Disc 1:
Praeludium pro Organo pleno BWV 552i
Kyrie, Gott Vater in Ewigkeit BWV 669
Christe, aller Welt Trost BWV 670
Kyrie, Gott heiliger Geist BWV 671
Kyrie, Gott Vater in Ewigkeit BWV 672
Christe, aller Welt Trost BWV 673
Kyrie, Gott heiliger Geist BWV 674
Allein Gott in der Höh sei Ehr BWV 675
Allein Gott in der Höh sei Ehr BWV 676
Allein Gott in der Höh sei Ehr BWV 677

Disc 2:
Dies sind die heiligen zehen Gebot BWV 678
Dies sind die heiligen zehen Gebot BWV 679
Wir gläuben all an einen Gott BWV 680
Wir gläuben all an einen Gott BWV 681
Vater unser im Himmelreich BWV 682
Vater unser im Himmelreich BWV 683
Christ, unser Herr, zum Jordan kam BWV 684
Christ, unser Herr, zum Jordan kam BWV 685
Aus teifer Not schrei ich zu dir BWV 686
Aus teifer Not schrei ich zu dir BWV 687
Jesus Christus, unser Heiland, der von uns den Zorn Gottes wandt BWV 688
Jesus Christus, unser Heiland BWV 689
Duetto I
Duetto II
Duetto III
Duetto IV
Fuga a 5 con pedale pro Organo pleno BWV 552ii

James McVinnie brings Johann Sebastian Bach’s monumental Clavier-Übung III to life in a recording that captures both its technical brilliance and profound spiritual depth. Bach’s 1739 collection, his first published volume of organ music, is a masterful synthesis of compositional technique, theological meditation, and musical expression. With twenty-seven works, including chorale preludes, duets, and the majestic opening Prelude and closing Fugue, the collection is a rich musical exploration of Lutheran faith, the doctrine of the Holy Trinity, and the artistry of counterpoint at its most sublime. From the intricate contrapuntal pairs of the Catechism chorales to the flowing bass lines of Christ, unser Herr, zum Jordan kam, and the transcendent final Fugue in E flat, McVinnie navigates Bach’s towering architecture with clarity, precision, and sensitivity. This recording highlights the cosmopolitan textures, theological symbolism, and emotional resonance that make Clavier-Übung III a pinnacle of the organ repertoire. With insight drawn from decades of study and performance, McVinnie offers a journey into Bach’s musical universe, where faith, intellect, and artistry converge in works of extraordinary beauty and enduring power. James McVinnie made his PENTATONE debut in January 2025 with the album Dreamcatcher.

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Recorded on the 1702 Arp Schnitger Organ of Aa-kerk in Groningen, Netherlands, on 17 & 18 January 2017.