"Oskar Merikanto: Complete Works for Organ"
Merikanto:
Häähymni [Wedding Hymn]
Postlude in E-flat major, Op. 88/1
Postlude in D major, Op. 88/2
Postlude in F major, Op. 88/3
Fantasia and Chorale on Suomi surussa [Finland in Mourning]
Concert Fantasia
Prayer
Passacaglia, Op. 80
Bach (arr.
Merikanto):
Sarabande in D minor from
English Suite No. 5, BWV 810
Sarabande in E
minor from
French Suite No. 1, BWV 812
Schumann (arr. Merikanto): Evening Song, Op. 85, No. 12
Jan Lehtola
The Walcker Organ of the
Martinikerk, Doesburg (The Netherlands)
Ondine
Some listeners may regard this CD as a "discovery;" others may dismiss it as a collection of late Romantic, better-left-forgotten slush. (This writer falls into the former camp.) Oskar Merikanto (1868–1924) is regarded as an important musical figure in early 20th-century Finland, mainly because of his contributions to opera and song. As co-founder of what would become the Finnish National Opera (1911), he served as its conductor until 1922. He wrote at least three operas (including the first in Finnish) some 150 piano pieces, 150 songs, and 15 duets. His son, Aarre Merikanto, would develop a name for himself in modern music circles from the 1920s onward.
A hallmark of Merikanto's style and interest was the incorporation of Finnish folk music into his works, including the organ music on this disc. Interest in the organ came at the age of nine, when he began study of the instrument with Lauri Hämäläinen, organist of the Old Church in Helsinki. Later, he would study organ abroad in Leipzig (1888–1889) and Berlin (1890–1891). Upon the death of Hämäläinen soon after, Merikanto returned to Helsinki to succeed his former teacher at the cantor and organ school, and eventually assumed the major post as organist of the Johannes Church in Helsinki, where he remained for over 30 years (1892–1924). During this period, he built a reputation as a recitalist and an authority in Finnish organ matters. His travels throughout Europe and America gave him exposure to other organ notables, including Widor, Guilmant, Reger, Bossi and others, all of whom influenced the style of his organ music.
Upon a first hearing of this CD, the listener may be struck at how "traditional" the music is. In effect, it can be considered an amalgam of Mendelssohn, Tchaikowsky, Liszt, Reger, Rheinberger and the many other composers Merikanto no doubt had exposure to. Likewise, his penchant for opera and song pervades the music. The music sings and is easy to listen to. Perhaps Merikanto can be considered an anachronism at the turn of the twentieth century, an era when composers would begin to throw away tradition for anything new and unusual. But then, what is wrong with hearing something with a harmonious and melodic vein?
Häähymni [Wedding Hymn] was originally composed in 1901 for organ, choir and orchestra. Only the organ version survives. It is a grand piece that sings — almost as though it were a theater organ piece! The Concert Fantasia, dating from 1890, is an introduction followed by five variations on the Finnish hymn melody Oi Herra, ilo suuri. Another piece of a similar name, the Fantasia and Chorale on Suomi surussa, dates from 1899 and was thought at the time to contain daring patriotic themes that might antagonize the Russian occupiers. A Lisztian influence is clear here, especially in the ending arpeggios. The Postludes, Op. 88, date from around 1915; all are based on folk songs or hymns. The introspective Prayer , considered the best known of Merikanto's organ works, dates from between 1909 and 1923. Also contained in this collection are simple organ arrangements of popular Bach and Schumann pieces, also dating from around 1915. The largest piece of the CD is the Passacaglia, Op. 80. Although dedicated to the Italian virtuoso organist and composer Enrico Bossi, the influence of Reger is quite apparent throughout the 18 variations.
The organ
selected for this CD is the large electropneumatic
E.F. Walcker & Co. instrument of more than 75 stops,
originally built for the Niuwe Zuiderkerk of Rotterdam in 1914. Following
the deconsecration of this church, the instrument was moved to the
Martinikerk Reformed Church of Doesburg in 1970. The recorded sound is
exceptional, capturing the imposing power of this organ and its superb acoustic setting.
The program notes provide specifications of Merkianto's own instrument at
the Johannes Church in Helsinki — another Walcker organ of similar size and
vintage, but whose fate is not explained. The featured organist, Jan Lehtola,
has studied organ in Paris, Amsterdam and Helsinki in recent years. Judging
from his work in the preparation of this collection and the quality of the
musicianship, he has begun a solid, fruitful career.
