NEWSLETTERThe newsletter of the Karg-Elert Archive with news and comment from around the world

ISSUE 77 SEPTEMBER 2014 ISSN 0954 53328Sigfrid Karg-Elert, 1877-1933, was an important German composer of the late nineteenth and the early twentiethcenturies. The Karg-Elert Archive was founded in 1987 with the objective of encouraging the performance, recordingand publication of his music. Growing in appreciation by a widening circle of performers and discriminatingaudiences; it represents a peak of late Romantic music in its emotional intensity, variety of styles and imaginativeuse of resources, both instrumental and vocal.

KARG-ELERT’S COMPLETE WORKSFOR FLUTE (NAXOS 8.573269-70)2 CDsIt is perhaps inevitable that much content in the News-letters is confined to performances and recordings ofKarg-Elert’s music for organ, and, less frequently, of thatfor the piano. The recent issue on the NAXOS label ofthis composer’s complete works for flute is of sufficientimportance for it to be given priority in this issue. Whilesuch works have been recorded separately from time totime by different performers and in conjunction with themusic of other composers, the recent issue of the com-plete works for flute provides an ideal opportunity for thisunique achievement to be recognised, an achievementmarked by the outstanding interpretative skills of the twodistinguised performers. We warmly recommend this re-cording, which represents a landmark in the recognitionof such an important part of Karg-Elert’s compositionaloutput.

The Archive receives more enquiries about Karg-Elert’s works for flute than for any other of his compos-itions. This is because so many of his compositions forthis instrument have disappeared without trace; how-ever, those that have survived receive regular perfor-mances. (See, for instance, those listed in the May 2014and this Newsletter) Our thanks are due to those whoperform these works, most of which ‘stretch virtuosity tothe instrument’s limits’ (as stated in the liner notes of theComplete Works for Flute). Now, for the first time, theyare all available in this imaginatively conceivedproduction by Naxos – famed for its championing oflesser-known but important music given committed inter-pretation by musicians of the highest order. This iscertainly evident in the double Naxos CD, featuring ThiesRoorda, flute, and Nata Tsvereli, piano, whose CDBeyond Late Romanticism was reviewed in the May2014 Newsletter. There, Karg-Elert’s SymphonischeKanzone op 114 was set in the context of other post-

Romantic composers; now, however, the same distin-guished performers complete the canon of his works forflute (with piano in six of them) – an achievement beyondpraise.

Karg-Elert’s changing stylistic concepts were as variedas his own mercurial personality, and just as colourful. Inhis piano and organ music a development of style can berecognised, extending from the earliest, Grieg-influencedworks to the later ones verging on atonality, notably inthe Symphony op 143, Kaleidoscope op 144 and Musicfor Organ op 145. And his flute music, written between1917 and 1919, again introduces different harmonic con-cepts, from the Brahmsian lyricism of SymphonischeKanzone of 1917 to the adventurous Suite pointillistiqueop 135, written two years later. What is more, theseworks exploit fully the technical possibilities of theBoehm flute, introduced into Germany after 1847, andcan therefore be regarded as significantly ground-breaking in their unique contribution to flute literature. To

Karg-Elert

listen to this wonderfully colourful music is to undergo anew aesthetic experience, worlds apart from the Bach-inspired ‘chorale-improvisations’ of Karg-Elert’s opus 65,written 10-12 years earlier. One now becomes aware ofa fresh consistency in the composer’s style, and onewhich is also thematically coherent.

The first CD of the two opens with Impressionsexotiques op 134 of 1919. These five widely contrastedpieces range from the charming pastoral imagery ofIdylle champêtre to the declamatory dissonances ofEvocation à Brahma, by way of the piquant exchangesbetween flute and piano in Colibri and the langorous,seductive strains of Lotus. Throughout, an atmosphereof the exotic is manifested with much sensitivity, greatlyenhanced by the rapport between both performers.There follows Sonata appasionata for flute solo op 140,dating from 1917, the first 20th century German piece forflute; it’s not merely a virtuosic showpiece for thisinstrument, but also one which provides a remarkablywide range of emotional expression, to which ThiesRoorda does the fullest justice. The same year saw thepublication of Sinfonische Kanzone for flute and pianoop 114: an intensely lyrical, even rhapsodic one-movement work; this performance contrives to make theconsiderable demands of the music on both playerssound entirely effortless. It’s worth mentioning also thatthe increasingly important piano part of this work evokesmuch sensitivity from the accomplished Nata Tsvereli.Suite pointillistique for flute and piano op 135 (1919) isharmonically much more adventurous; its four move-ments open with Im Stile einer Arabeske, totally unlikethe exuberant romanticism of the preceding work, whileDer kranke Mond forms a commentary on that part ofSchönberg’s Expressionist song-cycle Pierrot Lunairedating from 1912, a fact pointed out in the veryinformative liner notes provided by Rien de Reede andKarst de Jong. The third piece in the set is a Scherzo:Diavolina und Innocenz, also, incidentally, the longest ofthe four. It’s replete with animated, dance-like rhythms,enhanced by the exotic harmonies of its profuse chroma-ticism, contrasted with austere progressions in the pianopart, eventually linked to the flute in a triumphant climax.The final movement, Im Stile einer Hymne, bears noresemblance to Karg-Elert’s original hymn-like passagesin such works as Drei Pastelle op 92/3, Seven Pastelsop 96/7 and A Cycle of Eight Short Pieces op154/8.Instead, a stately, yearning, almost ecstatic flute partmerely suggests the title of the piece, eventually ac-companied by rippling piano arpeggios, and thenbringing to a resounding conclusion one of the mostarrestingly original works on this disc.

Disc 2 begins with Sonata in B flat major for flute andpiano op 121, dating from 1918 and could be described,harmonically, as looking both ways – backwards to theromantic idiom of Symphonische Kanzone of 1917 whileanticipating the more adventurous character of Suitepointillistique of 1919. This three movement Sonataprovides further evidence of Karg-Elert’s fertile harmonicand melodic imagination, reflected in an interpretationresponding perfectly to the constant changes of moodevident in this fascinating work. The opening Allegroamabile, genial and declamatory in turn, demonstratesan increasingly significant piano part – a feature whichcontinues to the Sonata’s conclusion. The second move-ment, Adagissimo, begins in contemplative style, butsoon becomes more animated, cascades of chromaticsmaking considerable technical demands on both players,

demands which are surmounted with panache. The finalmovement is entitled Sehr geschwind und leichthin (‘veryfast and lightly’) and reflects that more adventurous styleof composition, with a well structured organising of therichly varied thematic material. Austere progressions inthe piano part foreshadow those of the Scherzo in opus135, while both performers capture exactly the increas-ingly rhapsodic character of the music, rising to a climaxfortified by stunningly pianistic support for the final notesof the flute, ending an accomplished performance of thehighest order.

The concluding tracks of Disc 2 comprise the formid-able 30 Caprices for solo flute op 107 – a veritable tourde force in which all the melodic possibilities of this mosteloquent of wind instruments are exploited to the full,further enhanced by the hugely imaginative harmonicimplications supporting this kaleidoscopic sequence offascinating miniatures; they conclude with a moresubstantial Chaconne of nearly four minutes’ duration.As the notes so fittingly state ‘For a flautist, as the playerof a monophonic instrument without the support ofaccompaniment, it is the supreme challenge to penetratethe deeper meaning of the work.’ It’s a challenge whichTheis Roorda confronts with supreme artistry; to listenattentively to the 30 Caprices is to experience a revel-ation in one’s awareness of the composer’s art and adeepening of the understanding of ‘the unique positionthis music occupies in flute literature’ as the notes sosuccinctly put it. We also learn from them the signific-ance of the work’s seemingly illogical opus number 107being that of the regiment in which Karg-Elert served inthe First World War, together with Carl Bartuzat, thededicatee of opus 121 and ‘Karg-Elert’s oracle regardingthe (im)possibilities of the flute’.

Anthony Caldicott à

Performers in front of the Eule organ – Leipzig Conservatorium

KARG-ELERT FESTTAGELEIPZIG 2014This year’s Karg-Elert Festival in Leipzig offered a variedprogram including music, workshops and lectures onspecial topics of Karg-Elert’s music and life. Besides,these days celebrated the 30-year jubilee of the Karg-Elert Society as one of the patrons of the festival days.This jubilee falls into line with the past one of the Karg-Elert Archive UK in 2012 (25 years). On the occasion ofthat event the Karg-Elert Archive issued its Festschriftwhich gives a fine overview of Karg-Elert’s work and thehistory of the Archive. Finally, the birthday concert, givenby Richard Walker, was the highlight of the festivities.Thanks to the valuable work of Chairman AnthonyCaldicott every one of us was involved, in every way, inthe events taking place.

During the celebrations in Leipzig, every day had aspecial focus. The prelude to this was provided byJohannes Matthias Michel on Friday evening 4th April at6 o’clock at the Thomaskirche, together with the VocalConsort of Leipzig (including music by Allegri, Purcell/Sandström, Harvey, Brahms and Mauersberger). Michelplayed Inferno op 87, 2 and Pax vobiscum op 86, 5 onthe fine Sauer-Organ. The high reputation of the vesper-tine “Motette” at the Thomaskirche ensured a largeaudience.

Immediately following the recital at the Thomaskirche,we could proceed to the Grassistraße 8 (Musikhoch-schule) for the next recital with its main focus onchamber music for Harmonium, Piano, and Flute. Theprogramme consisted of diverse pieces and seldomplayed arrangements of works by Karg-Elert himself(Op 38, 8B, 31 1B and 6B) and foreign composers (B59,B64, B78) for harmonium solo or with piano (ErnstBreidenbach, Klavier and Jan Henning, Harmonium). Itwas indescribable which dynamic nuances Jan Henningcould accentuate in the quiet pianissimo. Even in the lasttiers of the main hall, nobody hardly dared to breathwhen e.g. the last tones from the Liszt transcription diedaway. In the Piano-Harmonium-Duets Breidenbach andHenning proved their intuition for the room, acoustics,and match during the 4 Duos op 26. At the end Breiden-bach and Boßler gave a lively and fresh performance ofthe Sonate B-dur op 121. Afterwards we had time tocome together in a jovial atmosphere.

On Saturday, workshops informed interested visitorsabout the piano, harmonium, and flute works and gavethem tips for their interpretation – a rare chance, whichwas only used by a small group. In the early evening,several musicological aspects had been focused by thefollowing speakers: Wacek Golonka talked about thesymbolism in Op 96, which he also dealt with in hisdissertation (Polish). The meaning of nature symbolism,lightning atmosphere, and programme in the Pastelspointed out several new aspects to an extensive scale. Atranslation is not planned in the near future.

Dirk Mühlenhaus addressed the topic of Karg-Elert’steaching staff at the Conservatorium. The charactersketches were presented with numerous quotes, pro-vided amusement and impressed the listeners. Finally,the meaning of landscape and journeys in Karg-Elert’soeuvre, focusing on his favorite vacation region theBohemian mountains, was discussed in a geographic-biographical way (using the example of Op 103) byMarko Heese.

This evening dominated by the greatly varied organrecital on the Eule-organ of the Conservatorium, hadbeen presented by students of Stefan’s organ class:Passacaglia op 25B (Josipa Leko); A Guilmant: Sonatafor Organ No 1 op 42 (Solveig Weigel); In dulci jubiloop 75, 2 (Felix Mende); from Op 65 Nr 8, 17, 48 (HrvojeTrinki), Rondo alla campanella op 156 and Sequenzc minor W28 (Richard Gowers), Erste sinfonischeKanzone op 85, 1 (Inah Park). This monumental pro­gramme gave an inspiring cross section of Karg-Elert’slife and oeuvre for the audience.Felix Mende offered a brilliant presentation of Op 75, 2

and Richard Gower impressed with a phenomenal easethrough his playing technique in op 156. Enviable! Beforethe final piece the lights were dimmed in the great hall.That was odd, but experts already assumed, what wasconfirmed in the coda: a trombone sounds from thegallery. Of course the player, Emanuel Mütze, was posi-tioned in a way so that nobody could see him. At firstsome listeners were irritated and were looking where thesounds would come from. Others already enjoyed thefinal bars with a broad grin on their faces. The diversifiedprogramme was enriched by these player characters,and it will be interesting to hear these players in futureconcerts.

After the annual meeting of the Karg-Elert Society onSunday morning, Wacek Golonka completed the Fest-tage with an organ recital in the great hall and Op 96No 1, 2 and 5. In addition he played works by Petr Eben(The Dance of David before the Ark of the Covenant),Mieczyslaw Surzyski (Cappricio in f sharp minor, duringthe first part one feels reminded of the final movement ofGuilmant’s First Sonata op 42) and Julius Reubke’sSonate über den 94 Psalm.

We sincerely thank Stefan Engels and all persons in-volved for their commitment allowing the organizationand the realization of the festival.

Marko Heese à

I first encountered Felix Aprahamian when I started sub-scribing to The Gramophone in 1965, and soon after be-gan to hear him on Radio 3. I soon realised that not onlydid he write learnedly about the composers featured inthe records he reviewed; he seemed to have knownmost of them! When records of Tournemire and Karg-Elert started appearing in the 1970s there he was: thefifteen year-old pestering Karg-Elert for autographs at the1930 festival, the slightly older man trying to help abemused Tournemire doing battle with the compositionpedals on the Father Willis at St Alban’s Holborn.

FELIX APRAHAMIAN (1914-2005)

It was some thirty years before I actually made contactwith him, when I had to write an article about JeanneDemessieux whose post-war London debut he hadarranged. He was a generous mine of information, ask-ing to see the finished article and editing it for me: hehad been deputy music critic of the Sunday Times forforty years and declared himself delighted with my piece.When I asked if he had any information on MauriceDuruflé he replied delightedly “I knew them all!” TheDuruflé article actually concerned his assistance toPoulenc with the organ concerto, and here I learnedmore because Poulenc had been a personal friend ofAprahamian’s. This was indeed a generous encounter: Ihad rung him up on the off-chance, and despite beingtold that he was about to leave for a wedding he gaveme a delightful half-hour.

I got into his house in 1997, for a party to celebrate thetenth anniversary of the Karg-Elert Society. Signedphotographs of Karg-Elert of course, plus Messiaen,Poulenc and Stravinsky (to name but three more) in thefront room; André Marchal's sizeable chamber organ (2manuals and pedal) at the back, played by David Liddle;not to mention a bedroom whose only item of bedroomfurniture was indeed a bed, the rest of it comprising twowardrobe-sized items of furniture containing respectivelythe archives of the Beecham Society and the DeliusSociety; a harpsichord; and the largest horn gramophoneI have ever seen, fully six feet in diameter (one of onlysix ever made, I was proudly told).

He virtually ordered Ralph Downes to accept theRoyal Festival Hall commission; Downes had succeededhim as organist of the London Philharmonic Orchestra.In this capacity Aprahamian performed at the Albert HallNottingham; infuriatingly I can’t remember what he saidhe played in, but I have a vague feeling it wasTchaikovsky’s Manfred Symophony. I have to thank WilfLewsey for bringing to my attention a letter from MichaelGoold in the Daily Telegraph describing his most spec-tacular appearance “at the organ”: “The LPO invited himto play the organ part in Elgar’s Cockaigne overture. Theevent took place in the late 1940s at, I think, the RegalCinema, Edmonton, which boasted a cinema organ inthe pit.

As the orchestra reached the end of the work, therearose, to the consternation of the audience (and theunconcealed mirth of the orchestra), the cinema organ,with the inimitable Felix, pedalling away for all he wasworth.”

(Dr Felix Aprahamian was Vice President of the Karg-Elert Society, later Archive, from its founding in 1987until his death in 2005).

Ian Wells à

When my colleague and Archive Founder-MemberDr Brian Parsons attended the American Guild ofOrganists’ Annual Convention in Boston USA in June2014, he kindly brought back for me a copy of JamesWelch’s definitive work on ‘Richard Purvis, Organist ofGrace’. Fittingly described by William Ray as ‘a scrup-ulously researched biography spanning five decades ofAmerican military, cultural and musical history’, this bookmarks the centenary of Purvis’s birth in 1913. An out-standing graduate of the famed Curtis Institute of Musicin San Francisco, Purvis gained a scholarship to study inEngland and France 1936-37; his studies includes thoseat the then SECM in Chiselhurst (now RSCM), withEdward Bairstow at York Minster and at Quarr Abbey onthe Isle of Wight, where he was ‘immersed in a sea ofplainsong’ as he studied with the community there. But itwas his work at San Francisco’s Grace Cathedral from1947-1971 which created an unique tradition of an all-male Anglican choir which he accompanied superbly onthe Alexander Memorial Organ, originally built by theAeolian-Skinner Company in 1934. Programmes of re-citals given by Purvis on this instrument (enhanced by afive-manual Ruffatti console in 1968) make frequentmention of Karg-Elert’s music, for which this instrumentand the soloist were ideally suited. Purvis’s repertoire,even from his student days, included:

Various numbers from Chorale-Improvisations opus 65Harmonies du Soir & Claire de Lune op 72/1,2 fromThree Pastels: Pastorale, Recitativo et Corale op 92/3from Seven Pastels from the Lake of Constance: TheSoul of the Lake & The Legend of the Mountainop 96/1,3from Partita op 100/4: Rigaudonfrom Cathedral Windows: Ave Maria, Adeste Fideles &Saluto Angelico op 106/2,4&5from Sempre Semplice op 142[1]/5 Invocation

Purvis’s first public organ recital had taken place inMay 1927, aged 13 on the 113-stop Austin organ in theSan Francisco Civic Auditorium, where, presumablyduring Karg-Elert’s North American tour of 1932, (not1929 as stated on page 398), Purvis, then a student,was to watch Karg-Elert practice on this instrument andthen applied the composer’s own additional registrations(10-12 of them!) to his copy of The Mirrored Moonop 96/6. It is curious that this episode receives no men-tion in the letters from North America sent by Karg-Elertand his daughter Katharina. Their visit to San Franciscoon February 25-27 1932 also included a concert at the‘Catholic Cathedral’ * when Karg-Elert’s programme in-cluded his Partita retrospettiva op 151 and Toccatina eCorale op 154/7,8, described by the performer in extra-vagent terms as ‘a terrific triumph’**. This actually tookplace in St Dominic’s Roman Catholic Church and wasfollowed by the official AGO supper.** An indispensiblesource of reference for the various events of Karg-Elert’sNorth American tour is Dr Harold Fabrikant’s translationand annotation of the letters sent by him and hisdaughter: ‘Everyone is Amazed’ (published by the authorin February 2002). It is further enhanced by muchsupplementary material, including a list of contemporaryprogrammes given by leading recitalists. Among them is

KARG-ELERT AND RICHARD PURVISAlexander McCurdy, Purvis’s most influential teacher atthe Curtis Institute; he performed Karg-Elert’s Legend ofthe Mountain op 96/3 at the 2nd Presbyterian Church,Philadelphia on March 7 1931**, and is described inJames Welch’s book as ‘a legend among musicians inthe Philadelphia area’ (see pp 43-45).

*There have been three Roman Catholic cathedrals inSan Francisco, the latest being St Mary’s Cathedral, astunningly contemporary building of 1971.

**See Fabrikant, pp 27e and vi & viii.

Engagingly written, lavishly illustrated, and with allmanner of personal recollections provided by a verylarge number of Purvis’s contemporaries, ‘RichardPurvis, Organist of Grace’ is an exceptionally accessibleaccount of the colourful career and personal experiencesof one of the most memorable of the church musicians inthe USA at a time when the music of the Episcopalchurch in that country was flourishing on traditional lines.The organ, a five-division instrument possessing ninety-three ranks, was obviously ideal for the performance ofKarg-Elert’s music, though for the complete specificationit is necessary to consult the Grace Cathedral organwebsite. James Welch is to be congratulated on thiscomprehensive survey of Richard Purvis, his life andmusic – a compulsively readable account which can bewarmly recommended.

For purchase details visit: www.welchorganist.comAnthony Caldicott à

Grace Cathedral in San Francisco, USA, from the west.The present building was begun in 1928 and completedin 1964 in the French Gothic style.Image: 2009-0723-CA-005-GraceCathedral by BobakHa'Eri – Own work. Licensed under Creative CommonsAttribution 3.0 via Wikimedia Commons.

The Archive’s Honorary Member, Dr Elke Völker, hasalready recorded the first four books of opus 65 asvolumes 5 and 6 of the Aeolus Ultimate Organ Worksseries. This large scale undertaking is now brought to aconclusion with the recording of books V and VI of opus65, an achievement deserving of the highest praise,since this is the first time that the whole of the 66Chorale-Improvisations of Karg-Elert have been record-ed. The organs used for this purpose are all those builtby E F Walcker: Volume 5 at San Ignacio de Loyala, SanSebastian (1914), Volume 6 at Christuskirche, Lüden-scheid (1902) and finally Volume 7 at Christuskirche,Heidelberg (1903). The choice of these instruments en-sures the authentic qualities of solo and chorus stops soprecisely indicated by the composer; the completion ofthis project now affords those studying this highly sig-nificant part of the composer’s output for organ the

KARG-ELERT: ULTIMATE ORGANWORKS VOLUME 7Dr Elke Völker plays the 1903 Walcker organ ofChristuskirche, Heidelberg

Opus 65 books V and VI AEOLUS 10991www.aeolus-music.com E18.99

opportunity to hear such an authoritative interpretation inits entirety. As the very detailed liner notes by Dr Völkerso aptly expresses it: ‘These works take the listener on afascinating voyage of discovery through the world ofreligious faith’. For Karg-Elert, it was a faith steeped inthe Evangelical-Lutheran tradition, which, in the final twovolumes of opus 65, produced some of his most inspiredinterpretations of the Lutheran chorale, developing it asan unique art form, and culminating in a triumphantpaean through the setting of Wunderbarer König, aug-mented by brass and timpani. An essential aspect of themusic is, therefore, the text of the hymns which providedthe composer’s inspiration and which, in many in-stances, underlies the music itself; it is not always thefirst verse of the hymn, however, which fulfils thisfunction (as, for example, in no 50). The provision ofthese texts in the liner notes (as in previous volumes) isan invaluable source of reference.

The titles of the numbered pieces are sometimesconfusing when bearing no resemblance to the text set;for instance in no 62 Wer nur den lieben Gott lässtwalten heads a setting of a baptismal hymn Ich bingetauft auf deinen Namen, more usually sung to the tuneof O dass ich tausend Zungen hätte. Subtitles often givethe clue as to the true subject of the chorale setting; forinstance, no 64, though entitled Wie schön leuchtet derMorgenstern, actually refers to a marriage hymn Ich undmein Haus, wir sind bereit, dir Herr, die ganze Lebens-

The Eberhard Friedrich Walcker organ of Christuskirche, Heidelberg was restored in 2009. The specification of thisinstrument is reproduced later in this article. Image by kind permission of Christoph Martin Frommen.

zeit. The penultimate chorale setting, no 65 Wie wohl istmir, o Freund der Seelen (a hymn for Confirmation),shows, in its polished setting and luxuriantly chromaticlast line, that the composer’s inspiration had remainedundiminished to the very end of this achievement of the66 ‘chorale-improvisations’ – a curiously understateddefinition of an unique masterpiece.

Volume V no 1 is a setting of Martin Luther’s para-phrase of Psalm 130 Aus tiefer Not schrei ich zu dir,employing his words and music of the first verse. Thechorale is heard, harmonised in the left hand, whileabove it floats a gentle arabesque, until, in the fifth line,double pedal underlines the text denn so du willst dassehen an followed by a return to the previous textureand, eventually, a charming little coda introducing theopening phrase of the chorale. All this is interpreted withgreat sensitivity, reflecting the penitential character of thepiece. No.46, Christe, du Lamm Gottes comprises MartinLuther’s paraphrase of the eucharistic prayer Agnus Dei,and therefore the composer thought it appropriate toemploy pastiche ‘in the style of Pachelbel’, though Karg-Elert’s own harmonic idiom is all too obvious, eventhough the piece ends on an open 5th! Here we hear thegentle, refined choruses used to such telling effect tocreate a mood of confident restraint. (A more conven-tional setting appears in opus 78 no 5) No 47 is one ofthe great showpieces of the entire set and reflects Karg-Elert’s devotion to the Lutheran tradition in his dramatictransformation of Ein feste Burg ist unser Gott – MartinLuther’s paraphrase of Psalm 46 which became therallying cry of the Protestant Reformation in Germany.Here, Karg-Elert superimposes every possible enhance-ment of the stirring tune, first thundered out in thepedals, and, after a brief respite followed by a cadenza,the opening phrase is repeated, this time in the dominantkey, and, for good measure, with double pedal. Der altböse Feind introduces an increasingly tormented texture,with a pedal part of extraordinary complexity, while thecompletion of the phrase (mit Ernst ers jetz meint) iseventually introduced by another cadenza, stridentarpeggios and ever more elaborate textures to accom-pany the rest of verse 1, culminating in more doublepedal for its last line auf Erd ist nicht seins gleichen. Nowthe first and last lines of the tune are transformedmelodically and harmonically in the pedal and manualparts, heralding a return to the first line, in a shimmeringcloud of arpeggios and reiterated chords quasi trillobefore the second line ein gute Wehr und Waffen makesa final, dramatic appearance in the pedal; the last,triumphant ffff chord is further enhanced by the triplepedal notes. It need hardly be said that Dr Völkersurmounts the considerable technical and interpreta-tional challenges of this piece with immense skill,ensuring that her performance is one of the most me-morable highlights of the disc. No 48 Jerusalem, duhochgebaute Stadt is, if anything, even more technicallydemanding, with hugely animated semiquaver move-ment in pedals and manuals accompanying the rousingchorale as it is declaimed throughout, sometimes canon-ically within the manuals, then in double pedal. Apassing reference to the notes BACH leads into acadenza, introducing an even more intense treatment ofthe last line of verse 1 schwingt es sich über alle und eiltaus dieser Welt. The second half of the first line nowreappears, modified, and harmonised in the composer’scharacteristic idiom, fragments of which continue until asolo flute stop eventually introduces the first line once

again, now on celestes. This serves to inaugurate amagical ending, the sixth and final chord suspended as ifreluctant to leave what has been an astonishing evoc-ation of the inspired text. The piece raises manyproblems of registration and balance with so much goingon vivacissimo e jubilante, problems which are address-ed and overcome by the soloist with distinction, so as toexpress this further stage in that ‘voyage of discovery’Dr Völker has mapped out for the listener.

No 49 (missing from the track list in the liner notes)Meinen Jesus lass ich nicht provides a mood of totalcontrast, in this gently flowing three part fuguetta, basedon the unpretentious chorale, which subsides into a rest-ful cadence, illustrating the repetition of the first line ofwords. O Gott du frommer Gott, no.50, is the secondsetting in opus 65, the first being no 43, where thesimple tune is afforded ingenious canonical treatment. Italso appears in opus 78 no.16 as a lilting Sicilienne.No.50 is unique in several respects: it is the only piece ofthe 66 written in D flat; composed in memory of Karg-Elert’s mother on the day of her death in 1908, it setsverse 7 of the hymn (‘Lass mich an meinem End aufChristi Tod abscheiden’) to a different tune, marked bythe composer’s characteristic short, echoing interludes;gradually the music fades away almost to nothing.Johann Crüger’s much loved hymn Schmücke dich, oliebe Seele, no 51, also appears in opus 78 no 11; it isdifficult to decide which of the two is the more appealing.The opus 65 version is certainly played more often, sinceit expresses an atmosphere of devotion appropriate to itsassociation with eucharistic worship. No 52 Sollt esgleich bisweilen scheinen is an affirmation of trust andconfidence in God, reflected in three part counterpoint in12/8, ingeniously woven around the sturdy tune which isdeclaimed on a pedal reed in 4/4 time. The texture slimsdown further in no 53 Straf mich nicht in deinem Zorn, aparaphrase of Psalm 6 and a tune more familiar inEngland as set to the Easter hymn ‘Christ the Lord isrisen again!’ Here is a further example of Karg-Elert’sskill in trio-writing, characteristically, though, adding anextra fragment for the pedal part in the very last bar.No 54 comprises a setting of Werde munter, mein Ge-müte but to different words; the gentle, accompanyingpulses in 12/8 eventually rise to a climax at the wordsdass ich meinen Trost im Glauben mir von niemandlasse rauben and then subsiding peacefully over an ex-tended tonic pedal. Book V of opus 65 ends, perhapsappropriately, with the solemn sentiments of no 55 Werweiss, wie nahe mir mein Ende! Hin geht die Zeit, herkommt der Todt. Pulsating demisemiquavers provide adark accompaniment to the chorale for which a ‘supple’solo stop is required. This deeply felt contemplation oflife’s ending is given an appropriately sensitive readingenhanced by the sounds which this instrumentpossesses in abundance.

If I were asked which of all the 66 numbers of opus 65I preferred, my choice would be no 56 Jesu, geh voranauf der Lebensbahn! Subtitled Seelenbräutigam, Jesu,Gottes Lamm, these are Adam Drese’s words set to hisown melody, which has even found its way into Englishhymn books. Karg-Elert clearly found inspiration both inthe text of Jesu, geh voran and its music, since this isone of the most substantial of the entire set, being giventhe title ‘Sinfonischer Choral’ and which was performedat Karg-Elert’s wedding. This well structured piece re-flects the ideas expressed in each of the four verses, theopening section, tempo di Sarabanda, making much use

of a short, pregnant phrase on celestes before the entryof the setting for verse 1 – an elaborated, intense versionof the original square-cut tune. After an increasinglyagitated bridge passage, verse 2 enters, sounding out inbare fifths, fff, a reflection of the words Solls uns hartergehn, lass uns feste stehn, with a return to a peacefulflute solo for denn durch Trübsal hier geht der Weg zudir. After the return of the opening celeste phrase, verse3 is echoed by an increasing chromaticism, its lastphrase, richte unsern Sinn auf das Ende hin, being givento left hand chords. Verse 4 enters immediately, withstrikingly confident chords for Ordne unsern Gang, Jesu,lebenslang, rising to a great climax for tu uns nach demLauf deine Türe auf ! Soon, however, the celeste themereturns, after which fragments of the chorale’s first lineusher in the peaceful close. All the varied moods and

The Christuskirche in Heidelberg, Germany, was built in1900. Architecturally, it is a blend of Art Nouveau,Renaissance and Gothic elements. The tower, 65 metersin height, has an unusual spire, apparently unique indesign. Photo by kind permission of Rudolf Stricker.

accompanying tone colours of this most imaginativepiece are faithfully reflected in a performance to savourwith great pleasure. No 57, Liebster Jesu, also appearsin opus 78 no11 – a much simpler and shorter settingthan that in opus 65. Here, the ingenious use of canonbetween left hand and pedal do nothing to distract fromthe lyrical right hand quavers; finally, the manuals takeover for the merest suggestion of the tune’s third linebefore dying away. Throughout, the use of refined, wellbalanced stops reflect the spirit of the words, againassociated with baptism.

No 58 Lobe den Herren, den mächtigen König derEhren is a setting of the familiar hymn of thanksgiving,though here presented as a study in brilliant passagework interspersed with chromatic transformations of thehymn’s opening line tempo di Sarabanda. It is thenfurther punctuated by dramatic gestures from the tune’ssecond line, a reflection of the words Kommet zuhauf or,more probably from verse 5, Er ist dein Licht. A moreanimated appearance of the tune’s last line and sub-sequent cadenza (one of several) introduces a shortchordal passage, before the opening passage workreturns, this time an octave higher, gradually falling, thenrising again as the texture thins out to a final quiet chord.Not only is this ‘study’ impeccably played, but the tonalcontrasts which this instrument affords (and indicated bythe composer) are particularly well displayed, notably inthe powerful stops of the tutti. Even those organists whonever play any Karg-Elert will admit to knowing no 59Nun danket alle Gott. Its direct appeal has ensured itspopularity with recitalists and recording companies, notto mention arrangements made for various instrumentalensembles. Yet it is not as simple a piece as might at firstappear; if played too fast it can sound simply osten-tatious, and the continuous use of powerful reeds canbecome wearisome by the time the first section isrepeated. Nor need Karg-Elert’s injunction to close theswell box in the middle section be taken too literally.Dr Völker’s interpretation of this all too familiar war horseprovides a freshness of approach, so that, in the unlikelyevent of someone’s hearing it for the first time, thereaction would be one of genuine excitement. SubtitledAir, no 60 O du liebe meiner Liebe reflects the sen-timents of a somewhat obscure Passiontide hymn, hereexpressed in its Bach-like coloratura idiom, with‘continuo’ octave leaps in the pedal; its restrained inter-pretation provides a palate-cleansing contrast to theprevious number. Was Gott tut, das ist wohlgetan is alsoset in opus 78 no 19 where it takes the form of anelegant little trio, lasting barely a minute. No 61 of opus65 is subtitled Canzona and continues the restrainedcharacter of its predecessor, the numerous triplet pat-terns and echo effects suggesting a calmly pastoralatmosphere. This is further enhanced by the sparing useof chromatic harmony, the use of the flattened 7thimparting an unexpectedly modal character to the piece,especially towards the end.

No 62 is the setting of a baptismal hymn Ich bin getauftauf deinen Namen, as explained in the second para-graph of this article. The words of verse 1 are illustratedby the music’s upper part, being later transferred to thepedals. No 63 is set as a minor version, this time verymuch in the style of a Bach invention, its unpretentiouscharm forming an agreeable contrast with the moreelaborate settings of Volume VI. After a more chromatic,slower interlude, the original theme returns, but in themajor key, eventually returning to the minor, in time for

the final cadence which utilizes the pedals for the firsttime. No 64 is in fact a hymn for marriage, as the subtitlesuggests, though set to the Epiphany tune Wie schönleuchtet der Morgenstern. Philipp Spitta’s words Ich undmein Haus, wir sind bereit, dir Herr, die ganzeLebenszeit mit Seel und Leib zu deinen are reflected in asetting of much sensitivity, utilizing stops of considerabledelicacy. The setting is also one of ingenuity, as thechorale moves gently among the inner parts, finallycoming to rest in a sequence of chords which subtly con-ceal the tune’s very last line. It is remarkable that, havingreached the 65th ‘chorale improvisation’ Karg-Elert’s in-spiration remained unabated in what might well havebeen a very personal interpretation of the Confirmationhymn Wie wohl ist mir, o Freund der Seelen, its very lastline producing an extraordinary sequence of chromaticchords in the accompaniment – a reflection, perhaps, ofthe final line: O reicher Trost: mein Freund ist mein! (‘Orich consolation: my friend is mine!’) All these last six ofBook VI are played with restraint and a sympatheticinsight into the spirit of the texts as well as that of themusic.

Karg-Elert brought his great collection of opus 65 to aresounding climax in setting Joachim Neander’s hymn ofthanksgiving in No 66 Wunderbarer König, which he alsoset soon afterwards in No1 of Drei Choral-ImprovisionenW14. While this version employs Neander’s familiar, ifrather pedestrian tune, for opus 66 Karg-Elert sets thestriking 18th century tune by Michael Müller sometimessung to Gott ist gegenwärtig. Trumpets, trombones andtimpani adding an air of solemn festivity to a very de-

manding and, at times, elaborate organ part (alsoperformed, incidentally, at the conclusion of Karg-Elert’swedding). The first two lines of the tune are declaimedby the brass ‘as from a distance’, simply harmonised,then repeated on the organ misterioso, with the com-poser’s characteristic harmonies. The instrumentaliststhen share with the organ in declaiming the tune’s lasttwo lines. The organ now leads into an increasinglyanimated introduction to an elaborate accompaniment tothe first two lines, again heard on trumpets and thentrombones. Finally, both combine with the organ in astrikingly harmonised version of the last two lines,followed by the organ’s announcing a richly harmonisedversion, alternating with the brass to usher in thetimpani, which, with organ and brass, bring the entireopus to an overwhelming conclusion, sounding out thetune’s opening phrase, its final chord marked by a barefifth. The complexity of this finale to opus 65 requiresconsiderable skill by organist, brass and timpani playersalike; in addition to Dr Völker, much credit is also due tothe trumpet players Klaus Wendt and FriedhelmBiessecker, trombonists Jürgen Schaal and StephanKirsch, and timpanist Thorsten Gellings.

This successful completion of such a praiseworthyproject should act as encouragement for both studentsand teachers of Karg-Elert’s organ music to study all therecordings of this monumental collection, with, of course,the six books of opus 65 – all absolutely indispensable!Grateful thanks are due to Dr Völker for making thisunique experience at last possible.

Anthony Caldicott à

The Walcker Organ of the ChristuskircheThe organ was originally built in 1903 by Eberhard Friedrich Walcker of Ludwigsburg. This three manualinstrument (C-g3) has 41 speaking stops and a pedalboard. It is a fine example of the romantic tradition.The original pneumatic action was converted in 1955 to electric action. In 2009, the organ was restored byGerhard Lenter.

HauptwerkPrincipal 16 'Principal  8 'Gedeckt  8 'Doppelflöte  8 'Viola di Gamba  8 'Gemshorn  8 'Synthematophon  8 'Octav  4 'Rohrflöte  4 'Rauschquinte II    2 2/3 'Mixture    IV­VTrompete  8 '

Echo division (with swell box)Lieblich Gedeckt 16 'Geigenprincipal  8 'Rohrflöte  8 'Aeoline  8 'Vox Coelestis  8 'Traversflöte  4 'Fugara  4 'Oboe (1954)  8 '

Pedal C-f1Principalbass 16 'Violonbass 16 'Subbass 16 'Gedecktbass (from II) 16 'Quintbass   10 2/3 'Octavbass  8 'Cellobass  8 'Salicetbass (from II)  8 'Octav  4 'Posaune 16 'Trompete  8 '

SwellBordun 16 'Principal  8 'Traversflöte  8 'Quintatön  8 'Salicional  8 'Dolce  8 'Octav  4 'Flöte  4 'Piccolo  2 'Mixture     III­IVTrompete (1954)  8 'Clarinette  8 '

KoppelnNormalkoppeln: II/I, III/I, III/II, I/P, II/P, III/PSuperoktavkoppel: II/II, III/III

FUTURE PERFORMANCESBY STEFAN ENGELS

September 5 2014Pauluskirche, Ulm, Germany

Symphony op 143

September 10Cathedral, Aachen, GermanyCathedral Windows op 106

September 22Stadtkirche Stäfa, SwitzerlandHomage to Handel op75 [II],Symphonic Canzona op 85/2

September 27 at 4pmCentral Baptist Church, London WC2

Symphony op 143**see separate notice

September 29St Nikolaus Bensberg

Partita op 100/5,3; Homage to Handel op 75[II]

October 1St Bavo Haarlem

Sonatina in A minor op 74,Symphonic Canzona op 85/2

October 4Evangelische Kirche Berlin-Eichwalde

Näher, mein Gott, zu Dir W17C,Ostinato e Fughetta op 34B

Air from Suite BWV 1068 arr. Karg-Elert,Bourée et Musette op 39/4B; Sempre Semplice op 142[I] 5, 9

Harmonies du Soir op 72/1; op 65/58, 30, 61, 59

November 17St Anton Zürich

op 65/51, 58, 54, 59, 50; Symphonic Chorale 87/2

December 10Jesuitkirche Luzern

op 65/6,2, 4, 7, 9, 8, 10 ,11

February 2 2014Michaeliskirche Hamburg

Homage to Handel op 75[II]In dulci Jubilo op 75/2; Sinfonie op 143

March 26Konservatorium, Moscow, Maly Saal

Op 65 56, 58, 47

March 28SS. Peter and Paul Cathedral, Moscow

Homage to Handel op 75[II]Symphonic Canzona op 85/2

May 3Marktkirche, Hannover

Introduction, Passacaglia & Fugue op 150and at Christuskirche Karlsruhe on

May 29

September 5Pauluskirche UlmSinfonie op 143

September 10Cathedral Aachen

Cathedral Windows op 106

September 27Central Baptist Church, London

Symphony op 143**for further details, see below

April 14 2015Philharmonie Haarlem, Netherlands

Symphonic Chorale op 87/2Jesu, meine Freude

OTHER PREVIOUS AND FUTUREKARG-ELERT PERFORMANCES

(excluding those mentioned in this issue)

June 26 2014Christuskirche, Heidelberg

Presentation Concert for Volume 7 of opus 65Elke Völker (organ)

from opus 65/1, 45, 46, 47, 50, 51, 55, 28, 61Festlicher Einzug from Die Meistersinger

Wagner arr Karg-Elert B93

June 29St Alban’s Church, Holborn, London

Edward Batting (organ)Sursum Corda op 155/2

July 30Friedenskirche, Sansouci, Potsdam, Germany

Graham Barber (organ)Claire de Lune op 72/2

Rondo alla campanella op 156

August 26Cromer Parish Church, Norfolk UK

Richard Walker (organ)Chorale-Improvisations op 65 no. 52, 59

Valse Mignonne op 142/2and on August 27

West Runton Parish Church, Norfolk UK

August 30Lincoln Cathedral at 1.10-2pm

James Wilson (flute) & Heriberto Cruz (piano)Sonata in B flat op 121

Suite Pointillistique op 135

September 2 1-1.45 pmWakefield Cathedral UK

James Wilson (flute) & Heriberto Cruz (piano)Suite Pointillistique op 135

and also onSeptember 23 1.15-2 pm

Sheffield Cathedral

September 4Halifax Minster, Yorkshire UK

Richard Walker (organ)Chorale- Improvisation Ein feste Burg op 65/47

October 9First Wayne Street United Methodist Church

Fort Wayne, Indiana, USAHarold Fabrikant (organ)Pax Vobiscum op 86/5

Canzona in A minor op 86/2

The fine organ case of St George, Hanover Square, in London. Professor Graham Barber, President of the Karg-Elert Archive, will be giving illustrated talks here in November 2014. See the Recitals section, above, for furtherdetails. Photograph by Lonpicman (Own work) [CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0) orGFDL (http://www.gnu.org/copyleft/fdl.html)], via the Wikimedia Commons.

October 11 at 11 amSt Mary’s Church Stafford UK

Richard Walker (organ)Symphonic Chorale no 1

‘Ach bleib mit deiner Gnade’ op 87/1

November 1RCO London Organ Day

St George’s Church, Hanover Square, London W1Archive President Graham Barber

Illustrated talks on‘Karg-Elert and the BACH motiv’‘Reger and the Lutheran chorale’

NEWSLETTER DEADLINE

The Karg-Elert ArchiveThe Archive is based in England and was originallyknown as the Karg-Elert Society. It was founded in1987 and its membership has always been open toanyone who has an interest in the composer and hismusic. www.karg-elert-archive.org.uk

PresidentProfessor Graham Barber(Professor Emeritus, Leeds University and Organist,St Bartholomew’s Church, Armley, Leeds)

Vice-PresidentDr Martin Neary(Late President, Royal College of Organists)

ChairmanAnthony Caldicott

PatronsDavid Hill(BBC)Dr Harry Bramma(Former Organist, Southwark Cathedral, London)Dr Simon Lindley(Leeds Parish Church and Leeds City Organist,Yorkshire)John Scott(St Thomas’ Church, Fifth Avenue, New York)Richard Walker(Former Director of Music, Harrow School,Middlesex)Nicolas Kynaston (Concert Organist, London)

FellowsDr Harold Fabrikant and Frank Conley

Honorary MembersProf Wolfgang StockmeierHeinrich SchwaabProfessor Stefan EngelsDr Harold FabrikantTerry TrumanStaffan ThuringerDr Elke Völker

Foundation MemberDr Brian Parsons

Contact the ArchiveFinancial and membership matters:Richard Walker, 3 Cunnery Terrace, Church Stretton,Shropshire SY6 6AL gandrwalker@talktalk.net

Newsletter and general enquiries:Anthony Caldicott, 38 Lyndhurst Avenue,Twickenham, Middlesex TW2 6BX.anthonycaldicott1@gmail.comTelephone: 020 8894 6859

Membership Secretaryand Hon. TreasurerRichard Walker

Life MembersBarry Doe Frank ConleyMichael JonesTony LukerRonald SmithDr Craig Scott SymonsMarko HeeseRichard CraneDr Richard Webb

Corporate MembershipThe Royal College ofMusicGöteborg Organ ArtCenter

John Scott Whiteley (FormerAssistant Organist, York Minster)

Enquiries concerning the music of Sigfrid Karg-Elert andother publications may be made to:

sales@cathedral-music.co.ukinfo@cathedral-music.co.uk

tel + 44 (0)1243 379968 (24 hours)fax + 44 (0)1243 379859

CATHEDRAL MUSIC

All contributions for Newsletter 78, January 2015, mustreach the Chairman by Monday November 24 at thelatest.

ORGAN WORKS FROM THEGREAT LEIPZIG

ORGAN TRADITIONWe are privileged to announce this special

recital including theKarg-Elert Symphony op 143

to be given by our Honorary MemberProfessor Stefan Engels

(Leipzig)at

Bloomsbury Central Baptist ChurchLondon WC2

onSaturday, 27 September at 4pm.

The programme will also includeChorale Fantasia on Halleluja, Gott zu loben,

bleibe meine Seelenfreud op 52/3Max Reger

Four movements fromStudies for Pedal Piano op 56

Robert SchumannThanks to the generous hospitality whichthis church always provides, there will be anopportunity to meet Professor Engels andother Archive members over the buffetafterwards. This is an occasion not be bemissed, especially as performances of theSymphony are rare, the last taking place inLondon on June 28 2005, given by ourPresident Professor Graham Barber.