A FANTASY THROUGH TIME
•
Kimberly Marshall (org)
•
LOFT 1108 (58:35)
BACH
Fantasy in G,
BWV 572, “Piece d’orgue.”
Fantasy in c,
BWV 562.
Fantasy in g,
BWV 542.
FERRABOSCO
Fancy.
SWEELINCK
Fancy chromatica.
NEWMAN
A Fansye.
MOZART
Fantasy in d,
K 397.
FRANCK
Fantaisie in C
(Version III).
ALAIN:
Première fantaisie. Deuxième fantaisie
BUXTEHUDE
Prelude, Fugue and Chaconne in C,
BuxWV 137.
Chaconne in e,
BuxWV 160.
Canzonetta in G,
BuxWV 171.
Magnificat noni toni,
BuxWV 205.
Nun komm der Heiden Heiland,
BuxWV 211.
Praeludium in g,
BuxWV 149.
BACH
Jesu meine Freude,
BWV 1105
. Machs mit mir, Gott, nach deiner Güt,
BWV95.
Lobt Gott, ihr Christen, allzugleich,
BWV 732.
Toccata, Adagio and Fugue in C,
BWV 564.
Fugue on the Magnificat,
BWV 733.
Toccata and Fugue in d,
BWV 565.
Nun komm der Heiden Heiland,
BWV 149
•
Kimberly Marshall (org)
•
LOFT 1029 (70:42)
THE FIRST PRINTED ORGAN MUSIC
•
Kimberly Marshall (org); Skye Hart (ten)
•
LOFT 1124 (53:38)
Works by
SCHLICK, BUCHNER, HOFHAIMER, ISAAC, KLEBER, KOTTER, PAUMANN
A Fantasy through Time
is a concept album, devoted entirely to works named “fantasy” by their composers. They range from a piece from the Mulliner Book of the mid 16th century through two of the 1930s by Jehan Alain. Although all the works are relatively well known and show up frequently on recitals, the disc as a whole makes for a very enjoyable program. I only wish something even more recent had been included to truly take the trajectory to the present day. The large 2006 Richards & Fowkes organ at Pinnacle Presbyterian Church in Scottsdale is a good representation of the fine mechanical action instruments being built today by the best American organ builders. These instruments tend to be historically inspired in many respects (the R&F instrument in particular by the German Baroque), but with enough eclectic properties to be useful for both the entire range of organ recital literature as well as the liturgical playing and accompanying demands of church work. Also included is a DVD containing brief interviews with Marshall and video performances of three of the selections.
The other two albums are both performed on the 1991–1992 Paul Fritts organ at Arizona State University, where Marshall teaches. Built in a North German Baroque-inspired style, the instrument is not eclectic in design and designed largely for its specific repertoire within the recital and teaching contexts of an educational institution.
Bach Encounters Buxtehude: A Journey to Lübeck, 1705
commemorates J. S. Bach’s storied 250-mile walking trip from Arnstadt to Lübeck to meet and study with Dietrich Buxtehude. Bach’s organ music was deeply influenced by Buxtehude’s work, and Marshall’s program seeks to point out these connections, both in chorale based music and freely composed works. Marshall notes that she originally planned to make an all-Bach recording, but during a visit from the Buxtehude scholar Kerala Snyder, it was suggested that the program be changed to include the music of both composers. It is an appealing idea. I am of the slightly “heretical” mindset (though I have met many others who do agree with me) that many of Buxtehude’s organ solos are actually more compelling than much of Bach’s solo organ music, so much of which was written quite early in his career. Though Bach’s later masterpieces (like the incomparable “St. Anne” Prelude and Fugue, BWV 552) are remarkable, the excessive attention paid by organists to his every organ piece (including weaker ones) has crowded out music of other Baroque composers, including many of Buxtehude’s best works.
As described in the above interview with Kimberly Marshall, the recording devoted to the complete organ music of Arnolt Schlick is entitled
The First Printed Organ Music
, commemorating the 500th anniversary of the publication of his collection. Particularly notable is the final work,
Ascendo ad Patrem
, which was not published in the original collection. It is a remarkable 10-voice treatment of the plainchant, and the intense richness of the sound calls to mind the textures of the hugely voiced Renaissance choral Masses and motets, such as those of Antoine Brumel.
Marshall has always been a very compelling advocate for early repertoire, playing with clarity and intelligence. Her interpretations of historical repertoire are rarely flamboyant (and I would not want to completely give up some of the more flamboyant, yet still historically informed, recordings in my library—such as Gunther Rost’s Bach recordings, for example), but her performances are always distinguished by a great sensitivity to the music’s structure and affects. On the Schlick album, Marshall is joined by tenor Syke Hart, who performs the plainchants on which the organ pieces are based.
Carson Cooman
