Heinrich Scheidemann(c.1595-1663)
    Selected Organ Works, Volume 2

Praeludium in C major, WV 30
Lobet den Herren, denn er ist sehr freundlich
Komm heilger Geist
Fantasia in G major, WV 86
Es spricht der Unweisen Mund wohl(4 verses)
Fuga, WV 84
Magnificat III Toni(4 verses)
O lux beata trinitas(2 verses)
Toccata in C major, WV 85
Christ lag in Todesbanden(3 verses)
Alleluja, laudem dicite deo nostro(Hassler)
In dich hab ich gehoffet, Herr
Praeludium in D minor, WV 33

Naxos 8.554203
Recorded 1998
Brombaugh Organ, Haga Church, Gothenburg(1992)
Karin Nelson, Organ
TT 75:51

Summary Rating: Off the Charts

This is Volume II of the Naxos series devoted to the organ music of
Heinrich Scheidemann.  Peter van Dijk was the performer for Volume I, and
Karin Nelson has the honors for this second volume.  Ms.  Nelson was born
in the nothern section of Sweden and studied music at the Gothenburg School
of music where she earned her diploma as an organist.  Later, she studied
organ and harpsichord at the Sweelinck Conservatory of Music.  In recent
years she has been the organist at the Haga Church in Gothenburg and has
done much research concerning the tradition of organ Magnificats.

The Brombaugh Organ at the Haga Church is of recent construction but sounds
very much like a baroque organ.  After doing a little research, I found
that the Brombaugh Organ was patterned after the early 17th century organs
of Northern Germany.  The organ is exceptional in the similarities to its
baroque counterparts.  Also, I couldn't ask for an instrument of greater
clarity and definition.

I'm not going to take long on this disc; it's almost too good to even write
about.  At rare moments, one comes across a perfect marriage of composer,
performer, and instrument.  The Karin Nelson disc is in that category, and
I feel it an honor to experience it.  First, more about the organ.  I am
astounded with its registrations, strength, and the comfort it can provide;
also, it sounds more like a baroque organ than most of the real ones.  The
engineering is superb in balancing the voices and conveying such definition
which I've never heard as detailed before.

Switching from Van Dyke in Volume I to Nelson is like going from
performances of Scheidemann to heading straight into the heart of the
composer.  With nothing to prove it valid, I feel that Scheidemann must
have wanted his music exactly as interpreted by Nelson.  Her flow is
amazing in that it sounds so natural.  She takes Scheidemann's best music
such as "Christ lag in todesbanden" and makes it magical; she takes his
less interesting works like "Ich dich hab ich gehoffet, Herr", and renders
them wonderful creations.  Her rhythms are made in heaven, and her
registrations are diverse and always enticing.  Nelson's poignancy has no
peers; it shines through in every work and cuts to the heart.  Her majesty
is commanding, her comfort is sublime, and her assurances are enveloping.

If the above isn't enough to arouse your interest, Nelson even cures my
attention-deficit disorder.  Although my intent was to just listen to the
two 'framing' works, I could tell that something special was happening.  So
I ended up listening straight-through again and again.  It was likely the
opening Praeludium in C major that got me hooked; this work really does
open up in Nelson's hands and seduces the listener into staying fixed to
the speakers.

Don's Conclusions:  Scheidemann at his best or even better than he
could imagine.  The music, organ, and performer are *one* in this magical
recording.  The disc is worth one-hundred bucks, never mind the measly
Naxos price.  If you want to get a great taste of music from the early
17th century and completely enter that rich and innovative period, look no
further.  As for me, I'm going to start looking into the discography of Ms.
Nelson.  She's a very special performer.

Don Satz