Reviews
GMCD 7290 - 19 Th Century Organ and Choral Music
CHURCH MUSIC QUARTERLY MARCH 2007
Forchhammer,
Kirchner, Jecker, Rheinberger
Ursina Caflisch (organ)/Cantus Firmes conducted by Clan Scherrer/The organ of
Katholische Pfarrkirche, Ilanz Guild, GMCD7290
Most of this CD is
devoted to the organ music of lesser-known contemporaries of the
nineteenth-century composer Josef Rheinberger who were either born or worked in
Switzerland. The music is sumptuously Romantic, and reminiscent of composers
such as Liszt and Max Reger. The CD opens with a sonata by Forchhammer,
subtitled `For a burial ceremony' which might seem off-putting. By and large
though the work is anything but funereal. Other composers featured include
Theodor Kirchner who is believed to have had an affair with Clara Schumann.
The Organist, Ursina
Caflisch, is based at Zurich Conservatoire and Academy of Music & Theatre, and
she plays here a modern
26
stop two-manual
instrument based on Swiss organ design of the mid nineteenth century. It is well
suited to the music of the period. After
50
minutes of clean
solo-organ playing, Ms Caflisch then accompanies the almost 4o-strong Cantus
Firmus for a pleasant and able performance of Rheinberger's
Mass in F minor.
Presumably this CD was
intended for Guild's Swiss market, and would not perhaps appear at the top of
your `must buy' list unless you are a Romantic organ music aficionado or
specialist.
Schweizer Musikzeitung,
09.09.2006
Organ & Choral Music 19th
Century
Organ & Choral Music.
Werke v. Theophil Forchhammer,
Theodor Kirchner, Benedict Jucker, Rheinberger. Ursina Caflisch (Org.), Cantus
firmus, Clau Scherrer (Cond.). Orgel der katholischen Pfarrkirche Ilanz.
Guild GMCD 7290.
Un disque de découvertes
passionnantes que celui-ci. La musique romantique germanique dévolue à l’orgue
recoit souvent les qualificatifs de lourde, austère et ennuyeuse. L'organiste
Ursina Caflisch propose de revoir ce type de jugement hâtif en nous faisant
faire connaissance de Theophil Forchhammer (1847-1923), Theodor Kirchner
(1823-1903) et BenediktJucker(1811-1876).
Du compositeur suisse
Forchhammer, l'organiste interprète d'abord la deuxième sonate «zur Todtenfeier
». Bâtie sur le « Victimae Paschali laudes », on y sent 1'ombre de Bach, bien
que 1'écriture soit résolument romantique. L'interprète en fait ressortir
l'architec-ture avec un art consommé des plans sonores et des magnifiques
registrations que permet le très bel orgue de la paroisse catholique d'Ilanz.
Suivent deux magnifiques chorals du même compositeur. Le cantus firmus y est
entouré de suaves chromatismes qui renouvellent agréablement le genre. Là aussi,
1'organiste nous fait découvrir toutes les subtilités de son instrument avec un
réel bonheur.
Presque totalement tombé
dans 1'oubli, déjà de son vivant, Kirchner fut pourtant un compositeur
prolifique. On dénombre environ mille piéces pour piano. L'influence de Schumann
et de Brahms y est évidente, mais aussi celle de Liszt et de Wagner. Ce disque
vient donc à point nommé pour nous faire découvrir sept miniatures qui valent le
détour. Les préludes de choral de Jucker présentent un compositeur plein de
grâce et d'élégance, mais qui ne tombe jamais dans 1'effet facile.
Seul
compositeur connu de cet enregistrement, Josef Gabriel Rheinberger y est
représenté par sa Messe en fa mineur op 159. Les voix de Cantus Firmus s'allient
aux doigts d'Ursina Caflisch pour notre plus grand bonheur. Le Chef Clau
Scherrer conduit cette musique en impliquant sa passion au détour de chaque
phrase. Les voix sont magnifiquement timbrées (mention spéciale aux ténors). Il
n'y a aucune surcharge, le choeur est parfaitement homogène. La prononciation
idoine pour cette musique du latin «alla tedesca» ajoute un plus à la parfaite
diction. Thierry Dagon
MusicWeb Wednesday January 25 06
A successful anthology of
lesser-known Swiss Nineteenth Century Organ and Choral Music ... William
Kreindler
Nineteenth Century Organ and Choral
Music
Theophil FORCHHAMER
(1847-1923) Sonate Nr.2 in e-Moll, op.15 ‘Zur Todtenfeier’ (pub.
1886) [25:04]
Aus Acht Choralbearbeitungen, op.11 (pub. 1887)
Es ist gewisslich an der Zeit [2:00]
Jesus meine Zuversicht [2:33]
Theodor KIRCHNER (1823-1903)
Aus Orgelkompositionen, op.89 (pub. 1890) [14:33]
Benedict JUCKER (1811-1876)
Aus Neun Choral-Vorspiele, op.7 (1867)
Mein Jesu den die Seraphinen [2:43]
O’ wie so gar sanftmüthig [2:03]
Ach bleib mit deiner Gnade [2:22]
Josef Gabriel RHEINBERGER (1839-1901)
Messe in f-Moll, op.159 für Chor und Orgel (1889) [22:04]
 Ursina
Caflisch (organ)
Cantus Firmus/Clau Scherrer
Rec. Katholische Pfarrkirche, Ilanz, 27-31 October 2004
GUILD
GMCD 7290 [74:36]
A word of clarification, or a
narrowing of the geographic range, is necessary here. Of the four composers on
this Guild CD, Jucker and Forchhammer are Swiss-born, Kirchner is a German who
spent many years in Switzerland and Rheinberger is a German born in
Lichtenstein. Except for the Mass by Rheinberger, all the works are for organ
alone, ably played by the Zurich organist and teacher Ursina Caflisch. The organ
works are further joined together, especially in the cases of Forchhammer and
Jucker, by a use of Baroque forms and practice, treated in a Lisztian manner.
A twenty-five minute organ sonata
may not be to everyone’s taste, especially one that is subtitled "For a Funeral
Service’. But this piece by a Swiss organist-composer well-known in his time is
far from gloomy, starting out with a heroic introduction and then proceeding
through a lengthy first movement partially based on the chorale ‘Jesus, mein
Zuversicht", which is also set by Forchhammer as one of the two chorale
arrangements accompanying the sonata on this disc. The second movement is a
quiet, Bach-like interlude, with parts of the chorale ‘Wachet auf, ruft uns
die Stimme’ appearing, before leading directly into the third movement,
which also utilizes this chorale and leads to a cyclic finale that is both
impressive and touching. This is a discovery worth hearing again.
Unlike Forchhammer, Theodor
Kirchner is still remembered today, especially in Switzerland, where he spent
thirty years, for his lyrical and effective miniatures for piano and organ and
his songs. He also wrote some important chamber works, which have been
surprisingly well-covered by the record companies. Here we have six excerpts
from a collection of organ works published in 1890, although some date from
earlier in his career. These are in the same tradition of late 19th/early 20th
century organ music as the smaller works of Vierne or Arthur Foote and are
equally attractive. All are amiable and charming, with tracks 10 and 12 being
somewhat more substantial. Kirchner is not afraid to make the organ sound as
lyrical as the piano or the human voice, without forgetting the characteristics
unique to the instrument.
Although I found the Jucker pieces
not as attractive as Kirchner’s, organist Ursina Caflisch really is at her best
when playing them. Jucker was the organist at Basle Catheldral in the mid-19th
century and is best known today for his Fantasie und Fuge uber das thema
B-A-C-H, which as been recorded in recent years. In each of the three
Choral-Preludes recorded here Jucker does interesting things with the chorale
melody, putting it mostly in the pedals in No. 2 or barely letting it appear in
No. 7. This is well-wrought music, ably using Baroque conventions, but not
nearly as moving as the Kirchner or Rheinberger selections.
Rheinberger is of course the best
known of the disc’s four composers. Here we have one of his half-dozen or so
masses accompanied by organ, with Ms. Caflisch accompanying. Rheinberger is
sometimes claimed or acclaimed as a proponent of the 19th century
Cecilian movement in Catholic liturgical composition, but while definitely
influenced by this movement, his masses vary in how much they adhere to its
principles.
This particular mass, in F-minor,
seems to be more or less in the middle. It is simple, clear and reverential, but
not lacking drama. The most beautiful sections are in the Sanctus and the
Agnus Dei. This mass has been recorded before by Wolfgang Schaefer and
the Frankfurt Kantorei and one’s choice of recording may come down to the
accompanying selections on the two discs. The recently formed Cantus Firmus
under Clau Scherrer seem to be coming together well, although the Pfarrkirche is
not perfectly suited to this type of choral music.
Ursina Caflisch has been the
organist of the NeuMunsterkirche in Zurich since 1982. She has made recordings
of organ music by Brahms, Rheinberger, Franck, Vierne as well as recordings of
twentieth century Swiss music. She naturally has a complete understanding of the
solo works on this CD at the same time that she effectively accompanies the
group Cantus Firmus in the Rheinberger mass. The organ she plays on this
recording is that of the Pfarrkirche in Ilanz, which though of recent
provenance, shares many of the features of the organs by Friedrich Haas
(1811-1886) that would have been familiar to the composers featured on this CD.
William Kreindler
MusicWeb 24.12.05
Greatly of
interest to those seeking the less well-trodden byways of romantic organ
repertoire ... this recording deserves a firm recommendation. ...
Dominy Clements
Theophil FORCHHAMMER
(1847-1923)
Sonate Nr.2 in e-Moll, op.15 ‘Zur Todtenfeier’ (pub. 1886) [25:04]
Aus Acht Choralbearbeitungen, op.11 (pub. 1887)
Es ist gewisslich an der Zeit [2:00]
Jesus meine Zuversicht [2:33]
Theodor KIRCHNER (1823-1903)
Aus Orgelkompositionen, op.89 (pub. 1890) [14:33]
Benedict JUCKER (1811-1876)
Aus Neun Coral-Vorspiele, op.7 (1867)
Mein Jesu den die Seraphinen [2:43]
O’ wie so gar sanftmüthig [2:03]
Ach bleib mit deiner Gnade [2:22]
Josef Gabriel RHEINBERGER (1839-1901)
Messe in f-Moll, op.159 für Chor und Orgel (1889) [22:04]
Ursna
Caflisch (organ)
Cantus Firmus/Clau Scherrer
Rec. Katholische Pfarrkirche Ilanz, 27-31 October 2004
GUILD
GMCD 7290 [74:36]
It took me a while to decide
whether or not I liked this CD. The Organ of the Katholische Pfarrkirche is a
grand modern instrument from 2001 by Kuhn, whose booklet picture makes it look a
little like the headboard from a very heavy Victorian bed. The Katholische
Pfarrkirche looks quite modest by comparison, and the acoustic bears this
impression out, erring a little too much on the dry side to smooth off the gruff
edges of this powerful music machine. The disposition, proportions and
intonation are apparently consistent with Swiss organ building principles from
around 1850 however, and so we are promised a measure of authenticity.
Having become accustomed to the
rather ‘in your face’ organ sound, I found it not inappropriate to the music
presented here. While unwilling to attempt to find some transitional category
for this music, the booklet accurately describes it as ‘the attempts of
composers to revive the great traditions of the Baroque, or reconcile them with
the new expressive and harmonic resources of Romanticism.’ Forchhammer’s work is
very much grounded in that of J.S Bach, and this is of course apparent in his
gently restrained Chorale settings. The Sonate ‘Zur Todtenfeier’
(for a burial ceremony) with which the CD opens is a far more dramatic affair,
with Lisztian heroism and Germanic counterpoint contrasting with a kind of
Mendelssohnian pastoral lyricism.
Theodor Kirchner rubbed shoulders
with Mendelssohn and Brahms, and possibly a little more than just shoulders with
the Schumanns. The works here are drawn from the miscellaneous op.89 collection
and are largely lyrical and expressive in character. Pre-echoes are a delicious
feature of these kinds of pieces: take the first bar or so of Langsam
(track 10), slow it almost to infinity and what do you have? Arvo Pärt, or I’m a
Dutchman.
Benedict Jucker provides us with
some nice Chorale Preludes – Bach with a sprinkling of extra chromaticism here
and there, but the jewel in the crown of this CD is of course the Rheinberger
Mass. Josef Rheinberger was apparently such a musical Wunderkind that he
was appointed organist at his parish church at the age of seven. The version for
organ and chorus is the original, but this work has appeared in an arrangement
for chorus and orchestra; an indication of the works justified popularity in the
past. While the opening Kyrie is rich with sinuous chromaticism many of
the other movements are models of choral clarity and uncomplicated organ
accompaniment. Cantus Firmus are well recorded and with an ideal balance between
the voices and the organ. Their tuning is impeccable, and while their
enunciation and articulation is disciplined and effective, I sense that the
conductor might have gone a little over the top by bringing out the ‘sss’
consonants quite so much – good for live performance, less necessary with
microphones in proximity.
Like the dried wreaths in a Paris crypt, the music on this CD is tantalisingly
evocative. Very much of its era, the pieces will be greatly of interest to those
seeking the less well-trodden byways of romantic organ repertoire, and as such
this recording deserves a firm
recommendation.
Dominy
Clements
Klassik com.
Klangqualität:
Repertoirewert:
Booklet:
Organ
and Choral Music: 19th Century
Orgel für
Einsteiger
Betrachtet man einmal nur
das Cover fällt einem daran positiv auf, dass das CD-Label ‘Guild’ den Inhalt
nicht etwa durch ein lausiges Orgelprospekt, sondern passend zur zweiten Hälfte
des 19. Jahrhunderts (aus der auch die Stücke stammen) mit einem Gemälde des
romantischen und somit dafür zeitgenössischen Malers J.M. William Turner
präsentiert.
Man könnte nun spekulieren,
ob das Label etwa einen breiteren Einblick in die Kunst der damaligen Zeit wagen
wollte. Dies würde von der Tatsache, dass bei der Repertoire-Zusammenstellung
nicht allein Orgelmusik dieser Zeit ins Programm aufgenommen wurde, sondern auch
die Einbindung eines chormusikalischen Aspekts stattfand, sogar bestätigt. Somit
findet auch Rheinbergers ‘Messe in f-Moll, op. 159’ scheinbar einen Platz.
Letztlich erklingen Werke von vier Komponisten unter dem Titel ‘Organ & Choral
Music’.
Zum Einstieg in diesen
zarten Querschnitt präsentiert die Organistin Ursina Caflisch die zweite
Orgelsonate op. 15 von Theophil Forchhammer - eine sehr typische Form der
damaligen, konzertanten Orgelmusik, denken wir nur an Mendelssohn - Bartholdy!
Dabei gelingt es ihr in
hervorragendem Maße, die verschiedenen, auch dynamisch entgegen gesetzten
Abschnitte interessant darzustellen und nicht zuletzt dem zweiten Satz eine sehr
emotionale Note zu geben.
Einerseits konzertante
Orgelmusik, andererseits kirchenmusikalische Werke – also doch ein breiterer
Einblick? Jedenfalls folgen vor den wieder eher konzertanten
‘Orgelkompositionen’ von Theodor Kirchner noch schnell zwei Choralbearbeitungen,
op. 11. Was sich hier anfangs noch als ruhige, elegante Registrierung äußert,
erfährt am Ende der zweiten Choralbearbeitung leider einen etwas zu ‘brummigen’
Ausdruck.
Kirchners
‘Orgelkompositionen, op. 89’ hingegen lockern dann wieder etwas auf. Teilweise
liefert die Organistin damit, gerade durch ihre saubere und gute Spielweise,
sogar nette Farbpunkte. Auch die Registrierung scheint hier sehr gut gewählt,
wobei man sich doch wünschen würde, an manchen Stellen nur die Orgel zu hören.
Wie kann es anders sein,
als dass jetzt wieder Kirchenmusik angesagt ist bzw. erklingt.
Ursina Caflisch versteht es
die an J.S. Bach erinnernden Choralvorspiele präzise darzustellen, vielleicht
nutzt sie deswegen für den cantus – firmus bevorzugt ein Zungenregister!?
Nichtsdestotrotz findet die
CD ihren ‘krönenden’ Abschluss in der oben bereits angesprochenen ‘Messe in
f-Moll, op. 159’ von Josef Gabriel Rheinberger.
Mit schön gesungenen
Phrasen, einem spürbaren Bewusstsein für Betonungen (schwer – leicht ) und somit
einem dynamisch abwechslungsreichen Verlauf präsentieren sich die Sängerinnen
und Sänger von ‘Cantus – firmus’ unter Leitung von Clau Scherrer.
Es scheinen lediglich
manche Wortendungen besonderen, sicherlich unbeabsichtigten Betonungen oder
schlichten Uneinigkeiten ausgesetzt zu sein!
Obwohl auch leider im
Gloria ein hörbares Umblättern offensichtlich nicht vermieden werden konnte, sei
aber nochmals auf die schöne und einfühlsame Interpretation hingewiesen, womit
diese CD als dezenter Eindruck durchaus für ‘Organ & Choral Music’ – Freunde
empfohlen werden kann. Manuel Müller
Page revised Monday April 23 2007
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