Organ

It's a pity that this recording has become somewhat hard to find- the arrangements are simply lovely (as well as some of the original works for organ and cello such as the Prayer by Saint-Saens). Although Rostropovich's lush sound does not completely match well to this recording's rather harsh harpsichord, the effect is quite wonderful on the pieces with organ. Highly recommended if you love the cello.

The Norwegian organist, Abram Bezuijen, studied organ at the Rotterdam Conservatory with Arie J. Keijzer, and piano with Frans van Hoek. In 1990 he earned the diploma for Music Pedagogy and in 1991 that for Performing Musician (organ). Abram Bezuijen was organist in Dirksland (Netherlands) and Høyanger (Norway). Since 1992 he has been studying contemporary Norwegian organ music, which resulted in the CD 'Norwegian Composers', (VLC Records). Since 1997 he has been Kantor/organist in Haug kirke in Hokksund (Norway).

The fifth volume in Signum's series of Charles-Marie Widor’s Organ Symphonies, performed by Joseph Nolan on the magnificent Cavaillé-Coll organs of La Madeleine, Paris and Saint-Sernin, Toulouse. Bridging the generations from Mendelssohn to Messiaen, Empire to Republic, Widor was born to the organ. His Lyonnaise kinsfolk were organ-builders, he showed early talent for the instrument, and for decades was the embodiment of its might and splendour across the Gallic domain: his ‘Organ Symphonies’ being genre-defining in their influence.

The combination of Neville Marriner and his always sterling evocation of excellence from the Academy of St. Martin's-in-the-Fields offers the perfect accompaniment and support for Malcolm's playing. The late George Malcolm was a brilliantly gifted organist even though his real specialty had always been harpsichord. He always seems to find the lightest most delightful playing to fit the idea of the piece.

As composer, musicologist and critic, Erkki Salmenhaara (1941-2002) was one of the major figures in Finnish musical life in the second half of the twentieth century. His music for organ charts his stylistic evolution, from a modernism influenced by his teacher, György Ligeti, to triadic harmonies spiced with dissonance. Even so, all these works manifest his fondness for the ability of the organ to generate massive and powerful blocks of sound, giving this music a monumental character in keeping with the grand spaces of the buildings in which it is usually heard.

"…Walcha's…carefully calculated interpretations create a genuine sense of organic unity and a deeply musical sense of line and phrase, which gains from felicitous registration using highly suitable organs, splendidly recorded."

– The Penguin Guide