Bach's Fantasia and Fugue in G Minor is often associated with his journey to Hamburg, and unsuccessful attempt to gain a position at the famous St. Jacobi Church. The fact that he did not win the position was due to factors other than musical ones. His musical accomplishment certainly did impress his listeners, including the 97 year old Dutch "Father of organists," Johann Adam Reinken. The darkly dramatic Fantasia is constructed in the style so popular with Bach's North German predecessors. Toccata sections are contrasted with quiet fugal ones. Based on a lively Dutch folk tune (perhaps in honor of Reinken), the fugue, the perfect foil for the serious fantasia, frolics along in the company of not one, but two, counter subjects. The whole is brought to a exultant ending with the introduction of a new powerful motive, and a final pedal statement of the original subject.

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Johann Sebastian Bach (1685-1750)
"Schmücke dich, o liebe Seele", BWV 654 (Leipzig Chorale)

For most of his life, Bach, a dedicated Lutheran church musician, elaborated hymn tunes (chorale preludes), an essential part of his tasks. Late in his life, Bach spent time gathering collections of these pieces, sometimes reworking them, perhaps preparing them for publication. One of his most serene chorales preludes, Schmücke dich, o liebe Seele, BWV 654 was found in a collection that came to be known as the Leipzig Chorales. An invitation to the Eucharist (Adorn yourself, dear soul, leave the dark cavern of sin), this setting evokes a tranquility through a gently ornamented melody, accompanied by an equally ornamented accompaniment that's thematically derived from the melody. Schumann was impressed by the "state of bliss" that this piece evoked in him, and quoted Mendelssohn saying, "if life had robbed me of all hope and faith, Bach's chorale would restore them again."

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Johann Sebastian Bach (1685-1750)
Trio Sonata No. 1 in E-flat Major, BWV 525

It is not surprising that Bach, the father of twenty children, and a member of a musical family of many generations, would turn some of his compositional effort to pedagogical materials. The six sonatas for two manuals and pedal were composed c.1725-1730 in Leipzig for the education of his son, Wilhelm Friedemann, not only in solid organ technique, but also in three-part writing. To this day, they have served organ students well as studies, but are also a delight to audiences for the works' purity, balance, lyricism, and energy. As with the other five, Trio Sonata No. 1 in E-Flat is in three movements (fast-slow-fast), and is scored for three independent voicesone for each hand, and one for the pedals. The first movement has the feeling of spring, the second is stylistically like a Siciliano (in c minor), the final movement returns to major, and brings the work to an energetic close.

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Johann Sebastian Bach (1685-1750)
Prelude and Fugue in D Major, BWV 532

The Prelude and Fugue in D Major shows Bach as a 25-year-old, sure of himself in what he could do with his hands and feet and full of ideas gleaned from his studies of music from far and near. His pedal technique was legendary. One contemporary stated "he ran over the pedals with ... facility, as if his feet had wings, making the organ resound with such fullness, and so penetrate the ears of those present like a thunderbolt." A festive atmosphere is set from the beginning, rising pedal scales serve as the springboard for the North German stylus fantasticus first section. This is contrasted by a section in a more sedate style, perhaps influenced by Frescobaldi. For the fugue organists must strap the wings on their feet to keep up with their hands for the flight through this most effervescent of contrapuntal journeys.

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Cesar Franck (1822-1890)
Choral No. 3 in a minor

Belgian by birth, Cesar Franck became one of the leading figures of the French musical scene of the 19th century. His organ works are symphonic in structure and color making full use of the 19th century organ. An organist all his life, much of Franck's creative output was improvising for church services but the twelve masterworks that he did write down have won an honored place in the organ repertory. The three chorales completed in 1891 and published posthumously were his last testament, a culmination of his life as a composer. The "chorales" are not the German hymns of Bach, but freely conceived fantasias featuring noble themes. Chorale No. 3 in a minor falls in three sections and shows the influence of Bach's chorales and preludes, Liszt's virtuosity, and Wagner's lyricism. The opening toccata-like allegro is juxtaposed with statements of the chorale theme. A new theme enters, a long, lyrical melody on a reed stop, and is passed from key to key, and register to register. Suddenly, the opening flourishes reappear; the piece builds in intensity as the chorale theme rise to the top carrying the work to its majestic conclusion.

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Joseph Gabriel Rheinberger (1839-1901)
"Abendfriede" ("evening peace") from Op. 156

A native of the tiny principality Liechtenstein, Joseph Rheinberger's showed evidence of his musical talent at age 5, and by age 7 he was performing as organist of the capital, Vaduz. He later moved to Munich for conservatory studies, and remained there for the rest of his life as a professor, composer, and organist. Although Rheinberger composed in a number of genres, he is known primarily for his twenty organ sonatas. The unabashedly romantic Abendfriede (Evening Peace) is from his Twelve Character Pieces, Opus 156.

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Felix Mendelssohn (1809-1847)
Organ Sonata No. 1 in F Minor, Op. 65

Among his many other accomplishments, Mendelssohn was an enthusiastic organist and promoter of the works of J.S. Bach. His popular London organ concerts led to commissions for new organ pieces. The three ensuing preludes and fugues and six sonatas were destined to become the most important works for organ in the first half of the 19th century. Written between 1839 and 1845, the six sonatas show the composer's great admiration of Bach's works in the inclusion of chorale melodies and use of contrapuntal techniques. Mendelssohn's prowess as an organist motivated his inclusion of virtuosic elements. The expansive first movement of Sonata No. 1 in f minor introduces the chorale The will of God is ever best contrasting it with fugal passages. The adagio is quintessential Mendelssohna song without words. The recitative movement returns to dialogue, so effective on the organ, contrasting a quiet theme with full ensemble, and leads directly into the final movement, a brilliant toccata.

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Enjott Schneider (b. 1950)
Toccata "Schlafes Bruder"

German composer Enjott (Norbert) Schneider was educated at the Conservatory and University of Freiburg. He has been a professor in Munich at the Musikhochschule (State Music Academy) since 1979 and the Filmhochschule since 1982. His scholarship includes books on music theory and film music; compositions include organ works, song cycles, chamber music, orchestra and stage works, and music for over 300 films. The Toccata Schlafes Bruder' (Brother of sleep) was written in 1994 for Joseph Vilsmaier's film "Schlafes Bruder." The main character, Elias Alder, a brilliant organist consumed by his musical talent, travels to Feldkirch Cathedral and improvises on the chorale from Bach's Cantata 56 "Komm, O Tod, du Schlafes Bruder" (Come, O death, you brother of slumber). After the lento opening, a Vivo furioso section introduces "Elisabeth's Theme" in the pedal. A transitional passage mysterioso leads to the brilliant toccata on "Komm, O Tod."

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Franz Liszt (1811-1886)
Adagio (Consolation)

One of the leaders of the romantic movement and an unequaled piano virtuoso, Franz Liszt also had a keen interest in and surprising mastery of the organ. While living in Weimar, he was in close proximity to many of the great organs of Bach's time. In the company of his disciple, organist Gottfried Töpfer, he explored these organs, gaining an understanding of the instrument. He composed or arranged a number of smaller works such as the Adagio, but his fame as an organ composer mainly rests with two major virtuoso works, one of which is the Prelude and Fugue on B-A-C-H. In German notation B is B , H is B.

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Franz Liszt (1811-1886)
Prelude and Fugue on B-A-C-H

Bach himself inaugurated the practice of using his name as a theme, in Art of the Fugue. Many other composers since have followed in paying musical tributes to the master, but Liszt's effort must surely be one of the crowning achievements. Composed in 1855, the piece was first performed for the inauguration of the new organ of Merseberg Cathedral the following year. In the work, Liszt employs the full panoply of organ colors and virtuosic techniques.

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Program notes by Linda Mack. Copyright 2001.
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