Organ Works of Delphin and Nicolaus Adam Strungk
   D. Strungk (1601-1694)    N. A. Strungk (1640-1700)

1.  Capriccio in F                            N. A. Strungk
2.  Magnificat noni toni(5 verses)            D. Strungk
3.  Capriccio primi toni                      N. A. Strungk
4.  Capriccio in g                            N. A. Strungk
5.  Ich hab mein Sach Gott heimgestellt       D. Strungk
6.  Ricercar Sopra la Morte                   N. A. Strungk
7.  Lass mich dein sein und bleiben           D. Strungk
8.  Capriccio in e                            N. A. Strungk
9.  Ricercar in G                             N. A. Strungk
10. Capriccio in a                            N. A. Strungk
11. Toccata ad manuale duplex                 D. Strungk

Loft Recordings 1010
Recorded 1999
Arp Schnitger Organ(1692), Norden, Germany
David Yearsley, Organ
TT 72:06

A few record companies have begun issuing recordings of music from father
& son teams.  Not to be outdone, Loft Recordings gives us a disc of music
from Delphin Strungk and his son Nicolaus Adam Strungk.  Delphin Strungk
was born and lived his life in the German city of Braunschweig.  Delphin's
father was an organist in Braunschweig, and Delphin soon followed in his
dad's footsteps.  He was a friend to Heinrich Schutz who was godfather to
one of Delphin's children; also, Delphin served as an agent for Schutz in
selling his musical publications.  People high in the social chain would
travel to Braunschweig just to hear Delphin perform on the organ.

Nicolaus Adam Strungk, unlike his father, had the 'travel bug' and spent
time in Vienna, Italy, and other regions of Germany.  While Delphin's
musical life was centered around the church, Nicolaus Adam achieved his
fame for opera and his virtuosity on the violin.  He was considered a
master of counterpoint and tended to take the musical routes in vogue
in Southern Germany.

To my ears, another difference between father and son concerns musical
inspiration.  Although, Nicolaus does display a strong command of
architecture, the musical themes he creates have a 'borrowed' element
to them.  When I first listened to his Capriccio in F, it sounded very
familar; after some investigation, I found that it had the same basic
musical theme as Anthoni van Noordt's Fantasia No.  2.  Also, Strungk's
Capriccio primi toni sounds very much like his Capriccio in F.  And it
doesn't end there - the Capriccio in e has the same basic theme as the
Capriccio in a.  Beyond these borrowings, I can't say that any of the
Nicolaus Adam works on the disc is particularly memorable.  What we have
here is a composer of minor current reputation who wrote pleasing organ
music which does not transcend its place in history.

However, all may not lost, because Delphin Strungk, except for one trait,
is a wonderful composer for the organ.  Although only four works of his
are on the disc, they are more substantial than those of Nicolaus Adam and
actually cover about half the music on the disc.  If there is viability in
acquiring the recording, it rests solely with Delphin Strungk.

That one exception which holds me back from a full endorsement of Strungk's
music is his penchant for extended echo effects which he uses in three of
the works on the disc.  They seem to go on and on; I find it rather
irritating and constitues the second strike against the disc.

Unfortunately, the third strike comes in the person of David Yearsley.
I just happen to have a Sony Vivarte disc of North German Organ Music
performed by Gustav Leonhardt.  Both he and Yearsley include the Magnificat
noni toni and "Lass mich dein sein und bleiben"; they also perform on the
same Arp Schintger organ.

You wouldn't know it was the same organ, because Leonhardt's
registrations are so much more diverse and distinctive than Yearsley's in
the Magnificat.  This five-movement work fully exploits the tonal range of
the North German Baroque organ, and it's Leonhardt who does the exploiting.
Yearsley is quite routine all-around except for the first movement where
his interpretation could move mountains.  The music is inherently muscular
and on the heroic side, but Yearsley ups the ante by giving the section a
towering strength and austerity.

In "Lass mich dein sein und bleiben", Leonhardt flows so effortlessly
with an ever peaceful demeanor.  Yearsley could be called more rhythmically
active, but I find him on the nervous side and missing the comfort that the
music provides.

Concerning any musician, 'getting the most' out of your instrument is a
very important consideration.  Yearsley just doesn't get close, and I have
Leonhardt as my proof.

Don's Conclusions:  The traditional American phrase of "Three strikes and
you're out" comes into play with Yardley's recording of the Strungks.  The
son, the dad's echos, and the performer's hum-drum use of the Arp Schnitger
organ make for a recommendation to bypass the disc.  Leonhardt's North
German Organ Music release is a much better proposition - a master artist
at work.

My only regret about not recommending Yardsley is that you'll miss out on
his collosal first movement of the Magnificat.  So if you have no problem
with buying a recording for about two minutes of music, I say 'go for it'.

Just one last thing.  Echos are not my cup of tea; they may be yours.  If
so, you're in for a major treat.

Don Satz
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