The
world of ‘complete’ sets of the organ works of J.S. Bach
has been in a state of gentle flux for as long as I can
remember. I grew up, blissfully ignorant of the arguments
as to what should be included and what left out, and greatly
in awe of the Decca recordings by Peter Hurford. While
I still treasure his playing I have since become more uneasy
about his selection of some of the organs used. These include
American instruments which, while gorgeous of sound, do
on occasion conjure the image of plush crematoria rather
than that of Baroque cathedrals.
Gerhard
Weinberger’s hefty 22 disc box is, at time of writing,
certainly the most complete set of J.S. Bach’s organ works
currently available. It ticks the box of exclusively using
instruments contemporary with the composer. CPO and Weinberger
also cover their bases by including all of Bach’s arrangements
and numerous works whose authenticity are still in question.
The final discs include
Die Kunst der Fuge, which
is by no means invariably included as a standard for the
organ, and this is preceded on disc 21 by the
Chorale
Fantasy BWV 1128, which was only discovered in March
2008.
The
early volumes cover a good deal of ground in the swathes
of chorale preludes without which no Bach organ collection
would ever be complete. The programming splits these up
with the great preludes and fugues. While there will always
be favourites, there wasn’t a disc in this box where I
felt either a lack of variety or the intrusion of a piece
which didn’t belong in any particular sequence. I happen
to find these swathes of chorale preludes to be remarkably
toothsome. Weinberger is sensitive to the vocal origins,
subtle colours and almost infinite variety of lines which
these miniature masterpieces can create. Bach’s chorales
are a staple in music education, but no matter how often
the rules were hammered into us students I never ceased
in my admiration for Bach’s inventiveness in these pieces,
being confronted by my own limitations at an early age
at the same time.
The
exclusive use of genuine baroque organs for this set can
generate some genuine rough-and-ready excitement. Don’t
always expect the kind of mean tuning you would find on
later instruments, but do revel in the kind of punchy sound
generated by the pedals which open the
Praeludium et
Fuga in C BWV 531 on the first disc. One can only imagine
the effect this kind of thing would have had on contemporary
audiences, and for me this still very much has the power
to inspire and uplift today. Hearing it on the kind of
instrument for which it was written just emphasises the
synergy which makes this entire set the vibrant and pulsating
box of temptations it undoubtedly is.
At
over 24 hours of music, I’m afraid my stamina isn’t up
to giving a note-for-note evaluation of every work here,
but we can certainly grab some favourites both personal
and universal along the way. Weinberger’s technique is
beyond question throughout this set, but intricate fugues
such as that of
BWV 541 on disc 2 sound exceptionally
breathtaking to me. This CD has chorales of gorgeous sensitivity
bookended by two powerful Prelude and Fugues, and
BWV
546 takes off like a rocket. Critics have pointed to
a certain severity in Gerhard Weinberger’s Bach playing,
but I will take a more four-square directness over fussy
tinkering and romantic up-and-down buttock clenching in
this music any day. Weinberger himself seems to refute
this with an other-worldly entry into disc 3, with the
descending gossamer of notes which is
Non komm, der
Heiden Heiland BWV 599. That said, my tear-ducts have
been jerked more powerfully than the
Herr Christ...
BWV 601 which we get here, though this might have something
to do with the slightly less appealing and more remote
sound of the recently revived Joachim Wagner organ on this
disc. The
Orgelbüchlein is full of gems, and Weinberger
gets the best out of the expressive, slower and less densely
notated pieces such as the lovely
Christum wir sollen...
BWV 611 and the sublime
O Mensch... BWV 622,
but some detail does suffer elsewhere in this particular
environment.
Disc
4 also has an organ whose sound takes a little aural adjustment
to appreciate, that by the little known maker Nicolaus
Seeber in Haina. This is a village church, so the smaller,
more intimate sound and acoustic are to be expected. The
rather narrow soundstage was a bit of a surprise however.
The chamber music nature of the
Partita BWV 767 works
well enough however, though some of the tuning is a bit
gristly on the ear. Once again it is the quieter, rounder
stops used in such chorales as
Ich ruf zu dir BWV 639 which
come off best. While I must admit to being fascinated by
some of the colours on this kind of instrument, I suspect
many might consider it a bit hard-going for repeated listening,
authentic or not. Disc 5 increases the scale a bit, moving
us to the Joachim Wagner organ at St Marien, Angermünde.
The
Praeludium et Fuga BWV 535 does sound very fine,
but might be accused of lacking that last ounce of ebullience
and extrovert showmanship which can lift this further beyond
being a rather academic exercise. Setting the different
versions of various chorales against each other works well
however, giving the ear a chance to compare and contrast,
and to appreciate the chameleon nature of the organ in
expressing the same tune in myriads of different ways.
The gorgeous and gentle
Pastorella in F BWV 590 sounds
particularly full of character here. The
Praeludium of
BWV
543 sounds like the babbling brook which streams forth
from that country landscape. The following
Fuga also
receives a strong performance.
Should
you require reassurance the full glory of the Christoph
Treutmann Organ at Grauhof monastery restores one’s faith
in the magnificence of these baroque instruments. Disc
6 opens with the grand
Praeludium et Fuga BWV 545.
Some critics have accused Weinberger of rhythmic instability
in some of these fugues, but I think this is a misunderstanding
of the nature of this kind of baroque beast. With all the
stops out you can hear how the heaviest notes take a little
longer to ‘speak’ than others. The job of the organist
to anticipate where necessary is of course part of the
deal, but this is rarely a science you can pin down with
point-blank accuracy, especially when the player is not
working on their home turf. The vocal quality of this organ’s
lower reeds is strikingly portrayed in
Ein feste Burg
BWV 720, and there follows a piece for which I have
a huge soft spot,
Erbarm dich mein, o Herre Gott BWV
721. Hurford gives too little separation in the repeating
chords in this, and my previous favourite, Wolfgang Stockmeier,
which I’ve lugged from country to country on the original
Sonata label LPs, is bouncier than Weinberger. I do like
Weinberger’s elegance of touch and sense of direction however,
and this version sounds a little more like the sound we
made playing a flute orchestra piece ‘Das Zauberschnitzel’,
a section of which used this accompaniment to fit under
Mozart’s D major flute concerto theme for one of those
Mozart-year concerts in Groningen. Talk of Bach being brought
into the present day makes me point out the opening to
the
Praeludium et Fuge in D BWV 532, which sounds
as funky here as I’ve heard it anywhere, and the eleven
variations of
BWV 768 are also a joy from this instrument.
The
Heinrich Gottfried Trost Organ in the Schlosskirche at
Altenburg has a very pleasing sound, with a ‘chuffing’ attack
to the notes in some registers which provides a different
kind of articulation in some of the chorales. The famous
Sonata
BWV 526 rolls along at pace in its opening
Vivace,
but the closer acoustic means that detail is maintained
and all the lines can be followed with ease. Weinberger
doesn’t linger too lovingly over the central
Largo,
and the final
Allegro seems ideally paced. Upper
register vibrato makes
Lobt Gott...BWV 732 sound
a bit like a cinema Wurlitzer. Disc 7 ends with a rather
compressed sounding performance of the great
Passacaglia
in c BWV 582, which I have to admit has impressed more
elsewhere. Weinberger might better have played this at
a slower tempo on one of the more expansive instruments.
Going
though this set one by one over a rather more truncated
period than would ideally be the case means having to allow
one’s ears to accept the differences in perspective between
locations as well as those of the various instruments.
I know the Martinikerk in Groningen, and can only wonder
at why the CPO engineers decided to narrow the stereo perspective
in disc 8. Possibly an attempt to manage the vast acoustic,
at first it makes you feel you are listening to the organ
through a kind of aural telescope but from the wrong end.
The definition of the pedals is not the easiest to follow,
for instance in the
Fantasia et Fuga BWV 537, which
is a bit of a shame, since the performance is sound enough.
Plenty of detail is lost in the thicker moments of works
such as the
Fantasia BWV 542/1, and the
Toccata
et Fuga in d BWV 538 is another masterpiece whose full
potential is somewhat clouded by the recording. What should
have been a highlight of this set turns out to be something
of a frustration.
Disc
9 comes from the dry acoustic of the Dreifaltigkeitskirche
in Gräfenhain, and the lively sound of the Christoph Thielemann
Organ exposes the notes of the Neumeister chorales to rather
more fresh air than we’re used to hearing. There is some
nice, intimate playing here, but I wasn’t inspired to point
out anything of particular note. The opening chorale of
the
Partita BWV 766 sounds particularly dutiful
and Calvinistic here. I for one am grateful that this instrument
isn’t used more widely on this set. Disc 10 brings us to
the more satisfying Heinrich Gottfried Trost Organ in the
Kirche “zur Gottshilfe” at Walterhausen. This has some
frisky overtones which makes the
Praeludium et Fuga
BWV 547 sound as if there is distortion on the recording,
and the lower tones of the well known chorale
Nun komm,
der Heiden Heiland BWV 660 are sweeter, but reveal
the intrusive mechanical noises made by the instrument – it
really is swings and roundabouts with some of these old
organs, but who said time-travel would always be a comfortable
ride. Disc 11, and the quality of the Gottfried Silbermann
Organ in the Dorfkirche at Ponitz is immediately apparent
in the striking opening to the
Praeludium et Fuga BWV
534. The small but pleasantly rounded acoustic suits
the
Clavierübung III chorales and duets very nicely
and there are no big surprises, though the
Fughetta
BWV 677 is given a querulous vibrato which sounds like
young choristers shivering in a deep midwinter. There are
almost inevitably some minor typos in the substantial booklet
notes, but page 83 has every track as no.14, which has
been a first even for a seasoned old CD salt like me.
Disc
12 brings us to another fairly small and intimate setting,
that with the Heinrich Gottfried Trost Organ in St Walpurgis
Groengottern at Thüringen. This is well suited to the works
selected, and the light-footed
Sonata BWV 525 is
full of transparency and fleet articulation. The active
pedal in the
BWV 566 Toccata is also clear and almost
spot-lit. The continued Neumeister chorales work better
here than from Gräfenhain, and the other Sonata,
BWV
528 echoes the airy gestures of its partner at the
opening of the CD.
I’ve
always secretly rather liked the rather measured
Clavierübung
III playing of Alena Veselá on Supraphon. Weinberger
brings us to the Christoph Treutmann organ at Grauhof Monastery
which is if anything even grander sounding than the instrument
in the Prague Dvořák Hall. Comparison in the
Praeludium
BWV 552,1 does show some of Weinberger’s wrinkles with
rhythm, putting in more micro-rubati and flexing with more
freedom than Veselá. This might irritate some, but I found
it suited the instrument and the wild and hairy acoustic
rather well, giving the music some appropriate breathing
space. Weinberger’s view on the
Clavierübung III is
set firmly in the monumental work of substance and grandeur
camp, and many of the movements appear arguably to err
on the static side but usually become convincing as the
layers and resonances build.
Disc
14 is the first of two which deal with Bach’s organ transcriptions.
Part 1 was recorded on the Joachim Wagner Organ at the
Dom St Peter und Paul in Brandenburg, and this is certainly
a magnificent instrument on which to conjure orchestral
effects. There are some fascinating arrangements here,
such as the Fugue of
BWV 539 which turns out to
be from the violin solo Sonata in G BWV 1001. While not
a straight transcription, Weinberger does well to keep
the feeling of lightness in this kind of piece, and nowhere
does he make a meal of works which tend to be more genial
in nature than most of the church music. With disc 15 we
enter the swimming-pool acoustic of St. Wenzel in Naumburg.
The Zacharias Hildebrandt Organ is a fine instrument and
I do love a resonant acoustic, but this environment does
push definition pretty much to the limit. Accepting some
loss of detail in the denser textures, there is still much
to be relished here however, and the famous chorale
Wachet
auf... BWV 645 brushes up well. The Vivaldi Concerto
transcription
BWV 596 creates some remarkable effects,
though that of
BWV 593 with its more active inner
voices seems to respond less well to the acoustic.
Disc
16 keeps us in Naumburg. This rather special disc has the
Pièce
d’Orgue in G BWV 572 and other free compositions by
Bach, the
Fuga BWV 542/2 and the
Praeludium et
Fuga BWV 536. These noble works do sound very good
in this environment, over-acoustic or not, and Weinberger
is easily capable of getting the best both out of the music
and the instrument. The other pieces on the disc also work
well enough, though the simple textures of lighter works
such as the
Sonata BWV 527 do sound rather swampy,
and the central
Adagio e dolce does come across
as rather lumbering and heavy. I do love the variations
on
Vom himmel Hoch BWV 769a, and despite the rather
less nimble sounding pedals the playing does have a fine
quality on this recording.
Disc
17 retreats from big spaces, and the Johann Goerg Schröter
Organ at St Petri in Wandersleben is another rather crisp
sounding instrument in a relatively dry acoustic. This
is a fine organ however, and the playful trio the
Praeludium,
Trio et Fuga BWV 541 & 528/3 is great fun. The
fugues do sound rather dutiful however, and without the
lubricating effect of resonance one does miss a feeling
of legato in general. The
Praeludium BWV 562/1 does
sound particularly dramatic here, though the addition of
vibrato in
BWV 545b does give rise to some unsettling
acoustic effects in the opening prelude.
The
next three discs are dedicated to works ascribed to J.S.
Bach, but of doubtful authenticity. There is a mixture
of reasons for this. There are sometimes works initially
ascribed to the master and given BWV catalogue status but
which have since become discredited, pieces for which there
is too little evidence of his mastery at work, and copied
manuscripts which could be well from original pieces by
Bach, but whose stylistic oddity or clumsy technique make
his authorship doubtful. There are reams of more or less
interesting material, and a few rough gems such as the
Kleines
harmonisches Labyrinth BWV 591 at the end of Disc 18,
which has an imaginative miniature fantasia-like prelude
welded to a rather limp fugue. Who is to say J.S. Bach
didn’t have his off days just like the rest of us, and
as a result some of these pieces are equally as interesting,
if not so elegantly executed as comparable works elsewhere
in his ‘oeuvre’. Readers may be surprised to find Bach’s
most famous piece, the
Toccata and Fugue in D minor
BWV 565 included among these pieces, at the beginning
of disc 19. Aside from any stylistic peculiarities, there
is no original manuscript source, so while the arguments
rage there is certainly no proof one way or another. Weinberger’s
performance of this staple is good, though there is less
dynamic contrast between the manuals on the Gottfried Silbermann
Organ at the Hofkirche in Dresden than we’ve heard from
other instruments, though this is once again partly a side-effect
of barely manageable acoustic resonance.
The
final two discs bring us a rather special gift; that of
a newly discovered
Fantasia BWV 1128, which was
discovered amongst some papers auctioned in Leipzig in
2008. The first five bars had previously been known from
another source, and while the new manuscript is only a
copy experts at the Bach Archive in Leipzig have confirmed
that it must be by J.S. Bach. The influence of Buxtehude
can be heard in this piece, and it is reckoned to be a
work by the composer in younger days at Lübeck. This is
followed, spread over two discs, by an elegant performance
of
Die Kunst der Fuge BWV 1080. With no instrumental
specification on the manuscript or printed editions it
is fairly logical to interpret this great work on the organ,
and Weinberger is not the first to do this. He certainly
makes it more appealing than Herbert Tachezi on his 1977
Archiv recording which I have hung on to on LP for the
only reason that the box also contains a copy of the score.
I don’t see it available anywhere on CD and can’t say I’m
surprised. The Johannes Creutzburg Organ at the Propsteikirche
St. Cyriakus in Duderstadt on the present recording has
a sweet, round tone which suits this music very well, allowing
the ear to be soothed as the brain wrestles with the contrapuntal
intricacies of the music. Academics may argue about the
order of the movements or the inclusion of the
Chorale
BWV 668 at the end, but for me this is a strong and
worthwhile performance which puts a noble crown on the
top of this musical mountain.
How
to sum up? Most of the discs in this box have been made
available singly over the years, and there have been plenty
of mixed reviews. If I have a problem with the playing,
it is the rather clipped approach to fugues and the somewhat
severe, academic feel which remains as an aftertaste on
some of the discs. Weinberger is clearly capable of playing
with poetry and expressiveness, and many of the chorale
preludes are genuinely gorgeous and even moving. The project
of recording J.S. Bach’s works on instruments of his time
is a significant one, but at times has to be seen as something
of a mixed blessing. There are numerous discs which I suspect
I will rarely want to play, simply because the sound is
too desiccated to float my boat. Maybe I have a stereotypical
idea of what an organ should sound like. I can appreciate
the importance of recording certain instruments, but this
doesn’t mean they will become much loved sound documents
for repeated listening. That said, these instruments and
recordings bring us close to what Bach would have recognised
as ‘his’, and for that we can value this set. More so we
can value Gerhard Weinberger’s expert guidance through
this towering musical achievement, and for the most part
the all-time favourites come across very well indeed. As
previously mentioned, this is the most ‘complete’ set of
Bach’s organ works currently in the catalogue. It does
however have strong competition from
Marie-Claire
Alain, Kevin Bowyer, Christopher Herrick, Peter Hurford,
Hans Fagius, Ton Koopman and the like. Much of what you
yourself will think of this chunky CPO box is down to personal
taste, and, bearing in mind that the perfect complete set
of J.S. Bach’s organ works is never likely to exist, I
can only conclude that your library and your spiritual
and artistic wellbeing is more likely to be enhanced than
damaged by having this box on your shelves.
This
set is to J.S. Bach’s organ works what the Yorkie once
was to chocolate bars: big, chunky, and almost entirely
satisfying, but not necessarily
everyone’s favourite.
Dominy Clements
MusicWeb International
reviews of individual discs
Detailed Tracklisting
CD 1
[73:15]
Prelude & Fugue
in D minor, BWV 549 [6:05]
Chorale Prelude
Wer
nur den lieben Gott lässt walten, BWV 690 [2:47]
Chorale Prelude
Wer nur den lieben Gott lässt walten, BWV 691 [2:11]
Chorale Prelude
Wo soll ich fliehen hin, BWV 694 [3:36]
Chorale Prelude (Fantasia
super)
Christ lag in Todes Banden, BWV 695 [4:10]
Prelude & Fugue in
C major, BWV 531 [6:51]
Chorale Prelude
Christum
wir sollen loben schon, BWV 696 [1:45]
Chorale Prelude
Gelobet seist du, Jesu Christ, BWV 697 [1:10]
Chorale Prelude (Fughetta)
Herr
Christ, der einig Gottes Sohn, BWV 698 [1:28]
Chorale Prelude
Nun
komm der Heiden Heiland, BWV 699[1:37]
Chorale Prelude
Vom Himmel hoch, da komm ich her, BWV 700[3:34]
Chorale Prelude
Vom Himmel hoch, da komm ich her, BWV 701 [1:27]
Chorale Prelude
Gottes Sohn ist kommen, BWV 703 [1:03]
Chorale Prelude
Lob sei dem allmächtigen Gott, BWV 704 [1:23]
Prelude & Fugue
in E minor, BWV 533 [4:38]
Chorale Prelude
Liebster
Jesu, wir sind hier, BWV 706/I und II [4:00]
Chorale Prelude
Herr
Jesu Christ, dich zu uns wend (II), BWV 709 [3:26]
Chorale Prelude
Wir Christenleut, BWV 710 [2:11]
Chorale Prelude
Allein Gott in der Höh sei Ehr (VII), BWV 711 [3:53]
Chorale Prelude
In dich hab ich gehoffet, Herr, BWV 712 [2:24]
Chorale Prelude (Fantasia super)
Jesu, meine Freude, BWV 713 [5:31]
Prelude & Fugue in A minor, BWV 551 [6:13]
Gottfried Silberman
Organ, Dom St. Marine, Freiburg, 1711-14
CD 2
[72:42]
Prelude & Fugue
in G major, BWV 541 [7:15]
Chorale Prelude (Fantasia
super)
Komm, Heiliger Geist, BWV 651 [5:53]
Chorale Prelude
Komm, heiliger Geist, BWV 652 [10:15]
Chorale Prelude
An Wasserflüssen Babylon, BWV 653 [6:06]
Chorale Prelude
Schmücke dich, o liebe Seele, BWV 654 [8:39]
Chorale Prelude (Trio super)
Herr Jesu Christ, dich zu uns wend, BWV
655 [3:38]
Chorale Prelude
O Lamm Gottes unschuldig, BWV 656 [8:53]
Chorale Prelude
Nun danket alle Gott, BWV 657 [4:57]
Chorale Prelude
Von Gott will ich nicht lassen, BWV 658 [4:25]
Prelude & Fugue
in C minor, BWV 546 [11:55]
Gottfried Silberman
Organ, Dom St. Petri, Freiburg, 1734-35
CD 3
[68:31]
Chorale Prelude
Nun
komm der Heiden Heiland, BWV 599 [1:58]
Chorale Prelude
Gott, durch deine Güte, BWV 600 [1:22]
Chorale Prelude
Herr Christ, der einig Gottes Sohn, BWV 601 [1:42]
Chorale Prelude
Lob sei dem allmächtigen Gott, BWV 602 [1:00]
Chorale Prelude
Puer natus in Bethlehem, BWV 603 [2:16]
Chorale Prelude
Gelobet seist du, Jesu Christ, BWV 604 [2:00]
Chorale Prelude
Der Tag, der ist so freudenreich, BWV 605 [2:02]
Chorale Prelude
Vom Himmel hoch, da komm ich her, BWV 606 [0:58]
Chorale Prelude
Vom Himmel kam der Engel schar, BWV 607 [1:20]
Chorale Prelude
In dulci jubilo, BWV 608 [1:42]
Chorale Prelude
Lobt
Gott, ihr Christen, allzugleich, BWV 609 [1:03]
Chorale Prelude
Jesu, meine Freude, BWV 610 [2:27]
Chorale Prelude
Christum wir sollen loben schon, BWV 611 [3:28]
Chorale Prelude
Wir Christenleut', BWV 612 [1:55]
Chorale Prelude
Helft mir Gottes Güte preisen, BWV 613 [1:23]
Chorale Prelude
Das alte Jahr vergangen ist, BWV 614 [2:26]
Chorale Prelude
In dir ist Freude, BWV 615 [3:07]
Chorale Prelude
Mit Fried' und Freud' ich fahr dahin, BWV 616 [2:12]
Chorale Prelude
Herr Gott, nun schleuss den Himmel auf, BWV 617 [2:21]
Chorale Prelude
O Lamm Gottes unschuldig, BWV 618 [5:48]
Chorale Prelude
Christe, du Lamm Gottes, BWV 619 [1:43]
Chorale Prelude
Christus, der uns selig macht, BWV 620 [2:36]
Chorale Prelude
Da Jesus an dem Kreuze stund', BWV 621 [2:09]
Chorale Prelude
O Mensch, bewein' dein' Sünde gross, BWV 622 [4:58]
Chorale Prelude
Wir danken dir, Herr Jesu Christ, BWV 623 [1:19]
Chorale Prelude
Hilf Gott, dass mir's gelinge, BWV 624 [1:40]
Chorale Prelude
Christ lag in Todesbanden, BWV 625 [1:40]
Chorale Prelude
Jesus Christus, unser Heiland, BWV 626 [1:01]
Chorale Prelude
Christ ist erstanden, BWV 627 [4:11]
Chorale Prelude
Erstanden ist der heil'ge Christ, BWV 628 [0:51]
Chorale Prelude
Erschienen ist der herrliche Tag, BWV 629 [1:08]
Chorale Prelude
Heut triumphieret Gottes Sohn, BWV 630 [1:35]
Chorale Prelude
Komm, Gott Schöpfer, heiliger Geist, BWV 631 [1:08]
Joachim Wagne Organ, Nidarosdom
Trondheim, Norway, 1739-41
CD 4
[73:15]
Chorale Partita
O Gott,
du frommer Gott, BWV 767 [14:50]
Chorale Prelude
Durch
Adams Fall ist ganz verderbt, BWV 637 [1:46]
Chorale Prelude
Es ist das Heil uns kommen her, BWV 638 [0:58]
Chorale Prelude
Ich ruf zu dir, Herr Jesu Christ, BWV 639 [2:26]
Chorale Prelude
In dich hab ich gehoffet, Herr, BWV 640 [1:04]
Chorale Prelude
Wenn wir in höchsten Nöten sein, BWV 641 [2:03]
Chorale Prelude
Wer nur den lieben Gott lässt walten, BWV 642 [1:27]
Chorale Prelude
Alle Menschen müssen sterben, BWV 643 [1:36]
Chorale Prelude
Ach wie nichtig, ach wie flüchtig, BWV 644 [0:53]
Fugue on a theme by
Corelli in B minor, BWV 579 [5:13]
Prelude in G major,
BWV 568 [2:56]
Fugue on a theme by
Legrenzi in C minor, BWV 574 [6:30]
Chorale Prelude
Herr
Jesu Christ, dich zu uns wend, BWV 632 [1:35]
Chorale Prelude
Liebster Jesu, wir sind hier, BWV 633 [1:52]
Chorale Prelude
Liebster Jesu, wir sind hier, BWV 634 [1:52]
Chorale Prelude
Dies sind die heilgen zehn Gebot, BWV 635 [1:14]
Chorale Prelude
Vater
unser im Himmelreich, BWV 636 [1:24]
Fugue in G minor, BWV 578
[3:41]
Chorale Partita
Ach,
was soll ich Sünder machen, BWV 770 [15:02]
Prelude in A minor,
BWV 569 [3:57]
Nicolaus Seeber Organ,
Dorfkirche Haina, 1718-20
CD 5
[67:22]
Prelude and Fugue in
G minor BWV 535 [7:17]
Fugal Fantasia (Fuga super)
Allein
Gott in der Höh sei Ehr, BWV 716 [2:14]
Chorale Prelude
Allein
Gott in der Höh sei Ehr, BWV 715 [2:45]
Chorale Prelude
Allein Gott in der Hoh' sei Ehr', BWV 717 [3:28]
Chorale Prelude
Nun
freut euch, lieben Christen, BWV 734 [2:25]
Trio in D minor BWV 583
[5:55]
Chorale Prelude
Gelobet
seist du, Jesu Christ, BWV 722 [1:42]
Chorale Prelude
Gelobet seist du, Jesu Christ, BWV 723 [2:32]
Chorale Prelude
Gott,
durch deine Güte (Gottes Sohn ist kommen), BWV 724
[1:26]
Prelude and Fugue in G BWV 550 [7:02]
Chorale Prelude
Wie
schön leuchtet uns der Morgenstern, BWV 739 [5:19]
Chorale Prelude
In dulci
jubilo, BWV 729 [2:35]
Pastorella in F BWV
590 [12:38]
Prelude and Fugue in A minor BWV 543 [9:19]
Joachim Wagner organ,
St Marien, Angermünde.
CD 6 [77:26]
Prelude and Fugue in C BWV 545 [6:20]
Chorale Prelude
Ein
feste Burg ist unser Gott, BWV 720 [4:08]
Chorale Prelude
Erbarm
dich mein, o Herre Gott, BWV 721 [6:00]
Chorale Prelude
Herzlich
tut mich verlangen, BWV 727 [2:38]
Chorale Prelude
Ach
Gott vom Himmel sieh darein, BWV 741 [5:55]
Chorale Prelude (Fantasia
Super)
Valet will ich dir geben, BWV 735 [4:33]
Prelude and Fugue in
D, BWV 532 [10:52]
Chorale Partita
Sei
gegrüsset, Jesu gütig, BWV 768 [22:39]
Prelude and Fugue in
E minor, BWV 548 [14:11]
Christoph Treutmann Organ, Kloster Grauhof, 1734-37
CD 7
[69:00]
Chorale Prelude
Valet
will ich dir geben, BWV 736 [4:46]
Chorale Prelude
Christ
lag in Todesbanden, BWV 718 [4:51]
Chorale Prelude
Herr
Jesu Christ, dich zu uns wend, BWV 726 [1:24]
Sonata No. 2 in C minor
BWV 526 [11:19]
Fugue on the Magnificat:
Meine
Seele erhebet den Herren, BWV 733 [4:45]
Chorale Prelude
Vom
Himmel hoch, da komm ich her, BWV 738 [1:30]
Chorale Prelude
Lobt
Gott, ihr Christen, allzugleich, BWV 732 [1:30]
Sonata No. 5 in C major
BWV 529 [15:00]
Chorale Prelude
O Lamm
Gottes, unschuldig BWV 1085 [3:45]
Chorale Prelude
O Lamm
Gottes, unschuldig (chorale) BWV 1085 [2:26]
Chorale Prelude
Liebster
Jesu, wir sind hier, BWV 730 [2:10]
Chorale Prelude
Liebster Jesu, wir sind hier, BWV 731 [2:52]
Passacaglia & Fugue
in C minor, BWV 582 [12:02]
Heinrich Gottfried Trost
Organ, Schlosskirche Altenburg, 1735-39
CD 8
[68:00]
Toccata & Fugue
in F major, BWV 540/1 [8:00]
Fantasia & Fugue
in C minor, BWV 537 [8:57]
Fantasia in C major,
BWV 570 [2:50]
Fantasia & Fugue
in G minor, BWV 542/1 [5:35]
Fantasia con imitazione
in B minor, BWV 563 [4:31]
Toccata, Adagio & Fugue
in C major, BWV 564 [14:34]
Fantasia in C minor,
BWV 562 [6:08]
Fantasia in C minor,
BWV 1121 [4:19]
Toccata & Fugue
in D minor, BWV 538 [11:48]
Organ Martinikerk, Groningen
CD 9
[76:52]
Fugue in C minor BWV 575
[4:13]
Chorale Prelude
Du Friedefurst,
Herr Jesu Christ BWV 1102 [3:15]
Chorale Prelude
Der
tag, der ist so freudenreich BWV 719 [1:48]
Chorale Prelude
Wir
Christenleut BWV 1090 [2:00]
Chorale Prelude
Das
alte Jahr vergangen ist BWV 1091 [3:05]
Chorale Prelude
Herr
Gott, nun schleuss den Himmel auf BWV 1092 [2:24]
Chorale Prelude
Herrliebster
Jesu, was hast du verbrochen BWV 1093 [2:03]
Chorale Prelude
O Jesu,
wie ist dein Gestalt BWV 1094 [4:11]
Chorale Prelude
O Lamm
Gottes unschuldig BWV 1095 [2:49]
Chorale Prelude
Christe,
der du bist BWV 1096 [2:51]
Chorale Prelude
Ehre
sei dir, Christe BWV 1097 [2:38]
Chorale Prelude
Wir
glauben all BWV 1098 [2:49]
Chorale Prelude
Aus
tiefer Not BWV 1099 [2:31]
Chorale Partita
Christ,
der du bist der helle Tag, BWV 766 [10:30]
Chorale Prelude
Allein
zu dir, Herr Jesu Christ BWV 1100 [2:31]
Chorale Prelude
Ach
Gott und Herr, BWV 714 [3:45]
Chorale Prelude
Ach
Herr, mich armen Sunder BWV 742 [2:57]
Chorale Prelude
Durch
Adams Fall BWV 1101 [3:23]
Chorale Prelude
Erhalt
uns, Herr BWV 1103 [1:48]
Chorale Prelude
Vater
unser im Himmelreich, BWV 737 [3:02]
Chorale Prelude
Wenn
dich Ungluck tut greifen an BWV 1104 [1:43]
Chorale Prelude
Jesu,
meine Freude BWV 1105 [1:53]
Chorale Prelude
Gott
ist mein Heil BWV 1106 [2:37]
Chorale Prelude
Jesu,
meines Lebens Leben BWV 1107 [1:41]
Fugue in G major BWV
577 [3:48]
Christoph Thielemann Organ,
Dreifaltigkeitskirche, Gräfenhain, 1728-31
CD 10
[68:22]
Prelude & Fugue in
C major, BWV 547 [9:17]
Chorale Prelude
Nun
komm der Heiden Heiland, BWV 659 [4:42]
Chorale Prelude (Trio super)
Nun komm der Heiden Heiland, BWV 660
[3:21]
Chorale Prelude
Nun komm der Heiden Heiland, BWV 661 [2:46]
Chorale Prelude
Allein Gott in der Höh sei Ehr, BWV 662 [7:40]
Chorale Prelude
Allein Gott in der Höh sei Ehr, BWV 663 [8:00]
Chorale Prelude (Trio super)
Allein Gott in der Höh sei Ehr, BWV 664
[5:00]
Chorale Prelude
Jesus Christus, unser Heiland, BWV 665 [4:19]
Chorale Prelude
Jesus Christus, unser Heiland, BWV 666 [3:03]
Chorale Prelude
Komm, Gott Schöpfer, heiliger Geist, BWV 667 [2:22]
Chorale Prelude
Vor deinen Thron tret ich hiermit, BWV 668 [4:28]
Prelude & Fugue
in B minor, BWV 544 [12:47]
Heinrich Gottfried Trost
Organ, Kirche “zur Gottshilfe” Walterhausen, 1724-30
CD 11
[68:22]
Prelude & Fugue
in F minor, BWV 534 [8:43]
Chorale Prelude
Kyrie,
Gott Vater in Ewigkeit, BWV 672 [1:33]
Chorale Prelude
Christe, aller Welt Trost, BWV 673 [1:19]
Chorale Prelude
Kyrie, Gott heiliger Geist, BWV 674 [1:22]
Chorale Prelude
Allein
Gott in der Höh sei Ehr, BWV 675 [3:29]
Chorale Prelude (Fughetta super)
Allein Gott in der Höh sei Ehr, BWV
677 [1:21]
Chorale Prelude (Fughetta super)
Dies sind die heilgen zehn Gebot,
BWV 679 [2:04]
Chorale Prelude (Fughetta super)
Wir glauben all an einen Gott, BWV
681 [1:30]
Chorale Prelude
Vater unser im Himmelreich, BWV 683 [1:34]
Chorale Prelude
Christ, unser Herr, zum Jordan kam (II), BWV 685 [1:39]
Chorale Prelude
Aus tiefer Not schrei ich zu dir, BWV 687 [4:39]
Chorale Prelude (Fuga super)
Jesus Christus unser Heiland, BWV 689
[5:13]
Allabreve BWV 589 [7:02]
Canzona BWV 588 [5:59]
Vier Duette BWV 802-805
[12:18]
Fugue in F major BWV
540/2 [5:46]
Gottfried Silbermann
Organ, Dorfkirche Ponitz, 1737
CD 12 [68:04]
Sonata No. 1 in E flat major, BWV 525 [11:52]
Prelude and Fugue in C major, BWV 566 [9:27]
Organ Chorales from the Neumeister Collection, BWV1108-1120 & 957
Sonata No. 4 in E minor, BWV 528 [9:59]
Rec 11-13 July 1999, Heinrich Gottfried Trost Organ, St Walpurgis Groengottern,
Thüringen, 1716
CD 13 [72:02]
Third Part of the Clavier Übung (pub. 1739)
Praeludium in E flat BWV 552/1 [9:15]
Chorale Preludes with pedal: Kyrie, Gott Vater in Ewigweit BWV 669 [4:19]
Christe, aller Welt Trost BWV 670 [6:01]
Kyrie, Gott heiliger Geist BWV 671 [5:25]
Allein Gott in der Höh sei Ehr BWV 676 [5:53]
Dies sind die heilgen zehn Gebot BWV 678 [6:13]
Wir glauben all an einem Gott BWV 680 [3:16]
Vater unser im Himmelreich BWV 682 [12:19]
Christ, unser Herr, zum Jordan kam BWV 684 [4:21]
Aus tiefer Not schrei ich zu dir BWV 686 [6:19]
Jesus Christ, unser Heiland BWV 689 [3:58]
Fugue in E flat BWV 552/2 [7:09]
Recorded October 2001 on the Christoph Treutmann organ (built 1734-1737)
at the Monastery Grauhof (near Goslar)
CD 14 [59:02]
"Arrangements Part I"
Concerto in C major, BWV 594 [19:02]
Trio in B minor, BWV 790 [1:58]
Trio in G, major BWV 586 [4:24]
Fugue in G minor, BWV 131a [2:32]
Trio in C minor, BWV 585 [5:45]
Prelude and fugue in D minor, BWV 539 [7:36]
Sonata in G major, BWV 1027a/Anh II,46 [12:09]
Concerto in C major, BWV 595 [4:29]
Joachim Wagner Organ, Dom St Peter und Paul, Brandenburg, 1723
CD 15
[62:26]
“Arrangements part II”
Concerto in G major, BWV 592 [7:48]
Schübler Chorales, BWV 645-650 (from Bach Cantatas) [19:14]
Concerto in D minor, BWV 596 (after Antonio Vivaldi) [11:34]
Concerto in A minor, BWV 593 (after Antonio Vivaldi) [11:34]
Aria in F major, BWV 587 (after François Couperin) [3:42]
Ricercar in C minor for 6 voices, BWV 1079/5 (after Bach's Musical Offering)
[8:32]
Zacharias Hildebrandt Organ, St. Wenzel, Naumburg, 1734-46
CD 16 [68:29]
Pièce d’Orgue in G major, BWV 572 [8:31]
Sonata No 3 in D minor, BWV 527 [14:07]
Fuga in G minor BWV 542/2 [6:05]
Choralbearbeitung Jesus, meine Zuversicht manualietr, BWV 728 [1:58]
Sonata No 6 in G major, BWV 530 [14:01]
Praeludium et Fuga in A major, BWV 536 [7:38]
Kanonische Veränderungen über Vom Himmel hoch, da komm ich herr, BWV 769a
(autographe Fassung) [14:34]
Zacharias Hildebrandt Organ, St Wenzel, Naumburg, 1734-46
CD 17
[65:59]
Praeludium, Trio et
Fuga in G major, BWV 541 and 528/3 [10:21]
Praeludium et Fuga, BWV 533a [4:51]
Praeludium et Fuga in G minor, BWV 535a [5:57]
Fantasia et Fuga in C minor, BWV 562/1 and 546/2 [11:10]
Praeludium, Trio et Fuga in C major, BWV 545 and 529/2 [11:31]
Choralbearbeitung An Wasserfluessen Babylon a 5 parti con 2 tastiere e pedale
doppio, BWV 653b [5:26]
Fuga, BWV 532a [4:36]
Praeludium, Trio et Fuga in B major, BWV 545b [11:59]
Johann Goerg Schröter
Organ, St Petri Wandersleben, 1724
CD 18
[73:56]
Fantasia in G major,
BWV 571 [7:22]
Chorale Prelude
Erhalt
uns Herr BWV Anhang II 50 [2:26]
Chorale Prelude
Freu
dich sehr, o meine Seele BWV Anhang II 52 [3:01]
Chorale Prelude
Es ist
gewisslich an der Zeit BWV 755 [2:48]
Chorale Prelude
Ein
feste Burg ist unse Gott, BWV Anhang II 49 [3:36]
Chorale Prelude
Vom
Himmel hoch, BWV Anhang II 64 [1:57]
Chorale Prelude
Herr
Jesu Christ, dich zu uns wend, BWV 749 [1:17]
Chorale Prelude
Herr Jesu Christ, meins Lebens Licht, BWV 750 [1:11]
Chorale Prelude
Nun
ruhen alle Wälder, BWV 756 [1:13]
Chorale Prelude
Se Lob
und Ehr, BWV Anhang II 62a [2:51]
Partita
O Vater, allmächtiger
Gott, BWV 758 [4:52]
Chorale Prelude
Herr
Jesi Christ, wahr’ Mensch und Gott, BWV deest [3:14]
Chorale Prelude
Herr
Jesi Christ, wahr’ Mensch und Gott, BWV deest [1:50]
Kleines harmonisches Labyrinth,
BWV 591 [4:39]
Chorale Prelude
Wir
glauben all an einen Gott, BWV 765 [3:13]
Chorale Prelude (Fughetta)
Das
Jesulein soll doch mein Trost, BWV 702 [1:49]
Chorale Prelude
Jesu,
meine Freude BWV Anhang II 58 [3:21]
Chorale Prelude
Durch
Adams Fall ist ganz verdebt, BWV 705 [3:03]
Chorale Prelude
Ich hab mein Sach Gott heimgestellt, BWV 707 [5:54]
Chorale Prelude
Ich hab mein Sach Gott heimgestellt alio modo, BWV
708 [1:01]
Chorale Prelude
Ich
hab mein Sach Gott heimgestellt, BWV 708a [0:49]
Aria
Ich rud zu dir,
Herr Jesu Christ BWV deest [1:59]
Chorale Prelude
Komm
heiliger Geist BWV deest [2:48]
Ariosa
Auf meinem lieben
Gott BWV deest [1:34]
Aria
Herr Christ, der
enig Gottes Sohn BWV deest [2:04]
Fugue in F major, BWV Anhang
II 42 [2:35]
Zacharias Hildebrandt Organ,
Kreuzkirche Störmthal, 1722-23
CD 19
[73:01]
Toccata and Fugue in
D minor, BWV 565 [9:15]
Chorale Prelude
Vater
unser im Himmelreich, BWV 762 [3:09]
Chorale Prelude
Was
Gott tut, das ist wohlgetan, BWV Anhang II 67 [3:11]
Chorale Prelude
Liebster
Jesu, wir sind hier, BWV 754 [4:31]
Chorale Prelude
Jesu,
meine Freude, BWV Anhang II 59 [3:21]
Fugue in C major, BWV
Anhang II 90 [2:45]
Partita
Herr Christ,
der einig Gottes Sohn BWV Anhang II 77 [12:58]
Chorale Prelude
Herr
Christ, der einig Gottes Sohn BWV Anhang II 55 [2:34]
Chorale Prelude
Christus,
der uns selig macht , BWV 747 [4:31]
Chorale Prelude
O Herre
Gott, dein göttlich's Wort, BWV 757 [1:37]
Chorale Prelude
Machs
mit mir, Gott, BWV deest [4:26]
Chorale Prelude
Est
ist das Heil, BWV deest [1:30]
Fantasia Sopra
Wir glauben
all an einen Gott, BWV Anhang II 69 [3:52]
Partita
Wenn wir in höchsten Nöten sein, BWV Anhang II 78 [6:23]
Fantasia and Fugue in
A minor, BWV 561 [8:43]
Gottfried Silbermann
Organ, Hofkirche Dresden, 1750-55
CD 20
[58:43]
Prelude & Fugue
in C major, BWV 553 [3:55]
Prelude & Fugue in D minor, BWV 554 [3:24]
Prelude & Fugue in E minor, BWV 555 [4:06]
Prelude & Fugue in F major, BWV 556 [2:56]
Prelude & Fugue in G major, BWV 557 [3:18]
Prelude & Fugue in G minor, BWV 558 [3:59]
Prelude & Fugue in A minor, BWV 559 [2:46]
Prelude & Fugue in B flat major, BWV 560 [3:40]
Chorale Prelude
In Dulci
Jubilo, BWV 751 [2:24]
Trio super
Lobt Gott,
ihr Christen allzugleich BWV deest [3:22]
Trio super
O Gott,
du frommer Gott, BWV deest [3:48]
Trio super
Wenn ich
in Angst und Not, BWV deest [4:09]
Trio super
Was Gott
tut, das ist wohlgetan, BWV deest [3:08]
Trio super
Wir Christenleut, BWV
deest [3:57]
Chorale Prelude
Kommt her zu mir BWV deest [1:05]
Chorale Prelude
Herzliebster
Jesu BWV deest [1:20]
Chorale Prelude
Jesu,
mienes Lebens Leben, BWV deest [2:59]
Chorale Prelude
Christ
lag in Todesbanden, BWV deest [1:03]
Chorale Prelude
Nun
bitten wir den Heiligen Geist, BWV deest [0:52]
Chorale Prelude
Das
alte Jahr vergangen ist, BWV deest/Choral BWV 288
[2:22]
Carl Christian Hoffmann
Organ, St. Marien Mechterstädt, 1770
CD 21
[54:29]
Fantasia sopra il Chorale
Wo
Gott der Herr nicht bein uns halt, BWV 1128 [6:32]
Die Kunst der Fuge BWV
1080
Contrapunctus 1-11 [54:29]
CD 22 [43:29]
Die Kunst der Fuge BWV
1080
Contrapunctus 12-13
4 Canonen
Fuga a 3 Soggetti (fragment)
Choral
Wenn wir in höchsten
Nöten sein BWV 668
Johannes Creutzburg
Organ, Propsteikirche St. Cyriakus Duderstadt, 1733-35
Gerhard
Weinberger (organ) 
