SIGFRID KARG-ELERT, Sinfonie für Orgel solo, fis-moll. Symphony for Organ solo in F-sharp minor, op. 143. Edition Breitkopf 8710. This work was written in ten days but it is really the product of centuries, an extraordinary, though belated testament to the difficult and powerful harmonic language of German high-romanticism before its dissolution into atonality. Its four uninterrupted movements proceed with an utterly convincing rhythmic, affective, and structural momentum, and there is even a bow to Gregorian melodicism at times, though the usual connotations of “symphony,” “organ,” and “F-sharp minor” are otherwise stretched to the limit. The opening introduction, Lento misterioso, brings on, in overlapping succession, five essential “themes”––really, chromatic cell-formulations that are less well-defined than leitmotives, but more well-defined than tone rows––that are designated numerically by the composer wherever they occur. The “Gregorian” theme (not authentic, but composed) is treated, as if in a class by itself, in five places within the course of the entire work, always in a contrasting, non-chromatic setting. The first movement proper, Allegro brioso ed energico, is a vigorous 12/8 motion, with logical and effective changes of manuals, dynamics, and registration, though the apparent, written texture is somewhat unvaried. The briefest literal reiteration still suffices to convey the effect of a recognizable structural “recapitulation” in the classical sense, and here, that is confined to a few of the opening measures only, which are the only measures that are really anchored to the nominal tonality. The second movement, Presto demoniaco, is a scherzo in the manner of Reger’s op. 80, no. 7, though the occasional interspersal of irregular measures does not undercut the driven, “demonic” quality. It is at first surprising to find repeat marks indicated for each of the two halves of the principal section, but this makes sense later, when an attempted further repeat leads unexpectedly into the brief contrasting middle section (Corale, quasi trio; 4/2 time). The thickly-textured third movement, Largo e quieto, also recalls Reger, though in the absence of any tonal pretence, there is no key signature. It is possible to treat this slow movement as a separate, selfstanding entity. The finale, Vivace e brioso, is in many respects the most inspired and satisfying movement of all, with a slightly more pronounced principal theme, a great variety of textures and moods, and such rhapsodic features as a cadenza at the outset, and a pedal solo at the conclusion. A few words about the frustrated first publication of the work may well be of interest. In 1930, Karg-Elert, though self-taught as an organist, offered to have C. F. Peters publish his newly written Grundlegende Reform der modernen Orgel-Pedaltechnik, a text on organ pedaling. Karl Straube advised Peters that they should commission an organ composition or two from Karg-Elert as well. The firm sought to postpone such an offer, but the impetuous composer immediately cancelled other plans, conceived and completed the work, and successfully solicited payment for it. Shortly afterward, however, the publisher stipulated that it could only publish the work if Karg-Elert would perform it in at least 20 of his forthcoming American recitals, but Karg-Elert could not agree to this, since he was not up to its technical demands. Hence, the manuscript languished on the publishers shelf for over 30 years, and in the Leipzig City Library for 20 more years until it was rediscovered in 1984. A first edition (Peters 13442) was finally issued in 1987 but is now out-of-print, though both editions are based upon the Leipzig manuscript.

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