MAY 2010

BASED IN ENGLAND

MEMBERS AREA

CATHEDRAL MUSIC

The Karg-Elert Festival of 1930
 Schoolboy memories of Felix Aprahamian
The familiar photograph of the composer outside the church of St Lawrence, Jewry, in the city of London. May 1930.
There can be few of us still alive who remember this Festival. It happened sixty years ago, when I was fifteen. As it was one of my formative musical experiences, I remember it distinctly, for I have total recall of musical events that I attended in the twenties, thirties, forties, fifties . . . after that, alas, memories become less precise, and I can no longer remember a phone number looked up five minutes earlier. But that extraordinary May Festival has proved unforgettable. It was undoubtedly the cause of my failing Matriculation, for at a crucial period, when I should have been revising subjects with which I could not possibly identify, I was being regaled by a unique musical feast.
I attended all ten recitals, and asked each recitalist to autograph his programme in the programme-book. I already knew a few of the works to be played, having begun to collect organ music seriously in 1929. As a young autograph-hunter, I was excited to read that the composer himself would be attending the Karg-Elert Festival. And, of course, I looked forward to securing his signature on as many of my scores as I could.
Signed autograph copy of “Homage to Handel”. Click here to see a larger version.
It became rather a game. After a simple signature on the first two, the Seven Pastels and Cathedral Windows he began to vary his inscription, so that one fascicule of opus 65 has “Zur freundlichen Erinnerung as das schöne Karg-Elert Festival, 8 May 1930, Dr. h.c. Sigfrid Karg-Elert”, and another, a twelve-note chordal mountain of fourths (the last three of which, alas, an uncaring book-binder guillotined), registered for “ 64’ and 1/4’ ”, and “Sigfrid Karg-Elert” (without the honorary doctorate). Then there was the grander autograph on Homage to Handel : “Zur freundlichen Erinnerung an Dr. h.c. Sigfrid Karg-Elert. Mai 1930.” with the added “Ich habe mich über ihre Begeisterung sehr gefreut ” plus a bonus four-part harmonisation of B.A.C.H. Finally there was “Zur Erinnerung an Sigfrid Karg-Elert 17 Mai 1930”, the date of the final recital, on the harmonium Impressionen, the score he is shown clutching in one of Gilbert Benham’s photographs of him taken in the forecourt of St Lawrence, Jewry.
Gilbert must have rushed the prints through, for I was able to get mine signed on that last Saturday afternoon while the visitor was still about. His valedictory “Das bin ich ! Sigfrid Karg-Elert” suggested that he wanted to remind the
importunate schoolboy autograph-hunter of what his quarry looked like. I could hardly forget, for he cut an unusual figure. Small wing collar, large Lavallière bow-tie, fancy waistcoat and light Spring overcoat, flattish broad-brimmed beige-coloured hat, and rimless glasses: very much the imagined provincial German professor. Shortish, dumpy and moody, he might have been playing the Emil Jannings part opposite Marlene Dietrich in the film Der Blaue Engel.
Karg-Elert arrived a little late at the first recital, and sat deep in prayer for quite a while. His moods were transparent, and he must have been happy with the playing of E Percy Hallam, from St Mary’s, Bury St Edmunds, as well as giving thanks for having reached London safely and being feted by lovers of his music.
With one exception, the playing at all ten recitals seemed to please him. Archibald Farmer’s account of the first of the Seven Pastels caused his obvious delight. To this
The organ of St Lawrence, Jewry, prior to its destruction during the blitz. (Photo by Gilbert Benham)
Continuation of article
day, I have never heard it more beautifully played. (I am happy to record this, for Farmer could play abominably. His A major Bach Allein Gott Trio, BWV