Great European Organs No. 67 Novenko
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Product Review
Great European Organs No. 67 (Priory PRCD789) is a Priory Records release featuring Czech organist Michal Novenko at the Grygar (Holy Cross) organ of the Deanery Church, Litomyšl. The disc presents an 18-track programme recorded at Litomysl in September 2001 and released in 2003, ranging from Petr Eben and Smetana through Bach and Seger to Martinů, Georgi Mushel and a short Novenko improvisation.
Great European Organs No. 67 (Priory PRCD789) is a Priory Records release featuring Czech organist Michal Novenko at the Grygar (Holy Cross) organ of the Deanery Church, Litomyšl. The disc presents an 18-track programme recorded at Litomysl in September 2001 and released in 2003, ranging from Petr Eben and Smetana through Bach and Seger to Martinů, Georgi Mushel and a short Novenko improvisation.
- Performances consistently described as skilful and sympathetic, with clear articulation across styles.
- Programme spans Baroque to contemporary works, offering variety and demonstration of the organ's registers.
- Performances consistently described as skilful and sympathetic, with clear articulation across styles.
- Programme spans Baroque to contemporary works, offering variety and demonstration of the organ's registers.
- Includes a short improvisation by Novenko that displays his virtuosity and compositional touch.
- Recording captures a warm church acoustic that highlights the character of the Grygar/Holy Cross Deanery organ.
- Booklet notes provided by the performer are informative for listeners interested in context and instrument details.
- −Some reviewers found the recording slightly bass‑light, affecting perceived low‑end presence on certain pieces.
- −Certain short items (., some of the Smetana preludes and parts of the Martinů) were judged by critics as rather featureless or in need of more varied stop colours.
- −Some reviewers found the recording slightly bass‑light, affecting perceived low‑end presence on certain pieces.
- −Certain short items (., some of the Smetana preludes and parts of the Martinů) were judged by critics as rather featureless or in need of more varied stop colours.
- −The performer’s booklet commentary has been described as occasionally over‑enthusiastic in tone.
Based on user reviews collected from publicly available sources.