commentary to opus 44
Alleluia for organ op. 44 (1972)
performance: May 2, 1972, Oldenburg, St. Lamberti
Duration: 7 Minutes
Publisher: N. Simrock Hamburg-London (Boosey & Hawkes) ISMN M-2211-1806-6
Alleluia, op. 44, came into being on Easter Monday, 1972 in Salzburg.
The Gregorian Easter Alleluia - quasi as mode - is present in every bar.
Alleluia (1972), notes are clustered into drops of sound, serving
also as background chords for flourishes from the Gregorian chant, short sections
are formed with ostinatos and rapid, wide-ranging running passages over the whole
keyboard. Between, beneath and above, the cantus firmus, often in chords, is heard.
A piece for cathedral organs.
Lukas (in "Orgelmusikführer" Reclam, Stuttgart,
Larry D. Crummer: The Solo Organ Works by Bertold Hummel, Dissertation 1983
As a successful close, crossing the bridge to contemporary composition, Weinberger presented Hummel's "Alleluia" (1972). Starting from the Gregorian Alleluia, an independent, multi-layered world of sound is created. It consists of different complexes of motifs, all of which are related to the original theme, revealing it in manifold and otherwise concealed perspectives. Happily, there is no hint of concessions, in the sense of superficial platitudes, to the purely conventional listener.
www.lucidculture.wordpress.com , 26, January 2010
closed with a showstopper, Bertold Hummel’s Alleluja. Messiaen-esque in its
rapt, awestruck, somewhat horrified intensity, it’s a partita featuring a
neat little flute passage over atmospheric pedals midway through, as well as a
theme that borders on the macabre with its severe tonal clusters and recurs with
a portentous triumph at the end. With its breathless staccato contrasting with
big sustained block chords, it’s not easy to play, and Lee nailed it.
See also: Fantasia gregoriana op. 65