The impetus for this album, my second full-length following the release of THE UNNAMED SOURCE on Navona 12 years ago, was twofold. Firstly, an invitation from PARMA Recordings to contribute to the Fanfare project with the London Symphony Orchestra. Secondly, an unexpected reunion with a former organ student, Frans Jan Wijma. In addition to his profession as an engineer, he was a church organist all those years. He asked me if I was interested in writing an organ piece, which resulted in 14 works in 2021. After his expressive recordings of the Three Pieces, via Hauptwerk, I didn’t want to wait any longer to release these pieces to the world. When I found the young organ virtuoso Maarten Wilmink willing to record my Toccata for Organ, my decision was finalized by contact with piano virtuoso Rangel Silaev, who found it a challenge to record six recent piano works. Annette Scholten, cellist and pioneer in the development of the lame sonore, joined in with Nanke Flach to perform three works written for her.
Leonard Bernstein said, “music can name the unnameable and communicate the unknowable.” That could have been the motto of my first album. It also links to and is encompassed by the title “Source Ground,” the first of the Three Pieces for Organ, which is inspired by an incomprehensible text in the book The Mystery of Golgotha (p.22 & 23). It gave me the impetus for the idea and title of this second full album.
It is a tribute to the one indivisible life, which breathes uninterruptedly in all that lives in an infinite variety and diversity, and which wants to come to consciousness in every person. My music wants to act as an aide-memoire for the listener, but first of all it wants to be enjoyed.
— Hans Bakker