How many female organists do you know? Surely Marie-Claire Alain. She was one of my favourites. But on the whole, as most of us know, it’s a male-dominated world indeed. Historically defined by religious policies?

In modern, emancipated times, however, it’s no surprise that female organists have organised themselves to promote young women to choose organ playing as a profession. The AGO, the American Guild of Organists, based in New York City, has a Task Force for Gender Equity, and the internationally oriented SWO, Society of Women Organists, is a “large and growing community of people dedicated to achieving an equal gender balance in the organ world.” And also, not to forget the British magazine The LADY ORGANIST, created in 2013, “to inform, educate and entertain both (female) organists and non-organists”. There may be similar activities elsewhere. It’s a healthy development.

Although I’m always pleased to support any liberating movement, wishing them all the success they can muster, my support for Anna Pekulska, is not because she is a woman, but because she is a darn good organist. A choice on merits. Isn’t that how it should be? Once the goal of said actions has been reached, it will hopefully become the norm.

Spain is packed with churches of all sizes and beauty. Church organs galore. Yet, the Bartholomé Sánchez Organ is the first Spanish organ in my collection. As is the Spanish Baroque composer, Joan Cabanilles. We must be grateful for MDG bringing us once again repertoire beyond the trodden path. The more so, because Cabanilles’ compositional quality is in no way inferior to, say, Buxtehude.

Miquel Bernal Ripoli, author of the liner notes, describes Cabanilles’ musical structure as “true to the Iberian tradition, yet he repeatedly transcends the boundaries of the modal system with surprising turns of phrase.” And there is much more detailed information, well worth reading, especially for all those, myself included, who know little or nothing about this Spanish Baroque composer.

Polish-born Anna Pekulska, now a scientific and artistic collaborator in the Department of Church Music/Organ at the Mainz Hochschule für Musik, has no difficulty navigating the ‘surprising turns of phrase’. I love her observant playing, cleverly using the combinations this newly (1997) restored 1734 Bartholomé Sánchez Organ offers. Her interpretation of the 13 ‘Tientos’ (in a mixed order) is a delight to listen to.

As we know, churches are not the most ideal environment for a recording engineer. Echoes are spoilers, and yet, you need to include them to create a realistic soundstage. I do not have the typical Dabringhaus und Grimm Audiovision 2+2+2 setup, so I cannot comment on it, but as produced by my multi-channel playback equipment, the surround sounds pleasing and convincing

Blangy-le-Château, Normandy, France.

Copyright © 2025 Adrian Quanjer and HRAudio.net

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