MICHEL CHAPUIS (Organ) BACH Das orgelwerk vol. 7, 2LP MINT Still Sealed
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Description
Michel Chapuis (French pronunciation: ?[mi??l ?ap?i]) (15 January 1930 – 12 November 2017) was a French classical organist and pedagogue. He was especially known as an interpreter of the French and the German Baroque masters and dedicated to historically informed performances.[1]
Chapuis was born in Dole, Jura, France, and had his early training there, on the organ of the Cathedral of Dole. In 1943, he studied the piano with Émile Poillot in Dijon. In 1945 came his first serious study of the organ with Jeanne Marguillard, organist of the Besançon Cathedral. He then studied at the École César Franck in Paris under René Mahlherbe (composition) and Édouard Souberbielle (organ). He had further studies with Marcel Dupré at the Conservatoire de Paris and won prizes in organ and improvisation in 1951 (the Prix Périlhou et Guilmant).
Chapuis was organist for the Paris churches of St Germain l'Auxerrois 1951-54 and St Nicolas des Champs 1954-72, accompanied at Notre Dame 1955-64, and was titular organist of St Séverin from 1964. He also toured widely as a concert artist.[2]
From 1956-79 he was Professor at the Conservatoire de Strasbourg, 1979-86 at the Besançon Conservatoire, and 1986-95 at the Paris Conservatoire. From 1996-2010, he was organist at the Versailles Royal Chapel.
During his lifetime, he performed every surviving piece of French organ music from the 17th and 18th centuries on the Cliquot organ of St Nicolas des Champs.
He also produced numerous recordings matching early repertoire to historic instruments. His important recordings included the complete organ works of Johann Sebastian Bach (1966), considered by many as one of the best recordings of this oeuvre.[3]
Johann Sebastian Bach - Michel Chapuis ?– Das orgelwerk vol. 7
Label:
Telefunken ?– 6.35082 EK
Series:
Das Alte Werk –
Format:
2 × Vinyl, LP
Country:
Germany
Released:
1976
Genre:
Classical
Style:
Baroque
Tracklist
A1 Toccata d-moll (Toccata un Fuge), BWV 565 7:50
A2 Fuge c-moll über ein Thema von Giovanni Legrenzi, BWV 574 6:10
A3 Toccata E-dur (Preludium und Fuge), BWV 566 9:15
B1 Toccata (Toccata, Adagio und Fuge) C-dur, BWV 564 13:03
B2 Trio d-moll, BWV 583 4:05
B3 Preludium und Fuge a-moll, BWV 551 5:08
C1 Passacaglia c.moll, BWV 582 12:28
C2 Fuge h-moll über ein Thema von Corelli, BWV 579 3:51
C3 Canzona h-moll, BWV 588 5:03
D1 Fantasie G-dur, BWV 572 8:16
D2 Allabreve D-dur, BWV 589 3:12
D3 Pastorale F-dur, BWV 590 11:21
Credits
Composed By – Johann Sebastian Bach
Organ – Michel Chapuis
GOLDMINE GRADING
MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.
NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.
VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.
VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.
GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.
POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.
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