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Reviews
GMCD 7262/63 Calavierübung Theil III
Church Music Quarterly
Reviews 2005Guild 2-CD set, Klavier,
J.
S. BACH: CLAVIERÜBUNG III - SEI GEGRÜSSET
David Ponsford plays the
Peter Collins organ of Greyfriars Kirk, Edinburgh
The monumental
collection that is Clnvieriübung III, together with the Partita
diverse sopra
Sei gegrüsset, Jesu
gütigBWV 768, comprise
some of Bach's finest and most cerebral organ music.
David Ponsford is both a
scholar and a performing musician. His scholarship informs and guides his
performances: it does not dry the musicianship out of them. Intelligently chosen
registrations, for example, help the listener to hear clearly Bach's masterful
counterpoint, while also underlining French influences (where appropriate) and,
of course, adding colour and sparkle. Dr Ponsford's prorgramme notes make
instructive reading, discussing succinctly many of the symbolic and structural
issues that make
Clavierü6ung III
such a fascinating
collection.
For their combination of scholarship and musicianship, these two discs should be
listened to, and their programme notes read, by any student of the organ
learning to play any or all of the pieces from Clavierübung III.
Others are sure to enjoy this release, too, for sheer listening pleasure
American Record Guide June 04
Bach's 'Clavierubung
III' is one of the monuments of organ literature and has received a number of
fine recordings by established organists over the years.
This latest Guild offering features the scholarly David Ponsford turning out a
pretty impeccable performance. The work is based on Lutheran Church texts and
lasts around 75 minutes in all with a monumental fugue (5-part) that is a
popular piece on its own.
Personally, I still prefer Christopher Herrick in this great work as his Gabler
Organ in Switzerland is slightly more attuned to the task than the rather modern
sounding Edinburgh Greyfriars. Still, that could be a matter of personal taste
and I guess you take your pick accordingly!
Ponsford also includes the equally monumental Partita BWV768 and gives a fine
interpretation of this glorious work. I haven't heard alternatives except Walcha
and Hurford (DG and Decca) who are only available in complete cycles so Bachians
who want this work alone will also enjoy the coupling.
Guild's recording is crisp and very immediate with fine detailed notes. I await
further organ CDs from this source with interest
Gerald Fenech
Choir & Organ November/December
J S Bach: Clavierübung
III, Sei gegrüsset, Jesu gütig (BWV 768)
David Ponsford /
Greyfriars Kirk, Edinburgh (Peter Collins, 1990)
Guild GMCD 7262/3
¬¬¬
Bach’s Clavierübung
is a synthesis and transformation of Baroque styles and ideas in the service of
the Lutheran faith. His title page refers to the recreation of music lovers and
connoisseurs. Both this and O’Donnell’s recording present the music ‘off the
page’. Maybe a more artistic solution is to present the larger chorale preludes
framed by the E flat prelude and fugue, presenting the manual preludes and
duetti separately.
David Ponsford presents
a considered interpretation with a range of beautifully judged registrations.
The Collins organ ‘pleno’ choruses are fine in the homophonic texture of the
opening prelude but not clear in the complex textures which crown the concluding
fugue. The larger setting of ‘Vater unser’ is the heart of Bach’s cycle,
bringing together not only the diverse styles of Bach’s time but those from the
previous century. The decision to use a registration based on the Grigny’s
fugues has resulted in a weak pedal line, undermining what is otherwise a
beautifully pointed performance. The recording is natural and clear and the
booklet highly informative.
Malcolm Russell
The Organ November 02
JS BACH: CLAVIERÜBUNG III
David Ponsford, Organ
Peter Collins 1990, Greyfriars Kirk, Edingburgh
Guild GMCD 7262/3 2 CDs 2hrs 3’6’’
Bach’s Clavierübung is an excellent vehicle to demonstrate the
qualities of Peter Collins’ organ in Greyfriars Kirk, Edinburgh. Built on the
Werkprinzip system and tuned using the 1724 Neidhardt temperament it combines
the outstanding qualities of a new instrument with the tonal glories of an early
baroque Organ.
David Ponsford uses the full Organ
for the 'greater' settings and the Positive alone for the 'lesser' settings thus
allowing us to compare the more intimate, because closer, tones of the Positive
to the richer nobility of the full Organ.
I particularly enjoyed the delicacy
of his playing for Allein Gott in der Hoh sie Her BWV675 and the clarity he
achieves in the Fuga a 5 con pedale BWV552.
While technically excellent there
is nothing clinically academic about the playing, the heart of each piece
emerging as the musical line unfolds. This is particularly true of the Partita
diverse sopra Sei gegrusset,lesu gutig BWV768, which rises to a finely dramatic
conclusion - a tribute to organ and performer alike. BH
MusicWeb Monday December 01 03
CD1
Clavier-Übung, III (BWV 552, 669-689, 802-805):
Praeludium pro organo pleno in Es (BWV 552,1) [08:22]
Kyrie, Gott Vater in Ewigkeit, Canto fermo in Soprano, à 2 Clav. et Ped. (BWV
669) [03:25]
Christe, aller Welt Trost, Canto fermo in Tenore, à 2 Clav. et Ped. (BWV 670)
[04:37]
Kyrie, Gott heiliger Geist à 5, Canto fermo in Basso, Cum organo pleno (BWV 671)
[04:50]
Kyrie, Gott Vater in Ewigkeit, alio modo, manualiter (BWV 672) [01:38]
Christe, aller Welt Trost (BWV 673) [01:24]
Kyrie, Gott heiliger Geist (BWV 674) [01:28]
Allein Gott in der Höh sei Ehr, à 3, Canto fermo in Alto (BWV 675) [03:59]
Allein Gott in der Höh sei Ehr, à 2 Clav. et Pedal (BWV 676) [05:04]
Fughetta super Allein Gott in der Höh sei Ehr, manualiter (BWV 677) [01:14]
Dies sind die heil'gen zehn Gebot, à 2 Clav. et Pedale, Canto fermo in Canone (BWV
678) [05:26]
Dies sind die heil'gen zehn Gebot (BWV 679) [01:58]
Wir gläuben all an einen Gott (BWV 680) [03:31]
Wir gläuben all an einen Gott (BWV 681) [01:18]
Vater unser im Himmelreich, à 2 Clav. et Pedal e Canto fermo in Canone (BWV 682)
[07:24]
Vater unser im Himmelreich, alio modo, manualiter (BWV 683) [01:36]
Christ, unser Herr, zum Jordan kam, à 2 Clav. e Canto fermo in Pedale (BWV 684)
[04:02]
Christ, unser Herr, zum Jordan kam, alio modo, manualiter (BWV 685) [01:38]
CD 2
Aus tiefer Not schrei ich zu dir, à 6, in Organo pleno con Pedale doppio (BWV
686) [06:38]
Aus tiefer Not schrei ich zu dir, à 4, alio modo, manualiter (BWV 687) [05:08]
Jesus Christus, unser Heiland, à 2 Clav. e Canto fermo in Pedale (BWV 688)
[03:51]
Fuga super Jesus Christus, unser Heiland, à 4, manualiter (BWV 689) [05:07]
Duetto I (BWV 802) [[02:41]
Duetto II (BWV 803) [03:25]
Duetto III (BWV 804) [02:49]
Duetto IV (BWV 805) [02:41]
Fuga à 5 con Pedale pro Organo pleno (BWV 552,2) [06:48]
Partite diverse sopra Sei gegrüßet, Jesu gütig (BWV 768) [20:41]
 David
Ponsford, organ [Peter Collins, 1990]
Rec. February 2001, Greyfriars Kirk, Edinburgh, Scotland. DDD
GUILD
GMCD 7262/3 [63:14 + 60:02]
The third
part of the ‘Clavier-Übung’ was the first collection of music for organ that
Bach published, in 1739. The title explains what it is all about: "Third part of
the Clavier Übung consisting of various preludes on the catechism and other
hymns, for the organ". It was the first time Bach devoted organ works to the
Lutheran catechism. It is not known for what reason Bach composed these works.
It is suggested it was connected to the celebrations marking the bicentenary of
the Augsburg Confession on 12 August 1739.
The
collection contains several settings of the German Kyrie and Gloria, two
settings – one pedaliter (for manuals and pedal) and one manualiter (for manuals
only) – of each of the six catechism chorales and four duets. The collection
opens with the Prelude and closes with the Fugue in E flat (BWV 552). The
Clavier-Übung is without any doubt devoted to the Holy Trinity, symbolised by
the number 3, which appears in many different ways in the collection.
The liner
notes are written by David Ponsford himself. He concentrates mainly on the
musical structure, whereas his references to the symbolism in this collection
are rather fragmentary. Sometimes his remarks are unclear or present assumptions
or possible interpretations as facts. In ‘Dies sind die heilgen zehn Gebot’ (BWV
678) "the melody is treated in a canon for two voices symbolising the law". The
reader is left with the question what is symbolising the law: the two voices or
the canon form? And in what way do they symbolise the law?
His view
that the juxtaposition of the Italian style of the pedaliter setting of ‘Wir
gläuben all an einen Gott’ (BWV 680) and the French overture style of the
manualiter setting (BWV 681) is a symbol of the "inclusive and ecumenical nature
of the Creed" seems rather far-fetched. And he believes the final 5-part Fugue
"represents Luther’s Evening Blessing", a view which is certainly not
universally shared and which he fails to argue.
An example
of incomplete information is the description of the Partite diverse sopra ‘Sei
gegrüßet, Jesu gütig’ (BWV 768), a chorale setting with 6 variations for manuals
only and 5 for manuals and pedal. Ponsford presents this work as variations on a
Passiontide chorale. He should have added that this piece appears in some
manuscripts under the title ‘O Jesu, du edle Gabe’, which is a Communion
chorale. He also should have informed the reader that the variations appear in
different orders in different manuscripts and that the order he uses is only one
possibility.
Although
the liner notes suggest Ponsford has paid attention to the symbolism in Bach’s
music, he sometimes misses the point. The pedaliter setting of ‘Dies sind die
heilgen zehn Gebot’ (BWV 678) contains sighing motifs (‘Seufzer’) and falling
chromaticism, which could be interpreted as an expression of the inability of
mankind to obey God’s law. In Ponsford’s performance these sighing motifs go by
unnoticed, like in ‘Vater unser im Himmelreich’ (BWV 682).
In other
cases Ponsford shows awareness of Bach’s symbolism but fails to do justice in
his performance. In regard to ‘Christ unser Herr zum Jordan kam’ (BWV 684) he
rightly states: "Pictorial symbolism may well lay behind the left-hand
semiquaver sequences (...). The melody (in the pedal) appears immersed in the
waves of the River Jordan, whilst the leaping right-hand motifs are thought to
represent signs of the Cross." But in his interpretation the cantus firmus is
registered in such a way that it overpowers the other voices which seriously
undermines the symbolism of the piece. The same problem appears in BWV 678 and
in the Partita X from BWV 768. It is right that the cantus firmus should be
clearly audible but it should never be registered in such a way that the balance
between the voices is upset.
This
brings me to the registration, which I often find unsatisfying. Some pieces are
composed in French style, like ‘Wir gläuben all an einen Gott’ (BWV 681) and
‘Vater unser im Himmelreich’ (BWV 682). Ponsford has registered them with stops
that are characteristic for French baroque organs. But the organs Bach has
played didn’t have that kind of stops, so these registrations are unhistorical.
In general Ponsford seems to prefer rather loud, sometimes even obtrusive
registrations.
This is
not the only thing that causes me problems in his interpretation. The
articulation is fairly inconsistent: legato, non-legato, even staccato. And all
notes are treated equally, without a clear distinction between ‘good’ and ‘bad’
notes. I find his playing rather mechanical and lifeless. It just doesn’t
breathe.
I have to
say something about the organ. It is a modern organ, built in 1990 by Peter
Collins, with mechanical action. "The tuning temperament is by Neidhardt (1724),
an unequal temperament that gives individual character to every tonality". This
suggests the organ has been built according to historical principles. But that
is not the case. I can’t see what the historical justification is of putting
‘German’ and ‘French’ registers together in one organ. The overall sound of the
organ is unpleasant, almost aggressive. The very direct recording only makes it
worse.
I am not
very happy with this recording. In these works Bach shows a deep understanding
of the Biblical teaching and orthodox Lutheran doctrine. But organist and organ
don’t have the eloquence to reveal the way Bach has expressed them in his
music.
Johan van Veen
International Record
Review November 2003
J. S.
Bach
New
Clavierübung III - Prelude and
Fugue in E flat, BWV 532; 21 Chorale Preludes, BWV 669-89; Four Duets, BWV
802-05. Partita diverse sopra 'Sei gegrüsset, Jesu gütig', BWV768.
David Ponsford
(organ).
Guild GMCD 7262/3
(full price, two discs, 2 hours 3
minutes). Played on the organ of Greyfriars Kirk, Edinburgh. Website
www.guildmusic.com. Producers Paul Ärden-Taylor, David Ponsford.
Engineer Paul Arden-Taylor. Dates February 13th-15th, 2001.
When he published the third volume
of his Clavierübung - the first of his organ music to be issued in
printed form - Bach was 54 and a musician of national, if not international,
repute. In keeping with the previous instalments, the aim was encyclopaedic: a
series of choral preludes centred on the Lutheran liturgy, framed by an extended
prelude and fugue. The music, as David Ponsford notes, 'is suffused with
religious, musical and numerical symbolism, the depth of which remains less than
fully understood today'. In choosing to present himself to the musical public in
this way, Bach makes a statement: in terms of his organ music, this is his
rnagnum opus.
As such, Clavierübung III
presents a challenge to performer and listener alike. Ponsford is an
acknowledged authority on French Baroque organ music and a performer who has
built his reputation on solid playing and a thorough knowledge of issues in
historical performance practice. He plays the 1990 Peter Collins organ at
Greyfriars Kirk, Edinburgh, an instrument which seems ideally suited to the
purpose. The 16' plenum is particularly invigorating, and the various
permutations for solo registration are thoughtfully explored. The quality of the
sound engineering is excellent: listening to it one has a real sense of the
presence of the instrument in the building.
Ponsford's conception of the work
is intriguing. Despite the multi-faceted layers of references within the music,
a recurrent theme which informs both his booklet notes and performances is the
interaction of national musical styles within Clavierübung Ill,
particularly the French and Italian. Of the first Vater unser im Himmelreich
(BWV 682) settings, he perceives in the five-part texture and rhythmic
notation a possible salute to Nicholas de Grigny; the piece is accordingly
registered in the manner of Grigny's fugues, to 'reinforce' the French style.
Musically, the result is satisfying, as is the grand jeu of the second
setting of Wir glauben all an einen Gott - which apparently is a French
overture. Harder to digest, though, is the treatment of Bach's dotted rhythms in
the opening Prelude as notes inégales. There may be plausible reasons for
this, but the effect is rather too fey. Indeed, one wonders if the French
connection is overdone. After all, French composers were not unique in using
dotted rhythms, and the resultant interpretation seems strangely unaffected by
the grandeur of the music.
Ponsford's tempos are alert,
although on occasions (Duetto III and BWV 679) they settle after an
enthusiastic start; and his playing is neat and accurate. Taken as a whole,
however, the performances themselves are somewhat lacking in depth. Greater
flexibility in the phrasing or more variety in the articulation would help to
maintain the attention, but one does not really sense the profundity of Bach's
conception. Perhaps indeed there is room for a deeper - even holistic -
understanding of influences which have a bearing upon this monumental
collection.
Warwick Cole
MusicWeb Wednesday October 08 03
Johann Sebastian BACH
(1685-1750)
Clavierübung III [123.16]
CD 1 [63.14]
Praeludium pro Organo Pleno BWV 552/1
Kyrie, Gott Vater in Ewigkeit BWV 669
Christe, aller Welt Trost BWV 670
Kyrie, Gott heiliger Geist BWV 671
Kyrie, Gott Vater in Ewigkeit alio modo BWV 672
Christe, aller Welt Trost BWV 673
Kyrie, Gott heiliger Geist BWV 674
Allein Gott in der Höh sei Her BWV 675
Allein Gott in der Höh sei Her BWV 676
Fughetta super Allein Gott in der Höh sei Her BWV 677
Dies sind die heilgen zehen Gebot BWV 678
Fughetta super Dies sind die heilgen zehen Gebot BWV 679
Wir glaüben all an einen Gott BWV 680
Fughetta super Wir glaüben all an einen Gott BWV 681
Vater unser im Himmelreich BWV 682
Vater unser im Himmelreich alio modo BWV 683
Christ, unser Herr, zum Jordan kam BWV 684
Christ, unser Herr, zum Jordan kam alio modo BWV 685
CD 2 [60.02]
Aus tiefer Not schrei ich zu dir BWV 686
Aus tiefer Not schrei ich zu dir alio modo BWV 687
Jesus Christus, unser Heiland BWV 688
Fuga super Jesus Christus, unser Heiland BWV 689
Duetto I BWV 802
Duetto II BWV 803
Duetto III BWV 804
Duetto IV BWV 805
Fuga a 5 con pedale pro Organo Pleno BWV552/2
Partita diverse sopra Sei gegrüsset, Jesu gütig BWV 768 [20.28]
David
Ponsford at the organ of the Greyfriars Kirk, Edinburgh (Peter Collins, 1990)
rec 13-15 February 2001, Greyfriars Kirk, Edinburgh, Scotland
GUILD
GMCD 7262/3 [123.16]
The monumental organ
works of J S Bach are well known, both from their live popularity in concert and
from almost innumerable recordings. However, it is a major listening undertaking
to hear the works recorded here, in their intended format. The Clavierübung was
Bach’s most monumental undertaking in keyboard music. It is a publication in
four parts, of which the first and second consisted of the Six Partitas for
harpsichord in part one and the Italian Concerto and French Overture in part
two. Part four is The Goldberg Variations, and part three, recorded here, is a
linked set of organ pieces based on the fundamental components of the Lutheran
liturgy. Although these works were intended for use as individual pieces during
a religious service, Bach organised the complete collection along the most
stringent architectural, mathematical and liturgical lines. Although most of the
works are based on Chorale melodies, Bach uses particular melodies to link to
the sections of the Lutheran Mass. This consisted only of the Kyrie and Gloria
of the Roman rite. In the Kyrie, Bach uses the same three chorales twice, the
first set being for organ with pedals (and probably intended for the principal
Sunday morning Hauptgottesdienst,) while the second set is for manuals
only and was probably composed for use at the Sunday evening
Vespergottesdienst. Following from this Bach includes settings for the
Gloria, the Ten Commandments, the Creed, the Lord’s Prayer, Baptism, Penitence
and the Communion, each based on appropriate chorales. As with the Kyries there
is in each case a pair of works, one with pedals, one without. Luther’s four
teaching precepts are represented by four duets, some of the strictest two part
counterpoint Bach ever composed and indicative of the teacher/pupil relationship
inherent in the idea of the Catechism. The manuals only version of the Creed
setting Wir glaüben all an einen Gott BWV 681 is in the form of a French
overture and comes at the halfway point of the collection. A similar use of a
French overture at this point occurs in all the other parts of the Clavierübung.
Additionally the entire
structure is imbued with Trinitarian references. There are 27 pieces (3x3x3).
There are 9 chorale preludes (3x3). The Gloria is set three times in trio
textures, spread over the keys of F, G and A, which outline the interval of a
third. Additionally the magnificent prelude that opens the collection is in E
flat (key signature of 3 flats) and is constructed on three themes. It is almost
incomprehensible how this rigour of structure can be possible in music that, at
all times, appears of the most fluid beauty and spontaneity.
Strangely, although this
is music that repays the most intense study and careful listening, at the same
time it is surprisingly easy to enjoy, and even (heaven forbid!) appreciate in
the background. Needless to say, there have been many recordings of this great
collection. In this new release from Guild both organist and instrument are of
UK origin, but both are steeped in the traditions of the German organ school. To
make sense of this music it is essential to play it on the right sort of
instrument. Of course the big fugues will work on any organ, but the underlying
meaning of the structure is greatly helped by the use of an instrument built on
the same constructional lines as those for which Bach was writing. The Peter
Collins organ of 1990 in the Greyfriars Kirk in Edinburgh is, in this respect,
one of the most suitable in the UK. It is built strictly along the lines of the
classical Werkprinzip-System, in which the instrument is divided into
distinct sections in independent cases, the Pedal, Great and Positive divisions
(equating to the German Pedal, Hauptwerk and Bovenwerk) being
based on classical choruses of 16, 8 and 4 foot pitches respectively. There is
additionally a Swell division equating to the German Brustwerk and
enclosed in a case with shutters. Thus the contrasting natures of chorale
melody, accompaniment and harmonic basis can be clearly distinguished in the
interpretation. This format treats the organ much more like an orchestra, with
its separate string, wind and brass sections, than like a single giant beast, as
became the fashion in 19th century organs, especially by the great
English builders of that time.
David Ponsford has
performed this repertoire for many years and is clearly at home in this musical
language. To some extent, the material is so great that the interpreter can have
only a limited effect on the aural perception of the music, but generally
Ponsford manages to put some stamp of interpretative individuality into most
tracks. This is most noticeable in the area of registration, where again the
quality of the organ is a great help. Works such as the Fughetta super Allein
Gott in der Höh sei Her BWV 677 show off the delightfully clear 4 foot flute
ranks while the Fughetta super Dies sind die heilgen zehen Gebot BWV 679
demonstrates the 8 foot flutes to equal effect. There is a delightful chiff
to the speaking of these stops and the capture of the organ sound is excellent.
Christ, unser Herr, zum Jordan kam BWV 684 brings out some fine fluidity
of playing in the elaborate accompaniments on the manuals, while the chorale in
the pedal is played on a well judged and balanced 8 foot trumpet that manages to
avoid dominating the filigree in the manuals. Again the recorded sound is
excellent, even to the clarity of the lower-pitched runs of the left hand, which
can so easily become muddy. The French overture of Wir glaüben all an einen
Gott BWV 681 makes effective use of the Swell’s Cornet and five-rank
Plein Jeu to give a sound reminiscent of the organ music of De Grigny or
Couperin. This is a slightly unusual registration feature for a basically German
organ, but no doubt these stops, together with the 32-foot pedal ranks (that
Ponsford wisely avoids using on this recording) increase the range of repertoire
that this organ is capable of performing convincingly.
It must be admitted that
some of the longer chorale settings tend towards the monotonous at times.
Occasionally it would be nice to hear Ponsford be more daring in his variety of
articulations. Similarly some of the phrasing could be said to be rather
predictable in places. However, that is the interpreter’s prerogative, and it
cannot be denied that the overall approach to this recording is scholarly and
thoughtful. Invariably the highpoint of any disc of Bach’s music for organ comes
in the great Organo Pleno works, and this is no less true here. Most
impressive performance is the first setting of Aus tiefer Not schrei ich zu
dir (BWV 686) that opens the second disc. Here Ponsford chooses a
deliberately slow tempo, but as the chorale melody is largely in the pedal he
employs the majestic 16-foot Trombone to great effect. It is sobering to think
how this music must have sounded in a world where about the loudest noise
regularly heard would have been a horse and cart on cobblestones or the
hammering from a blacksmith’s forge. This grand music bursting forth from a
huge, carved and gilded instrument high up the west wall of the town church must
have seemed almost literally to be the very voice of God. This same sense of
spacious grandeur is evident in the collection’s most famous work; the Prelude
and Fugue in E flat BWV 552. The prelude is magnificent, but it is in the fugue
that ends the collection that Bach is at his finest. Here a large organ really
does help and the full pleno of the Greyfriars instrument is nothing less than
majestic. It is in these large compositions on a broad canvas that David
Ponsford also reaches his peaks. The fluent virtuosity apparent in the E flat
fugue is most impressive. The smaller scale works seem to present him with
greater interpretative difficulties and tend to result in a slightly detached
air. The sense of attachment in the big works is much greater and highly
enjoyable.
The presentation of this
recording is let down rather by some very indifferent cover artwork and
less-than-high-quality printing on booklet cover and cd case back. The booklet
itself gives good background notes and work listings but would have benefited
from more information about the organ, although a specification does appear.
Peter Wells
Classical Net Review Tuesday September 30 03
Bach's 'Clavierubung III' is one of the monuments of organ literature and has
received a number of fine recordings by established organists over the years.
This latest Guild offering features the scholarly David Ponsford turning out a
pretty impeccable performance. The work is based on Lutheran Church texts and
lasts around 75 minutes in all with a monumental fugue (5-part) that is a
popular piece on its own.
Personally, I still prefer Christopher Herrick in this great work as his Gabler
Organ in Switzerland is slightly more attuned to the task than the rather modern
sounding Edinburgh Greyfriars. Still, that could be a matter of personal taste
and I guess you take your pick accordingly!
Ponsford also includes the equally monumental Partita BWV768 and gives a fine
interpretation of this glorious work. I haven't heard alternatives except Walcha
and Hurford (DG and Decca) who are only available in complete cycles so Bachians
who want this work alone will also enjoy the coupling.
Guild's recording is crisp and very immediate with fine detailed notes. I await
further organ CDs from this source with interest
Gerald Fenech
Classic FM October 2003
"Book Three of Bach's
four sets of Clavier-Übung ('Keyboard Practice') is an exhaustive display of
the treatment of organ chorale variations. The 27 pieces (coupled with Bach's
11 variations on Sei gegrüsset) are played on the superb Greyfriars Kirk organ
in Edinburgh - how well it transfers to disc! Ponsford is a superb Baroque
stylist who brings a touch of romantic swagger to his imaginative registrations.
His crisp attack and thoughtful phrasing complement his own excellent booklet."
Jeremy Nicholas
Page revised 28.04.06
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