The complete organ works of Dietrich Buxtehude played by Harald Vogel on seven CDs from Dabringhaus und Grimm.
Available online from the Organ Historical Society
or from Amazon.com

Reviewed by Peter Wilding.

Volume 1 Recorded on the Stellwagen organ of St Jakobi, Lubeck , and the Arp Schnitger organ of St Ludgeri, Norden. MDG 314 0268-2
Vol. 2 Recorded on the Hus/Schnitger organ of St Cosmae, Stade, and the Schnitger organ of Weener. MDG 314 0269-2 Vol. 3 Recorded on the Schnitger organ of Grasberg and the Wiese organ of Damp. MDG 314 0270-2
Vol. 4 Recorded on the Schnitger organs of Noordbroek and Aa-Kerk, Gronigen. MDG 314 0424-2
Vol. 5 Recorded on five different organs – by V. U. Grotian at Pilsum; by J. Richborn at Butteforde; by H. Kroger and B. Hus of Langwarden; by H. Herbert sen. and jun., and S. Gercke of Basedow; by H. Hantelmann of Gross Eichsen. MDG 314 0425-2
Vol. 6 Recorded at Roskilde Dom, Denmark , earliest builders and renovators unclear, but restored by Marcussen in 1991 to its pre-1833 character; on the J. Lorentz organ of St Mariae Kirke, Helsingor; at Torriosa, where the organ is the remains of a larger instrument at Helsingborg , replaced in 1849. MDG 314 0426-2
Vol. 7 Recorded on the Schnitger organ of St Jakobi, Hamburg . MDG 314 0427-2

Harald Vogel began this project in 1987 and the CDs were released one by one until the completion of the restoration of the Hamburg instrument in 1993.

My review is from the assumption that the standard of Prof. Vogel’s playing is of the highest order throughout, as is the quality of recording engineering. There is no suggestion of romantic interpretation, even in the popular “bigger” Buxtehude works.

Prof. Vogel has clearly set out to demonstrate the fullest range of subtle sounds and textures in as many organs associated with Buxtehude as practical. I note the absence of an organ from the Marienkirche, Lubeck , where Buxtehude was a famous organist. Maybe this is because the Totentanz organ, from his time, was destroyed during WW2, and the present organs are now modern.

I also note the predominance of the work of Arp Schnitger in the collection, and the absence of that of Silbermann, who operated in a different part of Germany , and is more usually associated with Bach. In Vol. 2, one can hear absolutely beautiful flute/recorder stops in solo passages, whilst in Vols. 6 and 7, the magnificent full organs of Roskilde and St Jakobi, Hamburg are quite breath-taking.

For general lovers of organ music from an earlier period, the set would be an asset. For those with a more historical interest in organ builders of the period as well, the set would be instructive and fascinating. But for those with a more esoteric taste for organs, organ builders, performance, acoustics and interpretation of the complete works of one composer, the set is essential because the discs come complete with full details of each instrument’s history and disposition, as well as Prof. Vogel’s registrations at key parts of each piece.

Peter Wilding introduces himself:
"I am a post-WW2 "Baby Boomer", now living in the Bay of Islands. My interest in organ music began at the age of 8, when the young organist of Bank Street Methodist church in Timaru gave encouragement to my interest in the instrument. At the age of 15, when my contemporaries were buying Beatles, Convairs and Elvis, I was buying Cochereau, John Eggington and Fernando Germani playing Bach. Even my mother, a good musician in her own right, didn't fully appreciate my penchant for such "serious" music!
To date, I have an extensive collection of recorded organ music covering everything except the most modern compositional styles. I have never been a player, but some organists I have befriended over the years have said that my knowledge of organs and organ builders often exceeds their own. I am a primary school teacher nearing retirement. In the early 1980s, I took a group of 10 year olds to the Auckland Town Hall for one of the late Tony Jennings' lunchtime recitals. Tony spotted the children and called them down to the console, where he gave them a lesson and demonstration they'll remember for keeps. I am delighted that Martin Setchell keeps this noble practice alive and well in Christchurch."

Disclaimer: The opinons of the reviewers are not necessarily those of the producers and owners of nzorgan.com