Aria Fugue & Final
Composer: Jon Laukvik
Instrument: Organ
Level: unknown
Published: 2013
Price: €15.00
Item details
-
Description +
-
Duration: 7:30 min.
Aria, Fugue, & Final, like my Passacaglia for organ (Edition Svitzer, 2012), is a reflection and contemplation of certain aspects of our Western musical history.
The Aria is a humble hommage à Louis Vierne, the Fugue points towards the dazzling art of great jazz pianists like Oscar Peterson and George Shearing, and the Final is inspired by the last movement of Frédéric Chopin’s Sonata in b flat minor Op. 35.
Concerning the performance:
Aria
The interaction between the solo melody and the accompaniment should not be rhythmically rigorous (e.g. the arpeggio in bar 7). If the organ has only one swell division, the opening bars should be played on the Swell, then changing the registration correspondingly at bar 5. Of course this applies also to similar places later in the movement. The solo voice could be played with Trompette harmonique and Bourdon 8’. The section starting at bar 21 should not be too soft, whereas the section from bar 44 should sound like an echo.
Fugue
The tempo should not be too fast and the performance should be rhythmically very exact – and spiced with a little humour. All notes without articulation marks should be played a little detached – particularly the sixteenths. The development of the second theme should be played very legato and the registration should be soft and warm (foundations 8’). It could also be rather eccentric (like 16’, 4’ and 1’ with Tremulant behind closed Swell shutters).
Final
The tempo should not be slower than indicated. This would endanger the effect of the movement. Depending on the instrument and the acoustics of the room, the tempo might even be faster. In measures with only one manual voice, the notes should be divided wisely between the hands. The crescendo should be as gradual as possible. Mixtures should be added last.
I should like to express my warmest thanks to the 2013 St Albans International Organ Competition and its Artistic Director David Titterington for commissioning this piece as a set piece for the second round of the competition.
-
-
Instrumentation +
-
Organ
-
-
About the composer +
-
Jon Laukvik was born in 1952 and received his earliest music training as organist and pianist in his native town Oslo. He went on to study organ at the University of Music in Cologne with Michael Schneider and harpsichord with Hugo Ruf. He also studied organ privately with Marie-Claire Alain in Paris.
From 1980 till 2016, he was professor at the University of Music and Performing Arts Stuttgart. Since 2001 he is also professor at the Norwegian Academy of Music in Oslo. He is also a visiting professor at the Royal Academy of Music, London.
Jon Laukvik has toured throughout Europe, Canada, Japan, Korea, Israel and the United States. He is frequently in demand to serve on competition juries and to teach seminars and masterclasses.
He is author of a highly successful organ tutor Historical Performance Practice in Organ Playing in three volumes, published by Carus-Verlag.
He has edited the Handel Organ Concerti Op. 7 for Carus-Verlag (together with Werner Jacob). A complete edition of the organ works of Louis Vierne in 13 volumes (edited together with David Sanger) was published by Carus-Verlag in 2008.
His compositions include works for solo organ, organ with other instruments (i.e. piano, percussion, trumpet, trombone, cello, horn) as well as vocal and instrumental works.
-
-
Credits +
-
Front cover graphics: Sune Kliborg Lynge (Kliborg Design)
Printed in Copenhagen, Denmark
Copyright © Edition SVITZER
Engraving: Johan Svitzer
www.editionsvitzer.com
-
