The label’s PR blurb claims that this release
is “an original concept: the Orgelbüchlein BWV 599-644 performed
alternating the organ chorale with the same chorale sung by a choir.”
Perhaps not
that original. Ton Koopman has done a similar thing
with the Schübler Chorales (with his Amsterdam Baroque Choir, Warner)
and Suzuki has turned to the
Clavierübung III (aka German
Organ Mass) in that way (Bach Collegium Japan, BIS). The
Orgelbüchlein
has been thus recorded by at least Kevin Bowyer (with Det Fynske Kammerkor,
volume 7 of his complete Organ-Bach on Nimbus), Vincent Warnier (Ensemble
Vocal Jean Sourisse, BNL), Helga Schauerte (Immortal Bach Ensemble,
Syrius/BNL), and Helmut Rilling (with his first ensemble, the Stuttgart
Figuralchor, on Cantate).
Lack of originality and PR-exaggerations cannot diminish the magnificence
of this reading at all, though. Given that most of the above recordings
are hard to come by, it’s actually surprising how few discs there
are that follow this concept. It is, after all, immensely pleasing -
even enlightening. Speaking of enlightening: at first I was disappointed
that the Brilliant release places the organ works before the sung chorales,
seeing how the organ pieces developed from the choral pieces, and not
the other way around. That’s how the other recordings order these
works - except for Schauerte, who alternates the order. After a couple
dozen, ever-enthused listenings I’ve changed my mind, though.
In fact, this order helps the shorter choral interludes gain in weight
and become equal partners, not just notable appetizers. That’s
not just fair but a bonus, because the Coro della Radiotelevisione Svizzera
under Diego Fasolis is one of the great strengths of this recording,
and deserves every bit of the spotlight. Solo soprano duties in 14 chorales
go to the equally lovely, moving Antonella Balducci, whose calm and
darkly colored voice - with burnished hints of reed and wood and total
lack of narcissism and bits of boyishness - puts the ears at divine
ease.
Francesco Cera plays with that innate rhythm that establishes that irresistible,
compelling pulse in Bach. His modern
Mascioni
opus 1182 organ (2008) of the ancient
Church
of Santa Maria Assunta in Giubiasco/
Bellinzona
(~1387), sounds clear and clean, strong, and confident. It is not at
all bombastic or overwhelming; Bowyer’s Marcussen organ of Saint
Hans/Odense tends in that direction. It’s neither chalky nor nasal
as Warnier’s very fine French
Grand
Organ of St.Martin in Masevaux (Alfred Kern) does. Although it has
a mechanical transmission, you can’t hear the nuts and bolts as
you will, invariably, from the historical instrument in Luckau - in
its own right a glorious Christoph Donat-built instrument - that Schauerte
plays.
Det Fynske Kammerkor (Bowyers’ band) manages some chorales with
almost chorister-like clarion-naïveté. The Immortal Bach
Ensemble (and assorted soloists) impress with unparalleled transparency
and pronounced rhythmic delivery. Here the Coro della Radiotelevisione
Svizzera comes close, and adds an amount of heft that matches the organ
and allows not having to record the voices too closely. Their contribution
makes up for the only criticism I might muster - by providing very decent
liner notes, Brilliant nixes another potential complaint in the bud
- and that’s that the Mascioni organ sounds a little neutral compared
the Luckau and Masevaux instruments. Well, that’s why I wouldn’t
just want to have one recording of these works … but if I had
to reduce to one, it would be Cera.
Jens F. Laurson
