In my former treatise, I explained the chief difficulty of the average organist: (s)he is not an organist at all, but rather a confused and irritable pianist. In the second part of this series, I here recommend a number of freely-composed organ works that should be somewhat accessible to beginners. Links to IMSLP are given, whenever possible.
(attr.) J.S. Bach: Little Preludes and Fugues, BWV 553-560
These eight prelude-and-fugue pairings are most organists' introduction to the freely-composed works of Bach, which is a bit odd, because compositionally they don't resemble much else he wrote for the instrument. Nobody is really quite sure whether these were actually intended for the pedal harpsichord, or written by one of Bach's students, or what. The point is, their textures and proportions suggest that... something's up. Questionable provenance notwithstanding, they are useful pieces, and the counterpoint is generally good, even if not obviously Bach's. Difficulty: easy to moderate
Paul Benoit: Elevations
Dom Paul Benoit was not a major composer, but his harmonic language (akin to Debussy or Ravel, at times) is pleasant, and these pieces are quite useful for service playing, particularly during Communion. I use them regularly.
Difficulty: easy
Edward Elgar: Vesper Voluntaries, Op. 14
It is a pity that Elgar wrote only a few organ works, for these voluntaries are both charming and admirably succinct. (As anyone who's heard The Dream of Gerontius knows, Elgar has his longeurs.) They work nicely as a set in recital, though most can also be easily excerpted. They were originally written for harmonium, and thus require little or no pedaling. Difficulty: easy
César Franck: L'Organiste
Franck is one of the giants of French Romantic organ music, but his larger pieces are far beyond the capabilities of the average church organist. Happily, he also wrote this indispensable collection of short pieces for harmonium. Difficulty: easy
Adolf Hesse: Easy Preludes
Nineteenth-century German organ music has a reputation for being, if contrapuntally correct, perhaps a bit stodgy and uninspired. Better composers of the era, however, wrote some perfectly serviceable music. This collection by Hesse is a good place to start, being designed with students in mind. (The fingerings and pedalings in this collection, by the way, are good: you should use them!) Difficulty: easy
Felix Mendelssohn: Six Sonatas, Op. 65
One can say, without any hyperbole, that Mendelssohn was the greatest German organ composer of his century, and that these six sonatas represent the summit of his output for the instrument. They are terribly useful for recitals — they work on just about any kind of instrument — and nearly all of the individual movements can be excerpted for use as service music, too. Difficulty: easy to difficult
Gustav Merkel: Twelve Organ Pieces, Op. 102
Much like the works of Hesse, I don't find these to be especially inspired, but they are easy enough, short enough, and compositionally sound. Merkel's other collections of organ music are much the same. Difficulty: easy
Johann Pachelbel: Preludes, Toccatas, Fantasias, Fugues, and Ricercars
These selected freely-composed works are a good assortment of pieces suitable for preludes or postludes. In the context of American liturgies, the more serious contrapuntal works (particularly the ricercars and longer fugues) serve well as preludes; the toccatas, in particular, can make for short, showy, and effective postludes. Difficulty: easy to moderate
Max Reger: Twelve Pieces for Organ, Op. 59
Reger is not a particularly accessible composer for inexperienced organists, but this collection has all his best freely-composed pieces for beginners. The Benedictus (No. 9) may be Reger's most-performed work, while the Toccata and Fugue (Nos. 5-6) are probably Reger's easiest prelude/fugue pairing. Difficulty: moderate to difficult
Josef Rheinberger: Twelve Trios, Op. 49
These pieces are a good place to start if you're new to playing trio textures, and they can work as pleasant, short preludes or postludes. Difficulty: easy to moderate
Charles Villiers Stanford: Six Short Preludes and Postludes, Op. 101
Stanford is a notoriously fiddly composer: I find it difficult to play anything he wrote fluently without a good deal of work. (Perhaps this mirrors his difficult personality.) But these six pieces are well-worth the effort. No. 2 of the collection is a rousing postlude, and No. 6 (based on St. Columba, "The King of Love my Shepherd Is") suggests Stanford's lyrical side. Difficulty: moderate to difficult
John Stanley: Voluntaries, Opp. 5, 6, and 7
For some reason Stanley is pooh-poohed by many serious (read: academic) organists, but I find his output to be both practical (it is all manuals-only, and generally quite thin, texturally) and compositionally defensible. These are some of the very first pieces I would recommend to beginning organists looking for service music. Difficulty: easy
Louis Vierne: Twenty-Four Pieces in Free Style, Op. 31
This charming selection of pieces, originally composed for harmonium, is an invaluable resource: Vierne's harmonic language provides welcome variety, and the pedaling in this collection poses few, if any, challenges. I particularly recommend the Berceuse (No. 19), Arabesque (No. 15), Lied (No. 17), and Carillon (No. 21) — which is one of my favorite postludes. Difficulty: moderate
The above suggestions are a good place to start, but there is scarcely a limit to the variety of organ repertoire one might suggest. Consider also Buxtehude praeludia (which vary widely in length, complexity, and difficulty), or some of the easier Bach preludes and fugues (BWV 533 or BWV 549, to start). Jean Langlais has a variety of organ compositions, of varying quality, but you could start with his Organ Book, Op. 91. The English keyboard school (Byrd, Gibbons, Tomkins, in particular) offers much in the way of manuals-only voluntaries. The charms of French classical organ music, on the other hand, are so heavily reliant on the particular colors of the French classical organ that I cannot in good conscience recommend the genre for most American organists.
Showing posts with label Lists. Show all posts
Showing posts with label Lists. Show all posts
25 July 2017
30 April 2015
An Introduction to Chorale Preludes
The average church organist is at the distinct disadvantage of not being an organist at all. Rather, most are pianists, cajoled or coërced into playing an instrument with which they have little familiarity. For those attempting to make the case for pipe organs in churches, this situation is, to put it mildly, not ideal. While organ technique can only really be improved by lessons, there is also the issue of repertoire: how does an inexperienced organist select simple-enough literature that is not simply awful? Well, I have some suggestions. Here I present the first in what might be a series of posts featuring simple-to-moderate organ repertoire that will prove useful — and musically sound — for organists who don't know where to begin.
Chorale preludes, relatively simple pieces based on hymn tunes, are an essential part of a church organist's repertory. Whenever possible, use them in conjunction with hymns sung to the same tunes. (One finds that chorale settings of past centuries are very often in a higher key than modern settings, for a variety of reasons not worth examining here. Nevertheless, they can be useful in preparing a congregation to sing a given tune.) The annotated list below suggests collections of chorale preludes that are worth knowing. Whenever possible, I provide links to free scores on IMSLP.
J.S. Bach: Orgelbüchlein, BWV 599-644
Though the Orgelbüchlein ("Little Organ Book") is an essential resource for every organist, not every piece in this collection is suitable for beginners. Some, in fact, are as complex as anything Bach wrote for the instrument. Begin with the easiest settings ("Ich ruf zu dir", "Nun komm, der Heiden Heiland", "Komm, Gott Schöpfer, heiliger Geist") to start the lifelong process of beginning to understand Bach's genius. Difficulty: easy to hard
J.S. Bach: Neumeister Chorales, BWV 1090-1120
An odd assortment of settings by the young Bach, the Neumeister Chorales are accessible for beginning organists chiefly because they are mostly manuals-only. Difficulty: easy to moderate
Dieterich Buxtehude: Various Chorale Preludes, BuxWV 177-224
This great North German master, an important influence on the young J.S. Bach, produced a number of chorale settings, ranging from the simple to the virtuosic. The manuals-only selections, as well as some pedaliter settings (e.g. "In dulci jubilo", "Nun bitten wir den heiligen Geist", "Wir danken dir, Herr Jesu Christ") are good places to start. Difficulty: easy to hard
Marcel Dupré: Seventy-Nine Chorales, Op. 28
These settings of Lutheran chorales (all with references to Bach settings of the same tunes) are an excellent introduction to the harmonic language of Dupré, one of the most important organist-composers of the twentieth century. By far the finest of the set is No. 41, In dulci jubilo. Difficulty: easy
Marcel Dupré: Sixteen Chorales, Op. 38, "Le tombeau de Titelouze"
These sixteen settings based on plainchant hymns are helpfully arranged in order of difficulty, and cover a range of different liturgical occasions. They are an equally useful introduction to the harmonic language of Dupré. Difficulty: easy to moderate
Gerald Near: St. Augustine's Organ Book
This collection has ten settings based on chants for a variety of liturgical occasions. Near's harmonic language is modern enough to be interesting, but not terribly dissonant. The best setting in this collection is "Ubi caritas", an excellent choice for the Maundy Thursday liturgy. Difficulty: easy to moderate
Johann Pachelbel: Various Chorale Preludes
Pachelbel's settings are valuable not just for their accessibility, but also for their contrapuntal integrity. Difficulty: easy to moderate
Max Reger: 30 Little Chorale Preludes, Op.135a
This is a terribly useful collection of brief chorale preludes. Most are short enough to actually be used as an introduction to a hymn without trying the patience of modern American congregations. Hands down, the best place to start with Reger, a titan of German Romantic organ music. Difficulty: easy
Max Reger: 52 Chorale Preludes, Op. 67
A great variety of settings, often in Reger's densely chromatic style. Difficulty: moderate
Max Reger: 13 Chorale Preludes, Op. 79b
Yet more characteristic Reger pieces. Difficulty: easy to moderate
Christian Heinrich Rinck: Collection of the Most Popular Organ Compositions
Rinck, though often overlooked, is perhaps the most important organ composer of the early 19th century (not counting Mendelssohn). This collection contains, in addition to seventy-seven freely-composed short pieces, twenty-eight chorale preludes that are quite accessible for the beginning organist. Difficulty: easy
Johann Gottfried Walther: Complete Works for Organ
Walther's grasp of counterpoint occasionally rivalled that of his cousin Bach — no small feat. This collection presents a large array of chorale preludes, many of which can be played manualiter. Difficulty: easy to moderate
Ralph Vaughan Williams: Three Preludes Founded on Welsh Hymn Tunes
Though not idiomatic for the organ, Vaughan Williams's three preludes on Welsh hymns are tuneful (especially the gem of the set, Rhosymedre) and on very familiar Anglican melodies. Difficulty: moderate
Friedrich Wilhelm Zachow: Various Chorale Preludes
Zachow is best known to history as Handel's teacher in Halle. His chorale preludes, all manuals-only, are more valuable for their accessibility than for their compositional quality. Difficulty: very easy
In general, collections — especially those published monthly or quarterly, featuring "new" compositions and arrangements — are to be avoided. An important exception is 80 Chorale Preludes: German Masters of the 17th and 18th Centuries, edited by Hermann Keller. This collection provides a variety of chorale settings by Lutheran baroque composers (J.C. Bach, Krebs, Pachelbel, Scheidt, Walther, Zachow, and others), with a mix of pedaliter and manualiter selections. Every organist should have this book.
It is no coïncidence that the vast majority of composers mentioned above wrote for the Lutheran liturgy, and, accordingly, most of the chorale preludes are on tunes that Lutherans sing (or used to sing). No other denomination comes close in terms of the number of hymn settings for organ. However, Anglican organists have an invaluable resource in the innumerable collections of Healey Willan. His chorale preludes range from the easy to the difficult, and, though not always terribly inventive, are indispensable for Anglican liturgy. Other resources for Anglican organists are the settings of Alec Rowley (generally easy) and Hubert Parry (though these are moderate to difficult). Finally, one last composer with a good many collections of competent chorale preludes is the Belgian Flor Peeters.
Did you find this information useful? You may eagerly anticipate the next installment in this series:
2. Freely-composed organ works for beginning organists
Chorale preludes, relatively simple pieces based on hymn tunes, are an essential part of a church organist's repertory. Whenever possible, use them in conjunction with hymns sung to the same tunes. (One finds that chorale settings of past centuries are very often in a higher key than modern settings, for a variety of reasons not worth examining here. Nevertheless, they can be useful in preparing a congregation to sing a given tune.) The annotated list below suggests collections of chorale preludes that are worth knowing. Whenever possible, I provide links to free scores on IMSLP.
J.S. Bach: Orgelbüchlein, BWV 599-644
Though the Orgelbüchlein ("Little Organ Book") is an essential resource for every organist, not every piece in this collection is suitable for beginners. Some, in fact, are as complex as anything Bach wrote for the instrument. Begin with the easiest settings ("Ich ruf zu dir", "Nun komm, der Heiden Heiland", "Komm, Gott Schöpfer, heiliger Geist") to start the lifelong process of beginning to understand Bach's genius. Difficulty: easy to hard
J.S. Bach: Neumeister Chorales, BWV 1090-1120
An odd assortment of settings by the young Bach, the Neumeister Chorales are accessible for beginning organists chiefly because they are mostly manuals-only. Difficulty: easy to moderate
Dieterich Buxtehude: Various Chorale Preludes, BuxWV 177-224
This great North German master, an important influence on the young J.S. Bach, produced a number of chorale settings, ranging from the simple to the virtuosic. The manuals-only selections, as well as some pedaliter settings (e.g. "In dulci jubilo", "Nun bitten wir den heiligen Geist", "Wir danken dir, Herr Jesu Christ") are good places to start. Difficulty: easy to hard
Marcel Dupré: Seventy-Nine Chorales, Op. 28
These settings of Lutheran chorales (all with references to Bach settings of the same tunes) are an excellent introduction to the harmonic language of Dupré, one of the most important organist-composers of the twentieth century. By far the finest of the set is No. 41, In dulci jubilo. Difficulty: easy
Marcel Dupré: Sixteen Chorales, Op. 38, "Le tombeau de Titelouze"
These sixteen settings based on plainchant hymns are helpfully arranged in order of difficulty, and cover a range of different liturgical occasions. They are an equally useful introduction to the harmonic language of Dupré. Difficulty: easy to moderate
Gerald Near: St. Augustine's Organ Book
This collection has ten settings based on chants for a variety of liturgical occasions. Near's harmonic language is modern enough to be interesting, but not terribly dissonant. The best setting in this collection is "Ubi caritas", an excellent choice for the Maundy Thursday liturgy. Difficulty: easy to moderate
Johann Pachelbel: Various Chorale Preludes
Pachelbel's settings are valuable not just for their accessibility, but also for their contrapuntal integrity. Difficulty: easy to moderate
Max Reger: 30 Little Chorale Preludes, Op.135a
This is a terribly useful collection of brief chorale preludes. Most are short enough to actually be used as an introduction to a hymn without trying the patience of modern American congregations. Hands down, the best place to start with Reger, a titan of German Romantic organ music. Difficulty: easy
Max Reger: 52 Chorale Preludes, Op. 67
A great variety of settings, often in Reger's densely chromatic style. Difficulty: moderate
Max Reger: 13 Chorale Preludes, Op. 79b
Yet more characteristic Reger pieces. Difficulty: easy to moderate
Christian Heinrich Rinck: Collection of the Most Popular Organ Compositions
Rinck, though often overlooked, is perhaps the most important organ composer of the early 19th century (not counting Mendelssohn). This collection contains, in addition to seventy-seven freely-composed short pieces, twenty-eight chorale preludes that are quite accessible for the beginning organist. Difficulty: easy
Johann Gottfried Walther: Complete Works for Organ
Walther's grasp of counterpoint occasionally rivalled that of his cousin Bach — no small feat. This collection presents a large array of chorale preludes, many of which can be played manualiter. Difficulty: easy to moderate
Ralph Vaughan Williams: Three Preludes Founded on Welsh Hymn Tunes
Though not idiomatic for the organ, Vaughan Williams's three preludes on Welsh hymns are tuneful (especially the gem of the set, Rhosymedre) and on very familiar Anglican melodies. Difficulty: moderate
Friedrich Wilhelm Zachow: Various Chorale Preludes
Zachow is best known to history as Handel's teacher in Halle. His chorale preludes, all manuals-only, are more valuable for their accessibility than for their compositional quality. Difficulty: very easy
In general, collections — especially those published monthly or quarterly, featuring "new" compositions and arrangements — are to be avoided. An important exception is 80 Chorale Preludes: German Masters of the 17th and 18th Centuries, edited by Hermann Keller. This collection provides a variety of chorale settings by Lutheran baroque composers (J.C. Bach, Krebs, Pachelbel, Scheidt, Walther, Zachow, and others), with a mix of pedaliter and manualiter selections. Every organist should have this book.
It is no coïncidence that the vast majority of composers mentioned above wrote for the Lutheran liturgy, and, accordingly, most of the chorale preludes are on tunes that Lutherans sing (or used to sing). No other denomination comes close in terms of the number of hymn settings for organ. However, Anglican organists have an invaluable resource in the innumerable collections of Healey Willan. His chorale preludes range from the easy to the difficult, and, though not always terribly inventive, are indispensable for Anglican liturgy. Other resources for Anglican organists are the settings of Alec Rowley (generally easy) and Hubert Parry (though these are moderate to difficult). Finally, one last composer with a good many collections of competent chorale preludes is the Belgian Flor Peeters.
Did you find this information useful? You may eagerly anticipate the next installment in this series:
2. Freely-composed organ works for beginning organists
15 September 2013
27 May 2013
A Few More Preludes and Postludes
26 May (Trinity):
J.S. Bach: Fugue on Allein Gott in der Höh sei Ehr, BWV 716
Niels Gade: Aleneste Gud i Himmerig
31 May (Visitation):
Girolamo Cavazzoni: Magnificat octavi toni
Johann Pachelbel: Meine Seele erhebet den Herren, P.362
2 June (Corpus Christi, observed):
Olivier Messiaen: Le banquet céleste
Alexandre Guilmant: Strophe sur l'hymne Pange lingua
(On the evening of the 2nd of June I will be presenting an organ-and-voice recital in observance of Corpus Christi, mind you.)
9 June:
Jean Langlais: Suite Médiévale - II. Tiento
J.S. Bach: Nun ruhen alle Wälder, BWV 756
For further reference, please consult past entries:
March 2013 - May 2013 | January 2013 - March 2013 | November 2012 - January 2013 | September 2012 - November 2012 | May 2012 - August 2012 | April 2012 - May 2012 | February 2012 - April 2012 | January 2012 - February 2012 | November 2011 - December 2011
June 11th through July 4th I will once again be in Europe, as it happens. This year's itinerary includes a bevy of Luther and Bach sites, mostly in Thuringia, and then Hamburg, Stade, Lübeck, Magdeburg (with a concert in nearby Niederndodeleben), and Prague.
J.S. Bach: Fugue on Allein Gott in der Höh sei Ehr, BWV 716
Niels Gade: Aleneste Gud i Himmerig
31 May (Visitation):
Girolamo Cavazzoni: Magnificat octavi toni
Johann Pachelbel: Meine Seele erhebet den Herren, P.362
2 June (Corpus Christi, observed):
Olivier Messiaen: Le banquet céleste
Alexandre Guilmant: Strophe sur l'hymne Pange lingua
(On the evening of the 2nd of June I will be presenting an organ-and-voice recital in observance of Corpus Christi, mind you.)
9 June:
Jean Langlais: Suite Médiévale - II. Tiento
J.S. Bach: Nun ruhen alle Wälder, BWV 756
For further reference, please consult past entries:
March 2013 - May 2013 | January 2013 - March 2013 | November 2012 - January 2013 | September 2012 - November 2012 | May 2012 - August 2012 | April 2012 - May 2012 | February 2012 - April 2012 | January 2012 - February 2012 | November 2011 - December 2011
June 11th through July 4th I will once again be in Europe, as it happens. This year's itinerary includes a bevy of Luther and Bach sites, mostly in Thuringia, and then Hamburg, Stade, Lübeck, Magdeburg (with a concert in nearby Niederndodeleben), and Prague.
21 May 2013
A Recital for Corpus Christi
Last year an organist friend of mine presented what I somewhat derisively called a "Eucharistic Piety Concert". I suppose he'll take some satisfaction in seeing that I am now doing the same, this upcoming June 2nd (which is the Feast of Corpus Christi, observed). So as not to bore the audience too terribly by playing only organ music, I have invited a very talented soprano friend of mine, a Miss Katie B., to join me for some selections. You are, dear reader, as ever, most heartily invited.
"O Sacred Banquet": A Recital for the Feast of Corpus Christi
4:30pm Sunday, June 2nd
St. Luke’s Episcopal Church, Dixon, Illinois
4:30pm Sunday, June 2nd
St. Luke’s Episcopal Church, Dixon, Illinois
- J.S. Bach (1685-1750): Prelude and Fugue in D Major, BWV 532
- Mode V: Adoro te devote
- Gerald Near (b. 1942): Prelude and Four Variations on "Adoro te devote"
- César Franck (1822-1890): Panis angelicus, Op. 12, Mvt. 5
- Olivier Messiaen (1908-1992): Le banquet céleste
- Antonín Dvořák (1841-1904): "God Is My Shepherd", Op. 99, No. 4
- Harold Darke (1888-1976): Meditation on "Brother James' Air"
- Mode V: O sacrum convivium
- Louis Vierne (1870-1937): Carillon, Op. 31, No. 21
25 March 2013
Organ Preludes and Postludes through Whitsunday
17 March (Lent V, Judica):
Flor Peeters: Audi, benigne Conditor
Johann Philipp Kirnberger: Wer nur den lieben Gott läßt walten
24 March (Palm Sunday):
Jehan Alain: Litanies, JA 119
28 March (Maundy Thursday):
Gerald Near: Ubi caritas et amor
30 March (Easter Vigil):
Théodore Dubois: Toccata in G Major
31 March (Easter Sunday):
Johann Pachelbel: Christ lag in Todesbanden, P. 58
Théodore Dubois: Toccata in G Major (reprised)
7 April (Second Sunday of Easter):
Jean-François Dandrieu: Offertoire sur «O filii et filiae»
Joseph Renner: Victimae paschali laudes, Op. 33, No. 6
8 April (Annunciation, transferred from Holy Week):
Dieterich Buxtehude: Herr Christ, der einig Gottes Sohn, BuxWV 191
Max Reger: Wie schön leucht't uns der Morgenstern, Op. 135a, No. 29
14 April (Third Sunday of Easter):
Johann Pachelbel: Jesus Christus, unser Heiland, P. 218
J.S. Bach: Erstanden ist der heilge Christ, BWV 628
21 April (Fourth Sunday of Easter):
Harold Darke: Meditation on Brother James's Air
Max Reger: Christ ist erstanden, Op. 79b, No. 8
28 April (Fifth Sunday of Easter):
Horatio Parker: Revery, Op. 67, No. 2
J.S. Bach: Heut triumphieret Gottes Sohn, BWV 630
5 May (Sixth Sunday of Easter):
Joseph Jongen: Chant de mai, Op. 53, No. 1
J.S. Bach: Jesus Christus, unser Heiland, BWV 626
9 May (Ascension):
Ralph Vaughan Williams: Bryn Calfaria
Marcel Dupré: Nun freut euch, lieben Christen g'mein, Op. 28, No. 58
12 May (Seventh Sunday of Easter):
J.S. Bach: Schmücke dich, o liebe Seele, BWV 654
Johann Heinrich Buttstedt: Christ lag in Todesbanden
19 May (Pentecost):
Dieterich Buxtehude: Komm, heiliger Geist, Herre Gott, BuxWV 199
J.S. Bach: Komm, Gott Schöpfer, heiliger Geist, BWV 667
Flor Peeters: Audi, benigne Conditor
Johann Philipp Kirnberger: Wer nur den lieben Gott läßt walten
24 March (Palm Sunday):
Jehan Alain: Litanies, JA 119
28 March (Maundy Thursday):
Gerald Near: Ubi caritas et amor
30 March (Easter Vigil):
Théodore Dubois: Toccata in G Major
31 March (Easter Sunday):
Johann Pachelbel: Christ lag in Todesbanden, P. 58
Théodore Dubois: Toccata in G Major (reprised)
7 April (Second Sunday of Easter):
Jean-François Dandrieu: Offertoire sur «O filii et filiae»
Joseph Renner: Victimae paschali laudes, Op. 33, No. 6
8 April (Annunciation, transferred from Holy Week):
Dieterich Buxtehude: Herr Christ, der einig Gottes Sohn, BuxWV 191
Max Reger: Wie schön leucht't uns der Morgenstern, Op. 135a, No. 29
14 April (Third Sunday of Easter):
Johann Pachelbel: Jesus Christus, unser Heiland, P. 218
J.S. Bach: Erstanden ist der heilge Christ, BWV 628
21 April (Fourth Sunday of Easter):
Harold Darke: Meditation on Brother James's Air
Max Reger: Christ ist erstanden, Op. 79b, No. 8
28 April (Fifth Sunday of Easter):
Horatio Parker: Revery, Op. 67, No. 2
J.S. Bach: Heut triumphieret Gottes Sohn, BWV 630
5 May (Sixth Sunday of Easter):
Joseph Jongen: Chant de mai, Op. 53, No. 1
J.S. Bach: Jesus Christus, unser Heiland, BWV 626
9 May (Ascension):
Ralph Vaughan Williams: Bryn Calfaria
Marcel Dupré: Nun freut euch, lieben Christen g'mein, Op. 28, No. 58
12 May (Seventh Sunday of Easter):
J.S. Bach: Schmücke dich, o liebe Seele, BWV 654
Johann Heinrich Buttstedt: Christ lag in Todesbanden
19 May (Pentecost):
Dieterich Buxtehude: Komm, heiliger Geist, Herre Gott, BuxWV 199
J.S. Bach: Komm, Gott Schöpfer, heiliger Geist, BWV 667
14 February 2013
30 December 2012
Organ Preludes & Postludes through Laetare
5 January (Installation of Fr R.):
J.S. Bach: Prelude and Fugue in G Major, BWV 541
Jean Langlais: Pasticcio, Op. 91, No. 10
6 January (Epiphany):
Johann Pachelbel: Wie schön leuchtet der Morgenstern, P.46
Louis Vierne: Carillon, Op. 31, No. 21
13 January (Epiphany I, Baptism of the Lord):
Anonymous (from the Lüneburg Tablature): Christ unser Herr zum Jordan kam
Gerald Near: Omnes qui in Christo
20 January (Epiphany II):
Niels Gade: Allegretto, Op. 22, No. 2
Gustav Adolf Merkel: Allegretto, Op. 102, No. 1
27 January (Epiphany III; Septuagesima):
Marcel Dupré: Invention, Op. 50, No. 2
Alexandre-Pierre-François Boëly: Fughetta in D minor
2 February (Candlemas):
Marcel Dupré: Élévation (Très modéré), Op. 32, No. 2
Marcel Dupré: Herr Gott, nun schleuss den Himmel auf, Op. 28, No. 31
3 February (Epiphany IV; Sexagesima):
Charles Villiers Stanford: Prelude in Form of a Minuet, Op. 88, No. 1
Max Reger: Liebster Jesu, wir sind hier, Op. 138a, No. 14
10 February (Transfiguration; Quinquagesima):
Paul Hindemith: Sonata No. 2 - I. Lebhaft
Friedrich Wilhelm Zachau: Herr Jesu Christ, wahr Mensch und Gott, LV 32
13 February (Ash Wednesday):
Jeanne Demessieux: Attende Domine, Op. 8, No. 3
Gottfried August Homilius: Erbarm dich mein, o Herre Gott
17 February (Lent I, Invocavit):
J.S. Bach: Christus, der uns selig macht, BWV 747
J.S. Bach: Wer nur den lieben Gott läßt walten, BWV 690
24 February (Lent II, Reminiscere):
J.S. Bach: Ich ruf zu dir, Herr Jesu Christ, BWV 639
Friedrich Wilhelm Zachau: Ach Gott vom Himmel sieh darein, LV 16
3 March (Lent III, Oculi):
J.S. Bach: O Mensch, bewein dein Sünde groß, BWV 622
Michael Praetorius: Sinfonia
10 March (Lent IV, Laetare):
J.S. Bach: Jesu, meine Freude, BWV 610
Max Reger: Mit Fried und Freud ich fahr dahin, Op. 79b, No. 5
J.S. Bach: Prelude and Fugue in G Major, BWV 541
Jean Langlais: Pasticcio, Op. 91, No. 10
6 January (Epiphany):
Johann Pachelbel: Wie schön leuchtet der Morgenstern, P.46
Louis Vierne: Carillon, Op. 31, No. 21
13 January (Epiphany I, Baptism of the Lord):
Anonymous (from the Lüneburg Tablature): Christ unser Herr zum Jordan kam
Gerald Near: Omnes qui in Christo
20 January (Epiphany II):
Niels Gade: Allegretto, Op. 22, No. 2
Gustav Adolf Merkel: Allegretto, Op. 102, No. 1
27 January (Epiphany III; Septuagesima):
Marcel Dupré: Invention, Op. 50, No. 2
Alexandre-Pierre-François Boëly: Fughetta in D minor
2 February (Candlemas):
Marcel Dupré: Élévation (Très modéré), Op. 32, No. 2
Marcel Dupré: Herr Gott, nun schleuss den Himmel auf, Op. 28, No. 31
3 February (Epiphany IV; Sexagesima):
Charles Villiers Stanford: Prelude in Form of a Minuet, Op. 88, No. 1
Max Reger: Liebster Jesu, wir sind hier, Op. 138a, No. 14
10 February (Transfiguration; Quinquagesima):
Paul Hindemith: Sonata No. 2 - I. Lebhaft
Friedrich Wilhelm Zachau: Herr Jesu Christ, wahr Mensch und Gott, LV 32
13 February (Ash Wednesday):
Jeanne Demessieux: Attende Domine, Op. 8, No. 3
Gottfried August Homilius: Erbarm dich mein, o Herre Gott
17 February (Lent I, Invocavit):
J.S. Bach: Christus, der uns selig macht, BWV 747
J.S. Bach: Wer nur den lieben Gott läßt walten, BWV 690
24 February (Lent II, Reminiscere):
J.S. Bach: Ich ruf zu dir, Herr Jesu Christ, BWV 639
Friedrich Wilhelm Zachau: Ach Gott vom Himmel sieh darein, LV 16
3 March (Lent III, Oculi):
J.S. Bach: O Mensch, bewein dein Sünde groß, BWV 622
Michael Praetorius: Sinfonia
10 March (Lent IV, Laetare):
J.S. Bach: Jesu, meine Freude, BWV 610
Max Reger: Mit Fried und Freud ich fahr dahin, Op. 79b, No. 5
10 November 2012
05 November 2012
Organ Preludes and Postludes through New Year's
11 November:
attr. J.S. Bach: Prelude and Fugue in C Major, BWV 553
J.S. Bach: Liebster Jesu, wir sind hier, BWV 730
18 November:
Louis Vierne: Lied, Op. 31, No. 17
Jacques Boyvin: Grand plein jeu continu
25 November (Christ the King):
Felix Mendelssohn: Prelude in G Major, Op. 37, No. 2a
Gordon Young: Prelude in Classic Style
2 December (Advent I):
Flor Peeters: Creator alme siderum, Op. 75, No. 1
Nicolas de Grigny: Verbum supernum prodiens: Plein jeu
9 December (Advent II):
Johann Pachelbel: Nun komm, der Heiden Heiland, P.386
Gerald Near: Jerusalem surge
16 December (Advent III, Gaudete):
Gottfried August Homilius: Nun komm, der Heiden Heiland
J.S. Bach: Herr Christ, der einge Gottes-Sohn, BWV 601
23 December (Advent IV):
Jeanne Demessieux: Rorate caeli, Op. 8, No. 1
J.S. Bach: Nun komm, der Heiden Heiland, BWV 599
24 December (Christmas Eve):
Samuel Barber: Chorale Prelude on "Silent Night"
Claude-Bénigne Balbastre: Tous les bourgeois de Châtres
25 December (Christmas Day):
Gerald Near: Puer nobis est natus
J.S. Bach: Der Tag, der ist so freudenreich, BWV 605
30 December (1st Sunday after Christmas):
Dieterich Buxtehude: In dulci jubilo, BuxWV 197
J.S. Bach: In dulci jubilo, BWV 729
1 January (New Year's Day):
J.S. Bach: Das alte Jahr vergangen ist, BWV 1091
J.S. Bach: In dir ist Freude, BWV 615
attr. J.S. Bach: Prelude and Fugue in C Major, BWV 553
J.S. Bach: Liebster Jesu, wir sind hier, BWV 730
18 November:
Louis Vierne: Lied, Op. 31, No. 17
Jacques Boyvin: Grand plein jeu continu
25 November (Christ the King):
Felix Mendelssohn: Prelude in G Major, Op. 37, No. 2a
Gordon Young: Prelude in Classic Style
2 December (Advent I):
Flor Peeters: Creator alme siderum, Op. 75, No. 1
Nicolas de Grigny: Verbum supernum prodiens: Plein jeu
9 December (Advent II):
Johann Pachelbel: Nun komm, der Heiden Heiland, P.386
Gerald Near: Jerusalem surge
16 December (Advent III, Gaudete):
Gottfried August Homilius: Nun komm, der Heiden Heiland
J.S. Bach: Herr Christ, der einge Gottes-Sohn, BWV 601
23 December (Advent IV):
Jeanne Demessieux: Rorate caeli, Op. 8, No. 1
J.S. Bach: Nun komm, der Heiden Heiland, BWV 599
24 December (Christmas Eve):
Samuel Barber: Chorale Prelude on "Silent Night"
Claude-Bénigne Balbastre: Tous les bourgeois de Châtres
25 December (Christmas Day):
Gerald Near: Puer nobis est natus
J.S. Bach: Der Tag, der ist so freudenreich, BWV 605
30 December (1st Sunday after Christmas):
Dieterich Buxtehude: In dulci jubilo, BuxWV 197
J.S. Bach: In dulci jubilo, BWV 729
1 January (New Year's Day):
J.S. Bach: Das alte Jahr vergangen ist, BWV 1091
J.S. Bach: In dir ist Freude, BWV 615
06 October 2012
A Reformation Sunday Recital
Much like having regular examinations in school, I find that regular recitals provide a certain measure of motivation. (Is this due to a certain lack of self-discipline on my part? Or is self-discipline merely knowing what sorts of tricks to play on one's own mind?) To that end, I will be performing a recital on October 28th in Dixon; it oughtn't be more than an hour, I hope. You are, dear reader, of course invited.
Recital on the Karstens organ at St. Paul Lutheran Church, Dixon
28 October 2012, at 3pm
J.S. Bach (1685-1750):
Prelude and Fugue in C Major, BWV 547
Hymn: ELW #308 "O Morning Star, How Fair and Bright"
Dieterich Buxtehude (c.1637-1707):
Wie schön leuchtet der Morgenstern, BuxWV 223
Hymn: ELW #839 "Now Thank We All Our God"
Sigfrid Karg-Elert (1877-1933):
Nun danket alle Gott (Marche Triomphale), Op. 65, No. 59
Hymn: ELW #488 "Soul, Adorn Yourself with Gladness"
J.S. Bach:
Schmücke dich, o liebe Seele, BWV 654
Hymn: ELW #504 "A Mighty Fortress Is Our God"
Cor Kee (1900-1997):
Een vaste Burgt
Chant: "Te lucis ante terminum" (Mode VIII)
Jehan Alain (1911-1940):
Postlude pour l’Office de Complies, JA 29
Louis Vierne (1870-1937):
Symphony No. 1, Op. 14 – VI. Finale
The astute reader will notice that some of these pieces may look familiar. Indeed, I have played many of them over the past fifteen months in Dixon. But most of them warrant a more careful listening (as well as, I should admit, a more careful performance). I wouldn't close with the Vierne, but for the fact that I was deprived of my chance to play it for the Lutherans at Easter. Easter morning I turned the organ at St. Paul on, only to discover that the entire swell and choir divisions were out. If that happens again, I shall take it as a sign that I ought not to play Vierne for Lutherans.
Recital on the Karstens organ at St. Paul Lutheran Church, Dixon
28 October 2012, at 3pm
J.S. Bach (1685-1750):
Prelude and Fugue in C Major, BWV 547
Hymn: ELW #308 "O Morning Star, How Fair and Bright"
Dieterich Buxtehude (c.1637-1707):
Wie schön leuchtet der Morgenstern, BuxWV 223
Hymn: ELW #839 "Now Thank We All Our God"
Sigfrid Karg-Elert (1877-1933):
Nun danket alle Gott (Marche Triomphale), Op. 65, No. 59
Hymn: ELW #488 "Soul, Adorn Yourself with Gladness"
J.S. Bach:
Schmücke dich, o liebe Seele, BWV 654
Hymn: ELW #504 "A Mighty Fortress Is Our God"
Cor Kee (1900-1997):
Een vaste Burgt
Chant: "Te lucis ante terminum" (Mode VIII)
Jehan Alain (1911-1940):
Postlude pour l’Office de Complies, JA 29
Louis Vierne (1870-1937):
Symphony No. 1, Op. 14 – VI. Finale
The astute reader will notice that some of these pieces may look familiar. Indeed, I have played many of them over the past fifteen months in Dixon. But most of them warrant a more careful listening (as well as, I should admit, a more careful performance). I wouldn't close with the Vierne, but for the fact that I was deprived of my chance to play it for the Lutherans at Easter. Easter morning I turned the organ at St. Paul on, only to discover that the entire swell and choir divisions were out. If that happens again, I shall take it as a sign that I ought not to play Vierne for Lutherans.
30 August 2012
Autumnal Organ Preludes and Postludes
2 September:
attr. J.S. Bach: Prelude and Fugue in F Major, BWV 556
J.S. Bach: Jesu, meine Freude, BWV 1105
9 September:
Dieterich Buxtehude: Praeludium in G minor, BuxWV 149
Johann Pachelbel: Magnificat sexti toni
16 September:
attr. J.S. Bach: Prelude and Fugue in G minor, BWV 558
Johann Caspar Ferdinand Fischer: Fugue in G Major
23 September:
Louis Vierne: Arabesque, Op. 31, No. 15
Pierre du Mage: Fugue (from Suite du premier ton)
30 September:
Marcel Dupré: Te splendor et virtus Patris, Op. 38, No. 15
Louis Marchand: Fond d'orgue
7 October:
J.S. Bach: Fugue in G minor, BWV 578
J.S. Bach: Erhalt uns, Herr, bei deinem Wort, BWV 1103
14 October:
Jehan Alain: Ballade en mode phrygien, JA 9
Nicolas de Grigny: Plein jeu (Deo gratias)
21 October (St. Luke, observed*):
Leo Sowerby: Prelude on Deus tuorum militum
Edward Elgar: Vesper Voluntary No. 2, from Op. 14
28 October (Reformation):
J.S. Bach: Prelude in C Major, BWV 547a
Johann Nicolaus Hanff: Ein feste Burg ist unser Gott
4 November (All Saints, observed):
Olivier Messiaen: Apparition de l'église éternelle
Johannes Brahms: O wie selig seid ihr doch, ihr Frommen, Op. 122, No. 6
* A saint's day, of course, cannot usually take precedence over a Sunday, but a patronal feast can. And St. Luke the Evangelist is patron of the Episcopal church in Dixon.
attr. J.S. Bach: Prelude and Fugue in F Major, BWV 556
J.S. Bach: Jesu, meine Freude, BWV 1105
9 September:
Dieterich Buxtehude: Praeludium in G minor, BuxWV 149
Johann Pachelbel: Magnificat sexti toni
16 September:
attr. J.S. Bach: Prelude and Fugue in G minor, BWV 558
Johann Caspar Ferdinand Fischer: Fugue in G Major
23 September:
Louis Vierne: Arabesque, Op. 31, No. 15
Pierre du Mage: Fugue (from Suite du premier ton)
30 September:
Marcel Dupré: Te splendor et virtus Patris, Op. 38, No. 15
Louis Marchand: Fond d'orgue
7 October:
J.S. Bach: Fugue in G minor, BWV 578
J.S. Bach: Erhalt uns, Herr, bei deinem Wort, BWV 1103
14 October:
Jehan Alain: Ballade en mode phrygien, JA 9
Nicolas de Grigny: Plein jeu (Deo gratias)
21 October (St. Luke, observed*):
Leo Sowerby: Prelude on Deus tuorum militum
Edward Elgar: Vesper Voluntary No. 2, from Op. 14
28 October (Reformation):
J.S. Bach: Prelude in C Major, BWV 547a
Johann Nicolaus Hanff: Ein feste Burg ist unser Gott
4 November (All Saints, observed):
Olivier Messiaen: Apparition de l'église éternelle
Johannes Brahms: O wie selig seid ihr doch, ihr Frommen, Op. 122, No. 6
* A saint's day, of course, cannot usually take precedence over a Sunday, but a patronal feast can. And St. Luke the Evangelist is patron of the Episcopal church in Dixon.
05 July 2012
Mark Your Calendars:
One must keep busy, you know. To that end, I will be performing a recital in Elkhart, Indiana on Sunday, 15 July, at 7:00pm. It shouldn't be terribly long; it's about fifty minutes of music. You, dear reader, are of course invited.
Recital on the Fowler organ, Op. 28, at St. Vincent de Paul Roman Catholic Church, Elkhart
Dieterich Buxtehude (c.1637-1707):
Praeludium in G minor, BuxWV 149
Jehan Alain (1911-1940):
Variations sur un thème de Clément Janequin, JA 118
Litanies, JA 119
Johann Valentin Görner (1702-1762):
Chaconne in B minor
Dieterich Buxtehude:
Erhalt uns, Herr, bei deinem Wort, BuxWV 185
Louis Vierne (1870-1937):
Berceuse (sur les paroles classiques), Op. 31, No. 19
Samuel Scheidt (1587-1654):
Ballo del Granduca
Edward Elgar (1857-1934), arr. William Henry Harris (1883-1973):
Nimrod (from the Enigma Variations, Op. 36)
J.S. Bach (1685-1750):
Prelude and Fugue in G Major, BWV 541
Nothing much out of the ordinary, as you can see. There is actually more variety than I would prefer, as the instrument, being an American eclectic one, is designed to play all things equally poorly. But I am optimistic that great literature is still worthwhile, even on less-than-ideal instruments.
Oh, and for you pedants out there, a note on the Scheidt: many still attribute the variations on Ballo del Granduca to J.P. Sweelinck, as they are ascribed to him in the only surviving manuscript. But I think Pieter Dirksen makes a convincing case that they are by Scheidt, who studied with Sweelinck in Amsterdam in his early twenties. (There is some infelicitous voice leading that makes much more sense coming from the pen of the young Scheidt than from the mature Sweelinck.)
Recital on the Fowler organ, Op. 28, at St. Vincent de Paul Roman Catholic Church, Elkhart
Dieterich Buxtehude (c.1637-1707):
Praeludium in G minor, BuxWV 149
Jehan Alain (1911-1940):
Variations sur un thème de Clément Janequin, JA 118
Litanies, JA 119
Johann Valentin Görner (1702-1762):
Chaconne in B minor
Dieterich Buxtehude:
Erhalt uns, Herr, bei deinem Wort, BuxWV 185
Louis Vierne (1870-1937):
Berceuse (sur les paroles classiques), Op. 31, No. 19
Samuel Scheidt (1587-1654):
Ballo del Granduca
Edward Elgar (1857-1934), arr. William Henry Harris (1883-1973):
Nimrod (from the Enigma Variations, Op. 36)
J.S. Bach (1685-1750):
Prelude and Fugue in G Major, BWV 541
Nothing much out of the ordinary, as you can see. There is actually more variety than I would prefer, as the instrument, being an American eclectic one, is designed to play all things equally poorly. But I am optimistic that great literature is still worthwhile, even on less-than-ideal instruments.
Oh, and for you pedants out there, a note on the Scheidt: many still attribute the variations on Ballo del Granduca to J.P. Sweelinck, as they are ascribed to him in the only surviving manuscript. But I think Pieter Dirksen makes a convincing case that they are by Scheidt, who studied with Sweelinck in Amsterdam in his early twenties. (There is some infelicitous voice leading that makes much more sense coming from the pen of the young Scheidt than from the mature Sweelinck.)
31 May 2012
Aestival Organ Preludes and Postludes
31 May (Visitation):
Ludwig Sennfl (tablature by Jan z Lublina): Ave Rosa sine spinis
Charles Callahan: Petite Carillon on Ave Maria
3 June (Trinity):
Georg Böhm: Allein Gott in der Höh sei Ehr
Healey Willan: Postlude on Nicaea
10 June (Corpus Christi, observed):
Leo Sowerby: Meditation on Pange lingua
Alexandre Guilmant: O salutaris Hostia, Op. 59, No. 2
17, 24 June: [on vacation]
1 July:
J.S. Bach: Liebster Jesu, wir sind hier, BWV 731
Johann Pachelbel: Toccata in E minor, T. 240
8 July:
Dieterich Buxtehude: Praeludium in C Major, BuxWV 137
Johann Pachelbel: Toccata in C Major, T. 231
15 July: [on vacation]
22 July:
J.S. Bach: Prelude and Fugue in A Major, BWV 536
J.S. Bach: Dies sind die heil'gen zehn Gebot, BWV 635
29 July:
Josef Gabriel Rheinberger: Pastorale, Op. 156, No. 8
Adolf Friedrich Hesse: Postlude in G Major
5 August:
Dieterich Buxtehude: Nun bitten wir den heiligen Geist, BuxWV 208
Dieterich Buxtehude: Wir danken dir, Herr Jesu Christ, BuxWV 224
12 August:
Samuel Scheidt: Ballo del Granduca
Anonymous (from the Dublin Virginal Manuscript): Alman Bruynsmedelijn
15 August (St. Mary the Virgin):
Pablo Bruna: Tiento de 2º tono por gesolreut sobre la letanía de la Virgen
Johann Pachelbel: Magnificat primi toni
19 August:
Orlando Gibbons: Fantasy in C Major
William Byrd: Pavan: The Earl of Salisbury
26 August:
César Franck: Offertoire ou communion in E minor (from L'Organiste)
Edward Elgar: Vesper Voluntary No. 3, from Op. 14
And mark your calendars: on Sunday, 15 July I will be giving a recital at 7:00pm, at St. Vincent de Paul Roman Catholic Church in Elkhart, Indiana. More details to come.
Ludwig Sennfl (tablature by Jan z Lublina): Ave Rosa sine spinis
Charles Callahan: Petite Carillon on Ave Maria
3 June (Trinity):
Georg Böhm: Allein Gott in der Höh sei Ehr
Healey Willan: Postlude on Nicaea
10 June (Corpus Christi, observed):
Leo Sowerby: Meditation on Pange lingua
Alexandre Guilmant: O salutaris Hostia, Op. 59, No. 2
17, 24 June: [on vacation]
1 July:
J.S. Bach: Liebster Jesu, wir sind hier, BWV 731
Johann Pachelbel: Toccata in E minor, T. 240
8 July:
Dieterich Buxtehude: Praeludium in C Major, BuxWV 137
Johann Pachelbel: Toccata in C Major, T. 231
15 July: [on vacation]
22 July:
J.S. Bach: Prelude and Fugue in A Major, BWV 536
J.S. Bach: Dies sind die heil'gen zehn Gebot, BWV 635
29 July:
Josef Gabriel Rheinberger: Pastorale, Op. 156, No. 8
Adolf Friedrich Hesse: Postlude in G Major
5 August:
Dieterich Buxtehude: Nun bitten wir den heiligen Geist, BuxWV 208
Dieterich Buxtehude: Wir danken dir, Herr Jesu Christ, BuxWV 224
12 August:
Samuel Scheidt: Ballo del Granduca
Anonymous (from the Dublin Virginal Manuscript): Alman Bruynsmedelijn
15 August (St. Mary the Virgin):
Pablo Bruna: Tiento de 2º tono por gesolreut sobre la letanía de la Virgen
Johann Pachelbel: Magnificat primi toni
19 August:
Orlando Gibbons: Fantasy in C Major
William Byrd: Pavan: The Earl of Salisbury
26 August:
César Franck: Offertoire ou communion in E minor (from L'Organiste)
Edward Elgar: Vesper Voluntary No. 3, from Op. 14
And mark your calendars: on Sunday, 15 July I will be giving a recital at 7:00pm, at St. Vincent de Paul Roman Catholic Church in Elkhart, Indiana. More details to come.
04 May 2012
Admirable Words, Vol. V
- Athwart
- Bint
- Conniption
- Encarnadine (a rarer, but better, spelling than Incarnadine)
- Esplanade
- Glebe
- Lagniappe
- Malinger
- Palanquin
- Termagant
03 April 2012
Organ Preludes and Postludes through Whitsunday
7 April (Easter Vigil):
Louis Vierne: Symphony No. 1, Op. 14 – VI. Finale
8 April (Easter Sunday):
Georg Böhm: Christ lag in Todesbanden
Louis Vierne: Symphony No. 1, Op. 14 – VI. Finale (reprised!)
15 April (1st Sunday after Easter, Quasimodo):
Healey Willan: Prelude on O filii et filiae
Flor Peeters: Hymn Prelude on Gelobt sei Gott
22 April (2nd Sunday after Easter, Misericordia):
Michael Praetorius: Vita sanctorum
Jean-François Dandrieu: Fugue sur l’hymne des Apôtres «Exultet»
29 April (3rd Sunday after Easter, Jubilate):
Edward Elgar (arr. W.H. Harris): Nimrod (from the Enigma Variations, Op. 36)
Ernst Pepping: Sonne der Gerechtigkeit
6 May (4th Sunday after Easter, Cantate):
J.S. Bach: Schmücke dich, o liebe Seele, BWV 654
Max Reger: Lobe den Herren, Op. 135a, No. 15
13 May (5th Sunday after Easter, Vocem Jucunditatis):
Joseph Jongen: Chant de mai, Op. 53, No. 1
Hermann Schroeder: Allegretto, Op. 9, No. 4
17 May (Ascension):
J.S. Bach: Prelude in D Major, BWV 532a
François Couperin: Messe des Paroisses - VII. Petite fugue sur le chromhorne
20 May (6th Sunday after Easter, Exaudi):
J.S. Bach: Fugue in D Major, BWV 532b
Max Reger: Jesus, meine Zuversicht, Op. 135a, No. 13
27 May (Pentecost):
Dieterich Buxtehude: Te Deum, BuxWV 218
J.S. Bach: Komm, Gott Schöpfer, Heiliger Geist, BWV 631
Louis Vierne: Symphony No. 1, Op. 14 – VI. Finale
8 April (Easter Sunday):
Georg Böhm: Christ lag in Todesbanden
Louis Vierne: Symphony No. 1, Op. 14 – VI. Finale (reprised!)
15 April (1st Sunday after Easter, Quasimodo):
Healey Willan: Prelude on O filii et filiae
Flor Peeters: Hymn Prelude on Gelobt sei Gott
22 April (2nd Sunday after Easter, Misericordia):
Michael Praetorius: Vita sanctorum
Jean-François Dandrieu: Fugue sur l’hymne des Apôtres «Exultet»
29 April (3rd Sunday after Easter, Jubilate):
Edward Elgar (arr. W.H. Harris): Nimrod (from the Enigma Variations, Op. 36)
Ernst Pepping: Sonne der Gerechtigkeit
6 May (4th Sunday after Easter, Cantate):
J.S. Bach: Schmücke dich, o liebe Seele, BWV 654
Max Reger: Lobe den Herren, Op. 135a, No. 15
13 May (5th Sunday after Easter, Vocem Jucunditatis):
Joseph Jongen: Chant de mai, Op. 53, No. 1
Hermann Schroeder: Allegretto, Op. 9, No. 4
17 May (Ascension):
J.S. Bach: Prelude in D Major, BWV 532a
François Couperin: Messe des Paroisses - VII. Petite fugue sur le chromhorne
20 May (6th Sunday after Easter, Exaudi):
J.S. Bach: Fugue in D Major, BWV 532b
Max Reger: Jesus, meine Zuversicht, Op. 135a, No. 13
27 May (Pentecost):
Dieterich Buxtehude: Te Deum, BuxWV 218
J.S. Bach: Komm, Gott Schöpfer, Heiliger Geist, BWV 631
21 February 2012
Organ Preludes and Postludes through Lent
22 February (Ash Wednesday):
Jan Pieterszoon Sweelinck: Erbarm dich mein, o Herre Gott
Samuel Scheidt: Modus ludendi pleno organo pedaliter, SSWV 157
26 February (Lent I, Invocavit):
Louis Vierne: Berceuse (sur les paroles classiques), Op. 31, No. 19
César Franck: Poco allegro, in C minor (from L'Organiste)
4 March (Lent II, Reminiscere):
Johann Adam Reincken: An Wasserflüssen Babylon
Heinrich Scheidemann: Praeambulum in D minor, WV 32
11 March (Lent III, Oculi):
J.S. Bach: O Mensch, bewein dein Sünde groß, BWV 622
J.S. Bach (arr. Edwin Arthur Kraft): Komm, süßer Tod, BWV 478
18 March (Lent IV, Laetare):
Tiburtio Massaino (tablature by Bernhard Schmid): Laetare Jerusalem
Friedrich Wilhelm Zachau: Mit Fried und Freud ich fahr dahin, LV 9
25 March (Lent V, Judica; Annunciation):
Marcel Dupré: How Fair and how Pleasant art Thou, Op. 18, No. 5
Dieterich Buxtehude: Herr Christ, der einig Gottes Sohn, BuxWV 192
1 April (Palm Sunday):
Jeanne Demessieux: Hosanna filio David, Op. 8, No. 6
Jehan Alain: Litanies, JA 119
5 April (Maundy Thursday):
Olivier Messiaen: Le banquet céleste
As a matter of fact, only my Lutherans will be hearing preludes; for the Episcopalians we will be omitting the prelude and instead singing the proper introit for each Sunday from the Liber.
Jan Pieterszoon Sweelinck: Erbarm dich mein, o Herre Gott
Samuel Scheidt: Modus ludendi pleno organo pedaliter, SSWV 157
26 February (Lent I, Invocavit):
Louis Vierne: Berceuse (sur les paroles classiques), Op. 31, No. 19
César Franck: Poco allegro, in C minor (from L'Organiste)
4 March (Lent II, Reminiscere):
Johann Adam Reincken: An Wasserflüssen Babylon
Heinrich Scheidemann: Praeambulum in D minor, WV 32
11 March (Lent III, Oculi):
J.S. Bach: O Mensch, bewein dein Sünde groß, BWV 622
J.S. Bach (arr. Edwin Arthur Kraft): Komm, süßer Tod, BWV 478
18 March (Lent IV, Laetare):
Tiburtio Massaino (tablature by Bernhard Schmid): Laetare Jerusalem
Friedrich Wilhelm Zachau: Mit Fried und Freud ich fahr dahin, LV 9
25 March (Lent V, Judica; Annunciation):
Marcel Dupré: How Fair and how Pleasant art Thou, Op. 18, No. 5
Dieterich Buxtehude: Herr Christ, der einig Gottes Sohn, BuxWV 192
1 April (Palm Sunday):
Jeanne Demessieux: Hosanna filio David, Op. 8, No. 6
Jehan Alain: Litanies, JA 119
5 April (Maundy Thursday):
Olivier Messiaen: Le banquet céleste
As a matter of fact, only my Lutherans will be hearing preludes; for the Episcopalians we will be omitting the prelude and instead singing the proper introit for each Sunday from the Liber.
30 January 2012
04 January 2012
Upcoming Orgelmusik
Organ preludes and postludes through Quinquagesima, 2012:
1 January (New Year's Day; Holy Name):
J.S. Bach: In dir ist Freude, BWV 615
Johann Gottfried Walther: Das alte Jahr vergangen ist
6 January (Epiphany):
Dietrich Buxtehude: Wie schön leuchtet der Morgenstern, BuxWV 223
Max Reger: Wie schön leuchtet der Morgenstern, Op. 135a, No. 29
8 January (Epiphany I, Baptism of the Lord):
J.S. Bach: Prelude and Fugue in G Major, BWV 541
Friedrich Wilhelm Zachau: Christ unser Herr zum Jordan kam, LV 3
15 January (Epiphany II):
Claude-Bénigne Balbastre: Fugue in D minor
Gerald Near: Alleluia. Laudate Deum omnes angeli eius
22 January (Epiphany III):
César Franck: Prélude, Fugue & Variation, Op. 18
César Franck: Andantino poco allegretto, in Eb Major (from L'Organiste)
29 January (Epiphany IV):
Friedrich Wilhelm Marpurg: O Ewigkeit, du Donnerwort
Johann Ludwig Krebs: Toccata in G Major
2 February (Candlemas):
Marcel Dupré: Élévation (Très modéré), Op. 32, No. 2
Marcel Dupré: Herr Gott, nun schleuss den Himmel auf, Op. 28, No. 31
5 February (Epiphany V; Septuagesima):
Clemens non Papa (tablature by Bálint Bakfark): Circumdederunt me
Anonymous (tablature by Jan z Lublina): Conradus
12 February (Epiphany VI; Sexagesima):
Domenico Zipoli: Canzona in C Major
Girolamo Frescobaldi: Preambulum tertii toni
19 February (Transfiguration; Quinquagesima):
Gerald Near: Visionem
Felix Mendelssohn: Sonata, Op.65, No. 2: II. Allegro maestoso e vivace
It should also be added that St. Luke's Episcopal Church (Dixon, Illinois) will host Mr Kevin Vaughn for an organ recital on 29 January (at 4:30pm). It promises to be a worthwhile occasion; I am looking forward especially to his Howells and Reger.
1 January (New Year's Day; Holy Name):
J.S. Bach: In dir ist Freude, BWV 615
Johann Gottfried Walther: Das alte Jahr vergangen ist
6 January (Epiphany):
Dietrich Buxtehude: Wie schön leuchtet der Morgenstern, BuxWV 223
Max Reger: Wie schön leuchtet der Morgenstern, Op. 135a, No. 29
8 January (Epiphany I, Baptism of the Lord):
J.S. Bach: Prelude and Fugue in G Major, BWV 541
Friedrich Wilhelm Zachau: Christ unser Herr zum Jordan kam, LV 3
15 January (Epiphany II):
Claude-Bénigne Balbastre: Fugue in D minor
Gerald Near: Alleluia. Laudate Deum omnes angeli eius
22 January (Epiphany III):
César Franck: Prélude, Fugue & Variation, Op. 18
César Franck: Andantino poco allegretto, in Eb Major (from L'Organiste)
29 January (Epiphany IV):
Friedrich Wilhelm Marpurg: O Ewigkeit, du Donnerwort
Johann Ludwig Krebs: Toccata in G Major
2 February (Candlemas):
Marcel Dupré: Élévation (Très modéré), Op. 32, No. 2
Marcel Dupré: Herr Gott, nun schleuss den Himmel auf, Op. 28, No. 31
5 February (Epiphany V; Septuagesima):
Clemens non Papa (tablature by Bálint Bakfark): Circumdederunt me
Anonymous (tablature by Jan z Lublina): Conradus
12 February (Epiphany VI; Sexagesima):
Domenico Zipoli: Canzona in C Major
Girolamo Frescobaldi: Preambulum tertii toni
19 February (Transfiguration; Quinquagesima):
Gerald Near: Visionem
Felix Mendelssohn: Sonata, Op.65, No. 2: II. Allegro maestoso e vivace
It should also be added that St. Luke's Episcopal Church (Dixon, Illinois) will host Mr Kevin Vaughn for an organ recital on 29 January (at 4:30pm). It promises to be a worthwhile occasion; I am looking forward especially to his Howells and Reger.
20 November 2011
Dominus Regnavit
Days like today are cause for optimism: both of my church services went well, and there are so many good hymn tunes for Christ the King Sunday. (Diademata is a particular favorite; everybody likes "Crown Him with Many Crowns".) I am becoming more and more fond of this part of November, when the fields are cleared and nearly all the trees are bare, before it snows; it's not desolate but rather clean-looking. Perhaps it's just this year in the three-year lectionary cycle, but the readings — with their apocalyptic imagery — lead nicely into Advent. Comparing different hymnals, there is even overlap between end-of-the-church-year hymns and Advent hymns: Helmsley ("Lo, He Comes with Clouds Descending"), for example.
The notion, particularly relevant today, of the kingship of God is an interesting one. Perhaps the most common conception of God in the psalms is as awesome King; another, nearly as common, is as just Judge. Indeed, the two concepts seem closely linked in ancient Jewry. Other psalms (cf. esp. 45, 72, 89) describe God's covenant with mortal kings, who are expected to carry out God's justice. Some sections read as little more than monarchist propaganda; the Bible is not a book for republicans. In any case, it appears that legitimate, God-pleasing government has an obligation to the poor, a fact lost on a great many people nowadays.
There is one issue I've always wondered about: if earthly kings derive their legitimacy from God, what meaning does the title "King" have for God himself? There is — we presume! — no higher power to grant God the title. It seems that God is King simply by virtue of being God.
* * *
Next week is the start of Advent. I have resolved that I should start posting — here, if there is no more suitable place — music selections from the liturgies at my churches, like some do. So: here is some of the upcoming music at St. Paul Lutheran and St. Luke's Episcopal.
Organ preludes and postludes for Advent and Christmas, 2011:
27 November (Advent I):
J.S. Bach: Wachet auf, ruft uns die Stimme, BWV 645
W.F. Bach: Nun komm, der Heiden Heiland, F.38, No. 1
4 December (Advent II):
Jeanne Demessieux: Rorate caeli, Op. 8, No. 1
Michael Praetorius: Alvus tumescit virginis
11 December (Advent III, Gaudete):
Healey Willan: Prelude on Richmond
Gerald Near: Benedixisti, Domine, terram tuam
18 December (Advent IV):
J.S. Bach: Nun komm, der Heiden Heiland, BWV 659
Paul Manz: Toccata on Nun komm, der Heiden Heiland, Op. 5, No. 10
24 December (Christmas Eve):
Claude-Bénigne Balbastre: Quand Jésus naquit à Noël
Dieterich Buxtehude: In dulci jubilo, BuxWV 197
25 December (Christmas Day):
Louis-Claude Daquin: Noël X (Grand jeu et Duo)
Georg Böhm: Vom Himmel hoch da komm ich her
The notion, particularly relevant today, of the kingship of God is an interesting one. Perhaps the most common conception of God in the psalms is as awesome King; another, nearly as common, is as just Judge. Indeed, the two concepts seem closely linked in ancient Jewry. Other psalms (cf. esp. 45, 72, 89) describe God's covenant with mortal kings, who are expected to carry out God's justice. Some sections read as little more than monarchist propaganda; the Bible is not a book for republicans. In any case, it appears that legitimate, God-pleasing government has an obligation to the poor, a fact lost on a great many people nowadays.
There is one issue I've always wondered about: if earthly kings derive their legitimacy from God, what meaning does the title "King" have for God himself? There is — we presume! — no higher power to grant God the title. It seems that God is King simply by virtue of being God.
Next week is the start of Advent. I have resolved that I should start posting — here, if there is no more suitable place — music selections from the liturgies at my churches, like some do. So: here is some of the upcoming music at St. Paul Lutheran and St. Luke's Episcopal.
Organ preludes and postludes for Advent and Christmas, 2011:
27 November (Advent I):
J.S. Bach: Wachet auf, ruft uns die Stimme, BWV 645
W.F. Bach: Nun komm, der Heiden Heiland, F.38, No. 1
4 December (Advent II):
Jeanne Demessieux: Rorate caeli, Op. 8, No. 1
Michael Praetorius: Alvus tumescit virginis
11 December (Advent III, Gaudete):
Healey Willan: Prelude on Richmond
Gerald Near: Benedixisti, Domine, terram tuam
18 December (Advent IV):
J.S. Bach: Nun komm, der Heiden Heiland, BWV 659
Paul Manz: Toccata on Nun komm, der Heiden Heiland, Op. 5, No. 10
24 December (Christmas Eve):
Claude-Bénigne Balbastre: Quand Jésus naquit à Noël
Dieterich Buxtehude: In dulci jubilo, BuxWV 197
25 December (Christmas Day):
Louis-Claude Daquin: Noël X (Grand jeu et Duo)
Georg Böhm: Vom Himmel hoch da komm ich her
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