A Recital of organ music from St. Paul's Cathedral Melbourne
The works selected for this recording represent a variety of styles in organ music over a period of some eighty years. Three of the works come from the latter half of the nineteenth century, whilst the remaining three were written in the first half of the twentieth century.
Peter Nicholson studied organ at St. Paul's Cathedral with June Nixon, the then Cathedral Organist. In 1976 he was awarded the Herbert Davis Memorial Prize, and two years later, obtained first-class honours in fourth year practical studies in organ at the University of Melbourne. In 1979 he gained a Fellowship from Trinity College, London in organ performing, and also spent some time studying the works of Bach and Messiaen with Gillian Weir.
“Starting with a splendid and lively performance of the Liszt BACH, Peter Nicholson continues with some rarely heard Brahms. Splendidly persuasive playing.”
— D.R.C., The Organ
- Fantasia and Fugue on B.A.C.H Franz Liszt
- Hymne d'action de grace ("Te Deum") Jean Langlais
- Herzliebster Jesu
- Schmuck dich, o liebe Seele
- Herzlich tut much verlangen
- O Welt, ich muss dich lassen
- Fantaisie sur le te deum et guirlandes alleluiatique Charles Tournemire
- Choral No. 2 César Franck
- Transports de joie d'une âme devant la gloire du Christ est la sienne Olivier Messiaen
Elf Choralvorspiele Op. 122 Johannes Brahms
- Peter Nicholson · organ
Franz Liszt (1811–1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher. As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School").
Johannes Brahms (1833–1897) was a German composer and pianist, and one of the leading musicians of the Romantic period. In his lifetime, Brahms' popularity and influence were considerable; he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the Three Bs.
Olivier Messiaen (1908–1992) was a French composer, organist and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex (he was interested in rhythms from ancient Greek and from Hindu sources); harmonically and melodically it is based on modes of limited transposition, which he abstracted from his early compositions and improvisations.