Aureole etc.




Golden Age singers

Nimbus on-line




Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett

Johann Sebastian BACH (1685-1750)
The Complete Organ Music played by Christopher Herrick (organ)

Trio Sonatas (CDA66390); 'Great' Fantasias, Preludes and Fugues (CDA66791/2); Toccatas and Passacaglia (CDA66434); Organ Miniatures (CDA67211/2); The Italian Connection (CDA66813); Organ Cornucopia (CDA67139); Orgelbüchlein (CDA66756); Schübler, Leipzig and Kirnberger Chorales (CDA67071/2); Clavierübung and other 'Great' Chorales (CDA67213/4); Partitas and Canonic Variations (CDA66455); Neumeister Chorales (CDA67215); Attributions (CDA67263)
Christopher Herrick (organ)
Rec 1989-1999 DDD
Full details listed at end of review
HYPERION CDS44121/36 [16 CDs: 19 hrs, 34'35]


Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample

BUY NOW 

Crotchet   AmazonUK   AmazonUS

The Hyperion set of the complete organ music of Bach is a worthy tribute to the greatest composer of organ music the world has known. Not only are Christopher Herrick's performances faithful and imaginative, and the recordings accurate and truthful, the organisation and presentation standards of the 16-CD set are exemplary too.

This last point is important, since the listener is just as likely to be seeking out a particular item as to be listening to a longer sequence at random. At the very beginning of the booklet comes a listing made by catalogue (BWV) number, allocating each piece, large and small, to a particular disc. Then the details and introductory notes for each piece are printed in disc order in the booklet. Beyond this there are also specifications and illustration of the organs used in the project. The notes, which are both substantial and lucid, are found in German and English, and run to nearly 200 pages. As such this is an invaluable and substantial source of information.

Bach's formal employment in the role of organist was in the early part of his career only. Therefore most of the organ music we hear today probably originated during the Weimar years, between 1708 and 1717, and was no doubt connected in some way with his duties as court organist there. But even after that time, although he never again directly held an organist's position, Bach required organ music for the purposes of particular occasions such as recitals or ceremonies. He therefore continued the process of composing and revising organ music until the very last years of his life.

The nature of the circumstances that apply to so much of the organ music is reflected in the way that it has been preserved. Except for the Orgelbüchlein (Little Organ Book), Bach seems to have shown little interest at Weimar in publishing collections of his organ music in sets, as he would do with his clavier and instrumental music at Cöthen. This was presumably because he always intended to perform it himself. In fact it was not until much later that he bestowed some kind of order on his manuscripts. The autograph of the six organ sonatas, for instance, dates from about 1727, while all the other published works appeared only during the last decade of his life. It is therefore relatively difficult to be sure of the exact provenance of much of this music. Nor has all of it survived in manuscript, and some of the 'earliest editions' are of doubtful quality, even doubtful authenticity (as this 'complete' set confirms).

In view of all this it is certainly the case that the organ music raises more issues of chronology, and sometimes even of authorship, than any other aspect of the Bach's work as a composer.

As with all great music there is more than one way of playing Bach's organ works, but as ever, in the hands of a fine musician the results will sound as though the performance could not possibly be otherwise. Christopher Herrick is both distinguished enough and talented enough to have been entrusted with this major project, and he offers us performances of estimable virtuosity and musical insight. Across 16 CDs it would be trite to give too generalised a summary of his achievement, but it is true that his approach does lend the music great vitality. Never does he opt for an approach that puts massive monumentality at a higher priority than mobility.

In the Trio Sonatas the style is naturally lighter than in some of the more intellectually inclined pieces, and Herrick's choices of instrument seems unfailingly appropriate in matching the sound quality to the musical priorities. This first disc has many subtleties, of tone colour in particular. These pieces have gained the title ‘trio sonata’ (in Germany ‘orgel-trio’) because there are three parts: right hand, left hand and pedal. There are also doubts about the purpose for which the music was written and, as ever with this composer, some of the musical material is borrowed from other compositions.

In more powerful music, such as the great C minor Passacaglia, the combination of powerful sonority with detail of contrapuntal texture is wonderfully combined. All praise to the recording engineers for their part in achieving this elusive yet crucial balance of opposites. For Bach the term ‘Passacaglia’ signified a set of continuous variations on a repeated short theme. This is the only one of his compositions to bear this formal title, although he did write other works on the ground bass pattern. Developing from a clear-cut eight-bar theme, the work has an architectural grandeur and cumulative sweep that are both compelling and powerful. There is a sequence of twenty variations, followed by a fugue, and the unity is enhanced by merging of one variation into the next, ensuring an effect of continuity. And in the fugue the first half of the theme is combined with a contrasted counter-subject in a display of contrapuntal ingenuity and intellectual power. All these abundant strengths and associated challenges are reflected in Christopher Herrick's playing, and his performance in each case is nothing less than a tour-de-force.

The famous D minor Toccata (and Fugue) likewise has notable momentum and direction, according it great freshness. The unequivocal opening gesture has become almost hackneyed in its insistent presentation, but Herrick succeeds in wiping away any cobwebs with the freshly articulated flow of the music as it proceeds.

In the chorale partitas, dexterity and lightness of colour become significant features, and the choice of the organ at Bremgarten was absolutely right for this purpose. Again the mobility of the musical line is a noteworthy feature, since this affords each of these shorter pieces the opportunity to make its special personality known.

This trend continues throughout the shorter pieces in fact. The chorale preludes of the Meuleister chorales and the Orgelbüchlein are as fine as any in the catalogue, always clearly and spontaneously articulated. The essential simplicity of these brief chorale preludes is not to deny their subtlety, of course, and the special clarity of texture that is the hallmark of the whole set is perhaps the really crucial factor. Never has a cantus firmus line in Bach been so effortlessly and clearly balanced in a recorded performance. Of course the original Lutheran texts will determine the 'meaning' of the music and thus the nature of its performance. Sometimes the sheer vitality of a prelude may strike the listener as surprising, but check it against the text source and Herrick has invariably arrived at the heart of the matter.

The Kirnberger and Leipzig chorales form another important aspect of this large area of chorale prelude repertory, by its very nature something of a byway in Bach's output. Again Herrick does the music the service of clarifying its strengths and articulating the special personality of each individual piece. This is all the more interesting since some of the Leipzig Chorales, for example, offer varied treatments of the same basic material. To compare these is fascinating, of course, all the more since Herrick seems reluctant to overdo the pacing of these items at either extreme of tempo, even when the associated times in the church's calendar might have encouraged him to do so. Perhaps some listeners who know their Bach particularly well, and in the process have established firm opinions in these matters, may feel that these performances miss an opportunity, sensitive though they are to the possibilities in the scores.

The substantial sequences of preludes, fantasias and fugues bring more imposing challenges, for both the performer and the listener, not to mention the recording engineers. For in this repertoire there is more weight, both of intellect and of sound. Perhaps in the C minor Fantasia and Fugue other players, such as Peter Hurford (Decca) have been more sonorously rich, perhaps more massive in tone, but Herrick's view remains equally valid, with its emphasis on clarity of line and attention to detail of texture. The astonishing intellectual cogency of this music comes through very clearly indeed, and its spirit too.

The concerto transcriptions are notoriously difficult to bring off in performance, but Herrick has some lovely touches in this music. Witness, for example, the light shadings of colour that he achieves in the slow movements from Vivaldi's L'estro armonico (original Violin Concertos, Opus 3). These delicate touches are the high point of this aspect of the collection. Perhaps the faster movements seem a little less successful, since the instrument (the organ of St Peter and St Paul, Villmergen) in its acoustic makes a biting and clear articulation seem hard to achieve, so that the rhythmic vitality of the music is articulated less than clearly. The best of the faster concerto movements is surely the finale of the D minor Concerto. On the other hand, the piece based on original music by Johann Ernst seems less inspired, but that response may be related to the quality of the music itself, of course.

Each performer in this repertoire must have his own view of how best to present it, one piece relative to another. Herrick makes out a case for breaking up the music of the famous collection known as the Clavierübung rather more than is generally found. In particular this is true of Part 3, the so-called German Organ Mass, since he places the delightful Four Duets within a separate collection, on a different disc under the heading of 'Miniatures'. And for the remaining Clavierübung music, he carefully chooses an instrument appropriate to the nature of each item, be it the mighty E flat Prelude and Fugue or the ten lighter chorales, which are played on a single-manual chamber organ. Such options are hardly available in the 'real world' and have their indulgent side, to be sure. But for the purposes of a complete collection, for long-term reference on disc, rather than in a live performance, this approach has much to commend it, since it aims to capture the essence of the music.

This impressive collection is completed by groups of 'Miniatures' and 'Attributions'. The latter are treated with just as much respect and faith as the better known masterworks, and the music emerges strongly as a result. The variations known as the Chorale Partita, Allein Gott, stand out especially. If this was not the work of the master, then the composer responsible deserves all possible praise. This disc may not include the most famous music in the set, nor indeed the best, but it is well worth exploring. The commitment of Herrick and his Hyperion colleagues comes across in every bar.

The two discs entitled 'Miniatures' and the other entitled 'Cornucopia' are full of delights, most of them hardly known. The quality of the musical invention is such that it is hardly fair to single out some of pieces above the others, but there is one really strong piece, the Alla breve, BWV589. The sheer range of these smaller-scale items is represented by the comparisons with the slighter and more entertaining, charming pieces inspired by Telemann and Couperin, as examples.

Bach spent his whole life working in northern Germany. However, his organ music, in common with other aspects of his creative work, reveals that as a musician he was thoroughly aware of contemporary musical trends, and in the most international of stylistic contexts. This collection of 16 CDs represents a major undertaking, and undoubtedly ranks among the finest achievements of the recorded music industry in recent times. At such an attractive price, and economically gathered in beautifully designed packaging, any collector who does not already possess recordings of this wonderful music should seek to acquire it.

Terry Barfoot

FULL DETAILS

Disc 1: CDS44121 [72'03] The Six Trio Sonatas

BWV526 Sonata No 2 in C minor [11'30] - BWV528 Sonata No 4 in E minor [9'41] BWV529 Sonata No 5 in C major [14'36] - BWV527 Sonata No 3 in D minor - [13'00] BWV530 Sonata No 6 in G major [11'38] - BWV525 Sonata No 1 in E flat major [10'34] - Metzler organ, Op 555 (1988) - Pfarrkirche St Nikolaus, Bremgarten Recorded on 13 14 November 1989Disc 2: CDS44122 [74'59] The 'Great' Fantasias, Preludes and Fugues (1) BWV542 Fantasia and Fugue in G minor [12'00] -BWV543 Prelude and Fugue in A minor [9'48] - BWV532 Prelude and Fugue in D major [11'08] - BWV544 Prelude and Fugue in B minor [11'00] - BWV541 Prelude and Fugue in G major [7'33] - BWV552 Prelude and Fugue in E flat major ('St Anne') [16'37] - Metzler organ, Op 521 (1982), Jesuitenkirche, Lucerne - Recorded on 21 22 23 24 April 1993 - Disc 3: CDS44123 [75'08] The 'Great' Fantasias, Preludes and Fugues (2) - BWV546 Prelude and Fugue in C minor [12'28] - BWV572 Fantasia in G major [8'44] - BWV548 Prelude and Fugue in E minor ('The Wedge') [13'50] - BWV547 Prelude and Fugue in C major [9'10] - BWV534 Prelude and Fugue in F minor [8'25] - BWV537 Fantasia and Fugue in C minor [8'40] - BWV536 Prelude and Fugue in A major [6'20] - BWV545 Prelude and Fugue in C major [6'00] - Disc 4: CDS44124 [63'54]: The Toccatas and PassacagliaBWV565 Toccata and Fugue in D minor [8'44] - BWV564 Toccata, Adagio and Fugue in C major [15'02] - BWV540 Toccata and Fugue in F major [13'54] - BWV538 'Dorian' Toccata and Fugue in D minor [12'25] - BWV582 Passacaglia in C minor [13'09] - Metzler organ, Op 533 (1983), Stadtkirche, Zofingen - Recorded on 6 7 8 May 1990 - Disc 5: CDS44125 [76'22]: Organ Miniatures (1) BWV589 Allabreve in D major [4'00] - BWV578 'Little' Fugue in G minor [3'28] - BWV533 'Little' Prelude and Fugue in E minor [4'59] - BWV569 Prelude in A minor [5'00] - BWV590 Pastorale in F major [13'55] - BWV549a Prelude and Fugue in D minor [5'45] - BWV577 'Gigue' Fugue in G major [3'25] - BWV1079i Three-part Ricercare in C minor ('Musical Offering') [6'22] - BWV561 Fantasia in A minor [8'33] - BWV583 Trio in D minor [4'51] - BWV563 Fantasia con imitatione in B minor [3'30] - Four Duets [11'53] - BWV802 Duet in E minor [2'44] - BWV803 Duet in F major [3'26] - BWV804 Duet in G major [2'59] - BWV805 Duet in A minor [2'41] - Metzler organ, Op 571 (1992), Stadtkirche St Martin, Rheinfelden - Recorded on 19 20 21 November 1996 - Disc 6: CDS44126 [79'39]: Organ Miniatures (2) BWV550 Prelude and Fugue in G major [6'37] - BWV585 'Fasch' Trio in C minor [5'36] - BWV551 Prelude in A minor [5'20] - BWV587 'Couperin' Aria in F major [4'16] - BWV539 Prelude and 'Fiddle' Fugue in D minor [6'48] - BWV1027a Trio in G major (transcription) [3'08] - BWV568 Prelude in G major [2'43] - BWV576 Fugue in G major [4'13] - BWV566 Toccata in E major [10'20] - BWV570 Fantasia in C major [2'38] - BWV575 Fugue in C minor [3'58] - BWV535 Prelude and Fugue in G minor [7'04] - BWV588 Canzona in D minor [4'49] - BWV586 'Telemann' Trio in G major [4'19] - BWV1079v Six-part Ricercare in C minor ('Musical Offering') [7'13] - Disc 7: CDS44127 [65'53]: The Italian Connection BWV594 Concerto in C major (after Vivaldi) [19'15] - BWV593 Concerto in A minor (after Vivaldi) [12'20] - BWV596 Concerto in D minor (after Vivaldi) [11'15] - BWV579 Fugue on a theme of Corelli in B minor [4'59] - BWV592 Concerto in G major (after Johann Ernst) [7'55] - BWV595 Concerto movement in C major (after Johann Ernst) [3'58] - BWV574 Fugue on a theme of Legrenzi in C minor [5'35] -Metzler organ, Op 489 (1978), Pfarrkirche St Peter und Paul, Villmergen -Recorded on 4-5 May 1994 Disc 8: CDS44128 [75'18] Organ Cornucopia BWV-Anh55 Herr Christ, der einig Gottes Sohn [1'53] - BWV573 Fantasia in C major (unfinished) [0'47] - BWV562ii Fugue in C minor (unfinished) [1'19] - BWV764 Wie schön leuchtet der Morgenstern (unfinished) [1'09] - BWV753 Jesu, meine Freude (unfinished) [1'45] - BWV598 Pedal-Exercitium (unfinished) [1'39] - BWV762 Vater unser im Himmelreich [2'45] - BWV571 Concerto in G major [7'46] - BWV741 Ach Gott vom Himmel sieh darein [4'54] - BWV743 Ach, was ist doch unser Leben [3'22] - BWV580 Fugue in D major [3'18] - BWV747 Christus, der uns selig macht [3'45] - BWV754 Liebster Jesu, wir sind hier [3'21] - BWV723 Gelobet seist du, Jesu Christ [1'47] - BWV567 Prelude in C major [1'24] - BWV946 Fugue in C major [3'06] - BWV758 O Vater, allmächtiger Gott [3'36] - BWV591 Kleines harmonisches Labyrinth [5'06] - BWV597 Concerto in E flat major [6'22] - BWV755 Nun freut euch, lieben Christen gmein [2'12] - BWV765 Wir glauben all an einen Gott [2'38] - BWV584 Trio in G minor [2'48] - BWV531 Prelude and Fugue in C major [6'53] - Metzler organ, Op 471 (1975), Pfarrkirche St Michael, Kaisten - Recorded on 14 15 April 1999 Disc 9: CDS44129 [72'22] The Orgelbüchlein Prayer for Faith - BWV639 Ich ruf zu dir, Herr Jesu Christ [2'18] - Advent - BWV600 Gottes Sohn ist kommen [0'53] - BWV599 Nun komm, der Heiden Heiland [1'06] -BWV602 Lob sei dem allmächtigen Gott [0'52] - BWV601 Herr Christ, der ein'ge Gottes Sohn [1'24] -Salvation through Faith - BWV638 Es ist das Heil uns kommen her [1'03] - Christmas - BWV604 Gelobet seist du, Jesu Christ [1'24] - BWV612 Wir Christenleut [1'16] - BWV609 Lobt Gott, ihr Christen, allzugleich [0'46] - BWV610 Jesu, meine Freude [2'16] - BWV603 Puer natus in Bethlehem [0'52] - BWV605 Der Tag der ist so freudenreich [1'36] - BWV607 Vom Himmel kam der Engel Schar [1'06] - BWV611 Christum wir sollen loben schon [1'49] - BWV608 In dulci jubilo [1'06] - BWV606 Vom Himmel hoch da komm ich her [0'44] - Before the Sermon - BWV633/634 Liebster Jesu, wir sind hier (two settings played as one) [1'52] - BWV632 Herr Jesu Christ, dich zu uns wend [1'09] - New Year - BWV614 Das alte Jahr vergangen ist [1'58] - BWV613 Helft mir Gotts Güte preisen [1'05] - BWV615 In dir ist Freude [2'57] - Purification - BWV616 Mit Fried und Freud ich fahr dahin [1'26] - BWV617 Herr Gott, nun schleuss den Himmel auf [1'55] - Passiontide - BWV620 Christus, der uns selig macht [2'17] - BWV618 O Lamm Gottes, unschuldig [2'58] - BWV624 Hilf Gott, dass mir's gelinge [1'15] - BWV622 O Mensch, bewein dein Sünde gross [5'27] - BWV619 Christe, du Lamm Gottes [0'48] - BWV623 Wir danken dir, Herr Jesu Christ [1'08] - BWV621 Da Jesus an dem Kreuze stund [1'16] - The Lord's Prayer - BWV636 Vater unser im Himmelreich [0'59] - Fall and Redemption - BWV637 Durch Adams Fall ist ganz verderbt [1'48] - For the Dying - BWV644 Ach wie nichtig, ach wie flüchtig [0'46] - BWV643 Alle Menschen müssen sterben [1'50] - Easter - BWV629 Erschienen ist der herrliche Tag [1'09] - BWV628 Erstanden ist der heilge Christ [0'47] - BWV627 Christ ist erstanden [3'40] - BWV626 Jesus Christus, unser Heiland, der den Tod [0'46] - BWV625 Christ lag in Todesbanden [1'33] - The Ten Commandments - BWV635 Dies sind die heilgen zehn Gebot [1'04] - Trust in God - BWV640 In dich hab ich gehoffet, Herr [1'01] - BWV642 Wer nur den lieben Gott lässt walten [1'38] - Ascension - BWV630 Heut triumphieret Gottes Sohn [1'25] - In times of trouble - BWV641 Wenn wir in höchsten Nöten sein [2'00] - Pentecost - BWV631 Komm, Gott Schöpfer, Heiliger Geist [1'01] - Metzler organ, Op 571 (1992), Stadtkirche St Martin, Rheinfelden - Recorded on 2-3 May 1994 Disc 10: CDS44130 [74'16] The Schübler Chorales and Leipzig Chorales (1) SCHÜBLER CHORALES - BWV645 Wachet auf, ruft uns die Stimme [5'32] - BWV646 Wo soll ich fliehen hin [1'21] - BWV647 Wer nur den lieben Gott lässt walten [3'03] - BWV648 Meine Seele erhebt den Herren [1'41] - BWV649 Ach bleib bei uns, Herr Jesu Christ [2'19] - BWV650 Kommst du nun, Jesu, vom Himmel herunter [3'16] - LEIPZIG CHORALES (1) - BWV651 Komm, Heiliger Geist Herre Gott [5'42] - BWV652 Komm, Heiliger Geist Herre Gott [7'50] - BWV665 Jesus Christus, unser Heiland, der von uns [4'01] - BWV666 Jesus Christus, unser Heiland, der von uns [2'38] - BWV664 Allein Gott in der Höh sei Ehr [4'24] - BWV662 Allein Gott in der Höh sei Ehr [7'02] - BWV663 Allein Gott in der Höh sei Ehr [6'22] - BWV657 Nun danket alle Gott [3'56] - BWV654 Schmücke dich, o liebe Seele [6'30] - BWV659 Nun komm, der Heiden Heiland [4'20] - BWV660 Nun komm, der Heiden Heiland [2'48] - BWV661 Nun komm, der Heiden Heiland [2'26] - Metzler organ, Op 521 (1982), Jesuitenkirche, Lucerne - Recorded on 19 20 21 April 1995 Disc 11: CDS44131 [72'52] The Leipzig Chorales (2) and Kirnberger Chorales LEIPZIG CHORALES (2) - BWV656 O Lamm Gottes, unschuldig [6'43] - BWV653 An Wasserflüssen Babylon [4'47] - BWV655 Herr Jesu Christ, dich zu uns wend [3'31] - BWV658 Von Gott will ich nicht lassen [4'05] - BWV667 Komm, Gott Schöpfer, Heiliger Geist [2'13] - BWV668 Vor deinen Thron tret ich hiermit [4'44] - KIRNBERGER CHORALES - Advent and Christmas - BWV703 Gottes Sohn ist kommen [0'46] - BWV699 Nun komm, der Heiden Heiland [0'53] - BWV701/700 Vom Himmel hoch da komm ich her [4'00] - BWV704 Lob sei dem allmächtigen Gott [0'53] - BWV696 Christum wir sollen loben schon [1'08] - BWV698 Herr Christ, der einig Gottes Sohn [0'56] - BWV713 Jesu, meine Freude [3'50] - BWV697 Gelobet seist du, Jesu Christ [0'47] - BWV710 Wir Christenleut [2'01] - BWV702 Das Jesulein soll doch mein Trost [1'25] - Liturgical - BWV709 Herr Jesu Christ, dich zu uns wend [1'43] - BWV705 Durch Adams Fall ist ganz verderbt [2'23] - BWV706 Liebster Jesu, wir sind hier [1'21] - BWV707/708 Ich hab mein Sach Gott heimgestellt [5'08] - Easter - BWV695 Christ lag in Todesbanden [2'46] - BWV711 Allein Gott in der Höh sei Ehr [3'04] - Trinity - BWV691/690 Wer nur den lieben Gott lässt walten [3'15] - BWV712 In dich hab ich gehoffet, Herr [2'07] - BWV694 Wo soll ich fliehen hin [3'00] - Postlude - BWV653b An Wasserflüssen Babylon (pedale doppio) [4'11] Disc 12: CDS44132 [74'52] The Clavierübung and other 'Great' Chorales (1) BWV552i Prelude in E flat major [9'12] - BWV669 Kyrie, Gott Vater in Ewigkeit [2'59] - BWV670 Christe, aller Welt Trost [4'14] - BWV671 Kyrie, Gott Heiliger Geist [4'18] - BWV676 Allein Gott in der Höh sei Ehr [4'30] - BWV678 Dies sind die heilgen zehn Gebot [4'53] - BWV680 Wir glauben all an einen Gott [3'24] - BWV682 Vater unser im Himmelreich [6'27] - BWV684 Christ, unser Herr, zum Jordan kam [3'50] - BWV686 Aus tiefer Not schrei ich zu dir [5'12] - BWV688 Jesus Christus, unser Heiland, der von uns [3'30] - BWV552ii Fugue in E flat major ('St Anne') [6'06] - BWV730 Liebster Jesu, wir sind hier [1'59] - BWV731 Liebster Jesu, wir sind hier [2'18] - BWV736 Valet will ich dir geben [4'13] - BWV675 Allein Gott in der Höh sei Ehr [3'10] - BWV735 Valet will ich dir geben [3'45] - Metzler organ, Op 533 (1983), Stadtkirche, Zofingen - Recorded on 6 7 8 9 May 1998 Disc 13: CDS44133 [75'56] The Clavierübung and other 'Great' Chorales (2) BWV672 Kyrie, Gott Vater in Ewigkeit [1'15] - BWV673 Christe, aller Welt Trost [1'17] - BWV674 Kyrie, Gott Heiliger Geist [1'22] - BWV677 Allein Gott in der Höh sei Ehr [1'01] - BWV679 Dies sind die heilgen zehn Gebot [2'12] - BWV681 Wir glauben all an einen Gott [1'27] - BWV683 Vater unser im Himmelreich [1'08] - BWV685 Christ, unser Herr, zum Jordan kam [1'13] - BWV687 Aus tiefer Not schrei ich zu dir [4'46] - BWV689 Jesus Christus, unser Heiland, der von uns [3'16] - Metzler organ, Op 533 (1983), Stadtkirche, Zofingen - BWV728 Jesus, meine Zuversicht [2'08] - BWV718 Christ lag in Todesbanden [4'54] - BWV717 Allein Gott in der Höh sei Ehr [2'40] - BWV716 Allein Gott in der Höh sei Ehr [2'15] - BWV715 Allein Gott in der Höh sei Ehr [2'14] - BWV725 Herr Gott, dich loben wir [6'55] - BWV721 Erbarm dich mein, o Herre Gott [4'19] - BWV733 Meine Seele erhebt den Herrn [4'23] - BWV740 Wir glauben all an einen Gott [4'13] - BWV726 Herr Jesu Christ, dich zu uns wend [1'04] - BWV720 Ein feste Burg ist unser Gott [3'17] - BWV727 Herzlich tut mich verlangen [2'18] - BWV739 Wie schön leuchtet der Morgenstern [4'35] - BWV734 Nun freut euch, lieben Christen gmein [2'03] - BWV738 Vom Himmel hoch, da komm ich her [1'22] - BWV724 Gottes Sohn ist kommen [1'04] - BWV722 Gelobet seist du, Jesu Christ [1'35] - BWV732 Lobt Gott, ihr Christen, alle gleich [1'25] - BWV729 In dulci jubilo [2'43] - Metzler choir organ, Op 509 (1980), Stadtkirche, Zofingen Disc 14: CDS44134 [64'56] The Partitas and Canonic Variations BWV768 Partita: Sei gegrüsset, Jesu gütig [16'27] - BWV769 Canonic Variations: Vom Himmel hoch da komm ich her [12'18] - BWV766 Partita: Christ, der du bist der helle Tag [8'41] - BWV767 Partita: O Gott, du frommer Gott [14'25] - BWV770 Partita: Ach, was soll ich Sünder machen? [12'26] - Metzler organ, Op 555 (1988), Pfarrkirche St Nikolaus, Bremgarten - Recorded on 5 6 7 May 1991 Disc 15: CDS44135 [79'32] The Neumeister Chorales BWV714 Ach Gott und Herr [2'08] - BWV719 Der Tag der ist so freudenreich [1'33] - BWV737 Vater unser im Himmelreich [1'50] - BWV742 Ach Herr, mich armen Sünder [2'17] - BWV957 Machs mit mir, Gott, nach deiner Güt [1'57] - BWV1090 Wir Christenleut [2'03] - BWV1091 Das alte Jahr vergangen ist [2'48] - BWV1092 Herr Gott, nun schleuss den Himmel auf [2'04] - BWV1093 Herzliebster Jesu, was hast du verbrochen [2'27] - BWV1094 O Jesu, wie ist dein Gestalt [2'16] - BWV1095 O Lamm Gottes, unschuldig [2'04] - BWV1096 Christe, der du bist Tag und Licht [2'37] - BWV1097 Ehre sei dir, Christe, der du leidest Not [1'49] - BWV1098 Wir glauben all an einen Gott [2'16] - BWV1099 Aus tiefer Not schrei ich zu dir [3'05] - BWV1100 Allein zu dir, Herr Jesu Christ [2'07] - BWV1101 Durch Adams Fall ist ganz verderbt [3'18] - BWV1102 Du Friedefürst, Herr Jesu Christ [2'50] - BWV1103 Erhalt uns, Herr, bei deinem Wort [1'24] - BWV1104 Wenn dich Unglück tut greifen an [1'41] - BWV1105 Jesu, meine Freude [2'19] - BWV1106 Gott ist mein Heil, mein Hilf und Trost [1'41] - BWV1107 Jesu, meines Lebens Leben [1'47] - BWV1108 Als Jesus Christus in der Nacht [2'23] - BWV1109 Ach Gott, tu dich erbarmen [2'11] - BWV1110 O Herre Gott, dein göttlich Wort [2'06] - BWV1111 Nun lasst uns den Leib begraben [2'25] - BWV1112 Christus, der ist mein Leben [1'22] - BWV1113 Ich hab mein Sach Gott heimgestellt [2'28] - BWV1114 Herr Jesu Christ, du höchstes Gut [2'48] - BWV1115 Herzlich lieb hab ich dich, o Herr [2'40] - BWV1116 Was Gott tut, das ist wohlgetan [1'39] - BWV1117 Alle Menschen müssen sterben [2'43] - BWV1118 Werde munter, mein Gemüte [1'50] - BWV1119 Wie nach einer Wasserquelle [1'20] - BWV1120 Christ, der du bist der helle Tag [2'39] - Metzler choir organ, Op 509 (1980), Stadtkirche, Zofingen - Recorded on 15 18 April 1999 Disc 16: CDS44136 [76'43] Bach Attributions BWV553 'Little' Prelude and Fugue No 1 in C major [3'57] - BWV759 Schmücke dich, o liebe Seele [2'36] - BWV554 'Little' Prelude and Fugue No 2 in D minor [3'01] - BWV752 Jesu, der du meine Seele [1'19] - BWV763 Wie schön leuchtet der Morgenstern [1'24] - BWV757 O Herre Gott, dein göttlich Wort [1'29] - BWV555 'Little' Prelude and Fugue No 3 in E minor [3'21] - BWV692 Ach Gott und Herr [1'46] - BWV693 Ach Gott und Herr [2'08] - BWV556 'Little' Prelude and Fugue No 4 in F major [2'39] - BWV760 Vater unser im Himmelreich [2'54] - BWV761 Vater unser im Himmelreich [3'38] - BWV557 'Little' Prelude and Fugue No 5 in G major [3'26] - BWV745 Aus der Tiefe rufe ich [3'36] - BWV746 Christ ist erstanden [1'29] - BWV558 'Little' Prelude and Fugue No 6 in G minor [3'22] - BWV744 Auf meinen lieben Gott [1'12] - BWV748 Gott der Vater wohn uns bei [3'19] - BWV581 Fugue in G major [1'26] - BWV756 Nun ruhen alle Wälder [0'50] - BWV559 'Little' Prelude and Fugue No 7 in A minor [2'30] - BWV749 Herr Jesu Christ, dich zu uns wend [0'44] - BWV750 Herr Jesu Christ, meines Lebens Licht [0'57] - BWV751 In dulci jubilo [1'35] - BWV560 'Little' Prelude and Fugue No 8 in B flat major [3'33] - BWV771 Partita: Allein Gott in der Höh sei Ehr [18'08] - Metzler organ, Op 471 (1975), Pfarrkirche St Michael, Kaisten - Recorded on 13 14 April 1999 - DDD - Recording Engineer: Paul Niederberger - Editing Engineer: Steve Portnoi - Recording Producer: Paul Spicer - Design: Terry Shannon - Executive producers: Joanna Gamble; Andreas Gautschi; Cecile Kelly; Edward Perry; Simon Perry; Justin Sillman



Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

 

Musicweb sells the following labels
Acte Préalable Arcodiva
British Music Soc.
CDAccord
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter


Subscribe to our free weekly newsletter

Return to Index

Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.