The organ, that all-powerful, gigantic, extremely-loud instrument that has always been linked to religious music, had in Johann Sebastian Bach its undisputed master of all times. Later centuries brought about a lot of good music for organ, but the work of the German composer has never really been equaled. Nowhere is this more evident than in this great double set of recordings by German musician Helmut Walcha, the blind organist who, because of his lack of sight, penetrated the depths of the instrument like few had before him, forming a relationship where all the facets of the music shined through in all their glory. Free of visual noise, Walcha’s senses could concentrate on sound; he had to use his ears to make up for the shortcomings of his eyes. On this record, his strong integration with the aural world can’t be more obvious, as he understands the strengths and weaknesses of the big pipe organ and makes the most out of every detail. Walcha is probably the best possible partner for Bach’s majestic music.
The set, divided on two discs, contains many of Bach’s best-known organ works. Three Toccata & Fugues, including a vibrant version of the famous one in D-minor and a more controlled version of the one known as “Dorisch” (“Dorica”). Especially in the former, Walcha’s playing is more relaxed, less virtuosic but more connected with the material than Karl Richter’s version (one of my favorites, too). The only moment where I prefer the Richter version now is by the end of the fugue, where Walcha’s recording lacks the menacing emphasis of the Richter one.
Other works included here are two Fantasia & fugues, two Prelude & fugues, the glorious (and famous) Passacaglia & Fugue in C-minor (which receives the best treatment I’ve found yet), a Trio Sonata in D-minor, and two sets of more religious-oriented pieces: the Canonic Variations on “Von Himmel hoch, da komm ich her”, and the exquisite 6 Chorales “Schubler”, including the famous one based on the melody of the middle choral movement of the cantata “Wachet auf, ruft uns die Stimme”. All of these, while less exciting than the larger, more purely musical-oriented works like the toccatas , the passacaglia and the preludes, show the devotion of the man to the music and of the man to his god in a very eloquent way. One can easily tell that, just as Bach’s devotion for his God was absolute, so was the faith the interpreter had for both the same divinity and the music of the baroque master.
The recording itself, made in two organs in two different occasions, is good; especially considering it was made more than 40 years ago. I recommend this disc as a perfect introduction to the organ music of the composer who best understood the instrument, played by one of the musicians who better understood that relation.
4/5
No comments:
Post a Comment