Toccata Classics - Gardner: Complete Organ Music, Vol. 2 (2025) [Hi-Res]

Tracklist

01. Wedding March, Op. 17
02. High Heaven Fantasy, Op. 151
03. Prelude on "Dominus regit me", Op. 127
04. Variations & Fugue on "Sine nomine", Op. 128: Theme. Lento
05. Variations & Fugue on "Sine nomine", Op. 128: Var. 1, L'istesso tempo
06. Variations & Fugue on "Sine nomine", Op. 128: Var. 2
07. Variations & Fugue on "Sine nomine", Op. 128: Var. 3
08. Variations & Fugue on "Sine nomine", Op. 128: Var. 4
09. Variations & Fugue on "Sine nomine", Op. 128: Var. 5, Meno mosso con rubato espressivo
10. Variations & Fugue on "Sine nomine", Op. 128: Var. 6, Poco più mosso
11. Variations & Fugue on "Sine nomine", Op. 128: Var. 7, Adagio molto ma flessibile
12. Variations & Fugue on "Sine nomine", Op. 128: Var. 8, Allegro molto
13. Variations & Fugue on "Sine nomine", Op. 128: Var. 9
14. Variations & Fugue on "Sine nomine", Op. 128: Var. 10
15. Variations & Fugue on "Sine nomine", Op. 128: Var. 11
16. Variations & Fugue on "Sine nomine", Op. 128: Var. 12, Finale fugato
17. Interlude, Op. 143
18. Introduction, Ground & Coda, Op. 28: I. Introduction
19. Introduction, Ground & Coda, Op. 28: II. Ground
20. Introduction, Ground & Coda, Op. 28: III. Coda
21. Coronation Postlude, Op. 40
22. Fantasy on Byrd's "Non nobis", Op. 30
23. 5 Dances, Op. 179: No. 1, Lavolta
24. 5 Dances, Op. 179: No. 2, Pavin
25. 5 Dances, Op. 179: No. 3, Jig
26. 5 Dances, Op. 179: No. 4, Lament
27. 5 Dances, Op. 179: No. 5, Fling

The English composer John Gardner (1917–2011) played the organ from an early age; his first work to be published was for the organ, and he wrote for the instrument throughout his long life. His music, whether secular or sacred, is characterised by a rhythmic vivacity and technical command informed by his fondness for jazz, Renaissance and Baroque procedures and classical counterpoint – and the spirit of dance is often close to hand. Its quirky and distinctive personality is a mirror of the man: Gardner’s gruff, slightly formal manner barely hid a mischievous sense of humour, flashes of which can be glimpsed even in his more serious works. Above all, his musical language is honest and emotionally direct, as he was.

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