Album insights
Born in 1942, the organist and composer Mons Leidvin Takle studied in cities like Stockholm, Copenhagen, Chicago, and New York before settling in Stavanger, Norway. Inspired by jazz, his Blues-Toccata relies heavily on the material of the first four bars. The piece features lively sixteenth notes in the right hand and rhythmic chords, mainly with sevenths and ninths, in the left hand and pedal. The right hand switches between major and minor, giving a bluesy feel, while the left hand and pedal also have solo passages, though the right hand steals the spotlight with its brilliance. The piece crescendos with a brief cadenza in the pedal and concludes with fiery dominant seventh chords in F major and G major above an octave C in the pedal.
"Siyahamba," subtitled "We are marching in the light of God," is based on a South African freedom song and is part of John A. Behnke's Three Global Songs. The energetic piece begins with repeated and sometimes syncopated chords, setting the stage for the first stanza. Movement to a more powerful rendition transitions through an interlude, introducing the pedal for the first time with a noble trumpet stop echoing the theme. The music shifts abruptly to A major during the second interlude. The final stanza is marked fortissimo and slightly slower, leading into a majestic section reminiscent of the beginning. As chord repetitions return, the music seems to dance away, ending with a surprising twist.
Henri Mulet, known for his Byzantine Sketches, was a mysterious figure in French organ music. His piece "Tu es petra et portae inferi non praevalebunt adversus te" from the series pays homage to the Basilica of Sacré-Coeur during 1914-1919. Despite being labeled as a carillon, the composition aligns more with a typical French organ toccata. Bright manual figurations complement dark motifs in the pedal. The brilliant piece's thrilling finale ranks among the most exciting organ repertoire selections.
John Rutter, renowned for Christmas compositions, has also created organ works like "Toccata in Seven" and "Variations on an Easter theme." His organ duet piece, "Variations on an Easter Theme," showcases a traditional melody with variations culminating in a majestic theme on solo trumpet stops. The monumental work was premiered in the United States in 1983 and stands out for its intricate variations and colorful harmonies.
Nurturing soundscapes of the organ, composers like David N. Johnson explored powerful tuba melodies. His renowned "Trumpet Tune in G" exemplifies this style, combining ceremonial baroque music elements with modern harmonies. Introducing a zink stop in the middle section amplifies the return to the trumpet register, enhancing the piece’s impact.
Maurice Duruflé's "Toccata" breaks away from his typical style, exercising the breadth of the organ's tonal capabilities. Unlike his previous works, this piece delves into complex harmonies and structures, evoking a darker, enigmatic aura throughout.
Joseph Bonnet's "Matin Provençal," part of his Poèmes d'Automne series, paints a vivid rural scene through gentle flute tonalities leading into vibrant oboe melodies and chromatic disruptions. The piece crescendos into a grand, reimagined version of its serene beginning.
Celebrated organist Iain Farrington's composition, "Celebration," a lively Toccata-like piece, pays homage to the French school of organ composition. His Fiesta! suite comprises dynamic works including the lively "Celebration" and ominous "Stride Dance," showcasing rhythmic complexity and rich harmonies.
Franz Liszt's monumental piece, "Fantasia and Fugue on the Chorale 'Ad nos, ad salutarem undam,'" honors the musical strides of the 19th century. This work, blending operatic themes with baroque-inspired organ textures, marked a significant musical juncture and showcased Liszt's mastery of the organ.
The 10th volume in the Orgelfeuerwerke series focuses on 20th and 21st-century organ music, with an emphasis on Toccatas and jazz-inspired compositions. Christopher Herrick concludes with Liszt's grand composition, a testament to the organ's evolving capabilities beyond mere church settings.