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ORGELSONATER À LA MENDELSSOHN «Mendelssohn» og «orgel» skaper assosiasjoner til bryllup og staselig orgelbrus i festlig anledning. Men Mendelssohns bidrag til orgelrepertoaret er så uendelig mye større enn et orgelarrangement av en bryllupsmarsj fra et av hans orkesterverk. Felix Mendelssohn-Bartholdys (1809–1847) verks-liste for solo orgel er ikke stor, men desto mer betydningsfull. Spesielt har hans seks orgelsonater hatt enorm betydning for utviklingen av orgel-repertoaret fra midten av 1800-tallet og fram til Max Regers komposisjoner rundt 1900. Verkene har betydelige musikalske kvaliteter, og har blitt spilt av organister i hele verden siden utgivelsen i 1845. Det var viktig for utviklingen av orgellitteraturen at Mendelssohn – som var en så sentral og anerkjent komponist på første halvdel av 1800-tallet – prioriterte å skrive musikk for solo orgel. På dobbel-CD-en «Mendelssohn and the Organ Sonata» presenterer organist Anders Eidsten Dahl lytteren for de seks orgelsonatene og den skapende prosessen fram mot det endelige resultatet. Platen følger Mendelssohns arbeid med de seks sonatene, hvilket musikalsk materiale han hadde som utgangspunkt, reviderte underveis og forkastet eller godkjente, og hvordan de forskjellige satsene etterhvert fant sin endelige form. Sonatene består av til sammen 19 satser, men Mendelssohn hadde på et tidspunkt 28 satser å velge blant. De ni satsene som ikke ble inkludert i de ferdige sonatene er forholdsvis lite framført og har så langt fått relativt lite oppmerksomhet. Men verkene har vel så gode musikalske kvaliteter som satsene som fikk plass i de seks sonatene. Ved å spille inn de seks sonatene sammen med de ni satsene som ble «til overs», viser denne inn-spillingen Mendelssohns kreative prosess fram mot et ferdig resultat, samt henter fram forholdsvis ukjent orgelmusikk. Det nye orgelet i Sofienberg kirke, bygget av Hermann Eule Orgelbau, er inspirert av klangen i tyske orgler på 1800-tallet. Som nytt instrument er det unikt i norsk sammenheng og det gir i tillegg en ekstra dimensjon til framføringer av musikk fra denne epoken. ORGAN SONATAS A LA MENDELSSOHN One automatically associates “Mendelssohn“ and “organ” with weddings and elegant organ processionals on festive occasions. Yet Mendelssohn’s contribution to the organ repertoire is infinitely greater than an organ arrangement of a wedding march from one of his orchestral works. That Felix Mendelssohn-Bartholdy’s (1809-1847) list of works for solo organ is not large makes it all the more important. In particular, his six organ sonatas have had enormous influence on the development of the organ repertoire from the mid-1800s up to Max Reger’s compositions around 1900. The works have significant musical qualities and have been played by organists throughout the world since their publication in 1845. It was important for the development of organ literature that Mendelssohn — one of the major composers of the first half of the nineteenth century — prioritized writing music for solo organ. On this double CD, “Mendelssohn and the Organ Sonata”, organist Anders Eidsten Dahl not only offers the listener his interpretations of the six organ sonatas, but also illuminates the process that led to the final result. The album follows Mendelssohn’s work on the six sonatas, reveals the musical material with which he began and which he revised in the process and later rejected or approved, and it shows how the individual movements gradually found their final form. The sonatas comprise a total of 19 movements, but Mendelssohn had at one point 28 movements to choose from. The nine movements excluded from the six sonatas are seldom performed and have received little attention to date. But the works have equally good qualities as the movements that were selected. By including the “left over” nine movements with the six sonatas, the recording shows Mendelssohn’s creative process that led to the final result, and features seldom heard organ music as well. The new organ in Sofienberg Church was built by Hermann Eule Orgelbau and is inspired by the sound of German organs of the nineteenth century. As a new instrument, it is unique in a Norwegian context and adds an extra dimension to performances of music from this epoch.
Since 2001, Anders Eidsten Dahl (b. 1976) has served as cantor of Bragernes Church in Drammen, where, in addition to accompanying the church choir, he has been artistic and administrative director of the church’s organ concert series. Dahl is much in demand as organ soloist and chamber musician in Norway and abroad. He has released four earlier solo recordings on the LAWO Classics label: “Inspired by Bach” (LWC1007), “Johannes Brahms Organ Works” (LWC1023), “Hymnus” (LWC1050) and “Elementa pro Organo” (LWC1078). ANMELDELSER/REVIEWS
«Dahl’s playing is robust in the strong, energetic music and delicately lyrical and expressive in the Lieder ohne Worte-like andantes. [...] A strong contender against other first-rate recordings.» Orgelspill fra øverste hylle Dahl med Mendelssohn «[...] in the strongest pieces (including the First and Sixth Sonatas) the Norwegian organist makes the most of this material, playing with a feeling for the idiom that is authentically sober yet musically stirring.» «[...] there is a transparent sound, clear articulation and emphasis on the baroque structure of this music without extra romanticizing. [...] The acoustics of the church is not very large, but because of that the music comes pretty direct and detailed out of the speakers.» «Some of my favourite music! Very much enjoyed.» «Dahl is evidently an intelligent organist and interpreter. While choosing tempos that allow all six sonatas to be accommodated on a single disc he never sounds hurried, giving the sense of a thoughtful performer. [...] His excellent booklet notes only add to the enjoyment of these discs. [...] My wish is that Lawo gives Dahl the opportunity to record the rest of the Mendelssohn organ works in Sofienberg Church, as I for one would invest.» «Eidsten Dahl renders Wm. A. Little’s scholarly edition with gravitas while carefully releasing plenty of energy in the flowing lines of Mendelssohn’s dramatic fugues.»
«The Norwegian organist's version illuminates the work from different sound angles. Anders Eidsten Dahl is, without a doubt, an organist of great value.» review_LWC1108_organ_journal_fur_die_orgel.pdf
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