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
Christopher Herrick (organ)