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Mariastangier HIGH DEFINITION ORGAN ROLAND MARIA STANGIER English Town Hall Organ Philharmonie Duisburg Holst • Händel • Vierne Elgar • Bridge • Franck Gárdonyi Von Roland Maria Stangier ROLAND MARIA mit Astrologie. Das siebensätzige Werk ist aus for- STANGIER maler und harmonischer Sicht sowie in der berau- English Town Hall Organ Philharmonie Duisburg schend-virtuos gehaltenen üppigen Instrumenta- Gustav Holst tion ungemein originell. Sieben Planeten (Mars, Holst • Händel • Vierne • Elgar • Bridge • Franck • Gárdonyi „Jupiter“ aus op. 32 Venus, Merkur, Jupiter, Saturn, Uranus und Nep- tun) werden ganz subjektiv, individuell „beleuch- „Als Hauptziel sollte angestrebt werden, für Orgel tet“, „beschrieben“: „In jüngster Zeit hat der Cha- arrangierte Musik so zum Klingen zu bringen, als rakter jedes einzelnen Planeten enorm viel in mir Gustav Holst (1874–1934) | arr.: Roland Maria Stangier (*1957) Roland Maria Stangier (*1957) wäre sie original für Orgel geschrieben worden“, angeregt, und ich habe mich ziemlich eingehend 1 „Jupiter“ aus op. 32 8:23 Improvisationen schreibt Herbert Ellingford 1922 in „The Art of mit Astrologie beschäftigt“ schrieb er 1913. (1685-1759) | arr.: Henry Smart (1813-1879) 9 I „Strings“ (Streicher) 3:13 Georg Friedrich Händel Transcribing for the Organ“. Dem ist nichts hinzu- 2 „Konzert für Orgel und Orchester“ op. 4 Nr. 5 9:10 10 II „Diapasons“ (Prinzipale) 2:06 zufügen. Entsprechend sind die vielfältigen Tran- So ist hier Jupiter der Bote jubilierender Freude 11 III „Flutes“ (Flöten) 2:08 Louis Vierne (1870-1937) skriptionen von Symphonien, Chorwerken oder und nicht gestrenger Herr des Olymp und Blitz 12 IV „Reeds“ (Zungen) 3:02 3 „Claire de lune“ aus op. 53 9:05 Kammermusik zwischen 1870 und 1930 zahl- und Donner schleudernd. Ein festlicher Tanz, 4 „Carillon de Westminster“ aus op. 54 6:22 Zsolt Gárdonyi (*1946) reich. Hinsichtlich Qualität und spieltechnischen überbordend vor ausgelassener Freude, wird im 13 „Grand Choeur“ 7:00 Ansprüchen sind die Bearbeitungen der popu- Mittelteil unterbrochen, und es erklingt eine von Frank Bridge (1879-1941) 5 „Adagio in E“ 6:20 lären Engländer William Thomas Best und Henry Holsts schönsten Melodien, später in einem ande- Gesamtspielzeit 77:54 6 „Allegro Marziale“ 4:07 Lemare hervorzuheben und standen Pate bei mei- ren Werk sogar separat choralartig mit Text unter- ner Fassung des vierten Satzes aus Holsts sympho- legt. Neben der Orchesterfassung gibt es Holsts Edward Elgar (1857-1934) | arr.: nach William Henry Harris (1883-1973) nischer Suite „The Planets“, die er 1916 vollendete. ursprüngliche Fassung für zwei Klaviere sowie sei- 7 „Nimrod“ aus op. 36 3:44 ne „Orgel Duett-Version“ des „Neptun” mit sehr César Auguste Franck (1822-1890) Sehr interessiert an indischer Sprache, Literatur interessanten detaillierten Registrierungsanwei- 8 „Final“ op. 21 13:14 und Philosophie, befasste sich Holst auch intensiv sungen. 2 3 William Thomas Best (1826-97), die nun „Arran- In der Tat sind es Stücke mit Fantasie: eine atembe- gements from the scores of the Great Masters“ raubend souveräne formale Gestaltung, eine tech- Georg Friedrich Händel anfertigen, eben speziell auch Werke des in Eng- Louis Vierne nisch absolut versiert austarierte Handhabung des „Konzert für Orgel und Orchester“ land extrem populären Händel. „Claire de lune“ und „Carillon de Instrumentes und eine einzigartige Einheit von Me- op. 4 Nr. 5 Westminster“ aus op. 53/54 lodie, Phrase, Harmonik und Rhythmik sowie inten- Um 1861 veröffentlichte der seinerzeit berühmte dierter Registrierung (couleur génerale). Vierne, der Die Komposition des Orgelkonzertes op. 4 Nr. 5 Londoner Komponist, Organist und Musikkritiker Zehn Jahre vor seinem Tod, zwischen erfolgreichen im Privaten wie Beruflichen Zeiten triumphaler Er- fällt 1738 in die Zeit bedeutender Werke, wie das Henry Smart (1813-1879) zahlreiche Händel-Über- Konzerttourneen in sieben europäische Länder folge, aber auch tragische Phasen (Tod der Kinder „Funeral Anthem for Queen Caroline“ oder „Es- tragungen, von denen eine der hier eingespielten und die USA schrieb der Titulaire von Notre Dame und des Bruders, Scheitern der Ehe, erfolglose Au- ther“ und basiert auf der Sonate für Flöte („Ger- Fassung zugrunde liegt. Gravität und Schlichtheit in vier Suiten zusammengefasst seine 24 Fantasie- genoperationen) kannte, gelingt in diesen sehr un- man Flute , a Hoboy or Violin“) aus op. 1 von einerseits, brillante Virtuosität und Formvielfalt stücke. Er widmete sie Freunden, Kollegen, ehe- terschiedlichen, kurzen, anspruchsvollen Konzert- 1725. Mit den anderen 15 Konzerten ist es die er- andererseits, begeistern seit nahezu 300 Jahren, maligen Schülern und seinem Bruder. Zwei dieser stücken – mit z.T. sehr pittoresken Titeln („Gespens- ste wirkliche Konzertmusik dieser Art, ebenfalls sodass man Händels bester (kritischer) Freundin, Fantasiestücke sind Orgelbauern gewidmet, deren ter“, „Nymphen“, „Abendstern“, „Irrlichter“) – die variabel betitelt „for Organ, Harpsichord or Piano Mary Pendarves, nur zustimmen kann, wenn sie Instrumente – neben den geliebten Cavaillé-Coll- Orgel endgültig dem Impressionismus zu öffnen. Forte“, welche als originäre Theater „Pausenmu- schreibt: „Meine Schwester hat Dir über Mister Orgeln – von Vierne ebenfalls sehr geschätzt wur- Ein Vergleich zu Sigfrid Karg-Elert („Bilder vom sik“- Gattung von Thomas Arne, John Stanley und Händels Aufführung hier berichtet, die insge- den. Sie stehen beispielhaft für den flexiblen sym- Bodensee“, „Kathedralfenster“) ist spannend. William Felton weitergeführt wurde. samt drei Stunden dauerte. Ich wünsche sehr phonisch-orchestralen Klang (in Konzertsälen wie für dich, dass du es hättest hören können, denn Kirchen), höchstes technisches Niveau und exquisi- Das verträumte, Ravel’sches Flair verströmende Neben dem Niederländer Samuel Lange, der sei- keine andere musikalische Unterhaltung vermag te Klangqualität auf der Schwelle zum 20. Jahrhun- „Clair de lune“ besticht auf charmant-entrückte ne Transkriptionen der Orgelkonzerte op. 7 dem diese zu übertreffen, abgesehen von seinem Or- dert: die Instrumente der „Willis“-Dynastie in Eng- Weise unmittelbar ebenso wie das brilliant-popu- „Herrn Hofcapellmeister Prof. Jos. Rheinberger“ gelspiel in ESTHER, wo er eine Partie in zwei Kon- land und jene von Ernest Skinner in Boston. Letz- läre „Carillon de Westminster“. Unter allen Carillons, widmet, sind es besonders John Marsh (1752- zerten ausführte, die das Schönste sind, was ich terer wurde ebenfalls von Charles-Marie Widor, seit Jahrhunderten als Genre beliebt (Corrette, 1828), Samuel Sebastian Wesley (1810-76) und je in meinem Leben gehört habe“. Albert Schweitzer und Marcel Dupré bewundert. Charpentier, Boëllmann, Alkan, Mulet, Nibelle, 4 5 Sowerby, Dupré), ist dies ein Opus, welches das 1914 ensteht die Streicher-„Meditace“ des Dvorˇák- bis 1889 nach. Er widmete nur sehr wenige Ori- charakteristische Londoner “The Voice of Britain”- Schülers Josef Suk und 1938, ein Jahr vor Bridges ginalwerke der Orgel, zwei gänzlich unterschied- Motiv mit dem berühmten “Big Ben”-Schlag als Frank Bridge Tod, dirigiert Arturo Toscanini die Uraufführung liche Kompositionen ragen allerdings hervor: Thema so vielschichtig beleuchtet und transfor- „Adagio in E“ und des berühmten „Adagio for Strings“ des Amerika- zum einen die kurzen „Vesper Voluntaries“, wel- miert, dass die Wirkung und Steigerung (gerade in „Allegro Marziale“ ners Samuel Barber. Es finden sich zahllose Kleinode che ein hochinteressantes Pendant bilden zu César halligen Räumen) „umwerfend“ ist. dieses Genres; Bridge ist es gelungen, dies auch für Francks „L‘organiste“, Léon Boëllmanns „Heures Der Komponist, Dirigent und Bratschist schrieb die hochromantische, expressive Orgel in überzeu- Mystiques“, „L’organiste Liturgiste“ von Alexand- Lassen wir noch Vierne in einem Brief von 1927 zwischen 1901 und 1939 lediglich 13 kürzere Or- gender und anrührender Weise realisiert zu haben. re Guilmant und den „Short Preludes“ von Charles an den Orgelbauer E. Skinner zu Wort kommen: gelwerke, von denen die beiden hier zu hörenden, Stanford und Henry Wood; zum anderen die vier „Wann immer ich eine Orgel aus Ihrem Hause 1905 entstandenen Werke, quasi als Bindeglied Jahre vor den Enigma-Variationen entstandene spielte, und es waren viele […] empfand ich dabei zwischen Elgar und Holst angesehen werden meisterhafte viersätzige G-Dur Sonate, ein Stan- immer eine tiefe Bewunderung und ein großes können. Im Umfeld eines Vaughan-Williams, Ire- dardwerk des Orgelrepertoires. Glücksgefühl […] ein Höchstmaß an technischer land, Howells und Whitlock ist das schmale Orgel- Edward Elgar Perfektion, angenehmste Spieleigenschaften und œuvre Bridges ein individuelles Zeugnis eigenstän- „Nimrod“ aus op. 36 Elgar, bewundert von Fauré und Richard Strauss, war ausgezeichnete Funktionssicherheit […] In ihrer diger englischer Orgelmusik zu Beginn des 20. Jahr- aber nicht nur der Meister der vokal-instrumentalen Vielfalt der Stimmen, den differenzierten Klang- hunderts, welches auf britischen Orgeln der Zeit Nimrod als Orgelversion? Nun, so außergewöhn- Großformen („Dream of Gerontius”, „Pomp and Cir- farben und Kraft sind Ihre Instrumente unüber- ganz vorzüglich klingt und nie seine Wirkung ver- lich ist das nicht, existiert doch vom beliebten cumstance”, Symphonien, Konzerte), sondern auch troffen […]“ fehlt. Das dreiteilige „Allegro marziale“ erfüllt alle neunten Satz der 1899 entstandenen Enigma-Va- und gerade kleiner, feiner und atmosphärisch dich- Ansprüche eines klangsatten, robust-triumphalen riationen
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