Johann Sebastian Bach (1685-1750)
        Arrangements for Solo Organ

Concerto in G, BWV 592 (after Prince Johann Ernst) [7:48]
Schubler Chorales, BWV 645-650 (from Bach Cantatas) [19:14]
Concerto in d, BWV 596 (after Antonio Vivaldi) [11:34]
Concerto in a, BWV 593 (after Antonio Vivaldi) [11:34]
Aria in F, BWV 587 (after Francois Couperin) [3:42]
Ricercar in c for 6 Voices, BWV 1079/5 (from Bach's Musical Offering) [8:32]

Gerhard Weinberger, organ
Recorded St. Wenzel, Naumburg, Germany, April 2003
Released November 2004
CPO 777 018-2 [62:26]

Rating: 3/6 Stars

Weinberger/Bach Series: Gerhard Weinberger's Bach organ works cycle on
historical instruments has been somewhat of a mixed bag.  Weinberger's
general mode of operation is to provide sharply contoured, tremendously
powerful and very severe accounts of Bach's organ music.  The results
are often amazing, but the flip-side is that some interpretations possess
deficient lyricism and nuance.  All of the above features are present
on the new Volume 15, the second volume Weinberger devotes to Bach
arrangements.  These are arrangements of both the works of other composers
and of Bach works from his Cantatas and The Musical Offering.  Of course,
the famous item on the program is Bach's Schubler Chorales where the
recorded competition is immense.

Sound Environment: There is one feature of the latest disc that is
relatively new to the series - a sound environment that is overly
reverberant and tends to result in spongy articulation from Weinberger.
Gone are the sharp contours that have informed his previous volumes, and
I think it's fair to say that the Hildebrandt Organ (1743-46) at St.
Wenzel needs taming that no one associated with the production accomplishes.
A glossy heaviness pervades the performances, and Weinberger's customary
sharp punctuation and severity are only partially realized.  In essence,
what we have here is a soundstage just the opposite of what Weinberger's
style requires.

Performance Highlights: The one work where the Weinberger trademark is
ever-present is in the Ricercar from The Musical Offering.  He gives us
a tremendously severe and strong reading from start to finish - forget
nuance and subtlety.  Weinberger strikes deeply into the psyche and never
lets go.  Many readers will be put off by such an approach, but this is
prime Weinberger for better or worse.  Unfortunately, the organ and
soundstage on Volume 15 infrequently allows us to hear Weinberger at his
most compelling.  The sound is also detrimental to the busy outer movements
of the concerto arrangements, although the slow middle movements are not
as affected because of their starker textures.

Weinberger is rather heavy in the six Schubler Chorales, but his
registrations are very attractive and create a fine level of poignancy.
But once again, the soundstage tends to veer toward aural mush, obscuring
the all-important musical lines.

Don's Conclusions: One of the least rewarding volumes in Gerhard
Weinberger's traversal of Bach's organ works.  To get the full measure
of Weinberger's approach to Bach, I suggest acquiring his Volume 3 that
has most of the Orgelbuchlien and Volume 4 that completes the Orgelbuchlien
and also has superb performances of the Partitas BWV 767 & 770 and the
Fugues 569 & 574.  These two volumes are magnificent achievements and
make Volume 15 sound like a poor cousin.  An aural swimming pool is never
favorable, but it is especially damaging when the organist is one who
thrives on boldness and sharp detail.

Don Satz
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