The Bremen-born painter and sculptor Hugo Körtzinger (1892 - 1967) was a close friend of his much more famous colleague Ernst Barlach. Both were in the favor of the well-known Hamburg art patron Hermann F. Reemtsma. In 1937, Reemtsma financed a new workshop for Hugo Körtzinger in the small town of Schnega (Wendland), where he saved sculptures of his friend Barlach, which were considered "degenerate art", from being melted during the Nazi era. In 1937, Germany's most important organ-building company at that time, E.F. Walcker, built a new 3-manual instrument for Körtzinger's studio as their Opus 2576 - at the request of the customer with many unusual timbres. The instrument was continuously extended in individual construction steps until 1947.

A few years ago, the studio and the organ, which had been completely unplayable for many decades, were renovated thanks to the support of the Hermann F. Reemtsma Foundation. Martin Schmeding presents the instrument on a double SACD with music by baroque composers, played in the style of the 1930s aesthetic, as well as with original works from the time the instrument was built. This program gives an impression of the works that may have been played in the Körtzinger atelier between 1937 and 1967. The program is supplemented by Schmeding's improvisations on sculptures by Ernst Barlach.

USP: the first recording of an organ that is probably one of the largest private organs in Germany. Very comprehensive booklet (48 pages) with many illustrations and descriptions of Körtzinger and the recorded music. Double SACD in stereo and 5.1 surround sound. Rarely heard works from the 1930s and 1940s.

The Fourth Book of Violin Sonatas by Jean-Marie Leclair is considered the pinnacle of French Baroque violin artistry. Leclair pushed the development of violin playing further and further until hardly anyone could follow him. Accordingly; these sonatas are played by only a few and are unfortunately rarely heard. Hélène Schmitt; herself celebrated as an exceptional violinist; has for many years intensively studied the life and work of the great musician; whose career repeatedly took unexpected turns and whose life ended abruptly with a murder that is still unsolved today. On this CD she shows not only the virtuosity but also the many amazingly different colours of the sonatas. She is supported by her top-class continuo group in various instrumentations. The album is the first part of a complete recording of the twelve sonatas of the Fourth Book. The booklet contains an extensive text penned by the artist; who thus shares her personal insights into Leclair's life.

Jan Albert van Eyken studied at the Leipzig Conservatory from 1845 to 1846 and became organist at the Remonstrants Church in Amsterdam in 1848, at the Zuiderkerk in Rotterdam from 1853 and at the Reformed Church in Elberfeld from April 1854. Among his admirers was Robert Schumann. Schumann later wrote to Joseph Joachim: "He plays quite splendidly; in Rotterdam I heard him play fugues by Bach, also BACH fugues [by Schumann], the first and the last, on an organ worthy of him." Not far from Van Eyken's later place of work in Elberfeld was the headquarters of the organ-building firm of Richard Ibach (Oberbarmen), which built the magnificent organ for Bergen op Zoom four years before Van Eyken's death: a great early Romantic instrument on which Ute Gremmel-Geuchen brings out the best in the three great organ sonatas and other works by the composer.

The new organ system in Mainz Cathedral, inaugurated in August 2022, is internationally unparalleled in terms of its conception, construction, innovation, quality of craftsmanship and tonal nobility: an absolute centenary project of organ building for the thousand-year-old Mainz Cathedral! The present programme, some of which was produced as a live SACD (stereo and 5.1 surround), was assembled on the basis of the works performed at the inaugural concerts. At its centre is the nearly 30-minute organ sonata in C minor "Der 94. Psalm" by the Liszt pupil Julius Reubke. Cathedral organist Daniel Beckmann, a decisive contributor to the concept of the new instrument, brilliantly demonstrates the new possibilities of this fascinating cathedral organ.

Soprano Theresa Nelles and cathedral organist Winfried Bönig invite us to an atmospheric Christmas Eve in Cologne Cathedral and present a varied programme of Romantic works from various countries: music for the feast that goes straight to the heart. The great acoustics of Cologne Cathedral have been deliberately captured on this audiophile SACD. Born in Cologne, Theresa Nelles has had close ties with Cologne Cathedral since childhood, not only emotionally but also musically. During her 10 years of choir membership in the girls' choir at Cologne Cathedral, she already received her first solo tasks, was also the singer of a jazz band of the so called Cathedral-music for a long time and, after her High school graduation, studied singing at the Cologne Academy of Music with Prof. Mechthild Georg and in Rome at the Conservatorio Santa Cecilia. Engagements take the singer to festivals at home and abroad, such as the Festival Internazionale di Musica e Arte Sacra in Italy, Switzerland, South Tyrol, Russia, the International Handel Festival in Göttingen, the Beethoven Festival Bonn, the Brühl Castle Concerts, to opera houses such as Krefeld/ Mönchengladbach, Koblenz, Gelsenkirchen, the Margravial Opera House in Bayreuth, the Tonhalle Düsseldorf, the Cologne and Essen Philharmonics and, last but not least, regularly to large churches, always particularly fond of the local cathedral.

Traditional music from Ireland, England and Scotland touches our hearts in a way that is very special and somehow magical. On this album, "Spirit and Pleasure" shows excerpts from the musical world of the 17th & 18th century in Ireland, Scotland and England: old pieces that were only passed down orally, new music in the traditional style, composers who are assigned to the "courtly-bourgeois" music, discovered the charm of these melodies, provided them with basso continuo and variations and published them among others in London, the musical center of England. The album title "Good taste" is derived from the "Treatise of Good Taste in the Art of Music" by Francesco Geminiani.

In the Art of the Fugue, his last great work, Bach brings to bear all conceivable contrapuntal artistry and inventiveness, and sets the result in a planned architectural layout. The new recording was made by Samuel Kummer on the magnificent Baroque organ of the Wenzelskirche in Naumburg, built in 1746 by Zacharias Hildebrandt, at whose acceptance Bach had been present as an expert. Never before has this instrument been captured so convincingly in terms of sound, and for the first time the sound of the organ can now be enjoyed in a multi-channel surround recording.

Flanders Recorder Duo: The name of the ensemble rightly suggests that it emerged from the Flanders Recorder Quartet, which ended its incredibly successful international stage career in 2018. Already the FRQ amazed with the expressiveness of its "only" 4 recorders. The Flanders Recorder Duo now takes this to the extreme. Really only two musicians are to be heard here, but often one hardly believes this when listening to the debut album, which is simply called "FR2". A highlight is certainly the world premiere of a suite by Vaughan Williams. But the other performances from various eras also give listeners plenty of opportunity to enjoy and be amazed.

Léon Berben can be considered a master of his trade on the harpsichord and organ. Furthermore, his extensive knowledge of music history and historical performance practice make him one of the leading figures of his generation in the "early music" scene. His repertoire includes keyboard works from 1550 to 1790 and he also co-authored the encyclopedia "Die Musik in Geschichte und Gegenwart.” Intensive study of sources and constant research work give the art of interpretation of Léon Berben a special status. His solo recordings on historical organs and harpsichords have been highly praised by the specialist press and have received several awards, including the "Diapason d'Or", the "Choc" of "Le Monde de la Musique" and the quarterly “Preis der deutschen Schallplattenkritik.” On his latest recording he plays the complete organ works by Matthias Weckmann.

REVIEW:

The perfect marriage of instrument and music – Weckmann belongs to the pre-Bach north German school and his colourful music is brought thrillingly to life here on two 17th-century German organs.

– BBC Music Magazine