MAY 2010
BASED IN ENGLAND
MEMBERS AREA
CATHEDRAL MUSIC
Further Thoughts on Opus 85/3
Recent experiences of Fuge, Kanzone und Epilog have prompted a further consideration of this work, which invites comparison with other Karg-Elert compositions for organ,voices and violin, though on a much smaller scale than opus 81 ( Näher, mein gott, zu Dir), Benedictus op 82/1 and Vom Himmel hoch op 82/2. So far as we know, neither op 82/1 or op 82/2 has been recorded, which is a pity, since they are both resourceful works, utilizing voices, instruments and organ in that very fruitful period of composition just before the first World War – they date from 1912-1913. As a Lutheran, it is not surprising that Karg-Elert found inspiration in the Christmas hymn Vom Himmel hoch, both words and music being by Martin Luther. Of the three settings of the tune (op 65/10, op 78/20 and op 82/2) the last is the most elaborate, utilising material from the opus 65 setting. But Karg-Elert also found inspiration in the Latin text of the Mass, as is evident in Fuge, Kanzone und Epilog. Here, the opening notes of the traditional eleventh century setting of the Credo receive a significant alteration to the first syllable of ‘unum’; the same musical phrase replaces the normal setting at the words ‘{Credo in} vitam venturi saeculi’, thus establishing a musical unity throughout the piece. In her very perceptive notes on the Aeolus recording she made in 2002, Elke Völker quotes the composer’s comments on the music:
“That is the Catholic side of me that can’t make peace with Lutherism. It is my F sharp major and B major side as it appears in the third ‘Pastell’ (sic) and in my ‘Cathedral Windows’.” He might also have mentioned the subtitle ‘et vitam venturi saeculi. Amen.’ added to the organ arrangement he made of Interludium in opus 36 (the 1st Harmonium Sonata), also in F sharp major. Here Karg-Elert quotes the authentic version of the Credo’s final phrase. Benedictus op 82/1 sets the familiar text from the Ordinary of the
“That is the Catholic side of me that can’t make peace with Lutherism. It is my F sharp major and B major side as it appears in the third ‘Pastell’ (sic) and in my ‘Cathedral Windows’.” He might also have mentioned the subtitle ‘et vitam venturi saeculi. Amen.’ added to the organ arrangement he made of Interludium in opus 36 (the 1st Harmonium Sonata), also in F sharp major. Here Karg-
Mass for seven solo voices, chorus, violin, harp (or piano) and organ.
The piece rises to an impassioned climax at ‘Osanna in excelsis’, with dramatic antiphonal effects between soli and chorus (now also in seven parts), while the violin rises to a sustained high C almost to the end, when a solo soprano repeats the opening phrase. The piece abounds in all manner of imaginative touches and would be most rewarding to perform. The first of Two Pieces op 48b, for violin and organ is entitled Sanctus, which again suggests the emotional appeal of that ‘holy water and consecrated candles’ which Karg-Elert, from his Lutheran standpoint, found so appealing. There is a sense of inner peace as well as solemnity in a work which, with its associated Pastorale, has become deservedly popular.
The piece rises to an impassioned climax at ‘Osanna in excelsis’, with dramatic antiphonal effects between soli and chorus (now also in seven parts), while the violin rises to a sustained high C almost to the end, when a solo soprano repeats the opening phrase. The piece abounds in all manner of imaginative touches and would be most rewarding to perform. The first of Two Pieces op 48b, for violin and organ is entitled Sanctus, which again suggests the emotional appeal of that ‘holy water and consecrated candles’ which Karg-