Album insights
Guy Weitz (1883–1970) was born in Belgium and studied in Paris under Guilmant, Widor, and Vincent d’Indy before becoming an organ professor in Liège. In 1914, at the outbreak of war, he moved to England, eventually becoming the organist at the Jesuit Church in Farm Street, London. His Grand chœur "Benedicamus Domino," written in 1939, is the first piece in this program based on choral singing, featuring prominent fanfare-like chords at the beginning leading to a brilliant closing section with a toccata-like texture.
Derek Bourgeois (born 1941) hails from Kingston upon Thames and studied composition under Herbert Howells at the University of Cambridge and the Royal College of Music. Known for his 42 symphonies, his Prelude and Toccata from 2002 is one of his works for organ. The majestic and dark first movement transitions into a chromatically rich major section. Marked by an energetic rondo based on a lively transformation of the opening melody, the piece culminates in a spirited coda recalling the material from the major section.
Johann Christian Heinrich Rinck (1770–1846), born in Elgersburg, Thuringia, became a respected music figure, eventually serving as both cantor at the music school in Darmstadt and court organist. His Variations and Finale on "Ah, vous dirai-je, Maman" (op. 90) feature a Moll introduction leading to simple harmonization of the melody, followed by nine variations and a lively finale structured as a fugato.
Otto Olsson (1879–1964), a native of Stockholm, not only excelled as an organ virtuoso but also made significant contributions to Swedish music. His Introduction and Allegro, the first movement of his Credo symphoniacum, op. 50, is based on a chorale. The piece embodies a motivating context for the familiar melody "Credo in unum Deum." The Allegro section offers a stimulating rendition, transitioning through an uplifting conclusion marked by a majestic segment inscribed with "Largamente."
William Lloyd Webber (1914–1982), overshadowed by his sons Julian and Andrew, left a mark as an administrator, composer, organist, and teacher in the musical scene of his time. His Dedication March from 1953, potentially linked to the coronation of Elizabeth II, showcases his skilled hand and experience. Crafted with joyful rhythmic passages akin to Eric Coates, the march incorporates bright, melodious lines hinting at Elgar’s influence before culminating in a grand restatement and a final tuba-led coda.
Edwin Lemare (1866–1934), renowned for his masterful organ playing, transitioned from roles in London to claim impressive fees in America. His Toccata and Fugue in D Minor, op. 98, dedicated to William Faulkes from 1923, offers a brilliant first movement intensely focusing on initial thematic material. The subsequent section exhibits a standard exposition leading to an engaging blend of themes in a riveting counter-exposition. Before concluding with a nod to J. S. Bach’s Toccata and Fugue in D Minor, BWV565, Lemare closes on a minor chord, echoing the Toccata theme.
Percy Aldridge Grainger (1882–1961), born in Australia, stood out as a composer, folk song collector, and piano virtuoso. His Handel in the Strand, with the subtitle Clog Dance, harmoniously blends rapid staccato chords with emerging thematic elements, reflecting his admiration for Baroque music and amplified in intricate Bach transcriptions.
Ralph Vaughan Williams (1872–1958), unique among major British composers of the 20th century, was an organ fellow of the Royal College of Organists. Following studies under Walter Parratt and Alan Gray, he produced renowned works like Prelude and Fugue in C minor, showcasing a nod to J. S. Bach’s composition style in the Ritornell-form first movement and a fugal second movement hinting at pastoral elegance intertwined with defiance.
Maurice Duruflé (1902–1986), born near Paris in Louviers, trained at Rouen Cathedral and under Paul Dukas at the Paris Conservatoire. His Prélude, Adagio et Choral varié sur le thème du "Veni Creator," op. 4, serves as an "affectueux hommage" to Louis Vierne. The final movement, Choral varié, features a traditional organ composition style, starting with a rich diatonic harmonization of the well-known Pentecost melody and progressing through variations incorporating different tonal characters.
Welsh composer William Mathias (1934–1992) left a significant mark in the realm of British organ music in the latter part of the 20th century. Although not an organist or affiliated with the Anglican Church, he brought a fresh approach and technique, sharpened through his experience in composing for diverse media. Recognized for his diverse organ compositions, such as the Partita op. 19, his Recessional op. 96 No. 4 from 1986 boasts rapid sixteenth note patterns complemented by rhythmic seventh chords, showcasing bursts of athleticism and occasional hints of Stravinsky’s "Petrushka" towards the exuberant end.