Johann Sebastian Bach(1685-1750)
        Organ Works, Volume 6

Prelude & Fugue in C major, BWV 545
Chorale Preludes, BWV 720,721,727,741,735
Prelude & Fugue in D major, BWV 532
Partite diverse sopra, BWV 768
Prelude & Fugue in E minor, BWV 548("The Wedge")

CPO 999700
Recorded 1997
Released 2000
Christoph Treutmann Organ, Grauhof Monastery(1737)
Gerhard Weinberger, Organ
TT 77:26

As we reach Volume 6 of Gerhard Weinberger's traversal of Bach's organ
works, he is becoming a known quanity in many regards.  His tempos are
generally slower than average, angularity and sharpness are his companions,
severity is at peak levels, and he loves to be brash.  There are certainly
times when Weinberger's severity overcomes any effort to provide lyricism.
Also, he sometimes eschews the severe approach but tends toward thin
textures and very weak projection.

Still, the majority of his playing has been wonderful.  His brash and
severe approach works wonders on many early Bach works, and his strength
and 'reach for the sky' articulation pays mighty dividends in most cases.
Concerning bodies of works, Weinberger's Orgelbuchlein is my favorite on
record, and his accounts to date of Leipzig Chorales have been exceptional.
Overall, I'm enjoying this series more than the Kevin Bowyer on Nimbus and
Christopher Herrick on Hyperion.  My primary warning about Weinberger goes
out to those who have much trouble with 'Severe Bach'; those folks would
likely hate every volume in the series.

For Volume 6, Weinberger gives us a nice variety of works:  three preludes
& fugues, five chorale preludes, and one gigantic Partita with eleven
variations.  Weinberger's organ of choice is the Christoph Treutmann Organ
at the Grauhof Monastery.  Built in the years 1734-37, this is one of the
very few Treutmann organs still in existence.  In the 19th and early 20th
century, many changes were made to the organ to reflect the preferences of
those generations.  Fortunately, a thorough restoration was performed by
the Hillebrand Brothers Organ Building Company of Altwarmbuchen in 1989-92.
Thanks to the Hillebrand Brothers, we have the advantage of hearing this
organ as it might have sounded to audiences of the 18th century.

Unfortunately, I doubt that either 18th century or modern-day audiences
would be enthusiastic about Weinberger's interpretations of the three
prelude & fugue works on the disc.  I've not heard performances of these
three works which are as severe, loud, brash, and jagged as Weinberger's.
Although the readings are certainly distinctive, there is a loss of
lyricism on Weinberger's part.  Listening to the works performed by artists
such as Lionel Rogg, Helmut Walcha, E.  Power Biggs, Christopher Herrick,
Olivier Vernet, Albert Schweitzer, and Ton Koopman well reveals that
Weinberger can't capture the music's poetry with such a strong emphasis
on severity and jagged rhythms.  I have a hunch that the Treutmann Organ
and Weinberger are not a good match, but it is Weinberger's responsiblity
to respond appropriately to his organ's particular qualities.  Overall,
Weinberger's heavy and head-banging performances are even a little too
much for my tastes, and I generally have no problem with a severe Bach.

Although the five chorale settings and BWV 768 are an improvement on the
prelude & fugue works, they aren't particularly noteworthy except for BWV
727 and the initial subject of BWV 768 which are mesmorizing.  Concerning
BWV 768, as Weinberger's performance rolls along, it becomes increasingly
overbearing and ends with an extremely heavy 11th variation.  To my
surprise, the wonderfully uplifting 10th variation could have been much
stronger than Weinberger offers.

Don's Conclusions:  Volume 6 joins Volume 1 in the "not recommended"
category.  There is a fine line between severe performances which
illuminate and those which just grind away at the listener.  In both
Volumes 1 & 6, I feel that Weinberger crosses that line.  However, Volumes
2 thru 5 are exceptional recordings.  If you have already purchased only
the 1st or 6th Volumes, please don't accept those results as typical of
Weinberger's entire set.  There is gold in many of his performances; one
just needs to exercise some savvy and sampling to find Weinberger at his
best.

Don Satz
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