Peter Waldner
Baldachin-Orgel Churburg 1559

Sometimes my “compactoteca” (to use the Spanish term), a collection of occasional purchases or targeted choices, presents me with delightful discoveries, like the CD that is the subject of this review.
To be honest, it's not due to my luck or my readings; the CD was a gift, and I don't think it's readily available on the market, except through the magical showcase of the internet.

It is a series of pieces performed on a rare chamber organ from 1559, the year it was built, restored about 40 years ago and preserved in Castello Coira in Val Venosta (BZ).
It’s a “canopy” organ, with pipes enclosed in a case of that shape. The air is supplied by two large bellows located at the back of the organ.
According to the booklet, it is an extremely rare, if not unique, specimen. For this reason alone, it would deserve the interest of anyone who appreciates organs or ancient instruments.

But the CD offers further interesting aspects, being a small encyclopedia of brief Renaissance and early European Baroque pieces, mostly unknown to the ears of most (the only familiar names among the composers mentioned are Josquin Desprez and Andrea Gabrieli).
Most are tablatures from anonymous authors who, I assure you, sound on this instrument with a new life and new splendor.

And this is also thanks to the skillful work of Peter Waldner, described as the one who “resuscitates keyboard instruments”, not by chance capable of combining his refined technique with the individual registers of this splendid instrument, aiming to transport the listener to past times.

Thanks to this magic, I am not surprised to imagine court dances accompanied by impressive Renaissance trumpets in “Est-Il Conclu” or smile thinking of the acrobatics of a jester accompanied by the flute in “Rocal Fusa,” nor to discover the harmonic and compositional originality of a piece like “Upon La Mi Re” or to be captivated by the variations for “Primer Registro Bajo”.
Listening to some of these Renaissance pieces, the derivation of the Baroque era's basso continuo becomes very clear.

Needless to say, expect to hear Branduardi, who is so indebted to these little rediscovered and polished gems.

Just a few words about the recording, truly excellent. Rightly, one is very close to the organ, and all its sounds and “roughness” are appreciated. The room containing it is cozy, but does not affect the intelligibility of the instrument, which remains well-defined in the foreground but never intrusive.

What else to say… I plan to take a trip to the cheerful Trentino to discover this little treasure. I'll let you know if it impresses me as much as this CD!

Peter Waldner, ORF, 1997, DDD