Bach - The Art of Fugue in D minor BWV 1080, New mastering (Century's record.: Helmut Walcha, Organ)

Johann Sebastian Bach (1685-1750) The Art of Fugue by Master Helmut Walcha.
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Click to activate the English subtitles for the presentation (00:00-08:55)
00:00 The Art of Fugue in D minor, BWV 1080 - Contrapunctus 1
03:52 BWV 1080 - Contrapunctus 2
07:08 BWV 1080 - Contrapunctus 3
10:31 BWV 1080 - Contrapunctus 4
16:03 BWV 1080 - Contrapunctus 5
20:17 BWV 1080 - Contrapunctus 6, a 4 in Stylo Francese
24:30 BWV 1080 - Contrapunctus 7, a 4 per Augmentationem et Diminutionem
28:30 BWV 1080 - Contrapunctus 8, a 3
35:12 BWV 1080 - Contrapunctus 9, a 4 alla Duodecima
39:32 BWV 1080 - Contrapunctus 10, a 4 alla Decima
43:51 BWV 1080 - Contrapunctus 11, a 4
51:31 BWV 1080 - Canon alla Ottava
54:38 BWV 1080 - Canon alla Duodecima in Contrapunto alla Quinta
57:13 BWV 1080 - Canon alla Decima in Contrapunto alla Terza
1:02:04 BWV 1080 - Canon per Augmentationem in contrario motu
1:06:17 BWV 1080 - Contrapunctus 12, Rectus, a 4
1:09:08 BWV 1080 - Contrapunctus 12, Inversus, a 4
1:12:04 BWV 1080 - Contrapunctus 13, Rectus, a 3
1:15:08 BWV 1080 - Contrapunctus 13, Inversus, a 3
1:18:16 BWV 1080 - Fuga a 4 Soggetti - Unfinished
Organ: Helmut Walcha
Große (Frans-Caspar-Schnitger) Orgel der St. Laurenskerk, Alkmaar
Recorded in 1956
New mastering in 2022 by AB for CMRR
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**FULL PRESENTATION: READ FIRST PINNED COMMENT**
Helmut Walcha has made it known more than once how unnecessary he considers any reference to the fact that he has been incurably blind since his childhood. He wants his intentions to be understood and his achievements to be recognized, exactly like any other musician. It would therefore be right and proper to make no mention of his blindness but for the fact that Walcha himself indicated in a broadcast talk that the disease which cut him off permanently from the visible world also opened up and smoothed for him the way to inner perception.
Helmut Walcha, who was born in Leipzig on 27 October 1907, the son of a postal official, and who grew up in a milieu not greatly influenced by music, arrived when he was only 13 at the crossroads which led him to Bach. It was by chance, not thanks to a teacher's plan, that he came across Bach's F major Invention. This is laid out as a canon, and indeed it became a symbol, a "canon" to the youth engrossed in music. Arthur Nikisch, world-famous as conductor of the Leipzig Gewandhaus Orchestra, recognized the boy's gifts and recommended a thorough musical education. After only a year of private instruction he was admitted to the Leipzig Conservatoire, with the organ as his principal subject, and the young Günther Ramin as his revered teacher.
The same inner logic which made Walcha an authority on Bach also led him to the organ which is the ideal tonal and performing medium for his concept of Bach. He rejected absolutely the giant symphonic organ of the late Romantic era with its tonal illusions. The way back to the Baroque organ proved in actual fact to be a move towards the future. The works of Bach which Helmut Walcha have been played on historic instruments in their original settings. Fidelity to the music and fidelity of sound to Helmut Walcha these two factors form an indivisible unity.
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