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Johann Sebastian BACH (1685-1750)
Complete Organ Works
Gerhard Weinberger (organ)
rec. 1997-2008
See below for full track listings.
CPO 777 363-2 [22 CDs: 1414:25]
Experience Classicsonline

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
Volume 5 Volume 6 Volume 12
Volume 13 Volume 13 Volume 14
Volume 15 Volume 16 Volume 17

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

 


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