Great European Organs, No.42
View record and artist detailsRecord and Artist Details
Composer or Director: Melchior Schildt, Dietrich Buxtehude, Jan Pieterszoon Sweelinck, Jacob Praetorius, Johann Lorentz, Heinrich Scheidemann
Label: Priory
Magazine Review Date: 5/1997
Media Format: CD or Download
Media Runtime: 65
Mastering:
DDD
Catalogue Number: PRCD444
Tracks:
Composition | Artist Credit |
---|---|
Ihre-Tablature Uppsala, Movement: Praeludium |
Johann Lorentz, Composer
Johann Lorentz, Composer Kristian Olesen, Organ |
Ihre-Tablature Uppsala, Movement: La viona/La double |
Johann Lorentz, Composer
Johann Lorentz, Composer Kristian Olesen, Organ |
Ihre-Tablature Uppsala, Movement: Aria |
Johann Lorentz, Composer
Johann Lorentz, Composer Kristian Olesen, Organ |
Ihre-Tablature Uppsala, Movement: Sarabande |
Johann Lorentz, Composer
Johann Lorentz, Composer Kristian Olesen, Organ |
Ihre-Tablature Uppsala, Movement: La bourè |
Johann Lorentz, Composer
Johann Lorentz, Composer Kristian Olesen, Organ |
Magnificat Primi Toni |
Jacob Praetorius, Composer
Jacob Praetorius, Composer Kristian Olesen, Organ |
Psalm 140 |
Jan Pieterszoon Sweelinck, Composer
Jan Pieterszoon Sweelinck, Composer Kristian Olesen, Organ |
Canzona |
Heinrich Scheidemann, Composer
Heinrich Scheidemann, Composer Kristian Olesen, Organ |
Herzlich lieb hab' ich dich, o Herr |
Melchior Schildt, Composer
Kristian Olesen, Organ Melchior Schildt, Composer |
Toccata and Fugue |
Dietrich Buxtehude, Composer
Dietrich Buxtehude, Composer Kristian Olesen, Organ |
Herr Jesu Christ, ich weiss gar wohl |
Dietrich Buxtehude, Composer
Dietrich Buxtehude, Composer Kristian Olesen, Organ |
Von Gott will ich nicht lassen |
Dietrich Buxtehude, Composer
Dietrich Buxtehude, Composer Kristian Olesen, Organ |
Te Deum laudamus |
Dietrich Buxtehude, Composer
Dietrich Buxtehude, Composer Kristian Olesen, Organ |
Author: Marc Rochester
If I seem to be concentrating on the organ rather than the music or the performance it’s because this disc is clearly aimed at the instrument enthusiast. The programme, all of which Kristian Olesen, the cathedral’s organist, plays with exemplary stylistic sensitivity, is utterly appropriate both to the place and period of the instrument. Buxtehude is included, obviously, because he was Denmark’s leading baroque organist while most of the others were either taught or influenced by Sweelinck, a compatriot and contemporary of Raphaelis: the Sweelinckian influence is most vividly depicted in the echo effects of Jacob Praetorius’s Magnificat Primi Toni. That none of these pieces really represents the first division of baroque organ composition does not in the least detract from the chance to hear an intriguing instrument very much on its musical home-ground. Messrs Randlov and Holdt, despite some hint of physical exhaustion during Buxtehude’s Te Deum, did not labour in vain.'
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