J.S. Bach on the Organ

[Selig]

No, it is a historical French Baroque organ, and I should have mentioned it as an exception from the German organs on the list, especially since Saorgin uses the organ quite coloristically. However, I believe the CD deserves a place among the best Bach recordings on historical organs which are not part of a complete set.

https://ligneorguesremarquables.com/wp-content/uploads/2021/11/LUXEUIL_Composition-16x9-1.pdf

I see there are some videos of Ablitzer playing this organ following the 2020 restoration. I'm enjoying the Titelouze: https://www.youtube.com/watch?v=7XcGuoNjD6c

[Selig]

The quote after all these years shows how valuable that post was - thanks again!

Definitely. I've found some of my favorite Bach recordings thanks to that list.

[prémont]

Recently I acquired Hans Helmut Tillmanns' Bach set comprising 15 Danacord CDs. An expensive set because the CDs have to be bought individually. But the completist in me demanded a purchase.

Tillmanns (1928-2020) was reportedly a pupil of Helmut Walcha and also emphasized Walcha as one of his most important sources of inspiration. Tillmans' Bach set was made from 1999 to 2010, which means that he was 80 years old when the last CD was made.

Surprisingly the individual Bach works are scattered over the 15 CDs in a seemingly unsysthematic way, and it may take some time to find the pieces one wants to listen to. Tillmanns reportedly never intended to produce a complete set, and only about 90 % of the authentic ouvre are recorded. Lacking are, among other things, half of CÜ III, three Leipzig chorales, one Schübler chorale and the Canonic variations. As "compensation" the same take of several of the other chorales may be found scattered over the CDs twice - something I have never seen on other sets. Honestly I don't think this organization of the works cherishes the Bach lover, but reportedly it was Tillmanns himself who wanted it in that way..

Only a few of the used organs are historical organs. The rest are Danish and German organs built mostly after the second world war. The Danish organs are of the not uncommon generic kind. Some of the German organs tend towards the romantic sound. The specifications of the organs are published in the booklets but there is no mention of the individual stops used in specific works. As is well known nor did Walcha publish his registrations but with Walcha's crystal clear approach to this it is possible to deduce the most of it. Tillmanns' more "thick" registrations are very difficult to analyze, especially with regard to the German organs which are largely unknown. Add to this that many of his registrations evoke the sound world of Reger more than Bach.

The performing style is oldfashioned with  what was common in the 1950es and 1960es with much legato playing, unnecessary register changes, overdone end of section ritardando et.c. et.c.

There is not much focus on counterpoint, and the approach is rather homophone and vertical. All in all the playing is technically disciplined with only a few fingerslips and a few very short moments of insecurity which aren't seriously disturbing. And one also has to take Tillmanns' age at the time of the recordings into account.

Not surprisingly the choralbound pieces are best suited to his performing style, and generally they are played in a calm and meditative style, very much worth listening to. The balance between the two upper voices in the triosonates is very fine and the playfulness of these works is nicely realized.

The somewhat unfocused recorded sound adds to the lack of transparency - most distracting in the fugues.

Tillmanns' set has got its moments - particularly in the choral arrangements, but as a whole the set is uncompetitive, not the least concerning its price.