Organ
Instrument
Recordings featuring the pipe organ, from Baroque liturgical repertoire to large concert works. The instrument and the building it stands in shape the sound together.
942 products
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Andre: Musica Viva, Vol. 37 / Heuberger, Arditti Quartet, Symphonieorchester des Bayerischen Rundfunks
BR Klassik · Jun 2021CD$19.99 -
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SaleMerulo: Organ Music il primo libro de ricercari da cantare / Tasini
Brilliant Classics · Sep 2021CD$21.99$16.99 -
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Advent Live, Vol. 2 / Nethsingha, Choir of St. John’s College Cambridge
Signum Classics · Nov 2020CD$19.99 -
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SaleRutter: Psalmfest / Lucas, Choirs of St. Albans, Royal Philharmonic
Naxos · May 2016CD$19.99$9.99 -
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Gregorian Meditations / Scheibe, University of Southern California Thornton School of Music Chamber Singers
Centaur Records · Jun 2021CD$17.99 -
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Killer Instincts
Andre: Musica Viva, Vol. 37 / Heuberger, Arditti Quartet, Symphonieorchester des Bayerischen Rundfunks
The German-French composer Mark Andre (*1964) is one of the most important representatives of New Music. His twelve "Miniatures" for string quartet were composed in 2014/17 as a commission from the Arditti Quartet, Bavarian Radio's "musica viva", the Festival d'Automne à Paris and the ProQuartet-CEMC, funded by the Ernst von Siemens Music Foundation. Andre created his organ work "Himmelfahrt" (Ascension), funded by the Siemens Music Foundation, in 2018 on behalf of the Evangelical Church in Germany. The orchestral work "woher... wohin" was written between 2015 and 2017 as a composition commission by BR's "musica viva" in conjunction with the Happy New Ears prize for composition from the Hans and Gertrud Zender Foundation. The live recordings of all three works are now being released in the album edition of Bavarian Radio's "musica viva" concert series on BR-KLASSIK. The album edition of the Bavarian Radio concert series "musica viva", which began in 2000, has been continued since autumn 2020 together with BR-KLASSIK. On the occasion of the 75th anniversary of "musica viva" (the concert series was founded by Karl Amadeus Hartmann in 1945), recordings with works by the contemporary composer Rebecca Saunders (*1967) and the composer Enno Poppe (*1969) appeared as first releases in October 2020. The edition is now being continued with works by Mark Andre (*1964). All the recordings feature live recordings made at "musica viva" concerts with the Bavarian Radio Chorus, the Symphonieorchester des Bayerischen Rundfunks, and renowned soloists.
Merulo: Organ Music il primo libro de ricercari da cantare / Tasini
| According to fellow organist and composer Costanzo Antegnati (1549–1624), Claudio Merulo (1533–1604) was famous for ‘the sweet way he played’. In the 16th century the term ‘sweetness’ was mainly related to the practice of ‘diminution’, or ornamentation, with skillfully executed passeggiando and a ‘judicious breaking up of the figures’, so that the application of the coloratura might confer a personal and lively chiaroscuro effect. In 1574 Merulo published Il primo libro de ricercari da cantare, a qvattro voci in four separate vocal part-books (soprano, alto, tenor, bass), and for this album Francesco Tasini has aptly scored, intabulated, adapted and diminished the Ricercari for performance on the organ. Out of respect for Merulo’s original, Tasini’s diminution of the 19 Ricercari of the Libro primo always retains each part as it appeared, deliberately abstaining from any temporary suspension of a line which could be brought about in order to give space to the coloratura of another part. The process of diminution is not limited to the ‘filling in’ of long note durations with passages of short notes; it also includes a rhetorical game enacted between the parts through syncopes, delayed entrances, changes of register, slurs and various echo and other effects to achieve an underlying lively discourse, as well as arpeggio effects typical of organ practice which Tasini has modelled on numerous passages found in Merulo’s two books of Toccate. The addition of coloratura highlights and brings out the formal division within each ricercare and, in addition to the cadences, establishes a different application for each new subject, so as to enhance its distinctive features. |
Advent Live, Vol. 2 / Nethsingha, Choir of St. John’s College Cambridge
The sublime Choir of St. John’s College, Cambridge return with the second volume in their Advent series - celebrating the advent season from within the Christian tradition; a season celebrated since at least the sixth century. This splendid live recording, from within the Chapel of St. John’s College itself, features Christmas favorites, including Britten’s Deo Gracias from A Ceremony of Carols as well as gorgeous performances of lesser known works by modern composers including Jonathan Dove, Arvo Pärt and Paul Manz. The Choir of St John’s College, Cambridge (link is external) is one of the finest collegiate choirs in the world – known and loved by millions from its broadcasts, concert tours and over 90 recordings. Founded in the 1670s, the Choir is known for its rich, warm and distinctive sound, its expressive interpretations and its ability to sing in a variety of styles. Alongside this discipline, the Choir is particularly proud of its happy, relaxed and mutually supportive atmosphere. The Choir is directed by Andrew Nethsingha following in a long line of eminent Directors of Music, recently Dr George Guest, Dr Christopher Robinson and Dr David Hill.
REVIEW:
‘Advent Live, Vol 2’ is a real album, the mystery and expectation of Advent coursing through a repertoire that never stoops below this ensemble’s judicious idea of what constitutes high-quality music, whatever the century. There is unhackneyed Telemann, Wolf, Goldschmidt, Britten and some poised works, new to me, by McCabe, Milner and Manz. Cecilia McDowall’s A Prayer to St John the Baptist brilliantly unifies otherwise autonomous organ and choir. Judith Bingham’s introduction to Hark, the glad sound! is like a modernist narthex to an ancient cathedral. The qualities of the choir hardly need repeating. It sounds like a string quartet flexing as much as an organ breathing, with no room for show or antiquated ‘look at us’ habits.
– Gramophone
Rutter: Psalmfest / Lucas, Choirs of St. Albans, Royal Philharmonic
Jongen, Jonathan Dove & Liszt: Organ Works
Testamentum
Freu dich sehr, o meine Seele
Altnickol & Bach: Bach's Family Choral Motets
Gregorian Meditations / Scheibe, University of Southern California Thornton School of Music Chamber Singers
Alfred Desenclos and Jean Langlais were both superlative composers of choral music, yet most of their works are performed far too infrequently. This album offers superb performances of some of the best choral works by these great French masters. Initially called the ‘Madrigal Singers,’ the USC Thornton Chamber Singers were first formed in 1939 under the direction of Max T. Krone — a professor of music education, composition and choral music, as well as the dean of USC’s former Institute of the Arts. In 1942, Krone brought Dr. Charles C. Hirt, then the director of the Glendale High School choirs and a USC alumnus, to the school as both a lecturer and as Director of the Chamber Singers. Hirt later established and became chair of the Choral and Sacred Music department. In 1956, the Chamber Singers adopted its current name in a move designed to better reflect the group’s repertoire.
Organ Music for Two, Vol. 5 / E. Chenault, R. Chenault
The present release features new commissions based on familiar tunes and other premiere performances make this fifth volume a delightful and entertaining addition to the unique repertoire of organ music for two. America’s celebrated duo organists, Elizabeth and Raymond Chenault, have made a significant contribution to organ repertoire by commissioning, arranging, premiering and recording over 70 organ duets. For their renowned artistry they have indisputably earned the title “The World’s Premiere Duo-Organ Team.” The Cathedral’s organ was designed, built, and installed in 1962 as the Aeolian-Skinner Opus1399. In 1992, after significant acoustical renovations to the Cathedral nave, the organ was re-voiced by John Hendrickson, who previously had worked for Aeolian-Skinner, and had helped to install the Cathedral’s organ. In the mid-1990s, a Tuba stop was added to the Solo division by Austin Organs, Inc. In 2011, anew console was designed, built, and installed by Schoenstein and Co., to replace the original console of 1962.
Bach, Liszt, Vasks: Triptychon / Apkalana
| Having garnered the ultimate accolades from a host of arts review pages for her premiere recording on the Hamburg Elbphilharmonie’s organ and on the double organ of the Taiwanese Kaohsiung Center for the Arts, concert organist Iveta Apkalna now presents her third release on the Berlin Classics label as a triple album. Triptychon spans three centuries and three religious confessions on one single organ: Johann Sebastian Bach, Franz Liszt and Peteris Vasks can be heard on this, the first release of a recording played in Neubrandenburg’s Concert Church on the organ which she helped to develop and inaugurated. Apkalna opens the first altar panel with three works by her compatriot and personal friend: alongside Arvo Pärt, Peteris Vasks is the best known and most often played Baltic composer. “Latvia is Peteris Vasks and Peteris Vasks is Latvia,” explains the organist. “I hear the landscape of Latvia in his music, the far horizons of our flat country, the meadows and forests, birdsong and the sea. Peteris Vasks is undoubtedly a truly Latvian character, though he also breathes the ‘global air’. Otherwise people all around the world would not love his music.” Johann Sebastian Bach is at the heart of Iveta Apkalna’s triptych – just as he is central to the career of any organist. For her, his Toccata, Adagio and Fugue in C major BWV564, the Trio Sonata in D minor BWV527 and the six Schübler Chorales BWV645–650 represent the greatest possible stylistic, compositional and tonal variety backed up by personal motives. Franz Liszt, who achieved worldwide fame as a travelling virtuoso and visionary composer, was also a formidable organist who, towards the end of his career, took holy orders. His oeuvre too is close to Iveta Apkalna’s heart. |
Bruckner: Early Orchestral Pieces Arr. For Organ / Rudolf Innig
Veggio, Rodio, Bertoldo: Complete Organ Music / Scandali
| The name of Claudio Veggio (1510-1543) would hardly be known were it not for the survival of the Manoscritto di Castell’Arquato, one of the earliest and most important collections of Italian keyboard music from the first half of the 16th century. The manuscript’s many ricercari, mass movements, Magnificats, motets, chansons, dances and madrigal intabulations are the work of composers almost forgotten today, but Scandali’s performances on a historically fitting organ give Veggio’s music a new lease of life. The six ricercari show strong affinities with the works in the same genre by the better-known Cavazzoni; his only other surviving work is a four-part harmonisation of a song, La fugitiva. Dating from the following generation, the Bari-born Rocco Rodio (c.1535-after 1615) enjoys marginally fuller representation on album, but this is still the first complete collection of his surviving work for organ, which is preserved by a Libro di Ricercate published in Naples in 1575. This volume is a historical landmark in its own right, as the first known printed edition of instrumental music in open score. His vocal music was also published in Rome and Venice, but Rodio appears to have made his career in Naples, and these organ works share the extrovert quality and awareness of contemporary developments demonstrated by Neapolitan composers which would in due course come to make the city known as the ‘conservatoire of Europe’. Our third composer is the Modenese composer Sperindio Bertoldo, born like Rodio around 1530 but dying considerably earlier, in 1570. The Brilliant Classics catalogue of Italian organ music is unrivalled in its reach and depth; this is the label’s second recording of Bertoldo’s organ music after Manuel Tomadin’s recent album (95874). |