Johann Sebastian Bach(1685-1750)
        Selected Organ Works

Orgelbuchlein, BWV 599-644
Partita on "O Gott, du frommer Gott", BWV 767
Fughetta "Vom Himmel hoch", BWV 701
Canonic Variations on "Vom Himmel hoch", BWV 769a

Calcante 021(2 Discs)
Recorded May 1996
Fritts Organ, Arizona State University
Robert Clark & John David Peterson, Organ
TT 110:43

First I'd like to get two loose ends out of the way.  Yes, the total
time is not generous, but Calcante sells the set for the price of one
disc.  Second, Clark and Peterson alternate - they never play as a team.
The liner notes state that both are the editors of the Orgelbuchlein
publication from the Concordia Publishing House.  Their close association
"made it natural for them to consider making a joint recording of this
important work".  Well, this might sound natural to some folks, but I'd
want my own recording.  As I write, I'm picturing 45 different performers
waiting their turn to play the next chorale arrangement; at the end of each
piece, the designated artist rushes to the organ to start up in a timely
manner so that the flow is not interrupted.  I'll say no more on the
subject.

The building of the Fritts organ at Arizona State University was completed
in 1992 and strongly influenced by historic practice.  The instrument has
a mechanical tracker key action and the style of voicing is similar to the
high baroque instruments of Northern Europe.  Also, Fritts & Co.  played a
major role in designing the room housing the organ.

Robert Clark has been in charge of organ instruction at Arizona State
University since 1981 and also often gives concerts in the U.S.  and
Europe.  John David Peterson is Professor of Music at the University
of Memphis and has had articles published in The Diapason, The American
Organist, The Hymn, and Opera Quarterly.  Peterson also enjoys singing
and is active as a vocal accompanist.

Peterson and Clark play like twin brothers; I honestly can not tell them
apart.  Separate or together, there are a few reservations about their
performances of the Orgelbuchlein which I find reasonable to possess:

1. Insufficient angularity
2. Insufficient vitality
3. rich & oily sound
4. Soft projection

The above problems are so easy to detect when making immediate comparisons
with other recorded versions.  However, I'm going to go against these
comparisons and declare the Clark/Peterson performances of the
Orgelbuchlein among the most rewarding I know.

Why? There's a soothing quality to these readings that does not wear out
its welcome when listened straight-through.  On the contrary, I find myself
basking in the performances.  This is definitely a situation where the
total is greater than the sum of the parts.  Both performers are in sync
with one another and have an approach which warrants attention.  The more
I listen, the more I am drawn into their house of security and love.
Registrations are always attractive and well matched to the performance
style.

The Partita BWV 767 has eight variations.  I love the reading from Lionel
Rogg where he seeks and finds enlightenment in the 7th variation and then
revels in his discovery in the 8th variation.  Also, Rogg's registrations
are distinctive and add to rhythmic vitality.  Much of the work requires a
tender touch, and Rogg does not disappoint here either.

Robert Clark has the honors in the Partita, and he plays in similar
fashion to his Orgelbuchlein readings.  It's a relatively laid-back and
lovely performance which does come up with much gusto in the 7th Variation.
I would have liked greater severity and strength in the emotionally
powerful 6th variation, but that's my only gripe with the interpretation.

The Fughetta BWV 701 presents an interesting situation because of its
partner BWV 700.  Not only do both share the same text, they also share the
same chorale melody.  BWV 700 is the ceremonial parter, while BWV 701 is
lighter and based on scales and running passages.  Together, they provide
a nice variety.  Our Calcante performance by John David Peterson is only
of BWV 701.  I really don't see the point of not playing both pieces in
conjunction with one another.

Werner Jacobs on his 'complete' set for EMI has both works on the same disc
but not one after another.  He's one of the few to extend BWV 701 to the
two minute range and give it the majesty usually reserved for BWV 700.
Although his BWV 701 sounds great, if you play his BWV 700 immediately
after, there is a definite lack of diversity.

I use Jacob as an example of the various ways to handle to the programming
of Bach's music.  Peterson is as slow as Jacobs, but the similarities end
there.  Jacobs is majesty, Peterson is intimacy.  Peterson's textures are
quite thin and allow for that encompassing serenity that pervades the 2
discs.  Still, I would prefer to have BWV 700 as the companion.

The concluding work, the Canonic Variations BWV 769a, gets the expected
reading by Peterson.  Intimacy holds it grip, and the results are
gratifying and even stunning at times.  Please note that BWV 769a contains
the same music as BWV 769; the ordering of the five movements is different
based on the printed version vs.  the autograph.  Using BWV 769 as the
standard, 769a places the last movement in the middle and ends with the
fourth movement.  I have to say that Peterson's interpretation of this
fourth movement works beautifully as a conclusion.  He eschews the bounce
that most versions display, and instead gives us a very slow paced and
serene atmosphere tinged with subtle longing.  Although Helmut Walcha
remains my role-model for Canonic Variations, the Peterson reading is a
great alternative.

Don's Conclusions: With little exception, Bach organ performances which
are soft, smooth, rich, and under-inflated do not get my approval.  This
Calcante set is one of those exceptions.  There's an overall approach to
the Orgelbuchlein which is steeped in intimacy and peace.  If you only
listen to a few chorales at a time, you won't reach the sublime resting
place that Peterson and Clark provide.  This is definitely a version of
the Orgelbuchlein to take in at one sitting.  The other three works follow
the same intimate conception and are very enjoyable.

I strongly recommend acquisition.  The performances are not for those
moments when you want to break loose or flex your muscles.  They are for
times when you just wish to settle in and float on a bed of music which
leaves your body and mind at peace.  Don't be concerned about snoozing off
either.  The readings are interesting; the registrations attractive.  Get
thee to the Calcante website and check it out; the cost is low for all the
great music you receive.

Don Satz
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