Nicolaus Bruhns (1665-1697)
  Johann Nicolaus Hanff (1665-1711)
   Complete Works for Solo Organ

Loft Recordings 1012
Recorded 1998
Cathedral Organ(1554), Roskilde, Denmark
William Porter, Organ
TT 58:45

1.  Bruhns: Praeludium in e(the larger)
2.  Hanff: Ach Gott, vom Himmel sieh darein
3.  Hanff: Auf meinen lieben Gott
4.  Bruhns: Praeludium in e(the smaller)
5.  Hanff: Erbarm dich mein, o Herre Gott
6.  Hanff: Ein feste Burg ist unser Gott
7.  Bruhns: Nun Komm, der Heiden Heiland
8.  Hanff: Helft mir Gottes Gute preisen
9.  Hanff: War Gott nicht mit uns diese Zeit
10. Bruhns: Praeludium in G

Nicolaus Bruhns is not a well-known name in baroque music, but he has left
us a legacy of choral and organ music which gets recorded occasionally.
Johann Nicoloaus Hanff is hardly a dot on the baroque circuit; this Lofts
Recording disc gives us the entire organ music of Hanff.

Before getting back to the two composers and the performances, I should
relate that a basic theme of the disc revolves around the Cathedral Organ
in Roskilde, Sweden.  As William Poter states in his liner notes:

   "Sometimes it is the organist's happy experience that an encounter
    with an instrument can transform one's conception of the music one
    plays.  Just such an experience awaits the player who brings the
    organ music of Nicolaus Bruhns to the organ at Roskilde Cathedral."

Porter goes on to tell us how the Cathredral Organ has a sound more mellow,
elegant, intimate, and sweet than North German organs.  His premise is that
the Cathedral Organ invests Bruhn's music with a reflective and refined
quality which alters the conception of Bruhn's organ works.  I can't deny
that the claim is a bold one, and my interest in ascertaining its validity
is high.

For comparison purposes I used the following recordings:

Hans Helmut Tillmanns - Danacord 490, 540, and 545.
Luc Beausejour        - Analekta fleurs de lys 3063.
Claudia Dumschat     - Pro Organo 7054

Let's start with the choral preludes of Hanff.  I am very impressed
with these lovely and reverential works which have ornamented melodies of
deep emotional impact with lower voices providing a bed-rock foundation.
Tillmanns uses modern organs with performances which are flat-out gorgeous;
I can't imagine any organ enthusiast not loving these readings.  Porter
does not place beauty at center-stage although he delivers plenty of it.
His prime goal is expressiveness, and the interpretations give more variety
and depth of thought than Tillmann's.  As an example, Porter makes "Ein
feste Burg ist unser Gott" a strong and ceremonial piece.  Tillmanns
approaches it the same way that he does with the other three Hanff choral
preludes he presents.  Another good decision by Porter, who usually is
slower than other performers, is to give a little more quickness to the
very long "Erbarm dich mem, o Herre Gott" than Tillmanns who can drag a
little.  Overall, I have to give the edge to Porter, but Tillmanns is also
wonderful listening.

Beausejour performs "Ach Gott vom Himmel sieh darein", as sad a piece of
restrained music as you could want to hear.  I always love those descending
chromatic lines which convey deep angst, and Hanff makes healthy use of
them.  Porter is the man who really highlights the chromatic lines and
enhances the music's impact.  Beausejour gives a fine performance but can't
reach Porter.

Once again, I want to let you know that these Hanff works are delectable.
There's no reason to think that performances as exceptional as Porter's
will be issued in the coming years; this is essential music-making all
around.

Porter also provides a chorale treatment by Bruhns, "Nun Komm, der Heiden
Heiland".  It's an extended treatment with each phrase of the melody
having its own section; the work lasts about ten minutes.  There's no
need to worry about boredom setting in because Bruhns invests the music
with remorse, sadness, resignation, joy, faith, and majesty.  The piece
is masterful in all respects.  Also, the conclusion, which requires some
power and bite, is a good sign of what's coming in the Bruhns preludes.

Although a great pleasure listening to Claudia Dumschat's performance of
the Bruhns chorale, it is Porter who best delivers the variety and depth
of the music.  He is two minutes slower than Dumschat, but that's only
noticeable in the joyous second section.  Also, Porter's Swedish organ
sounds so delightful, and he coaxes from it a wide array of irresistable
registrations.

It is now time for the Bruhns preludes.  Power and bite play a much larger
role here than in the chorales on the disc.  The Bruhns "Little" Praeludium
in e receives an excellent performance from Luc Beausejour; he displays
plenty of sharpness and power while well bringing out the music's subtle
beauties.  Tillmanns provides the power without the bite; his reading is
too smooth to match Beausejour.

Right from the beginning of the "Little" E minor, Porter establishes that
he well recognizes the requirements of the work; he's powerful and angular.
The contrasts he provides between the free sections and fugal sections are
exemplary.  Overall, Porter's performance is at Beausejour's high level
although he can't match Beausejour's dynamic conclusion.

The larger Praeludium in e is essentially a more extended treatment of the
"Little" Praeludium.  It's a fine idea since the music is wonderful and
easily accomodates the greater length and variety of expression.  Porter
again comes through with an intense and beautiful reading.  Assuredly, a
liking for the "Little" Praeludium can only result in magnified affection
for the larger Praeludium.

The Bruhns Praeludium in G completes the Porter disc.  It's actually a
Toccata with two fugal sections framed by improvisatory sections.  This
is another commanding Bruhns work worthy of standing tall with any other
toccatas of the time period.  The fugues are sensational.  The first one
creates such great momentum and deterimination while also being very tender
and a little mystical; the second is a ceremonial and powerful force
absorbing and releasing great waves of energy.  The improvisatory sections
are also exceptional, displaying the mastery of form and timing that
pervades the music of Bruhns.

I can't choose the better version of the Praeludium in G between Dumschat
and Porter.  I prefer Dumschat in the fugues as she provides greater
momentum; I favor Porter in the free sections where he is on the rugged and
sharp side.  Both versions are exceptional, and the music is outstanding.

Don's Conclusions:

1.  The Bruhns/Hanff disc from William Porter is one of the most rewarding
recordings I've heard over the past year - clearly essential listening for
anyone with a penchant for baroque organ works.

2.  I just finished a review of another Porter disc on Loft Recordings
devoted to the chorales of Krebs; that recording is also played on a
Swedish organ.  I gave the disc a warm recommendation, but Hanff and
particularly Bruhns are more inspiring than Krebs.

3.  Sweden must have some fantastic organs.

4.  I hope that William Porter continues searching for historical organs
that meet his high standards.  I'm definitely benefitting from his
discoveries.

5.  Porter is a superb artist.  My next acquisition from Loft Recordings
will be his Bach disc which should be most interesting.

Don Satz
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