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Praetorius: Wenn Mein Stundelein Vorhanden / Berben
| Hieronymus Praetorius stands at the beginning of the North German organ school and is an important representative of the German-Venetian school, not least with his vocal works. His organ music is particularly interesting and appealing because it has not yet undergone the development of the "Amsterdam-Hamburg Sweelinck School" and therefore many performance-practical aspects are not yet clearly outlined. This raises a number of performance-practical questions, not least concerning the choice of registrations, to which Léon Berben would like to provide an answer with this recording. The choice of the two historic organs from Langwarden (1650) and Lemgo (1613) - two instruments ideally suited for 16th century music, of which there are hardly any recordings so far - complete the impression of an absolutely sound new recording. |
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Praetorius: Wenn Mein Stundelein Vorhanden / Berben
Praetorius: Wenn Mein Stundelein Vorhanden / Berben
| Hieronymus Praetorius stands at the beginning of the North German organ school and is an important representative of the German-Venetian school, not least with his vocal works. His organ music is particularly interesting and appealing because it has not yet undergone the development of the "Amsterdam-Hamburg Sweelinck School" and therefore many performance-practical aspects are not yet clearly outlined. This raises a number of performance-practical questions, not least concerning the choice of registrations, to which Léon Berben would like to provide an answer with this recording. The choice of the two historic organs from Langwarden (1650) and Lemgo (1613) - two instruments ideally suited for 16th century music, of which there are hardly any recordings so far - complete the impression of an absolutely sound new recording. |
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| Hieronymus Praetorius stands at the beginning of the North German organ school and is an important representative of the German-Venetian school, not least with his vocal works. His organ music is particularly interesting and appealing because it has not yet undergone the development of the "Amsterdam-Hamburg Sweelinck School" and therefore many performance-practical aspects are not yet clearly outlined. This raises a number of performance-practical questions, not least concerning the choice of registrations, to which Léon Berben would like to provide an answer with this recording. The choice of the two historic organs from Langwarden (1650) and Lemgo (1613) - two instruments ideally suited for 16th century music, of which there are hardly any recordings so far - complete the impression of an absolutely sound new recording. |
