The instrument is the largest in
the country, with ninety-six speaking stops. Its history ranges over four
centuries, with the most recent rebuild and restoration by the Danish company,
Marcussen & Søn Orgelbyggeri, conducted between 2018 and 2020.
Kristian Krogsøe is the organist of Aarhus Cathedral, as well as a guest professor at the Royal Danish Academy of Music in Copenhagen. He presents the first recital.
The performance gets off to a splendid start with British composer Percy Whitlock’s Fanfare, the last of his Four Extemporisations (1933). It is in ternary form, with an exuberant opening and closing sections characterised by rhythmical energy, bookending a quiet, reflective passage with hints of Delius. This recording is a “showcase” for the organ’s powerful Tuba Mirabilis.
Johann Sebastian Bach’s Partite diverse sopra "Sei gegrüßet, Jesu gütig, BWV 768, was written over a number of years. Beginning around 1705, Bach was still developing it when he was at Weimar between 1707 and 1717. The partita is based on the “given” choral melody played, incidentally, on the original 18th century façade pipes. This is followed by eleven variations which allow for considerable exploration of the organ’s timbres. Overall, it is a masterclass in the art of variation.
French composer Jean-Baptiste Robin is a new name to me. Regard vers l’Air (Looking towards the Aïr) was published in 2007. The liner notes explain that this is a “homage to the Aïr Mountains in Niger.” Despite the booklet’s suggestion that the piece depicts “various soundscapes and elements [that] blend together in an imaginative whole” it is hard going. To be fair, Robin uses a vast range of the “colours of the organ” in his exposition of his tribute. The texture and dynamics range from “light arabesques” to “massive tuttis.” The impact of Regard vers l’Air is just a little too eclectic for its own good.
For me, Marcel Dupré’s Symphonie-Passion is the highlight of this first recital. It began life as an improvisation made during a concert at Wanamaker’s Department Store in Philadelphia, during 1921. The themes were handed to Dupré by members of the audience. He immediately began to improvise a four-movement structure which followed the life of Christ. The four are The world awaiting the Saviour, Nativity, Crucifixion and Resurrection. When Dupré returned to France he began to “write up” the work based on his recall of the concert. The restless opening section, suggesting anticipation, is followed by the Christmas story, imagining cribs and wise men. This is gentle and pensive. The Crucifixion is “doom-laden” with angular harmonies and plodding pedals. It comes as no surprise that the finale, Resurrection, is a full-blown Toccata in the finest “French Manner.”
The second recital is given by Anders Johnsson, who is currently organist at St Andrew’s Church in Malmö, Sweden. He is also associate professor in organ playing at the Malmö Academy of Music.
Dietrich Buxtehude’s Magnificat primi toni BuxWV 203 is based on a Gregorian Magnificat melody. “Primi toni” means that it is set in the Dorian mode (White notes on D). The resulting piece is a combination of eight sections, with some being improvisatory or fantasia-like and others being fugal. It ends with a virtuosic finale.
American organist, composer and professor Searle Wright’s Lyric Rhapsody pushes the stylistic boundaries. Every so often it is ethereal, then climactic. Does it nod to film music, jazz, or modernism? Plenty of opportunities for the soloist to exploit various solo stops and colourful combinations.
Beethoven wrote no major works for the organ. There are, apparently, a few fugal exercises. The Suite für eine Spieluhr Wo0 33 (1799) was originally devised for a large “self-playing” organ in Vienna. Andre Isoir has realised the three movements for a “normal” organ. These miniatures sound well here, with imaginative registrations.
César Franck’s Deuxième Choral in B minor (1890) opens with a short passacaglia which builds up from the opening pedal notes, before embarking on an involved exploration of moods and emotions. There are interludes, fugal passages and a “fantastical recitative” for full organ. The overall impression is one of gloom or deep introspection. Positive moods do occur as the work progresses, and there are some stupendous climaxes. Yet, it is the serenity of the conclusion that captures the imagination.
If I were to declare what I considered to be the ultimate piece of “pure” or “absolute” music, it would have to be J.S. Bach Chaconne in D minor, from the Partita II for violin solo, BWV 1004. Many years ago, I first heard it in Busoni’s renowned transcription for piano solo – I was seriously impressed. It has been arranged for multiple combinations of instruments, including Stokowski’s for full orchestra. This version for organ was made by Ulisse Matthey, onetime organist, and professor of music in Milan. This is a successful transcription in every way that preserves the “spiritually powerful, emotionally powerful, structurally perfect” nature of the original.
Léon Boëllmann is best recalled for his Suite Gothique (1895) with its uplifting Toccata. In fact, he produced concertos, a symphony, chamber works and piano music. His Ronde Française (op.37 (1896) was originally written for piano (or cello and piano?) and was arranged for organ by Gaston Choisnel. It is a charming modal work that never strays from the white notes on the keyboard and pedals.
Anders Johnsson concludes his recital with three wonderful pieces of Vierne taken from two books of Pièces de Fantasie dating from 1926-27. Naïades is justly regarded for its sheer virtuosity, evoking the doings of the mythical daughters of the god Poseidon. This performance shimmers with rapid scales, and overt impressionism. The Sicilienne, from the second Suite, is more thoughtful but never morose. It is a little rondo, with a theme introduced by a soft reed stop on the swell. There are three refrains and two episodes, with the chromatic accompaniment getting more complex as it progresses. The final piece is a warhorse. From start to finish the Toccata is an unrelenting perpetuum mobile, that tests the organist’s skill to the extreme. It ends in absolute triumph.
Little more needs be said. The organ sounds magnificent. This is an excellent package: superb performances, great sound quality, brilliant documentation and rewarding programming. In the opening days of 2024, this CD and book are already on my list of recordings of the year.
Track Listing:CD1
Percy Whitlock (1903-46)
Fanfare, from Four Extemporisations (1933)
Johann Sebastian Bach (1685-1750)
Partite diverse sopra "Sei gegrüßet, Jesu gütig, BWV 768 (c.1705)
Jean-Baptiste Robin (b.1976)
Regard vers l’Air (2007)
Marcel Dupré (1886-1971)
Symphonie-Passion, op.23 (1921/25)
CD2
Dietrich Buxtehude (1637-1707)
Magnificat primi toni BuxWV 203 (?)
Searle Wright (1918-2004)
Lyric Rhapsody (1957)
Ludwig van Beethoven (1770-1827)
Suite für eine Spieluhr Wo0 33 (1799) arr. André Isoir (1935-2016)
César Franck (1822-1890)
Deuxième Choral en si mineur (1890)
Johann Sebastian Bach
Ciaccona in re minore from Parita II for violin solo, BWV 1004, realised for organ by Ulisse Matthey (1876-1957)
Léon Boëllmann (1862-1897)
Ronde Française, op.37 (1896) arr. Gaston Choisnel (1857-1921)
Louis Vierne (1870-1937)
From Pieces de Fantaisie (1926-27): Naïades, op.55, no.4; Sicilienne, op.53, no.2; Toccata, op.53 no.6
Kristian Krogsøe (organ) CD1, Anders Johnsson (organ) CD2
rec. 2022-2023 Aarhus Cathedral
Danacord DACOCD 971-972
With thanks to MusicWeb International where this review was first published.
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