Composer: Johann Sebastian Bach
Works: Prelude and Fugues BWV 543, 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, a cornerstone of the Baroque repertoire, embody a confluence of technical prowess and profound spirituality. They reflect the composer’s deep understanding of counterpoint, harmony, and the organ as an instrument capable of both intimate expression and grand proclamation. This recent recording by Hans Helmut Tillmanns, a student of the esteemed Helmut Walcha, offers a fresh encounter with a selection of Bach’s oeuvre, showcasing Tillmanns’ understanding of the music’s historical context and its performance practice.
Tillmanns opens with the two Preludes and Fugues, BWV 543 and BWV 536, both of which highlight the intricate interplay of voices characteristic of Bach’s fugal writing. His fugal voicings are adept and crisp, allowing the listener to appreciate the inner lines with clarity. The registration choices are perceptively made, particularly in BWV 543, where the contrasting timbres play a crucial role in delineating the thematic material. This attention to registration creates a dynamic range that is both engaging and illuminating, particularly in the climactic moments of the fugue, where the organ’s full resources are brought to bear without overwhelming the contrapuntal texture.
The Partita “O Gott, du frommer Gott” BWV 767 is a standout on this recording. Here, Tillmanns navigates the variations with a patrician reserve, revealing the work’s introspective qualities. His phrasing is thoughtful, and he allows the poignant chorale melody to breathe, employing a gentle rubato that enhances its emotional weight. The registration choices in this work are particularly noteworthy; the use of softer stops creates a reflective atmosphere, inviting the listener into the contemplative nature of the piece.
In the Pastorale BWV 590, Tillmanns exhibits a deft touch, emphasizing the lilting rhythms and pastoral character of the music. The flowing lines are executed with grace, and the contrasting sections are articulated with clarity. The interplay between the manual and pedal parts is seamless, demonstrating Tillmanns’ technical proficiency. However, it is the expressive nuance in the Choralvorspiel und Choral BWV 604 that truly stands out, where the reedy quality of the organ is utilized to evoke a sense of solemnity, enhancing the choral theme’s gravitas.
Recorded at the Weimbs organ in St. Nicholas Church, the engineering by Danacord captures the instrument’s full tonal palette, allowing the listener to experience the organ’s rich harmonic textures. The acoustics of the church further enrich the sound, providing a warm resonance that complements the music without obscuring the details. This recording stands out for its clarity and balance, offering a listening experience that is both immersive and enlightening.
Comparatively, while many recordings of Bach’s organ works prioritize either virtuosity or historical authenticity, Tillmanns strikes a commendable balance between the two. His approach resonates with the interpretative depth found in recordings by the likes of Walcha and the late Marie-Claire Alain, yet maintains a distinctly personal touch that invites repeated listening.
This recording of Bach’s organ works by Hans Helmut Tillmanns is a commendable addition to the discography. It showcases not only the intricate beauty and complexity of Bach’s compositions but also Tillmanns’ deep musical insight and technical prowess. The judicious registration choices, coupled with an expressive yet controlled interpretation, make this a recommended listening experience for both aficionados and newcomers to Bach’s organ repertoire.
