This is an extremely
valuable release of Liszt’s music played
on the organ for which much of it was
conceived; the first recording since
the instrument’s restoration. The first
large Romantic organ in Central Germany,
and the largest organ in that country
at the time, Friedrich Ladegast’s Merseburg
masterpiece was completed in 1855. Since
the 1960s, when a misguided restoration
removed some original stops in favour
of neo-baroque examples, the organ hasn’t
sounded optimal for the music with which
it is so closely linked. As well as
the great works of Liszt, this was the
organ on which Julius Reubke first performed
his now renowned Sonata on the 94th
Psalm. Now, a joint project between
Eule, Wegscheider and Scheffler has
restored it to its former cohesion,
including the reconstruction of the
lost Ladegast stops.
The aural result is
undeniably remarkable. The variety of
8’ colour is typical of the style of
course, however, what is perhaps more
interesting is the variety of mixture-work
which adds greatly to the colour, though,
much like the later organs of Sauer
and Walcker, not to the power of the
choruses. The reeds of course play a
very secondary role in such an instrument,
most are free-reeds. The overall impression
is one of a mostly restrained early-Romantic
grandeur, with a clear classical orientation
evident in the chorus-work and even
in the flexible wind which wobbles noticeably
in tutti passages.
This release is a very
interesting and well-documented 19th
century performance-practice project.
The little-known prelude on Weinen,
Klagen is played following the registrations
for the Merseburg organ recorded by
Liszt’s pupil Alexander Winterberger,
while Bach’s Passacaglia is played following
the registration plan of another of
Liszt’s colleagues, the great organ
builder Töpfer, for his own organ
in the Weimar Stadtkirche. Not surprisingly
this makes extended use of the softer
colours, and an overall crescendo. It
is interesting to consider that the
practice of making a crescendo in the
Passacaglia probably originates from
this time and this sort of organ. All
the registrations are printed in the
excellent booklet. Also fascinating
are Liszt’s seldom-heard transcriptions
of the non-organ music of Bach.
Michael Schönheit
is the titulaire of this remarkable
survival. His musical performances demonstrate
his familiarity with the organ and with
the style. However I found his playing
to be lacking a little in expressiveness
and drama. A pity this, as this is an
otherwise significant and very valuable
release.
Chris Bragg
Michael Schönheit, organ 
MUSIK
DABRINGHAUS UND GRIMM MDG 906 1334-6 [72’37]
