Three Preludes and Fugues Op. 37 (pub. 1837) [12:27]
Andante in D major (1844) [6:01]
Andante in G minor (1833) [1:43]
Sonata No. 2 in C minor, Op. 65 (1839) [9:47]
Andante in F major (1839) [3:24]
Sonata Op. 65 No. 4 in B flat major (pub. 1845) [16:10]
Yuval RABIN (b. 1973)
Hommage à Mendelssohn [10:25]
Yuval Rabin (organ)
rec. 5-6 September 2012, St. Marzellus, Gersau
MUSIKPRODUKTION DABRINGHAUS UND GRIMM MDG 906 1786-6 [74:58]
Mendelssohn’s works for organ are a popular choice, and in particular
his six Sonatas Op. 65, which fit neatly onto a single CD. Yuval
Rabin brings us a selection of works not particularly gathered together
in any particular theme. These are however played on an organ whose original
1813 disposition, restored and reconstructed in 2011 after the usual litany
of modifications since its original construction, means that we hear this
music on an instrument which would have been the state of the art in Mendelssohn’s
time.
The opening Prelude in C minor gives us an immediate taste of
what is to come, with a finely modulated and lively organ tone supported
by terrific pedal notes. The clarity of these is a real treat, no honking
vagueness but real notes which reach out and grab you by the tonsils.
The Bach-inspired G major Prelude shows the instrument’s softer
side, with a gorgeous lyrical sound in which you can bathe luxuriantly.
The Andante in D major dates from the period that Mendelssohn
was occupied with his Sonatas, and is a pleasantly ruminative set of variations.
The miniature Andante in G minor and Andante in F major
are equally restrained and reflective, providing contrast for the two
sonatas.
The Sonata No. 2 in C minor offers more substance, with its unusual
Grave opening, rousing third movement and fugal Finale.
For comparison I had a listen to Kay Johannsen’s recordings of the Sonatas
on the Carus label (see review).
This was criticised for its choice of instrument, which delivers a larger
and more immediately impressive sound when compared to the 1813 Braun/Mathis
organ on this MDG release. With performances reasonably similar and recordings
of equally high standard it does indeed come down to what you prefer in
terms of organ sound, and there are payoffs in both directions. With the
MDG recording the detail of the faster figuration in the opening Allegro
con brio of the Sonata No. 4 is more recessed – by no means
inaudible, but creating rising fans of well-modulated harmonic colour
rather than each note arriving with a more forward balance and greater
clarity. The expression of the second movement, Andante religioso
is more of a clincher, the refinement in sonority with Yuval Rabin’s older
instrument giving a greater sense of atmosphere. One feels one should
be appropriately dressed in period costume to appreciate this in the best
way. As the booklet remarks, “the organ is an instrument which makes it
possible to travel into the past”, and with this recording that is the
very experience which makes it that extra bit special.
Yuval Rabin concludes his recital with a Homage piece based on
improvisations with which he concludes his concerts, creating variations
on the Jewish song “Yedid Nefesh” or ‘Dearest Friend’ in Mendelssohn’s
idiom. This is very pleasant music and full of invention, enriching our
appreciation of the instrument by pushing its boundaries just a little
further than in most of the previous pieces, but almost creating a new
Mendelssohn ‘Sonata’ in its variations and final Fugue.
With MDG’s marvellous 2+2+2 SACD recording this is an organ disc to keep
handy, if nothing else as a reminder of what a good organ can sound like.
With its nicely chosen selection of Mendelssohn’s deservedly admired works
this is an all-round winner.
Dominy Clements
An all-round organ winner.
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