Recorded at:		Salisbury Cathedral (Great Britain) - 18-20 October 1966
	Live / Studio		Studio
	Producer		Brian B. Culverhouse
	Balance engineer		Stuart Eltham
	First LP Edition		EMI - His Master's Voice | CSD 3595 | 1 LP | durata 51' 12" | (p) 1967
	CD Edition		EMI Classics | 0 85295 2 | 13 CDs | LC 06646 | (c) 2011 | ADD
	Note		-

The original 19 LPs in CD 13 CDs - 0 85295 2 - (c) 2011 (in CD 7: Tracks 3-9)

Nielsen completed Commotio in the last year of his life, and described briefly its structure as 'supported by two fugues, on to which introduction, linking movements and coda cling like creepers to the trunks of a forest.' The title Commotio he admitted ysing as 'an expression for self-ibjectivization', but in fact it hints at more than the rigid control on the composer's part of ìall personal and lyrical feelings'. The work, in one continuous and lengthy movement, coheres more through the unity of its basic pulse, achieving variety by the interplay of many subdivisions of this pulse, than through the use if conventional forms such as fugue and the dramatic tension of opposing tonal centres. For instance, in the opening common-time Adagio (which immediately states both duple and triple measures and their subdivisions) the quaver melts into the dotted-crotchet of the 3/8 Andantino quasi allegretto, which again eases into the pulse of the poco tranquillo fugue, where a whole bar is equivalent to a crotchet of the introduction. This fugue, however, never achieves a conclusion, disintegrating as the themes splinter into fragments, and exploding in a violent clash of tonalities as the pedal organ battles against the full manual choruses. Yet through this a certain poise is reached as the music settles into the 3/4 andante sostenuto, with again its pulse linked to the opening of the piece (Andante crotchet equivalent to Adagio quaver). Without any further change this leads naturally into the final fugue (3/4 crotchet equivalent to 12/8 dotted-crotchet or 3/4 crotchet). The earlier frictions of duple and triple measures resolve into a peaceful co-existence, and are eventually united in the final triumphant 12/8 section. Thus, in Commotio, rhythmic (as well as melodic and tonal) elements are moulded into an organic unity continuously evolving through an extensive period with a dramatic, inevitable momentum. © Christopher Dearnley, 1967. CHRISTOPHER HUGH DEARNKEY born 11 Februaryr 1930 in Wolverhampton. Son of the Rev. Charles Dearnley. Organ Scholar Worcester College, Oxford, 1948. Assistant Organist Salisbury Cathedral, 1954; Organist and Master of the Choiristers, 1957