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afontibus

Afontibus is an independent label and company for releasing of CD recordings and performance of music established by violinist Geir Inge Lotsberg and organist Kåre Nordstoga.

Lotsberg Nordstoga
Geir Inge Lotsberg Kåre Nordstoga

Ordering info:
Send e-mail: order at afontibus.no
The Afontibus cd's are all available as single tracks or complete albums at a.o. iTunes and Klicktrack.



Fabra is a label related to Afontibus. Learn more about the releases!

www.fabra.no

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ATB-CD05
Franz Liszt: Organ Works.
Prelude and Fugue on B-A-C-H
Variations on "Weinen, Klagen, Sorgen, Zagen"
Fantasia and Fugue "Ad nos, ad salutarem undam"

When Liszt was asked by Ferdinand Breuning to compose a piece for organ, he had already made piano arrangements of several scenes from Meyerbeer’s opera Le Prophète, which was first staged in 1849. Having seen the opera in Dresden in 1850, Liszt started working on themes from Le Prophète with the intention of creating an organ work. The result was the Fantasia and Fugue on “Ad nos, ad salutarem undam”, based on a chorale melody from Meyerbeer’s opera and completed in 1852. A work of extraordinary proportions and harmonic complexity, it consists of a prelude, an adagio and a fugue. A final, revised version of the Fantasia and Fugue was completed in 1855.
The same year, Alexander Winterberger commissioned an organ work from Liszt in connection with the inauguration of the new organ in the Merseburg Cathedral, which was to be the largest organ in Germany. However, Liszt did not manage to complete the planned Prelude and Fugue on B-A-C-H in time for the inauguration ceremony on September 26. As a replacement, the revised version of the Fantasia and Fugue on “Ad nos, ad salutarem undam” was given its premiere performance. The Prelude and Fugue on B-A-C-H was first performed on the Merseburg organ in May 1856. The performer on both occasions was Alexander Winterberger.
The main inspiration for the Variations on “Weinen, Klagen, Sorgen, Zagen” was the first vocal movement of Johann Sebastian Bach’s cantata BWV 12, which Bach himself later recycled as the Crucifixus section of his Mass in B minor. The first version of Liszt’s work was a piano prelude composed in 1859. In 1862, following the death of his daughter Blandine, Liszt extended the work into a set of 30 variations based on the chromatically descending bass line of Bach’s cantata movement. He also makes use of the chorale melody that rounds off the cantata, “Was Gott tut, das ist wohlgetan” (“What God does, that is well done”). In 1863, Liszt transcribed the work for organ.
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