Works by S. Scheidt, J. S. Bach, W. A. Mozart,
J. A. Hasse et al.
Special rarities of church music are becoming something of a small tradition on our label. The sound of the mean-tone Renaissance organ from Stellichte and the fine trumpet playing of Thomas Hartog provide a unique listening experience, which will fascinate both the connoisseur and the general music lover alike.
Thomas Hartog, trumpet
Christoph Andreas Schäfer, renaissance organ (Marten de Mare, ca. 1600, reconstructed by Jürgen Ahrend 1985)
chimes
Samuel Scheidt (1587 – 1654):
“Variations on a Galliarde by John Dowland” for trumpet and organ
Jan Pieterzoon Sweelinck (1562 – 1621):
Fantasia chromatica
Fr. Diogo da Conçeicão (17. century):
“Meio Registo de 2. Tom Accidental” for trumpet and organ
Georg Böhm (1661 – 1733):
Aria: »Jesu, du bist allzu schöne« Theme and variations
Johann Sebastian Bach (1685 – 1750):
Three chorale preludes for trumpet and organ
“Du Friedefürst Herr Jesu Christ”
“Allein Gott in der Höh sei Ehr”
“Herr Christ der einig Gott’s Sohn”
Johann Ludwig Krebs (1713 – 1780):
Two trio pieces for double-manual organ with pedal
Johann Christoph Kellner (1736 – 1803):
Two chorale preludes for trumpet and organ
“Wer nur den lieben Gott läßt walten”
“Liebster Jesu, wir sind hier”
Wolfgang Amadeus Mozart (1756 – 1791):
Adagio for glass harmonica (composed 1791)
Johann Adolf Hasse (1699 – 1783):
Sonata F major for trumpet and organ
Allegro moderato – Adagio – Menuett – Finale Allegro
chimes
Total recording time: 60:36 (CD Audio)
Recording: Radio Bölts, Bad Zwischenahn
German booklet enclosed (4 p.)
Ord.-No. SRL4-07009 / (p) & (c) 2007 SPEKTRAL / Series SPEKTRAL CLASSICS
born in 1947, studied with Erwin Wolf in Hannover and Detmold. 1970 solo trumpet at the Niederrheinischen Sinfonikern, since 1977 at the Philharmonisches Staatsorchester Bremen. At the same time Thomas Hartrog teaches at the Hochschule für Musik und Theater, Hannover, since 1978. Extensive concert activities with emphasis on trumpet and organ, numerous CD and broadcast recordings.
born in 1961 in Wertheim/Main, studied in Heidelberg and Düsseldorf. Lessons in artistic organ and improvisation with Chr. Schoener, W. Herbst and G.A. Krieg. 1986-1990 assistent of Prof. Oskar Glottlieb Blarr at the Neanderkirche Düsseldorf. Since 1991 cantor and organist at St. Johannes der Täufer in Walsrode.
The characteristic of a renaissance organ
To our ears this organs sounds strange and harsh. When the organist ventures into distant keys, »the wolf howls« (they sound – compared to the modern tuning – more or less out of tune). But in the common keys they feature a so much the purer sound. The meantone tuning sets the framwork, in which renaissance and early baroque music was played. (In works like Sweelinks »Fantasia chromatica« you can hear the composer play with the appeal to move to remote sound areas.) Unnecessarily low keys (C sharp, D sharp, F sharp, G sharp) were economized. This way the »short octave« – very common in thoese days – is developed; today’s organist has to get along with less keys (C, D = key F sharp, E = key G sharp, F, G, A, continuing chromatically) and to arrange with this unusual scale. In Stellichte, the keys F sharp and G sharp were added as a concession to later periods. The organ is tuned approx. a half tone above today’s standard pitch. Playing with other instruments is therefore only possible after careful preparations.
Abstract from the liner notes, text by Chr. A. Schäfer
