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Dietrich
BUXTEHUDE (c.1637-1707)
Complete Works for Organ - Volume 6
Præludium in F, BuxWV145 [7:02] Nimm von uns, Herr, du treuer Gott, BuxWV207 [8:04]
Fuga in B, BuxWV176 [4:23]
Toccata in G, BuxWV165 [5:44]
Canzona in C, BuxWV166 [4:46]
Fuga in G, BuxWV175 [3:36]
Canzona in G, BuxWV170 [3:41]
Fuga in C, BuxWV174 [3:00]
Præludium in e minor, BuxWV143 [5:51]
Canzonetta in e minor, BuxWV169 [2:56]
Funeral Music for Johannes Buxtehude, BuxWV176: Contrapunctus
I – Evolutio – Contrapunctus II – Evolutio – Klaglied (1647)
[8:06]
Præludium in E, BuxWV141 [6:47]
Bine Bryndorf
(Stellwagen and Positive Organs, St Jakobi, Lübeck)
Rec in St Jakobi, Lübeck, 20th-21st June, 2007. ddd
Booklet with notes in English, German and Danish Dacapo 6.220530 [70:16]
This
recording completes Bine Bryndorf’s series of Buxtehude’s
organ music for Dacapo, part of the Naxos stable’s considerable
contribution to the tercentenary year. Alongside these Dacapo
Bryndorf recordings on historic North German and Scandinavian
organs, a parallel series has been in progress on Naxos on
modern instruments, Volume 6 of which I recently reviewed. The
Naxos series has been shared amongst several organists, though
the latest volumes have all been played by Julia Brown, latterly
on the remarkable Pasi organ of Omaha Cathedral. Concurrent
with this review is one of Volume 7 of the Naxos series, also
featuring Julia Brown on the Pasi organ (see review).
Whereas
the Dacapo series is complete on six CDs, the Naxos has already
run to seven volumes and the seventh is not stated to be the
final one. Both series have featured well-filled discs, with
typically 70+ minutes. One reason for the difference may
lie in the fact that the Naxos series contains some works
equally suited to harpsichord performance: the courant
zimble on Volume 7, for example, has been recorded by
other performers on the harpsichord, including by Mortensen
on Dacapo’s 3-CD set of Buxtehude’s harpsichord music.
Coincidentally,
four of the items on Naxos Vol.6 are also included on the
present recording. In all three works Bryndorf gains over
Brown with nimbler playing. Though timings are far from the
be-all and end-all, the differences are noticeable: in BuxWV166,
Brown takes 6:00 against Bryndorf’s 4:46, in BuxWV 145, 7:53
against 7:02, in BuxWV162 6:47 against 5:56 and in BuxWV165
7:04 against 5:44. I liked Brown’s recording and I am not
now going to retract what I said then – but I like Bryndorf
better.
The
same is true of the one work in common between this sixth
Dacapo CD and CD7 of the Naxos set, the Canzona in G, BuxWV170,
where Bryndorf takes 3:41 against Brown’s 4:28. I listened
first to Brown’s version of this work, to judge it on its
own terms, before turning to Bryndorf’s account. I found
Brown’s playing and chosen registration light and airy, bringing
out the lyrical qualities of the piece so well that I found
it hard to imagine that any performance could do greater justice
to these qualities. If Bryndorf does, perhaps, find just
that extra degree of magic in the piece, there is not a great
deal in it – and I actually found myself preferring Brown’s
registration in the opening bars. With equally helpful ambience
and equally good recordings, in tennis terms I suppose the
score is ‘deuce’.
These
timings are consistent with my general feeling that Bryndorf
is the more agile, the lighter-fingered performer. Where
Bryndorf emphasises the dance-like elements in the music,
Brown is more meditative and reminds us more of Bach’s debt
to Buxtehude. This should not be taken to mean that Bryndorf
skates over the music oblivious to its deeper qualities or
that Brown is slow and stodgy: both are thoroughly convincing
in their own terms. Neither player seems to feel that Buxtehude’s
famous Stylus Phantasticus – the phrase prominently
displayed on the front of the Dacapo CD – means pulling the
music about to make it artificially ‘exciting’.
In
general, where Bryndorf emphasises the lightness and dance-like
qualities of Buxtehude’s music, Brown points the way to Bach. Many
will prefer Brown’s approach and, of course, there is room
for both.
Though
Bryndorf’s organ may at first glance appear more authentic
than Brown’s, the issue is somewhat complex: the older instrument
has been much changed whereas the newer instrument has been
built with early music in mind. Part of the Hauptwerk of
the main Stellwagen organ at Lübeck dates in part as far back
as 1467-1515; its principal build by Friedrich Stellwagen
in 1636-7 would be ideal for the music of Buxtehude were it
not for the many 18th, 19th and 20th-century
restorations, culminating in a major restoration in 1977-8
and cleaning and retuning in 2006. Successive restorations
have left the pitch too high, a’=490Hz instead of the original
pitch of around 465 Hz, as the notes in the booklet admit. This
instrument is tuned to modified Werkmeister III, an 18th-Century
precursor of modern equal temperament. All but tracks 5-8
are played on this main instrument.
Nothing
survives of the Lübeck positive organ except the casing. The
present instrument was newly built in 2003, albeit based on
another organ by the same builder at Stokloster, Sweden. The
pitch of this instrument, 470 Hz, is much closer to the norm
of Buxtehude’s time. It is tuned in meantone with compromise
d-sharp/e-flat. Tracks 5-8 are played on this instrument.
The
Omaha organ, on the other hand, is an instrument for all seasons. The
specification in the Naxos booklet indicates that most of
the stops on the Great Organ and Pedals, plus all those on
the Positive Organ, are capable of being played in both well-tempered
tuning and ¼ comma mean-tone, thus making it suitable for
music of Buxtehude’s time and earlier.
Reviews
of earlier volumes in this Dacapo series have been generally
very positive. Gary
Higginson found Volume 1 good enough to encourage him
to continue to listen to the rest of the series, though he
wondered even then (July 2004) whether we needed yet another
complete series of Buxtehude organ music. Don
Satz was also generally complimentary, though with reservations
about Bryndorf’s comparative lack of reverence in the Chorales. Chris
Bragg felt much the same in respect of Volume
2, finding the ornamentation too fast and nervous and
lacking in tranquility. He made much the same point concerning Volume
3 and Volume
5, which he recommended, though preferring a generally
weightier approach.
These
reservations can be put to the test on track 2, Nimm von
uns, Herr, du treuer Gott, BuxWV207. It just so happens
that Radio 3’s Early Music Programme recently broadcast a
recording of a concert from the 2007 Stockholm Early Music
Festival in which Gøteborg Baroque performed the choral original
of this very piece, as measured, affective and reverent a
performance as one might wish, though suitably begeistert where
appropriate. There is, of course, a great deal of difference
between a choral original and a set of organ variations: the
latter is expected to be freer and more showy, the very essence
of Stylus Phantasticus, so it is only to be expected
that the organ realisation will sound different – as, indeed,
proves to be the case. Bryndorf’s performance is nimble and
entertaining. I fully admit DS’s and CB’s reservations, namely
that she emphasises the liveliness and the grandeur of such
music at the expense of the veneration, but it did not spoil
my enjoyment of her performance of this piece.
Track
12, the Funeral Music for Buxtehude’s father, offers a potentially
more testing case. Here the Lutheran chorale Mit Fried
und Freud ich fahr dahin – in peace and joy I depart – is
used as the starting point for a contrapuntal exercise. Bryndorf
brings out the academic nature and essential dignity of the
music in her playing but never loses sight of the affective
nature of the work, especially in the closing Klaglied or
song of lamentation, where Buxtehude sets a poem of his own. The
balance between the Fried und Freud on the one hand
and the Klage on the otheris well maintained.
The
Præludium in E, BuxWV141, which follows on the final track
rather shatters the mood, though this work is not without
its own gravity, especially in the opening prelude section,
but also in the ensuing fugue, an effect which Bryndorf emphasises
with use of 16’ pedal tone where appropriate. She makes what
might have seemed an irrelevance after the Funeral Music into
a fitting conclusion to the recording.
The
ambience is just right, the recording is excellent, never
interfering with enjoyment of the music, and the informative
booklet gives full details of the specifications of both Lübeck
organs and of the registration employed for each individual
piece. The short musical examples in the booklet are very
welcome.
Overall
I am very happy to recommend this recording, siding more with
Don Satz’s high commendation of Volume
2 than with his earlier reservations.
I
concluded my review of Volume 7 of the Naxos series by predicting
a very close contest between Julia Brown and Bine Bryndorf,
with the latter winning narrowly – and so it transpires. This
Dacapo CD costs more than twice as much as the Naxos but is
worth the extra. You could buy both and have only one short
item of overlap between the two.
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