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Wolfgang Amadeus
MOZART (1756-1791) Epistelsonaten, Werke für eine Orgelwalze
Sonate in C KV 328 [5:20]
Sonate in F KV 244 [4:16]
Fantasie in f KV 594 [12:22]
Sonate in B KV 212 [3:45]
Sonate in Es KV 67 [2:38]
Andante in F KV 616 [7:42]
Sonate in F KV 224 [5:11]
Sonate in D KV 69 [4:10]
Fantasie in f KV 608 [12:08]
Sonate in D KV 144 [3:50]
Sonate in C KV 336 [5:05]
Gerhard Gnann (organ)
rec. Sankt Mariä Empfängnis, Essen-Holsterhausen, Germany, August 2006. DDD ORGANUM
OGM 261128 [69:32]
The
problem of making a Mozart CD on the organ is, of course,
what one should use to fill up the disc, once the Orgelwalze pieces
have run dry. Here Gerhard Gnann comes up with an original
and entertaining solution by playing solo arrangements of
the Epistle Sonatas, those single movement ‘organ concertos’ which,
by the 1770s constituted the only remaining instrumental
music in the mass in Salzburg.
Gerhard
Gnann, professor of organ in Mainz, and a former prize-winner
at Bruges and Speyer, makes this a highly recommendable release
through his lively and musical playing, always in tune with
the essence of each composition. The highly decorative repeats
in the KV 594 Fantasia irritated on repeated listening, but
his concept of the two fantasias is as compelling as you’ll
hear. I especially like the fact that while most interpreters
take a quicker tempo in the fugue of KV 608 (why?), Gnann
has the bravery to take the fugue even a notch slower than
the preceding material.
The
organ is also something of a surprise. Built in 2005 by Romanus
Seifert it is notably better than other recent instruments
by this firm which I have heard - why do Organum record so
many, incidentally? Aided by a glorious acoustical situation,
this large two-manual eclectic instrument features a substantial ‘French’ swell
(including a Trompette harmonique extended one octave below
8’ c), excellent flutes, a good, if still slightly acerbic
chorus, unequal temperament, and even a slightly hysterical
32’ reeds - listen to track 9 at 10:59. The concept doesn’t
thrill me, but it is rare to come across a universal organ
from a German-speaking country to which I actually want to
listen for the duration of a CD.
The
booklet contains excellent programme notes, though occasionally
the English leaves too much to be desired.
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