Organ CDs with really deep bass

Another one with the Ruffati organ in Davies Hall is the Saint Saens Organ Symphony with (who else) Guillou and DeWaart on Philips. The second movement has some true 32 foot stops used throughout, although softer stops are used, not the Bombarde stops, so the sound is gentle. Interestingly, I don't think Guillou used those stops on his recording of the same symphony on Dorian (coupled with the Jongen mentioned earlier). The DeWaart disc also has Guillou playing the most unusual version of the Widor Allegro from his 6th organ symphony you'll ever hear, with a cadenza of his own at the end which a TAS reviewer said should be accompanied by the sound of Widor spinning in his grave! A couple of minutiae--(1) the Ruffati organ does not use pipes for its 32 foot stops, but rather an electronic tone generator (many of my organist friends prefer that, in that pipes of that size are tough to keep on pitch (what little pitch you can hear from those notes) and can sometimes shudder and create a racket), as in many current organs such as the one near me at Sacred Heart Cathedral in Newark; and (2) the Dorian disc with the Saint Saens and Jongen is a very good example of the adjustable acoustics used in the Meyerson Center Hall--the Jongen was recorded with the acoustics set to be more reverberant, as it's more a concerto featuring the organ, while the Saint Saens has the acoustics a bit drier in comparison, as the organ is part of the orchestra in that piece. On a good system, you'll hear that difference very easily.

It won't shake your house, but a Multichannel SACD, Sony SS87983, E Power Biggs playing Bach Toccatas and Fugues is interesting, because he is playing four organs located in various places in the Cathedral of Freiburg. His interpretation of these old warhorses as antiphonal compositions really works. I don't think this was ever realized before because it is unusual to have a setup where you can play more than one organ at a time. As I understand it, each organ has its own keyboard and can be played by itself, but there is also a "master" keyboard which can play any or all of the four organs.

Eldartford, another SACD, relatively unreported on, with both good sound (and some deep bass) and a good performance is the Linn SACD of the Poulenc Organ Concerto (Gillian Weir is the organist). Shows off SACD's ability to capture ambience well, and a fun piece to listen to. Haven't heard it in multichannel, but I'd think it would lend itself well to that. I'm going to check my collection at home for more, but I will note that Christopher Herrick's recordings on Hyperion are uniformly excellent (his Organ Fireworks series, while not his favorite recordings for them, are a lot of fun and show off a lot of bass, and his Bach recordings are my favorites), and the Priory series of great European church organs is also terrific, with some better than others but generally very well recorded. Those interested in organ recordings of all sorts should check out the Gothic Records catalog (I assume they have a website under their name) and the Organ Historical Society website at [email protected].

If member sdcampbell does not reply to this thread you might drop Scott a line, also.

1. I'd like to thank those who have responded, especially Rcprince for his informed, knowledgeable responses, on the basis of which I am ordering the Felix Hell Reference Recordings CD and the David Higgs Delos CD of his recital on the Dallas Meyerson organ. This is just the kind of information I'd hoped to elicit, and I appreciate it.

2. There are very few organs in the world (I don't know how many) that have a 64-foot pipe. The gigantic Willis organ (146 stops, almost 11,000 pipes) in the Royal Albert Hall in London is one of them, and I believe there are one or two or three more. If I am correct this pipe would have a fundamental tone of 8 Hz, which would be less a musical "tone" than a minor seismic event, an almost countable pulse in the air. I doubt there has ever been an attempt to record this tone, and if it could be recorded I suppose nobody could play it back. But just as a sort of extra-musical curiosity, does anyone know anything about this esoteric subject?

3. Curiously enough, as Rcprince was writing and sending his second response, I was listening to the Dorian CD of Guillou and the Dallas SO playing the Jongen Symphonie Concertante and the Saint-Saens Organ Symphony, using the then-new Fisk organ in the Meyerson Center. You are quite right to point out the deep bass in the Jongen--a delightful performance and a very successful recording. To my ears the Saint-Saens is considerably less so; I don't like the balances here, with the organ too recessed and almost buried in the orchestral fabric. I realize that this was a conscious decision of the recording engineers, as explained in the notes, but I think it was a misjudgment and prevents this recording from being a candidate for one of the best performances of the Saint-Saens. I find not just the balances but the overall sound, including that of the orchestra, superior in the Jongen. You are quite right that the differences in the two are very clearly audible.

4. You might be interested to know that I live in Plano, TX, a suburb of Dallas, and am a season ticketholder of the Dallas SO, and have heard this organ in the Meyerson several times in concerts there. The DSO's resident organist Mary Preston gives monthly demonstrations on it (I'm attending the one in December). I've heard her perform the Saint-Saens with the DSO there and the results were very impressive--and somewhat comical in a way that I'm sure was not intended. The Meyerson has seating for a sizable chorus behind the orchestra and directly (and I do mean directly) in front of the organ, and these seats are sold to concertgoers when there is no chorus present. I was surprised to find these seats occupied by concertgoers for the Saint-Saens, and I wondered how many of them knew what they were going to be in for. I suspect most of them didn't, to judge from the outcome, because when the organ came barreling in full-bore in its stunning entry at the beginning of the Maestoso last movement, I saw many of them levitate a few inches out of their seats in shock; what they were hearing must have been deafening! I'm glad I wasn't sitting there.

5. It's disappointing to learn that the Ruffati organ in the Davies Hall doesn't use real 32-foot pipes but an electronic tone generator. No doubt it works, but somehow it seems like cheating. Thanks for this information, though, and I don't think I'd have known if you hadn't told me. I'll have to try to hear the Guillou/DeWaart Philips recording of the Saint-Saens (although I have so many versions of this piece already that I've no business acquiring any more).

6. I love the bit about being accompanied by the sound of Widor spinning in his grave! Yes, I know Guillou's reputation as a somewhat wayward free spirit (he is also a composer and a great improviser) and not the organist anyone would go to for "correct" or "scholarly" interpretations. Nevertheless I think his Dorian CDs are absolutely delightful; I have them all and take great pleasure in them, and they are magnificently recorded. Of course he is titulaire at St. Eustache in Paris, and that is a grand and mighty and impressive organ, but I like even better the recordings he has made on the Kleuker-Steinmeyer organ of the Tonhalle, Zurich, and the (rather small) Kleuker organ of Notre-Dame des Neiges, Alpe d'Huez, France; these are so colorful as played by Guillou and are recorded by Dorian with wonderful clarity and focus. (Guillou had significant input into the design of all three of these organs.)

7. I understand what you are saying about Murray and can see why some might find his playing a bit stodgy. But I find him an eminently satisfying organist, sound and musicianly, and I especially like his Bach. His playing is never flashy or trendy and he never seems to be trying to show off. One of his best Telarc CDs is The Young Bach, played on the lovely Gabriel Kney organ at the College of St. Thomas, St. Paul Minnesota. This is a rather small organ recorded with wonderful clarity and vividness by Telarc, and I think this CD is a triumph for all concerned.

8. Other favorite organists of mine are Herrick, Alain, and Hurford, and I still love a number of the old Biggs recordings. Fox I have never much cared for; there is often something garish and vulgar about his playing to my ears. But I know many organ buffs admire him.

9. I'd love to hear from any other organ buffs who'd like to recommend favorite organ recordings with first-rate sound. Thanks again.