Composer: Johann Sebastian Bach
Works: Complete Organ Works Volume 1 – The Toccatas: Toccata con Fuga in D minor, BWV 565; Toccata in C major, BWV 566; Toccata and Fuga in F major, BWV 540; Toccata, Adagio and Fuge in C major, BWV 564; Toccata and Fuga in D minor (Dorian), BWV 538
Performers: Ewald Kooiman, organ
Recording: Grote of St. Bavorkerk, Haarlem, Netherlands
Label: CORONATA COR 1213
Johann Sebastian Bach stands as an unparalleled titan of organ music, whose compositions have shaped the instrument’s repertoire for centuries. His toccatas, particularly, highlight the blend of improvisational freedom and intricate counterpoint that characterize his early works, showcasing an Italianate influence that is evident in both form and emotional depth. In this inaugural volume of his complete organ works, Ewald Kooiman presents five key toccatas, offering a fresh perspective on familiar masterpieces that continually invite re-examination.
Kooiman’s interpretation of the Toccata and Fugue in D minor, BWV 565, arguably the most recognized organ work in the canon, is marked by a meticulous attention to detail that eschews the bombast often associated with this piece. While many performers opt for a thunderous approach to the opening, Kooiman chooses instead to emphasize the clarity of the counterpoint, allowing each voice to emerge distinctly. This choice is particularly effective in the transition to the fugue, where the intricate interplay of themes is rendered with a transparency that reveals Bach’s genius. The registration employed here is notably thoughtful, avoiding the common pitfalls of excess volume that can obscure the work’s structural brilliance.
The subsequent Toccata in C major, BWV 566, benefits from Kooiman’s sensitive touch, which invites the listener into a world of nuanced timbres. His registration choices illuminate the subtleties of the piece, particularly in the flowing passages that contrast with more vigorous sections. The fluidity of Kooiman’s performance draws parallels with the prelude-fugue pairs of the Well-Tempered Clavier, allowing for a seamless exploration of thematic material that feels both spontaneous and controlled. Moreover, his interpretation resonates with the historical context of the work, emphasizing the improvisatory nature that Bach himself would have embraced.
Kooiman’s handling of the Dorian Toccata and Fugue in D minor, BWV 538, further exemplifies his interpretative strengths. The opening motif, with its fugal implications, is colored with a vibrancy that captures the listener’s ear. The fugue itself, one of Bach’s most majestic, is rendered with a grandeur that is enhanced by the organ’s sonic palette, thanks to the superior acoustics of the Grote of St. Bavorkerk. The recording quality is commendable, with a crystalline clarity that allows the listener to appreciate the organ’s full range, from delicate whispers to powerful proclamations.
Comparisons with other notable recordings of Bach’s organ works reveal Kooiman as a distinctive voice in an already saturated field. While some celebrated recordings prioritize sheer power, Kooiman’s approach is rooted in a scholarly understanding of the text, prioritizing clarity and emotional nuance. This is not to diminish the vitality of other interpretations, but rather to highlight how Kooiman’s performances thrive on an intellectual engagement with the music, inviting the listener to reflect on the deeper currents that run through Bach’s oeuvre.
This volume presents an auspicious beginning to what promises to be a compelling exploration of Bach’s complete organ works. Ewald Kooiman’s performances are marked by an exceptional understanding of the music’s structural nuances and emotional depths, supported by a magnificent instrument and flawless recording quality. For enthusiasts of Bach’s organ repertoire, this recording is a noteworthy addition that deserves a prominent place in their collections, showcasing the marriage of historical insight and artistic expression that defines the great master’s legacy.
