According to current knowledge, the St. Aegidius organ in Berne has the world's only surviving pipes by the Brabant organ builder Reinhard Lampeler van Mill (1596); it also possesses a significant amount of historical substance from Harmen Kröger (1643) and Christian Vater (1714). This organ is an important historical document of North German organ building prior to Arp Schnitger-an instrument full of power, intensity, tone color, and "sweet sharpness." The aim of this recording is not to invent a new instrument for Buxtehude's organ works, but rather to show how the sound of the late 16th and early 17th century Berne organ influences our hearing of Buxtehude's music-his instrument in Lübeck also had registers that dated back to this period. The use of pure meantone temperament, registrations based on 16th and 17th century sources, as well as ornamentation and diminutions, also play an essential role here. The meantone temperament also necessitated the transposition of some pieces, a practice also practice also to be found in works by Johann Sebastian Bach.

Johann Gottfried Müthel may be counted among the most important and individual keyboard composers of northern Germany. Even though we know relatively little about his life and his oeuvre, Müthel‘s works are considered to be the most important representatives of his epoch. His expressive tonal language and his individual way of composing can be experienced through his organ works, which are interpreted by Léon Berben in a stupendous manner. Leon Berben was the harpsichordist of Musica Antiqua Koln from 2000 until the ensemble dissolved in 2006. He has given concerts all over the world, and has recorded several albums both with his former ensemble and as a solo artist.

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

Léon Berben can be considered a master of his craft on the harpsichord and organ. In addition, 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 between 1550 and 1790. He also wrote as a co-author for the encyclopedia Music in History and Present. Intensive study of sources and constant research give Léon Berben's art of interpretation 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" from Le Monde de la Musique and the German Record Critics' Quarterly Prize. On his newest release, he presents hymns and organ studies by Jehan Titelouze.

Very little is known about the life of Anthoni van Noordt. Following in the tradition of Jan Piertszoon Sweelinck, he was organist at the Nieuwe Kerk in Amsterdam from 1664. After the death of Dirck Sweelinck in 1652, the van Noordt family became Amsterdam's most important musical family. The van Hagerbeer organ in the Pieterskerk in Leiden, a large 17th-century Dutch city organ with a wide variety of stops, is particularly well suited for the performance of van Noordt's music. The organ still has many of the characteristics of a traditional Renaissance organ, but the earlier preference for strongly contrasting timbres has given way to greater homogeneity, generally tending towards a somewhat darker sound.

Also new is the striving for solemnity and weight, expressed above all in the disposition of a 24' in the Hauptwerk and a Trompete 16' in the Pedal. The old variety of reed stops has disappeared, however, but there are still several higher stops such as Nasard 1½', Sifflet 1' and Tertiaan. Leon Berben offers us a colourful and lushly ornamented reading of van Noordt's 1659 Tabulatuurboeck van Psalmen en Fantasyen.