Alexander Nemtin’s Concerto for Organ

Moscow-based composer Alexander Nemtin (1936–1999) is best known for his completed version of Alexander Scriabin’s “Prefatory Action,” a mystical musical composition conceived by the famous composer during the last years of his life, which was not destined to see the light of day. In 1970 Nemtin took on himself the task of recreating the “Prefatory Action,” which he completed in 1996. It is an immense musical score in three parts for orchestra, chorus, solo singers, piano and organ. Nemtin’s own musical compositions are much less known to musicians or music lovers. They are written mostly in a traditional style, with predominantly diationic harmonies, their textures follow the vein of Romantic instrumental music with a very moderate implementation of neoclassical and more modernist elements of 20th century music. Among them is a large-scale work, titled the Concerto for Organ, which was composed in 1963. This composition is for solo organ, although in the large scale of its instrumental texture and the six varied movements comprising its overall formal design, it validates its somewhat extraordinary title. The Concerto for Organ is characterized by extended diatonic harmonies complemented with a large number of dissonant sonorities. It contains a dialogue with the Baroque style and elements of stylization in the vein of Bach and other Baroque composers. Stylization in the Concerto for Organ is expressed most visibly by its adherence to the genres of the Baroque period – preludes, canons, chorales, arias, ricercars and fugues. Nemtin’s Concerto follows an extended tradition of lengthy and massive works for solo organ and organ with orchestra. Its academic formal qualities, broad use of contrapuntal techniques and adherence to well-known Baroque genres makes it aesthetically closer to the German organ tradition. In his instrumental composition of a large-scale genre Alexander Nemtin demonstrated himself as a master of large-scale form capable of thinking in categories of massive dramaturgy and philosophic thought. He has established his place in music history not only be creating the completed version of Scriabin’s “Prefatory Action,” but also with his own musical compositions which continue the tradition of orchestral, vocal and chamber instrumental music by 20th century Russian composers. Keywords: Alexander Nemtin, Concerto for Organ, organ music, large-scale form, prelude, canon, aria, fugue, stylization, stylistic dialogue with the Baroque period

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