2016 Concert Series Hymn of Praise | Page 4

Fantasia & Fugue in G Minor (“Great”), BWV 542
J. S. Bach (1685-1750)
Programme notes by Dr John Wells
The fantasia is one of Bach’s most impressive and adventurous organ works. Apart
from the dramatic opening (which inspired Poulenc some 220 years later), it is
famous for its extremely bold harmonies and key shifts.
The work has been associated with Bach’s application for the post of organist of St
James’ Church in Hamburg in 1720 – which he eventually decided to turn down as
he would have been required to pay a sizeable ‘token of gratitude’ to the church
for his appointment! This organ must have been tuned to a more progressive
tuning system, as the key shifts would have been quite unacceptable in the older
meantone temperaments.
Surprisingly - but not uniquely in Bach’s output – the fugue may have been
composed apart from the fantasia. The fugue subject is based on a Dutch folksong
and the reason for its use is possibly as an act of homage to Johann Reinken,
a senior organist in Hamburg, who was born in Holland. This fugue is one of
Bach’s most expansive and ambitious in this genre, with sections that even seem
to anticipate Classical structures. It drives on relentlessly with no slackening of
tension; the effect is thrilling - not an adjective one normally applies to a fugue!

O Magnum Mysterium
Chris Artley (b.1963)
Programme notes by Heath Lees
Apart from his busy life as a music teacher at Auckland’s King’s College, Chris
Artley is in danger of becoming a professional prizewinner at the world’s many
choral competitions. This year alone he scooped first prize in a prestigious
Japanese festival, and a few months ago his anthem Qui Creavit Caelum topped
an impressive list of entries for the Cincinnati Camerata Choir Competition.
There are two stand-out features that contribute to the success of Chris Artley’s
music: a natural, almost instinctive feeling for choir sound, and a lush, ‘crossover’
effect that arises from his fascination with jazz. O Magnum Mysterium, which
lasts about four minutes, has many hints of both features.
The piece was composed in 2012 and revised a couple of years later. Written in
an extended tonal style, it has a stunning, appropriately mysterious opening with
a pyramid of gradually entering voices, and a memorably tuneful middle section
before the choral ‘pillars’ return. Throughout, the music has a meditative glow
that remains with you long after the piece has finished.

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Copyright © Heath Lees 2016