Francisco Correa de Arauxo’s surviving music is contained entirely in his Facultad organica of 1626. Published in Alcala under the composer’s own direction, this constitutes one of the largest and most significant works in the entire history of the organ. His compositions embody a wide range of characteristics, some rational and well structured, others mystical and even eccentric. Correa no doubt intended his works to be played in meantone temperament- the normal tuning system at the time for organs, and the one heard on these recordings. Robert Bates is an award winning, internationally known recording artist, recitalist, composer, and a specialist in early French and Spanish Organ music. His recordings include “Viaticum,” containing eight of his own compositions as well as “Complete Organ Works of Jehan Titelouze.” His live performance for the National Convention of the American Guild of Organists is available as “In Recital at Lagerquist Hall.” Professor at the Moores School of Music, Houston, Texas, Professor Bates previously served as University Organist at Stanford University where he received his Ph.D. in Musicology.

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

Includes carol(s) by Richard Rodney Bennett. Ensemble: Tudor Choir. Conductor: Doug Fullington.
Includes traditional chant(s).
Includes work(s) by Ralph Vaughan Williams, Robert Fayrfax, Sir William Walton, John Sheppard, Gustav Holst, Peter Warlock.

All tracks have been digitally mastered using 24-bit technology.
Includes work(s) for organ by Dietrich Buxtehude. Soloist: Hans Davidsson.

The Bach Masses, Vol. 1

This album shows the listener what a Parisian would have heard on a Sunday in the 19th century, with these recordings of harmonium works. It was common practice for the harmonium toaccompany the choir during morning Mass, then Benediction of the Blessed Sacraments in the afternoon. This two disc set includes a disc of music from the church, and a disc of a salon concert. Joris Verdin is the harmonium performer on this recording. For the sacred works he is joined by the Christ Church Schola Cantorum.

The 30-strong, mixed-voice, Seattle-based Choral Arts (formerly Choral Arts Northwest), founded by artistic director Richard Sparks, is one of the outstanding chamber choirs in the United States. Focusing primarily on romantic and contemporary music, the choir's repertoire has ranged from Renaissance music to contemporary Swedish works. In 1997, CAN put together a program of Scandinavian Christmas music with David Dahl as guest organist. This recording consists of works from that popular program. David Dahl also plays seven organ works on the new Fritts organ at PLU in Tacoma.