Georg Wilhelm Dietrich SAXER (?-1740)
Praeludium in D [8:12]
Praeludium in e minor [5:26]
Praeludium in F [5:30]
Andreas DÜBEN (c.1597-1662)
Allein Gott in der Höh sei Ehr [3:38]
Wo Gott der Herr nicht bei uns hält [5:04]
Praeludium pedaliter in a minor [2:33]
Martin DÜBEN (c.1599-c.1649)
Erstanden ist der heilig Christ [3:11]
Praeambulum pedaliter in F [1:46]
Praeludium in e minor [3:19]
Gustav DÜBEN (c.1628-1690)
Nun lob, mein Seel, den Herren [3:49]
Gottlieb NITTAUF (1685-1722)
Preludium auff 2. Clavier in e minor [1:57]
Preludium in a minor [1:25]
Preludium in g minor [1:00]
Preludium in G [1:01]
Preludium in d minor [1:05]
Preludium in F [0:49]
Preludium pedaliter in C [1:09]
Preludium in D [3:19]
Preludium (Toccata) in a minor [3:28]
Ewald HINTZ (1613-1668)
Allein zu dir, Herr Jesu Christ [3:55]
Andreas NEUNHABER (1603-1663)
Ich ruf zu dir, Herr Jesu Christ [8:29]
Johann Christian SCHIEFERDECKER (1679-1732)
Meine Seele erhebt den Herren [3:29]
Friedhelm Flamme (organ)
rec. 22-23 May 2009, Sct. Mariae Kirke, Helsingør, Denmark. DDD
CPO 777 502-2 [73:47]
In 2004 the German organist Friedhelm Flamme started a major project
for CPO: the recording of the complete organ works by composers of the
so-called North-German organ school. The most famous representative of
that school is Dieterich Buxtehude, but among organists of his and previous
generations there were many brilliant organists whose compositions reflect
their great skills. In the North-German regions organists were held in
high esteem and belonged amongst the highest paid musicians of their time.
Several important representatives of the school have already been presented
in this series, among them Vincent Lübeck, Nicolaus Bruhns and Franz Tunder.
The previous volumes also included pieces by lesser-known masters, such
as Peter Morhard, Andreas Kneller and Martin Radeck. The composers who
figure on the present disc, belong in the same category. The name of Düben
may be not quite unfamiliar, but that only concerns Gustav, who collected
a large number of vocal and instrumental works - about 1800 in total -
which have found their way into the so-called 'Düben-collection'
which is preserved at the university of Uppsala. The composers on the
programme - except Saxer - have in common that they didn't work
as organists in Northern Germany. However, their compositions bear the
stylistic trademarks of the North-German school.
The three preludes by Georg Wilhelm Dietrich Saxer are good examples as
they comprise three sections of a contrasting character, including a fugue.
Interestingly we can see here the development toward a formal split between
prelude and fugue which would take place in the early 18th century and
comes to the fore in the organ oeuvre of Johann Sebastian Bach. Unlike
earlier North-German composers Saxer included only one fugal section in
his preludes. The pieces close with a short section in slow tempo. Virtuosic
passage-work and pedal solos are amongst the hallmarks of the North-German
organ style and figure in these preludes as well. Improvisatory gestures
also were characteristic of this school and Saxer's Praeludium
in e minor is a striking example. Little is known about the composer:
we don't know when or where he was born and from whom he received
his musical education. His stature must be considerable as in 1634 he
was appointed as organist of the Johanniskirche in Lüneburg as successor
to Georg Böhm.
The Düben family was from Leipzig. Andreas and his younger brother Martin
were born there and settled in Sweden. They received their first education
from their father, who was organist of the Thomaskirche. Andreas went
to Amsterdam to study with Sweelinck, and it is possible that his brother
followed his example. Andreas was appointed as organist of the Swedish
court in Stockholm in 1620 and soon developed into a major figure in the
Swedish music scene. Martin joined him in 1625. Little of their compositional
output has come down to us. In the chorale-based compositions the hymn
melody is treated in various ways, sometimes unornamented, sometimes with
lively and extended embellishments. Their preludes are largely confined
to slowly forward-moving chords, without motivic imitation. Gustav Düben
has already been mentioned: he was a close friend of Dieterich Buxtehude.
Thanks to him many of the latter's compositions have been preserved.
Only one composition from Gustav's pen is known, the chorale fantasia
Nun lob mein Seel den Herren which is treated in such a way that
the uplifting character of text and melody is eloquently emphasized.
Gottlieb Nittauf was born in Stockholm, as the son of the German-born
court trumpeter Johann Nicolaus. It is documented that he sang as a choirboy
under Gustav Düben's direction which must have brought him into
close contact with the Buxtehude idiom. He worked as an organist in Stockholm
and Göteborg, and there is a document which states that he had studied
with "a great master" in Hamburg which was probably Vincent
Lübeck. The first six preludes in the programme are in various keys and
express different Affekte. Flamme suggests these pieces could
be meant as educational material for his pupils. The other three preludes
show the features of the North-German organ school in the inclusion of
pedal solos, virtuosic figures and contrasting sections. The Preludium
in a minor, also known as Toccata, shows again the move
toward a more independent fugue.
The last three composers on the programme are represented by just one
piece each, the only organ works from their pen which are known. Ewald
Hintz was from Danzig and was a pupil of Johann Jacob Froberger. He worked
as organist in Danzig and was a member of the court chapel in Copenhagen
in the last years of his life. The chorale fantasia Allein zu dir,
Herr Jesu Christ requires an organ with three manuals: the cantus
firmus is divided over two manuals, whereas the accompanying figures
are played at the third. The cantus firmus is strongly ornamented,
which is also the case in Ich ruf zu dir, Herr Jesu Christ by
Andreas Neunhaber. He was also born in Danzig, where he was a pupil of
Paul Siefert. He worked there all his life in various churches as organist.
Lastly we come to Johann Christian Schieferdecker, who was from Saxony
and attended the Thomasschule in Leipzig. There he composed his first
operas and later played a major role in the Oper am Gänsemarkt in Hamburg.
In 1706 he became assistant to Dieterich Buxtehude in Lübeck, and succeeded
him after his death in 1707. Very little of his output has been preserved.
Lately several discs have been devoted to his vocal and instrumental works.
Only one organ piece by him is known: Meine Seele erhebt den Herren
is in five sections in which the chorale melody is treated in various
ways.
Friedhelm Flamme plays an instrument which is strictly speaking not historical,
but rather a modern reconstruction. It tries to bring to life again the
organ which was built in 1641 by Johann Lorentz and renovated in the early
1660s - just after Buxtehude had taken up the position of organist in
Helsingør - by Hans Christoff Frietzsch. The result is a beautiful instrument
of three manuals and pedal. It is well suited to the music of the North-German
organ school. Flamme effectively uses the various colours of the organ
for the chorale-based compositions. He does so in such a way that the
cantus firmus can be clearly heard. In the free pieces the improvisatory
elements which are such an important feature of the North-German organ
school are very well realised. Flamme plays here with more flair and freedom
than in some previous volumes in this project. This results in a compelling
disc with many little-known gems from an astonishingly rich musical culture
of the 17th century.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
A compelling disc with many little-known gems from an astonishingly rich
musical culture of the 17th century.
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