In speaking to Els Hendrikse, Piet’s partner before this recording was made, I find that Mr Couzens uses only one high-tec microphone for his recordings.
How could such a programme be successful on a 3-62 baroque organ with no playing aids other than couplers?
The answer seems three-fold. Firstly, most of the Hindemith and some of the Reger is quiet and pensive in character. Secondly, when things get exciting and M. Reger gives the organ its head in his customary manner, Mr Kee has a nimble-fingered assistant at each side of him to see that the registrations are set correctly throughout. (Agnes Hylkema and Miho Hasegawa in this recording.) And then, the Bavo instrument itself is renowned for its silvery tone and near perfect balance of power in the spacious acoustics of the huge Dutch Reformed church in which it stands. Much could be said in praise of it, but enough for now.
The Dutch equivalent of “organiste titulaire”, or recital organist at St Bavo, would equate in prestige to that accorded by the French to the organists of the likes of Notre Dame or St Sulpice. No living organist knows the Bavo instrument better than Piet Kee, since he was appointed to the position in 1956, and held it for the next 33 years, during which time the organ underwent a major revamp by Marcussen in 1960.
I was expecting to dislike most of the Hindemith, since some of his music grates a little in the ears of listeners more attuned to the sounds of previous eras. I should have had more respect for Piet Kee’s taste! The music is certainly 20th century in flavour, but is beautifully wrought and exquisite in texture. I suggest that competent church organists consider using this music when a reflective mood is needed.
The Reger Prelude in D minor Op 65 Nr. 7 is relatively restrained for this composer, but one gets a tantalising foretaste of the pent up power to be unleashed later in the concluding piece.
Following this is the utterly beguiling Aus tiefer Not schrei ich zu dir, Op 67 Nr. 3. When I first heard it, I hit the repeat button several times before I was satisfied!
Following that, is the Intermezzo in F minor Op 129 Nr 7, again, quiet and reflective.
But then comes the Introduction and Passacaglia in D minor, Op post. This is the kind of music used by organists to bring the house down, as it were! The Bavo organ is heard at its superb best at the hands of the master. All the big stops are used except the 102/3 Roerquint. The Passacaglia builds up as it proceeds through the variations, in a manner with which Bach himself would surely have been well pleased.
As with all of Piet Kee’s CDs, extensive programme notes including his registrations at key points, are provided.
For fair comparison, I listened to Donald Joyce playing an all-Reger programme at the main organ of Norwich Cathedral, an imposing 4-105 by Hill, Norman and Beard of 1942-completed in 1950. Here is another maestro organist playing a great English cathedral organ, in music very similar to the Passacaglia played by Piet Kee at the Bavo. The Bavo organ is vastly superior in clarity of speech and sheer refinement. Its powerful bass does not overwhelm the trebles. The Norwich organ is more thrilling for sheer pressure of sound, but I find the bass can be a little obtrusive for my taste. Perhaps this is one reason Piet Kee refrained from using the big quint in his interpretation. (Reger – Donald Joyce plays the Great Organ of Norwich Cathedral, Carlton Classics 30367 00852, at The Warehouse for $5.00.)
