Beard of the Week XXXII: Beard Eroica
This week's rather elegant beard belong to the Belgian composer Joseph Jongen (1873–1953). His reputation was built largely on his success as an organist, although his smallish catalog of works is diverse. (Wikipedia bio; a brief appreciation in French)
This past Sunday we had a cultural outing with friends to Baltimore, where we attended an organ recital performed by Dame Gillian Weir, in Griswold Hall at the Peabody Institute. (I like Peabody's event listing, because the small photographic strip along the top shows the lovely staircase in the main hall, which we passed on our way to the recital hall, and under which I used the lovely, recently remodeled restroom.) Griswold Hall is a very nice, modestly sized recital hall with a beautiful Holtkamp organ, which is relatively new. (About the installation; small photograph) Dame Gillian is currently a "Distinguished Visiting Artist" at Peabody.
Dame Gillian played a very nice program, and I mean that in two ways. One is that the program itself was interesting, with a minimum of recital war-horses and a maximum of interest and balance. Second is that Dame Gillian's playing was quite enjoyable listening; while her performance histrionics were significantly more modest than some, her technique and musicianship were admirable. Perhaps we can chalk the difference up to British reserve.
All in all it was a delightful afternoon in a beautiful setting with a beautiful instrument played by a worth organist performing interesting and challenging music.
The program reveals now why Joseph Jongen is our beard of honor today:
Joseph Jongen (1873–1953): Sonata Eroica
Nicolas de Grigny (1672–1703): Récit de Tierce en Taille
Nicolas de Grigny: Dialogue sur les Grands Jeux
Johann Sebastian Bach (1685–1750): Partita: Sei gegrüsset, Jesu gütig
intermission
Olivier Messiaen (1908–1992): Messe de la Pentecôte
Maurice Duruflé (1902–1986): Scherzo
Sergei Slonimsky (b. 1932): Toccata
Georgi Mushel (1909–1989): Toccata
As you might imagine, the program also provided a bit of a work-out for Dame Gillian, but she rose to the task. I was most interested in the second half to hear the Messiaen followed by the Duruflé. At first hearing, Messiaen and Duruflé have very little in common stylistically, although they both were French and lived roughly at the same time; Duruflé was more the post-Romantic while Messiaen was something of an avant-garde mystic. However, hearing the Duruflé immediately after the Messiaen was an ear-opener: there were remarkable similarities in the musical language that I never would have suspected nor likely ever noticed without the juxtaposition.
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on Tuesday, 12 February 2008 at 22.21
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you know, if you're going to talk about organ work, you really should let your other readers know about this musical gem, which is a new rendition of an organ classic. (one might almost say "warhorse", or even "chestnut").
I've sent this to you already, Jeff, and we agreed that it's both a fresh interpretation, AND a sign of the imminent end times.
(it's a floor wax AND a dessert topping!)
I went there again today to get the URL, and discovered a new comment on YouTube: You know, it never occurred to me that [this work] is really just a long overblown polka". And you know, the commenter is right. Hellish fast, but a polka nonetheless.
unfortunately from the picture's I've found of the composer, he had a moustache, but no beard.