Comparisons - Rubsam/Naxos, Saorgin/Harmonia
Mundi, Vogel/MD&G
About a half-year after
Volume
1, Bine Bryndorf continues her traversal
of the Buxtehude organ catalogue with
her second volume. To recap from my
review of Volume 1, I recommended the
disc for its majestic, exuberant and
incisive performances while cautioning
that Bryndorf celebrates instead of
bowing to God in the Buxtehude chorales.
The result of this approach is exceptional
performances of the Praeludium works
which are Buxtehude's homage to the
Stylus Phantasticus and his most rewarding
organ works. Concerning the chorales,
some listeners might take exception
to Bryndorf's low degree of supplication.
My comments in Volume
1 apply to the 2nd volume as well. However,
the programming for Volume 2 differs
in that we are given five Praeludium
works as opposed to the three in Volume
1. This plays to Bryndorf's advantage
given that she revels in the more heroic
and powerful utterances of the composer.
Here are a few of the
disc's highlights:-
"Ach Herr, Mich Armen
Sunder", BuxWV 178 - Bryndorf takes
a little over 3 minutes to cover this
piece, while both Rene Saorgin and Wolfgang
Rubsam extend the work to over 4 minutes.
Bryndorf imparts a rhythmic vitality
and confidence not found in the slower
versions, and I now consider the Bryndorf
interpretation the best on record.
"Christ unser Herr
Zum Jordan Kam", BuxWV 180 - One of
Buxtehude's most uplifting chorale settings,
Bryndorf uses a strongly projected and
heroic approach that soars; the registrations
fit the piece perfectly.
Praeludium in A minor,
BuxWV 153 - This work consists of a
severe and twisting prelude in free
style followed by two fugues. The fugues
have the same melody, but the second
fugue is in triple time with the addition
of a chromatic note that enhances the
work's variety and severity. Bryndorf
is most impressive in conveying Buxtehude's
twisting rhythms, giving them an intensity
not often found in other recorded versions.
Praeludium in E minor,
BuxWV 142 - The E minor is one of Buxtehude's
most compelling works for organ. Having
two preludes and three fugues, it is
a role-model of the variety that Buxtehude
injected into the Praeludium. The first
fugue has ample severity and chromaticism,
and the second fugue increases these
qualities to the point where the descending
chromatic lines convey a personality
of 'pure evil'. Then we have a short
prelude leading to a gigue-like third
fugue that is fuelled by octave leaps.
Sound quality is exceptional
with a deep bass, fine resonance and
crisp tone. As mentioned in my review
of Volume 1, Bryndorf plays the Buxtehude
organ in Elsinore at St. Mary's Church.
This organ was often played by Buxtehude
himself and is a gorgeous sounding instrument
of abundant power. Finally, I should
note that I have taken the liberty in
the heading of identifying BuxWV 152
as being in the key of A minor; the
track listings on the cover and in the
booklet incorrectly cite the key as
E minor.
Although Buxtehude's
organ music is masterful and an important
foundation for Bach's organ works, finding
recordings in music stores is not an
easy matter. However, internet sales
sites display a fine assortment of full
sets and single discs. My favored set
for many years has been the Saorgin
on Harmonia Mundi, but currently it
doesn't appear to be in print.
In conclusion, I highly
recommend this second volume from Bine
Bryndorf. The playing is outstanding,
and the use of the Buxtehude organ at
Elsinore adds to the authenticity. I
look forward to Volume 3 and hope that
it is soon forthcoming.
Don Satz
Bine Bryndorf, organ