 |
 |
|
 |
||
|
Lionel Rogg returned to the RFH organ after many years and talked with Andrew McCrea in a pre-recital interview which was well structured and unfailingly fascinating. He is more concerned with 'intuition' and enjoyment than academic research. He has no time for theory unless he finds it 'necessary' to himself as a performer. He does not listen to his youthful Zurich/Metzler recordings of Bach, which influenced a whole generation of British organists. They achieved remarkable sales that would be impossible nowadays; Lionel Rogg regards them now as "just a snapshot" of his playing at the time. He was interested in Walcha's recordings, not on account of his intrpretations, but because the historical organs fired his enthusiasm to continue his post graduate studies in organ rather than piano. Rogg's . He admired the Silbermann organ in Arlesheim, which he used for his stereo recording; the instrument 'breathes' and the acoustic is ideal. Lionel Rogg said that he admires the RFH organ, despite its having an electrical action; it is "not too brutal, a little vague, which I like". With "strength of will" you can make an organ sound as you wish. He gave short shrift to current beliefs that Bach should be played non-legato, reminding us that Johann Sebastian had been rediscovered by 19C. romantics, Mendelssohn etc. He demonstrated at the piano how Bach's suspensions create tension and have to be resolved legato, otherwise their meaning is destroyed. He relishes in his favourite composer "the endless succession of suspensions, like an endless stream (Bach means stream)". About his own prolific composing, Lionel Rogg said that he has taught himself to compose in many styles, but "intuition is my guide". He has written an eclectic series of Hommages, including the Meditation on B.A.C.H. which he included in his recital before ending with the last of the Eighteen chorales. He develops his works from private improvisations (he does not improvise in concerts) and likes to combine strict counterpoint with freedom. He had transcribed Brahms and Bruckner (whose orchestral music sounds well on the organ) but is not greatly interested in the majority of 19 C organ composers. He worships J S Bach, but has been influenced also by Liszt. In the recital which followed, Lionel Rogg selected registrations which were overall quieter than my frequent experience of the organ at RFH. There was occasional instability of rhythm, but the effect of his playing as a whole was absorbing and it was a privilege to hear this famous veteran, vigorous and clearly in excellent health, once again.
RoggFest Royal Academy of Music 20-22 March 2006 Concerto and Song
Monday 20th March
6:00pm
Duke’s Hall Lionel Rogg organ Two student organists took to the console for other examples of Rogg's varied compositions. Incantations for Japan (1993) lacked its final movement 'with the percussionist free to improvise on all kinds of exotic instruments'; does RAM not have a suitable supply? The Marienlieder were delivered with lovely tone by Pippa Goss, who also introduced to UK in Japanese Rogg's 17 Haikus, pithy images taking us through the seasons. My impression is that Rogg may not be an important 'overlooked' composer (and perhaps would not consider himself one) but is well deserving of this in depth exposure, which could not have happened in this country save for the enterprise of RAM. The remaining early evening concerts today and tomorrow (at St Marylebone Parish Church, opposite the Academy) will fill out the picture of Lionel Rogg as organist and composer and are recommended to those within range. RoggFest
|
Lionel Rogg Discography at