NEWSLETTERThe newsletter of the Karg-Elert Archive with news and comment from around the world

ISSUE 76  MAY 2014  ISSN 0954 53328Sigfrid Karg-Elert, 1877-1933, was an important German composer of the late nineteenth and the early twentiethcenturies. The Karg-Elert Archive was founded in 1987 with the objective of encouraging the performance, recordingand publication of his music. Growing in appreciation by a widening circle of performers and discriminatingaudiences; it represents a peak of late Romantic music in its emotional intensity, variety of styles and imaginativeuse of resources, both instrumental and vocal.

KARG-ELERT AT SMITH SQUAREThe bombed church of St John, Smith Square,Westminster might have remained a ruin after World War2 had it not been for the Friends of the church and quitea lot of Government backing. The result – a sumptuousconcert hall, which has, incidentally, never ceased to bea church, as the occasional service there bears witness.Thomas Archer’s 18th century English baroque buildingis an ideal setting for musical events of modest size,graced by the splendid ‘Sainsbury’ organ of 49 stops, thesecond example of a Klais organ in central London – theother being in the church of St Lawrence Jewry. Here, atSt John’s on February 20, was a rare opportunity to hearKarg-Elert’s opus 151 – Partita retrospettiva, in a perfor-mance of considerable merit given by Adrian Gunning,whose own recital series at the other St John’s Church(that of Duncan Terrace, Islington) have often includedmajor works by Karg-Elert. As might be expected by thisrenowned interpreter of the music of CharlesTournemire, the programme began with the inspirationaland declamatory sounds of two parts of L'OrgueMystique, displaying the powerful, brilliant choruses ofthis outstanding instrument. Total contrast was affordedby two voluntaries by the curiously named 18th centuryEnglish composer Starling Goodwin; a sudden excursionto the 20th (or 21st?) century in Iain Quinn’s Continuumthen formed a prelude to the Karg-Elert work, writtenonly two years before the composer’s death, and per-formed by him at the beginning of his North Americantour on January 6 1932. It’s a piece which demands thefull resources of a very large instrument (the scoreindicates registration details for five manuals, perhapsbecause the work was eventually dedicated to ErnestSkinner). However, Adrian Gunning’s skilful andimaginative use of the Klais instrument ensured that nodetail of the colourful score went unmarked in hispolished, confident interpretation of a work which em-braces elaborate pastiche as well as the composer’susual harmonic idiosyncracies – very much a synthesisof the composer’s later style of composition. Grateful

The fine 18th century case of the organ in St John’sChurch, Smith Square.

Karg-Elert

thanks are due to the soloist for a most satisfying ex-perience in hearing one of Karg-Elert’s most significantlater works.

One niggle – it would have been interesting to readsomething about the music in the the printed pro-gramme, which told us a lot about the soloist but nothingabout the works performed, apart from their titles and thecomposers’ dates. For the record, Starling Goodwin wasthe organist of St Saviour’ Church, Southwark, whichbecame Southwark Cathedral in 1905 – only a shortdistance from Smith Square. The distant view of thesoloist, acknowledging applause from the gallery at the

The ‘Organ Day’ which took place in Bloomsbury CentralBaptist Church, London on January 25 was subtitled‘Allein Gott’ denoting its emphasis on chorale preludes,especially those associated with the Lutheran tradition.So it wasn’t surprising that J S Bach’s contribution to thisgenre was recognised in four of the soloists’ contri-butions to the afternoon’s programme. Anyone expectingKarg-Elert’s own settings of Allein Gott in der Höh seiEhr  (op 65/23  and  op 78/1)  was  going  to  be  dis­appointed, but there was consolation in Ben Bloor’schoice of Bach’s setting of this chorale BWV 663; hishalf-hour programme also included Resonet in Laudibusop 106/3,  performed  with  much  sensitivity  in  what  is  infact the composer’s reworking of a medieval Germancarol, enhanced by his customary imaginative andidiomatic colouring. We had previously heard two of themost familiar numbers from opus 65: Schmücke dich, oliebe Seele (51) and Freu dich sehr, o meine Seele (5)played by Angelina Kuzmina and Freddie James,respectively.

The subsequent presentation by Neil Collier of PrioryRecords dealt mainly with the technical and practicalaspects of the recordings this firm has undertaken of thecomplete organ works of Karg-Elert, for which ProfessorStefan Engels has provided such outstanding interpre-tations. The most recently issued, volumes 9 and 10,comprise the first 44 numbers of opus 65; it was a pity,therefore, that no mention was made of the Karg-Elertpieces played that afternoon, two of which Priory hasrecorded. It was also disappointing that this largeaudience, mainly of organ enthusiasts, was unable tohear any tracks from this already comprehensiverecording venture.

Our thanks are due to Archive member, Philip Lukewho presided over this very challenging occasion withhis customary enthusiasm; it began at 1pm and con-cluded with Jane Parker-Smith’s recital at 6 pm, whichwas preceded by an extended interval for the substantialbuffet to sustain recital goers for the rest of the evening.

And the sequel . . .Those who felt that Karg-Elert hadn’t received suf-

ficient recognition on January 25th could have madetheir way the next evening to a very different location tohear one of this composer’s most important works: hisSecond Symphonic Chorale op 87/2 Jesu, meineFreude. Here, at All Saints’ Church, Margaret Street W1,its Associate Director of Music, Charles Andrews, playedthe first of the 2014 Sunday evening recitals – an idealopportunity to hear this famous Harrison & Harrison 65stop instrument, in the church where our Patron,Dr Harry  Bramma,  was  Director  of  Music  from  1989­2004. This remarkable instrument has just about everystop one could possibly need for such a large scale, well

KARG-ELERT IN BLOOMSBURY

end of the recital, prompts a further thought for futurerecitalists both here and elsewhere from the Lord Mayorof London, Alderman Roger Gifford:

‘I wish that every organist would come down and com-municate with their audience – even sharing a joke ortwo as well as talking about the music. Make yourselfmore accessible, and allow the audience access to yourpersonality.’ (RCO The News January 2014)

constructed work which concludes with a particularlyimpressive fugue and the declamatory final appearanceof the chorale. Charles Andrews’ musicianly and percep-tive performance ensured that every detail of the some-times dense, complex textures of the score was fullyrealised, while the tricky rhythms of the Canzone werepresented with impeccable precision. Opus 87/2 waspreceded by one of the very last settings in opus 65: no64 Wie schön leuchtet der Morgenstern. This contem-plative, subtle setting of what is also a marriage hymn isthe second of the two versions in opus 65, the first beingno 44, which sets the Whitsun text O heilger Geist, kehrbei uns ein. This contrasted prelude to the evening’smajor work pointed up Karg-Elert’s resourceful andimaginative approach to the Lutheran chorale, his inspir-ation undimmed after the previous 63 ‘chorale improv-isations’, bringing this magnum opus to a resoundingclimax in no 66: the setting of Wunderbarer König,supplemented by trumpets, trombones and timpani.

As a bonus, the church’s Organ Scholar, NicholasMannoukas, had brought the preceding ceremony ofBenediction to a triumphant conclusion with a vigorousperformance of another of the opus 65 settings: no 28Lobe den Herren, o meine Seele. Later recitalists in thisseries, beginning on Sundays at 7.15pm, compriseCharles Andrews (March 23), the church’s Director ofMusic Timothy Byram-Wigfield (May 11), NicholasMannoukas (July 6) and Timothy Wakerell, sub-organist,St Paul’s Cathedral (November 23).

BEHIND THE LINES:ONE WOMAN’S WAR, 1914-18The letters of Caroline Ethel Cooper, 1871-1961A detailed summary, largely as abstracts,by Harold Fabrikant

Since the issue of the January Newsletter, ArchiveFellow and Honorary Member Dr Harold Fabrikant hasprepared a much fuller document on ‘Behind the Lines’than that originally planned, as referred to in thatNewsletter. The circumstances of Ethel Cooper’s lettersfrom Leipzig to her sister Emmie (which include Karg-Elert’s involvement in the classes Ethel attended) wereexplained briefly in Issue 75. Now, however, with char-acteristic thoroughness, Dr Fabrikant has provided acomprehensive survey not only of the letters, writtenthroughout the First World War, but also much interest-ing background information concerning Ethel Cooper,her family, and also her friends, including musicians ofsome standing in the cultural life of Leipzig. Thisdocument is of particular interest to Archive members,since it supplements what is known about Karg-Elert’sactivities during the War, including the circumstances ofhis writing Romantic Studies W35, a work which, sadly,has yet to be discovered. Enquiries concerning thissignificant survey of Ethel Cooper’s letters may be madeto the Archive’s Honorary Member Terry Truman:ttruman@adam.com.au

BEYOND LATE ROMANTICISMAs a fitting sequel to the late Romantic music on theCentaur disc, including Karg-Elert’s Jugend op 139reviewed in the issue of January 2014, we received anequally significant disc from the Dutch Record CompanyDRC 101009/01.This  comprises  music  mainly  for  flute(Thies Roorda) and piano (Nata Tsvereli). As the title ofthe disc suggests, the programme chosen for it demon-strates new ways of expression evident in the works ofKarg-Elert, Dohnányi, Reger, Andreae, and FrankMartin. By the time we reach Martin’s Deuxième Balladepour Flûte et Piano of 1938 the Romantic idiom seemsfar behind, and even Max Reger’s Suite op 103a appearsmore harmonically adventurous than Karg-Elert’s Sinfon-ische Kanzone op 114, though it was written nine yearsearlier. It is nevertheless an absorbing and at timeschallenging experience to witness the way in which theflute repertoire blossomed throughout the 20th century,‘releasing it from the malaise of the previous century’ asRien de Reede’s excellent liner notes puts it. This musiccould have no better advocate than flautist ThiesRoorda, a performer and teacher of widely rangingexperience, who surmounts the many technical chal-lenges presented by this music with great sensitivity andinsight. In this, he is ably assisted by piano accompanistNata Tsvereli, who has had a distinguished career bothin her solo recitals and as professor of piano at thePrince Claus Conservatoire, Groningen. In VolkmarAndreae’s Divertimento op 43 both these performers arejoined by Emi Ohi Resnick (violin), Edith van Moergastel(viola) and Johan van Iersel (cello) all of whom providewell balanced and sensitive ensemble playing.

The opening Sinfonische Kanzone presents a themeof Brahmsian warmth; while the subsequent materialbecomes more and more animated, this is still a work inlate Romantic idiom, demonstrating the composer’sawareness of the flute’s emotional possibilities, finallyexpressed in the cadenza which precedes the wistful,elegiac conclusion to this charming work. It’s interestingto compare this richly romantic piece with Reger’sarrangement, from his Suite in A minor op 103a,  (forviolin and piano) of its Burlesque, Minuet and Gigue.Here is a transparency and lightness of touch verydifferent from much of Reger’s organ music, notably inthe reflective Minuet and the contrapuntally animatedGigue. Dohnányi’s extraordinarily resourceful Passa-caglia op 48/2 for solo flute could be regarded as a morerecent parallel (1959) to Karg-Elert’s SonataAppassionata  op 140  of  1917.  Volkmar  Andreae’s Di-vertimento op 43 (1942) adds violin, viola and cello tothe preceding instrumentalists in a four-movement workincorporating much charming music, particularly in thefolk-like lyricism of the second molto vivace movement.The final track, Frank Martin’s Deuxième Ballade pourFlûte et Piano brings us further still ‘beyond late roman-ticism’ in a challenging work for both instruments; datingfrom 1938, it was discovered by Maria Martin as recentlyas 2008. As with all the other music on this disc, theBallade receives a stylish and totally committedperformance of what is a CD première.

The booklet accompanying this disc calls for specialpraise, being notable for the detailed information (inthree languages!) concerning the composers represent-ed, their music, and the performers, all dealt with in a

most perceptive fashion. It is particularly pleasing to seethat Karg-Elert’s great achievement in his Harmonologytreatise as well as his groundbreaking compositions forflute receive just recognition, set in the context of theinnovatory musical ideas of the 20th century, to whichKarg-Elert contributed so significantly.

Richard Walker, the Archive’s Honorary Treasurer andMembership Secretary, has made a recording of con-siderable interest on the newly rebuilt Harrison andHarrison organ in St Chad’s Church, Shrewsbury, wherehe is Assistant Director of Music.

This large three manual instrument is ideally situatedin the church’s west gallery and possesses a clarityenhanced by its modest resonance; tonally, the organreflects the builder’s high standards, notably in theprovision of a new Tuba stop, shown to fine effect in theopening March by John Stainer, whose grandson wasDirector of Music at Shrewsbury School. This recordingis particularly significant for the two contrasted Karg-Elertpieces: The Mirrored Moon op 96/6 and Ein feste Burgop 65/47,  demonstrating  both  the  widely  ranging  tonalresources of this instrument and the player’s commit-ment to both the complex, demanding scores, realisedwith the sensitivity and polish characteristic of this veryversatile performer. And versatility there certainly is inthe rest of this CD’s programme: Scott Joplin’s Rag TheCascades played impeccably, as is the preceding EdwinLemare’s arrangement of Brahms’s Academic FestivalOverture – something of tour de force, both for thearranger and performer! Contemporary idiom is repre-sented by Richard White’s Song and Jeffery Fraser’sZöe (very much in the idiom of the theatre organ). Thedisc’s concluding track comprises Heinrich Grimm’sarrangement of Prokofiev’s Peter and the Wolf, GayWalker being the narrator: an imaginative concepthaving a considerable appeal to others as well as organenthusiasts. The narration is presented with great clarity

KARG-ELERT AT SHREWSBURY

and unpretentious charm, while the organ score, inRichard Walker’s skilled hands, produces a multitude ofcolourful effects, reminiscent of the composer’s originalorchestration.

The issue of this CD demonstrates a willingness toextend the possibilities of the organ in providing afascinatingly varied programme, reflecting great credit onthe ‘Walker duo’ and also, incidentally, on the high stan-dard of the recording skills of Gary Cole (RegentRecords Ltd). Details for purchasing this disc are avail-able from gandrwalker@talktalk.net. Having alreadyperformed the complete organ works of JS Bach in rais­ing a considerable amount towards rebuilding this instru-ment, Richard Walker is now embarking on an identicalproject from May 2 to June 15 on Tuesdays and Fridaysat 12.40pm and on Sundays at 11.40 am in aid ofSt Chad’s and Shropshire Historic Churches Trust.Details of individual programmes are on:www.stchadschurchshrewsbury.com

St Chad’s Church in Shrewsbury was designed by theScottish architect, George Steuart. It has an unusualcircular plan and was completed in 1792.

Just one hundred years after Karg-Elert’s election toHonorary Membership of the Royal College of Organists,that distinguished body commemorated its 150th an-niversary with an organ recital in St George’s Chapel,Windsor on April 9 2014. I was privileged to receive aninvitation to this event, together with my Canadian guest,who also greatly appreciated an opportunity to witnessthis unique occasion in the College’s history. It was at-tended by Her Majesty the Queen, as Patron of theRCO, accompanied by his Royal Highness the Duke ofEdinburgh. The recital was performed by ThomasTrotter, described by the RCO’s President, CatherineEnnis, as ‘one of the world’s finest exponents of the artof organ playing’, an accolade exemplified in his out-standing performance of a short but comprehensive pro-gramme: Sir William Harris’s Flourish for an Occasionwritten for the Garter Day service at Windsor in 1948,J.S. Bach’s Toccata, Adagio and Fugue in C BWV 564and Peter Hurford’s Suite: Laudate Dominum (thecomposer being a former President of the RCO). Theconcluding Toccata from Widor’s Symphony no 5 com-memorated the composer’s election to Honorary Mem-bership, also in 1914, the fiftieth anniversary of theCollege.

Despite the necessary security measures very much inevidence beforehand, the occasion was marked by apleasantly relaxed atmosphere once the afternoon’sprogramme began. Following the recital, the Queen waspresented with the RCO medal in a special issue to markher patronage and presence at that day’s recital. TheDuke of Edinburgh was presented with a facsimileedition of an organ work by Sir Walter Parratt (Organistof St George’s Chapel, 1882-1924) written for a royalwedding there in 1885. The Queen and the Duke thenmet Vice-Presidents of the RCO, College’s governingbody and staff, including the Archive’s Vice-President,Dr Martin Neary. The RCO is to be congratulated on theexcellent organisation of this very special occasion, withthe much valued assistance of the Dean and Canons ofWindsor and Richard Pinel, Assistant Director of Music,who played a programme of suitably atmospheric musicbefore the proceedings began.

Anthony Caldicott à

A ROYAL RECITALAT ST GEORGE’S CHAPEL

PREVIOUS AND FUTUREKARG-ELERT PERFORMANCES

BY STEFAN ENGELS

Our grateful thanks are due to our Honorary Member,Professor Stefan Engels for the many performances of

Karg-Elert’s music which he has undertaken sinceAugust 2013. For reasons of space, they appear below in

condensed form, but they nevertheless represent aconsiderable achievement in performing such a wide variety of

this composer’s works in so many towns and citiesthroughout Europe. We understand that his recordings of the

complete organ works of Karg-Elert, volumes 11 & 12,will be issued shortly.

August 3 2013Nikolaikirche Leipzig

Homage to Handel op 75 [II]

August 19Michaeliskirche Eutin

opus 65/58, 54, 27, 37, 53, 41, 28, 26, 59

September 22Stadtkirche Stäfa, SwitzerlandHomage to Handel op75 [II],Symphonic Canzona op 85/2

September 29St Nikolaus Bensberg

Partita op 100/5,3; Homage to Handel op 75[II]

October 1St Bavo Haarlem

Sonatina in A minor op 74,Symphonic Canzona op 85/2

October 4Evangelische Kirche Berlin-Eichwalde

Näher, mein Gott, zu Dir W17C,Ostinato e Fughetta op 34B, Air from Suite BWV 1068

arr. Karg-Elert,Bourée et Musette op 39/4B; Sempre Semplice op 142[I] 5, 9

Harmonies du Soir op 72/1; op 65/58, 30, 61, 59

November 17St Anton Zürich

op 65/51, 58, 54, 59, 50; Symphonic Chorale 87/2

December 10Jesuitkirche Luzern

op 65/6,2, 4, 7, 9, 8, 10 ,11

February 2 2014Michaeliskirche Hamburg

Homage to Handel op 75[II]In dulci Jubilo op 75/2; Sinfonie op 143

March 26Konservatorium, Moscow, Maly Saal

op 65 56, 58, 47

March 28SS. Peter and Paul Cathedral, Moscow

Homage to Handel op 75[II]Symphonic Canzona op 85/2

May 3Marktkirche, Hannover

Introduction, Passacaglia & Fugue op 150and at Christuskirche Karlsruhe on

May 29

September 5Pauluskirche UlmSinfonie op 143

September 10Cathedral Aachen

Cathedral Windows op 106

September 27Central Baptist Church, London

Symphony op 143**for further details, see below

April 14 2015Philharmonie Haarlem, Netherlands

Symphonic Chorale op 87/2

OTHER PREVIOUS AND FUTUREKARG-ELERT PERFORMANCES

(excluding those mentioned in this issue)

December 14 2013Lutherkirche, Eislingen /Fils, Germany

Marko Heese (harmonium)Entrada from Partita in D major op 37

Spätsonne op 10/4from Sieben Idyllen op 104/7,5;

from Zwolf Impressionen op 102/11from Duos für Klavier und Piano W7 (opus 2)

Lied ohne Worte & Gondoliera

December 15Sala Spiga, Palazzo Baronale, Teulada, Cagliari, Sardinia

Sara Ligas (flute) Elisa Marroni (piano)Suite pointillistique op 135,

Impressions exotiques op 134

January 25 2014St Wulfram’s Church, Grantham UK

Elizabeth Rowan (flute)Sonata in B flat op 121

March 16St Thomas Church, Fifth Avenue, New York City USA

Richard Webb (organ)Seven Pastels from the Lake of Constance op 96

April 12Keble Chapel College Chapel, Oxford UK

Graham Barber (organ)Homage to Handel op 75(II)

(part of a Day Conference marking the 150th anniversaryof the foundation of the Royal College of Organists)

May 11St Stephen’s Church, Hounslow, Greater London at 4pm

Anthony Caldicott (organ)Entrata op 37/1B

Mid May to Mid October daily at 2.30pm(except Tuesdays and Saturdays)

Augustinian Abbey of St Florian, AustriaKlaus Sonnleitner (organ)

The famous ‘Bruckner’ organ,originally built by Franz Krismann 1770-1774

Adagio from Orchestral Suite in DJ.S. Bach BWV 1068 arr. Karg-Elert

June 25 and 26St Joseph’s Church, Boston MA

Rosalind Mohnsen (organ)Abstraction (alla Schönberg) op 101/32

for National Convention of the American Guild of Organists

August 30Lincoln Cathedral UK from 1.10-2 pm

James Wilson (flute) & Heriberto Cruz (piano)Sonata in B flat op 121,

Suite Pointillistique op 135

September 2Wakefield Cathedral UK from 1-1.45 pm

James Wilson (flute) & Heriberto Cruz (piano)Suite Pointillistique op 135

and also onSeptember 23

Sheffield Cathedral UK from 1.15-2 pm

September 27Central Baptist Church Bloomsbury London WC2 at 4pm

Stefan Engels (organ)Symphony op 143

We are delighted that our Honorary Member,Professor Stefan Engels, is to perform this major work of

Karg-Elert’s – a rare opportunity to hear what is possibly thiscomposer’s most innovative and imaginative late work – an

opportunity not to be missed!

KARG-ELERT’S WAGNERTRANSCRIPTIONS FOR HARMONIUMThe discovery of a recording of Karg-Elert playing theArt-harmonium raises some fascinating issues. In 1914he would probably have been at the height of hispowers, in his later thirties: after all, thirteen years laterhe was still able to perform his ferociously difficultSecond Sonata at his fiftieth birthday celebrations.Questions about his technique relate more to the organthan to the Art-harmonium, which was always hisfavourite instrument.

Johann Titz very probably made the instrument onwhich Karg-Elert recorded. According to Gellerman’sInternational Reed Organ Atlas, the firm was establishedin 1880 in Lowenberg and was still active in 1930 underTitz’s widow. A handbill reproduced by Gellerman tells usthat the sole agency for all countries was Carl Simon,who could supply a technical description with sevenphotographs for eighty pfennigs. Since Simon was Karg-Elert’s first major publisher, and was instrumental inintroducing him to the Art-Harmonium, it is quite possiblethat a Titz instrument created the life-changing oppor-tunity in 1904 which helped to shape the composer’smusical development from then on. Certainly the firmlater marketed a “Karg-Elert” harmonium, perhaps anexample of the patronage which was a feature of Karg-Elert’s career from the earliest days.

The three books of Wagner transcriptions were amongseveral works published by Peters in 1914, suggestingthat the recording was made very soon after the piecewas written: the others were the Impressions op.102 andthe Idylls op.104 written for a suction instrument.Feierlicher Zug zum Münster is one of seven tran-scriptions from Lohengrin, including the Act 1 Preludeand Elsa’s Dream, in the second book, which alsocontains four excerpts from Parsifal and versions of twoof the Wesendoncklieder.

The first book includes two excerpts from Rienzi, threefrom The Flying Dutchman and seven from Tannhäuser.The final book consists of four excerpts from Tristan undIsolde, including the Prelude and Isoldes Liebestod, fivefrom Die Meistersinger, Siegmund’s love-song andBrünnhilde’s Todesverkündigung from Die Walküre,Waldweben (Forest Murmurs) from Siegfried and theFuneral March from Götterdämmerung. All these tran-scriptions show great skill in incorporating the essentialnature of complex vocal and orchestral material intomusic which can be played by two hands on a singlekeyboard. It is worth pointing out that in the days beforeextensive recording, transcriptions were the only way inwhich the majority could encounter these pieces. TheArt-harmonium is arguably a more effective medium inconveying the essence of this music than the morepercussive piano.

I have a great deal of affection for these pieces. Iincluded the Brautchor (THE Wedding March) in aprogramme including Wedding Marches by Hollins andChaminade, and played the Chorus of Flower Maidens(Parsifal) and Isoldes Liebestod in a recital of transcrip-tions at the Reed Organ Museum in Saltaire. I played theLiebestod well enough to include a recording in a lectureI gave at Sheffield University, and included Winterstürmefrom Die Walküre in the recital which I gave as part of myM.Mus degree in 1995.

Preparing all these pieces for performance or discus-sion emphasised a major problem in playing Karg-Elert’smusic for the harmonium: registration. When Carl Simonwas Karg-Elert’s main publisher, customers would knowwhat the registrations meant, whether for “Vierspiel” orArt-harmonium. Peters, who published a much widerrange of music, would not be so familiar, meaning thatmore information was necessary for potential buyers.Their approach was rather haphazard. The Impressionshave the registrations for all the pieces printed at thebeginning: infuriating, since it means leafing back andforth to write in the registration for each piece. The firstbook of Portraits, published later, initially had noregistration at all. Each book of the Wagner transcrip-tions contains a preface detailing the characteristics ofeach stop on the Art-harmonium. It is anonymous, butalmost certainly derives from Karg-Elert himself.It is clear that Karg-Elert wanted these pieces to beaccessible to as many people as possible, so he in-cludes registration for suction instruments and offersseveral alternatives for the Art-harmonium. Unfortunate-ly this creates more problems than it solves, as I foundwhen preparing Winterstürme for recital. Without goinginto detail, he suggests three possible combinations forthe central section, of which only one proved effective, inmy opinion. Karg-Elert attempted to provide advice,especially in Der Kunst der Registrierens, but this wasnever completed. It is fortunate that many of us havebeen willing to wrestle with the problems which areraised by all of Karg-Elert’s harmonium music so that thisvital part of his output can be appreciated at its truevalue.

Frank Conley à

Our grateful thanks are due to Life Member MarkoHeese for kindly providing details of the Leipzig Karg-Elert Festtage held there in the Hochschule fur Müsikund Theater ‘Felix Mendelssohn Bartholdy’ from April 4-62014. Under the direction of our Honorary MemberProfessor Stefan Engels and promoted by the Karg-ElertGesellschaft, this festival of Karg-Elert’s music compris-ed a widely ranging programme performed by outstand-ing musicians, including students of Professor Engels.Marko’s review of this event will appear in the September2014 issue.

FRIDAY  April 46pm Thomaskirche. Johannes Michel (organ):Jesu, meine Freude op87/2 part 1;Pax Vobiscum op 86/58pm Grosser SaalChamber music by Karg-Elert: Kunihild Vorspiel (Kistler)B59 – harmonium. Two Liszt transcriptions: Der Fischer-knabe; Die Lorelei B64. Aus meiner Schwabenheimatop 38 8B – harmonium and piano. Kuhreigen undBauernweise; Hochlandweise op 31 1B & 6B. Romanzein A minor – Max Reger B78 (arr. Karg-Elert). DritteSonate (Patetica) in C sharp minor op105 (28.9.1914).Four Duos op 26 1B, 4B, 6B, & 7B. Sonata in B majorop121 for flute and piano.Irmela Bossler (flute), Jan Hennig (Kunstharmonium)Ernst Breidenbach, Bernhard Kastner and MichaelZieschang (piano)

SATURDAY  April 5 from 9.30am ­ 1pmA Workshop Day for piano, harmonium and flute withIrmela Bossler. Bernhard Kastner, Ernst Breidenbach,Jan Hennig, Michael Zieschang.3pm ThomaskircheJohannes Michel (organ): Jesu, meine Freude op 87/2part 1; Pax Vobiscum op 86/55pm - 6.30pm Grosser SaalShort lectures, with musical examples about and byKarg-Elert: ‘Musical Symbolism in the Pastels op 96’ –Wacek Golonka, Cracow. ‘Gaudeamus igitur – Karg-Elert’s time of study and teaching in the Royal MusicConservatory at Leipzig’ – Dirk Mühlenhaus, Bonn.‘Landscape, Music or Landscape music?’ Geography inthe work of Karg-Elert – Marko Heese, Tübingen.7.30pm  Grosser SaalOrgan Concert – students of Professor Stefan EngelsPassacaglia in E flat minor op 25B, Josipa Leko. Choral-Improvisation In dulci jubilo op75/2, Felix Mende. Fromopus 65: no8 Macht hoch die Tür ; no17 HerzliebsterJesu no48 Jerusalem, du hochgebaute Stadt, HrvojeTrinki. Rondo alla campanella op156. Sequenz in Cminor W12, Richard Gowers. 1st Symphonic Canzonaop 85/1, Inah Park.SUNDAY  April 6 at 11.30amGrosser SaalFrom Pastels from the Lake of Constance op96:1 The Soul of the Lake2 Landscape in Mist3 The Sun’s EvensongWaclaw Glonka (Warsaw)

LEIPZIG FESTTAGE

NEWSLETTER DEADLINE

The Karg-Elert ArchiveThe Archive is based in England and was originallyknown as the Karg-Elert Society. It was founded in1987 and its membership has always been open toanyone who has an interest in the composer and hismusic. www.karg-elert-archive.org.uk

PresidentProfessor Graham Barber(Professor Emeritus, Leeds University and Organist,St Bartholomew’s Church, Armley, Leeds)

Vice-PresidentDr Martin Neary(Late President, Royal College of Organists)

ChairmanAnthony Caldicott

PatronsDavid Hill(BBC)Dr Harry Bramma(Former Organist, Southwark Cathedral, London)Dr Simon Lindley(Leeds Parish Church and Leeds City Organist,Yorkshire)John Scott(St Thomas’ Church, Fifth Avenue, New York)Richard Walker(Former Director of Music, Harrow School,Middlesex)Nicolas Kynaston (Concert Organist, London)

FellowsDr Harold Fabrikant and Frank Conley

Honorary MembersProf Wolfgang StockmeierHeinrich SchwaabProfessor Stefan EngelsDr Harold FabrikantTerry TrumanStaffan ThuringerElke Völker

Foundation MemberDr Brian Parsons

Contact the ArchiveFinancial and membership matters:Richard Walker, 3 Cunnery Terrace, Church Stretton,Shropshire SY6 6AL gandrwalker@talktalk.net

Newsletter and general enquiries:Anthony Caldicott, 38 Lyndhurst Avenue,Twickenham, Middlesex TW2 6BX.anthonycaldicott@virginmedia.comTelephone: 020 8894 6859

Membership Secretaryand Hon. TreasurerRichard Walker

Life MembersBarry Doe Frank ConleyMichael JonesTony LukerRonald SmithDr Craig Scott SymonsMarko HeeseRichard CraneDr Richard Webb

Corporate MembershipThe Royal College ofMusicGöteborg Organ ArtCenter

John Scott Whiteley (FormerAssistant Organist, York Minster)

Enquiries concerning the music of Sigfrid Karg-Elert andother publications may be made to:

sales@cathedral-music.co.ukinfo@cathedral-music.co.uk

tel + 44 (0)1243 379968 (24 hours)fax + 44 (0)1243 379859

CATHEDRAL MUSIC

All contributions for Newsletter 77 in September 2014must reach the Chairman by Monday July 28.

Her Majesty the Queen receiving the RCO Medal, pre-sented to her on April 9 2014, to mark her Patronage ofthe College and her presence at its 150th AnniversaryOrgan Recital in St George’s Chapel, Windsor.