This is the latest in Gerhard
Weinberger's survey of the complete organ works of Bach, recorded
on historic organs for CPO. This particular disc presents an
interesting collection of so-called 'early versions and variants'.
These vary from simple parings of particular pieces from different
compositions as they survive in particular sources, transpositions
(BWV 545a), and sometimes startlingly different versions of
pieces we know, (especially BWV 533a, but also BWV 532a). Most
interesting perhaps are the pieces which are well known in other
versions. Dare I suggest that the small e minor Prelude at least
is perhaps more interesting in this version from Johann Preller
than in the version we all play?
Also of note on this disc
are the instruments, if only because they remind us that the
former Eastern Germany
contains more historic riches than are commonly known. The two
Thuringian instruments here are perhaps by lesser builders than
Hildebrandt or Trost, but both are extraordinary, both visually
and tonally. The Wandersleben instrument was built by one Johann
Georg Schroeter in 1724, and that in Muehlberg by his student
Franscisus Volckland in 1729, with a number of stops surviving
from a rebuild by Ernst Hesse in 1823. Both are two manual instruments
featuring, in typical Central German fashion, Hauptwerk and
Oberwerk, a comparatively large number of 8' and 4' stops, and
very few reeds. The Wandersleben organ was restored by the Waltershausen
company in 1999, and the Muehlberg organ by the same firm in
1997. I must voice reservations about the winding of the latter
organ. I am a great fan of flexible winding - it imparts an
expressive quality on an organ which is essential for the successful
performance of pre-19th century music. Whether the original
winding system in Muehlberg is preserved or not, the notes don't
tell us. But, especially in plenum registrations, the winding
is so extremely unsteady as to constantly affect the pitch dramatically,
causing sea-sickness to set in all too quickly. Perhaps the
fault in Weinberger's - he does indeed use all three Hauptwerk
8's together in the plenum, but even this should hardly have
such an extreme result. I cannot think of another historic organ
in the world where the winding affects the sound so detrimentally,
surely something is not right.
Both churches feature typically
dry Thuringian acoustics, and despite Weinberger's musical and
nimble playing, I find that he doesn't do enough with his articulation
to overcome the acoustical challenge. In general his articulation
tends toward bittiness at the expense of the shape of the motive,
and, where appropriate, of the line. As with earlier releases
from Weinberger, I feel that his playing lacks this last ounce
of sophistication, the elusive link between acoustic, instrument
and articulation as a means of expressing both the affekt in
general and the motive, keeps him out of the premier league
of Bach players: Zerer, Marcon, and my own favourite William
Porter to name but three. I must also quibble with some registrations,
the incomplete jeu de tierce in BWV 653b, and trio registrations
such as 8'3' (Quint)/8'4' and 8'2'/8'4'2' are hardly what Kauffmann
recommends. The one trio played with all 8's (BWV 529/2) is,
not surprisingly far and away the most convincing.
The booklet is good, though
in order to put Weinberger's essay on Straube (really!) into
context, you will have needed to have bought the previous three
volumes! If you have been collecting this series, hardly the
worst Bach cycle at the moment, this will not disappoint. If
the playing isn't quite my thing, I must qualify my criticism
by saying again that Bach interpretation is a highly subjective
field, and that Weinberger's playing on such beautiful and appropriate
instruments will justifiably find admirers.
Chris Bragg
BUY NOW
Gerhard Weinberger
(organ)
