Following two celebrated CDs of Carson Cooman‘s organ music (“benchmark recording” – Classical Music Sentinel), Erik Simmons now takes us to a special area of the composer’s work – music inspired by renaissance and early baroque music. This double album will be a delight to early-music lovers as well as followers of the modern organ repertoire.
Organ of the Basilica Mariä-Himmelfahrt
Erik Simmons has recorded a second programme of fine organ music by Carson Cooman, Composer in Residence at Harvard University’s Memorial Church and one of America’s most prolific composers, writing in a variety of approachable musical styles, innovative but within traditional tonal boundaries. The previous album ‘Litany’ received rave reviews, one critic called it a ‘benchmark recording”, and this new CD will appeal very much to organ enthusiasts.
The album is recorded on the sounds of the wonderful Marcussen organ of the Laurenskerk, in Rotterdam using the Hauptwerk system which gives full rein to the wide tonal range of the instrument, while avoiding the excessive reverberation which can spoil many organ recordings. The sound here is crisp and clear allowing full enjoyment of the music and the instrument.
Carson Cooman is one of America’s most prolific and feted composers of our time. Also writer, critic, teacher and organist (Organist and Composer in Residence at Harvard), his music is never avant-garde but varies from the mildly challenging in harmonic structure to firmly traditional tonality, all with a fine sense of style and inspiration. This album presents a program of recent organ music (mostly composed 2012-3) of lyrical, Romantic and pastoral nature, but with plenty of variety. It’s a beautiful album enhanced by the marvellous playing of Erik Simmons and the wonderful Marcussen organ of Laurenskerk, Rotterdam (recorded by the Hauptwerk system).
This splendid recital of works by Johann Sebastian Bach has been produced in collaboration with Canongate Kirk, Edinburgh, to display the fine and distinctive sounds of the instrument. The booklet contains a history of the organ and its full specification. David Hamilton’s second CD, as with his recent Buxtehude album, shows a performer with skill and musicianship and also a deep empathy with the works of the baroque masters.
Volume 1 of the John Ellis Organ music was recorded by Ronald Frost and received much acclaim. This CD featuring the extremely talented young organist Robin Walker continues the theme of music which is very firmly in the English Cathedral tradition, but which, as several critics have commented, also displays a very remarkable and distinctive voice – and is as suitable for recital performance as much as within the confines of liturgical use. The brilliant Symphony is perhaps the prime example of this genre to be written in recent years. A recording we are delighted to have in our catalogue. See volume 1 here.
WE ARE SORRY TO NOTE THAT JOHN ELLIS DIED ON APRIL 26, 2010. A GREAT LOSS TO MUSIC.
Thirteen of the great baroque master’s organ works, in fine new performances by David Hamilton, played on the Aubertin organ at the University of Aberdeen.
Our third disc of organ music by young British composer James Cook, with two major symphonies and other works. Cook’s music is haunting, ethereal and spiritual – no fireworks; this is music to savour with mind at ease. Almost 160 minutes of music.
All the music on this CD was composed during 2004. As with Cook’s choral music, (see Divine Art CD 25023 and 25027), it is written in an approachable, traditional and tonal style, but with an individual and distinctive voice. With many passages which are slow and quiet, Cook’s music allows the organ to express spirituality and devotional qualities without any of the noise and bombast so often encountered. The louder turbulent sections are used in context to good effect without excess.
Father Pierucci’s first cantata to words by Regina Derieva, “Via Crucis” was described as “a major find” and ” a remarkable work” by critics. Pierucci writes in a tonal and very listenable style but with a distinctive voice of his own, and this new work, using a chamber ensemble rather than organ, takes as its basis a short, haunting motif, used in variation form in all the movements. This work, like “Via Crucis” is highly recommended to choirs and choral societies.
PIERUCCI: DE PROFUNDIS
Gintaré Skeryté (mezzo-soprano)
Aidija Chamber Choir
Vilnius String Quartet:
Audroné VainiÂÅ«naité (violin 1); ArtÅ«ras Silale (violin 2)
Girdutis Jakaitis (viola); Augustinas Vasiliauskas (cello);
with Giedrius Gelgotas (flute); Gintautas Jocius (double bass)
Directed by Romualdas Gražinis