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01. Christoph Maria Moosmann, organ - I. Genesis
02. Christoph Maria Moosmann, organ - II. Trio
03. Christoph Maria Moosmann, organ - III. et exclamavi
04. Christoph Maria Moosmann, organ - IV. Symphonie I (Halberg-Studie I)
05. Christoph Maria Moosmann, organ - V. Halberg-Studie II
06. Christoph Maria Moosmann, organ - VI. Halberg-Sudie III
07. Christoph Maria Moosmann, organ - VII. superverso für eine Kleinorgel (superversolino)
08. Christoph Maria Moosmann, organ - VIII. in media noctis (Clusterstudie)
01. Christoph Maria Moosmann, organ - IX. Farbenmusik
02. Christoph Maria Moosmann, organ - X. Toccata
03. Christoph Maria Moosmann, organ - XI. Bozzetto
04. Christoph Maria Moosmann, organ - XII. Symphonie II, Apokalypse/Finalis
ARTIST
TITLE
Superverso per Organo
FORMAT
2CD

LABEL
CATALOG #
NEOS 10913-14CD NEOS 10913-14CD
GENRE
RELEASE DATE
8/21/2015

Ernst Helmuth Flammer is one of the leading organ composers of our time. The connection between Flammer's superverso, performed here by Christoph Maria Moosmann, and Olivier Messiaen's great organ cycles is unmistakable, though the superverso is far more advanced in its musical design and language than Messiaen's work, only because it was composed considerably later. The superverso per organo, unlike Messiaen's great organ cycle Livre du Saint Sacrement, dispenses with specifically theological titles for its individual pieces in favor of musical and technical titles. But both share the grand design of the overall program. Trinitas on the one hand, and Sein und Zeit (Being and Time) on the other, as non-mythological, rational, natural, philosophical approaches that correlate faith, in the Cartesian sense, out of a superior creative authority that orders our world. Flammer was born in Heilbronn, Germany, in 1949. He studied mathematics and physics from 1969 until 1972; there followed studies in music theory with Peter Förtig from 1973 until 1979; and then musicology, art history, and philosophy with Hans Heinrich Eggebrecht in Freiburg from 1972 until 1980. He wrote his dissertation on Luigi Nono and Hans Werner Henze. He studied composition with Klaus Huber, Brian Ferneyhough, and Paul-Heinz Dittrich from 1976 onward.