Halgeir Schiager

Kuemstedt, Van Eyken, Reubke for Organ

Price: € 19.95
Format: CD
Label: Lawo Classics
UPC: 7090020182278
Catnr: LWC 1205
Release date: 13 November 2020
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Label
Lawo Classics
UPC
7090020182278
Catalogue number
LWC 1205
Release date
13 November 2020
Album
Artist(s)
Composer(s)
EN
DE

About the album

Music in the 1800s, as in earlier times, was influenced by the instruments for which it was written. As far as the organ is concerned, traditionally there was the influence of the piano, but also, to an ever increas­ing extent, the orchestra. Beginning in the mid-1700s, the Mannheim School’s introduction of variable dy­namics led to a paradigm shift, and the attitudes this represented were also evident in organ music. In his book of study for the organ from 1795–98, Justin Heinrich Knecht (1752–1817) described how one could achieve a crescendo on the organ from pianissimo to fortissimo, and he indicated the specific sequence of stops to be used. Further examples of a comparable use of the organ’s stops were provided by Christian Heinrich Rinck (1770–1846), who suggested that the registration could be changed while playing, either by the organist himself or by an assistant. Nonetheless, most organs of the time were distinguished by the ideals of the past and were not always well suited for a new registration practice. The norm, as document­ed in published organ music in the first decades of the nineteenth century, implied that the registration was not changed while playing, thus limiting one to terraced dynamics by the dynamics that the number of manuals permitted.

This CD’s intention is to present examples of develop­ments characterizing German organ music in the mid- 1800s. In doing so, it seems natural to include Reu­bke’s Sonate, which has accompanied me throughout my life as an organ performer. At the same time, the album features seldom performed organ composi­tions of Jan Albert van Eyken and Friedrich Kühm­stedt, interesting works of high quality that tell us something about German organ music of the day. All the works on this CD were written in the period 1854– 1857. The instrument I chose is the new Eule organ in Sofienberg Church, which was inspired by German organ building in the nineteenth century and by Fried­rich Ladegast in particular.
Die Musik im 19. Jahrhundert war – wie auch zu früheren Zeiten – von den Instrumenten geprägt, für die sie geschrieben wurde. Was die Orgel betrifft, so bedeutet das traditioneller Weise eine Beeinflussung vom Klavier, aber in zunehmendem Grad auch durch das Orchester. In der Mitte des 18. Jahrhunderts brachte die Einführung der beweglichen Dynamik durch die Mannheimer Schule grosse Veränderungen mit sich. Das hatte ebenfalls Auswirkungen auf die Orgelmusik. In seiner 1795-98 herausgegebenen Orgelschule beschrieb Justin Heinrich Knecht (1752 – 1817), wie man auf einer Orgel ein Crescendo vom Pianissimo zum Fortissimo realisieren könne und konkretisierte die Reihenfolge der Register, die man ziehen sollte. Weitere Beispiele für eine solche Benutzung der Orgelregister findet man bei Christian Heinrich Rinck (1770 – 1846), der andeutete, dass die Registrierung während des Spielens geändert werden könnte – entweder vom Organisten selbst oder einem Assistenten. Gleichzeitig waren die meisten Orgeln von den Idealen der Vergangenheit geprägt und nicht immer gut geeignet für eine neue Registrierungspraxis. In der Orgelmusik, die in den ersten Jahrzehnten des 19. Jahrhunderts erschienen ist, ist die Norm, dass die Registrierung während des Spielens nicht verändert wurde. Dadurch war man beschränkt auf eine Terrassendynamik durch die Stärkegrade, die die Klaviaturen zuliessen.

Sinn und Zweck dieser CD ist es, Beispiele für die Ent­wicklung der deutschen Orgelmusik in der Mitte des 19. Jahrhunderts aufzuzeigen. Es war dabei natürlich, Reubkes Sonate zu inkludieren, die mich in allen Jah­ren als Organist begleitet hat. Gleichzeitig gibt es sel­ten aufgeführte Werke von Jan Albert van Eyken und Friedrich Kühmstedt, die sowohl interessant als auch hörenswert sind und uns etwas über die deutsche Or­gelmusik der aktuellen Periode erzählen. Alle Werke auf der CD sind zwischen 1854 und 1857 geschrieben. Als Instrument wurde die neue Eule-Orgel in der Kir­che von Sofienberg gewählt, die vom deutschen Orgel­bau des 19.Jahrhunderts und speziell Friedrich Lade­gast inspiriert ist.

Artist(s)

HALGEIR SCHIAGER studied organ with Magne Elvestrand in Oslo and later in Munich and Strasbourg with Professors Franz Lehrndorfer and Daniel Roth, respectively. He played his debut concert in Oslo Concert Hall in 1985. Schiager has performed on con­cert stages throughout Europe. In addition to radio recordings in Germany and Norway, he has released critically acclaimed CD recordings, including works of Leif Solberg and Kjell Mørk Karlsen. He also record­ed the complete organ works of the Czech composer Petr Eben for the English label Hyperion. In 2001 he received the Norwegian Music Critics Award. He has premiered works of a number of Norwegian compos­ers, and he serves as jury member for international organ competitions. In 2008 he received a doctor­ate from the Norwegian Academy of Music, complet­ing a dissertation on aspects of interpretation in the organ works of Gustav Merkel. Since 2007 Schiager has served as organist of Ullern and Paulus-Sofien­berg Congregations in Oslo. He was the initiator of the organ project in Sofienberg Church leading to the acquisition of the new Eule organ in the German Romantic style in 2014. Since 2019 he has also been organist of Ullern congregation, and he arranges an annual organ concert series at Paulus and Sofienberg churches.

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