DOCSLIB.ORG

Jordan Prescott, Organ

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jordan Prescott, Organ Jordan Prescott, Organ Three Impromptus, Op. 78 Samuel Coleridge-Taylor (1875-1912) I II III Fifth Symphonie pour Orgue, Op. 47 Louis Vierne (1879-1937) IV. Larghetto Vater unser im Himmelreich, BWV 636 J.S. Bach (1685-1750) Vater unser im Himmelreich Georg Böhm (1661-1733) Vater unser im Himmelreich, BWV 682 J.S. Bach Vater unser im Himmelreich, BWV 683 J.S. Bach Prélude et Fugue en Ut, Op. 13 Jeanne Demessieux (1921-1968) Rhapsody in D-flat Major, Op. 17, No. 1 Herbert Howells (1892-1983) Improvisation sur le ‘Te Deum’ Charles Tournemire (1870-1939) Reconstructed by Maurice Duruflé (1902-198) Friday, October 9, 2020 7:30 PM This recital is offered in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Program Notes Jordan Prescott, MM Three Impromptus, Op. 78 Samuel Coleridge-Taylor (1875-1912) Born in 1875 to an English mother and a descendant of African-American slaves, Samuel Coleridge-Taylor entered the Royal College of Music in London at age 15, where he went on to study composition with the great Sir Charles Villiers Stanford. He also found a mentor in Sir Edward Elgar who advocated for his music and secured the premiere of Coleridge-Taylor’s ‘Ballade in a minor’ at the famed Three Choirs Festival. Coleridge-Taylor found great success in the United States following his seminal cantatas on the poem Song of Hiawatha by Henry Wadsworth Longfellow. In 1904, Samuel Coleridge-Taylor made his first tour to the United States and was received at the White House by President Theodore Roosevelt, a rare honor in those days for men of African descent. The Three Impromptus, Op. 78 were written in 1911, the penultimate year of Coleridge-Taylor’s life. The first is divided into three sections. Section one is in binary form with the principal melody in F Major and the secondary melody in d minor. The quieter middle section is a quasi- saraband (a triple-meter dance emphasizing beat two) in A Major. The third section is a return to the opening material, this time without repeats and followed by a rousing coda. The second impromptu is a subdued passacaglia in C Major featuring a gently flowing melody over a repeated bass line. The middle section, in a minor, opens with a brass fanfare before the full tonal resources of the organ are unleashed. A rapid diminuendo leads back into a repeat of the opening passacaglia before ending with a coda. The third and final movement is a rousing march which playfully alternates between a duple and triple meter. Typical in a march, the opening two strains are followed by a third strain known as the trio. This quieter trio in F Major is followed by a return to the opening material which barrels through to the final chords on full organ. Fifth Symphonie pour orgue, Op. 47 Louis Vierne (1870-1937) IV. Larghetto 2020 marks the sesquicentennial of the birth of Louis Vierne. Born legally blind from congenital cataracts, Vierne studied at the Paris Conservatoire with Charles Marie Widor and assisted Widor for eight years at the church of St. Sulpice in Paris. In 1900, Vierne was appointed titular organist of the Cathedral of Notre Dame de Paris, a position which he held until his death in 1937. Though described by his students and colleagues as a warm and patient man, Vierne’s life was fraught with difficulty. A divorce from his wife, the loss of both his brother and his son on the battlefield in World War I, and a street accident which broke his leg and forced him to relearn his pedal technique all exhausted and physically drained him. While playing his 1,750th concert on the Grand-Orgue of Notre Dame, Vierne had a heart attack and collapsed at the organ, thereby fulfilling his oft-stated dream of dying on the organ bench at Notre Dame. © Jordan Prescott, 2020 Published in 1925 and dedicated to his friend Joseph Bonnet, the Fifth Symphonie pour orgue, Op. 47 is the penultimate in Vierne’s revered set of six symphonies. The highly chromatic fourth movement, marked Larghetto, opens with the principal theme harmonized over a bass ostinato. An unadorned solo voice leads into a second section which pours forward with added sonority and more intricate rhythms in the accompaniment. A second, even more chromatic theme is introduced here. The third section is written in a quintessential texture for Vierne’s slow movements: pedal solo accompanied by undulating chords on the string stops. Reaching a climax of intense chromaticism, the movement begins to subside with a return to the harmonized theme. One last brief pedal solo is followed by a rising and falling four-measure passage on the softest flute stop of the organ as the piece winds to a peaceful close. Vater unser im Himmelreich, BWV 636 J.S. Bach (1685-1750) Born in Eisenach and dying in Leipzig, Johann Sebastian Bach enjoyed an extremely varied and prolific career including tenures as court musician in Weimar, Kapellmeister (director of music) in Köthen, and most notably as Cantor of the Thomaskirche in Leipzig. In addition to at least two hundred cantatas, and several large-scale works for choir and orchestra, Bach’s solo organ repertoire numbers over three hundred pieces. Though there is no shortage of free pieces (non- chorale-based works) in his output such as the Preludes and Fugues, a preponderance of his music for the instrument involves settings of Lutheran chorales. Vater unser im Himmelreich is the Lutheran setting of The Lord’s Prayer, with both text and melody having been written by Martin Luther in 1539. A devout Lutheran, Bach set this melody no fewer than nine times. J.S. Bach’s Orgelbüchlein is a collection of 45 chorale preludes written mostly between 1708 and 1717 while Bach was living in Weimar. His Orgelbüchelin setting of Vater unser im Himmelreich, BWV 636 is a standard cantus firmus chorale, meaning the melody is played unadorned in the soprano voice. In this setting, the cantus firmus (chorale melody) is accompanied by three-voice counterpoint employing the suspirans figure, which always begins with a rest. The result of these repeated susprians motifs is the near-constant arpeggios we hear, which also outline the harmonic structure of the chorale. Vater unser im Himmelreich Georg Böhm (1661-1733) Georg Böhm was appointed organist at the Johanneskirche in Lüneburg, Germany in 1698. Two years later, in 1700, the young Johann Sebastian Bach arrived in Lüneburg to study at the Michaelisschule. It is now believed that during his two years there, Bach studied with Böhm and there is evidence that the two remained lifelong friends. Böhm is remembered for his development of the keyboard partita. Böhm’s setting of Vater unser im Himmelreich is squarely in the French tradition using abundant ornaments to embellish the chorale melody. Before moving to Lüneburg, Böhm lived in Hamburg and would have been influenced by the French operas which were performed there during that time. The cantus firmus is heard on a solo stop in the soprano and is accompanied by three-voice continuo below. © Jordan Prescott, 2020 Vater unser im Himmelreich, BWV 682, 683 J.S. Bach Published in 1739, Clavierübung III is sometimes referred to as the “German Organ Mass.” A massive prelude and fugue bookend this collection of paired chorale settings: one larger and one smaller corresponding to the Greater and Lesser catechism in contemporaneous Lutheran theology. BWV 682 and 683 are the large and small settings of Vater unser im Himmelreich. The larger of the two, BWV 682, is written in trio-sonata texture plus the cantus firmus in canon at the octave. Deeply fascinated by numerology and representation, Bach made Clavierübung III replete with references to Christian doctrine. BWV 682 is ninety-one measures long, which is the product of thirteen (the number of sin) and seven (the number of prayer). The Lombard rhythm in the trio voices (short-long) may represent the sighing sinner in need of the Lord’s protection while the chorale in canon may represent the strict rigidity of the Law. Much simpler than the larger setting, BWV 683 is written for just the manuals of the organ without pedal, as are all of the small settings in Clavierübung III. The cantus firmus is heard uninterrupted in the soprano voice accompanied by three-voice counterpoint below. The principal motif of the counterpoint is five descending stepwise notes which are derived from the fourth line of the cantus firmus. This motif is also heard in inversion. Evocative of a quiet prayer, this harmonious setting ends gently in the lower register of the keyboard. Prélude et Fugue en Ut, Op. 13 Jeanne Demessieux (1921-1968) Revered as a pedagogue, recording artist, and performer, Jeanne Demessieux cemented her place among the greatest French organ virtuosos of the twentieth century. Demessieux began her studies with Marcel Dupré in 1936 before entering his organ class at the Paris Conservatoire in 1939. She earned first prizes in organ performance and improvisation in 1941 and continued to study privately with Dupré for five more years before her debut recital at the Salle Pleyel in 1946. This was the start of an international concert career which totaled over 700 performances in seven countries and over 2,500 memorized works for solo organ. Demessieux served as titular organist at Saint-Esprit in Paris from 1933 to 1962 and at La Madeleine in Paris from 1962 until her untimely death from cancer in 1968 at the age of 47. The Prélude et Fugue en ut pour orgue, Op.
Load more

Recommended publications
  • Submitted to the Faculty of the Jacobs School of Music in Partial Fulfillment of the Requirements for the Degree, Doctor of Music, Indiana University December, 2015
    A HANDBOOK FOR INTRODUCING UNDERGRADUATES TO THE ORGAN AND ITS LITERATURE BY PATRICK EUGENE POPE Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2015 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Katherine Strand, Research Director __________________________________ Christopher Young, Chairperson __________________________________ Mary Ann Hart __________________________________ Marilyn Keiser September 17, 2015 ii Copyright © 2015 Patrick E. Pope iii ACKNOWLEDGEMENTS The writer wishes to acknowledge his organ teachers and professors, whose instruction led to a discerned need for this handbook and its creation: Donnie Beddingfield (1994-1998); William Bates (1998-2002); Marilyn Keiser (2002-2004); Todd Wilson (2008- 2009); and Christopher Young (2009-present). Their love and passion for teaching, performing, and researching has kindled the writer’s interest in the organ, its music, and its literature. The writer is a better musician because of their wisdom and encouragement. The writer wishes to thank the Reverend Kevin Brown, rector, and the parish of Holy Comforter Episcopal Church, Charlotte, North Carolina for their encouragement during the final stages of the doctoral degree. The writer wishes to thank the members of his doctoral research committee and other faculty for their guidance and professional support: Katherine Strand, research director; Christopher Young, chairperson; Janette Fishell; Marilyn Keiser; Mary Ann Hart; and Bruce Neswick. In particular, the writer is grateful to Professor Young for his insightful and energizing classroom teaching in a four-semester organ literature survey at Indiana University, in which the writer was privileged to take part during master’s and doctoral coursework.
    [Show full text]
  • Bärenreiter Organ Music
    >|NAJNAEPAN KNC=JIQOE? .,-.+.,-/ 1 CONTENTS Organ Music Solo Voice and Organ ...............30 Index by Collections and Series ...........4–13 Books............................................... 31 Edition Numbers ....................... 34 Composers ....................................14 Contemporary Music Index by Jazz .............................................. 29 A Selection ..............................32 Composers / Collections .........35 Transcriptions for Organ .........29 Photo: Edition Paavo Blåfi eld ABBREVIATIONS AND KEY TO FIGURES Ed. Editor Contents Ger German text Review Eng English text Content valid as of May 2012. Bärenreiter-Verlag Fr French text Errors excepted and delivery terms Karl Vötterle GmbH & Co. KG Lat Latin text subject to change without notice. International Department BA Bärenreiter Edition P.O. Box 10 03 29 H Bärenreiter Praha Cover design with a photograph D-34003 Kassel · Germany SM Süddeutscher Musikverlag by Edition Paavo Blåfi eld. Series E-Mail: paavo@blofi eld.de www.baerenreiter.com a.o. and others www.blofi eld.de E-Mail: [email protected] Printed in Germany 3/1206/10 · SPA 238 2 Discover Bärenreiter … www.baerenreiter.com Improved Functionality Simple navigation enables quick orientation Clear presentation Improved Search Facility Comprehensive product information User-friendly searches by means of keywords Product recommendations Focus A new area where current themes are presented in detail … the new website3 ORGAN Collections and Series Enjoy the Organ Ave Maria, gratia plena Ave-Maria settings The new series of easily playable pieces for solo voice and organ (Lat) BA 8250 page 30 Enjoy the Organ I contains a collection of stylistically varied Bärenreiter Organ Albums pieces for amateur organists Collections of organ pieces which are equally suitable for page 6-7 use in church services and in concerts.
    [Show full text]
  • Dissertation Body
    Summary of Three Dissertation Recitals by Leo R. Singer A dissertation submitted in partial fulfillment Of the requirements for the degree of Doctor of Musical Arts (Music Performance) in the University of Michigan 2020 Doctoral Committee: Professor Richard Aaron, Chair Professor Colleen Conway Assistant Professor Joseph Gascho Professor Andrew Jennings Professor James Joyce Leo R. Singer [email protected] ORCID iD: 0000-0002-2741-1104 © Leo R. Singer 2020 ACKNOWLEDGMENTS This dissertation was made possible by the incredible faculty at the University of Michigan. Each course presented new information and ways of thinking, which in turn inspired the programming and performing choices for these three dissertation recitals. I would like to thank all the collaborators who worked tirelessly to make these performances special. I also must express my sincere and utmost gratitude to Professor Richard Aaron for his years of guidance, mentorship and inspiration. Lastly, I would like to thank my parents, Scott and Rochelle, my sister, Julie, the rest of my family, and all of my friends for their unwavering support throughout the many ups and downs during my years of education. !ii TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT iv RECITALS I. MUSIC FROM FRANCE 1 RECITAL 1 PROGRAM 1 RECITAL 1 PROGRAM NOTES 2 BIBLIOGRAPHY 8 II. MUSIC FROM GERMANY AND AUSTRIA 10 RECITAL 2 PROGRAM 10 RECITAL 2 PROGRAM NOTES 12 BIBLIOGRAPHY 26 III. MUSIC FROM AMERICA 28 RECITAL 3 PROGRAM 28 RECITAL 3 PROGRAM NOTES 29 BIBLIOGRAPHY 37 !iii ABSTRACT In each of the three dissertation cello recitals, music from a different nation is featured. The first is music from France, the second from Germany and Austria, and the third from America.
    [Show full text]
  • Louis Vierne's Pièces De Fantaisie, Opp. 51, 53, 54, and 55
    LOUIS VIERNE’S PIÈCES DE FANTAISIE, OPP. 51, 53, 54, AND 55: INFLUENCE FROM CLAUDE DEBUSSY AND STANDARD NINETEENTH-CENTURY PRACTICES Hyun Kyung Lee, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Jesse Eschbach, Major Professor Charles Brown, Related Field Professor Steve Harlos, Committee Member Justin Lavacek, Committee Member Benjamin Brand, Director of Graduate Studies of the College of Music Warren Henry, Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School Lee, Hyun Kyung. Louis Vierne’s Pièces de Fantaisie, Opp. 51, 53, 54, and 55: Influence from Claude Debussy and Standard Nineteenth-Century Practices. Doctor of Musical Arts (Performance), May 2016, 47 pp., 2 tables, 43 musical examples, references, 23 titles. The purpose of this research is to document how Claude Debussy’s compositional style was used in Louis Vierne’s organ music in the early twentieth century. In addition, this research seeks standard nineteenth-century practices in Vierne’s music. Vierne lived at the same time as Debussy, who largely influenced his music. Nevertheless, his practices were varied on the basis of Vierne’s own musical ideas and development, which were influenced by established nineteenth-century practices. This research focuses on the music of Louis Vierne’s Pièces de fantaisie, Opp. 51, 53, 54, and 55 (1926-1927). In order to examine Debussy’s practices and standard nineteenth-century practices, this project will concentrate on a stylistic analysis that demonstrates innovations in melody, harmony, and mode compared to the existing musical styles.
    [Show full text]
  • In This August, 2019 Issue the Dean's Column
    Website: http://detroitago.org/ Visit Us on Facebook In This August, 2019 Issue The Dean’s Column Members News & Events (“The List”) Chapter News & Events For Sale The Dean’s Column I really can’t believe how summer has slipped away. Hoping it’s been a good summer for everyone and an opportunity for us to re-charge the batteries for the coming fall and Advent season. In the midst of choirs starting up again, preparation for special Advent and Christmas music, don’t forget about AGO programming. Andrew Herbruck, our Sub-Dean, has been working very hard this summer to put a schedule together for the coming year. And it is packed with great events. You will not want to miss any of them. In addition to the usual events including Epiphany banquet, organ crawl, installation of officers, scholarship auditions and scholarship/membership recital, there are two exciting recitals in the fall, a lecture/recital on music of Vierne and the list goes on and on. A special thank you to Andrew for his hard work on this endeavor. Speaking of installation of officers, this evening promises to be a delightful one. Wednesday, October 23 will be our annual installation of officers and board members for the new year. The evening includes a dinner sponsored by the host church, St. Paul’s UMC in Rochester and a recital by Johan Vexo, organist at Notre Dame/Paris. You will not want to miss this evening of good fellowship, friendship, sharing stories with colleagues and beautiful music. So please, if you have not done so, mark your calendars now for October 23 and save that date.
    [Show full text]
  • WALTER GRAY Violoncello JOSEPH ADAM Piano
    X ST. JAMES CATHEDRAL X SEATTLE X 27 OCTOBER 2020 X 7:00 PM X WALTER GRAY violoncello JOSEPH ADAM piano Five Elegies for solo violoncello (1985) Bern H. Herbolsheimer Lento, un poco rubato; semplice 1948–2016 Lento, un poco rubato; appassionato Allegro; ostinato Mesto; cantabile Andante; tranquillo Sonata in F Major, op. 99 Johannes Brahms Allegro vivace 1833–1897 Adagio affettuoso Allegro passionato Allegro molto BERN HERBOLSHEIMER received recognition throughout the United States and Europe for over 500 works ranging from ballet to symphonic, operatic, chamber and choral works. His numerous major commissions and premieres included ballets for the Frankfurt Ballet, the Atlanta Ballet, the Pacific Northwest Ballet, and the Eugene Ballet. His first opera, Aria da Capo, won first prize in the National Opera Association's New Opera Com- petition. Mark Me Twain, his second opera, was commissioned and premiered in 1993 by the Nevada Opera for its Silver Anniversary season. “The opera is filled with attractive, dramatic, often eloquent music... it could become an American work of genuine significance.” His Symphony No. 1 was premiered by the Florida Symphony under conductor Kenneth Jean. Other orches- tral music was premiered by the Seattle Symphony, Northwest Symphony Orchestra, and Music Today in New York under the direction of Gerard Schwarz. His vocal and choral works have been performed in Portugal, Spain, Germany, France, Italy, Australia, South America, Canada, Norway, Russia, Hungary, Japan, and throughout the United States. According to the Seattle Weekly, who named him as Best (Classical) Composer in 2005, “no Seat- tle composer has a more assured and polished craft than Herbolsheimer.
    [Show full text]
  • Composers for the Pipe Organ from the Renaissance to the 20Th Century
    Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today.
    [Show full text]
  • Felix-Alexandre Guilmant
    OHS members may join as many chapters as they desire. Several chapters publish excellent newsletters with significant scholarly con- tent. Chapter and Newsletter, Membership Founding Date Editor, Address (•Datejoin�d OHS) andAnnual Membership Boston Organ Club Newsletter,E. A. Alan Laufman 1965,1976• Boadway, $5 Bo11. 104, Harrirville, NH 03460 Central New York, The Coupler, $5 Culver Mowers 1976 2371 Slaterville Rd., Bo11. 130, Brookt.onclale, NY The Organ Historical Society 14817 Box26811, Richmond, Virginia23261 Chicago Midwest, TheStopt Diapason, Julie Stephens 1980 SueanR.Friesen, $12 620 W. 47th St., Western (804)353-9226 Springe, IL 60668 OHS 0r,an Archive at Westminster Choir Collete, EasternIowa, 1982 Newsletter, AugustKnoll Princeton, New Jersey Mark Nemmers, $7 .5 0 Boir.486 Wheatland, IA 62777 TheNational Council GreaterNew York TheKeraulophon, Alan Laufman (as Officers and Councillors (all terms expire 1989) City, 1969 John Ogasapian,$5 above) William C.Aylesworth ............................... President Greater St . .uiuis, The Cypher, Eliza- John D. Phillippe 3230Harriaon, Evanst.on, IL60201 1975 beth Schmitt, $5 4336 DuPage Dr. Kristin Gronning Farmer ........................ Vice President Bridget.on, MO 63044 3060 Fraternity ChurchRd., Winet.on-Salem, NC 27107 Hilbus (Washington- Where the Tracker Peter Ziegler Michael D. Friesen .................................. Secretary Baltimore), 1970 Action Is, Carolyn 14300 Medwlck CL 2139 Haaeell Rd., Hoffman Eatate1, IL60196 Upper Marlboro, MD Fix, $4 20772 David M. Barnett ...................................TreaBUrer 423 N. Stafford Ave., Richmond, VA 23220 Mid-Hudson(New The Whistlebox, June Marvel Crown Hill Rd. James J.Hammann .........Councillor for Finance & Development York), 1978 Robert Guenther, $5 1787 Univenlity, Lincoln Park, MI 48146 Wapplngen Fall■, NY 12690 Timothy E. Smith .............
    [Show full text]
  • WARD, ADAM MICAH, D.M.A. from Imagination to Improvisation to Realization: a Study of Pieces by Four Organists. (2009) Directed by Dr
    WARD, ADAM MICAH, D.M.A. From Imagination to Improvisation to Realization: A Study of Pieces by Four Organists. (2009) Directed by Dr. William P. Carroll and Dr. Joseph A. Dipiazza. 24pp. The purpose of this research was to examine a representative portion of organ repertoire that was initially improvised and later written or transcribed for organists to study and perform. The pieces examined were Johann Sebastian Bach’s “Fantasia and Fugue in G minor” (BWV 542), Louis Vierne’s Trois Improvisations pour Grand Orgue, Gerre Hancock’s “Fantasy on ‘St. Denio’” and Charles Tournemire’s Improvisation sur le “Te Deum” from his Cinq Improvisations. Each piece was examined for its value as having been improvised before it was published. In the case of the Bach and the Hancock, the pieces were improvised and later written by the composer. In the case of Tournemire and Vierne, the pieces were “reconstituted” by Maurice Duruflé from recordings made by the organists themselves. Representative information about each composer or improvisateur was collected and studied with reference to their philosophies regarding improvisation and this was used to analyze the pieces themselves. The final outcome of this research was a lecture recital of each of the pieces using the research as a way of informing the performance. The recital included information about the way each improvisateur constructed their improvisations and about how each improvisation came to be put in print. FROM IMAGINATION TO IMPROVISATION TO REALIZATION A STUDY OF PIECES BY FOUR ORGANISTS by Adam Micah Ward A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2009 Approved by ____________________________________ Committee Co-Chair ____________________________________ Committee Co-Chair APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
    [Show full text]
  • Presidents' Day Conference French Music in America
    Presidents’ Day Conference French Music in America – Monday 15, 2021 – Watch the Conference on our Facebook page by clicking here. Watch the Conference on YouTube by clicking here. Conference Schedule The 2021 Conference will be held only virtually. The Conference may be viewed via our NYCAGO Facebook Page or YouTube Channel. Each of the three main sessions will last no longer than one hour. There is no registration for any event; simply click and view. They will be archived on our YouTube Channel for later viewing. Monday, February 15th 3 PM – Panel Discussion: The French Influence in Contemporary Organ Building, Composition, and Performance with Didier Grassin, President of Noack Organ Company Rachel Laurin, prolific composer and concert organist, devoted to composition, recitals, master-classes, and lectures Stephen Tharp, internationally acclaimed concert organist, recording artist, and Artist-in-Residence of Saint James Episcopal Church on Madison Avenue James Kennerley, Chapter Dean, will serve as moderator. 5 PM – Lecture-Recital: Performing French Classical Organ Repertoire Today by Dr. Andrew Henderson Director of Music and Organist at Madison Avenue Presbyterian Church, Chair of the Organ Department at the Manhattan School of Music, and Associate Organist of Temple Emanu-El, Dr. Henderson will examine how to artfully and idiomatically register and perform music of the French Classical tradition on the modern North American organ. Music of Boyvin, Clerambault, Couperin, and de Grigny. 6:30 PM – Zoom Social for NYCAGO Members An opportunity for fellowship and discussion before the evening recital. No preregistration is required. Simply click here for the Zoom link or email James Wetzel to be sent the link directly.
    [Show full text]
  • Some Aspects of the French Organ Symphony, Culminating in the Symphonie-Passion of Marcel Dupre, Together with Three Recitals Of
    AIO.' SOME ASPECTS OF THE FRENCH ORGAN SYMPHONY, CULMINATING IN THE SYMPHONIE-PASSION OF MARCEL DUPRE, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF D. BUXTEHUDE, J. S. BACH, N. DELLO JOIO, P. HINDEMITH, S. KARG-ELERT, J. LANGLAIS, W. LATHAM, F. LISZT, N. LOCKWOOD, F. MARTIN, D. PINKHAM, L. SOWERBY, AND L. VIERNE DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts By Patricia June Kean, B. M., M. M. Denton, Texas August, 1973 1973 PATRICIA JUNE F'ORMAN KEAN ALL RIGHTS RESERVED Kean, Patricia June, Some Aspects of the French Organ Symphony, Culminating in the Symphonie-Passion of Marcel Dupre, Together With Three Recitals of Selected Works of D. Buxtehude, J. S. Bach, N. Dello Joio, P. Hindemith, S. Karg-Elert, J. Langlais, W. Latham, F. List, N. Lockwood, F. Martin, D. Pinkham, L. Sowerby, and L. Vierne. Doctor of Musical Arts (Organ Performance), August, 1973, pp. 31, bibliography, 33 titles. The lecture recital was given July 10, 1973. The Symphonie-Passion by Marcel Dupre was performed following a lecture on various factors that influenced the development of the organ symphony in France. In addition to the lecture recital, three other public recitals were performed, including solo compositions for the organ and three chamber works for organ and instruments. The first solo recital, including works of J. S. Bach, P. Hindemith, L. Sowerby, and L. Vierne, was performed on June 4, 1969. On April 17, 1970 the second solo recital was performed.
    [Show full text]
  • Louis Vierne's Pièces De Fantaisie Pour Grand Orgue
    LOUIS VIERNE’S PIÈCES DE FANTAISIE POUR GRAND ORGUE: ITS SIGNIFICANCE IN THE HISTORY OF ORGAN MUSIC by Woosug Kang Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2017 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Massimo Ossi, Research Director ______________________________________ Christopher Young, Chair ______________________________________ Janette Fishell ______________________________________ Emile Naoumoff March 27, 2017 ii Preface Louis Victor Jules Vierne (1870–1937), the Organist of Notre-Dame Cathedral, Paris, was a virtuoso organist and a world-renowned performer. His organ music, especially his Six Symphonies pour Grand Orgue, is widely regarded as the pinnacle of the French Romantic organ repertoire. Having studied with Charles Marie Widor (1844–1937) and having been inspired by César Franck (1822–1890), Vierne studied, developed, and contributed to the renaissance of French organ music at the turn of the 20th century. Between 1926 and 1927, Louis Vierne composed Pièces de Fantaisie pour Grande Orgue, displaying his most mature writing style. He performed Pièces de Fantaisie pour Grande Orgue and his Six Symphonies pour Grand Orgue frequently during his concert tours such as his tour of America in 1927. On June 2, 1937, the last set of Pièces de Fantaisie along with his recently published work, the Triptyque, was programmed for what ultimately became his final recital. Vierne passed away on the organ bench during this concert. Even following his death, Vierne’s Pièces de Fantaisie stands as a unique collection in organ literature, as it offers varied inspirations; some pieces derive from the French tradition of writing with musical titles that relate to the Baroque era, some pieces are poetic, and some pieces are visual.
    [Show full text]