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DDD 73:49 - Recorded: Liebfrauenmünster Ingolstadt, September & October 2001; November 1997 Ouverture LibanaiseThe Ouverture Libanaise was first performed by Naji Hakim in the Liebfrauenmünster on 2 September 2001 as a piece of work commissioned by the town of Ingolstadt. It is designed as one movement and is based on Lebanese folk melodies. The rhapsodic lines of development of this piece of work follow a rondo form with a varied refrain. The sequence is characterised by irregular metres (Aksak metre 3+3+2), oriental scales, such as nawa-athar (C D E flat F sharp G A flat H), which are taken from the composer’s cultural homeland, and through a percussion-like use of the instrument. At the end of this piece of work the Lebanese national hymn is quoted. Pange lingua Pange lingua, a piece of work commissioned by the town of Ingolstadt, which the composer performed himself on 1 September 1996 in the Liebfrauenmünster Ingolstadt, is based on a hymn of the Holy Communion (from a text by Thomas Aquinas). The piece is based on a set of six variations, which was inspired by the structure of the text. The first variation, “Pange lingua”, consists of an ornamented duet on the cornet. The second “Nobis datus” is a short toccata on the tutti, the third “In supremæ nocte cœnæ”, a slow meditation in a choral style on the bourdons and gambas registers. The fourth variation “Verbum caro”, uses three motifs alternating with the different periods of plain chant. The fifth “Tantum ergo”, declaims the theme in octaves on the pedals with staccato-like chordal accompaniment in trochaic rhythm in a French style. The final movement “Genitori, genitoque”, is a brilliant dance in a rhapsodic style. Infernal Furioso Invernal Furioso for the organ, a symphonic fantasy, is the composer’s 20ieth piece of work for organ solo, and was created together with „finis“, a postludium for the organ in 1991. INFERNAL is connected with meditation I „De profundis“, which Helmschrott composed for the 1st Erding organ week in 1967. Both pieces of work are similar, as they try to convey the full volume of sound of an organ. This takes place in the form of a programmatic idea. FURIOSO means furious, hot-tempered. „Fury“ is contained in this root. „Raging“ itself also has something hellish, infernal about it. Furioso, as an expression of a kind of behaviour, also integrates a state of being, as is described in Dante’s Inferno, for instance. There is something breathless about Furioso. Thus, Furioso is also an expression of life, the state of rest and movement, at whose end is standstill, death. These multiple meanings make Invernal, Furioso an allegorical impression and reflection. Logically, there are only two levels for the musical implementation of „Inferno“, which confront each other as extremes: very quiet and very loud, very slow and very fast, rest and movement, meditation and emotion, depression and aggression, the tame and the wild, song and outcry, resignation and anger, grief and fury, peace and discord, love and hate. It’s the world that surrounds us. That is why this music is a piece of this time, today, a confession. This piece of work has a slow, quiet introduction and develops from deep tones and sounds. These are dark shades. A treble crosses four octaves. Heading towards a dynamic climax, it collapses into darkness again. The actual Furioso part (molto agitato) gets ready to pounce several times, stepping up to climaxes. All the stops are pulled out and the movement is ongoing. Breathless! Loud! Screaming! With three „invocations“ a target is reached ( a „clearing“), which is soon, however, interrupted by the quiet of the beginning, but then hurries on and, with two „beats“ abruptly brought to a standstill, is stifled. It is the subject of psalm 130: „Out of the depths I cry to you, o Lord!“ The première took place with Harald Feller on 13 October 1991 during the 25th Erding organ week. Dans la lumière Every kind of work, above all the artistic kind, has a genesis, a development, which sometimes remains hidden from us, because we are guided by the result. Thus, the linguistic communication of music is not always identical with the subjective emotions, the author experiences during his work. And that is a good thing. In this context, Dans la lumière is initially the result of a composition commissioned by the Internationale Orgeltage (international organ days) Ingolstadt 1993, a two-part organ piece with the parts slow – fast. However, during the beginning of the work, experiences of a special kind took place, which can be summarised as the “Extreme”: the suffering and death of a close human being. If the meaning of life is not death, but a different reality, then, according to our Christian understanding in the West, this other reality can only continue in an other “Empyreum”, in the “light”, in “God’s place”. In this sense, “In the light” (Dans la lumière) was created in a wide variety of connections, thus becoming an allegorical fantasy. L’Ascension L’Ascension – ascension, four symphonic meditations, is Olivier Messiaen’s first great organ cycle, which in a modified form, first existed as an orchestra version. The fundamental keys for the individual pieces are chromatically arranged ascending from E major to G major. I Majestät Christi, der seinen Vater um Verherrlichung bittet (Christ, the King, asking his Father for glorification)In the orchestra version this piece is set for wind players, whose sound character is adopted in the organ registration. The harmony, characterised by a chord of the seventh and the steady repetitions of the opening motif give the composition a static character – one interpreter believes to recognise “the picture of stone figures of Christ on cathedrals”. The meditation closes with a great crescendo: the glorification of Christ reaches perfection in his ascension. II Froher Halleluja einer Seele, die sich nach dem Himmel sehnt (Joyful hallelujah of a soul, longing for heaven) The exotism of this meditation refers to Messiaen’s later development towards Indian rhythms and bird songs. Formally, this piece strings together sections of variations, in the end part the first theme appears in the pedals, above this, chains of trills and glockenspiel figures, expressing a merry prevailing mood. III Freudenausbruch einer Seele vor der Herrlichkeit Christi, die ihre eigene ist (A soul’s joyous outburst at Christ’s glory, which is its own) This meditation, a virtuous toccata, piles chordal blocks and pieces on top of each other into an ecstatic song of jubilation. A “jubilus” across the entire range of manuals finally leads to a powerful F sharp chord. IV Gebet Christi, zum Vater aufsteigend (Christ’s prayer, ascending to his Father) The concluding meditation, characterised by a mystical solemnity of the flute and viola da gamba registrations, creates a detached, timeless atmosphere. The end of the composition remains open: a chord of the seventh without resolution.TLAs a soloist and a performer, Freddy de Rivaz delights us with his bright tone and beautifully controlled vibrato. His innate musicianship shines through every piece in this recording. This is a very personal and varied selection drawn from his wide repertoire. Freddy sings folksongs, carols and ballads as well as some boys’ voice anthems regularly sung at St Albans Abbey where he was a chorister in the Cathedral Choir for seven years. Such a talent is rarely found and this recording captures Freddy’s unique voice at the peak of his treble career. 1) GOD BE IN MY HEAD The Book of Hours was the Prayer Book used by lay people in mediaeval times. Commissioned by royalty, nobility or wealthy patrons, they became status symbols. Modelled on the Divine Office recited by the clergy, each day was split into seven “hours”. This simple prayer is a tribute to the seven years Freddy sang in St Albans Abbey. The quality of sound and controlled vibrato fits these ancient words precisely. 2) THE BIRDS LAMENT The Birds Lament is the first of the five songs in the Aviary based on poetry by Clare, Tennyson, Shelley and Coleridge. Clare’s poetry is wonderfully descriptive of the English countryside in the early 19th Century. First the linnet and then the jay speak of unrequited love. Then the crow and rook do likewise in a minor key. Finally, after a glorious modulation back to the original Spring-like major key, the speckled thrush laments the loss of its love too. 3) O MYSTERIUM INEFFABILE This “Unspeakable Mystery” finds its voice in this perfectly formed piece accompanied by a simple 8ft stop on the small chamber organ. This simple performance with its beautifully understated use of ornaments reflects the underlying sense of calm of the writer in his joy of fellowship, love and confidence in the Holy Sacrament. 4) LET HIM WHO SEEKS This short anthem is a fine example of the extensive repertoire sung by the choristers of St Albans Abbey at their regular weekday Evensongs. These services provide a regular opportunity to build confidence in young choristers who will sing their first solo without the pressure of a large weekend congregation making them nervous. The anthem has sudden contrasts of light and shade showing the versatility of the fine Harrison & Harrison organ. The idea of “Seek and you shall Find” drives through to the unexpected and almost ethereal final note. 5) A HYMNE TO GOD THE FATHER The first time Freddy sang a part of this anthem as a solo the organists were so impressed that they assumed his father, an experienced singer, had coached him. It was a surprise to everyone that this was not the case and his interpretation was just his innate musicianship that became his hallmark. Each of the three verses has a contrasting musical form with the dramatic climax in the final verse. But each has the clever play on the author’s name – “When thou hast done, thou hast not done, for I have more.” 6) BALULALOW (A Cradle Song) This lovely Cradle Song, sung in the original 16th Century language, is overflowing with pathos. Its’ descending chromatic phrases hinting, perhaps, at the terrors of Christ’s torment and sacrifice to come. 7) ALMA DEL CORE This is one of many Italian arias that have been the basis of vocal teaching and voice production for years. Like Antonio Lotti, Caldara was a choirboy at St Mark’s Basilica in Venice. In 1716 he moved to Austria to serve the Imperial Court in Vienna and the Viennese influence is present in the florid embellishments towards the end of this piece. In the opera “La costanza in amor vincel’inganno”, this declaration of undying love by Clizia is responded to in a lower key by her lover Tirsi in a repeat of the aria in the Alto clef. 8) AN EVENING HYMN This piece is also from the weekday boys’ evensong repertoire. More appropriate to the office of Compline it speaks of the certainty of protection by “Angels round my bed”. Traditionally, a senior chorister soloist, adding no less than 30 additional notes, heavily embellishes the third verse. In no less tasteful and musical manner, this is the definitive version! 9) AVE MARIA Gounod, a prolific composer and arranger, transcribed Bach’s 1st Prelude while living in Paris in 1852 and fitted his new melody. The “discovered” melody was an instant hit. To fit the melody, it was necessary to repeat the first 4 bars and add a new bar at bar 28. It is now hard to imagine that the Prelude had had a life of its own without this melody for so long. The Catholic Marian text in Latin fits perfectly with the relentless progression of harmonies leading steadily to the final crescendo on the dominant 5th (repeated no less than 16 times!) and including the ringing top A and perfectly executed arpeggios. 10) LITANY TO THE HOLY SPIRIT Dr Peter Hurford was organist and choirmaster at St Albans Abbey from 1958 until 1978. This is a piece well matched between organ accompaniment and voice as almost independent entities. The melody overlays a steady repeating ground base motif in the organ. Freddy’s relaxed performance evokes the peace and tranquillity of Exmoor and, in particular, of the sun streaming in through the ancient stained glass windows of St Mary the Virgin, Luccombe where Peter used to play the organ as a young man. 11) THAT YONGE CHILD From Britten’s “Ceremony of Carols”, this is quite an unsettling piece with its chromatic intervals, intricate rhythms and minimalist piano accompaniment. Not your average Christmas Carol and a difficult piece to perform in every respect. 12) PIE JESU The “Pie Jesu” is usually sung by all the boys in the St. Albans Abbey Choir together to maintain the continuity of sound required in the long sustained phrases. It is a deceptively difficult piece to perform as a solo. In this performance, the versatile registrations of the Harrison & Harrison organ as an accompanying instrument are heard to best effect. 13) SKYE BOAT SONG This Jacobite Ballad tells the true story of the exciting escape of Bonnie Prince Charlie (24) from the English in 1746 led by the Duke of Cumberland (25). 2,000 Scots were killed on Culloden Moor while the English had just 50 casualties. Having escaped to the Outer Hebrides, he enlisted the help of a local girl Flora MacDonald (24). Disguised as an Irish spinning maid, they obtained a licence to travel East to Skye – a 60 mile (90km) boat trip. From there he escaped to Europe and she, after a spell in the Tower of London was pardoned and emigrated to America. In the lilting accompaniment you can feel the waves tossing the little boat as the six oarsmen battled against the Atlantic swell. 14) HEAR MY PRAYER This excerpt without choir backing starts with the recitative before launching into the famous “Oh for Wings of a Dove” section. This is a classic treble solo and no recital would be complete without it. 15) THE SALLEY GARDENS This beautiful Irish folk song of love and regret is one of the set Britten arranged entitled “British Isles”. Using Yeats’ famous words and the traditional Irish melody, Britten has added a steady quaver accompaniment in the right hand with occasional bass phrases that give this arrangement its character. 16) IN TRUTINA from CARMINA BURANA Freddy had heard an old recording of Lucia Popp, the famous Czech-born soprano singing this beautifully sustained movement from Carmina Burana. It is an oasis of calm between the hectic percussive movements that surround it. Freddy’s performance is in similar style and poise and makes a fitting coda to this recital
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