The title of this disc is not very informative. It suggests that
there is a kind of thread: a musical development which leads to the
music of Johann Sebastian Bach. That is only true, to a certain extent,
in the second half of the programme. The latter is devoted to the
way German composers of the 17th century treated the well-known Lutheran
hymn
Vater unser - a rhymed translation of
Pater noster
- culminating in two arrangements by Bach. In fact, this disc is,
first and foremost, a portrait of an historical organ.
The convent at Oelinghausen in Arnsberg (Westphalia) was founded in
1174 by the order of the Premontarians. There is documentary evidence
of an organ in the minster in 1390. It seems that it had a second
organ which probably was replaced by a new instrument in 1499. Both
instruments were destroyed during religious conflicts in the 1580s.
In 1599 new organs were built, a small instrument and a large organ
with one manual and a pull-down pedal. The present organ is the one
which was built between 1714 and 1717, in which some of the material
of the 1599 instruments was incorporated. In later years some rebuilding
took place which was largely rectified during the last restoration
from 1999 to 2002. Some of the pipework dates from the organs of the
Gothic era. The organ has two manuals (Hauptwerk and Brustpositiv)
and a pedal. The pitch is a=470,8 Hz, the tuning is "modified meantone".
The effect of this history immediately makes itself felt in the
Toccata
in e minor by Pachelbel which opens the programme. Composers of
the 16th and 17th century made use of this kind of tuning to create
harmonic tension for expressive reasons. This explains why organ music
of the renaissance and baroque can sound rather dull on instruments
in equal temperament. Helga Schauerte has selected several pieces
which date from the time of the pre-1599 organs, in order to pay tribute
to these instruments. It is music which was mostly not specifically
intended for the organ or, as in the case of the two pavanes by Milan
and the two dances by Neusidler, not at all. If they had been written
for the organ at all, it seems unlikely that they would have been
played on a large organ like the instrument in this minster. The dances
from the Robertsbridge Codex are a bit too slow which is inevitable
considering the church's acoustic. These are all nice pieces, but
I would have preferred compositions which were specifically intended
for a larger church organ.
Fortunately that is the case with the anonymous
Canzon para la
Corneta con el Eco which, as its title suggests, was written by
a Spanish composer. Originally conceived for an instrument with a
split manual it requires a double-manual organ in order to realise
the echo. Although the characteristics of this organ are not comparable
to Spanish instruments this piece works quite well. Nicolaus Bruhns
is more at home here, and Ms Schauerte gives a good performance of
his
Prelude in e minor. It’s the 'little' prelude in
this key; Bruhns also composed a larger piece in E minor.
The rest of the programme centres around
Vater unser, one of
the best-known hymns in Lutheran Germany, whose melody has been used
by many composers and which is still sung in Germany and has found
its way into other countries as well. The cycle begins with a relatively
simple arrangement by Caspar Othmayr, one of the earliest composers
who arranged Lutheran hymns. Next come an anonymous arrangement, a
harmonization by Joachim Decker and a
Ricercar by another unknown
master, which is also based on this hymn. The largest and most sophisticated
piece is the series of variations by Jacob Praetorius, a member of
a family of organists in Northern Germany and an early representative
of what is now known as the 'North-German organ school'. It reflects
the great skill and gives a good idea of the standard of organ playing
in northern Germany. Organists were held in high esteem and ranked
among the highest paid musicians of their time. One has to imagine
that a piece like this finds its origins in improvisation as that
was the main skill expected from an organist. Its seven parts correspond
to the seven stanzas of the hymn. The first and last are extended
settings of the chorale which reflect the motet style of the 16th
century. In several of the variations the chorale melody is highly
ornamented, for instance in the 5th verse, where the pedal part shows
the high standard of pedal playing in the region.
Georg Böhm's arrangement belongs to the most famous organ pieces
of the German baroque and has a lightness and almost dance-like character
which shows Böhm being influenced by the French style. The disc
ends with a short arrangement by Telemann, whose organ works are barely
known, and two arrangements by Bach. To that Ms Schauerte has added
the setting of one of the stanzas of
Vater unser from the
St
John Passion.
Although I am not happy in every respect with the choice of repertoire
this is a most interesting collection. Firstly, the history and features
of the organ make it worthwhile being documented on disc. The second
part of the programme is especially satisfying, not only because of
the quality of the music but also on account of the fine performances.
The chorale arrangements offer the opportunity to demonstrate the
various registers of the organ. Only in the 5th verse of Praetorius'
variations does the pedal is almost overpower the manual; otherwise
the registration is convincing. Ms Schauerte is a stylish interpreter
who is well aware of the requirements of this kind of repertoire.
The recording is excellent.
The booklet includes information about the history of the convent
and the organ. Ms Schauerte gives a general overview, but the documentation
of the repertoire is rather poor. The correct titles of the various
pieces on the
Vater unser hymn are not given, years of birth
and death of the composers or any information about them are omitted.
The disposition of the organ is given, but the registrations of the
organ pieces are not mentioned.
Even so, for organ aficionados this disc is an interesting proposition
which will enrich their collection.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
Track listing
Johann PACHELBEL (1653-1706)
Toccata in e minor [1:58]
anon
Retrove (Robertsbridge Codex) [3:55]
Estampie (Robertsbridge Codex) [4:24]
Upon la mi re [2:25]
Hugh ASTON (c.1485-1558)
A Hornepype [3:06]
Hans NEUSIDLER (c.1508/09-1563)
Der Zeuner Tantz [0:51]
Judentantz [0:50]
August NÖRMIGER (c.1560-1613)
Witwen Mummerey Tantz [0:45]
Der Mohren Aufzugkh [0:51]
Regina Clara IM HOFF (?-?)
Bassa Imperiale (Clavierbuch, 1629) [0:59]
Hans Leo HASSLER (1564-1612)
Canzon V. toni [2:13]
Canzon [3:39]
Luys MILÁN (c.1500-after 1560)
Pavanes 1 & 2 [1:48]
anon
Canzon para la Corneta con el Eco [4:31]
Nicolaus BRUHNS (1665-1697)
Prelude in e minor [4:56]
Caspar OTHMAYR (1515-1553)
Vater unser im Himmelreich [1:18]
anon
Vater unser im Himmelreich [2:19]
Joachim DECKER (1565?-1611)
Vater unser im Himmelreich, chorale setting [1:12]
anon
Ricercar 1.toni on Vater unser im Himmelreich [3:13]
Jacob PRAETORIUS (1586-1651)
Vater unser im Himmelreich, chorale variations [14:02]
Dieterich BUXTEHUDE (1637-1707)
Vater unser im Himmelreich (BuxWV 219) [2:07]
Georg BÖHM (1661-1733)
Vater unser im Himmelreich [3:35]
Georg Philipp TELEMANN (1681-1767)
Vater unser im Himmelreich [1:03]
Johann Sebastian BACH (1685-1750)
St John Passion (BWV 245): Dein Will gescheh [1:01]
Vater unser im Himmelreich (BWV 636) (Orgelbüchlein) [1:45]
Vater unser im Himmelreich (BWV 737) [2:14]
