The picture-gallery from the concert

Add this cd to shopping cart

CD Cover

Reviews about the release

Contact us via e-mail

MP3 Samples - some highlights of this release...
A release created by Josef-Stefan Kindler and Andreas Otto Grimminger in direct-2-track-stereo-digital



Castle Concerts CD Series
Organ Gloriosa ~ Concert four Europe
A concert on the historical "Great Buergy Organ of 1787"
in the Bad Homburg Castle Church (Germany),
performed by 4 soloists from 4 countries

Martin Knizia, London (United Kingdom) plays
Nicolaus Bruhns (1655-1697) ~ Prelude in E Minor "The Great"
William Byrd (c.1543-1623) ~ Fantasia in G
Hugo Distler (1908-1942) ~ "Suite" aus 30 Spielstücke Opus 18 No. 1-4
Matthias Weckmann (c.1616-1674) ~ Magnificat I. Toni

Pieter Dirksen, Cuijk (Netherlands) plays
Jan Pieterszoon Sweelinck (1562-1621) ~ Wir glauben all an einen Gott
/ We all believe in one true God
Wilhelm Friedemann Bach (1710-1784) ~ Fuga in g
Jan Pieterszoon Sweelinck (1562-1621) ~ Fantasia in C Major (C3)
Jan Brandts-Buys (1868-1933) ~ Patria Opus 36

Federica Iannella, Senigallia (Italy) plays
Padre Davide da Bergamo (1791-1863) ~ Elevazione in D Minor
Ferdinando Provesi (1770-1833) ~ Sinfonia in C Major

Thorsten Mäder (Germany) plays
Josef Gabriel Rheinberger (1839-1901) ~ Organ Sonata No. 4 in A Minor, Opus 98

A concert hosted by "Musik im Schloss" Bad Homburg
in the Castle Church Bad Homburg
for the Castle Concert Series, June 22th 2008

Recorded, produced and created
by Andreas Otto Grimminger & Josef-Stefan Kindler
in co-operation with Ulrike & Volker Northoff.

Recording & Mastering Engineer: Andreas Otto Grimminger.
Photos & Illustrations: Josef-Stefan Kindler.

Audio-CD, DDD, Total Playing Time: 78:17
KuK 47, ISBN 978-3-930643-47-9, EAN 42 6000591 067 4
Copyright by K&K Verlagsanstalt anno 2009

Organ Gloriosa - just imagine - a church full of shadows, a hard pew, gazing at the altar out there in front, waiting for the sound of the organ to come from far away ... The popular way of listening to an organ concert. Yet I ask myself - what about the masters of an instrument like this? Composers like Bach and Mendelssohn - what were their feelings? What was the decisive factor that triggered their profound compositions?

Created by Josef-Stefan Kindler

Have you ever sat at a church organ? Staring at the manuals, in front of you the keys and the stops - and, stretching away behind you, the noble nave and transept of the church. Then, looking upwards, you see the mighty bass pipes that seem to tower over you, reaching up and up before losing themselves in the half-light of the vaulted ceiling ... And now, the first hesitant touch of the keyboard, a resonant booming that uplifts the soul - and you immerse yourself in the sound of the organ... We want to bring home to you the wonderful and powerful tones of this instrument - exactly as it sounded in the days of the old masters, when they sat at the keyboard of an organ and devised these compositions in honour of the Creator.

Andreas Otto Grimminger & Josef-Stefan Kindler
K&K Verlagsanstalt

View more of our animations, movies and videos at: The K&K Movie Channel.

Martin Knizia, London (United Kingdom)

1. Nicolaus Bruhns (1655-1697):
Prelude in E Minor "The Great"

2. William Byrd (c.1543-1623):
Fantasia in G

3. Hugo Distler (1908-1942):
"Suite" aus 30 Spielstücke Opus 18 No. 1-4
Intonation - Concertino - Chaconne - Kanon

4. Matthias Weckmann (c.1616-1674):
Magnificat I. Toni

Pieter Dirksen, Cuijk (Netherlands)

5. Jan Pieterszoon Sweelinck (1562-1621):
Wir glauben all an einen Gott / We all believe in one true God

6. Wilhelm Friedemann Bach (1710-1784):
Fuga in g

7. Jan Pieterszoon Sweelinck (1562-1621):
Fantasia in C Major (C3)

8. Jan Brandts-Buijs / Jan Brandts-Buys (1868-1933):
Patria Opus 36

Federica Iannella, Senigallia (Italy)

9. Padre Davide da Bergamo (1791-1863):
Elevazione in D Minor
Recitativo - Andante cantabile - Allegro con spirito

10. Ferdinando Provesi (1770-1833):
Sinfonia in C Major

Thorsten Mäder (Germany)

Josef Gabriel Rheinberger (1839-1901):
Organ Sonata No. 4 in A Minor, Opus 98
11. Tempo moderato
12. Intermezzo
13. Fuga cromatica

Martin Knizia ~ London, United Kingdom
Martin Knizia is music director at the Lutherian Church "St. Anne's" in London, artistic director and conductor of the English Bach Festival and founder of the Sweelinck-Ensemble. He was educated at the Musikhochschule Lübeck (Germany) and the Royal Academy of Music in London. After having held a Junior Fellowship and position as Associate Professor for Baroque Organ Improvisation and Figured Bass at the Royal Academy of Music, he now pursues a busy career as conductor, soloist and continuo player. His interest in editing has resulted in a critically acclaimed edition of Orlando Gibbons's Complete Organ Works.

Pieter Dirksen ~ Cuijk, Netherlands
Pieter Dirksen is the organist of the historical organ of the Martinus-Church in Cuijk. He completed his musicological studies with honours and received his doctorate "cum laude" with a dissertation on the keyboard music of Jan Pieterszoon Sweelinck, which was awarded the Dutch Praemium Erasmianum. His complete recordings of these organ- and cembalo works was awarded 2003 with the "Edison". Pieter Dirksen is a member of the "Combattimento Consort" Amsterdam and the Netherlands Bach Society as well as the chamber music group "La Suave Melodia".

Federica Iannella ~ Senigallia, Italy
Federica Iannella is regular organist and artistic director of the "Church of Santa Maria della Neve" in Senigallia and one of the teachers of the "Accademia Organistica". She studied the organ and composition with Professor M. Arlotti at the "Conservatory G. Rossini" in Pesaro and graduated as musicologist at the University of Bologna. In May 2005 Federica Iannella recorded, in word premier recording, "Sonate per organo a Quattro mani" by Giovanni Morandi, an important composer of Italian romantic music for organ.

Thorsten Mäder ~ Germany
Thorsten Mäder is a concert organist and winner of numerous competitions and various scholarships. He studied with Daniel Roth in Frankfurt, Halle and Paris. In addition to worldwide concerts and the recording of several CDs, Thorsten Mäder is an regular lecturer at masterclasses in Germany and abroad and, since 1999, Professor of artistic organ playing at the Hansei University in Seoul, South Korea.

Publishing Authentic Classical Concerts entails for us capturing and recording for posterity outstanding performances and concerts. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

Music that is new, pieces worth listening to and well worth conserving, little treasures from the traditional and the avant-garde - music that is unimaginable anywhere else but in the hotbed of Europe - our "Castle Concerts" series of recordings captures these in their original settings and preserves them for the future. By his endowment to the town church in Bad Homburg, Kaiser Wilhelm II unwittingly did the little church in the palace a favour and helped turn it into one of the most beautiful and intimate concert halls in Europe. The Castle Church fell into disuse and was forgotten. The turmoil and modernization fads of the 20th century passed it by, and it remained untouched. True to the original and with a loving attention to detail the church was restored to create a truly wonderful concert hall. Today the Castle Church sparkles with a renewed radiance that is set off perfectly by the "Music in the Castle" concerts organized with such enthusiasm by Ulrike and Volker Northoff.

Andreas Otto Grimminger & Josef-Stefan Kindler
K&K Verlagsanstalt

The Great Buergy Organ of 1787 in Bad Homburg Castle Church dates back to those eventful times at the end of the 18th century. At that time, there lived in the little town of Homburg, seat of the Landgraves, a superb organ maker from Switzerland by the name of Johann Conrad Buergy (1721 - 1792). He received a commission from the Protestant-Lutheran Church Convent to build what was to be his greatest masterpiece. With 38 stops distributed over three manuals and pedals, this organ is a magnificent example of Central German organ building in the style documented as being preferred by Johann Sebastian Bach because of its distinctive sound. The effulgence of the organ takes on something of the Northern German tradition without neglecting the tonic keynotes found in Southern German organ building.

Created by Josef-Stefan Kindler

With its many registers, the organ offers a wide variety of wonderfully different sounds, ranging from exquisite solo voices of remarkable colour to a majestic tutti with striking bass tones. It is therefore equally suited to interpreting Baroque or Pre-Baroque works, classical compositions or selected pieces from the Romantic era, or indeed, even modern music. An unusual feature of the organ is its echo chamber: the wind chests and the pipes of this section of the instrument are hidden in the lower part of the organ housing, so that the tones are not directed straight into the church, but diverted though various byways, thus sounding remote and almost echo-like - an effect very popular in Baroque music, which was later continued with the remote consoles of Romantic organs.

Created by Josef-Stefan Kindler

The impressive sound is accompanied by opulent visuals: the artistic back-drop of pipes, which fills the entire rear space above the first gallery right up to under the church ceiling, forms a striking counterpart to the choir section facing it, framed by two rows of windows. These bathe the interior of the church in a warm glow of light that was nearly lost in the course of the changing history of the castle. For, with the dwindling influence of the Landgraves, the organ rapidly fell into disrepair. After only 90 years, its use was discontinued and it was later dismantled. All that remained were the housing and the bellows and - for a short time - the tin flue pipes, until these were melted down during the 1st World War. However, 200 years after its commemoration, two lucky coincidences made it possible to restore the organ to its original glory: Johann Conrad Buergy had a journeyman by the name of Johann Georg Foerster, who was to become one of the founders of Foerster & Nicolaus, the world-renowned and respected Hesse firm of organ builders. Buergy's knowledge of the art of organ making has been handed down in this company until today. In the 1980s, the devoted citizens of Bad Homburg who were members of the Board of Trustees of the Bad Homburg Castle Church succeeded in having not just the church building restored to its original splendour, but the Great Buergy Organ of 1789 as well. And what could have been more natural than to entrust this demanding task to Foerster & Nicolaus, who duly completed it in 1989?

Created by Josef-Stefan Kindler

Today you can admire the organ in all its glory - as one of the few remaining testimonies to the style of organ building in the classical era. Its distinctive sound and remarkably broad range have been captured fully on this CD.

Disposition of the Buergy Organ

Hauptwerk II. Manual
53 Tasten C-e'''
Principal 8' Superoctav 2'
Gross Bourdon 16' Hohlflaut 2'
Viola da Gamba 8' Spielflaut 1 3/5'
Salicional 8' Cimpal 2-fach 1'
Salicional 8' Cimpal 2-fach 1'
Klein Bourdon 8' Cornet Diskant 6-fach 1'
Octav 4' Mixtur 6-fach 1'
Flaute Minor 4' Trompete 8'
Quinta 3'

Oberwerk III. Manual
53 Tasten C-e'''
Principal 4' Spitzflöt 2'
Flaut major 8' Mixtur 3-fach 1'
Flaut travers Diskant 8' Krummhorn 8'
Hohlflaut 4' Vox humana 8'
Quint 3' Tremulant
Octav 2'

Created by Josef-Stefan Kindler

Echowerk I. Manual
53 Tasten C-e'''
Bourdon 8' Octav 2'
Flaute 4' Basson/Vox humana 8'
Salicional 2'/4' Tremulant
Quint 3'

25 Tasten C-c'
Principal 16' Superoctav 4'
Sub Bass 16' Mixtur 4-fach 2'
Octav Bass 8' Posaunen Bass 16'
Quinta 6'