Johnston — , published in by J. Fischer, is suitable for an orchestral organ or theatre organ. Recordings Regent Records announces new releases: Organ Builders Austin Organs, Inc. Other projects include a mechanical rebuild, tonal additions, and a new black walnut four-manual drawknob console for Opus at St. Matthew Lutheran Church, Hanover, Pennsylvania; a new four-manual console, mechanical rebuilding, and tonal enhancement of Jazzmuze, Inc. Whitney — , contains such novelties as a Crescendo Pedal and rapid alternation of hands on different manuals.
It was his first published organ work Opus 25 from Arthur P. Pastor Fred Opalinski and director of music Karen Eddinger gathered many of their parishioners around and sang familiar Christmas carols with the new instrument. More photos of the event as well as further information on Patrick J. Hourlong streamcasts are featured at 5pm ET the first Sunday of each month at wrti. Austin has also launched a new website. The instrument will be the first ever American-built organ in Denmark. The new organ is a two-manual tracker of 26 stops and 35 ranks.
The Naumburg organ is both a great and historically important instrument, so as well as justifying this CD purchase for the three interesting Rost arrangements, you might consider this disc as a demonstration of this magnificent organ. Here in the middle of the pedal keyboard it is quite likely that both will be comfortable. May 2, Robert Quinney. Acoustics were generous and rich. Prospective contributors of articles should request a style sheet.
Stop action is electric with 2, memory levels. Quimby Pipe Organs is completing the restoration of the E. Skinner and Aeolian-Skinner organs at the Cathedral of St. The firm began reinstallation in January. The instruments will be heard for the first time at the Easter Vigil on March The project included complete tonal refurbishing of both organs; replacement of the electrical switching system with solid state; releathering the Aeolian-Skinner; two new identical four-manual consoles; tonal regulation; additional stops to the Great organ in the gallery; structural improvements to the gallery; and ornamental casework for the gallery organ.
Vespers and rededication of the organs takes place April 21 at 7 pm. Hain, 89 years old, died on December 29, in West Mifflin, Pennsylvania. He returned in , and continued his work with the Bowman Company. Hain continued working with his son until age 85; he had worked on most of the organs in the Pittsburgh area. Known for his expertise as well as his kind and gentle nature, William Hain dedicated his life to the pipe organ profession, even playing the organ for residents at his retirement home. Predeceased in by his wife, Anna Marie, William C. Hain is survived by his son, William C.
He and his wife Betty lived in Vienna for several years in the s, while Max studied with Anton Heiller. Miller received his Ph. Miller served on the faculties of the School of Music and the School of Theology at Boston University for 42 years until his retirement in He was simultaneously university organist, director of music at Marsh Chapel, director of the Master of Sacred Music program, conductor of the Seminary Singers which he took on tour every year , and professor of organ in the School of Music. The Organ Library awards the biennial Max B. Miller prize to outstanding books devoted to organ literature and performance.
Max Burdorf Miller is survived by his wife of 52 years, Elizabeth Hyde Miller, three sons, and five grandchildren. Contributions in memory of Dr. Mills was a diaconal minister in the United Methodist church and director of music-organist at Central United Methodist Church in Florence, South Carolina for more than 42 years. A wellknown pianist and accompanist, he was founder and director of the Masterworks Choir in Florence in ; in , the choir, along with the Central United Methodist Church Choir, toured Austria and Germany; they also participated in the Festival of Churches programs as part of the Piccolo Spoleto festival.
Sly died October 20, He was 64 years old. Sly was organist and directed the chancel choir at Marshall United Methodist Church for more than 35 years, and directed many high school and community theater musicals. Sly is survived by his sisters, five nephews, and eight grand nieces and nephews.
The organ is to be built at the liturgical west end of the building in a space, which was reserved for the organ when the cathedral church was built. Delivery is anticipated for the middle of and when completed, it will be the eighth instrument Mander Organs has built in Japan. The key and pedal action will be mechanical with electric stop action. The asymmetrical case is to be of European oak.
Kobe is situated in an active earthquake area, which means measures have to be taken to protect the instrument and any people standing near it at the time of an earthquake. The website I visited says artists still prefer the additive system that uses red, yellow, and blue. Seems to me that the world of art would be a different place if Rubens, Rembrandt, Monet, and Picasso had cyan, magenta, and yellow on their palettes as primary colors.
Color my world Colors in music Paint color swatches Twenty years ago I was serving a New England Congregational church as music director, bringing the glories of the English cathedrals to the land of the Puritans. It was a dirty job, but someone had to do it. The moderator of the parish council was a curmudgeonly attorney who lived in an attractive house sited prominently on a corner lot along my route to the church. The Sunday after contractors finished painting his house, I teased that he had his house painted pink. The printer on my desk spoke to me the other day.
A cute little chime rang and the screen informed me that I needed to replace the cyan cartridge. My printer has three color cartridges: In the first scene of the first novel, Jack meets Stephen Maturin a physician, drug addict, and elite member of Naval Intelligence at a concert by a string quartet. They are as different as two men can be, but after their introductory dispute they become firm and fast friends, and they share a love for music.
In the second novel, Jack is promoted from the rank of Master and Commander remember the Russell Crowe movie? That night, in his happiness, he dreamed about a painting owned by his old nanny, now wife of the First Lord of the Admiralty, the man who had promoted him: Nine different flute stops, each with a unique tone color, and each comprising pipes of different shape and construction.
Could you discern between them in a hearing test? Could you name each one if shown photographs of the various pipes? Or do you just draw an eight-foot flute because you always use an eight-foot flute in this piece as if you were painting a wall yellow instead of Golden Glimmer?
The color of the sun, yellow is associated with laughter, happiness and good times. It can cause the brain to release more serotonin, which makes people feel optimistic. Use it to add zest to a cool palette of blues or grays. It can also work well with orange, red, olive green or brown. We accept the traditional system of notes, harmonies, and tuning as common with all other instruments, but the organ is unique because of its range of color. It would be easy to paraphrase this when discussing organ stops: Express yourself in color Clashing or harmony?
Use it to add zest to an Oboe, Cromorne, or Trompette. It can also work well with Principals at eight and four-foot. Is your imagination strong enough to find ways to use that Cornet that will make people feel optimistic? Otherwise, it would be impossible for two shades of red to clash. I have a pairing of red shirt and red tie that I think looks great, but there are also a couple doozies of possible combinations of red hanging in my closet that Wendy would question, rightly.
When we register a piece of music on a particular organ, we have to judge each combination separately. And what organs were they using? Simply and definitively, no. Douglass has given us a great gift by collecting this information, but you still need to use your ears. Shutter bugs Besides choices of colors, many modern organs have an additional dimension of expression.
You might play the opening verse of a hymn on Great Principals with a Swell Trumpet coupled in, saving the more powerful Great Trumpet for later. Add to that registration the dimension of starting the verse with the Swell Box closed, and open it gradually as the choir comes down the aisle. The sound of the Trumpet is subtle at first, and blooms into being the principal ingredient of the aggregate color.
When Meindert Hobbema takes your eyes from the green of a tree canopy to the blue of the sky, he takes you through an infinite spectrum of colors. Compare that to the results of a color-by-number kit in which the boundary between one color and another is defined by a stark black line. And think of the artist making a drawing with charcoal or pastel, using her fingers to smudge the lines to create shading.
Smudge is no better a description for the use of the expression pedals than crush, but the creative colorist at the organ can use the expression pedals to enhance the transitions from one color to another. Stop tabs especially in a spacious acoustic.
Would the Buxtehude cops storm into the church if I played that opening pedal solo on a four-foot Koppelflute? Would the first-time listener be disappointed? If you, as an educated and experienced organist, went to an organ recital and the performer had the nerve to do that, would you be offended or disappointed? Are you just as happy to hear the same piece played with the same registration by every organist on every organ?
Or are you excited when someone offers a fresh approach to an old warhorse? Once when a colleague was demonstrating the organ in his church to me, he drew a huge combination of stops and told me that was his typical registration for postludes. You go to a restaurant and order a chicken breast with lemon, butter, capers, and parsley. Next week you go a different restaurant and order chicken breast with lemon, butter, capers, and parsley. And the next week, and the next. Different chef, different cooking temperature, different weather, but same ingredients.
Can we think of a different way to cook a chicken breast? How many different colors can you paint a front door and still be correct? If we say Swell instead of crush, why do we call them stops? We are free to choose registrations that reflect the response of the specific instrument playing the specific notes in the specific acoustic. As I think about the opening of that great piece, I wince at the high B. What about starting on a smaller registration that hymn registration I described earlier?
There are other pieces. Put it on my tab. But hold the capers. It includes the most important practical parts of the beginning of work on pedal playing. It covers similar ground to the columns on pedal playing that I wrote several years ago, but in a way that is addressed to the student directly. However, I also want to be sure that this thorough explanation is not cumbersome and does not make for heavy reading. I would appreciate reader feedback about this, as well as about anything else. This stage—the introductory practicing described above—is extremely important, and you should spend enough time with it so that it becomes easy and natural, as if you had been doing it your whole life.
Though it is simple—just two or three notes at a time, slow, unmeasured—it is actually the most significant step in learning to play pedals. Stay with it long enough to master it: This will save you time later on. Playing pedal scales When you are comfortable with this playing of small groups of adjacent notes, then you are ready for the next pedal exercise—longer groups of adjacent notes: Or, really, one set of scales in particular.
This is the lowest A on the pedal keyboard. Now play—slowly, lightly, and steadily—an A-natural-minor scale starting on that note. That is, the natural keys from that A up to the next A. Play the first four notes A,B,c,d with the left-foot toes, the next four notes e,f,g,a with the right toes. Observe all that you have already learned and practiced about foot position—make appropriate decisions about which way to tilt each foot, and how much to tilt it. Move from one note to the next in the kind of small, smooth arc that you have already practiced. Playing this scale this ways adds one new element: Many students initially fail to move the right foot in close enough—that is, far enough left—and accidentally play an f instead of the e.
Again, it is not important, and in fact not fruitful, to be too calculating about this. Just move the foot closer to where the correct note should be. You will notice that as the right foot moves in to play the e, the two feet need to avoid bumping into each other. This can be accomplished in a number of ways: This is like choices about whether and which way to tilt the feet an individual matter: For example, the larger your feet are, the more you will have to work consciously to keep them clear of each other when they are playing notes that are close together.
In general, separating the feet along the length of the keys— one forward, one back—is the approach that is the most certain to be effective. In the case of the two middle notes of this scale, try that separation both ways: Is one of them more comfortable than the other? Here in the middle of the pedal keyboard it is quite likely that both will be comfortable. This is not always the case elsewhere on the keyboard or in more complicated passages of music.
Later on I will discuss approaches to figuring this out under various conditions. How far do you have to separate them to feel sure about the feet not bumping into each other? How does it change the situation if you tilt the feet more or less, or to the other side? In general if you 4A? John Cummins is a player of prodigious technique and the organ a giant. The organ seems to have limitless versatility! After you have practiced this scale going up, try it also going down. The technical issues are exactly the same. To recap, in playing this A-naturalminor scale you are continuing to work on moving each foot over the distance that takes you from one natural note to the next, but through more of the keyboard, and you are beginning to experience the feeling of playing two adjacent notes with your two feet in succession.
You are also continuing to notice carefully the position of each foot in all aspects. All of the distances between notes are, so far, the same. The next step, however, is to begin to introduce different distances, by changing the minor scale to a major one. The key signature in parenthesis means that the exercise should be played both with and without that key signature. For most exercises that I notate this way it is best to start with all-naturals, since any sharps or flats change distances and introduce irregularities, which are better dealt with after the regular pattern has been learned.
It is important to stay with this set of scales until they all feel really solid— minor, major, up, down. It is also important not to allow this exercise to become particularly fast. The awareness of distance on the pedal keyboard that this sort of practicing is meant to develop will be imprinted on the brain more efficiently and more lastingly the more slowly you carry out the physical gestures.
The half notes in this exercise should probably never get any faster than 60 per minute, and should certainly start much slower than that: Alternating feet The next exercise is shown in Example 2. Each foot is in fact doing exactly the same thing that you have already been working on: The new elements are these: The first of these differences is one that requires only good concentration. The second also requires that you plan properly for the turning of each foot and for the positioning of the feet with respect to each other as you move up and down the keyboard.
As you go up the keyboard, the left knee, leg, and foot naturally move away from the bench; as you go down, the right knee, leg, and foot do so. Pay attention to this in making choices about tilting and other positioning of the feet. An absolutely secure sense of what the distance between two adjacent notes feels like—for the toes of one foot travelling from one note to the next through a small arc in the air above the keys—is the foundation of confident, accurate pedal playing.
It is extremely important that you stick with the exercises that I have outlined thus far until they have become utterly well learned, easy, comfortable, natural, and automatic. Larger intervals on the pedals The next step is, of course, to begin to move each foot over a distance greater than that from one note to the next.
The first exercise for this is shown in Example 3. Here each foot takes a turn moving the distance of a third: Meanwhile, the other foot continues to practice what we have already learned. The correct way to begin to learn and internalize the feeling of moving the foot from one note to the note a third higher is this: This way of thinking about it works. It is not necessary to try to analyze the distances more precisely than this: It is necessary to avoid looking, and to avoid bumping the feet along the keys counting notes or otherwise trying to rely on Music of Ed Nowak Choral, hymn concertatos, psalm settings, organ, piano, orchestral and chamber ensembles http: Simply move the feet from one note to the next.
Example 4 is a similar exercise with the roles of the feet reversed. As you practice each of these exercises, notice everything that you can about the alignment and positioning of the feet. For example, do you want to tilt either foot differently depending not just on what note it is playing, but on what note it is going to play next? On whether it is moving up or down? Notice that in any exercise or passage in which the feet move across the body left foot high, right foot low it can be necessary to turn your body.
At this stage it is a good idea to use your arms on the bench to brace yourself while turning, to the extent that this feels necessary or helpful. Later on, when putting hands and feet together in pieces of music, this is of course impossible.
That will not turn out to be a problem: Each of these last two exercises, and all similar pedal passages whether exercises or pieces of music, can be practiced with separate feet. In fact this can be quite important. It is physically analogous to practicing manual parts or piano or harpsichord pieces with separate hands. It differs from that musically in that the separate foot parts are less likely to make sense on their own. However, separate foot practice is an extremely efficient technique for learning pedal parts, and following the sometimes bewilderingly abstract separate parts is good listening practice, and good practice at concentrating.
For Exercise III, for example, the separate left foot part starts like this: Each of the quarter notes is to be played detached—more or less as eighth notes, but precise counting is not necessary. Just make them as detached as physical comfort suggests. You can extract other single-foot parts from these and all other exercises and from pedal passages in the repertoire.
Practicing repeated pedal notes Example 5 is an exercise for practicing repeated notes on the pedal keyboard. The feet are moving in thirds and by step. However, the way in which the two feet are interpolated with each other is different, in such a way that it creates a repeated note pattern. The repeated notes, always played WWW. COM with different feet, will be detached, as repeated notes always are.
Try varying the degree of detachment for the repeated notes—everything from as smooth as they can be while still repeating on time to as short as they can be while still allowing the pipes to speak. Also try various articulations for the notes that are not repeated. They can be slurred, which creates pairs of slurred notes, divided by the repeated notes, or they can be articulated in a way that exactly matches what you are doing with the repeated notes, or they can be played in any number of other ways.
Once you have practiced these exercises until they feel easy and reliable, you are ready both to go on to a selection of pedal parts from pieces—ones that are appropriate to play with toes alone—and to begin to work on a few simple exercises for heel playing. I cannot stress enough that it is important to become fully comfortable with the exercises above before moving in these two other directions. In most pedal parts in the organ repertoire—including in hymns and other accompaniment situations—almost all of the notes are accounted for by each foot moving no more than the distance of a third.
Of course there are larger intervals between feet. But something like eighty percent of the time, or a bit more, each foot moves by step, or by a third, or repeats the note that it just played. The comfort with moving each foot over these distances that these exercises develop is the foundation for learning pedal parts from the repertoire and in general for playing pedals securely.
You the student can find appropriate pedal parts to work on as material for continuing to learn pedal playing. Almost any pedal line from a pre piece can be played by toes alone, and therefore can work as practice material at this stage. Here are a few suggestions to start you off—though the best passage to work on is one that you like and Example 4 enjoy, or one which is part of a piece that you would like to learn in full later on: Bach, Pedal Exercitium J.
Post-Easter and Pentecost Look! The Spring is come: The birds are glad to see The high unclouded sun: Winter is fled away, they sing, The gay time is begun. Robert Bridges — With Easter in March, spring will have an extended feel to it this year. The American poet E. It may be a stretch for many readers, but consider a comparison of the poetry of Cummings with the Biblical description of Pentecost. Compare that with the Biblical description of Pentecost in Acts 2: When the day of Pentecost had come they were all together in one place. And suddenly from heaven there came a sound like the rush of a violent wind and it filled the entire house where they were sitting.
Divided tongues of fire appeared among them, and a tongue rested on each of them. All of them were filled with the Holy Spirit and began to speak in other languages, as the Spirit gave them ability. The dates of Christmas and Epiphany are fixed according to the Roman solar year; the dates of Easter and Pentecost vary, because of their connection with the Jewish liturgical calendar, which is lunar. The Easter season varies in length but generally lasts about seven weeks. Pentecost, also a significant day in the life of the Church, occurs fifty days after Good Friday; in some churches it is referred to as Whitsunday.
Church choir directors may have to be clever in sustaining interest from the singers as spring unfolds. This year, the official beginning of summer is June However, many churches end their weekly singing with Pentecost May 19, , which is weeks before the end of school and the happy arrival of summer vacations.
The music this month is divided by the two liturgical bookends of spring: Directors may need adamantine strength of perseverance as warmer weather and the weariness of the choir challenge the liturgical calendar. There are some mild dissonances, which add color but are not difficult. The actual divisi is limited, especially in the bass. Come, Holy Spirit, Denice Rippentrop. Much of the choral music moves in prayer-like half notes. The keyboard part is easy, with left-hand arpeggios to support the right-hand chords that double the choral lines.
A stately brass and organ introduction opens the work.
Sing, O My Tongue, from Sixteen Chorales "Le Tombeau de Titelouze", Op. 38, No. 10 eBook: Marcel Dupre: domaine-solitude.com: Kindle Store. Digital Sheet Music for Sing, O My Tongue, from Sixteen Chorales "Le Tombeau de Titelouze", Op. 38, No. 10 by Marcel Dupre, scored for Organ Solo.
There are four verses, with the congregation joining on the first and last; the other two are for choir, one of them for optional unaccompanied choir. The introductory material returns before the final verse. Much of the choral singing is in unison or two parts. This happy setting has two texts— one for Easter, one for Advent—so its preparation will be a special bargain. The piano part, on two separate staves, provides a rhythmic accompaniment for the easy choral parts. The various verses always close with celebrative alleluias.
Highly recommended and certain to be a hit with singers and congregations. Spiritus Sanctus viridians vita, Frank Ferko. The text is from Hildegard von Bingen — There are two primary sections. The first draws on static, dissonant chords to reflect color; the second half is filled with legato contrapuntal lines that depict the swirling movements of the Holy Spirit.
This will be a challenging work for most choirs it was composed for a professional choir. But the church followed the advice of the prominent British organist Paul Hale, who recommended a combination organ, and today the church has the versatility and color of a cathedral organ thanks to the blend of Rodgers digital organ technology, six new pipe stops and three restored and re-voiced ranks from the existing instrument. The compactness of the pipe unit and speaker combinations means that the new organ speaks directly into the church.
For more information, please contact Rodgers Marketing at While the essence of the piece is simplicity, there are several options for performance. The music has a refrain and a verse response, which are printed on the back cover for duplication. The macaronic setting Latin and English has three vocal lines, which may be used in a variety of ways, including with soloists.
This is an interesting work based on the four verses of St. The Spirit of the Lord, Philip Stopford. The choral parts are not difficult, although there are brief moments of divisi. The organ part is on three staves and has a certain degree of independence.
The music moves through various key and tempo changes to create diverse moods and styles. The text is from Isaiah This pragmatic setting features an organ part on two staves; its music is a flowing background for the choir. The first half is somewhat serene, but the final section is loud, majestic, and primarily in a choral unison. Only the first section is in four parts, and it is doubled in the organ; most of the setting is in unison. New Recordings Grand Choeur: French Organ Music from Paisley Abbey. Paris, Versailles, and Rouen spring readily to mind. COM Reviews measured and stately performance of a seasoned favorite.
Regent has captured the truly magical quality of this instrument, and once again proved to us that they have every right to claim themselves among the best of the organ music labels. The excellent programming of this disc will appeal to almost any organ music enthusiast, and combines the well-known war horses of the French Romantic repertoire with some wonderful music that deserves to be better known, as well as some of the more approachable French twentieth-century repertoire.
Andrew Henderson at St. The disc begins, appropriately, with a rousing WWW. For such a small instrument, Henderson works wonders, producing some lovely soft sounds, as well as the magnificent pleno, which can be expected of an instrument that embodies a romantic Casavant.
Two chorale preludes from J. The Cabena bears absolutely no resemblance to the Mozart with which it shares a name—it is a slightly peculiar blend of cheeky, quasi-Victorian humoresque A morning stroll and jarring Messiaen Celebrating the morning , and will be of interest to aficionados of modern music.
Mary Redcliffe Church in Bristol; and through judicious use of octave and sub-octave coupling, Henderson gives the impression of a giant romantic warhorse of an organ although I could, perhaps, have lived without the addition of the Zimbelstern in the last four measures! This is an interesting recording and features an eclectic mix of music: The entire album and individual tracks are also available for download on CDBaby. Gunther Rost plays the organ of St. Oehms Classics OC , www. Six Concertos arranged for organ: The great Hildebrandt organ in St.
The disc is well presented with an informative page booklet in both German and English—it is a pity that the front page is wasted on what looks like stock clipart of various colored squares, and the only color photographs of the magnificent case and the performer are tiny thumbnail photographs on an otherwise blank page!
So purchasers wishing to know more about the instrument will need to engage in a little online research www. Rost has an enviable technique, albeit the tempi are somewhat variable, to be honest, and will not sit well with those who prefer a more measured performance, such as the recent Margaret Phillips recordings. The Naumburg organ is both a great and historically important instrument, so as well as justifying this CD purchase for the three interesting Rost arrangements, you might consider this disc as a demonstration of this magnificent organ.
Wayne Leupold Editions; www. VII and the arias with variations vol. Several pieces have been newly edited and are published in a modern edition for the first time. The four opening sets comprise some 36 variations, which display a multitude of techniques; only Herzlich tut mich verlangen is in triple time. Each set, apart from the manuscript set on Freu dich sehr or Treuer Gott ich muss dich klagen the only other piece in triple time in this volume , is preceded by the harmonized chorale. The critical commentary listing all variants is of great value.
The volume devoted to the secular arias includes not only the well-known set of six published in as Hexachordum Apollinis the printed version in The Hague adds a manuscript fascicle with an introductory prelude and an extra variation to the sixth and last, known as Aria Sebaldina, here published for the first time but also brings together in one readily accessible volume the Arietta in F with nine variations, the arias in D six variations , A three variations , and A minor four variations as well as the first modern edition of an aria in G found in three sources with differing numbers of variations up to seven, and two arias, in C minor and A minor respectively, from the Mylau Tablature that are considered of dubious authenticity.
The very brief introduction to this volume contains information on the source in The Hague; the player is expected to purchase volume VII as well for the full discussion of the sources and technical analysis. This volume contains its own critical commentary of different readings from various sources. Both volumes contain several facsimiles. All of the arias are in binary form, with both sections being repeated, offering much scope for added embellishments. The only ornament sign found in the authentic works is the letter t; some editorial guidance on its possible performance would have been helpful to the player who is inexperienced in 17thcentury practice.
The inclusion of the specification of one or two contemporary central-German organs would also have been helpful for guiding the player in selecting registration. A cursory glance will reveal that many variations, both sacred and secular, utilize identical compositional techniques, and apart from the very few that require pedals, they sound as effective on stringed keyboard instruments as on the organ.
The chromatic variations that appear only in the chorale-based works are particularly expressive. The printing is of the customary clarity, with five or six systems per page for the authenticated works, with the opera dubia relegated to a somewhat smaller, but still quite readable, font. Although not all of them are of the highest standard, the great majority of these variations are attractive pieces that are quite accessible to a player of a more modest technical attainment, with the customary proviso that attention be paid to performance practice; they will delight audiences and congregations today with their freshness.
In addition to the remaining volumes 6, 9—12 of the complete keyboard works of Pachelbel, it is very much to be hoped that Michael Belotti will be able to prepare modern editions of the remaining arias in the Mylau Manuscript that have not hitherto received attention. American composer and organist Robert Powell has written a considerable amount of music related to the church: His moderate, neo-romantic approach to composition is a practical one for most churches and gives his music an acceptance even in conservative congregations.
This collection contains settings of six hymns, not all of which were familiar to me. I Received the Living God is a soft meditation. Arise, My Soul, Arise presents the melody right away. A middle section on a secondary manual, written in two parts, lays out the outlines of the melody in triplets and is completely different from anything else in the volume.
This was my favorite section, after which the beginning material returns. He Who Would Valiant Be is the longest piece and has a dreamy, gently flowing feel to it. My Soul Cries Out is another gentle, softly progressing piece with a short introduction. And finally, O Living Breath of God is, again, soft with the feel of a communion extemporization to it. The music is well written. The melodies are well set off. None of the pieces are difficult—definitely useful church music. One might wish for more harmonic excitement, and the constant steadiness of the eighth notes is stultifying after a while.
It is a very useful volume for church work and I recommend it for those times when a recognizable tune setting is needed. Capriccio for Organ, by Francis Jackson. Francis Alan Jackson, now in his nineties, is still active as a composer and recitalist. He is virtually a legend in England as he has an extensive output of sacred and secular music including canticles, anthems, hymn tunes, organ sonatas, and other organ pieces such as Thousands of titles, top-tier publishers My Harvard Dictionary of Music defines capriccio as a short piano piece of a humorous or capricious character.
Jackson has written ten pages of tightly packed, exciting adventure! Appearing in all parts, it wends its way through various keys and transformations. Rhythmic syncopations add drive to the whole and guarantee that the performer will stay on his or her toes. The music is difficult, but would make a great concert piece, perhaps a lighthearted encore! Hope Publishing Company, no. With few exceptions, they are within the canon of music appropriate to Christian rites.
The music is printed clearly, on good paper, with a sturdy spiral binding. The pieces are of moderate difficulty; all but one are written on three staves. The volume is progressively organized, from music for the prelude, seating of the special guests, and then for the entering and retiring processions, concluding with postludes. Pieces in these categories often, of course, can be interchanged. The Contents page helpfully provides the timings for each piece assuming the player adheres to the metronomic indications.
The 50 pieces can be divided into these categories: Some other traditional pieces appear here in changed keys as well. Recommended, particularly for those just starting to build an organ library. COM Reviews were written in Biographies are given for the composers, who also provided explanatory notes on their pieces. A toccata by Dan Locklair Dance the Joy! Although, as with some music by Stravinsky, the phenomenon of a different meter signature in every bar is more conspicuous to the eye than to the ear.
And then begins a unique exploration of the resources, challenges, and opportunities afforded by the organ. The highly contrapuntal Duo by Lionel Rogg is quite detailed in articulation and calls for frequent changes in registration. They are called upon to play two- and three-note groups, for which the composer supplied helpful pedal markings.
Unlike many such pedal studies, this one begins quietly and freely. Toccata Improvisation by Paul Patterson is likely the most technically difficult of the set and, with abundant use of chord clusters, the most dissonant. In this aleatoric piece the composer has supplied the ingredients for the music and calls upon the player to be part of its realization. Clear guidelines and frameworks are provided, yet, as with Tempera, every performance will be different.
Although some of this music is not for the faint of heart, much is not overly difficult—another reason for applause. Afdahl, for 3—5 octaves of handbells, with optional handchimes. Beginning with a very effective Hollywood-type fanfare, this setting is a medley of hymn tunes: Kevin, Victory and Lancashire. Here is a solid, celebrative arrangement creatively weaving these tunes into a festive seasonal composition. Keep It Simple 4, arranged by Lloyd Larson, for two octaves of handbells or handchimes. The Keep It Simple series was created with beginning ringers in mind.
These accessible arrangements of eight hymn tunes are creatively written and can be quickly learned. A three-octave edition is also available, Code No. Carillon and Bell Jubilee, arranged by Margaret R. Tucker, for 3, 4, or 5 octaves of handbells, with optional handchimes. This original composition has several layers to it, with an opening introduction, followed by carillon-type melodic material for several pages before a grand finale featuring an elaborate verse of the Cwm Rhondda hymn tune.
This is an expertly written piece that should be a big hit not only with the players, but also with the listeners. Weck, for 2—3 octaves of handbells. Here is a collection of nine settings for 2—3 octave choirs; it includes arrangements by Barbara Kinyon, Cynthia Dobrinski, Susan E. All of the music is reproducible—a great bargain for your bell budget and program.
Lift High the Cross, arranged for 3—5 octaves of handbells by Cynthia Dobrinski. This commanding arrangement of the powerful Easter hymn, Crucifer, expertly captures the stately tune and text. The verses of the hymn are given special harmonic treatment, each time bringing the triumphant chorus to a new level of Easter joy! The Prayer, by Carole Bayer Sager and David Foster, arranged by Joel Raney for 3—5 octaves of handbells with 3—5 octaves of handchimes and synth strings included. It is great to see this hauntingly beautiful melody in the handbell arena. This arrangement requires ringers who can masterfully capture the beauty of this powerful ballad.
The addition of synth strings will create an even more stunning quality. What else was there to see and hear in the way of the pipe organ? There was a great deal—and splendidly presented with grace, good humor, brilliant scholarship, and midwestern charm. Chicago has world-class museums, architecture, shopping, dining, magnificent Lake Michigan—and stunning churches and pipe organs! Sunday, July 8 Jonathan Ryan played the opening recital at St.
Things got off to a lively start of phenomenally fast notes in the flutes flew out over sustained pedal notes, then suddenly ended, flitting off to the upper reaches. A few chuckles were heard. This excellent recital was a great start to our convention. With Fisk, , St. This robust Fisk has strong, dark, full-bodied reeds; clean, striking mixtures; singing flutes and strings, warm foundations, and a powerful fortissimo. I was seated next to Stephen Schnurr and Dennis Northway, leaders of the convention. Their faces expressed great pleasure.
That first hymn is always a wonderful affirmation for convention committee members—a moment of satisfaction after years of hard work. I was happy for them, and all who made this moment possible.
This thrilling and joyful piece is a first-rate addition to the repertoire. Dynamics began softly but built quickly; tempo was langsam at first, but built momentum and energy. Only three weeks prior to the convention did he know he could play for us! This was a memorable OHS evening. One of our Biggs Fellows hand-pumped the organ for the recital. Brown played with great sensitivity and sweetness. Chorale Variations on ST.
Harris, on a small tracker organ without stop pullers. He did reasonably well, using the piano and forte ventil-like toe studs, but it was ultimately awkward. Monday, July 9 Flentrop, , Holy Name Cathedral mechanical stop action and very deep mechanical key action, it is not for the faint of heart. Following a recent fire, the cathedral was closed for a time.
The organ suffered only minor damage, to the Positief; building repairs, with a new terrazzo floor, improved the acoustics. The organ stands proudly in the rear gallery: Registrations were perfectly proportioned: Cooler temperatures followed weeks of horrendous heat. With perfect weather, we were eager to get started. We divided into two groups. Mine went to St.
It has stunning views of Lake Michigan, and an attractive English Gothic-style Catholic cathedral, built and dedicated in to the Holy Angels. The 2m, rank Phelps Casavant, Op. We were all smitten with this instrument; music by Ernst Pepping perfectly suited it: Vorspiel II, Allegro Scherzando leapt about; a fine reed carried the tune. Derek was also in charge of the buses, and did his work very well, indeed! The present building was dedicated in The church is a well-maintained part of the community.
Its 3m, stop electro-pneumatic Hinners—the largest surviving Hinners in the Chicago area—stands in the front of the church in chambers on either side of the seated choir. The chapel is vast: The front 4m console plays both organs; a 2m gallery console controls just that organ. The rank Skinner Organ Company Op. We took quite a shine to its clear voicing. There was also a Hammond player organ performing: Who knew there was such a thing? The onemanual, note organ had two ranks: The pleasing sounds graced the early evening. In Austin replaced the console.
The organ fell silent in recent years, but was brought back to life by the Chicago-Midwest OHS chapter especially for our convention. Price — , which displayed the solo reeds and ended with a lively toccata. The playing was first rate, and our voices filled the 1,seat church with joy.
A two-rank no pedal Hilborne L. It was meant to be portable. We heard Voluntary by Samuel Jackson — , then some elegant Elgar: Allegretto piacevole, with an effective Stopped Diapason. Allegro from Sonatine for Organ by Eberhart Egermann b. We were grateful to Stephen Schnurr for making these instruments available and to those who helped transport them!
We returned to Rockefeller Memorial Chapel to hear Nathan Laube; the performance was broadcast over the Internet available at: This piece is full of foreboding darkness, and Laube summoned forth remarkable color. A riotous pedal solo accompanied the active manual work, which featured a few blasts from a strong reed, and then gave way to a single flute. The concert concluded with Gaudeamus Igitur, so fun to sing in this full chapel, ending a wonderful day. Tuesday, July 10 Skinner, , Rockefeller Chapel organ suffered some rebuilding efforts in the s and later; several ranks were dispersed.
In the Schantz Organ Company returned old ranks, replicated others, and replaced some with vintage Skinner pipework. Rededicated on June 7, , the organ, while not exactly as Skinner left it, is once again a major part of the Chicago organ scene.
This familiar music moved over us gently at first, followed by a good deal of aggression. Laube kept things in proportion, giving each melodic line its due, ending on full organ with those fabulous reeds. Laube spoke about growing up in Chicago; as a young boy he was taken to hear the E. Skinner organ at St. He fell in love with these instruments and knew that playing the organ would be his career. Though young he turned 25 the day before this recital , Laube is a master of the art of transcription.
He reached deeply into the vast Skinner tonal palette, and brought us to places we might not have gone before— a brilliant performance. Its quiet opening showed beautiful strings and a solo flute that was to die for. A gentle reed chorus punctuated the flutes and strings, then stronger reeds were in dialogue with the foundations. A swelling crescendo then arose. We munched on popcorn as Rhodes entertained us with Richard A. Rhodes seemingly caught every nuance. Our next stop was very sentimental for me: Joseph in La Grange Park.
Installed Noack, , Convent of the Sisters of St. It stands in a balcony in the rear of the nave of this handsome modern chapel. Originally the room had all hard surfaces, but now carpet covers the concrete floor, and padded chairs have replaced wooden seats. Though the acoustic is not as beautiful as it once was, the organ still sounds great.
The sounds were as beautiful as I remembered. The music was cleanly and sensitively played. The brilliant closing section brought this outstanding concert to a fine conclusion. The present French Gothic-style church was built in The electro-pneumatic Phelps Casavant, Op. Schnurr used the Krummhorn to good effect. Flutes led to the final fugue and a fantasia presenting the full plenum and pedal reeds—a wonderful sound, in a fine performance. At one point the tune appeared in the tenor with imaginatively placed fast notes up top.
Another movement used a canon between a trumpet and pedal foundations. After a beautiful movement with sweet strings and soft foundations, a fugue brought this very good new piece to a close. This recital featured a mother and her children. This enchanting piece, very well presented, cast a spell over all of us. This organ has a lot of oomph, and Dr. Schnurr used it to good effect, playing with marvelous style and color.
The present church was built in Its 3m, rank Aeolian-Skinner stands in a gallery at the rear of the long, narrow nave. David Jonies and Jay Peterson shared the concert. Jay Peterson played the four-stop Brunzema Op. The organs were well matched, and the performance spirited. Next, both played the Skinner: On to Oak Park, to the beautiful St. Lucy Catholic Church, a Tudor Gothic-style building dedicated in In Pastorale, Psalm The beautiful strings crept in—still fresh after 80 years.
We then heard our first music by Chicago composer Leo Sowerby: He was assisted by his pupil Jeremiah Clarke, who was to become the first official Organist of the new cathedral. The choir today consists of thirty choristers boy trebles , eight probationers who will become choristers , six countertenors altos , six tenors and six basses. The choristers are selected by audition and, once chosen, find themselves in a world which demands much of them, but which has its own special rewards.
There are two rehearsals every day to prepare the daily service music and for many other special services and concerts. Within this framework the boys also carry out their normal school activities, both academic and sporting, as well as studying piano and one other instrument. The training and discipline necessary to sing as a chorister in this enriching environment gives them a wonderful musical and general educational start in life.
Indeed many of them gain valuable scholarships to their next schools. The Vicars Choral are all professional singers who come from a wide range of backgrounds; some from music colleges, other cathedrals, or the Oxbridge chapel choirs. In recent years the choir has established itself as one of the major forces in British church music. The size of the choir and its mature, professional tone, set it apart from any other comparable group of singers. Evensong is sung every day, and on Sundays there are three choral services—Mattins, Eucharist and Evensong.