Silbermann Organ of Dresden Cathedral

★★★★✰

   Dresden is a city of radiating artistic culture, literature and music. Among many cultural achievements, the city on the Elbe could boast of an extraordinary organ tradition. It is worth remembering that Dresden, as the capital of Saxony, was one of the most important musical centers of its time. Heinrich Schütz spent his entire creative life in Dresden - from 1615 to 1672, educating many generations of composers who had a significant impact on the development of the musical culture of the 17th century. One who created strong base for musical culture of this city was organ builder Gottfried Silbermann, who was eminent organ masters of the late Baroque. He built in Dresden four instruments: the Sophienkirche, Hofkapelle des Residenzschlosses, Frauenkirche and unexampled organ in Katholische Hofkirche, which was the last instrument designed by the master. 
   The construction of Silberman’s last instrument was completed in 1755, two years after his death by his students and associates Zacharias Hildebrandt and his son Johann Gottfried Hildebrandt. Originally, Silbermann planned 66 registers, eventually the instrument had 47 registers on 3 manuals and pedal and 3000 pipes. In 1944, the organ was hidden in the monastery of St. Marienstern, thanks to which the pipework, the action and the console survived the British bombing of Dresden on February 13, 1945. The organ case was destroyed, carved wood prospectus and big parts of wind supply were lost. In 1963-1971, this monument of organ building has been restored by Jehmlich Company.

Herbert Tachezi an der Silbermannorgel vol.1 (1986)

   Exceptional instrument requires great artist who is able not only to present the instrument's unique features, but also can create  interpretations of the best works of the era and build a recital adequate to the quality of unique instrument. The Dresden Cathedral Silbermanorgan was recorded many times. One of most significant session took place a year before the 300th anniversary of Johann Sebastian Bach's birth. The Viennese organist Herbert Tachezi (1930-2016), who has  recorded a set of works by the great composer on the organ of the Dresden Cathedral. The session was co-produced by two labels from the western and eastern parts of the then divided Germany - Teldec and Eterna. As a result, two albums in Direct Metal Mastering technology were published: in 1985 two LPs were released under the label Teldec (BRD) and a year later under the label Eterna (GDR). Both labels also released CDs - Teldec in 1985 and Eterna in 1989.

   The program included a selection of Bach's most famous organ compositions, from the Toccata and Fugue in D Minor BWV 565 to the Passacaglia in C Minor BWV 582. Between these two pillars of the repertoire of each organist, Tachezi placed the Prelude and Fugue in E-flat Major BWV 552 and Prelude (Fantasy) and Fugue in G Minor BWV 542. This choice may seem too obvious - it contains the most appreciated, most spectacular works in organ literature, but after listening to the album, it turns out to be extremely accurate from an artistic point of view. By linking these works, Tachezi was able to demonstrate the depth and space of the sound of the instrument and the resonance interior in which it was built, while creating a philosophically and aesthetically coherent program. The majestic Prelude in E-flat Major, which, according to Schweitzer, is an image of divine power, and the corresponding triple Fugue, which is a representation of the Holy Trinity, are the only prelude and fugue for organ published by Bach during his lifetime. They form the frame for the third issue of Clavier-Übung - a collection with a clear religious and semantic plan, which is recognized by all significant musicologists writing on Bach's organ literature. As a result, this program allowed Herbert Tachezi to build a narrative presenting a close relationship between the top-class organ building achievement and the metaphysical content of Bach's work. It is hard to imagine a better tribute to the music of the great Leipzig cantor.

J. S. Bach – Johannes-Passion BWV 245 – Nikolaus Harnoncourt

   Johann Sebastian Bach was absolute master of every musical forms already existing. At last in all these forms he has chance to deal with. And in addition to one big exception, the opera, almost every musical form known in his times was present in his output. Although he has no chance to receive a request for an opera, he put his narrative ideas into cantatas and oratorios. He used a lots of musical rhetoric means, and he did it in majority of his works. One of most comprehensive narrative works by Johann Sebastian Bach is Johannes-Passion. The Passion According to St. John and double chorus Matthäus-Passion are two survived. There were also preserved many fragments of five composed passions that gave chances for reconstructions of Lucas-Passion and Marcus-Passion. 

   Just as any other church work of Johann Sebastian Bach, Johannes-Passion is deeply religious and perfectly united with Lutheran liturgy. This was normal practice in an era of still strong religious conflicts. In first half of 18th century being part of the congregation was still the primary determinant of individual and group identity. And Bach was aware of how powerful the impact of his music is and how great responsibility rests on him. The only possible solution to this dilemma was to compose in line with Lutheran theology. Therefore, in his vision of Johannes-Passion he strictly obeyed the order of worship. No wonder Passion according to St. John has been performed frequently during a quarter-century Leipzig period. Between premiere in 1724 and last acting in 1749 the work was presented at least four times under Bach’s direction.

Harnoncourt – Bach's Johannes-Passion (republished 1984) 

   In second half of 20th century Johannes-Passion was performed by almost every choir capable to perform this work. It was also interpreted by probably every successful conductor, not even necessary focused on baroque music. It was the era of phonograph, so St. John Passion has been recorded in dozens of renditions in both traditions of romantic symphonizm and modern stylization for original baroque sound. Second option based on original instruments and tuning principles gives wide possibilities for creating modern vision of baroque sensitivity. Probably the first recording on period instruments was 1965 performance of Concentus musicus Wien, and two connected choirs: Chorus Viennensis and Wiener Sängerknaben lead by choir master Hans Gillesberger. Conductor of this rendition was Nikolaus Harnoncourt, great artist and author of seminal books about musical aesthetics. First in the series of his texts was published in 1983 groundbreaking Musik als Klangrede: Wege zu einem neuen Musikverständnis, translated in next decade to many languages. A must read for any who wants to know and understand language of musical discourse.
   The Harnoncourt’s recording of Johannes-Passion was reissued several times in the seventies and eighties, becoming progressively one of the best known renditions of this work. Almost 50 years later, it is still great piece of art and document of moderately radical attitude to Bach’s music in sixties. It shows early stage of restoring the baroque music original sound. Nikolaus Harnoncourt with Concentus musicus Wien created different intellectual attitude and listener sensitivity opposite to previous performings. Closer to natural tune with pure, non-tempered intervals, for romantic long phrasing accustomed ears it sounded rough and only after the years listeners were able to notice how soft and vibrant these phrases are. Kurt Equiluz as Evangelist and Max van Egmond as Jesus are featuring soloists, some solo voices came from chorus members, just the same way Bach did with members of Tomanerchor. Organ parties have been played by Gustav Leonhardt and Herbert Tachezi – both great Bach interpreters on their own. On viola da gamba conductor played himself. The list of phenomenal musicians is long but it’s normal. Great musicians are always main power of any performance. Bach’s music demands the best, but effect is unforgettable.