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Latvian Organ Landscape Anon (Lüneburger Tabulatur)
Preambulum in g [0:51]
Vater unser im Himmelreich [1:31] Dietrich BUXTEHUDE (c.1637-1707)
Vater unser im Himmelreich [2:26]
Canzonetta in G [2:13] Johann Valentin MEDER (1649-1719]
Chaconne in C [5:52] Anon (Baltisches
Lautenbuch, 1740)
Aria G major [0:44] Johann Gottfried
MÜTHEL (1728-1788)
Jesu, meine Freude [1:32] Carl Phillip Emanuel
BACH (1714-1788)
Menuett F minor [1:04] Johann Gottfried
MÜTHEL (1728-1788)
Fantasie G major [2:44] Anon (Baltisches
Lautenbuch, 1740)
Allegretto C major [0:51] Georg Michael TELEMANN (1748-1831)
Ein feste Burg ist unser Gott [2:25] Rudolf POSTEL (1820-1889)
Ein feste Burg ist unser Gott [1:24] Johann Gottfried
MÜTHEL (1728-1788)
O Traurigkeit, o Herzeleid [3:38] Friedrich WENDT (first
half, 19th century)
Liebster Jesu, wir sind hier [0:52] Nikolajs ALUNANS (1859-1919)
Paraphrase über Robert Radeckes Lied ‘Aus der Jugendzeit’ [4:42] Alfreds KALNINS (1879-1951)
Praeludium [5:46] Peeter LAJA (1897-1951)
Praeludium über das lettische Volkslied ‘Wehe, Windchen’ [3:28] Wilhelm BERGNER (1837-1907)
Vorspiel und Choralsatz ‘Christus der ist mein Leben’ [1:16]
Vorspiel und Choralsatz ‘Herr Jesu, führe mich’ [1:59] Adams ORE (1855-1927)
Konzertsatz D minor [6:09] Jazeps VITOLS (1863-1948)
Pastorale [2:53] Jazeps MEDINS (1877-1947)
Praeludium G minor [4:13] Arvids ZILINSKIS (1905-1993)
Praeludium E major [6:43] Atis STEPINS (1958)
Trio d minor [1:34] Aivars KALEJS (1951)
Postlude in memoriam Jehan Alain [4:27] Franz LISZT (1811-1886)
Nun danket alle Gott [7:13]
Martin
Rost (organs)
rec. 27-31 August, 2007, churches of Ugale, Edole, Ventspils,
Liepaja, Vilkene, Valmiera, Zalnieki, and the Cathedrals
of Liepaja and Riga, Latvia. DDD MUSIKPRODUKTION DABRINGHAUS
UND GRIMM MDG3191503-2 [79:32]
Now
here’s a piece of organ trivia for you. Where is the world’s
largest all mechanical-action organ? The answer - and I’m
ashamed to confess I didn’t know either - is, believe it
or not, the Trinitatiskirche in Liepaja, Latvia. It is
only one of the remarkable, and with one notable exception,
more or less completely unknown organs featured on the
present release.
I
like the format of this, and its partner releases from
MDG, very much. This CD is of particular interest because
of the awakening of the West to the organ treasures of
the East, hidden for so long behind the Iron Curtain. The
organs featured here date from between 1700 (the organ
at Ugale, built by one Cornelius Rhaneus) and 1904, and
can be roughly divided into those displaying typical German
characteristics and others which display, in one way or
another, something altogether more out of the ordinary.
In the former category are the Ladegast at Valmiera, or,
in its own way, the famous Walcker in the Riga Dom. Listen
out also for the evocative free-reed Vox Humana on the
1865 Herrmann organ at Zalenieki. The 1835 Tiedermann organ
at Ventspils is in the latter category. With its two manuals
and five stop independent pedal, it contains just one reed.
The Emil Martin organ of 1904 in the Cathedral of Liepaja
contains both French reeds and an 8’ Harmonic Flute in
an otherwise typically German scheme for the period. This
perhaps reflects the influence of E.F. Walcker who, following
the erection of the Riga organ remained highly active in
the region.
Assuming
you are aware of the famous Riga Dom organ - which at 127
stops must surely be the second largest all mechanical
organ in the world? - the real curiosity here is the mammoth
131-stop organ in Liepaja. Based on a 1779 organ of Contius,
with later enlargements by Carl and Carl Alexander Herrmann
, as well as by Barmin Grüneberg in 1885, it is now an
astonishing mixture of organ building styles; an ”encyclopedia
of organ building of the eighteenth and nineteenth centuries” as
Martin Rost writes in the booklet. Only the Hauptwerk makes
use of a Barker lever and the organ includes both (mechanical)
cone and slider chests.
Rost
cleverly puts the instrument through its paces, choosing
music from the different periods of its construction to
show it off. His programming in general is inventive, and
his playing never less than good. His extensive searching
for unknown, often Latvian, repertoire is admirable, even
if very little of it interested me beyond its ability to
demonstrate the instruments in question. The very conservative Konzertsatz,
for example, of the Mazsalacas-born Adams Ore, this despite
his extensive travelling, is somewhat typical. The concluding
nugget of Liszt on the other hand, written for the opening
of the Riga organ, is wonderful, showing off one of the
great organs of the 19th century.
The
booklet is packed with colour photos and an excellent overview
of both Latvian organ history, and the instruments and
music heard. It is written by the performer himself.
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