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Catalogue - Download

last updated: 01/02/2016

Max Reger (1873-1916)

Chorale Fantasies

Balázs Szabó

MDG 920 1945-6


Max Reger is regarded as the most important German composer of organ music since Johann Sebastian Bach. His chorale fantasias of magnificent scope have contributed significantly to his rank; without denying historical relations, they create an entirely new formal and harmonic dimension in music. For his new release featuring all seven fantasias the Hungarian virtuoso Balázs Szabó has selected three outstanding instruments in Vienna, Giengen, and Zurich documenting the rapid development in modern organ design during Reger's lifetime.

Georg Friedrich Händel (1685-1759)

Organ Concertos op. 4 (arr. S. de Lange)

Rudolf Innig
Furtwängler & Hammer-Orgel in St. Nicolai Lüneburg, 1899

MDG 317 1929-2


George Frideric Handel's successes and failures as an independent entrepreneur in mercantile London are legendary. His hard-fought rivalry with his colleague Porpora had artistic consequences amply documented in the development of his operas and oratorios. He then hit on the genial idea to present concertos on the organ to his public as entertainment during the intermissions and scored a sensational success. Even Porpora's star-studded ensemble of vocalists including the famous Farinelli as a powerful drawing card could no longer compete with him. After four seasons the Italians quit the field. During later generations Handel's organ concertos inspired the production of highly imaginative arrangements. What Samuel de Lange (completely forgotten today, unjustly so) did with the sources about 150 years later is now for the first time being presented in audiophile form on the historic Furtwängler & Hammer organ in Lüneburg.

Johann Adam Reincken (1623-1722)

Harpsichord Music

Sonja Kemnitzer, harpsichord

MDG 905 1928-6


John Adam Reincken was a celebrity. When the genial Johann Sebastian Bach was a sixteen-year-old secondary school pupil, he made his way on foot from Lüneburg to Hamburg to experience in person this undisputed master of improvisational artistry. What the young man heard must have made a profound impression on him. In his toccatas Bach closely follows his great model and even quotes motivic material from Reincken's works. Sonja Kemnitzer's rendering of harpsichord compositions by Reincken is a revelatory listening experience immediately conveying a lot of this fascination.

Morton Feldman (1926-1987)

Patterns in a Chromatic Field

Christian Giger, Violoncello
Steffen Schleiermacher, piano

MDG 613 1931-2


Steffen Schleiermacher has often fascinated his public with works by Morton Feldman. Along with Christian Giger, the solo cellist in the famous Gewandhaus Orchestra, he is now presenting Patterns in a Chromatic Field - an extensive composition showing us the minimalist master's more entertaining side. Here highly virtuosic passages alternate with petrified soundscapes; now the instruments seem to melt, now their contrasting nature becomes the point of reference. While avoiding any sort of developmental idea, a tonal process of great suggestive power is produced over the course of some eighty minutes.

Trumpet Combinations

Music for trumpets, trombone, baritone and organ

Joachim Pliquett, trumpet

Arvid Gast, organ

Audiomax 906 1930-6


Joachim Pliquett and Arvid Gast have often enthused their audiences with virtuosic playing rich in ideas, and for their newest program, Combinations, they can rely on prominent support: Klaus Mertens sings the famous "Revenge, Timotheus cries" from Handel's Alexander's Feast and an anonymous "Laudate Pueri" from the seventeenth century, and the trumpeter Matthias Kühnle and the trombonist András Fejér enrich this musical event centering on the historical organs in Lübeck's Jacobikirche (Church of St. James). The Queen of Sheba has certainly never been heard entering with greater majesty there!