Bach Schübler Chorales; Toccatas and Fugues
Butt’s sparkling, virtuosic playing can make others’ seem pale by comparison, and the acoustic shows off the fine Metzler organ
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: Harmonia Mundi
Magazine Review Date: 3/2001
Media Format: CD or Download
Media Runtime: 67
Mastering:
DDD
Catalogue Number: HMU90 7249
Tracks:
Composition | Artist Credit |
---|---|
Toccata, Adagio and Fugue |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer John Butt, Organ |
(6) Schübler Chorales |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer John Butt, Organ |
Toccata and Fugue |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer John Butt, Organ |
Preludes and Fugues, Movement: Prelude (Toccata) and Fugue in D minor, 'Dorian', BWV538 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer John Butt, Organ |
Preludes and Fugues, Movement: Prelude (Toccata) and Fugue in F, BWV540 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer John Butt, Organ |
Author: Christopher Nickol
Familiar Bach territory, but presented here in an interesting running order. The Schubler chorales are divided into three pairs and interspersed with the Toccatas. The CD begins with BWV564 rather than the better-known but inferior BWV565; full marks for such imaginative programming.
Any Bach player nowadays is entering a crowded field, but I’m happy to report that Butt holds his own against such distinguished competition. Throughout the CD there’s sparkling, virtuosic fingerwork and footwork, plus liberal, extrovert ornamentation. Indeed, Butt’s bold decoration of the last page of BWV565 (together with a final major chord) makes Koopman seem quite restrained. My only reservations are that there is a tendency to stress the strong beats in the BWV564 and 565 fugues. I found this, and also the inegale rhythms of the BWV538 fugue, wearisome after a while; Koopman’s natural, uninhibited flow is preferable. Also, I’m afraid Butt doesn’t convince me that manual changes in the BWV538 and 540 fugues are necessary. Nevertheless, this is excellent Bach playing, enhanced, I’m sure, by Butt’s experience as a harpsichordist, conductor and academic.
The fine Metzler organ suits Bach very well. Unfortunately, the microphone is placed too close to the Ruckpositiv, so the relationship between the three manual divisions is given a somewhat false perspective. Luckily the chapel has a clean, not-too-reverberant acoustic, so Butt’s sprightly playing comes across unhindered by the recording’s limitations.'
Any Bach player nowadays is entering a crowded field, but I’m happy to report that Butt holds his own against such distinguished competition. Throughout the CD there’s sparkling, virtuosic fingerwork and footwork, plus liberal, extrovert ornamentation. Indeed, Butt’s bold decoration of the last page of BWV565 (together with a final major chord) makes Koopman seem quite restrained. My only reservations are that there is a tendency to stress the strong beats in the BWV564 and 565 fugues. I found this, and also the inegale rhythms of the BWV538 fugue, wearisome after a while; Koopman’s natural, uninhibited flow is preferable. Also, I’m afraid Butt doesn’t convince me that manual changes in the BWV538 and 540 fugues are necessary. Nevertheless, this is excellent Bach playing, enhanced, I’m sure, by Butt’s experience as a harpsichordist, conductor and academic.
The fine Metzler organ suits Bach very well. Unfortunately, the microphone is placed too close to the Ruckpositiv, so the relationship between the three manual divisions is given a somewhat false perspective. Luckily the chapel has a clean, not-too-reverberant acoustic, so Butt’s sprightly playing comes across unhindered by the recording’s limitations.'
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