Notes and Editorial Reviews
Passacaglia in c.
Wachet auf, ruft uns die Stimme. Erbarm dich mein, o Herre Gott,
O Mensch, bewein dein Sünde groß,
Toccata in C,
Dies sind die heil’gen zehn Gebot’,
Prelude and Fugue in E?,
David Hamilton (org)
DIVINE ART 25088 (75:39)
What Chopin was to the piano, Bach was to the organ. The many sides of the composer can be seen in the many genres that his organ works inhabit, from the more modest, but no less impressive, chorale preludes to the grandiose preludes and fugues and the mighty C-Minor Passacaglia. David Hamilton, playing on the organ at Canongate Kirk in Edinburgh, Scotland, has chosen a very fine cross section of the organ works to display not only the many sides of the composer, but also the many capabilities of the chosen instrument as well. He is a very fine advocate for this music. The smaller works are played simply, but not without emotion. Hamilton’s tempos are spot-on, and the tender way he shapes the lines—sometimes ornamenting them slightly—gives one the impression of hearing the pieces for the first time. The Passacaglia, in particular, is well paced. The constant flowing of its theme is never compromised, nor compromising in its relentlessness, but rather gains in grandeur as the piece unfolds. The
is perhaps the best performance on the entire recording. The opening is simple and playful, a section improvisatory in nature. This leads to a grand chordal section, where the dissonances are sometimes startling. Hamilton gives just enough weight and time for the dissonances to be made palpable before moving on effectively to the concluding section, which is reminiscent of the opening in spirit and figuration. The ending is once again simple and unadorned, but heartfelt. The Toccata’s prelude is given the effect of a real improvisation, so unfettered and free is it in its movement. It is at times playful, at times serious. This leads to the more dramatic and potent
It is never so slow as to lose its momentum, yet never so quick as to make it sound frivolous. The fugue that ends the work begins in a slightly introverted manner—something that works particularly well here, as it allows the organist to build up to the immense climax at the end. The so-called “St. Anne” Prelude and Fugue ends the recital. It is given a grand reading, with enough lift and breath to characterize its many facets. All in all, Hamilton proves to be a very fine guide, one who highlights the intricacies of these works, often illuminating them in new ways. For a truly enjoyable experience of some of the great Bach organ works, this recording is as wonderful for novices of this music as for experts.
FANFARE: Scott Noriega
David Hamilton is clearly a fine organist, but there's no doubt that the instrument is the real star of this disc. It was built by Th. Frobenius of Copenhagen in 1998 and is in tip-top condition. Like the kirk itself, the organ isn't big, just two manuals and a registration that fits comfortably on half a page of the liner notes, but this is definitely a case of small is beautiful.
It is much more common to meet discs of popular Bach selections played on huge cathedral organs, but what this organ lacks in power it makes up for in the precision of the sound and the subtle combinations of the tone colours. Hamilton avoids the temptation to concentrate solely on the small-scale works and includes two of the behemoths: the Passacaglia in C minor BWV582 (without the Fugue) and the Prelude and Fugue in E flat major BWV 552. The Passacaglia in particular sounds great at this chamber music scale, and all sorts of contrapuntal devices and inner lines become apparent that larger organs usually obscure.
Clarity and evenness of tone are the main virtues of this instrument, and of Hamilton's registration choices - just because there are less stops to pull, that doesn't make the decisions any easier. In the Adagio second movement of the Toccata in C minor BWV564 the voicing of the individual notes of the melody is immaculate. The opening movement also benefits from the clean, well defined sound, and the grace notes in the main theme are actually heard as pitches, another detail that is often lost on larger organs. There isn't much in the way of mutation or colouristic devices in the registration. The only piece to use a more constrained, nasal stop is
O Mensch BWV678, and even that has a relatively open tone.
Hamilton is quite conservative in his use of ornaments and his rubato is either non-existent or so subtle as to be imperceptible. The result is a series of very clean interpretations, an approach ideally matched to the tone and scale of the instrument.
The sound quality is good, and it seems that the organ and the acoustic are ideally matched. There is very little resonance - for a church I mean - but enough to give the organ sound a satisfying warmth. The bass in the recording is excellent, clear and focused and not artificially amplified, or at least not obviously so. The bottom end of the organ is actually quite meagre, the pedals have two 8' stops and two 16', but that's plenty, even for the Passacaglia.
An enjoyable disc then, and not your usual Bach greatest hits. This may be the absolute core of the organ repertoire, but it does have a tendency to bring out the worst excesses of megalomania in professional organists. David Hamilton demonstrates how a little humility can go a long way.
-- Gavin Dixon, MusicWeb International
Works on This Recording
6 Schubler Chorales, BWV 645-650: Wachet auf, ruft uns die Stimme, BWV 645
Passacaglia and Fugue in C minor, BWV 582
Erbarm dich mein, o Herre Gott, BWV 721
Piece d'Orgue in G major, BWV 572, "Fantasia in G major"
Das Orgelbuchlein, BWV 599-644: O Mensch, bewein' dein' Sunde gross, BWV 622
Toccata, adagio and fugue in C major, BWV 564: Toccata
Toccata, adagio and fugue in C major, BWV 564: Adagio
Toccata, adagio and fugue in C major, BWV 564: Fugue
Dies sind die heilgen zehen Gebot, BWV 678
Prelude and Fugue in E flat major, BWV 552, "St. Anne": Prelude
Prelude and Fugue in E flat major, BWV 552, "St. Anne": Fugue
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