Bach's 'Orgelbuchlein'(Little Organ Book)consists of 45 short chorales
mainly based on the cantus firmus in the soprano with the lower voices
acting as counterpoint to the chorale melody. Four-part composition is
prevalent as well as the pedal providing only an obbligato contribution.
Actually, Bach's original intent was for this body of works to have 164
musical pieces. However, 45 pieces seems quite sufficient.
The 45 pieces are in a hymn-book sequence: Advent, Christmas, Epiphany,
Passion, Easter, Pentecost, Order of Service, Catechism, Faith in God, and
Death/Eternity.
The five recordings for your consideration are:
Simon Preston - Deutsche Grammophon 431816
Rene Saorgin - Harmonia Mundi 2951215
Wolfgang Zerer- Hanssler 92094
Werner Jacob - EMI 73878 - Part of 16 disc set
Lionel Rogg - Harmonia Mundi 290772.83 - Part of 12 disc set
A few words about the performers. All but Zerer have major reputations.
He is one of a few organists that Hanssler recruited to contribute to its
Bach Anniversary Complete Edition. Perhaps because of Hanssler's artistic
preferences, each of the recruits has a penchant for strong, muscular,
and sharp performances - sort of the massive approach. I tend to like
this approach very much. However, there are limits. Poetry can be
hard to emphasize, darkness can fall quickly, and a steady diet of stern
interpretations can be tiring. Zerer exhibits all these 'Hanssler' traits,
and how he handles them determines the value of his recording.
The first four chorale arrangements are for Advent:
BWV 599 - Slow and devotional, this piece is very calming. Rogg is about
perfect with a mesmorizing ending which seems to last much longer than in
the other versions. Preston is quicker but in the same ballpark except his
ending has no impact - it"s fast passing and rather ordinary. Saorgin is
on the slow side and similar to Rogg except for an ordinary conclusion.
Jacob is the quickest of the five, perhaps a little too quick. It's not a
calming reading but is more rhythmically alert that the others. Using an
average tempo, Zerer has some of Jacob's animation but is entirely calming,
satisfying, and devotional.
BWV 600 - A joyfully restrained and swirling piece. Rogg and Saorgin are
excellent contrasts. With Saorgin, the voices are not as distinct as in
Rogg's performance; the swirling sensation is reduced as is some of the
potential enjoyment. Zerer is too relaxed; I much prefer Rogg's greater
animation. Preston isn't as detailed as Rogg but displays plenty of
energy. Jacob is quick and it doesn't sound natural, only rushed.
BWV 601 - The level of exuberance rises considerably in this transparent
and uplifting music which is one of my favorite pieces from the set.
Vitality is very important. Saorgin has much more of it than Jacob who's
legato is too smooth. Preston is slower than Saorgin or Jacob; it's a
lovely and relaxing interpretation that ultimately takes 2nd place to
Saorgin's vital reading. Although Rogg is as slow as Preston, he doesn't
sound it at all because of greater bounce to the rhythm - a highly vital
reading at Saorgin's level. Zerer is a little stern, and it cuts out much
of the sensation of exuberance.
BWV 602 - Another swirling piece similar to BWV 600 except that it has much
greater drive. Zerer is superb; the swirling is deep and thorough, and the
drive coulnd't be stronger without being overbearing. He's very muscular.
Rogg is so different; he's much more optimistic, benign, and slower. But
his drive is still very strong and the rhythm a foot-tapper. Preston's
flow doesn't have close to the foundation that Rogg or Zerer have and the
drive is reduced; rather disappointing. Saorgin's fine reading could be
more animated. Jacob takes the majestic approach and it works beautifully;
his is the best performance of the five.
The next ten chorale arrangements are for Christmas:
BWV 603 - As usual, Rogg is more optimistic than Zerer and less driven;
both are fine readings. Jacob and Preston surpass both of them with
excellent levels of optimism *and* drive. Saorgin is the fastest with
a relatively dark reading which might be a little contrary to the text
involving the 'manger' episode.
BWV 604 - Bach's chorale melody, derived from a Gregorian source, is quite
comforting, noble, and lovely. Rogg is very slow paced and devotional; his
rhythmic energy is low. This is the first time where I feel that Rogg
makes the wrong interpretive decisions. Switch to Preston's quicker
reading, and the effect is an irresistably energetic flow and a beautiful
performance. Saorgin and Jacob convey more vitality than Rogg, although
not at Preston's high level. Zerer could be more poetic and less stern.
BWV 605 - "This day, it is so full of joy." Zerer manages to keep the joy
to a minimum; that's a danger he tends to face with his muscular and stern
approach. Jacob and Rogg convey fine levels of joy and sunshine. Preston
rises to the occasion with a very alert and optimistic reading; it's easily
the best of the five versions, being the only one which really emphasizes
happiness with some exuberance. Saorgin is exuberant also, but the
optimism can't match Preston.
BWV 606 - The Lord is coming down from the heavens, and a great performance
will convey that image. Zerer loses his even flow at times; it's sounds a
little unmusical. The other four versions are excellent with Rogg
providing a tenderness which is alluring.
BWV 607 - The angels are now coming down in rapid fashion with music
having an all-encompassing swirl and up-down motion. Zerer doesn't seem
to be putting much of himself into the performance; all expression is just
sideways. Saorgin is rather dark in nature, a problem which inflicts him
from time to time. The remaining three performances hit the spot quite
well, although none is superb.
BWV 608 - This piece continues the swirling from BWV 607 with great joy.
Jacob uses a slowish tempo without any reduction in happiness; his pacing
is delicious as is the entire performance. Jacob gives this work more
substance than the other versions. Saorgin is even slower than Jacob; the
reading is very serene and enjoyable. Rogg's performance is soft-spoken
but with subtle joy. Preston is much quicker with a vivacious rhythm, and
Zerer finally allows himself to possess some tenderness with a high level
of optimism. Overall, I'll take Jacob for BWV 608.
BWV 609 - A strong tribute to the Lord for creating the union of
Christians. This is majestic music with a 'hard as rock' and driving
underpinning by the quavers from the pedal. Preston is on the quick and
light side; it's a nice reading, but ultimately not sufficiently muscular.
Zerer provides the muscle but with a rather stodgy rhythm. Jacob and
Rogg are certainly majestic enough, although they round off the contours.
Saorgin's performance has the best of everything: sharp, bold, hard,
driving, majestic, poetic, and rhythmically energetic.
BWV 610 - Saorgin, although wonderful in BWV 609, is off the mark in BWV
610. This is very dense four-voice music which still has to convey Jesus
as one's 'true' pleasure. Out of the density, Saorgin creates a glum
picture as if having Jesus as one's pleasure is certainly a 'downer'. This
melancholy and dark nature of Saorgin's strikes down the heavy performance.
Although Wolfgang Zerer has the same tempo as Saorgin, he sounds quicker
because he's less heavy. Zerer also is expressive with the music's
yearning element; Saorgin is too immersed in mud to convey it. Rogg
quickens the pace, but his reading is still too dark.
Preston's reading had me thinking of the 'Largo' tempo indicated for the
hymn. Preston blows that out of the water with a much faster tempo; he's
also stern as hell. What was he thinking? This is uncharacteristic of
Preston. Jacob is slow but with some life.
BWV 611 - As with the previous piece, this one is for meditation. Still,
the text is not a gloomy one but based on faith. Jacob is quite slow and
there is some gloom in the interpretation as well as optimism. Preston
again has a very heavy and stern hand; he starts out as if all hell is
breaking loose. But later on, the poetry of the music shines through, and
his rays of light are illuminating. Preston makes this majestic music, and
the score easily adapts - a great performance. Zerer is much quicker than
Jacob or Preston; he is strong and little severe. Basically, I think his
quick pace doesn't give him the luxury of churning up a lot of majesty.
However, I'll take Zerer over the gloomy Jacob. The same applies to the
quick Rogg version which does have a less severe nature than Zerer.
Saorgin begins with an eerie hysteria; his majesty is never in doubt. This
is a version standing tall with the Preston. They have all the majesty and
nobility and get big points for such transcendent readings for one my
favorite short Bach organ pieces.
BWV 612 - Saorgin gives my favored reading with strength and boldness; his
rhythm is irresistable, and the poetry is in full supply. Rogg is just a
little less compelling. Jacob and particularly Zerer glide on the surface
of the music; Preston is just too light for my tastes.
Christmas Update: Just getting ahead on the year's festivities.
Lionel Rogg was significantly ahead of the other versions, but the chorale
arrangements for Christmas were not his most shining moments. Also, Simon
Preston and Rene Saorgin performed excellently in the Christmas pieces.
Those Chrsitmas Pieces were murder for Zerer. The severity of his approach
to Bach definitely went against the grain for these ten arrangements.
Jacob just moves along with a combination of great and less than sterling
readings.
So, it's Rogg at the front by a small margin over Preston and Saorgin.
Rogg's advantage is that he has no major drawbacks which keep coming
regularly. His rhythmic energy is second to none, and the balance between
weight and lift is superb. Preston tends to a light nature with plenty of
kick, although he can at times be as heavy as any other artist. Saorgin's
only problem is some tendency toward dark readings. Zerer needs to show a
healthier balance between his own stern nature and Bach's optimism. Some
of his readings are flat-out on the wrong emotional target, but he can
accumulate some lift by cutting down on the negative thoughts.
Part II will get us into the New Year and beyond. It's great to start the
holidays so soon! Please pass the cranberry sauce.
Don Satz
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