This CD is really of excellent quality - musically like a record, and of course Ben van Oosten played here at the highest level. Dupre definitely knew what he was doing. This music is reminiscent of art rock and perfectly demonstrates the potential of the instrument. This is music of great size and monumentality. I think that with the help of this music it is impossible to achieve the same sound and the same scale on every other instrument. For some pieces of music on this CD, I like Ben van Osten's performance much better than Michael Murray's.
As a retired organist, I love hearing this composers beautiful music played to perfection. Ben van Oosten (born 1955 in The Hague, Netherlands) is an organist, professor and author. Ben van Oosten gave his first organ recital in 1970 at the age of 15. He was accepted at the prestigious Sweelinck Conservatory in Amsterdam and studied the organ with Albert de Klerk and piano with Berthe Davelaar. He graduated cum laude in 1979 with a diploma in organ solo.
Marcel Dupré was the foremost French organ virtuoso of his time, an heir to the great tradition of Romantic French organ playing and composing. Dupré was famed for his ability to improvise; he also composed substantial works and was a widely traveled recitalist and an influential teacher.
Marcel Dupré was the foremost French organ virtuoso of his time, an heir to the great tradition of Romantic French organ playing and composing. Dupré was famed for his ability to improvise; he also composed substantial works and was a widely traveled recitalist and an influential teacher.
"…MDG provides typically fine sonics, with the strings well balanced against a piano that turns a bit glassy in its upper register at higher dynamic levels. The real question is whether or not, with such fine versions already available from various Czech groups on Supraphon (Panocha Quartet) and Praga (Klánský/Prazák Quartet), you will want to spend premium price to acquire this newcomer, even if the coupling of these two particular works is somewhat unique. This is a decision you must make for yourself; if you ultimately opt to go for it, you won’t be sorry." ~classicstoday
"…clear diction and outstandingly responsive singing throughout is the biggest single asset of the performance. Superbly dynamic the set is obligatory for all committed Bachians." ~Fanfare
"…Musikproduktion Dabringhaus und Grimm produced this gold SACD with its customary unprocessed digital sound, so the reproduction is as faithful to the actual performances as can be managed, and the presence of the orchestra is truly something to behold. While purists may still take issue with the use of modern instruments, the large size of the orchestra, and a few minor issues, even they will recognize that Blunier has learned a great deal from the early music camp and that his interpretations are intelligent and insightful. They also have an appealing warmth that is sometimes lacking in versions with original instruments, and the vigorous playing certainly keeps the music from seeming fussy or sterile." ~allmusicguide
"…Musikproduktion Dabringhaus und Grimm produced this gold SACD with its customary unprocessed digital sound, so the reproduction is as faithful to the actual performances as can be managed, and the presence of the orchestra is truly something to behold. While purists may still take issue with the use of modern instruments, the large size of the orchestra, and a few minor issues, even they will recognize that Blunier has learned a great deal from the early music camp and that his interpretations are intelligent and insightful. They also have an appealing warmth that is sometimes lacking in versions with original instruments, and the vigorous playing certainly keeps the music from seeming fussy or sterile." ~allmusicguide
"The work we cherish as Fidelio was Beethoven’s final rewrite, after an eight-year gap, of an opera he’d first composed in 1805 and revised the following year. The two first attempts, collectively known as Leonore, are hugely instructive glimpses into Beethoven’s workshop. The 1806 version has generally been ignored in favour of occasional performances of the 1805 score, as notably recorded in 1997 by John Eliot Gardiner. This premiere recording of the 1806 version is therefore of exceptional interest…" ~classical-music.com
"The Trio Parnassus has maintained a reputation as one of the finest piano trios in Germany from the latter-twentieth and early-twenty first centuries despite a fair number of personnel changes. The ensemble has developed a reputation for straddling two rather distinctive worlds in its repertory choices: while it plays standards from the Classical and Romantic periods, as well as many twentieth century and contemporary works, it has also devoted much time to the rediscovery of forgotten compositions by nineteenth century composers like Woldemar Bargiel, Joseph Rheinberger, Philipp Scharwenka, and several others…" ~allmusic