Liszt: Variations on a theme from 'Weinen, Klagen, Sorgen, Zagen' (J S Bach) for organ, S673

Liszt’s writing for the organ is musically and technically unique. He transcribed between piano and organ and other composers also transcribed his works. This CD includes Funerailles transcribed from the original by Nicolas Kynaston, Fantasia and Fugue on the Chorale ‘Ad nos, ad salutarem undam’, Ave Maria by Arcadelt arranged by Liszt and Variations on a theme by Bach Weinen, Klagen, Sorgen, Zagen.

Recorded on the Westchor-Orgel of Mainz Dom (Hans Klais 1928).

This is the first recording of the new Klais organ in the Auckland Town Hall and it is fitting that this programme is presented by John Wells, Auckland City Organist. The repertoire chosen is diverse and displays the great variety of texture and subtlety of colour, which is achieved on New Zealand’s largest organ.

This recording is dedicated to the memory of Neil Stocker, Scott Lucy and Paul Dunlop, organ builders who died in the Christchurch earthquake of 22 February 2011.

In a live concert Bengt Tribukait exposes the two interesting organs at Örgryte New Church, Gothenburg, and their capacities.

The North German baroque organ is a result of a research project at Gothenburg University. It was reconstructed entirely from scratch with old types of tools (also reconstructed) and according to old methods, and has already an international fame.

The other organ was originally used in England but has been imported to Sweden. It is a Victorian organ from about 1870, made by the famous organ-builder Henry Willis.

The concert program contains music from four centuries by (17th c.) Byrd, (18th c.) Vivaldi and Bach, (19th c.) Liszt, (c. 2000) Borisova and Dimitrijev (two young Russian composers, living in Stockholm)

Liszt composed only a small number of works for the organ, but among them are two of the most impressive works in the instrument’s repertoire. These works are contained on this CD, performed on an organ that has a direct link to Liszt.

In 1855 his pupil Alexander Winterberger played the Fantasia and Fugue ‘Ad nos, ad salutarum undam’ which Liszt had dedicated to Meyerbeer on the Friederich Ladegast organ at Merseburg Cathedral. The organ in Schwerin is almost identical to the instrument at Merseburg. The other major work Liszt composed for organ is the Prelude and Fugue on the name BACH. This was dedicated to Winterberger. The Fantasia and Fugue is a huge work lasting over half an hour, with a brilliant fantasia on a theme from Meyerbeer’s ‘La Prophete’. The meditative adagio is shattered by a violent fortissimo which leads into the fugue, and the heroic conclusion.

The Prelude and Fugue on BACH also opens brilliantly with the four notes that make up the name Bach undergoing endless ingenious variations. The fugue begins with a strange section where tonality is suspended for a time, with the four note ‘name’ appearing as an ostinato under staccato chords.

The variations on ‘Weinen, Klagen’ from Bach’s Cantata no 12 was written for piano in 1860, and is remarkable for its use of chromaticism – again, tonality is under great strain.