Psalm 147: Lauda Jerusalem, 1610 Vespers
Chiome D’oro, Settimo Libro di Madrigali
Lamento della Ninfa, Octavo Libro di Madrigali
Laudate Dominum omnes gentes (primo), SV 272
Zefiro Torna E Di Soavi Accenti, SV 251
Gloria in excelsis Deo, SV 258
Dixit Dominus, SV 264
Ave Maris Stella, 1610 Vespers
Laetaniae della beata vergine
Beatus Vir, SV 268
The Early Music Collective
Ben Horden Artistic Director
Johann Sebastian Bach Prelude and Fugue in G major BWV 541
Johann Sebastian Bach trans. Sigfrid Karg-Elert Air from Orchestral Suite in D major BWV 1068
Franz Liszt Fantasia and Fugue on BACH
Following a lapse in contributions to the organ repertory during the latter part of the eighteenth century, the complexion of the nineteenth century looked altogether different and played host to a revival of interest in the instrument. Often referred to as the ‘Bach revival’, the movement also saw a fresh enthusiasm for Bach’s work by musicians and composers. This programme presents works by some key players in the development of the organ and its music in Germany, not least, of course, Bach himself.
Max Reger Introduction and Passacaglia
Johannes Brahms Chorale Prelude and Fugue “O Traurigkeit, o Herzeleid!”
Felix Mendelssohn Bartholdy Prelude and Fugue No.1 in C minor
Johann Sebastian Bach Chorale Partita “Sei gegrüsset, Jesu gütig” BWV 768
Franz Liszt Fantasia and Fugue on the name BACH
Of the many organ genres of the 18th century, the Chorale Partita is perhaps the least familiar; this concert gives an opportunity to hear one of Bach’s finest offerings and to spot his influence on later composers. The concert hall’s neo-classical organ built by Grant, Degens and Bradbeer would have been recognized by Bach and also by Mendelssohn, Liszt, Brahms and even Reger.
Olivier Messiaen Joie et Clarté des Corps Glorieux
Jeanne Demessieux Douze Choral Préludes sur des thèmes grégoriens
6. Hosana Filio David
5. Vexilla Regis
7. O Filii et Filiae
Alan Ridout Three Resurrection Dances
A former Director of Music, Ben returns to St Matthew's Church, Northampton to give the Easter Day organ recital. Twentieth-century composers from both sides of the channel offer musical responses to the resurrection narrative. The recital precedes Choral Evensong, sung by the choir of St Matthew's Church at 6.30pm.
This recital is part of the London Handel Festival
Jean Baptiste Lully, trans. Ben Horden Ouverture from Ballet Royal de la Nuit
Johann Sebastian Bach Concerto a-Moll BWV 593
nach dem Concerto a-Moll Op.3 Nr.8 (RV 522) für zwei Violinen, Streicher und Basso continuo von Antonio Vivaldi
Henry Purcell Voluntary in G
John Stanley Voluntary in D minor, Op.5 No. 8
George Frederic Handel, trans. John Walsh (1738) Organ Concerto in F major, Op.4 No.5
This programme traces Handel’s life and work across the turn of the 18th century. Although Handel only contributed a small number of works to the keyboard repertory, in this recital his journey is represented by music from his contemporaries and those who influenced him and whom he influenced.
Born in Halle, Handel’s roots lie in the North German tradition, although the early formation of his style is less native and perhaps owes more to his European contemporaries; from Lully, the master of the French Overture to Scarlatti and the other masters of the Italian style and form. Capitalising on the loss of enthusiasm for Purcell’s stage music following his death, Handel cultivated the already growing interest for the Italian style in London, particularly Italian opera. An eventual wain of interest by London’s fickle audiences provided the catalyst for Handel’s oratorios and their performances at Covent Garden. His celebrated organ concertos, around one of which this programme is centred, were written as interludes and were the first of their kind for the combination of instruments. By this point in his life Handel was fully integrated into the musical life of London and fully endorsed by his Royal patrons and adoring audiences.
Although direct contemporaries and admirers of each other’s work from afar, Handel was outside of Bach’s sphere of influence. Surprisingly, the only thing shared by these two giants of the Baroque was the fatal incompetence of their eye surgeon. Following Handel’s death in 1789, the baton was picked up by John Stanley, a faithful advocate of Handel and admired hugely by him. Stanley strived to maintain Handel’s legacy at Covent Garden, although like so many, was eclipsed by the work of the Baroque Master.