FONTANESI: Organ Sonatas
In the realm of Italian music, where fresh, original organ pieces are comparatively few, it is noteworthy that composer David Fontanesi has dedicated not just one, but four Sonatas to this instrument. Written in 2021, these compositions exude an unexpected originality, even whilst they remain firmly grounded in the principles of contrapuntal composition and tonal harmonies.
As noted previously, these works are anchored in contrapuntal writing, or, more specifically, in the creation of fugue-like arrangements. Fontanesi frequently pays homage to the grand ‘father figure’ of this form, Bach, and occasionally reveals an affinity for the writing style of Reger.
Yet, these various fugues and sonata forms with counterpoint are far from mere stylistic exercises. Instead, they invariably aim to probe new harmonic landscapes, often marked by abrupt key transitions or layered contrapuntal structures. The compositions are punctuated with moments of striking inspiration, which are sure to delight listeners with unexpected twists and turns.
Sonata No. 1: The opening movement unfolds with two distinctive and evocative thematic concepts. The opening theme, presented as a fugue exposition paired with the pedalboard, conjures up both the tonality and character of the celebrated “thema regium” utilised by Bach in his Musical Offering. The second thematic grouping adopts a chordal and cantabile approach.
The second movement acts as a genuine meditation, imbued with the typical organ-like tones of Gamba and Voce Celeste. Anyone anticipating a tranquil and serene finale will be taken aback by an intriguing crescendo that brings this piece to a triumphant and optimistic close.
In contrast, the energetic third movement is unquiet and turbulent, seemingly shattering any semblance of peace and assurance so powerfully suggested in the second movement. Mirroring the first movement, this one also ends on bold and dramatic chords.
Sonata No. 2: The expressive ambience of the Second Sonata is entirely different. The opening movement has the feel of a symphonic Scherzo, featuring an imitative style, where the persistent and bouncing rhythm of quintuplets brings about a rather unique interplay of colours. It is in the style of a dance with moments of respite, thanks to the numerous progressions within.
The second movement, Molto Moderato, is sober and conveys a peaceful, gradually intensifying sonority, ultimately reaching a sombre and hefty forte.
The third movement revives the joyful atmosphere of the first movement. It takes on the form of a rondo with the classic ABACA structure. The central passages echo the contemplative mood of the fugue. However, in conclusion, the piece takes on a celebratory and dazzling character, amplified by the commanding use of the Trumpets or “chamade”.
Sonata No. 3: The Third Sonata commences with an expansive symphonic-style opening movement. The principal theme is a flowing cantabile, supported by a straightforward accompaniment. As the sixteenth-note movement of the accompaniment steadily gains autonomy, it evolves into a thematic element that is developed throughout the movement.
The central Adagio is strikingly beautiful. Echoing the concept of a theme with accompaniment, as seen in the first movement, the composer delivers a truly memorable lyrical moment. Despite the use of modal passages and sequences of major sevenths, the overall impression remains fresh and mesmerising to the ear.
The Sonata concludes with a fugue based on a characteristic theme of repeated notes. Following an initial exposition, where one might expect thematic cells to be developed, there is instead a firm harmonic shift (from D minor, the original tonality of the Fugue’s foundation, to G-flat major). In this new key, all thematic elements are employed and developed. Upon returning to the original key, rather than culminating in a crescendo of sound and emotion, the composition gradually diminishes, ending with an almost questioning air.
Sonata No. 4: In this fourth and final Sonata composed for the organ by Fontanesi, the first movement is also a freely contrapuntal fugato, bearing similarities to the first movement of the Second Sonata. A theme characterised by repeated octave leaps imparts both dynamism and tranquility to the piece.
The second movement could be described as a kind of multiple fugue. I venture to say it evokes the style of Buxtehude, albeit without the fantastical elements typical for this composer. The main theme is solemn, robust, and distinct, while subsequent themes become progressively more animated in both rhythm and composition.
The Sonata concludes on a high note, with a vibrant and virtuosic Toccata filled with joy, providing a compelling and impactful listening experience.
In conclusion, these four Sonatas should be viewed as a cohesive creative unit. I would recommend listening to them in succession. Listeners will not be disappointed, quite the opposite! Furthermore, the instrument utilised, the magnificent Tamburini-Bonato organ at the Duomo of Abano Terme, in the province of Padua, allows for the exploration of a nearly limitless palette of organ colours and, if you’ll excuse the comparison, even orchestral tones.
Andrea Albertin © 2023