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Weckmann: Organ Works - Kespohl

Weckmann: Organ Works - Kespohl

MDG Scene  906 2109-6

Stereo/Multichannel Hybrid

Classical - Instrumental


Weckmann: Komm, heiliger Geist, Herre Gott; Toccata ex D; Fantasia ex D; Gelobet seist du, Jesus Christ; Toccata in E minor; Ach wir armen Sünder; Praeambulum a 5 Vocum; Gott sei gelobet und gebenedeiet; Praeambulum primi toni a 5; Nun freut euch, lieben Christen gmein; Toccata vel praeludium primi toni; Fuga ex D primi toni pedaliter; Magnificat secundi toni

Hilger Kespohl (Arp Schnitger Organ of St. Pankratius, Neuenfelde)


Magnificent Monument
Arp Schnitger is buried in the Hamburg Neuenfelde Church, and it is in this uniquely preserved sacred structure from the High Baroque that we find the largest instrument from his workshop, an organ with a Rückpositiv and two manuals. Hilger Kespohl is now presenting this exquisite instrument for the first time after the magnificent restoration of this historical monument, and his program features the music of another famous Baroque Hamburg resident: Matthias Weckmann, who like no other composer between Schütz and Bach succeeded in drawing on the immense variety of European musical styles in order to develop his very own tonal idiom.

Italian Trade
In their time Heinrich Schütz and Johann Jacob Froberger, Weckmann’s teachers, had brought the canzone with them from Italy. Girolamo Frescobaldi was the undisputed master in this field, and what Weckmann was able to develop afresh in this tradition enthused the Prince Elector of Saxony as well as Froberger so much that even a hundred years later Johann Mattheson continued to rave about his dazzling performance in Dresden.

Hanseatic League
Weckmann moved back and forth between Hamburg and Dresden several times and in between spent some time in Nykøbing in Denmark. In Hamburg he met Heinrich Scheidemann, certainly the leading personality in the Hanseatic music world, and incorporated Scheidemann’s compositional style schooled on Sweelinck into his own personal style – “with seriousness and delightfulness,” as Mattheson approvingly wrote.

Genuine Guarantee
The Neuenfelde organ of course offers ideal instrumental resources for Weckmann’s style. Contrary to his custom elsewhere, Schnitger did not use pipe material from predecessor instruments, which meant that he could realize his own ideas without compromises. As a result, the very authentic High Baroque organ sound has by and large been preserved – a stroke of luck for Weckmann’s music and for all fans of Northern German organ artistry!

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