Les 18 Chorals de Leipzig Main Performer or Conductor: Pierre Bardon Accompaniment/Orchestra: Isnard organ (1775), Basilique du Couvent Royal de Saint-Maximin du Var, France Instrumentation: Organ Individual Works: CD 1: Komm, heiliger Geist, Herre Gott (fantasia), BWV 651 Komm, heiliger Geist, Herre Gott, BWV 652 An Wasserflüssen Babylon, BWV 653 Schmücke dich, o liebe Seele, BWV 654 Herr Jesu Christ, dich zu uns wend (trio), BWV 655 O Lamm Gottes, unschuldig, BWV 656 Nun danket alle Gott, BWV 657 Von Gott will ich nicht lassen, BWV 658 Nun komm' der Heiden Heiland, BWV 659 Nun komm' der Heiden Heiland (trio), BWV 660 Nun komm' der Heiden Heiland, BWV 661 CD 2: Allein Gott in der Höh' sei Ehr (canto fermo in soprano), BWV 662 Allein Gott in der Höh' sei Ehr (canto fermo in tenor), BWV 663 Allein Gott in der Höh' sei Ehr (trio), BWV 664 Jesus Christus, unser Heiland, BWV 665 Jesus Christus, unser Heiland, BWV 666 Komm, Gott, Schöpfer, Heiliger Geist, BWV 667 Vor deinen Thron tret' ich hiermit, BWV 668 Nun freut euch, lieben Christen, g'mein (Choralis in tenore manualiter), BWV 734 Erbarm' dich mein, o Herre Gott, BWV 721 Format: Compact Disc Record Label: Syrius Catalog Number: SYR 141370 A/B (DDD) Year Released/Recorded: November 2001 Total Playing Time: CD 1: 60'02"; CD 2: 42'31" Comments: Willem Van Galen said: I was already familiar with organ and organist through some splendid recordings on the Pierre Verany label ("Louis Claude D'Aquin, Livre d'Orgue" [PV783122] and "Les Organistes du Roy Soleil" [PV784011]), so I had high expectations for this production as well. As on the aforementioned recordings, the Isnard organ is captured here in all its stately glory. The sounds resulting from the organo pleno registrations in BWV 651, BWV 656 (third section), BWV 661, the conclusions of BWV 665 & 666, and BWV 667 are simply magnificent. But there is more to enjoy than pure grandeur. In the remaining chorales, the quieter, more introspective side of this organ is given ample opportunity to be heard. One exception is the decidedly "piquant" registration for BWV 653. Obviously, Pierre Bardon's playing is just as important to the final result as the quality and choice of the various stops. He does not disappoint, as can be expected from the man who has been this instrument's "titulaire" organist since 1961. Quite deliberately, this is Bach with a distinctly and wonderfully French accent. In the accompanying booklet, Pierre Bardon imagines a meeting between Isnard and Bach, both of whom seem to have had a similar attitude towards their creative output. Thanks to this production, we have a close approximation of what might have ensued at such an occasion. (One little quibble: while the use of a big reed stop to play the cantus firmus sounds quite appropriate for BWV 734, I found it a bit disappointing to hear the same approach used in BWV 668 and BWV 721. To my ears, these pieces would sound better with a more subtle registration.) Available from: www.ohscatalog.com. Acknowledgements: Thank you to the following for submitting this recording and for your comments: Willem Van Galen Date First Submitted: 02/09/2005 Purchasing: Suggested Purchasing Sources Note: Inclusion in this database does not guarantee the availability of any recording. Some recordings may be out-of-print or no longer available.

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