I am no religious person, but in encounters with nature and great music I feel as if I had some kind of religious experiences. Listening to Walcha's survey of Bach is a homecoming to me as I learnt to dwell in music as teenager listening to Bach. Those distant memories of those days in Kannelmäki when I was around 16 or 17 when I dwelled not only in Bach but also in my math homework and was hopelessly in love with one girl or another. Now I can appreciate that that period of my live with such agonising state of mind of a growing wannabe-intellectual, spirited young man was in fact so happy that it is worth idolising.
Oh, where were I? My relationship with Bach organ music has been somewhat off for 25 years, but now Walcha had returned me to the fundamental truth. Only now I can appreciate why the Preludes and Fugues are often considered his prime achievement with the organ; here and elsewhere, Bach's music is never robbed off its continuity. Every single peace forms a perfectly rounded universe by itself. This is the ultimate human achievement in music and so real that I almost cried from the outset.
My English review as relased in the Amazon site of Helmut Walcha's 1947-1952 survey of Bach's organ oeuvre can also be seen by clicking the headline of this blog post.
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