Auch auff Orgeln
an art of transcription, between Renaissance et Baroque
motets and dances
transcriptions by Johann Woltz (1617), Jean-Charles Ablitzer and Friedrich
Wandersleb
Jean-Charles Ablitzer - Esaias Compenius Organ 1610 - Frederiksborg
Michael
Prateorius, O lux beata Trinitas, 1st verset
Michael Prateorius, Danses de Terpsichore
- Passameze
Michael Prateorius, Danses
de Terpsichore - Bransle gay
"Its unusual, soft, subtle and delicate sonority cannot be truly
described".
Michael Praetorius, Syntagma Musicum, 1619
The organ of Frederiksborg Castle is the only work remaining to us from Esaias Compenius (1560-1617), whose friend Michael Praetorius introduced him to the court of Duke Heinrich Julius von Braunschweig-Lüneburg, bishop of Halberstadt and a great patron of the arts. It was built for the castle of Hessen (near Wolfenbütell) between 1605 and 1610, and transferred to Frederiksborg Castle in 1617 by Compenius himself. This legendary instrument is unique both for its state of conservation and the originality of its design, but it is above all a charming, deliciously proportioned work, with ivory covered tubes inlaid with ebony, and solid silver drawstops which assume the form of human or animal heads. It is also a tonal jewel, whose tubes are all of wood. The mechanism was designed with an economy of means and ingenuity which command admiration. It has 27 stops distributed over two manuals and a pedalboard.
In this collection Jean-Charles Ablitzer, after bringing attention to the organ music of Michael Praetorius (Pro organico), returns to this founding father of German baroque music by illustrating a common practice from the Renaissance period and early 17th century. Transcription was the "daily bread" for organists in Michael Praetorius' day. Composers of that period wrote in polyphony whose use was free and varied, even if its primary vocation, whether vocal or instrumental, was made perfectly clear.
In the forward to his Musae Sionie, Michael Praetorius wrote: "…moreover, similar polyphonic compositions for choir (variatio per Choros) can also be played on organs (auch auff Orgeln) … by alternating on two or three keyboards in the most pleasant and delicate manner, not only for the satisfaction of experts or professional musicians, but also for all those listening among the Christian audience… I should like to hope that these pieces will not merely be used by cantors and singers but also by organists and instrumentalists who have no wish to commit themselves to a comparable burden of composition."
The
freedom offered by transcription allows this programme in celebration
of the reunion of Duke Heinrich Julius, the Master of the Chapel Michael
Praetorius and the organ and instrument maker Esaias Compenius to throw
new light on the significance of this magical organ, a true "sound
laboratory".
This recording, supported by album notes of the highest
quality, provides essential light on organ playing techniques in central
Germany at the dawn of the Baroque period: a meeting between music of
an unprecedented beauty and a universal work of art…. an essential
edition!
Jean-Charles Ablitzer at the historical Esaias Compenius organ (1610) in Frederiksborg castle (Denmark)
William Dongois, cornett
Christian Wegmann, tenor
1 digibox CD/ 54 page full colour booklet -
total time 69 min 48 secs.
notes in French, English and German
recording made with the support of the Franche-Comté Regional Council and BNP Paribas
Published June 2009
photo : historical Esaias Compenius organ (1610) in Frederiksborg castle (Denmark)