Johann Sebastian Bach(1685-1750)
        Organ Works, Volume 4

Partite diverse sopra il Corale, BWV 767
Orgelbuchlein, BWV 637-644
Fuga in b, BWV 579
Praeludium in G, BWV 568
Fuga in c, BWV 574*
Orgelbuchlein, BWV 632-636*
Fuga in g, BWV 578*
Partite diverse sopra il Corale, BWV 770*
Praeludium in a, BWV 569*

CPO 999653
Recorded June 1996
Nicolaus Seeber Organ, St. Johannes, Thuringen
Johann Caspar Rommel Organ, St. Blasii, Thuringen*
Gerhard Weinberger, Organ
TT 73:36

Gerhard Weinberger's 3rd volume of the complete Bach organ works was
devoted to the Orgelbuchlein BWV 599-631.  Because of Weinberger's slow
tempos, the entire Orgelbuchlein could not fit on one disc.  Volume 4
completes the Orgelbuchlein and adds seven other Bach works, two of which
are major variation pieces(BWV 767 & 770).

I found Weinberger's 3rd volume to be an essential acquisition; his
performances of BWV 599-631 are among the best I've encountered to date.
I'm a little surprised that Weinberger decided in Volume 4 not to use the
same organ as he did in Volume 3.  Even more surprising, he uses two
different historical organs to complete the Orgelbuchlein.

This 4th volume can be split into three sections:  remainder of
Orgelbuchlein, the two partitas, and the preludes/fugues.  In the remaining
Orgelbuchlein pieces, Weinberger continues his winning ways in the same
manner as in the 3rd volume.  The two variation works, BWV 767 & 770, are
severe interpretations which I love and are very distinct from other great
performances such as from Lionel Rogg and Wolfgang Rubsam.  Weinberger has
his ups and downs in the five remaining works, but his ups are tremendous.

Here's the run-down of my journey through the disc:

Orgelbuchlein, BWV 632-636:  Weinberger, although using a different organ,
just keeps moving ahead with wonderful interpretations except for BWV 636.
I find him too heavy and somber for a 'reach out and touch someone' piece
of music.  His BWV 632 is a joyous delight, BWV 633/634 have never sounded
so poignant and lovely, and BWV 635 has a semi-raucous and bragging element
which I can't resist.  The Johann Caspar Rommel Organ is delightful, and
Weinberger uses its registrations in a distinctive and thoroughly
satisfying manner.

Orgelbuchlein, BWV 637-644:  Switching to the Nicolaus Seeber Organ,
Weinberger continues to offer idiomatic, angular, and relatively severe
readings which match the music's themes.  For example, BWV 637 is about
Adam's fall, Eve's duplicity, and the triumph of the serpent.  It calls
for much austerity and a highighting of the falling sevenths from the pedal
which represent Adam's fall from grace.  Weinberger hits it perfectly with
an austerity that takes command from the start.  His angular approach to
the victorious BWV 638 is very impressive.  When the tender and melancholy
BWV 639 takes center-stage, Weinberger makes the adjustments beautifully.
Then he returns to his ominous and angular ways in BWV 640.  I would have
liked a more strongly projected embellished melody from the soprano voice
in BWV 641, and BWV 643 would have benefited from a more energetic
delivery.  But you can't have everything.

BWV 767 & 770 - For these two variation works, I used Lionel Rogg
and Wolfgang Rubsam for comparison.  After the listening experience,
my lingering thoughts of Weinberger's performances center around
their severity.  Although Rubsam is certainly no slouch when it comes to
severity, Weinberger is the embodiment of the element.  Thinking back to
earlier Weinberger volumes in his Bach cycle, severity is the one feature
that the listener can always count on from him.

Is severity a negative musical performing trait which damages musical
beauty and architecture? Not at all, and whether it happens to do any
damage depends on how and when the artist delivers the severity.  There
have been times in the Weinberger cycle where his severity did clash with
the basic emotional themes of Bach's music.  However, in the majority of
cases, this severity has been excellently employed by Weinberger to enhance
musical tension, excitement, urgency, and distinctiveness.  Can there be
beauty in severity? Of course.

The use of severity to enhance musical rewards is excellently displayed
through Weinberger's readings of BWV 767 & 770.  His variations are
gorgeous creations founded on severity which Weinberger gives us through
his note values, rhythmic patterns, intervals, and registrations.  I won't
deny that the severity might not seem appealing at first blush, but once
broken through by the listener, sounds just as natural, refreshing, and
lyrical as the more tender interpretations by Rubsam and Rogg.

In the Review columns in magazines and on the internet, there have been
a host of complaints about Weinberger's style.  He is considered austere,
insufficiently exuberant, rhythmically stiff, and entirely mundane with his
registrations.  From my perspective, these negative responses are all based
on Weinberger's severity, and those reviewers do not care for Bach's music
presented in such a severe manner.  Weinberger's peformances have severity
at their heart; naturally, if a listener can not accept this level of
severity, the readings will be poorly received.  My conclusion is that
Weinberger's severity often enhances Bach's music, providing a beauty quite
different from the norm but just as effective.  End of tangent.

Fuga in b, BWV 579 - It figures that after I give Weinberger praise, he
totally loses it in BWV 579.  There's no problem with the severity; it's
that he pulls the rhythm so out of shape that he saps every strand of
lyricism in the music.  For a majestic and emotionally rich performance,
check out Martin Lucker on Hanssler.

Praeludium in G, BWV 568 - This is an improvement over Weinberger's
B minor Fuga but still leaves much to be desired.  Swirling semi
quavers set against strongly sustaining chords can make for an exciting
performance.  However, fine detail needs to elicited from the semi quavers,
and Weinberger's textures are entirely too thick to provide the needed
detail.

Fuga in c, BWV 574 - Based on a theme by the Venetian composer Giovanni
Legrenzi, this double fugue has quite a cumulative impact from increasingly
active figures which keep tightening the tension and urgency of the music.
It ends convincingly with a toccata section of collosal proportions.
Weinberger punches out his angular rhythm from the start and displays a
deep urgency which increases to desperation by the time the toccata begins.
The power of Weinberger's toccata is awesome and not to be missed.

Fuga in g, BWV 578 - There are a host of excellent recorded performances
such as from Lionel Rogg, Wolfgang Rubsam, Julia Brown, and Ton Koopman.
My current favorite is from Lehotka on Laserlight, and it's a good
comparison for Weinberger; both versions are on the quick side at well
under four mintues.  However, while Lehotka's pacing sounds just right,
Weinberger's conveys a rushed and somewhat perfunctory quality.  His
reading is not among the best.

Praeludium in a, BWV 569 - A work which consists of many variations of a
four-note motif, this piece can easily become monotonous unless performed
either with much rhythmic vitality and edge or in a mesmorizing fashion
with captivating registrations.  Rubsam provides the vitality and edge
while Erich Piasetzki on Berlin Classics presents relatively smooth
surfaces with an incessant and bold determination which I find mesmorizing;
his registrations are delightful and fully exploit the stunning Silbermann
Organ of Nassau.

The liner notes written by Weinberger describe BWV 569 as follows:

   "It has its effect with its penetrating rhythm and and harmonic
   surprises and gives us an idea of the youthful fire and gripping
   energy with which the young Bach was endowed."

It isn't often that the liner note descriptions are a perfect match with
the performance, but Weinberger is spot-on.  His severity and strength are
huge, his sharp articulation penetrates deeply, and I feel like I could
physically conquer the world.  Put another way, Weinberger blows away all
competition.

Don's Conclusions:  Three short works on the program, adding up to
about twelve minutes of music, aren't worth much in Weinberger's hands.
With that out of the way, the disc gives us the concluding settings of
Weinberger's exceptional Orgelbuchlein, highly memorable readings of the
two major works for variations, and the best performances I've ever heard
of BWV 569 & 574.

Consider Volume 4 an essential acquisition.  It's the only way to achieve
completion of the Orgelbuchlein although the disc has much more to offer as
well.  Weinberger at his best *is* the best; at his worst, he can be really
bad.  The bulk of Volume 4 finds Weinberger on top form.  I'm very glad
that my opinion of Weinberger's series has risen greatly from his initial
volume which didn't hold much promise, and I am looking forward to more
volumes from this severe and gripping artist.

Don Satz