What a pleasure it has been to listen to George Ritchie’s Bach! Recorded between 1992 and 2004, the works are grouped into six volumes, each but the first containing two CDs. Each volume is centered on a particular theme or group of works, having been previously available individually. As such, they have already received well-deserved high acclaim worldwide. They are as follows: Vol. I (Raven OAR-250): German Virtuosity and Italian Elegance, played on the II/52 Fritts-Richards Opus 3 (1984) of St. Alphonsus Parish Church, Seattle, Wash.; Vol. II (Raven OAR-300): Leipzig Mastery, played on the III/53 Taylor & Boody Opus 19 (1992) of Christ Church Cathedral, Indianapolis, and the IV/81 Taylor & Boody (1985) at the College of the Holy Cross, Worcester, Mass.; Vol. III (Raven OAR-400): For Music Lovers and Connoisseurs, played on the IV/109 Anton Heiller Memorial Organ (John Brombaugh) (1981-86) at the Church of Seventh-day Adventists, Southern Adventist University, Collegedale, Tenn.; Vol. IV (OAR-470): Foreign Influences, played on the II/35 Noack (1995) at Christ the King Evangelical Lutheran Church, Houston, Tex., and the II/47 Yokota (1984-90) at California State University, Chico; Vol. V (OAR-580): Orgelbüchlein Plus, played on the III/83 Gottfried and Mary Fuchs Organ (Paul Fritts) (1995-98) in Lagerquist Concert Hall, Pacific Lutheran University, Tacoma, Wash.; and Vol. VI (OAR-740): Youthful Brilliance, played on the III/75 Pasi Opus 14 (2003) at St. Cecilia Cathedral, Omaha, Nebr., and the IV/92 Fisk Opus 78 (1979) at House of Hope Presbyterian Church, St. Paul, Minn.

As the foregoing attests, Dr. Ritchie has chosen some outstanding examples of American organbuilding in historical styles for this formidable and eminently successful survey of these inimitable works. He is abetted by his colleague, George Stauffer, with whom he co-authored the book, Organ Technique: Modern and Early (Oxford University Press), and who has provided six excellent essays about the composer, the music and the historical contexts in which the works were created. Each volume also provides information on the instruments, and the specific registrations used for each work.

It is not possible to discuss every detail of these recordings in this limited space, although they surely deserve it. Suffice it to say that this can be considered a premier integral recording of the Bach organ works. While the performances may be considered to be textbook examples of Bach playing according to current scholarship, they go far beyond pedantry. George Ritchie turns in benchmark performances that are consistently at the highest level of musicianship, artistry, attention to contemporary and historical scholarship, intelligence, imagination, sensitivity to text relationships, phrasing, registrations, and other details, high virtuosity, and exquisite elegance. His skillful use of “articulate legato” is given many and varied applications, according to the style and context of each work. A few details are discussed below.

Dr. Ritchie employs a variety of plenum registrations, some based on the 32’ series (Prelude in E Minor, BWV 548, Fantasy in G Minor, BWV 542, Toccata in D Minor, BWV 565, Kyrie, BWV 671, Magnificat Fugue, BWV 733) and others on the 16’ series (many examples). He well understands and projects the gravität and majestät that Bach is known to have championed. In the Passacaglia in C Minor he employs the plenum throughout, in accordance with Baroque custom. He uses the early text from manuscripts of J.C. Bach and Krebs for the Passacaglia, and incorporates ornaments in the first 48 measures that are derived from a manuscript thought to have been owned by C.P.E. Bach. The various chorale settings demonstrate Dr. Ritchie’s sensitivity to textual influence, registering and playing “according to the sense of the words.” He uses a single 4’ flute in Allein Gott, BWV 675, and Vom Himmel hoch, BWV 701, with an alluring effect. Another compelling effect is his use of a single 8’ Principal for the Prelude and Fugue in A Major, BWV 536, as well as for the Fantasia in C Minor, BWV 562. In works with repeated sections, Dr. Ritchie employs tasteful and imaginative alterations of ornaments or melismas, as he also does in the Adagio of BWV 564. In general, Dr. Ritchie does not insert cadential cadenzas in the large works. Works inspired by Italian models (including the Concertos) are performed in a lighter, more virtuosic manner. Some of Dr. Ritchie’s most exquisite and alluring playing is in the Trio Sonatas, which he performs with great aplomb and joyous abandon. For the Canonic Variations, he uses the revised version, placing the most complex variation (No. 5 in the original) in the middle. He uses later versions of the Preludes and Fugues in G Minor and A Major, BWV 535 and 536, respectively. In the Orgelbüchlein, he plays the second version of “Liebster Jesu.”

In any “complete” series of this magnitude, it is inevitable that certain decisions must be made in terms of inclusiveness. In this series, Dr. Ritchie has chosen not to include the relatively recently discovered Neumeister Chorales, composed about a decade prior to the Orgelbüchlein. As one would expect, the “Eight Little” Preludes and Fugues are absent. Also absent are other works of dubious authenticity: the Concerto in C Major, BWV 594, and the Partita on “Ach, was soll ich Sünder machen,” BWV 770. A number of miscellaneous chorale settings did not make the list, among them three settings of Allein Gott and two settings of In dulci jubilo. However, these minor omissions should in no way detract from the overall success of the project. An index of the works, including BWV numbers and their location by CD and track number will prove quite useful.

In summary, these performances and instruments are a compelling testimonial to the current research, scholarship, and thinking regarding Bach performance practice. Kudos to George Ritchie, George Stauffer, producer William T. Van Pelt, recording engineer Ed Kelly, and all who played supportive roles in this magnificent production. Each volume is splendidly produced, in terms of the consistent excellence of the recorded sound as well as the presentation and packaging. Special commendation goes also to the builders of these outstanding instruments. These recordings are highly recommended for every serious or inquiring student, teacher, or performer of Bach who wishes to gain insight on performing Bach’s organ works. It is also a richly rewarding listening experience for any music lover.