JS BACH Bach from Ingolstadt (Franz Hauk)
View record and artist detailsRecord and Artist Details
Genre:
Instrumental
Label: Priory
Magazine Review Date: 10/2021
Media Format: CD or Download
Media Runtime: 79
Mastering:
DDD
Acoustic
Catalogue Number: PRCD1226

Tracks:
Composition | Artist Credit |
---|---|
Fantasia |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Prelude and Fugue |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
(6) Trio Sonatas, Movement: No. 1 in E flat, BWV525 |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Nun komm der Heiden Heiland |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Choral Preludes from the Kirnberger Collection, Movement: Lob sei dem allmächtigen Gott, BWV704 |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Clavier-Übung III, Movement: Fughetta: Allein Gott in der der Höh', BWV677 |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Chorale Preludes, Movement: Fuga sopra il Magnificat (Meine Seele erhebt den Herren), BWV733 |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Chorale Preludes, Movement: Nun freut euch, lieben Christen gmein, BWV734 (spurious) |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Choral Preludes from the Kirnberger Collection, Movement: Wir Christenleut habn jetzund Freud, BWV710 |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Chorale Preludes, Movement: Herzlich tut mich verlangen, BWV727 |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Preludes and Fugues, Movement: Prelude and Fugue in E minor, BWV548 |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Liebster Jesu, wir sind hier |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Chorale Preludes, Movement: Valet will ich dir geben, BWV736 |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Choral Preludes from the Kirnberger Collection, Movement: Gelobet seist du, BWV697 |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Choral Preludes from the Kirnberger Collection, Movement: Vom Himmel hoch, da komm' ich her, BWV701 |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Preludes and Fugues, Movement: Prelude and Fugue in C, BWV547 |
Johann Sebastian Bach, Composer
Franz Hauk, Organ |
Author: Malcolm Riley
If you like your Bach bold and sturdy then the two opening tracks of this new album from the heart of Bavaria will not disappoint. The Fantasia and Fugue in C minor, in particular, is given noble treatment, ringing out into the Choir and a vast 10 second acoustic. Kristian Wegscheider’s three-manual ‘Bach’ organ of 2016 has 45 registers and pays homage to the 19th-century Middle German school of organ-building, exemplified by Gottfried Silbermann and Zacharias Hildebrandt. Its spartan, no-mod-cons, neo-Baroque attributes beautifully complement the mighty Klais of 1977, which continues to preside over the Minster’s west end. The outer movements of the succeeding Trio Sonata in E flat also ring out true and clear, with Hauk capturing the central siciliano-like Adagio’s limpidness to perfection.
There follows a charming sequence of three chorale preludes which display the full palette of tonal colours, including the Cymbelstern. The Organo pleno returns for Meine Seele erhebet den Herrn, which swims along admirably. The choice of registration for Herzlich tut mich verlangen sounds incredibly modern. One of the disc’s great strengths is how Hauk orders the juxtaposition of the shorter pieces to refresh the listener’s ear. The main exception to this observation is the monumental Prelude and Fugue in E minor, better known as the ‘Wedge’, which suffers from a rather relentless interpretation, without the respite of any manual changes. The succeeding chorale-prelude group presents yet further attractive stop-combinations, all played with immaculate care. Valet will ich dir geben is especially light of touch. Hauk imbues the stolid Prelude and Fugue in C, BWV547, with a healthy dose of cheerfulness, making the most of the generous reverberation to emphasise Bach’s occasional moments of harmonic audacity.
The booklet contains notes in both German and English (with some idiosyncratic translations), while Neil Collier’s matchless engineering captures the instrument’s immediacy and sparkle in full colour. This is a Bach programme to savour.
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