Johann Sebastion Bach(1685-1750)
     Complete Organ Works, Vol. 2

Leipzig Chorales(Part 1), BWV 651-658
Prelude & Fugue in G major, BWV 541
Prelude & Fugue in C minor, BWV 546

CPO 999664
Recorded July 1998
Gottfried Silbermann Organ, St. Petri, Freiberg(1735)
Gerhard Weinberger, Organ
TT 72:43

I reviewed Gerhard Weinberger's Volume 1 of his complete traversal of
Bach's works for organ a few weeks ago.  I did not recommend purchase of
the disc; most of the music was from chorales, and Weinberger's austere
approach was not a good match.  In Volume 2, the majority of the music
again consists of chorales; this time, it's the first eight Leipzig
Chorales.

As it happens, Weinberger gives generally wonderful performances of the
first eight Leipzig Chorales.  He's much more amenable to serving the this
music than he is in Volume 1.  Of the eight chorales, three of Weinberger's
readings are the best I know, and the remainder are uniformly idiomatic and
rewarding.  The Silbermann Organ is a fantastic instrument of strength,
color, and beauty; Weinberger plays it as if he was born to inherit it.
I find the sound of this historical organ even better than the ones used
by William Porter on his Loft Recordings discs.

Alas, Weinberger isn't anything to write home about in his performances
of the two Preludes & Fugues.  He falls back into the problem which often
surfaces in Volume 1 - trouble finding the music's poetry.  Even more, he
tends to not give his best concerning the power and majesty required of
these two strong works.

Here are the details:

Fantasia super Komm, Heilger Geist, BWV 651 - An explosion of music
highlighted by a running 16th figure set against the sustaining pedal
of great strength.  The most exciting versions I know which burst into
my psyche and provide exceptional detailing of the 16th figure come
from Lionel Rogg on Harmonia Mundi and Peter Hurford on Decca.  Although
Weinberger can not match either the detail or explosion from these two
versions, he does deliver a highly taut and sharp account of rhythmic
variety which is very rewarding.  If not for Rogg and Hurford, Weinberger
would be my favored interpretation.

Komm, Heilger Geist, BWV 652 - Essentially the meditative side of the
same chorale as BWV 651, Weinberger gives a superb performance.  Unlike
most other versions, he finds every crevice and edge in the music and makes
them the cornerstone of his interpretation.  I find it highly distinctive
with wonderful registrations; Weinberger is getting the best from his
magnificent instrument.

An Wasserflussen Babylon, BWV 653 - A lament from the exiled Israel,
the cantus firmus is in the tenor voice.  Weinberger does well within an
intimate sarabande framework but he can't match the poignancy or intimacy
of the Peter Sykes performance on Raven.

Schmucke dich, o liebe Seele, BWV 654 - Having the cantus firmus in
the soprano voice, this chorale arrangement also has a smooth sarabande
rhythm.  What lifts it above BWV 653 is music as beautiful as any Bach
wrote.  Weinberger, like Peter Hurford, takes an intimate approach to the
work with excellent results; however, Hurford does capture more of the
beauty of the music.  Ultimately, this type of work does not play into
Weinberger's strengths of muscle and angularity.

Trio super, Herr Jesu Christ, dich zu uns wend', BWV 655 - It's time for
some exuberance and good cheer as the day opens up.  Weinberger is in the
right spirit with a fine reading which does not match the swirling Lionel
Rogg or trumpet-heralding Bine Katrine Bryndorf.

O Lamm Gottes, unschulding, BWV 656 - Approaches run from the majesty
and intensity of Koopman to the excitement of Hurford.  Koopman's is my
favorite version and remains so.  Weinberger plays the piece very well and
expressively.  However, he is rather soft-toned in the first verse, and
that's not generally part of his style.  He does rev it up in the second
verse and continues in excellent fashion with an effective angularity and
great detail.

Nun danket alle Gott, BWV 657 - A majestic and glorious tribute to God,
this piece is tailor-made for Weinberger.  His contours are always sharp,
his slowish pace insures intricate detail, his strength is undeniable, and
he's in total command of a highly distinctive organ.  The sound is supreme
as is the performance which adds up to the best version I know.

Von Gott will ich nicht lassen, BWV 658 - A poignant piece with a throbbing
rhythm, Weinberger gives another wonderful performance.  His detailing of
voices is exceptional, the throbbing carries on strongly, and I know of no
other version which provides such an effectively subtle pathos and sense of
inevitability.

Prelude & Fugue in C minor, BWV 546 - Fueled by the opening ritornello,
this Prelude is the epitome of turbulent majesty which seems to keep
reaching toward a vision.  I've been listening to Anthony Newman's fast
and interesting version on a Vox Box 2-cd reissue.  He creates a great deal
of nervous energy and always tries to be jagged and different.  It's not
the best version around but definitely warrants listening.  In the Fugue,
Newman takes a very understated approach which is less grave than most; his
registrations are distinctive, and tenderness is a prevalent trait which is
unusual for Newman.

Christopher Herrick takes me to the top of the mountain.  Of relatively
slow pacing, his reading of the Prelude is totally majestic, well-balanced
as to severity, and finds every nugget of nuance and beauty.  Herrick
projects strongly in the Fugue and provides a gorgeous and dignified
reading with a rock-solid bass foundation.  Concerning the Fugue, I also
love the Koopman performance on Novalis which is even slower than Herrick's
and much more severe.  Koopman sucks up all the available energy, turns it
into peak austerity, and spits it out with tremendous force and angularity.

The above sets the stage for Weinberger's BWV 546.  Adjectives such as
turbulent, majestic, forceful, severe, and angular would seem a great
match for Weinberger.  Although that's on target, Weinberger isn't very
impressive in this work.  He flexes his muscles a lot in the Prelude, but
most of it is of a side-ways delivery; there's little 'vision' in his
reading.  In the Fugue, Weinberger doesn't possess the power of Koopman and
is way down on the scale concerning nuance and beauty compared to Herrick.
Frankly, I'm disappointed.

Prelude & Fugue in G major, BWV 541 - Disappointment also creeps in with
Weinberger's G major.  Right from the start of the Prelude, Weinberger
never is streaking or soaring toward enlightenment as he gets bogged down
in more side-ways maneuvers.  Listen to Rogg who explodes with energy and
joy, and Weinberger sounds rather stale.  This also applies to their
respective Fugues where Rogg closes in on heaven and Weinberger is lucky
to reach a low-lying cloud.

Don's Conclusions: I was veering toward an essential recommendation
for Weinberger's Volume 2 until the Preludes & Fugues arrived.  Although
that blows 'essential' out of the water, I still give the disc a strong
recommendation.  The first eight Leipzig Chorales are as exceptional as
the best alternative versions, and the Silbermann Organ of St. Petri in
Freiberg is outstanding.

Owing to the fact that I have acquired all the discs in Weinberger's Bach
organ works cycle, I'm quite relieved to find Volume 2 of high quality.
Here's hoping that Volume 3 provides additional treasures.

Don Satz
[log in to unmask]