Aaron David Miller on the Pasi Organ


Trinity Lutheran Church, Lynnwood, WA

Description

Aaron David Miller, winner of the Bach and Improvisation prizes at the Calgary International Competition showcases his talents on the Pasi organ (II/P/30) at Trinity Lutheran Church, Lynnwood, Washington.

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  • Track Listing
  • Reviews
  • Listening Samples

Track Listing

    Aaron David Miller (b. 1972)
  1. Improvisation on a Free Theme
  2. Johann Sebastian Bach (1685-1750)
    Vom Himmel Hoch, da komm ich her, BWV 769a
  3. Var. I Canone all' ottava
  4. Var. II Canone alla quinta
  5. Var. III Canto fermo in canone
  6. Var. IV Canone alla settima
  7. Var. V Canon per augmentationem
  8. Aaron David Miller (b. 1972)
  9. Improvisation on Regent’s Square
  10. Johann Sebastian Bach (1685-1750)
  11. Passacaglia in C minor, BWV 582
  12. Fugue
  13. Johann Sebastian Bach (1685-1750)
  14. Improvisation on Ascended Triumph
    © 1973, Henry V. Gerike, used by permission
  15. Jan Pietersen Sweelinck (1562-1621)
  16. Mein junges Leben hat ein End’
  17. Aaron David Miller (b. 1972)
  18. Improvisation on a Swedish Folk Song
  19. Felix Mendelssohn (1809-1847)
    Sonata III in A major
  20. I. Con moto maestoso
  21. II. Andante con moto
  22. Aaron David Miller (b. 1972)
  23. Sinfonia on a theme of Vaughn Williams

Reviews

A Review in the American Organist
"Aaron Miller is an excellent young performer, improviser and composer. His performances of the standard repertoire are among the finest recorded. The Bach Vom Himmel hoch variations have no peer on CD; they are imbued with infectious rhythm and ingratiating style, literally dancing for joy. ... The performance makes one forget how difficult this music is. The same could be said for the Passacaglia, which slowly but energetically unfolds with fine improvised ornamentation and continuous rhythmic drive; the fugue grows directly from the climax of the last passacaglia statement, resulting in a compelling performance. The Sweelinck variations are lively and well articulated; beginning with restrained but colorful registrations, they build to a fitting climax. The Mendelssohn Sonata, set forth in an entirely different stylistic mode, is appropriately heroic at the opening and closing of the first movement, with an initially quiet but then exciting buildup for the central chorale-derived section. The quiet second movement is gracefully restrained. Mr. Miller reveals equal talent in his improvisations, which tend to be tonal, colorful, and rhythmically inspired. Whether on a free theme or on a familiar cantus firmus, they exhibit skillful settings, sometimes very polyphonic, other times more homophonic but with interesting accompaniments. ... The Pasi organ is an equal partner in this enterprise; the historically informed tracker has fine sounds, clarity, and unforced speech. As proven in this recording, it is an excellent instrument for the historic literature and for contemporary improvisation."
- Arthur Lawrence

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