CD1
In 1739, Bach had his Clavierübungen III published at his own expense. A powerful work on a musical scale as well as on a theological and symbolic one. It is possible that Bach had imagined this ensemble whose spiritual and musical substance is so dense for the Holy Trinity day. The continual and symbolic presence of the number three, counterpoints and harmonies extraordinarily
accomplished, the prelude and the triple fugue are the alpha and the omega of this collection of 27 pieces (3 to the power of 3) and surround 21 chorales on Lutheran texts.
CD2
Bach publishes the canonic variations in 1747 and presents them to the Society of the Musical sciences Lorenz Mizler. He becomes its fourteenth member! A masterpiece if we consider it according to guilds, these variations make progress, from the first one to the fifth one, in a more and more complex and dense way, to reach this ultimate and incredible variation: canon en miroir(straight movement and inverted movement), on the second and the third,the sixth, the nineth, then it diminishes. The ultimate cadence is signed: si bemol, la, do, and a natural si.
At the opposite extreme of the canonic variations, Schubler proposes to Bach in 1746 to publish a version for organs in 6 chorales for voice and instruments, that the audiences had appreciated when he had played his Cantates. Expressive arabesques and melodic freedom punctuate these pages whose success Bach could have verified many times with his students in the Collegium Musicum. Students whose conditions of life had very often aroused his sollicitude.
Restored without any concession to modernism, the organ in Lahm will astonish you with its very particular composition. Two 32' pedals for 29 stops on two keyboards and pedal keyboards, Quinta Thöne measuring 16' and 8', viola de gamba...which gives to music an astounding colour. This resounding and musical authenticity is emphasized by a quite thorough performance . Le monde de la musique/ the world of music
Bernard Coudurier abandons once again glitter for or by himself, transfering in the most glorious moments (prelude and Fugue, Wir glauben all' an einen Gott, etc...) his own energy to the texts of chorales. The Schübler and the Canonic variations have the same inspiration: determined, distinguished.
Diapason
Bernard Coudurier plays on a magnificent instrument, with its very caracteristic timbres, the Herbst in Lahm-im Itzgrund, and its reading has a musicality. The beauty and wideness of the phrases, the intelligence of the cesuras, the contrapuntal clarity, everything breathes here in a wide unifying gesture which is the main quality of this remarkable version.
Guide de la Musique ancienne et baroque, ed Robert Laffont Guide of Ancient and baroque Music