The Organ Magazine www.theorganmag.com
February 2001
** STAR RECORDING **
This
is a landmark release from Loft recordings. William Porter, professor of
organ at New England Conservatory and well known as an inspiring and
sensitive teacher, provides an object lesson to would-be Bach interpreters
about musical application of performance practice techniques. His success
lies in his combination of understanding and execution of the figures and
motives which make up Bach’s music, together with his own personal
approach. This is real organists’ playing, and as such playing which may
not appeal to non-musicians, such is the intensity of his music making.
Of
course the other huge factor in this immense recording is Paul Fritts’
wonderful new organ at PLU. Primarily designed as a North German inspired
instrument – albeit with a partially French Romantic influenced Swell
– its marvellously weighty choruses, prompt, smooth Pedal reeds,
transparent flutes, and idiomatic solo registers mark this out as the work
of a genius organ builder, and one for whom a UK commission cannot come
quickly enough. It rolls around the ample – though adjustable –
acoustic of the Lagerquist Concert Hall in awe‑inspiring fashion, in
the process proving itself an exceptional vehicle for Bach’s music.
Everything
about Porter’s playing is expansive, taking as its starting point
historically informed tempi and then taking time to expressively point up
each figure. In some ways comparison with Wolfgang Rübsam’s approach on
Naxos seems appropriate, though Porter’s playing is less mannered and to
my ears more convincing. One is always aware that each nuance of his
playing is geared to a musical end, even the large E
minor Prelude BWV 548 is played on a single Principal stop on the Rückpositive,
“not” says Porter in his outstanding programme note, “based on any
conviction that the piece must be so registered, but solely on the way the
singing quality of the eight-foot Principal of the Rückpositive allows
the pathos of the large scale Prelude to speak with immediacy and
intensity”. The result is unquestionably convincing.
Overall,
it is unusual to hear a player who, even through the most unlikely
methods, can transmit the weight and structure of the large scale pieces
to his audience with such profound effect. Equally in the smaller scale
chorale preludes, Porter gets under the music’s skin in every way and
the beautiful flutes and solo colours, in particular the Rückpositive
Nasat, Dulcian and Prestant respond to great musical effect.
The
synoptic specification, shown below, more than demonstrates the richness
of the Fritts organ. The
action is suspended mechanical with a dual mechanical/electrical stop
action, with solid state combinations and sequencer.
The wedge bellows afford a flexible wind, which can be stabilised
or not, as desired. The
temperament is after Kellner. The
imposing case of Douglas Fir, with hand carved Basswood pipe shades is
absolutely stunning.
Gt:
16,8,8,8,8,4,4,22/3,2,V,V-VII,16,8,8
Pos:
8,8,4,4,2,2,11/3,II,IV-VII,16,8,8
Sw:
16,8,8,8,8,4,4,22/3,2,13/5,VI-VII,8,8,8,4
Pd:
32,16,16,8,8,4,2,V-VII,32,16,8,4,2
The
booklet also contains an excellent essay about the organ by the builder
and former university organist David Dahl together with full specification
and some excellent photographs. The recording by Roger Sherman is
absolutely first rate.
Admittedly
there are one or two untidy moments, and I’m not sure as to the purpose
of Porter’s registration changes in the Passacaglia;
surely Fritts’ plenum is fine enough to withstand the entire piece being
played on it, as Bach would surely have intended had he played the work on
the organ. But this in no way spoiled my enjoyment of and admiration for
this wonderful recording. With so many complete Bach cycles currently
being released, some of comparatively rather dubious merits, one wonders
whether William Porter will get the opportunity to record what would be a
hugely significant ‘complete Bach’.
Fanfare Magazine
2001
These are probing and deep performances, several
movements of which are especially memorable…For instance, Porter
registers the E-minor Prelude and Fugue (BWV 548) on a single eight-foot
principal stop of the wonderfula dn deep-throated Paul Fritts organ of
Pacific Lutheran University. That quirky and compelling choice of
registration…allows the hearer to go beyond the glorious cacophony of
tone typifying the organ’s ensemble, to the absorbing and transcendental
beauty of the work laid bare. For those who derive the greatest
satisfaction in concentrating deeply on Bach’s harpsichord scores, or
the partitas and sonatas for solo violin or cello, this performance
carries the same allure. The contrast to partner fugue, played on a reedy
tutti, is stunning.
Magazine Orgue
Belgium
Satisfied to be on the right side of the Atlantic, I
have rarely wanted, on listening to an American recording, to buy a ticket
for the States. Thus it must be noted: the Fritts organ…makes me want to
give a listen in the state of Washington…A magnificent plenum with
authoritative reeds and very fine foundations gave me a lot of pleasure.
Not an ordinary recording.