How did you play it?

The repertoire of the North German organ school seems to have been the subject of increased interest in recent years. In addition to a wealth of scholarly editions of sheet music - in some cases even in almost parallel new editions of the same music (e.g. for Buxtehude, Tunder or Weckmann) - various specialist books have also been devoted to the theoretical study of this music. After Jon Laukvik's Organ school for historical performance practice (Baroque and Classicism, Carus 60.002; Romanticism, Carus 60.004; Modernism, Carus 60.006) and Klaus Beckmann's encyclopedic presentation The North German School (2 volumes, Schott ED 9869 and 20088), Paolo Crivellaro, Professor of Organ at the Berlin University of the Arts, now presents a book which, according to the blurb, is aimed at the practical organist who wants to play "with historical awareness".

The approximately 200-page presentation - with around 1000 (!) footnotes - is clearly arranged and touches on all essential aspects of the performance practice of North German Baroque music, such as its stylistic classification, the source situation, the most important genres, instrumental conditions and important organ builders, but also questions of tempo, ornamentation, registration practice, etc. Crivellaro relies primarily on historical quotations, which he comments on; with numerous references to their (sometimes quite contradictory) interpretation in the more recent secondary literature, the author also provides a valuable summary of the current state of research and offers numerous suggestions for in-depth reading in areas where his book can inevitably only provide brief references. Crivellaro's "objective" approach, which for the most part dispenses with judgment, encourages the reader to think actively and form his or her own opinion. Biographical notes on the 15 most important composers of the North German School with an overview of their works and - particularly helpful - information on the instruments in their places of activity round off the presentation.

There are very few concrete interpretative notes in this book, as in Laukvik's work, or analytical information on important works, as provided by Beckmann; occasionally one would have been grateful for illustrative music examples for individual problems, if one does not have the corresponding editions of music close at hand when reading in order to be able to check the practical implementation. Here too, however, the bibliography provides valuable information on the state of publication up to 2010. Paolo Crivellaro's book thus offers a wealth of information for a stylistically appropriate examination of this repertoire, but also obliges the reader interested in this music to take a great deal of initiative in his further study of North German Baroque music. The doors to this are wide open thanks to this excellent book!

Paolo Crivellaro, The North German Organ School. Performance practice according to historical quotations - repertoire - instruments, 208 p., € 68.00, Carus-Verlag, Stuttgart 2014, ISBN 978-3-89948-212-6