Johann Sebastian Bach(1685-1750)
     Preludes & Fugues for Organ

Prelude & Fugue in A major, BWV 536
Prelude & Fugue in G major, BWV 541
Prelude & Fugue in G minor, BWV 542
Prelude & Fugue in A minor, BWV 544
Prelude & Fugue in C minor, BWV 546

Naxos 8.550652
Recorded November 1989
Organ of Martinikerk, Groningen, Netherlands
Wolfgang Rubsam, Organ
TT 62:42

This is a third volume of Wolfgang Rubsam's complete Bach organ works from
Naxos.  For this volume, the weight, austerity, and sheer power of Bach is
on display with five very strong works.  Great performances definitely
mandate a vengence on the part of the artist while not stinting on the
lyrical aspects of the music.

With little exception, Rubsam has the vengence and the lyricism at his
command.  He does fall short in the BWV 542 Fugue, but that's my only
reservation.  Rubsam's power, boldness, and severity add up to a unique
listening experience.  I don't assume that all readers will care for
this at all; some will find Rubsam oppressive and somewhat unmusical.
He certainly is far from the relatively softer tones of a Christopher
Herrick or just about anyone else.  Those prone to depression or worse
should avoid this disc at all cost; it is a constant reminder of the power
of the universe to crush humankind in an instant and that lesser sources
like one's own mind can obliterate the spirit within.

Prelude & Fugue in A major, BWV 536 - Great music deserves great
performances; those are the only ones that convey the magical qualities
of music.  Bach's A major is blessed with at least two great recorded
versions: Andrea Marcon on Hanssler and Wolfgang Rubsam on Naxos.  Marcon
has the honors in highlighting the music's joy and optimism; also, his
registrations help create a strong up-lifting quality.  He is big-boned,
heroic, and even thrilling in the Fugue.

Rubsam makes Marcon sound like a pussycat in the Prelude, and that's quite
an accomplishment on its own.  Rubsam is severe, sharp, urgent, and 'in
your face' from the first note; however, he never forgets to bring forth
the basic poetry of the Prelude.  His Fugue continues along the same lines.
Another big plus for Rubsam is the elasticity of his reading; it enhances
interest and detail.  Actually, I find this elasticity to be the foundation
of Rubsam's interpretation.  Don't miss out on Marcon and Rubsam in BWV
536.

Prelude & Fugue in G major, BWV 541 - Rubsam's elasticity is also on
display in the G major.  However, I feel that Rubsam does not present the
Prelude to its best advantage.  That's where Lionel Rogg steps in with an
explosion of music played quickly; Rubsam is much slower and essentially
alters the music's nature, making it one of sharp examination.  It's
certainly a valid approach but one of less impact than the Rogg.

Prelude & Fugue in G minor, BWV 542 - This isn't first-rate Rubsam at all.
The Prelude is colossal and Rubsam doesn't quite get there when compared
to Karl Richter on Deutsche Grammophon.  The bigger problem resides with
Rubsam's Fugue.  Rubsam is too minutes longer in BWV 542 than Richter,
and all of it comes from Rubsam's very slow Fugue.  It sounds somewhat
lethargic and even sentimental; I didn't notice any uplifting qualities.

Prelude & Fugue in A minor, BWV 544 - Rubsam fully redeems himself in BWV
544.  This work has another colossal Prelude, and Rubsam adds the Fugue
to the colossal list as well.  I've not heard a more powerful and severe
interpretation, and I feel that the music easily absorbs this extreme
treatment.  Rubsam just twists his way through your body in a relentless
and precise manner.

Prelude & Fugue in C minor, BWV 546 - After listening to the wonderful
version from Christopher Herrick, I can hardly characterize Rubsam's
performance as wonderful.  Rubsam is a tower of severity and muscle,
sounding like he could massacre an entire metropolis unless someone had
some kryptonite on hand.  If you crave the 'dark force', Rubsam's your man.

Don's Conclusions: I must sound like a broken record in my praise for
Rubsam's organ and harpsichord discs on Naxos.  However, I keep using
my favorite alternative versions and note every possible deficiency when
I happen to notice one, which is infrequent.  The five works on the disc
need a majesty and power of huge proportions; Rubsam delivers the goods
and often stakes out unique status for himself as he digs into the bowels
of our emotions to unearth the darkest, strongest, and most sinister
elements of life.

If you tend to be on my wavelength, consider the disc a must.  If not,
stay clear because you won't like what you hear.  For others, sampling is
in order, and the Fugue from BWV 544 is the place to do it.  If Rubsam
doesn't astound you on first acquaintance, buy something else.

Don Satz
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