J.S. Bach
J.S. Bach

Johann & Max #1611

…a contrapuntal convergence honoring the births of Johann Sebastian Bach (3/21/1685) and Max Reger (3/19/1873).

Hour 1

J.S. BACH: Prelude & Fugue in G, BWV 550Simon Preston (1993 Klais/St. John's Smith Square, London) DG 449 212

MAX REGER: Prelude & Fugue in G, Op. 85, no. 2Bernard Haas (1906 Link/Evangelical church, Giengen an der Brenz) Naxos 8.553926

BACH: 3 Chorale-preludes (Allein zu Dir, Herr Jesu Christ, BWV 1100; Vater unser im Himmelreich, BWV 737; Jesu, meine Freude, BWV 1105) –Gerhard Weinberger (1767 Volckland/St. Boniface Church, Tröchtelborn) cpo 999 755

REGER: Aus tiefer Not, Op. 67, no. 3 –Christopher Anderson (1951 Aeolian-Skinner, expanded/Perkins Chapel, Southern Methodist University, Dallas, TX) SMU 2009

BACH: Aus tiefer Not, BWV 686 –Olivier Vernet (1737 Treutmann/Grauhof Cloister, Goslar) Ligia Digital 0104077-99

REGER: Passion, No. 4 fr Seven Pieces, Op. 145Edgar Krapp (1981 Eisenbarth/Passau Cathedral) Naxos 8.557891

BACH: Fugue in E-flat, BWV 552bDavid Rothe (1990 Yokota/California State University, Chico, CA) CSU 001

Hour 2

REGER: Prelude, Scherzo & Fugue in d/D, Op. 65, nos. 7, 10 & 8Stefan Frank (1996 Rieger/Fulda Cathedral) Naxos 8.557186

BACH: O Lamm Gottes, unschuldig, BWV 656 –Robert Clark (2004 Brombaugh/1st Presbyterian Church, Springfield, IL) Arsis 405

REGER: 3 Sacred Songs (Christ, deines Geistes Süssigkeit; Klage vor Gottes Leiden; Jesu Christ, wir warten dein), Op. 137, nos. 6, 11/12 –Klaus Martens, baritone; Martin Haselböck (1910 Sauer/Stadthalle Görlitz) NCA 60101-215

BACH (arr. Meyer-Fiebig): Fantasy in C, BWV 573Aya Yoshida (1964 Jemlich/Kreuzkirche, Dresden) Zoho Classix 201207

REGER: Cantata, O wie selig seid ihr doch, ihr FrommenStuttgart Chamber Choir/Frieder Bernius, director; Ingeborg Müller-Ney, soprano; Wolfgang Dallmann (DaCamera Studio, Heidelberg) Amati 9301/1

From the WQXR Online Comments Page: Sam Eisenstein, a listener from California wrote: “I know it's absurd, but I can't help but muse on what Bach might think of the ubiquity of his music, his influence, his omnipresence on our musical horizon, our scene. Nearly half a millennium after his death he is vibrantly alive as important or more so than he was in his own time. What kind of a brain could he have possessed to envision and produce the sounds that he did? Without electricity, running water, sanitation of any sort, even the writing instrument he employed would not work more than for a line or two. Hooray for the human spirit that can give us such a hero!!”