Deutsche Grammophon recently issued on its Eloquence label a Bach organ
works disc performed by Karl Richter.  These Richter performances span the
period from 1964 to 1980 and three different organs:

1964 - Organ of the Jaegersborg Church, Copenhagen - Toccata & Fugue in D
minor, BWV 565 and Fantasia & Fugue in G minor, BWV 542.

1967 - Organ of the Jaegersborg Church, Copenhagen - Chorale Preludes
BWV 645 & 650.

1974 - Sibermann Organ, Arlesheim - Organ Concerto No. 4 in C major, BWV 595
and Organ Concerto No. 2 in A minor, BWV 593.

1980 - Great Sibermann Organ, Freiburg Cathedral - Toccata & Fugue in D
minor, BWV 538 "Dorian".

The catalog number is 469616 and total time is 65:25.

Toccata and Fugue in D minor, BWV 565 - It's quite ironic that Bach's
most famous organ composition may not be his at all.  Current research is
dubious of his authorship, although others feel that such a masterful piece
of music from that time period must have come from Bach.  I feel that Bach
might have had a hand in it, but there's too much pure/immediate repetition
to convince me that he was the sole author.

One of my standards for the D minor is Leonhardt's on Sony/Seon.
The attacks are crisp and exciting, and Leonhardt's Fugue is the most
interesting and impactful version I've heard.  If any performance could
make me feel that Bach wrote the D minor, it's Leonhardt's.  In comparison,
Richter often is rather reticent in the Fugue.  In this regard, his
performance reminds me of Kay Johannsen's on Hanssler.  Both are fine
readings, but the Fugue needs more weight and momentum to rival the best.

Fantasia & Fugue in G minor, BWV 542 - One of Bach's more popular organ
works, it has a majesterial Fantasia second to none; there are also two
passages of repose which provide a great contrast to the dense harmonies.
The Fugue is based on falling thirds and leaping octaves, resulting in
music of urgency and poignancy.

Richter's BWV 542 is an outstanding accomplishment.  His Fantasia is mighty
and incisive; the softer passages are stunning in their contrast.  In the
Fugue, Richter displays a wonderful rhythmic pulse which rivals the Herrick
version which I love dearly.

Organ Concertos No. 2 in A minor after Vivaldi, BWV 593 and Organ Concerto
No. 4 in C major after Ernst, BWV 595:

These are Bach transcriptions and not among Bach's best organ offerings.
They are still very enjoyable works, and Richter gets as much out of them
as any other performer.  He makes them interesting listening which is much
more than I can say for most other versions.  The outer movements of BWV
593 display a controlled abandon with a strong differentation of themes.
The work's slow movement is one of a hushed and uncommon beauty in
Richter's hands.  In the one movement Concerto after Ernst, Richter fully
brings out the heroic nature of the music.  I do think that some listeners
would find Richter a little willful in those two outer movements, but I
feel it's just what the music needs.

Chorales "Wachet auf, ruft uns die Stimme" BWV 645 & "Kommst du nun, Jesus,
vom Himmel herunter", BWV 650:

Each of these two Schubler Chorales has themes used in Bach Cantatas.
BWV 645 appears in the fourth movement of Cantata BWV 140, and BWV 650 in
Cantata 137.  BWV 645 is the "Wake-Up" Chorale with music ushering in the
new day.  BWV 650 is a prayer beseeching Jesus to arrive on earth from
heaven.

Lionel Rogg has been my standard for both chorales and remains so.
Although Richter is very rewarding and his slow BWV 645 works beautifully,
Rogg's voice interplay is magical and lifts his performances to the top.
However, I'm confident that most listeners would derive great satisfaction
from Richter.

Toccata & Fugue in D minor, "Dorian", BWV 538 - The work's Toccata involves
a conversation between two manuals and is highlighted by sixteenth-note
runs.  The Fugue might just be Bach's best organ fugue and is highlighted
by suspensions and stretto; the ceremony and depth of emotion leaves me
in awe.  For comparison, I used Richter's exceptional and earlier 1958
performance on Teldec.  The two versions are quite similar: tempos are
slow, both Toccatas possess strong drive and lyricism, and the sound
reproduction is fine.  I do feel that Richter is a little more expansive in
the Fugue on the DG issue, but the Teldec conveys a more concentrated drive
and inevitability.  Both versions are superb.

Don's Conclusions: I have no problem strongly recommending Richter's
performances on Eloquence.  BWV 542, 538, and the organ concertos are
essential listening experiences; the remainder of the program is highly
rewarding.  I don't find any eccentricities, although some might feel that
Richter displays a few in the organ concertos.  I do find performances
which always reach the core of Bach's music and do so with a high level of
poetry.  DG's presentation is bare-bones in that opening the booklet only
reveals commercials for other Eloquence discs.

Don Satz
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