Bach: “O Mensch, bewein dein Sünde groß” BWV622 / Marie-Claire Alain, David Goode, Ton Koopman, Helmut Walcha
After importing four different audio files, I rearranged them for comparison. iTunes makes this process relatively easy, which is very convenient. Listening to them side-by-side reveals the distinct characteristics of each performer, which is fascinating. Each performer’s registration choices also reflect their individuality. While there’s a general tendency for registrations to be fixed for each piece, this is merely a “tendency”, and some combinations are quite surprising. For example, in BWV 622, “O Mensch, bewein dein Sünde groß”, the chorale melody is registered as follows. Note that this chorale doesn’t use the common technique of counterpointing the accompaniment melody and chorale melody; instead, it features a brilliant ornamentation added to the chorale melody itself, making it one of my favorite pieces.
① Marie-Claire Alain (1978 – 1980)
A truly gentle performance of a chorale melody with a quiet principal and flute registration, accompanied by flute accompaniment and pedal.
A truly gentle performance of a chorale melody with a quiet principal and flute registration, accompanied by flute accompaniment and pedal.
② David Goode (2020)
The chorale is also played with a quiet tone, featuring Schwebung (whirring, vibrato) on a reed instrument (oboe or crumhorn) with flute accompaniment and pedal.
The chorale is also played with a quiet tone, featuring Schwebung (whirring, vibrato) on a reed instrument (oboe or crumhorn) with flute accompaniment and pedal.
③ Ton Koopman (1994 – 1999)
A chorale melody played on both flute and principal, again with flute-based accompaniment. His use of pedal is also more restrained than usual of his.
A chorale melody played on both flute and principal, again with flute-based accompaniment. His use of pedal is also more restrained than usual of his.
