Bruhns-Buxtehude-Sweelinck-Frescobaldi-Bach
             Famous Works For Organ

1.  Bruhns      - Prelude in E minor
2.  Buxtehude   - Choral Setting BuxWV 219
3.  Buxtehude   - Toccata in F major BuxWV 156
4.  Sweelinck   - Ballo del Gran Duca
5.  Frescobaldi - Toccata in F major
6.  Bach        - Prelude in G major, BWV 541
7.  Bach        - Andante from Trio Sonata BWV 528
8.  Bach        - Fugue in G major, BWV 541

Berlin Classics 0091782BC
Recorded 1979
Historical Wagner Organ of the Marienkriche at Angermunde
Christian Collum, Organ
TT 53:34

Summary Rating: A

Back in the 1970's, Christian Collum was a talented but 'suspect' artist
in East Germany.  He didn't volunteer for the correct activities, and
he refused to colloborate with the Communist authorities to inform on
collegues in return for an international career.  Also, his interest of
historical performance practice was poorly received by the cultural gurus.
His star was so low that the tapes for the recording at hand were locked up
in the archives of the State recording company VEB Deutsche Schallplatten
until the 'Wall' came down.

Collum was quite surprised and delighted when he learned the tapes had
not been destroyed decades earlier, and he gave his enthusiastic approval
to their public release.  Collum does feel that he would now perform the
programmed works in a more relaxed manner, but that he was very adventurous
at the time of recording and is proud of the readings.

The Wagner Organ and Collum make an excellent team.  The organ is
very sweet sounding, but Collum does not allow any syrup to flow.  His
performances are sharp and rugged.  Whatever validity, if any, there is to
the phrase 'a man's man' applies totally to the Collum readings.  He takes
sweetness and changes it into the immediacy of power and sweep.  But this
is not a case of turning 'wine into vinegar'; Collum does not skimp on nor
lose sight of poignancy, tenderness, and lyricism.

I should relate that Collum's disc is one of the 'loudest' recordings I've
ever heard; it likely goes to the top of the charts.  It's quite evident
right from the beginning of the first track - the Bruhns Praeludium in e
(the larger).  Although the entire work is one of the most powerful in the
baroque organ repertoire, the first minute really unleashes nature's fury.
Add in the idiomatic power of Collum, and the result is tremendous.

William Porter, on a Loft Recordings disc which I reviewed a few months
ago, provides a wonderful reading of the Bruhns which I didn't think could
be bettered.  I now have to scratch that assumption, because Collum is
simply collosal.  Unlike Porter, Collum is all edges; the combination of
great power and edge is a major treat.  At the same time, Collum finds
just as much beauty in the work as Porter.

The Bruhns Praeludium may not offer many opportunites for tenderness and
restraint, but Sweelinck's Ballo del Gran Duca certainly does.  The piece
is based on a dance number by de Cavalieri and is a set of four variations
on de Cavalieri's original theme which has 'royal dance' written all over
it.  Collum makes effective adjustments from his power base and is actually
less demonstrative in the last variation than James David Christie on his
Sweelinck/Naxos disc which is the Naxos best selling recording since the
company's inception.  I do prefer Christie slightly because he provides
greater contrast among the variations than Collum.  However, Collum's
registrations are delightful, and he fully captures the ceremony and
dance properties of the work.

The Bach pieces have been recorded by hundreds of organists.  Does Collum
have anything distinctive to offer? Most certainly.  As I was listening to
the readings, it struck me that I've never heard this music played in such
a 'public' and grand manner; the joy of music leaps out of the speakers.
Collum's BWV 541 is two minutes slower than the thrilling performance
from Lionel Rogg, but it hardly seems to matter.  Collum's Andante from
the Trio Sonata possesses the most sparkling registrations and is a
wonderful alternative to Werner Jacob on EMI who gives us a highly intimate
interpretation.  Collum earns a position on the top rung for each of his
three Bach performances.

Collum's performance style would seem perfectly suited to a Buxtehude
toccata, and so it is with the Toccata in F major.  Collum punches out
greater power than Rene Saorgin on his Harmonia Mundi version.  Collum's
Buxtehude chorale treatment also rivals the Saorgin.  An excelent blend of
strength, tension, and poetry informs Collum's performance of Frescobaldi's
Toccata in F major.  It's all played in a strong and stunning manner,
further solidifying Collum's disc as a keeper.

Don's Conclusions:  The Christian Collum mixed baroque organ disc offers
performances of great impact and vision.  Considering the tremendous
muscle of Collum, I do question the inclusion of the Sweelinck work and the
Buxtuhude chorale.  This is one of those times when I could have eaten up
a whole disc of intense strength.  However, Collum never disappoints and
his Bruhns and Bach readings are fantastic.  This is an essential disc for
baroque organ enthusiasts and would likely be well received by others who
cherish the power of music.  Total music time is short, but exceptional
music-making transcends such matters.  Just remember to stay close to the
volume controls.

Don Satz
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