Sunday, December 1, 2024: Advent 1C

Prelude

Darwell's Fantasia: 3. Aria (2014)

John S. Dixon (b. 1957)

This aria, featuring a cornet solo, is part of a four-movement work entitled Darwell's Fantasia. The work was dedicated to concert organist Carson Cooman, new-music specialist with an extensive repertoire and discography of music written especially for him. Perhaps in future, another movement of this work will make its way to this space. 

English composer John Dixon is currently organist and composer-in-residence at Providence Presbyterian Church in Virginia Beach, VA. Dixon took an unconventional route, earning an MA from Oxford and an MBA from Harvard. Much of Dixon's work focuses on choral anthems and organ voluntaries. Recently, he has incorporated chamber music and orchestra works into his catalog. 

Postlude (deferred to Advent 3C, December 15, 2024)

Six Postludes on English Hymn Tunes: "The Head That Once Was Crowned with Thorns" (ST. MAGNUS) (2003)

Charles Callahan (1951-2023)

A distinguishing feature of this voluntary is its concertante style with tuba solo. The final chord invites a 'stinger', accomplished by either added registration or sforzando. As with many English settings, the pedal serves not only as foundational harmonic support but as timpani. Although the text typically associated with the tune is often heard during Easter or Lent, Callahan's ingenuity provides for other considerations.

 

Sunday, November 24, 2024: Our Lord Jesus Christ, King of the Universe (Christ the King, OT34B)

*deferred due to maintenance

Prelude (deferred to Advent 2, December 8, 2025)

Prelude in G Major (1973)

William Harris (1883-1973)

This short and charming prelude conveys a tender atmosphere. It was made famous at the funerals of Princess Diana and Queen Elizabeth II. Not coincidentally, it appeared the year of the composer's own death.

Sir William Henry Harris is best remembered for his Anglican church music and, even then, for really just one work, the unaccompanied double-choir anthem Faire is the heaven (1925). His talents led him from humble beginnings to an illustrious career via a scholarship at the Royal College of Music, through appointments at New College and Christ Church Cathedral, Oxford, and in 1933 to St. George’s Chapel, Windsor. Here his duties included tutoring the two princesses, Elizabeth and Margaret Rose, until retirement in 1961. His composing career was equally long, spanning over 70 years.

Postlude (deferred to Confirmation Mass, January 14, 2025)

Fugue FROM Prelude and Fugue, Op. 7, No. 3 (1914)

Marcel Dupré (1886-1971)

Dupré was one of the most important organists of the 20th century. He taught many famous organists including Jehan and Marie-Claire Alain, Jean Langlais, and Olivier Messiaen. His technique of absolute legato has become the default touch for French organ music. This prelude and fugue, the final of three that form Op. 7, gives a clear finale. The prelude combines the virtuosity of the B major prelude and the delicateness of the F minor prelude, while adding innovations of its own such as quadruple pedaling. The fugue builds to a spectacular climax that invites the full power of the organ.

Brief anecdote: my first experience of this piece was with Todd Wilson, CIM faculty and retired Director of Music at Cleveland's Trinity Episcopal Cathedral, who used this fugue as postlude to a May 2008 service at Plymouth Church UCC, Shaker Heights during my time there as an intern there. I wish to thank Mr. Wilson for introducing me to this repertoire and, as I am up to the task, allowing me ultimately to share with our community. We will also be using a hybrid mixture of Mr. Wilson's "Lift High the Cross" (CRUCIFER) as an interlude between verses 4 & 5 of our Sending this week. 

Alternate Postlude (deferred to Advent 1, December 1, 2024)

École d'Orgue, basée sur le plain-chant romain (Organ School, based on Roman plain chant), Part 2, No. 27: Fanfare (1862)

Jacques-Nicholas Lemmens (1823-1881)

This is Lemmens' most popular piece, made so by his recitals. Lemmens was an eminent Belgian organist, composer, and educator. He trained with his father and then studied at the Royal Brussels Conservatory where he was appointed professor of organ at age 26. His distinguished students include Alexander Guimant and Charles-Marie Widor. 

 

Sunday, November 17, 2024: OT33B

Prelude

All Things Bright and Beautiful: Eight Hymn Settings for Organ: "Jesus, Savior, Pilot Me" (PILOT) (2017)

Clay Christiansen (b. 1949)

This beautiful Methodist hymn, not commonly sung even in the Methodist Church, has a meditative nature very well embodied in this simple and straight-forward setting which relies on the concept of balance. It uses all three manuals in a rather unique and gentle way, soloing out 8' and 4' flutes in all divisions and coupling at 16' and 4'. Christiansen also calls on Swell and Choir tremulants, affording very nice color contrast. This registration seemes perfectly suited to our organ at SJB. For a reminder of Mr. Christiansen's background, see Prelude from OT27B, which featured, from the same album, a setting of the tune SLANE. 

Postlude

Psalm 19: The Heavens Declare

Benedetto Marcello (1686-1739)

Marcello was an Italian composer, writer, advocate, and teacher. He was a younger contemporary of Antonio Vivaldi and his instrumental music displays his elder's influence. The Heavens Declare is the first movement of his choral work on Psalm 19 and has been popular since its resurrection in organ transcriptions by Theodore Dubois and E Power Biggs. It has been brought to my attention this piece makes a good brass arrangement, which we will possibly use for Confirmation in January 2025.

 

Sunday, November 10, 2024: OT32B

Prelude (Sunday 8:30am & 11:15am)

Organ Pieces, Book 2: No. 2. Andantino (1912)

Frank Bridge (1879-1941)

We now have several examples of Frank Bridge, namely OT27B postlude and the Adagio in E. This prepares us for what to expect of a later grouping of six pieces composed between 1905-1912. This particular movement, bearing the unique tempo Andantino, bears an oboe solo which might be challenging to scale. This weekend, we contemplate giving from our want and not from power, privilege, or excess. The solo in this movement could represent the widow in the temple who, in the Gospel of Mark, exemplifies generosity of spirit. Our Baroque toccata could also exemplify our rejoicing in Jesus, the Son of Man, who offers himself to take away our sins so that we may more fully live in him. 

Postlude

Toccata FROM Toccata and Fugue in F Major, BuxWV 157

Dietrich Buxtehude (1637-1707)

Buxtehude was a Danish organist and composer of the Baroque period (ca. 1605-1750) whose works are typical of the North German organ school. As a composer who worked in various vocal and instrumental idioms, Buxtehude's style influenced other composers, such as J.S. Bach and G.F. Handel. Not particularly progressive, Buxtehude is known today for his finely crafted contributions which so struck the 20-year-old Bach that he traveled with a friend from Arnstadt to Lübeck, some 249 miles on foot to hear him, endangering his position by over-staying an initial four-week leave by two months!

 

Sunday, November 3, 2024: OT31B

Prelude

Choral Dorien (1938)

Jehan Alain (1911-1940)

By the standards of the organ chorale genre, this piece is substantive. Here, Alain uses ancient Greek dorian mode, which is thought to have been more like medieval phrygian. The piece makes vague reference to specific scales and tonal centers. It evolves from a rising four-note motif. Dominated by long, ominous pedal notes, the piece possesses a wandering crescent form, expanding and contracting until it falls into silence. This weekend, love of God and love of neighbor go hand in hand as the love of God is illustrated also within the expansiveness of musical form.

French organist and composer Jehan Alain parished, age 29, in the Second World War. His sister, Marie-Claire, was a tireless advocate for his tragically truncated yet evocative and original oeuvre, at once influenced by Claude Debussy and Olivier Messiaen. 

Postlude

Five Hymn Improvisations: "God of Grace" (CWM RHONDDA) (1974)

Paul Manz (1919-2009)

Unforunately, this Welsh tune is not in our hymnal, Ritual Song. It does, however, feature prominently in Protestant sources including one I've scoured recently, Introductions and Alternate Accompaniments for Organ from Evangelical Lutheran Worship. As with the chorale preludes of Gerald Near, I have played a number of Manz settings at SJB including his settings of "Seelenbräutigam", "Greensleeves", "Quem Pastores", and the Christmastide Basque carol "The Angel Gabriel". Our Sending this week is "Lord of All Nations, Grant Me Grace" (BEATUS VIR). We notice the theme of grace permeates this hymn and is also complemented by our "God of Grace". 

Paul Manz lived a long and fruitful life, achieving nonagenarian status as a composer of choral and organ music. His most popular work is the choral anthem E'en So, Lord Jesus, Quickly Come. Coincidentally, we have programmed this work for Advent 2 this year and with any luck, we will have requisite forces. SJB Schola has also taken it up the following vigil of Advent 3.

 

Friday, November 1, 2024: All Saints

Prelude (see OT30B)

Five Hymn Improvisations: "Holy Spirit, Ever Dwelling" (IN BABILONE) (1994)

Michael Burkhardt (b. 1957)

Postlude

Six Postludes on English Hymn Tunes: "For All the Saints" (SINE NOMINE) (2003)

Charles Callahan (1951-2023)

This short postlude is a fughetta (little fugue) on our Sending for All Saints. Callahan is the quintessential New Englander, having completed studies at The Catholic University of America. He was often consulted on design of new organs, and restoration and improvement to existing ones. His two texts on American organ building history, "The American Classic Organ" and "Aeolian-Skinner Remembered", have become standard reference on 20th century American organs. His style can be characterized by clarity, gentleness, and confident lyricism.

 

Sunday, October 27, 2024: OT30B

Prelude

Five Hymn Improvisations: "Holy Spirit, Ever Dwelling" (IN BABILONE) (1994)

Michael Burkhardt (b. 1957)

This piece is based on a traditional Dutch melody. It was chosen as this weekend's Sending is "There's a Wideness in God's Mercy" to the same tune. It is also Gathering for the Solemnity of All Saints, to the text of "Blessed Feasts of Blessed Martyrs". Improvising on a hymn can convey the hymn's meaning and encourage vibrant singing.

Michael Burkhardt is Director of Worship and the Arts at Holy Cross Lutheran Church, Livonia, MI. He is also artistic director of Hearts, Hands, and Voices, a K-12 fine arts program founded in 2009. Dr. Burkhardt is in demand as a choral clinician, recitalist, and hymn festival leader. He has led educational events for AGO and NPM, the Hymn Society, the Association of Lutheran Church Musicians, the Presbyterian Association of Musicians, the Fellowship of United Methodists in Music and Worship Arts, and the American Choral Directors Association (ACDA).

Postlude

Chorale improvisations for organ, Op. 65, No. 59: "Nun danket alle Gott" (Now Thank We All Our God) (1909)

Sigfrid Karg-Elert (1877-1933)

The most popular of the 66 settings in this collection, "Nun danket" bears more resemblance to its subtitle, "Marche triomphale", than it does to the tune upon which it is based. This is a welcome divergence from most settings which prominently feature tunes either in Karg-Elert's dense Romantic texture or in the pedal division, more or less unornamented. There are many tendencies in his style. 

Karg-Elert taught at the Leipzig Conservatory during the entre-guerre period of the 20th century and fell away from his native Germany, hostile to international influences leading to the Second World War. After a period of relative obscurity, the music of Karg-Elert now enjoys a regular place in the repertoire. Our Marche triomphale sets us up nicely for All Saints, marching down the well-trodden path of gratitude. 

 

Sunday, October 20, 2024: OT29B

Prelude

Choraleworks: Ten Chorale Preludes for Organ, Set 1: "Herzliebster Jesu" (O Dearest Jesus)

Gerald Near (b. 1942)

This short and contemplative piece features a tune written by Johann Crüger in the early seventeenth century which I often introduce on a solo reed such as Krummhorn or Cornet, with alternate harmoziation. I have played many of Near's other chorale preludes at SJB, including his settings of "Mit Freuden Zart", "Westminster Abbey", "Nun Danket", "Moscow", and for OT25B this year, "Erhalt Uns, Herr". Many of these settings are experimental and contrasting, offering a wonderful play-out to the final verse of a hymn. 

Postlude

Processional in D (1962)

David N. Johnson (1922-1987)

This delightful modern voluntary, containing optional trumpet, is often used for weddings and sets a a celebratory tone. Johnson is well known for his trumpet tunes, including this one heard weekly on Richard Gladwell's radio program With Heart & Voice (now hosted by Peter DuBois). Many of these processionals form a cycle and can be performed as a suite or individually.

Johnson studied at the Curtis Institute and served in the U.S. Army Signal Corps in the 1940's. He continued his studies at Trinity and Syracuse Universities. Johnson held associate certification from the AGO and academic positions at St. Olaf College and Syracuse University among others.

 

Sunday, October 13, 2024: OT28B

Prelude (8:30am & 11:15am)

Triptych on "The Ash Grove": Adagio (1999)

David Cherwien (b. 1957)

This piece is an album in three movements: Adagio, Trio, and Toccata, with intonation and hymn harmonization. I have chosen this piece for two reasons: a) our Sending this week is, in fact, "Let All Things Now Living" (ASHGROVE, a Welsh folk tune) and b) my memory of David Cherwien goes back to the 2016 Convention of the American Guild of Organists in Houston, TX at which he played a recital at St. Luke's United Methodist Church. I have heard nothing quite like it since, including arm clusters and virtuosity all blended into a seamless whole. Cherwien is one in a line of Lutheran organists and composers who deliver innovative and inspiring ambassadorship of the art. This movement offers two contrasting sections in trifold alternation, one a gentle concertante dialogue between 8' and 4' flutes and the other a beautiful B section with prepared strings. 

Postlude

Triptych on "The Ash Grove": Toccata (1999)

D. Cherwien

The final movement of this Triptych sends us forth with a terraced and joyful dance, adorned by colorful jazz-inspired chords. This is a wonderful display of concise composition and a supurb addition to the toccata catalog. Our schola will be singing vigil this weekend, October 12, in addition to Baptism within mass. This voluntary will add a celebratory dimension to our worship, worthy of a toccata! 

 

Sunday, October 6, 2024: OT27B

Prelude

All Things Bright and Beautiful: Eight Hymn Settings for Organ: "Lord of All Hopefulness" (SLANE) (2017)

Clay Christiansen (b. 1949)

This chorale prelude is a meditation on this weekend's Gathering, "God, in the Planning" (SLANE). As the above title suggests, "Lord of All Hopefulness" is a most familiar text of the tune and is suited for baptism, wedding, and funeral as it asks for God's presence with us at all times. The hymn was written in 1931 by Engilsh writer Jan Struther for a hymn album entitled Songs of Praise. Clay Christiansen, born in Emery, UT, is a retired American organist who played for the Mormon Tabernacle Choir, often on the Salt Lake Tabernacle Organ. He has toured all over the country with this marvelous group.

Postlude

Six Organ Pieces, H. 56. 3: Allegro marziale e ben marcato (1905)

Frank Bridge (1879-1941)

Bridge would have undoubtedly been familiar with "Father" Willis, an organ builder who shaped British worship during the Victorian era. His organs are renowned for their orchestral sound which originated from pipes designed to imitate orchestral instruments. Although the Schantz at SJB does not feature a Diapason proper, the equivalent of one may be acquired by combining Salicional on Swell and Viola on Choir in addition to Great principal chorus, giving it a British "accent" and complementing the ceremonial nature of many of this movement's dotted rhythms.

In coming weeks, or perhaps for an important occasion, I will prepare The Crown Imperial March by one of Bridge's contemporaries, William Walton, written for the coronation of the ill-fated reign of King Edward VIII in 1937.

 

Sunday, September 29, 2024: OT26B

Prelude

Orgelbüchlein (Little Organ Book): "Liebster Jesu, wir sind hier" (Dearest Jesus, we are here), BWV 633

Johann Sebastian Bach (1685-1750)

The Orgelbüchlein is a set of 46 chorale preludes for organ — one of them, BWV 633, in two versions. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig.

Bach's apparent plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented. However, only 46 of these were completed. The manuscript leaves a number of tunes as missing. These have been added in the 21st century; this project took nine hours in the first complete performance, giving an idea of the potential scope of Bach's "little" book. The Orgelbüchlein as Bach left it contains about 80 minutes of music.

Each setting takes a Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. Many of the preludes are  short and use four contrapuntal voices. All have a pedal part, some requiring only a single keyboard and pedal, with an unadorned cantus firmus. Others involve two keyboards and pedal. These include several canons, four ornamental four-part preludes with elaborately decorated chorale lines, and one prelude in trio sonata form.

We'll look forward to hearing more of these and other works from Bach, the father of the organ.

Postlude

Prelude FROM Prelude and Fugue in A Minor, BWV 543

J.S. Bach

At times, a prelude may serve also as a splendid postude. This prelude features a free toccata with pedal flourishes toward the double bar. This is a practical choice in light of other tasks this week. Often, organists have very limited time to prepare and will choose something already in their repertoire, something improvised (usually on a hymn of the week), or something new which can be learned in a few hours. The fugue of BWV 543 will likely will make its way to this space. 

This piece calls for organo pleno which basically means principal chorus: 8', 4', nazard, 2' + conservative mixtures and reeds in at least two coupled manuals (preferably Chorus). 16' manual stops should be avoided unless a low mixture is elected. I often will add 8' and 4' flutes on neo-Baroque narrowly scaled instruments for gravity. Any registration should always consider above all the clarity of the polyphony, and this is true of almost every note Bach wrote.