Huge international
media interest surrounded the re-opening
of Dresden's Frauenkirche during October
2005. The church, famously destroyed
by allied bombing at the end of World
War 2, has finally been completely reconstructed,
its circular dome completed in 1743,
returned triumphantly to Dresden's skyline.
What is less known
outside organ-circles is that along
with the church, Dresden also lost one
of the finest mature organs of Gottfried
Silbermann, completed in 1736 and played
by no less a figure than J.S. Bach.
During the discussions surrounding the
restoration of the church, much pressure
was put on the authorities to reconstruct
the lost Silbermann masterpiece. Unfortunately
the decision was made to build an eclectic
instrument on which a wider variety
of repertoire is theoretically possible.
The decision was singularly vision-less
for a number of reasons. Firstly, because
the scientific reconstruction of the
Silbermann organ, rather like the reconstruction
of the North German organ in Gothenburg,
would have increased our knowledge of
the organ-building methods and techniques
of Gottfried Silbermann. Secondly because
the instrument and the church were contemporary
with each other, it was simply part
of the lost structure. Thirdly, 'eclectic'
organs are so common in Germany anyway,
it is a shame that a more inspiring
plan wasn't followed.
What of the organ which
was built, then? On the face of it,
the Alsatian builder Kern had an impossible
job. An eclectic organ, using the reconstructed
Silbermann case, but significantly larger
than the original instrument with the
fashionable 'Schwellwerk' Recit with
Cavaillé-Coll style reeds, celestes
and all. So, has Daniel Kern succeeded
where almost everybody else in central
Europe seems to fail, in building an
instrument which, while trying to play
a broad literature, really stands out
from the crowd?
On the basis of this
new Carus recording only, I actually
believe he has. It is worth noting that
the internal layout of the organ, and
the winding system is based on the Silbermann
organ. Kern has tried to use the Alsatian
influences of Andreas Silbermann as
an extra inspiration, and the result,
if not really reminding us of Gottfried's
last masterpiece in the nearby Hofkirche,
is at least an organ of singular personality.
The choruses have astounding éclat
and the principals sing intimately.
Even its chameleon-like transformation
into the late French Romantic organ
is startlingly convincing. Klais this
isn't. Only the reeds seem to me to
be uncomfortably neutral, especially
those in the pedal seem to be neither
fish nor fowl, and the temperament is
of course very equal. I stand by my
comments that this organ, as far as
I and many others are concerned, represented
the wrong course of action in the context
of the whole Frauenkirche project, but
as a new pointer to successful eclectic
organ building, this instrument seems
very very exciting.
The performer on this
release is the newly-appointed titulaire,
Samuel Kummer. Born in 1968 and a former
student of Ludger Lohmann in Stuttgart,
he plays with panache and charisma.
The tempi in the Bach are quick, and
his improvised cadenzas in the Grave
of BWV 596 are excessive, but his Bach
playing in general is considered and
commands attention. The Duruflé
I find a touch less convincing, the
first two movements especially seem
too brisk and not as flexible and atmospheric
as they could be. The Toccata however
is brash and exciting and the organ
loves it.
This organ-story generated
much negative hype, but buy this and
come to your own conclusions about the
instrument and admire the excellent
playing of Samuel Kummer!
Chris Bragg
See also review
by Dominy Clements
Samuel Kummer (organ) 
