A prominent element in the shared culture of cities of the Hanseatic League were the pipe organs. Jonathan Moyer begins a series on these remarkable instruments in Lübeck, on an organ with pipework from the mid-1400s. Expanded by Stellwagen in 1637, the "north" organ in St. Jakobi was an important model in the revival of historical styles of organ building in the 20th century. Jonathan William Moyer maintains a dynamic career as church musician, concert organist, and pedagogue. He is the David S. Boe chair and assistant professor of organ at Oberlin Conservatory of Music and is organist of the Church of the Covenant in Cleveland, OH, where he oversees 2 pipe organs (Richards, Fowkes and Skinner/Aeolian) and a 47-bell Dutch carillon. Moyer has also been a visiting lecturer in organ at the Hochschule für Musik in Lübeck and specializes in a vast repertoire from the renaissance to the 21st century. He received degrees in organ and piano from the Peabody Conservatory of Music, the Oberlin Conservatory of Music, and Bob Jones University.

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.

Felix Mendelssohn's colleagues and contemporaries regarded the grand sonatas as the most important cycle of organ compositions since the time of Johann Sebastian Bach. They interpreted the expressive and dramatic movements of the Sonatas with poetic meaning, based on what a contemporary critic called their spiritual dimensions. This viewpoint challenges the common contemporary understanding and interpretation of these works. Widely considered one of the greatest organ virtuosi of his time, Mendelssohn played the cycle as a whole at an informal premier in Frankfurt in 1845. Conceived and perceived as a single large-scale work, the Sonatas seem to have a symphonic scope. Yet, eighteenth-century central German organs were Mendelssohn's preferred style. The descriptions of Mendelssohn's sensitive touch, differentiated articulation, brilliant technique, and expressive playing, as well as his original metronome indications, inspire us to take a fresh approach to the Sonatas. In recent years, Hans Davidsson's studies of the Sonatas and early nineteenth-century performance have brought new perspectives to our understanding of these works. Traditionally the individual Sonatas might be "authentically" played as single, separate pieces on a German Romantic organ, contemporaneous with Mendelssohn's lifetime. Instead, Davidsson has chosen to play the complete eighteen-movement cycle on an early nineteenth-century organ, an instrument with unique character, sensitivity, transparency, and rich color. For the performer, this instrument brings new interpretive possibilities to the Sonata cycle, based on what is known about Mendelssohn's own performances. For the listener, these new interpretations are given voice on one of the best preserved historical organs in northern Europe- the instrument built for the church in Gammalkil, Sweden, by Pehr Schiorlin in 1806.

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.

Messiaen’s artistic mission was to invent new musical languages to explore and portray the mysteries of the Christian faith. These “languages” employed many compositional techniques, including modes of limited transposition, Hindu rhythms, Greek rhythms, plainsong, birdsong, “communicable language,’ and serialism. Born in Avignon to Pierre Messiaen, a Shakespeare scholar, and the poet Cecile Sauvage, Olivier Messiaen (1908-1992) exhibited a rare musical talent from an early age. He was admitted to the Paris Conservatory at age eleven, where he won five First Prizes- notably in classes with Marcel Dupre, Maurice Emmanuel, and Paul Dukas. In 1930, he was appointed Organiste Titulaire of Sainte Trinite Church in Paris, a position he held until the early 1970s. At the outbreak of WWII, he became a French army hospital attendance, and in 1941 was taken prisoner and held in a POW camp in Silesia (where he composed Quartet for the End of Time). Upon his repatriation in 1942, he was appointed professor of harmony at the Paris Conservatory. During his lifetime, Messiaen was famed as an organist and pianist and frequently performed his own difficult compositions in concerts around the world. Colin Andrews is an internationally famous concert artist, with extensive experience in the music of Messiaen. One of only four organists to have recorded Messiaen’s complete organ works, Andrews was recently named “Membre d’Honneur” of the Association Grand Orgue Trinite Messiaen, based at Messiaen’s church in Paris.

The “Livre du Saint Sacrement” is a summation of Messiaen’s musical and theological persona, a statement of faith and a profound summary of his entire organ “oeuvres.” In this work he employs the significant compositional techniques of his life’s work as an organ composer: modes of limited transposition as the basis for his harmonies, Hindu rhythms, Greek rhythms, plainsong, birdsong, “communicable language,” and serialism. As always these compositional elements are used to explore the mysteries of Christian faith, in this, his most massive work. Born in Avignon to Pierre Messiaen, a Shakespeare scholar, and the poet Cecile Sauvage, Olivier Messiaen (1908-1992) exhibited a rare musical talent from an early age. He was admitted to the Paris Conservatory at age eleven, where he won five First Prizes- notably in classes with Marcel Dupre, Maurice Emmanuel, and Paul Dukas. In 1930, he was appointed Organiste Titulaire of Sainte Trinite Church in Paris, a position he held until the early 1970s. At the outbreak of WWII, he became a French army hospital attendance, and in 1941 was taken prisoner and held in a POW camp in Silesia (where he composed Quartet for the End of Time). Upon his repatriation in 1942, he was appointed professor of harmony at the Paris Conservatory. During his lifetime, Messiaen was famed as an organist and pianist and frequently performed his own difficult compositions in concerts around the world. Colin Andrews is an internationally famous concert artist, with extensive experience in the music of Messiaen. One of only four organists to have recorded Messiaen’s complete organ works, Andrews was recently named “Membre d’Honneur” of the Association Grand Orgue Trinite Messiaen, based at Messiaen’s church in Paris.

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

San Francisco-based organist Jonathan Dimmock enjoys an international career, a fact made abundantly clear by his truly worldwide vision for repertoire and recording. For his fifth recording with the Loft records family he performs on the glorious organ at the Cathedral of Saint Bavo, the “Grote Kerk” of Haarlem, Netherlands.

Music critic Charles Rosen has called Mendelssohn the greatest child prodigy the history of Western music has ever known," which is indeed evinced by the fact that he wrote for the organ from the age of 11. Mendelssohn's less well-known works are receiving new appraisal and attention. This disc of organ gems is sure to excite.

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

MENDELSSOHN Organ Sonatas, op. 65 • Jonathan Dimmock (org) • LOFT 1112 (77:44)


Felix Mendelssohn, in addition to being one of the most respected composers, conductors, and one of the greatest pianists of his day, was also one of the finest organists and improvisers of his age. At least on two occasions he produced large-scale collections for the instrument: the Three Preludes and Fugues, op. 37, and the Six Organ Sonatas, op. 65. The sonatas come from the last decade of his life, but rather than being a grand forward-looking statement, they are a synthesis of his lifelong interest in Baroque forms and textures (Bach in particular here) and his own personal style, a fusion that can be seen as early as the youthful Characteristic Pieces, op. 7.


As with many organ recitals, the overall success of a performance is dependent on a variety of factors. The mechanical ability of the organist and his or her personal taste in registration are both important keys. (Mendelssohn himself states that “much depends in these sonatas on the right choice of the stops. … I have given only a general indication of the kind of effect intended to be produced, without giving a precise list of the particular stops to be used.”) Another of the important factors is the instrument that is chosen for the recording and the acoustic of the recording space itself. These last two facets do not always come together fruitfully. Oftentimes, even when an attractive-sounding organ is chosen, the space is less than ideal. Other times, the reverse can be said. Happily, when both of these aspects, along with a talented organist, come together, there is the possibility of a great recording, as is the case here.


Jonathan Dimmock, who has held posts everywhere from Westminster Abbey in London to the Cathedral of St. John the Divine in New York, chooses the beautiful-sounding 1787 Holzhey organ in the Kloster Weißenau in Ravensburg, Germany, an organ which, according to him, is virtually unknown. And, if that is true, it is a pity. The organ, while being on the smaller side, has some very attractive features; Dimmock so properly describes its sound as “strong, without being strident, warm, without being muddy, clear, without being self-consciously bright.” These all take place in a stunning acoustical setting. Dimmock, throughout, chooses excellently balanced and nuanced registrations that characterize these sonatas well, from the aggressive opening of the First Sonata to the calm chorale of the Sixth Sonata’s theme. His ease of the difficult pedal passages, along with his free, almost improvisatory way, does much to bring life to these compositions, which in some hands sounds simply mundane.


Though, like many composers, Mendelssohn is remembered for only a handful of works, these lesser-known sonatas provide a well-balanced view of his freedom in formal structures (sonatas that, rather than using sonata-allegro structures, are built more like multimovement suites), elaborate counterpoint, melodic invention, and improvisational skills that were such a part of their composer. Dimmock’s performances are sensitive to many of the details that make this music special: he is lively at times, dramatic when necessary, and equally meditative when called for. Heartily recommended.


FANFARE: Scott Noriega

Prized for its amazing variety of sounds and for its technical complexity, the organ has been used to celebrate powerful rulers and religious institutions since its invention in the third century BC. This CD presents some of the earliest music written for organ, both sacred and secular, played by a leader in the field of early performance practice.

Complete Track List:
From the Faenza Codex: Kyrie cunctipotens genitor Deus; Bel fiore dança; Or sus, vous dormés trop.
From the Robertsbridge Codex: Estampie: Retrové; Motet: Firmissime/Adesto/Alleluya.
From the Groningen MS: Asperance; Empris domoyrs.
From the Ileborgh tablature: Praeambulum 4/Mensura 1; Praeambulum 5/Mensura 3; Praeambulum 3/Mensura 2.
Untitled, from the treatise De musica arte.
From the Buxheimer Orgelbuch: Redeuntes in la; Praeambulum super f; Praeambulum super mi; Praeambulum super C; Redeuntes in Idem.
Chanson settings: Praeambulum super d; Adieu mes tres belle; Praeambulum 1 from the Ileborgh tablature; J’ay pris amours; Praeambulum super G; Portugaler; Praeambulum super C; Se la face ay pale.
Kyrie de Sancta Maria Virgine.
Gloria de Sancta Maria Virgine.