Hieronymus PRAETORIUS (1560-1629)
Organ Works
Léon Berben (organ)
rec. 2021, St. Laurentius, Langwarden & St. Marien, Lemgo, Germany
AEOLUS AE-11311 SACD [78:46 + 78:29]
The first thing to say is that Hieronymus Praetorius isn’t related to the celebrated and prolific composer Michael Praetorius (1571-1621). Hieronymus Praetorius was a north German composer and organist, one of the most esteemed Hamburg musicians of his time, whose career straddled the late Renaissance and very early Baroque eras. He was born in Hamburg in 1560 and studied organ early with his father. His father Jacob was organist at the Jacobikirche and the associated chapel of St Gertrud. Hieronymus was in his early twenties when Jacob died, and he took over his father’s post, remaining in it for the remainder of his life. Hieronymus can be credited with being one of the founders and first representatives of the north German organ school. His compositions include masses, ten settings of the Magnificat, and numerous motets.
Léon Berben performs Praetorius’ music on two instruments, the Kröger Organ (1650) of St. Laurentius, Langwarden on disc 1, and the Scherer/West Organ (1612/2008) of St Marien’s Church, Lemgo on disc 2. A detailed history by Koos van de Linde of each instrument is provided in the accompanying booklet.
The composer didn’t publish any organ works. The most important source for Praetorius’ organ music is the Visby Organ Tablature, which takes its name after the largest city on the Swedish island of Gotland where the tablature is preserved. It’s one of the earliest handwritten collections of organ pieces for Lutheran worship services, assembled by Jakob Praetorius's pupil Berendt Petri. It includes eight Magnificat settings, which are interspersed throughout the two discs. They, and the chorale fantasias Christ unser Herr zum Jordan kam and Wenn mein Stündlein vorhanden ist are the only organ works whose authenticity is established. The Visby Tablature also contains the nineteen hymn treatments which are featured on the recording. These are not ascribed to the composer, so whether they were written by Hieronymus Praetorius remains an open question. These hymns transport us through the entire liturgical year.
The Magnificats, based on the eight church modes, are mapped out as follows: each comprises three verses, except the 7th and 8th which contain four. Some have alternative versions of one verse. They follow a pattern. The first verse has the cantus firmus in the tenor, the second in the descant, and the third in the bass. The music is beguiling and, at times, majestic. Praetorius provides plenty of contrasts in terms of mood and colour. In both the Magnificat and the hymns, Berben paces the music well, and gives totally committed performances. His mastery of decoration and ornamentation, coupled with imaginative registration choices, produce dazzling results.
I would suggest that the listener make a selection of pieces rather than attempt both discs in a single sitting.
I must commend Aeolus on their excellent presentation. Their extensive notes come in the form of a 35 page booklet, in English and German, securely attached to the gatefold. The registration specifications for both instruments are included. The engineers have managed to achieve honeyed warm and intimate sound throughout.
Stephen Greenbank
Contents
Disc 1 [78:46]
Magnificat Octavi Toni
Hymnus Christe qui es lux
Magnificat Quinti Toni
Hymnus A solis ortus cardine
Hymnus Iesu nostra redemptio
Hymnus Vexilla regis prodeunt
Magnificat Secundi Toni
Hymnus Deus creator omnium
Hymnus O lux beata trinitas
Magnificat Quarti Toni
Disc 2 [78:29]
Christ unser Herr zum Jordan kam
Magnificat primi toni (Zellerfeld Tabulatur)
Hymnus Dies absoluti praetereunt
Magnificat primi toni
Magnificat tertii toni
Hymnus Veni redemptor gentium
Magnificat sexti toni
Magnificat septimi toni
Wenn mein Stündlein vorhanden ist
