J.S. BACH ORGELBÜCHLEIN BWV 599–644 STEPHEN FARR Johann Sebastian Bach (1685–1750) 1. Nun komm, der Heiden Heiland, BWV 599 [1:16] 17. In dir ist Freude, BWV 615 [3:08] Orgelbüchlein BWV 599–644 2. Go , durch deine Güte oder Go es 18. Mit Fried und Freud ich fahr dahin, Sohn ist kommen, BWV 600 [1:12] BWV 616 [1:53]
3. Herr Christ, der ein’ge Go es Sohn oder 19. Herr Go , nun schleuß den Himmel auf, [2:31] Herr Go , nun sei gepreiset, BWV 601 [1:25] BWV 617
4. Lob sei dem allmäch gen Go , BWV 602 [0:54] 20. O Lamm Go es, unschuldig, BWV 618 [3:34] Stephen Farr organ 5. Puer natus in Bethlehem, BWV 603 [0:54] 21. Christe, du Lamm Go es, BWV 619 [1:24]
Organ by Tobias Heinrich Go ried Trost, 6. Gelobet seist du, Jesu Christ, BWV 604 [1:41] 22. Christus, der uns selig macht, BWV 620 [2:12] Stadtkirche, Waltershausen, Germany 7. Der Tag der ist so freudenreich, BWV 605 [1:52] 23. Da Jesus an dem Kreuze stund, BWV 621 [1:18]
8. Vom Himmel hoch, da komm ich her, 24. O Mensch, bewein dein Sünde groß, BWV 606 [0:43] BWV 622 [5:39]
9. Vom Himmel kam der Engel Schar, 25. Wir danken dir, Herr Jesu Christ, daß du BWV 607 [1:15] für uns gestorben bist, BWV 623 [1:02]
10. In dulci jubilo, BWV 608 [1:24] 26. Holf Go , daß mir’s gelinge, BWV 624 [1:38]
11. Lobt Go , ihr Christen, allzugleich, 27. Christ lag in Todesbanden, BWV 625 [1:15] BWV 609 [0:46] 28. Jesus Christus, unser Heiland 12. Jesu, meine Freude, BWV 610 [2:48] [der den Tod] BWV 626 [1:07] About Stephen Farr: 13. Christum wir sollen loben schon, 29. Christ ist erstanden, BWV 627 [4:07] ‘[...] rock steady rhythmic playing, crisp ar cula on and commanding BWV 611 [2:40] overview. His approach is refreshingly unfussy and quirk free, and 30. Erstanden ist der heilge Christ, BWV 628 [0:50] he draws on an unfailingly interes ng pale e of tonal colours’ 14. Wir Christenleut [habn jetzund Freud], Gramophone BWV 612 [1:28] 31. Erschienen ist der herrliche Tag, BWV 629 [1:06] 15. Hel mir Go s Güte preisen, BWV 613 [1:08] ‘[...] Farr’s playing needs no musicological jus fica on; 32. Heut triumphieret Go es Sohn, BWV 630 [1:35] it sparkles and seduces in equal measure’ 16. Das alte Jahr vergangen ist, BWV 614 [2:24] Classical Ear 33. Komm, Go Schöpfer, heiliger Geist, BWV 631 [0:46]
34. Herr Jesu Christ, dich zu uns wend, BWV 632 [1:15]
35. Liebster Jesu, wir sind hier, BWV 634 [1:53]
36. Liebster Jesu, wir sind hier, BWV 633 [2:40]
37. Dies sind die heilgen zehn Gebot, BWV 635 [1:26]
38. Vater unser im Himmelreich, BWV 636 [1:16]
39. Durch Adams Fall ist ganz verderbt, BWV 637 [1:26]
40. Es ist das Heil uns kommen her, BWV 638 [1:07]
41. Ich ruf zu dir, Herr Jesu Christ, BWV 639 [1:50]
42. In dich hab ich gehoffet, Herr, BWV 640 [0:57]
43. Wenn wir in höchsten Nöten sein, BWV 641 [1:55]
44. Wer nur den lieben Go läßt walten, BWV 642 [1:38]
45. Alle Menschen müssen sterben, BWV 643 [1:36]
46. Ach wie nich g, ach wie flüch g, BWV 644 [0:43]
Total playing me [79:02] J.S. Bach: Orgelbüchlein, BWV 599–644 infancy, but among those born in Weimar a tude that earned him four weeks in prison. the greatest events in all music’, adding were Wilhelm Friedemann (1710–1774) that it cons tutes ‘the dic onary of Bach’s Between 1708 and 1717, Bach worked and Carl Philipp Emanuel (1714–1788), But while the Italian influence was to have musical language.’ Although this par cular in Weimar, ini ally as court organist, then both of whom went on to illustrious a profound impact on the development of ‘dic onary’ was anything but a dry (from 1714) as Konzertmeister. This was musical careers. Bach’s musical language, the greatest reference book, Bach’s handwri en tle near the start of his career: it’s easy to organ music to come from the Weimar page (wri en about five years a er he forget that Bach was a young man in Bach’s Weimar years were extremely years was quintessen ally German rather le Weimar) suggests that his main his 20s and early 30s during his me in important in the development of his than Italian, inspired by – and anchored purpose was to produce a set of pieces the city. Famously, his tenure in Weimar organ music and, more generally, his in – Bach’s Lutheran roots, specifically the for teaching: did not end well: in 1717, a er falling engagement with Italian music, par cularly church chorales (hymn-tunes) that were out with his employer Duke Wilhelm Vivaldi and Corelli: his organ transcrip ons at the heart of the Lutheran liturgy. The Li le Organ Book Ernst, the hot-headed Bach was arrested of Vivaldi concertos (BWV 593, 594 and Orgelbüchlein (Li le Organ Book) BWV In which a student of the organ receives and spent a month (from 6 November 596) date from 1713–14, encouraged by 599–644 was almost en rely wri en in instruc on on performing a chorale in to 2 December 1717) jailed in a fortress his then co-employer, the tragically Weimar (three of the 46 pieces were a mul tude of ways while achieving to cool his heels. He may have le the short-lived and extremely musical Duke added later), though the original scheme mastery in the study of the pedals, Weimar court under a cloud, but had Johann Ernst (1696–1715) who had was much more ambi ous. The since in the chorales contained herein the pedals are treated en rely obbligato. already been appointed to a new post acquired copies of music by Italian autograph manuscript is unusual in as Kapellmeister to Prince Leopold in containing many more blank staves composers during his studies at Utrecht In honour of our Lord alone Cöthen. His years in Weimar saw the University. The other Weimar concerto than filled ones, since Bach set out to That my fellow men their skill may hone. produc on of a great deal of keyboard transcrip ons for organ (BWV 592 and write 164 chorale se ngs. We know music, including some of the preludes 595) are based on concertos by the young just how many he planned because Wri en by Johann Sebas an Bach, and fugues that later became part of Duke himself. A er Johann Ernst’s death, the manuscript includes the tles of Kapellmeister to his Serene Highness the The Well-Tempered Clavier, and, from the court was ruled solely by his brother the tunes he intended to use, wri en Prince of Anhalt-Cöthen. 1714 onwards, a number of church Wilhelm Ernst (a Lutheran so fana cal at the top of pages that are otherwise cantatas, including Himmelskönig sei that he would only permit those who empty. Bach may not have realised the Russell S nson’s study of the Orgelbüchlein willkommen BWV 182 (for Palm Sunday) could demonstrate an understanding whole of his grand scheme, but the 46 (1999) proposes a broader purpose for and Erschallet, Ihr Lieder BWV 172 (for of Lutheran theology to serve in his pieces in the collec on are an these chorale preludes, though s ll one Whitsunday). On the domes c front, Bach army). He was a man whose judgement extraordinary tes mony to his genius, which is essen ally pedagogical, describing had married his first wife Maria Barbara Bach ques oned openly in 1717 a er bringing the greatest crea ve imagina on it as ‘a composi onal trea se, a collec on (1684–1720) in 1707, and during their Johann Wilhelm Drese had been appointed to his treatment of chorale melodies. of liturgical organ music, an organ method, years in Weimar, they started a family. It as Kapellmeister (in succession to his Albert Schweitzer – organist, humanitarian and a theological statement. These four was a grim inevitability of the me that father), a post Bach himself had applied and winner of the Nobel Peace Prize – iden es are so closely intertwined that three of the children she bore died in for – and it was Bach’s furious and defiant described the Orgelbüchlein as ‘one of it is hard to know where one leaves off and another begins.’ All true, but there’s excep onal promise as a keyboard player, Schumann and Brahms. It was Brahms, Composi ons on Corales [!] (Psalm-Tunes) a further dimension which raises these and was probably one of the ‘organ students’ indeed, who paid the greatest compliment edited from the Original Manuscripts by se ngs to a level of greatness to which Bach had in mind. In other words, Bach to the Orgelbüchlein by drawing on its Felix Mendelssohn Bartholdy. In his preface, organ chorale preludes, let alone may well have reconceived the Orgelbüchlein techniques and structures as a blueprint Mendelssohn wrote that the ‘44 Short teaching pieces, do not usually aspire: as a collec on of teaching pieces once he for his own final work, the set of Eleven Preludes ... not only bear [Bach’s] name, this is highly emo onal music, almost realised that at least one member of his Chorale Preludes Op. 122. As S nson but most evidently the marks of his genius.’ every bar permeated with Bach’s fervour own family was likely to benefit from them. demonstrated in his book on The Recep on Bach’s rehabilita on in the nineteenth and faith. His basic musical material was of Bach’s Organ Works from Mendelssohn century owed much to Mendelssohn’s the melodies of the chorale tunes Though the pieces in the Orgelbüchlein to Brahms (2006), Brahms studied this devo on to his music (most famously, themselves, but he also took the are widely contrasted in mood, there are music in considerable depth, analysing perhaps, his rediscovery of the St Ma hew meaning of their sung texts to some common features. These were ‘over a dozen Orgelbüchlein chorales in Passion), and his edi on of the ‘Composi ons determine the expressive range of his elegantly summarised by Peter Williams terms of their mo vic structure, form, on Corales’ was another significant se ngs: as Mar n Geck put it, these in his last book, J.S. Bach: A Musical rhythmic design and harmonic style.’ landmark: well over a century a er their are pieces ‘rich in emo on, style and Biography (2016): Brahms certainly profited from the composi on, it was the first appearance sensuous tone-pain ng’. experience, and modelled several of his in print of the Orgelbüchlein. In the ways the Orgelbüchlein sets them, own choral preludes on those in the Did Bach assemble this collec on (or at most of the hymn melodies are more Orgelbüchlein. But Brahms was not the © 2020 Nigel Simeone least part of it) for an audience beyond immediately recognisable than in some first great nineteenth-century composer the student organists men oned on the other kinds of organ music: almost all to have been struck by the beauty and (later) tle page? The earliest pieces were consist of a short harmonisa on inven veness of Bach’s se ngs. In about probably composed in about 1710 (or realised by means of subtly integrated 1830, Mendelssohn acquired an early mo fs, going straight through the even earlier) and then copied into the manuscript of the Orgelbüchlein which melody without breaks between the autograph manuscript in 1713, the year hymn-lines. ... The aim is to affect the he believed (wrongly) to be in Bach’s hand. in which Bach applied for the post of believing listener through original But what ma ered more was that these Kapellmeister in Halle. Peter Williams has harmonies, resul ng in new sounds pieces were en rely unknown and speculated that they may have been conceived with a new purpose. unpublished (Mendelssohn was thrilled by intended as part of a por olio of them, and in the 1830s he even copied composi ons assembled as part of The sheer variety of these se ngs is a source some out as gi s for friends). Mendelssohn an applica on for the job (which he of wonder: each has a beau fully himself prepared an edi on for the London subsequently declined). By the me he well-defined character and individuality – firm of Coventry & Hollier, containing 44 came to write the tle page in Cöthen a an approach to composi on that almost chorales from the Orgelbüchlein. They decade later, in about 1722, his son seems to prefigure music of the next century, were published in two volumes in 1845–6 Wilhelm Friedemann was already showing and the mood-pieces of Mendelssohn, as Johann Sebas an Bach’s Organ Recording Bach’s Orgelbüchlein en rely on sober 8 ‘stops. And at slow, or very slow, tempi. One can imagine the For all the numerous ques ons surrounding reac on of a modern listener to that our understanding of Bach’s inten ons in outcome. And, in any case, it would be composing the Orgelbüchlein, of one thing a curious thing for a player not to explore we can be certain: that he never envisaged the remarkable colours the instrument anyone si ng down to listen to, or play, its chosen for this recording offers. Two further forty or so se ngs complete in a single specific points: I include here a repeat of the session. Bach might have thought it a second half of BWV 633. Bach indicated this special sort of absurdity even to consider repeat in both BWV 633 and 634, although doing so. the chorale text itself does not require one, so it seemed a good compromise to offer But of course the possibility that the both op ons, as the se ngs are so similar. recording will be consumed in a single And in BWV 600, the alert listener will si ng can’t be excluded. So any performer no ce some textual variants: these follow recording the work is, in turn, immediately J.T. Krebs’ copy of the chorale, in an edi on presented with conundrums, and perhaps kindly supplied by William Whitehead. it is interes ng to turn over some of them All the Orgelbüchlein se ngs are transmi ed, here in a reflec ve adjunct to more o en with variant readings, in secondary copies. prac cally-minded material on how to Some scholars believe that they preserve play it. A short summary of the ques ons revisions to the autograph MS which originate might include: how varied should the with Bach himself, an intriguing possibility choice of registra ons be? How much which it’s pleasing to acknowledge in passing. should tempi vary between chorales? A er all, the chorale melodies as sung The choice of an old organ adds its own have their own fundamental momentum: layer of complexity to these considera ons. they certainly weren’t fast in eighteenth The Waltershausen instrument, beau fully century Thuringia. And the composi onal restored and impeccably maintained, is detail of Bach’s se ngs needs me to speak. one of the wonders of the musical world. How much, to con nue, should theories But as the organist of the church said to about the liturgical func on of the set be me himself, ‘it’s a very difficult organ’. By taken into account when recording it for virtue of its physical dimensions – the modern ears? If Peter Williams were correct instrument reputedly has the widest in his hypothesis that the collec on was pedal board in Europe – and the weight compiled with an eye to eventual use in Halle, of its playing ac ons, it will not co-operate the strictures in place there concerning with some of the standard interpreta ve tempo and registra on of organ chorales tropes, the Christmassy nkles and should quite possibly, for the authen cally- angelic scurryings, available to players minded, result in a recording played almost of more ergonomically friendly instruments. Organ by Tobias Heinrich Go ried Trost (c.1680–1759), III. Oberwerk Cymbelsterne: 2 (C, G) Some registers have to be coaxed gently Stadtkirche, Waltershausen, Germany 30. Flöte Dupla 8 Couplers: into life; that isn’t a process to be rushed. 31. Vagarr* 8 by hooks: OW/BW, BW/P Also, as you will hear from me to me II. Hauptwerk 32. Flöte travers** 8 shove coupler: BW/HW on the recording, this instrument can be 1. Portun-Untersatz* 16 33. Lieblich Principal* 4 by wind: HW/P noisy, in non-musical ways: we’ve 2. Gross Quintadena* 16 34. Spitzflöte* 4 Tremulant: HW, OW, BW purposely not tried to erase that 35. Gedackt-Quinta 3 occasional evidence of this organ’s 3. Principal* 8 Modified mean tone temperamnet: physical iden ty. 4. Gemshorn* 8 36. Wald-Flöte* 2 a=466.8Hz @ 150 5. Viol d’ Gambe* 8 37. Hohl-Flöte* 8 Wind pressure: 69mm All these ques ons add up. They ma er. 6. Portun* 8 38. Vox humana 8 But my solu on here is to bear one thing 7. Quintadena* 8 39. Geigen-Principal* 4 principally in mind. This is Ziegler’s 8. Unda maris* 8 statement that his teacher, J S Bach, 9. Octava* 4 Pedal taught him to play hymns ‘not indifferently 10. Salcional* 4 40. Gross Principal† 16 but according to the affekt of the words’. 11. Röhr-Flöta† 4 41. Sub-Bass* 16 This is a par cular approach, for a very 12. Celinder-Quinta* 3 42. Violon-Bass* 16 par cular, and to me par cularly special, 13. Super-Octava* 2 43. Octaven-Bass* 8 set of pieces. BWV 619 was the first organ 14. Sesquialtera* 2⅔ II 44. Celinder-Quinta† 6 piece with pedals I ever learnt, almost 45 45. Posaunen-Bass 32 years ago, in All Saints’ Blackheath, as a pupil 15. Mixtura† 2 VIII of Robert Munns: I was proud when I 16. Fago 16 46. Posaunen-Bass* 16 completed it without mistakes for the first 17. Trompe a* 8 47. Trompe en-Bass* 8 me. Christe, du Lamm Go es seems harder 48. Quintadenen-Bass‡ 16 to me now than it ever did to the excited I. Brustwerk 49. Viol d’ Gamben-Bass‡ 8 small boy who had no inkling that the 18. Gedackt* 8 50. Portun-Bass‡ 8 mysteries of this extraordinary music would 19. Nachthorn* 8 51. Super-Octava‡ 4 deepen as they have. 20. Principal* 4 52. Rohr-Flöten-Bass‡ 4 21. Flöte douce* 4 53. Mixture-Bass‡ VI © 2020 Stephen Farr 22. Nachthorn* 4 23. Gemshorn* 4 24. Spitz-Quinta* 3 * Original pipework 25. Nassad-Quinta* 3 † Par ally original pipework 26. Octava† 2 ‡ By Hauptwerk to Pedal transmission 27. Sesquialtera* 2⅔ II ** Playing 4' 28. Mixtura† 2 IV 29. Hautbous 8 Tremulant Stephen Farr (organ) with a double first in Music and an MPhil in musicology as a postgraduate student Stephen Farr’s career as a soloist and of John Bu ’s. He then held a number of ensemble and con nuo player has taken cathedral appointments before embarking him throughout Europe, to North and on a freelance career. In 2014 he completed South America, and to Australia. He a PhD on the organ works of Judith has performed with some of the world’s Bingham. leading ensembles and conductors, and has appeared in venues including A prize-winner at interna onal the Berlin Philharmonie (where he compe on level, he has an established performed with the Berlin Philharmonic in reputa on as one of the leading recitalists the world premiere of Jonathan Harvey’s of his genera on, with an impressive Weltethos under Sir Simon Ra le), the stylis c grasp of a broad range of Royal Fes val Hall, the Concertgebouw repertoire and a par cular commitment Amsterdam, Symphony Hall Birmingham, to contemporary music. His extensive and Westminster Abbey, St Paul’s Cathedral, wide-ranging discography for Resonus Notre Dame de Paris, and the Royal encompasses music from the sixteenth Albert Hall. He appears frequently at to the twenty-first century – recent the BBC Proms: he gave a solo recital releases include the complete organ in the 2011 season, including the world works of Kenneth Leighton and works premiere of Judith Bingham’s The by J.S. Bach and Judith Bingham – and Everlas ng Crown, and made a concerto has received unanimous cri cal acclaim. appearance with the BBC Symphony Orchestra under Sakari Oramo in the www.stephenfarr.co.uk 2015 season. He is Director of Music at St Paul’s Knightsbridge, and teaches organ at both Oxford and Cambridge Universi es. In 2017 he succeeded Patrick Russill as Chief Examiner of the Royal College of Organists.
Stephen Farr was Organ Scholar of Clare College, Cambridge, gradua ng Registra ons BWV 611 BWV 623 BWV 634 18 BW Trem 41 50 3 4 9 13 41 42 48 49 52 RH 18 19 LH 11 (played 8ve lower) 41 49 BWV 599 4 5 6 18 41 49 BW/P played on HW BWV 612 BWV 624 BWV 635 3 4 7 11 41 49 50 RH 8 LH 18 41 49 18 19 20 24 26 28 41 42 49 50 52 BWV 600 6 18 29 50 BWV 613 BWV 625 BWV 636 18 19 20 24 26 41 48 49 50 18 19 20 26 41 49 50 52 6 11 40 49 BWV 601 18 20 23 26 41 49 50 52 BWV 614 BWV 626 BWV 637 RH 31 34 35 LH 6 41 50 2 3 4 6 7 41 42 43 44 3 7 9 12 13 15 18 20 26 28 42 43 44 46 47 BW/HW BW/P BWV 602 1 3 4 7 9 40 42 43 BWV 615 BWV 627 BWV 638 2 3 4 7 9 13 15 18 19 20 24 26 28 Vers 1: 3 4 6 7 9 12 17 18 20 41 42 43 44 48 BW/P 3 6 9 13 41 42 43 49 52 BWV 603 40 42 43 44 46 53 Vers 2: 18 23 26 41 48 49 50 18 19 22 41 50 52 BW/HW BW/ P played on HW Vers 3: 1 3 4 9 12 13 14 15 16 40 41 43 44 46 47 51 53 BWV 639 18 RH 35 37 38 LH 6 41 BW/P BWV 604 BWV 616 BWV 628 RH 18 20 27 LH 4 41 50 3 5 10 11 41 42 43 49 3 4 7 9 12 18 19 20 22 24 26 BW/HW 42 43 44 46 BWV 640 51 BW/P 3 41 49 50 BWV 605 BWV 617 RH 3 4 6 9 12 13 14 LH 18 21 41 49 50 RH 18 29 LH 4 7 11 41 49 50 BWV 629 641 RH 18 19 20 24 26 27 28 29 LH 3 4 6 10 11 41 42 RH 18 19 23 27 LH 5 6 41 50 BWV 606 BWV 618 43 47 51 18 20 26 28 41 42 43 51 6 21 52 BW/P BWV 642 BWV 630 3 9 12 13 18 19 20 BW/HW 41 42 43 BW/P BWV 607 BWV 619 1 3 4 9 12 13 14 15 18 19 20 26 27 28 BW/HW 40 18 22 41 50 RH 6 7 LH 31 34 41 49 50 42 43 44 45 46 47 51 53 BW/P BWV 643 18 23 41 50 BWV 608 BWV 620 BWV 631 6 7 23 51 52 BW/P 2 3 4 7 9 13 14 15 18 19 20 24 26 28 18 19 20 24 26 29 41 43 49 51 BWV 644 40 42 43 44 45 46 53 7 11 41 50 BWV 609 BW/HW BW/ P played on HW BWV 632 3 4 9 13 15 42 43 44 47 51 3 5 7 9 41 42 43 49 BWV 621 BWV 610 31 39 41 49 BWV 633 3 5 18 23 41 42 49 BW/HW played on HW RH 5 7 11 LH 18 41 50 BWV 622 RH 18 23 25 LH 1 (8ve higher) 41 50 More titles from Resonus Classics J.S. Bach: Clavier-Übung III Stephen Farr The Metzler Organ of Trinity College, Cambridge RES10120
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© 2020 Resonus Limited è 2020 Resonus Limited Recorded at the Stadtkirche, Waltershausen, Germany on 27–28 September 2019 Producer, engineer & editor: Adam Binks Recorded in 24-bit/96kHz resolution Cover image: Trost Organ case detail © Resonus Limited Session photography: Resonus Limited
RESONUS LIMITED – UK
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