The pun on “Baroque” is more profound than it seems—these works of organ music are literally broken up into the four parts for the members of a trombone quartet.  This unique setting allows for a fascinating study on how well Bach’s music translates into a chamber music environment.  While intended to be played by one person dealing with multiple threads of melody and counterpoint, these quartet arrangements even more explicitly allow listeners to witness Bach’s four distinct voices interacting with each other.  As is so often the case with Bach, the result is something new and exciting.

The program doubles as a survey of the most popular forms for organ players during the Baroque Era. Although the focus lies on the Contrapunctus from The Art of the Fugue, other forms such as preludes and toccatas get vigorous workouts as well. As added historical context for Bach’s mastery, the program ends with works by his uncle Johann Christoph, and his idol and Baroque pioneer Dieterich Buxtehude.

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Works to be performed on the “Bach’s ‘Broke’ Organ” program include:

J.S. Bach
Contrapunctus (from The Art of the Fugue)
Trio Sonata in E-Flat Major BWV 525
Prelude in D Major BWV 532
Toccata in D Minor BWV 538
Fantasia in G Major BWV BWV 542
Choral Prelude Nun komm’ der Heiden Heiland

Johann Christoph Bach, Organ Prelude
Dieterich Buxtehude, Canzona