Complete Organ Works Voluntaries by Purcell, Blow, and Locke – A Baroque Journey That Sticks With You
So, I gave Complete Organ Works Voluntaries a spin recently, and man, it’s like stepping into this old-world vibe where everything feels ornate but kinda chill at the same time. Released back in '98 under Harmonia Mundi France (props to them for keeping classical alive), this album is all about Baroque organ music from Henry Purcell, John Blow, and Matthew Locke. And who’s behind the keys? John Butt—a name you might not know unless you’re deep into your classical playlists, but trust me, he nails it.
Let’s talk tracks because honestly, there are so many on here that you kinda forget which one’s which after a while. But two stood out to me, and they’ve been stuck in my head ever since.
First up: “Voluntary In D Minor For Double Organ, Z. 719.” This piece just hits different. It starts off slow, almost hesitant, like someone tiptoeing through an empty cathedral. Then BAM—it opens up into this rich, layered sound that fills the room. The double organ thing? Yeah, it’s wild. You can hear how intricate it gets without being overwhelming. It’s like watching gears turn perfectly together—mechanical yet emotional. Every note feels deliberate, and you can tell John Butt put some serious thought into making it breathe.
Then there’s “Trumpet Tune In C Major, Called The Cibell, ZT. 678.” Okay, full disclosure—I didn’t expect to love this one as much as I did. At first listen, it sounds like something you’d hear during a royal procession or maybe even a fancy wedding exit. But give it another go, and suddenly you’re picking up these tiny flourishes that make it way more interesting than your average pomp-and-circumstance tune. There’s a brightness to it, almost playful, like someone sneaking jokes into a formal event. Plus, the engineering work by Brad Michel really lets the clarity shine through. You can practically feel the air moving around those pipes.
What makes this album stick, though, isn’t just the music—it’s the whole package. From Robina G. Young overseeing production to Paul F. Witt editing every detail, it’s clear everyone cared about getting it right. These folks weren’t phoning it in; they wanted to honor the Baroque era while making it accessible today. And yeah, sure, listening to 20+ tracks of organ voluntaries could get repetitive if you’re not paying attention, but that’s kind of the point. It forces you to slow down and notice the little things.
Here’s the kicker: halfway through writing this review, I realized I was humming “The Cibell” while making coffee. Like…what?! I don’t hum classical music! But here we are. Maybe that’s the magic of this album—it sneaks up on you when you least expect it.
Final thought? If you’re looking for background noise, this ain’t it. But if you want something that’ll transport you to another time and place—and maybe surprise you with how catchy Baroque organ music can be—this is worth a shot. Oh, and fun fact: apparently one of the pieces might’ve been written by William Croft instead of the usual suspects. Classical music drama—who knew?
Here’s something cool: the album *Complete Organ Works Voluntaries by Purcell, Blow and Locke* isn’t just another classical music record. It brings together works from three Baroque composers—Purcell, Blow, and Locke—all performed by John Butt on the organ. What makes it special? The album was released in 1998 in France under Harmonia Mundi, a label known for its high-quality classical recordings. Fun fact: one of the tracks, *Voluntary in D Minor for Double Organ*, shows off the incredible complexity of organs with two sets of keys. And get this—the engineer, Brad Michel, and editor, Paul F. Witt, worked hard to capture every detail of the sound. So when you listen, you’re hearing not just centuries-old music but also the precision of modern recording tech. Pretty wild, right?
