Composer Notes
Piece Concertante is a reworking of my Concerto for Organ, Strings and Timpani (1986/1991), which had been dedicated to my wife, Miensie, with the string parts converted into a piano score. This transcription was done in the Fall of 2020 at the request of Duo Majoya (Marnie Giesbrecht, Organ; Joachim Segger, Piano) in Edmonton to be performed together with their son, Mark Segger (Percussion) on the timpani.
The original Concerto was intended for a medium-sized organ in which the organ fulfills a rather blended ensemble role instead of being in contrast with the Strings and Timpani. This concept is retained in the reworking of the String parts into a Piano score. The piano thus serves as a collaborative ensemble element rather than a virtuoso solo part. Other traditional concerto characteristics remain, however, such as organ cadenzas, but here the piano has been given some role as well. The timpani’s role is to highlight climactic elements, but its dynamic level should be subtle and aim at blending with the keyboard instruments.
Registration directions for the organ serve only as general guidelines. Since stops, voicing and other conditions differ from one instrument to another, the performer has to adapt and find satisfying solutions. This should be done however, while maintaining as far as possible the general tonal colour suggested by the basic timbre group (principals, flutes, reeds, strings), and without altering the pitch foundation indicated (i.e. 16’ or 8’ or 4’ on pedal, 8’ or 4’ on manuals). A 16’ manual stop should be avoided throughout since it would thicken the intended texture. Heavy 16’ pedal reeds are also not generally required, except for the very end. Where a Principal 8’ is prescribed (especially as solo) a warm rounded tone is intended, not one that is forceful, thin or too bright. The latter applies also for the solo reeds. Registration should aim at a balance with the other instruments. The inclusion of mixtures, cymbals or the Scharff in the forte sections will therefore depend on the ensemble balance and the strength of these stops.
Jacobus Kloppers, Edmonton AB, July 2021
