Dietrich Buxtehude (c. 1637-1707)
   Complete Organ Works, Volume 1

Praeludium in G minor, BuxWV 149 [8:17]
Nun Komm, der Heiden Heiland, BuxWV 211 [1:44]
Gelobet seist du, Jesu Christ, BuxWV 189 [1:37]
Puer Natus in Bethlehem, BuxWV 217 [1:22]
Der Tag der ist so freudenreich, BuxWV 182 [3:17]
In dulci jubilo, BuxWV 197 [2:17]
Lobt Gott, ihr Christen allzu gleich, BuxWV 202 [1:09]
Ciacona in C minor, BuxWV 159 [6:15]
Passacaglia in D minor, BuxWV 161 [5:56]
Ciacona in E minor, BuxWV 160 [5:16]
Praeludium in G minor, BuxWV 148 [6:28]
Jesus Christus, unser Heiland, BuxWV 198 [1:52]
Komm, Heilger Geist, Herre Gott, BuxWV 199 [3:03]
Nun bitten wir den Heilgen Geist, BuxWV 209 [2:28]
Nun bitten wir den Heilgen Geist, BuxWV 208 [1:57]
Komm, Heilger Geist, Herre Gott, BuxWV 200 [2:44]
Gott der Vater wohn uns bei, BuxWV 190 [3:10]
Praeludium in C, BuxWV 137 [5:26]

Bine Bryndorf, organ
Recorded on Buxtehude Organ at St. Mary's Church,
Elsinore, Denmark, June 2002
Released January 2004
Dacapo 8.226002 [65:36]

Comparison Recordings: Saorgin/Harmonia Mundi, Beausejour/Analekta,
Ellenberger/Naxos, Rubsam/Naxos, Vogel/DHM

This is the first volume of a planned traversal of the Buxtehude organ
works by the Danish company Dacapo.  Bine Bryndorf, an organist who
specializes in performing Baroque organ music on historical organs, has
the honors.  As it happens, Naxos earlier embarked on a complete cycle
as well and recently issued its 4th Volume.  The Naxos operation involves
a variety of organists, while Dacapo plans its series to be an all-Bryndorf
affair.

Bine Bryndorf was one of the featured organists in the Hanssler Bach
Anniversary Series a short number of years ago.  For those recordings,
she was identified as "Katherine Bine Bryndorf".  Why the name is now
shorter is anyone's guess, but the important thing is that Bryndorf's
Bach performances were generally excellent and among the highlights of
the Bach cycle.  Therefore, my expectations going into this review project
are rather high.  Concerning her name, it will be interesting to see if
she continues to shorten it in future recordings.

For her first Buxtehude disc, Bryndorf plays the organ at St. Mary's
Church in Elsinore that Buxtehude played extensively from 1658 to 1668;
Bryndorf also played this organ as a youngster.  Built by Johan Lorentz
in 1641, the organ has been repaired and renovated a number of times.
Its most recent refurbishing took place in 1997 and entailed new
construction in the old body by Marcussen & Son.  I won't go into the
organ's specifications, but they are given in the booklet notes with the
CD.

The music of Buxtehude represents a crucial link in the journey from the
rigidity of musical form existing in the era of Sweelinck to the critical
dominance of Bach.  This journey began in the early 1600's with the
emergence of greater flexibility in compositional style that reached its
apex in Buxtehude's era under the banner "Stylus Phantasticus" that
graces the front cover of the Dacapo disc.

Buxtehude's organ music ranges from the free style of the Praeludium
that does not draw on any pre-existing melodies to the settings of
traditional Lutheran chorales.  A typical Buxtehude Praeludium has many
sections with multiple fugues and toccata-like subjects that are extemely
sharp, impetuous, and powerful.  These works are the epitome of the
"Stylus Phantasticus" and Buxtehude's greatest creations for organ.
For his organ chorales, he provides dense harmonies from the lower
voices with ornamented melody lines from the upper voices.

In addition, Bryndorf offers us the two Ciacona works and the only
Passacaglia Buxtehude composed.  Except for the slower tempo of the
Passacaglia, both types of works are quite similar.  They are built on
a series of notes played over and over throughout the work by the bass
line with an upper voice melody that is subjected to numerous variations.

The St. Mary's organ itself sounds to be a magnificent instrument in
all respects except one - the pedals give off a slightly muffled tone.
I don't feel this to be a 'show-stopper', but it does detract slightly
from the performances.  In all other aspects, the sound quality is
excellent.

Finding Bryndorf's performances to have both significant pros and cons,
I am going to frame the review in terms of positive, negative, and
controversial considerations:

Positive Considerations - Bryndorf's strengths are her sense of majesty,
grandeur, and momentum.  She is demonstrative but never bitter or overly
severe; actually, all aspects of her performances are quite stylish.
Tempos are uniformly quicker than the norm, but they sound natural and
are used to invest Buxtehude's music with enhanced drive.  Above all
else though, Bryndorf is about public ceremony.

Among the many rewards of the disc, two are particularly exceptional.
The Praeludium BuxWV 149 has a fantastic introduction that Bryndorf
delivers in a wild and intense fashion.  The work begins with the manuals
blazing through the sky at a dizzying speed.  Then the pedals enter the
picture, Bryndorf giving them a 'pure evil' persona.  Meanwhile, the
manuals begin to sound as if the 'Mad Wizard' is at work.  This is wild
and ominous music played to the hilt by Bryndorf.  The other superior
interpretation is of the Chorale BuxWV 199 where Bryndorf's majesty
reaches its apex with a rhythmic lift and edge I've not heard from any
other recording.

Negative Considerations - The one major element lacking in Bryndorf's
interpretations is variety in a number of areas.  She changes registrations
infrequenty and generally within a narrow band.  Other aspects such as
dynamics, articulation, rhythmic patterns, and tempo also display a small
degree of variance.  Bryndorf just seems to have little interest in these
features, and listeners who treasure variety of interpretation will
surely be skeptical.

Concerning specific performances, only Bryndorf's interpretation of the
Ciacona in E minor is not up to snuff.  In this work, Bryndorf totally
abandons her strengths of majesty and determination, only giving us a
subdued reading that sounds glum and boring.  Since the work would easily
accomodate a majestic approach, I find Bryndorf's decision-making
inexplicable given her basic predilections.

Potentially Controversial Considerations - The one controversial area
concerns the Chorales.  They are based on religious text, and most
organists takes a rather pious approach.  In contrast, Bryndorf eschews
this route and offers her usual brand of majesty and grandeur.  As an
example, in the Chorale BuxWV 199 she is positively festive and quite
unique.  Essentially, she celebrates instead of bowing to God.  I enjoy
her interpretations, but many listeners will feel spiritually undernourished.

Don's Conclusions: The Bryndorf disc will not appeal to all tastes.
Specifically, I do not recommend the recording for those who treasure
variety and a humble veneration for God.  All others should find much
to enjoy, particularly those who love their Buxtehude played in an
exuberant and ceremonial manner.

Don Satz
[log in to unmask]