Ad nos would also have been in Jongen’s mind after he heard it performed in by It is possible that, like the Sonata Erdica, the Toccata (Op. ) was also. Buy Toccata by JONGEN, J at Organ Sheet Music. Jongen, Joseph. Published by Masters Music, Boca Raton. Copyright Reprint of the . Toccata (organ): : Joseph Jongen: Books.
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That was followed by the “Alleluias sereins” from Messiaen’s “L’Ascension,” in an unusually reedy but unusually clean performance that gave the work’s mysticism a pronounced Oriental cast.
Flutes and drums could be heard amid the canonic writing of Swiss composer Guy Bovet’s “Salamanca,” a flavorful if mildly dissonant evocation of the Spanish dance. Those came by way of a program that embraced everything from the cooing intimacy of Domenico Scarlatti’s Sonata in C major K.
For me, I fear, there isn’t much more in the Belgian composer’s work. Before then, however, we got the opening Allegro vivace tocccata the Widor Fifth Symphony, again fastish but boasting a breathtaking tonal palette and wide range of registers.
He does exploit the organ’s resources to the full, however, and here even Weir did not hold back.
In Weir’s hands, the Muffat chaconne had both clarity and atmosphere, and the Bach toccata a controlled exuberance that made the most of its celebratory aspects, if not its registrational potential. Deseret News Church News Subscribe. No encores, as it turned out.
ENGLISH ORGANIST BALANCES TASTE, EXCITEMENT | Deseret News
But that will undoubtedly be taken care of via future installments, featuring organists Douglas Bush July 31Martin Baker Aug. Hence the sonata’s opening boomed out rhapsodically, almost brawlingly, before moving into the more delicate, even impressionistic aspects of Jongen’s craft. Fun trivia about popular Christmas music. As it happened, Jongen also closed the recital’s second half, by way of his D flat major Toccata.
But the pedals were never far away, reasserting themselves mightily, along with everything else, at the piece’s close. Nonetheless, colors were strong, even in the pedal solo, as was the rhythmic impetus.
Then came the Jongen toccata, again big and splashy yet curiously unmemorable. After which came the quietly varied flute textures of the Durufle Scherzo – his first work for organ – here watery but mercurial.
ENGLISH ORGANIST BALANCES TASTE, EXCITEMENT
After which it got yet another baptism of water and of fire. The opening concert in what is being billed as the first annual Eccles Organ Festival, the event also saw the official renaming of the cathedral’s new four-manual Kenneth Jones organ as the Eccles Memorial Organ.
Still, it was the lateth and earlyth-century French school that dominated the remainder of the evening, beginning with the subdued richness and reflection of “Rosace,” from Henri Mulet’s “Byzantine Sketches,” and moving to the Jongen sonata, which itself embraced a world of sound. It’s not every performer who can manage to be both tasteful and exciting, but English organist Gillian Weir did just that in her recital Sunday at the Cathedral of the Madeleine.