The 45 chorale preludes of the Orgelbüchlein testify to the perfect art of organ improvisation as the congregation understood it at the time as an introduction to their own singing. It seemed a particularly attractive idea to take up this original practice: together with the Ensemble Vocal Bergamasque and the Maîtrise de Notre-Dame de Paris, Benjamin Alard realizes this and thus reveals the deep meaning and great power of these works.
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