FRANK MORANA
AmerOrganist 37/6

NAJI HAKIM, In Organo, Chordis et Choro, Fantaisie Symphonique pour Orgue. Leduc 29 393. This work was commissioned for the rededication of the Stahlhuth organ (1912; restoration by Thomas Jann, 2001–02) at the Church of St. Martin in Dudelange, Luxembourg, and was premiered by the composer in April 2002. There are few practitioners today who can compose a finer symphonic fantasy for the organ than Naji Hakim, yet his methods are so transparent as to make the entire process seem almost easy. First, the predominant sonority––here, that of perfect fourths and major seconds, in keeping with the express desire to create a work “in the manner of a jubilant procession . . . in a naïve and flamboyant style.” Second, the selection of given themes––here, a chant, a hymn, and two folksongs. Third, the characteristic working-out of these themes––never in dull, overt statements, but always exploring some inveterately creative musical resource (ostinatos, runs, alternating hands, acciaccature). Fourth, absolute economy in the use of all materials––whether at the level of localized phrase and sentence structures, or at the higher level of the architectonic symmetry of the entire movement, almost every measure is calculated for reiteration, and almost every reiteration produces a frenetic rhythmic effect. Only the climax, building to ffff from very near the exact midpoint (242–65) is composed without reiteration; and within the “recapitulation,” long stretches are repeated literally (mm. 271–82=35–46, 283–91=65–73, 297–324=99–126). The rhapsodic character of the work is highlighted verbally by tempo and character markings that often change every few measures: impétueux, orageux, nerveux, dansant, emporté, obstiné, résolu, martial, martelé, rythmé, insistant, énergique, and so on. One’s only regret is that the given themes are not more familiar, since their effectiveness in this kind of writing is necessarily in direct proportion to their familiarity.