Bach, J S: Chorale Prelude BWV731 'Liebster Jesu, wir sind hier'

Nowadays, the fashion is mainly for historically authentic interpretation: performers play from facsimiles or original scores, with historically accurate orchestration, articulation, etc.This recording of selected works by Bach in organ arrangements by William Thomas Best (1826-1897) gives evidence of an approach to Bach’s compositions that may seem quite capricious today. Alongside his arrangement of Bach’s 'Chaconne' for violin from the Partita No. 2 in D minor, this SACD presents highlights from his comprehensive edition of Bach’s organ works, from chorale preludes to the C minor 'Passacaglia'.In his editions and arrangements Best saw it as his mission, particularly for an English audience which was entirely unfamiliar with Bach’s works, to provide the organist with what amounts to stage directions in matters of choice of tempo, articulation, registration, selection of manuals and, where appropriate, the use of the swell pedal. In this way the great free-standing organ works appear as dramatic scenas or ballads, while the smaller-scale works and chorale preludes come across as poetry.Best achieves a convincing dramatic presentation of Bach’s music: by means of refined, well-placed tricks of the trade the poetic meaning of individual passages is made apparent, and his economy of means and avoidance of all superficial effects enable the grandiose form of each work to come to the fore. The performance indications, or rather suggestions, are presented in such a way that the organist is amply challenged as a musician, interpreter and personality at all times.

Carsten Wiebusch studied church music at the Robert Schumann Hochschule in Düsseldorf. As an organist he achieved success at international organ competitions including the August Gottfried competition in Magdeburg and the Johann Sebastian Bach prize competition in Wiesbaden, both in 1995. He teaches an organ class at the Musikhochschule in Karlsruhe and has been organist at the Christuskirche, Karlsruhe, since 1999.The Klais organ at the Christuskirche was inaugurated in 2010. Its powerful yet poetic tone is heard on this SACD for the first time in any recording.

A new recording of Erik Bosgraaf, one of the most original, versatile and innovative recorder players of the moment, winner of the Borletti-Buitoni Trust.

The dynamic range and emotional impact of his playing is phenomenal.The instrument in his hands is like an extension of the human voice, speaking and articulating the musical language.

Previous recordings of Bosgraaf include Vivaldi Concertos, Handel sonatas and the Renaissance collection Des Fluyten Lusthof (by Van Eyck).

Although Bach clearly felt at home composing for the recorder, featuring it in major works including the Brandenburg Concertos and several cantatas, he never composed a concerto for solo recorder – in fact, he only wrote original solo concertos for harpsichord and violin. However, an examination of Bach’s compositional practices reveals that it was customary during his era to adapt or reuse musical material in new compositions. Taking this into consideration, the creators of this recording have drawn on a range of sources to answer the question of how a solo recorder concerto by Bach might have sounded. The disc includes four full recorder concertos, based on material taken from existing harpsichord concertos and cantata movements, which Bach himself often reused or transcribed for different instrumentation. It closes with an organ prelude adapted for recorder and strings.

The recordings are accompanied by extensive booklet notes, which outline the sources used in the construction of this repertoire and reveal an interesting dimension of Bach’s compositional practice – his approach to reusing and adapting musical material. These recordings are brought to life by compelling performances from Erik Bosgraaf and Ensemble Cordevento, performed on a range of recorders and period instruments. Displaying an imaginative yet thorough approach to the repertoire, this disc is a fascinating examination of how Bach might have approached writing large-scale works for the recorder and is recommended to any listeners interested in his concertos.

Unique recorder adaptations of Bach’s concertos and cantata movements.

Performed on period instruments.

In-depth booklet notes.

Recording made in 2011.

Sarah Baldock took up the post of Organist and Master of the Choristers at Chichester Cathedral in April 2008. She has directed choral workshops in the UK, USA, Norway and Sweden. Her recital includes Purcell’s Double Voluntary in D minor, Rheinberger’s Sonata in E minor OP.132 No.8, Vaughan Williams’ Rhosymedre and Whitlock’s Five Short Pieces.

Anyone who plays a pedal harpsichord for the first time is inevitably fascinated by its possibilities. We know that Bach himself preferred a rich, resonant sound and this CD celebrates the repertoire.

Luc Beauséjour is renowned for the elegance, virtuosity and expressiveness of his playing.

Volume 5 of Margaret Phillips’ on-going and critically-acclaimed cycle of the complete organ works of JS Bach, featuring the best of historic instruments.

Two CD set at ‘two-for-one’ price.

This volume includes the famous Toccata and Fugue in D minor BWV565, the ‘Dorian’ Toccata and Fugue BWV 538 and a varied selection of large- and small-scale works which form a satisfying self-contained recital of Bach’s organ music on each of the two CDs.

This is volume 6 in this series and Schauerte plays these works on the organ of the Reformed Church of the Bouclier, Strasbourg.