Böhm, G: Choral Prelude: Vater unser in Himmelreich

On Vol. 8 of our Organ Works of the North German Baroque Friedhelm Flamme interprets Georg Böhm’s complete organ works on the Creutzburg organ in the Church of St. Cyriacus in Duderstadt. Böhm was an organist and composer, notable for his development of the chorale partita and for his influence on the young J.S Bach.

The era of the North German Baroque is a remarkable time in many respects. It continued the tradition kindled by Heinrich Schütz and brought it to full blossoming, while at the same time paving the way for the art of Johann Sebastian Bach and Georg Philipp Telemann. Both facets can be heard on the present recording: on the one hand, the influence of the free compositional style which superseded the strict contrapuntal technique of Palestrina’s music, that had taken flight in the realms of Florentine opera and from there found its way into church music and to Germany through the mediation of Heinrich Schütz; and the music of Georg Philipp Telemann, represented here by his cantata ‘Nach Finsternis und Todesschatten’ on the other.

The vocal works by Franz Tunder, Dietrich Buxtehude, Nicolaus Bruhns, Christoph Bernhard, and Georg Philipp Telemann which are recorded here, however, not only stand in close relation to the tradition from which they arose as well as to the musical aesthetics which they themselves developed, but also show manifold links amongst each other – especially through their composers and contexts. These vocal works are complemented by organ pieces by Georg Böhm and Dietrich Buxtehude, performed by Hauke Ramm, church music director and organist at St Wilhadi Stade, at his church’s high Baroque Bielfeldt organ. This is one of the largest instruments of its kind in North Germany, and was constructed by Erasmus Bielfeldt between 1731 and 1736.

The present recording with Gotthold Schwarz and the Sächsisches Barockorchester also takes into account the specific historical performance contexts of the North German Baroque. Such considerations are underlined by the use of appropriate instruments: the soloists of the Sächsisches Barockorchester play on period instruments.

Bernard Foccroulle here continues his exploration of the north German organist composers with a recording of the works of Georg Böhm, a composer with whom J.S. Bach had come into contact at the end of his adolescence. At the foot of a manuscript dated around 1700 in which he had copied out pieces by Buxtehude, Reinken and Pachelbel that served as models for his own compositions, the young Johannes Sebastian Bach wrote that he was a pupil of Georg Böhm in Lüneburg. The organ works of this north German master foreshadow the young J.S. Bach’s first compositions in many respects; it was also clearly thanks to Böhm that Bach came into contact with the various genres of French music of the period. The Schnitger organ of the Grote Kerk in Alkmaar lends itself particularly well to this repertoire thanks to the power and the quality of its solo registers.

The organ in the Franciscan church in Vienna dates from 1642 and is one of the most famous organs in Vienna.

With a representative selection of organ compositions from the 17th C, this CD records the special sound of this unique instrument for the first time since its restoration.

A compendium of the most important influences on JS Bach, as listed in his obituary.

A kaleidoscopic survey of the development of early German Baroque music.

A great opportunity to hear a new recording of the magnificent Bernard Aubertin organ of Saint-Louis-en-l’Île, Paris. Built in 2004 in German Baroque style.

Played by Margaret Phillips – one of the UK’s most distinguished concert organists and a world-renowned expert in 18th century keyboard music.

“Trumpet Masque” sees renowned trumpeter Jonathan Freeman-Attwood explore his passion for expanding the instrument’s limited chamber repertoire by imaginatively arranging Baroque works previously scored for alternative forces.

In “Trumpet Masque”, Jonathan Freeman-Attwood and Daniel-Ben Pienaar take a radical new look at the 17th century with a compelling vision of repertoire historically far-removed from the traditional contexts of both trumpet and piano.

Through wonderfully vibrant programming and arrangements, this invigorating and warm-hearted chamber duo present music from Dowland to Purcell in an energetic, innovative and 21st century fashion.

The aim of this recording is to open our ears to a period of unequalled variety, colour, regional diversity and expressive freedom: the Venetian world of Gabrieli, the great pre-Bach North German lineage of Buxtehude, Jacobean dances and songs and the great G major sonata from Muffat’s ‘Armonico Tributo’ with its virtuoso and valedictory passacaglia, which appropriately ends the disc.