Performed on April 22nd, 2019 at the Bales Organ Recital Hall at the University of Kansas by Jacob Hofeling in his second DMA organ recital.
Serving as a bridge between the Classical and Romantic periods, Felix Mendelssohn (1809-1847) plays a prominent role as a composer of organ music. Especially important for organists was Mendelssohn’s role in the revival of the music of J.S. Bach. Mendelssohn’s music in many senses is a fusion of the esoteric counterpoint of Bach, combined with the chromaticism, lyricism and romantic style of Beethoven and Weber. During his time in England, Mendelssohn became acquainted with numerous English organists and was offered a number of commissions by British publishers to compose music for the organ including the six sonatas for organ. It was during his honeymoon with his bride Cecile Jeanrenaud that he composed the Three Preludes and Fugues for organ, op. 37.
These preludes and fugues are dedicated to the English organist, and former pupil of Mozart, Thomas Attwood. The prelude of the C minor prelude and fugue features a violent and energetic opening with an identifying octave leap. The prelude continues in an almost unending stream of eighth notes until the first cadence to the relative major, which he then modulates away from. The lack of rest on any cadence point creates an agitated momentum that continues through his development and into the recapitulation where we finally get resolution. The fugue features an interesting subject marked by a sequence of descending seventh chords. In a similar manner, the fugue is written with a constant stream of notes until the very end. Very masterfully crafted, this prelude and fugue is one of Mendelssohn’s finest.
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