Two composers, two organists.
The present program highlights the richness and diversity of the organ works by the French composers Mel Bonis and Jeanne Demessieux. A student of César Franck and Ernest Guiraud at the Paris Conservatory, Bonis left behind a vast legacy that includes works for solo piano and piano four hands, organ pieces, chamber music, songs, choral music, a mass, and orchestral compositions. The Sortie op. 96 opens the program with vibrant and radiant energy, characteristic of pieces intended to conclude liturgical celebrations. The Improvisation op. 154 reveals a free and meditative character, evoking a prayer translated into music, where sensitivity and delicacy come together. The Élévation in E-flat major op. 151 stands out for its simplicity and serenity, creating an atmosphere of reflection that invites inner meditation, fitting for the liturgical moment in which it is performed. In the Andante religioso op. 173, Bonis combines a simple melody with delicate harmony, creating a moment of profound inner tranquility. The Quasi Andante op. 152 carries on this intimate line, while the Offertoire (grand choeur) op. 182 returns to a solemn and majestic dimension, enriched by refined harmonies and sonic breadth, evoking the nobility of the French organ tradition. This musical journey reflects the uniqueness of Mel Bonis, a prolific composer who faced gender prejudice and left us more than three hundred works, including around thirty pieces for organ. Her music brings a personal voice inspired by religiosity and lyricism, becoming a precious testimony in the contemporary repertoire for this instrument. Jeanne Demessieux was the first internationally recognised female organist. With an intense performance career, she toured Europe and North America, becoming the first woman to perform as an organ soloist in concert halls. Her technical abilities were highly praised at the time, with Marcel Dupré considering her “la plus grande de toutes les organistes”. She won prizes in several competitions, notably for piano, organ, and improvisation. Beyond her distinguished career as an organist, Demessieux is also recognised for her compositions for organ. The selection of works to be performed in this concert was designed to present contrasting languages to the audience. Lumière is part of the Sept méditations sur le Saint-Esprit, its registration being the element that highlights its ethereal character. The use of mixtures in both hands, along with rapid figuration and a 4-foot stop in the pedal, convey the idea of lights moving through space. Rorate caeli, a chorale prelude on a Gregorian theme, makes an impression with its harmonies accompanying the delicate melody. Finally, and in contrast with the previous two works, the grandeur of the Te Deum will be heard. It begins with a grand presentation of the theme, which develops through the combination of rhythmic effects and harmonic complexity, gradually drifting from its initial character. The middle section presents a more contemplative atmosphere, with special registration. After this brief moment, the rhythmic agitation returns, culminating in the main theme of the work, adorned with extraordinay harmonies.
— Beatriz Resendes · Laura Mendes —
17 October
Igreja de São João Evangelista, Funchal
Friday, 9.30 pm
Laura Mendes*, organ
Beatriz Resendes**, organ
Mel Bonis (1858-1937)
¬ Sortie Op. 96*
¬ Improvisation Op.159*
¬ Élévation in E flat major Op.160*
¬ Andante religioso Op.173*
¬ Quasi andante Op.152*
¬ Offertoire (grand choeur) Op.182*
Jeanne Demessieux (1921-1968)
¬ Lumière** (7 Méditations sur le Saint-Esprit, Op. 6, n.º 7)
¬ Rorate Caeli** (12 Choral Preludes on Gregorian Chant Themes for Organ, 1950)
¬ Te Deum, Op.11**
Mel Bonis
¬ Suite en forme de valses* **
› Ballabile
› Valse lente
› Danse sacrée
› Scherzo-valse
› Interlude et bacchanale
