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Iglesia de SAN ANTONIO (de los Padres Capuchinos)
Montevideo
28.september 2008
INES MAIDRE, organ (Norway –Estonia)
PROGRAMME
Johann Seb.BACH
1685-1750
Toccata und Fuge in d BWV 565
Dietrich BUXTEHUDE
1637-1707
Passacaglia in d BuxWV 161
Peeter SÜDA
1883-1920
Prelude and Fugue g–minor
Pastorale
Egil HOVLAND
1924
Toccata “Il Canto del Mare”
Olivier MESSIAEN
1908-1992
from L’Ascension
II Alléluias sereins d’une âme qui désire le ciel
III Transports de joie d’une âme devant la gloire du Christ
Kurt WIKLANDER
1950
Choral from Dalarna: Come, Holy Spirit, to me
Guy BOVET
1942
From Tangos ecclesiasticos
Tango de medio registro de tiple de novento tono, de Polonia
Robert PRIZEMAN
1952
Toccata “Songs of Praise”
Peeter Süda (1883-1920) is an Estonian composer who dedicated all his life to one instrument - the
organ. Himself an outstanding organ virtuoso, his compositions bear the recognizable stamp of his
own style of expression and technical capability. Unfortunately Fate did not give him much time: he
died at the age of 37, leaving behind a small-sized output elaborated to perfection. His complete organ
works have so far remained the apogee of Estonian organ music and decorate concert programmes as
evergreen classics.
The Prelude and Fugue in G minor are, undoubtedly, the best and most monumental of his
compositions.The work demonstrates his perfect of command instrument and counterpuntal
technique.
In the theme on which the prelude and the fugue are based, the intonational affinity with B-A-C-H is
noticable. The introduction of the Prelude can be compared with a stormy sea. A relief to the rapid
passages is brought by a placid fugato on B-A-C-H.
Especially gripping with its dramatic tension is the Fugue in G-Minor, a large three-movement
composition. The work which begins with a melancholy epic mood, reaches for larger and larger
sound blocks and achieves its dynamic crest in a chromatic impetuous Liszt-like passage across the
entire keyboard. In the final decay of the coda there is something as sad as in Süda’s own early death.
Pastorale E Major based on an Estonian folk tune. The idyllic atmosphere is intensified by the
rhythm swaying in the 6/8 beat, which creates an association with the placid undulation of the sea.
Guy Bovet’s (1942) interest in the early Spanish music has resulted in his original and witty cyclus
inspired by the tango rhythms. 12 ecclesiastical Tangos are written in the 12 different church modes
and have been modelled in different styles of historical organ writing. Despite the church modes and
canonic rules these dance opuses radiate of syncopated rhythms and passionate pulse. The composer
admits that this music, although New, belongs to the Early Music which means that “many things
remain to the Discretion of the Performer”.
Kurt Wiklander (1950), a composer who holds 3 soloist’s diplomas from the Musikhochschule in
Cologne (solo organ, solo piano and composition), lives amid the natural beauty of the west cost of
Sweden and claims the solitude of the Nordic countryside and genuine Scandinavian folk-music as his
principal sources of inspiration as a composer. His Scherzo ostinato (1985), the first of his
compositions to be published, has reached a particularly wide audience. The piece written in ABA
form, is based on a short characteristic motif which is developed in many different ways, including a
technique of compression.
Choral from Dalecarlia – Come, holy Spirit, to me -op.17 is based on an originally richly ornamented
ancient folk-melody; the accompaniment is therefore as simple as it could be.
Egil Hovland (1924) is one of the most prolific modern Norwegian composers whose work features
strongly both church and concert music. As a performing organist he has excellent knowledge of the
possibilities of the organ and he has experimented with them in many different compositional
techniques. While his early compositions express a drive towards modern sounds, free tonality and
the universal as opposed to the national, his later works are characterized by a softer, neo-Romantic
sound language, which can also be found in his thematic work Il Canto del Mare. A multi-part cycle
depicting the different states of the sea, its finale culminates in a powerful and technically brilliant
Toccata, the heaving texture of which creates almost visual images of the lofty spontaneity of the sea –
it is as if the sounds of the sea could be heard through the organ.
Robert Prizeman (1952), a composer and organist from London, has composed both for
radio, TV as well as music for worship. Toccata “Songs of Praise” exists also in a version for
organ, brass, timpani and cymbals.
Choral settings by Norwegian composers G.Pedersen, K.M. Karlsen and E.Hægeland are based on
Norwegian religious folk melodies and carry a clear sign of nordic, folkloristic writing.