Ute Gremmel-Geuchen - Complete Organ Sonatas - SUPER-AUDIO CD [Super Audio CD (SACD)]

Franz Liszt certainly would have been very pleased with Zuzana Ferjencíková's selection of the Aloys Mooser organ in the Fribourg Cathedral for the first of her complete recording of his organ works. Liszt himself traveled to Fribourg with George Sand in 1836 in order to have this instrument presented to him. Inspired by this marvelous organ, he then repeatedly wrote compositions and transcriptions for performance on the organ, constantly expanding the sound panorama to keep up with the advances in organ design. A surprise comes right at the beginning when Ferjencíková presents the famous Prelude and Fugue on B-A-C-H in the very rarely performed original version premiered by the Liszt pupil Alexander Winterberger at the Merseburg Cathedral in 1856. Fifteen years later Liszt smoothed out the harsh juxtaposition between massive chords and brilliant virtuosity in favor of filigree detail - one more reason to listen with special attention to the rarity recorded here. Another heavyweight concludes this first SACD the Introduction, Fugue, and Magnificat from the Symphony on Dante's Divina Commedia display Liszt's great compositional mastery. The three realms of the otherworld, which also can be interpreted as an allegory of human striving in general, are closely interrelated motivically and culminate in dazzling magnificence of sound. Ferjencíková registers the funeral song of chorale character after the opening recitative with Mooser's famous Voix humaine, for which this master of Early Romantic organ design had a special swell box constructed. Ferjencíková's program selections demonstrate just how broad Liszt's interest was in the music of his contemporaries and earlier generations. Here we find transcriptions ranging from Bach to Otto Nicolai and - as a special treat and two-for-one bonus - a Regina coeli laetare by Orlando di Lasso. It is presented twice - and the se

A double stroke of luck the Sauer organ in the InchGlockeInch concert hall in Bremen has survived almost unchanged since 1928, despite all attempts to adapt the instrument to contemporary taste and fashion. The original pitch of 435 Hz has also been preserved - actually too low for ensemble playing today. However, the Franz Kuhn Trombone Quartet led by the enterprising Juan Gonzáles Martínez can fall back on an original trombone set from the 1920s. With this and together with organist Lea Suter, the four gentlemen bring remarkable literature from the heyday of virtuoso trombone playing to life in an authentic way. A wonderful addition to the first organ recital on the previous album. For a long time, cantabile playing in particular was denied the trombone. It was the then acclaimed virtuoso Paul Weschke who was the first professor in Germany to revolutionize trombone playing. Weschke added instructions for innovative playing techniques to his numerous transcriptions; thus legato became possible without producing a glissando - an indispensable prerequisite for vocal playing. Together with the romantic trombone instrument developed by Franz Kuhn, Weschke's pioneering playing techniques produce an immensely colorful sound that harmonizes most advantageously with the warmth of the Sauer organ in Bremen's InchGlockeInch. This can be experienced excellently in the arrangements from Rossini to Reger, which were found in Weschke's extensive archive and are performed by Martínez and Suter with style and admirable esprit. The trombone quartets by Arno Hansen and August Hänsel are an ideal complement to the virtuoso program, allowing us to immerse ourselves in a world of sound long thought to be past. In the carefully balanced and spatially impressive recording, it can be grasped with the ears - just like the dimensions of this special organ in one of the most beautiful concert

Details 1. Nicolaus Bruhns (1665-1697) Praeludium in G 2. Praeludium in E (Klein) 3. Choralfantasie ?Nun Komm Der Heiden Heiland? 4. Adagio D-Dur 5. Praeludium G-Moll 6. Praeludium in E (Groß) 7. Arnold Melchior Brunckhorst (1670?-1725) Praeludium in E 8. Anonymus ?Kyrie - Christe ? Kyrie? 9. Kyrie 10. Versus Primus ?Kyrie Gott Vater in Ewigkeit? 11. Versus Secundus ?Christe? 12. Anonymus, (P. Morhardt Attr.) ?Du Friedefürst, Herr Jesu Christ?Versus Tertius ?Kyrie? 13. Registervorstellung