|Comments:||Friedrich Sprondel said:|
These recordings are not only a homage to Karl Richter's outstanding musicality, but they also document German organbuilding and restoration in the 1950ies. - The sonatas, Fantasia, and Pastorella were recorded on the Norden Schnitger. This organ, now in its old splendor after restoration by Ahrend, then was in a mixed state after rebuilds by Furtwangler and Steinmeyer. None of the front principals having survived, the action being partly pneumatic, the recording is very fine, considering, though the organ's sound gained much in the later restoration. -- The "Dorian" and the partita were recorded at Ottobeuren. The Marienorgel there is a 1957 Steinmeyer. Though the stoplist refers to some schemes from Karl Joseph Riepp (18th-century builder of the abbey's other two organs), the Marienorgel was entirely new and turned out as the definitive Orgelbewegung organ: neo-baroque on a very large scale (V/82). Not many organs of that size and style survive today. All the more interesting to listen to Richter making generous use of the organ's choruses, many of which include thirds; this results in a sound bright and sparkling and at the same time powerful. Richter's playing shows accuracy and discipline, but also an unmatched sense for the music's rhythmic breathing. Interesting to compare it to his 1978 recording at the Freiberg Silbermann (Archiv 271 272-2).