Bach Fugue BWV541 - Registration

[Guest]

Hi! I'm relatively new to the organ and I love to play Bach. Can anyone guide me generally in this wonderful G major fugue to the registration?</p>


I have a Schweitzer edition that says start with foundations, reeds and mixtures. That sounds unbearably loud to me! Then he gives this system of removing reeds and mixtures every so often, and it seems very complicated. Maybe I don't understand what he means? Does he really mean push down all the reed and mixture stops?
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Is there any easier and more straightforward way to conceive the registration. Any tips would be most helpful!</p>

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[Menschenstimme]

Re: Bach Fugue BWV541 - Registration



Hi Walter,</P>


If you don't mind an "off the top of my head" answer, here goes:</P>


Play both hands on the Great with something like this:</P>


Prinzipal 8, Oktav 4, Superoktav 2, Mixture.(You may add some flutes if they helpthe ensemble sound better fleshed-out).</P>


For the Pedal:</P>


Prinzipal 16 (orBourdon 16 or Subbass 16),Oktav 8, Superoktav 4, Mixture,Reed 16 (such as Posaune 16).</P>


I realize that this is not very scholarly; but give it a try and see how is sounds.</P>


Good luck!</P>

[soubasse32]

Re: Bach Fugue BWV541 - Registration



Walter,</P>


There are several approaches to Bach - an historically accurate approach, or one that is a bit more romantic. Albert Schweitzer's editions arethe epitome ofthe romanticapproach to registration and interpretation.</P>


There is no truly correct way to play Bach(especially since no one is alive who ever heard him perform); the romantic version may be a turnoff for some folks today, but it is good to remember that tastes continually change and evolve. It is good to be aware of these differing approaches to Bach.</P>


I should mention that when I register Bach (or anything), I let the organ tell me what it wants. If it is a romantic Skinner, I might opt for the romantic approach... or I might not choose to do Bach at all.</P>


If I had an instrument that is convincingwithBaroque music, I would probably choose the registration that Menschenstimme gave you. The only difference is that I would probably only draw a Bourdon or Gedeckt with the Great plenum, but probably no open flutes and no 4' or higher flutes. I was also taught to not use a 16' flue stop when the 16' reed is drawn -a baroque 'rule' that I don't always follow.</P>

[Guest]

Re: Bach Fugue BWV541 - Registration



INteresting! Thank you so much for your replies. Here's another question: would you change registration anywhere in this fugue? I have Paul Jacobs' wonderful recording of the a minor fugue BWV543 where in the middle section, several bars without pedal, he goes to I think an 8' Holz and a 2' Flute. The structure is very clear, but I can't find an analogous place in the G major. Any advice would be most appreciated!</p>

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[soubasse32]

Re: Bach Fugue BWV541 - Registration



A romantic approach would have you pushing pistons throughout, changing manuals, and even opening/closing the swellbox. A strict baroque approach would probably have you playing on the Great with the same registration throughout. I find that can become a bit tiresome unless you are playing on a true baroque organ with lots of character.</P>


I choose the middle ground. [:)] If there is a natural break in the music, I might add or subtract a stop or two... but I would avoid making a radical registration change, such as when you push a piston and multiple stops move in all divisions. Switching to a different keyboard can be a more logical way to accomplish this.</P>

[Guest]

Re: Bach Fugue BWV541 - Registration



I would like to hear different stylistic approaches... can you recommend particular recordings that might showcase the romantic approach, or a more conservative approach?</p>

many thanks!</p>

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[Guest]

Re: Bach Fugue BWV541 - Registration



I've heard many performances, in which the registration was changed after the fermata for the grand finale - very often it has been an added 8' reed stop in the manuals, possibly coupled to the pedals for extra brillance in all parts. It's of course a matter of the organ in hand, if this proves effectfull, too much or not very much of a chance at all. The only other places which could call for some registration change should be the manual part, but the transitions would be a bit abrupt as I imagine it, having not played the piece for some eight months. </p>

That's my two cents - and might I add: What a WONDERFUL piece of music. [:)]
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[myorgan]

Re: Bach Fugue BWV541 - Registration



I've heard (and used) the same as Joejet. The change can be slight or marked, butafter the fermatais a natural place to change registration if you're going to. It seems to me that I also changed manuals at another place, remaining true to the voice leading, but I'll have to find my score and get back to you--it's been almost 20 years since I playedBWV-541 in performance last.</P>


Remember that the edition you're using simply has Albert Schweitzer's suggestions for registrations--not Bach's. Unfortunately, we've lost that particular piece of performance practice from Bach's time. Sure, we have indiciations whatHE might have used, but no conclusive proof. In the absence of a prescriptive remedy, use your musical sense to determine what sounds right to you--as Bach probably would have.</P>


Michael</P>

[Guest]

Re: Bach Fugue BWV541 - Registration



Bach's music bears verything in itself. If you play a real good organ , you could play a fuge without any keyboard or stops changes, the color will stay the same but the texture will bring thosechanges thru the composition. A good example: the B minor Prelude, I always keep playing ''Organo pleno'' to keep a feeling of unity thru the piece. In the fugue, I will alternate between lighter and louder plans but with the same color.</P>


But if you play a bad or boring organ , or if you want to simply give a show ....it is a different story..</P>


Pierre</P>