Guy Bovet - Bach: Passacaglia and Fugue in C Minor, BWV 582 - Two Chorals, BWV 650 & BWV 740 - Concerto in A Major, BWV 1065 - Pastorale in F Major, BWV 590 (2024) [Hi-Res]

The Passacaglia and Fugue in C minor, BWV 582, is without doubt one of the master’s most famous works; one of those which poses the most interesting problems of registration for the organist; which enables him also, more than a normal prelude and fugue, to demonstrate the different ‘timbres’ of the organ— which was in this case a determining factor in the choice of the work. On a bass, unremittingly repeated (sometimes varied and moving freely to other voices of the counterpoint, but always present) variations unfold, each one more astonishing than the other. Chords, arpeggios, counterpoint—all the styles are used and just when every possibility seems exhausted, then there begins a fugue in triple counterpoint (that is to say that the theme is always accompanied by two countersubjects, which can be placed as desired in the order of the voices) a fugue which again pushes back the limits of fantasy, enriching the theme with its new elements. It culminates in a spectacular ‘Napolitaine VIth’ chord, to end in a majestic peroration.

Chorale: Kommst du nun Jesu vom Himmel herunter (BWV 650). This is the last piece in the Schubler chorales collection, who edited it during Bach’s lifetime. This collection is also called ‘Transcribed chorales’—in effect, they are parts of cantatas which Bach has transcribed for the organ, no doubt because of their popularity. In the original of this one, the garlands of the right hand are entrusted to a solo violin, the chorale to the tenor solo, a bass continuo accompanying it all.

Chorale: Wir glauben all’ an einen Gott (BWV 740). This is the decorated version, with double pedal, a marvel in miniature. A four voice accompaniment (two on the manual, two on the pedal), is made marvellously transparent by the use of different stops for each pair of voices, which allows the statement of the theme to be heard often before the soprano entry, and supports a discreetly ornate melody, which suddenly flies away on the final chord.

Pastorale (BWV 590). This is one of Bach’s less played pieces—and wrongly so. Perhaps because of the almost total absence of a pedal part (why shouldn’t the music be beautiful all the same); perhaps also because one cannot here create a big noise. It is nevertheless full of charm and is a composition that owes nothing to the ‘great organ’ works of the Cantor. The first section, obviously inspired by the Italian Pastorales, themselves in the musical style of the Roman ‘pifferari’, enables us to hear a duet of bagpipes with a bourdon fixing the harmony. Afterwards comes a kind of Allemande in C major, followed by a cantilena on the chalumean in subtle chromatic passages. The work finishes on a two-part fugato which could symbolise the rings of the Christmas angels.

Concerto (BWV 1065). This is not one of the concertos transcribed directly for the organ, but a transcription of a transcription. In effect, originally in B minor for four violins and orchestra, it was arranged by Bach for four harpsichords and orchestra. It is from this version that I have made the organ arrangement, using the methods which Bach himself employed when he arranged the concertos for a single keyboard instrument. The work certainly loses the solo parts, which are no longer four but one or two at most, but it gains in transparency. In any case, try to separate out the sounds of four violins or four harpsichords playing at the same time.