Toccata Classics - Gardner: Complete Organ Music, Vol. 2 (2025) [Hi-Res]
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BAND/ARTIST: Toccata Classics
- Title: Gardner: Complete Organ Music, Vol. 2
- Year Of Release: 2025
- Label: Toccata Classics
- Genre: Classical Organ
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:12:02
- Total Size: 272 mb / 1.17 gb
- WebSite: Album Preview
Tracklist
01. Wedding March, Op. 17
02. High Heaven Fantasy, Op. 151
03. Prelude on "Dominus regit me", Op. 127
04. Variations & Fugue on "Sine nomine", Op. 128: Theme. Lento
05. Variations & Fugue on "Sine nomine", Op. 128: Var. 1, L'istesso tempo
06. Variations & Fugue on "Sine nomine", Op. 128: Var. 2
07. Variations & Fugue on "Sine nomine", Op. 128: Var. 3
08. Variations & Fugue on "Sine nomine", Op. 128: Var. 4
09. Variations & Fugue on "Sine nomine", Op. 128: Var. 5, Meno mosso con rubato espressivo
10. Variations & Fugue on "Sine nomine", Op. 128: Var. 6, Poco più mosso
11. Variations & Fugue on "Sine nomine", Op. 128: Var. 7, Adagio molto ma flessibile
12. Variations & Fugue on "Sine nomine", Op. 128: Var. 8, Allegro molto
13. Variations & Fugue on "Sine nomine", Op. 128: Var. 9
14. Variations & Fugue on "Sine nomine", Op. 128: Var. 10
15. Variations & Fugue on "Sine nomine", Op. 128: Var. 11
16. Variations & Fugue on "Sine nomine", Op. 128: Var. 12, Finale fugato
17. Interlude, Op. 143
18. Introduction, Ground & Coda, Op. 28: I. Introduction
19. Introduction, Ground & Coda, Op. 28: II. Ground
20. Introduction, Ground & Coda, Op. 28: III. Coda
21. Coronation Postlude, Op. 40
22. Fantasy on Byrd's "Non nobis", Op. 30
23. 5 Dances, Op. 179: No. 1, Lavolta
24. 5 Dances, Op. 179: No. 2, Pavin
25. 5 Dances, Op. 179: No. 3, Jig
26. 5 Dances, Op. 179: No. 4, Lament
27. 5 Dances, Op. 179: No. 5, Fling
The English composer John Gardner (1917–2011) played the organ from an early age; his first work to be published was for the organ, and he wrote for the instrument throughout his long life. His music, whether secular or sacred, is characterised by a rhythmic vivacity and technical command informed by his fondness for jazz, Renaissance and Baroque procedures and classical counterpoint – and the spirit of dance is often close to hand. Its quirky and distinctive personality is a mirror of the man: Gardner’s gruff, slightly formal manner barely hid a mischievous sense of humour, flashes of which can be glimpsed even in his more serious works. Above all, his musical language is honest and emotionally direct, as he was.
01. Wedding March, Op. 17
02. High Heaven Fantasy, Op. 151
03. Prelude on "Dominus regit me", Op. 127
04. Variations & Fugue on "Sine nomine", Op. 128: Theme. Lento
05. Variations & Fugue on "Sine nomine", Op. 128: Var. 1, L'istesso tempo
06. Variations & Fugue on "Sine nomine", Op. 128: Var. 2
07. Variations & Fugue on "Sine nomine", Op. 128: Var. 3
08. Variations & Fugue on "Sine nomine", Op. 128: Var. 4
09. Variations & Fugue on "Sine nomine", Op. 128: Var. 5, Meno mosso con rubato espressivo
10. Variations & Fugue on "Sine nomine", Op. 128: Var. 6, Poco più mosso
11. Variations & Fugue on "Sine nomine", Op. 128: Var. 7, Adagio molto ma flessibile
12. Variations & Fugue on "Sine nomine", Op. 128: Var. 8, Allegro molto
13. Variations & Fugue on "Sine nomine", Op. 128: Var. 9
14. Variations & Fugue on "Sine nomine", Op. 128: Var. 10
15. Variations & Fugue on "Sine nomine", Op. 128: Var. 11
16. Variations & Fugue on "Sine nomine", Op. 128: Var. 12, Finale fugato
17. Interlude, Op. 143
18. Introduction, Ground & Coda, Op. 28: I. Introduction
19. Introduction, Ground & Coda, Op. 28: II. Ground
20. Introduction, Ground & Coda, Op. 28: III. Coda
21. Coronation Postlude, Op. 40
22. Fantasy on Byrd's "Non nobis", Op. 30
23. 5 Dances, Op. 179: No. 1, Lavolta
24. 5 Dances, Op. 179: No. 2, Pavin
25. 5 Dances, Op. 179: No. 3, Jig
26. 5 Dances, Op. 179: No. 4, Lament
27. 5 Dances, Op. 179: No. 5, Fling
The English composer John Gardner (1917–2011) played the organ from an early age; his first work to be published was for the organ, and he wrote for the instrument throughout his long life. His music, whether secular or sacred, is characterised by a rhythmic vivacity and technical command informed by his fondness for jazz, Renaissance and Baroque procedures and classical counterpoint – and the spirit of dance is often close to hand. Its quirky and distinctive personality is a mirror of the man: Gardner’s gruff, slightly formal manner barely hid a mischievous sense of humour, flashes of which can be glimpsed even in his more serious works. Above all, his musical language is honest and emotionally direct, as he was.
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