Riyehee Hong RECITAL IN LRCD–1123 YTAorYLOR AkND B OOSDY p OPUrS 12 ings RECITAL IN Riyehee the music YTAorYLOR AkND B OOSDY p OPUSr 12i (19n86) gs Hong Fugue in G minor fugue Johann Adam Reincken (1643-1722) 1 Fugue in G minor Johann Adam Reincken 4:48 A key figure in Dutch and North shows how much the form had evolved German organ music, Johann Adam since the time of Sweelinck. 2 Paduana Lachrymae Melchior Schildt 5:30 Reincken may have exercised considerable 3 Præludium in E minor Nicolaus Bruhns 9:10 influence on J.S. Bach, who later arranged Paduana Lachrymae several of the chamber works in Reincken’s Melchior Schildt (1592 or 1593-1667) 4 Mein junges Leben hat ein End Jan Pieterszoon Sweelinck 7:37 Hortus musicus for organ. Reincken’s early The son and grandson of organists in 5 Tiento de 1º tono de mano derecha Pablo Bruna 3:59 musical training was in his home town of his native Hanover, Melchior Schildt moved Deventer, in the Netherlands, but as a to Amsterdam in 1609, where he studied 6 Trio in G Gottfried August Homilius 2:58 teenager he studied in Hamburg with with Sweelinck for three years. Lost for 7 Voluntary in A minor, op. 6, no. 2 John Stanley 5:12 Heinrich Scheidemann, a student of Jan nearly three centuries, Schildt’s music was Partita in A major, HWV 454 George Frideric Handel Pieterszoon Sweelinck and organist at St. rediscovered in manuscript in 1955, and 8|Allemande 4:14 Catharine Church, the post to which exemplifies the North German organ school 9|Courante 2:39 Reincken would hold from 1663 until his of the first half of the seventeenth century 10 | Sarabande 2:21 death in 1722. Authorship of the Fugue in that was influenced by the techniques of his 11 | Gigue 2:26 G minor on this recording is not teacher. (For a recording of the complete definitively known but is widely attributed works of Schildt, see Loft Recordings LRCD- Prelude and Fugue in A minor, BWV 543 Johann Sebastian Bach to Reincken. With its highly profiled 1104 “Organ Works of Melchior Schildt”) 12 | Prelude 3:27 subject combining arpeggios and driving, His Paduana Lachrymae is a set of five 13 | Fugue 6:36 repeated notes, alternating with episodes of variations based on the first of seven TOTAL TIME: 60:59 highly figural sequential composition, this pavanes in the collection Lachrimae , or 2 3 Seaven Teares , for lute and consort of viols, remained until his early death at age 31. Reincken) in Deventer, but resident in compositions characteristic of the North published in 1604 by the English composer Bruhns’s surviving output for organ is Amsterdam nearly his entire life, Sweelinck German school in the seventeenth century John Dowland. Schildt’s variations are small: four præludia (one probably not was organist of his city’s Oude Kerk for and later. Sweelinck’s set of six Variations filled with quasi-improvisatory scalar his) and a large chorale fantasia on Nun more than 40 years. During his lifetime his on the secular tune Mein junges Leben hat passagework characteristic of the lute komm der Heiden Heiland . The præludium fame and influence as a composer and ein End display his mastery of variation origins of this pavane, yet take full presented here is the larger of two in E performer extended throughout Europe. techniques. (Like his student Schildt, advantage of the resources offered by the minor. Its five sharply contrasted sections Sweelinck left a large body of vocal, organ, Sweelinck also composed variations on keyboard to present variations that exhibit masterfully display the principal and harpsichord music, notable for its Dowland’s Paduana Lachrymae ). The steadily increasing contrapuntal and compositional techniques of the organ virtuosity, motivic development, and work is comprised of six variations. In the rhythmic complexity. music of its time: an opening, contrapuntal sophistication; in the latter first three variations the melody is improvisational toccata; a fugue in the domain, Sweelinck is especially notable for presented unadorned over a lively Præludium in E minor ricercare style whose slow, descending his fugal writing, which foreshadowed the accompaniment that includes motivic Nicolaus Bruhns (1665-1697) chromatic subject and pulsating, repeated- innovative and highly learned fugal imitation and increasingly rapid keyboard Descended from a family of musicians note countersubject masterfully culminate active in Schleswig-Holstein, Nicolaus in affecting, plangent dissonance; a Bruhns, a student of Buxtehude, was a second, lengthy toccata of greatly varying leading figure of the North German organ textures; a second, lighter fugue with a school of the later seventeenth century. A gigue-like character; and a concluding violinist and gambist in addition to being toccata finishing off the work with a quick, an organist, Bruhns was famous for intense climax. accompanying his own elaborate violin performances while seated at the organ Mein junges Leben hat ein End playing the pedals. Buxtehude Jan Pieterszoon Sweelinck (1562-1621) recommended Bruhns for a position in The Dutch organist, composer and Copenhagen, where Bruhns worked for a teacher Jan Pieterszoon Sweelinck—the few years before becoming organist in the “Orpheus of Amsterdam”—occupied a North Frisian town of Husum, close to the towering position as progenitor of the modern border of Denmark, where he North German organ school. Born (like 4 (due to smallpox contracted at the age of Trio in G Church of All Hallows, Bread Street, and at five), he became organist and later Gottfried August Homilius (1714-1785) seventeen was reportedly the youngest choirmaster of the church of St. Maria in his Homilius was a composer of a large recipient of a B. Mus. degree from Oxford. native city of Daroca in Aragon, Spain. number of vocal and instrumental works Stanley had a remarkable ability to assimilate Bruna composed twenty tientos , works in a who has enjoyed an increasing reputation new works, and his great versatility and skill free, often imitative and virtuosic style as advocate of the empfindsamer Stil made him a leading light in London musical comparable to the fantasia or toccatas (“sensitive style”), especially in sacred life in the age of Handel and later. Stanley current in other countries of seventeenth- music of the early classical period. While a conducted many performances of Handel’s century Europe As with the Italian law student in Leipzig in the 1730s and oratorios and was, as Handel had earlier appellation toccata , the Spanish tiento 1740s, Homilius, who had a much stronger been, a governor of the Foundling Hospital derives from the verb “to touch,” interest in music, studied composition and (famous for its annual charitable suggesting a sophisticated work for organ with J. S. Bach. In the Trio in G one performances of Messiah ). In 1779 he keyboard. Bruna’s Tiento de 1º tono de can observe, in the studied imitation, the became Master of the King’s Music, a post he mano derecha is in three broad sections interplay of figuration in the two manuals, held until his death. The work on this figuration. The fourth and fifth variations and, as the title suggests, accords a the sequential writing, and the fluent recording, Stanley’s Voluntary in A minor apply figuration to the theme itself, while prominent role to the right hand. The first support provided by the pedals, key from 1752, consists of two contrasting the accompanying parts, in contrast, start section starts in a solemn, imitative style but characteristics of Bach’s trio writing; yet in movements. The stately opening Andante out simply but then become ever more quickly introduces a bouncing cadential the Homilius the tone is lighter, simpler, weaves a tight web of short motives in a active rhythmically and contrapuntally. figure that is then repeated sequentially and perhaps deliberately “edifying” in the texture characteristic of the by-then- The closing variation recalls the texture many times. A formal break announces a manner of this newly emerging style of the receding high Baroque. In contrast, the two- and mood of the opening; the contrapuntal second section, in triple time, filled with mid-eighteenth century. voice texture of the Allegro that follows is intricacies of the accompanying parts are syncopated rhythms yet retaining an bright and cheerful despite its overall minor again contrasted with the unadorned essential connection to the ascending Voluntary in A Minor, op. 6, no. 2 key, punctuated by rapid passagework and theme as the variations come to their close. melodic figure that opened the work. A John Stanley (1712-1786) sequences along with frequent digressions third section is joined almost seamlessly to Nearly blind from the age of two, the into major keys. The Allegro’s clear sectional Tiento de 1º tono de mano derecha the second, similar in tone to the imitative London organist, violinist, and composer form, with its many restatements of its Pablo Bruna (1611-1679) texture of the opening, yet increasingly John Stanley began musical studies at seven. opening material, contrasts strongly with the Even though Pablo Bruna was blind dominated by elaborate figuration. By eleven he was appointed organist at the through-composed structure of the Adagio. 6 7 Partita in A Major, HWV 454 quasi-improvisational style are present in George Frideric Handel (1685-1759) the prelude. They include broken-chord the organ The Partita in A major is one of several figuration of contrapuntally-conceived keyboard works that Handel composed harmonic progressions over chromatically around 1705-06, likely in Hamburg. It descending bass lines, virtuosic cadenza- HOLY TRINITY LUTHERAN CHURCH follows the traditional plan, also employed like passages, and harmonic progressions YORK SPRINGS, PENNSYLVANIA in the sonata da camera , of allemande, of steadily increasing tension played over TAYLOR & BOODY ORGANBUILDERS courante, sarabande (here in the style of a long-held pedal tones.