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Track(s) taken from CDA67825

Aria, Op 51

1943; the composer's own arrangement for organ solo of the slow movement of his Sonata for trumpet and piano

D'Arcy Trinkwon (organ)
Recording details: October 2009
Tonbridge School Chapel, Kent, United Kingdom
Produced by Mark Brown
Engineered by Simon Eadon
Release date: January 2011
Total duration: 3 minutes 42 seconds

Cover artwork: Angels in the Night (1896) by William Degouve de Nuncques (1867-1935)
Rijksmuseum Kröller-Müller, Otterlo, Netherlands / Lauros / Giraudon / Bridgeman Art Library, London


'This welcome release should do much to restore Peeters's reputation as one of the most craftsmanlike and consistently satisfying organist-composers of the past century … the Tonbridge Marcussen [is] ideally suited to Peeters's clear contrapuntal voice-leading. Beautifully recorded, with excellent notes by David Gammie' (Gramophone)

'One mentions the varied nature of the music on this disc because it is so interesting and worthwhile and is so relatively infrequently heard these days, but the main plaudits should go to Trinkwon, whose playing throughout, particularly his tempos, phrasing and registrations, are of the highest class … all in all this CD constitutes another most valuble and welcome issue from Hyperion—so much so that one hopes it will lead to others' (International Record Review)
The Aria dates from the War years; it originated in 1943 as the slow movement of a Sonata for trumpet and piano, and it is still a permanent fixture on exam syllabuses for aspiring young trumpeters. Peeters also arranged it for violin, for cello, and for solo organ, and it is in this form that it is most often heard. The expressive melody unfolds above an accompaniment of soft repeated chords—a technique that Peeters used to equally telling effect in the slow movement of the Organ Concerto. As in so much of his finest work, there is a simplicity and sincerity in this music that speaks directly to the heart.

from notes by David Gammie © 2011

L’Aria, qui date de la guerre, était à l’origine, en 1943, le mouvement lent d’une Sonate pour trompette et piano et demeure un incontournable des programmes d’examen pour tout jeune trompettiste ambitieux. Peeters l’arrangea aussi pour violon, pour violoncelle et pour orgue solo et c’est sous cette dernière forme qu’on l’entend le plus souvent. La mélodie expressive se déploie par-dessus un accompagnement de doux accords répétés—une technique qu’on retrouve, avec un effet tout aussi éloquent, dans le mouvement lent du Concerto pour orgue. Comme si souvent dans les plus belles œuvres de Peeters, il y a de la simplicité et de la sincérite dans cette musique qui va droit au cœur.

extrait des notes rédigées par David Gammie © 2011
Français: Hypérion

Auch die Aria entstand in der Kriegszeit, und zwar zunächst 1943 als langsamer Satz einer Sonate für Trompete und Klavier, die bis heute Pflichtübung für Trompetenschüler ist. Peeters arrangierte sie auch für die Geige, das Cello und die Orgel, und in letzterer Fassung wird sie am häufigsten gespielt. Peeters nutzt die Technik, eine ausdrucksvolle Melodie über einer Begleitung aus wiederholten sanften Akkorden zu entfalten, mit gleicher Wirkung im langsamen Satz seines Orgelkonzerts. Wie so häufig in seinen besten Werken spricht die Einfachheit und Aufrichtigkeit dieser Musik unmittelbar zum Herzen.

aus dem Begleittext von David Gammie © 2011
Deutsch: Henning Weber

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