Text: Symphonic Organ Music, Volume 1 Hans-Ola Ericcson / St Petrus Canisius, Friederichshafen BIS CD-1101 74¹10² http://www.bis.se Sibelius, Dvorák and Glazunov are not names that are readily associated with the organ, but this excellent new disc dedicates itself to the works of just these three composers, under the title of Symphonic Organ Music. Such music requires a symphonic organ, and that chosen by Hans-Ola Ericcson is more than a match for the weighty music. Built by Gerald Woehl (whose new Bach organ in Leipzig was featured in The Organ, No 314, November 2000) in 1998, the new organ of St Petrus Canisius, Frederichshafen contains 61 stops over three manuals and pedals, including two sizeable swell enclosures. Overblown and doubled ranks afford the organ a richness rarely encountered in modern instruments, and the result is undeniably excellent. Sibelius¹s Intrada, Op 111a which opens the disc is impassioned and bold, immediately displaying the organ¹s smooth power ­ Surusoitto, Op 111b, which follows can be translated as Œfuneral music¹. Beginning quietly, but quickly increasing intensity, it builds to an enormous climax displaying the unenclosed, horizontal Tuba which adds a touch of fire, the sombre close remains highly charged. Two slightly shorter works from Masonic Ritual Music allow the listener to revel further in both the organ and the superb compositional technique of Sibelius. Dvorák wrote little for the organ despite earning a living as an organist in the years before he became famous as a composer. His Compositional Attempts in Preludes and Fugues were written whilst still a student at the Prague Organ School, and can not really be thought of as much more than the title suggests ­ student exercises. Nonetheless they contain some beautiful writing, and the brevity of most ensure they remained focussed from start to end. His fugues are well crafted, but pale somewhat when Glazunov¹s extended examples are considered. The two Preludes and Fugues possess relatively short introductory preludes which are followed by lengthier fugues. That in D minor contains a sweeping dodecaphonic theme which is a delight to hear thoroughly worked out by Glazunov, before a secondary theme in a lilting 6/8 time appears. The singing fonds of the Woehl organ are delightful, and the seamless crescendo is perfectly managed by Ericcson. The final Fantasy, Op 110 dating from 1935 is the most extended work of the disc. Its haunting beginning provides the majority of the thematic material for the work¹s fifteen minute duration. The strings and flutes which are heard in the allegretto pastorale are sheer beauty, matched by Glazunov¹s timeless composition. The final fuga culminates in a grand harmonisation of the theme, allowing the listener, once more, to revel in both organ and composition. This disc is excellent in every respect, and with Ericsson¹s brilliant playing of this exciting new organ will not fail to please. SF

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