Helmuth Rilling ‎– Spanish Organ Music

Turnabout ‎– TV 34097S
Vinyl, LP, Stereo

Tracklist Hide Credits

A1 Tiento In A
Composed By – Francisco Correa De Arrauxo*
A2 Tres Glosas Sobre El Canto Liano De La Immaculada Concepción (Todo El Mundo En General)
Composed By – Francisco Correa de Arrauxo*
A3 Tiento In D
Composed By – Francisco Correa de Arrauxo*
A4 Variaciones Sobre El Canto Del Caballero
Composed By – Antonio de Cabezón
A5 Pavana
Composed By – Antonio de Cabezón
B1 Pascalles In G
Composed By – Johannis Cabanilles*
B2 Toccata De Ma Esquerra
Composed By – Johannis Cabanilles*
B3 Batalla Imperial
Composed By – Johannis Cabanilles*
B4 Pascalles In D
Composed By – Johannis Cabanilles*



Cover info:
Organ of the Gedächtniskirche, Stuttgart.

Back cover text:
ⓒ 1967 Vox Productions Inc., New York, U.S.A.
Turnabout Records, Decca House, 9 Albert Embankment, London, S.E.i.
Printed in England by Clout & Baker Ltd.
Laminated with 'Clarifoil' made by British Celanese Limited

Label info:
℗ 1966 Made in England

Covers without the printed white boarder were unlaminated.

A monaural version was released with the catalogue (matrix) #: TV 4097 (M2167/M2168)

Barcode and Other Identifiers

  • Matrix / Runout (Side A Runout): S-2169
  • Matrix / Runout (Side B Runout): S-2170

Other Versions (2 of 2) View All


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November 19, 2011
If Spanish organ music had not already been recorded on period Spanish instruments like those at Covarrubias (ORYX506) or Daroca (AMS69), this disc would deserve an even warmer welcome. But recording Arauxo, Cabezon and Cabanilles in Stuttgart is really no better than recording Bach in Cricklewood. One can, of course, carry this matter of authenticity of timbre to extremes. On the other hand, one cannot go about insisting tout simple, that good organ music belongs to good organists and good organs, wherever they may be found. True, some music is indestructible, but even that seems to bloom when it is realised in tones as close as possible to those conceived by its author. So it is with the music on this record which Helmuth Killing plays with evident understanding, adapting his registration as best he can to the organ of the Geddchtniskirche in Stuttgart. But however happily he may grapple with the different tempi of the various sections of some of the longer pieces here, he cannot get his Stuttgart instrument to yield the brave trumpetings of either Covarrubias or Daroca in a piece like the Batalla Imperial of Cabanilles. Also, he seems disinclined to let some of the new tempi spring out of the old ones, even when there is a dovetailing of parts in the notation, but tends to make a fresh start with each episode. The quality of recorded sound is generally good except for distortion on band three of Side 1 and the last band of Side 2. A pity because both pieces—the Arauxo Tiento "in D" and the Cabanilles Pasacalles, also "in D", are both masterpieces of this Spanish school.
Turning to the documentation, once again I get the impression that the uncredited annotator, although well informed on the period and its musical background, simply has not heard the record to identify or comment on the specific selection, which happens to be a good one. A timing is given for each band, but, as my quotes at the end of the previous paragraph suggest, the titles themselves are inaccurate or incomplete, and there is no indication whatever of the source of the pieces played, though these might be mentioned in the course of the general essay printed on the sleeve. The two Arauxo tientos may be properly identified as follows: Segundo Tiento de Quarto Tono (which is not the same as A major) and Tiento sobre el Pange lingua espanol which, again, is only incidentally in D major. This last, based on a Mozarabic chant bears the name of Alvarado in the manuscript appendix to Correa de Arauxo's Facultad Orgdnica found in the copy belonging to the Biblioteca de Ajuda, Lisbon, and printed by Santiago Kastner as an appendix to Volume Two of his edition of the Facultad. The author of the piece, therefore, is not Francisco Correa de Arauxo (his name is misspelt with two r's on the sleeve), but Diogo de Alvarado who, like his better-known colleague, Manoel Rodriguez Coelho, was a Spanish immigrant in Portugal. The Cabezon pieces present no such problems, for the "Caballero" Diferencias are one of the gems of Spanish music, well known, and beautifully played on this record. Mr Rilling is no less successful with the Pavana, which is also identifiable because the only other one by Cabezon is called Pavana Italiana. All four Cabanilles pieces are from the second of the four volumes of his Opera Omnia. Octavo tono would have been a more correct description of Pasacalles V than "in G major", whereas by no stretching of the imagination could Pasacalles II primo tono possibly be regarded as being in "D major". The fifth tone Toccata II 'de ma esquerra' is the most successful piece on this side, and delightfully played and registered. Mr Rilling certainly has a feeling for this music, and, on the whole, this reasonably priced disc may be recommended. F.A. [GRAMOPHONE, June 1967: Page 50]