BASED IN ENGLAND
The website of the Karg-
Founded in 1987 as the Karg-
Prof Graham Barber
(Professor Emeritus, Leeds University, and Organist of
Church, Armley, Leeds)
Dr Martin Neary
Patrons of the Archive David Hill (BBC); John Scott Whiteley (Assist. Organist,
York Minster); Dr Harry Bramma (Former Organist, Southwark Cathedral, London); Simon
Lindley (Leeds Parish Church and Leeds City Organist, Yorkshire); John Scott (Organist,
St Thomas’ Church, Fifth Avenue, New York, USA)
Richard Walker (Former Director of Music, Harrow School, Greater London); Nicolas Kynaston (Concert Organist, London)
Honorary Members Prof Wolfgang Stockmeier; Heinrich Schwaab; Prof Stefan Engels; Dr Harold Fabrikant; Staffan Thuringer; Terry Truman; Elke Völker
Fellows Frank Conley; Dr Harold Fabrikant Life Members Barry Doe; Michael Jones;
Tony Luker; Ronald Smith; Dr Craig Scott Symons; Dr Richard Webb
Marko Heese; Richard Crane; Frank Conley
© The Karg-
(see panel above)
This is an area where exclusive items can be viewed which are of particular interest to members of the Archive.
Archive members who wish to view the content should contact the Chairman, who will provide a private password.
CONCERTS & RECITALS
A performance of the complete Seven Pastels from the Lake of Constance op 96 is certainly a challenging experience both for the player and the audience. Recent performances in Rochester and Derby Cathedrals have justified the initiative shown by the performers on both occasions (Charles Andrews and Tom Corfield), when their interpretation of this unique work was greatly appreciated. Although the Pastels' dedicatee, Arthur Nickson, described them as 'Tone Poems, converting sensations of physical beauty into the mysteries of sound' they also possess a unity of style and content not immediately apparent at first hearing. This aspect of the Pastels is drawn out by another gifted soloist, Dr Elke Völker, who, in the introductory notes to her 2008 recording on the Aeolus label, comments 'Whether or not the work as a whole can be spoken of as a fantasia on BACH, semitone tetrachords are one of the main building blocks of all seven Pastels.' There is, admittedly, a necessity for the visual and structural aspect of the Pastels to be conveyed to the audience; this was reflected in the Archive's 25th Anniversary brochure of 2012, when a commentary on the Pastels was enhanced by an imaginative set of images provided by Archive Life Member Marko Heese.
While an instrument such as the mighty Willis organ in Westminster Cathedral provides
all the tonal colours one could possibly want in realising Karg-
when it is possible to visit both buildings, and which therefore attract large audiences. However, those who came to hear Ben Bloor, Westminster Cathedral's very talented Organ Scholar on January 11 2015, were afforded the rare privilege of hearing as good a performance of the Pastels as I've ever experienced.
Without any of those elements which might have served to enhance its appreciation, the music simply had (stating the obvious) 'to speak for itself'. Far above, visually detached from an audience spread around the vast interior, the player presented the music as the composer himself would have wished. Precise attention was given throughout to choice of tempi and selection of stops, creating the often bizarre but fascinating tonalities which make hearing the Pastels such a rewarding experience.
Everyone has their special favourites among them; having learned, with much difficulty, no 5, The Sun's Evensong, I looked forward to hearing this eloquent reflection of a dying sun, (complete with funeral march!), then the wonderful silvery shimmering in no 6, The Mirrored Moon, and the final, cataclysmic Hymn to the
Stars, all three representing Karg-
Anthony Caldicott ●