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David Fuller studied organ privately with E. Power Biggs, William Self, and André Marchal.  He was educated at Harvard, from which he holds the A.B., A.M., and Ph.D. degrees.  He taught music history and was college organist at Robert College, Istanbul, and Dartmouth.  From 1963 to 1998 he taught the history of music at the State University of New York at Buffalo.  As a musicologist, he specializes in 17th and 18th-century French music and in Baroque performing practices, on which topics he has published widely.
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Widor: Symphony gothique & Symphony romane - David Fuller Fährmann & Wagner - David Fuller Liszt-Reubke-Stehle Fuller
Widor: Symphony gothique & Symphony romane/Fuller
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Fahrmann & Wagner/Fuller
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Liszt-Reubke-Stehle/Fuller (2 CDs!)
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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.
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.
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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