Duration: 7:30 min.
Aria, Fugue, & Final, like my Passacaglia for organ (Edition Svitzer, 2012), is a reflection and contemplation of certain aspects of our Western musical history.
The Aria is a humble hommage à Louis Vierne, the Fugue points towards the dazzling art of great jazz pianists like Oscar Peterson and George Shearing, and the Final is inspired by the last movement of Frédéric Chopin’s Sonata in b flat minor Op. 35.
Concerning the performance:
Aria
The interaction between the solo melody and the accompaniment should not be rhythmically rigorous (e.g. the arpeggio in bar 7). If the organ has only one swell division, the opening bars should be played on the Swell, then changing the registration correspondingly at bar 5. Of course this applies also to similar places later in the movement. The solo voice could be played with Trompette harmonique and Bourdon 8’. The section starting at bar 21 should not be too soft, whereas the section from bar 44 should sound like an echo.
Fugue
The tempo should not be too fast and the performance should be rhythmically very exact – and spiced with a little humour. All notes without articulation marks should be played a little detached – particularly the sixteenths. The development of the second theme should be played very legato and the registration should be soft and warm (foundations 8’). It could also be rather eccentric (like 16’, 4’ and 1’ with Tremulant behind closed Swell shutters).
Final
The tempo should not be slower than indicated. This would endanger the effect of the movement. Depending on the instrument and the acoustics of the room, the tempo might even be faster. In measures with only one manual voice, the notes should be divided wisely between the hands. The crescendo should be as gradual as possible. Mixtures should be added last.
I should like to express my warmest thanks to the 2013 St Albans International Organ Competition and its Artistic Director David Titterington for commissioning this piece as a set piece for the second round of the competition.
