49°18'10.3"N 10°34'26.2"E (Bach Organ Landscapes / Ansbach) Jörg Halubek

• Johann Sebastian Bach (1685 - 1750):
• 1 Fantasia super Komm, Heiliger Geist, BWV 651 06:44
• 2 Komm, Heiliger Geist, BWV 652 09:00
• 3 An Wasserflüssen Babylon, BWV 653b 04:44
• 4 An Wasserflüssen Babylon, BWV 653 05:36
• 5 Schmücke dich, o liebe Seele, BWV 654 07:25
• 6 Trio super Herr Jesu Christ, dich zu uns wend, BWV 655 03:52
• 7 O Lamm Gottes, unschuldig, BWV 656 07:18
• 8 Nun danket alle Gott, BWV 657 04:38
• 9 Von Gott will ich nicht lassen, BWV 658 04:03
• 10 Nun komm der Heiden Heiland, BWV 659 04:53
• 11 Trio super Nun komm der Heiden Heiland, BWV 660 03:01
• 12 Nun komm der Heiden Heiland, BWV 661 03:14
• 13 Allein Gott in der Höh sei Ehr, BWV 662 07:54
• 14 Allein Gott in der Höh sei Ehr, BWV 663 06:19
• 15 Trio super Allein Gott in der Höh sei Ehr, BWV 664 05:23
• 16 Jesus Christus, unser Heiland, BWV 665 04:19
• 17 Jesus Christus, unser Heiland, BWV 666 03:26
• 18 Komm, Gott Schöpfer, Heiliger Geist, BWV 667 02:16
• Canonische Veränderungen über Vom Himmel hoch, BWV 769:
• 19 Canonische Veränderungen über Vom Himmel hoch, BWV 769: Variatio 1 01:26
• 20 Canonische Veränderungen über Vom Himmel hoch, BWV 769: Variatio 2 01:18
• 21 Canonische Veränderungen über Vom Himmel hoch, BWV 769: Variatio 3 03:11
• 22 Canonische Veränderungen über Vom Himmel hoch, BWV 769: Variatio 4 02:36
• 23 Canonische Veränderungen über Vom Himmel hoch, BWV 769: Variatio 5 03:38
• Johann Sebastian Bach:
• 24 Vor deinen Thron tret ich / Wenn wir in höchsten Nöten, BWV 668 03:44
• Total Runtime 01:49:58

Info for 49°18'10.3"N 10°34'26.2"E (Bach Organ Landscapes / Ansbach)

The roots of the Franconian organ builder Johann Christoph Wiegleb are to be found in Thuringia. Surpassing even the achievements of Tobias Heinrich Gottfried Trost with his organs in Altenburg and Waltershausen, Wiegleb broke new ground with his great organ in Ansbach, now fully reconstructed (1738/2007). The abundance and fine differentiation of the foundation stops allow incredible combinations and prefigure the Romantic era with their wealth of tone colour; furthermore, Wiegleb built the first swell-box into a German organ. At about the same time in Leipzig, Bach was reworking eighteen chorale settings that he had composed much earlier. That is of course a coincidence – and yet an interesting example of how this fertile period of organ writing witnessed compositional ideas and soundscapes in a constant state of flux. Registrations were not noted down in Germany at the time, indicating an individual approach to organ sound. Joyous experimentation with colourful stop combinations is reported of Bach himself: in his Bach biography (Leipzig, 1802), Johann Nikolaus Forkel describes Bach’s “peculiar manner, with which he associated the different voices of the Organ with one another (…) It was so unusual, that many organ builders and organists were shocked, when they saw him choosing stops, (…) but were most amazed, when they later observed that the Organ sounded best just so, and had now acquired something strange and unaccustomed.”

Jörg Halubek, organ

Jörg Halubek
studied church music, organ and harpsichord in Stuttgart and Freiburg with Jon Laukvik and Robert Hill. At the Schola Cantorum Basiliensis, he specialized in period performance practice with Jesper Christensen and Andrea Marcon. He won first prize in the 2014 International Johann Sebastian Bach Competition in Leipzig in the Organ category.

In recent years, Jörg Halubek appeared in the first place as “Maestro al Cembalo”. As guest artist, Jörg Halubek directed from the harpsichord at such venues as the Komische Oper Berlin, Nationaltheater Mannheim, the Handel Festival in Halle, Innsbruck’s Festival Weeks of Early Music, the Wuppertal Opera and the Stuttgart Liederhalle. As guest conductor since 2012 at Kassel’s Staatstheater he is regularly in charge of opera productions, directing such works as Mozart’s “Lucio Silla”, Gluck’s “Iphigénie” and Handel’s “Saul”. His particular concern is for the dramatic relevance of the historical material and he is a strong advocate of making full use of early music’s freedoms in one’s interpretation.

Directing Il Gusto Barocco, the Baroque ensemble he founded, he was invited to bring it to the 2019 Bach Week in Ansbach as festival orchestra and was very well received. 2021 promises the continuation with “L’Orfeo” of the Mannheim Monteverdi cycle he began with Il Gusto Barocco in 2017. Jörg Halubek has extended his discoveries of forgotten operas and opera arrangements, documented in the recent CD release of his premiere recording of Johann David Heinichen’s “Flavio Crispo”, with his 2020 concertante staging of “Cleofida” – Handel’s opera “Poro, Re dell’Indie” in the arrangement by Georg Philipp Telemann with German-language recitatives – in Stuttgart’s Wilhelma-Theater and at the Early Music Days in Herne.

His expertise in the field of early music is well demonstrated by his prizewinning recordings of works for keyboard instruments and violin by Johann Sebastian Bach (2016) and Carl Philipp Emanuel Bach (2014) with Baroque violinist Leila Schayegh. Jörg Halubek has been Professor for Organ and Historical Keyboard Instruments at the Stuttgart Musikhochschule since 2016.

This album contains no booklet.