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NAJI HAKIM PLAYS NAJI HAKIM THE SCHUKE ORGAN OF THE t III. Dialogue de Cromorne et de Cornet [1.10] PALACIO EUSKALDUNA OF BILBAO, VOL.2 y IV. Premier Plein Jeu [0.34] u V. Fonds et Voix Humaine [0.53] i VI. Duo [0.47] 1 Ouverture Libanaise (2001) [7.36] o VII. Nasard [1.37] p VIII. Basse de Gambe [1.21] Suite Norvégienne (2012) a IX. Dialogue de Tierce et de Prestant [0.50] 2 I. Langeleik [1.51] s X. Dessus de Trompette [0.59] 3 II. Dype, stille, sterke, milde [1.00] d XI. Clairon en Taille [0.54] 4 III. Kråkevise [0.46] f XII. Deuxième Plein Jeu [0.46] 5 IV. Mitt hjerte alltid vanker [1.15] g XIII. Final en Rondeau [3.54] 6 V. Bånsull i vals [1.04] 7 VI. Håvard Hedde [1.09] Three Basque Dances 8 VII. Byssan lull [1.17] h I. Zortziko (2015) [4.16] 9 VIII. Litle fuglen [0.37] j II. Ezpata Dantza (2014) [3.00] 0 IX. Kjerringa med staven [1.20] k III. Fandango (2015) [4.36]

Esquisses Persanes (2012) Total timings: [59.24] q I. Niya Yesh [4.00] w II. Raqs [6.10]

Suite Française (2012) e I. Entrée sur les Grands Jeux [0.40] NAJI HAKIM r II. Flûtes [0.46]

www.signumrecords.com 1 Ouverture Libanaise (2001) on a harmonic pedal. Litle Fuglen evokes the Scheitholt and Swedish Hummel, the Norwegian This tune was composed by Ludvig Mathias To Zeina Alam chorale style, before Kjerringa med staven langeleik predates these instruments. The Lindeman in 1871, for a hymn text by T. W. leads into a cheerful and rhythmic dance to earliest dated instrument is from c.1524. Oldenburg (1805-1842). Lindeman was the Commissioned by the City of Ingolstadt, this conclude the work. Early instruments were tuned according to the editor of the chorale book (1871) for M. B. rhapsodic piece is based on several Lebanese Pythagorean scale; later instruments (post Landstad’s Kirkesalmebog (1869), the first folk tunes and makes use of mid-eastern scales Naji Hakim 1850s) may be equal-tempered. The tune used Norwegian hymnal. The Lindeman family was and rhythms. In its last pages it also quotes in this work is from Kvam in Western Norway. highly productive and influential in church the Lebanese national anthem. I. Langeleik music in Norway. Norwegian droned zither II. Dype, stille, sterke, milde Naji Hakim Deep, silent, strong and mild III. Kråkevisa (The crow song) Me’ sjona leist og me’ krota skor Suite Norvégienne (2012) Da trør du so lett i dansen. Dype, stille, sterke, milde Og mannen han gjekk seg i vedaskog, To David Scott Hamnes and Orgelklubben Ludvig –––– guddomsord fra himmelhavn Hei fara, i vedaskog. With patterned stockings and flourishing shoes kaller, beder, sjeler leder Då sat der ei kråka i lunden og gol. This cycle of nine short and easy pedagogical You dance so lightly. til den gode hyrdes favn, Hei fara, faltu riltu raltura. pieces is built on melodies from the popular Text: Anonymous folksong vitner om hva oss er givet: –––– Norwegian repertoire, developed through Jesus er vår vei til livet. And the man went into the woods, contrasted compositional techniques and This tune was first transcribed in Kvam, possibly –––– Hei fara, into the woods. registrations. The opening piece, Langeleik, by Olav Sande (1850-1907). An important Deep, quiet, strong, gentle There perched a cawing crow in a clearing. is a waltz with modal variations. Dype, stille, work based on the tune is Geirr Tveitt’s divine word from heaven’s port Hei fara, faltu riltu raltura. sterke, milde is a cantus firmus chorale “Langeleik-låt” from Hundrad folketonar frå call, pray, lead the souls Text & melody: Anonymous Nordic folksong prelude with the tune on the pedal division. Hardanger, Op. 150 No. 27. A langeleik-slått to the Good Shepherd’s bosom, Kråkevisa is characterised by its lightness or dance tune may be in the style of a halling, witnesses on what is given to us: Over 100 text variants and more than 75 melodies and ornamental accompaniment. Mitt hjerte depending on the tempo, and is often used as Jesus is our way of life. have been associated with this well-known alltid vanker marks the center of the cycle; it an instrumental work. Text : Theodor Wilhelm Oldenburg, 1840 children’s folksong or medieval ballad common is an expressive meditation on the cromorne. to all the Nordic regions. M. B. Landstad Bånsull i vals evokes classical writing using The langeleik is a Norwegian droned zither, published two short variants in Norske alberti bass. Håvard Hedde develops through usually with one melody string and up to eight folkeviser in 1853; the oldest known source a contrapuntal accompaniment and Byssan lull drone strings. While related to the German is from a 17th-century Danish publication.

- 4 - - 5 - IV. Mitt hjerte alltid vanker V. Bånsull i vals VII. Byssan lull Ho sjunger saa vakkert om Jesum Christ Always my heart wanders Lullaby waltz Sea shanty or lullaby Herre Gud sender os sin Naade. –––– Mitt hjerte alltid vanker This tune and melody are from an anonymous Byssan lull, koka kittelen full, The pigeon sits on the linden branch I Jesu føderum, Norwegian folk tune. Texts to bånsull-tunes are där kommer tre vandringsmän på vägen. (bis) Advising God, Der samles mine tanker usually improvised for the actual occasion, and Den ene, ack så halt, She sings so beautifully about Jesus Christ. Som i sin hovedsum, often consist of phonetic sounds. den andre, o så blind, The Lord God sends us his grace. Der er min lengsel hjemme, den tredje säger alls ingenting. Der har min tro sin skatt, VI Håvard Hedde –––– Based on a Medieval religious folksong from Jeg kan dig aldri glemme, Håvard Hedde Byssan lull, boil the full kettle, Valdres, L. M. Lindeman transcribed this text Velsignet Julenatt! three wanderers are coming down the road. (bis) and tune in 1848, according a form sung by –––– Eg heiter Håvard Hedde og er så ven ein kar; The first one is limping, Marit Larsdatter Leira (Leiro) in Aurdal. The text My heart always wanders No vil eg bort og gifta meg og rydja meg ein gard. the second one is blind, is perhaps better known as Tore liti or Duva To where Jesus once was born. Eg bur oppunder fjell, the third one doesn’t say anything. sætter sig på Liljanqvist. There I collect Og jenta hev eg lova, eg svik ho ikkje hell. and unify my thoughts. –––– The melody is a variant of a fisherman’s sea IX. Kjerringa med staven There my longing finds its home, My name is Håvard Hedde and I am a likable fellow shanty found across the Nordic region. The The woman with the staff there my faith has its treasure; Now I’ll away and marry, and fix myself a farm. initial rising fifth from the tonic is typical for this I can never forget you I live just below a mountain, style of tune. The first phrase is usually also Kjerringa med staven O blessed Christmas night And the girl I have promised, I’ll not betray. repeated, and the second phrase ends with a høgt opp i Hakadalen! Text: H.A. Brorson, 1732 falling second interval. The text in this version Åtte potter rømme, Using a Norwegian folksong from the late 1700s, was reworked and popularised by Evert Taube fire merker smør, This melody is the Norwegian variation of a the text is a simple poem about a humble (1890-1976) in 1919. såleis kinna Kari, Swedish folk tune from Västergötland, c. 1816. man from Helle (Heddi) in Setesdal who lived in Ola hadde før. the late 18th century. His fate was unhappy; in VIII. Litle fuglen Kjerringa med staven. one version, his betrothed betrays him; in Little bird –––– another, he drowns on the way to make a The woman with the staff marriage proposal. Duva sætter sig på Liljanqvist High up in Hakadalen! (Haka valley) Gud at raade Eight pots of cream,

- 6 - - 7 - Four cups of butter, cows to roam in the summer. These farmers Suite Française (2012) I. Branle coupé “Cassandre” Thus churned Kari, claimed that the cows produced too little To my wife Marie-Bernadette and my children, (after Thoinot Arbeau). Ola took it all. butterfat. Åtte pottar rømme is equivalent to Katia-Sofia and Jean-Paul The woman with the staff. about eight litres of cream, which is normally II. Branle de Village (after Praetorius). Text and melody: Anonymous Norwegian folksong enough for around two kilograms of butter. In this suite, which includes twelve short However, Kari only managed to produce half as movements, the composer pays tribute to III. Branle d’Ecosse (after Thoinot Arbeau). Kjerringa med staven is a traditional Norwegian much, or fire merker (four cups). It seems reasonable France; a country he has loved since his triple-metred slåttestev or slåtterim, derived to suspect Ola: He probably ate Kari’s cream! childhood for its music and its culture which IV. Mon amy s’en est allé from the Norwegian word to strike. While remains dear to his heart, where he founded (after Jacques Mangeant). David Scott Hamnes sometimes performed with fiddle, mouth harp his family to whom this work is dedicated. or langeleik accompaniment, these tunes are V. Fas sit, Christe – Prose of the Sacred Esquisses Persanes (2012) meant to be sung a cappella by the dancer, The general organization and the titles of Heart, parisian rite. In memoriam Dr. Behnaz Payandeh who dances the springer or pols. The slåttestev each movement refer to the keyboard music of consists of one strophe, although it is usual to the French Grand Siècle which inspired the VI. Branle des Chevaux (after Thoinot Arbeau). The Esquisses Persanes (Persian Sketches) add new text variants according to local tradition. various forms and registrations used by were commissioned by my friend Prof. Marc the composer. VII. Branle de Poitou (Gervaise). Robert in memory of his wife, Dr. Behnaz This music was used for a variety of purposes, Payandeh. They consist of two movements, both as entertainment and as accompaniment The dance is emblematic of French culture in VIII. Branle de Champaigne (Gervaise). Niya Yesh (gnosis) and Raqs (Dance), built to dance and children’s games. The text was the 16th and 17th centuries, and in this exclusively on the Persian scale Db C E F Gb first notated by L. M. Lindeman in the mid-19th setting the development of instrumental music IX. Horn, arca legem continents – hymn of Lauds Ab B and its twelve transpositions. The two century, taken from the form sung by Anders flourished. The Baroque suite stylises the court of the Feast of the Sacred Heart. 18th part melismas of Niya Yesh symbolise the Olsen Graff of Løten. The tune is from an ballet and binds in a sequence of contrasting Century popular song. revelation of divine knowledge through self older source; it was first published in Paris tempos, rhythms and characters. knowledge. The melodic periods grow according under the name Bondedans fra Bergens stift i X. Branle des sabots (after Thoinot Arbeau). to the principle of variation. Raqs is a joyous Norge (Farmer’s dance from Bergen diocese in Naji Hakim uses different sources and draws rondo toccata with an ornamental episode Norway). The traditional reading from Nittedal his thematic material from the repertoire of XI. Les Bouffons (after Phalèse) – inspired by the negro spiritual Nobody Knows interprets the text as a spiteful poem about the dances from the Renaissance and early Baroque: Gregorian chant. the Trouble I’ve Seen. dairymaids in Kongsvangskogen, where the farmers from Kirkeby and surrounding areas sent their © Naji Hakim

- 8 - - 9 - XII. Bon voyage Monsieur Mollet’s Marc-Antoine- double pedal articulating the rhythmical periods III. Fandango (2014) NAJI HAKIM Madeleine Desaugiers, also used by of the characteristic 8 beats of the zortziko; A ma femme María-Bernadette Dufourcet Bocinos Tchaikovsky in the Nutcracker (Petit Galop a recall of the introduction preceding a lightning Naji Subhy Paul Irénée Hakim was born in des Enfants). conclusion, including in particular percussive Commissioned by the Houston Chapter of the Beirut on 31 October, 1955. He studied with chords alternating on three keyboards. American Guild of Organists for the 2016 AGO Jean Langlais and at the Conservatoire Marie-Bernadette Dufourcet National Convention in Houston. National Supérieur de Musique de Paris – II. Ezpata Dantza (2012) classes of Roger Boutry, Jean-Claude Henry, Three Basque Dances (2012/2014) Sword Dance The dance is introduced by equivocal barring Marcel Bitsch, Rolande Falcinelli, Jacques A mon fils Jean-Paul 6/8 - 2/4, before the exposition of a festive Castérède and Serge Nigg, where he was I. Zortziko (2014) theme in bouncing and light periods alternating awarded seven first prizes. He is a licentiate Danza vasca en homenaje a Pablo Sorozábal The sword symbolizes the solar power and the with percussive chords on the hands. A teacher in organ from the Trinity College of A ma fille Katia-Sofía generating energy. By symbolic homonymy, more singing central episode precedes the Music in London and has been awarded the composer chose the key of G Major to figure recapitulation. The Basque fandango ends ten first prizes at international organ and This work was commissioned by the Quincena the Christ. The ezpatadantza comes from the always with another dance step, Arin Arin in composition competitions. In 1991 he was Musical de San Sebastián 2016. 2016 was a region of Durango and is danced in front of 2/4, characterized here by scales in dactylic awarded the Prix André Caplet from the very important year for the city, selected as the authorities and at the feast of Corpus rhythm prolonging the character full of life Académie des Beaux-Arts. He was organist the European Capital of Culture. The Zortziko Christi, during the mass, in front of the and joy. of the Basilique du Sacré-Coeur, Paris from (of eight) is a very popular Basque dance in Holy Sacrament. 1985 to 1993, before succeeding Olivier a subtle bar with unequal beats. Pablo Marie-Bernadette Dufourcet Messiaen as organist of l’église de la Trinité Sorozábal was a composer from San Sebastián Naji Hakim’s Espata Dantza plays on the from 1993 to 2008. who died in 1988, famous for his zarzuelas alternation between a ritornello and a light (opérettes), from whom Naji Hakim quotes theme full of joy. The 8/16 barring is He is professor of musical analysis at allusively one of his songs (Maite). divided into two unequal beats: 8 = 5 + 3. the Conservatoire National de Région de The bouncing character arises from the 6th Boulogne Billancourt, and visiting professor The piece is shaped as follows: A majestic beat’s anacrusis impulse that should be at the Royal Academy of Music, London. He is introduction (inspired by the incipit of Maite); an slightly accentuated. a graduate of the École Nationale Supérieure ornamented recitativo; a toccata in perpetuum des Télécommunications in Paris, member of mobile of semiquavers above an ostinato in the Consociatio Internationalis Musicae Sacrae in Rome and doctor honoris causa of the

- 10 - - 11 - Pontifical University Saint-Esprit of Kaslik, The Schuke Organ of 22. Pordoia (Gedackt) 8’ Lebanon. In 2007, His Holiness the Pope the Palacio Euskalduna 23. Zortzigarrena (Octave) 4’ Benediktus XVI awarded Naji Hakim the of Bilbao 24. Estalitxoa (Rohrflöte) 4’ Augustae crucis insigne pro Ecclesia et 25. Nazardoa 2 2/3’ Pontifice, for his excellent commitment and SPECIFICATION 26. Hamabosgarrena (Octave) 2’ work for the benefit of the Church and the I. Manual Hauptwerk C-c4 27. Flabiola (Flachflöte) 2’ Holy Father. 1. Flautatua (Principal) 16’ 28. Nazardoa 1 3/5’ 2. Flautatua (Principal) 8’ 29. Nazardoa 1 1/3’ His works include instrumental music for organ, 3. Ganba 8’ 30. Betea V 1’ flute, bassoon, horn, trumpet, harp, guitar, 4. Xirula harm. (Flute harmonique) 8’ 31. Dultzaina 16’ violin, piano; symphonic music (Les Noces 5. Pordoia (Rohrflöte) 8’ 32. Kromorna 8’ de l’Agneau, Hymne de l’Univers, Ouverture 6. Bosgarrena 5 1/3’ 33. Vox humana 8’ Libanaise, Påskeblomst, four organ concertos, 7. Zortzigarrena (Octave) 4’ Tremolo a violin concerto and a piano concerto); and 8. Xirula eztia (Spitzflöte) 4’ vocal music (oratorio Saul de Tarse, cantata 9. Hamargarrena 3 1/5’ III. Manual Bombardwerk C- c4 Phèdre, two Magnificats, four masses and an 10. Hamabigarrena 2 2/3’ 34. Pordoia (Bordun) 16’ Augsburger Symphonie). 11. Hamabosgarrena (Octave) 2’ 35. Flautatua (Principal) 8’ 12. Betea V 2’ 36. Zeharkakoa (Flute harmonique) 8’ www.najihakim.com 13. Txilina IV 2/3’ 37. Biolintxeloa (Gambe) 8’ 14. Korneta V 8’ 38. Vox caelestis 8’ 15. Bonbarda 16’ 39. Pordoia (Holzgedackt) 8’ 16. Tronpeta 8’ 40. Zortzigarrena (Octave) 4’ 17. Klarina 4’ 41. Biola (Fugara) 4’ 42. Xirula zortz. (Fl. octaviante) 4’ II. Manual Schwellwerk C- c4 43. Oktabatxoa (Octavin) 2’ 18. Pordoia (Rohrbordun) 16’ 44. Piccolo 1’ 19. Flautatua (Holzprincipal) 8’ 45. Betea VI 2 2/3’ 20. Salizionala 8’ 46. Korneta III 2 2/3’ 21. Unda maris 8’ 47. Fagota 6’ © Aleksey Vylegzhanin

- 12 - - 13 - 48. Tronpeta harmonikoa 8’ Pedal C-g’ 49. Oboea 8’ 55. Sakona (Untersatz) 32’ 50. Klan harmonikoa 4’ 56. Nagusia (Principal) 16’ Kanpaiak (Röhrenglocken) 57. Kontrabaxua 16’ Tremolo 58. Subbaxua 16’ 59. Bosgarrena 10 2/3’ Special thanks to the Palacio Euskalduna in Bilbao, the Karl Schuke Berliner IV. Manual Chamadewerk C- c4 60. Irekia (Octave) 8’ Orgelbauwerkstatt GmbH, Ainhoa Barredo, Francisco Cruz, Marie-Bernadette Dufourcet, 51. Tuba magna B 16’ 61. Biolontxeloa (Cello) 8’ Manu Legarreta, Jürgen Magiera, Aleksey Vylegzhanin and David Scott Hamnes. 51. Tuba magna D 8’ 62. Estalia (Gedeckt) 8’ 52. Trompeta B 8’ 63. Hamargarrena 6 2/5’ 52. Klarina D 8’ 64. Zortzigarrena (Octava) 4’

53. Bajoncillo B 4’ 65. Flauta 4’ Recorded in the Palacio Euskalduna of Bilbao, Spain on 26 and 27 March 2016 53. Klarinaltua D 4’ 66. Betea VI 2 2/3’ Artistic Director & Sound Engineer – Augustin Parsy

54. Bioleta B 2’ 67. Bonbarda 32’ Copyright photos courtesy of Patrick Fabre, Jürgen Magiera and Joseph Sieber. 54. Trompeta inperiala D 32’ 68. Bonbarda 16’ 69. Baxoia 16’ Cover Image – Patrick Fabre Design and Artwork – Woven Design www.wovendesign.co.uk 70. Tronpeta 8’

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Hakim plays Hakim Hakim Plays Hakim The Stahlhulh-Jann Organ of St Martin’s Church, Dudelange The Schuke Organ of the Palacio Euskalduna of Bilbao, Vol. 1 Naji Hakim Naji Hakim SIGCD296 SIGCD389

“one of the finest organists in the world and a composer of “Naji Hakim’s extraordinary virtuosity has never been in doubt, no little significance ... [Gershwinesca] brings this impressive and the brilliance of the reed stops en chamade on the one issue to a brilliant conclusion” hand and some delicious flutes on the other give him ample International Record Review opportunity for contrasts” Choir & Organ

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HAKIM PLAYS HAKIM HAKIM: PLAYS HAKIM THE SCHUKE ORGAN OF THE PALACIO EUSKALDUNA OF BILBAO, VOL.2

1 Ouverture Libanaise (2001) [7.36] Vol.2 BILBAO, OF EUSKALDUNA PALACIO ORGAN, SCHUKE 2 - 0 Suite Norvégienne (2012) [10.19] q - w Esquisses Persanes (2012) [10.10] e - g Suite Française (2012) [19.27] h - k Three Basque Dances (2012/2014) [11.52]

Total timings: [59.24] SCHUKE ORGAN, PALACIO EUSKALDUNA OF BILBAO, Vol.2

NAJI HAKIM HAKIM PLAYS HAKIM:

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth Road, SIGCD463