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Uploaded by:
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CarsonCooman (10/21/24)
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Composer:
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Mohr, Burkhard
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Sample Producer:
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Piotr Grabowski
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Sample Set:
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Düsseldorf, St. Lambertus, Rieger 1999/2004
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Software: | Hauptwerk VIII |
Genre: | Contemporary |
Description: | Burkhard Mohr (b. 1955) — Orgel-Suite mit Rag (2012)
0:00 | 1. Ambulanz-Praeludium
1:38 | 2. Ruhepunkt
3:56 | 3. Kurhaus-Orgel-Rag
7:03 | 4. Atempause
9:08 | 5. Ambulanz-Postludium
The composer writes: “Something should be said about the origins of this suite. In May 2012, things were very busy and there were several performances arising without the chance to practice on the organs in question. This dilemma was solved by writing pieces that were tailor-made for the features of the organs at hand and that could be played without much time for registration preparation. This how the prelude and postlude of this suite gained the title ‘Ambulance’; they were written for a presentation of confirmation candidates in Naurod. The Rag and Atempause were written for the open organ day at the Wiesbaden Kurhaus. However, once these events that inspired their composition have faded into the past, the work has a life as its own suite. A perhaps mischievous pleasure can arise when performer and listener now can enjoy the piece, despite the hectic circumstances of its composition, and when a confident performance leaves no trace of the original dilemma.”
German composer Burkhard Mohr (b. 1955) was born in Gambach/Oberhessen and was educated in Frankfurt where he studied music and theology. He also attended the Darmstadt new music courses with Stockhausen, Kagel, Ligeti, and Xenakis. He has worked as a church musician in Frankfurt-Höchst and Wiesbaden and also taught music for many years at the technical university in Frankfurt. Mohr has composed numerous musical works in many genres, including several operas and orchestral works along with much chamber music and music for choir and organ. Mohr’s music usually concerns itself with the blurry boundaries and connections between atonal (12-tone) and tonal (triadic) materials and with the unexpected (or traditionally extended) formal designs that can result from teasing out these connections. |
Performance: | Live |
Recorded in: | Stereo |
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