Luogo e data di registrazione		Kopenhagen (Danimarca) - febbraio 1967
	Registrazione: live / studio		studio
	Producer / Engineer		Michael Bernstein
	Prima Edizione LP		- Valois - MB 843 · Vol. 3 - (1 LP) - durata 46' 13" - (p) 1967 - Analogico - Valois - MB 844 · Vol. 4 - (1 LP) - durata 40' 23" - (p) 1967 - Analogico
	"Das Orgelwerke" LP		Telefunken - BC 25104-T/1-2 - (2 LP's) - durata 46' 13" / 40' 23" - (p) 1967 - Analogico
	Note		-

Bach’s mode of composition displays from the outset a tendency towards the great and the diverse. Despite the narrowness and provinciality of the conditions under which he had to work, his artistry is cosmopolitan in outlook. Any attempt to adapt himself to his musical environment or to restrict himself to simplicity and modesty was alien to him. This also accords with the inclination to try out the various genres, forms and styles from the most varied aspects in a systematic manner, never forgoing any impetus but always searching for his own more appropriate solution. In this respect there is the combination of a thirst for knowledge, pride in craftsmanship and speculative talent, as well as the delight - already evident in his youth - in seeing compositional tasks as parallel exercises of the intellect. The early piano and organ works provide especially abundant illustrative material of the wealth of forms in which he experimented, which he further developed or which, after trying out, disregarded altogether. The present album contains compositions of the most diverse kinds, giving wide-ranging examples of the strictly imitative and the toccata-like prelude styles of movement and their connection with the complete, multipart work. In addition there is the ostinato form of the passacaglia, the aria form of the trio and the sonata-style movement sequence of the pastoral. The formal and stylistic diversity is already expressed in the various titles of the works. In some cases they are genre titles which at the same time indicate style and formal arrangement (toccata, prelude, fugue, canzona, passacaglia, fantasia). In other instances they give (as in “trio”) only the type of movement and sometimes the stylistic tradition (alla breve) or also the designation and melodic type (pastoral). Except for the Trio and the Pastoral, and perhaps also the G major Fantasia, they are youthful works or compositions from the nascent mastery of the early Weimar years. It is at first difficult to accept the fact that even the famous D minor Toccata and the grand Passacaglia are also part of these early works. However, the sources from which these pieces have been handed down, clearly indicate this period. The early works fascinate us because of the impetuous power of their themes, the bold flourishes, the manner which often extends to sheer high spirits, with which the virtuoso performer was able to display his brilliance by way of his instrument. As yet the thoughtful contrapuntal combination, the polyphonic independence of the parts, the harmonic richness are missing, and the art of letting the musical form grow of itself from the possibilities of the theme is only slowly developed. The form is still more impelled by powerful flourishes than built up on the foundations of inner musical media. Thus the problem of the musical cohesion in the early works is resolved for the first time where such cohesion is already laid down by the compositional genre: in the chorale arrangements and the themes above an ostinato repeated bass, as here in the C minor Passacaglia. Toccata and Fugue D minor, BWV 565 The old toccata form with its frequent alternation of figurative and fuguing sections is reduced here to a clear three-part style: a broadly structured fugue is encompassed in figurative sections. The introductory first section is almost incomparable in its compelling temperament. It has the effect of an orator who, with his very first words, intends to hold the audience in his spell. Rapid scalar passages with fermata conclusion, ascending and descending figures leading to fully stopped blocks of chords, alternating play of the hands, the emphatic application of the pedal: these trusted and tried elements of the free toccata theme are welded into an irresistible prelude which exploits in a concise way the tension of the dominant harmony. The toccata spirit also lives in the marked homophonically arranged fugue with its long interludes and its thematic announcement at the beginning of the introductory passage. The final part reverts to the figurative and chordal themes of the beginning and intensifies them. Fugue in C minor on a Theme by Legrenzi, BWV 574 Even before he had become acquainted with the Italian solo concerto, Bach had studied the trio sonatas of the great Italian violinists and learned from their song-like instrumental style. His fugues on themes by Corelli, Albinoni and Legrenzi testify to this fruitful preoccupation. He recognized at once how he could profit from the plastic themes of the fugued allegro movements for his own art and, going beyond the examples, showed how the possibility inherent in the themes could be presented in a complete movement. He changed the al fresco of the Italians into well constructed architecture. In the present work, the original pattern of which has evidently been lost, he formed from the adopted main theme and a second one, which from the beginning was probably initially counterpointed in the original, a three-part double fugue which runs into a figurative coda. Both themes are exposed in turn and only brought together in the third part. Two earlier versions (BWV 574a and b) - the first still without the coda - show how seriously Bach devoted himself to the work on this fugue. Prelude (Toccata) and Fugue E major, BWV 566 The first fugue follows a prelude which begins figuratively and concludes with a tightly textured section. It is based on an unusually long, almost clumsy theme which, however, in the contrapuntal arrangement immediately loses its awkward shape and proves to be particularly productive. The second fugue, which follows after a brief connecting passage, forms the beginning of this theme in three-part metre and in the transition leads from contemplative calm to concerto-like thrilling mobility into the homophonic coda. Thus in this work the toccata-style construction merges with the variation principle of the canzona. Toccata C major, BWV 564 In this work the tendency to adapt in the toccata the original free alternation of figurative and fugued sections into a sequence of intrinsically complete movements reaches a climax. The second movement, which thematically emerges from the introductory figuration, resembles a concerto allegro constructed on the contrast between an ascending scalar figure and a descending triad motif. The third movement is a copy of a solo concerto adagio. Accordingly the framework, the figurative prelude and particularly the concluding fugue, is extended. Subsequently Bach did not further develop this multi-theme arrangement. The coupled movement prelude (toccata) and fugue provided greater possibilities for his mode of composition which oriented towards concentration. The Trio in D minor, BWV 583, belongs as regards style and period to the great trio sonatas of the 1720’s (see Organ Works, I) and could be the centre movement in one of these works constructed in concerto style. With the non-schematic manner in which the various imitation sections are developed from each other, repeated and in the centre part augmented by an eloquent counter motif, it virtually amounts to a model of a free da capo form. As regards the Prelude and Fugue A minor, BWV 551, this is in shape more of a five-part toccata: two fugues, in second and fourth place, are framed and combined with toccata-like sections. The first fugal theme is developed from the semi-quaver movement of the introductory part; the second is linked, by way of the firm counterpoint which it immediately takes on, with the first. The short piece is one of Bach’s earliest compositions to have come down to us. Although in many respects incomplete, it nevertheless makes a powerful impression and provides a first notion of the master who was to come. Passacaglia C minor, BWV 582 Passacaglia and chaconne, series of variations deriving from the dance, in slow three-four time above an unchanging ostinato repeated bass theme, were at their height in the instrumental music of the outgoing 17th century. When Bach became involved in them they were already out of fashion. However, it is doubtful if this is the reason why he did not go beyond this one organ passacaglia and the sole violin chaconne. It is perhaps more likely that he had also completely exhausted the possibilities of this form in the two contrary and incomparably magnificent works. Instead of the usual four bar, Bach uses in the organ passacaglia an eight-bar theme which he achieves by extending a four-bar passacaglia bass by André Raison. In 21 periods of eight bars each he builds up the work above the unchanging theme and lets it fade away in only a slightly shorter fugue on this theme. His mastery is particularly evident in the interlacing of the individual periods, their combination into larger units, in the art of not letting the flow break off but continuing it in a compelling and tension-laden manner. The principle of the rhythmic-figurative variation progressing from period to period is subordinated to the law of greater cohesion, as already apparent for instance in the melodic summary of the 2nd and 3rd period, or even more clearly in the 12th period. Precisely where the theme is transferred from the pedal bass to the discant, the figuration modus of the preceding section is maintained. This following on process creates the precondition for the broadly conceived final augmentation which begins with the 17th period, just where the theme - descending by way of alto, tenor and manual bass - has once more returned to the pedal. The crowning final fugue uses only the four-bar main subject, which proceeds in alternating crotchets and minims, and links it up with a countersubject in quaver movement and a second in semi-quavers. Fugue in B minor on a Theme by Corelli, BWV 579 The basis is a 39-bar long fugato from the Trio Sonata op. III, No. 4 by Corelli published in 1689. The theme and counter-theme are set out there, and the possibility of stretto is also already utilized. In Bach’s hands this “material” exposed for three parts changes into a four-part fugue extending to 102 bars with several expositions and long episodes. The larger scale arrangement cannot, however, disguise the fact that when transferred to the organ the character of the themes has also changed. Their electrifying verve comes more into its own in the al fresco of the violin fugato than in the carefully balanced architecture of the fugue. Canzona in D minor, BWV 588 The canzona, an instrumental imitation of the French chanson with its series of imitative and homophonic sections, effected as early as 1600 the transition to the fugue, namely with restriction to a single theme that was varied in several sections. What finally remained was development of the theme into an even bar and an uneven bar section. This two part form is also strictly adhered to by Bach’s sole work described in the title as a “Canzona”, one of the most mature testimonies from Bach’s early period. The confidently progressing long theme is counterpointed with the well-known chromatic descending fourth. Fantasia in G major, BWV 572 This work, unusual as regards both construction and content and described in only very general terms by the title “Fantasia”, appears to be based on French patterns. This is also indicated by the French movement descriptions. Two figured movements, headed “Très vitement” and “Lentement”, provide the framework for an extended five-part “Gravement” which in its density (while renouncing imitation) and persistent intensity based upon suspended harmony (waiving formal cuts or rhythmic alternation) has scarcely anything to compare with it. However, the“fantastic” urgency, apparently directed towards boundlessness, acquires a firm hold by way of strict control of the individual parts and the bass foundation which continually binds the harmonic sequence to a gradual, upward moving tonal progression. The Allabreve in D major, BWV 589, is, as far as the theme and manner of the exposition are concerned, related to the D minor Canzona, except that the exacting length is not achieved by the change in movement form, but by the normal fugal construction with long episodes. A major contribution to the overlapping cohesion is provided by a quarter movement no longer interrupted as from the 6th bar which is gained from the 4th bar of the theme. The title “allabreve” indicates the stylistic descent from the ricercar with its motet-like construction, which avoids concerto-style elements and - reverting to the old vocal polyphony - is scored in large note values which have to be read “alla breve”. Pastorale in F major, BWV 590 Oboe melody above bourdon notes, since the 16th century the musical image of the shepherd’s idyll, are bound up in the church pastoral with the rocking rhythm of 6/8 or 12/8 beats; for this now refers to the Christmas world of the shepherds at the manger. Bach’s organ pastoral was most certainly composed for the Christmas church service. The main movement, which builds up above long sustained bourdon tones of the pedal, is joined by three manual movements, of which the second, the slow one, is in the minor key of the upper fifth (C minor), unusual in such sonata-style sequences. by Georg von Dadelsen English translation by Frederick A. Bishop This critical and complete stylistic survey of Bach's organ works is the seventh part and will be continued by further releases.
Johann Sebastian Bach - DAS ORGELWERK