Johann Sebastian Bach(1685-1750)
              Organ Works

Toccata, Adagio and Fugue in C major, BWV 564
Toccata and Fugue in D minor, BWV 565
Toccata in C major, BWV 566
Toccata and Fugue in D minor, BWV 538
Toccata and Fugue in F major, BWV 540

ASV Quicksilva 6231 - Recorded 1993
Richard Marlow on Organ
TT 64:19

Summary for the Toccata and Fugue Enthusiast - Not a Keeper.

Bach adapted the Toccata & Fugue for organ from the North German organ
toccatas by Buxtehude and others.  In their compositions, the Toccata was
an extended movement alternating free and fugal sections into a blend of
improvisatory fantasy and strict counterpoint.  Bach adapted this form
by devising separate movements, increasing substance to the contrasted
sections, but decreasing the number of contrasted sections.

A few weeks ago I reviewed a Bach organ recital disc performed by James
Johnstone on ASV Quicksilva.  Here is another disc from ASV Quicksilva
performed by Richard Marlow with a more concentrated theme - Organ Toccatas
& Fugues.  Marlow has recorded the five Toccatas & Fugues, three of which
are early works written before 1710.  Mr.  Marlow has had a varied musical
career.  He studied with Thurston Dart and wrote his doctoral dissertation
on the 17th Century performer, Giles Farnaby.  Marlow has been Director of
Music at Trinity College and founded the Cambridge University Chamber
Choir.

He writes, performs live, and records often - a man for all seasons.  For
the present recording Marlow performs on the Metzler Organ of Trinity
College.

Toccata, Adagio & Fugue in C major, BWV 564 - The opening Toccata
is one interesting piece.  Its first section is loaded with surprise
and humor.  It sputters, runs forward, stops, speeds up, has echo
effects, and generally provides the listener with a fun time.  In the
second section, the flow becomes more smooth and consistently driven.
Johannes-Ernst Kohler, on a Berlin Classics recording, is quite demure in
the first section and routine in the second.  Harald Vogel on DHM is more
animated in the first section, fast and exciting in the second.  Bowyer
on Nimbus is quite fast and thrilling in the first section; he's like
lightning in the second section, but the effect is a little helter-skelter.

Two great versions of the Toccata come from Herrick on Hyperion and Preston
on DG; both break away from the pack with deliciously joyful and heroic
second sections.  Richard Marlow does very well.  He expertly handles the
twists and turns of the first section, and the second section finds him
conveying a strong sense of joy.  However, he doesn't project the stature
and ceremony of Herrick or Preston.  On balance, Marlow's is a highly
competitive and rewarding performance a little short of being among the
best.

The central Adagio has mildly throbbing middle and bass parts with a
well decorated melody line above.  Most interesting is the Grave which
acts as a bridge between the Adagio and following Fugue.  This Grave has a
improvisatory style which some performers play at a volume that feels as if
the floor beneath is being heaved up.  That's how Kevin Bowyer delivers the
Grave, and I love his approach.  Richard Marlow is basically as effective
as Bowyer in the Adagio, but his Grave does not create Bowyer's impact.

The concluding Fugue is special music.  Bach had a talent for composing
glorious tributes to life and/or God, and this fugue is one of his best.
A version that, among other attributes, sounds like it's stretching out
to reach every fibre of the universe is the most upliting for me.  Most
excellent recorded performances don't provide that feature; instead
they deliver a relatively smooth flow with much elegance.  That's a fine
approach, but it doesn't provide maximum glory or tribute.  Rogg, Preston,
Bowyer, and others are in this category.  Johannes-Ernst Kohler on Berlin
Classics takes a different approach.  His notes and attacks are angular,
not rounded.  This creates the sensation of stretching which I love for
this music.  In addition, you can't find a more transparent reading than
Kohler's.  But you can find an ever better one from Martin Lucker on
Hanssler.  His angularity is more complete, his reading is stronger, and
his registrations are unusual and delectable.  With Lucker, the tribute
is absolute.

Where does Marlow stand? Toward the rear.  The performance is quite smooth
but, unlike others, is not excellent because his notes from the higher
registers are not distinct as they tend to evaporate instead of ringing
out.  I find it a bad decision; every other version I own is more rewarding
than Marlow's.

For BWV 564, I can't recommend the Marlow performances.  The Toccata and
the Adagio are fine but nothing special; the Fugue is not competitive.  At
this point, Marlow provides average tempos without much exuberance.

Toccata & Fugue in D minor, BWV 565 - Gustav Leonhardt on Sony/Seon is my
standard for this famous "Is it Bach?" work.  Leonhardt is the epitome of
crispness, voice interplay, and strength.  Although there's still nothing
crisp about Marlow, he does come out of his shell in terms of projection
and exuberance.  The performance is a splendid one and a big improvement
over BWV 564.  The Toccata has fine weight and power; the Fugue is
exciting, vivacious, and highly lyrical.  I still prefer Leonhardt, but
Marlow's version is a close second.

Toccata in C major, BWV 566 - Written prior to 1710, the work consists
of two fugues separated by a short improvisatory passage, with each fugue
framed by a toccata.  Both fugues are linked by descending arpeggios,
but they are quite distinct from one another.  The first is immensely
satisfying and comforting music; the second, in triple time, is much
more exuberant and celebratory in nature.  I really love this early Bach
creation.  Whether subtle or out-going, I get wonderful feelings of the
best that life has to offer.

Almost forgot to mention that the Toccata is also in a E major version
which is the prevalent key when the work is performed.  In this respect,
Marlow is a little daring.  But truth be told, I don't find any significant
difference between the two keys.  Lately, my favorite versions have come
from Christopher Herrick and Lionel Rogg.  Herrick's second fugue is loaded
with celebration; Rogg's initial toccata brings out all the music's poetry
and the first fugue is supremely comforting and uplifting.  Marlow's
performance of the C major Toccata is highlighted by a strongly heroic
second fugue which is on the slow side.  The overall reading is a fine one
but does not supplant Herrick or Rogg; Marlow still has a little problem
with exuberance and strikes me as a reserved artist.

Toccata & Fugue in D minor, BWV 538 - This is a special work with a highly
conversational Toccata and majestic Fugue of great beauty.  The Toccata'a
conversation between manuals can seem like it drones on and on unless the
performer conveys the music's details and provides some angularity.  Marlow
does none of that and delivers one of the most legato-driven and cloying
performances I've heard.  By comparison, the incomparable Karl Richter on
Teldec invests the Toccata with a vitality that Marlow totally lacks.
Richter's Fugue is also superb; Marlow is much quicker and surface-bound.
Overall, Mr.  Marlow takes great music and removes its superior properties.

Toccata & Fugue in F major, BWV 540 - Another special Bach organ work with
a Toccata that can put you in a trance and a double fugue of strong beauty
and weight.  Marlow's Toccata is not better than his BWV 538 Toccata; they
share the same problems and ultimately have no lift.  The Fugue is an
improvement where Marlow displays a fine rhythm and majesty.

Don's Conclusions:  Marlow only distinguishes himself in the famous BWV
565.  In the other works, he is generally low on vibrancy and favors too
much legato which leads to rather thick performances.  There's little
angularity and no crispness.  The soundstage is a good one but tends to
exacerbate the smooth sound provided by Marlow.

I can't think of any reason to recommend the Marlow recording.  His most
rewarding performance, BWV 565, is bettered by Leonhardt, and the other
readings don't have a great deal to offer.  Marlow's performances are safe
and rarely exuberant.  Although the price of the disc is less than premium,
it's best to search elsewhere.

Don Satz
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