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Rating Guide None = Unmissable 
= UnwatchablePage number refers to the Fringe programme J S Bach Mentors & Pupils (page 95) Classics @ The Reid Series Drams Music JS Bach: Toccata and fugue in D minor BWV 565; Georg Böhm (1661-1733): Capriccio in D; Buxtehude: Praeludium in C; Chorale Prelude: 'Ein fest Burg ist unser Gott'; Nicolaus Bruhns (1665-1697): Praeludium in E minor; Krebs (1713-1780): Fantasia à gusto italiano; Fantasia in F; CPE Bach: Fantasia and Fugue in C minor; J S Bach: Chorale preludes: 'Wachet auf, ruf uns die Stimme' and 'Liebster Jesu, wir sind hier'; Fugue in E flat (St Anne) BWV 552ii MusicianJohn Kitchen, organ Venue The Reid Hall Address Reid Quad, Bristo Square Reviewer Charlie Napier
The Praeludim, is a flamboyant and exuberant version of the genre, in which you can hear traces of what was to come from Bach. The Chorale Prelude on that great hymn 'Ein fest Burg' is also a good example of what Bach was to do with hymn tunes later on. In his usual fashion, John finished by playing the chorale in its normal hymn format, so that the audience could hear the original tune, which is sometimes not obvious from the Chorale Prelude. Bruhns, who also worked in Lübeck, is described by CPE Bach as one of the German composers who had a particular influence on J S Bach,who must have only been familiar with Bruhns' music because Bruhns was dead before Bach went to Lübeck. It seems from this Praeludium that Bruhns was trying to outdo his teacher, Buxtehude, in complexity, decoration, brilliance and flamboyance. As John says in his notes " this is the ultimate example of the type of writing known as the "stylus phantasticus"! J L Krebs is acknowledged to be J S Bach's favourite pupil and we owe a great debt to J L and his brother Tobias, because they were responsible for copying out many of the works of Bach, which otherwise might have been lost. The first Fantasia is like an instrumental aria with accompaniment, whereas the second is a lighter piece. CPE Bach, J S's third son and biographer, was almost as fine a musician and composer as his father. His Fantasia is different, showing surprising harmonies and texture. The Fugue showed that he was a master of the contrapuntal technique. John completed his recital with three of the Master's best known works: the two Chorale Preludes 'Wachet auf' and 'Liebster Jesu'. The accompaniment of 'Wachet auf' is probably better known than the actual hymn tune on which it's based, although the tune did come through loud and clear during the performance, so John's splendid rendition of the actual tune at the end, in typical Bach chorale style, served as a good reminder. Up till now, John had been mainly demonstrating is skills and techniques but in 'Liebster Jesu' he showed us his more romantic and gentle side. His rendition was sensitive and beautiful. JS Bach is well known for his fascination with the Trinity (Father, Son and Holy Ghost) and you can find many references to it in his works. The 'St Anne' fugue is a good example. It is in three sections, each with a different theme. The first section is in the normal style using the basic hymn tune (O God our help in ages past) as the theme, the second section has a livelier theme but incorporates the first theme, and the third is an even livelier theme, again incorporating the hymn tune. What a great way to end the programme. John played with his usual skill, panache and his mastery of the instrument. Despite the fact that one or two of the pieces were taken just a wee bit too fast for my taste, John, as always, is a delight to listen to. © Charlie Napier, 18 August 2003. Published on www.EdinburghGuide.com
Roots @ The Reid Series Drams Venue Reid Hall (Venue 201) Address Reid Quad, Bristo Square Reviewer Pat Napier Edinburgh University's Reid Hall was once again packed out to hear the much-revered guitarist Bert Jansch. The lights were low, the stage had only two chairs and a couple of mikes. As much atmosphere as possible in this deeply unatmospheric venue.
Then he gave a dazzling display of guitar playing, sometimes hard-edged and driving, sometimes rock and roll as in Rock Baby Rock sometimes softer and lyrical as in the beautiful set of Irish songs which included She moved through the fair and Blackwaterside. His voice was equally expressive.Just before the interval, Bert played the beautiful Kingfisher, first recorded long ago on the LP Avocet.* The first half saw trouble in tunings, his new strings put on that morning kept slipping out of tune. The second half had sound balance adjustment difficulties. In the second half, Bert was joined by his good friend Johnny 'Guitar' Hodge and the two together made wonderful music, with Johnny adding another, richer sound dimension. We were treated to some old favourites such as The lily of the West and Summer heat. Throughout, the audience was strangely neutral and silent, a fact Bert remarked on when coming on for the second half. By this time, there were many empty seats. I felt frustrated at the lack of clear introduction to the songs, poor diction and sound balance tinkerings. Sitting just in front of the sound engineer, I felt that the balance had been just right when Bert and Johnny played their first number together but that didn't last. More's the pity for there were many good things to remember. © Pat Napier. 14 August 2003. Published on www.EdinburghGuide.com *Avocet, was first released in 1979 in the UK and never re-released because the master tapes had disappeared. They resurfaced in 2000. Bert Jansch bought them back and the CD of Avocet will be released in September 2003
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