The two major organ works on these discs (his longest for organ) show Max Reger at the height of his powers; not only do they sustain a structural coherence over an impressive span, but they show an almost inexhaustible proliferation of invention. As well as the large-scale Variations and Fugue on an Original Theme and the Introduction, Passacaglia and Fugue in E minor, this 2 CD Set includes a collection shorter preludes and fugues - the Five Easy Preludes and Fugues and two transcriptions of preludes and fugues by JS Bach from the Well-Tempered Clavier.

Joseph Nolan marks his 10th release on Signum Classics with a recording on the remarkable 1738 Christian Muller organ of St Bavo in the Dutch city of Haarlem. Housed in one of the most spectacular organ cases in the world, the instrument's renowned clarity of tone makes it perfectly suited to Reubke's Sonata on the 94th Psalm, which forms the heart Nolan's programme alongside works by Bach, Buxtehude and Mendelssohn. British-Australian organist and choral conductor Dr Joseph Nolan has been hailed by ABC Classic FM as ‘an extraordinary musician’, by BBC Radio 3 Record Review as ‘Magnificent’ and by Gramophone as ‘perceptive and intensely musical’. A nominee for Artist of the Year, Limelight Magazine also awarded Joseph its coveted ‘Recording of the Month’ for his ninth album for Signum Records from St Etienne du Mont, Paris, the church and organ of Maurice Duruflé – the first time in the history of the magazine that an organ release has been awarded this distinction.

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REVIEW:

His performance of Messerer’s arrangement of the Bach chaconne has grandeur and bite.

– BBC Music Magazine

This is Volume 3 in Centaur's ongoing series of the complete organ works of Charles-Marie Widor (1844 - 1937), performed by Joby Bell. This recorded cycle is a labor of love for Joby Bell, who has a special affinity for Widor's works. Since 2004, professor Joby Bell has served on the faculty of the Hayes School of Music, where he teaches organ and church music studies. His church music teaching emphasizes the practical knowledge needed for a solid undergraduate foundation toward successful work and further studies in sacred music. His organ teaching specializes in practice techniques, memorization, service playing, choral accompanying, and maintaining grace under pressure - lessons always best taught by example. Dr. Bell is known for "the breadth of his repertoire, technical virtuosity, and for the personal warmth which shines through in his performances. " His acclaimed blog at www. JobyBell. Org deals with a comprehensive range of organ-related topics including teaching philosophies, recital preparation, church music, and professional concerns.

Powerful and moving … thoughtful and rousing.

This seems to be the sixth CD of Locklair's music to have been published, although individual works of his have appeared on numerous other releases on a number of labels. Two discs of his orchestral music have been reviewed on MusicWeb International in recent years.

The CD opens as it ends, with superb music and musicianship. The title of Rubrics: a Liturgical Suite comes from the Common Book of Prayer, the service instructions (rubrics) of which inspired Locklair when he was commissioned to write the work in 1988. This is reported to be "one of the most frequently played organ works by an American composer" - movements were performed both at Ronald Reagan's funeral and Barack Obama's inauguration. It is certainly an imaginative, striking work, with a particularly breathtaking finale. Locklair's website gives the timing as 11'00, so at 14'00, Keiser is presumably taking this rather more slowly than Locklair envisaged. Unfortunately, there is a noticeable technical 'blip' in the third movement.

The Salem Sonata was a private commission to celebrate the restoration - reassembling, in fact - of a Moravian Church organ originally built in Salem in 1800. The four short movements all bear a Biblical subtitle, and all possess an appropriate degree of dignity and pomp. Another wonderfully tuneful, memorable work. Celebrations - Variations for Organ was inspired by a phrase in the Book of Isaiah: "... thanksgiving, and the voice of melody". The original theme itself does not appear until near the end, when it bursts joyfully onto the scene. A thoughtful and stirring piece, with a glorious ending worthy of Widor, very beautifully played by Keiser.

Along with the Salem Sonata and Celebrations, In Mystery and Wonder ( The Casavant Diptych) was composed in 2003. It was a commission by the Canadian organ builders, Casavant Frères, and according to Locklair's liner-notes, numerous first performances of one or both movements of this work were given around the world on the same November weekend in 2004. To allow a wide range of organists to participate in the premiere, which marked the 125th anniversary of Casavant, the first part of the Diptych, an Aria, is relatively easy to play, with the following Toccata being much more technically demanding. Consequently, both sections may be performed separately. For all its relative simplicity and serenity, the Aria, subtitled 'God Moves in a Mysterious Way ...', is a powerful, moving piece. The Toccata, on the other hand, is a noisy, virtuosic scherzo, aptly subtitled '...His Wonders to Perform'!

PHOENIX Processional dates back to 1996 as a stand-alone organ piece, but it has another existence as part of a work entitled PHOENIX Fanfare and Processional, which began life in 1980 as a bare three-minute Fanfare for brass sextet, and which in 1985 melded with the new Processional for the amended forces of organ, brass quartet and percussion. Locklair describes it as a popular recital and ceremonial piece, and it is easy to hear why - though very simple, the Processional is a rousing work.

The three-movement Aeolian Sonata is dedicated to the spirit of Americans in the wake of '9/11'. It is uplifting and magnificent, appropriately making use of the old Aeolian mode and the notes A and E. The first movement, 'Aus tiefer Not', is pretty much a relentless sequence of huge chords with some melodic flourishes in between, ending with some window-rattling ultra-deep sounds. The second movement, 'Shalom', is a fittingly tranquil affair to follow. The final movement is a boisterous toccata, entitled 'Laudate Dominum'. Locklair's website gives the timing as 12'00, so at 14'34 Keiser is once again taking this rather more slowly than Locklair intended. Nevertheless, as elsewhere on this disc, Keiser's technique and insight are beyond doubt. Unfortunately, the recording of the Sonata is almost spoiled by a very obvious editing join half-way through the second movement.

The CD case is made of card, with a standard plastic tray for the disc. The booklet slides in between two layers of card, the front cover itself, featuring Locklair in a typical pipe-in-mouth pose, and the inside cover, showing a close-up of the organ pipes against a stained-glass window. The booklet itself is a paragon - full notes by Locklair on all the pieces, biographies of composer and organist, a full-page colour photo of the organ and the inside of the church, a description and full specification of the organ, and technical data regarding equipment used for the recording. Much thought has obviously gone into the recording process, and the result is a first-class, very natural sound.

Dan Locklair has written a fair amount of organ music yet to be recorded. On the evidence of this disc, a follow-up CD by Loft Recordings would be doing lovers of sublime organ music a good deed.

-- Byzantion, MusicWeb International

WECKMAN Complete Organ Works • Hans Davidsson (org); Ulrike Heider, cond; Sweden Schola Gothia • LOFT 1065–67 (3 CDs: 196:29)

Matthew Weckman was born in Niederdorla, Germany, around 1616, and died in 1674. While familiar to many musicians, he hardly is a household name, even among serious record collectors. Hans Davidsson and Loft Recordings have left no stone unturned in an effort to expose Weckman to a wider public. This really is a labor of love. The packaging and background information are the finest I have seen in a long time. The layout is beautiful. The text is well written. There are two different inserts, either of which would have been satisfying. Davidsson wrote his dissertation on Weckman and the first insert provides highlights of his exhaustive research, and a lifetime of study and performance. This also includes descriptions of each selection on the three CDs. The second booklet gives details on organ registration employed in the 17th century by Weckman and others, and the registration used in this recording. This may sound dry but it is not.

Davidsson places Weckman in historical context: when he learned to play; the experiences that helped him learn to compose; his experiences in Denmark and other stops on his journey through life. While growing up in Dresden, he was exposed to crosscurrents that were reshaping music in Europe, including influences from Italy and England, the Netherlands, and Northern Germany. Davidsson explains how these forces and trends came together for Weckman. And in the recording, we hear the elements unfold, illuminated by Davidsson’s insights. In the process, he demonstrates why Weckman is “without doubt one of the most important musical personalities of Germany in the seventeenth century.”

The music? When I asked an organist friend about Weckman, he laughed, and gave me a one word response: “Boring.” Yes, this is not the most electric music in the world and some of it could be described as boring. But, perhaps prejudiced by the outstanding packaging and recording, I found every section transformed into an insightful window into a faraway world. Many of his organ words are based on chorales and this recording includes these chorales, expertly sung by Schola Gothia. The organ is the North German Baroque Organ, captured in beautiful sound.

I enjoyed this album immensely. It was a fascinating and surprisingly enriching experience. Perhaps more than anything else, this provided new respect for Weckman, and greater appreciation for his role in music history. The recording, like the packaging, is spectacular. Highly recommend, particularly to organists and students of music history.

FANFARE: John E. Roos

Jonathan Rudy, the 2014 First Prize Winner in the American Guild of Organists' National Young Artists Competition in Organ Performance, plays the Fisk Organ in Alumni Hall and the Fisk Organ in Auer Hall at Indiana University, Bloomington. Jonathan D. Rudy is recognized by colleagues and audiences for excellence as a performer, church musician, improviser, educator, and conductor. A native of Batavia, Illinois, Mr. Rudy’s recent concert appearances, including recitals, master classes, competitions, and dedicatory/commemorative events, have included locations all across the United States. Recent performances include an appearance at the 2016 AGO National Convention in Houston TX. Jonathan D. Rudy currently serves as Director of Musical Arts and Administration at St. John Cantius Catholic Church in Chicago, where he lives with his beautiful wife, Katie. He tutors students privately in Aural Skills, Music Theory, Piano, and Voice, and maintains an amateur recording studio. Mr. Rudy has served as Music Director at First Cumberland Presbyterian Church in Cookeville, TN, Organist at Central Presbyterian Church, Terre Haute, IN, as Associate Instructor of Music Theory and Aural Skills at Indiana University, and as Dean and Member-At-Large of the American Guild of Organists Bloomington Chapter (Region V).

Part of a series of concert recordings celebrating 50 years of the Flentrop organ at Saint Mark's Cathedral (Seattle). Roger W. Sherman performs one of the popular "All-Bach" concerts that are an annual feature of Saint mark's Concert series. Roger W. Sherman is the Associate Organist Emeritus of St. Mark's Cathedral in Seattle, and Artistic Director, Emeritus of the Orcas Choral Society. He has also served as Executive Director of the Westfield Center, an early music organization devoted to historic keyboard instruments. For more than 25 years he is also been host and producer of the popular Organ Loft radio program, broadcast in Seattle and Eugene. A native of Seattle, Mr. Sherman attended Oberlin Conservatory of Music, where studied with Arthur Poister, Fenner Douglass, and William Porter. He was Director of Music for St. Paul's Episcopal Church in Milwaukee from 1974-1979, and taught organ and harpsichord at the Wisconsin Conservatory of Music. During his tenure in Milwaukee, he was a popular harpsichord soloist with many groups, especially the Milwaukee Chamber Orchestra. In addition to the recordings listed below, he has made recordings with Fred Sautter (principal Trumpet for the Oregon Symphony), the Imperial Brass, and the Dale Warland Singers.

On this new release, Frederick Hohman plays music of Bach and 19th and 20th century French organ masterworks on the Reuter organ of the Cathedral of the Immaculate Conception, Springfield, Illinois USA. Since his St. Louis concert debut in 1973, where a critic with the St. Louis Post-Dispatch heralded his pedal technique as "the best you'll ever hear," Frederick Hohman has excelled in many facets of the organ trade: as a concert organist, as a composer, as a creator of organ transcriptions, as a classical music audio-video media producer, and most recently as an instrument designer and an on-line music instructor. Frederick founded the Pro Organo recording label in 1985. Frederick produced over 300 organ and choral music titles under the Pro Organo insignia, with 15 of it's titles featuring his own performances. This is his sixteenth album.

Originally released on the 100th anniversary of Sowerby's birth in 1995, Leo Sowerby: American Master of Sacred Song celebrates "the Dean of American Church Music" and his contributions to the choral and organ repertory. In the 1920's, Sowerby's music was regularly performed by orchestras (especially the Chicago Symphony) and it is heartening to see so much interest in his works in the 21st century. Gloriae Dei Cantores has selected ten anthems to represent Sowerby as an inspired composer for worship as well as several sacred vocal solos and four of his finest works for organ. The CD set is crowned with a rare performance of Sowerby's Festival Musick for brass and organ. Sowerby's rich harmonies and exciting vocal writing capture the listener in such texts as Great is the Lord, O God, the Protector of All, Come, Holy Ghost and Turn Thou to Thy God. His organ music shows a rare ear for color and texture and his style, attractive and accessible, is timeless. As with many of Gloriae Dei Cantores' recordings, this one contains much music not available elsewhere.

In celebrating the splendid Fisk organ we are offering a tribute to the power and beauty of music. The extraordinary Hall, with it's magnificent C.B. Fisk organ will, we trust, continue to inspire and challenge new generations throughout the twenty-first century. (William Peterson) The repertoire on this recital recording in "Little Bridges" was chosen to showcase both the organist's and the organ's ability to handle music of widely varied origins with ease and authenticity. It also showcases the acoustically sensitive design of Bridges Hall. Bridges Hall of Music, designed by the notable architect Myron Hunt in 1915, is one of the oldest buildings on the Pomona College campus. The dedication of Fisk Op. 117 on October 12, 2002, marked the 115th anniversary of the founding of the College and was the culmination of a design process which began in 1980. William Peterson has played concerts throughout the United States. His recitals have included "French Organ Music from the Time of World War I, " 16th and 17th century Dutch and German composers as well as works by JS Bach. As a scholar he has worked extensively on French organ music of the 19th and early 20th centuries. He is the Harry S. and Madge Rice Thatcher Professor of Music and College Organist, Emeritus, at Pomona College.

The last Reference Recordings release to come my was Organ Odyssey, which showcased the Fisk Op. 100 of Meyerson Symphony Center, Dallas. In general such up-to-date instruments show how capable modern concert organs can be; stable, sophisticated and subtle they certainly make a change from the untamed roar of the Cavaillé-Colls upon which the French composer-organists experimented with such success. That said, some examples of the venerable Aristide’s organ-building skills – that in the Church of St François-de-Sales, Lyon, for instance – can deliver the most refined sounds imaginable. Jan Lehtola’s Widor disc – one of my Recordings of the Year for 2013 – is ample proof of that.

The Allegro from Widor’s Organ Symphony No. 6 headlines this new album, which features Kansas City's Julia Irene Kauffman Casavant (2011). At the console of this magnificent 102-rank instrument is Jan Kraybill, who tackles Widor’s daunting structures with aplomb. Even at this early stage the organ’s tonal subtlety and range of colours are very much in evidence; whether Kraybill’s dissembling quietly or sallying forth her playing is always tasteful and proportionate. As for the recorded sound, so often the killer in collections such as this, it’s both full and forensic, with a phenomenal reach. These tummy-wobbling pedals, all the more thrilling for being judiciously used, will satisfy even the most jaded of organistas.

Goodness, this is a very promising start; after all that heat and heft Florent Schmitt’s Prière is a quiet oasis of pure loveliness. Small it may be, but it’s so gracefully formed. Jehan Alain’s two dances inspired by Agni Yavishta, the Hindu god of fire, are a perfect foil for what’s gone before. Kraybill teases out all the music’s sinuous rhythms and exotic flavours, and seasons the dish – lightly – with those stunning pedals. Joseph Bonnet’s Variations de Concert, a most accomplished Op. 1, is another well-chosen piece, for it demonstrates both the intimacy and agility of this fine instrument.

There’s nothing at all flashy or distracting about Kraybill’s performances; and what a pleasure that is, given the self-aggrandising showmanship one usually associates with such recitals. It’s not just the playing, for the clean, unfussy acoustic and the perfectly judged recording add immeasurably to one’s enjoyment of the music. And it just gets better. Maurice Duruflê’s elusive, Ariel-like Scherzo is a delight; Kraybill’s apt registrations and general keyboard wizardry turns her into something of a Prospero figure, very much in command of all that she surveys. This confluence of artistic and technical talents makes the Scherzo an ideal taster for those who wish to try before they buy.

Marcel Dupré is represented here by his youthfully conceived G minor Prélude et Fugue. Given his flamboyance as both a composer and a performer Duprê’s writing here seems remarkably restrained. Don’t be fooled, for the filigreed detail of the first part and the firm direction of the second confirm this as the work of a real pro. As always Kraybill gets the scale just right, so the work’s fugal pomp never sounds empty or overbearing. A quiet bravo is in order here, as it is after Franck’s Pièce héroïque. The latter's an organ staple that, like so many of its ilk, is apt to stale with repetition. Kraybill really freshens it up with her lithe, transparent playing; indeed, her finely shaped and projected account of the piece reminds me of Hans-Eberhard Roß, whose three-volume traversal of Franck’s organ music is mandatory listening for all Franckophiles.

As with Organ Polychrome those Roß recordings, played on a 1998 Goll, revitalise familiar repertoire in all sorts of ways. Throw in sympathetic engineering and the results are truly remarkable. That’s certainly true of Felix Guilmant’s Caprice in B flat, which at times appears to mimic the chug and honk of a fairground organ. This may suggest a degree of roughness, but that couldn’t be further from the truth. Kraybill's playing is always refined, and she brings out the music’s inner voices with ease and good humour. This is my favourite track; the music scampers to a delicious, seat-pinning finale that left me grinning like a village idiot.

Louis Vierne’s mellifluous Prélude, the first part of a work he wrote for his US concert tour in 1927, gets a buoyant outing here; the dark-toned Caprice balances grace and gravitas and the Intermezzo, with its ‘Boo!’ ending, is spookily done. What better way to end this marvellous recital than with Eugène Gigout’s Grand-Choeur dialogué? Grand it most certainly is; the recording’s fine sense of depth and breadth ensures the antiphonal character of the piece is conveyed with ear-pricking realism. And the joy that peals forth in the final seconds is a perfect metaphor for this recital as a whole; a triumph for all concerned.

Only once before have I encountered an organ recording worthy of the term 'a perfect storm’, and that was the Fuga/Kiviniemi Lakeuden Ristin urut; I didn’t think that would be supplanted any time soon, and now it has. The skill and good judgement of both organists is beyond question, as are the recording talents of Mika Koivusalo (Fuga) and Keith O. Johnson and his team (Reference Recordings). Frankly, these two albums blow all others into the proverbial weeds.

In the face of such overwhelming excellence it pains me to bring up the vexed question of booklets or, more precisely, the lack of them. I was annoyed to discover that this and other RR downloads are being sold without any documentation. In a recent article for MusicWeb International I pointed out why this is unacceptable and urged the offending labels/distributors to address the issue without delay. A cross Tweet elicited a booklet in this case, but that’s not the way it should be done. RR's omission is all the more regrettable as the Organ Polychrome booklet is beautifully presented – it’s a model of common sense and clarity – and Kraybill’s succinct notes are a pleasure to read.

Pure magic; my store of enchanted objects has just increased by one.

– M usicWeb International (Dan Morgan)