Johann Sebastian Bach(1685-1750)
        Selected Organ Works

Preludes & Fugues, BWV 553 thru 560
Praeludium in G minor, BWV 535
Prelude & Fugue in E minor, BWV 533
Fantasie in G major, BWV 572
Orgelbuchlein, BWV 599, 604, 614, 626 629, 641, 642

Organeum 29701
Recorded 1997
Harald Vogel, Pedal Clavichord
TT 66:22

Summary Rating: A+

I have already reviewed Volume 2 of this three volume survey dedicated to
the organ works of Bach, others of his time, and a few who came before and
after him.  I offered a qualified recommendation to Volume 2 because of
what I felt was a rather limiting program of works.

I need to point out that Volume 1 has an "Organeum" label whereas Volume
2 is from Loft Recordings.  The two companies apparently have an intimate
link, and both these volumes and Volume 3 as well are distributed by Loft
Recordings.

The most significant difference between Volume 1 and 2 is that Vogel uses
a pedal clavichord in Volume 1.  The pedal clavichord was quite prevalent
in Germany in the 18th century, being considered excellent for developing
a sensitive playing style.  The particular instrument used by Vogel is a
1995 copy of a pedal harpsichord built by Johann David Gerstenberg in 1766
which is now housed in the Musical Instrument Museum in Leipzig, Germany.
Both instruments have two manuals and an independent pedal.

BWV 553 thru 600 are generally referred to as the "Eight Little Preludes
and Fugues" and take up about half the disc.  They are quite short, and
authorship is spurious.  However, my ears tell me that these are wonderful
pieces which Bach must have had a hand in developing.  They range from
intense poignancy to the joy and exuberance of life.  I happen to be
familiar with a superb set of performances from Martin Lucker on Hanssler.
Lucker is a very tough standard for Vogel to match and I quickly discovered
that it would be unreasonable to offer any comparisons, because the pedal
harpsichord makes them irrelevant.  Its sound is so similar to a clavichord
with a stronger bass thrown in.  The instrument couldn't possibly deliver
the weight and power of Marcon's organ; it must be judged on what it does
deliver.

Of course, the pedal clavichord doesn't play itself, so my comments
apply equally to Harald Vogel.  The two deliver a vibrant intimacy; there
is nothing recessed about the performances or the instrument.  The pedal
obviously gives the sound greater depth and expressiveness.  Vogel is
uniformly quite slow; momentum is not a major priority as he converses
with us in a relaxed manner.  The emotional depth he provides is stunning
and greatly enhanced by his mastery of the instrument.  Accenting is
delicious and joy permeates the interpretations.

Vogel often uses hesitations, and they are the most effective I've
heard in a very long time.  The detail provided by the pedal clavichord
is illuminating, and Vogel consistently provides an air of improvisation.
Best of all, it's so easy to put yourself in Bach's music room surrounded
by family and close friends, all having a meaningful and satisfying
evening.  To put it mildly, the recording is delightful and thoroughly
distinctive.

All I have said applies equally to each work on the disc.  I was most
impressed with the Orgelbuchlein selections which sound like a perfect
match for the pedal clavichord; these selections represent superb
programming.

Don's Conclusions:  Pack away any preconceptions and listen to these
works in a soundworld very different from the organ's.  This is a definite
'must-have' recording for anyone who loves Bach on organ, clavichord, or
harpsichord.

Don Satz
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