The great Georgian church of St Chad, Shrewsbury was, on May 16 [2008], the sumptuous setting for a Karg-Elert programme comprising some of the composer’s outstanding works for organ, voices, violin, brass and timpani. Richard Walker, the Archive’s Secretary/Treasurer and Patron had assembled a highly proficient array of musicians to provide a rare opportunity to hear Kanzone und Toccata op 85/1, Symphonic Chorale no 3 op 87, Fuge, Kanzone und Epilog op 85/3 and the dramatic setting of  Wunderbarer König which concludes opus 65. Other items from opus 65 included Macht hoch die Tür no 8 and Lobe den Herren no 58, all played with great conviction by Richard Walker on an instrument which was admirably suited to music in the romantic idiom. This was further exemplified in La Nuit from Trois Impressions op 72 and

Hymn to the Stars from Seven Pastels from the Lake of Constance op 96.
Ann Tupling’s violin playing was of the highest order throughout, displaying great sensitivity in the elaborate arabesques of  Nun ruhen alle Wälder, achieving a perfect balance with organ and voice, as she did in Fuge, Kanzone und Epilog and Vom Himmel hoch op 78/20. The warmth of her tone was equally in evidence when accompanied by the organ alone in Sanctus op 48b/1 – surely one of Karg-Elert’s most melodically appealing works. Sopranos Mary Brotherton and Penny Walker sang with assurance throughout, joined by altos Sue Evans and Marylyn Booth in the Epilog of op 85/3, achieving that ethereal quality which its marvellously atmospheric final bars suggest.

The brass players (Wendy Jones, Alec Edwards, Chris Jones and Roy Bower) supplied a rousing conclusion to Kanzone und Toccata, all too often omitted for practical reasons; their confident declamation of the concluding chorale in opus 65/66 (possibly Karg-Elert’s own) heralded an electrifying performance of what must be considered the most difficult of the entire set, certainly in the organ part, played with considerable élan by Richard Walker. Finally, after her wait of an hour and a quarter, Harriet Harwood’s tremendous timpani playing in the concluding bars set the seal on an unforgettable evening of the very best of Karg-Elert’s music. The whole event reflected the greatest credit not only on the performers but also on David Leeke’s quietly assured conducting throughout passages of great complexity.

The programme notes were a fitting match for the music, replete with detailed information about the composer and enhanced by musical examples illustrating the works performed. Our thanks are due especially to Richard Walker for the considerable work which this event entailed, including the production of the programme, copies of

which are available from the Chairman in return for letter postage.