MP3 Jonathan Dimmock - Bach: Complete Organ Works as published by the composer
This CD set contains all of the organ music that Bach, himself, chose to publish during his lifetime. It was recorded on organs in Germany and Switzerland that were built at the same time as the music was written. Awe-inspiring! with sung chorales, too
59 MP3 Songs in this album (169:30) !
Related styles: Classical: Bach, Classical: Organ, Mood: Intellectual
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Bach''s famous "Clavierübung III" is presented in its entirety here, with the added listening aid of a choir singing the chorales on which the chorale preludes are based. Two organs are used for this monumental work (27 movements): The Klosterkirche organ in Grauhof, Germany (1737) and the St. Wilhadi Kirche organ in Stade, Germany (1736). The music itself was published in 1739, so these instruments couldn''t be more ideal, and the grand acoustics of the churches are optimal for enjoyment of this spectacular music. This is Bach at his best. It''s the first organ music he chose to publish.
The Schübler Chorales were published in 1748, and the Canonic Variations were published in 1747. For these works, the cathedral organ in Arlesheim, Switzerland was chosen for its crisp sound and world reknown. (The organ, built by Silbermann, is from 1761.) This recording contains both the sets of Canonic Variations - the one he actually published, and the one he altered just before his death.
Here''s a review by Kimberly Marshall for the San Francisco American Guild of Organists Newsletter:
How does one fit the complete Bach works for organ onto three Cds? Jonathan Dimmock provides the answer in this well-conceived recording of the music that Bach published during his lifetime. Each disc features a different historical instrument: the first two present the Clavierübung, Part III, performed at the Klosterkirche in Grauhof and at St. Wilhadi in Stade, Germany, wyhile the third disc includes the Schübler Chorales and the Canonic Variations on "Vom Himmel hoch," played on the Silbermann organ in Arlesheim Cathedral, Switzerland. Dimmock’s expert taste in instruments is matched by the clear and stylish playing that reveals his commitment to this music. Especially successful is the incorporation of the sung chorales, which serve to introduce the organ preludes in Clavierübung III, in a reversal of the way they would have been performed during Bach’s time. The presence of the chorales makes it possible for Dimmock to fill two CDs with the music from this important collection, but more importantly, the monophonic melodies provide a refreshing change of texture between the dense counterpoint heard in the organ chorales. And for listeners who aren’t acquainted with the original chorales, it is illuminating to hear the simple musical material that served as Bach’s point of departure in creating these inspired https://www.tradebit.commock revels in the lovely sounds of each organ with finely honed articulations. The flutes and cornets on the Arlesheim organ are gorgeous, and the inclusion of two versions of the Canonic Variations (the published score of 1747 and the autograph manuscript) provides the opportunity to hear many detailed timbres. No one will balk at the amount of repeated material because of the beauty of the organ and the rare chance to hear how Bach’s conception of the work changed before it was printed. This recording has been many years in the making and it has been well worth the wait. Dimmock’s artistry and attention to detail are everywhere apparent, from the beautiful photographs and thorough specifications of the organs, to the fine notes on the music provided by Dr. John Butt. A must for every Bach-lover!
And here''s another review by Donald Kaye for the Association of Anglican Musicians Newsletter:
"Luscious" is the word that comes to mind upon opening Jonathan Dimmock’s recently released 3-CD set, as published by the composer during his lifetime. The album itself, with very complete notes and beautiful photos, is a delight. Especially grand to have are the chorales of Clavierübung sung by a choir, certainly a master bit of strategy and logistics. Dimmock combines period sensitivity in every performance detail on three absolutely wonderful organs: Klosterkirche (1737) and St. Wilhadi (1736) in Germany and Arlesheim Cathedral (Silbermann 1761 / Metzler 1959) in Switzerland. There are lots of other "complete Bach" sets around, but this is a Herculean undertaking. The whole concept of this fuses with Dimmock’s sensitive musicality: tempi which let the lines sing; registrations which are perfect "handmaids of the muse;" articulations which don’t "preach" or intrude, but rather highlight and illuminate; nuances which grow out of the music rather than arbitrary impositions which one may hear in academic circles more frequently than one would choose. The only downside may be envy at not being able to have such an experience yourself!