August RITTER (1811-1885)
Sonata No. 3 in A minor, Op. 23 (1855) [20:10]
Sonata No. 1 in D minor, Op. 11 (1845) [12:26]
Sonata No. 2 in E minor, Op. 19 (1850) [13:44]
Sonata No. 4 in A minor, Op. 31 (1856) [16:11]
Michael Harris (organ)
rec. 1-3 September 2015, Kirche Altleisnig, Polditz, Germany.
PRIORY RECORDS PRCD1162 [61:23]
A contemporary of Liszt and Wagner, August Gottfried Ritter
was born in the university city of Erfurt, deciding early on that his musical
career should be closely connected to the organ both as composer and performer.
His is a lasting legacy in terms of teaching, both in his own practice and
with a number of durable publications on the art of organ playing.
Ritter’s First Organ Sonata would have been the first of its
kind to be published, but due to some delay he was beaten by a year to this
record by Mendelssohn. This work mixes the language of the Baroque period
with bold chromatic statements that are more associated with Liszt, as is
the move towards cyclical form which sees the main theme transformed and used
throughout the work. Divided into five fairly compact movements, the contrast
between three mighty Allegro movements with two gentle Andantes
gives the piece a suite-feel, with grand Bach-like cadences greeting us as
a conclusion to the complications in those more monumental outer and central
movements.
The Second Sonata has a more literary feel than the first, with a
lyrical main theme and a dramatic opening gesture that functions as material
for a virtuoso finale. The Third Sonata is dedicated to Liszt and
builds confidently on the cyclical structure of the previous sonatas, developing
and elaborating on thematic ideas to a greater extent and further exploring
chromaticism. Ritter enjoys a ‘recitative style’ in some of these
works, extending wordless narratives over sparing chords in the second movement
of this Third Sonata before launching on an attractive aria to follow.
The Fourth Sonata falls into two movements, the second of which is
a set of variations around a tune used as the Dutch national anthem at the
time, reflecting the work’s dedication to organist Jan van Eijken.
These works are played stylishly by Michael Harris on an instrument completed
in 1868 and built by Friedrich Ladegast. The instrument has remained relatively
unspoilt despite the need for thorough restoration after neglect of the Polditz
church. The sound we have here can therefore be confidently taken as ‘authentic’
for the period and it suits Ritter’s music well in not being too overblown.
The Kirche Altleisnig acoustic is not vast, nor is it too dry; though don’t
expect a cathedral experience from this recording. The Priory label has a
fine reputation when it comes to organ recordings, and it takes little imagination
to imagine yourself at the venue. There is some mechanical noise from the
instrument, so it is probably just as well the microphone placement is not
too close, the balance feeling like ‘best seat in the house’ rather
than a virtuoso attempt to deliver a stereo sonic spectacular. Ritter’s
music is technically excellent though I wouldn’t go as far to say that
his music is inspirational and memorably distinctive. This is a snapshot of
a significant but rarely heard organist’s output and is certainly entertaining
as well as being of academic interest, though you’ll be most likely
to appreciate Ritter’s music if you are a real enthusiast for his times.
Dominy Clements
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