Frederik Magle: Organ Fantasia on the notes G-D-A-E-C-G

An improvised Fantasia for organ on the notes G–D–A–E–C–G. Composed and performed in real time by the organist and composer Frederik Magle without prior preparation, recorded on the 1878–1938 Köhne-Starup pipe organ in Saint Paul’s Church, Copenhagen, Denmark.

Thoughts Behind the Improvisation:

I decided to create a freely improvised organ fantasia based on a very simple theme. So simple, in fact, that it can hardly be called a theme, but rather a short sequence of fourths. The tone series is very “pure,” almost naked, containing no minor seconds, tritones, major sevenths, or other sharp dissonances anywhere within its six notes.

Naturally, I introduce these dissonances later in the piece itself, manipulating the six notes in various ways while striving to maintain a strong thematic coherence throughout the nearly 10-minute duration. Small secondary themes develop along the way, branching off organically from the core material.

Brief Outline:

Initially, the theme is presented solo, unaccompanied, by a powerful solo voice (trumpet). This is followed by an introductory, somewhat exploratory and questioning section featuring derivations, fragments, and dynamic contrasts, lasting until approximately 1:49, when a rhythmically compelling figure—reappearing multiple times throughout the rest of the piece—is introduced.

Initially quiet, the figure gradually grows in strength and intensity, reaching fortissimo around 3:09, at which point the theme clearly returns—now presented in a polyphonic, nearly contrapuntal passage, still accompanied by the rhythmic figure in the background. This section is interrupted at 3:59 by the full return or takeover of the rhythmic figure, now in an extended diminuendo leading up to 4:21, where a new subdued section begins, lacking a fixed tonality, progressing toward the improvisation’s central point (around 5:09).

Here, a long-held tone (D) serves as a drone, while the theme (with additional notes inserted between each interval of a fourth, and the initial tone repeated three times) emerges amidst highly colorful harmonies, eventually resolving onto the tonic.

The main theme now returns clearly (for the first time since the beginning), forming a central anchor as well as a turning point. What follows is a primarily tonal and bright passage, providing a brief respite before the intensity resumes in the third act.

At around 6:45, the insistent rhythms return, with fragments of the theme scattered throughout. The music builds into a frenetic climax by 7:45, followed by another partially contrapuntal section from which a newly derived melody emerges (briefly evoking Bach-like textures). Finally, rhythmic figures and harsh chords reappear, ultimately dissolving into a pure G major chord at the very end.

Frederik Magle, composer, organist, and pianist:
https://www.magle.dk

Frederik Magle Publishing (sheet music): https://www.magle.dk/shop/

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