℗ 2018 SOMM Recordings
Released | October 26, 2018 |
Duration | 1h 02m 41s |
Record Label | SOMM Recordings |
Catalogue No. | SOMMCD0186 |
Genre | Classical (Piano) |
1.1
|
Für Anna Maria
Arvo Pärt; Cordelia Williams |
1:29 | |||
2-Part Inventions
|
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1.2
|
No. 1 in C Major, BWV 772
Johann Sebastian Bach; Cordelia Williams |
1:19 | |||
1.3
|
No. 4 in D Minor, BWV 775
Johann Sebastian Bach; Cordelia Williams |
0:55 | |||
1.4
|
No. 7 in E Minor, BWV 778
Johann Sebastian Bach; Cordelia Williams |
1:43 | |||
1.5
|
No. 8 in F Major, BWV 779
Johann Sebastian Bach; Cordelia Williams |
0:55 | |||
1.6
|
No. 10 in G Major, BWV 781
Johann Sebastian Bach; Cordelia Williams |
0:55 | |||
1.7
|
No. 13 in A Minor, BWV 784
Johann Sebastian Bach; Cordelia Williams |
1:27 | |||
1.8
|
No. 15 in B Minor, BWV 786
Johann Sebastian Bach; Cordelia Williams |
1:04 | |||
1.9
|
No. 14 in B-Flat Major, BWV 785
Johann Sebastian Bach; Cordelia Williams |
1:46 | |||
1.10
|
No. 12 in A Major, BWV 783
Johann Sebastian Bach; Cordelia Williams |
1:20 | |||
1.11
|
No. 11 in G Minor, BWV 782
Johann Sebastian Bach; Cordelia Williams |
1:35 | |||
1.12
|
No. 9 in F Minor, BWV 780
Johann Sebastian Bach; Cordelia Williams |
2:03 | |||
1.13
|
No. 6 in E Major, BWV 777
Johann Sebastian Bach; Cordelia Williams |
2:36 | |||
1.14
|
No. 5 in E-Flat Major, BWV 776
Johann Sebastian Bach; Cordelia Williams |
1:34 | |||
1.15
|
No. 3 in D Major, BWV 774
Johann Sebastian Bach; Cordelia Williams |
1:05 | |||
1.16
|
No. 2 in C Minor, BWV 773
Johann Sebastian Bach; Cordelia Williams |
2:00 | |||
1.17
|
Für Alina
Arvo Pärt; Cordelia Williams |
5:58 | |||
3-Part Inventions
|
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1.18
|
No. 1 in C Major, BWV 787
Johann Sebastian Bach; Cordelia Williams |
1:03 | |||
1.19
|
No. 4 in D Minor, BWV 790
Johann Sebastian Bach; Cordelia Williams |
1:55 | |||
1.20
|
No. 7 in E Minor, BWV 793
Johann Sebastian Bach; Cordelia Williams |
2:27 | |||
1.21
|
No. 8 in F Major, BWV 794
Johann Sebastian Bach; Cordelia Williams |
1:04 | |||
1.22
|
No. 10 in G Major, BWV 796
Johann Sebastian Bach; Cordelia Williams |
1:07 | |||
1.23
|
No. 13 in A Minor, BWV 799
Johann Sebastian Bach; Cordelia Williams |
1:44 | |||
1.24
|
No. 15 in B Minor, BWV 801
Johann Sebastian Bach; Cordelia Williams |
1:30 | |||
1.25
|
No. 14 in B-Flat Major, BWV 800
Johann Sebastian Bach; Cordelia Williams |
1:31 | |||
1.26
|
No. 12 in A Major, BWV 798
Johann Sebastian Bach; Cordelia Williams |
1:25 | |||
1.27
|
No. 11 in G Minor, BWV 797
Johann Sebastian Bach; Cordelia Williams |
2:00 | |||
1.28
|
No. 9 in F Minor, BWV 795
Johann Sebastian Bach; Cordelia Williams |
3:42 | |||
1.29
|
No. 6 in E Major, BWV 792
Johann Sebastian Bach; Cordelia Williams |
1:09 | |||
1.30
|
No. 5 in E-Flat Major, BWV 791
Johann Sebastian Bach; Cordelia Williams |
2:25 | |||
1.31
|
No. 3 in D Major, BWV 789
Johann Sebastian Bach; Cordelia Williams |
1:05 | |||
1.32
|
No. 2 in C Minor, BWV 788
Johann Sebastian Bach; Cordelia Williams |
2:15 | |||
1.33
|
Variationen zur Gesundung von Arinuschka
Arvo Pärt; Cordelia Williams |
5:01 | |||
Clavier-Büchlein vor W.F. Bach
|
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1.34
|
Prelude in C Major, BWV 924
Johann Sebastian Bach; Cordelia Williams |
1:34 | |||
Digital Booklet
|
SOMM Recordings and former BBC Young Musician Competition prize- winner Cordelia Williams present two sublime voices together for the first time on disc in a poetic and probing coupling of the solo piano music of JS Bach – musical laureate of 17th-century Protestantism – and Arvo Pärt, principal voice of contemporary Holy Minimalism.
Although a quarter of a millennia separates their births – Bach in 1685, Pärt in 1935 – both share a conviction that faith in God, as Williams notes in her introductory essay, “is the foundation of the creation of music”. This pioneering coupling of the two composers reveals a surprising latticework of connections in their constant, shared striving for economy and essence.
Pärt’s signature chiming ‘tintinnabuli’ style is beautifully evoked in three pieces designed to console and comfort their dedicatees: the tolling, melancholic profundity of Für Alina; the quietly majestic and moving Für Anna Maria and the limpid, liquid invention of Variationen zur Gesundung von Arinuschka.
Composed for his 10-year-old son, Wilhelm Friedemann (himself later a composer of distinction), Bach’s twin sets of 15 Two-part Inventions (BWV 772-86) and 15 Three-part Sinfonias (BWV 787-801) are much more than mere pedagogic primers. Williams finds in them a richness of technical design far beyond their apparent simplicity. Here, Williams reverts to Bach’s original ordering of the pieces to chart a subtly revealing way through music as intimate as it is illuminating.
The lightness, lyricism and economy of the Praeambulum from the first ‘Little Prelude’ (BWV 924) is something that Pärt, in less stringent mood, might well have produced and would certainly have appreciated.
44.1 kHz / 24-bit PCM – SOMM Recordings Studio Masters
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -7.54 -14.07 to -3.71 | -25.70 -39.57 to -20.60 | -22.71 -33.60 to -17.70 | 11 10 to 18 | |
1 | Für Anna Maria | -11.78 | -32.91 | -29.3 | 12 |
2 | No. 1 in C Major, BWV 772 | -7.50 | -25.33 | -22.4 | 11 |
3 | No. 4 in D Minor, BWV 775 | -3.75 | -22.77 | -19.8 | 10 |
4 | No. 7 in E Minor, BWV 778 | -7.88 | -26.14 | -23.3 | 11 |
5 | No. 8 in F Major, BWV 779 | -3.71 | -21.15 | -18.2 | 10 |
6 | No. 10 in G Major, BWV 781 | -5.93 | -22.47 | -19.7 | 10 |
7 | No. 13 in A Minor, BWV 784 | -6.90 | -24.22 | -21.5 | 11 |
8 | No. 15 in B Minor, BWV 786 | -6.45 | -23.37 | -20.5 | 11 |
9 | No. 14 in B-Flat Major, BWV 785 | -8.60 | -26.83 | -24.0 | 11 |
10 | No. 12 in A Major, BWV 783 | -6.20 | -22.01 | -19.3 | 10 |
11 | No. 11 in G Minor, BWV 782 | -9.29 | -26.26 | -23.5 | 11 |
12 | No. 9 in F Minor, BWV 780 | -8.60 | -26.83 | -24.0 | 12 |
13 | No. 6 in E Major, BWV 777 | -6.83 | -24.45 | -21.8 | 11 |
14 | No. 5 in E-Flat Major, BWV 776 | -8.03 | -24.50 | -21.8 | 10 |
15 | No. 3 in D Major, BWV 774 | -5.66 | -23.15 | -20.3 | 10 |
16 | No. 2 in C Minor, BWV 773 | -8.42 | -25.93 | -22.9 | 11 |
17 | Für Alina | -12.86 | -39.57 | -33.6 | 18 |
18 | No. 1 in C Major, BWV 787 | -7.41 | -23.20 | -20.2 | 10 |
19 | No. 4 in D Minor, BWV 790 | -9.09 | -25.81 | -23.1 | 11 |
20 | No. 7 in E Minor, BWV 793 | -6.88 | -27.14 | -24.4 | 11 |
21 | No. 8 in F Major, BWV 794 | -4.01 | -21.85 | -19.0 | 11 |
22 | No. 10 in G Major, BWV 796 | -5.51 | -22.61 | -19.6 | 10 |
23 | No. 13 in A Minor, BWV 799 | -8.20 | -24.78 | -22.0 | 11 |
24 | No. 15 in B Minor, BWV 801 | -6.22 | -24.43 | -21.5 | 11 |
25 | No. 14 in B-Flat Major, BWV 800 | -8.28 | -25.33 | -22.4 | 11 |
26 | No. 12 in A Major, BWV 798 | -4.91 | -22.65 | -19.9 | 11 |
27 | No. 11 in G Minor, BWV 797 | -8.75 | -26.99 | -24.2 | 12 |
28 | No. 9 in F Minor, BWV 795 | -9.40 | -28.90 | -26.1 | 12 |
29 | No. 6 in E Major, BWV 792 | -5.79 | -23.30 | -20.4 | 10 |
30 | No. 5 in E-Flat Major, BWV 791 | -10.02 | -28.75 | -25.8 | 11 |
31 | No. 3 in D Major, BWV 789 | -4.47 | -20.60 | -17.7 | 10 |
32 | No. 2 in C Minor, BWV 788 | -6.60 | -26.07 | -23.2 | 10 |
33 | Variationen zur Gesundung von Arinuschka | -14.07 | -35.50 | -32.0 | 13 |
34 | Prelude in C Major, BWV 924 | -8.52 | -28.09 | -24.8 | 10 |