GMCD 7195 You can order this CD in our E-Shop under Orchestral Music Reviews 7187 ***Sound Clips***	Triumphal Music for Organ & Orchestra Joseph Jongen Symphonie concetrtante for Organ and Orchestra op 81 Marcel Dupré  Cortège et Litanie op. 19/2 Concerto in E minor op. 31   Franz Hauk - Organ The Ingolstadt Philharmonie Alfredo Ibarra - Conductor

Contents:

DDD Total Time = 67:52 Recorded: Liebfrauenmünster, Ingolstadt, 11-14 August 1997

The Belgian born Joseph Jongen is one of the most important composers in his native country. While first studying at the Conservatoire of his hometown Liège, he developed his gift for organ improvisations early in life. After Jongen had received the Prix de Rome for his cantata Comaia in 1897, a scholarship enabled him to travel to most major musical centres in Europe: In Berlin (1898), he studied the works of Johannes Brahms and Richard Strauss. In Munich, he was introduced to the operas of Richard Wagner. Further stop overs were Vienna and Rome. In Paris (1899), he became friends with Vincent d’Indy and Gabriel Fauré. In 1902, Joseph Jongen was appointed Professor of Harmony at the Liège Conservatory. After an extended stay in England during the First World War he became Professor of Fugue at the conservatory in Brussels functioning as its director from 1925 to 1939. Even though Jongen was striving to develop his own independent style of composition, influences of César Franck, Claude Debussy or Maurice Ravel are clearly evident in his works.

Composed in 1926 the Symphonie concertante op. 81 is among Jongen’s late masterpieces. A commission work dedicated to his brother Léon, this composition was originally intended for the inauguration of the Wanamaker Organ in Philadelphia. But Mr Wanamaker died suddenly and this project was never realized. The original performance took place in Brussels’ Conservatoire Royal de Musique on the 11^th of February 1928; Désiré Defauw directed the conservatory’s orchestra with the composer at the organ.

The work includes four very contrasting movements: an introductory symphonic movement influenced by a church mode and structured in open sonata form, a Scherzo in 7/8 with a stylistically independent rhythm, a Lento, rich in harmonies which now and then touch upon atonality. Finally, the closing movement consists of a virtuoso Toccata which is reminiscent of Ravel’s and Resphigi’s colourful movement and forms the symphonic counterpart to Charles-Marie Widor’s well known catchy tune.

Eugène Ysaye (1858-1931), one of the outstanding violinists of the 20^th century, survived his time also as a famous composer, and was present at the première of the Symphonie concertante op. 81. Afterwards, he shared his personal thoughts in a letter to Jongen. Ysaye’s ideas, published here for the first time, are an interesting and stimulating document of the time:

Brussels, the 15^th of February 1928

My dear Jongen,

I simply have to tell you how much my old musician’s and Walloon’s heart enjoyed your new symphony. Our good old friend van Hout, who had invited me to hear the work, said, "It is a masterpiece!" – I said: "It is a masterpiece, a musical monument which honours the whole country, especially Wallonia…." Yes! – It is charming, varied, very personal, colourful, full of strange yet appealing harmonies; – it is new, – an excellent performance, without any violent friction. (I detected a small bitonal section, which amused me much.) The form is clear, the design well thought out, and it is always music, good and clear music, which speaks, expresses, sings, continually arousing interest and enthusiasm, without disturbing the honest response of the listener… The first part in a "fugal style" is a real treasure, a true creation: Here the composer displays his skill, his impeccable personal style – neither pedantic nor emotionally cool; once again we find his honest and lively style, his Walloonism – rhythmically some passages are reminiscent of the folklore from Liège.

The "Scherzo", artistically introduced by the organ is a delightful, elegant and intellectually stimulating gem; it is the charm that touches us here. For a work of such breadth the character of this movement is perfectly fitting. Then the slow movement begins, possibly lasting a bit too long, but it is very deeply moving, the inspiration shaping melodies and soft harmonies into a poem, just like Virgil does in his poetry. – The Finale crowns the work in a ceremonious way: Oh! This Finale! It is simply sparkling, brilliant, in the highest form, very inspired, with a blazing rhythm, rousing, in short: "It is fantastic!"

The instrumentation – without especially stressing the customary elements of the modern orchestra – is of an astonishing richness: the knowledge of the sounds, the arrangement of the tonality as well as the absolute uniformity of the lines. The colours adapt themselves here and blend together in a simple and natural way; all this is evidence for the superior knowledge of the musical capabilities of a string orchestra. Finally, the complete control over the entire instrumental skilfulness has to be mentioned and emphasized. In summary, it is fitting to award this symphony the grandeur of an original creation, even of a monument, of which Belgian art should be proud! – In my opinion, the title "Symphony with Organ" can be deceiving; – would it not seem more appropriate to entitle the work "Symphony for Orchestra and Organ"?

The voice of the organ does not possess mystical significance in this work, nor is it an expression of religious feelings, faith or supernatural visions; the ecstasy of the hereafter does not adhere to any principles. In a traditional sense the words "with Organ" usually refer to the organ as adding support, strength and an element of variety; this is not the role the queen of instruments with her lavish musical possibilities has been assigned here. The organ is not restricted, not limited: Its part is characterized by freedom; here the organ could easily resemble a second orchestra, which at times makes suggestions or gives orders, while the first orchestra comments and enriches; the voice of the organ often stands out, but never obsequiously; it mixes with the other voices like a soft scent of virtuosity, which enchants the ear by arousing interest, without following the character of a concerto.

During the course of the piece the organ adds pomp to the forces of the orchestra and at the climax all voices contribute to the most wonderful ensemble one can imagine. Only the voices of the choir are missing to praise the archangel Michael!

These are, my dear Jongen, my impressions of this masterpiece, which I have hopefully understood correctly? From the bottom of my heart I thank you for the feelings, for the deep emotions, which I have experienced. I believe that my poor Theo, who liked you very much – had he been present – would have felt the same as I did letting the great breath of this grand, immortal works pass over me! …

Greetings from your old friend.

E. Ysaye

It was already at a very early age that Marcel Dupré, being born into a family of musicians, received lessons on the organ from Alexandre Guilmant. He finished his studies at the Paris Conservatoire, where he studied also with Charles-Marie Widor, Louis Vierne and Louis Diemer, winning numerous first prizes. In 1926, he became the successor to Eugène Gigout as professor of organ at the Conservatoire and in 1934 he took over Widor’s post at the organ of St. Sulpice.

Marcel Dupré’s Cortège et Litanie op. 19/2 was composed in 1921 as a reworking of some stage music. On demand of his impresario, Dupré wrote a version for organ and orchestra, which was first performed by the Philadelphia Orchestra directed by Leopold Stokovsky with the composer at the gigantic Wanamaker-Organ with its 450 registers. The title of the work doubles as musical programme: A chorale motif in running motion in quavers symbolizes the steady marching procession, then a motif incessantly repeated in different pitches sets in with a running motion in semi quavers, a musical petition, the invocation of the saints. As Duprés biographer Abbé Delestre pointed out, it reflects the composers admiration of the Russian masters. A contrapuntal superposition of both motifs leads to a cheerful conclusion.

At the middle of the 19^th century, the combination of organ and orchestra turned into an aesthetic and compositional problem at times, since the organ itself during its structural and tonal development had become a substitute for the symphony orchestra. Berlioz, for example, in his study of instrumentation strongly disapproved of the merging of organ and orchestra, because the Aliquot registers of the organ would, in his opinion, have an unfavourable influence on the sound of the orchestra. A view which both Charles-Marie Widor as well as Richard Strauss revised in their new version of Berlioz’ "Traité d’instrumentation et d’orchestration moderne". While Camille Saint-Saëns only made use of the organ in a few places in his famous "Organ Symphony" and allocated to it only the function of an orchestra instrument, Alexandre Guilmant and his student Marcel Dupré understood the organ as an independently sounding body corresponding with the whole orchestra.

Duprés style of composition is shaped by a contrapuntal way of thinking following Johann Sebastian Bach: subjects are combined with each other and return like a leitmotif. Similar to the Symphonie in g-minor op. 25 composed in 1927, Dupré’s Organ Concerto in e-minor op. 31 focuses also on the problem, how to integrate the organ as an independent instrument into a large symphony orchestra: "The orchestra includes four groups: strings, woodwinds, brass and percussion – just like the organ: bass voice, soft and strong reed work, mixtures. Hence, organ and orchestra have to be treated like a double choir, side by side and apart, in groups or colour combinations. However, it is not necessary that the organ always be in the background." The work is dedicated to his wife Jeanne-Marcel Dupré and was first performed in Groningen (Holland) on the 17^th of April 1938 under the overall direction of Cornelius Kuiler with the composer at the organ. In Paris, the piece was first heard during the Concerts Lamoureux under the direction of Eugène Bigot on the 27^th of October 1938. Once more, Marcel Dupré played the organ.

The first movement of the organ concerto op. 31 is based on three subjects. After the beginning subject introduced in a block like way in forte by organ and orchestra, an organ motif follows using a dactylic rhythm which is immediately taken up by the orchestra. The organ also introduces the third subject: a hovering melody carried by the flute registers. The second movement starts in a quite, characteristic chorale-like style; the second subject creates a stark contrast to this with its almost folkloric cheerfulness. Once more both subjects are combined in a grand, but finally abating intensification. The Finale gathers all its forces in a forward-rushing, pulsating six-eight rhythm. Once more a brilliant organ cadence presents all subjects of the work, before orchestra and organ pile up the end in a grandiose major apotheosis.

Page revised 30.06.03