Jonathan Ryan | Influences

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Classical: Organ Classical: Twentieth Century Moods: Mood: Brooding
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by Jonathan Ryan

Lauded as “one of the brightest younger artists in the field today” (The Diapason), Jonathan Ryan’s performances consistently elicit acclaim for his “considerable depth of musicianship, imagination, and passion.”
Genre: Classical: Organ
Release Date: 

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  Song Share Time Download
1. Introduction, Passacaglia and Fugue, Op. 149: 1. Introduction
3:38 album only
2. Introduction, Passacaglia and Fugue, Op. 149: 2. Passacaglia
9:33 album only
3. Introduction, Passacaglia and Fugue, Op. 149: 3. Fugue
6:13 album only
4. Ride in a High Speed Train (2011)
3:54 album only
5. Pastorale (2015)
8:18 album only
6. Symphonie-Passion, Op. 23: 1. Le monde dans l'attente du saveur
8:40 album only
7. Symphonie-Passion, Op. 23: 2. Nativité
9:32 album only
8. Symphonie-Passion, Op. 23: 3. Crucifixion
10:03 album only
9. Symphonie-Passion, Op. 23: 4. Résurrection
6:53 album only
Downloads are available as MP3-320 files.


Album Notes
Introduction, Passacaglia, and Fugue, Op. 149, (1916) in E-flat Minor is the result of a challenge to Willan from a friend who stated that only a German mind could write a superb passacaglia. The entire work is indeed steeped in turn-of-the-previous-century German Romanticism, especially from composers with a strong interest in classic forms and counterpoint such Josef Rheinberger (1839–1901) or Max Reger (1873–1916). Scholars have also noted the influence of the organ Willan played at the time by the French Canadian firm Casavant, with its rich, symphonic capabilities and plethora of foundation tone—characteristics also applicable then, albeit in their own ways, to organs in many parts of Germany. This monumental work’s German influence is explored both in interpreration and in registration, bolstered by the Dudelange organ’s extraordinary German Romantic side. Ride in a High Speed Train by Dutch composer Ad Wammes was originally composed in 1993 for a mechanical dance organ in Amsterdam. Similar to other player instruments, this organ, named “The Busy Drone” in Amsterdam. His transcription of this piece for solo organ was completed in 2011, and here receives its premiere commercial recording. Pastorale by renowned English composer, organist, and choirmaster Philip Moore was commissioned for this recording project. Moore has composed works for organ, instrumental ensembles, and over 300 choral titles. Having held positions at Eton College, Canterbury and Guildford Cathedrals, he most prominently held the position of Master of Music at York Minster for 25 years. In the words of the composer, “as the name implies, pastorales are usually gentle in character, with more than a hint of the countryside. This particular work is based on two themes, heard at the start of the piece, which are developed in various ways. The peaceful opening gives little hint of the middle of the work, which is more anguished and intense. The final section, however, subsides into rest and tranquility.” One the greatest virtuoso organists, improvisers, and organ pedagogues of his time, Marcel Dupré’s nearly 30 years as organ professor at the Paris Conservatoire yielded much influence on some of the most important organists of the following generations. He originally created the Symphonie-Passion Op. 23 as an improvisation during a concert at Philadelphia’s Wanamaker Department Store (now Macy’s) in his 1921 American tour. Key to Dupré’s improvisation were four musical themes he received at that concert, several of which were Gregorian chants. In his memoirs, he wrote that he played that evening, “In a state of exaltation I have rarely experienced.” At over 35 minutes duration, it is a powerful, profound journey, with its American orchestral and French symphonic sides, via the Dudelange organ’s extraordinary capabilities, explored in rare combination on this recording.



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