If you are in the market for youthful Bach on the organ in power-packed
performances, look no further than Andrea Marcon's 2-cd survey for Hanssler
titled "Ohrdruf, Luneburg & Arnstadt".  These works of Bach's youth range
from his student days at Ohrdruf and Luneburg to his first professional
assignment as organist in Arnstadt.  Hanssler's catalog number is 92087 and
total time is 107:59.  Marcon performs on the organ of the monastery church
of Muri(Aargau); the instrument was built by Thomas Schott in the early
1600's and had some restoration work done as recently as 1971.  This
particular organ is a glorious instrument, and I feel privileged to be able
to hear it on record.  Andrea Marcon is close to forty years of age and
making a major name for himself in the performing and recording of early
and baroque music.

The contents of the two discs are:

Prelude in A minor, BWV 569.
O Lamm Gottes, unschuldig, BWV deest.
O Lamm Gottes, unschuldig, BWV 1085.
Fantasia in C minor, BWV 1121.
Durch Adams Fall ist ganz verderbt, BWV 705.
Christus, der uns selig macht, BWV 747.
Prelude & Fugue in C minor, BWV 549.
Allein Gott in der Hob sei Ehr, BWV 716.
Gott, durch deine Gute, BWV 724.
O Vater, allmachtiger Gott, BWV 758.
Canzona, BWV 588.
Wir glauben all an einen Gott, BWV 765.
Allabreve, BWV 589.
Prelude & Fugue in G minor, BWV 535a.
Herr Jesu Christ, dich zu uns wend, BWV 749.
Das Jesulein soll doch mein Trost, BWV 702.
Ach Gott, vom Himmel sieh darein, BWV 741.
Auf meinen lieben Gott/Alio modo, BWV 744.
Fantasia in C major, BWV 570.
O Herre Gott, dein Gottlichs Wort, BWV 757.
Ich hab mein Sach Gott heimgestellt, BWV 707/708.
Herr Jesu Christ, meins Lebens Licht, BWV 750.
Prelude & Fugue in G minor, BWV 535.
Vom Himmel hoch, da komm ich her, BWV 700.
Wie schon leuchtet der Morgenstern, BWV 764(Fragment).
Nun ruhen all Walder, BWV 756.
Prelude & Fugue in C major, BWV 531.

The above is a total of 28 early Bach organ works and each one is a gem.
If you have concerns about the quality of this youthful music, put them
aside.  Although it wouldn't be reasonable to expect early Bach to possess
the depth of inspiration and complexity of the mature Bach, the basic
aspects of his music are all on display in the set.  His unerring sense of
pace and flow, his subtlety, his surprises, and his gorgeous melodies are
there for your picking.  There's also a brash quality you can't get from
the mature works.

Marcon's performances will not be to everyone's tastes.  He is with
little exception forceful, serious, and slow.  Nuances are at a minimum.
Many collectors would consider his readings of the sledgehammer variety.
The man never lets up; he grabs and pounds his way either into your heart
or he could give you a major headache.  If there is any opportunity to
deliver power and force, Marcon usually takes advantage.  Concerning the
slow tempos he uses, I logically know that he's slow.  However, the power
of the performances easily erases any feeling of slowness.  This is Bach
with a bold and heavy hand, and I doubt that listeners will go away with
neutral opinions of the interpretations.  They are of the love it or hate
it variety.  Personally, I tend to love Marcon's readings, although
listening in somewhat small chunks might be the best way to approach the
set.

The Muri organ will also tend to be considered either wonderful or a crude
messenger of the music.  I find this organ and the sound provided by
Hanssler to be as good as it gets.

As for some specific works and peformances, I concsider the Prelude &
Fugue in G minor BWV 535 to be the most interesting piece in terms of
performance.  Marcon also performs the earlier and incomplete version of
the Prelude, BWV 535a.  This pairing and how Marcon approaches each is very
interesting.  First, the inclusion of BWV 535a allows the listener to get
a great idea of how Bach's mind worked in the improving and lengthening
of the Prelude.  Second, while Marcon brings out all the artillery in
BWV 535a, he becomes mysterious, ominous, and even tender in the Prelude
BWV 535.  The contrast is strong, and each approach is exceptionally
interpreted.  Unfortunately, the poetry in the Fugue is rather low and
no match for the superb Herrick version on Hyperion.

The Fantasia in C minor, BWV 1121 well displays the powerful, serious,
and slow approach that Marcon uses.  Harald Vogel on DHM is much quicker
and injects some good cheer into the reading.  Marcon is relentless as he
hammers his way into your psyche.  You'll either want him to keep at it or
you'll duck to miss the blows.

In the Prelude & Fugue in C minor, most artists inject the music with some
unusual registrations for humorous effect.  Marcon will have none of that.
Humor is not part of the man's music-making.

For all the above, there are works on the disc where the power approach is
not viable, and Marcon makes the adjustments and performs splendidly.  He
radiates great hope and a fine depth of tenderness when required.  The BWV
724 and 702 Chorales are good examples of how well Marcon can apply a soft
and tender touch.

There is just one spot where I feel that Marcon makes the wrong decision.
It's in the second part of the Canzona, and I find the problem ironic.
Here we have Andrea Marcon, who personifies tough and powerful, faced with
all kinds of great opportunities to show us his heft.  But he doesn't take
that route at all; the result is an excessively delicate reading that does
not excite or intrigue.

Don's Conclusions: The Marcon set is not for the romantics among you nor
those who prefer their performing artists to have a little smile now and
then.  The set is for someone like myself.  I love Marcon's big-boned and
relentless performances, the lack of smiles concerns me not at all, and
I've never heard a better sounding organ.  But tread carefully - you could
end up with two discs you love to hate.  That's where I am with a different
2-cd set which I'm trying to endure long enough to thoroughly detest, but
that's another story for later.

Don Satz
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