Alexander Nemtin’s Concerto for Organ

Abstract

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.