Bach Organ Partitas
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: DG
Magazine Review Date: 3/1991
Media Format: CD or Download
Media Runtime: 54
Mastering:
DDD
Catalogue Number: 429 775-2GH

Tracks:
Composition | Artist Credit |
---|---|
Chorale Variations, Movement: Partite diverse sopra O Gott, du frommer Gott, BWV767 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Simon Preston, Organ |
Chorale Variations, Movement: Partita diverse sopra Sei gegrüsset, Jesu gütig, BWV768 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Simon Preston, Organ |
Chorale Variations, Movement: Partite diverse sopra Ach, was soll ich Sünder m770 (doubtful) |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Simon Preston, Organ |
Chorale Variations, Movement: Partite diverse sopra Christe, der du bist der helV766 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Simon Preston, Organ |
Author: Marc Rochester
Of the six sets of variations on Lutheran chorale melodies attributed to Bach, two are omitted from this disc. Allein Gott in der Hoh sei Ehr' is now known to be partly or wholly by A. N. Vetter while Simon Preston included the great canonic variations on Vom Himmel hoch, da komm ich her in an earlier Bach disc for DG ((CD) 427 668-2GH, 3/90). It's a pity that he didn't permit himself a little duplication (theoretically there is room on this disc) for his playing here is at its very best; and Simon Preston's best in Bach is truly formidable.
The organ (a 1627 Lorentz, reconstructed by Marcussen) makes some delightful sounds. At heart it's a most gentle creature and Preston reveals to us some of its charms with registrations planned with exemplary care and very little repetition. We encounter a captivating reed, as delicate as the finest porcelain miniature (Var. 3 ofO Gott, du frommer Gott), the purest of flutes lovingly embraced by a subtle tremulant (Var. 8 of the same work) and a whole host of simply magical colours. Frequent use of 16-foot manual stops compensates for the lack of pedals in most of these variations (perhaps in Ach, was soll ich Sunder machen? this does produce a little too much deadweight). Only in the final variation of Sei gegrusset do we encounter full organ; a sound as stirring and red-blooded as any organ could hope to muster.
Such a concentration on small sounds as well as a wide overall dynamic range has certainly tested the DG engineers' skills. But they have achieved an outstanding result; a model of organ recording, clearly focused organ sound with an ideal acoustic backdrop. I found a slight upward adjustment of the volume control revealed some particularly vivid results but at normal levels even the softest stops could be heard with impressive clarity.'
The organ (a 1627 Lorentz, reconstructed by Marcussen) makes some delightful sounds. At heart it's a most gentle creature and Preston reveals to us some of its charms with registrations planned with exemplary care and very little repetition. We encounter a captivating reed, as delicate as the finest porcelain miniature (Var. 3 of
Such a concentration on small sounds as well as a wide overall dynamic range has certainly tested the DG engineers' skills. But they have achieved an outstanding result; a model of organ recording, clearly focused organ sound with an ideal acoustic backdrop. I found a slight upward adjustment of the volume control revealed some particularly vivid results but at normal levels even the softest stops could be heard with impressive clarity.'
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