VCH Organ Series: Thomas Trotter - Arrival, 1819

15 FEB 2019

VICTORIA CONCERT HALL

Thomas Trotter ORGAN

Thomas Trotter is one of Britain’s most widely admired musicians. The excellence of his musicianship is reflected internationally in his musical partnerships. He performs as soloist with, amongst many others, conductors Sir Simon Rattle, Bernard Haitink, Riccardo Chailly and Sir Charles Mackerras. He has performed in Berlin’s Philharmonie, the Gewandhaus in Leipzig, the Concertgebouw in Amsterdam, the Musikverein and the Konzerthaus in Vienna and London’s Royal Festival Hall. He has played inaugural concerts in places such as Princeton University Chapel, Auckland Town Hall, the Royal Albert Hall, and Moscow’s International Performing Arts Centre. He won the Royal Philharmonic Society award for Best Instrumentalist in 2002, and in 2012, was named International Performer of the Year by the New York Chapter of the American Guild of Organists.

In 2016, he was awarded the Gold Medal of the Royal College of Organists for his achievements in organ playing. Trotter was appointed Birmingham City Organist in 1983, in succession to Sir George Thalben-Ball, and he is also organist at St Margaret’s Church, Westminster Abbey and Visiting Fellow in Organ Studies at the Royal Northern College of Music. Earlier in his career he was organ scholar at King’s College, winning the First Prize at the St Albans International Organ Competition in his final year. Alongside his regular recitals in Birmingham, Thomas Trotter tours on four continents and plays at many international festivals such as Bath, Salzburg, and the BBC Proms. He is an active recording artist, appearing on the Decca, Hyperion, Regent and Chandos labels.

Mozart once remarked, “Bach is the father, we are the children!” Although he was referring to Carl Philipp Emanuel Bach, the seed of inspiration of this programme can be traced inexorably back to his famous father Johann Sebastian Bach. J OHAN N S EB A ST I AN BAC H

ALBE RTO GINAST ERA

Toccata, Adagio and Fugue in C major, BWV 564 15’ Bach’s Toccata, Adagio and Fugue in C major, BWV 564 begins with an extended manualiter (hands only, no pedals) cadenza, then a pedal solo, and an effervescent tutti; these contrasting parts in the Toccata alone, display the colours and sonic capabilities of the organ. The central Adagio is Italianate in style, in comparison to the outer sections, which owe more to Buxtehude’s North-Germanic style. It features a violinistic solo with basso continuo accompaniment, with dissonant suspensions and harmonies. A playful and light-hearted gigue Fugue concludes this extensive work.

Toccata, Villancico and Fugue, Op. 18 10’ Alberto Ginastera’s Toccata, Villancico and Fugue Op. 18 was the first of only two works he wrote for solo organ, and premiered in 1947. It begins with a brilliant toccata in C, then an intimate meditation inspired by the villancico, which was originally a South American folk song, but nowadays sung as a carol. The fugue, based on the BACH motif, is clearly a nod to both his predecessors, Liszt and Bach.

RO BERT S C H UM A N N

Two Studies in Canonic Form, Op. 56 7’ Robert Schumann’s Six Studies in Canonic Form Op. 56 were borne of a reverence for Bach, and what he termed his “Fugenpassion”. They were also intended as an exercise to aid his recovery from a mental breakdown he suffered in 1844. Schumann fitted a pedal board on his piano, and became a proponent of the instrument, so much so that he persuaded Felix Mendelssohn to dedicate a class to it at the Leipzig Conservatory. No. 4 (Innig) takes after a lyrical Mendelssohnian Song Without Words, whilst No. 5 (Nicht zu schnell) is a playful scherzo.

F RAN Z LIS Z T

Fantasy and Fugue on the theme B-A-C-H, S. 260 12’ Franz Liszt lived and worked in Weimar from 1848 till 1861, where he was greatly influenced by the tradition of organ and Bach’s music. There, he wrote the Fantasy and Fugue on the theme of B-A-C-H, and came into contact with eminent organists such as Alexander Winterberger, to whom the piece was dedicated. Its virtuoso pianistic writing and cadenzas are characteristic of Liszt; and the chromatic fugue subject is reminiscent of a Schoenberg tone row, and pushes the boundaries of tonality. Intermission

20’

The BACH motif, a musical translation of the letters in Johann Sebastian’s name, provides the inspiration for the next two works.

Go green. Digital programme booklets are available on www.sso.org.sg. Scan the QR code in the foyer to view a copy.

JO HAN N C H RI ST I AN BAC H

Arr. Thomas Trotter Concerto in D major, Op. 1, No. 6 10’ J.S. Bach’s youngest son, Johann Christian, is the link to the “English” half of this programme: these next two works by him and William Thomas Best both feature variations on the British national anthem. Johann Christian was tutor and court musician to Queen Charlotte, an avid musician of German origin, and consort of King George III. His collection of Six Harpsichord Concertos, Op. 1, were published during his royal appointment in London in 1762, and dedicated to her. Prior to this, he had spent several years studying in Italy. This clearly influenced these first published compositions, which have a pre-classical limpid transparency to them. The final movement of this concerto is a set of six variations on “God Save the King”, a compliment to his patron. WILLIA M T H OM A S BE ST

Introduction, Variations and Finale on God Save the Queen 8’ William Thomas Best (1826 – 1897) was one of the most eminent organists of his time. He inaugurated the Royal Albert Hall organ in 1871, as well as the Sydney Town Hall organ in 1890, which was then the largest organ ever built. The Introduction, Variations and Finale on God Save the Queen begins with a grand, dotted fanfare, followed by the anthem theme. There are four variations, including a chromatic moto perpetuo, a variation in the relative minor, and a toccata with the melody in the pedal. The last variation is interrupted by another fanfare; which leads into a fourvoiced fugue.

GU STAV HO LST

Arr. Thomas Trotter Jupiter, the Bringer of Jollity from The Planets 8’ Gustav Holst’s The Planets was originally written for two pianos. The orchestral version appeared sometime later in 1916, just before the outbreak of the First World War. Holst was fascinated with mysticism and astrology, and remarked that “the character of each planet suggested lots to me”. He also commented, “Jupiter brings jollity in the ordinary sense, and also in the more ceremonial type of rejoicing associated with religions or national festivities.” Fittingly, the chorale melody used in Jupiter is commonly sung to a British patriotic hymn, I Vow To Thee, My Country. E D WARD ELGAR

Arr. Herbert Brewer Chanson de Matin, Op. 15, No. 2 4’ Edward Elgar, often portrayed as the quintessential English composer, was himself an organist, succeeding his father as organist at his local church. Chanson de Matin was written in 1899 for violin and piano, orchestrated by Elgar a couple of years later, and arranged for organ by Sir Herbert Brewer (1865 – 1928), who was the organist of Gloucester Cathedral. E D WARD ELGAR

Arr. Edwin Henry Lemare Pomp and Circumstance March No. 1 6’ The stately march hearkens back to the glories of Victorian England. Its trio features the patriotic tune Land of Hope and Glory, and is sung with fervour almost as a second national anthem today.

Programme notes by Koh Jia Hwei There will be a post-concert autograph session at Level 2 Concert Hall Foyer.

Visit www.sso.org.sg/klaisorgan to learn more about Victoria Concert Hall’s Klais organ, Singapore’s only fully mechanical organ.

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