JS Bach: The Well-Tempered Clavier

This is an absolutely outstanding set of records which should form part of the library of every enthusiast for Bach’s music. There have been recordings in the past of the ’48’ in which various single preludes and Fugues have been played on a variety of instruments, including organ, but offhand I cannot recall a complete ’48’ on disc played throughout on the organ. We may be sure that Bach himself did, at various points in his life, and perhaps not only at the Thomaskirche. Robert Costin, in this beautifully recorded series of performances, makes the strongest case for this imperishable masterpiece to be included as a totality within the organ repertoire … This is a wonderful set of records, a true achievement of the modern gramophone, and is most enthusiastically recommended. It has been a rare pleasure to review this release. ***** (The Organ)

This project has clearly been a labour of love for Robert Costin, and one admires his consistently excellent playing. Any new recording of the ’48’ for solo organ is to be welcomed, especially with an outstanding instrument. The three-manual, 42-stop Metzler organ of Trinity College, Cambridge, is magnificent; combining it with the chapel’s warm but clear acoustic provides the ideal venue for this repertoire … There are some wonderful colours on these CDs: the Vox Humana in Book 1’s E major Prelude and the Dulcian in Book 1’s B minor Prelude are delightful. Equally enjoyable is the telling use of the Pedal Posaune towards the end of some of the Book 2 fugues … Listening to these CDs has been an invigorating and stimulating experience. Above all, we can rejoice again in the glorious music springing from Bach’s compositional genius (Gramophone)

An intriguing aspect of J S Bach’s solo instrumental music is that much was written for an unspecified “keyboard”. Today, the keyboard of choice is generally the piano or harpsichord, or occasionally the clavichord. In a series produced by the enterprising Stone Records, Robert Costin interprets Bach’s greatest works on the organ. Following on from the Goldberg Variations and the Trio Sonatas, Stone Records has now released The Well-Tempered Clavier (WTC) in a four-disc set. Robert Costin’s instrument is the beautiful Metzler at Trinity College, Cambridge, built in 1975 but incorporating ranks of Father Smith pipes from 1694 and 1708. Organ versions of WTC are few and far between (those by Christoph Bossert, Frédéric Desenclos, and Bernard Lagacé are the only ones I’m aware of) so I listened to this with some interest. As usual, Costin plays accurately and with sensitivity, and his performance is beautifully recorded. The set is nicely packaged with informative booklet. Even if you’re sold on one of the classic piano interpretations, this version is well worth a listen. (The Organ Club Journal)

J.S. Bach composed Das Wohltemperierte Klavier as two sets, with the first 24 completed in 1722 when Bach was 37 and the second some 20 years later. It was primarily intended as a teaching aid or, as Bach stated in his preface, ‘for the use and profit of the musical youth desirous of learning, as well as for the pastime of those already skilled in this study’. It was written for an unspecified keyboard instrument and numerous recordings have appeared over the years on a wide range of instruments including harpsichord, clavichord, piano and, more recently, organ. The English organist Robert Costin is well known to the musical fraternity in New Zealand, having held assistant organist posts at St Paul’s Cathedral, Wellington and Holy Trinity Cathedral, Auckland, before returning to the United Kingdom as Assistant Director of Music at Blackburn Cathedral and continuing his musical career. Costin is also noted for his recent recordings of Bach’s Goldberg Variations and Trio Sonatas for Organ. For this recording of the ’48’ he chose the fine 42-rank Metzler baroque organ at Trinity College, Cambridge that is ideally suited for this music. This four CD set is as much a showcase for this beautifully voiced and versatile instrument as they are for the genius of JSB. Costin’s tempi have been carefully chosen to enable the fast-moving passages to remain crisp and precise. Appropriate microphone placement of his well-articulated playing has also ensured a high degree of clarity. Not only does his sensitive and imaginative choice of registrations complement each prelude and fugue admirably but the chapel’s lively acoustic also enhances the overall sound. The accompanying CD booklet is very informative and attractively produced, with an introduction to the piece, organ specifications and short notes about each track. In my opinion this new interpretation of the ’48’ will make an excellent addition to any organ enthusiast’s collection. (NZ Organ News)