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With Heart & Voice/Trinity Church, Boston
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Historic Trinity Church on Copley Square in Boston is the setting for this program of choral music. A generous amount of music from the Anglican tradition included, but what makes this recording distinctive is the inclusion of music from other traditions, including the spiritual There is a Balm in Gilead, the F. Melius Christiansen arrangement of Beautiful Saviour, and the only recording of the Victorian classic, "The Holy City" that we are aware of.
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Sounds of Light/Trinity Church, Boston
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A program of classic choral works from the 16th to the 20th century, from Byrd to Tavener, this recording also includes new settings of familiar texts, such as “This little light of mine” and “God so loved the World.” Boston’s Trinity Choir is a critically acclaimed ensemble that has been hailed as “one of North America’s treasures” by classicstoday.com.
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Fanfare/G. Hancock
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A master of improvisation in Anglican style plays the great organ of St Thomas Church in NYC. Also includes works by Bach, de Grigny, and Reger.
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20th Century Organ Music for Two, v.2/Chenaults
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World Premiere Recordings!
Organ duo Elizabeth and Raymond Chenault perform a recital of world premiers, many of which they commissioned. At their disposal is the large E. M. Skinner organ of the National Cathedral, later enlarged by Aeolian-Skinner. Ends with a rousing rendition of Sousa's Stars and Stripes Forever.
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The Riverside Years/Swann
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Frederick Swann was Director of Music and Organist of the Riverside Church in New York for 25 years, prior to assuming a similar position at the Crystal Cathedral in California.(His New York friends reportedly sent him off to the glass cathedral with several cases of Windex). This CD is a re-mastering of two recordings he made at Riverside in 1978 and 1979.
The church is monumental in size, with a 395-foot tower and nave which is 215 feet long, 100 feet high (aproximately 9 stories) and a seating capacity of 2500. For this gargantuan sized room, there are two appropriately sized Aeolian-Skinner organs, which together total 203 ranks and more than 11,000 pipes.
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Alan Morrison, Organist
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Alan Morrison is unleashed on the 98-rank Aeolian-Skinner organ of St Philip's for this program of French Romantic music. Rythmic flexibility, flawless technique and first-class musicianship are all in the foreground in this remarkable recording by Alan Morrison.
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Masterpieces from St Mary Virgin NYC/Kyler Brown
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The former Music Director of St Mary the Virgin plays a brilliant recital on the church's 1933 Aeolian-Skinner organ - one of the first instruments that could be described as an "American Classic" design. The organ was revised, with substantial changes in the number of divisions, by G. Donald Harrison in 1942. The highly reverberant acoustics of St Mary's enhance the organ's tonal pallet, which bears strong French Romantic influences.
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Frederick Swann in Hawaii, v.1
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St. Andrew's Cathedral in Honolulu was the idea of King Kamehameha IV, and was completed in 1867. Today, it houses largest organ in the Pacific. Built in 1961 the Aeolian-Skinner organ (4/73) was enlarged in 1995/96 with 54 digital ranks, bringing the total to 133. America's favorite concert organist, Frederick Swann plays a varied recital which begins with the theme from "Masterpiece Theatre."
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Frederick Swann in Hawaii, v.2
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In this second recording made in Hawaii, Frederick Swann is joined by harpist Nyle Hallman, who also is the Organist and Assistant Director of the Choirs at Central Union Church. The 68-rank organ at the church contains pipework from the original 1924 E. M. Skinner and the 1966 Aeolian-Skinner organ. In 1995, Austin Organs reworked the instrument, added ranks and building a new console.
As always, Swann has crafted a program to please, beginning with Bach's great Toccata in D minor.
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Christmas Improvisations/G. Hancock
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Gerre Hancock is simply one of the most extraordinary improvisers in the organ world today. Although his musical studies have been with Nadia Boulanger, Jean Langlais, Searle Wright, and Marie-Claire Alain, his own style is unique. In this recording he shows off the two distinguished organs of St. Thomas Church in New York City, using musical themes from Christmas carols and plainsong melodies.
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Judith Hancock/St. Thomas Church, NYC
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Judith Hancock has earned an enviable reputation as a performer of Romantic music. In this recording she contrasts the Antiphons of Dupré, first improvised at a vespers service in 1919 at Notre Dame, with the supremely challenging music of Czech composer, Petr Eben.
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David Higgs at Riverside
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David's Higgs is Professor of Organ at the Eastman School of Music, and widely admired for both his extraordinary technique, but his ability to communicate to audiences. This unusual program at The Riverside Church includes rarely played works by jazz pianist, George Shearing, David Conte, Alain and William Bolcom, but is anchored by barn-burning favorites by Mendelssohn, and Franck, concluding with a thrilling performance of the Duruflé Suite.
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Lemare Affair/Hohman
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Hohman plays original compositions by Edwin H. Lemare (1865-1935). Best known as an organ recitalist, he was widely regarded as the greatest living organist in his day. His transcriptions of almost everything (including music from Wagner's operas) are legendary.
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In the Shadows of the Everlasting Hills/Richard Elliott
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Richard Elliot is one of three full-time organists at the Mormon Tabernacle. Recent extensive service and restorative maintenance in recent years have preserved this fine instrument, while updating it, so that it remains one of the world's largest and most noteworthy of pipe organs.
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The Symphonic Organ/Trafka
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Two large symphonic works anchor this program on the large Aeolian-Skinner of St Bart's in New York. The first "organ symphony" by Franck, is contrasted with Mussorgsky's Pictures at an Exhibition—a work originally for piano, but more popular as an orchestral transcription.
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French Masterworks from St. John the Divine/Dimmock
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The definitive recording of the magnificent Aeolian-Skinner at St. John the Divine! Dimmock shows the genius of tonal design with this instrument and uses the acoustics of the world’s largest gothic cathedral to best advantage. Also includes the only piece which Langlais wrote for St. John the Divine’s organ and its State Trumpet. The piece is dedicated to Mr. Dimmock.
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John Walker, Organist—The Riverside Church, NYC
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This historic recording of John Walker was made in 1985 and features big works in the French style.
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A Sacred Romance/Kevin Clarke
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Dr. Clarke's program has at its center the complete nineth organ symphony, Opus 70 of Charles-Marie Widor. This landmark work, the "Symphonie gothique" was dedicated to, and inspired by the great cathedral of Rouen. Complementing the Widor are well-known romantic French organ favorites, including Vierne's Carillon of Westminster, and works by Tournemire, Messiaen, Franck, and Couperin.
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French Éclat at St. Thomas Church, New York/Jeremy Bruns
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Jeremy Bruns served as a music associate under John Scott in the music program of Saint Thomas Church in New York City until his recent appointment as Organist-Choirmaster of St Paul’s Cathedral in Buffalo. A winner of several organ competitions, Jeremy Bruns shows his technique to be in top form as he gives stunning renditions of Widor's complete Sixth Organ Symphony, and the virtuosic Ascension Suite by Messiaen. Recorded on the historic Aeoline-Skinner of St Thomas Church in New York. A complete stoplist of the organ is provided.
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Carnival: Eric Plutz, Organ
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Pro Organo's second CD featuring Princeton University Organist Eric Plutz, in a brilliant and virtuosic program of symphonic organ transcriptions, played upon the Aeolian-Skinner / Mander organ in Princeton University Chapel. In addition to several blockbusters and familiar tunes from the symphonic and operatic repertoire, Eric Plutz is joined by Princeton University professor emeritus John V. Fleming. Eric plays the organ transcription of Camille Saint-Saëns' "Carnival of the Animals" while Professor Fleming reads the corresponding clever and humorous verses of "Carnival of the Animals" penned by Ogden Nash in the late 1940s.
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