CD Klassik Barock und Orgel bei ambitus Musikproduktion - Carl Müllerhartung, Ludwig Neuhoff – Organ sonatas Carl Müllerhartung, Ludwig Neuhoff

18.00 EUR

Carl Müllerhartung, Ludwig Neuhoff – Organ sonatas

Wieland Hofmann, Kuhn-organ in St. Martin, Nürnberg

amb 96991

EAN 4011392969918


Carl Müllerhartung (1834–1908):	1. Orgelsonate h-Moll über „Aus tiefer Not“
	2. Orgelsonate f-Moll über „Wer nur den lieben Gott läßt walten“;
	3. Orgelsonate D-Dur über 18:38 „Ein feste Burg ist unser Gott“
Ludwig Neuhoff (1859–1909):	Sonate e-Moll op. 11
	Phantasie-Sonate f-Moll op. 21

This recording focuses on two late Romantic composers and their organ works. Carl Müllerhartung (1834–1908) was certainly an accomplished organist, as evidenced by the remarkable ways in which he exploited the possibilities of his instrument. The virtuosic pedal technique required in his works is particularly striking in the context of the time. His sonatas are masterfully constructed in terms of motif treatment and counterpoint and speak a uniform harmonic language that bridges the gap between Mendelssohn and Liszt.
Müllerhartung’s organ sonatas seem to have been well received by his contemporaries. On July 11, 1869, as part of the “1st German Musician’s Day”, a major organ concert took place in the St Nicholas Church in Leipzig. The program began with Bach’s Prelude and Fugue in E-flat Major, followed by, among others, the Fugue No. 3 on B-A-C-H by Robert Schumann, the great Sonata in C Minor “The 94th Psalm” by Julius Reubke, the Prelude and Fugue on B-A-C-H by Franz Liszt. Carl Müllerhartung concluded this prestigious concert with his Organ Sonata No. 3 “Ein feste Burg ist unser Gott”. Franz Liszt later wrote in a letter to the American piano company Mason & Hamlin: “Müllerhartung has published some beautiful organ sonatas and plays them no less beautifully.”
With his organ sonatas, especially the second, Ludwig Neuhoff 1859–1909) was considered by experts to be on a par with masters such as Max Reger, who, according to the opinion of the time, had succeeded in creating a new style that was at once symphonic and contrapuntal, and had thus made a profound contribution to organ literature. In contrast to the style of his teacher Josef Rheinberger, Neuhoff’s organ works are closer to the ‘New German School‘ of Franz Liszt. After their initial success, Neuhoff’s sonatas disappeared from the organ repertoire for a long time. It was not until the rediscovery of German Romantic organ music that new editions of these unjustly neglected works were published.

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