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CD Bruckner Sympony IX – Organ Solo Version

Mar 9, 2021 | ,

 

Anton Bruckner (1824-1896):

Symphonie IX, D-Minor

Recorded on the Stahlhuth-Jann-Organ of St. Martin, Dudelange/Lux.

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Available here and on all streaming platforms.

«spieltechnisch und musikalisch eine absolute Meisterleistung von grosser Konzentration, Gedankentiefe und  Klangschönheit!»

Jochen Becker

ZohoMusic / New York

»…this recording is a wonderful listening experience. The opening of the first movement, with its low D-pedal, could not sound more appropriate and captivating than if the listener were sitting in the wooden rows of the Abby at St. Florian and the organ in the loft was beginning to breathe life into the opening of the symphony at the hands and feet of the Master in his day. Throughout the movement, the overall pacing and motion of the themes are fluid. Individual lines are expressed with clarity and recognizable timbre. Perhaps the dynamics between sections could be more pronounced, but climaxes are big and the ending exhilarating. The Scherzo has a nice spirited bounce to it, with an idiosyncratic reedy quality to the sound of the interplay of the various voices.

The Adagio is an aural experience. The harmonies Bruckner engaged in the movement are quite daring – when performed on organ, the layering in which they are achieved is especially enlightening. Timbres and voicings flow in a way that some might not appreciate in the context of an orchestral performance. And by the time the movement culminates in the dissonant chord of the climax, the emotion wrought in the moment is ever-more powerful. The ascension of the final notes is sublime, especially the final decay of sound given the acoustic of the church.«

Michael Cucka

The Bruckner Journal

« Mûrement réfléchie, son interprétation tient du défi, tant il parait ardu de remplacer cent musiciens par un seul. Le résultat est à la hauteur de l’attente, le jeu est profond, posé, jamais virtuose dans le sens de démonstratif, et l’intégration des parties orchestrales nombreuses demeure un tour de force parfaitement réussi et convaincant. Le scherzo est particulièrement impressionnant par son élan, comme une course à l’abîme ça et là parsemée de larges respirations. »

Frédéric Muñoz

ResMusica / Paris

»…Muster…goes beyond the usual bombast by creating subtle momentums in the music, and conveying so much expression in those deepest notes…That creates a brilliant sonic weave in the music where you fall in and out of the old familiar Bruckner and discover a new side to the man. 

Anton Bruckner fans should immediately check it out and compare this Symphony No. 9 to others. It’s time well spent.«

Marc Phillips

The Vinyl Anachronist

»I say this is a pretty cool record. The tones and timbers of a large pipe organ are stirring and will probably always be associated in my mind with Halloween. Bruckner’s Symphony No. 9 gives Thilo Muster a fertile playground to work with. The dynamics range from terrifying when the low tegister of the organ are fully engaged to pastoral. As a history nerd, I like that the recording is preserving a bit of performance history that has been almost forgotten.«

Bob Pomeroy

Ink 19 / Melbourne/FL, USA

CD Taragot & Organ – Music from the Balkans

Jun 9, 2019 |

CD-Cover

Samuel Freiburghaus, Taragot, Klarinette, Frula, Bassethorn, Tilinca
Thilo Muster, Orgel
Nehrun Aliev, Cajon, Darabukka, Bendir

Musik des Balkans, der Zigeuner und Ostjuden.

Aufgenommen auf der Neidhart & Lhôte-Orgel in der reformierten Kirche Arlesheim.

 

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Taragot & Organ on the Radio:

A five-star-review in Choir & Organ :

…a disc of traditional music from the Balkans that is both compelling and entertaining. The wild abandon of the gypsy style is delivered with innate conviction and provides a fascinating insight into music from this region. The choice of organ is ideal, at times giving the impression that a whole band is playing. If you want the novelty of an organ recording that will make you want to party and dance, then buy this.

Matthew Power

Choir & Organ

…Who can step over prejudices and listens to what really matters, will enjoy two outstanding and versatile musicians who touch, with an unusual and strange combination, the soul of the mostly Eastern European music.

Read the whole article here (in Dutch)

Mattie Poels

mixedworldmusic.com

…klanglich ergeben diese beiden so verschiedenen Protagonisten ein ideales Paar…Die unglaubliche Bandbreite der Dynamik des Taragots, das der Orgel wahrhaftig die Stirn zu bieten vermag, und die dank Musters überragendem Können großartig demonstrierte Wandelbarkeit der Orgel ergänzen sich hervorragend. 

Lesen Sie hier den vollständigen Text

Class: aktuell

…Quel plaisir donc de retrouver cet instrument en enregistrement dans une combinaison inattendue avec l’orgue ! …L’alliance avec l’orgue (en l’occurrence celui de l’église d’Arlesheim, joué par Thilo Muster) fonctionne parfaitement, les variétés de jeux faisant écho aux couleurs archaisantes du taragot de Samuel Freiburghaus (qui joue également des flûtes traditionnelles). Les musiciens font preuve d’une belle imagination, d’une vitalité communicative…
A. Pecqueur

Revue Musicale de Suisse Romande

…Ein Sound,  der unmittelbar unter die Haut geht und manch einen an die frühen 1970er Jahre erinnern dürfte. Damals veröffentlichte der Schweizer Musiksammler Marcel Cellier seine erste Schallplatte mit einem Panflötenspieler namens Gheorge Zamfir.

Zur fremdartigen Melodik und Harmonik gesellen sich in vielen der hier zu hörenden Stücke auch noch für den Balkan typische, sogenannte «asymmetrische» Rhythmen hinzu. Und obwohl beide Musiker nicht mit dieser Musik aufgewachsen sind, sondern sie sozusagen «aus zweiter Hand» erlernt haben, wirken ihre Improvisationen erstaunlich authentisch und unverkrampft. Besonders der Orgelpart des in Deutschland geborenen und seit langem in der Schweiz wirkenden Thilo Muster ist – im Unterschied zu Marcel Celliers damaligen Pionieraufnahmen – absolut vollwertig.

Auch wenn Samuel Freiburghaus, der Solist, hier und da zu Klarinette, Frula oder Bassetthorn greift, was den hier präsentierten Kosmos mündlich überlieferter osteuropäischer Musiktradition umso bunter macht: Der «Star» dieser CD bleibt dennoch das Taragot mit seinem dunkel-expressiven Timbre, das wie aus einer versunkenen Welt herübertönt.

Listen here to the whole broadcast!

Matthias Keller

CD-Tipp der Woche, Radio BR-Klassik

Assurément, la rencontre du taragot et de l’orgue aboutit à un mariage heureux…Ce disque offre un panorama aussi agréable qu’inattendu…parfaitement maîtrisé tant sur le plan technique qu’expressif.…L’alternance de climats divers, mélancoliques ou franchement décoiffants soutiennent notre attention d’un bout à l’autre.

Thilo Muster à l’orgue mène l’ensemble de mains de maître. Remplaçant l’orchestre habituel, les réductions au clavier sont nombreuses et les arrangements de mise, pour un résultat très convaincant, comme si tout cela avait miraculeusement toujours existé.

Une musique des Balkans, jubilatoire et réjouissante à découvrir ou approfondir, sans restriction !

Read the whole review here (in French)

Frédéric Muñoz

ResMusica.com

Tarakima (trad. Azerbaijan)

Mar 1, 2017 |

Samuel Freiburghaus, frula; Thilo Muster, organ – Recorded at Eglise Saint-Vincent-de-Xaintes in Urrugne/Pays Basque, France

Grana od Bora (trad. Bosnia)

Feb 26, 2017 |

Samuel Freiburghaus, taragot, Thilo Muster, orgue  – recorded at église St-Vincent, Urrugne/Pays Basque, France

CD: Brandenburg Concerti

May 2, 2012 |

bach-brandJ.S. Bach: Brandenburg Concerti Nos. 1 – 2 – 4 and other transcriptions by Eberhard Klotz for solo instruments and obbligato organ. Recorded at the copy of the Silbermann-organ at Glauchau/Saxony by Jürgen Ahrend in Porrentruy, Switzerland

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Gawain Glenton: cornetto
Frans Berglund: baroque trumpet & slide trumpet
Daniel Hauptmann: baroque violin
Thilo Muster: organ

Press Reviews

Matthew Power CHOIR & ORGAN
This project is an extraordinary undertaking, creating new transcriptions (by Eberhard Klotz) of three of the Brandenburg Concerti. The scoring is skillfully paired down so that the organ features throughout alongside another baroque instrument: cornett, natural trumpet or violin. Together they reinvent the voicing of Bach’s scores without diluting the potency of the music. the individual voices of Ahrend’s superb organ balance effectively with those of the baroque instruments. Thilo Muster’s playing – and that of his colleagues – is exemplary and full of expression. the most interesting and explanatory programme notes lack any translation from German, however. This new interpretation will intrigue those who know the scores well, and delight first-time listeners too.
Daniel Trocmé-Latter Early Music, June 2013
“Bach changes…: Historische Transkriptionen für konzertierende Orgel und barocke Soloinstrumente” is, as its long title suggests, a set of Bach transcriptions by Eberhard Klotz, performed by Thilo Muster on the organ, Gawain Glenton on the cornett, Daniel Hauptmann on the Baroque violin and Frans Berglund on the trumpets. It is a good way of showcasing the magnificent 1985 organ by Jürgen Ahrend (modeled on a Silbermann) and its diverse timbres, and although on seeing the playlist one may imagine this to be a bit of a populist recording, one does not come away after listening to it with that impression. The ‘Air’ from the Orchestral Suite no.3 has some surprising ornamentation, but the piece lends itself remarkably well to the organ. the playing is careful but passionate, and the culmination of four instruments in Canon duplex a 4 voci (after BWV 1087) is an exciting finale. The notes are in German, English and French, except, for some reason, the history of the organ, which remains untranslated from the German.

 

CD: John Bull

Jul 2, 2011 |

Bull CDbackCD cover John Bull

John Bull: Selected Keyboard Music. Thilo Muster at the historic organ of Saint-Thomas de Cantorbéry in Mont Saint Aignan (Normandy) Works by Dr. John Bull (1563-1628)

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Press Reviews

Derek Adlam Early Music
…Performances that skilfully demonstrate the breadth of Bull’s musical language, from the charm of a Fantasy on La Guamina played on the voix humaine (with beautifully executed flourishes at the close) to the utter strangeness of the triple section of the Fantasy MB  10, with its obsessively repeated ostinato bass, to the intellectual poetry and solemnity of Dorick Musique (MB 59).

 

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