On this edition of Hunter Rostrum, organist Peter Guy is heard in recital at Christ Church Cathedral playing music by Liszt, Haydn, Antalffy-Zsiross, Brahms and Bruckner.
PROGRAM
Franz LISZT (1811-1886)
Prelude and Fugue on BACH
Franz Joseph HAYDN (1732-1809)
Selections from Pieces for Mechanical Clock
Dezső ANTALFFY-ZSIROSS (1885-1945)
Sketches on Negro Spirituals
Johannes BRAHMS (1833-1897)
Two Chorale Preludes
– Es ist ein Ros
– O welt, Ich muß dich lassen
Anton BRUCKNER (1824-1896)
Finale from Symphony No. 9 – (reconstructed and arranged by John Phillips)*
* World Premiere performance
Peter’s thoughts on the music
It’s safe to say that we, as a worldwide community, have been on quite the journey over the past few years. As we all know too well journeys often take unexpected twists and turns, and I find myself in that position now as my journey in Newcastle comes to an end and a new journey towards Hungary starts to take shape.
The concept of this programme takes a similar concept of journey, exploring the music of some of the key figures of the modern-day countries that once formed the Austro-Hungarian Empire. The programme is inspired not only by my impending adventure, but also by the commissioning of the organ arrangement of the reconstructed Finale from Symphony No. 9 by Bruckner.
The programme begins in dramatic fashion with perhaps the most well-known organ work of one of the most famous Hungarian composers: Franz (Ferenc) Liszt. The Fantasia and Fugue on BACH is dedicated to the German organist/composer Alexander Winterberger, who premiered the work in 1856 at the consecration of the new organ in Merseburg Cathedral. The BACH theme – consisting of the notes B flat, A, C and B natural (where H is the German nomenclature for the note B natural) – has been used by composers for centuries to honour the great JS Bach (who frequently imbued his own compositions with the same motif!). The motif is stated clearly in the opening pedal line, giving way to a dramatic fantasia built almost entirely on these four notes. The drama of the fantasia gives way to a hauntingly mysterious fugue. Liszt’s desire for flamboyant virtuosity soon returns as the stricter elements of the fugue give way to colourful and ostentatious statements of the motif.
In contrast to Liszt’s showmanship stands Haydn’s Pieces for Mechanical Clock. While the organ was not the favoured instrument of composers of the First Viennese School, composers wrote for Flötenhur (or Flute Clock), a mechanical organ activated by clocks popular in Vienna at the time. Although considered one of the greatest Viennese composers, Haydn spent much of his life working for the Prince of Esterhazy, a municipality in Hungary, not far east of the Austrian border.
When thinking of Hungarian composers, most Australians probably don’t draw to mind the name of Dezso Antalffy-Zsiross. Born in Hungary, Antalffy-Zsiross studied with Max Reger and Karl Straube, as well as a period with Enrico Bossi in Italy. In 1921 he moved to the US where he taught at the Eastman School in Rochester, NY. Among his 27 pieces for solo organ are these Sketches on African American Spiritual Songs, which draw on melodies Deep River, Swing Low, and Hold On. The work opens with a fanfare which gives way to lush harmonies exploring the softer sounds of the organ that build towards a flamboyantly jazzy conclusion.
Another great symphonist of the 19th century is Johannes Brahms. Although German by birth, Brahms spent much time in his mature years in the company of the great Austrian composers, and indeed in his earlier years formed a close connection with the Hungarian violinist Ede Remenyi, which introduced Brahms to the gypsy style of music and inspired him to write his Hungarian Rhapsodies. The two chorale preludes presented today represent some of Brahms’ final works; indeed his setting of “O welt ich muß dich lassen” (O world, I now must leave thee) is the final work penned by Brahms, and seems fitting in the context!
The final work on the programme is the previously mentioned transcription of the Finale from Bruckner’s 9th Symphony. While the programme is entitled Vienna to Budapest, it might be more appropriate to see this recital as a journey from Budapest to Vienna. In any event, we see the programme bookended by two deeply spiritual composers, with Bruckner’s inspiration drawing us all to onward journeys in this life (or the next!).
It remains only for me to thank you, the music lovers of Newcastle, for your gracious support of my musical career in this city, and your support as I make my own journey towards Hungary.
Nagyon Szépen Köszönöm.
(Thank you very much)
Peter Guy
August 2022