Johann Pachelbel (1653-1706)
Toccata en ré majeur, P 460
Christ, unser Herr zum Jordan kam, P 62
Fugue en ré mineur, P 227
Allein Gott in der Höh sei Ehr, P 10
Toccata en sol mineur, P 466
Treuer Gott, ich muss dir klagen, P 129
Chorale partita et 4 variations
Vom Himmel hoch, da komm ich her, P 52/C
Gott Vater, der du deine Sonn, P 178
Fugue en do majeur, P 148
Suite en ré mineur
Aria Sebaldina, P 198
Suite en fa majeur
Prélude en sol mineur, P 410
Chaconne en ré majeur, P 40

Johann Caspar Ferdinand Fischer (1665-1746)
Chaconne

Marton Borsanyi, orgue, clavecin

With his compositions for keyboard instruments, Pachelbel left the type of instrument, on which each work could be played, open to the musician. Thus, Márton Borsányi had to consider carefully whether he should play these pieces on the harpsichord or the organ. For those pieces where the virtuoso chose the harpsichord, he is playing on a reproduction of the Mayer harpsichord from 1619 – one of the only 13 instruments preserved from the time of Pachelbel. Where the organ is his choice of instrument, he is playing on the euphonious Deutschmann organ in the Kálvin Square Reformed Church in Budapest. By exploring the full potential of each instrument, Borsányi presents not only a historically accurate interpretation but also one of exceptional musicality and sensitivity. The composer’s ingenuity, which was even praised by Johann Mattheson, an important publicist at the time, is wonderfully expressed here. Márton Borsányi fills the air with the most distinct and distinguished timbres, and proves once more that this music has everything to offer: from a deeply moving aria to the sparkling virtuosity of a Toccata!