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Reg Elson Plays Franz Liszt on The Viscount Prestige organ of Woodsetts House
World famous orthopaedic surgeon, yachtsman, SCUBA diver and distinguished concert organist Reg Elson now in his 8Oth year plays virtuoso Liszt organ works on his 3 manual Viscount Prestige organ at Woodsetts House.
LCSCD007
Includes:
Funerailles (arranged for organ by Nicolas Kynaston)
Fantasie & Fugue on the Chorale:
‘Ad nos, ad salutarem undam’
Ave Maria by Acadelt (transcribed for organ by Franz Liszt)
Variations on a theme by Bach:
‘Weinen, Klagen Sorgen, Zagen’
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The Producer writes: I met Reg Elson whilst recording the tenor Justin Lavender and the Bournemouth Sinfonietta in Christchurch Priory and we immediately struck up a friendship. During intermissions and setting up equipment, Reg was practicing Trio Sonatas on the organ in the priory and frankly, to see one of the world’s most distinguished orthopaedic surgeons performing some of J. S. Bach’s most challenging repertoire intrigued me. In later years I was invited to visit Reg in his house in South Yorkshire where he not only has a two manual pipe organ but also today a large 3 manual Viscount Prestige digital organ. Reg completed the Liszt recording in his 80th year between his busy medico-legal practice, teaching, sailing his 38 foot racing yacht out of Foy in Cornwall and deep sea diving – he is both a qualified Yacht Master Instructor and a SCUBA diving instructor. An extraordinary man who became an extraordinary friend and a world class virtuoso concert organist who does not give up easily!
The Tagore Trio play Schubert, Hummel, Kodály & Dohnányi in the Music Room of North Court I.O.W. A DOUBLE ALBUM 2 FOR THE PRICE OF ONE!
Legendary violinist Frances Mason leads the Tagore Trio, viola Brian Schiele and cellist James Halsey in memorable performances of Hummel, Schubert, Kodály and Dohnányi in the magnificent Music Room of NorthCourt, Shorewell, I.O.W.
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LCSCD004/5 CD1 Ernö Dohnányi 1877 – 1960 Serenade Op10 22:45 1 I Marcia 2:18 2 II Romanza 3:49 3 III Scherzo 5:15 4 IV Tema con variazioni 6:21 5 V Rondo (Finale) 5:02 Johann Nepomuk Hummel 1778 – 1837 Trio in E flat Major 24:03 6 I Allegro con brio 8:05 7 II Adagio e cantabile 5:35 8 III Menuetto. Allegro 5:17 9 IV Finale. Allegro vivace 5:06 Franz Schubert 1797 – 1828 10 Trio in B flat Major D471 12:39 11 Andante sostenuto D471 2:39 CD2 Johann Nepomuk Hummel Trio in G Major 19:30 1 I Allegro moderato 5:50 2 II Andante grazioso 5:41 3 III Menuetto. Allegretto 3:40 4 IV Rondo a la Burlesca. Vivace 4:19 Franz Schubert Trio in B flat Major D581 22:13 5 I Allegro moderato 5:51 6 II Andante 5:31 7 III Menuetto 3:37 8 IV Rondo. Allegretto 7:14 Zoltán Kodály 1882 – 1967 9 Intermezzo 5:12 In the 1890’s Sir Sourindro Mohun Tagore D.Mus KT (a distant relation of Rabindranath Tagore the poet) made a generous donation to the Royal College of Music which then founded the Tagore Gold Medal. It became the most prized award that the College makes to its students. Frances, Brian and James all studied at the RCM where the Medal was awarded to Frances in 1958. With the RCM’s blessing she formed the Tagore Piano Trio in 1960, succeeded by the String Trio in 1994. FRANCES MASON violin Frances Mason a student of Albert Sammons made her debut at the Proms in 1965 with the London Philharmonic Orchestra under John Pritchard playing the Mozart A Major, subsequent appearances included the Malcolm Arnold Concerto with Alan Loveday and the composer conducting and Dvorak under the baton of Sir Malcolm Sargent. Beethoven with the Philharmona under the baton of Sir Adrian Boult and the much accoladed Bach double with Hugh Bean and the BBC Symphony conducted by Sir Colin Davis. Frances today enjoys a busy solo and chamber music career. She plays in the Tagore String Trio, the Beethoven Broadwood Piano Trio, gives recitals and leads the Rasumovsky String Quartet and has been a Professor at the Royal College of Music since 1971. Frances has broadcast numerous concerti and much of the repertoire for violin and piano. She has always been involved in performing, recording and teaching chamber music. BRIAN SCHIELE viola As well as playing in the Tagore String Trio, Brian Schiele is a member of the Scottish Chamber Orchestra and the eclectic Mr McFall’s Chamber. He currently devotes much time to teaching, composing and arranging. He regularly gives concerts with traditional musicians from Scotland and Northumbria. Further afield he is involved in an on-going project with Indian Classical musicians and members of the Scottish Chamber Orchestra. JAMES HALSEY cello Cellist of the Auriol String Quartet for 10 years with Brian Schiele, he is now with the Tagore String Trio, The Bingham String Quartet and The Beethoven Broadwood Piano Trio. With these ensembles he has played all over the world, broadcast frequently, and made numerous recordings. As soloist James has given recitals in the British Isles, in Japan and Australia. He is Professor at the Royal College of Music Junior Department and at the North East of Scotland Music School in Aberdeen. Executive Producer L. Carrick-Smith Produced by Jonathan R Wearn Recorded in the Music Room at NorthCourt, Shorwell, I.O.W. Photography © Catherine Hughes Design: Hugh O’Donnell Special Thanks to John and Christine Harrison of NorthCourt, the vicar and churchwardens of Our Lady & St Peter Bothamsall and Mr. Reginald Elson FRCS for his generous hospitality and encouragement. Equipment used: Nagra D, Nuendo 4, B & K 4006 microphones, Prism ADA 8 Converters, Mastered in Pyramix. B & W 801 monitors and Classe Amplifiers. www.lcshires.com www.northcourt.info info@lcshires.com
Nicolas Kynaston Plays Bach at Amorbach
NICOLAS KYNASTON
PLAYS
BACH AT AMORBACH
‘Critic’s Choice recording’ of some of Bach’s major organ works including the Passacaglia & Fugue in C minor, Fantasy and Fugue in C minor and the Prelude and Fugue in E flat Major (The ‘St. Anne’) as well as Reger’s extraordinary transcription of the Chromatic Fantasy and Fugue BWV903!
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BACH ORGAN WORKS AT AMORBACH. Nicolas Kynaston, organ. [DDD]; 77:09. Produced by Jonathan R. Wearn. (BACH: Concerto in D Minor after Vivaldi, BWV 596. Ich ruf zu dir, Herr Jesu Christ, BWV 639. Passacaglia and Fugue in C Minor, BWV 582. Nun freut euch, lieben Christen g’mein. Prelude and Fugue in Eb, BWV 552. Liebster Jesu, wir sind hier, BWV 731. Fantasy and Fugue in C Minor, BWV 537. Herzlich tut mich verlangen, BWV 727. Chromatic Fantasy and Fugue in D Minor, BWV 903.) Those fortunate listeners who know the remarkable musicianship and technique of Nicolas Kynaston know how these gifts lead to versatility and gratifying creativity. While his good reputation has been claimed at the firm pith of Romantic repertoire – both British, French, and German – Kynaston has always luxuriated in Bach performances far from the convention of other performers. While one might term such personalized conviction Romantic, the wide-flung articulations and colors of these interpretations suggest much more. In that Kynaston observes rhythm scrupulously and unerringly, that he respects the dynamic terraces and sectional offsets of the music, he is to be termed a Classicist. But, he is equally willing to articulate in such ways as to suggest orchestral treatments – the sudden legato group of the subject the finale of the Vivaldi transcription, or the vocally arched cantus firmus of the simple Ich ruf zu dir. The Amorbach Abbey organ sustains this hybrid view of Bach for it too blends Romantic and Classic origins. The Stumm brothers built the original instrument in the 1780’s with subsequent additions and rebuilding by the Steinmeyer firm. Restoration came in 1981, a joint effort by Steinmeyer and the firm of Klais. In many respects this instrument embodies the twentieth-century ideals (for good or bad) of mingled tonal aesthetics. Yet it handily does Kynaston’s bidding from the cool flutes at the opening of the Concerto to the weighty ensembles of the free preludes and fugues to the complex offsetting colors of the Max Reger transcription of the Chromatic Fantasy and Fugue. © Haig Mardirosian reprinted with kind permission from The American Organist
Triumphal Music for Organ & Orchestra with Franz Hauk & The Ingolstadt Philharmonic Conducted by Alfredo Ibarra
Charles Gounod Fantasie sur L’Hymn National Russe pour piano-pédalier et Grand Orchestre.*
Th. Dubois Fantasie triomphale pour Orgue et Grand Orchestre
Alexander Guilmant Adoracion
Eugene Gigout Grande Choeur Dialogee
Charles Gounod Suite Concertante pour piano-pédalier et Grand Orchestre*
*arr Grand Orgue et Orchestre
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The Ingolstadt Philharmonic, conducted by Alfredo Ibarra, with organist Franz Hauk bring exciting dynamics to this music. Gounod’s music, originally written for pedal piano and orchestra, makes an easy leap to organ. The other pieces were originally composed for organ and orchestra.
Franz Hauk Plays Bach-Vivaldi on the Great Organ of Ingolstadt Minster
Master organist Dr. Franz Hauk plays the Bach/Vivaldi Concerti and the 6 Schübler Chorals and Trios on the spectacular Klais Organ of Ingolstadt Minster
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One of the great organs of the world, the Klais at Ingolstadt speaks down the long nave from the west door gallery of the Minster. Dr. Franz Hauk is one of the most important Reger interpreters of the 20th and 21st century. Recorded using 2 B & K 4006 microphones suspended high and in front of the instrument. Recorded on a 24bit Nagra D recorder edited in Sonic Solutions.
Franz Hauk Plays Max Reger on the Great Organ of Ingolstadt Minster
Master Organist Franz Hauk plays Max Reger on the magnificent Klais organ of Ingolstadt Minster.
Fantasy for Organ on the Choral “Wachet auf, ruft uns die Stimme” Op 52
Weihnachten Op. 145
Sonata in D moll Op. 60
Symphonic Fantasy & Fugue Op. 57 (The Inferno)
Organist Franz Hauk plays the Klais organ in Ingolstadt Münster in this program of Max Reger’s greatest organ works, recorded in stupendous acoustics by legendary engineer/producer Jonathan Wearn, using the latest minimalist techniques for maximum effect. Organ Historical Society.
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One of the great organs of the world, the Klais at Ingolstadt speaks down the long nave from the west door gallery of the Minster. Dr. Franz Hauk is one of the most important Reger interpreters of the 20th and 21st century. Recorded using 2 B & K 4006 microphones suspended high and in front of the instrument. Recorded on a 24bit Nagra D recorder edited in Sonic Solutions. Review: American Record Guide November / December 2000 REGER: Organ Pieces Wachet auf, Weihnachten; Sonata in D minor, Inferno 73:26 Wachet auf is the slowest performance I know, but the organist has flair, and the organ is glorious. Max Reger's music is good, but a great organ and a little flair do help to put it across. I like it better than the Wunderlich recording (May/June 1994). The climaxes here are far more spine-tingling. That familiar melody makes us think of Advent. I t is followed here by a 7-minute piece based on 'Silent Night'-very gentle. The sonata strikes me as episodic, the way some people see Bruckner (and the way he is conducted by bad conductors). It mulls along for long stretches, then suddenly burst out in full glory, then just as suddenly pulls back to the meditative again. It is hard to know what to make of it. With an organ this good, the big blasts are quite something, but I don't get its musical logic. I have often felt this way with Reger, and I keep listening, because over the years many of his works have begun to make sense to me. So far the sonata doesn't. It ends well, though-a great fugue that pulls everything out at the climax. The Inferno is one of Reger's greatest pieces. It's a fantasy and fugue, and when the fantasy wraps up it pulls together a number of strands to form a glorious sound. In this recording that sound is just perfectly balanced, so every strand is heard. It's not just engineering; it's wise registration and careful balancing of the organ voices. I have never heard this better played, and I listen to every recording of it that comes thru here. Nor have I heard it better recorded. It's even better than lver Kleive's 1988 Danish recording (FX 74; Jan/Feb 1989), and that was a terrific performance. Producer Jonathan Wearn is an old hand, and the sound is simply unbeatable. The organ is the Klais in Ingolstadt, where Franz Hauk has been organist since 1982. lngolstadt is half-way between Munich and Nuremberg- the train stops there, but only Germans seem to get off. Next time I'm in the vicinity I must hear this remarkable and powerful instrument. lf you like the sound of a great organ, this will prove a thrilling release, even if you become aware that Reger has his dull moments. Bear with the learned counterpoint and give full attention to the big moments.- they are quite wonderful, and you will be sure – as I am – that Reger knew how to make the most of this huge, royal, but unwieldy instrument. Vroon
Christmas with the Palestrina Choir
Christmas with the Palestrina Choir at St. Mary’s Pro-Cathedral Dublin
Another ‘Best Seller’ from Dublin’s Palestrina Choir filled with heart rendering Christmas Carols from the inside of Dublin’s most celebrated Cathedral.
Each day thousands of the faithful fill the great Cathedral and on Sunday the choir sings in the Great High Mass.
It is difficult to imagine the Pro-Cathedral without the Palestrina Choir.
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Norman Lebrecht writes: A lovely mix of boys’ voices arrives from Dublin with a repertoire that runs from the Vulgate to Benjamin Britten. If the Wexford Carol is one of your seasonal faves, you will never hear it more authentically sung and the young soloists here are unexpectedly characterful. The sound, in St Mary’s Pro-Cathedral, is of spine-tingling veracity. Not easy to find in shops, so buy from the website above.
The Bells of the Angelus
The Palestrina Choir of St. Mary’s Pro-Cathedral Dublin conducted by their legendary director Blánaid Murphy sing all time favouites including Haydn’s Missa Brevis with boy soloists Diarmuid Sugrue and Louis Mahon.
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This award winning chart busting ‘Best Seller’ of the Palestrina Choir, includes specially written choral arrangements by David Mooney of much-loved Irish hymn melodies. Ranging from The Bells of the Angelus, Lord of All Hopefulness and Hail, Queen of Heaven to the Queen of the May and the most poignant of Irish hymns such as Ag Críost an Síol and Dóchas Linn Naomh Pádraig, and including the complete work of Haydn’s Missa Brevis in F, this is a very special collection of liturgical favourites. Recorded in the inspiring acoustic of St Mary’s Pro-Cathedral, Dublin, the Boys and Gentlemen of the Palestrina Choir combine with two extraordinarily gifted boy sopranos Diarmuid Sugrue and Louis Mahon, organists David Connolly and Gerard Gillen, harpist Denise Kelly, the Orchestra of St Cecilia and their legendary Director, Blánaid Murphy, to create a rich palette and an inspirational garland of Ireland’s best-loved and most-cherished hymn melodies.
Gerard Gillen - AVE MARIS STELLA
Professor Gerard Gillen Plays organ works by Flor Peeters and Cesar Franck on the Great Organ of Dublin’s St Mary’s Pro-Cathedral.
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Dublin’s Roman Catholic Pro-Cathedral, dedicated to the Blessed Virgin under the title of St Mary, was opened in 1825 and is built in classical Greek style in a copy of the Parisian Basilica of St Philippe de Roule. It is a church, though small for its cathedral function, with a warm and generous acoustic, particularly suited to organ sound and its projection. The present organ’s origins date from the 1880s when a contract was entrusted to the Dublin but French-trained organ builder, John White. The present façade of the organ dated from William Hill’s rebuild of the instrument c. 1900. Subsequent work was carried out by Henry Willis & Co in the 1930s before J.W. Walker’s major rebuilds of 1971, and 1995 when some additional stops were added. This latter work was carried out in the context of an overall redecoration of the Pro-Cathedral. Over the years the Pro-Cathedral organ has become regarded as one of the finest examples in Ireland of the late nineteenth-century grand Romantic organ, and has since its original installation featured prominently in the many national liturgical occasions, which have graced the cathedral church. More recently many of the finest organ recitalists of our time have performed on this instrument: Daniel Chorzempa, Xavier Darasse, Susan Landale, Olivier Latry, Daniel Roth, Dame Gillian Weir, Arthur Wills etc.
Jan Van Mol - Great Organ of Sint Pauluskerk Antwerp plays Jacques Claude Adolphe Miné
Although a prolific composer, many of Miné’s compositions are now almost completely forgotten. His work has to be connected with the catholic revival movement and the restoring of the kingdom after the French Revolution since Napoleon’s Concordat in 1815.
This music is very interesting, being a transition between the French organists from the late 18th century and the great romantic French organ school. It is a fascinating link to the organ music of e.g. Lefébure-Wely and Lemmens.
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The music on this cd has been choosen from “Manuale organi – recueil de 100 morceaux pour orgue applicables aux messes et aux offices”, published in 4 volumes. We found this score in the library of the Sacré Coeur church in Arlon (Southern Belgium), a former Jesuit monastery.
Johannes Geffert Plays Leyding, Bach, Kuhnau, De Grujitters and Nicolaus Bruhns
A hybrid multi-channel SACD, suitable for all CD players of the previously unrecorded organ of Sint Pauluskerk, Antwerp. Music by Leyding, Bach, Buxtehude, Kuhnau and Bruhns played by Johannes Geffert.
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A former student of D. Buxtehude, G.D.Leyding worked in Brunswick. His Prelude in E flat adapts elements of the Italian concerto, such as the interplay between Great and Rückpositiv (Orchestra Tutti and Solo), for the north German organ world. Only the a short imitative middle section and a shorter more tightly composed phrase remind us of the form of toccata and fugue. With a surprisingly original touch Leyding uses a 4 beat bar to follow the 3 beat bar, not the other way according to older traditions. Also he gives the solo on the Rückpositiv the ‘last word’ to end the piece. . .