Composer: Johann Sebastian Bach
Performer: Fred Thomas, Aisha Orazbayeva, Lucy Railton
Format: FLAC (tracks)
Label: ECM
Catalogue: 4856143
Release: 2021
Size: 524 MB
Recovery: +3%
Scan: yes
Chorale Preludes II, BWV645-650 ‘Schübler Chorales’
01. Ach bleib bei uns, Herr Jesu Christ, BWV 649 (Arr. Thomas)
Chorale Preludes I, BWV599-644 ‘Orgelbüchlein’
02. Herr Christ, der ein’ge Gottes Sohn, BWV 601 (Arr. Thomas)
03. Ich ruf zu dir, Herr Jesu Christ, BWV 639 (Arr. Thomas)
04. Durch Adams Fall ist ganz verderbt, BWV 637 (Arr. Thomas)
05. Chorale Prelude BWV721 ‘Erbarm’ dich mein, o Herre Gott’
Cantata BWV196 ‘Der Herr denket an uns’ (Wedding Cantata)
06. Sinfonia (Arr. Thomas)
Chorale Preludes I, BWV599-644 ‘Orgelbüchlein’
07. Alle Menschen müssen sterben, BWV 643 (Arr. Thomas)
08. Der Tag, der ist so freudenreich, BWV 605 (Arr. Thomas)
09. Christe, du Lamm Gottes, BWV 619 (Arr. Thomas)
10. Liebster Jesu, wir sind hier, BWV 633 (Arr. Thomas)
Cantata BWV105 ‘Herr, gehe nicht ins Gericht mit deinem Knecht’
11. Wie zittern und wanken
12. Weichet nur, betrübte Schatten, Cantata BWV 202 “Wedding Cantata”
13. O heilges Geist- und Wasserbad, Cantata BWV 165
Cantata BWV33 ‘Allein zu dir, Herr Jesu Christ’
14. Wie fürchtsam wankten meine Schritte
15. Partita “Wenn wir in hoechsten Noeten sein” BWV Anhang II 78
16. Chorale Prelude BWV723 ‘Gelobet seist du, Jesu Christ’
17. Chorale Partita BWV767 ‘O Gott, du frommer Gott’
18. Chorale Preludes I, BWV599-644 ‘Orgelbüchlein’
19. Chorale Preludes I, BWV599-644 ‘Orgelbüchlein’
20. Chorale Prelude BWV711 ‘Allein Gott in der Höh sei Ehr’
21. Chorale Preludes I, BWV599-644 ‘Orgelbüchlein’
22. Chorale Preludes I, BWV599-644 ‘Orgelbüchlein’
23. Chorale Preludes I, BWV599-644 ‘Orgelbüchlein’
24. Chorale Prelude BWV648 ‘Meine Seele erhebt den Herren’
On “Three Or One”, Bach appears in transfigured light. Fred Thomas’ ECM New Series debut presents organ chorale preludes, vocal cantata movements and orchestral sinfonias – 24 pieces in all – transcribed for trio and solo piano by the British pianist himself. Throughout, Bach’s idiom is thoughtfully explored by three innovative players – a process Thomas describes as “quietly joyful” – and the trio pieces, primarily drawn from Bach’s Orgelbüchlein, acquire a fresh character in the hands of Thomas, violinist Aisha Orazbayeva and cellist Lucy Railton.
Both respectful of the original musical texts but unique in their execution, Thomas’ reformulations strike a rare balance between moderation and innovation. In the process, the pianist draws attention to various techniques used to “separate the voices and avoid the typical blending and blurring of the organ in a church. Particularly interesting to me”, he explains, “was to illuminate how the musical characters interact, sometimes stubbornly ignoring one another as they continue their trajectories, other times moving in separate dimensions, unaware of anything but themselves, and often intertwining in a kind of blissful symbiosis”.