Konsert från 2013 med brittiska organisten Jennifer Bate där hon spelar på Orgel Acusticum (vid Luleå tekniska universitet). Under konserten framförs musik av Bach, Liszt och Dickinson såväl som egna verket ”Suite on Veni Creator Spiritus”.
J.S. Bach | Fantasia in G, BWV 572
F. Liszt | Fantasia and Fugue on Ad nos, ad salutarem undam
P. Dickinson | Carillon
P. Dickinson | Three Statements
J. Bate | Suite on Veni Creator Spiritus
Carillon Peter Dickinson b. 1934
The organ has been close to the centre of the output of Peter Dickinson, the British composer, writer, pianist and teacher, who was born at Lytham St Annes, Lancashire on 15 November 1934. His unconventional approach to the instrument reflects a background that was not typical of British organists or composers at the time in some strikingly original organ works.
The Carillon (1964) is a jumble of bell sounds in variable metres – rhythms rarely heard from church steeples perhaps but developed from them all the same. I gave the first performance at the wedding of Virginia and Andrew Evans at Kingswood, Surrey, on 8 August 1964.
The Three Statements (1964) arose from some work in improvisation I was doing with students, documented in a series of six articles in the Musical Times. In No.1 the wide melodic leaps and note clusters were unusual in organ music at that time. The dramatic No. 2 has a sustained symbolic major chord held throughout, always in the distance, and it expands towards the end before returning. No.3 alternates between a type of chorale, based entirely on chords built in fourths, against two-part passages where the melody usually disagrees with its stepwise lower part.
© Peter Dickinson
Suite on Veni Creator Spiritus Jennifer Bate b. 1944
The Gregorian theme is played on the Great, but it is hidden by being broken into short phrases and rich harmonies. Between each phrase, passages on bright mixtures represent the bells and incense.
During the opening section there are brief appearances of the melody, and a second subject which later becomes ever more important. The middle section features a canon, with the theme in full on the pedals. The reprise of the first section now accompanies the whole theme, played in very long notes on the pedals, using a 4’ stop. The coda unites the second subject repeatedly interwoven with the four notes of the Amen.
A new variant of the theme is also accompanied by the Amen motif. The theme is then heard in the minor underneath the Amen, and again as the bass to ethereal chords. The opening material returns with a different accompaniment and a gentle coda.
In contrast to the preceding movements, this is a virtuoso piece with jazzy rhythms. The theme of Veni Creator enters in a series of canons. The first is at the octave over the same theme augmented in long pedal notes. This is interrupted by a variation in C major with a busy pedal part. The second canon is in the minor key at a distance of two beats and finally we arrive at a canon in the major, initially at a distance of two bars and then one bar apart. The coda contains the final fortissimo Amen.
© Jennifer Bate