570960bk Reger10 US:557541bk Kelemen 3+3 24/7/10 8:42 PM Page 1 Martin Welzel The Johannes Klais Organ, Trier Cathedral, Germany (1974) Born in 1972 in Vechta, Germany, Martin Welzel received his musical training in Bremen from Michael Landsky, Hauptwerk 2. Manual C – c’’’’ Larigot 1 1/3’ Unda maris 8’ Wilfried Langosz and Käte van Tricht. He later studied Praestant 16’ Sesquialter 2fach Octave 4’ with Daniel Roth, Wolfgang Rübsam, Kristin Merscher Principal 8’ Scharf 4fach Flute octaviante 4’ and Gerald Hambitzer at the University of Music in Hohlflöte 8’ Glockencymbel 2fach Salicional 4’ Saarbrücken, where he earned Bachelor and Master of Gemshorn 8’ Dulzian 16’ Flageolett 2’ Music degrees in sacred music and organ performance, Quinte 5 1/3’ Cromorne 8’ Fourniture 6fach as well as an Artist diploma in organ performance. He Octave 4’ Cor anglais 16’ REGER holds a DMA degree in organ performance from the Nachthorn 4’ Brustwerk 3. Manual (schwellbar) Trompete 8’ University of Washington in Seattle, where he studied with Terz 3 1/5’ C – c’’’’ Clairon 4’ Carole Terry. Martin Welzel's career has included Quinte 2 2/3’ Rohrflöte 8’ Prelude and Fugue in numerous recitals in Europe and the United States, notably Superoctave 2’ Praestant 4’ Pedal C –g’ at Notre-Dame Cathedral and Saint-Sulpice in Paris, Cornett 5fach Blockflöte 4’ Untersatz 32’ E minor, Op. 85, No. 4 Washington National Cathedral, Meyerson Symphony Mixtur 5fach Nasard 2 2/3’ Principal 16’ Center and Southern Methodist University in Dallas, Cymbel 3fach Doublette 2’ Subbass 16’ Stanford University, St. Mary’s Cathedral in San Francisco, Trompete 16’ Terz 1 3/5’ Octave 8’ Chorale Preludes, Berlin Cathedral, Ottobeuren Abbey and Helsinki Trompete 8’ Sifflet 1’ Spielpfeife 8’ Cathedral. In 2004, Martin Welzel and his wife, Alexandra Trompete 4’ Acuta 4fach Superoctave 4’ Op. 67, Nos. 39–52 Kertz-Welzel, formed the Emerald City Duo, exploring Oberton 3fach Flöte 4’ the repertoire of the nineteenth and twentieth century for Rückpositiv 1. Manual C – c’’’’ Hautbois 8’ Hintersatz 5fach organ and piano. www.emeraldcityduo.com Praestant 8’ Vox Humana 8’ Aliquotbass 4fach Prelude and Fugue in Quintade 8’ Piffaro 2fach Gedackt 8’ Schwellwerk 4. Manual C- c’’’’ Bombarde 32’ G sharp minor (1906) Principal 4’ Bordun 16’ Posaune 16’ Rohrflöte 4’ Principal 8’ Trompete 8’ Octave 2’ Lochgedackt 8’ Schalmey 4’ Chorale Fantasia Waldflöte 2’ Gamba 8’ on ‘Freu dich sehr, Koppeln: RP-HW, BW-HW, SW-HW, BW-RP, SW-RP, SW-BW, RP-P, HW-P, BW-P, SW-P Tremulanten: RP, BW, SW, PED o meine Seele’, Op. 30 Röhrenglocken: HW Windauslass-Ventile: HW, SW C Tastenarretierung: HW 1920 elektronische Setzerkombinationen, Registercrescendo (Walze) Martin Welzel M Spieltraktur mechanisch, Registertraktur elektrisch, Betätigung der beiden Schweller mechanisch. Johannes Klais Organ, Trier Cathedral Y K 5 8.570960 6 8.570960 570960bk Reger10 US:557541bk Kelemen 3+3 24/7/10 8:42 PM Page 2 Max Reger (1873–1916) composer and as a concert performer. He died in Leipzig nicht lassen (From God I will not depart). The chorale Philipp Nicolai in 1597, but of much earlier origin. The between some of the following variations. The F major Organ Works Vol. 10 in May 1916 on his way back from a concert tour of The melody, also used with the text Mit Ernst, o Menschen- prelude starts slowly, the melody in the upper part, followed chorale melody is now heard in the left hand, marked Netherlands. kinder (With earnestness, O children of men), was taken by a livelier section leading to a final triplet figuration. Moderato and accompanied by a semiquaver right-hand Prelude and Fugue in E minor, Op. 85, No. 4 9:22 52 Easy Chorale Preludes on the most common The music of Max Reger has a special position in organ from a secular French song, Une jeune fillette / De noble Wie wohl ist mir, o Freund der Seelen (How well it is with part on the third manual. The second verse has a varied D 1 Prelude 4:27 Protestant chorales, Op. 67, Nos. 45-52 17:50 repertoire, and he is regarded by many as the greatest cœur (A young girl / Of noble heart) and used as a hymn- me, O friend of my soul), its melody from the Geistreiches minor version of the chorale melody in the right hand, 2 Fugue 4:54 ! No. 45 Wer nur den lieben Gott lässt walten German composer of organ music since Bach. A Catholic tune in the sixteenth century. The melody is here heard in Gesangbuch of 1704, is meditative, to be followed by the marked Poco adagio and with an elaborately chromatic 52 Easy Chorale Preludes on the most common (Zu ernsten Liedern) 2:12 himself, he nevertheless drew on Lutheran tradition and the pedals. Warum sollt ich mich denn grämen (Why should livelier rejoicing of Jesus ist kommen (Jesus is come), with accompanying texture. This leads to an Allegro vivace in Protestant chorales, Op. 67, Nos. 39-44 18:02 @ No. 46 Wer nur den lieben Gott lässt walten the rich store of chorales, the inspiration for chorale I then grieve) has a melody by Johann Ebeling, dating from top and bottom parts in canon. The work ends with O wie B flat minor, in which the chorale melody, played in 3 No. 39 Vater unser im Himmelreich 3:55 (Zu Liedern freudigen Inhalts) 1:14 preludes, chorale fantasias and other works. The esteem 1666. Initially with dotted figuration in its accompanying selig (O how blessed), the chorale melody by Johann octaves, resumes its original key. A gradual ritardando is 4 No. 40 Vom Himmel hoch, da komm ich her 2:50 # No. 47 Werde munter mein Gemüte in which his organ compositions were held even in his own texture, the melody is heard in the upper part, continuing Crüger, marked Poco adagio and bringing the whole set to followed by an Andante variation, with the chorale melody 5 No. 41 Wachet auf, ruft uns die Stimme 3:35 (Der am Kreuz ist meine Liebe) 1:57 time owed much to the advocacy of Karl Straube, also a in simpler rhythms until the dotted figuration returns. Was a contemplative conclusion. varied in the pedals. The original key returns for an Adagio 6 No. 42 Von Gott will ich nicht lassen $ No. 48 Wer weiss, wie nahe mir mein Ende 3:00 pupil of Riemann and from 1902 organist at the Gott tut, das ist wohlgetan (What God does is well done) The Chorale Fantasia on ‘Freu dich sehr, o meine Seele’ con espressione with the varied melody in the right hand. (Mit Ernst, o Menschenkinder) 2:31 % No. 49 Wie schön leuchtet der Morgenstern 2:47 Thomaskirche in Leipzig. takes a seventeenth-century melody adapted by the Jena (‘Rejoice greatly, O my soul’) was written in 1898 and An Andante variation is introduced by the fugal motif. This Reger’s Prelude and Fugue in E minor, Op. 85, No. 4, cantor Severus Gastorius from a tune by the Leipzig dedicated to the organist Karl Straube. The Introduction is followed by a final Andante maestoso for the repeated 7 No. 43 Warum sollt ich mich denn grämen 2:32 ^ No. 50 Wie wohl ist mir, o Freund der Seelen 3:02 was the fourth of a set of works in this form, dating from musician Werner Fabricius. The melody is heard in the starts Vivacissimo with a flourish, followed by a short first stanza of the chorale, ending in full chordal triumph. 8 No. 44 Was Gott tut, das ist wohlgetan 2:23 & No. 51 Jesus ist kommen 1:25 * No. 52 O wie selig 1:53 1904 and dedicated to the Berlin Cathedral organist pedals in a lively G major prelude. Adagio chordal passage, before the Vivacissimo returns. Prelude and Fugue in G sharp minor (1906) 9:31 Bernhard Irrgang. There is a certain chamber music quality Reger wrote his Prelude and Fugue in G sharp minor The Adagio resumes, leading to an Andante fugal ( 9 Prelude 4:40 Chorale Fantasia on ‘Freu dich sehr, about the Prelude, based on its opening motifs. The Fugue in 1906. It has no opus number and was published in exposition, with a subject that returns from time to time Keith Anderson 0 Fugue 4:51 o meine Seele’, Op. 30 24:42 offers a short first subject, marked pianissimo, with the Leipzig in 1907. The Prelude, marked Andante sostenuto, fifth voice entering in the pedals. A full close is followed starts very softly and uses the composer’s characteristically Max Reger owed his earlier interest in music to the absolute music and as hostile, at this time, to programme by a second more chromatic subject, leading to a final chromatic musical language. The fugal subject too starts example and enthusiasm of his father, a schoolmaster and music, to the legacy of Wagner and Liszt. He was combination of the two, with the dynamic climax in final very softly in the tenor, answered by the alto and soprano amateur musician, and his early training to the town successful, however, as a pianist and was gradually able bars over a dominant pedal. before the entry of the subject in the pedals, the whole organist of Weiden, Adalbert Lindner. Reger was born in to find an audience for his music. The period in Munich The Fifty-Two Easy Chorale Preludes on the most building to a massive climax before the conclusion over a 1873 at Brand in the Upper Palatinate, Bavaria. The brought the composition of his Sinfonietta, of chamber Common Protestant Chorales, Op.