Composer: Heinrich Scheidemann
Works: Organ Works of Heinrich Scheidemann Vol. 1: Praeambulum in G, Aus tiefer Not schrei ich zu dir (2vss.), Magnificat 6. Toni (4vss.), Praeambulum in d, Christ lag in Todesbanden (3vss.), In dich habe ich gehoffet, Herr (setting 1), Fuga in d, Verbum caro factum est, Praeambulum in d, Vater unser im Himmelreich (setting 3), Es ist gewißlich an der Zeit (2 vss.), Dixit Maria ad Angelum, Magnificat 5.Toni (4vss.) [CD 1]; Praeambulum in G, Magnificat 8.Toni, Wir glauben all an einem Gott (2vss.), Omnia quae fecisti nobis, Domine, Praeambulum in d, Jesus Christus unser Heiland (setting 3, 2 vss.), Vater unser im Himmelreich (setting 1, 3 vss.), Alleluia laudem dicite Deo nostro, Benedicam Dominum in omni tempore, Herzlich lieb hab ich dich, o Herr, Canzon in F, Surrexit pastor bonus [CD 2]
Performers: Cleveland Johnson and Claudia Heberlein Johnson, Organs
Recording: 1996 & 1997
Label: Calcante Recordings
The organ works of Heinrich Scheidemann (c. 1596-1663) emerge from the rich tapestry of the North German Baroque, a period characterized by innovation in organ music and construction. A student of the illustrious Jan Pieterszoon Sweelinck, Scheidemann’s compositions reflect a profound synthesis of his teacher’s intricate polyphony and the burgeoning stylistic preferences of a changing musical landscape. This recording presents the first of three double CD volumes, showcasing a selection of Scheidemann’s oeuvre that includes praeambula, chorale settings, and magnificats, all rendered with an eye toward historical authenticity and musical clarity.
Cleveland Johnson’s performances stand out for their imaginative registrations and a nuanced interpretive approach that breathes life into these works. His praeambula, particularly in G major and d minor, exhibit a keen sense of articulation and a comfortable command of the organ’s capabilities, utilizing the 1624 Hans Scherer organ in Tangermünde to splendid effect. The rich, resonant timbre of this instrument is aptly suited to Scheidemann’s intricate counterpoint, allowing the listener to appreciate the dialogue between voices that is so essential to his music. For instance, the Praeambulum in G unfolds with a captivating interplay of voices, the registration choices illuminating the harmonic and thematic developments.
Conversely, Claudia Heberlein Johnson’s interpretations lack the same vibrancy, tending toward a more academic and less engaging execution. While her technical skills are commendable, the performances occasionally feel stilted, as evidenced in the chorale arrangements where the distinctiveness between vocal lines is insufficiently marked. This flatness detracts from the overall impact of pieces like “Es ist gewißlich an der Zeit,” where the potential for expressive phrasing could transform the experience from merely auditory to deeply affective.
Regarding sound quality, the recording presents a mixed bag. While the reverberant acoustics of the organs add a desirable depth, there are moments where the balance among the individual voices becomes muddled, particularly in passages of dense texture. This is notably apparent in the Magnificat settings, where the intricate polyphony suffers from a lack of clarity, making it challenging to navigate the musical lines without the score in hand. The engineering choices reflect a historical perspective on sound, yet a more discerning approach in editing could have enhanced the listener’s experience.
The historical context provided in the accompanying booklet is invaluable, detailing the evolution of organ construction during Scheidemann’s lifetime and the influence of his milieu on his compositional style. Such insights are essential for understanding the significance of his works within the broader narrative of Baroque music. However, the booklet’s printing errors and inaccuracies regarding the titles of the CDs could lead to confusion, undermining the scholarly effort that accompanies the recordings.
Cleveland Johnson’s performances ultimately shine brighter, capturing the essence of Scheidemann’s idiom with a vibrancy that invites further exploration. His interpretative choices reveal a deep engagement with the music, effectively bridging the historical context with a contemporary sensibility. In contrast, Claudia Heberlein Johnson’s more restrained approach, while technically sound, does not resonate with the same sense of urgency or emotional depth.
The recordings succeed in offering a valuable glimpse into Scheidemann’s world, presenting a repertoire that deserves greater recognition. Despite some technical shortcomings and interpretive inconsistencies, the project as a whole serves as an important contribution to the understanding and appreciation of North German organ music. The ambitious endeavor to revive Scheidemann’s works, albeit with some reservations, merits attention from both scholars and enthusiasts of early music.
