Betsy Jolas’s Innovative Organ Music Challenges Classical Conventions
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A new recording showcases the inventive organ music of Betsy Jolas, defying expectations and revealing a richness of composition that defines her entire body of work, whether performed solo by angela Metzger or alongside the chamber orchestra of the SWR of Cologne.
Betsy Jolas’s deep connection to the organ stems from her studies at Princeton University during her time in America. the recently released recording features nearly all of her organ compositions – with the exception of Music from other days for cello and organ (2020) – and demonstrates a musical approach deeply influenced by everyday life.
A Composer Inspired by Life and Legacy
The works on the recording, particularly through their evocative titles, reveal a composer attuned to the world around her. Lessons of the Little Day (2007) stands as a direct homage to her mentor, Olivier Messiaen, incorporating elements reminiscent of bird songs and stylized natural sounds. As one observer noted, Jolas creates a sonic landscape where fleeting figures appear and then vanish, prompting listeners to focus on the present moment. She meticulously selects her sonic “colors,” even incorporating the mechanical sounds of the instrument itself, resulting in “sonic discoveries and arabesques with feline lines.”
Jolas’s compositions often center around specific musical ideas. Daytime music, for example, begins with a G note – a significant tone in her life that frequently opens her keyboard pieces. This note serves as a foundational “ison,” akin to the work of Edgard Varèse, around which a complex polyphonic structure is built, culminating in a sophisticated four-voice “fugato.”
Pushing Boundaries with “Winter Music”
Perhaps the most striking piece on the recording is Winter Music (1971), a work for organ and chamber orchestra. This composition transforms the organ in the Klaus von Bismarck Saal in Cologne into a sound generator, with a score intentionally devoid of traditional bar lines or time signatures. This unconventional approach allows for a boundless exploration of sonic possibilities. The orchestration is equally unconventional, featuring ten violas and six double basses alongside the piano and harp, notably omitting violins.
The piece evokes the spirit of Varèse through its emphasis on percussion, expansive spatial arrangements, and the emergence of powerful chord clusters. A senior music critic described the work as a “virtuoso and constellatory writing” that balances transparency and density, fueled by the full power of the organ and the dynamic interplay of percussion. the performance, led by Titus Engel, is infused with “jubilation and implicit humor,” exemplified by a particularly lively double bass solo.
Minimalist Beauty in “The Three Campanaire Studies“
Originally conceived for the carillon of Saint-Germain l’Auxerrois, The three Campanaire Studies find a fitting home on the church organ of st Antonius in Düsseldorf-Oberkassel. The instrument’s percussion capabilities – including celesta, marimba, and carillon – perfectly complement the compositions. The first and last studies feature a complex layering of these instruments in free polyrhythm, while the second study highlights the delicate, wandering melody of the celesta alone. According to a company release, the music is intentionally minimal, prioritizing the beauty of tone and showcasing Jolas’s affinity for unique and novel sonic combinations.
This recording reaffirms betsy Jolas as a composer who consistently challenges conventions and embraces innovation, offering a fresh perspective on the possibilities of the organ and solidifying her place as a significant voice in contemporary classical music.
