Every new release by the specialised organ label ‘Base2 Music’ demands our fullest attention. This latest one, too, has something that inspires players and listeners alike, whether they be novices or not. Why? In an unorderly fashion: A beautifully renovated organ, a teacher-pupil session and an uplifting choice of melodies arranged, adapted or transcribed for the organ. All with their own story to tell. In other words, a concert that should please all whilst teaching some a lesson or two.

Eight years ago (2017), Jalke Purches produced his first ‘Base2 Music’ album, a previously unknown label featuring the French organist Jean-Paul Imbert in a Cécar Franck programme played on the Cavaillé-Coll organ of the St. Étienne Abbey church in Caen, the capital of my home county, Calvados. It was a direct hit, firmly putting Purches, Imbert, and St. Étienne on the map. Three years later (2020), Imbert returned to Jake’s recording console, playing the Seifert organ of Marienbasilika in the German town of Kevelaer. It quickly became a generally lauded gem among organ recordings. Not just Imbert's playing, but also, and more specifically, Jacob’s reputation as a specialist recording engineer in this field were undeniably confirmed.

What we did not know – and what we were unable to hear – was that the organ was in dire need of repair. Jake writes in the liner notes: “At that time, maybe only 60% of the organ was functional, despite the lush string sounds. Now, in 2024 (when he started this new recording project), it has been fully rebuilt by its maker, Seifert, transformed into greater magnificence with endless sound combinations. A veritable Grand Organ!” The result of the restoration, with once more Jean-Paul Imbert – and five of his former students – playing, is now captured in a superbly crafted new edition.

As usual with Base2 Music, organ fans will find all the detailed information in the booklet.

For all those interested in purchasing this well-prepared release, it is worth noting that this type of organ is best suited to a large, church-like environment, such as the beautiful Basilika of Kevelaer. It is Germany’s largest romantic organ, designed to fill an immense space, and it does. Mastering such a complex piece of equipment requires an organist to overcome numerous challenges. Organ enthusiasts are well aware of this, but for a novice, to whom much of the project seems to be designed as well, some explanation may assist in truly appreciating the invaluable qualities of the organ, the players, and the recording.

Unlike a piano, which is a percussion instrument, a pipe organ is a wind instrument, with a varying time lag between touching the keys on the manual and the air flowing through the pipes. No two organs are identical, and it requires time and ample practice to adjust to the mechanical and electrical components of each. Additionally, the audible interference from the recurring church echoes can throw the player off their rhythmic track. It is a matter of synchronisation between playing and listening. Even for seasoned organists, accustomed to overcoming these challenges, playing with both hands on two or more manuals and using both feet on the pedals while simultaneously following different melodic lines is exceedingly demanding. Bach, mindful of this difficulty, composed his Six Trio Sonatas for his sons and pupils to help them master the independent use of their arms and feet. Nevertheless, I possess several recordings by notable organists whose rhythmic precision is not always flawless. It happens.

Leaving aside chances for nit-picking, we must commend Base 2 Music, Jean-Paul Imbert and his one-time pupils, now all excellent organists in their own right, for having committed themselves to producing a recital that will appeal to a larger public segment than connoisseurs only. It is a real celebration of recognition, with mostly well-known melodies, though with one notable exception: ‘Sumbing and Sindoro’, written by Jacob A. Purches, who, besides being the recording wizard, is an admirable organ player and composer, as we are able to establish upon listening to track 10.

I will refrain from giving notes for each of the players as they are all at a similarly advanced professional level (do read the liner notes), albeit that Elmar Lehnen, who opens the dance with an improvised ‘Sea fantasy’, could showcase his advantage of being the titular organist of the Seifert organ. I hugely enjoyed a programme that is, on the one hand, so deliciously familiar but on the other so revealing of the almost endless possibilities the Seifer Organ offers to experienced organists in terms of sound, timbre, and stunning musical enjoyment. It fills the church, it fills your ears, and, indeed, it fills your heart.

My praise doesn’t stop here. The accompanying booklet, carefully prepared by Jake, is a piece of art worth having on its own. It is proof of the immense effort that has gone into the preparation and execution of this release. My closing argument is that engineering is as commendable as the rest. Recorded in 12 channels at 352 kHz 32-bit DXD, with a bonus for those listening in surround: The Fernwerk Organ (an extension of the Grand Organ without console) in the back of the church.

Blangy-le-Château, Normandy, France.

Copyright © 2025 Adrian Quanjer and HRAudio.net

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