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Vom Reden und Klingen - Bach, Kuhnau, Mozart and Kurtág at the Contius Organ Leuven
Various composers

Laurens de Man

Vom Reden und Klingen - Bach, Kuhnau, Mozart and Kurtág at the Contius Organ Leuven

Price: € 19.95
Format: CD
Label: Globe
UPC: 8711525528604
Catnr: GLO 5286
Release date: 27 September 2024
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Label
Globe
UPC
8711525528604
Catalogue number
GLO 5286
Release date
27 September 2024
Album
Artist(s)
Composer(s)
EN
DE

About the album

Vom Reden und Klingen showcases the artistry of Laurens de Man, the first organist to be awarded the prestigious Nederlandse Muziekprijs. The album is a highly original recital consisting entirely of program music (music that depicts a story). This 'musical storytelling' is commonly regarded as characteristic of the Romantic Age, and these organ pieces by Bach, Mozart, Kuhnau, and Kurtág are therefore rare specimens of program music outside the 19th century. Laurens de Man plays the newly reconstructed Contius organ at the St.-Michielskerk in Leuven, Belgium, where he had the honor of spending two seasons as organist in residence.This album is available in a hand-numbered limited edition of 600 copies.
Vom Reden und Klingen zeigt die Kunst von Laurens de Man, dem ersten Organisten, der mit dem renommierten Nederlandse Muziekprijs ausgezeichnet wurde. Das Album ist ein sehr originelles Konzert, das ausschließlich aus Programmmusik (Musik, die eine Geschichte erzählt) besteht. Dieses „musikalische Erzählen“ wird gemeinhin als charakteristisch für das romantische Zeitalter angesehen, und diese Orgelstücke von Bach, Mozart, Kuhnau und Kurtág sind daher seltene Exemplare von Programmmusik außerhalb des 19. Laurens de Man spielt auf der neu rekonstruierten Contius-Orgel der St.-Michielskerk in Leuven, Belgien, wo er die Ehre hatte, zwei Spielzeiten als Organist in Residence zu verbringen. 600 handnummerierte Exemplare dieses Albums sind erhältlich.

Artist(s)

Laurens de Man (organ)

Laurens de Man (’s-Hertogenbosch, 1993) is a versatile and enterprising keyboard player. He was the first organist to win the Nederlandse Muziekprijs, the highest distinction for classical musicians, awarded by the Dutch government. He studied piano and organ at the Amsterdam Conservatory with, among others, David Kuyken, Jacques van Oortmerssen and Johan Hofmann. He then pursued further organ studies with Leo van Doeselaar at the Universität der Künste in Berlin, where he obtained his Konzertexamen diploma with the highest marks. He has been awarded several prizes as a pianist and organist, including competitions in The Hague, Würzburg, Groningen (International Martini Organ Competition, 1st prize), and Freiberg (Silbermann Wettbewerb, 1st prize, ECHO Young Organist of the Year 2020). In 2018, he...
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Laurens de Man (’s-Hertogenbosch, 1993) is a versatile and enterprising keyboard player. He was the first organist to win the Nederlandse Muziekprijs, the highest distinction for classical musicians, awarded by the Dutch government. He studied piano and organ at the Amsterdam Conservatory with, among others, David Kuyken, Jacques van Oortmerssen and Johan Hofmann. He then pursued further organ studies with Leo van Doeselaar at the Universität der Künste in Berlin, where he obtained his Konzertexamen diploma with the highest marks. He has been awarded several prizes as a pianist and organist, including competitions in The Hague, Würzburg, Groningen (International Martini Organ Competition, 1st prize), and Freiberg (Silbermann Wettbewerb, 1st prize, ECHO Young Organist of the Year 2020). In 2018, he won the Sweelinck-Mullerprijs. As a pianist of the Chimaera Trio, among others, he performs and arranges chamber music spanning four centuries; the trio has recorded two CDs. In 2012, he was appointed principal organist of the Janskerk in Utrecht, where he plays an instrument by Bätz-Witte (1861). In the seasons 2021-2023, he held the position of Organist in Residence at the Contius organ in Leuven (BE). He teaches classical piano technique for jazz pianists at the Conservatory of Amsterdam, and organ at the Utrecht Conservatory.

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Composer(s)

Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart, whose actual name is Joannes Chrysotomus Wolfgangus Theophilus Mozart, was a composer, pianist, violinist and conductor from the classical period, born in Salzburg. Mozart was a child prodigy. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Along with Johann Sebastian Bach and Ludwig van Beethoven, Mozart is considered to be one of the most influential composers of all of music's history. Within the classical tradition, he was able to develop new musical concepts which left an everlasting impression on all the composers that came after him. Together with Joseph Haydn and Ludwig van Beethoven he is part of the First Viennese School.  At 17, Mozart was engaged as...
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Wolfgang Amadeus Mozart, whose actual name is Joannes Chrysotomus Wolfgangus Theophilus Mozart, was a composer, pianist, violinist and conductor from the classical period, born in Salzburg. Mozart was a child prodigy. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Along with Johann Sebastian Bach and Ludwig van Beethoven, Mozart is considered to be one of the most influential composers of all of music's history. Within the classical tradition, he was able to develop new musical concepts which left an everlasting impression on all the composers that came after him. Together with Joseph Haydn and Ludwig van Beethoven he is part of the First Viennese School. At 17, Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. From 1763 he traveled with his family through all of Europe for three years and from 1769 he traveled to Italy and France with his father Leopold after which he took residence in Paris. On July 3rd, 1778, his mother passed away and after a short stay in Munich with the Weber family, his father urged him to return to Salzburg, where he was once again hired by the Bishop. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death.


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Johann Sebastian Bach

Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.  Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.  
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Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.

Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.


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György Kurtág

The musical language of the 20th-century Hungarian composer and pianist György Kurtág refers on the one hand to the spontaneity of Bartók and on the other hand to the concentration of Webern. Kurtágs time in Paris in 1957-1958 was of vital importance to the origin of this language. There he studied with Messiaen and Milhaud, he examined and copied the works of Webern, and he received therapy from the psychologist Marianne Stein, who helped him recover from his depression and stimulated his creativity. The first composition he wrote after his return to Budapest, the String Quartet, was his first work in his own style, which he regarded as his Opus 1. In the 1980’s Kurtág gained international recognition for the first...
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The musical language of the 20th-century Hungarian composer and pianist György Kurtág refers on the one hand to the spontaneity of Bartók and on the other hand to the concentration of Webern. Kurtágs time in Paris in 1957-1958 was of vital importance to the origin of this language. There he studied with Messiaen and Milhaud, he examined and copied the works of Webern, and he received therapy from the psychologist Marianne Stein, who helped him recover from his depression and stimulated his creativity. The first composition he wrote after his return to Budapest, the String Quartet, was his first work in his own style, which he regarded as his Opus 1.
In the 1980’s Kurtág gained international recognition for the first time with his Messages of the Late Miss R.V. Troussova, and his creativity increased, which resulted in several international commissions. Since the 1990’s Kurtág has frequently worked abroad. He was amongst others composer in residence at the Berlin Philharmonic and lived a few years in Paris, where he collaborated with the Ensemble InterContemporain.
Next to his activities as a composer and pianist, Kurtág taught piano and chamber music at the Ferenc Liszt Academy from 1967 until 1993, which led him to write short pedagogical piano works, collected in the still ongoing compendium Játékok (Games), which consists of nine volumes at the moment. Kurtág and his wife Márta regularly perform a selection of pieces from this collection.

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Press

Play album Play album
01.
Ein feste Burg ist unser Gott, BWV80: Und wenn die Welt voll Teufel wär – Das Wort sie sollen lassen stehn
05:24
(Johann Sebastian Bach) Laurens de Man
02.
Gott soll allein mein Herze haben, BWV169: Stirb in mir, Welt, und alle deine Liebe
05:30
(Johann Sebastian Bach) Laurens de Man
03.
Geist und Seele wird verwirret, BWV35: Gott hat alles wohlgemacht
03:59
(Johann Sebastian Bach) Laurens de Man
04.
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV992: I. Arioso. Ist eine Schmeichelung der Freunde, um denselben von seiner Reise abzuhalten
02:09
(Johann Sebastian Bach) Laurens de Man
05.
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV992: II. Ist eine Vorstellung unterschiedlicher Casuum, die ihm in der Fremde könnten vorfallen
01:24
(Johann Sebastian Bach) Laurens de Man
06.
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV992: III. Adagiosissimo. Ist ein allgemeines Lamento der Freunde
02:55
(Johann Sebastian Bach) Laurens de Man
07.
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV992: IV. Allhier kommen die Freunde (weil sie doch sehen, daß es anders nicht sein kann) und nehmen Abschied
00:43
(Johann Sebastian Bach) Laurens de Man
08.
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV992: V. Aria di Postiglione
01:12
(Johann Sebastian Bach) Laurens de Man
09.
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV992: VI. Fuga all’imitatione di Posta
02:56
(Johann Sebastian Bach) Laurens de Man
10.
Musicalische Vorstellung einiger biblischer Historien: Suonata quarta: Der todtkranke und wieder gesunde Hiskias: I. Das betrübte Herz des Königes Hiskias
04:01
(Johann Kuhnau) Laurens de Man
11.
Musicalische Vorstellung einiger biblischer Historien: Suonata quarta: Der todtkranke und wieder gesunde Hiskias: II. Sein Vertrauen, das Gott sein Gebet schon erhöret habe
01:37
(Johann Kuhnau) Laurens de Man
12.
Musicalische Vorstellung einiger biblischer Historien: Suonata quarta: Der todtkranke und wieder gesunde Hiskias: III. Die Freude über seiner Genesung
02:14
(Johann Kuhnau) Laurens de Man
13.
Játékok VI: Apokrif himnusz
01:15
(György Kurtág) Laurens de Man
14.
Játékok VI: Versetto: Consurrexit Cain adversus fratrem suum
00:35
(György Kurtág) Laurens de Man
15.
Játékok VI: Versetto: Dixit Dominus ad Noe
01:00
(György Kurtág) Laurens de Man
16.
Játékok VI: Vízözön–szirénák
00:35
(György Kurtág) Laurens de Man
17.
Játékok VI: Versetto: Temptavit Deus Abraham
00:42
(György Kurtág) Laurens de Man
18.
Musicalische Vorstellung einiger biblischer Historien: Suonata prima: Der Streit zwischen David und Goliath: I. Das Pochen und Trotzen des Goliaths
01:57
(Johann Kuhnau) Laurens de Man
19.
Musicalische Vorstellung einiger biblischer Historien: Suonata prima: Der Streit zwischen David und Goliath: II. Das Zittern der Israeliten und ihr Gebet zu Gott
04:14
(Johann Kuhnau) Laurens de Man
20.
Musicalische Vorstellung einiger biblischer Historien: Suonata prima: Der Streit zwischen David und Goliath: III. Die Hertzhafftigkeit Davids, und das kindliche Vertrauen auf Gottes Hülffe
01:01
(Johann Kuhnau) Laurens de Man
21.
Musicalische Vorstellung einiger biblischer Historien: Suonata prima: Der Streit zwischen David und Goliath: IV. Die zwischen David und Goliath gewechselte Streit-Worte und den Streit selbsten. Die Flucht der Philister
02:09
(Johann Kuhnau) Laurens de Man
22.
Musicalische Vorstellung einiger biblischer Historien: Suonata prima: Der Streit zwischen David und Goliath: V. Das Frohlocken der Israeliten über diesem Siege
01:17
(Johann Kuhnau) Laurens de Man
23.
Musicalische Vorstellung einiger biblischer Historien: Suonata prima: Der Streit zwischen David und Goliath: VI. Das über dem Lobe Davids von denen Weibern chorweise musicirte Concert
01:32
(Johann Kuhnau) Laurens de Man
24.
Musicalische Vorstellung einiger biblischer Historien: Suonata prima: Der Streit zwischen David und Goliath: VII. Die allgemeine in lauter Tantzen und Springen sich äusernde Freude
01:30
(Johann Kuhnau) Laurens de Man
25.
Fantasia in F Minor, KV594: Adagio - Allegro - Adagio
09:52
(Wolfgang Amadeus Mozart) Laurens de Man
26.
Prelude & Fugue in C Major, BWV547: Prelude
04:47
(Johann Sebastian Bach) Laurens de Man
27.
Prelude & Fugue in C Major, BWV547: Fugue
05:12
(Johann Sebastian Bach) Laurens de Man
show all tracks

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