– Solo for organ by Gérard Lambert

Did you write down the date for our MaGMa Trio Easter concert in your agenda or on your calendar?

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You are more than welcome on Sunday 14 April in the Saint Nicolas church in La Roche!

In previous blogs you’ve been able to read already quite some information about the works we are presenting that day. We bring arias by Bach (1685-1750), Händel (1685-1759), Vivaldi (1678-1741) and Pergolesi (1710-1736), all written for or in an arrangement for voice, flute and organ.

We will also perform music for duos: Arias by Bach for flute and organ and a composition by Gérard Lambert for mezzo-soprano and flute.

Gérard playing the organ
of the Saint Nicolas church,
La Roche-en-Ardenne

And of course solo pieces as well for both organ and flute. I already elaborated on the Allemande by Bach, to be played by Marijke Verbeeck. Today I’d like to write about the organ piece Voluntary VII by the English composer William Boyce, which Gérard will play as his solo piece during our concert.

William Boyce (1711-1779) wrote “10 Voluntaries for the Organ”. From these works Gérard has chosen number 7, composed of two parts:

  1. Not fast (17 measures)
  2. Fuge (41 measures)

The Voluntary VII was written in d-minor, probably in the year 1779.

In music a voluntary is a piece of music, usually for an organ, that is played as part of a church service. In English-speaking countries, the music played before and after the service is often called a ‘voluntary’, whether or not it is titled so.

W. Boyce

The title ‘voluntary’ was often used by English composers during the late Renaissance, Baroque, and Classical periods. Originally, the term was used for a piece of organ music that was free in style, and was meant to sound improvised (the word voluntary in general means “proceeding from the will or from one’s own choice or consent”). This probably grew out of the practice of church organists improvising after a service.

Later, the voluntary began to develop into a more definite form, though it has never been strictly defined. During the late 17th century, a ‘voluntary’ was typically written in a fugal or imitative style, often with different sections. In the 18th century the form typically began with a slow movement and then a fugue.

We are looking forward to welcoming you on Suday 14 April at 16.00 hrs!

Enjoy the week

Marijke Persijn