Johann Sebastian Bach(1685-1750)
           Organ Chorales

Arnstadt:

1.  Wir Christenleut BWV 1090
2.  Herr Gott, nun schleub den Himmel auf BWV 1092
3.  Als Jesus Christus in der Nacht BWV 1108
4.  Jesu, meine Freude BWV 1105
5.  Ich hab mein Sach Gott heimgestellt BWV 1113

Weimar:

6.  Herr Christ, der ein'ge Gottes Sohn BWV 601
7.  Lob sei dem allmachtigen Gott BWV 602*
8.  Nun komm, der Heiden Heiland BWV 599*
9.  Puer natus in Bethlehem BWV 603*
10. Vom Himmel kam der Engel Schar BWV 607*
11. Vom Himmel hoch, da komm ich her BWV 606*
12. Helft mir, Gottes Gute preisen BWV 613*
13. Das alte Jahr vergangen ist BWV 614*
14. Christe, du Lamm Gottes BWV 619*
15. O Mensch, bewein dein Sunde grob BWV 622*
16. Christ lag in Todesbanden BWV 625
17. Jesus Christus, unser Heiland BWV 626
18. Heut triumphieret Gottes Sohn BWV 630*
19. Vater unser im Himmelreich BWV 636*
20. Herr Gott, nun schleub den Himmel auf BWV 617*
21. Mit Fried und Freud ich fahr dahin BWV 616*
22. Herzlich tut mich verlangen BWV 727*
23. Alle Menschen mussen sterben BWV 643*

Leipzig:

24. Wachet auf, ruft uns die Stimme BWV 645
25. Nun komm, der Heiden Heiland BWV 659*
26. Meine Seele erhebet den Herrn BWV 648*
27. Herr Jesu Christ, dich zu uns wend BWV 655*
28. Schmucke dich, o liebe Seele BWV 654*
29. Wenn wir in hochsten Noten sein BWV 668*

Danacord 527
Recorded May 1999
Wagner Organ of the Brandenburg Cathedral, Germany(1723)
Marcussen Organ of Methler Church, Germany(1974)*
Hans Helmut Tillmanns, Organ
TT 70:02

In Part 1 of my traversal through Hans Helmut Tillmann's series of Danacord
recordings, I covered Danacord 557 which presented a mixed program of Bach
organ works.  My conclusions were rather negative as I felt that Tillmanns
did not supply sufficient muscle and grandeur when called for.  I also
projected that a Tillmanns disc devoted to Bach chorale arrangements might
be a better propostion.

Part 2 deals with a Tillmanns recording just having chorale arrangements,
and my projection turns out to be a poor one.  This disc is less enjoyable
than the one having a mixed program.  Where did I go wrong? I assumed
that Tillmanns would present chorale works which played into his basic
preferences for intimacy, smoothness, and soft-toned pieces, but Tillmanns
instead tends to take on chorales which need power, angularity, and
strong projection.  I consider this a poor decision on his part and
rather bewildering.  As an example, most of the pieces he plays from
the Orgelbuchlein are the more powerful ones, and most other recorded
versions are much more rewarding.  Tillmanns does do very well with the
Arnstadt/Neumeister pieces, but the recorded competition is quite slim for
these works.  The Leipzig readings are not any improvement on the ones from
the Orgelbuchlein; actually, Tillmann's BWV 668 is definitely the least
rewarding issue on the disc.

Another odd decision is to use two organs - one modern, the other
historical.  I have no idea what the reasoning might be, and perhaps
it doesn't make any difference.  It's the Tillmanns performances which
are problematic; the specific organ is merely incidental.  As for sound
quality, the sound tends to swim as its under-toe takes Tillmanns further
off course than he already is.

Some listeners will not appreciate the selection of some chorales from
this period, some from another, and still more from a third.  Personally,
I don't have any trouble with Tillmann's regimen on this matter.  If he
wants to play his favorites, that's fine with me.  However, the primary
focus is to play them excellently, and Tillmanns does not succeed.
Actually, 'excellence' is not good enough.  It's a matter of standing
up to the magnificent competition provided by the likes of Lionel Rogg,
Rene Saorgin, Wolfgang Rubsam, Gustav Leonhardt, and many others.

My more specific musings follow:

The five pieces from Bach's Arnstadt period are included in the Neumeister
Collection.  Tillmann's selections represent a fine mix ranging from the
private/intimate to the public/demonstrative mode.  Tillmann performs each
selection excellently, although without any significant angularity.  In
this respect, he's similar to the versions from Christopher Herrick and Kay
Johannsen and compares well with them.  I must say that I don't think any
of these three artists are the 'last word' on the subject, and I would love
to hear someone like Martin Lucker record them.

The 'Weimar' selections are from Bach's Orgelbuchlein excepting for BWV
727.  Unlike with the Neumeister works, there's plenty of competition for
these Weimar selections.  My reflections are:

BWV 601 is a wonderfully uplifting, driven, and exuberant work.  Lionel
Rogg and Rene Saorgin give exceptional performances which seem to stretch
upward for recognition.  Tillmanns presents no competition.  Although he
isn't slower than Rogg, his stodgy rhythm certainly makes the piece sound
slower; exuberance is low, and the 'drive' is only horizontal.  Another
negative aspect is that the sound has a 'symphonic" aura to it as if we
were in 'Widor' country.

BWV 602 is another driven work which is more severe than BWV 601.  It
reads like a good match for Wolfgang Zerer on Hanssler, and he does it
proud; Zerer dives right in and muscles his way to completion.  Werner
Jacob provides a fine alternative with a much slower reading having reduced
muscle and drive but compensating with great majesty.  Tillmanns is not
competitive here either.  He evidently wants nothing to do with drive or
majesty, preferring a hazy and meandering interpretation that never quite
comes to life.

BWV 599 presents Tillmanns with the opportunity to show his affinity for
the calming and devotional Bach.  Although he fares better than in the two
previous performances, his rhythm is a little square and the organ sounds
like one at the ballpark.  Rogg is much better with a drawn-out conclusion
that's mesmorizing.

BWV 603 takes us back to optimism and great drive, two qualities which
permeate the version from Simon Preston.  Again, Tillmanns is not a
role-model for muscular and driving performances.  He surrounds the
music in a romantic haze and essentially misses the essence of the piece.
Yet, I must say that it's a lovely and mysterious performance.

I'm going to move along a little faster since Tillman's style in these
Orgelbuchlein works is easy to discern.  BWV 607 needs some angularity;
otherwise, it becomes a component of the 'glue factory'.  Tillmann's
version has more glue in it than any other I know, and he again takes
the symphonic approach.  In BWV 606, God is streaking at me from all
directions; there's no way I can dodge him.  With Tillmann's relaxed
and ever so smooth performance, nobody is trying to corral me.

I love what Saorgin does with BWV 613 which is a piece for the new year;
he invests it with an immense power that's seething to blast out of its
hiding place.  Saorgin sees much danger in the new year, and I'm certainly
not going to tell him otherwise.  Tillmanns is timid and congealing.  In
BWV 614, Werner Jacob revels in the dark and heavy side of life; he has
the weight of the world on his shoulders, and matters are in terrible
shape.  It's a slow and magical performance which pierces my soul.
Finally, Tillmanns gets on the scoreboard with a reading as slow as Jacob's
and also loaded with weight and even strong remorse.

BWV 619 is quite memorable music with its descending scales, ceremony,
and projection of peace.  These qualities are highlighted in Zerer's
performance which is stunning and bold.  Tillmanns is delightful but not
well animated - the opposite of bold.

I'm going to spend some time on BWV 622 because it well displays Tillmann's
failings with these Weimar pieces.  I used Nicholas White's version on Pro
Organo for comparison.  Although his disc is not one of the best, the BWV
622 performance is a winner; it's smooth as I would expect Tillmans to
play it.  However, White provides a vital reading with vivid projection.
Tillmann's equally legato reading uses unattractive registrations and isn't
close to being vivid.  This is the difference between a good and superb
issue.

Well, there isn't much point in detaining ourselves any further on
Tillmann's performances of Bach Weimar works.  What really screws things up
is Tillmann's decision to play mostly strong pieces which benefit greatly
from angularity; this does not play into his strengths, but it's perfect
for his weaknesses.  Tillmanns is easily enjoyable, but the comparisions
reveal deficiencies which are pervasive; there's no magic at all in the
readings.  Also, his registrations are average at best, and he has a
tendency to romanticize the music.  For pieces from the Orgelbuchlein,
versions from artists including Zerer, Rogg, Saorgin, Weinberger, Jacob,
and Preston are preferable to Tillmanns.

The "Leipzig" selections cover two of the six Schubler Chorales and four of
the eighteen "Leipzig" Chorales.  Recorded competition is even more fierce
for these works than for the Orgelbuchlein pieces.

Tillmanns actually performs BWV 645 quite well, capturing the interchange
between the two voices providing the melodies.  But when compared to Lionel
Rogg, Tillmanns still is living with a swimming acoustic and too thick a
legato.  These conditions continue in BWV 648 and are quite pronounced in
BWV 655 and 654.  Speaking of BWV 654, I like some strongly projected
ceremony, but Tillmann's intimate won't go in that direction.  Tillmann's
BWV 668 just might be the least appealing performance on the disc.  He
plays in such a listless manner as if it's Bach's 'swan song' instead of
Bach's entering God's throne.  Tillmann's is a downer perception of the
culmination of a magical life of music-making and a deep faith in one's
religion.

Don's Conclusions: Syrupy sound, average at best registrations, overly
smooth performances, and a poor match of artist to program make this
Tillmanns chorales disc a non-starter.  Although his BWV 668 is
particularly unrewarding, most every other reading has its problems.
Only in BWV 614 does Tillmanns stand up to the compeition.  All this adds
up to a strong recommendation to bypass the recording.  Part 3 will cover
Tillmann's Bach disc of Toccatas & Fugues, and I am looking forward to
hearing what he does with these majestic creations.

Don Satz
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