Joseph Jongen’s organ synthesizer
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Original article DOI: 10.56620/2227-9997-2025-3-35-49 |
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Tatiana R. BochkovaM. I. Glinka Nizhny Novgorod State Conservatory, Nizhny Novgorod, Russia, |
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| Abstract: The author of the article focuses on the figure of Joseph Jonghen (1873–1953), a talented Belgian composer, pianist, organist, and teacher of the late 19th and early 20th centuries, who is little known in the Russian scientific and performing communities. The biographical, historical and contextual approaches allowed us to identify the artistic stimuli that provided a broad panorama of stylistic influences on the composer’s work. Using one of Jongen’s most striking concert works, the Sonata Eroïca for solo organ (1930), as an example, the fruitful interaction of the traditions of organ counterpoint and improvisation, impressionistic sound painting and virtuoso concerto style of French organ symphonies, and skillful thematic work and the sophistication of Belgian Art Nouveau is examined. All these components are harmoniously synthesized, including due to the richness of timbre and the limitless technical possibilities that the symphony organ offers to organ art in the late 19th — first half of the 20th century. Jongen’s Sonata Eroïca was written for the inauguration of one of them — the instrument designed by Joseph Stevens for the Brussels Palace of Arts.
Keywords: Joseph Jongen, Sonata Eroïca, Belgian organ art, stylistic integration For citation: Bochkova T. R. Joseph Jongen’s organ synthesizer. Scholarly papers of Gnesin Russian Academy of Music. 2025;(3):35-49. (In Russ.). DOI: 10.56620/2227-9997-2025-3-35-49 |
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