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Komplette orgelværker Georg Wilhelm Dietrich Saxer (? - 1740)
1. Praeludium in D
2. Praeludim in e
3. Praeludium in F Andreas Düben (ca. 1597-1662)
4. Allein Gott in der Höh sei Ehr (Variatio 1-3)
5. Wo Gott der Herr nicht bei uns hält
6. Praeludium Pedaliter in a Martin Düben (ca. 1599 - ca. 1649)
7. Erstanden ist der heilige Geist (Simel, Variatio 1-3)
8. Praeambulum Pedaliter in F
9. Praeludium in e Gustav Düben (ca. 1628-1690)
10. Nun lob, mein Seel, den Herren Gottlieb Nittauff (1685-1722)
11. Preludium auff 2. Clavier in e
12. Preludium in a
13. Preludium in g
14. Preludium in G
15. Preludium in d
16. Preludium in F
17. Preludium Pedaliter in C
18. Preludium in D
19. Preludium/Toccata in a Ewald Hintz (1613-1668)
20. Allein zu dir, Herr Jesu Christ Andreas Neunhaber (1603-1663)
21. Ich ruf zu dir, Herr Jesu Christ (Versus 1 & 2) Johann Christian Schieferdecker (1679-1732)
22. Meine Seele erhebt den Herren Friedhelm Flamme
(Lorentz-Frietzsch-Orglet i Sct. Mariæ Kirke i Helsingør)
Vol. 10 of our journey of discovery through the Northern German organ baroque is dedicated to a total of eight masters. The featured organ composers were active in the Baltic Sea region. Although this means that they cannot be localized directly in Northern Germany, they are clearly to be assigned to the Northern German baroque organ idiom because of their origin or musical connections and the stylistic practices resulting from these influences. Friedhelm Flamme interprets the pieces on the organ in St. Mary’s Church in Helsingoer. This instrument was built around 1641 and was produced by Johan Lorentz, the privileged organ builder to King Christian IV (1588-1648). The subsequent reconstruction of the organ and its material and style were inspired by its builder, and the result is a instrument with a quasi-chamber-musical sound including a subdued and elegant bass volume, reed pipes of vocal character, and a treble suggesting the human voice. The historically transmitted components going back to Buxtehude’s times have been integrated into the reconstructed playing console. The organ is the only instrument that today continues to convey this history. All the other organs played by Buxtehude are no longer extant. Once again Friedhelm Flamme succeeds in delighting the hearts of all the friends of seventeenth-century organ music.
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