Demo – JAMES D. HICKS: The Nordic Journey Series, Volume III for orgel

T HE NOR DIC JOURNEY SERIE S VOLUME III – for organ

EDITOR: JAMES D. HICKS

THE NORDIC JOURNEY SERIES

VOLUME III - for organ

Copyright © 2022 by Norsk Musikforlag AS., Oslo. www.musikkforlagene.no

This material is protected by copyright law. Without explicit authorisation, reproduction is only allowed in so far as it is permitted by law or by agreement with a collecting society.

NMO15037

ISMN 979-0-065-16991-0

Graphic production and print: Norsk Musikforlag AS. www.musikkforlagene.no

THE NORDIC JOURNEY SERIES VOLUME III

PREFACE

When I recall what music inspired me the most during my university years, I remember being naturally drawn to the tone poems of Jan Sibelius, the piano music of Edvard Grieg, and the symphonies of Carl Nielsen. The lyric, yet also dramatic nature of these works would transport my soul to the distant lakes, mountains and seemingly endless forests of the Nordic lands, places that I had never visited but, through the music, painted a clear picture in my mind. These early experiences remained with me over the course of decades until a question occurred to me: “What is the organ music of these Nordic lands?” In my native United States of America, the public can on occasion enjoy performances of some of the standard Nordic orchestral, chamber, and piano works, yet we hear next to nothing about the organ music from this part of the world. I was aware of the many historic places of worship and distinguished examples of the organbuilder’s art in these countries, but discovering an actual repertoire for organ by Nordic composers remained a subject ripe for my eventual discernment, particularly as numerous enquiries concerning the subject to American colleagues yielded few results. What began as a simple question eventually evolved into a mission.

As I became acquainted with the musical output of luminaries from the Romantic Era such as Oskar Lindberg, Arild Sandvold, Oskar Merikanto, and J.P.E. Hartmann thanks to the good offices of several accommodating Nordic organists, I quickly learned that, yes, this was a culture that had produced a distinguished repertoire for the organ. As the internet enabled instant communications with some of the leading composers of our own time, I became hooked on the subject. Thus began my own “Nordic Journey”, one that quickly became a passion as I learned more about the overall cultures of these countries. Subsequent concert tours of the north introduced me to locations of intense natural beauty, a vital folk culture, and literary traditions spanning many centuries. The wish to share my enthusiasm for this repertoire led me in 2010 to make a double cd recording entitled Nordic Journey, produced in Sweden at the historic Linköping Cathedral. What was intended as a “one-off” project quickly became an ongoing endeavor, and as I write these words, the American Pro Organo label has released twelve volumes spanning twenty-one discs over the past twelve years. The various projects have led me to record at unique sacred spaces throughout Denmark, Finland, Iceland, Norway, and Sweden with the latter part of 2022 seeing the release of Volume XIII.

Nordic Journey has become a process whose goals are, first, the creation of new music (I have thus far commissioned over fifty new works from Nordic com posers for these recordings), second, the rediscovery of forgotten and/or unpublished works from previous eras, and third, the inclusion of a few of the standard masterworks. The final, and perhaps the most important step of this process, is the publication of these compositions, sharing music that has hitherto not found its way into print. With the release of this third volume of the series, I am grateful to Norsk Musikforlag and its editor for making my goal a reality. My intent for the upcoming years is to continue this ongoing production of future volumes of Nordic Journey, both in recordings and in printed volumes such as this edition, thus ensuring the dissemination of new commissions and works from earlier eras that will be new to both enthusiasts and to more casual appreciators of fine music.

The twelve volumes of the Nordic Journey recording series have been produced and distributed by the American Pro Organo label (www.proorgano.com) and may be purchased online as physical compact discs and individual downloads. As of 2019, Pro Organo formed a relationship with the Naxos label (www.naxosdirect.com) both in international distribution and in digital streaming on the major audio platforms.

Nordic Journey, CD 7239 (double cd)

Recorded in 2010 on the 1929 Setterquist organ at Linköping Cathedral, Linköping, Sweden. This volume includes Messa Misteriosa by Fredrik Sixten (found in The Nordic Journey Series Volume III).

Nordic Journey Volume II – The Nordic Symphonic Tradition, CD 7262 (single cd)

Recorded in 2013 on the 1905, restored 2008, Åkerman & Lund organ at St. John’s Church, Malmö, Sweden.

Nordic Journey Volume III – Swedish Folkways and Classic Traditions, CD 7263 (single cd)

Recorded in 2013 on the 1964 Poul-Gerhard Andersen organ at Skara Cathedral, Skara, Sweden. This volume includes A Part of my Heritage by Mårten Jansson (found in The Nordic Journey Series Volume I) and Two Mass Parts on the Choral “Allein gott in der Höh sei Her” by Mårten Jansson (found in The Nordic Journey Series Volume II).

Nordic Journey Volume IV – Modern Masters, CD 7264 (single cd)

Recorded in 2013 on the 1898, restored 2009, Åkerman & Lund organ at Västerås Cathedral, Västerås, Sweden.

Nordic Journey Volume V – Many Landscapes, CD 7271 (double cd)

Recorded in 2015 on the 2013 Tostareds Kykorgelfabrik organ at Kalmar Cathedral, Kalmar, Sweden. This volume includes Intermezzo nr. 1 by Pauli í Sandagerði (found in The Nordic Journey Series Volume I), Summer Fantasy by Sven-Ingvart Mikkelsen (found in The Nordic Journey Series Volume I), and Toccata XIII by Thomas Åberg (found in The Nordic Journey Series Volume III).

Nordic Journey Volume VI – Organ Music from Finland, CD 7279 (double cd)

Recorded in 2016 on the 1980 Virtanen organ at Turku Cathedral, Turku, Finland and on the 2002 Grönlunds organ at St. Michael’s Church, Turku, Finland. This volume includes Canon, Partite & Fuga by Mauri Viitala (found in The Nordic Journey Series Volume I), Rhapsodie sur “Ramus virens olivarum” by Santeri Siimes (found in The Nordic Journey Series Volume I), and Preludi I fuga by Pauli Riihivaara (found in The Nordic Journey Series Volume III).

Nordic Journey Volume VII – The Organs of Nidaros Cathedral, CD 7285 (double cd)

Recorded in 2017 on the 1930, restored 2014, Steinmeyer organ, the 1739-1741, restored 1994, Joachin Wagner organ, and the 2015 Br. Torkildsen organ at Nidaros Cathedral, Trondheim, Norway. This volume includes Variations and Fugue on a Danish Folk Tune by Sven-Ingvart Mikkelsen (found in The Nordic Journey Series Volume I) and Ein feste Burg ist unser Gott by Mårten Jansson (found in the Nordic Journey Series Volume II).

Nordic Journey Volume VIII – Islands, CD 7285 (double cd)

Recorded in 2018 on the 1992 Klais organ at Hallgrímskirkja, Reykjavík, Iceland. This volume includes Fantasia um Ísland, farsælda Frón by Hildigunnur Rúnarsdóttir (found in The Nordic Journey Series Volume I), A Sound of the Faroe Islands by Pauli í Sandagerði (found in The Nordic Journey Series Volume

II), Hymna smiður by Sigurður Sævarsson (found in The Nordic Journey Series Volume II), Nordic Variations by Fredrik Sixten (found in The Nordic Journey Series Volume II), and Three Settings of Folk Themes from Greenland by Kristian Blak (found in The Nordic Journey Series Volume II).

Nordic Journey Volume IX – Music from Sweden, CD 7290 (single cd)

Recorded in 2020 on the 1913, restored 2013 Setterquist organ at Olaus Petri Church, Örebro, Sweden. This volume includes Paraphrase on the Swedish Chil dren’s Song “Ekorren” by Anders S. Börjesson (found in The Nordic Journey Series Volume II).

Nordic Journey Volume X – Danish Perspectives, CD 7292 (double cd)

Recorded in 2020 on the 1879, restored 1986, Marcussen organ at Helligåndskirken, Copenhagen and the 1994 Poul-Gerhard Andersen organ at Sct. Morten’s Kirke, Randers, Denmark. This volume includes Borgfred, Toccata for Organ by Tore Bjørn Larsen (found in The Nordic Journey Series Volume III), Kom sand heds ånd by Lise Dynnesen (found in The Nordic Journey Series Volume III), Fantasi over brudedans fra Sønderho and Variations on the Danish folk melody “En yndig og frydefuld sommertid”, both by Christian Præstholm (both may be found in The Nordic Journey Series Volume II).

Nordic Journey Volume XI – Nordic Anthology, CD 7297 (triple cd)

Recorded in 2021 on the 2007 Paschen Kiel organ at Central Pori Church, Pori, Finland. This volume includes Toccata for Organ by Frithjof Spalder (found in The Nordic Journey Series Volume II), Variations on the folk melody “Skön Anna” by Markus Malmgren (found in The Nordic Journey Series Volume III), Toccata XIX by Thomas Åberg (found in The Nordic Journey Series Volume III), Tears of Stone by Sigurður Sævarsson (found in The Nordic Journey Series Volume II), Rain by Sigurður Sævarsson (found in The Nordic Journey Series Volume III), Prelude and Fugue On An Icelandic Folk Melody by Hildigunnur Rúnnarsdóttir (found in The Nordic Journey Series Volume II), Lingua by Gunnar Andreas Kristinsson (found in The Nordic Journey Series Volume II), Canta bile by Fredrik Sixten (found in The Nordic Journey Series Volume III) and Paraphrase sur “Ecce magnus presbiter” by Santeri Siimes (found in The Nordic Journey Series Volume II).

Nordic Journey Volume XII – Organ Music from Norway, CD 7299 (double cd)

Recorded in 2022 on the 1883 August Nielsen, restored 2009 by Kuhn Organ Builders, at Uranienborg kirke, Oslo, Norway. This volume includes two movements from Suite: “Fra himlen høyt jeg kommer her” by Kjell Mørk Karlsen (found in The Nordic Journey Series Volume III).

NOTES TO THE NORDIC JOURNEY SERIES VOLUME III

Preludi ja fuga

Pauli Riihivaara (1903-1995)

Riihivaara was organist at Turku Cathedral for many years during the middle decades of the twentieth-century. His Preludi ja fuga dates from 1937, and was nev er published until its appearing in this volume. Although Preludi ja fuga is a work that was created closer to our own time, its harmonic and formal organization looks retrospectively back to the nineteenth-century. As such, it would not be out of place in the works of the German composer Josef Rheinberger (1839-1901)

and other conservative Teutonic musicians, given its diatonic harmonies and lucid form. Despite its orientation to the past, the craft and vision of this work make for enjoyable listening and the music deserves a place in modern performances.

Passacaglia for Organ Frithjof Spalder (1896-1985) Spalder was a Norwegian pupil of Charles-Marie Widor, composing many works for orchestra, choirs, organ and piano. He was organist at Frogner kirke, Oslo, and directed several choral ensembles in the area. His Passacaglia for Organ dates from Eastertide 1962. It employs many of the standard procedures usually associated with this form, although the theme itself is unusual with its many tied notes, obscuring the traditional triple meter time signature.

Suite: “Fra himlen høyt jeg kommer her” Kjell Mørk Karlsen (b. 1947)

Lyarslått Springleik Voggessong Fløyteleik Salme Etterspel Kjell Mørk Karlsen is one of the most important figures in contemporary Norwegian music. A master of many instruments, noted conductor and church musician, he has created hundreds of works for all media over the course of six decades. While traveling through Norway during 2005, Mørk Karlsen visited a small stave church called Reinli, dating from 1300 and located in a valley called Valdres. This area is known for its strong cultural and historic ties to medieval Norway. When Mørk Karlsen arrived at Reinli, he was surprised to find that the sanctuary possessed a notable historic organ that dates from 1801. It had evidently been recently restored and had eight stops without pedals. So inspired was he from this visit, Mørk Karlsen decide to write a collection of Christmas music that would be called Juli I Reinli stavkirke (Christmas at Reinli stave church). The intention was to make this organ a part of a proposed recording project. The recording project unfortunately never materialized, but Mørk Karlsen did complete a series of four short works that ended up as his Op. 148. Much of this music was cre ated in traditional styles, and the composer eventually saw this as an opus for study rather than performance. As such, he never had it published……until now. Included in this volume is the first suite from Op. 148, a jewel of a work that breathes the spirit of Norwegian folk culture.

Borgfred, Toccata for Organ

Larsen is Organist, Director of Choirs, and Concert Manager at St. Nicolai kirke, Svendborg, Denmark since 2002.

He has shared his thoughts about this chorale prelude: “I composed this work in connection with the 500th anniversary of Martin Luther’s Reformation in Denmark. The piece has a traditional A-B-A form where A presents the entire tune to Luther’s hymn “Ein feste Burg” in the pedals with chords built upon fourths. The B section is a short fugue: the first line is exposed from all twelve positions of the octave. The term “Borgfred” (Castle Peace, i.e. citizen peace), is a German legal concept of medieval origin. It stood for the peace that should prevail between people who lived within a fortified area.”

Kom sandheds ånd (Come, Holy Spirit)

Tore Bjørn Larsen (b. 1957)

Lise Dynnesen (b. 1956)

Lise Dynnesen is organist at Sct. Jakobs kirke, Copenhagen. In addition to her activities at the church, she also has had considerable experience working as a keyboardist in differing ensembles within the contemporary scene in Copenhagen. She is a composer for bands as well as stage music. This prelude is a dynamic setting of a chorale for Pentecost.

Messa Misteriosa

Preludio Kyrie Gloria Credo Sanctus Agnus Dei Communio Postludio

Fredrik Sixten (b. 1962)

Swedish composer Fredrik Sixten is one of the most published of Nordic composers, writing fluently for all media. He has held prominent liturgical positions

throughout the north, including serving as Cathedral Organist at Härnösand Cathedral and Nidaros Cathedral as well as Conductor of the Gothenburg Boys Choir. His varied musical influences include such contrasting genres as Swedish folk traditions, twentieth-century French masters, jazz, historical forms and even the pop artist Prince.

Messe Misteriosa was created as a commissioned work for the 2002 International Organ Festival held in Visby, Sweden. Sixten revised the work in 2008, and this immense work of eight movements functions as an accompaniment to the Swedish liturgy. The mass takes its impetus from the melodies that were sung at the time in the worship life of the Swedish church. The title reflects the composer’s desire to return the worshipper to the inexplicable mystery of the sacraments. There is a dichotomy to this music as each movement celebrates the Good News of Jesus Christ, yet at the same time, remains mindful of the Savior’s ultimate sacrifice. Although it exemplifies an ancient tradition, Messa Misteriosa has a modernistic sensibility. Despite the fact that the various chant themes are recognizable with the structure of the music, the movements often feature dense, dissonant harmonies, tone clusters, and a general sense of unpredictability, all working within a most colorful palette of registration indications. This juxtaposition of ancient themes within a twenty-first century musical language gives Messa Misteriosa its compelling identity.

Cantabile Fredrik Sixten

James D. Hicks commissioned Cantabile in 2021, and premiered it at Helsinki Cathedral on August 8 of that year. Sixten describes the work as follows:

“The Nordic folk tunes have always played an important role in my musical output. It expresses the melancholic soul of me. I purposely write Nordic since this and many other tunes are hard to be sure of which country they originate from. This tune, Jag vet en dejlig rosa, is often connected to Denmark because of the lyrics; in this case, a simple but heartfelt love song. I wanted to keep the simplicity but surround it with an air of the forest on a summer’s eve. This short period in the Nordic lands seems to end before it even starts.”

Toccata XIII

Toccata XIX

Thomas Åberg (b. 1952)

A native of Stockholm, Åberg has pursued a varied career in music, within the Swedish Performing Rights Society (STIM), performing organ concerts interna tionally, and composing a wide range of works for varied media. The composer has shared that “his works often use the most basic of musical material to create a discourse that is both spiritual and visceral.”

Both of these toccatas are dedicated to James D. Hicks. With Toccata XIII, Åberg says, “it was composed during a couple of warm summer evenings in Stockholm at St. Jacob’s Church in 2013. In this particular piece, I sought to create an atmosphere the embraces the Nordic countryside and its very essence, especially around midsummer. James D. Hicks premiered Toccata XIII on March 25, 2014 at Harvard Memorial Church, Harvard University, Cambridge, MA. In Toccata XIX, the composer says it is conceived as “a short, joyful work in minimalist style.” James D. Hicks premiered Toccata XIX at Stockholm Cathedral on May 26, 2019.

Misericordia Domine

Peter Hilli (b. 1956)

Peter Hilli has studied at the Sibelius Academy in the Department of Church Music and has studied composition under the direction of Lars Karlsson and Einojuhani Rautavaara at the Department of Composition and Theory. Hilli has worked as cantor and organist of the Petrus Parish in Helsinki 1981-2021. In addition, he has conducted the Helsinki-based choir Föreningen Brage and the GUF Choir 1996-2013 and has taught music theory at the Kungsvägen Music Institute in Espoo and at the Sibelius Academy. Hilli`s organ music, choral music, and works of chamber music have been performed in Sweden, Estonia, and throughout Finland.

Misericordia Domine was composed in 2008 for a mass in Viks church in Helsinki for liturgical use as a prelude for the second Sunday after Easter. Hilli says, “The prelude starts with a slow, calm introduction; the slowly repetitive motive in the pedal could allude to the heartbeats of the merciful Lord, beating for all of his creation. In this work I have also used motives from my Psalm 33:5-6, “Herrens kärlek fyller hela jorden…”/“He loves righteousness and justice; the earth is full of the steadfast love of the Lord” for choir and organ. After the introduction the piece continues with a faster and kind of joyful texture and ends in fortissimo chords with the heartbeat motive in the pedal.”

Sævarsson studied singing in his native town of Keflavik, Iceland before continuing further education at Boston University where he earned a Masters Degree in voice and composition. Since then, he has primarily composed for opera and choirs. The composer shares his thoughts about the genesis of Rain:

“Rain is composed to the poem Pluie by the French poet Francis Ponge. He has been called the “poet of things” because of his poems about simple objects such as a piece of soap, a cigarette, a pebble, or rain. After getting to know Ponge’s wonderful poem, the music kind of wrote itself.”

The music follows the contours of the poem with its initial and concluding thunder effects, ever-changing textures and registrations: “The rain in the courtyard where I watch it fall, comes down in different speeds. The heavier drops fall more noisily, it runs horizontally and suddenly plunges in a perfectly vertical, coarsely braided stream into the ground where it splatters and springs up, again flashing like needles. Then, the sun comes out, everything is erased the brilliant apparatus evaporates. It has rained.”

Rain Sigurður Sævarsson (b. 1963)

Islensk rimnadanslög

Jón Leifs (1899-1968) (Icelandic Folk Dances, Op. 11).

Transcribed for organ by Björn Steinar Sólbergsson (b. 1961)

Allegretto Allegro

Allegro moderato ed energio Allegro vivace

The roughhewn, craggy music of Jón Leifs seems to emanate from the soil and rocks of his native Iceland. Works for orchestra such as Hekla and Deitfoss (inspired respectively by the island’s volcano and waterfalls of the same names) and his interpretations of the sagas enabled Leifs to be the first Icelandic composer to receive international prominence.

Leifs initially conceived Icelandic Folk Dances for solo piano, but, owing to the attractive nature of these works, arranged the suite for several versions for in strumental and vocal ensembles. They were the most widely performed of his compositions during the composer’s life, effectively introducing the folk melodies of Iceland to the world.

This effective, idiomatic transcription by Bjorn Steinar Sólbergsson allows the performer to explore many varied tone colors on a modern instrument. Appearing in print here for the first time, this transcription is the work of the current organist at Hallgrímskirkja, Reykjavík, the iconic sacred space that towers over the capital city.

Variations on the folk melody “Skön Anna”

Markus Malmgren (b. 1969)

Markus Malmgren is a versatile musician, recognized as a concert organist, accompanist, conductor, arranger, composer, and improviser. He teaches at the Si belius Academy of the Helsinki University of the Arts. Malmgren has been organist of the Cantores Minores Choir since 2004.

A native of the Swedish-speaking archipelago of Åland, Malmgren here has chosen a folk tune from the Åland region as the basis for this monumental set of variations. James D. Hicks commissioned the work and premiered it at Helsinki Cathedral on August 8, 2021. The composer guides the charming folk melody from a simple presentation, moving to settings in all voices (soprano, alto, tenor, bass), and progressing to a melismatic ornamental movement, an improvisatory section, a toccata, a folk-like ostinato, a chant-like passage, a modernistic harmonization, while concluding with a dramatic peroration.

Contents

Borgfred, Toccata for Organ (Tore Bjørn Larsen) ............................................................................................................................................................... 59

Cantabile (Fredrik Sixten).................................................................................................................................................................................................. 106

Kom sandheds ånd (Lise Dynnesen).................................................................................................................................................................................... 62

Messa misteriosa (Fredrik Sixten) ....................................................................................................................................................................................... 67

Misericordia Domini (Peter Hilli) ...................................................................................................................................................................................... 123

Passacaglia (Frithjof Spalder) .............................................................................................................................................................................................. 37

Preludi ja fuga (Pauli Riihivaara) ........................................................................................................................................................................................ 13 Rain (Sigurður Sævarsson) ................................................................................................................................................................................................ 129

Rímnadanslög - op. 11 Icelandic Danses (Jón Leifs, Björn Steinar Sólbergsson) ............................................................................................................. 147 Suite: “Fra himlen høyt jeg kommer her” (Kjell Mørk Karlsen) ......................................................................................................................................... 45

Toccata XIII (Thomas Åberg) ............................................................................................................................................................................................. 111

Toccata XIX (Thomas Åberg).............................................................................................................................................................................................117

Variations on the folk melody “Skön Anna” (Markus Malmgren) .................................................................................................................................... 159

R iihivaara Copyright © Norsk Musikforlag AS.

Pauli

pochiss. rit.

cresc.

1. Lyarslått

Kjell Mørk Karlsen

Copyright © Norsk Musikforlag AS.

Voggesong

Harald Hope

Fra

O. M. Sandvik:

Norske religiøse folketoner, bind I Universitetsforlaget, Oslo 1968

Tore

Preludio

Fredrik Sixten

Copyright © Norsk Musikforlag AS.

Copyright © Norsk Musikforlag AS.

Fredrik Sixten

Peter H illi

Sæ varsson Copyright © Norsk Musikforlag AS.

Sigurður

istant thunder)

R egistrations:

Komb. 1 A

Sw, Pos, G t: Found. 8´, 4‘, 2´, mixtures, reeds 8´,4´

Ped: Found. 16´, 8´, 4´, reeds 16´, 8´, 4´ A ll couplers

Komb. 2 B

G t: C ornet V

Pos: C romorne Komb. 3 C

Sw, Pos, G t: Flutes 8´' Komb. 4 D Tutti

R egistrations:

Komb. 1 A

Sw, Pos, G t: Found. 8´, 4‘, 2´

Ped: Found. 16´, 8´, 4´ A ll couplers Komb. 2 B

Sw : B d 8´, G amba 8´

Pos: Q uintade 8´

Ped: Soft 16´, 8´ Komb. 3 C

Sw : Voix humaine 8, tremulant Komb. 4 D

Sw, Pos, G t: Found. 16´, 8´, 4‘, 2´, mixtures

Ped: Found. 16´, 8´, 4´, reeds 16´

R egistrations:

Komb. 1 A

Sw, Pos, G t: Found. 8´, 4‘, 2´, mixtures, reeds 8´, 4´

Ped: Found. 16´, 8´, 4´, reeds 16´, 8´, 4´

A ll couplers

Komb. 2 B

Sw : B d 8´, G amba 8´

Pos: Fl 4´ Ped: Fl 8´

Komb. 3 C Sw : B d 8´ Pos: Soft reed 8´ Komb 4 D Tutti

* The notes marked w ith " x" can be doubled one or tw o octaves higher by a troisiéme main. In this case, these notes must be played extremely short, quasi pizzicato, and w ith a sound w hich is considerably softer than the actual solo.

VIII. Ioc us

*The theme in the top voice (i.e. the highest notes of the continuous texture) is to be played as closely as possible to a steady beat. The underlying 32nd notes should be treated very freely to achieve this effect. U nless indicated by slurs, the notes representing the theme do not need to be held according to the indicated note values, w hich are given for the sake of clarity, only.

About the work

The folk melody Skön Anna (Fair Anna) represents the most ancient type of Swedish folk tunes, the so called ballads. When Scandinavian folk tunes began to interest musicologists and were first recorded in the late 19th century, the ancient ballads had been orally transmitted for countless generations. Few can therefore be dated with any accuracy, but it is widely accepted, that most of these ballad tunes date as far back as the 18th century. Probably some of them – and certainly many of their lyrics – are of much older origin.

At least three slightly different versions of Skön Anna have been recorded on the Åland Islands, but the tune has also been recorded at different locations in the Western archipelago of Finland as well as in the Roslagen region of the East coast of Sweden. In the 18th century all this region, with its many important sea routes, was, of course, at the very heart of the vast Swedish empire. This is the natural explanation for the similarity between numerous folk tunes and other cultural traditions found all over this region.

The current set of variations is based on a version of Skön Anna, which was first recorded in the early 20th century at Vårdö in the Eastern region of the Åland Islands. It was then performed by the renowned singer Serafina Björklund in the presence of Finnish folk music collector and musicologist Otto Andersson.

SOME REMARKS ON THE PERFORMANCE

I have composed Variationer över Skön Anna as a concert piece to be performed as an entirety. However, for various needs one or more variations can be omitted at will; you may, for instance, need a shorter selection for your program. If so, do not hesitate to assemble a set that meets your needs. Also, the order of the variations may be changed: if you need to end the piece quietly, a good idea might be to play no. XI, Chorale after no. XII Fuga-Finale, but with a soft registration instead of the indicated ff.

Some of the variations may also be useful for liturgical purposes, either as short, separate pieces or as a set of selected variations.

In general, all registrations and dynamic markings are suggestions, only. Feel free to adjust your selection of sounds according to the organ at your disposal and according to the requirements of your recital program. The same goes for all the tempo indications: these, together with the suggestions for registrations and dynamic markings may give you an idea of the characters I aim at. However, these indications reflect my preferences as a performer; feel free to choose other solutions that conform with your performing style and, of course, the instrument, the venue and the situation in question.

The indications of phrasing (or articulation, if you will), are also not to be treated as prescriptions, but again, as reflections of my ideals as a performer, only. I always prefer a well-structured realization of the score, regardless of musical style. This means, for me, neither a continuous legato, nor a continuous non legato. Instead, I often simultaneously use different means of phrasing in the individual parts of the score in order to create an effect of transparent but coherent polyphony. In my writing a slur, regardless of its length, always carries the meaning of some degree of articulation (breathing, in fact) after the last note under the slur. Where I have added cesuras, these certainly are meant to be taken literally, but they do not necessarily reinforce the phrasing indicated by slurs. Instead, the cesuras are often just added as a reminder, sometimes for the sake of structural clarity, though. If you find my suggestions for phrasing useful for your performance, go ahead and follow them to the extent you find convenient. However, feel free to deviate from the indicated phrasing, i.e. also in this respect, treat the score according to your taste and custom of performance.

Markus Malmgren

JAMES D. HICKS is a concert organist living and working out of Califon, New Jersey, USA. A graduate of the Peabody Con servatory of Music, Yale University, and the University of Cincinnati, Hicks has also studied at the Royal School of Church Music in the UK. James held liturgical positions throughout the USA over the course of thirty-five years and now devotes himself to concert, publishing, and recording projects.

Over the past fifteen years, James has researched the organ music of the Nordic lands and the result is an ongoing venture entitled Nordic Journey. The endeavor places emphasis on new music, he has commissioned over fifty compositions from Nordic composers, as well as researching repertoire from the past that has never been hitherto recorded or published. With the late-year 2022 release of the double-disc Nordic Journey Volume XIII – Romanticism in Finnish Organ Music, the series will comprise thirteen volumes spanning twenty-three discs, all produced by the American Pro Organo label, as well as being distributed internationally by Naxos and the usual digital streaming platforms.

A parallel aspect of the Nordic Journey project is the production of hardbound editions that include premiere publications of many of the works James has commis sioned as well as several previously unavailable works from previous eras. The Norwegian firm Cantando released The Nordic Journey Series Volume I in 2018 (now available at www.notebutikken.no) and Norsk Muskforlag the second volume in 2020 (N.M.O.14666).

During the COVID-19 pandemic, James wrote the first full-length book devoted to the complete works for organ by Norwegian composer Kjell Mørk Karlsen on the oc casion of the artist’s seventy-fifth birthday as well as contributed a chapter to a study of the music of Swedish composer Fredrik Sixten, whose sixtieth birthday is marked in 2022. The book about Karlsen was published by Norsk Musikforlag in March 2022, and the Sixten project is due for an autumnal release later in the same year.

In addition to his endeavors concerning the organ and its literature, James is an enthusiastic exponent of traditional music from the British Isles, performing on a number of instruments associated with these traditions. James is an avid hiker and has walked the historic Hadrian’s Wall trail in Northern England as well as traversing numerous sections of the Appalachian Trail in the USA.

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