Elizabeth & Raymond Chenault Organists

A Program of Organ Duets

Bruton Parish Church Williamsburg, Virginia

Sunday, January 12, 2020 Five-Thirty O’clock in the Evening

Welcome & Prayer The Rev’d Chris Epperson, Rector

Choral (Sonate à Deux) (1992) Gaston Litaize (1909-1991)

Eclogue (1991) Richard Shephard (b. 1949)

Allegro for Organ Duet (1993) Philip Moore (b. 1943)

Shenandoah (1993) Nicholas White (b. 1967)

Phantom of the Opera Medley (2012) (arr. Chenault) Andrew Lloyd Webber I. The Phantom of the Opera (b. 1948) II. Think of Me III. Angel of Music IV. Music of the Night V. The Point of No Return VI. The Phantom of the Opera

Evensong (1989) Charles Callahan (b. 1951)

Variations on ‘Veni Creator Spiritus’ (2007) David Briggs (b. 1962)

A freewill offering will be gratefully received as you exit the church. Please give generously to support the ministry of this parish.

The organ duets played in this concert were commissioned by Mr. and Mrs. Chenault and have been widely performed by them.

The Chenaults are under the management of Phillip Truckenbrod Concert Artists, LLC (www.concertartists.com), record for Gothic Records, and The Chenault Organ Duet Library Collections are available from the Chenaults. ([email protected] or 375 Woodward Way, NW, Atlanta, GA 30305-4055)

Please visit the Chenault's new web page at www.chenaultduo.com.

Audio and video recordings of this performance in any capacity are strictly prohibited. Program Notes

CHORAL (SONATE À DEUX) (premiered at Northside Drive Baptist Church; Atlanta, GA, June 29, 1992 for the National Convention of the American Guild of Organists)

"Sonate à Deux" was commissioned by Elizabeth and Raymond Chenault and premiered by them for the 1992 National Convention of the American Guild of Organists in Atlanta, GA. Written by the French composer, Gaston Litaize, it was his last completed work, and is dedicated to the Chenaults. Written on the eve of his death in April 1991 and intended for the Easter service, it is the work of a devout man who has created a real manifesto of joy and hope in the Resurrection, basing his final work on a motif from the "Victimae paschali laudes" plainchant. It reveals the composer's strong predilection for Gregorian chant, which he paraphrases freely, as in an improvisation, using full-voiced harmonies, fugal elements, trills and dance-like sections in dialogue. The opening movement, "Choral," is a large-scale chorale fantasia based on the plainchant motif and its inversion. Notes by Raymond Chenault

ECLOGUE (premiered at York Minster Cathedral, England, July 13, 1991)

Eclogue was written in response to a commission from Raymond and Elizabeth Chenault. When writing it I had in mind to construct a piece which would be reflective rather than full of display and instrumental fireworks. The listener will be able to discern fairly simply what the principle influences were on this piece: the English composers of the earlier part of this century certainly loomed large in my mind when writing this. The work is based on a number of themes which are heard in different guises throughout. Notes by Richard Shephard

ALLEGRO FOR ORGAN DUET (premiered at Trinity College Chapel, Hartford, Connecticut, February 7, 1993)

Completed in the summer of 1992, this movement is in sonata form. The first theme is a vigorous one in 12/8, though there are occasional excursions into 6/4. The second theme is more lyrical, in 4/4 time, and is presented by the lower of the two players to a flowing quaver accompaniment. The development is reflective in mood, and there is much dialogue between the two players. The return of the opening theme is very much as at the beginning of the work, but the presentation of the second theme is, by contrast, loud and triumphant, presented on full pedal. There is a short coda, which brings the work to a triumphant conclusion. The Chenaults played the premiere performance on February 7, 1993, at Trinity College Chapel, Hartford, Connecticut. Notes by Philip Moore

SHENANDOAH (premiered at the Cathedral of the Incarnation, Garden City, New York, September 29, 1995)

This duet was based on the well-known American folk tune at the request of Ray and Beth Chenault. White conceived the work as an opportunity to explore the full-sounding, lush tonalities of the organ which are available to an even greater extent when played by two people. Rhythmic variety and playfulness pervade the piece throughout, after its straightforward opening, and combine with jazz-inspired chords and figurations. As the composition of the piece was in progress, several tributes to American composers of this century appeared on the page, such as Gershwin, Bernstein and Mancini, and melodic fragments from the songs “Somewhere,” “Strangers in the Night,” and especially “Moon River” are in evidence. Notes by Nicholas White

PHANTOM OF THE OPERA MEDLEY (premiered at All Saints Episcopal Church, Atlanta, GA; May 15, 2012)

"Phantom of the Opera," is Beth's and my favorite musical. We have seen it numerous times on stage in New York, San Francisco, and London and love the movie version, too. Naturally, when we decided to perform an "Evening in Paris" recital in honor of our 2011 summer sabbatical trip to France—complete with over 2,000 Powerpoint slides of our trip and verbal commentary by our friend, guide and interpreter, Francophile Paul Hamaty—we knew we had to arrange "Phantom" in honor of our visit to the Paris Opera House. The Opéra de Paris is probably the most famous opera house in the world, at least partly due to its use as the setting for Gaston Leroux's 1911 novel "The Phantom of the Opera," and Andrew Lloyd Webber's popular 1986 musical. The music was easily adapted to the incredible warmth and symphonic colors of the James G. Kenan Memorial Organ at All Saints’ Episcopal Church, Atlanta, built by John-Paul Buzard of Champaign, IL. Our "Phantom" Medley uses six highlights from Andrew Lloyd Webber's powerful and moving musical. Notes by Raymond Chenault EVENSONG (premiered at First Presbyterian Church, Greenville, S.C., January 19, 1990)

Evensong is based upon two familiar evening hymn-tunes from Wales and England--the lovely melody the Welsh call Ar hyd y Nos and Tallis’ Canon. The work is scored for organ duet, but could also be thought of as an orchestral piece, as it features in turn the meditative solo timbres of the organ: strings, flutes, and soft reeds in turn interpret the thematic material. The piece is unabashedly romantic--some of my fondest memories from childhood on are of songs for praise sung at twilight in the peaceful atmosphere of an evensong, and if you hear a bit of England along the way, don’t be surprised. The snow was on the ground when I finished the composition on 27 December 1989 in my home in Orwell, Vermont. Notes by Charles Callahan

VARIATIONS ON ‘VENI CREATOR SPIRITUS’ (premiered at All Saints’ Episcopal Church, Atlanta, Georgia, June 18, 2007 for the Regional Convention of the American Guild of Organists)

I composed my Variations on ‘Veni Creator Spiritus’ at the request of Raymond and Elizabeth Chenault for the 2007 Regional Convention of the American Guild of Organists in Atlanta, Georgia. The work consists of a theme followed by eight contrasting variations: Theme: The Gregorian Cantus Firmus (“Come, Holy Ghost, our souls inspire”) is played by player 1 on a clear pedal 4ft Prestant and accompanied modally by player 2 on a lush bed of Foundations and Undulants, mezzo piano. Variation 1: A very relaxed Intermezzo – Player 1 supplies a gentle, eighth-note filigree above player 2’s Cantus Firmus, this time played in longer note values on the Swell Trumpet stop. Player 2’s pedal (Foundations 16’ 8’) provides a Brahmsian cross-rhythmic (6/8) contour, contrasting yet complimenting player one’s essentially triple-time right hand embellishment. Variation 2: The theme is heard in bell-like, repeated staccato sixteenth notes – à la Messiaen – played by player 1 on Flutes 8’ 4’ and Larigot. Player 2 provides a rich and modal accompaniment, mainly consisting of oscillating eighth notes. The harmonic style remains modal, featuring frequent cross-relations and tritones. Variation 3: Très lent – Player 1 couples a number of 8ft Flutes and projects the Cantus Firmus at the top of the keyboard. Player 2 supports this melody with rich harmonies, much in the Cochereau style. Variation 4: Fanfare sur les jeux d’anches – a quasi-medieval texture, with both players playing in alternatim. Again tritonic harmonic influences abound in this variation, designed to show off the reed stops. Variation 5: Scherzo – light and airy. The theme is given in short, sixteenth-note sequences, accompanied modally. Parallism abounds! Variation 6: Ricercare – Lent et sérieux… a contrapuntal, neo-renaissance dialogue between Cornets, Vox Humanas, Sequialteras, Cromornes and Fagots. Imitation occurs at various intervals. Variation 7: Duo pour pédalier – on the Tutti. A neat alternative to going to the gym…and only to be played by organists who already know each other well (or perhaps hope to…!) Variation 8: Final – Both players provide a rhythmic and Toccata-like backdrop to the Cantus Firmus, played in octaves by the Pedals. The music drives inexorably forwards (through the final amen and cadential sequences) to its eventual destination. Notes by David Briggs

CD Recordings by the Chenaults on the Gothic Label are available at this recital and on their website www.chenaultduo.com

20th Century Organ Music for Two G49043 - Roswell United Methodist Church, Roswell, Georgia

20th Century Organ Music for Two, Vol. 2 G49073 - Washington National Cathedral, Washington, D.C. Christmas at Spivey Hall G49084 - Clayton State College, Morrow, Georgia 20th-21st Century Organ Music for Two, Vol. 4 G49292 Historic Skinner Organs Washington National Cathedral, Washington, D.C. St. Andrew's Episcopal Church, Amarillo, Texas Concert Favorites Gothic - 49305-06 Two solo organ CD set by Raymond Chenault - All Saints' Episcopal Church, Atlanta, Georgia The Chenaults

Named “The World’s Premiere Duo-Organ Team” by The Atlanta Journal & Constitution, Elizabeth and Raymond Chenault, duo-organists, have concertized extensively throughout the United States and in Europe. Specializing in works written for two performers, the Chenaults have commissioned and premiered over sixty organ duets, thereby making a significant historical contribution to this slighted area of organ literature. Because of their unique and refreshing repertoire, combined with their exciting and sensitive artistry, the Chenaults are in demand as recitalists and have established themselves as America’s leading duo-organists.

The Chenault’s duet career began in 1979 when Arthur Wills of England’s Ely Cathedral composed Toccata for Two for them, followed by John Rutter’s Variations on An Easter Theme in 1982. Both duets were premiered by the Chenaults at Washington Cathedral and are published. They have been featured recitalists at numerous national and regional conventions of the American Guild of Organists, the Association of Anglican Musicians, the American Society for Eighteenth-Century Studies, the International Summer Organ Festival at the Spreckels Organ Pavilion in San Diego, Helzberg Hall (Kauffman Center for the Performing Arts, Kansas City, MO), the opening recital for the East Texas Pipe Organ Festival, as well as the Crystal Cathedral, the Mormon Tabernacle, Washington National Cathedral, St. Paul’s Cathedral (London), Woolsey Hall (Yale University), York Minster Cathedral (England), the Atlanta Summer Organ Festival and the Piccolo Spoleto Festival. The Chenaults also have commissioned duets from Ronald Arnatt, David Briggs, Charles Callahan, Melinda Clark, Pamela Decker, Alan Gibbs, Naji Hakim, Gerre Hancock, Rachel Laurin, Gaston Litaize, Douglas Major, Jefferson McConnaughey, Philip Moore, Bruce Neswick, Dorothy Papadakos, Stephen Paulus, Craig Phillips, Daniel Pinkham, Robert Powell, Myron Roberts, Richard Shephard, Conrad Susa, Paul Lindsley Thomas and Nicholas White. Additionally, the Chenaults have arranged several pieces for organ duet, including several popular Christmas carols, Sousa’s “The Stars and Stripes Forever,” and Andrew Lloyd Webber’s “Phantom of the Opera.”

Mr. and Mrs. Chenault, natives of Virginia, completed their Bachelor of Music degrees from Virginia Commonwealth University studying organ with Lawrence Robinson. Mr. Chenault received his Master of Music degree in organ performance from the Cincinnati College-Conservatory of Music where he and Mrs. Chenault studied organ with Wayne Fisher. Upon graduation, Mr. Chenault became a Fellow in Church Music at Washington Cathedral studying with Dr. Paul Callaway. Other organ teachers include Harold Abmyer, Arthur Poister and John Fenstermaker.

Mr. and Mrs. Chenault are Organists and Choirmasters Emeriti of All Saints’ Episcopal Church, Atlanta, where from 1975-2018 they directed an extensive music program and concert series, as well as installed and played the dedication of a new organ in 2003 by John-Paul Buzard (Op. 29, IV/87 ranks). The Chenaults taught choral music at The Lovett School in Atlanta for 31 years, where Mr. Chenault was the Director of Fine Arts and Choral Director of the Upper School. Mrs. Chenault was Choral Director of the Middle School. Their choirs won many national competitions, and were featured at American Choral Director’s Conventions, Carnegie Hall, Avery Fisher Hall, Washington Cathedral, the Cathedral of St. John the Divine, and the Piccolo Spoleto Festival USA in Charleston, South Carolina. The Choir of All Saints’ has recorded two CDs for Towerhill Records, Inc. featuring Christmas music, A Christmas Alleluia (TH-71996) and spirituals, Promised Land (TH-71997) www.towerhill- recordings.com (1-860-560-7800). Mr. Chenault made his Carnegie Hall debut in 1996 conducting Mozart’s Coronation Mass featuring a 220-voice choir, soloists and orchestra. Additionally, Mr. Chenault is a frequent adjudicator for many choral festivals and is a published composer of choral and organ works. He is a member of ASCAP (American Society of Composers, Authors and Publishers).

Recitals by the Chenaults have been critically acclaimed by audiences and critics alike. They have been featured on “Pipedreams” (a weekly series of the American Public Radio network) and record on the Gothic Record Label (1-800-735-4720) www.gothicrecords.com. Their premiere recording 20th Century Organ Music for Two (CD 49043) was recorded at Roswell United Methodist Church (Georgia), 20th Century Organ Music for Two, Volume II (CD 49073) was recorded at Washington Cathedral, and their third CD, Christmas at Spivey Hall (CD 49084), was recorded on the 79 rank Ruffatti organ at Clayton State College, Morrow, Georgia. The Chenaults’ most recent recording—20th-21st Century Organ Music for Two, Volume IV (CD 49292) — was recorded on two historic organs by E. M. Skinner & Aeolian-Skinner (Washington National Cathedral and St. Andrew’s Episcopal Church, Amarillo, TX). Gothic Records just released Mr. Chenault’s first solo recording, Concert Favorites (G-49305-06)—a two CD set of rarely performed and recorded music of the 19th & 20th Century French, Belgian and Dutch organ schools—recorded on the magnificent Buzard organ, All Saints’ Episcopal Church, Atlanta. Their CDs have been on the best-selling list nationally and have received rave reviews. Several volumes of The Chenault Organ Duet Library Collection have been published by Warner Bros. Pub., Inc. and may be purchased directly from the Chenaults by using the order form on the Chenaults web page (www.concertartists.com/theChenaults.htmlRecitals by the Chenaults have been critically acclaimed by audiences and critics alike. They have been featured on Pipedreams (a weekly series of the American Public Radio network) and record on the Gothic Record Label (1-800-735-4720) www.gothicrecords.com. Their premiere recording 20th Century Organ Music for Two (CD 49043) was recorded at Roswell United Methodist Church (Georgia), 20th Century Organ Music for Two, Volume II (CD 49073) was recorded at Washington Cathedral, and their third CD, Christ) or via email at [email protected]. Their newest organ duets are published by Morning Star Music Publication under the Chenault Organ Duet Series.

The Chenaults were featured at the 1992 AGO Convention in Atlanta, premiering organ duets by Gaston Litaize and Naji Hakim, and on “Performance Today,” National Public Radio’s daily classical music program, which was broadcasted live from Spivey Hall in Morrow, Georgia. The Chenaults also premiered an organ duet by Stephen Paulus for the Conference of Anglican Musicians in Norfolk, Virginia, and were named “Organists of the Year” by the National Music Director Magazine, Sacred Music USA. The Chenault duo’s most recent duet premieres featured “Fantaisie à Deux” by Rachel Laurin and “A Spiritual Romp for Two” by Nicholas White at Peachtree Road United Methodist Church for the Atlanta Summer Organ Festival. The Chenaults are represented by Phillip Truckenbrod Concert Artists, LLC (www.concertartists.com): P.O. Box 6507, Detroit, MI 48206-6507; phone 860-560-7800; Charles Miller, President (email: [email protected]). Organ Specifications Dobson, Op. 96

GREAT (II) SWELL (III; enclosed) 16' Bourdon 61 pipes 8' Diapason 61 pipes 8' Principal 61 pipes 8' Bourdon 61 pipes 8' Gamba 61 pipes 8' Viole 61 pipes 8' Chimney Flute 61 pipes 8' Viole Celeste 61 pipes 4' Octave 61 pipes 4' Octave 61 pipes 4' Flute 61 pipes 4' Harmonic Flute 61 pipes 2-2/3' Twelfth 61 pipes 2-2/3' Nasard 61 pipes 2' Fifteenth 61 pipes 2' Octavin 61 pipes 1-3/5’ Seventeenth 61 pipes 1-3/5' Tierce 61 pipes IV Mixture 2' 244 pipes III Mixture 1-1/3' 183 pipes 8' Trumpet 61 pipes 16' Bassoon 61 pipes Swell to Great 8' Trumpet 61 pipes Positive to Great 8' Oboe 61 pipes Tremulant 4' Clarion 61 pipes Tremulant

POSITIVE (I) PEDAL 8' Principal 61 pipes 16' Principal 32 pipes 8' Gedeckt 62 pipes* 16' Subbass 32 pipes 4' Octave 62 pipes* 16' Bourdon 4' Chimney Flute 62 pipes* 8' Octave 32 pipes 2' Super Octave 62 pipes* 8' Gedeckt 12 pipes 1-1/3' Larigot 61 pipes 4' Super Octave 32 pipes II Sharp Mixture 1/2’ 122 pipes 16' Trombone 32 pipes 8' Clarinet 61 pipes 8' Trumpet 32 pipes Tremulant Great to Pedal Swell to Positive Swell to Pedal Positive to Pedal Zimbelstern

Great/Positive Manual Transfer 415/440 Transposer (* denotes stops that have an extra pipe for 415 C)

Summary

39 Registers * 41 Stops * 45 Ranks * 2,587 Pipes