Brighton Dome’s famous 1936 organ to be re-installed in September 2003

The Brighton Dome organ returns to the Concert Hall Sunday 28th September, 2.45pm.

brighton_dome

BRIGHTON DOME
Dome Concert Hall
Corn Exchange

Pavilion TheatreThe Brighton Philharmonic Orchestra opens its 79th concert season with a spectacular concert, which includes the chance to hear Brighton Dome’s famous pipe organ for the first time since its reconstruction. Michael Maine will performSaint-Saëns‘ fabulous Organ Symphony, which provides a fantastic showcase for the instrument, with the BPO conducted by Principal Conductor Barry Wordsworth. Coincidentally the last organ performance by the Brighton Philharmonic was the same Saint-Saëns work performed by Stephen Hicks on 27th March 1994.

The Brighton Dome are also programming several dedicated organ concerts for the Spring/Summer season (2004) with such luminaries as Thomas Trotter, Carlos Curley and Wayne Marshall. Whilst next year’s Brighton Festival programme will feature one or two orchestral pieces which make full use of the organ’s fantastic versatility.Brighton Dome was built in l803 as the stables adjoining the Prince Regent’s (George IV) oriental extravaganza, The Royal Pavilion. In 1850 the Dome was converted into a Concert Hall which included a 4 manual Father Willis organ, which when the building was re-designed in l935 was taken out. When the l930s art deco interior was introduced the present Norman, Hill & Beard dual-purpose concert organ was installed in l936, it was tailor-made to suit the many uses of the Concert Hall during that period and therefore built to be played as either a cinema or classical organ. It was designed by Dr Stanley Roper (Organist of HM Chapel Royal, London), Quentin MacLean (famous cinema organist of the Trocadero, Elephant and Castle), and Brighton Borough Organist at the time, Dr Alfred Abdey.

The instrument became famous through the many broadcasts of Douglas Reeve in the heyday of the BBC Light Programme’s 10am theatre organ programmes. His twice-weekly summer series of Pack up Your Troubles organ concerts attracted capacity audiences. He also inaugurated, just after the 2nd World War, the weekly Tuesday Night at the Dome variety shows, which made the Guinness Book of Records as the longest running seaside variety show in the world (1600)!

Brighton Dome’s Concert Hall re-opened in March 2002 after three years of extensive restoration and re-building after years of neglect. The job of restoring the organ was given to David Wells (Organ Builders) of Liverpool, who are one of the best of only 10 organ builders in the country. Although the Concert Hall re-opened over a year ago, it has taken far longer to install the organ, largely due to the fact that it is now a working venue and the organ needs to be installed in a dust-free environment. Although the chambers were installed some time ago, the final components will finally be put in place in August when the venue closes for routine maintenance.

The wonderful acoustics of the Concert Hall’s new Carmen system means that the organ will be heard in prime condition.

All press enquiries: Caroll Pinkham, Press Officer, Brighton Dome 01273 260 826 or email:caroll.pinkham@brighton-dome.org.uk
Brighton Dome official website
Organ of Brighton Dome

Thomas Murray recital on the E.M. Skinner organ at St. Ann & Holy Trinity Episcopal Church

murray skinner
Thomas Murray & E.M. Skinner,
Opus 524 (1925, V/80)
A Concert to Celebrate
Stage I Restoration of an
American Masterpiece –
The Solo Stops Speak Again!
Come join us!
Sunday, September 28, 2003 – 8:00 pm
Suggested Donation $15.00, Students/Seniors $10.00
157 Montague Street (Corner of Clinton St.)
Brooklyn Heights, NY 11201
(718) 875-6960

The Chicago International Organ Festival 2001

February 18-20 2001
chicago_pipesThe Fourth Presbyterian Church of Chicago
126 East Chestnut Street
Chicago, Illinois 60611-2094
312.787.2729, ext. 252
1971 Aeolian Skinner Organ, Opus 1516 4 manuals 126 ranks “Self-Portraits: The Composer as Performer”This year’s festival will feature international artists performing their own compositions in concert.

Pre-Festival Concert Saturday, 17 February 7:30 p.m.
Enjoy an evening of organ music as Chicago composers perform their own compositions.
Frank Ferko, assisted by Jeremy Ruthrauff, saxophone
Aaron David Miller
Richard Webster, assisted by Kevin Hartman, trumpet

A free-will offering will be received.

Sunday, 18 February 3:00 p.m.
Dan Locklair : Premiere of Commissioned Work

Monday, 19 February 7:30 p.m.
Jean Guillou : Improvisation

Tuesday, 20 February 7:30 p.m.
John Weaver assisted by Marianne Weaver, flute : Premiere of Commissioned Work

Suggested Donations:
Individual Concerts: $15 / $12 (students and seniors)
All Three Concerts: $35 / $25 (students and seniors)

A reception will follow each concert. Recordings and printed scores by all artists will be available for purchase. To order tickets, contact Wannida Scott by e-mail: wscott@fourthchurch.org. Visa and Mastercard accepted.

Fourth Presbyterian Church Department of Music and Arts
John W. W. Sherer, jsherer@fourthchurch.org Organist and Director of Music
Mary Theresa Reed, mtreed@fourthchurch.org Director of Children’s and Youth Choirs
C. Carroll Cole, ccole@fourthchurch.org Arts Administrator
Wannida Scott, wscott@fourthchurch.org Administrative Assistant

C. Carroll Cole
Arts Administrator
Fourth Presbyterian Church
126 East Chestnut Street
Chicago, IL 60611-2094
312.787.2729, ext. 252
facsimile: 312.787.4584
ccole@fourthchurch.org
http://www.fourthchurch.org

Guilmant Organ Recital Series 2001 at First Presbyterian Church, NYC

Annual recital series at The First Presbyterian Church in the City of New York, 12 W. 12 Street. This year’s recital series features concert organists who are associated with the Greenwich Village.
Second Recital: William Entriken on February 11, 2001. 4:00 PM
Third Recital: David Shuler on February 25, 2001. 4:00 PM

In October 1899, the Guilmant Organ School, the first school in America devoted to the teaching of organ and church music, opened at The First Presbyterian Church. Named after the famous 19th-century Parisian organist and founder, Alexandre Guilmant, the School was highly regarded as an institution for the training of church musicians. During the sixty-three years that the Guilmant School was at First Presbyterian, many organ recitals were given at the church by internationally acclaimed organists, and by Guilmant students. Many of the Guilmant students were appointed to important music positions around the country.

Sunday, February 11 at 4:00 p.m. William Entriken , Organist
William Entriken is Organist and Choirmaster of The First Presbyterian Church in New York City. Dr. Entriken will perform:
Carillon de WestminsterVierne;
Fantasia in G, BWV 572Bach;
Fantasia in F minor, K608Mozart;
Meditation ReligieuseMulet, and
Prelude and Fugue on the Theme BACHLiszt.
The program is designed to show the Baroque and Classic sounds of the organ at First Presbyterian Church as well as the symphonic proportions of this grand instrument. Dr. Entriken has been Organist at First Presbyterian since 1988 when he succeeded his teacher, Dr. Robert S. Baker. Prior to coming to First Presbyterian Church, he was Organist and Choirmaster at The Church of St. Luke in the Fields, New York City. William Entriken’s bio

Sunday February 25 at 4:00 p.m. David Shuler, Organist
Mr. Shuler is currently Director of Music and Organist at The Church of St. Luke in the Fields, New York City. He will perform:
Choral-Improvisation sur le “Victimae paschali”Tournemire;
Andante in F Major K616Mozart;
Prelude and Fugue in E Flat Major (‘St. Anne’)Bach;
Air with Variations from Suite for OrganSowerby and
RubricsLocklair.

DAVID SHULER was educated at the Eastman School of Music, Columbia University, and the Berkshire Music Center at Tanglewood. He studied organ with David Craighead and Leonard Raver, and composition with Joseph Schwantner, Samuel Adler and Gunther Schuller. He has received numerous awards, including a BMI-SC award for composition and First Prize in the Mid-Hudson Valley Chapter American Guild of Organists Organ Playing Competition.

Mr. Shuler is presently Director of Music and Organist at the historic Church of Saint Luke in the Fields in New York City. Prior to that appointment, he was the Director of Music at St. John’s Episcopal Church in Stamford, Connecticut. He has also held positions as Organist and Choirmaster at the Church of the Holy Trinity in New York City and Assistant Organist at the Cathedral of St. John the Divine.

Mr. Shuler has been particularly active as a champion of contemporary music. He has premiered organ works of Charles Wuorinen, William Albright, Ralph Shapey, Gunther Schuller, and Frank Retzel, among others. Mr. Shuler received a 1983 National Endowment for the Arts Consortium Commissioning Grant to commission works from Ralph Shapey, Charles Wuorinen, and Gunther Schuller as well as a grant from the Washington, D.C. American Guild of Organists Foundation for the promotion of contemporary music. He has recorded the organ music of Frank Retzel (for Opus One) and Richard Toensing (for Owl). In addition, he has recorded the choral music of Frank Wigglesworth with the Choir of the Church of St. Luke in the Fields for CRI. In May of 1991, Mr. Shuler was invited to present a concert of contemporary American organ music at the University of Chicago in honor of Ralph Shapey’s seventieth birthday. He has performed numerous recitals throughout the United States to critical acclaim.

Mr. Shuler has been featured as an organ soloist on both the East and West coasts in productions of the ballet Voluntaries, Glen Tetley’s choreography of Francis Poulenc’s Concerto for Organ, Strings and Timpani by the American Ballet Theatre and the Dance Theatre of Harlem.

Mr. Shuler is a Fellow of the American Guild of Organists, and was awarded the certificate at the age of 22, one of the youngest organists to achieve this distinction. He has served on numerous AGO committees, both at the national and local levels, and was for seven years the Director of the National Examination Committee of the A.G.O.

A freewill Offering will be received. Please mark your calendars and bring a friend to these Sunday afternoon concerts.

Previous Recital in the Series:
January 14, 2001 at 4:00 PM: Christopher Creaghan    Concert Recitalist

Read the history of the Guilmant Organ School at First Presbyterian Church

Church Contact Details:
First Presbyterian Church
12 W 12 Street
New York, NY 10011
Telephone: (212) 675-6150 Fax: (212) 675-8674
http://www.firstpresnyc.org

Guilmant Organ Recital Series 2001 at First Presbyterian Church, NYC

Annual recital series at The First Presbyterian Church in the City of New York, 12 W. 12 Street. This year’s recital series features concert organists who are associated with the Greenwich Village.
First Recital: Christopher Creaghan on January 14, 2001. 4:00 PM

In October 1899, the Guilmant Organ School, the first school in America devoted to the teaching of organ and church music, opened at The First Presbyterian Church. Named after the famous 19th-century Parisian organist and founder, Alexandre Guilmant, the School was highly regarded as an institution for the training of church musicians. During the sixty-three years that the Guilmant School was at First Presbyterian, many organ recitals were given at the church by internationally acclaimed organists, and by Guilmant students. Many of the Guilmant students were appointed to important music positions around the country.

Christopher Creaghan will play the first recital on January 14 at 4:00 PM. For the past six years, Mr. Creaghan was Music Director and Organist for St. Joseph’s Church in Greenwich Village. Mr. Creaghan is a frequent recitalist in New York’s major churches and has performed at St. Patrick’s Cathedral, The Park Avenue Christian Church, Church of the Ascension, St. Peter’s Lutheran, and the Church of St. Ignatius Loyola. His program will include works by Bach, Franck and Dupré and will last about one hour.

A native of Canada, Mr. Creaghan received the A.R.C.T. degree in Piano Performance from the Royal Conservatory of Toronto, and the Bachelor and Master of Music Degrees in Organ Performance from Manhattan School of Music. At graduation he was presented with the John Ceravalo Award for “outstanding accomplishment in the performance of the music of J.S. Bach”. Mr. Creaghan is Organist for Temple Israel of New Rochelle, and is on the faculty of the Mannes College of Music.

Other Recitals in the Series:
February 11 at 4:00 PM: William Entriken
Organist and Choirmaster, First Presbyterian Church, NYC

February 25 at 4:00 PM: David Shuler
Director of Music and Organist, Church of St. Luke in the Fields, NYC

Read the history of the Guilmant Organ School at First Presbyterian Church

Church Contact Details:
First Presbyterian Church
12 W 12 Street
New York, NY 10011
Telephone: (212) 675-6150 Fax: (212) 675-8674
http://www.firstpresnyc.org

Bachanalia 2000 concert by the Greater Hartford Chapter AGO

BACHANALIA 2000


The American Guild of Organists:
Greater Hartford CT Chapter

Members Recital
Sunday, November 19 ~ 7 o’clock P.M.
St. Peter’s Church, New Britain, CT
For directions to the Church, click here

Prelude and Fugue in C Major, BWV 545 Jason Charneski
From the “Eighteen Great” Chorales:
Fantasia super Komm, Heiliger Geist, BWV 651
Schmücke dich, o liebe Seele, BWV 654
Renée Anne Louprette
Allein Gott in der Höh Sei Ehr, BWV 662 Jason Charneski
Allein Gott in der Höh Sei Ehr, BWV 663
Allein Gott in der Höh Sei Ehr, BWV 664
Renée Anne Louprette
Prelude and Fugue in A Major, BWV 536 Jason Charneski
~Intermission~
Concerto in G Major (Ernst), BWV 592 Gretchen Hill
I. Allegro
II. Grave
III. Presto
Anticipating Advent…
Pastorale in F Major, BWV 590 Renée Anne Louprette
Fuga sopra il Magnificat: “Meine Seele erhebt den Herrn”, BWV 733 John Nisbet
From the “Eighteen Great” Chorales:
Nun komm, der Heiden Heiland, BWV 659 Jason Charneski
Nun komm, der Heiden Heiland, BWV 661 Nancy Robbins
Prelude and Fugue in D minor (“Dorian”), BWV 538 Renée Anne Louprette
The Greater Hartford Chapter AGO Board would like to thank all those who donated their time and services to the preparation of this concert, especially our talented artists and performers, John Nisbet and the staff and clergy of St. Peter’s Church, Dave Harper and all volunteers from the AGO Chapter membership.Donations towards BACHANALIA and the Hartford Chapter events programming will be gratefully received in the collection plate at the church entrance.

~ SOLI DEO GLORIA ~

Jason Charneski presently serves as the minister of music at Bethany Covenant Church in Berlin, Connecticut, where he plays for all services, directs three of the church’s six musical ensembles, and is responsible for the administration of the entire music ministry. In addition, Mr. Charneski is on the faculty of Mary Immaculate Academy in New Britain, Connecticut. Mr. Charneski holds his master’s degree from the North Carolina School of the Arts in Winston-Salem, where he studied organ with John Mitchener, choral conducting with James Albritten, and served as the School’s music theory teaching assistant. While living in North Carolina, he served as music director of the First Presbyterian Church in Thomasville and organist for the Saturday and Sunday evening Masses at Our Lady of Fatima Chapel in Winston-Salem. He holds his bachelor’s degree, with distinction, from the Eastman School of Music in Rochester, New York, where he studied organ with David Higgs and organ improvisation with Richard Erickson and Gerre Hancock. During that time, he served as organist and choir director of St. Peter’s Episcopal Church in Henrietta, New York. While in high school, he studied organ with Edward Clark, Richard Coffey and Lorraine Revelle and served as organist and choir director of Trinity Covenant Church in Plainville, Connecticut. Mr. Charneski won first prize in the 1995 New Haven Chapter-American Guild of Organists Competition for Young Organists, and subsequently placed second at the New England regional-level competition that same year.

Gretchen Hill grew up in West Hartford, Connecticut and attended public schools there. She graduated from Valparaiso University with a B.Mus. in Church Music in 1972. Since then, she has returned to the Hartford area and held positions of Organist/Director at several Lutheran churches. She is currently Director of Music at Immanuel Lutheran Church in Meriden. She is also on the Board of Directors at Hartford Conservatory. Gretchen is married to Allen Hill and they have two sons, Jeremy, a senior at Eastman School of Music, and Jonathan, a senior at Glastonbury High School.

Renée Anne Louprette is a native of Albany, New York. She completed a Bachelor of Music degree (summa cum laude) in piano and a Graduate Professional Diploma in organ at the Hartt School, University of Hartford. Her teachers there included Margreet Francis (piano), Larry Allen (organ), and Robert Edward Smith (harpsichord). In 1997-1998, she pursued studies in organ and church music in London, England at the Royal Academy of Music and as a private organ student of Dame Gillian Weir. She is presently continuing her studies with James David Christie at Holy Cross College in Worcester, Massachusetts. Renée has been a participant in the Organ Academy in Göteborg, Sweden and a recitalist at the In Tempore Organi festival 1999, Arona, Italy. She is currently serving as full-time Director of Music and Organist for the Church of Saint Ann (Roman Catholic) in Avon.

John Nisbet is Music Director and Organist at St. Peter Church, New Britain, CT. John directs the vocal and instrumental ensembles at St. Peter Church, and administers the Sacred Music concert series “Music Celebrating the Church Year”. An active pianist as well as an organist, John has studied and performed at the Sarasota Chamber Music Festival and The Marlboro Music Festival, with pianists Luis Batlle and Bruno Canino. John began his organ study at St. Mark’s, Philadelphia, with Wesley Parrott.

Nancy Robbins is a member of the Hartford Chapter AGO Executive Board and the Professional Concerns Committee. Nancy holds a Bachelor of Music degree from the Hartt School of Music, University of Hartford, where she was elected into Pi Kappa Lambda, the national honor society for musicians. She has studied organ with Edward E. Clark and is presently studying with Ezequiel Menendez at the Cathedral of Saint Joseph in Hartford. She has held organist/director of music positions at Prospect United Methodist Church, Bristol, and at First Congregational Church, Cromwell, as well as interim positions in several other churches including Rocky Hill Congregational Church. She has been accompanist for the Connecticut Gilbert & Sullivan Society, as well as orchestral pianist for two of its productions. In years past, she has been continuo organist for many concerts of major choral works accompanied at South Congregational Church, Hartford. Presently, she is rehearsal pianist as well as continuo harpsichordist for the New Britain Musical Club’s annual presentation of Handel’s “Messiah.” She also is a member of The Musical Club of Hartford where she performs regularly as pianist and organist.

The Oberlinger organ at St. Peter’s Church is a two-manual mechanical-action organ built in the Middle-Rhine tradition. This tradition of organ building has blended the best of the German and French organbuilding traditions for over 250 years.

The wide-scaled, cone-tuned principal pipes are made of 75% tin, flutes are made of 40% tin, and the reeds are made in the French manner. The glass Positive shutters are behind a carved grill, and following the French practice, the Hauptwerk and Pedal are behind a single facade.

The manual keyboards have scored naturals of grenadilla with carved fronts, and sharps of rosewood capped with ivory. The case is of oak, with carved details matching appointments in the church. The Oberlinger organ at St. Peter’s is recognized as one of the finest concert organs in the Greater Hartford area.
John Nisbet , Music Director and Organist at St. Peter’s, is also the USA Representative of Oberlinger Orgelbau.

Dr. Susan Armstrong and Michael Sklader perform at Elm Street Congregational Church in Southbridge, MA

Elm Street Congregational Church located in Southbridge, Massachusetts, is proud to present a concert featuring internationally known concert organist Dr. Susan Armstrong on Sunday, November 19, 2000 beginning at 7pm.

Dr. Armstrong will be performing on the Church’s 1891 Johnson Tracker Organ. Dr. Armstrong received her Doctor of Musical Arts degree from Boston University, is an associate of the American Guild of Organists, and writes frequently for The New England Organist, and American Organist magazines. She has concertized widely throughout the United States, Europe, and Canada.

A versatile player, she has performed music ranging from Baroque and American music to “Great Romantic Masterpieces” such as Fantasies by Max Reger, and Symphonies of Vierne and Widor. She combines historical perspectives with an individualized concert presentation and performance for each occasion.

Performing with Dr. Armstrong will be Michael Sklader. Mr. Sklader has been playing the organ since he was 13 years old. He is currently the organist at the Portland Street Baptist Church in Haverhill, Massachusetts, where he plays an 1885 Hook and Hastings organ. A graduate of Montclair State College, he has performed in concerts throughout New England and New York.

The concert is part of Elm Street Congregational Church’s 200th Anniversary Celebration, and is being sponsored by the Men’s Fellowship group. Following the concert, a reception featuring food and fellowship will be held sponsored by the Women’s Fellowship group. Admission to the concert is free and opened to the public. Elm Street Congregational Church is located on the corner of Elm and Park Streets in Southbridge, Massachusetts. For more information, please contact the Church office at 508-764-8058.

Margaret Irwin-Brandon leads a Pipe Organs of Italy Tour

The Organs of Italy tour originator and guide, Margaret Irwin-Brandon, performer and teacher specializing in early keyboard instruments, enjoys a life-long interest in the historic organs of Italy and their music. Organs of Italy tours focus on instruments which cover a broad range of size, age and importance.

The Details: 

Cost of the tour, including land transportation in Italy: $1900.00
Single supplement: $400.
Contact Margaret Irwin-Brandon: mi-b@rcn.com

includes:
Hotels with breakfast
5 festive meals with regional specialties
Tips and taxes
Recitals & garden admissions

does not include:
Passport fee
Air passage to Italy
Items of a personal nature
Trip cancellation or travel insurance

Reservations may be made with a deposit of $400, payable by October 5, 2000. Reservations will be made in the order of receipt of deposit. Late reservations are subject to space availability.

Cancellations made before Sept. 15 will result in a full return of payment. After Sept, 15, refunds will be subject to charges by carriers, hotels and other contractors. Cancellation insurance is recommended.

Prices are based on exchange rates in effect on August 15, 2000 and are subject to adjustment before the start of the tour.

Leadership: Organs of Italy tour originator and guide, Margaret Irwin- Brandon, performer and teacher specializing in early keyboard instru- ments, enjoys a life-long interest in the historic organs of Italy and their music.Organs of Italy tours focus on instruments which cover a broad range of size, age and importance. Ms. Irwin- Brandon is also the founder and director of Arcadia Players, a period instrument ensemble specializiing in the music of the Baroque.

ITINERARY, Oct. 28 – Nov. 4

Saturday, Oct. 28 PISTOIA
Gather at the Cathedral at 4:30 pm.
“Choir rehearsal” for Sunday’s mass with Umberto Pineschi
Opening reception

Sunday, Oct. 29
Worship in the Cathedral
Organs of PISTOIA
Walking tour of several Pistoese organs by Hermanns, Agati and Tronci.
Dinner together
Recital in Serra (new Ghilardi organ)

Monday, Oct. 30
More organs of Pistoia
Afternoon trip to the villages and organs of TREPPIO & S. MARCELLO

Tuesday, Oct. 31 LUCCA/CORSANICO
Morning garden tour to Villa Garzoni
Inner-city organs in Lucca,
Afternoon visit to Lucca’s organ builder, Glauco Ghilardi
Evening in Corsanico: Recital & Dinner

Wednesday, Nov. 1 BOLOGNA
San Petronio’s famous Da Prato and Malamini organs demonstrated by Lieuwe Tamminga. Visits to other instruments, including the church of San Martino.

Thursday, Nov. 2 FLORENCE
free day

Friday, Nov. 3
Morning organ visits to La Badia and S. Niccolo
Afternoon tour of Baroque gardens:
La Gamberaia, La Pietra
Closing dinner

Saturday, Nov. 4
Farewell breakfast and check-out.

Optional extension:, November 4, 5, 6 VENICE

Organ Crawl in the Finger Lakes region, NYS led by Chemung Valley chapter of AGO

Chemung Valley Chapter of the American Guild of Organists invites you to join us for an Autumn jaunt to Lodi, Ovid, Interlaken, and Trumansburg, New York

0ctober 28, 2000
Meet: Lodi Historical Society
South Main ST
Lodi, New York
10:00 a.m. 1852 E. & G. G. Hook
14 ranks
Holy Cross Catholic Church
7231 South Main ST
Ovid, New York
11:00 a.m. 1862 Builder unknown
7 ranks
Lunch: Ginny Lee Café
Wagner Vineyards
9322 Route 414
Lodi, New York
Noon
Reformed Church
8315 Main ST
Interlaken, New York
2:00 p.m. 1928 Mõller/Strauss
12 ranks
First Presbyterian Church
Main ST
Trumansburg, New York
3:00 p.m. 1923 Casavant/Strauss
15 ranks
First United Methodist Church
Main ST
Trumansburg, New York
3:45 p.m. 1860 Garrett House
16 ranks

Please contact David Lenington to make reservations for luncheon buffet.
E-mail: DAVELEN@AOL.COM
PH: 570-268-5035 evenings

Alexander Fiseisky plays Bach Marathon in Duesseldorf, Germany

On September 23, 2000, Alexander Fiseisky will perform the entire organ works of J.S. Bach in one day. See the program, stoplist, and Alexander’s bio here in both English and German.

Program 1 | Program 2 | Program 3 | Program 4 | Program 5 | Program 6 | Program 7 | Program 8 | Program 9 | Program 10 | Program 11 | Program 12 | Program 13 | Program 13 | Program 14 | Program 15 | Program 16

Organ and Stoplist of St Margareta Basilica   |   Alexander Fiseisky’s biography   |   About this performance

More about Alexander Fiseisky

Gesamte Orgelwerke / The Complete Organ Works

anläßlich des 250. Todestages von Johann Sebastian Bach /
In Commemoration of the 250-th Anniversary of the Death of Johann Sebastian Bach

gespielt von / played by Alexander Fiseisky
an der/on the Rieger-Organ

In tiefer Verehrung und zur Erinnerung an den größten Komponisten des letzten Jahrtausends
In profound honour and remembrance of the greatest composer of the second millennium

Program 1: 6.30 Uhr

Präludium und Fuge C-Dur, BWV 545
Choralbearbeitungen:
Valet will ich dir geben, BWV 735
Christ lag in Todesbanden, BWV 718

Präludium und Fuge g-Moll, BWV 535

Trio-Sonate e-Moll, BWV 528
Adagio. Vivace
Andante
Un poco Allegro

Choralbearbeitungen: Lobt Gott, ihr Christen, allzugleich, BWV 732
Jesu, meine Freude, BWV 713
Liebster Jesu, wir sind hier, BWV 706
Allein Gott in der Höh’ sei Ehr’, BWV 711
Herzlich tut mich verlangen, BWV 727

Präludium und Fuge c-Moll, BWV 546

Präludium und Fuge d-Moll, BWV 539

Choralpartita “Sei gegrüßet, Jesu gütig”, BWV 768

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Program 28.00 Uhr

Präludium und Fuge C-Dur, BWV 531

Choralbearbeitungen:
Valet will ich dir geben, BWV 736
Gottes Sohn ist kommen, BWV 703
Liebster Jesu, wir sind hier, BWV 730
Christ lag in Todesbanden, BWV 695
Wer nur den lieben Gott läßt walten, BWV 690

Fantasie und Fuge a-Moll, BWV 561

Einige canonische Veränderungen über das Weihnachtslied:
Vom Himmel hoch, da komm’ ich her, BWV 769a

Concerto d-Moll, BWV 596
Ohne Tempobezeichnung
Grave
Fuga
Largo e spiccato
Ohne Tempobezeichnung

Fuge c-Moll, BWV 575

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Program 3: 9.00 Uhr

Toccata (Präludium) und Fuge F-Dur, BWV 540

Choralpartita “Christ, der du bist der helle Tag”, BWV 766

Concerto a-Moll, BWV 593
Ohne Tempobezeichnung
Adagio
Allegro

Fantasie C-Dur, BWV 570

Präludium und Fuge G-Dur, BWV 550

Präludium und Fuge a-Moll, BWV 543

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Program 4: 10.00 Uhr

Präludium und Fuge G-Dur, BWV 541

Choralbearbeitungen:
Nun komm, der Heiden Heiland, BWV 699
Herr Christ, der ein’ge Gottes-Sohn, BWV 698
Gelobet seist du, Jesu Christ, BWV 697
Wir Christenleut’, BWV 710
Ach Gott, vom Himmel sieh’ darein, BWV 741
An Wasserflüssen Babylon, BWV 653b
Wo soll ich fliehen hin, BWV 694
Wer nur den lieben Gott läßt walten, BWV 691
Ein’ feste Burg ist unser Gott, BWV 720

Trio-Sonate Es-Dur, BWV 525
Ohne Tempobezeichnung
Adagio
Allegro

Passacaglia c-Moll, BWV 582

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Programm 5: 11.00 Uhr

Fuge c-Moll über ein Thema von Giovanni Legrenzi, BWV 574

Choralbearbeitungen:
Vom Himmel hoch da komm’ ich her, BWV 700
In dulci jubilo, BWV 729
Jesus, meine Zuversicht, BWV 728
Liebster Jesu, wir sind hier, BWV 731
Nun freut euch, lieben Christen g’mein, BWV 734

Fuge h-Moll über ein Thema von Corelli, BWV 579

Präludium und Fuge C-Dur, BWV 547

Pastorale (Pastorella) F-Dur, BWV 590

Toccata und Fuge d-Moll (dorisch), BWV 538

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Programm 6: 12.00 Uhr

Präludium und Fuge a-Moll, BWV 551

Choralpartita “O Gott, du frommer Gott”, BWV 767

Trio G-Dur, BWV 1027a

Arie F-Dur, BWV 587

Allabreve D-Dur, BWV 589

Trio-Sonate G-Dur, BWV 530
Vivace
Lento
Allegro

Präludium und Fuge e-Moll, BWV 548

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Program 7: 13.00 Uhr

Orgelbüchlein (45 Choralbearbeitungen, BWV 599-644)
1. Nun komm, der Heiden Heiland
2. Gott, durch deine Güte
3. Herr Christ, der ein’ge Gottes-Sohn
4. Lob sei dem allmächtigen Gott
5. Puer natus in Bethlehem
6. Gelobet seist du, Jesu Christ
7. Der Tag, der ist so freudenreich
8. Vom Himmel hoch, da komm’ ich her
9. Vom Himmel kam der Engel Schar
10. In dulci jubilo
11. Lobt Gott, ihr Christen, allzugleich
12. Jesu, meine Freude
13. Christum wir sollen loben schon
14. Wir Christenleut’
15. Helft mir Gottes Güte preisen
16. Das alte Jahr vergangen ist
17. In dir ist Freude
18. Mit Fried’ und Freud’ ich fahr’ dahin
19. Herr Gott, nun schleuß den Himmel auf
20. O Lamm Gottes, unschuldig
21. Christe, du Lamm Gottes
22. Christus, der uns selig macht
23. Da Jesus an dem Kreuze stund
24. O Mensch, bewein’ dein’ Sünde groß
25. Wir danken dir, Herr Jesu Christ
26. Hilf Gott, daß mir’s gelinge
27. Christ lag in Todesbanden
28. Jesus Christus, unser Heiland
29. Christ ist erstanden
30. Erstanden ist der heil’ge Christ
31. Erschienen ist der herrliche Tag
32. Heut triumphieret Gottes Sohn
33. Komm, Gott Schöpfer, heiliger Geist
34. Herr Jesu Christ, dich zu uns wend’
35. Liebster Jesu, wir sind hier
36. Dies sind die heil’gen zehn Gebot’
37. Vater unser im Himmelreich
38. Durch Adams Fall ist ganz verderbt
39. Es ist das Heil uns kommen her
40. Ich ruf’ zu dir, Herr Jesu Christ
41. In dich hab’ ich gehoffet, Herr
42. Wenn wir in höchsten Nöten sein
43. Wer nur den lieben Gott läßt walten
44. Alle Menschen müssen sterben
45. Ach wie nichtig, ach wie flüchtig

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Program 8: 14.30 Uhr

Dritter Teil der Klavierübung (“Orgelmesse”)

Präludium Es-Dur, BWV 552, 1

Choralbearbeitungen, BWV 669-689:
Kyrie, Gott Vater in Ewigkeit
Christe, aller Welt Trost
Kyrie, Gott heiliger Geist
Kyrie, Gott Vater in Ewigkeit
Christe, aller Welt Trost
Kyrie, Gott heiliger Geist
Allein Gott in der Höh’ sei Ehr’
Allein Gott in der Höh’ sei Ehr’
Allein Gott in der Höh’ sei Ehr’
Dies sind die heil’gen zehn Gebot’
Dies sind die heil’gen zehn Gebot’
Wir glauben all’ an einen Gott
Wir glauben all’ an einen Gott
Vater unser im Himmelreich
Vater unser im Himmelreich
Christ, unser Herr, zum Jordan kam
Christ, unser Herr, zum Jordan kam
Aus tiefer Not schrei’ ich zu dir
Aus tiefer Not schrei’ ich zu dir
Jesus Christus unser Heiland
Jesus Christus unser Heiland

Fuge Es-Dur, BWV 552, 2

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Program 9: 16.00 Uhr

Acht kleine Präludien und Fugen, BWV 553-560
Präludium und Fuge C-Dur
Präludium und Fuge d-Moll
Präludium und Fuge e-Moll
Präludium und Fuge F-Dur
Präludium und Fuge G-Dur
Präludium und Fuge g-Moll
Präludium und Fuge a-Moll
Präludium und Fuge B-Dur

Trio-Sonate c-Moll, BWV 526
Vivace
Largo
Allegro

Fantasia und Imitatio h-Moll, BWV 563

Fantasie (Präludium) und Fuge g-Moll, BWV 542

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Program 10: 17.00 Uhr

Fantasie und Fuge c-Moll, BWV 537

Choralpartita “Ach, was soll ich Sünder machen?”, BWV 770

Präludium G-Dur, BWV 568
Fuge G-Dur, BWV 577

Trio-Sonate C-Dur, BWV 529
Allegro
Largo
Allegro

Präludium und Fuge h-Moll, BWV 544

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Program 11: 18.00 Uhr

Gottesdienst mit Musik von Johann Sebastian Bach

Präludium a-Moll, BWV 569

Sechs Choräle von verschiedener Art (Schübler-Choräle), BWV 645-650:
Wachet auf, ruft uns die Stimme
Wo soll ich fliehen hin
Wer nur den lieben Gott läßt walten
Meine Seele erhebet den Herren
Ach bleib’ bei uns, Herr Jesu Christ
Kommst du nun, Jesu, vom Himmel herunter

Toccata d-Moll, BWV 565

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Program 12: 19.30 Uhr

Präludium und Fuge c-Moll, BWV 549

Fuge G-Dur, BWV 576

Choralbearbeitungen:
Ach Gott und Herr, BWV 714
Allein Gott in der Höh’ sei Ehr’, BWV 717
Lob sei dem allmächt’gen Gott, BWV 704
Herr Gott, dich loben wir, BWV 725

Toccata (Präludium) und Fuge E-Dur, BWV 566

Choralbearbeitungen:
Der Tag, der ist so freudenreich, BWV 719
Erbarm’ dich mein, o Herre Gott, BWV 721
Herr Jesu Christ, dich zu uns wend’, BWV 726
In dich hab’ ich gehoffet, Herr, BWV 712

Concerto C-Dur, BWV 594
Ohne Tempobezeichnung
Recitativo. Adagio
Allegro

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Programm 13: 20.30 Uhr

Fuge g-Moll, BWV 578

Orgelchoräle der Neumeister-Sammlung, BWV 1090-1098
Wir Christenleut’
Das alte Jahr vergangen ist
Herr Gott, nun schleuß den Himmel auf
Herzliebster Jesu, was hast du verbrochen
O Jesu, wie ist dein Gestalt
O Lamm Gottes, unschuldig
Christe, der du bist Tag und Licht
Ehre sei dir, Christe, der du leidest Not
Wir glauben all an einen Gott

Trio G-Dur, BWV 586

Orgelchoräle der Neumeister-Sammlung, BWV 1099-1108
Aus tiefer Not schrei ich zu dir
Allein zu dir, Herr Jesu Christ
Durch Adams Fall ist ganz verderbt
Du Friedefürst, Herr Jesu Christ
Erhalt uns, Herr, bei deinem Wort
Wenn dich Unglück tut greifen an
Jesu, meine Freude
Gott ist mein Heil, mein Hilf und Trost
Jesu, meines Lebens Leben
Als Jesus Christus in der Nacht

Trio c-Moll, BWV 585

Orgelchoräle der Neumeister-Sammlung, BWV 1109-1120
Ach Gott, tu dich erbarmen
O Herre Gott, dein göttlich Wort
Nun lasset uns den Leib begrab’n
Christus, der ist mein Leben
Ich hab’ mein Sach’ Gott heimgestelt
Herr Jesu Christ, du höchstes Gut
Herzlich lieb hab’ ich dich, o Herr
Was Gott tut, das ist wohlgetan
Alle Menschen müssen sterben
Werde munter, mein Gemüte
Wie nach einer Wasserquelle
Christ, der du bist der helle Tag

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Program 14: 22.00 Uhr

Präludium und Fuge f-Moll, BWV 534

Choralbearbeitungen:
Gottes Sohn ist kommen/Gott, durch deine Güte, BWV 724
Vom Himmel hoch da komm’ ich her, BWV 701
Christum wir sollen loben schon, BWV 696
Herr Jesu Christ, dich zu uns wend’, BWV 709
Allein Gott in der Höh’ sei Ehr’, BWV 715

Fuga sopra il Magnificat, BWV 733

Concerto C-Dur, BWV 595

Trio d-Moll, BWV 583

Toccata (Toccata, Adagio und Fuge) C-Dur, BWV 564

Canzona, BWV 588

Präludium und Fuge D-Dur, BWV 532

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Programm 15: 23.00 Uhr

Präludium und Fuge e-Moll, BWV 533

Choralbearbeitungen:
Gelobet seist du, Jesu Christ, BWV 722
Vom Himmel hoch, da komm’ ich her, BWV 738
Vater unser im Himmelreich, BWV 737
Wie schön leuchtet der Morgenstern, BWV 739

Fuge G-Dur
Machs mit mir, Gott, nach deiner Güt, BWV 957

Trio-Sonate d-Moll, BWV 527
Andante
Adagio e dolce
Vivace

Fuge C-Dur, BWV 946

Präludium und Fuge A-Dur, BWV 536

Concerto G-Dur, BWV 592 Ohne Tempobezeichnung
Grave
Presto

Fantasie c-Moll, BWV 562

Fantasie G-Dur (Pièce d’Orgue), BWV 572

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Program 16: 24.00 Uhr

Achtzehn Choräle, BWV 651-667, 668a
Komm, heiliger Geist, Herre Gott
Komm, heiliger Geist, Herre Gott
An Wasserflüssen Babylon
Schmücke dich, o liebe Seele
Herr Jesu Christ, dich zu uns wend’
O Lamm Gottes, unschuldig
Nun danket alle Gott
Von Gott will ich nicht lassen
Nun komm, der Heiden Heiland
Nun komm, der Heiden Heiland
Nun komm, der Heiden Heiland
Allein Gott in der Höh’ sei Ehr’
Allein Gott in der Höh’ sei Ehr’
Allein Gott in der Höh’ sei Ehr’
Jesus Christus, unser Heiland
Jesus Christus, unser Heiland
Komm, Gott Schöpfer, heiliger Geist
Vor deinen Thron tret’ ich

About this performance:

Für die Zusammenstellung der Programmfolge wurde W. Schmieders Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach zugrunde gelegt. In das Programm sind alle Orgelwerke aufgenommen, die nachweislich von J. S. Bach komponiert wurden. Zusätzlich sind auch einige Kompositionen enthalten, bei denen es fraglich ist, ob hier Bach wirklich der Komponist ist. Nicht aufgenommen wurden diejenigen Werke, die unvollendet geblieben sind. Von den Werken, die in mehrere Versionen überliefert sind, wurde nur eine ausgewählt. Zwischen den einzelnen Programmen ist jeweils nur eine kurze Pause von ca. 3 – 5 Minuten geplant. Das Publikum wird während dieser Unterbrechungen um größtmögliche Ruhe gebeten, um die Aufmerksamkeit auf die Musik hin und die tontechnische Aufzeichnung nicht zu stören. Mit der Aufführung ist auch folgender Benefiz-Aspekt verbunden: Der finanzielle Erlös soll für die Weiterentwicklung der Orgelausbildung an der Russischen Gnessin Musikakademie in Moskau bestimmt sein. The programme of the complete cycle is based on Schmieder’s ‘Systematic Thematic Catalogue of the Musical Works of Johann Sebastian Bach’. All the organ works which demonstrably are by Bach are included in the programme. In addition there are some compositions over which some questions of Bach’s authorship are not settled. Of those works which have several variants, normally only one version has been chosen. Unfinished works of the composer have not been included. Between the individual programmes there will be a short pause of approximately 3 – 5 minutes. The audience is respectfully requested to remain as quiet as possible during the intervals in order to maintain the sense of deep reflection upon the music, and the entire concert is also being recorded. There is the further beneficial purpose to this performance, that its profits will be used to continue the development of the teaching of the organ at the Russian Gnessin’s Academy of Music in Moscow.
Alexander Fiseisky
Alexander Fiseisky wurde in Moskau geboren. Er studierte am Moskauer Konservatorium unter Professor Vera Gornostajewa Klavier und Orgel bei Professor Leonid Roisman. Seine weitere Ausbildung vervollkommnete er in Meisterklassen bei Wolfgang Schetelich, Leo Krämer, Daniel Roth und Jean Guillou. Alexander Fiseisky ist Solo-Organist der Moskauer Staatlichen Philharmonischen Gesellschaft und Leiter der Orgelklasse an der Russischen Gnessin Musikakademie. Eine beachtliche Anzahl von Kompositionen sind ihm gewidmet, wie z. B. die von Michael Kollontaj, Wladimir Rjabow, Milena Aroutjunova und Arif Mirsojew. Er hat an vielen bedeutenden Festivals sowohl in der ehemaligen Sowjetunion als auch im Ausland teilgenommen. Er betätigt sich als Jury-Mitglied bei nationalen als auch internationalen Orgelwettbewerben, wie z. B. beim Calgary Internationalen Orgel-Festival (Canada), dem St. Albans Internationalen Orgel-Festival (England) usw.. Durch Vorträge und Meisterklassen-Kurse an der Royal Academy of Music in London und dem Internationalen Orgel-Festival in Oundle (England), Musikhochschule Wien, Musikhochschule Hamburg, Peabody Conservatoire in Baltimore (USA) usw. erlangte er internationales Ansehen, sowohl als Tutor als auch als Musikwissenschaftler. Alexander Fiseisky hat viele Einspielungen gemacht, einschließlich des gesamten Orgelwerkes von J. S. Bach. Er ist ferner tätig als Sachverständiger in allen Orgelfragen seines Landes, organisierte zahlreiche Festivals und wissenschaftliche Konferenzen. Mit der Veröffentlichung einer Anthologie “Orgelmusik in Russland” im Bärenreiter-Verlag (8217-8219) ist er als Herausgeber sehr darum bemüht, das Beste aus der russischen Orgeltradition dem Westen zu vermitteln.

Born in Moscow, Alexander Fiseisky has become one of Russia’s premier and most influential organists. He studied piano at the Moscow State Conservatoire under Professor Vera Gornostajeva and organ under Professor Leonid Roizman. He had further guidance and masterclasses from Wolfgang Schetelich, Leo Krämer, Daniel Roth and Jean Guillou. Alexander Fiseisky is an official organ soloist of the Moscow State Philharmonic Society and Head of the Organ Class of the Russian Gnessin’s Academy of Music. A significant number of premières of works which he has given have been dedicated to him – including compositions by Mikhail Kollontay, Vladimir Ryabov, Milena Aroutjunova, and Arif Mirzoyev. He has performed at many of the major festivals in the former USSR and abroad. He regularly appears as a jury member of national and international organ competitions including Calgary International Organ Festival (Canada) and St. Albans International Organ Festival (UK), etc. His lectures and masterclasses at the Royal Academy of Music in London and Oundle International Organ Festival (UK), Musikhochschule Vienna (Austria), Musikhochschule Hamburg (Germany), Peabody Conservatoire in Baltimore (USA), etc., established his international reputation both as a tutor and musicologist. Alexander Fiseisky has many recordings to his credit, including the complete organ works of J. S. Bach. He also continues to be nationally involved in organ matters in Russia, organizing a number of festivals and scientific conferences. He is strongly advocating the introduction of the best of Russian organ tradition to the West by editing an Anthology of Russian Organ Music by Bärenreiter-Verlag (8217-8219).

The Organ of St Margareta Basilica
Um die Jahrhundertwende schuf die Firma Fabricius eine neue Orgel, die auf der Westempore Platz fand. Mitte der dreißiger Jahre wurde diese durch eine größere ersetzt. Nach dem Abriß der Empore gelangte diese Orgel 1957 in das südliche Querschiff. Mit Beginn der Restaurierungsarbeiten 1975 befand sich die Orgel in einem sehr schlechten Zustand und wurde ausgelagert. Eine Restaurierung wäre wiederum Flickwerk geworden, das nicht zu rechtfertigende Kosten verursacht hätte, so daß der einzige realistische Weg vorwärts war, eine neue Orgel zu bestellen. Die Auswahl des Orgelbaumeisters gelang relativ schnell, die Fa. Rieger aus Schwarzach in Österreich erhielt den Auftrag für ein Instrument mit 40 Registern auf 3 Manualen und Pedal. Zu langwierigen Auseinandersetzungen führte dann aber die Frage des Standortes der Orgel. Die Südwand wurde gewählt, und die damals gefundene Lösung bleibt – für jeden hörbar, der sich im mittleren und hinteren Bereich aufhält – akustisch gesehen ein Kompromiß, wenn wahrscheinlich auch der beste, der gefunden werden konnte. Die Fa. Rieger schuf ein Werk, das durch seine große klangliche Geschlossenheit, seine der schwierigen Akustik angepaßte dezente Kraft und seine Vielseitigkeit viele positive Beurteilungen erfahren hat. Durch die Verwendung erlesener Materialien und die an guten Traditionen orientierte Bauweise wird diese Orgel auf lange Sicht ihre Aufgaben in der Liturgie und in Konzerten erfüllen können. Diese Vielseitigkeit, die im Klang der Orgel deutlich hörbar wird, erlaubt es, stilistische Vielfalt zu pflegen und Musik mit unterschiedlichstem Hintergrund aufzuführen.

At the turn of the century Fabricius built a new organ in the church’s west end gallery. They considerably rebuilt it again in the mid-1930s, and after the demolition of the gallery the organ was removed to the south transept in 1957. By the start of restoration work in 1975 the organ was not only in a poor state but, being stored temporarily in an unsuitable place, such further damage was done as to render any further repair unjustifiable; the realistic way forward was to commission an entirely new organ. The choice of builder was made relatively quickly, Rieger of Schwarzach in Austria being commissioned for an instrument of 40 stops over three manuals and pedals. Somewhat longer deliberation was needed as to its position within the church. The south wall of the transept was chosen, and it is probably the best overall solution, and Rieger’s work, with its tonal unity, its ‘subtle strength’ suited to the difficult acoustic, and its versatility, was favourably received. Construction according to time honoured traditions, with materials of superior quality, ensures a long term ability to fulfil all that is required of it within both the liturgical and concert fields. This eclecticism, as the sound of the organ itself ringingly declares, allows the stylistic performance of music from many different backgrounds upon it.

Klaus Wallrath

The Disposition:
Hauptwerk
1. Pommer 16′
2. Principal 8′
3. Spitzflöte 8′
4. Octav 4′
5. Nachthorn 4′
6. Superoctav 2′
7. Mixtur V 1 1/3′
8. Zimbel III 1/2′
9. Cornet V 8′
10. Trompete 8′
Rückpositiv
11. Holzgedackt 8′
12. Principal 4′
13. Koppel 4′
14. Gemshorn 2′
15. Quintlein 1 1/3′
16. Scharf IV 1′
17. Rankett 16′
18. Krummhorn 8′
Tremulant
Schwellwerk
19. Bourdon 8′
20. Salicional 8′
21. Voix Celeste 8′
22. Prestant 4′
23. Rohrflöte 4′
24. Nazard 2 2/3′
25. Flöte 2′
26. Tierce 1 3/5′
27. Sifflet 1′
28. Plein Jeu V 2′
29. Basson 16′
30. Hautbois 8′
31. Clairon 4′
Tremulant
Pedal
32. Principal 16′
33. Subbaß 16′
34. Octav 8′
35. Gedackt 8′
36. Choralbaß 4′
37. Rohrschelle 2′
38. Rauschpfeife IV 2 2/3′
39. Posaune 16′
40. Trompete 8′
Koppeln / Couplers:
I/II, III/II, III/I, I/P, II/P, III/P6 Generalsetzer, jeweils 4 Werksetzer
Mechanische Spiel- und Registertraktur6 Generals, 4 Divisionals
Tracker action, mechanical stop action
© Alexander Fiseisky