J.S. Bach on the Organ

[Selig]

No, it is a historical French Baroque organ, and I should have mentioned it as an exception from the German organs on the list, especially since Saorgin uses the organ quite coloristically. However, I believe the CD deserves a place among the best Bach recordings on historical organs which are not part of a complete set.

https://ligneorguesremarquables.com/wp-content/uploads/2021/11/LUXEUIL_Composition-16x9-1.pdf

I see there are some videos of Ablitzer playing this organ following the 2020 restoration. I'm enjoying the Titelouze: https://www.youtube.com/watch?v=7XcGuoNjD6c

[Selig]

The quote after all these years shows how valuable that post was - thanks again!

Definitely. I've found some of my favorite Bach recordings thanks to that list.

[prémont]

Recently I acquired Hans Helmut Tillmanns' Bach set comprising 15 Danacord CDs. An expensive set because the CDs have to be bought individually. But the completist in me demanded a purchase.

Tillmanns (1928-2020) was reportedly a pupil of Helmut Walcha and also emphasized Walcha as one of his most important sources of inspiration. Tillmans' Bach set was made from 1999 to 2010, which means that he was 80 years old when the last CD was made.

Surprisingly the individual Bach works are scattered over the 15 CDs in a seemingly unsysthematic way, and it may take some time to find the pieces one wants to listen to. Tillmanns reportedly never intended to produce a complete set, and only about 90 % of the authentic ouvre are recorded. Lacking are, among other things, half of CÜ III, three Leipzig chorales, one Schübler chorale and the Canonic variations. As "compensation" the same take of several of the other chorales may be found scattered over the CDs twice - something I have never seen on other sets. Honestly I don't think this organization of the works cherishes the Bach lover, but reportedly it was Tillmanns himself who wanted it in that way..

Only a few of the used organs are historical organs. The rest are Danish and German organs built mostly after the second world war. The Danish organs are of the not uncommon generic kind. Some of the German organs tend towards the romantic sound. The specifications of the organs are published in the booklets but there is no mention of the individual stops used in specific works. As is well known nor did Walcha publish his registrations but with Walcha's crystal clear approach to this it is possible to deduce the most of it. Tillmanns' more "thick" registrations are very difficult to analyze, especially with regard to the German organs which are largely unknown. Add to this that many of his registrations evoke the sound world of Reger more than Bach.

The performing style is oldfashioned with  what was common in the 1950es and 1960es with much legato playing, unnecessary register changes, overdone end of section ritardando et.c. et.c.

There is not much focus on counterpoint, and the approach is rather homophone and vertical. All in all the playing is technically disciplined with only a few fingerslips and a few very short moments of insecurity which aren't seriously disturbing. And one also has to take Tillmanns' age at the time of the recordings into account.

Not surprisingly the choralbound pieces are best suited to his performing style, and generally they are played in a calm and meditative style, very much worth listening to. The balance between the two upper voices in the triosonates is very fine and the playfulness of these works is nicely realized.

The somewhat unfocused recorded sound adds to the lack of transparency - most distracting in the fugues.

Tillmanns' set has got its moments - particularly in the choral arrangements, but as a whole the set is uncompetitive, not the least concerning its price.

[prémont]

I have now listened to Bergwerff's recording of Bach's trio sonatas twice - both times in one go. In this way I think I get the best impression of the characteristic things about the interpretation.

Most of the movements are played at a deliberately calm tempo, clearly because Bergwerff wants to have time to perform clear phrasing and articulation and to give the listener time to perceive it. This makes the music seem more relaxed and rich in content, and the tensions in the music occur more in the interplay of the two upper voices than as a function of the whole, since the bass mainly serves a harmony function. It is like hearing the music through an aural magnifying glass, where you can focus more on the details. The slow movements naturally become the highlights of this performance, and I hear here a very dedicated and expressive playing, which is often missing with other organists, who are more busy making the recording fit into the playing time of one CD.

Bach's model for the trio sonatas must be assumed to have been the instrumental trio sonata (Corelli, Vivaldi) with two melody instruments at the top and basso continuo at the bottom. For this reason, one should probably be cautious with too heavy registers. Unfortunately, Bergwerff chooses relatively heavy registers in most of the last movements, which leads one to believe that he thinks Bach's model for these movements was the baroque Concerto Grosso, and in addition, the sounding result is here less transparent than in the first movements and the slow movements.

The historical organ used (Wieglieb organ of St. Gumbertuskirche, Ansbach reconstructed by the Reil brothers) has a very individual sound with many characterful registers, which Bergwerff knows how to exploit to a great effect - especially in the slow movements.

The recording brings to mind two earlier recordings. One by Rainer Goede (on the same organ), the other by Daniel Chorzempa, whose playing style is probably the closest to Bergwerff's, although Chorzempa generally has a more detached touch.

Bergwerff's recording is special and absolutely worth knowing.

https://www.an-klang.info/orgeln/wiegleb-orgel-st-gumbertus/

[Que]

Bach's model for the trio sonatas must be assumed to have been the instrumental trio sonata (Corelli, Vivaldi) with two melody instruments at the top and basso continuo at the bottom. For this reason, one should probably be cautious with too heavy registers.

QFT