Published in San Francisco Classical Voice by Jerry Kuderna Despite the fact that Bach was himself a great master of the organ, and composed for the instrument throughout his career, gaining his first renown performing on it publicly, most keyboard players (and listeners) today are likely to be much more familiar with his output of

Felix Mendelssohn, in addition to being one of the most respected composers, conductors, and one of the greatest pianists of his day, was also one of the finest organists and improvisers of his age. At least on two occasions he produced large-scale collections for the instrument: the Three Preludes and Fugues, op. 37, and the

These are fine performances on an organ almost uniquely suited to the works. It consists of three manuals (Hauptwerk, Positiv, and Echo) with a full Pedal stoplist and is found in the Kloster Weißenau, Ravensburg, Germany. It was built in 1787 by Holzhey, whose work Mendelssohn himself admired. The tone is marvelously fluid, but with

We have listened to organist (and musical polymath) Jonathan Dimmock ‘s new CD, Mendelssohn Organ Sonatas (Loft Recordings LRCD-1112). These works, written late in the composer’s brief life, take full advantage of the resources of the “king of instruments” as well as being prime examples of Mendelssohn’s unique musical genius. Jonathan plays these works masterfully

Mendelssohn, F.: Org Sons 1-6; Dimmock/Holzhey Org, Ravenburg, Germany [Loft] AUDIOPHILE (1 CD) Felix Mendelssohn’s (1809-1847) six organ sonatas (1844-45) can be considered romantic successors to J.S. Bach’s (1685-1750) works for that instrument. As performed here on one of Germany’s finest classical organs, it’s easy to understand why these late Mendelssohn pieces would go on

Review of Sweelinck: Master of the Dutch Renaissance Jan Pieterszoon Sweelinck (1562-1621) was considered to be the finest keyboard player and improviser of his day. His captivating playing and influential teaching earned him the titles “Orpheus of Amsterdam” and “Maker of German organists.” His students were among the leading organist/musicians of the early Baroque in

Mendelssohn: Organ Sonatas Jonathan Dimmock, Holzhey organ, Weissenau, Germany Loft LRCD 112 (7744) rating: FIVE STARS! Those used to romanticised interpretations of Mendelssohn’s sonatas may find this recording uncomfortable, especially in Werckmeister III temperament.  Mendelssohn, however, had a penchant for classically voiced organs and was full of praise for the southern German organ builder Johann

Although the first two organs pre-date Sweelinck’s birth, and the third is a reconstruction of an organ from around 80 years after his death, all three allow convincing representations of the aural world of Sweelinck – not least in their mean-tone tuning. All are important instruments in their own right, notably the Oosthuizen organ. Although

Sweelinck Goes Home – And Has Never Sounded So Good! The idea of “taking a musical journey” is pretty much a meaningless cliché – but not always! Organist Jonathan Dimmock’s two-CD set, Jan Pieterszoon Sweelinck: Master of the Dutch Renaissance, will send you on a rewarding musical journey to places you thought you knew but

A representative selection of organ works by Sweelinck is recorded on three very appropriate organs, all of which are tuned in meantone. Also included are two works by Scheidemann, and the variations on “The Woods so Wilde” by Byrd. The Oosthuizen instrument is dated 1521, while that at Hattem is from 1550. Both are single-manual,