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Home , Fugue, Georg Caspar Wecker, Giacomo Carissimi, Johann Pachelbel, Johann Sebastian Bach

Johann Pachelbel

organ works vol. II

Matthew Owens

The Frobenius Organ at Canongate Kirk, Edinburgh Pachelbel (1653-1706) organ works vol. II Matthew Owens The Frobenius Organ at Canongate Kirk, Edinburgh

1 in [1.43] 10 in [0.45]

2 Nun komm der Heiden Heiland [2.56] 11 Vater unser im Himmelreich [3.12]

3 Herr Christ, der einig Gottes Sohn [4.16] 12 Ich ruf zu dir, Herr Jesu Christ [3.40]

4 Wir glauben all an einen Gott [4.29] 13 Nun lob, mein Seel, den Herren [2.07]

5 Wie schön leuchtet der Morgenstern [3.10] 14 An Wasserflüssen Babylon [5.48]

6 Prima in [10.15] 15 Fugue in D minor [1.22]

7 Fugue in [2.18] 16 An Wasserflüssen Babylon [4.40]

8 Jesus , unser Heiland, der von uns [3.14] 17 tertii toni [15.56]

9 Dies sind die heilgen zehn Gebot [2.04] Total playing time [72.01]

Recorded on 13-14 October 2005 24-bit digital editing: Adam Binks Photography © Delphian Records Delphian Records Ltd – Edinburgh – UK at Canongate Kirk, Edinburgh 24-bit digital mastering: Paul Baxter Design: Drew Padrutt www.delphianrecords.co.uk Producer & Engineer: Paul Baxter Photography: Raymond Parks Booklet editor: John Fallas With thanks to Mrs Alison Robertson and Dr John Willmett (1653-1706) organ works vol. II Matthew Owens The Frobenius Organ at Canongate Kirk, Edinburgh

1 Toccata in G minor [1.43] 10 Fugue in C major [0.45]

2 Nun komm der Heiden Heiland [2.56] 11 Vater unser im Himmelreich [3.12]

3 Herr Christ, der einig Gottes Sohn [4.16] 12 Ich ruf zu dir, Herr Jesu Christ [3.40]

4 Wir glauben all an einen Gott [4.29] 13 Nun lob, mein Seel, den Herren [2.07]

5 Wie schön leuchtet der Morgenstern [3.10] 14 An Wasserflüssen Babylon [5.48]

6 Aria Prima in D minor [10.15] 15 Fugue in D minor [1.22]

7 Fugue in A minor [2.18] 16 An Wasserflüssen Babylon [4.40]

8 Jesus Christus, unser Heiland, der von uns [3.14] 17 Magnificat tertii toni [15.56]

9 Dies sind die heilgen zehn Gebot [2.04] Total playing time [72.01]

Recorded on 13-14 October 2005 24-bit digital editing: Adam Binks Photography © Delphian Records Delphian Records Ltd – Edinburgh – UK at Canongate Kirk, Edinburgh 24-bit digital mastering: Paul Baxter Design: Drew Padrutt www.delphianrecords.co.uk Producer & Engineer: Paul Baxter Photography: Raymond Parks Booklet editor: John Fallas With thanks to Mrs Alison Robertson and Dr John Willmett Notes on the Recent years have been kind to the reputation him clearly in the direction of a number of the the following year and the period of mourning Protestant churches of the time, and the of Johann Pachelbel as a south German greatest Italian of the day. Prentz that followed considerably stunted the regular contract made it clear that the prelude was . For many years following his death was himself a pupil of Johann Kaspar Kerll, pursuits of the court and its musicians. Pachelbel to be composed beforehand and not to be in 1706 he was mainly accepted as a significant who was in turn a pupil of Italian composer left in 1678 to become the of extemporised at the organ. It was this body of contributor to the keyboard genre, and notably , and perhaps even the Predigerkirche in the central German town of works – and in particular the – as a composer of organ works generally illustrious . Pachelbel’s – his longest tenure in any one place. By that Pachelbel composed at Erfurt that propelled intended for use in the church. However, this south German predecessors included Samuel the time Pachelbel left the church at Erfurt in him into the front rank of German composers of long-held and admirable standing has now Scheidt (who had studied in Amsterdam under 1690, his renown as a composer and teacher the time. In his subsequent and final post at St blossomed to the point that he is widely Jan Pieterszoon Sweelinck) and Johann Jakob had become widespread and he took up the Sebaldus in , Pachelbel also wrote a regarded as one of the principal and pioneering Froberger (who was possibly a pupil of Scheidt). post of court musician and organist, this time at great number of Magnificat to precede composers of his day – not just of keyboard The composers of the Nuremberg School also the Württemburg court in . Misfortune the singing of the Magnificat text at , forms, but also of chamber and vocal music, had some influence on Pachelbel; they included prevailed again, however, and two years later he which served to further augment his by then both sacred and secular. such names as Johann Erasmus Kindermann, left the court and Stuttgart in order to escape considerable recognition. and Heinrich Schwemmer, an invasion by the French, becoming the town While Pachelbel has never commanded the the latter of whom gave Pachelbel some of his organist at in from 1692. Pachelbel’s style when composing for the organ same respect and stature as some of his near earliest musical tuition. was one of great lyricism and predominantly contemporaries and successors – Dietrich In 1695 Pachelbel returned to the town of his clear writing. The holding-in-check of musical Buxtehude and Johann Sebastian in Following the completion of his studies, birth, Nuremberg, to succeed Georg Caspar flamboyance in the more reserved South particular – he was without doubt a prolific and Pachelbel was appointed assistant organist Wecker, who had died in service as the dictated that musical line – particularly in the innovative composer of great intellect. In his at St Stephen’s Cathedral in in 1673, organist of the church of St Sebaldus. This was case of chorale used within Pachelbel’s own lifetime his hard-earned reputation as both possibly through Prentz, allowing him to have to be his final post; Pachelbel remained at St music – was clear and little decorated. In his composer and teacher went far and wide, and he contact with Kerll, who was cathedral organist. Sebaldus until his death eleven years later, and vocal and , however, which like was fortunate enough, unlike J.S. Bach, not to be While Pachelbel was not necessarily a pupil of it was here that he cemented his position of his organ music was composed throughout his almost totally neglected following his death. Kerll, the older composer’s Italianate influence prominence as a leading composer of his time. career, there was a degree of virtuosity and becomes apparent through Pachelbel’s own flamboyance as well as a more vibrant richness There were a number of venerable influences music, in which he was to develop and It was partly due to the particular circumstances of texture. on Pachelbel’s musical style. Following a encourage a combination of German and Italian of Pachelbel’s employment at different churches wide education that saw him pull out of the baroque forms and practices. that he began to compose specific works. His Pachelbel’s influence on his successors was university in Altdorf due to a shortfall in financial appointment at Erfurt was significant in this significant. As a prolific teacher he had many support from his father, Pachelbel attended Pachelbel’s stay at St Stephen’s was relatively respect, as his contract detailed that he was to pupils, although much of his influence came the Poeticum in as short and in 1677 he moved to Eisenach to compose a prelude to be played before the through consequent knowledge of his works a scholarship student from around 1670. become organist at the court of the Duke of singing of each chorale by the congregation rather than directly as a pedagogue. Printing Here he was to study extracurricular music Saxe-Eisenach. His employment here was to and to be based on the chorale itself. at this time was uncommon and expensive, with Kaspar Prentz, who would have pointed be even shorter, as the Duke’s brother died This was becoming a regular practice in and, typically, only a relatively small amount Notes on the music Recent years have been kind to the reputation him clearly in the direction of a number of the the following year and the period of mourning Protestant churches of the time, and the of Johann Pachelbel as a south German baroque greatest Italian composers of the day. Prentz that followed considerably stunted the regular contract made it clear that the prelude was composer. For many years following his death was himself a pupil of Johann Kaspar Kerll, pursuits of the court and its musicians. Pachelbel to be composed beforehand and not to be in 1706 he was mainly accepted as a significant who was in turn a pupil of Italian composer left Eisenach in 1678 to become the organist of extemporised at the organ. It was this body of contributor to the keyboard genre, and notably Giacomo Carissimi, and perhaps even the Predigerkirche in the central German town of works – and in particular the chorale preludes – as a composer of organ works generally illustrious Girolamo Frescobaldi. Pachelbel’s Erfurt – his longest tenure in any one place. By that Pachelbel composed at Erfurt that propelled intended for use in the church. However, this south German predecessors included Samuel the time Pachelbel left the church at Erfurt in him into the front rank of German composers of long-held and admirable standing has now Scheidt (who had studied in Amsterdam under 1690, his renown as a composer and teacher the time. In his subsequent and final post at St blossomed to the point that he is widely Jan Pieterszoon Sweelinck) and Johann Jakob had become widespread and he took up the Sebaldus in Nuremberg, Pachelbel also wrote a regarded as one of the principal and pioneering Froberger (who was possibly a pupil of Scheidt). post of court musician and organist, this time at great number of Magnificat fugues to precede composers of his day – not just of keyboard The composers of the Nuremberg School also the Württemburg court in Stuttgart. Misfortune the singing of the Magnificat text at Vespers, forms, but also of chamber and vocal music, had some influence on Pachelbel; they included prevailed again, however, and two years later he which served to further augment his by then both sacred and secular. such names as Johann Erasmus Kindermann, left the court and Stuttgart in order to escape considerable recognition. Georg Caspar Wecker and Heinrich Schwemmer, an invasion by the French, becoming the town While Pachelbel has never commanded the the latter of whom gave Pachelbel some of his organist at Gotha in Thuringia from 1692. Pachelbel’s style when composing for the organ same respect and stature as some of his near earliest musical tuition. was one of great lyricism and predominantly contemporaries and successors – Dietrich In 1695 Pachelbel returned to the town of his clear writing. The holding-in-check of musical Buxtehude and in Following the completion of his studies, birth, Nuremberg, to succeed Georg Caspar flamboyance in the more reserved South particular – he was without doubt a prolific and Pachelbel was appointed assistant organist Wecker, who had died in service as the dictated that musical line – particularly in the innovative composer of great intellect. In his at St Stephen’s Cathedral in Vienna in 1673, organist of the church of St Sebaldus. This was case of chorale melodies used within Pachelbel’s own lifetime his hard-earned reputation as both possibly through Prentz, allowing him to have to be his final post; Pachelbel remained at St music – was clear and little decorated. In his composer and teacher went far and wide, and he contact with Kerll, who was cathedral organist. Sebaldus until his death eleven years later, and vocal and chamber music, however, which like was fortunate enough, unlike J.S. Bach, not to be While Pachelbel was not necessarily a pupil of it was here that he cemented his position of his organ music was composed throughout his almost totally neglected following his death. Kerll, the older composer’s Italianate influence prominence as a leading composer of his time. career, there was a degree of virtuosity and becomes apparent through Pachelbel’s own flamboyance as well as a more vibrant richness There were a number of venerable influences music, in which he was to develop and It was partly due to the particular circumstances of texture. on Pachelbel’s musical style. Following a encourage a combination of German and Italian of Pachelbel’s employment at different churches wide education that saw him pull out of the baroque forms and practices. that he began to compose specific works. His Pachelbel’s influence on his successors was university in Altdorf due to a shortfall in financial appointment at Erfurt was significant in this significant. As a prolific teacher he had many support from his father, Pachelbel attended Pachelbel’s stay at St Stephen’s was relatively respect, as his contract detailed that he was to pupils, although much of his influence came the Gymnasium Poeticum in Regensburg as short and in 1677 he moved to Eisenach to compose a prelude to be played before the through consequent knowledge of his works a scholarship student from around 1670. become organist at the court of the Duke of singing of each chorale by the congregation rather than directly as a pedagogue. Printing Here he was to study extracurricular music Saxe-Eisenach. His employment here was to and to be based on the chorale melody itself. at this time was uncommon and expensive, with Kaspar Prentz, who would have pointed be even shorter, as the Duke’s brother died This was becoming a regular practice in and, typically, only a relatively small amount of Pachelbel’s music was published during schön leuchtet der Morgenstern (How beautiful most common were in three or four parts larger and more ostentatious instruments that his lifetime, notably the Acht Choräle zum shines the morning-star) all make use of Advent with a clearly presented augmented cantus allowed for greater dramatic, virtuosic and Præambulieren from 1693 and the Hexachordum , although the latter of these was also firmus, or in the form of a chorale fugue. Among improvisatory possibilities, particularly in the Apollinis published in 1699. In conjunction with used at Whitsuntide, and on the selection here are two chorale preludes pedals. Pachelbel’s non-liturgical pieces mostly these there were many manuscript copies of his Sundays after . unique in Pachelbel’s output. The first of these stood as separate works – however short – work that circulated among his pupils and beyond. is Nun lob, mein Seel, den Herren, where the with few pairings of, for example, a fugue One of the most significant of his pupils was While many Protestant chorales presented augmented chorale is surrounded by the two following a toccata, prelude or fantasia. Johann Sebastian Bach’s elder brother Johann completely new texts, established texts were remaining parts, but still played by the feet using Christoph, who was to become in turn the also employed and are represented by no a 4’ stop. (More commonly, Pachelbel presents Of the three fugues on this recording – in teacher of Johann Sebastian himself. Pachelbel fewer than six of the chorale preludes here: Wir the in one of the outer parts of A minor, D minor and C major – none is had had a close association with Ambrosius glauben all an einen Gott (We believe in one the texture.) The second unusual particularly extensive. The two fugues in minor Bach and his family while in Thuringia, and was God) is a setting of the Nicene Creed, sung is Wir glauben all an einen Gott, where the keys are strongly suggestive of pedal parts, godfather to Johann Sebastian’s sister Johanna both as a Trinity hymn and following the Gospel chorale melody is highly ornamented. Pachelbel while the C major fugue is clearly for general Juditha as well as teacher to Johann Christoph, each Sunday, Dies sind die heilgen zehn Gebot also wrote just three examples of (a keyboard use. The Toccata in G minor is, thus exerting an indirect influence on one of the is Luther’s version of the Ten Commandments, two-part chorale prelude in which the chorale however, clearly intended for the organ, with most important composers of the baroque era. and Vater unser im Himmelreich (Our Father in melody is accompanied by an animated bass its sustained pedal line. It is a predominantly Heaven) is Luther’s version of the Lord’s Prayer. line), represented here by Jesus Christus, unser bold statement, the pedal line underpinning As an innovator, Pachelbel’s contribution to Nun lob, mein Seel, den Herren (Now praise Heiland, der von uns. the creative interplay between the right and works based on Lutheran chorales is perhaps his the Lord, O my soul) and the two settings of left hands. The Aria Prima is the first of the set most significant, although he also composed a An Wasserflüssen Babylon (By the waters of The last of Pachelbel’s specifically liturgical of six with variations which make up the considerable corpus of non-liturgical keyboard Babylon) are both chorales from the . music found in this recording is contained in a Hexachordum Apollinis Pachelbel published works that include , ricercares, fantasias, The remaining two chorale preludes in this set of Magnificat fugues. The Magnificat tertii while in Nuremberg towards the end of his life. preludes, fugues and ciaconne. The ricercare and programme use more general texts, Jesus toni consists of eleven short fugues for the Published as works for organ or , ciaconne were typically Italian forms, while works Christus, unser Heiland, der von uns [den third tone, and they would have been played as they demonstrate Pachelbel at his most based on the chorale reflected the tastes and Gottes Zorn wandt] (Jesus Christ, our Saviour, a prelude to the Magnificat at Vespers. inventive, and represent one of his greatest recent customs of German Protestant composers. who turned away God’s anger from us) being accomplishments in the variation form. a hymn for use at Communion or on Maundy Of Pachelbel’s non-liturgical works, many There are eleven chorale-based works on this Thursday and Ich ruf zu dir, Herr Jesu Christ (I are small in scale and are equally suitable © 2008 Adam Binks recording and a wide representation of texts call to you, Lord Jesus Christ) traditionally used to be played on either harpsichord or organ, and melodies for various times of the church’s on the Sundays following Trinity Sunday. often lacking a defined pedal part. In south Adam Binks was recently awarded a PhD in are employed. Nun komm der , organs were generally smaller at the University of Edinburgh. Heiden Heiland (Come, now, Saviour of the Chorale preludes make up around half of and less grandiose than their north German The subject of his thesis was the music of heathen), Herr Christ, der einig Gottes Sohn Pachelbel’s organ works, and they mostly counterparts. A composer such as Buxtehude Kenneth Leighton. (Lord Christ, the only Son of God) and Wie follow one of a small number of forms. The in the north would have been familiar with of Pachelbel’s music was published during schön leuchtet der Morgenstern (How beautiful most common were in three or four parts larger and more ostentatious instruments that his lifetime, notably the Acht Choräle zum shines the morning-star) all make use of Advent with a clearly presented augmented cantus allowed for greater dramatic, virtuosic and Præambulieren from 1693 and the Hexachordum chorales, although the latter of these was also firmus, or in the form of a chorale fugue. Among improvisatory possibilities, particularly in the Apollinis published in 1699. In conjunction with used at Whitsuntide, Annunciation and on the selection here are two chorale preludes pedals. Pachelbel’s non-liturgical pieces mostly these there were many manuscript copies of his Sundays after Trinity Sunday. unique in Pachelbel’s output. The first of these stood as separate works – however short – work that circulated among his pupils and beyond. is Nun lob, mein Seel, den Herren, where the with few pairings of, for example, a fugue One of the most significant of his pupils was While many Protestant chorales presented augmented chorale is surrounded by the two following a toccata, prelude or fantasia. Johann Sebastian Bach’s elder brother Johann completely new texts, established texts were remaining parts, but still played by the feet using Christoph, who was to become in turn the also employed and are represented by no a 4’ stop. (More commonly, Pachelbel presents Of the three fugues on this recording – in teacher of Johann Sebastian himself. Pachelbel fewer than six of the chorale preludes here: Wir the cantus firmus in one of the outer parts of A minor, D minor and C major – none is had had a close association with Ambrosius glauben all an einen Gott (We believe in one the texture.) The second unusual chorale prelude particularly extensive. The two fugues in minor Bach and his family while in Thuringia, and was God) is a setting of the Nicene Creed, sung is Wir glauben all an einen Gott, where the keys are strongly suggestive of pedal parts, godfather to Johann Sebastian’s sister Johanna both as a Trinity hymn and following the Gospel chorale melody is highly ornamented. Pachelbel while the C major fugue is clearly for general Juditha as well as teacher to Johann Christoph, each Sunday, Dies sind die heilgen zehn Gebot also wrote just three examples of bicinium (a keyboard use. The Toccata in G minor is, thus exerting an indirect influence on one of the is Luther’s version of the Ten Commandments, two-part chorale prelude in which the chorale however, clearly intended for the organ, with most important composers of the baroque era. and Vater unser im Himmelreich (Our Father in melody is accompanied by an animated bass its sustained pedal line. It is a predominantly Heaven) is Luther’s version of the Lord’s Prayer. line), represented here by Jesus Christus, unser bold statement, the pedal line underpinning As an innovator, Pachelbel’s contribution to Nun lob, mein Seel, den Herren (Now praise Heiland, der von uns. the creative interplay between the right and works based on Lutheran chorales is perhaps his the Lord, O my soul) and the two settings of left hands. The Aria Prima is the first of the set most significant, although he also composed a An Wasserflüssen Babylon (By the waters of The last of Pachelbel’s specifically liturgical of six arias with variations which make up the considerable corpus of non-liturgical keyboard Babylon) are both chorales from the Psalms. music found in this recording is contained in a Hexachordum Apollinis Pachelbel published works that include toccatas, ricercares, fantasias, The remaining two chorale preludes in this set of Magnificat fugues. The Magnificat tertii while in Nuremberg towards the end of his life. preludes, fugues and ciaconne. The ricercare and programme use more general texts, Jesus toni consists of eleven short fugues for the Published as works for organ or harpsichord, ciaconne were typically Italian forms, while works Christus, unser Heiland, der von uns [den third tone, and they would have been played as they demonstrate Pachelbel at his most based on the chorale reflected the tastes and Gottes Zorn wandt] (Jesus Christ, our Saviour, a prelude to the Magnificat at Vespers. inventive, and represent one of his greatest recent customs of German Protestant composers. who turned away God’s anger from us) being accomplishments in the variation form. a hymn for use at Communion or on Maundy Of Pachelbel’s non-liturgical works, many There are eleven chorale-based works on this Thursday and Ich ruf zu dir, Herr Jesu Christ (I are small in scale and are equally suitable © 2008 Adam Binks recording and a wide representation of texts call to you, Lord Jesus Christ) traditionally used to be played on either harpsichord or organ, and melodies for various times of the church’s on the Sundays following Trinity Sunday. often lacking a defined pedal part. In south Adam Binks was recently awarded a PhD in liturgical year are employed. Nun komm der Germany, organs were generally smaller musicology at the University of Edinburgh. Heiden Heiland (Come, now, Saviour of the Chorale preludes make up around half of and less grandiose than their north German The subject of his thesis was the music of heathen), Herr Christ, der einig Gottes Sohn Pachelbel’s organ works, and they mostly counterparts. A composer such as Buxtehude Kenneth Leighton. (Lord Christ, the only Son of God) and Wie follow one of a small number of forms. The in the north would have been familiar with Specification of the Frobenius & Sønner Organ at Canongate Kirk (1998)

Great Positiv

Principal 8 Fugara 8 Rohrflute 8 Gedeckt 8 Octave 4 Celeste (c–g3) 8 Gedecktflute 4 Waldflute 4 2 Quint 2 /3 2 1 Octave 2 Quint 1 /3 Mixtur IV Sesquialtera II Trompet 8 Obo 8 Tremulant

Pedal

Subbas 16 Hohlflute 8 Principal 8 Basun 16

Hitch-down pedals for Great to Pedal Swell to Pedal Swell to Great Specification of the Frobenius & Sønner Organ at Canongate Kirk (1998)

Great Positiv

Principal 8 Fugara 8 Rohrflute 8 Gedeckt 8 Octave 4 Celeste (c–g3) 8 Gedecktflute 4 Waldflute 4 2 Quint 2 /3 Flute 2 1 Octave 2 Quint 1 /3 Mixtur IV Sesquialtera II Trompet 8 Obo 8 Tremulant

Pedal

Subbas 16 Hohlflute 8 Principal 8 Basun 16

Hitch-down pedals for Great to Pedal Swell to Pedal Swell to Great Also available on Delphian Matthew Owens Matthew Owens was appointed Organist and of Great Britain from 1993-99; he has The Organ in the Church of the Holy Rude, Stirling Master of the Choristers of Wells Cathedral in also conducted the BT Scottish Ensemble, the John Kitchen organ June 2004, taking up the post in 2005. He was Hungarian National Philharmonic , (DCD34064) previously Organist and Master of the Music at the Orchestra of St Mary’s Music School, St Mary’s Episcopal Cathedral, Edinburgh (from Wells Cathedral School Chamber Orchestra, Edinburgh’s city organist visits the Mither Kirk of Stirling and Scotland’s 1999-2004) and Sub-Organist of Manchester Devon Baroque and the Sarum Orchestra. He largest organ. Never before heard on disc, the 1939 Rushworth & Cathedral. He is also Tutor in Organ Studies at is increasingly in demand for choral workshops, Dreaper represents the zenith of British organ building. Kitchen Wells Cathedral School (one of the five specialist masterclasses and adjudications in the UK and harnesses this king of instruments in a varied recital, revelling in its music schools in the UK), Conductor of the Wells abroad, and has made over twenty CDs as a sheer magnificence. Cathedral Society, and Conductor of conductor or solo organist with Albany, ASV, The Exon Singers, one of the country’s leading Black Box, Delphian, Herald, Hyperion, Lammas ‘Kitchen gets to grips with [the instrument’s] full colour potential … chamber . and Regent record labels. warm string stops and the weighty full chorus …’ – The Scotsman, May 2008 Born in 1971, he studied at Chetham’s School As an organist, Matthew has given recitals in ‘On this stonking disc, wait till you hear Kitchen unleashed on Elgar’s of Music and was subsequently Organ , Ireland, Switzerland and throughout the Pomp and Circumstance March No 1.’ Scholar at The Queen’s College, Oxford. As a UK, including festival appearances at Carlisle, – The Herald, May 2008 postgraduate he received the highest award Lichfield, Newbury, Oxford and Peterborough for performance, the Professional Performance and at venues such as St Paul’s Cathedral, Diploma, with distinction, and the college Bach Westminster Cathedral and St John’s Smith prize at the Royal Northern College of Music; Square. As a conductor and solo organist he has Instruments from the Russell Collection Vol II gained a Master’s Degree from the University championed new music, premiering new works John Kitchen early keyboard instruments of Manchester; won thirteen prizes in the by leading composers including Richard Allain, (DCD34039) diplomas of the Royal College of and David Bednall, Gavin Bryars, Geoffrey Burgon, was awarded the Silver Medal of the Worshipful Dave Heath, Francis Jackson, Gabriel Jackson, Edinburgh University’s Russell Collection is one of the world’s finest Company of Musicians. He then studied at the Naji Hakim, Jools Holland, George Lloyd, collections of early keyboard instruments. The second volume in John Sweelinck Conservatorium in Amsterdam. His James MacMillan, Sir Peter Maxwell Davies, Kitchen’s ongoing project to bring its musical exhibits to life matches music major organ studies were with Gordon Stewart, Tarik O’Regan, Arvo Pärt, Howard Skempton by Handel, Purcell, the Scottish composer Robert Bremner and others David Sanger, Margaret Phillips and Jacques and Giles Swayne. He is increasingly active as including Mozart’s son Franz Xaver with a gloriously vigorous menagerie of van Oortmerssen. From 1994-99, he was Tutor a composer and some of his works have been , , chamber organs, and . in Organ Studies at the Royal Northern College recorded for commercial release and broadcast of Music and Chetham’s and worked for BBC on BBC Radio 3. ‘a supreme achievement … Every one a gem, as are Kitchen’s stylishly Religious Broadcasting. bright performances’ – The Scotsman, March 2006 Matthew worked extensively with Mike Brewer as Assistant Conductor of the National Youth Also available on Delphian Matthew Owens Matthew Owens was appointed Organist and Choir of Great Britain from 1993-99; he has The Organ in the Church of the Holy Rude, Stirling Master of the Choristers of Wells Cathedral in also conducted the BT Scottish Ensemble, the John Kitchen organ June 2004, taking up the post in 2005. He was Hungarian National Philharmonic Orchestra, (DCD34064) previously Organist and Master of the Music at the Orchestra of St Mary’s Music School, St Mary’s Episcopal Cathedral, Edinburgh (from Wells Cathedral School Chamber Orchestra, Edinburgh’s city organist visits the Mither Kirk of Stirling and Scotland’s 1999-2004) and Sub-Organist of Manchester Devon Baroque and the Sarum Orchestra. He largest organ. Never before heard on disc, the 1939 Rushworth & Cathedral. He is also Tutor in Organ Studies at is increasingly in demand for choral workshops, Dreaper represents the zenith of British organ building. Kitchen Wells Cathedral School (one of the five specialist masterclasses and adjudications in the UK and harnesses this king of instruments in a varied recital, revelling in its music schools in the UK), Conductor of the Wells abroad, and has made over twenty CDs as a sheer magnificence. Cathedral Oratorio Society, and Conductor of conductor or solo organist with Albany, ASV, The Exon Singers, one of the country’s leading Black Box, Delphian, Herald, Hyperion, Lammas ‘Kitchen gets to grips with [the instrument’s] full colour potential … chamber choirs. and Regent record labels. warm string stops and the weighty full chorus …’ – The Scotsman, May 2008 Born in 1971, he studied at Chetham’s School As an organist, Matthew has given recitals in ‘On this stonking disc, wait till you hear Kitchen unleashed on Elgar’s of Music and was subsequently Organ France, Ireland, Switzerland and throughout the Pomp and Circumstance March No 1.’ Scholar at The Queen’s College, Oxford. As a UK, including festival appearances at Carlisle, – The Herald, May 2008 postgraduate he received the highest award Lichfield, Newbury, Oxford and Peterborough for performance, the Professional Performance and at venues such as St Paul’s Cathedral, Diploma, with distinction, and the college Bach Westminster Cathedral and St John’s Smith prize at the Royal Northern College of Music; Square. As a conductor and solo organist he has Instruments from the Russell Collection Vol II gained a Master’s Degree from the University championed new music, premiering new works John Kitchen early keyboard instruments of Manchester; won thirteen prizes in the by leading composers including Richard Allain, (DCD34039) diplomas of the Royal College of Organists and David Bednall, Gavin Bryars, Geoffrey Burgon, was awarded the Silver Medal of the Worshipful Dave Heath, Francis Jackson, Gabriel Jackson, Edinburgh University’s Russell Collection is one of the world’s finest Company of Musicians. He then studied at the Naji Hakim, Jools Holland, George Lloyd, collections of early keyboard instruments. The second volume in John Sweelinck Conservatorium in Amsterdam. His James MacMillan, Sir Peter Maxwell Davies, Kitchen’s ongoing project to bring its musical exhibits to life matches music major organ studies were with Gordon Stewart, Tarik O’Regan, Arvo Pärt, Howard Skempton by Handel, Purcell, the Scottish composer Robert Bremner and others David Sanger, Margaret Phillips and Jacques and Giles Swayne. He is increasingly active as including Mozart’s son Franz Xaver with a gloriously vigorous menagerie of van Oortmerssen. From 1994-99, he was Tutor a composer and some of his works have been spinets, virginals, chamber organs, clavichord and harpsichords. in Organ Studies at the Royal Northern College recorded for commercial release and broadcast of Music and Chetham’s and worked for BBC on BBC Radio 3. ‘a supreme achievement … Every one a gem, as are Kitchen’s stylishly Religious Broadcasting. bright performances’ – The Scotsman, March 2006 Matthew worked extensively with Mike Brewer as Assistant Conductor of the National Youth DCD34031