Challenge Classics SACD releases have become scarce to the point that some began to believe that this quality label had, like so many other labels, chosen to stop SACD production altogether in favour of RBCD / download and streaming services, to keep production costs within economic limits. Perhaps not unreasonable, realizing that a growing number of music lovers seem to have settled for less or even smartphone earbud quality. Without wanting to pass any judgement, I do, however, note with satisfaction that with this latest album, CC has not forgotten the ambition of those who continue to go for the best, viz. the ‘regulars’ of HRAudio. Let us hope that this attitude (and sales) will induce Challenge Classics to programme follow-on SACD releases for the benefit of all.

This latest album was in any case worth the wait and may well be your best bet for this year’s X-mass gift. I for one would, if I could, value this album at a level of 6 rather than 5 stars for both interpretation and recording. No wonder, noting that, once more, Northstar Recording Services have been hired for the job. For the likes of us, it's almost a ‘sine qua non’ for a successful comeback of the once so prolific label at the sharp end of High Resolution.

Bach lovers know that the melody line in the left hand is as important as in the right. In the Golberg Variations, some hold even the view that the secret of the variations lies in the left hand. Turning to the organ, however, there is a further dimension. I advise everyone to read first the introductory message about listening to three melody lines. That said, it wasn’t for the listener that Bach composed his Trio Sonatas. The purpose was for students, notably his son Wilhelm Friedemann, to practise the difficulty of handling three differing song lines simultaneously. Whether or not written for practice, when listening to what undoubtedly is a product at the summit of creativity of a magical composer, all the joy it provides is ours.

The list of great Dutch organists, available on the internet, is long. Aart Bergwerff's name is not on that list. Should it be? In my book, any such list is questionable. I trust my ears better than ‘names’ commercially pushed. Reading Bergwerff’s bio, we discover that he is someone with an extensive cultural interest, participating in all sorts of things, including collaborating with a Turkish dervish dancer. I’m not privy to that, but for all I know, he has a natural talent for the organ.

Searching for Wiegleb organs, one is immediately directed to the ‘Great Bach’ organ in the St. Gumbertus church in Ansbach, Bavaria, Germany. Its specifications and lifeline are available in the booklet A YouTube presentation can be found here: https://www.youtube.com/watch?v=-agNH4whjGQ. The final reconstruction to its original shape has been done by a Dutch company, Orgelmakerij Reil, now working on more than a dozen organs, mostly in the Netherlands, but also elsewhere. They have done a marvellous job by reviving the romantic sound, as we can hear in this recording, thanks to Bert & his crew.

I compared the same Six Sonatas, as played by Christopher Wrench on the organ of the Garnisons Kirke in Copenhagen (Melba, 2009), at the time positively reviewed by John Miller Bach: Organ Sonatas BWV 525-530 - Wrench. Good though it is, this new one sounds better and warmer. One can turn up the volume without turning up any distorting noises. It is a church-like experience, best listened to in surround, though stereo-only listeners will find much to enjoy either. The church environment (and the sound engineer) keeps echo interference at bay. If needed do invite your close neighbours as well.

The final paragraph is devoted to the artist at the two manuals and the foot pedals. Aart takes his time and that is precisely how I like it. I belong to those senior listeners who, whilst admiring their technical capabilities, have an aversion to modern Bach interpreters rushing through the score, losing on the go much detail. Challenge Classics have granted Bergwerff sufficient room to express his vision of the Trio Sonatas on two discs: CD 1 with the Sonatas 1,2 and 3, and CD 2 with 4,5, and 6. In this context, it is of particular interest to consult Martin Kaaij’s thought-provoking liner notes. You may want to begin with the startling performance of Sonata No. 5, which I and probably many other Bach organ fans, like best. Unravelling the three melody strands reinforces a feeling of active involvement. I’m sure I will be returning to Aart Bergwerff’s reading multiple times. Well done!

Blangy-le-Château, Normandy, France.

Copyright © 2024 Adrian Quanjer and HRAudio.net

Performance:

Sonics (Stereo):

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