Johann Sebastian Bach(1685-1750)
Complete Organ Works, Volume 13
Disc One:
Partita BWV 767
Canzona in D minor, BWV 588
Chorales 655c, 694, 705, 714
741, 750, 758, 762
1101, 1120
Trio in C minor(after Fasch)BWV 585
Prelude in A minor, BWV 569
Toccata in D minor, BWV 913
Prelude & Fugue in A minor, BWV 551
Disc Two:
Prelude in G major, BWV 568
Chorales 696, 699, 703, 704
712, 713, 723, 732
734, 739, 744, 763
1105
Partita BWV Anh 77
Concerto in D minor(after Marcello), BWV 974
Toccata in D major, BWV 912
Prelude & Fugue in A minor, BWV 894
Nimbus 5669/70
Recorded 2000
Marcussen Organ of Sct. Hans Kirke, Denmark
Kevin Bowyer, Organ
TT 154:45
Kevin Bowyer must be getting close to the end of his Bach organ works
cycle. Overall, the reception to previous volumes has been luke-warm from
reviewers with the recurring criticism that Bowyer is not sufficiently into
Bach's world. Although Gramophone has not waxed very enthusiastically
about Bowyer's Bach in the past, the magazine considers Volume 13 Bowyer's
best release to date as to artistic inspiration, technical command, and
recorded sound quality. That's quite a testimony which I hope I can agree
with. My opinion of Bowyer's past Bach efforts is that he runs hot and
cold. Tempos and most everything else covers a wide range with Bowyer.
One moment he seems to be the ghost of Bach, then the next moment I wonder
what music he thinks he's playing. He may not have exhbited in the past
a distinctive style of playing Bach, but I think it's clear that he
approaches each work with a strong analysis and conception.
For Volume 13, we are not getting what's considered the cream of Bach's
organ output. Only the Partita BWV 767 is a 'big' hit. Authorship of
some of the works is dubious, and some feel that none of the Toccatas for
Harpsichord should ever be played on the organ. However, there are many
gems among Bach's less familiar organ works, and I consider it advantageous
that Bowyer is bestowing them on us.
The overall quality of Volume 13 is high but not exceptionally so. Leaving
aside the twenty-three chorales, each of Bowyer's performances is rewarding
but not memorable. For each work he presents, there's always at least one
alternative version from another artist which is better. Why? Bowyer is
entirely mainstream with average registrations, depth/intensity of feeling,
tempos, and lyricism. It's as if he computes the 'average' of all other
recorded performances and gives it back to us. Well, I am exaggerating
some, but that's the impression I get from Bowyer.
Bowyer's readings of the chorales are in a different category. Although
not every reading is a winning one, I feel it's clear that Bowyer is
stretching himself to provide distinctive performances which could lodge
themselves in the listener's mind. Registrations become imaginative and
even a little daring, and tempos are more individual in selection. It
doesn't always work out well, but I'd much rather have a recording mixing
wonderful interpretations with a few non-starters than simply a string of
good performances that are immediately forgotten.
Below is a synopsis of my journey through Bowyer's set:
Partita: O Gott, du frommer Gott, BWV 767 - This is one of four chorale
partitas composed by Bach. Each one uses a hymn tune and takes it through
a series of variations with a wide breadth of musical style; BWV 767
consists of eight variations. For comparison, I used Preston on DG, Rogg
on Harmonia Mundi, Weinberger on CPO, and Leonhardt on Sony/Seon; of these
four, Rogg is easily my favored version
The Partita is highly expressive and spiritually uplifting. Lionel Rogg's
version is superb. It begins with a noble majesty, provides mystery and
perfect sudden phrase endings in the first variation, imaginative and
compelling registrations in the third variation, treats the seventh
variation as one of complete enlightenment, and finishes with a wonderfully
playful and alert eighth variation. Rogg displays fine momentum throughout
and restricts any heaviness appropriately to the opening movement.
Although Kevin Bowyer's momentum is a little lacking compared to Rogg,
and his seventh variation doesn't even attempt to display any majesty,
the reading is as fine as the other three versions. It begins well, the
first variation has excellent detail and pacing, and the last variation is
effervescent. But I prefer Rogg's performances, and his conception is much
preferred. With Rogg, I am on a journey of discovery; I arrive there in
the seventh variation and celebrate the event in the eighth.
Canzona in D minor, BWV 588 - My desert island version again comes from
Lionel Rogg. The Canzona has two sections; the first is in duple rhythm
and can provide an urgent calling, the second is in triple time and greatly
increases the power and visceral excitement of the primary theme. Rogg is
sensational here - the first section is very slow and oozes urgency, while
the second is fast, powerful, and thoroughly invigorating. His contrast
between the two sections is illuminating. Versions from Koopman on Teldec,
Marcon on Hanssler, and Herrick on Hyperion are too tender and polite,
although Marcon does exhibit an infectious pacing in the second section.
Bowyer is even slower than Rogg in the first section; my remaining
preference for Rogg is not based on tempo, but on the greater urgency of
his reading. Bowyer's second section doesn't quite have the spring and
momentum of Rogg's. As with the Partita BWV 767, Bowyer's reading is a
fine one which ultimately yields to Mr. Rogg.
Trio in C minor(after Fasch)BWV 585 - A transcription of two movements,
Adagio-Allegro, from a trio sonata for two violins and continuo by Fasch.
The Adagio is one of melancholy leading to recovery, while the Allegro
is optimistic and energetic. My comparisons are from Pieter van Dijk
on Hanssler and Christopher Herrick on Hyperion. van Dijk's Adagio is
excellent and rhythmically buoyant with imaginative registrations, while
Herrick is lovely and solemn. For the Allegro, neither of them is
particularly animated or strong.
Bowyer, in the Adagio, takes the more solemn route along the lines of
Herrick and the performance is very similar in style and quality. In the
Allegro, he picks up the vitality a little over the other versions. As
enjoyable as Bowyer is in the Trio, he once again comes in second; the
Adagio of van Dijk is revelatory.
Preludes in G major BWV 568 & A minor BWV 569 - The Prelude in G major
is not a masterpiece. It consists mostly of strong/sustaining chords
and swirling semiquavers, but it certainly is conducive to providing an
exciting listening experience. For that to happen, the performer and the
soundstage need to be well detailed. Herrick sounds too rich and smooth -
Weinberger on CPO is very thick. In both cases, detail gets lost and the
music suffers. That's not the situation with Bowyer who displays fine
detail with an excellent soundstage. Will BWV 568 be the work where Bowyer
is finally on top of the surveyed field? Not with Werner Jacob in the
picture. He's even more detailed than Bowyer, and his rhythm has greater
momentum. So it's second place again for Bowyer.
The Prelude in A minor's backbone is a four-note motif that is subjected to
a series of very short variations which don't stray far from home. Spitta
is quoted as calling the piece "monotonous". Christopher Herrick does his
part to validate Spitta's opinion; he's soft in the belly with ordinary
registrations. At the other end is Erich Piasetzki on Berlin Classics with
an ever so slow performance which is hypnotic and loaded with imaginative
registrations. Close to this highest of levels is Wolfgang Rubsam on
Naxos. Bowyer is in the middle of the half-dozen other versions I listened
to. He's not dull, nor is he distinctive.
Toccatas in D major BWV 912 & D minor BWV 913 - I don't have any problem
with Bach's Toccatas for Harpsichord being performed on the organ. Bowyer
certainly provides the joy, excitement, and brash youthfulness of the
faster sections of the two Toccatas. I do have reservations concerning
the slower transitional passages which Bowyer plays as if the time for
a five-hour funeral is at hand. Overall, a more imaginative use of
registrations would likely have resulted in a more interesting
presentation. However, Bowyer is enjoyable in these two works, although
there's nothing to praise.
Prelude & Fugue in A minor, BWV 551 - One of Bach's lesser organ works.
Bowyer uses speed, power, and energy to provide a rewarding performance.
But again there's at least one other version which I find preferable; in
this case they come from Rubsam and particuarly Piasetzki who is even
faster than Bowyer and uses a much lighter texture and more interesting
registrations.
Prelude & Fugue in A minor, BWV 894 - After going through about half my
Bach organ recordings and finding no alternative versions, I switched to
Dave's archives and searched for 'BWV 894'. What came up was a review I
did of a Robert Hill/Bach harpsichord disc on Hanssler which includes BWV
894. Angela Hewitt, on piano, also provides the work with her set of
Bach's French Suites. Truth be known, I don't find this work a gem either,
but the harpsichord is much more effective than the organ or piano. Also,
Hill gives a light textured and angular reading which is quite enjoyable.
Bowyer generates excitement, but he also tends to send his messsage with a
very heavy brush.
Partita BWV Anh 77 & Concerto BWV 974 - This Partita is no longer
considered a Bach creation; it certainly does not possess the diversity or
complexity of the chorale partitas known to be by Bach. Bowyer plays it
well, but it's not of significant consequence. The quality of BWV 974 is
superior to the Partita but of less reward than most of Bach's other
concerto transcriptions with the exception of the third movement which is
a rousing and highly melodic piece which Bowyer performs admirably.
Chorales - Bowyer presents 23 chorales which cover about 40% of the total
music time on the 2 discs. I'll just relate some highlights:
Bowyer's BWV 694 is very energetic and bouncy with an average tempo.
BWV 696 is a majestic and wonderfully uplifiting piece in the hands of
Lionel Rogg. I thought I'd never find a version with such poor sounding
registrations as Olivier Vernet's on Ligia, but Bowyer beats him at it;
aural pain is the prevalent element here. Switch to BWV 699, a one-minute
work, and I'm listening to the most lyrical and beautiful version I know.
Although not the prescribed protocol, it's interesting to listen to BWV
703, 704, and 705 in succession; the density of the music increases from
one chorale to the next, and each of them lifts the soul. Andrea Marcon on
Hanssler is magnificent in BWV 705; Lionel Rogg's detail and spirit in BWV
703 & 704 are supreme. Actually, Bowyer matches these versions except for
BWV 703 which doesn't seem to have any foundation in his hands; it's fine
to fly off into the sky but also favorable to know where the ground is.
How's that for a cliche?
BWV 714 is a very comforting one-minute chorale with Anthony Newman on Vox
at the helm; Bowyer gives the piece more weight, an additional minute of
music, and the results are exceptional. Also superb is Bowyer's BWV 712
which has a lighter texture than Weinberger's equally stunning reading for
CPO.
BWV 723 is a heroic and noble piece with the potential for urgent forward
momentum and inevitability. Peter Hurford on Decca gives a fantastic and
uplifting reading in the two minute range; Bowyer extends the music another
thirty seconds and loses much of the inevitability in the bargain without
adding any alternative features of value that I could notice or feel.
Chorales of journey come from BWV 739 & 741. In BWV 741, power and
a stern quality are prevalent; at the same time, an intense longing
is invoked throughout. It's dynamite music given the full treatment
by Marcon, Rubsam, and our Mr. Bowyer. All three convey a journey of
torment. BWV 739 concerns the 'morning star' and is one of Bach's most
uplifting chorales. Bowyer can't match the momentum or lyricism of
Herrick, Weinberger, and Jacob. Those three take flight from the start;
Bowyer is sporadic. These two chorales are among my favorites.
Not significantly lower in inspiration are BWV 750 & 758. Andrea Marcon
is a wonderful Bach performer, but Bowyer surpasses him in both chorales
as he finds all the beauty and lyricism in the music; I am very impressed.
Bowyer is also inspiring in BWV 1101 which is an heroic piece that is
permeated with urgings - a great listening experience.
Don's Conclusions: Those who have been collecting the Bowyer series of
Bach's organ works have no reason to stop now. The performances are
consistently effective, and some of Bowyer's chorale interpretations are
revelatory. To be frank, the chorales are the best reason to acquire the
set; this is where the superior music and performances reside.
Don Satz
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