The monumental organ works of J S Bach are well
known, both from their live popularity in concert and from almost
innumerable recordings. However, it is a major listening undertaking
to hear the works recorded here, in their intended format. The
Clavierübung was Bach’s most monumental undertaking in keyboard
music. It is a publication in four parts, of which the first and
second consisted of the Six Partitas for harpsichord in part one
and the Italian Concerto and French Overture in part two. Part
four is The Goldberg Variations, and part three, recorded here,
is a linked set of organ pieces based on the fundamental components
of the Lutheran liturgy. Although these works were intended for
use as individual pieces during a religious service, Bach organised
the complete collection along the most stringent architectural,
mathematical and liturgical lines. Although most of the works
are based on Chorale melodies, Bach uses particular melodies to
link to the sections of the Lutheran Mass. This consisted only
of the Kyrie and Gloria of the Roman rite. In the Kyrie, Bach
uses the same three chorales twice, the first set being for organ
with pedals (and probably intended for the principal Sunday morning
Hauptgottesdienst,) while the second set is for manuals
only and was probably composed for use at the Sunday evening Vespergottesdienst.
Following from this Bach includes settings for the Gloria, the
Ten Commandments, the Creed, the Lord’s Prayer, Baptism, Penitence
and the Communion, each based on appropriate chorales. As with
the Kyries there is in each case a pair of works, one with pedals,
one without. Luther’s four teaching precepts are represented by
four duets, some of the strictest two part counterpoint Bach ever
composed and indicative of the teacher/pupil relationship inherent
in the idea of the Catechism. The manuals only version of the
Creed setting Wir glaüben all an einen Gott BWV 681
is in the form of a French overture and comes at the halfway point
of the collection. A similar use of a French overture at this
point occurs in all the other parts of the Clavierübung.
Additionally the entire structure is imbued with
Trinitarian references. There are 27 pieces (3x3x3). There are
9 chorale preludes (3x3). The Gloria is set three times in trio
textures, spread over the keys of F, G and A, which outline the
interval of a third. Additionally the magnificent prelude that
opens the collection is in E flat (key signature of 3 flats) and
is constructed on three themes. It is almost incomprehensible
how this rigour of structure can be possible in music that, at
all times, appears of the most fluid beauty and spontaneity.
Strangely, although this is music that repays
the most intense study and careful listening, at the same time
it is surprisingly easy to enjoy, and even (heaven forbid!) appreciate
in the background. Needless to say, there have been many recordings
of this great collection. In this new release from Guild both
organist and instrument are of UK origin, but both are steeped
in the traditions of the German organ school. To make sense of
this music it is essential to play it on the right sort of instrument.
Of course the big fugues will work on any organ, but the underlying
meaning of the structure is greatly helped by the use of an instrument
built on the same constructional lines as those for which Bach
was writing. The Peter Collins organ of 1990 in the Greyfriars
Kirk in Edinburgh is, in this respect, one of the most suitable
in the UK. It is built strictly along the lines of the classical
Werkprinzip-System, in which the instrument is divided
into distinct sections in independent cases, the Pedal, Great
and Positive divisions (equating to the German Pedal, Hauptwerk
and Bovenwerk) being based on classical choruses of
16, 8 and 4 foot pitches respectively. There is additionally a
Swell division equating to the German Brustwerk and enclosed
in a case with shutters. Thus the contrasting natures of chorale
melody, accompaniment and harmonic basis can be clearly distinguished
in the interpretation. This format treats the organ much more
like an orchestra, with its separate string, wind and brass sections,
than like a single giant beast, as became the fashion in 19th
century organs, especially by the great English builders of that
time.
David Ponsford has performed this repertoire
for many years and is clearly at home in this musical language.
To some extent, the material is so great that the interpreter
can have only a limited effect on the aural perception of the
music, but generally Ponsford manages to put some stamp of interpretative
individuality into most tracks. This is most noticeable in the
area of registration, where again the quality of the organ is
a great help. Works such as the Fughetta super Allein Gott
in der Höh sei Her BWV 677 show off the delightfully
clear 4 foot flute ranks while the Fughetta super Dies sind
die heilgen zehen Gebot BWV 679 demonstrates the 8 foot flutes
to equal effect. There is a delightful chiff to the speaking
of these stops and the capture of the organ sound is excellent.
Christ, unser Herr, zum Jordan kam BWV 684 brings out some
fine fluidity of playing in the elaborate accompaniments on the
manuals, while the chorale in the pedal is played on a well judged
and balanced 8 foot trumpet that manages to avoid dominating the
filigree in the manuals. Again the recorded sound is excellent,
even to the clarity of the lower-pitched runs of the left hand,
which can so easily become muddy. The French overture of Wir
glaüben all an einen Gott BWV 681 makes effective use
of the Swell’s Cornet and five-rank Plein Jeu to
give a sound reminiscent of the organ music of De Grigny or Couperin.
This is a slightly unusual registration feature for a basically
German organ, but no doubt these stops, together with the 32-foot
pedal ranks (that Ponsford wisely avoids using on this recording)
increase the range of repertoire that this organ is capable of
performing convincingly.
It must be admitted that some of the longer chorale
settings tend towards the monotonous at times. Occasionally it
would be nice to hear Ponsford be more daring in his variety of
articulations. Similarly some of the phrasing could be said to
be rather predictable in places. However, that is the interpreter’s
prerogative, and it cannot be denied that the overall approach
to this recording is scholarly and thoughtful. Invariably the
highpoint of any disc of Bach’s music for organ comes in the great
Organo Pleno works, and this is no less true here. Most
impressive performance is the first setting of Aus tiefer Not
schrei ich zu dir (BWV 686) that opens the second disc. Here
Ponsford chooses a deliberately slow tempo, but as the chorale
melody is largely in the pedal he employs the majestic 16-foot
Trombone to great effect. It is sobering to think how this music
must have sounded in a world where about the loudest noise regularly
heard would have been a horse and cart on cobblestones or the
hammering from a blacksmith’s forge. This grand music bursting
forth from a huge, carved and gilded instrument high up the west
wall of the town church must have seemed almost literally to be
the very voice of God. This same sense of spacious grandeur is
evident in the collection’s most famous work; the Prelude and
Fugue in E flat BWV 552. The prelude is magnificent, but it is
in the fugue that ends the collection that Bach is at his finest.
Here a large organ really does help and the full pleno of the
Greyfriars instrument is nothing less than majestic. It is in
these large compositions on a broad canvas that David Ponsford
also reaches his peaks. The fluent virtuosity apparent in the
E flat fugue is most impressive. The smaller scale works seem
to present him with greater interpretative difficulties and tend
to result in a slightly detached air. The sense of attachment
in the big works is much greater and highly enjoyable.
The presentation of this recording is let down
rather by some very indifferent cover artwork and less-than-high-quality
printing on booklet cover and cd case back. The booklet itself
gives good background notes and work listings but would have benefited
from more information about the organ, although a specification
does appear.
Peter Wells