Feliks NOWOWIEJSKI (1877-1946)
Concertos for solo organ – Vol. 1
Entry into the Cathedral (Festive March), Op. 8/3 (date unknown) [3:21]
Concert for organ, Op, 56/1 (1938-1941) [31:16]
Pieces for organ, Op. 9 (unknown)
I. Prelude on Roses of St. Theresa, Op. 9/2 [3:54]
II. Prelude on a theme Kyrie from Mass No. 11, Op. 9/3 [5:48]
III. Introduction to the chorale Salve Regina, Op. 9/4 [3:13]
IV. Introduction to the sequence Victimae paschali laude, Op. 9/7 [4:25]
V. Introduction to the hymn Veni Creator, Op. 9/8 [4:06]
Concerto for Organ in A major, Op. 56 No 2 (1938-1941) [23:04]
Rudolf Innig (organ)
rec. 23-24 January 2009, Bremen Cathedral, Bremen, Germany
MUSIKPRODUKTION DABRINGHAUS UND GRIMM MDG 3177-1591-2 [79:42]
A distinct advantage of smaller labels is that they tend to explore the repertoire
the majors overlook. MDG are a case in point, especially with their enterprising
Organ Landscape series – see my review
of the Lithuanian instalment – and their collection of works for organ and
choir by Jan Janca – review.
Part of the latter was played on the great Sauer organ of Bremen Cathedral,
the instrument used on this Nowowiejski disc. The organist Rudolf Innig is
new to me, although I see his discography includes the organ works of such
diverse composers as Brahms and Messiaen.
I suspect the Polish composer, conductor, concert organist and music teacher
Feliks Nowowiejski is also unfamiliar to all but the most dedicated organ
buffs. Among his compositions are several operas and choral pieces, but his
main interest seems to have been the organ, for which he wrote six symphonies
(Op. 45) and four concertos (Op. 56). Two of the latter – Nos. 1 and 2 – are
recorded here. But first, the undated Entry into the Cathedral (Festive
March); it’s a magisterial piece, yet the central section is more delicately
scored. The recording is deep and wide, with no muddying of detail, and Innig
plays with commendable restraint and dignity. An excellent introduction to
this collection and a piece I’d be happy to revisit.
The Op. 9 organ pieces – of which Nos. 5 and 6 are lost – are based on chorales
and Polish hymns. The solemn cadences of No. 2, ‘Prelude on Roses of St. Theresa’,
are splendidly done, although it soon becomes clear that Nowowiejski’s sound
world is rather short on transparency and general lightness of touch. That
said, there are some lovely rhythms here, and the movement ends in a mood
of genuine serenity. The third prelude – based on the Kyrie from one of the
composer’s Mass settings – strikes me as bluff and forbidding, akin to Sibelius
but without the colour, thrill and momentum one hears in the latter’s splendid
pieces for organ. The remaining three pieces, based on a chorale, a sequence
and a hymn, are accomplished enough – No. 4 is more colourful than the rest
– but they are just too unvarying to hold one’s ear for long.
The first of the Op. 56 concertos is a somewhat lugubrious affair, the opening
‘Veni creator’ emerging slowly from a dark cistern into the bright light of
day. There is some marvellous pedal work here and moments of sustained ecstasy
that may well remind listeners of early Messiaen. As for textures, they are
remarkably dense, the material intensively worked; indeed, the effect is almost
improvisatory at times. The Sauer organ is certainly a splendid instrument,
but one senses that weight and overall shape matter more in this music than
colour or nuance. By contrast, the second movement, ‘Infantes Dei’, has a
lovely melodic line, although Nowowiejski really does seem to favour dark,
bass-led sonorities. As for the final movement, ‘Epilogue: In Paradisum’,
anyone looking for a hint of Messiaenic radiance will be sorely disappointed.
No epiphanies here, I’m afraid.
The second concerto isn’t much different, although the opening salvoes of
the first movement really demonstrate the Sauer’s heft. But for all its virtuosity
there’s a rather dry aspect to this music, its gargle and roar apt to become
a tad wearying after a while. That said, even at its blustery extremes the
MDG engineers manage to maintain the organ’s focus and clarity, the ancient,
well-worn melodies of the ‘Canon Grčgorien’ especially well caught and played.
There’s a welcome leavening of mood and texture here, but then Nowowiejski
retreats into imperiousness in the concluding ‘Toccata’. As required there
is a lightness of touch in parts, but on the whole it’s just too inscrutable
for my tastes.
I suppose if one had to characterise Nowowiejski’s idiom it would have to
be a rather pedagogic focus on the music’s rigorous inner workings and general
architecture at the expense of instrumental colour and harmonic variety. The
effect is not unpleasing, but some listeners may find the composer’s musical
persona – and the Sauer sound – much too stern and joyless for comfort. As
with the music, the liner-notes are just as earnest and uninspiring.
So, apart from a memorable curtain-raiser there’s little here I would care
to revisit; still, MDG must be applauded for taking risks with repertoire
most labels wouldn’t touch. No doubt there are still some gems to be unearthed,
but you won’t find any here.
Dan Morgan
No doubt there are still some gems to be unearthed, but you won’t find any
here