Composer: Johann Sebastian Bach
Performer: Carsten Wiebusch
Format: FLAC (tracks)
Label: Audite
Catalogue: AUDITE92663
Release: 2012
Size: 286 MB
Recovery: +3%
Scan: cover
Violin Partita No. 2 in D minor, BWV 1004 (arr. W.T. Best for organ)
01. V. Ciaccona (arr. W.T. Best for organ)
02. Liebster Jesu, wir sind hier, BWV 731
03. Herr Jesu Christ, dich zu uns wend, BWV 709
04. Herzlich tut mich verlangen, BWV 727
Prelude and Fugue in E minor, BWV 533
05. Prelude
06. Fugue
07. Passacaglia and Fugue in C minor, BWV 582
08. Toccata and Fugue in D minor, BWV 565
Das Orgelbuchlein, BWV 599-644
09. Herr Gott, nun schleuss den Himmel auf, BWV 617
6 Schubler Chorales, BWV 645-650
10. Meine Seele erhebet den Herren, BWV 648
Das Orgelbuchlein, BWV 599-644
11. Vater unser im Himmelreich, BWV 636
Toccata, adagio and fugue in C major, BWV 564
12. Toccata
13. Adagio
14. Fugue
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.