Composer: Johann Sebastian Bach
Works: Prelude and Fugue BWV 543, Prelude and Fugue BWV 536, Partita “O Gott, du frommer Gott” BWV 767, Allabreve BWV 589, Prelude BWV 568, Pastorale BWV 590, Choralvorspiel und Choral BWV 604
Performers: Hans Helmut Tillmanns, organ
Recording: St Nicholas Church, Raeren, Belgium, October 2001
Label: Danacord DACOCD 590
Johann Sebastian Bach’s organ works represent the pinnacle of Baroque keyboard composition, intricately woven with theological depth and technical brilliance. This latest recording by Hans Helmut Tillmanns showcases a selection of pieces that span a spectrum of moods and technical demands, each offering a unique glimpse into Bach’s genius. The collection includes two Preludes and Fugues, a Partita, and several shorter works, all selected to illuminate Bach’s architectural prowess and the emotional breadth of his music.
Tillmanns, a disciple of the eminent Helmut Walcha, approaches these works with a commendable blend of authority and sensitivity. His interpretation of BWV 543 reveals a keen understanding of the fugal structure, highlighting the intricate interplay between voices with clarity and precision. The opening Prelude, marked by its grand gestures, is imbued with a stately dignity, while the Fugue takes on a more animated character, driven by Tillmanns’ crisp articulation and judicious use of registration. The choice of stops is particularly commendable; the reedy timbres employed in the Choralvorspiel BWV 604 evoke a haunting resonance that enhances the contemplative nature of the piece.
The recording quality itself merits attention. Danacord’s engineering captures the vibrant acoustics of the Weimbs organ, built in 1994, allowing for a sonorous blend that never obscures the individual lines of counterpoint. The separation of voices in the fugues is particularly effective, providing a vivid soundstage that invites the listener into the complex textures of Bach’s writing. Tillmanns’ careful dynamic gradations lend the Pastorale BWV 590 a pastoral charm, with a lyrical flow that contrasts beautifully with the more complex structures of the preceding works.
While the programming may raise questions for some—does one desire an entire recital of this nature?—the quality of musicianship and the insightful interpretations on display make a compelling case for its inclusion in the canon of Bach recordings. Compared to other notable renditions of these works, such as those by Marie-Claire Alain or Ton Koopman, Tillmanns’ performance stands out for its introspective approach, avoiding the temptation for excessive bravura in favor of a more contemplative engagement with the music.
The overall assessment of this recording acknowledges Tillmanns’ ability to navigate the intricate landscapes of Bach’s organ music with both technical mastery and emotional depth. Each piece is rendered with a patrician reserve that serves the music rather than overshadow it, making this album a valuable addition to any Bach enthusiast’s collection. The combination of thoughtful interpretation and high-quality engineering positions this recording as a noteworthy contribution to the ongoing exploration of Bach’s organ repertoire.
