The Söderström Organ in the Husby Church
Johann Ludwig KREBS (1713 - 1780)
Praeludium et Fuga in C: Praeludium [4:35] Fuga [5:20]
Partita No. 2 in B Flat Major: Preludio [3:23] Allemande [3:10]
Corrente [2:27] Sarabande [3:00] Gigue [2:08]
Johann Sebastian BACH (1685 - 1750)
Choral Preludes: Wir glauben all’ an einen Gott, Vater
BWV 740 [5:48] Nun komm, der Heiden Heiland BWV 659 [4:57]
Carl Philipp Emanuel BACH (1714 - 1788)
Sonata in F Major, Wq 70:3/H 84: I. Allegro [5:18] II. Largo
[3:28] III. Allegretto [3:52]
Johann Ludwig KREBS
Choral Preludes: Von Gott will ich nicht lassen [3:22]
Zeuch ein zu deinen Toren [4:12]
Johann Christoph KELLNER (1736 - 1803)
Fantasia in G Minor [6:10]
Johann Ludwig KREBS
Toccata in E Major [5:11]
Jan H. Börjesson (organ)
rec. Husby Church, Sweden, 9-10 December 2011
OAK GROVE CD 2028 [67:26]
Husby Church in the Municipality of Hedemora in the Province
of Dalecarlia in Central Sweden, was erected in the 14th
century but completely rebuilt in the late 18th century.
Fragments of 16th century paintings are preserved
there. In connection with the renovation a new organ was built
by Nicolaus Söderström, who at the time was organist
in the church. There are only three existing organs by his hand,
in Jumkil (1770), Tensta (1780) and Husby (1783), the latter
being the largest. Next to the famous Cahman organ at Leufstabruk,
this is the second largest 18th century organ in
Sweden. Through the years it has been repaired and changed and
in 1936 it was in such poor condition that the parish decided
to build a new one. Fortunately the old organ was left intact
and in 2011 it was restored by Bergenblad and Johnsson Organbuilding
Ltd with the organist on this disc as consultant. In the notes
to this disc he gives details of the renovation and also gives
the specification for the organ. It is a beautiful instrument,
as can be seen on the cover photo and sonically it is decidedly
attractive. Christer Eklund’s recording is excellent,
the playing is lean and resilient and the repertoire is fairly
un-hackneyed.
The lion’s share is by Johann Ludwig Krebs, who studied
with Johann Sebastian Bach and was held in high esteem by his
mentor. His counterpoint writing is skilful and reminiscent
of Bach’s. The fugue in the opening Praeludium et Fuga
in C is particularly impressive. It seems that the Partita
in B-flat was written for harpsichord and Börjesson
plays only a selection of the movements, of which the beautiful
prelude and the sarabande are especially atmospheric. The jaunty
gigue is also attractive.
His master J.S. Bach’s two choral preludes are in no way
superior to Krebs’s works. Wir glauben all’ an
einen Gott, Vater is rather austere and Nun komm, der
Heiden Heiland is inward and recessed. Some scholars have
even suggested that the first of them could have been written
by Krebs. Carl Philip Emanuel Bach was just a year younger than
Krebs and became an early exponent of the galant style. The
fresh and inviting Sonata in F is a fine example of this.
Krebs’ two choral preludes are no doubt Bachian, Von
Gott will ich nicht lassen the most ‘old-fashioned’.
The youngest composer on the disc is Johann Christoph Kellner,
born 1736 and whose father is said to have been a pupil of Bach’s.
His Fantasia is a riveting piece and so is the concluding
virtuoso Toccata by Krebs. Both works show off the grandiose
instrument to great effect.
Organ-lovers are in for a treat with this disc and visitors
to the region should queue up for the next opportunity to hear
this organ live.
Göran Forsling
Organ-lovers are in for a treat with this disc.