This week, two titans of church music passed from this world to the next; each had an enormous influence on me. The first of these, Gustav Leonhardt, was actually only an acquaintance of mine, having met him while still a Conservatory student. But his career was one that I emulated. Here was a brilliant keyboard
Jonathan Dimmock captures the spirit of the mystic Messiaen in his thoughtful and sympathetic treatment of some of the somposer’s most famous works: Transports de Joie (Outbursts of Joy) from L’Ascension, Dieu parmi nous (God among us) from La Nativité, and Le Banquet Céleste (The Celestial Banquet). But there are more esoteric offerings as well:
Known as the “Orpheus of Amsterdam,” Jan Pieterszoon Sweelinck was the greatest single influence on the succeeding generation of north European organists and composers, including H. Scheidemann, J. Praetorius II, M. Schildt, and both Samuel and Gottfried Scheidt. Jonathan Dimmock brings these influential works to life on three landmark mean-tone organs in Holland and Sweden.
It’s only been within the past 200 years or so that the role of Organist/Choirmaster has been considered professional or artistic. Prior to that, the musician (all musicians) were little more than an indentured servant, performing at the discretion of his masters (whether Lords or Bishops). Music was not on the same academic level as
Published in San Francisco Classical Voice by Jerry Kuderna Despite the fact that Bach was himself a great master of the organ, and composed for the instrument throughout his career, gaining his first renown performing on it publicly, most keyboard players (and listeners) today are likely to be much more familiar with his output of
Felix Mendelssohn, in addition to being one of the most respected composers, conductors, and one of the greatest pianists of his day, was also one of the finest organists and improvisers of his age. At least on two occasions he produced large-scale collections for the instrument: the Three Preludes and Fugues, op. 37, and the
These are fine performances on an organ almost uniquely suited to the works. It consists of three manuals (Hauptwerk, Positiv, and Echo) with a full Pedal stoplist and is found in the Kloster Weißenau, Ravensburg, Germany. It was built in 1787 by Holzhey, whose work Mendelssohn himself admired. The tone is marvelously fluid, but with
We have listened to organist (and musical polymath) Jonathan Dimmock ‘s new CD, Mendelssohn Organ Sonatas (Loft Recordings LRCD-1112). These works, written late in the composer’s brief life, take full advantage of the resources of the “king of instruments” as well as being prime examples of Mendelssohn’s unique musical genius. Jonathan plays these works masterfully
Mendelssohn, F.: Org Sons 1-6; Dimmock/Holzhey Org, Ravenburg, Germany [Loft] AUDIOPHILE (1 CD) Felix Mendelssohn’s (1809-1847) six organ sonatas (1844-45) can be considered romantic successors to J.S. Bach’s (1685-1750) works for that instrument. As performed here on one of Germany’s finest classical organs, it’s easy to understand why these late Mendelssohn pieces would go on
Review of Sweelinck: Master of the Dutch Renaissance Jan Pieterszoon Sweelinck (1562-1621) was considered to be the finest keyboard player and improviser of his day. His captivating playing and influential teaching earned him the titles “Orpheus of Amsterdam” and “Maker of German organists.” His students were among the leading organist/musicians of the early Baroque in
Mendelssohn: Organ Sonatas Jonathan Dimmock, Holzhey organ, Weissenau, Germany Loft LRCD 112 (7744) rating: FIVE STARS! Those used to romanticised interpretations of Mendelssohn’s sonatas may find this recording uncomfortable, especially in Werckmeister III temperament. Mendelssohn, however, had a penchant for classically voiced organs and was full of praise for the southern German organ builder Johann
Although the first two organs pre-date Sweelinck’s birth, and the third is a reconstruction of an organ from around 80 years after his death, all three allow convincing representations of the aural world of Sweelinck – not least in their mean-tone tuning. All are important instruments in their own right, notably the Oosthuizen organ. Although
Sweelinck Goes Home – And Has Never Sounded So Good! The idea of “taking a musical journey” is pretty much a meaningless cliché – but not always! Organist Jonathan Dimmock’s two-CD set, Jan Pieterszoon Sweelinck: Master of the Dutch Renaissance, will send you on a rewarding musical journey to places you thought you knew but
A representative selection of organ works by Sweelinck is recorded on three very appropriate organs, all of which are tuned in meantone. Also included are two works by Scheidemann, and the variations on “The Woods so Wilde” by Byrd. The Oosthuizen instrument is dated 1521, while that at Hattem is from 1550. Both are single-manual,