it to the great sacred vocal works. This masterpiece was, moreover, written between 1725 and 1729, precisely during the same period as the St John Passion (1724) and the St Matthew Passion (1727). The style of this concerto-like prelude is significantly shaped by the influence of chorale cantatas. The melodic material in dialogue is very close to the beginning of Cantata 47 (1726), to four of the six Motets for double choir, BWV 225, 226, 228, 229 (1723–1729), and to the opening chorus of the St Matthew Passion.
Composed around 1715 during the Weimar period, the Fugue is built in five voices and actually comprises two fugues. The first deploys a diminished seventh chord, which characterises the beginning of the Prelude and is notably found in the famous “Royal Subject” from The Musical Offering (1747). The second fugue, without an exposition, develops as a figurative elaboration of the first fugue’s divertissement. The same figuration is found in the Ricercar a 6 from The Musical Offering, also written in C minor. This fugue nonetheless demonstrates remarkable dexterity in the art of polyphony.
Prelude & Fugue in C major, BWV 545
By deploying the highest and lowest notes, the opening three bars and the coda offer, in a rather imposing manner, a broad and lyrical character. This is reminiscent of the beginning of the Overtures/Suites for orchestra composed between 1725 and 1738/39, and of the definitive version of this Prelude BWV 545, revised by Bach around 1730 from the original diptych version, written between 1712 and 1717. The Prelude’s introduction is immediately followed by violinistic motifs in diminution of the fugue subject, in unrelenting semiquavers, which are employed in an almost obstinate, even exuberant fashion. These motifs, set over a sustained pedal point, fall directly in line with the “OrgelpunktTokkata” practised by his predecessors in central Germany (Pachelbel, Fischer, etc.) and develop throughout this rather brief prelude. However, this is not merely a matter of stylistic idiom; it is instead treated with great variety and vivacity, progressing quite theatrically to a conclusion in seven voices (!).
The theme C, D, E, F has been explored many times by numerous composers before Bach. Drawing on the sequence of notes C, D, E, F (corresponding to ut, re, mi, fa: ut relevet miserum fatum, to alleviate miserable fate), the young Bach also demonstrates his talent through the use of this theme. It is also found in the Allabreve in D major for organ, the Fugue in C major BWV 846/2, from Book I of The Well-Tempered Clavier, and even in the Dona nobis pacem/Gratias agimus of the Mass in B minor. This Fugue BWV 545 features elements of stile antico with a rigorous alla breve pulse, and very concertante and propulsive divertissements, forming, together with the last three bars, a brilliant conclusion.
Fugue in C minor, BWV 575
Admired by musicologists and leading Bach scholars such as Philipp Spitta, Hermann Keller, and Georg von Dadelsen, this formidable fugue is treated in a seductive manner. Characteristic of the young Bach’s irresistible vivacity, this work has indeed been hailed as one of the finest of all fugues written during the Arnstadt period.
The subject of this Spielfuge, written between 1703 and 1707, is in the canzonetta-style that is notably found in the works of Reincken and Buxtehude, under the influence of Italian string music. Once past the sudden surprise effect of the F# in the pedals (bar 65), in the manner of a toccata in the stylus phantasticus of North Germany (Bruhns, Böhm, Buxtehude…), one also finds here the writing of chamber music in “goûts réunis” (union of tastes) that the very young Bach encountered during his time in Lüneburg. According to his Necrology, it was precisely during this period that he bore his first fruits in the art (technique and composition) of the organ (Bach-Dokumente, III/666).
The 6 Schübler Chorales, BWV 645–650
The Sechs Choräle von verschiedener Art (Six Chorales of Various Kinds) for organ, a collection of six chorale preludes by J.S. Bach, published around 1747/48.
The title “Schübler Chorales” comes from the name of the engraver and publisher, Johann Georg Schübler (1720/25–1755), likely a student of Bach, whose name appears on the title page. Most of these chorales transcribed by Bach originate from his own cantatas. [..] - Kei Koito
Translation from French by Michelle Bulloch – Musitext
Kei Koito
Kei Koito is widely acclaimed as one of the most exciting performers of our time for Baroque organ music. After having given numerous concerts with the romantic and the avant-garde repertory, including many world premieres, since 1985, she has specialized in Baroque music, notably that of J.S. Bach and his most important predecessors. Her interpretive approach is the result of her tireless research into historical performance practice, musicological field, her extensive investigation of period instruments and her personal intuition and inspiration.
Born into a family of artists, Kei Koito started studying music at the age of six, taking lessons in piano, cello, voice and harpsichord. At the age of twelve, she decided to study the organ, her favorite instrument, in Tokyo, Geneva and Toulouse. Thereafter, she studied Early music with the organist, harpsichordist and musicologist Luigi Ferdinando Tagliavini in Fribourg, as well as Baroque music with Baroque violinist and conductor Reinhard Goebel in Cologne. She also studied philosophy and musical aesthetics at Tokyo University of Fine Arts & Music, and attended courses, in composition, orchestration and musical analysis from the 16th century to the present day with composer Éric Gaudibert in Geneva.
As part of her career as a recitalist/concert organist, Kei Koito has performed all over Europe, Great Britain, the United States, Canada, South America, Russia, Poland, Czechia, Bulgaria, Serbia, Israel and Japan. She has also collaborated, among others, for Bach’s organ sinfonias/cantatas and Handel’s organ concertos with Musica Antiqua Köln (dir. Reinhard Goebel), for the Italian Renaissance, French pre-classical and classical repertoires with Ensemble Gilles Binchois (dir. Dominique Vellard). In addition, she has performed, for example, a Haydn’s organ concerto with the Lausanne Chamber Orchestra and Poulenc’s Organ Concerto with Suisse Romande Orchestra.
Her recordings have consistently received high praise from the press and have been awarded multiple prizes, including several “Diapason d’Or”, “Choc”/Le Monde de la Musique/Classica, “Choix du mois”/France Musique, “Instrumental Choice”/BBC Music Magazine, “Clé”/ResMusica, “ffff - Événement exceptionnel”/Télérama, “10/10”/Répertoire, “5/5”/Early Music Review, “5/5 & Referenz”/Journal für die Orgel, “5/5”/Choir & Organ, as well as “Editor’s Choice”/Gramophone, Musik & Theater, Toccata-Alte Musik Aktuell, Record Geijutsu, etc. and have also received a warm and enthusiastic welcome from the general public.
A highly sought-after pedagogue, Kei Koito has been Professor of organ at the Lausanne University of Music/ Haute École de Musique/Musikhochschule since 1992. From the very start, her classes have brought together students from all over the world. Since 2012, she has devoted herself entirely to comparative research on the repertoire of Bach, his predecessors, precursors and contemporaries.
She gives lectures and masterclasses as a visiting professor at the Royal Academy of Music in London, at the Baroque Academy of Gmunden/Salzburg, at the Conservatories of Rouen, Quebec and Buenos Aires, at the University of Belgrade as well as at various American universities. She is also frequently invited to be part of the jury of international organ competitions (Geneva, Maastricht/Liège/Aachen, Wasquehal/Lille/St-Omer, Alkmaar/Schnitger competition, as well as Lausanne/Grand Prix Bach and St Albans/ the 50th jubilee year Competition).
Since the creation in 1997 of the Lausanne Bach Festival/Festival Bach/Bachfest, Kei Koito, Founder, has been Artistic Director.
Her recent recordings with VEVO videos for ancient repertory have released on Sony/Deutsche Harmonia Mundi label : “Organ Music before Bach”, works by Pachelbel, Froberger, Muffat, Kerll & Fischer, “Baroque Organ Concertos”, works by Haendel, Vivaldi, Telemann, Albinoni & Torelli, “Splendour”, Golden Age of North German Music, also “Back to Bach” album.
Kei Koito pursues her collaboration with Claves Records for a cycle “Bach, Organ Masterworks” played on different outstanding and fascinating historical organs.
Return to the album | Read the booklet | Composer(s): Johann Sebastian Bach | Main Artist: Kei Koito
STUDIO MASTER (HIGH-RESOLUTION AUDIO)
