Helmut Walcha's Recordings of Bach Organ
Work
Andreas
Holschneider(from Archiv CD 419 904-2)
Translation to English;
Alan Newcombe
To commemorate the Bach bicentenary year of 1950,
Archiv Produktion announced its intention to record the complete
organ works of bach on historic instruments. The completion of
the undertaking, amazingly ambitious in view of the conditions at
that time, was repeatedly interrupted and postponed owing to the
rapid development of recording techniques(from the old shellac
disc to the mono long-playing record and on to stereophony). For
the project it was necessary to find a suitable organist who was
not only a brilliant musician, but who could also present the
individual sound of a historic instrument to advantage. Helmut
Walcha, already known as a knowledgeable and enthusiastic
specialist on historic instruments, fulfilled all requirements.
The first records, Helmut Walcha's as well as Archiv
Productions, had been made in August 1947, during the extremely
difficult peroid of the immediate postwar years before the
currency reform, on the small organ of St. Jakobi in Lübeck, one
of the most outstanding products of early North German
organ-building. The success of those recordings led to the
decision to record Bach's organ works complete. It was not,
however, intended to complete the recordings in Lübeck, because
despite the beauty of the original stops - some of them dating
back to the Renaissance - that organ's pedal notes proved to be
very unsuitable acoustically, the short octave demanded too many
compromises, and increasing interference caused by traffic noise
would, in any case, have made further recordings there very
difficult. The followiwng works were recorded on the Lübeck
organ ;
Trio Sonatas BWV.525
in E flat major, BWV.530 in G major
Choral partita BWV.768 'Sei gegrüsset, Jesus gütig'
Fantasy and fugue in g minor, BWV.542
Prelude and fugue in E flat major, BWV.552
Toccata, adagio and fugue in C major,
BWV.564
Toccata and fugue in d minor, BWV.565
Schübler Chorale, BWV.645~650
several chorales from the Orgelbüchlein
During the
search for another historic instrument in North Germany it
transpired that for the 'smaller' chorale preludes from the Third
Part of the Clavier-Übung, which call
for the large octave with all the semitones apart from the low C
sharp, only the Arp Schnitger organ in Cappel near Bremerhaven
met our requirements6). The instrument was originally built for the St.
Johannis Church in Hamburg and was transferred to Cappel during
the Napoleonic era(1816). After being restored to an adequate,
playable condition by the Göttingen firm of Paul Ott, it became
world-famous through Helmut Walcha's recordings1). So in June 1950 and September 1952 the series of
Bach organ work recordings was continued and completed in Cappel,
where some of the Lübeck works were also re-recorded.
The onset of stereophonic recording posed a new
problem; mono recordings became obsolete more quickly than could
have been expected. In 1954 it was already deemed necessary to
re-record at least the best-known works in stereo. the very first
recording for the new project was the Art of fugue,
which although not strictly speaking a work for organ can
arguably be recreated most convincingly, that is, in the manner
thought to correspond most closely to bach's intentions, on that
instrument. The choice fell on the great organ of the St.
Laurenskerk in alkmaar(Holland), with its magnificently resonant
tone6). It was on this organ that Helmut Walcha recorded
the Art of Fugue in September 1956, a recording that was Deutsche
Grammophon's very first in stereo. The new recordings of the
Toccata and Fugue in d minor(BWV.565), the Prelude and Fugue in C
major(BWV.547), and the Trio Sonatas in E flat major and G
major(BWV.525 and 530), were also made at that time.
BWV.540,542,572,562,582,537, 538,548,544,534,552,541,546 and 543
followed in September 1962.
[ Left ] The
Great Organ of St. Laurenskerk, Alkmaar
In 1968 the plan to record Bach's complete organ
works was revived. If the project was to be brought to
fulfilment, new stereo recordings would have to be added to the
ones already made at Alkmaar. For the 'chamber music' works rich
in contrasts - the chorale arrangements and four of the trio
sonatas - alkmaar seemed less suitable, as the great organ and
pedal there have no flute stops, and the specifications of the
choir organ and upper organ are so similar that the scope for
contrasting registration3) is very restricted. The possibility was then
considered of recording the remaining works on the Schnitger
organ at Zwolle, which had recently been renovated, and whose
wide choice of registration was very well suited to our purpose.
However, that organ is tuned a whole tone higher than present-day
pitch, and it was finally decided that because of this the
recordings could not be made there. So the decision was reached
to have the new recordings made on a Silbermann organ, as the
Silbermann organs in Alsace are among the most renowned examples
of Baroque organ building.
During the summer of 1968 Helmut Walcha travelled
through Alsace, trying out possible organs. The two organs at
Marmoutier and Ebermünster, which have survived with the least
number of alterations, were not considered for our recordings
because of the restrictions of their registration and limited
pedal keyboard compass. The choice finally fell on the organ of
Saint-Pierre-le-Jeune in Strasburg6). Only a
few of its stops are actually by Silbermann, but it has been
carefully restored in accordance with the original specification
and pipe measurements, and has been enlarged in the spirit of
High Baroque polyphony. Helmut Walcha decided in favor of this
organ and completed his series of recordings there in September
1969, May 1970, Autumn 1970 and May 1971.
A comparison of the various recordings, from Lübeck
in 1947 to Strasburg in 1971, shows that, disregarding the
differences in the acoustics and sound of the instruments, the
interpretations remain remarkably consistent. The stylistic
principles annouced at the outset are adhered to unwaveringly.
Walcha undoubtedly possesses a feeling for style matched by very
few others, especially with regard to his understanding of bach's
proportional tempo relations. In the virtuoso movements the young
Walcha was more unbuttoned; later he underlined the vocal
provenance even of instrumental passage-work. The registration on
the old Lübeck and Cappel recordings is sometimes more
spectacular; in Strasburg it is more economical, lucid and
subtle. Walcha has always refused to allow his registrations to
be published, a reflection perhaps of the mentality of the
craftsman who wishes to guard the secrets of his workshop; the
registrations could also have been misrepresented if taken over
uncritically and used on other instruments.
The organ recordings from Lübeck and Cappel are all
deleted and have not been available for many years5). The Alkmaar and Strasburg recordings are presented
here on 12 Compact Discs; CDs 1~6(from both Strasburg and
Alkmaar) contain the free (i.e. not chorale-based) Toccatas, as
well as Helmut Walcha's completion of the final fugue from the
Art of Fugue, recorded in 1970 on the Strasburg organ at his
special request; on CDs 7~11 (from Strasburg) are the
liturgically based works, chorale preludes and other compositions
based on hymn tunes; the set concludes (CDs 11~12) with the
Art of Fugue recording of 1956(with the final fugue left
incomplete) at the organ of the St. Laurenskerk in Alkmaar. 
Works whose authenticity seems doubtful, owing to
the form in which they have come down to us or for stylistic
reasons, have not been recorded. This applies above all to the
six organ concertos, BWV.592~597. We have also not recorded the
Eight little Preludes and Fugues BWV.553~560, as they have been
attributed to Bach's pupil Johann Ludwig Krebs, or to his father
Johann Tobias Krebs. We have also omitted the chorale partitas
BWV.766,767 and 770, whose sources are questionable, and whose
style does not display Bach's accustomed mastery; they are
generally regarded as youthful works. Also in dispute is the
authenticity of numerous chorales included in the list of Bach's
works under the numbers 690~713a(Kirnberger Collection), 714~740
and 741~765. We have included a representative selection from
these groups.
These recordings contain the sum of a lifelong
artistic and spiritual concern with the works of Bach. At the
same time they represent a notable chapter in the history of
Archiv Produktion, which is linked in gratitude with the name
Walcha. This new release on Compacat Disc may be understood as an
'hommage à Helmut Walcha' on his 80th birthday.
[ Right ]
The Silbermann Organ in
the Church of Saint-Pierre-le-Jeune, Strasburg
Notes
- Original note in booklet;
From 1963 to 1965 the
condition of the organ deteriorated alarmingly. Almost
all the shutters cracked. At Helmut Walcha's instigations
funds were raised to permit extensive renovation. In
1976-77 the organ was restored, completely in accordance
with historical practice, by the Hamburg organ-builders
Rudolf von Beckerath. In October 1977 Helmut Walcha
recorded there 'his' large repertoire of works by
Lübeck, Scheidt, Buxtehude, Böhm, Sweelink, Bruhns,
Tunder and Pachelbel(4 LPs). These records - it was
Helmut Walcha's own wish that they should be his last -
appeared on the Archiv Produktion label in early 1978.
- The late Cappel recordings are
released as the title "Orgelmeisters vor
Bach(Masters of organ before Bach)". In original
note, there is an error that this set is 3 LPs(4
LPs is right). In this recordings, works by Lübeck,
Scheidt, Buxtehude, and Bruhns were released by Archiv
CDs. Unhappily, they seem to be deleted from the DG
international catalogue now(Dec. 2000). See discography
page.
- (In playing cembalo or organ)
Selection of the stops and coupling of them. Very
important to the art of the playing.
- Of course, some organists including
Marie-Claire Alain publish their registrations. See
Alain's Franck works recording(Erato 0630-12706-2).
- Lübeck recordings were released as
single CD by Archiv(Dokumente series), but disappeared
now. As far as I know, monaural Cappel recordings have
never released as CD outside Japan, but in 2004 Original
Masters series reissued them as a box. See discography
page.
- Disposition of the Cappel, Alkmaar,
and Strasburg ; 'disposition' means what stops each
keyboards has. The original text says Alkmaar organs has
very limited freedom of contrast, which I want you to
ascertain by comparing this disposition tables.
1)
Disposition of
the Arp Schnitger Organ, Cappel(pitch; g# = 435)
Hauptwerk
Great Organ/Grand
Orgue |
Rückpositiv
Choir
Organ/Positif |
Pedal
Pedal/Pédale |
| 2nd keyboard, C1~C5 |
1st keyboard, C1~C5 |
C1~D3 |
Quintadena 16'
Prinzipal 8'
Hohlflöte 8'
Oktave 4'
Spitzflöte 4'
Nasat 3'
Gemshorn 2'
Rauschpfeife 2fach
(2 ranks/2 rangs)
Mixtur 5-6fach
(5-6 ranks/5-6 rangs)
Zimbel 3fach
(3 ranks/3 rangs)
Trompete 8' |
Quintadena 8'
Gedackt 8'
Prinzipal 4'
Rohrflöte 4'
Oktave 2'
Sifflöte 1 1/3'
Sesquialtera 2fach
(2 ranks/2 rangs)
Terzian 2fach
(2 ranks/2 rangs)
Scharf 4-6fach
(4-6 ranks/4-6 rangs)
Dulzian 16' |
Untersatz 16'
Oktave 8'
Oktave 4'
Nachthorn 2'
Rauschpfeife 2fach
(2 ranks/2 rangs)
Mixtur 4-6fach
(4-6 ranks/4-6 rangs)
Posaune 16'
Trompete 8'
Cornet 2' |
2)
Disposition of
the Great Organ of St. Laurens Church, Alkmaar
Hauptwerk
Great Organ/Grand
Orgue |
Oberwerk
Swell
Organ/Supérieur |
Rückpositiv
Choir
Organ/Positif |
Pedal
Pedal/Pédale |
Praestant 16'
Praestant 8'
Praestantquinte 6'
Octav 4'
Quinte 3'
Octav 2'
Flachflöte 2'
Terzian 2fach
(2 ranks/2 rangs)
Rauschpfeife 2fach
(2 ranks/2 rangs)
Mixtur 6fach
(6 ranks/6 rangs)
Trompete 16'
Viola da Gamba 8'
Trompete 4' |
Praestant 8'
Bärpfeife 8'
Rohrflöte 8'
Quintadena 8'
Octav 4'
Floit Dous 4'
Spitzflöte 3'
Superoctav 2'
Spielflöte 2'
Sesquialtera 2fach
(2 ranks/2 rangs)
Scharf 4fach
(4 ranks/4 rangs)
Zimbel 3fach
(3 ranks/3 rangs)
Trompete 8'
Oboe 8'
Vox Humana 8' |
Praestant 8'
Quintadena 8'
Hohlflöte 8'
Octav 4'
Flöte 4'
Nasat 3'
Superoctav 2'
Waldflöte 2'
Quinte 1 1/2'
Sesquialtera 2fach
(2 ranks/2 rangs)
Mixtur 6fach
(6 ranks/6 rangs)
Zimbel 3fach
(3 ranks/3 rangs)
Trompete 8'
Fagott 8'
Vox Humana 8' |
Prinzipal 32'
Praestant 16'
Rohrquinte 12'
Octav 8'
Quinte 6'
Octav 4'
Nachthorn 2'
Rauschpfeife 3fach
(3 ranks/3 rangs)
Mixtur 6fach
(6 ranks/6 rangs)
Posaune 16'
Trompete 8'
Trompete 4'
Cornet 2' |
3)
Disposition of
the Silbermann Organ of Saint-Pierre-le-Jeune, Straßburg
Hauptwerk
Great Organ/Grand
Orgue |
Oberwerk
Swell Organ/Récit
expressif |
Rückpositiv
Choir
Organ/Positif |
Pedal
Pedal/Pédale |
| 56 notes, C~G5 |
56
notes, C~G5 |
56
notes, C~G5 |
30
notes, C~F3 |
Bourdon 16'
(on electric sound
box)
Montre 8'
Bourdon 8'
Prestant 4'
Flûte à cheminée 4'
Quinte 2 2/3'
Quarte de Nazard 2'
Cornet 5fach(ab c')
(5 ranks, from C3)
Sifflet 1'
Fourniture 4fach(1 1/3')
(4 ranks/4 rangs)
Cymbale 3fach(1/2')
(3 ranks/3 rangs)
Trompette 8'
Clairon 4' |
Bourdon 8'
Prestant 4'
Rohrflöte 8'
Flûte 4'
Sesquialtera 2fach
(2 ranks/2 rangs)
Doublette 2'
Larigot 1 1/3'
Cymbale 3fach(1/2')
(2 ranks/2 rangs)
Trompette 8'
Voix humaine 8' |
Bourdon 8'
Prestant 4'
Nazard 2 2/3'
Doublette 2'
Tierce 1 3/5'
Fourniture 3fach(1')
(3 ranks/3 rangs)
Cromhorne 8' |
Flûte 16'
Soubasse 16'
Bourdon 16'
(transmission from
the Great
Organ)
Montre 8'
(on electric sound
box; heard
from the east façade)
Flûte 8'
Prestant 4'
Quarte de Nazard 2'
Fourniture 4fach(2 1/3')
(4 ranks/4 rangs)
Cymbale 2fach(2/3')
(2 ranks/2 rangs)
Bombarde 16'
Trompette 8'
Clairon 4' |
(c) 1987~ , original text by Andreas
Holschneider & Deutsche
Grammophon
(c) 2000~ , Youngrok LEE ; Link free, but please get my
approval before you reuse, copy, or quote this materials.
Created ; 3rd
Dec. 2000
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