Gioachino ROSSINI (1792-1868)
Overture to
William Tell (transcribed by Dudley Buck) [14:14]
Dudley BUCK (1839-1909)
Concert Variations on
The Star-spangled Banner Op. 23 [12:41]
Horatio PARKER (1863-1919)Revery Op. 66 No. 2 [6:07]
Charles
IVES (1874-1954)Variations on
America [9:58]
Richard
WAGNER (1813-1883)
Fire Magic (transcribed for organ by James H. Rogers);
George GERSHWIN
(1898-1937)
Rhapsody in Blue (transcribed
by Rudolf Innig) [19:12]
Rudolf Innig (organ)
rec. Methuen Memorial Music Hall, Boston, USA, 14-15 October 2012
MUSIKPRODUKTION DABRINGHAUS AND GRIMM MDG 917 1809-6 
[70:16]
Richard WAGNER (1813-1883)
Transcribed by Edwin Lemare
Overture to
Die Meistersinger von Nürnberg [10:45]
Pilgrims’
Chorus from
Tannhäuser [6:01]
Prelude and Liebestod from
Tristan und Isolde [19:21]
Prelude to Act 1 of
Lohengrin
[9:51]
Prelude to Act III and Bridal Music from
Lohengrin [9:54]
Siegfried’s Funeral March from
Götterdämmerung
[9:39]
Magic Fire Music from
Die Walküre [3:40]
The Ride
of the Valkyries from
Die Walküre [5:29]
Jonathan Vaughn (organ)
rec. St Mary Redcliffe, Bristol, 5-6 March 2012
REGENT REGCD394 [74:40]
Although most pianists have from time to time to
accept whatever instrument is available for them to play on, organists
are even more the victims or beneficiaries of whatever instrument they
are given to play. Unsurprisingly this leads to a fascination amongst
organists and those interested in the instrument with the history and
specification of particular organs. Those with such a fascination will
be amply rewarded with the information given with both of these discs.
Both have lengthy histories and specifications of the instruments used;
indeed the MDG disc goes further by listing in full the registrations
used for each section of each item.
The organ now in the Methuen Music Memorial Hall was originally installed
in the Boston Music Hall in 1863 when it became the largest organ in
the United States. The original builder was Friedrich Walcker of Ludwigsburg
but it was later removed from Boston and twice renovated. The present
instrument as heard on this disc clearly has great presence and character
although it has to be admitted that as heard here the sounds it produces
are by no means all pleasant. The recording is forward and the range
of volume is enormous. This is a disc that unless you have very understanding
neighbours you may well prefer to hear through headphones.
The organ of St Mary Redcliffe was built in 1911 by Harrison and Harrison,
incorporating some earlier pipes. It too has been altered over time,
the last major rebuild being completed by the original firm of builders
in 2010. As recorded here, also with a wide dynamic range but on the
whole less of a problem for listening through loudspeakers, it is a
splendid example of an English instrument of its time, ideal for the
contents of this disc.
Both CDs contain transcriptions, the Regent disc consisting entirely
of transcriptions of extracts from the music of Wagner by Edwin Lemare
(1866-1934). These were intended for concert performance, partly as
a way of popularising works which the wider public of the time, in particular
in the United States where he spent his latter years, would be unlikely
to hear in their original form. They are astonishingly imaginative in
their rethinking of orchestral sonorities in terms of an instrument
with wholly different characteristics. I found listening to this disc
enthralling from start to finish, and marvelled at Lemare’s respect
for the essential character of the originals. Jonathan Vaughn plays
with panache and sensitivity and is recorded with great clarity and
realism.
Rudolf Innig’s disc also contains transcriptions as well as three
original organ pieces. It is the latter that are the most convincing
items, with the Buck and Parker works, conservative but well written,
finest of all. The early Ives Variations are probably best known today
in Walter Piston’s orchestral version but can sound even better
on their intended instrument. Perhaps that used by Innig is simply too
big for its purpose, but as heard here the imaginative iconoclasm and
sheer wildness that other organists have found in the work is missing.
For much of the time it simply sounds odd. The transcriptions here are
even more unconvincing. The Rossini, and especially the final galop,
is wanting in rhythmic thrust and the Wagner lacks the clarity needed
to prevent it sounding static. I cannot understand what the player intended
to achieve with his transcription of the Gershwin. It sounds unconvincing
from start to finish, and the registrations chosen all too often result
in an unpleasant and even chaotic sound. Innig’s technique is
never in doubt but the result lacks conviction.
Both discs are extremely well presented, with very full notes on the
music as well as the instrument and player, and both are well recorded
and well filled. However of the two it is the Jonathan Vaughn disc of
Wagner which is the better demonstration of the art of the arranger.
That by Rudolf Innig by contrast sent me straight back to the originals
and I am doubtful as to whether the disc would be worth having solely
for the featured handful of works written for organ.
John Sheppard
