Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog. It is hoped that through the discussions a picture will emerge of modern music, its heritage, and what it means for us.
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Saturday, August 24, 2019
J. William Greene, Buxtehude at Lynchburg, Free Compositions and Choral Preludes
I had piano lessons as a kid and later as well, and we had a piano at home that I played upon as a student of the instrument and someone musically inclined alike. I would also goof around on the Farfisas and Hammond B-3s that were in some of the rock and jazz-rock bands I was in from 7th grade on, but I never had the pleasure to have organ instruction or take a course on organ literature and histor,y etc. It just did not come up in my education--and not through a lack on interest.
So when I read in the liners to J. William Greene's Buxtehude at Lynchburg (Pro Organo CD 7170) that Greene in the title is paying homage to an old 1967 E. Power Biggs Columbia LP Buxtehude at Luneburg, I simultaneously regret missing out on this icon of recorded vinyl and appreciate being tipped into the organ lore of which I no doubt have many serious ellipses and gaps--and if I am ever to be thumbing through a stack of used LPs in a thrift store again I will look out for the album, surely.
All that may seem a lot to preface this review article with, but anyone who reads these columns regularly knows that of course part of my engagement with the music is as a person and so I feel it sometimes somewhat illuminating that I recount my involvement in the history of the appreciation of music I have lived through for as near a lifetime as anyone--though I hope with much more to go!
Back to the subject at hand however. The subtitle of this fine CD is Free Compositions and Chorale Preludes of Dieterich Buxtehude. That says it all if you already know it all, but for those of us who do not, the liners give helpful fleshings out. So the Choral Preludes were meant to introduce artfully the specific German chorale that the congregation was then to sing in the service at that point. As the notes suggest, the preludes are remarkably ornate at times, contrapuntally elegant and brilliant, Buxtehude at his finest.
There is poignant content and exceptional linear variety in the Praeludium, Toccatas, Passacaglias, Fugues, and Canzonas we hear in the course of the program. J. William Greene is meticulous to a fault yet as spirited as we might hope for. The recording is crisp and clear in aural staging, and the Taylor and Boody organ of the Holy Trinity Lutheran Church in Lynchburg (of the title), Virginia is ruggedly traditional-sounding and just right to bring out nicely the voicings Buxtehude specifies.
All-in-all this is the Buxtehude we revel in if we give the music a chance. It is exemplary in its unpretentious down-to-the-bone performance wonders and it sounds great. So I recommend it very highly. I will treasure this one. I hope you will too.
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