James Kennerley plays Julius Reubke: Sonata on the 94th Psalm скачать в хорошем качестве

James Kennerley plays Julius Reubke: Sonata on the 94th Psalm

Sonata on the 94th Psalm - Julius Reubke (1834–1858) I. Grave - Larghetto - Allegro con fuoco - Grave II. Adagio - Lento III. Allegro - Più mosso - Allegro assai Performed live in concert in August 2021 on the Kotzschmar Memorial Organ by James Kennerley, Municipal Organist for the City of Portland, Maine. Learn more at https://www.jameskennerley.com The oldest son of an organ and piano builder, Julius Reubke (1834–1858) studied in Berlin. There, he would encounter the great virtuoso, Franz Liszt, who taught him composition and piano. The fruits of this period of study are Reubke’s two major works, the Piano Sonata in B-flat minor, which he composed between December 1856 to March 1857, and the Sonata on the 94th Psalm, which he completed a month later. The organ sonata was dedicated to Professor Carl Riedel, and its first performance given by Reubke on the Ladegast organ of Merseburg Cathedral on June 17th, 1857. Reubke’s health was declining during this time, and he would go on to die from tuberculosis at the age of 24. As a contemporary anecdote records: “His health was already in decline at the time of his great compositions: Playing us his sonata, seated in his characteristically bowed form at the piano, sunk in his creation, Reubke forgot everything about him; and we then looked at his pale appearance, at the unnatural shine of his gleaming eyes, heard his heavy breath, and were aware of how wordless fatigue overwhelmed him after such hours of excitement. We suspected then that he would not be with us long.” The organ sonata has long been considered one of the pinnacles organists’ repertoire. It takes as its model the extended organ works of Franz Liszt, particularly the Fantasy and Fugue on the chorale “Ad nos, ad salutarem undam”, also in C minor. The Sonata on the 94th Psalm is not, as its name might suggest, a religious or liturgical piece. Instead, it uses the highly evocative imagery provided by verses of Psalm 94 that Reukbe selected to inform the musical character of the various sections of the work. The tonality of C minor (think of Beethoven’s Fifth Symphony) is combined with dark, moody textures that portray a sense of foreboding and unrest. The sharply contrasted textures and dynamics allow for the extreme recourses of the organ to be showcased – from the transcendent string and flute stops to the thundering high-pressure reeds and pedal registers. Likewise, Reubke pushes the performer’s technique to the limit with demanding pianistic keyboard passages and highly virtuosic footwork. The result is an extended tone poem of symphonic proportions and a formal integrity that hints at the great things that might have come from a composer displaying so much talent at a young age. Here follow the verses that Reubke quoted: The 94th Psalm (Grave – Larghetto) 1 O Lord God, to whom vengeance belongeth, shew thyself. 2 Arise, thou Judge of the world: and reward the proud after their deserving. (Allegro con fuoco) 3 Lord, how long shall the ungodly triumph? 6 They murder the widow, and the stranger: and put the fatherless to death. 7 And yet they say the Lord shall not see: neither shall the God of Jacob regard it. (Adagio) 17 If the Lord had not helped me: it had not failed but my soul had been put to silence. 19 In the multitude of sorrows that I had in my heart: thy comforts have refreshed my soul. (Allegro) 22 But the Lord is my refuge: and my God is the strength of confidence. 23 He shall recompense them their wickedness, and destroy them in their own malice.