Concert Silbermann organ Saint-Thomas Strasbourg: De Grigny, Manneke, Van Noordt, Sweelinck, Bach

Описание: Gerard Adriaanse, edited live recording concert October 18th, 2023:

Program
1 Gloria, Nicolas de Grigny (1672 – 1703): 00:00
a) Et in terra pax a 5 00:02
b) Fugue 02:05
c) Duo 03:46
d) Récit de Tierce en taille 06:15
e) Basse de Trompette ou de Cromorne 11:18
f) Dialogue 14:12

2 3ème mouvement de Trois petites Symphonies, Daan Manneke (1939): Joie (Antiphonaire II) 17:37

3 Psaume 15, Anthoni van Noordt (±1619-1675) 19:51
a) Verset d’orgue
b) Chanter premier et deuxième couplet (texte Clément Marot; harmonisation Claude Goudimel)

4 Les dix commandements (mélodie Psaume 140), Jan Pieterszoon Sweelinck (1561-1621): 23:56
a) Verset d’orgue 23:58
b) Verset d’orgue 25:00
c) Verset d’orgue 26:10
d) Verset d’orgue 27:28
e) Verset d’orgue 28:42
f) Chanter premier et deuxième couplet (texte Jean Calvin; harmonisation Claude Goudimel) 30:11

5 Ciaccona de Partita pour violon seul n° II BWV 1004 de Johann Sebastian Bach (1685-1750), arrangé pour orgue par Geert Bierling 32:46

6 Wilhelmus Dutch National Anthem Leningrad manuscript 45:27

Ad 1
Nicolas de Grigny (1672–1703) was organist in Paris and Reims during his short life. He published his Livre d'orgue in 1699, aged 27. None other than Johann Sebastian Bach wrote the score, which shows his admiration for De Grigny. The Livre includes a 'Messe pour orgue'. De Grigny's music fits seamlessly with the instrument and is therefore ideal for showing the richness of the sound of the organ in all facets.
1. Et in terra pax ('peace on earth'). The melody sounds in the pedal.
2. In the very short Fugue, which starts in unison with the theme, the theme sounds 10 times, of which 5 times in the reversal (mirrored, rising instead of descending). A little masterpiece!
3. The Duo is a playful two-part interplay between the right hand on an 8-foot third combination and the left hand on a 16-foot tierce combination.
4. The Récit de Tierce en Taille is De Grigny's best-known composition. It is a very melodious piece, with the tierce register soloing in tenor position.
5. As the name implies, here is a tongue work solo in the bass, partly very virtuoso, with great leaps, and richly decorated.
6. The Dialogue is a vibrant dialogue between the magisterial Grand jeu (Grand-orgue) and the more light-hearted Petit jeu (Positif).

Ad 2
Daan Manneke (1939; www.daanmanneke.nl) composed the Trois Petites Symphonies in 1967, aged 27, for a composition competition in Averobode, Belgium. It was awarded the 1st prize. The movements are based on the compositions of the French masters such as Couperin and De Grigny. The third movement 'Joie = joy' is a modern reflection on De Grigny's Gloria.

Ad 3
Anthoni(e) van Noordt was appointed organist of the Nieuwezijds Kapel in Amsterdam in 1652 and in 1664 he was appointed organist of the Nieuwe Kerk there, succeeding Dirk Janszoon Sweelinck (the son of Jan Pieterszoon). In 1660 the collection Tabulatuur-boeck van Psalmen en Fantasyen was published. It contains the only known compositions by Anthonie van Noordt: ten psalms with variations and six fantasies for organ.
We sing two verses of psalm 15. The harmonization is by Claude Goudimel (ca. 1514-1572), he is best known for his 4-part harmonizations of all psalms that he composed very shortly after the creation of the rhymes and melodies. The harmonizations are intended for domestic use.

Ad 4
The Sweelinck family moved from Deventer to Amsterdam in 1564. Jan Pieterszoon developed into a brilliant composer and improviser and his fame and influence reached far beyond our national borders. His influence on subsequent generations of composers, including Johan Sebastian Bach, can hardly be overestimated. When the Amsterdam city council passed into Protestant hands in 1578, it was no longer allowed to play the organ during the services. It then became Sweelinck's task to play before and after the service, especially the new psalm melodies with which the church people still had to become familiar. Some series of variations, including those on Psalm 140, must be seen in that light. The variation series is an amalgamation of separately created variations on Psalm 140 and The Ten Commandments.

Ad 5
The ultimate chaconna (Bach used the Italian designation Ciaccona). The surviving manuscript of Bach (1685-1750) is dated 1720. The repeated bass theme, characteristic of the composition form chaconne, includes 4 bars. Each repetition, 64 in total (!), is a variation with its own character. The piece is written for violin solo: it requires the utmost from a violinist. A contemporary of Bach, Johann Friedrich Agricola, wrote that Bach often played this piece himself on clavichord (a keyboard instrument), and added as much harmony on the spot as he thought necessary at the time. Geert Bierling has often performed the ciaccona, following Agricola's description, improvising on organ and harpsichord, working out harmonies on the spot according to the basso continuo practice that was common in Bach's time.