Bach Orgelwerke
played by Michael Radulescu
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Bach Organ Works
Vol. 2 Clavier-Ubung Part 3 BWV 552, 669 – 689, 802 – 805 Michael Radulescu plays the 3-35 Ahrend organ of the Basilika San Simpliciano, Milan. Deutsche Harmonia Mundi 05472-77276-2 2 CD set Reviewed by Peter Wilding.
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This set abounds with firsts for me.
I had never heard of Michael Radulescu, so had no pre-conceived notions of his standing as an organist. He plays a programme rich in Bach’s works with which I was largely unfamiliar. Mr Radulescu was born during WW2 to a Rumanian father and a German mother. His musical biography makes impressive reading, and it is clear that he enjoys a fine reputation in Europe. Since his public debut in 1959 as a recitalist, he has held major posts as organist, professor and served as juror at organ competitions. He has toured overseas but not, it seems, to NZ, which is in my opinion, a pity.
CD 1 opens the programme which continues through CD 2, with the wonderful Praeludium pro Organo pleno, which is basically the same as the “St Anne” prelude, followed by 21 chorale settings, four duets, and ending with the familiar majestic triple fugue “pro Organo pleno”, also like that of the “St Anne”. Thus the programme is tied together in what seems to be a very neatly sandwiched package. Another mark, with which Indra Hughes would doubtless concur, of Bach’s great genius.
Many of the pieces sound rather grave and maybe even a tad introverted to our ears, but they served a specific part of the Lutheran musical liturgy when written, therefore best listened to with that in mind. The recording engineer is not identified but he deserves a pat on the back. The sound is crisp and clear and microphone placement has allowed the organ to be heard close, but not so close that all the reverberation is lost.
Mr Radulescu’s articulation is flawless and his registrations, provided in the notes, are unflamboyant; just what is necessary for informative listening. The Ahrend organ speaks without chuff or clatter, allowing every voice to be heard in well-nigh ideal balance. The 32’ Untersatz in the pedal is saved for the final fugue and adds much to the grandeur of the closing.
If you see this set, snaffle! If you are thinking of getting it through the internet, realise that the programme does not provide, nor does it intend to provide, thrilling ringing acoustics with the organ at full voice at times throughout. Rather, it is a well researched, well planned and well executed reading of these Bach works.
I had never heard of Michael Radulescu, so had no pre-conceived notions of his standing as an organist. He plays a programme rich in Bach’s works with which I was largely unfamiliar. Mr Radulescu was born during WW2 to a Rumanian father and a German mother. His musical biography makes impressive reading, and it is clear that he enjoys a fine reputation in Europe. Since his public debut in 1959 as a recitalist, he has held major posts as organist, professor and served as juror at organ competitions. He has toured overseas but not, it seems, to NZ, which is in my opinion, a pity.
CD 1 opens the programme which continues through CD 2, with the wonderful Praeludium pro Organo pleno, which is basically the same as the “St Anne” prelude, followed by 21 chorale settings, four duets, and ending with the familiar majestic triple fugue “pro Organo pleno”, also like that of the “St Anne”. Thus the programme is tied together in what seems to be a very neatly sandwiched package. Another mark, with which Indra Hughes would doubtless concur, of Bach’s great genius.
Many of the pieces sound rather grave and maybe even a tad introverted to our ears, but they served a specific part of the Lutheran musical liturgy when written, therefore best listened to with that in mind. The recording engineer is not identified but he deserves a pat on the back. The sound is crisp and clear and microphone placement has allowed the organ to be heard close, but not so close that all the reverberation is lost.
Mr Radulescu’s articulation is flawless and his registrations, provided in the notes, are unflamboyant; just what is necessary for informative listening. The Ahrend organ speaks without chuff or clatter, allowing every voice to be heard in well-nigh ideal balance. The 32’ Untersatz in the pedal is saved for the final fugue and adds much to the grandeur of the closing.
If you see this set, snaffle! If you are thinking of getting it through the internet, realise that the programme does not provide, nor does it intend to provide, thrilling ringing acoustics with the organ at full voice at times throughout. Rather, it is a well researched, well planned and well executed reading of these Bach works.
Peter Wilding, March 2007
