Donald Satz wrote (October 28, 2001):

I have had the good fortune to acquire the eight discs that organist Hans Helmut Tillmanns has recorded for Danacord. Three of the eight are devoted to Bach works; the others are strongly in the baroque camp with some 19th century organ music interspersed.

It isn't my usual regimen to buy as many as eight discs at one time, but that's how I was able to avoid shipping costs from the Danacord web site. That Tillmanns has eight recordings for Danacord is just a nice coincidence.

Part I will actually cover the most recent Tillmanns disc which is Bach all the way with a mixed selection of his organ works. I felt that I would gain the most insight by starting with this program: see (1) above.

Hans Helmut Tillmans, although not having a major international reputation, has more than thirty recordings to his credit. The teacher who reportedly impacted him the most was Helmut Walcha. For this recording, Tillmans plays an organ built by the Weimbs Company in 1998. Although a new instrument, the liner notes dwell on the premise than this Weimbs organ is an 'historically aware' one (my words).

Overall, I have significant reservations about the performances and the sound engineering, although the Tillmanns disc also has much to offer.Tillmanns, with the exception of BWV 572, displays a penchant to stay away from the strong and public performance in favor of an intimate approach which sometimes lessens enjoyment. Two examples well show this problem. In the Partita BWV 768, Tillmanns destroys all semblance of contrast in the middle variations by treating the fifth and sixth variations more intimately than in any other version. For BWV 533, Tillmanns offers none of the brashness and fresh attitude of the work.

Sound is a big problem in the Fugue of BWV 542. The tendency of the upper voices, throughout the disc, to be on the bright side comes to center-stage. It's quite unappealing and combines with a poorly defined bass which sounds like it's in a different soundstage.

The good things are striking. Tillmann's two chorale performances benefit greatly from his musical personality, and his Fantasia in G major is exceptional for its beauty and power. Some sections of the Partita BWV 768 such as the 1st and 10th variations are the best I've heard.

As is my usual regimen, I started with the two chorales, both of which are pieces from the Leipzig Chorales. BWV 663 is a comforting and uplifting chorale arrangement with the chorale melody/cantus firmus in the tenor voice. The music is blessed with many excellent recordings. For performances of an average tempo between six and seven minutes, Bine Katrine Bryndorf on Hanssler and Christopher Herrick on Hyperion are hard to beat. Bryndorf is the most uplifting with a vitality that leaps out the speakers; Herrick delivers a smoother flow which is very appealing. Peter Hurford on Decca takes over seven minutes and gives a thoroughly comforting reading. If your taste runs toward the faster side, Peter Sykes on Raven adds an irresistable urgency to the music.

Tillmanns offers the slowest reading of BWV 663 I listened to. It doesn't drag at all and is as enjoyable as Hurford's performance. There is one little reservation; although the middle and upper voices ring out very clearly, the lower voices are not clear and actually sound a little murky. This isn't a major consideration for most Bach chorales, but it could be damaging in Bach's more powerful works. Overall, Tillmanns rates highly in BWV 663, but I do favor the Bryndorf interpretation which is loaded with
stature.

BWV 653 - Again, Tillmanns gives a gorgeous and intimate performance. Albert Schweitzer on Pearl offers a six minute reading of great dignity; Tillmanns is in the five minute range. However, he hardly sounds slower than Schweitzer due to his more 'private' interpretation.

Concerning the two above chorales, Tillmanns gets my strong approval. The organ has a lovely sound, and the intimate nature of the performances works beautifully for these two pieces.

Fantasia & Fugue in G minor, BWV 542 - A power-packed Fantasia with two passages of sublime repose that creates such a great contrast within the music's fabric; the Fugue has a 'destination' as it exuberantly barrels down the road. My favorite version comes from Karl Richter on Deutsche Grammophon; no other interpretation provides such stunning contrasts in the Fantasia, and his Fugue is as exuberant and dedicated to resolution as any other performance. Lately, I've also been enjoying Gabor Lehotka on Laslerlight/Classical Evolution. This performance isn't quite in Richter's league, but the brash style in the Fantasia and the sweet/rustic sound of the 'unknown organ' are irresitable.

Tillmann's Fantasia is loaded with power and a fine supply of angularity; he creates greater momentum and excitement in the opening minutes than Richter. However, Tillmann's moments of repose do not possess the magic of Richter's. More damaging to Tillmann's BWV 542 is his very weak Fugue; Tillmanns plays it in a relatively demure and polite fashion as if the performance was a private one. Some may like this approach, but I feel it greatly lessens the music's impact and exuberance. Even if I did like the performance, the sound is not good. The upper voices are too bright; much
worse, the boomy and murky bass sounds like it's ten miles away from the upper voices. It's an unusual mess with poor balance at its core which ruins the performance of the Fugue from the start.

The Fantasia in G major, BWV 572 is also titled "Piece de Orgue". Tillmanns surprises me with a powerful performance which is a great alternative to exceptional versions from Gustav Leonhardt and Harald Vogel. Leonhardt is quite stern, Vogel streches the music horizontally, and Tillmanns stretches upward. He doesn't scrimp this time on providing the organ'sfull majesty.

Prelude & Fugue in E minor, BWV 533 - This is a short work that Bach composed during his time at Arnstadt. The music is playful, sharp, and brash - Gerhard Weinberger on CPO and Wolfgang Rubsam on Naxos give excellent readings. Weinberger is the epitome of angularity, and Rubsam's performance is more varied and interesting than any other I know. This is not prime-time for Tillmanns; smooth and benign, the qualities of youth and bite are in low supply. In terms of interest, Tillman's registrations are routine and no match for Rubsam.

Partita BWV 768 - One of Bach's most substantial organ works, the composition consists of an inital subject followed by eleven variations. The music is entirely intimate until the fifth variation which injects urgency and some muscle. For me, the heart of the work comes from the last two variations which are highly heroic and uplifting.

Simon Preston's version on Deutsche Grammophon is hard to beat. He excellently contrasts the variations among one another, bringing out all the intimacy, poignancy, and ceremony of the work. Tillmanns performs exceptionally through the first four variations; his intimate treatment is gorgeous and well suited to the music. Unfortunately, he decides to use like approach to the fifth and sixth variations as well. In addition to my view that those variations are best served by a much stronger and public interpretation, Tillmanns goes without the contrast that they provide at the mid-point of the work. As a result, Tillmanns just seems to drone on in a one-dimensional manner. He does recapture the work with a stunning and uplifting 10th variation.

Don's Conclusions: At best, I can only give this Tillmanns disc a qualified recommendation. Of the six works performed, two are not competitive or particularly enjoyable. A third, the Partita, has major problems toward the middle of the work. Since these three works constitute most of of the disc's music, reservations are heightened. To add further to the reservations, disc time is rather short. However, those readers who have a strong preference for maximizing the intimate nature of Bach's music would likely have greater affection for the disc than I do.

In Part 2, I'll cover Tillmann's disc devoted to Bach organ chorales. The picture I currently hold of Tillmanns leads me to anticipate a more rewarding set of performances than offered in this mixed recital. Stay tuned.

Part 2

Donald Satz wrote (November 13, 2001):

For details of the CD see (2) above.

In Part 1 of my traversal through Hans Helmut Tillmann's series of Danacord recordings, I covered Danacord 557 which presented a mixed program of Bach organ works. My conclusions were rather negative as I felt that Tillmanns did not supply sufficient muscle and grandeur when called for. I also projected that a Tillmanns disc devoted to Bach chorale arrangements might be a better propostion.

Part 2 deals with a Tillmanns recording just having chorale arrangements, and my projection turns out to be a poor one. This disc is less enjoyable than the one having a mixed program. Where did I go wrong? I assumed that Tillmanns would present chorale works which played into his basic preferences for intimacy, smoothness, and soft-toned pieces, but Tillmanns instead tends to take on chorales which need power, angularity, and strong projection. I consider this a poor decision on his part and rather bewildering. As an example, most of the pieces he plays from the Orgelbuchlein are the more powerful ones, and most other recorded versions are much more rewarding. Tillmanns does do very well with the Arnstadt/Neumeister pieces, but the recorded competition is quite slim for these works. The Leipzig readings are not any improvement on the ones from the Orgelbuchlein; actually, Tillmann's BWV 668 is definitely the least rewarding issue on the disc.

Another odd decision is to use two organs - one modern, the other historical. I have no idea what the reasoning might be, and perhaps it doesn't make any difference. It's the Tillmanns performances which are problematic; the specific organ is merely incidental. As for sound quality, the sound tends to swim as its under-toe takes Tillmanns further off course than he already is.

Some listeners will not appreciate the selection of some chorales from this period, some from another, and still more from a third. Personally, I don't have any trouble with Tillmann's regimen on this matter. If he wants to play his favorites, that's fine with me. However, the primary focus is to play them excellently, and Tillmanns does not succeed. Actually, 'excellence' is not good enough. It's a matter of standing up to the magnificent competition provided by the likes of Lionel Rogg, Rene Saorgin, Wolfgang Rubsam, Gustav Leonhardt, and many others.

My more specific musings follow:

The five pieces from Bach's Arnstadt period are included in the Neumeister Collection. Tillmann's selections represent a fine mix ranging from the private/intimate to the public/demonstrative mode. Tillmann performs each selection excellently, although without any significant angularity. In this respect, he's similar to the versions from Christopher Herrick and Kay Johannsen and compares well with them. I must say that I don't think any of these three artists are the 'last word' on the subject, and I would love to hear someone like Martin Lucker record them.

The 'Weimar' selections are from Bach's Orgelbuchlein excepting for BWV 727. Unlike with the Neumeister works, there's plenty of competition for these Weimar selections. My reflections are:

BWV 601 is a wonderfully uplifting, driven, and exuberant work. Lionel Rogg and Rene Saorgin give exceptional performances which seem to stretch upward for recognition. Tillmanns presents no competition. Although he isn't slower than Rogg, his stodgy rhythm certainly makes the piece sound slower; exuberance is low, and the 'drive' is only horizontal. Another negative aspect is that the sound has a 'symphonic" aura to it as if we were in 'Widor' country.

BWV 602 is another driven work which is more severe than BWV 601. It reads like a good match for Wolfgang Zerer on Hanssler, and he does it proud; Zerer dives right in and muscles his way to completion. Werner Jacob provides a fine alternative with a much slower reading having reduced muscle and drive but compensating with great majesty. Tillmanns is not competitive here either. He evidently wants nothing to do with drive or majesty, preferring a hazy and meandering interpretation that never quite comes to life.

BWV 599 presents Tillmanns with the opportunity to show his affinity for the calming and devotional Bach. Although he fares better than in the two previous performances, his rhythm is a little square and the organ sounds like one at the ballpark. Rogg is much better with a drawn-out conclusion that's mesmorizing.

BWV 603 takes us back to optimism and great drive, two qualities which permeate the version from Simon Preston. Again, Tillmanns is not a role-model for muscular and driving performances. He surrounds the music in a romantic haze and essentially misses the essence of the piece. Yet, I must say that it's a lovely and mysterious performance.

I'm going to move along a little faster since Tillman's style in these Orgelbuchlein works is easy to discern. BWV 607 needs some angularity; otherwise, it becomes a component of the 'glue factory'. Tillmann's version has more glue in it than any other I know, and he again takes the symphonic approach. In BWV 606, God is streaking at me from all directions; there's no way I can dodge him. With Tillmann's relaxed and ever so smooth performance, nobody is trying to corral me.

I love what Saorgin does with BWV 613 which is a piece for the new year; he invests it with an immense power that's seething to blast out of its hiding place. Saorgin sees much danger in the new year, and I'm certainly not going to tell him otherwise. Tillmanns is timid and congealing. In BWV 614, Werner Jacob revels in the dark and heavy side of life; he has the weight of the world on his shoulders, and matters are in terrible shape. It's a slow and magical performance which pierces my soul. Finally, Tillmanns gets on the scoreboard with a reading as slow as Jacob's and also loaded with weight and even strong remorse.

BWV 619 is quite memorable music with its descending scales, ceremony, and projection of peace. These qualities are highlighted in Zerer's performance which is stunning and bold. Tillmanns is delightful but not well animated - the opposite of bold.

I'm going to spend some time on BWV 622 because it well displays Tillmann's failings with these Weimar pieces. I used Nicholas White's version on Pro Organo for comparison. Although his disc is not one of the best, the BWV 622 performance is a winner; it's smooth as I would expect Tillmans to play it. However, White provides a vital reading with vivid projection. Tillmann's equally legato reading uses unattractive registrations and isn't close to being vivid. This is the difference between a good and superb issue.

Well, there isn't much point in detaining ourselves any further on Tillmann's performances of Bach Weimar works. What really screws things up is Tillmann's decision to play mostly strong pieces which benefit greatly from angularity; this does not play into his strengths, but it's perfect for his weaknesses. Tillmanns is easily enjoyable, but the comparisions reveal deficiencies which are pervasive; there's no magic at all in the readings. Also, his registrations are average at best, and he has a tendency to romanticize the music. For pieces from the Orgelbuchlein, versions from artists including Zerer, Rogg, Saorgin, Weinberger, Jacob, and Preston are preferable to Tillmanns.

The "Leipzig" selections cover two of the six Schubler Chorales and four of the eighteen "Leipzig" Chorales. Recorded competition is even more fierce for these works than for the Orgelbuchlein pieces.

Tillmanns actually performs BWV 645 quite well, capturing the interchange between the two voices providing the melodies. But when compared to Lionel Rogg, Tillmanns still is living with a swimming acoustic and too thick a legato. These conditions continue in BWV 648 and are quite pronounced in BWV 655 and 654. Speaking of BWV 654, I like some strongly projected ceremony, but Tillmann's intimate won't go in that direction. Tillmann's BWV 668 just might be the least appealing performance on the disc. He plays in such a listless manner as if it's Bach's 'swan song' instead of Bach's entering God's throne. Tillmann's is a downer perception of the culmination of a magical life of music-making and a deep faith in one's religion.

Don's Conclusions: Syrupy sound, average at best registrations, overly smooth performances, and a poor match of artist to program make this Tillmanns chorales disc a non-starter. Although his BWV 668 is particularly unrewarding, most every other reading has its problems. Only in BWV 614 does Tillmanns stand up to the compeition. All this adds up to a strong recommendation to bypass the recording. Part 3 will cover Tillmann's Bach disc of Toccatas & Fugues, and I am looking forward to hearing what he does with these majestic creations.

Part 3

Donald Satz wrote (November 14, 2001):

For details of the CD see (3) above.

When last we met, Hans Helmut Tillmanns was giving us less than competitive performances on his Bach Chorales disc. I would think that the betting odds wouldn't be very favorable for a Tillmanns disc of powerful Bach organ works, but this set of performances is much better than those on the disc of chorales.

Tillmanns definitely realizes that power and punch are requirements for each of the four works. He still takes to the smooth road, but not excessively as he does in his recording of chorales. The beginning of his BWV 540 takes flight in a mesmorizing manner, and the Fugue is loaded with majesty. Particularly rewarding is his Adagio from BWV 564. It's a gorgeous reading with a very soft yet deep ending.

Only Tillmann's BWV 565 is not very satisfying. The Toccata cries out for sharp angles, and Tillmanns will never deliver them; it's not part of his musical personality. Also, the Fugue is too benign; this is the sole time on the disc that Tillmanns provides insufficient strength. Making matters worse, he summons up the power of the universe for the conclusion. However, I don't feel he's set any foundation for such a dramatic switch in the music's emotions.

The playing time of under sixty minutes is quite skimpy, and another work could easily have been accomodated. A label of less than major recognition would be wise to fill up those discs.

Don's Conclusions: The Tillmanns disc of Bach Toccatas & Fugues is very enjoyable, and I have no qualms about recommending it to Bach organ enthusiasts. The Marcussen Organ is especially well matched to Tillmann's style, and the two other organs are fine instruments. Of the three discs from Tillmanns devoted to Bach, this is the one to acquire. Actually, there is now a fourth release from Danacord which I'll be reviewing once I order it.

Any downsides to buying the recording? Yes - total playing time. Although the disc is a fine one, there are others out there which offer more music. So this is a 'thumbs-up" release without occupying any hallowed ground.

Kirk McElhearn wrote (October 28, 2001):

(1) I recently reviewed this disc as well - sorry I didn't post my review here before. I find we come to similar conclusions; here's my take.

This selection of Bach¹s organ works, played on an excellent-sounding modern organ, features a variety of works, including the great Partita BWV 768, Sei grüßet, Jesu gütig. This is Hans Helmut Tillmann’s third recording of Bach’s works for Danacord.

The organ has an excellent sound, although, being in a modern church, lacks the resonance of older, more spacious churches. This is less perceptible in the chorale preludes, such as BWV 653, which is a slow, mellow meditation, than it is in the more massive, expressive pieces, such as the intense beginning of the Fantasia and Fugue in G minor BWV. The musical lines come through very clearly, but the familiar timbre of powerful organs in huge churches is missing.

Tillmanns has made an interesting selection of works - culminating with the great Partita BWV 768, Sei grüßet, Jesu gütig, he builds up to it with a series of fantasies, preludes and fugues and choral preludes. The Fugue of the Fantasia and Fugue in G minor BWV 542, starting in the highest registers of the organ, rings out beautifully with the registration chosen here, although the lower pedal notes do not have the energy and force to provide the right counterpoint. They sound distant, as if in a different space, and make this piece sound a bit unstructured. Nevertheless, the light touch used in this fugue is very attractive.

The two choral preludes chosen here, such as Chorale Prelude BWV 663, Allein Gott in der Höh sei Ehr, are among the more mellow preludes, and these do, indeed, work well on this organ. But the high point is certainly the Partita BWV 768, Sei grüßet, Jesu gütig. Partita, here, is not a suite, as in the harpsichord partitas, but rather a series of variations, eleven in all. This is Bach’s longest organ work - here almost 21 minutes. Tillmanns plays this work well, and each variation takes on its own atmosphere, as the music builds up to the final climax. While, at times, the playing is a bit restrained, the overall tone of this piece is beautiful, with the different variations played in such a way that their lines are very clearly heard. The registrations chosen are, for the most part, muted and mellow, but, as the piece winds on, this builds up to a much more energetic sound. The progression of tone and volume throughout the piece is very appropriate.

This is a very good recording of a selection of Bach’s organ works, with the Partita BWV 768, Sei grüßet, Jesu gütig being the culmination of the disc. While the organ’s sound is not exceptional, Tillmanns plays works that fit well with it. This is an organ disc for those who do not like loud, thunderous organ recordings.