The music of Philipp
Wolfrum falls into the category of music
too often ignored in modern performance
and recordings. Like so much late 19th
century and early 20th century
organ music, it was swept aside in the
historical revivals of the 20th
century for being too "romantic".
This is ironic given that Wolfrum’s
contemporaries found him not romantic
enough. The romantic organs that originally
played this music have also too often
been removed, rebuilt, revoiced, or
otherwise adapted as tastes changed
throughout the century.
On this album we have
a rare opportunity to experience true
German Romantic repertoire performed
on the organ the composer knew and one
restored to its original configuration.
Organist Martin Sander’s talent shines
brightly here. He is well in control
of the instrument, while bringing this
forgotten music to life.
Wolfrum was a student
of Rheinberger’s and a devotee of Bach.
The technical mastery required for both
of these composers is exceeded in Wolfrum’s
own writing. The three Sonatas here
are very different. They require an
organist of great technical ability
and musical understanding to raise them
from the level of romantic slush and
technical exercises, and Sander does
this exceedingly well.
The first of the three
sonatas is a fiery, powerful explosion
of sound. From the very beginning we
hear the true German Romantic sound
with full foundation tone, reeds snarling
their way through, and upper work just
shimmering above. Sander gives this
work lots of energy through both loud
and soft passages. The contrasting registrations
and varieties of colour make it a joy
to listen to. In the softest parts of
the second movement the gentle flutes
are under-girded by a rumbling Untersatz,
followed by the silvery strings the
sound of which Sander expertly builds
to a forte then brings back to calm.
The closing fugue brings images of Bach,
but with the harmonic development and
musical line of a 19th century
master. Sander combines these elements
into an exciting climax with technical
perfection.
The calmer second sonata
allows the organist an opportunity to
show off more of the organ’s solo colours.
It is more romantic in nature than the
first but very joyful, and Sander does
a good job of injecting it with lots
of energy. It ends, like the first sonata,
with a fugue that taxes the organist’s
talent and technique, but Sander tackles
it well. The third sonata is much longer
and explores many more musical ideas
than either of the first two. Throughout
we hear beautiful contrasts and the
best of this historic organ’s many varied
colors. When listening to this sonata,
especially the second movement, one
can’t help but be reminded of the organ
music of Brahms and Mendelssohn. Wolfrum’s
composition reaches a few decades back
for this movement. Throughout the lengthy
final movement, a theme and variations
now seated back in the late 19th
century, the organist takes us from
a gentle beginning to a satisfying full
ending.
The connoisseur of
German Romantic music cannot afford
to be without this wonderful performance
of music too rarely heard all performed
by a true master.
Brent Johnson
Martin Sander (organ) 
