Johann Sebastian Bach(1685-1750)
     Complete Organ Works, Vol. 3

Orgelbuchlien, BWV 599-631
Part 1

CPO 999652
Recorded June 1997
The Joachim Wagner Organ, Nidarosdom, Trondheim
Gerhard Weinberger, Organ
TT 68:31

Don's Conclusion:  The zenith of performance and interpretation.

I have already reviewed Volumes 1 & 2 of Gerhard Weinberger's complete
traversal of the Bach organ works.  Volume 1, which mainly consisted of the
so-called Kirnberger Chorales, was not recommended as I found Weinberger
much too severe and solemn for these fine pieces.  However, I did strongly
recommend Volume 2 which consisted of the first eight Leipzig Chorales
along with two other works.

For Volume 3, Weinberger gives us the majority of the chorales from Bach's
Orgelbuchlein; he completes the set in Volume 4.  This is unavoidable since
his tempos do not allow for the entire set on one disc.

Prior to listening to the disc, I didn't have a particular expectation
of Weinberger's performances.  I had thought that Volume 2 might be
problematic based on his inability in Volume 1 to cater to Bach's more
tender side, but I was way off as Weinberger's eight Leipzig Chorales
were treasurable.  However, the two preludes & fugues on Volume 2 brought
Weinberger back to the reservations I possessed concerning his first
volume.

Which Weinberger do we meet in Volume 3? The best yet.  In fact, I
consider this disc the best recording I've reviewed this year.  The
dominant features of Weinberger's performances are severity, power,
bite, angularity, side-ways rhythms, distinctive and *always* attractive
registrations, slow tempos, majesty, nobility, tenderness, comfort,
assurance, melancholy, intense sadness, dread, and what sounds to me like
an umbilical chord attached to the composer.  Can you get all this from one
performer on one organ.  It must be so, and that's why it's my recording of
the year.

Weinberger begins in exceptional fashion with BWV 599; he stretches the
music out horizontally and with strong angularity, while the intensity
and beauty in his reading are second to none.  Weinberger's magical
interpretation easily supplants my previous favorite from Lionel Rogg.

Weinberger moves forward with a wonderful BWV 602.  This is muscular
music which he captures perfectly with a side-ways rhythm.  My previous
preferred version from Wolfgang Zerer on Hanssler now sounds too fast and
superficial.  Weinberger's great power combined with much emotional depth
has no peers.

BWV 603 finds Weinberger very slow and again using a side-ways rhythm
which I find irresistable; the churning of the bass voice is very
effective.  The performance is strong and severe without losing sight of
the poetic elements.  It's also much different than most versions including
the exceptional one from Simon Preston which has greater optimism and
bounce.  However, my affections go to the Weinberger.

What strikes me most up to this point in the recording is that Weinberger
has offered three out of five chorales which are now my preferred versions.
That's a fantastic percentage given the host of excellent recordings of the
Orgelbuchlein on the market.  And there are more outstanding performances
as the disc progresses - many more.

Weinberger takes BWV 604 at a very slow pace with a pleading chorale melody
and a nobility of strong proportion; it's a delectable interpretation.  The
strength of his BWV 605 along with the rhythmic vitality he provides
results in a stunning performance.

If you're seeking the severity and darkness of the underworld from BWV 610,
Weinberger's your man; I've never heard any performance quite like it as
the text gets turned on its head.  His BWV 611 is a perfect combination of
severity and beauty; the contrasts are particularly illuminating.  In BWV
612, Weinberger snakes his way through the music with a steel-like
demeanor.

Do you want some emotional depth and angst? Look no further than
Weinberger's BWV 614; the melancholy and drama ooze out of the speakers
and grab one's soul.  The patriotic and heroic BWV 615 gets a majestic
sendoff from Weinberger as he takes the Wagner Organ through its paces;
no warrior could be immune to his fanfare.  For BWV 617, Weinberger gives
us a consistently mysterious and mesmorizing performance with enchanting
registrations.

Looking for sadness in all the wrong places? Weinberger's BWV 618 has it
in full measure; his tenor voice has such a soft yet intense sadness to it.
Weinberger can also deliver much comfort as in his BWV 619; as usual, the
registrations are highly distinctive as Weinberger gets the best out of the
Joachim Wagner Organ.

BWV 621 concerns Christ's last words on the cross; this is bleak business,
and Weinberger goes ever so slowly and mournfully through each syllable.
Bach's gorgeous and noble BWV 622 gets a thoroughly spacious and lovingly
poignant reading from Weinberger.

Weinberger sounds like the 'Man of Iron' in the power-packed BWV 625.
The music is dominated by a descending step-by-step motif which also can
rise; the enternal struggle between darkness and light does not abate.  And
Weinberger sure knows what darkness is all about.  Contrasts between good
and evil also permeate BWV 627, and nobody extends the envelope on both
sides more than Weinberger.  The majesterial and spiritually uplifting BWV
630 receives a royal welcome from him, and the concluding BWV 631 has an
irresistable rhythmic flow and optimism.

Are the performances I haven't mentioned a bunch of losers? No, they are
merely excellent.  That would be good enough, but Weinberger offers so much
more.

I'm not going to guarantee that everyone will find Weinberger's Volume
3 an enlightening and powerful lsitening experience.  Those who have a
distate for the severity in Bach's music will likely be turned off before
many minutes go by.  However, I really believe that this is a disc that
must be heard.  There is no other Orgelbuchlein like it, and Gerhard
Weinberger deserves my thanks for giving me such a magnificent set of
performances.  Now its on to Volume 4 and the remainder of the
Orgelbuchlein and other works as well.

Don Satz
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