Summer Bach Honors!

With my knee surgery, I'm afraid that I've fallen a bit behind in my writing for The Barde! 

These "Summer Bach Honors" were really supposed to be the June Bach honors, but since it is a little late for that, please excuse me if I take the only path open to me, and call them "summer" and let it go at that!  I actually made my choices sometime ago, and the text file has been sitting here waiting for me to get to it, so, at long last, late, but with no less sincerity, are my "summer" Bach picks!

As always, I list these in no particular order.

My first choice is actually a "double choice", since both of these performances were done by sanden, and both of them played upon the splendid Andreas Silbermann organ of the Abbey Church of St. Maurice in Ebersmunster in the Alsace region of France.  Dating from 1730-1732, this magnificent instrument was meticulously restored in 1997-1999, and wonderfully captured in sound and presence with the always stellar achievements of Organ Arts Media (OAM).

Enrico (sanden) has played two of Bach's 18 Great Lepizig Chorales in these two performances: the wonderfully glowing Schmucke dich, O liebe seele,  BWV 654

(https://www.contrebombarde.com/concerthall/music/17023) 

and the poignantly sad and sweet, An Wasserflussen Babylon, BWV 653 (https://www.contrebombarde.com/concerthall/music/16971 ) , one of my very favorites.

Both of these performances are exemplary in all that we could hope for in renditions of these two masterpieces.  The flowing sensitivity, the moving lines, the depth of emotion, and the use of this wonderful organ's resources, make both of these performances exceptional - both in listening enjoyment, and in learning examples.  Both pieces show why Enrico's presence on the Concert Hall has become something to be valued, not only due to his knowledge and skills, but also due to his always-friendly and positive attitude! :-)

My congratulations to Enrico (sanden) and to Organ Arts Media!

A BIG BRAVO and THANKS to performer and sample set maker!

The second choice goes to LucV for his highly interesting, and very brilliant performance of the Prelude and Fugue in G, BWV 541. 

https://www.contrebombarde.com/concerthall/music/17040

You know I always try to listen to everything, and always try to comment, but with some of my pains lately, I've fallen behind a bit, actually, a LOT, especially in commenting.  I remember listening to LucV's performance, and immediately making a "mental note" of it, but I'm surprised to see that I didn't comment (I just did now!).

Still, there is no doubt that this performance would make any serious organist take note!  It's a highly "unusual" rendition of this classic, which I confess is not part of my repertoire.  I have always loved the piece, and it was the very first Bach piece that I actually "saw played" while standing right next to the console.  I remember being astounded by someone playing with their feet... ;-)

LucV has taken a "different path" on this one.  While one normally expects to hear this played on the full plenum with the 16' Posaune in the pedal, this performance takes a light touch and a sparkling sound as it's focal point - and it works!  Would I play it like this?  No, I probably wouldn't - and I probably couldn't, but isn't great that we can share these ideas with each other, and in an environment that has a "caring and friendly aura" to it? 

Luc says that he wanted to make the voices (my words) "clear and transparent" - in other words, so us full organ thumpers can't hide behind slow speaking pedal reeds and a big echo!  Well, I would say that he has MORE than accomplished his goal - and with a nice sense of "natural freedom" as well.  VERY ingenious and very skillfully executed too!  Only at the end does the plenum appear, but it was worth the wait... ;-)

The organ also shines.  It's the "relatively new" (as in sample sets) 1959 Marcussen transept organ of the Laurenskerk.  This is an instrument that I do not own, but wish that I did, as it has a wealth of colors, and really gives the creative a performer a chance to get the most from it.  Well, this is no surprise, as it is a Sonus Paridisi set, and we know that we can expect top quality from all of their productions!

My congratulations to LucV and to Sonus Paradisi.

A BIG BRAVO to the organist and to the sample set maker!

My next choice turns out to be another version of the G Major, BWV 541, this time by EdoL, who was recently honored as uploader of the month.

For his performance, Edo has selected the "new" 1687 Arp Schnitger at Steinkirchen, spectacularly captured by Organ Arts Media.

https://www.contrebombarde.com/concerthall/music/16930

https://www.contrebombarde.com/concerthall/music/16931

Edo's performance is very different from LucV's but everybit as magical and masterful.  It is a more "traditional" version that we hear this time, but not without the thoughtful shaping and phrasing that is such a signature of all of Edo's performances.  As one who has always played Bach "pretty straight", when I listen to this, I get a whole other perspective on shaping and accents.

The organ in a word is spectacular.  OAM really knows how to get the very best out of an instrument like this, and it is an absolute wonder and joy to hear.  Opinions as to "who likes what" always seem to differ, but I've heard nothing but praise for this organ!

Joseph Haspel, one of our very talented members and uploaders said it perfectly in his comment about the Prelude, which could also be said for the Fugue: "The music sometimes rises to a near rioutous joy and yet, through your mastery, never crosses over into recklessness - you give it free rein to revel in it's beauty but at the same time impose an inexorable calm - Like a great horseman on a magnificent horse." 

So, Edo, if you can dismount from your steed, please come forward to accept our praise!

A BIG BRAVO and THANKS to the organist and to, OAM,  the sample set creator!

My final choice for this group of honors goes to PLRT, and his triple header version of Marcel Dupre's transcription of the well-loved Sinfonia from the Cantata, 'Wir danken dir Gott', BWV 29.  Here we are presented with a very difficult task - choosing which "version" we prefer!

https://www.contrebombarde.com/concerthall/music/16874

The "outer versions" are both on the magnificent Willis of Hereford Cathedral, superbly captured by Lavender Audio and the "middle one" is on the lovely and delightful renaissance instrument in the Church of the Holy Trinity in Smecno,  the oldest preserved and playable organ in the Czech Republic, beautifully rendered by Sonus Paradisi.

In his 3 performances, all of which are superb, Patrick has taken completely different approaches.  The first version is a rousing tour de force which really puts the Hereford instrument through its paces to be sure.  You think, well, certainly THIS is my favorite!  But then, we hear the sweet sounds of the Renaissance instrument in Smecno coming to soothe our modern ears, and we think, well, yes all the rush and thunder of the first was superb, but surely, this is the way we would want to hear this piece! But then, just to delight, and/or confuse us, we find ourselves back in the nave of Hereford, and this time the Willis gives us a more "cathedral-style" performance.  A grander approach, if you will, and we say, well, now I know that THIS is my favorite...

Or was it the other one?!?  Which is your favorite?!?  Mine?!?  I'll tell you at the end...

Well, which ever "one" you prefer, we are delighted from start to finish with the brilliance of the performer and of the instruments.   It is invaluable to able to "compare" things that are completely different, just by clicking a button with our computer mouse and loading a different organ!  What a great learning device this would have been at the conservatory I attended - a school with a large organ department and recognized faculty, but with almost no organs on which to play!  Want to practice?  Well, you BETTER have a church job, or you are out of luck!  HW could bring new flexibility to a situation like that.

THANK YOU, Patrick (PLRT) for your wonderful "tour" of this piece, and THANKS to Lavender Audio and Sonus Paradisi for the painstaking care in producing such wonderful sounds for us to enjoy!

A BIG BRAVO to the performer and the creators of the sample sets!

So there you have my "Summer Bach Choices".  As always, these are given in no particular order, and are based solely on my own selection. 

I'll look forward to sharing the next set of Bach honors with you soon!

Oh, right!  My favorite of the group?  Why, the "one I'm listening to, of course!" ;-)

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