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The Fisk organ of Old West Church in Boston is an ideal match for the lyrical sounds of Mozart. Certain stops from older organs were incorporated into the instrument giving it an antique sound that is unique in Fisk's works.Joan Lippincott plays some of Mozart's best known works, and a few that rarely heard on organ. Includes notes of Mozart and the organ.
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Completed just after the large organ at the Meyerson Symphony Center (home of the Dallas Symphony), the Fisk at SMU shares many of the same characteristics that have made Fisk the leading builder of concert hall organs. The organist is Michael Farris, whowas on the organ faculty of the Eastman School of Music when he died tragically in his early 40's. Farris won three national performance competitions including the MTNA Collegiate Artists Competition in 1976, the Ft. Wayne Competition in 1985, and the National Young Artist Competition of the American Guild of Organists in 1986 and was one of the brightest "organ" stars of his generation.
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The resident organist of the Dallas Symphony demonstrates her intimate knowledge of the Fisk company's Opus 100, one of the most important organs built in the 20th century. With a wide variety of French sounding resources at her disposal, Preston plays three large suites written for the French symphonic organ.
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In her second recording as resident organist at the Meyerson, Mary Preston presents a Germanic program which provides a wide variety of sounds and textures. The landmark Fisk organ at the Meyerson is in an adjustable acoustic which can be optimized for solo organ concerts and recordings, giving the organ sound elegance and lyrical flexibility.
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One of America's leading organists plays in concert on one of America's largest and most important organs -- the landmark Opus 100 of the C.B. Fisk organ company. Called upon repeatedly to perform at the national conventions of the American Guild of Organists, Mary Preston has flawless technique and an elegant style to communicates to the listener. The encore also reveals that she has a sense of humor...
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Robert Bates plays the complete organ works of Daquin on the multi-temperament Fisk organ at Stanford Memorial Church.
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Two extraordinary organists playing two extraordinary organs in dialogue might seem an over-abundance of riches. Yet it is possible that the great organists of earlier times enjoyed responding to each other across vast spaces. This new recording, which includes compositions by six masters of the North German School, recreates this sound and ambience using two mean-tone organs in Stanford's Memorial Church.
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Titled after the architectural style of the two churches to which they were dedicated, the final two symphonies of Charles-Marie Widor represent his most arresting and original compositions for organ. Written as concert works, these symphonies pay homage to the church through the use of chant themes-the “Gothic” with the Christmas introit, Puer natus est nobis (“Unto us a Child is born”) and the “Romane” with the Easter gradual Haec dies quam fecit Dominus (“This is the day the Lord has made”). David Fuller is a well-known scholar of French music and brings these late works of Widor to life brilliantly in this recording. 24-bit Technology and extensive notes on the music and organ.
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World Premier Recording! A contemporary of Max Reger, Hans Fährmann wrote monumental - and monumentally difficult- works for vast organs in which the display of contrapuntal mastery was a central feature. This first recording of his eighth sonata is accompanied by another first: a triptych arranged from Wagner's Meistersinger. David Fuller plays the large symphonic Fisk organ of SUNY-Buffalo.
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"Bach and the Italian Influence" explores the Italian influences on Bach, and is presented by organ scholar and international performing artist, Kimberly Marshall. The Stanford Fisk is unique in that it incorporates two different tuning temperaments (well-tempered and meantone), both of which are heard on this recording.
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Noted organist and scholar, Kimberly Marshall, explores the relationship between French classical composers and Johann Sebastian Bach. The Stanford Fisk incorporates two different tuning temperaments (well-tempered and meantone), both of which are heard on this recording.
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What if the greatest keyboard players of the first half of the eighteenth century, Bach, Scarlatti, and Handel--all born the same year--had met in a contest pitting their devastating technical brilliance and quickness of invention each against the other? This recording imagines these three remarkable musicians competing on that most celestial of instruments, the organ; the organ being the large Fisk-Nanney at Stanford Memorial Church.
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The three monumental works recorded here (Liszt's Ad Nos, Reubke's Psalm 94 and Stehle's Saul) represent three “generations” of a musical species that evolved with nineteenth-century romanticism and died out without ever acquiring a distinctive name. It was nourished above all by a new preoccupation with the expressive and pregnant “theme”–anything from a motif to a whole tune–as the essential constructive element of a piece of music. Along with this went an obsession with unity, specifically, a fascination with the idea that a large composition could be unified and its parts linked together by the periodic return or the constant presence of such a theme, either unchanged or modified, fragmented, and “developed” in the manner of a Beethoven symphony, or “transformed” into something quite different in character but still recognizable. Extensive notes on the music and the organ. A second, narrated version of the Stehle is provided without additional cost.
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The second in the Loft Recordings series "Great Organs of Japan" features the C. B. Fisk organ of Yokoyama Minato Mirai Hall, showcasing the artistry of organist Hatsumi Miura. The largest American tracker organ in Japan, this instrument is ideal for the two most famous toccatas ever written for the organ, which "bookend" this program. Includes the rarely performed Adagio assai for organ by Beethoven, Yamada's "Red dragonfly" in an arrangement by Guy Bovet, and Bovet's own satirical French Baroque Noel. Hatsumi Miura is a well-known international concert artist and has been a featured soloist for several American Guild of Organist national conventions.
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Dr. J. Melvin Butler plays three suites from "L'Orgue Mystique," interspersed between written improvisations by Tournemire. Liner notes are written by noted Tournemire scholar, Ann Labounsky. But is it Tournemire in Oberlin, or Chartres? This unusual double CD features the new Aristide Cavaillé-Coll-style Fisk organ as it sounds in Finney Chapel at Oberlin College, and also as it might sound if it were in Chartres Cathedral. New recording technology makes it possible to create a mathematical model of a room's acoustics from measurements taken in the room itself. With sufficient computing power, a program can then place any sound (in this case, the sound of the Fisk organ at Oberlin) in the modelled acoustics. Does it work? You be the judge! Both versions (2 CDs) are included in this package--2 CDs for the price of one!
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The late organist Robert Parris presents a varied selection of works particularly suited to the new C. B. Fisk organ in Macon, Georgia. The program showcases the Fisk brand of eclecticism in a large two manual organ. The organ includes a range of historically derived sounds, which make the authentic performance of certain repertoire possible, but also allowing for a wide range of styles. At the center of the program is the American composer Leo Sowerby's seldom-recorded Prelude on "Land of Rest."
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On this first recording of the "French symphonic" Fisk organ, opus 126, Janette Fishell plays a brilliant program that includes the world premiere of Ferko's Livre d'orgue. A superb acoustic also enhances stunning performances of the rarely heard Litaize and Duruflé's masterpiece on "Veni Creator."
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The ECU Chamber Singers and organist Janette Fishell are conducted by Daniel Bara in these monuments of the English choral tradition. The choir’s sound is greatly enhanced by the sumptuous acoustics of St. Paul’s Episcopal Church in Greenville, and its large, new Fisk organ.
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Olivier Messiaen’s French-Catholic mysticism is reflected in his unique musical vocabulary—it forms the basis of one of the most important organ repertoires of the twentieth century. His “Nativity Suite” is one of the most popular of his early organ works, offering musical meditations on the themes and characters of the Christmas story. Also included is the premiere recording of Lionel Rogg’s "Hommage à Messiaen". Acclaimed organist Colin Andrews presents his own musical homage for the centenary of Messiaen’s birth (2008). (Part of the Complete Organ Works of Messiaen by Colin Andrews -- LRCD-1163)
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The first solo recording of the Watjen Concert Organ at Seattle’s Benaroya Hall! Carole Terry puts the new Fisk organ through its paces in a varied program of works by Mendelssohn, Sweelinck, Bach, Albright, Stanley, Schumann, Vierne
and Widor.
“Carole Terry is a musician's musician who plays with great elegance, but also, when needed, with fire.” — THE AMERICAN ORGANIST
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Each of the seven movements of this powerful work presents a musical and theological statement, expressed in Messiaen’s unique musical vocabulary. The haunting opening creates a mystical, mantra-like atmosphere that lays the path for an hour of extraordinarily compelling music. Colin Andrews, a large Fisk organ, and the acoustics of St. Paul’s Episcopal Church in Greenville, NC, are the ideal ensemble for Messiaen’s mystical masterpiece. (Part of the Complete Organ Works of Messiaen by Colin Andrews -- LRCD-1163)
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Colin Andrews, a large Fisk organ, and the acoustics of St. Paul’s Episcopal Church in Greenville, NC, are the ideal ensemble for Messiaen’s most popular organ work, the Ascension Suite, and his evocative Mass for Pentecost. (Part of the Complete Organ Works of Messiaen by Colin Andrews -- LRCD-1163)
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The first recording of the Fisk organ at Pomona College is presented by William Peterson, Pomona College Organist, Emeritus. Peterson's program includes a number of works with Pomona College connections, including pieces by John Cage, Karl Kohn and Tom Flaherty. Also included are several works from "Voices of Christian Sorrow", a large collection dedicated to heroes of WWI.
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The award-winning East Carolina University Chamber Singers are directed here by James Franklin. Recorded in one of our favorite acoustics (St Paul's Episcopal, Greenville, NC---our 6th in this room), the Singers are accompanied by Andrew Scanlon on the French Romantic style three-manual organ by C. B. Fisk. The Producer for this album is the multi-Grammy award winner, Blanton Alspaugh. Franklin has programmed significant works from the 19th and 20th centuries, including Britten's Hymn to St Cecilia, Rutter's "Be Thou my Vision", Biebl's Ave Maria, and works by Bairstow, Martin, Durufle, Elgar, Mendelssohn, and Arvo Part.
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A two-disc program of Bach's famous "Great Eighteen," performed by acclaimed organist Christa Rakich on two very different organs -- the Fisk organ of Old West Church in Boston, and the Fritts organ at Pacific Lutheran University in Tacoma, WA. The booklet contains program notes by the artist as well as full organ specifications and registrations.
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Scored for organ (or pedal clavichord), the Bach trio sonatas can be played on a variety of instruments, as Christa Rakich demonstrates in this imaginative program. Six different organs, six different organ builders, and an assortment of period chamber music instruments are used on this double-CD set!
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Intended as his final major work for organ, Messiaen's "Meditations on the Mystery of the Holy Trinity" is the culmination of his lifetime work as a composer for the organ. Begun as a set of improvisations celebrating the renovation of the organ at Trinity (and the church's 100th anniversary), "Meditations" employs new musical languages to explore the mysteries of Christian faith. (Part of The Complete Organ Works of Olivier Messiaen by Colin Andrews, LRCD-1163)
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"Livre du Saint Sacrement" is a summation of Messiaen's musical and theological persona, a statement of faith and a profound summary of his entire organ "oeuvres". Here he employs the significant compositional techniques of his life's work: modes of limited transposition, Hindu rhythms, Greek rhythms, plainsong, birdsong, "communicable language", and serialism. These elements are used to explore the mysteries of Christian faith, in this, his most massive work for organ. (Part of The Complete Organ Works of Olivier Messiaen by Colin Andrews, LRCD-1163)
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Messiaen's Livre d'Orgue (1951) is a technical tour de' force, demonstrating his complete mastery of Viennese serial technique, while also incorporating complex Hindu rhythmic formula and bird songs. In addition there are several popular early works, "The Celestial Banquet" and "Apparition of the Eternal Church," and three recently discovered pieces that have been rarely heard. (Part of The Complete Organ Works of Olivier Messiaen by Colin Andrews, LRCD-1163)
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This unusual 3-CD set documents a tri-part program of 20th-century music, organized and composed by Robert Bates. It includes many world premier recordings. With interspersed spoken texts and imaginative programming, Bates explores the nature of the world and ourselves, through verbal themes and non-verbal sound paintings. Music by Bates, Ligetti, Pärt, Guillou, Alain, Hampton, Tower, Demessieux and Messaien. This is the most unusual organ recording in our collection, and it is a masterpiece of invention, symbolism and imagination.
Includes 24-page book on the music and organs used, plus a 16-page graphical audience score. The Universe Within: A Journey of the Mind-- A Journey of the Body---Life after Life: A Journey of the Soul.
THOSE WANTING FULL DOCUMENTATION SHOULD ORDER THE PHYSICAL CD SET.
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A monumental achievement---Colin Andrews is one of only a handful of organists that has recorded Messiaen's complete works for organ. This recording is also the first of Messiaen's complete works to be recorded on American organs, both built by C. B. Fisk. "Andrews is a master at capturing the grandeur, spaciousness and reverence of this music, and he offers new and compelling interpretations. He is not afraid to explore what Messiaen himself described as ‘extremely delicate variations of rhythm and tempo’ – inflections that are intensely personal, impossible to notate or replicate and are frequently captivating. The enormous variety of touches called for across the cycle are worthy of mention, most notably a wonderfully smooth legato...The recording quality is excellent, with Roger Sherman from Loft expertly negotiating the challenge of recording organs in resonant rooms, balancing clarity with spaciousness...Highly recommended." - Sydney Organ Journal
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