[SACD-R][OF] Norddeutsche Orgelmeister, Vol. 1-4 - Joseph Kelemen - 2005-2010/2007-2011 (Classical)

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Norddeutsche Orgelmeister, Vol. 1-4 - Vincent Luebeck, Matthias Weckmann, Nicolaus Bruhns & Melchior Schildt, Heinrich Scheidemann
Joseph Kelemen

Жанр: Classical
Год записи материала: 2005-2010
Год выпуска диска: 2007-2011
Производитель диска: Germany, EU - Oehms - OC 607, OC 627, OC 641, OC 682
Аудио кодек: DST 2.0, 5.0
Тип рипа: image (ISO)
Битрейт аудио: 2,8224 MHz
Продолжительность: 66:42 + 68:34 + 67:29 + 79:20
Vol. 1: Vincent Luebeck
1. Praeludium C-Dur
2. Praeambulum und Fuge F-Dur
3. Praeambulum und Fuge c-Moll
4. Nur Last uns Gott den Herren
5. Praeludium g-Moll
6. Ich ruf zu dir, Herr Jesu Christ
7. Praeambulum E-Dur (transponiert nach C-Dur)
8. Praeambulum G-Dur
9. Praeludium d-Moll
Vol. 2: Matthias Weckmann
1. Praeambulum Primi toni a. 5 in d
2. Fuga ex D. Pedaliter, primi Toni in d
3. Ach wir armen Sünder - Versus 1 Choral in Ten.
4. Ach wir armen Sünder - Versus 2 à 2 Clav. è Ped.
5. Ach wir armen Sünder - Versus 3 à 2 Clav.
6. Toccata Dal 12 Tuono in C
7. Canzon Dall istesso Tuono in C
8. Es ist das Heyl uns kommen her - Primuns Versus a 5 Voc. Im vollen Werck
9. Es ist das Heyl uns kommen her - Secundus Versus Manualiter Canon in hyperdiapente post minimam
10. Es ist das Heyl uns kommen her - Tertius Versus Vff 2 Clavir
11. Es ist das Heyl uns kommen her - Quartus Versus a 3. Pedaliter Canon in subdiapason post semiminimam
12. Es ist das Heyl uns kommen her - Quintus Versus a 3. Pedaliter Canon in subdiapason post semiminimam
13. Es ist das Heyl uns kommen her - Sextus Versus Vff 2 Clavier
14. Es ist das Heyl uns kommen her - septimus et ultimus Versus Im vollen Werck Choral im Tenor Manualiter et Pedaliter
15. Lucidor einß hütt der schaf
16. Gelobet seystu Jesu Christ - Primus Versus a 4
17. Gelobet seystu Jesu Christ - Secundus Versus Auff 2
18. Gelobet seystu Jesu Christ - Tertius Versus Auff 2 Clavir à 4
19. Gelobet seystu Jesu Christ - Quatrus Versus á 3
20. Canzon in d
21. Fanatsia. Ex. D in d
Vol. 3: Nicolaus Bruhns, Melchior Schildt
1. Bruhns: Praeludium en Gn. Pedaliter
2. Schildt: Gleichwie das Feuer
3. Bruhns: Praeludium con Fuga ex Gb Pedaliter
4. Schildt: Magnificat 1. Modi - [Primus Versus] Choral im Tenore
5. Schildt: Magnificat 1. Modi - 2. Versus auff 2 Clauier
6. Schildt: Magnificat 1. Modi - Tertius Versus a 4 Voc.
7. Schildt: Magnificat 1. Modi - Quartus Versus. a 3 Voc. in Tenore
8. Schildt: Magnificat 1. Modi - Quintus Versus
9. Bruhns: Adagio in D (transposed to C Major)
10. Schildt: Allein Gott in der Hohe sey Ehr
11. Bruhns: Nun komm der Heyden Heyland
12. Bruhns: Praeludium ex E. Com Pedahl 'lesser' (transposed to d Minor)
13. Schildt: Paduana Lachrymae after John Dowland
14. Bruhns: Praeludium en E b. Pedaliter. 'great' (transposed to d Minor)
Vol. 4: Heinrich Scheidemann
1. Praeambulum G-Dur WV 73
2. Erbarm dich mein, o Herre Gott WV 87 - Versus 1
3. Erbarm dich mein, o Herre Gott WV 87 - Versus auff 2 Cl.
4. Magnificat im 6. Ton WV 19 - Versus 1
5. Magnificat im 6. Ton WV 19 - Versus auff 2 Clavir pedahl
6. Magnificat im 6. Ton WV 19 - Versus Pedaliter
7. Magnificat im 6. Ton WV 19 - Versus manualiter
8. Canzon F-Dur WV 44
9. Jesus Christus, unser Heiland WV 10
10. Surrexit pastor bonus WV 55
11. Wir glauben all an einen Gott WV 29 - Versus 1
12. Wir glauben all an einen Gott WV 29 - Versus auff 2 Clav.
13. Toccata G-Dur WV 43
14. Vom Himmel hoch da komm ich her WV 69 - Versus 1
15. Vom Himmel hoch da komm ich her WV 69 - Versus 2
16. Vom Himmel hoch da komm ich her WV 69 - Versus 3
17. Vom Himmel hoch da komm ich her WV 69 - Versus 4
18. Paduana lachrymae WV 106 (nach John Dowland)
19. Praeambulum d-moll WV 34
Vol. 1: Vincent Luebeck
Vincent Lübeck was born in 1654 – probably in Padingbüttel, in the vicinity of Bremerhaven, Germany – as the youngest child of the eponymous organist. Lübeck’s father evidently died that same year, and the boy received organ instruction from his stepfather Caspar Förckelrath – the only teacher he ever had. Förckelrath, like the young Vincent’s father, held the position of organist at St. Marien’s in Flensburg until his death
in 1683.
In 1674, when Vincent Lübeck was 20 years old, he was appointed organist at St. Cosmae in Stade, where he quickly became an acknowledged teacher and authority on the organ. In this latter capacity he came in contact with the most important organ builder of the time, Arp Schnitger (1648–1719). During the following decades, the acquaintanceship developed into a close friendship. In a letter to an official in Zwolle, Lübeck later reports having inspected circa twenty Schnitger organs1, including important ones such as that in St. Nicolai (1687)2 or St. Jacobi (1693)3 in Hamburg. “Lübeck and Schnitger had such a trusted relationship that Lübeck was evidently authorized to accept payments in Schnitger’s name.”4 Schnitger himself was very pleased with Lübeck’s judgement as an organ authority.5 In 1702, Vincent Lübeck became the organist at the St. Nicolai church in Hamburg, whose Schnitger organ he had once inspected. With 67 stops, four manuals and pedal, this organ was the largest in Hamburg – as well as in the rest of the world. It was destroyed by a fire in 1842. Lübeck remained at this post until his retirement in 1734; his son, Vincent Lübeck Jr. (1684–1755) succeeded him after his death in 1740.
Vol. 2: Matthias Weckmann
Matthias Weckmann was probably born in 1616 in Niederdorla, near Mühlhausen, Thuringia. He moved to Dresden around 1628 and was a choirboy in the court chapel led by Heinrich Schütz (1585–1672). Schütz sent him to Hamburg in 1633 – complete with a scholarship sponsored by Saxon’s prince elector Johann Georg I – to study organ with Jacob Praetorius (1586–1651), the organist at St. Peter’s. Praetorius had studied with the famous teacher Jan Pieterszoon Sweelinck (1562–1621) in Amsterdam, just as had Heinrich Scheidemann (ca. 1596–1663), who was in Hamburg at the same time as Praetorius and the organist at St. Katharina’s. During his studies with Praetorius, Weckmann would certainly have heard Scheidemann on occasion. Weckmann’s acquaintanceship with both of these important masters during his Hamburg years gave him many insights into the Northern German manner of organbuilding and performance.
Vol. 3: Nicolaus Bruhns, Melchior Schildt
Joseph Kelemen is now presenting the third album in his series of recordings on historic organs focusing on the North German school of organ-playing. For his recordings, Kelemen invariably chooses instruments which are linked as closely as possible with the respective composer.
Nicolaus Bruhns was one of the most influential representatives of an increasingly emancipated, emotional, rhetorical style, the stylus phantasticus. Bruhns was born in 1665 near Husum, and his teachers included Dietrich Buxtehude. J.S. Bach was a particular admirer of Bruhns. The complete works for organ recorded here are rounded off by organ works by Melchior Schildt, who was approximately one generation older than Bruhns. His teachers included Jan Pieterszoon Sweelinck in Amsterdam. Until his death in 1667, he was the organist of the market church in Hanover.
Vol. 4: Heinrich Scheidemann
Heinrich Scheidemann is viewed as one of the cofounders of the northern German organ school, one who combined Sweelinck‘s style with that of the northern German baroque tradition. He is considered to be one of the most significant composers of early seventeenth-century organ music. His works consist primarily of chorale preludes, organ chorales, Magnificats, sacred songs, Kyries and dance movements.
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