Kerll: Passacaglia in D minor

The late 17th century composer Kerll has written a large body of organ works, many recorded here for the first time by stunning organist and harpsichordist, John O'Donnell.

The Passacaglia is a musical form based on a repeated bass line over which variations are composed. The form was popular during the 17th century but proved to be a challenge in its structural restrictions for composers of later periods, continuously renewing and extending the form, while keeping to its basic formula.

This original program brings together composers from 4 centuries: from Kerll, Couperin, Buxtehude and the monumental Passacaglia in C minor by J.S. Bach, far into the 20-th century with Reger, Shostakovich and Jan Welmers.

Recorded on the magnificent Martti Pothan organ Kotka Church in Finland, by young virtuoso Matthias Havinga, whose earlier recording on this organ (Brilliant Classics 94203) with Italian Concertos by J.S. Bach received enthusiastic reviews in the press.

New recording, including extensive liner notes and information on the instrument. Consisting of variations framed in a constantly repeated basso ostinato, the passacaglia is a musical form with a long and fruitful history. This release is dedicated to eight such examples which, taken from four countries and all performed on the organ, divide either side of the year 1800 to reveal the form’s extensive and inventive development over time. The passacaglia was particularly popular during the 17th century, when it became known for its limited range of keys, slow triple meter and short, simple theme of two or four.

In 1904 Karl Straube published his own edition of music by Bach, Walther, Pachelbel, Buxtehude and others and adapted them to the organ’s modern capabilities. Today, the edition offers an impressive glance at historical performance practice. Andreas Sieling gives us an authentic look at the interpretation of baroque organ music at the beginning of the 20th century.

Johann Kaspar Kerll (1627-1693) is mainly known nowadays for his organ works. But in his own time he was most admired for his sacred vocal works and his instrumental compositions. This CD presents some examples of his output in both categories.

The main composition is the 'Missa In fletu solatium obsidionis Viennensis', which was written during the Turkish siege of Vienna in 1683 which Kerll experienced at first hand. It is a 'missa in angustiis', as Haydn's 'Nelson Mass' was called, a mass in troubled times, and it shows. There is frequent use of chromaticism, in particular in the 'Amen' at the end of both the Gloria and Credo.

Some of the instrumental works performed here also have some interesting characteristics: in the Sonata a 3 for two violins, viola da gamba and basso continuo, there is a long passage for viola da gamba and bc only. The Canzona a 3 contains a virtuoso part for the dulcian.

The sacred concertos are on texts which are not liturgical, but are very personal in their devotion, like 'Tota pulchra es Maria' - in praise of and a prayer to the virgin Mary - or the concertos 'Admiramini fideles' and 'Angelorum esca', both on the Eucharist.

Most of this repertoire has never been recorded before.

Although a major composer of keyboard and sacred music during the 17th century, Johann Kaspar Kerll’s music has been largely forgotten and little of it has survived. He was by all accounts a very gifted organist and this CD includes all of his known works for that instrument. It is performed here by Wolfgang Kogert on the Wöckherl organ at the Franciscan Church, Vienna.

The composer Johann Kaspar Kerll was born in Adorf in Germany in 1627 and showed outstanding musical abilities at an early age. He was a student of Giovanni Valentini, court Kapellmeister at Vienna, and became one of the most acclaimed composers of his time, known both as a gifted composer and an outstanding teacher. He worked in Vienna, Munich and Brussels, and also travelled widely. His pupils included Agostino Steffani, Franz Xaver Murschhauser, and possibly Johann Pachelbel.

Although Kerll was a well-known and influential composer, many of his compositions are currently lost, including a large amount of vocal and choral music and at least 11 operas.

In recent years his work has been re-evaluated and is now believed to have had a significant influence on the music of Bach and Handel amongst others. Kerll himself was influenced by Heinrich Schütz in his sacred vocal music, and by Girolamo Frescobaldi in his keyboard works.

Céline Frisch, a very fine performer in German harpsichord repertoire, brings us back to the time where the young Bach met his masters: Buxtehude, Kerll, Froberger and Reincken. She plays a German harpsichord by Anthony Sidey.

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.