Baroque (17th-18th centuries)

 

Dietrich Buxtehude (1637-1707)

Toccata FROM Toccata and Fugue in F Major, BuxWV 157

Chorale Preludes: "Wie schön leuchtet der Morgenstern" & "Nun bitten wir den heiligen Geist"

[BuxWV 157]: Buxtehude was a Danish organist and composer of the Baroque period, 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.

 

Henry Purcell (1659-1695)

Voluntary on the Doxology (OLD HUNDREDTH), E. Power Biggs, arr.

 

Louis-Nicolas Clérambault (1676-1749)

Premier livre d’orgue (1710), Suite du deuxième ton: 7. Caprice sur les grands jeux

 

J.S. Bach (1685-1750)   

Sonata No. 1 in Eb Major, BWV 525: 1, 3

Prelude and Fugue in D Major, BWV 532 

Short Prelude and Fugue in E Minor, BWV 533

Prelude FROM Prelude and Fugue in A Minor, BWV 543

Short Prelude and Fugue in G Minor, BWV 558

Orgelbüchlein: “Herr Christ, der ein’ge Gottes Sohn”, BWV 601; "Liebster Jesu, wir sind hier", BWV 633

Chorale Prelude: “Komm, Gott Schöpfer, Heiliger Geist”, BWV 667

[BWV 532]: This piece, part of an earlier less expressively intellectual and more rigidly Baroque time in Bach's output, features an expansive fugue which was later revised; a rather uncommon practice for the composer. The fugue was written some two years prior to its prelude and therefore bears a rather noticeable contrast. Many of the preludes and fugues from Bach's Das wohltemperierte Klavier (The Well-Tempered Clavier), BWV 846-893, a compendium of 24 Preludes and Fugues in two books (also split by decades), do not always match the character of their fugues either. Here and elsewhere, the composer was interested in exploring genres such as French overture with its dotted rhythms or the Italian concerto style of Vivaldi. Along with the Orgelbüchlein, this piece was written during Bach's service to the ducal court of Weimar and proudly occupies a prominent place among the advanced Preludes and Fugues for organ, among them the great 'St. Anne' Prelude and Fugue in Eb major, BWV 552 which ends his Clavier-Übung III (1739).

[BWV 633]: 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, father of the organ.

[BWV 543]: 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 limited time 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 plenum which basically means principal chorus: 8', 4', nazard, 2' + conservative mixtures and reeds in at least two coupled manuals (preferably Chorus). 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. 

 

George Frideric Handel (1685-1759)

Music for the Royal Fireworks (1749): 4. "La Réjouissance"; 5. Minuets 1, 2

This orchestral suite was commissioned by George II of Great Britain, Handel's employer, for a fireworks show in London's Green Park, spring 1749. It celebrates the end of the War of the Austrian Succession and the signing of the Treaty of Aix-La-Chapelle. It, aside from Messiah, is one of Handel's most popular works - very common for weddings - and has quite a few curiosities to tell of its premiere which saw arguments over orchestral forces permitted by the King and many injuries, some serious, as a result of difficulties during and in preparation for the fireworks display. Although the music is noted for its success. Nonetheless, we enjoy this weekend an arrangement of the fourth and fifth movements by S. Drummond Wolff. 

 

Benedetto Marcello (1686-1739) 

Psalm 19: The Heavens Declare

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.

In addition to information shared on this short Italian Baroque exclamation, I will mention its connect to the Communion Antiphon of Ss. Peter & Paul, Apostles, whose first verse begins with a line made popular in choral literature by Franz Joseph "Papa" Haydn in his oratorio The Creation (Part 1, Scene 4, Ps. 19:1-3 "The Heavens are Telling"). It is a depiction of the glory of God as proclaimed by the heavens and the firmament and appears to be an inspiration for artists in post-Renaissance Europe.

 

Louis-Claude D'Aquin (1694-1772)

Noël Suisse No. 12 in A Minor: «Ô Dieu de clémence» FROM Nouveau livre (1757)

 

Romantic (1830-1900)

 

Felix Mendelssohn (1809-1847)

Organ Sonata, Op. 65, No. 2

Prelude and Fugue in G Major, Op. 37

 

Jacques-Nicholas Lemmens (1823-1881)

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

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. 

 

Johannes Brahms (1833-1897)

Eleven Chorale Preludes, Op. 122 (1896): 2, [5, 8], 9

 

Charles-Marie Widor (1844-1937)

Organ Symphony No. 5 in F Minor, Op. 42, No. 1 (1879): 5. Toccata

This piece, an iconic example of French Romantic repertoire, was selected as my first SJB Easter postlude in 2024. The toccata of this symphony is Widor's most famous piece and is commonly used at Christmas and at weddings. I am seeing it programmed all over the Christian world for Easter this year as well.

Different tempi produce different effects. Many organists play it very rapidly, whereas the composer, having recorded it at age eighty-nine on a symphonic Cavaillé-Coll and in the vast acoustic of Paris' Saint-Sulpice, preferred a slower tempo permitting a more controlled and clearly heard articulation. With this awareness, I have chosen a moderate tempo accomodating the less vast, although still relatively expansive, acoustic of St. John, Harrison, and the limited force of our Schantz. A glittering and joyful conclusion of the Triduum and beginning of Eastertide. Enjoy, and a very Happy Easter!

 

Léon Boëllmann (1862-1897)

Suite gothique in C Minor, Op. 25 (1895): 1. Introduction - Choral; 3. Prière à Notre-Dame; 4. Toccata

Andantino

[Op. 25]: This large opening evolves into its second position, the Minuet gothique, representing a shift in mood while at the same time maintaining a continuity and suggesting first a second positions should be experienced as one. For example, third and fourth positions (Prière à Notre-Dame and Toccata) are often rendered individually. 

[Andantino]: A student of Gustave Lefèvre and Eugène Gigout in Paris, Léon Boëllmann served in a variety of capacities, including organiste titulaire, at the Church of St. Vincent de Paul before his early death from tuberculosis. Faithful to the style of César Franck and an admirer of Camille Saint-Saëns, Boëllmann exhibits a turn-of-the-century Post-Romantic esthetic which, especially in his organ works, demonstrates forward thinking. His best known composition is Suite gothique, now a staple of the organ repertoire. Its Toccata is a piece of moderate difficulty but brilliant effect. Through the course of the year, we will explore this work in depth. 

 

Impressionistic to Contemporary (1875-current)

 

Claude Debussy (1862-1918)

Prelude to La damoiselle élue (1889)

Prelude to l'Enfant prodigue (1884, rev. 1907)

La fille aux cheveux de lin FROM Préludes (1909), Book 1

l'Enfant prodigue is a scène lyrique, or cantata, in one act with text by Édouard Guinand. It was written for the Prix de Rome which was awarded to Debussy in 1884. The prize garnered Debussy a scholarship to the Académie des Beaux-Arts, which included a residence at the Villa Medici, the French Academy in Rome. Although it was never intended to be staged, l'Enfant prodigue is occasionally presented as a one-act opera. The sinopsis dramatizes the parable of the prodigal son, a story told by Jesus in the gospel of Luke concerning a father's unconditional love and forgiveness and serving as a metaphor for our relationship with God the Father.

Although Debussy revolutionized music, he never wrote for organ. It is for this reason that any organ rendering is at the hands of enterprizing arrangers and organists to capture Debussy's colorful aesthetic. The transcription we hear this weekend is by Léon Roques, from the Durand edition.

Shortly after reworking l'Enfant prodigue, Debussy embarked on the 24 Préludes for solo piano divided into two books of 12 each, written between 1909-1912. Conceptualized much like Bach's The Well-Tempered Clavier and Chopin's Preludes, Op. 28, the set does not follow a rigid tonal pattern but instead explores literary imagery through the prism of musical impressionism, an expression emanating from an earlier parallel movement in the visual arts. One of Debussy's most popular pieces, La fille aux cheveux de lin is named after a poem of the same name from Leconte de Lisle's 1852 collection Poèmes antiques. 

The era into which this music was born is known as the Belle Époque, a period in European history broadly spanning from the end of the Franco-Prussian War in 1871 to the outbreak of World War One in 1914. It was a time characterized by regional peace, economic prosperity, and significant advances in art, science, and technology. 

 

Ralph Vaughan Williams (1872-1958)

Three Preludes Founded on Welsh Hymn Tunes (1920): 2. Rhosymedre

 

Sigfrid Karg-Elert (1877-1933)   

Chorale improvisations for organ, Op. 65 (1909): 59. "Nun danket alle Gott"

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. 

 

Percy Fletcher (1879-1932)   

Festival Toccata (1915)

 

Frank Bridge (1879-1941)

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

Second Book of Organ Pieces, H. 106: 2. Andantino (1901); 3. Allegro ben moderato (1912)

Three Pieces for Organ H. 63 (1905): 2. Adagio in E

[H. 106: 2. Andantino]: We now have several examples of Frank Bridge, including 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. 

[H. 56: 3. Allegro marziale e ben marcato]: 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.

 

William Harris (1883-1973)   

Prelude in G Major (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.

 

Pietro A. Von (1886-1943) 

"Gesù Bambino": Pastorale (1917)

Pietro Von was an Italian organist and composer who made his career in the United States, beginning at St. Francis Xavier Church in Manhattan. He then became assistant organist at St. Patrick's Cathedral and eventually the cathedral's music director. This, one of Yon's most popular Christmas pieces, features a lovely solo for chimes, quoting the refrain of "O Come, All Ye Faithful" and a lovely oboe solo quoting "Gesù Bambino". It occurred to me KINGS OF ORIENT is best for Epiphany and our pastor, Fr. Paul Ruwe, suggested "Gesù Bambino" as an apt substitute during the prelude of our Christmas Midnight Mass, at which he will preach on associated themes.

 

Marcel Dupré (1886-1971)

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

"Ave Maris Stella III" FROM Vêpres du commun des fêtes de la Sainte-Vierge, Op. 18 (1920); Versets des Psaumes: Nos. 1, 2, [3,] 5

Eight Short Preludes on Gregorian Themes for Organ, Op. 45 (1958), No. 6. Ave Verum Corpus

[Op. 7]: 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. Mr. Wilson used this fugue as postlude to a May 2008 service at Plymouth Church UCC, Shaker Heights during my time there. I wish to thank Mr. Wilson for introducing me to this repertoire and, as I am up to the task, allowing me to share with our community. We will consider using an arrangement of Mr. Wilson's "Lift High the Cross" (CRUCIFER) as an interlude between verses 4 & 5 of our Sending this week.

[Op. 18]: Written in 1920, and originally published in 1934, this collection features beautiful settings based on Antiphons, the Ave Maris Stella, and the Magnificat for the experienced organist. This particular movement is a trio in the style of J.S. Bach, and features a beautiful cornet solo with innovative twists and turns along the lines of D minor. 

The Ave Maris Stella, an evening prayer for Solemnities of Our Lady, is attributed to Venantius Fortunatus (530-609). St. Bernard explains that the name Mary "is said to mean 'star of the sea'. Indeed, most aptly is she compared to a star; for as a star sheds its beams without decay on its part, so the Virgin brought forth her Son without any damage to her virginity" (Roman Breviary, Lesson IV, September 12).

 

T. F. H. Candlyn (1892-1964)    

Three Organ Preludes (1967, post.)

Candlyn was an English organist, composer, and choirmaster who spent most of his career with two Episcopal congregations in New York. Emanating from a family of organists, Candlyn served St. Paul's, Albany for 28 years, uninterrupted, with the exception of military service during the First World War. Subsequently, he became a U.S. citizen and taught at the New York State College for Teachers where he received an honorary Doctorate of Pedagogy (Ph.D.). He then moved on the St. Thomas Episcopal where he oversaw an organ renovation and a fine music ministry until retirement in 1954. In all, Candlyn created over 200 works, primarily cantatas, anthems, service settings, and organ solos. Church musicians of his generation greatly respected his contributions. 

 

Flor Peeters (1903-1986)

Suite modale, Op. 43 (1938): 1. Koraal; 3. Adagio

Peeters was a Belgian organist and composer. His intention with the Suite modale was to write an uncomplicated, tuneful work along the lines of Boëllmann’s Suite gothique, but in ‘a more contemporary, modal language’. The influence of the earlier work is only really evident in the majestic opening movement, which follows a similar design to Boëllmann’s Chorale, with a soft repeat of each phrase. The other movements are similar to Boëllmann, but also feature the influences of César Franck and Jules Vierne.

 

Olivier Messiaen (1908-1992)

Le Banquet céleste (1928) 

This work is based on the slow movement from an incomplete 1927 orchestra piece, Le Banquet eucharistique. The work was initially published with Éditions Alphonse Leduc, and was revised in 1960. The work's epigraph, "Whoever eats my flesh and drinks my blood dwells in me and I in him" (John 6:56), indicates that the work is intended for Communion. Appropriately, then, this weekend's Communion Antiphon features this scripture.

If the organist strictly observes Messiaen's extremely slow written tempo, this work lasts over 7 minutes, far too long for the average 2-3 minute prelude. Consequently, I occasionally push tempo or commence later in the piece. Nevertheless, Messiaen offers a perfect meditation on the mysteries of the Eucharist, the source and summit of Christian life. The work utilizes an octatonic scale, one of Messiaen's "modes of limited transposition". To avoid tonal monotony, Messiaen transposes the mode every few measures. A prominent feature is the detached pedal eighth notes throughout, at 4' with mutation, "à la goutte d'eau" symbolizing the suffering Christ's drops of blood. 

 

Jehan Alain (1911-1940)

Choral Dorien (1938)

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. The weekend during which this voluntary was chosen, 11/3/24, OT31B, readings spoke of how the 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.

 

Richard Purvis (1913-1994)

Carol Rhapsody (1950)

Richard Purvis was born in San Francisco in 1913 and rose through the ranks of the Episcopal Church from an early age. Along the way he developed a fascination for the theatre organ, playing under the pseudonym "Don Irving" for the weekly Chapel of the Chimes radio show, his theme song being I’ll Take an Option on You. Purvis formally trained at Peabody and Curtis, and in Europe with Marcel Dupré and Edward Bairstow. Purvis was also a POW during WWII. Among his best-known compositions are the Partitia on 'Christ is Erstanden’, Four Prayers in Tone, Variations on 'Greensleeves', and The Ballad of Judas Iscariot for choir and organ. He died in San Francisco on Christmas Day, 1994.

The Carol Rhapsody is a jazzy celebration of Silent Night (STILLE NACHT), Hark! The Herald Angels Sing (MENDELSSOHN), and O Come, All Ye Faithful (ADESTE FIDELES), utilizing the color spectrum of the organ as well as our chimes. All three tunes serve as Gathering, optional Communion Reflection, and Sending for all Christmas masses this year. Enjoy, and a very Merry Christmas!

 

Wilbur Held (1914-2015)

Six Carol Settings (1970): "Good Christian Men, Rejoice" (IN DULCI JUBILO)

The Three Kings (based on Kings of Orient)

 

Paul Manz (1919-2009)    

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

Six Advent Improvisations (1990): "The Angel Gabriel" (GABRIEL'S MESSAGE)

Ten Chorale Improvisations, Set 1 (1962): "Love Divine, All Loves Excelling" (HYFRYDOL)

Ten Chorale Improvisations, Set 2 (1964): "Lord, Keep Us Steadfast in Thy Word" (ERHALT UNS)

Ten Chorale Improvisations, Set 7 (1975): "What Child Is This" (GREENSLEEVES)

[CWM RHONDDA]: Unfortunately, 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, 2024 and with any luck, we will have requisite forces. SJB Schola has also taken it up the following vigil of Advent 3.

 

David Johnson (1922-1987)   

Processional in D (1962)

Consolation on "The King Shall Come" (1973)

[Consolation]: Our last Johnson tune, Processional in D, was heard the weekend of October 20, 2024 (OT29B). This tune was penned by Ananias Davisson, a Presbyterian teacher and editor, for the compendium Kentucky Harmony in 1816. Johnson's title notes the tune's name, CONSOLATION (also known as MORNING SONG). This is a less familiar of the Christmas hymns & carols, of which there are rather many; not unlike one we used for our SJB All-School liturgy of the Immaculate Conception this year, Warm the Time of Winter by Lori True. 

In the Gospel according to Luke, John, the son of Zechariah, proclaims—in the wilderness around the Jordan River—that all should be baptized in repentance for the forgiveness of sins, as it is written in Isaiah: “Prepare the way of the Lord, make straight his paths. Every valley shall be filled, and every mountain and hill shall be made low, and the crooked shall be made straight and the rough ways made plain; and all flesh shall see the salvation of God." The hymn's text, written by John Brownlie, captures the spirit of Advent and the expectant waiting of the faithful for the birth of the Savior at Christmas: “The King shall come when morning dawns and light triumphant breaks, when beauty gilds the eastern hills and life to joy awakes.”

[Processional]: 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.

 

Emma Lou Diemer (1927-2024)

"Were You There" (1975)

 

Kenneth Leighton (1929-1988)

ROCKINGHAM (1977, rev. 2002)

Fanfare (1967, rev. 2002)

 

Peter P. Stearns (1931-2016) 

Eight Hymn Preludes for Lent (1985): Pange Lingua & Passion Chorale

 

Robert J. Powell (b. 1932)

"What is This Lovely Fragrance" (1986)

This lovely 17th-century French carol, "Quelle est cette odeur agréable", was brought to my attention when I first learned the accompaniment to Healey Willan's arrangement which will feature on our Christmas Midnight Mass Prelude this year. Additionally, I was entranced by a beautiful Chanticleer arrangement of this tune on their 1995 album Sing We Christmas. Here, Powell unusually but delightfully presents the tune as a 4' Pedal flute aria with gentle undulating 8' strings above, like the angels preparing for the arrival of the Christ child. 

Powell began his organ career as an assistant to Alec Wyton at Union Theological Seminary in New York and later as Syton's assistant at the historic Episcopal Cathedral of St. John the Divine. He is published in The Hymnal 1982 and his practical approach to composition is evident in his conservative neo-Romantic style. 

 

William Mathias (1934-1992)

Chorale (Easter 1966)

Processional (1965)

The above two pieces by William Mathias - Welsh composer, Fellow of the Royal Academy of Music in the U.K., and graduate of Aberystwyth University - are from an organ album published by Oxford University Press in 1986. It contains splendid examples of compact pieces suited for service. The Chorale from this set happens to have been written for Easter 1966, which complements our celebration of "Little Easter", the Sunday of Divine Mercy seated at the Octave of Easter; similar to "Little Christmas", or The Epiphany of the Lord. Mathias' style can be described as Celtic or Welsh in flavor - often featuring open intervals such as parallel 5ths, chromaticism, and extended tertian harmony - and his music is known for its emotion and skillful craftsmanship. 

 

Dale Wood (1934-2003)    

Variations on ADORO TE, DEVOTE (1975)

Prelude on NEW BRITAIN ("Amazing Grace") (1975)

 

J. Bert Carlson (1937-2017)   

"Come, Ye Disconsolate"

This tune was originally set for solo voice to "Alma redemptoris mater" by Samuel Webbe, Sr. in his eighteenth-century Collection of Motets and Antiphons. Thomas Hastings adapted the tune for use in Spiritual Songs for Social Worship in 1831. The tune is also known as ALMA and CONSOLATION, paired with “Come, ye disconsolate” in many hymnals.

Pastor Carlson ministered to many congregations in the upper Midwest and New England for over 50 years. He was also an accomplished musician and published composer.

 

Iteke Prins (b. 1937)

Reflections on DIVINUM MYSTERIUM (2024)

Born in Holland, Iteke Prins' family immigrated to Canada, and then in 1949, relocated to the US. She became a registered nurse and, from 1969 to 2005, was organist and music director of the Blooming Grove Reformed Church, DeFreestville, NY. We have not heard from many female composers, and so we welcome Mrs. Prins and other women in future, as we celebrate a brief reflection on the recently passed Advent and Christmas seasons.

The weekend of 2/2/25, we reflect on the Presentation of the Lord. Jesus, yet like us in all things, comes to his temple to be a light for all the nations. This feast, originating in the fourth century CE, came to be celebrated in Rome by the middle of the fifth century under its Greek title, "Feast of the Meeting", known also as Candlemas Day. It is at this time, and at similar moments outside of Advent or Christmas, that it is appropriate to reflect on the divinity of the Lord in this fashion.

 

Raymond H. Haan (b. 1938)   

Prelude on ST. COLUMBA (1983)

Although I try not to repeat selections more frequently than every three to five months, if at all in a given year, Haan's lovely ST. COLUMBA is an exception, as our Preparation the weekend of 5/11/25, Easter 4C, features the tune to the text of The King of Love My Shepherd Is. The subject heading is Comfort, as our readings this weekend reflect the dangerous yet world-changing ministries of the Apostles in the wake of Christ's crucifixion and resurrection. These include everything from last week's doubting Thomas, the genesis of the witty expression "O ye of little faith", to Peter's commission from Jesus to build his Church and feed his sheep. First heard the weekend of 3/2/25, OT8C, none of the selections complemented it. This weekend's masses do. 

 

Gerald Near (b. 1942) 

Choraleworks: Ten Chorale Preludes for Organ, Set 1 (1995): "Herzliebster Jesu" & “Salzburg”

Adagietto (2024)

[Herzliebster Jesu]: 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. 

[Salzburg]: This setting complements the use of the tune to the text of At the Lamb's High Feast We Sing, popular during Eastertide. Gerald Near is known for his organ works, some of which are collections based on Gregorian chant. According to notes from the publication, “All the pieces in this collection are intended for use as preludes, offertories or postludes... although this intention would not preclude their use in performance as well.” Additional remarks address the collection as teaching pieces. The entire collection can be found in several volumes organized according to liturgical season.

 

Clay Christiansen (b. 1949)

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

[PILOT]: 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. 

[SLANE]: 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.

 

Dan Locklair (b. 1949)

Windows of Comfort, Organbook 2 (1997): 4. "...and call her blessed..."

Composer-in-Residence and Professor of Music at Wake Forest University in Winston-Salem, NC, Dan Locklair's catalog, influenced by a variety of traditions, includes symphonic works, a ballet, an opera, and numerous solo, chamber, vocal, organ and choral works.

Windows of Comfort was the result of a 1996 commission from First Presbyterian, Topeka, KS, in celebration of the Church’s ten extraordinary windows created by Louis Comfort Tiffany. In the teaching spirit of the earliest cathedral windows, the Tiffany windows of First Pres use Biblical stories as their subjects. Except for the two Medallion Windows (with Trinitarian words and symbols), related scripture appears on each window.

In the pieces that make up the two organ books of Windows of Comfort, Mr. Tiffany’s windows and their Bible texts have served as extra-musical stimuli. The stimuli for each piece came from a variety of dimensions, ranging from the impact of the smallest detail to the drama of the complete window itself. Although each of the two organ books is tightly knit within itself to allow each to be played as a five-movement suite, it is also the composer's intention that pieces from each organ book may be excerpted and grouped as the performer sees fit for recital or worship.

About this particular movement:

• Window: “Christ and the Valiant Woman” (“God is Love, and he that dwelleth in love dwelleth in God and God in him.” 1 John 4:16)
• In this window, the Woman represents the highest form of Godly love, reflecting both Proverbs 31:28 (“Her children arise, and call her blessed;…”) and the window’s 1 John inscription. Conceived for the warm foundation stops of the organ and supported by a rich harmonic backdrop, the continuous circular melody of this movement symbolizes the eternal truth that “God is Love.” 

 

Charles Callahan (1951-2023)   

Six Postludes on English Hymn Tunes (2003): "For All the Saints" (SINE NOMINE); "The Head That Once Was Crowned with Thorns" (ST. MAGNUS); "Come, Ye Thankful People, Come" (ST. GEORGE'S WINDSOR)

[ST. MAGNUS]: A distinguishing feature of this voluntary is its concertante style with tuba solo. The final chord invites a 'stinger', accomplished usually by 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.

[SINE NOMINE]: 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.

 

David Conte (b. 1955)

Chorale FROM Chorale and Gigue for Organ (2014)

This work, to be coupled with a Burkhardt arrangement of Alleluia, Jesus is Risen during Easter mass 2025, was commissioned by the Atlanta Chapter of the American Guild of Organists in memory of William Weaver. The entire work is an excellent contribution to the concert repertoire. However, its opening Chorale is charming and lyrical, creating a subtle atmosphere into which our large Easter congregations may gently enter worship. 

 

Michael Burkhardt (b. 1957) 

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

Four Hymns of Devotion (2012): "At the Name of Jesus" (KING'S WESTON); "What does the Lord Require" (SHARPTHORNE)

Partita on "All Glory, Laud, and Honor" (1990): 4. Largo; 5. Toccata

Five Pentecost Hymn Improvisations: “O Day Full of Grace (DEN SIGNEDE DAG)

[IN BABILONE]: This piece is based on a traditional Dutch melody. It was chosen to complement a hymn, "There's a Wideness in God's Mercy", to the same tune. It is also Gathering for the Solemnity of All Saints 2024, to the text of "Blessed Feasts of Blessed Martyrs". Improvising on a hymn can convey the hymn's meaning and encourage 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).

 

David Cherwien (b. 1957)  

Triptych on "The Ash Grove" (1999): 1. Adagio; 3. Toccata

[1.]: 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 AGO Convention in Houston at which he played a recital at St. Luke's United Methodist. 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. 

[3.]: 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.

 

John S. Dixon (b. 1957)

Darwell's Fantasia (2014): 3. Aria

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 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. 

 

Paul Fejko (b. 1957)

"Creator of the Stars of Night" (CONDITOR ALME SIDERUM) (2024)

This piece, although not explicitly called a hymn improvisation, effectively serves that function, complimenting our use of the tune for Preparation during Advent 2C, 12/8/24, and for the Somemnity of the Immaculate Conception of the Blessed Virgin Mary, 12/9/24. Although Advent is a joyful prelude to Christmas, often accompanied by evanescent harmonies, the season can also, like Lent, contemplate the mysteries of our faith incarnate in the Word and in the Body of our Lord Jesus. Here, we enjoy the latter, a subtle and welcome respite. 

American composer Paul Fejko is a graduate of the Curtis Institute and currently serves as organist at Gloria Dei ("Old Swedes") Church in Philadelphia. He has a storied career in the United States and Europe and is variously published, including through compendiums such as The Organist's Companion, edited by Wayne Leupold.

 

Anthony Giamanco (b. 1958)

"Oh, How I Love Jesus" (2024)

Having studied at Eastern Michigan University, Anthony Giamanco is Director of Creative Arts and Worship at Shalom Luthern in Pinckney, MI where he oversees music, drama, and tech ministries. He has also served the Catholic Church and is a composer of many works published by major houses such as Lorenz, Shawnee Press, GIA, OCP, Augsburg Fortress, Wayne Leupold Editions, and Alfred. This weekend, we hear how Ezra proclaims the word of the Lord which gives spirit and life. We are united through Jesus, the fulfillment of the Law and prophets, as one body with many members. It is fitting, then, that we reflect on the original love of Jesus through the exultation of such a beautiful hymn, whose text speaks of woes that, through the Savior's love, only he can bear for us. 

 

Marilyn Biery (b. 1959) 

Ubi Caritas (Where True Love and Charity are Found) (2000)

 

Eric Wall (b. 1970)

Awake and Sing: Hymn Introductions and Accompaniments (2022): HOUSTON

 

Aaron David Miller (b. 1972)

Chorale Prelude on MORNING STAR (2018)

 

Benjamin Cornelius-Bates (b. 1978)

Miniatures (2015)

Lenten Improvisations (2016): 1, 2, 4