Ton Koopman at the Zacharias Hildebrandt Organ (1726) in Lengefeld in the Erzgebirge
premiera polska: 2016-06-18
opakowanie: plastikowe etui
W 2010 roku specjalista od organów z Drezna, Kristian Wegscheider, dokonał w małym saksońskim miasteczku Lengefeld niezwykłego odkrycia. Ustalił on mianowicie, że zbudowane w tamtejszym kościele w 1724 roku przez Zachariasa Hildebrandta organy, wyposażone zostały w komplet piszczałek wykonanych w latach 1661/62 przez Christopha Donata, słynnego budowniczego organów i są prawdopodobnie najstarszym, pełnym zestawem piszczałek w Saksonii. Organy te zostały w latach 2010-2014 poddane gruntownej renowacji i konserwacji, a jak brzmią teraz możemy się przekonać dzięki cudownemu nagraniu holenderskiego mistrza Tona Koopmana.
By zaprezentować on piękno i oryginalne brzmienie instrumentu Koopman zdecydował się nagrać utwory pochodzące z siedemnastego i początku osiemnastego stulecia (w wykonAwstwie muzyki tego okresu sam się zresztą specjalizuje). Tak więc znajdziemy na płycie kompozycje Dietericha Buxtehude (1637-1707) powstałe na adwentowe, niedzielne wieczory w Lubece; Johanna Pachelbela (1653-1706), jednego z mistrzów ostinatowego basu; Jan Pieterszoon Sweelinck (1562-1621), amsterdamskiego mistrza, najwybitniejszego kompozytora Niderlandów; ale także mniej znanych organistów i kompozytorów tamtych czasów - Johanna Gottfrieda Walthera (1684-1748) oraz Gottfrieda Augusta Homiliusa (1714-1784). W tym gronie nie mogło zabraknąć oczywiście Jana Sebastiana Bacha i właśnie jego kompozycje, o najbardziej złożonej formie, wypełniają ostatnią część tego nagrania. Cudowna płyta, wspaniale zarejestrowana na oryginalnym i znakomicie brzmiącym instrumencie.
Ton Koopman: This masterful Zacharias Hildebrandt organ includes seven seventeenth century stops. For me, that is a good reason to perform not only works by Johann Sebastian Bach and his contemporaries - Bach was a great lover of Hildebrandt organs - but also music from the seventeenth century. During his time, Dieterich Buxtehude (c.1637-1707) was very well-known as an organist, composer and organiser of the famous "Abendmusiken" in Lübeck. Like Buxtehude, Johann Pachelbel (1653-1706) was a master of the ostinato bass. We know of eight chaconnes written by him, although not all of them survive in their entirety. This Chaconne in D minor is the only one of which we can be certain that it was written for organ as it includes an obbligato pedal part Jan Pieterszoon Sweelinck (1562-1621) lived and worked in Amsterdam as a composer and organist and was also a famous pedagogue. I have chosen a masterful Fantasie, as well as an arrangement of the Christmas carol Puer nobis nascitur, played here using only the seventeenth century stop. Johann Gottfried Walther (1684-1748), a distant cousin of Johann Sebastian Bach, was an eminent music theorist, composer and copyist. This recording includes a concerto after Tomaso Albinoni, alongside a beautiful chorale arrangement. Gottfried August Homilius (1714-1784) may have been a student of Johann Sebastian Bach. In Dresden, he was organist at the Frauenkirche. Johann Sebastian Bach (1685-1750) should of course not be missed out in this context. His early Prelude and Fugue in C minor is written in the stylus phantasticus, full of youthful energy in the pedals, as well as the manuals. Much later on, Bach composed another Prelude and Fugue in C minor (BWV 546) - a completely different world. Then we have Bach's possibly most complex organ work of all: Vater unser im Himmelreich from the Clavier-Übung, Part III. The complex canon technique and the many different rhythms are characteristic; but first and foremost it is a poignant piece of considerable duration. This is followed by the simple but wonderful Canzona in D minor (played on manuals only), and a chorale arrangement without a BWV number - however, when one hears it there cannot be any doubt that this work originates from the pen of Johann Sebastian Bach. To end, one of his most significant and brilliant compositions, the Passacaglia in C minor, which sounds especially appealing played on an organ tuned after Neidthard.
ARTIST BACKGROUND Born in Zwolle (The Netherlands) Ton Koopman had a classical education and studied organ, harpsichord and musicology in Amsterdam. He received the Prix d'Excellence for both instruments. Naturally attracted by historical instruments and fascinated by the philological performance style, Koopman concentrated his studies on Baroque music, with particular attention to J.S. Bach, and soon became a leading figure in the "authentic performance" movement. As organist and harpsichordist Ton Koopman has appeared in the most prestigious concert halls of the world and played the most beautiful historical instruments of Europe. At the age of 25, he created his first baroque orchestra; in 1979 he founded the Amsterdam Baroque Orchestra followed in 1992 by the Amsterdam Baroque Choir. Combined as the Amsterdam Baroque Orchestra & Choir, the ensemble soon gained worldwide fame as one of the best ensembles on period instruments. With a repertoire ranging from the early Baroque to the late Classics, they have performed at the Concertgebouw in Amsterdam, Théatre des Champs-Elysées and Salle Pleyel in Paris, Barbican and Royal Albert Hall in London, Musikverein and Konzerthaus in Vienna, Philharmonie in Berlin, Lincoln Center and Carnegie Hall in New York, Suntory Hall in Tokyo as well as in Brussels, Milan, Madrid, Rome, Salzburg, Copenhagen, Lisbon, Munich, Athens, etc. Among Ton Koopman's most ambitious projects has been the recording of the complete Bach cantatas, a massive undertaking for which he has been awarded the Deutsche Schallplattenpreis "Echo Klassik", the BBC Award, the Hector Berlioz Prize and has been nominated for the Grammy Award (USA) and the Gramophone Award (UK). In addition to the works of Bach, Koopman has long been an advocate of the music of Bach's predecessor Dieterich Buxtehude and following the completion of the Bach project, he embarked in 2005 on the recording of the Buxtehude-Opera Omnia. The edition consists of 30 CDs, the last having been released in 2014. Ton Koopman is President of the International Dieterich Buxtehude Society. In 2006 he was awarded the Bach-Prize of the City of Leipzig, in 2012 the Buxtehude Prize of the city of Lübeck, and in 2014 he received the Bach Prize of the Royal Academy of Music in London. Ton Koopman has a very wide repertoire: as harpsichordist and organist he has performed music from the Renaissance to the Classical period, with the ABO&C he has explored intensely the Baroque and Classical period and as a conductor with modern orchestras he also approaches the early Romantics. In recent years, Ton Koopman has been very active as guest conductor. He has worked with the most prominent orchestras of the world, among them the Berlin Philharmonic, New York Philharmonic, Munich Philharmonic, Chicago Symphony, San Francisco Symphony, Royal Concertgebouw, Symphonieorchester des Bayerischen Rundfunks, DSO Berlin, Tonhalle Orchestra Zurich, Orchestre Philharmonique de Radio France Paris, Vienna Symphony, Boston Symphony and Cleveland Orchestra. Ton Koopman has recorded an enormous number of records for Erato, Teldec, Sony, Deutsche Grammophon, and Philips. In 2003 he founded his own label "Antoine Marchand", a sub label of Challenge Classics. Ton Koopman publishes regularly. He has edited the complete Händel Organ Concertos for Breitkopf & Härtel and recently published new editions of Händel's Messiah and Buxtehude's Das Jüngste Gericht for Carus Verlag. Ton Koopman is Professor at the University of Leiden, Honorary Member of the Royal Academy of Music in London and artistic director of the Festival "Itinéraire Baroque".
SUMMARY In 1724, Zacharias Hildebrandt was commissioned to build a new organ. In 2010 a pre-examination by the organ builders Kristian Wegscheider of Dresden resulted in a sensational find: unusually well-preserved seventeenth century pipes which probably originated from the precursing instrument built by Christoph Donat in 1661/62. This set of pipes, probably the oldest surviving in Saxony, was used by Zacharias Hildebrandt for his new organ. Between 2010 and 2014 they were jointly restored by the organ building firms of Hermann Eule, Bautzen, and Kristian Wegscheider, Dresden
Ton Koopman: organs
1. Dieterich Buxtehude: Toccata F-Dur BuxWV 157 (03:45)
2. Johan Pachelbel: Ciacona d-Moll (05:15)
3. Jan Sweelinck: Fantasia d-Moll (10:29)
4. Jan Sweelinck: Puer nobis nascitur (03:40)
5. Johan Walther: Concerto F-Dur nach Tomaso Albinoni (06:30)
6. Johan Walther: Herr Gott, nun schleuss den Himmel auf (02:17)
7. Gottfried Homilius: Mein Gott, das Herze bring ich dir (02:25)
8. Gottfied Homilius: O grosser Gott, du reines Wesen (02:31)
9. Johann Sebastian Bach: Praeludium und Fuge c-Moll BWV 549 (04:55)
10. Johann Sebastian Bach: Vater Unser im Himmelreich BWV 682 (07:26)
11. Johann Sebastian Bach: Canzona d-Moll BWV 588 (05:08)
12. Johann Sebastian Bach: Was Gott tut, das ist wohlgetan BWV (03:11)
13. Johann Sebastian Bach: Passacaglia c-Moll BWV 582 (12:51)
total time - 65:00
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