Komm Süsser Tod is, for me, a piece of "has to’s". Once I first encountered it at the hands of Peter Conte on the incomparable Wanamaker organ, I had to track down a score.
Once the score imported from the US, I had to learn it, whilst listening to it on a loop to try to get the Grand Court organ/organist to reveal their secrets.
Once I moved into the world of Hauptwerk I had to purchase a large Skinner sample set (Immanuel Presbyterian Church, Los Angeles, CA
http://www.evensongmusic.net/?product=1927-iv-62-em-skinner-1956-iii-37-schlicker-1977-ii-20-hradetsky-hw-5), get my ears working, register it in the most lush style possible & record.
Fast forward a little & as soon as I experienced the double expression Vox Humana on this wonderful instrument, I knew I had to record it (again….sorry!).
If anything, I feel that the Auenkirche organ does a superlative job of the seamless crescendo and, my goodness, did I enjoy working out how best to do it.
This piece evokes strong emotions & I would like to dedicate this performance to two very dear people who have played very significant parts in my life. A wonderful lady called Ruthie; what she did for & meant to me is beyond words. The other is a quiet, kind & brilliant man who lost his long battle against cancer last week. David Liddle exerted a huge influence over me as a teenage organist & was so generous in his time & wisdom. He opened my ears to the true soundworld of the French organ, introduced me to wonderful players & taught me how to really use my ears not just as a performer, but also discerning the subtleties of touch, registration etc. I owe my love of French organ music to him.
Thank you both for everything.
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