"Organ Works by North German Composers"
    Lubeck.Bruhns.Bohm.Weckmann.Buxtehude

Vincent Lubeck     - Prelude & Fugue in E major
Nikolaus Bruhns    - Praeludium in E minor
Georg Bohm         - Prelude & Fugue in C major
Matthias Weckmann  - Fantasia in D minor
Dietrich Buxtehude:
"Nun bitten wir den heiligen Geist"
"Komm heilger Geist, Herre Gott"
Passacaglia in D minor
Prelude & Fugue in E major
Prelude & Fugue in F sharp minor

Berlin Classics 0092142BC
Recorded 1964, Reissued 1997
Stellwagen-Orgel der Marienkirche zu Stralsund
Robert Kobler, Organ
TT 53:40

Summary Rating: A-

Berlin Classics is an excellent source of Baroque organ recordings.
Most of the releases are on historical organs, and the majority of the
performances are highly commendable.  Silbermann organs are often used for
the recordings, but Robert Kobler turns up here on an historical Stellwagen
organ.

Although the program is a mixed one, the music of Dietrich Buxtehude
takes up about half of the total playing time which is not generous for
the CD technology.  So, it would be more accurate to refer to the disc
as "Buxtehude & Friends".

Although the great seventeenth-century North German organ school had its
origins with composers such as Heinrich Scheidemann and Matthias Weckmann,
its fruition and main focus has been in the latter half the century in
the person of Dietrich Buxtehude.  Of the four other composers featured on
the disc, all except for Weckmann were greatly influenced by Buxtehude who
was duly influenced by the music of Weckmann and Scheidemann.  Of course,
Sweelinck had much impact on all who followed, and that includes Bach.

The program is logical and typical of an effort to provide a recording
connecting these composers to one another through their mutual traits.
These types of programs are not uncommon and many recordings have to
compete among each other; there's also competition from recordings which
are devoted to only one composer.

For a mixed disc of music to rate a strong recommendation, I feel that two
features are required.  The works have to be played with excellence; with
just one exception from the Bruhns work, Kobler has no trouble meeting the
standard.  Also, there has to be something special that makes the disc rise
above the masses.  Kobler's claim to distinction is a fantastic performance
of the Lubeck Prelude & Fugue in E major; it's an event not to be missed.

Concerning Kobler's particular style, he's generally slow-paced but with
plenty of vigor.  He doesn't miss out on majesty when it appears, and he
provides much punch when needed in the preludes.  The poetic elements of
the music hold no problems for Kobler, and I think it's fair to say that
his playing would be highly enjoyed by most baroque organ enthusiasts.
The Stellwagen Organ contributes to the excellence of the recording as
Kobler obviously knows the best registrations to offer.  In fact, his
registrations are in the perfect range in the Lubeck work and the Buxtehude
Praeludium in F sharp minor.

My observations while listening to the disc follow:

Lubeck's Prelude & Fugue in E major - Lubeck was born in 1654, seventeen
years after Buxtehude's birth.  His music is in the style of Buxtehude,
and this E major piece is one of only three 'free' organ works of Lubeck's
which have survived.  The E major is exceptional music-making.  It flows
so naturally with a host of memorable passages.  The work begins with
swirling flourishes alternating between upper and lower voices and then
settles down into a dignified, strong, and swaggering prelude only to
restart the swirling engines again.  The phrasing is deliciously incisive;
Lubeck certainly knew how to turn a phrase beautifully while always
maintaining necessary momentum.

The E major has two fugues; the first has great zest, and the second great
majesty.  Both fugues are thoroughly invigorating and have the capacity to
keep the listener moving.

I am thoroughly astounded at this music, and Robert Kobler and the
distinctive Stellwagen Organ play a large role.  Kobler's energy and joy
throughout the work are transcendent; you can tell that he's having a great
time playing the piece, and he makes each section a unique experience while
conveying a natural architecture.  Kobler uses the most attractive and
effective registrations I've heard for this work, and the Stellwagen Organ
responds beautifully.  It's a magical reading, and I can't sit still for a
moment.  Hans Helmut Tillmanns on Danacord does well by the E major; he's
exciting and displays good taste.  But there's a world of difference
between him and Kobler who has started off his program in award winning
fashion.

Bruhns' Praeludium in E minor(the smaller) - This work needs greater
angularity than the Lubeck, and I was very interested in hearing whether
Kobler would provide it as effectively as Luc Beausejour on Analekta and
William Porter on Loft Recordings.  As it happens, Kobler provides the
sharpness with no problems.  But he doesn't provide a satisfying last
minute of music.  With Beausejour and Porter, this last minute consists
of building up to the glorious climax; when that climax hits, it appears
the only natural way to release all the energy that's been accumulated.
Kobler takes a soft-toned approach which makes the climax sound contrived
and out-of-place.  Since the ending is one of the most powerful and
memorable in the baroque organ literature, both Porter and Beausejour have
a strong edge over the Kobler reading.  Also, Kobler's registrations don't
have the distinctiveness they possess in his Lubeck performance, and his
pure joy of the work is not as strong either.  I do want to emphasize that
leaving the conclusion aside, Kobler stands up well to most other versions.

Bohm's Prelude & Fugue in C major - Although not as stunning as the
previous two works on the program, Bohm's C major is thoroughly delightful
with great exuberance in the fugue.  This time, Hans Helmut Tillmans
surpasses Kobler with a quick and vivacious account employing exceptional
registrations.  Kobler is slower and doesn't have the lift of the Tillmanns
version.  However, Kobler well brings out the joy in the music.

Weckmann's Fantasia in D minor is also known as the "Fantasia ex d".
Kobler again adopts a slow tempo with a six minute performance compared to
the four minute reading from Hans Davidsson on a 2-cd Motette set devoted
to Weckmann's complete organ works.  Kobler's slower tempo does no harm, as
the music is of the serious variety.  For me, the highlight of the work is
a series of descending runs toward the conclusion; they can create quite an
impact on the listener, and both Kobler and Davidsson deliver the goods.

Concerning the two Buxtehude chorale arrangements, Kobler gives lovely
performances with good projection, interesting registrations, and ample
reverence.  He is slower than Rene Saorgin on Harmonia Mundi, but just as
effective in conveying the emotional themes of the pieces.

Buxtehude's Passacaglia in D minor is the one and only passacaglia in the
Buxtehude repretoire.  In four equal sections, the piece allows for great
variety of expression and registration.  As could be predicted, Kobler is
on the slow side with a seven-minute reading; Rene Saorgin, Harald Vogel,
and Hans Helmut Tillmanns each come in at about six minutes.  Kobler's
slower tempo does permit more savoring of the music, and the passacaglia
can certainly absorb the indulgence.  I would have preferred a little more
majesty from Kobler, but his tender performance is of big-league quality.

The two Buxtehude Preludes & Fugues are performed splendidly by Kobler.
His E major fugues are filled with exuberance and deep satisfaction; the
prelude sections are powerful and appropriately incisive.  Buxtehude's
Praeludium in F sharp minor, unlike the E major, introduces dark themes;
Kobler digs right into them with highly effective registrations.  He also
captures all the lyricism and nuance inherent in the music.  Excellent
versions from Saorgin and Claudia Dumschat on Pro Organo aren't any better
than Kobler's.

Don's Conclusions:  An excellent program, performance, and organ make for
a rewarding listening experience.  Even with the short playing time, a
strong recommendation is in order.  Every work on the program is given at
least a fine interpretation, and the Lubeck performance alone is worth the
price of the disc.

Don Satz
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