J. S. Bach. Great Organ Works.

Jaroslav Tůma (c) Jiří Skupien

Nowadays, I regard releasing a recording of outstanding organ works by J. S. Bach as a brave and almost risky action. In the endless sea of significantly diverse high-quality interpretations, any new piece can fit in very fast and then just – like Bach himself – wait for “its Mendelssohn”. Thus, if someone decides to release a set of three CDs, they should be not only brave but also certain that this cup of tea their listeners will enjoy, and have an ace up their sleeve. The Czech label Arta achieved that. Apart from having a genius composer, in fact, they have two aces up their sleeve – Jaroslav Tůma and an organ builder, Vladimír Šlajch.

These days, these two masters are almost inseparably linked. They inspire and influence each other, and they also presented themselves successfully on a CD J. S. Bach: Orgel-Büchlein (Arta F10156), which was released seven years ago. No wonder that the organist Tůma longed for resounding magnificent two-manual Šlajch’s instrument from the St. Peter church in German Bruchsal again since it is perfectly suitable for such repertoire. In the interview about the recording, (conducted by Zdeňka Brodová) the reason of selecting this instrument is discussed in great detail, but more importantly, we will find out a key to understand the whole project.

Concerning the genesis, the artist assumes that he managed to get closer to “clearer contours” of ideal form of interpretation; however, of course, he is aware that music is an art of a present moment. Regarding the arrangement of tracks, the set is designed as a proposal of three recitals, to which the sound concept with minimal cuts was adjusted. (It was carried out by excellent sound engineers Aleš Dvořák and Tomáš Zikmund.) The interpretation itself should be a result of searching, thinking, contemplating the tempo, articulation, registration, etc. Moreover, Tůma draws attention to the fact that he never forgets to focus on his main goal: listeners.

Right from the initial tones of Toccata and fugue in d minor BWV 565, it is clear that the artist achieves his goal differently than we might expect. Anyone having a clear idea of how these famous works should sound, and anyone who has deep-rooted interpretive tradition in his mind, might have a conflicting opinion when listening to it. Because Tůma introduces his clear and specific idea of their form, mainly in the area of timing (tempo), so it is perhaps better to consider them either a blank slate or forget your expectations. (Of course, besides a situation when a listener identifies him/herself with Tůma’s concept immediately.) If it works, there is a strong and I dare say emotional experience for the listeners. Tůma takes you to the core of Bach’s perfection, reveals you parts which you would not notice in fast tempos (especially relating to BWV 565 and Leipzig works: Preludium and fugue b minor BWV 544, Fantasie and fugue g minor BWV 542, Preludium and fugue c minor BWV 546, Preludium and fugue C major BWV 547). He uses smooth articulate and agogic nuance in order to avoid the fact that the composition would not sound as etude (Preludium and fugue a minor BWV 543), or in other parts, he uses silence (slight pauses). He captures a track so wittily that you might begin to smile unconsciously (Preludium and fugue E flat major BWV 552). My only objection is that some compositions in minor keys lose its dramatic character because of slower tempo. From the point of view of track arrangement, I would highlight mainly the CD 2, which is a combination of virtuosity (Preludium a minor BWV 569), form and sound diversity (Preludium and fugue E major BWV 566, Preludium and fugue A major BWV 536). I would say that the most challenging is the CD 1, which is finished by three Leipzig masterpieces (BWV 544, 542, 546).

Finally, I must add that Jaroslav Tůma, perhaps without knowing it, plays these unearthly perfect works with humbleness and confidence of a great player. Therefore, in my opinion, he really moves his performance up to the Bach’s heights.

CD 1: BWV 565, 539, 532, 544, 542, 546

CD 2: BWV 569, 566, 536, 547, 543, 548, 541

CD 3: BWV 552, 578, 545, 582, 564, 538

Jaroslav Tůma – organ. Produced by: Jaroslav Tůma. Recording date: 11/2013, St. Peter’s Church in Bruchsal. Released: 2014. TT: 73:43, 74:15, 79:02. 3 CDs Arta 0205 (2HP Production)

 

 

© Dina Snejdarova

Published with a kind permission of Czech classical music magazine Harmonie 9/2014. www.casopisharmonie.cz