INTRODUCTION Given the renowned clarity of the pipework and THE ORGAN OF ST BAVO, HAARLEM voicing of the organ, I began to ruminate upon I am so thrilled that my tenth disc for if the Reubke Sonata on the 94th Psalm had Signum has coincided with the remarkable been formally recorded on disc at St Bavo. organ and building of St Bavo, in the Dutch Though the work was written in 1857 for the city of Haarlem. Ladegast organ in Merseburg Cathedral, with the 1 Chaconne, from Partita No. 2, BWV 1004 (arr. Messerer) [14.24] changes and enlargements made to the organ Johann Sebastian Bach (1685-1750) The Church and the history of its 1738 Christian of St Bavo, coupled with the clarity and style 2 Toccata & Fugue in F Major, BuxWV 157 [4.55] Muller organ is very well documented, with of voicing, this seemed to be an exciting new Dietrich Buxtehude (1637-1707) composers such as Mozart, Handel and possibility. We have been unable to unearth Mendelssohn all having played the instrument. I a recording of the Reubke (on a professional 3 Nun komm, der Heiden Heiland, BWV 659 [5.42] cannot add anything germane that is not easily label) and so it was decided to build a programme Johann Sebastian Bach discovered online regarding the organ of St around this masterpiece. A few compromises Bavo, however, I would like to provide a brief had to be found as occasionally the compass 4 Trio Jesus Christus Unser Heiland, BWV 688 [3.55] insight into the composition of the repertoire of the organ did not provide enough notes Johann Sebastian Bach for this disk. and as St Bavo does not enjoy a Barker lever system to help with the weight of the action, 5 Sonata in D Minor, Op. 65 No. 6 [15.30] It is well known that the organ case of St Bavo playing with the keyboards coupled together Felix Mendelssohn (1809-1847) is perhaps the most photographed in the (In the Reubke) provided quite a challenge 6 Sonata on the 94th Psalm [25.40] world and with good reason. However, no in terms of weight of the keys! The acoustic Julius Reubke (1834-1858) photograph can prepare you for the shock of of St Bavo is also perilously lively, and tempi the grandeur of the case as you enter the had to be very carefully judged to balance Total timings: [70.08] Church and turn the corner into the nave from clarity against drama. the kitchen street entrance. The scale of the case seems bigger and more imposing than Having settled on this masterwork it seemed to you could imagine in a photograph and its make sense to me keep the entire programme JOSEPH NOLAN sheer magnificence is breathtaking. Germanic, with the Bach Chaconne in D Minor THE GREAT ORGAN OF ST BAVO (arranged by the French organist Messerer) an excellent vehicle to display the many colours www.signumrecords.com - 3 - of St Bavo. More traditional stop combinations Abbreviations and acronyms obsess modern In 1951 the first edition ofThe Record Guide conductor, Liszt the pianist, led the way, are provided for in Bach’s Nun Komm Der life. But they’re nothing new. The choral societies (Sackville-West, Shawe-Taylor) acknowledged promulgating Bachian aesthetic for the common Heiden Heiland BWV 659 and the wonderful and concert rooms of Victorian and Edwardian ‘his organ works and church cantatas [to] good. Spanning his life, Bach’s keyboard trio, Jesus Christus Unser Heiland BWV 688. England didn’t have their ‘Tchaiks’ or ‘Rachs’ show a passionate and brooding imagination output was copious. Music for private, public Buxtehude’s organ works (Danish/German) are – but they had ‘The Three Bs’, a tag, coined of a highly individual order’, an opinion or pedagogical use, universally destined if eminently suitable to this organ and his Toccata by the German Peter Cornelius in 1854, referring consolidated and expanded in the decades at the outset confined to the locale of his and Fugue in F major BuxWV 157 is a splendid, to Bach, Beethoven and Berlioz. Appropriating since. By way of footnote, the Russian Romantics appointments – for ‘Bach and his fellow and compact, example. it, von Bülow hallowed the ‘Holy Trinity’ admired and championed his ‘freshness’ – organists and cantors belonged to a closed dimension with which many are still familar: Taneyev, Glazunov, Esipova, Prokofiev (the latter society [not to the “larger world” of the “great It seemed very fitting to include what many ‘Bach, the Father, Beethoven, the Son, Brahms, transcribing the D minor Prelude and Fugue centres of Europe”]. His reputation as an critics consider Mendelssohn’s finest the Holy Ghost’. Quartet players, naturally Bux 140 for piano, programming it in Chicago organist was widespread, but it was a masterpiece for the organ, his Sonata No 6 enough, assume another primacy: Beethoven, in 1922). Undated, the Toccata in F, Bux 157, provincial fame, far removed from the European in D Minor. These variations, based on the Brahms, Bartók. Organists similarly: Buxtehude, is exultant and extrovert – an improvisatory reputation that Handel enjoyed’ (Max Graf, Lutheran Chorale Vater unser im Himmelreich Bach, Bruckner. prelude, contrasting running ‘Italian’ semiquavers Composer and Critic, 1947). BWV 416, require an organ with stops of great and ‘French’ dotted-rhythms, preceeding a beauty and balance, but with clarity, depth Buxtehude of Lübeck was the man who, in 1705, rigorous four-part fugue. Journeying ‘a whole world of the deepest and magnificence when required. the young Bach walked nearly five-hundred thoughts and most powerful feelings’ (Brahms), kilometers to hear. His contemporaries and To 19th century middle-Europe Bach was the the Chaconne in D minor crowning the Second The organ of St Bavo is a marvel set in one successors thought of him principally as an Parnassus, the ‘pictorial musician-poet’, of the Partita for solo violin, BWV 1004 (1720, published of the prettiest small cities in Europe. It was instrumental composer, the defining voice of age. Worshipped by Beethoven (1801) – ‘first 1802) takes the form of a variation cycle on an a privilege to be permitted to record on this the 17th century German organ, Quantz in father of harmony’. Monumentalised by Weber eight-bar theme, changing from minor to major instrument and my most grateful thanks are 1752 ranking him among those early Northern (1821) – ‘a Gothic cathedral dedicated to in the middle. Helga Thoene’s theory, proposed extended to the generous custodian of the organ, Europeans working ‘on the improvement of the arts’. Deified by Schumann (1840) – in a 1994 paper (Johann Sebastian Bach: Mr Anton Pauw. musical taste [who] wrote almost as the first ‘unapproachable, unfathomable’. The Bach Ciaconna – Tanz oder Tombeau), that the the most tasteful pieces of their time’. His Awakening was a peculiarly German/Anglo-Saxon movement may have been intended as an Joseph Nolan sizeable vocal catalogue coincided with the affair. It elevated one man’s genius. It gave ‘epitaph in music’ on the sudden death in rise of the Protestant ecclesiastical cantata, the Baroque Romantic pertinence. It made July 1720 of Bach’s first wife, Maria Barbara, but it wasn’t until the early 20th century that History acceptable to programme. Sailing by incorporating an array of Christian symbols, its importance began to be properly recognised. the flag of German fugue, Mendelssohn the chorales and cryptograms, has provoked heated

- 4 - - 5 - debate. Henri Messerer (1838-1923) – ‘one D minor canto fermo melody (1529) fragmentised universally esteemed as Mendelssohn’ – Charles well thought-out works’ (letter, 28 March of the many church musicians of Alsatian on pedals. ‘Christ Jesus, our Redeemer born,/ Coventry, friend and Bachian, delighted to 1884). Schumann, mentally prostrate in origin who populated Parisian and provincial Who from us did God’s anger turn,/Through His have signed such a starry Victorian idol, paid Dresden, Clara on hand, waxed lyrical. ‘Only the tribunes and chapels during the 19th century’ sufferings sore and main,/Did help us all out £60 for the privilege, selling the collection other day we became quite absorbed in your (Patrick Geel) – was for fifty years titular of hell-pain’ (Charles Sanford Terry, 1921). to 192 subscribers at a guinea a copy. Those organ sonatas, unfortunately only at the [?pedal] organist of Saint-Charles de Marseille. Intimate who subscribed included William Sterndale piano, but even without the title page we confession and bronzed challenge, grace In keeping with his predecessors, contemporaries Bennett of the Royal Academy of Music, John would have known they were by you. And yet and gloire, distinguish his ‘Cavaillé-Coll’ and successors – Beethoven, Spohr, Weber, Goss, Organist of St Paul’s Cathedral, and, you are always striving to advance still transcription, a homage of regal spirit. ‘La Schumann, Brahms, Bruch, Reger – Mendelssohn, waiting in the wings, an otherwise unknown more, and for this reason you will ever be an musique de Dieu ...’ pianist and organist, master of the majestic eighteen-year-old eking out chapel experience example to me. These intensely poetical new and the modest, married Classicism and in Liverpool, W T Best – the ‘greatest English ideas – what a perfect picture they form in Jesus Christus Unser Heiland, BWV 688, comes Romanticism, in the process ‘singlehandedly organist of the second half of the 19th every sonata! In Bach’s music I always imagine from the Clavier-Übung Part III, the so-called [averting] the history of organ literature century’ (William A Little). him sitting at the organ, but in yours I rather German Organ Mass, published at Bach’s from a course of utter decadence’ (Eugene think of St Cecilia touching the keys […] expense in September 1739. ‘Various preludes Murray Gates, McMaster University 1985). Mendelssohn dedicated the collection to a Nos 5 and 6 seem to me splendid. It is really a on the Catechism and other hymns for the Compiled from twenty-four pieces or ‘studies’ Frankfurt lawyer, Dr Fritz Schlemmer. It ‘originated fact, dear Mendelssohn, no one else writes organ,’ read the title page. ‘Prepared for written between 1844 and 1845, plus an little by little,’ Schlemmer told the Brighton such fine harmonies; and they keep getting music-lovers and particularly for connoisseurs earlier fugue (1839), the Op 65 cycle, ‘Six organist F H Sawyer years later. ‘I had no idea purer and more inspired’ (22 October 1845). of such work, for the recreation of the Grand Sonatas’, conceived originally as a that such a long work would appear when he spirit, by Johann Sebastian Bach, Royal sequence of voluntaries, was commissioned by [Mendelssohn] surprised me with a copy of Last of the set, the D minor is in three Polish and Electoral Saxon Court Composer, Coventry & Hollier of 71 Dean Street, London – it. He carried [these pieces] “in his head” for movements – a Chorale and Variations (Chorale Capellmeister and director of the chorus according to their ‘Mendelssohn’s Organ School’ many years, especially toward the end of Partita) and closing andante Finale in the musicus, Leipzig.’ Bach’s trio setting – advertisement in The Musical World, 24 July the thirties and the beginning of the forties, major framing a central Fugue (the only complex and elaborately motivic, the two 1845, expressly ‘to bring forward immediately and then wrote them down […] Chorales were dateden section, 27 January 1845). Like briefer manuals concerned largely with fleet […] specimens of what the Composer himself introduced because of his love for J S Bach’s treatments by Buxtehude and Bach, much invenzione and imitative writing (Dupré used considers his own peculiar style of performance works, especially the chorale preludes, and of the work draws on the Lutheran hymn Vater to fancy it as a scherzo, registering on the Organ’. Dispensing with the customary the treatment of [...] chorales in the church unser im Himmelreich (1538), the ‘Old 112th’, appropriately) – references Luther’s Eucharist sales-pitch of the day – ‘any eulogium would cantatas. The sonatas were not extemporizations a paraphrase on the Lord’s Prayer (‘briefly hymn of the same title (1524), the deliberated be quite superfluous relative to a Composer so […] subsequently written down; [they] are expounded and turned into metre’) set to an

- 6 - - 7 - anonymous earlier tune. ‘Our Father in the fret’ (Keats) – tuberculosis – was the scourge Towering among the pinnacles of middle-European tensioned series of multi-dimensional compressions, heaven Who art,/Who tellest all of us in heart/ of the Romantics. As many as 90% of urban organ writing from Bach to Reger, combining extensions and formal superimpositions in the Brothers to be, and on Thee call,/And wilt Europeans carried the disease. It stole young intellect and instinct with virtuosic physical/ spirit of the Liszt Sonata, more distantly/intuitively have prayer from us all,/Grant that the geniuses from life, it left hearts bereft and pianistic demand, the 94th looks to Lisztian perhaps Beethoven’s Eroica finale orGrosse mouth not only pray,/From deepest heart oh great men sorrowing. Come mid-century, programming and structural liberation for Fuge, may be more pertinent. help its way’ (George MacDonald/Terry, 1921). Chopin’s Carl Filtsch (days short of his fifteenth its organisation. In 1856-57 Reubke was Mendelssohn uses this chorale, gravely four- birthday), who promised the yet-to-be attained, intimate, theoretically and practically, with Choonhae Kim Lee (University of North Texas square in block harmonies (2/2), to book-end and Liszt’s Julius Reubke (twenty-four), who Liszt’s symphonic poems, the B minor Piano 1989) proposes an interestingly layered one- the first movement, in between writing four for a breath of time gazed upon the gigantic, Sonata, and the Fantasy and Fugue on Ad movement/multiple movement/’double structure’/ variations or ‘divisions’ of contrasted character were gone before they’d arrived. Son of an nos, ad salutarem undam (the revised version sonata-fugue-rondo complex. (a) Sonata: and metre. In the first of these (Andante organ builder, Reubke studied piano and of which had been premiered at the Merseburg ‘Exposition’/’1st movement’ (Grave-Larghetto- sostenuto, 4/4) the canto is heard in the composition with Kullak, Stern and Marx organ dedication in 1855); no doubt, too, Allegro con fuoco); ‘Development’/’2nd movement’ soprano, decorated with semiquavers; in the (among others) at the Berliner Musikschule, the Faust Symphony, then in its final stages (Adagio); ‘Recapitulation-Coda’/’3rd movement’ second (12/8) it’s presented chordally against attracting von Bülow’s notice. In 1856 – of completion. Advanced in Neues Deutsch (Lento-Allegro-Più mosso-Allegro assai). (b) ‘1st demanding pedal triplets; in the third (4/4) it’s Bach, Beethoven’s sonatas, and Mendelssohn’s aesthetic, vocabulary, texture/enmeshing, motivic movement’ sub-design (sonata): introduction allocated to the tenor voice in the lower manual, for organ at the core of his repertory – he working-out and rhythmic cross referencing, (Grave)-exposition (Larghetto)-development- against a double-note right-hand counterpoint; went to Weimar, becoming Liszt’s favourite the 530-bar C minor whole is linked recapitulation [temporally metamorphosised] in the fourth (Allegro molto, 2/2), a brilliant pupil and living at the Altenburg, Carolyne cylically (at times metamorphically) by a (Allegro con fuoco)-coda (Grave). c) ‘2nd figurational display of typically/pianistically von Sayn-Wittgenstein’s villa. He gave the fourteen-note motto idea heard at the movement’ sub-design: A-B-A (Adagio)- Mendelssohnian character, it’s transferred first performance of the Sonata on the outset on pedals, the descending scale transition (Lento). (d) ‘3rd movement’ sub-design to the pedals. Leading on without a break, the 94th Psalm, inscribed to the conductor Carl shape of which incorporates nine steps of (fugue/sonata, subject based on the motto): subject of the four-part Fugue (Sostenuto e Riedel, in Merseburg Cathedral, 17 June the chromatic octave. Architecturally, it’s Fugue I: exposition, episode, free fantasy/ legato, forte 3/4, ‘tonally’ answered) is derived 1857 – playing the then largest organ in divided into chapters of different content and Sonata: exposition, development (Allegro)-Fugue from the opening clause of the tune. Incense and Germany (by Ladegast, formerly apprenticed tempo (thirteen in all), the exact labelling or II: exposition, episode, free fantasy/Sonata: farewell, appeasing the spirit, the 6/8 Finale is in to Cavaillé-Coll). ‘A wealth of imagination and function of which, nevertheless, is open to recapitulation (Più mosso)-Coda (Allegro assai). the style of a melodically independent pastorale/ great freshness of invention,’ reported Karl interpretation. Introduction-Allegro (Fantasia)- (e) Rondo: A (Grave)-B (Larghetto)-A1-B1-A2 voluntary, ‘Sei stille dem Herrn’ (Oh rest in the Brendel in the Neue Zeitschrift fürMusik. Adagio-Finale (Fugue) is a nominal definition (Allegro con fuoco)-C (Adagio)-A (Lento)-A3-D Lord) from Elijah (1846) within calling distance. but one inclined to over-simplify the drama. (Allegro)-A4 (Più mosso)-Coda (Allegro assai). Consumption, ‘the weariness, the fever and the A continuum of columns and climaxes, a

- 8 - - 9 - Otto Reubke, the composer’s youngest brother, ‘The worldly fades tomorrow, JOSEPH NOLAN oversaw the first edition, published by Schuberth But art stands forth eternal!’ of Leipzig in August 1871 (Der 94ste Psalm ~ Peter Cornelius, Beim Tode von Julius Reubke ~ British-Australian organist and choral – Sonate). Drawing, it’s presumed, on the conductor Dr Joseph Nolan has been hailed programme hand-out of the first performance © Ateş Orga 2018 by ABC Classic FM as ‘an extraordinary (since lost), he prefaced the score with nine musician’, by BBC Radio 3 Record Review as verses from the psalm, but with their descriptive ‘Magnificent’ and by Gramophone as ‘perceptive place in the music left unspecified. ‘O and intensely musical’. LORD God, to whom vengeance belongeth, shew thyself./Lift up thyself, thou judge of A nominee for Artist of the Year, Limelight the earth: render a reward to the proud’ [vv 1, Magazine has also recently awarded Joseph 2: associated traditionally with the opening its coveted ‘Recording of the Month’ for Grave-Larghetto]. ‘LORD, how long shall his ninth disc for Signum Records from St the wicked triumph?/They slay the widow Etienne du Mont, Paris, the church and organ and the stranger, and murder the fatherless. of Maurice Duruflé. This is the first time in /Yet they say, The LORD shall not see, neither the history of the magazine that an organ disc shall the God of Jacob regard it’ [vv 3, 6-7: has been awarded this distinction. Allegro con fuoco]. ‘Unless the LORD had been my help, my soul had almost dwelt in silence./ Joseph studied at the Royal College of Music, Appointed to Her Majesty’s Chapels Royal, St In the multitude of my thoughts within London, winning the Canon Bark Prize for most James’s Palace, in 2004, Joseph performed on me thy comforts delight my soul’ [vv 17, 19: promising organ student, and was awarded First numerous occasions at Buckingham Palace, Adagio-Lento]. ‘But the LORD is my defence; Class Honours for his final recital at the Temple most notably giving the opening concert of and my God is the rock of my refuge. Church, London. the refurbished Grand Ballroom organ to a /And he shall bring upon them their own distinguished audience. iniquity, and shall cut them off in their own Scholarships from the Countess of Munster Trust, wickedness’ [vv 22-23: the closing fugue, Hattori Foundation and the Royal Philharmonic Joseph has played in concerts across the Allegro-Più mosso-Allegro assai] (King’s James Society supported his advanced studies with globe and made his solo debut at Sydney version, 1611). legendary organists Marie-Claire Alain in Paris Opera House in the 2017 Sydney Symphony and Dame Gillian Weir in London. Orchestra Season to great critical acclaim.

- 10 - - 11 - Nolan has also performed as a concerto soloist Very notably, Gramophone magazine awarded THE GREAT ORGAN OF ST BAVO, HAARLEM with The Malaysian Symphony Orchestra at the final disc in the Widor Cycle a ‘Critic’s Petronas Concert Hall, Kuala Lumpur, and Choice’ for 2017. Stoplist with The West Australian Symphony Orchestra at Perth Concert Hall. Dr Nolan was invited to take up the position I. Manual II Manual III. Manual Pedal of Organist and Master of Music at St George’s Hoofdwerk (C-d’’’) Rugpositief (C-d’’’) Bovenwerk (C-d’’’) Pedaal C-f (orig. d’) Dr Nolan’s interpretations of the complete works Cathedral, Perth, Western Australia in Praestant 16’ I, II Praestant 8’ II Quintadena 16’ Principaal 32’ of Charles-Marie Widor for Signum Records 2008. Under Joseph’s leadership the Cathedral Bourdon 16’ Quintadena 8’ Praestant II st. 8’ Praestant 16’ – winners of Gramophone’s 2017 ‘Label of music programme has been described as ‘elite’ Octaaf 8’ I, II Holpijp 8’ Quintadena 8’ Subbas 16’ the Year’ award – have firmly cemented his and ‘world class’ in The Australian and The Roerfluit 8’ Octaaf 4’ Baarpijp 8’ Roerquint 12’ international reputation, with both Gramophone West Australian newspapers. The Cathedral Viola di Gamba 8’ Fluit Douce 4’ Octaaf 4’ Octaaf 8’ and The Australian describing the discs as choirs have regularly performed for ABC Classic Roerquint 6’ Speelfluit 3’ Flagfluit 4’ Holfluit 8’ ‘utterly authoritative’, Music Web International FM whilst the Cathedral Consort has performed Octaaf 4’ Super Octaaf 2’ Nasard 3’ Quintpraestant 6’ as ‘The Widor cycle of the decade’, BBC Music with The Hilliard Ensemble, The Academy of Gemshorn 4’ Sesquialter II – IV Nachthoorn 2’ Octaaf 4’ Magazine as ‘swashbuckling’, and Limelight Ancient Music and The King’s Singers. Quintprestant 3’ Cornet 4 st. disc Flageolet 1 ½’ Holfluit 2’ Magazine as ‘Monumental’. Woudfluit 2’ Mixtuur VI – VIII 1’ Sesquialter II Mixtuur VI – X Joseph has also collaborated in concert with Tertiaan 2’ II st. Cymbaal III Mixtuur 2’ IV – VI Ruischquint 3’ IV The Nolan/Signum Widor cycle features the some of the world’s finest trumpeters, including Mixtuur IV – X Fagot 16’ Cymbaal III (+terts) Bazuin 32’ finest Cavaillé-Coll organs in France including Alison Balsom, Crispian Steele-Perkins and Scherp VI – VIII Trompet 8’ Schalmei 8’ Bazuin 16’ those of La Madeleine, Paris; St Sernin, Toulouse; David Elton, Principal Trumpet of The London Trompet 16’ Trechterregaal 8’ * Dolceaan 8’ Trompet 8’ and St François de Sales, Lyon, with the discs Symphony Orchestra. Trompet 8’ Tremulant Vox humana 8’ Trompet 4’ being awarded multiple five-star reviews and Oboe 8’ Tremulant Cink 2’ ‘Editor’s Choice’ awards in BBC Music Magazine, Dr Joseph Nolan was made a Chevalier des Gramophone, and Limelight Magazine. They Arts des Lettres by the French government have been broadcast on BBC Radio 3 and ABC for services to French music in 2016 and Couplers Pedaal/Bovenwerk ** Classic FM amongst many others. became an Honorary Fellow of the University of Hoofdwerk/Bovenwerk Pedaal/Rugpositief *** new built in 1961 Western Australia in 2013. The University has Hoofdwerk/Rugpositief ** added to original specification in 1961 recently awarded Joseph its prestigious higher Pedaal/Hoofdwerk ** doctorate, the Doctor of Letters.

- 12 - - 13 - ALSO AVAILABLE on signumclassics

This disc is dedicated to Sam and Leanne Walsh for their unerring support of me at St George’s Cathedral, Perth, Western Australia

Recorded in The Grote Kerk, St Bavo, Haarlem, The Netherlands on 26th & 27th September 2017.

Producer & Editor – Tim Oldham Recording Engineer – Mike Hatch Recording Assistant – James Waterhouse

Cover Image – Design and Artwork – Woven Design www.wovendesign.co.uk

P 2018 The copyright in this sound recording is owned by Signum Records Ltd Charles-Marie Widor Midnight at St Etienne du Mont © 2018 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd Solo Organ Works Joseph Nolan

Joseph Nolan SIGCD470 Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action SIGCD438 by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored “... playing that is perceptive, compelling and intensely musical in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. “ a fine introduction to Widor beyond the famous symphonies.” ... This is a tremendous tour de force for instrument and player, BBC Music Magazine and both come up trumps here.” SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. Gramophone +44 (0) 20 8997 4000 E-mail: [email protected] “Nolan delivers both with tremendous ebullience, making a www.signumrecords.com gloriously upbeat conclusion to this superb Widor series” Limelight Recording of the Month Gramophone H H H H H The Organ

H H H H H Organists Review

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

- 14 - - 15 - - 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD546 BLACK Job Title: St Bavo

SIGNUM CLASSICS SIGCD546

THE ORGAN OF ST BAVO, HAARLEM

the organ of st bavo, haarlem haarlem bavo, st of organ the

1 Chaconne, from Partita No. 2, BWV 1004 (arr. Messerer) [14.24] Johann Sebastian Bach (1685-1750)

2 Toccata & Fugue in F Major, BuxWV 157 [4.55]

joseph nolan Dietrich Buxtehude (1637-1707)

3 Nun komm, der Heiden Heiland, BWV 659 [5.42] Johann Sebastian Bach

4 Trio Jesus Christus Unser Heiland, BWV 688 [3.55] Johann Sebastian Bach

5 Sonata in D Minor, Op. 65 No. 6 [15.30] Felix Mendelssohn (1809-1847)

6 Sonata on the 94th Psalm [25.40] nolan joseph Julius Reubke (1834-1858)

Total timings: [70.08] the organ of st bavo, haarlem JOSEPH NOLAN

THE GREAT ORGAN OF ST BAVO

LC15723 Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD546

CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2018 Signum Records DDD SIGCD546 © 2018 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 05462 8 SIGNUM