chenroeder’s prose comes to life when they discuss the epochal 1962 Radio Bremen concert at which Ligeti’s Volu- mina was given its first performance along with other now iconic modernist organ works; a run-of-the-mill juxtapo- sition of Protestant and Catholic com- posers and repertoire reveals a surpris- ingly complex scene, and their account of organ music in East Germany during the Communist years describes a land- scape that will be unfamiliar to most American readers. The essay on French organmusic evidences similar strengths and weaknesses. It has the same urge to include dozens of composers of organ music, and the same sense that, for the authors, the topic becomes more com- pelling after reaching the second half of the century: works by Hakim, Escaich, Leguay, and Florentz receive illuminat- ing commentaries. Acuriosity shared by both chapters is
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that themost important figure in each is treated in a separate account by a dif- ferent author. Immediately after the chapter on “The German-speaking Lands” (which begins with Karg-Elert) is one on “Max Reger (1873–1916)”— though it makes better sense to read them in reverse order. Likewise, the chapter on “France” precedes that on “Olivier Messiaen (1908–92).” Messi- aen, of course, is more centrally located in the 20th century than is Reger, and as a result, his absence in the French chap- ter is more awkward. Nonetheless, these two chapters, by Christopher S. Anderson (Reger) and Peter Bannister (Messiaen), are among the best in the book. A discussion of organ music as rich, cogent, and musically savvy as Anderson’s is hard enough to find, while one on a composer as problematic as Reger is even more rare. Anderson’s observations range widely. He illumi- nates intricate relationships, as among the items in the Twelve Pieces, Op. 59 (with its well-known Benedictus). He draws attention to noteworthy pas- sages, such as mm. 5–12 of the Fantasy in D Minor, Op. 135b—a masterful pas- sage to be sure—which he describes as “some of Reger’s most sensitive writing for the organ” and also shows how and explains why it may well be derived from a theme from Wagner’s Die Wal- küre (p. 106). At the same time, he is not afraid to point out “unreasonable pas- sages” and “hopeless” tempo markings that too often characterize Reger’s style. Bannister’s account of Messiaen’s or-
gan music is also well balanced and in- sightful. The author is especially adept at linking topics. He outlines the nearly lifelong relationship between Messiaen and theCavaillé-Coll organ of La Trinité (Paris), showing parallels between the various changes made to the organ and the evolution of the composer’smusical style. He also discusses Messiaen’smu- sic alongside the composer’s theology.
THE AMERICAN ORGANIST
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