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| | Author: | Mixtures, numéro 28 |
| | Source: |
www.fqao.org
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| | Date: | Mai 2008 |
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Mario Hospach-Martini spielt Purcell, Böhm, de Grigny, Blow & Bach
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Mario Hospach-Martini spielt Purcell, Böhm, de Grigny, Blow & Bach
Mario Hospach-Martini
Andreas Silbermann, 1731 (III/P, 29 jeux, 41 rangs)
Restaurations: Wetzel 1857 / Roethinger, 1939 / Kern, Koenig, Dott 1999
Église Saint-Maurice, Ebersmünster (France)
Avec l’orgue de Marmoutier, cet instrument est le seul qui ait été
construit par Silbermann et qui nous soit parvenu presque entière-
ment préservé. Il est considéré comme étant l’un des chefs-
d’œuvre de ce facteur formé à Paris.
L’artiste nous présente des œuvres de Purcell, Böhm, de Grigny,
Blow et J. S. Bach qui mettent en valeur la sonorité saisissante de
cet instrument.
« Sonorité excellente, acoustique remarquable. Un classique »
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| | Author: | Christopher Nickol |
| | Source: |
www.gramophone.net
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| | Date: | July 2004 |
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Christopher Nickol on recent discs of German organ music
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"After my French selection in April, here are nine discs of German composers. Again, it's pleasing to report a high standard of production in the majority of cases. The recordings successfully capture the clarity and spatial characteristics of the organs and generally the booklets are most informative about the music, instruments and performers. It's good to see that Mario Hospach-Martini for Arte Nova, Douglas Hollick (Riverrun), Francis Jacob (Zig-Zag Territoires) and David Ponsford (Guild) contribute their own booklet-notes; they wear their scholarship lightly and the results are eminently readable...
...Another outstanding 17th-century instrument, the Grote Kerk, Leewarden's three-manual Muller organ, is heard on Mario Hospach-Martini's Arte Nova release of Baroque organ music of North Germany (works by Buxtehude, Reincken, Scheidemann and Weckmann). His subtle flexibility and stylish articulation of the contrapuntal lines will delight lovers of this repertoire."
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| | Author: | Adolfo Garavaglia |
| | Source: |
AUDIOCLÁSICA MADRID
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| | Date: | 01.03.2003 |
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Buen trabajo de este joven organista
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E1 norte de Alemania durante el siglo XVII fue un lugar
privilegiado para el desarrollo de una técnica organística ligada
principalmente a los servicios religiosos luteranos. El organista intérprete de
esta grabación Mario Hospach-Martini, posee dos CD grabados para Arte
Nova. El primero de ellos dedicado a la música para órgano de Alemania central
y el segundo se centra en las grandes figuras barrocas del norte de Alemania. En
este contexto sobresale la figura de Dietrich Buxtehude, organista y
compositor del que personalidades como Haendel y J. S. Bach
obtuvieron importantes enseñanzas (el último viajó 400 kilómetros para poder
estudiar con él durante cuatro meses). Su Praeludium en Mi mayor es una obra
brillante y amplia que Hospach-Martini sabe interpretar con expresividad y
matices al igual que el resto de las obras que componen este notable CD. Muy
interesante resultan también la composición e interpretación de las dos obras
de Heinrich Scheidemann, una gallarda, y una variación sobre la famosa
pavana Lachrymae de Dowland. Buena toma de sonido del instrumento usado,
el órgano de la Grote Kerk en Leeuwarden construido por el organero Christian
Müller en 1727
Arte
Nova 74321 920442 / 62:14 DDD
Interpretación: *****
Sonido: *****
Übersetzung: Beeindruckende Arbeit eines jungen Organisten
„Sein (Buxtehudes) Praeludium in E -Dur ist ein meisterhaftes Werk, das
durch die geschmackvolle Interpretation von Hospach-Martini, die sich durch
expressives und nuancenreiches Spiel auszeichnet, aufblüht. Dasselbe gilt für
die restlichen Werke dieser hervorragenden Einspielung. Hochinteressant wirkt
sowohl die Komposition als auch die Interpretation der beiden Werke Heinrich
Scheidemanns, eine Galliarde, und Variationen über die berühmte Paduana
Lachrymae von Dowland. Eine ausgezeichnete Aufnahme des Instruments, der Orgel der Grote
Kerk in Leeuwarden erbaut durch den Orgelbauer Christian Müller im Jahre 1727.“
Arte
Nova 74321 920442 / 62:14 DDD
Interpretation:: *****
Klang: *****
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ANDREAS-SILBERMANN-ORGEL EBERSMÜNSTER
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"Mario Hospach-Martini has chosen a multinational program that focuses on the Classic French characteristics of the instrument. Music of Purcell and Blow might seem a curious choice, but Hospach-Martini points out that larger English organs of the 17th century were similar to their French counterparts in design, because many organbuilders of that time were forced to relocate in France during the restrictive reign of the Puritans. Some returned after 1660, the time of the Restoration, bringing French influences with them. Scored for strings, Purcell's Chacony in g transfers perfectly to the organ without alteration. Also included are three Grounds, in C minor, D minor, and E minor. Blow's Cornet Voluntary in D Minor and Voluntaries in A and D further demonstrate many of the organ's exquisite voices. Hospach-Martini performs Nicolas de Grigny's Veni Creator Spiritus with zest and style, illustrating the Silbermann's true French character. Böhm's Partita on Freu' dich sehr explores more of the organ's colors, including the round flutes, vibrant principals, small ensembles, and the lovely tremulant. Two French-inspired works of J.S. Bach conclude the program: An Wasserflüssen Babylon, BWV 653 (a "tierce en taille"), and the Fantasia in C Minor, BWV 562, employing the pungent plenum, dominated by the reeds and tierces. Hospach-Martini is an excellent player thoroughly grounded in performance practice. This recording is worth seeking out for both the significance of this historical gem and the beautiful playing."
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| | Author: | Andrew Benson-Wilson |
| | Source: |
Early Music Review - 93 - Septembre 2003
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| | Date: | Septembre 2003 |
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Barocke Orgelmusik aus Norddeutschland Mario Hospach-Martini (Christian-Müller organ, Grote Kerk Leeuwarden)
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"This is an essential CD, not only for all lovers of the North German organ school of the 17th century, but also as an example of the refined organ performance style, with roots in historically informed performance, that has become more widespread in recent years. It is full of examples of the way an organist can use touch, articulation and a sensitive use of rubato to bring life to notes: in the middle of Buxtehude’s Ciacona in E minor, for example, when the running quavers are made to dance lightly within a carefully delineated pulse. The following track (Nun bitten wir den heiligen Geist) shows the same technique used to colour a chorale melody. Using this technique, Scheidemann’s beautiful colouration of Dowland’s Lachrymae is almost as expressive as when played on the lute. Reincken’s monumental (20’) chorale fantasia on An Wasserflüssen Babylon is one of the most complex of the genre, and is given a thoughtful and sensitive reading. Indeed, the whole CD is notable for its air of restraint, allowing the musicality to shine through."
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Baroque Organ Music from Northern Germany - Mario Hospach-Martini
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"The Christian Müller organ, built between 1724 - 27, in the Grote Kerk in Leeuwarden was modified in the prevailing fashions during the 19th and 20th centuries, and in 1972 was restored to the original form. Even the tuning, which is a semi-tone higher than today's normal. The glorious tones of the 38 stops on this organ are matched by the well-nigh perfect acoustic, giving a fantastic clarity throughout.
Mario Hospach-Martini, born in 1971, has given recitals in Germany, Italy, Canada and here in Westminster Abbey. He specialises in the Baroque organ repertoire of North Germany and on this CD plays works by Weckmann, Buxtehude, Scheidermann and Reincken. A splendid recording, highly recommended and at budget price too!
Let us hope and pray that 276 years hence, future organ enthusiasts will hear these sounds in person (not on record) and appreciate the music of the Baroque era on this lovely Christian Müller organ." DRC
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