OSM CONCERT HALL CONCERTO FOR ORGAN AND PIANO, OP.74 FLOR PEETERS (1903-1986)
FLOR PEETERS (1903-1986) CONCERTO FOR ORGAN AND PIANO, OP.74
I - Introduzione ed Allegro
II - Arioso
III - Cadenza e Finale
Piano: Nicolene Gibbons [OSM Alumna] OSM Piano Lecturer
Organ: Fabio Tafuni [OSM Alumnus]
As a composer, Peeters is often viewed as fairly conservative. Rather than following the same route as his contemporaries, he wrote new music using a familiar language and adopting classical forms. Besides chamber music, piano works, and songs, the composer’s style is most clearly evident in his organ compositions.
His greatest inspirations came from the organists and composers Marcel Dupré and Charles Tournemire—particularly the latter’s application of improvisation-like techniques—especially César Franck, whose influence is most evident in his use of canon and thematic development.
Peeters had a predilection for flowing melodic lines, influenced by the tradition of Gregorian chant, Franco-Flemish polyphony, and folk music. The characteristic of his longer works is the contrast between rhythmically contrapuntal passages and those of a more contemplative character. The composer was, however, more progressive in his experimentation with polyrhythms, polytonality, and complex contrapuntal techniques. The concerto for organ and piano, Op.74, is cast in the traditional three movements and has the character of a piano concerto with the organ replacing an orchestral accompaniment.
However, the piano part is lightened considerably in weight (often reduced to parallel octaves), resulting in a lucid, easily comprehensible sound. In the first movement (introduzione e allegro), Peeters succeeded in treating the musical material of the organ and the piano equally. The movement is based on pentatonic scales, broadly using parallelism and chromaticism.
The second movement (Arioso) develops a sublime melody, leading to moments of sublime mystery where the organ and the piano reach a perfect blend of sound.
The last movement (Cadenza e Finale) begins with a cadenza for the two instruments, which naturally includes a virtuoso pedal solo from the organ. The rest of the movement is treated like an energetic Tarantella.
Programme notes compiled by Dr Jan Beukes
Видео OSM CONCERT HALL CONCERTO FOR ORGAN AND PIANO, OP.74 FLOR PEETERS (1903-1986) канала odeionschoolofmusic1
I - Introduzione ed Allegro
II - Arioso
III - Cadenza e Finale
Piano: Nicolene Gibbons [OSM Alumna] OSM Piano Lecturer
Organ: Fabio Tafuni [OSM Alumnus]
As a composer, Peeters is often viewed as fairly conservative. Rather than following the same route as his contemporaries, he wrote new music using a familiar language and adopting classical forms. Besides chamber music, piano works, and songs, the composer’s style is most clearly evident in his organ compositions.
His greatest inspirations came from the organists and composers Marcel Dupré and Charles Tournemire—particularly the latter’s application of improvisation-like techniques—especially César Franck, whose influence is most evident in his use of canon and thematic development.
Peeters had a predilection for flowing melodic lines, influenced by the tradition of Gregorian chant, Franco-Flemish polyphony, and folk music. The characteristic of his longer works is the contrast between rhythmically contrapuntal passages and those of a more contemplative character. The composer was, however, more progressive in his experimentation with polyrhythms, polytonality, and complex contrapuntal techniques. The concerto for organ and piano, Op.74, is cast in the traditional three movements and has the character of a piano concerto with the organ replacing an orchestral accompaniment.
However, the piano part is lightened considerably in weight (often reduced to parallel octaves), resulting in a lucid, easily comprehensible sound. In the first movement (introduzione e allegro), Peeters succeeded in treating the musical material of the organ and the piano equally. The movement is based on pentatonic scales, broadly using parallelism and chromaticism.
The second movement (Arioso) develops a sublime melody, leading to moments of sublime mystery where the organ and the piano reach a perfect blend of sound.
The last movement (Cadenza e Finale) begins with a cadenza for the two instruments, which naturally includes a virtuoso pedal solo from the organ. The rest of the movement is treated like an energetic Tarantella.
Programme notes compiled by Dr Jan Beukes
Видео OSM CONCERT HALL CONCERTO FOR ORGAN AND PIANO, OP.74 FLOR PEETERS (1903-1986) канала odeionschoolofmusic1
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