The Art of Fugue

[Mandryka]

I'd forgotten how alert Tribukait's recording is - the impression is of lively independent voices sparking off each other. Decent sound, characterful organ. Really nice performance IMO.

[Mandryka]

And now to this and you suddenly realise what's missing from the Trebukait. Something which I can only characterise as a visionary quality, presumably born of a transmitted intensity and commitment to the music. You'll just have to hear it to see if I'm right, but it may be a problem because as far as I know it's never been commercially transferred - does anyone know if there's a CD or commercial digital transfer?



Laurenskerk Rotterdam, a Marcussen, presumably equal temperament. To me it sounds fine!

[prémont]

While I find Tribukait's AoF among the most interesting organ renderings of this work I know (I know >55 organ versions), Alains first version on the Sint Laurenskerk, Rotterdam has always been my favorite organ version along with Walcha's Sint Laurenskerk, Alkmaar version, despite Alain's modern Marcussen organ with equal tuning (BTW the Alkmaar organ is also equally tuned). You hit the nail talking of Alain's visionary quality. Never seen it released on CD. I made a relatively good digital transfer, which I shared at SS many years ago. Maybe it's not accessible to day. If you want it - it may be better than the one you have - please let me know.

[Mandryka]

If you want it - it may be better than the one you have - please let me know.

I have yours -- that's what I was listening to! (Just ordered the Van Dijk)

[Dry Brett Kavanaugh]

Is this LP record the same?

https://www.lpshop-b-platte.com/SHOP/349691.html

[Mandryka]

Is this LP record the same?

https://www.lpshop-b-platte.com/SHOP/349691.html

Yes

https://www.bach-cantatas.com/NVP/Alain-NV4.htm

[Mandryka]

Is this LP record the same?

https://www.lpshop-b-platte.com/SHOP/349691.html

I wouldn't turn up your nose at her second recording.

[Mandryka]

It is a temptation which I have resisted for many years . . . finally to succumb.

I will  not try to prove that The art of Fugue was conceived for the organ. Let us leave to J S Bach the free beauty of this marvelous mental and spiritual game, and the pleasure for having written for once in his life a work without any specific occasion or deadline in mind. It was all too true that this work was bringing in no revenue. Alas Bach was forced to put it aside and to move on to more pending work on which he focused his concentration, until death overtook him, leaving one of the most beautiful fugues unfinished, dropping off voice by voice in a final pattern of eight notes.

Like most musicians I professed for many years that the Art of Fugue was meant to be read, but who has the right to restrict the beauty, the dramatic life, the balance, the lyricism of these pages, only to those specialists capable of "reading" the score.

In the time of J S Bach the transcription of a musical work was a commonly employed practice. Even the most famous composers took part in adapting concertos from keyboard to violin . . . and all with natural ease. In keeping with this practice, what could be more characteristic than to present a version of Art of Fugue on the organ?

As an organist I belong to that category of special beings who live in a separate world, and who have a tendency to relate everything to their incredible instrument. Bach too was an organist, as were all the composers who lived from the creation of plyphonic music at the end of the 18th century. Bach was above all an organist. All his music adapts itself readily to  the fingers and feet of an organist; it is all too true that singers and wind instrumentalists are plagued by the absence of breathing places.

Numerous experiences have shown me that this music is not instrumental in the 19th century sense of the word. For the 18th century composer the same piece passed indiscriminately from the keyboard to the bow. The organist must consider the possible bowings in his search for the correct phrasing, while the violinist (or singer) is often obliged to consult the keyboard.

Those who are familiar with the scholastical style of writing called the "vocal" style, are well aware that its sung execution is impossible. In the super counterpoint of Art of Fugue, the human voice must be excluded. The only instrument which can express the contrapuntal style perfectly is the organ, an instrument which, for once, cannot be criticised for its lack of natural respiration. The organ has inexhaustible lungs. Alone it can maintain a sound far beyond the possibilities afforded by the human breathing apparatus. If the inhuman side has often been criticised, it is because too many organists have forgotten to play one of their roles -- to make the instrument breathe, imposing the necessary respirations on every musical phrase.

Marie Claire Alain's sleeve notes for the first recording.

[Mandryka]

I have to say I think this is one of the top tier AoF's on record, partly because of the organ, partly because of the unusual registrations throughout (you won't hear much plenum - and what amazing trumpets on the Bordeaux instrument!), and partly because of the intensity and élan. She's extremely authoritative.

Does anyone have the booklet? I believe Kei Koito talks about the organ and registrations, and mentions the role of Kenneth Weiss in the performance.

Once again, Japanese musician, imbued in Western culture, comes up with a corker.

[BWV 1080]

Need to look into these organ recordings, really the only recording I listen to is the Reinhard Goebel

[Dry Brett Kavanaugh]

Does anyone have the booklet?

Maybe this?

http://www.kei-koito.com/wp-content/uploads/kunst_der_fuge_en.pdf

[Mandryka]

Maybe this?

http://www.kei-koito.com/wp-content/uploads/kunst_der_fuge_en.pdf

Good find!

[prémont]

Good find!

I'm of course going to upload the rest of the booklet.

[Dry Brett Kavanaugh]

I have to say I think this is one of the top tier AoF's on record, partly because of the organ, partly because of the unusual registrations throughout (you won't hear much plenum - and what amazing trumpets on the Bordeaux instrument!), and partly because of the intensity and élan. She's extremely authoritative.

Does anyone have the booklet? I believe Kei Koito talks about the organ and registrations, and mentions the role of Kenneth Weiss in the performance.

Once again, Japanese musician, imbued in Western culture, comes up with a corker.

Listening to the album now.
Always I wanted to visit the Bordeaux region because Michel de Montaigne, one of my favorite philosophers, was from the region. That was a ferocious region during the Religious War. I hope one day I will visit his castle and the church with this organ. I imagine the church is a Catholic church, but I'm not sure. I'm not very interested in the wine or brandy over there.

[Dry Brett Kavanaugh]

I'm of course going to upload the rest of the booklet.

Does this mean that you too like Koito's AOF? Or you even like her (unique) performance in general?

[prémont]

Does this mean that you too like Koito's AOF? Or you even like her (unique) performance in general?

In my opinion she is hit or miss. Her AoF is very fine IMO, but I have heard other Bach playing from her which was rather wilful.

[Dry Brett Kavanaugh]

In my opinion she is hit or miss. Her AoF is very fine IMO, but I have heard other Bach playing from her which was rather wilful.

    

[prémont]

   

What's your opinion of Koito in general.

[Dry Brett Kavanaugh]

What's your opinion of Koito in general.

I think her style is very unique and I'm more familiar with other organists. Plus the AOF in organ format is more abstract and difficult to follow sometimes.

[San Antone]

Has this been mentioned?

Lydia Maria Blank - Die Kunst der Fuge