Sven-Ingvart Mikkelsen - Stairway to Bach (2024)

The organ has been regarded as an orchestra from its earliest beginnings, and over the years many composers have transposed vocal and orchestral works for the instrument.

In the 19th and early 20th centuries we find many interesting examples of organ tran- scriptions, such as Max Reger’s organ arrangements of the piano parts in a number of Hugo Wolff’s songs. Sigfrid Karg-Elert arranged a number of passages from Wagner’s operas for harmonium, while Charles-Marie Widor gave several Bach movements a loving organ treatment in the collection “Bach’s Memento”, demonstrating the ability of composers and other musicians to be inspired by the compositions of other masters and to “re-compose” them for their own instrument.

These transcriptions and adaptations were all made at a time when music could only be experienced by hearing it in live performance. In the case of the orchestral pieces, in particular, very few people would have had the opportunity to hear all these mar- vellous works. Orchestral concerts were rare and costly, which is one of the reasons why orchestral works were transcribed for piano and organ. The piano transcriptions could be played at home, while the organ transcriptions could be played in churches and concert halls where organs were available. Several of the great concert hall organs of the 19th and 20th centuries were thus directly justified by the fact that they could play the orchestral repertoire when an orchestra could not be afforded.

Today, we can all listen to good recordings of the great classical works, but a real concert with real musicians is still something special. That is why it still makes sense to perform selected works in transcription for smaller ensembles, so that many more can have the opportunity to experience the music in real concerts. The more intimate and transparent expression of the transcriptions also emphasises different nuances and elements of the music, by comparison with the original versions.

"George Bernard Shaw used to say the only things worth hearing on a pipe organ were Bach and Wagner. There's no Wagner here but the spirit of arranging works from other media for the "King of Instruments" dates back to… Bach himself! (It's been suggested that even the famous Toccata and Fugue in d minor was originally a violin solo)!The symphonic rock music of the 1960s and 1970s aspired to great things and often drew upon classical tropes, particularly those suggesting the gravitas of J.S. Bach, sometimes using direct Bach quotes, while at others, as in Penny Lane by The Beatles, suggesting the sound of the Baroque masters.In these arrangements, the connection between Bach and Rock is underlined by a direct interweaving of rock music with quotations from Johann Sebastian Bach, with the result that the music flows together in a patchwork of baroque organ, Bach and symphonic rock "STAIRWAY to BACH - Rock classics with a hint of Bach".Organist Sven-Ingvart Mikkelsen is one of the most versatile musicians on the Danish music scene, renowned for his surprising and frequently unconventional programs. Sven-Ingvart is a graduate of the music conservatories in Esbjerg and Copenhagen and is Professor and Head of Department for Organ and Church Music at The Royal Danish Academy of Music. Sven-Ingvart performs extensively throughout Europe, North and South America and Asia.Featured on this delightful genre-blending program is the glorious Marcussen organ in the Concert Hall of The Royal Danish Academy of Music."

Tracklist
01. Light My Fire
02. Tres vitement (First movement from "Piece d'Orgue", BWV 572)
03. Byen vågner
04. Stairway to Heaven
05. Bourée (Fifth movement from Lute Suite in E Minor, BWV 996)
06. Prelude (From Prelude and Fugue in G Minor, BWV 535a)
07. Fugue (From Prelude and Fugue in G Minor, BWV 535a)
08. Shine On You Crazy Diamond
09. Bohemian Rhapsody
10. People are Strange
11. Homburg
12. Wachet auf, ruft uns die Stimme, BWV 645
13. Repent Walpurgis
14. Air (From Orchestral Suite No. 3, BWV 1068)
15. A Whiter Shade of Pale