A11I
LEO SOWERBY'S SOLO ORGAN COMPOSITIONS
BASED ON HYMN TUNES
THESIS
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Margaret P. Mitchell, B. M. Denton, Texas June, 1966 TABLE OF CONTENTS
Page LIST OF ILLUSTRATIONS iv Chapter
I. INTRODUCTION AND BIOGRAPHY. .. .*. . 1
II. SOWERBY'S STYLE ...... 7
III. SOWERBY'S COMPOSITIONS BASED ON HMIN TUNES . . 15
APPENDIX . . . * ...... 36
BIBLIOGRAPHY - - - - - . - - - . - - - - ...... 38
1ii LIST OF ILLUSTRATIONS
Figure Page
1. Melody from "Fancy Free," the Second of Two Sketches ...... 8.8
2. Melody from Arioso ...... 9 3. Example of Pianistic Technique Found in Pageant of Autumn . . . . . * ...... 0. 11
4. Example of Pianistic Technique Found in Requiescat.inPace...... 12
5. Example of Difficult Pedal Passage Found in Pageant . * ...... 12
iv CHAPTER I
INTRODUCTION AND BIOGRAPHY
Sowerby's compositions based on hymn tunes cover the extent of his career--from 1913 to the present. There are two purposes in selecting them for study: to describe the development of Sowerby's musical style; and to show, from a study of these compositions, the various devices, forms, and techniques which are effective in this area of composi tion in general.
Sowerby's contributions to the repertory of religious music are inseparably bound to certain biographical data.
Therefore, a short biography in this chapter precedes a general discussion of Sowerby's style in Chapter II. This,
in turn, is followed in Chapter III by a specific discussion
of Sowerby's compositions based on hymn tunes.
In order to show the importance of hymn-tune preludes
in relation to Sowerby's other organ compositions, a complete
list of his organ works is included in the Appendix.
Leo Sowerby occupies a very important position in
American music because of his contrioutions to the many
facets of its development. He has continually made efforts to raise the standards of ooth secular and sacred music.
He has composed for such media as orchestra, organ, band,
chamber orchestra, piano, and chorus. In all these fields
1 a, of composition he has been successful, although in varying degrees.
Sowerby was born May 1, 1895 in Grand Rapids, Michigan.
When he was seven years old, he began the study of music.
At the age of eleven, he bought a harmony textbook, mastered it, and began to compose. After moving to Chicago to attend high school, he studied piano, organ, and composition with
Calvin Lampert. As a student at the American Conservatory, he studied composition with Percy Grainger and Arthur Olaf
Anderson.
In 1917, Sowerby joined the armed services and became bandmaster with the rank of second lieutenant. In 1921, after completing his service, he was admitted to the
American Academy in Rome, where he had the distinction of being the first Fellow in music.
Before going to the Academy, Sowerby's interest lay primarily in the field of secular music. His writing was influenced by folk music and jazz, as can be seen in his
t of Four, an orchestral suite written in 1917. However, at the American Academy, Felix Lamond, music director, introduced Sowerby to English cathedral music. Although
Lamond's interest was primarily in the music of Charles
Stanford and Charles Wood, Sowerby preferred the music of Ralph Vaughan Williams and Herbert Howells.' Since that
1Leonard Ellinwood, "Leo Sowerby--With Vigor," American Guild of Organists Quarterly (April, 1965), 3 time he has written a vast amount of organ and choral music, and has still maintained an interest in symphonic music, as is readily seen by his achievements in that field.
Sowerby's first recognition as a composer came in 1913, when his Concerto for Violin was included in a program of
American works presented in Chicago. In 1917, Eric DeLamarter, a prominent Chicago organist and composer of the time, directed an entire program of his works. As a result of this perform ance, Frederick Stock, conductor of the Chicago Symphony, asked Sowerby to write a work for the Chicago orchestra. The result was his Set of Four, an orchestration of a suite origi nally written for piano and violoncello.2 Later important symphonic works include Comes Autumn Time, an overture written in 1916, which is popular both in its original version for organ and as transcribed for orchestra; Mediaeval Poem for organ and orchestra, written in 1926; Prairie, an important addition to the list of American symphonic poems, written in
1929; Concerto for Organ and Orchestra, written in 1937; three symphonies; two piano concerti; and numerous other works.
Sowerby's first chamber piece, Serenade for String Quartet, was written in 1916 as a birthday present for Elizabeth Sprague
Coolidge. Since that time he has written many other chamber works, including Quintet for Flute, Oboe, Clarinet, Bassoon and Horn, Sonata for Trumpet and Piano, Sonata for Violin and
Piano, and Poem for Viola and Organ.
2Burnet Tuthill, "Leo Sowerby," Thee Musical Quarterly, XXIV (July, 1938), 249-250. 4
In the fields of piano compositions and vocal solos,
Sowerby's compositions are fewer in number, but deserve mention. Some of the more well-known songs include With
Strawberries, Prayer of the Singer, and Three Psalms. Some well-known piano compositions include Synconata, written for
Paul Whiteman, Toccata, Florida Suite, Cantus Heroicus, and
From the Northland.
Sowerby is best known as an organ composer. He has
established the reputation of being one of the outstanding,
if not the most outstandingr, amon,: organ composers of America.
Many of his organ compositions are in the standard repertoire
for organists, along with the music of Bach, Franck, Vierne,
and other distinguished composers. Some of his principal
organ works will be discussed in Chapter II, as Sowerby's
style is studied.
Sowerby chose to be first and foremost a musician of
the church. Leonard Ellinwood has remarked that more than
any person today, Sowerby "embodies the best of the complete
musician: organist, choirmaster, teacher, and composer. "3
His vocation as a church musician began in 1927, when he
became organist-choirmaster at St. James Episcopal Cathedral
in Chicago. The following year he was confirmed in the
3Leonard Ellinwood, "Leo Sowerby--With Vigor," American Guild of Organists Quarterly (April, 1965), p. 65.- 5
Church. Since that time he has been a dedicated church musician in all respects and has contributed much to the music of the Church, both as an advisor and a composer. In 1937 he joined Canon Charles Winfred Douglas on the Episcopal
Hymnal Commission, and later contributed five hymn arrange ments to The Hymnal 1940. In 1956 he submitted an official statement, Ideals in Church Music, to the Joint Commission on Church Music of the Episcopal Church. In this statement, he outlined the development of church music and stated his own philosophy of its application.
So in the field of church music, we must ever strive to offer to Him the best we have and know. By the best, I do not mean the music of one certain style, but the great music of all periods, that which has most fully described the longings and aspirations of all those great composers who knew that their genius and abilities were vouchsafed to them as a sacred trust by their Divine Creator and who so nobly have striven to return to Him, in praise and tha ksgiving, the best that lay in them to create.
In 1962 Leo Sowerby moved from Chicago to Washington, D. C., to create The College of Church Musicians at the Washington
Cathedral. He now teaches about a dozen carefully selected
fellows in many fields of church music, including composition,
service playing, improvisation, orchestration, and conducting.
His choice in making of himself a dedicated church musician
4 Leo Soweroy, Ideals in Church Music (Greenwich, 1956), pp. 20-21. 6
is easily understood after reading his definition of the duties of a church musician.
In dedicating his work to the praise of the Almighty, man confirms his own dignity and the musician prides himself upon upholding the highes standards of the art he professes to serve.
Sowerby has written many organ and choral compositions
inspired by the liturgy and the congregational hymns of the
Episcopal Church. He has written six Communion services, numerous canticles, and approximately fifty anthems. Two of his six cantatas have been extremely well received. The
Passion cantata, Forsaken of Man, written in 1940, has fairly well supplanted John Stainer's Crucifixion in many 6 places. In 1946 he received the Pulitzer Prize for his
Canticle of the Sun, a cantata for mixed chorus and orchestra, based on Matthew Arnold's translation of St. Francis' canticle.
Hymn tunes have been a significant influence in Sowerby's works, He has written twenty-one organ compositions based on hymn tunes. Chapter III will treat the analysis of these compositions.
5 Leo Sowerby, "Church Musician Duties Defined in CCC Lecture," The Diapason, L (December, 1958), 41. 6 Leonard Ellinwood, "Leo Sowerby--With Vigor," American Guild of Organists artery (April, 1965), p. 66. CHAPTER II
SOWERBY'S STYLE
Burnet Tuthill has described Leo Sowerby's style as a
"type of contrapuntal harmonic background that is of his own imagination.'"This and other similar statements are typical of attempts to describe Sowerby's style. It is distinctly his own and is not readily comprehended by the listener.
Albert Riemenschneider has aptly stated that upon first hearing, "one is at first repelled, then set in wonderment, then interested. ,2
Because of Sowerby's distinct style, it would be diffi cult to classify his work as belonging to a particular school of writing, although he himself has claimed affinity to the Franck-D'Indy school.3 Throughout his music, influ ences of impressionism, neo-classicism, and American jazz can be found. This contrast and versatility in his music can be found in his orchestral suite, Set of Four, with its jazz-like quality; Carillon for organ, with its lush
1 fBurnet C. Tuthill, "Leo Sowerby, " Th Musical DuartIerly, XXIV (July, 1938), 255.
2 Albert Riemenschneider, "Leo Sowerby's Works for the Organ," The Diapason, XXIV (February, 1933), 29.
30. G. Parks, "A Critical Analysis of the Works of Leo Sowerby, " unpublished master's thesis, Department of Music, North Texas State University, Denton, Texas, 1941, p. 18.
7 8 romantic harmony; and Mediaeval Poem for orxan and orchestra, which has a serious, ecclesiastical nature.
This versatility in writing; is ac.ain seen in Sowerby's melodies, which Tuthill has placed in two cate _ories:
1. Those which are best characterized as tunes and are closely knit in form and have a rhyth mic verve and snap.
2. Those which are free in both these aspects, and in a sense, are wanderin:, perhaps even meandering. 4
Tuthill points out that the melodies of the first type have a "lilt and syncopation that make them akin to folk or popular music and have a quality that definitely marks them as American. "5 They are characterized by a rhythmic crisp ness and simplicity. An example of this type can be found in "Fancy-Free," from Two Sketches. (See Figure 1.)
Fis. l--Two Sketches, "Fancy-Free"
s preference for this type of melody probably ccntrioutes to his fondness for writing hymn-tune compositions.
4 3urnet C. Tuthill, "Leo Sowerby," The Musical Quarterly, XXIV (July, 1938), 252.
9 Ibid., p. 252. 9
The melodies of the second type have a wistful flow which does not follow usual principles of melodic construction.
These themes may appear to wander because they are unbound by traditional four-measure phrases. Tuthill describes a simi larity between some of these melodies and certain melodies of
Brahms and refers to the tendency of both composers to write extended and continuing phrases, a characteristic that tends to "postpone the ready apprehension and understanding of the music." 6 An example of this type is found in Arioso. (See
Figure 2.)
33
Fi . 2--Arioso
:dieienscineider has also descrioed this extended phrase
a truck sure , explainin ' that it i s 3overby ' s "intriguing manner
of keepig uc a state of suspense wricc, when followed through, uvikes ar of thm onief charms of his work, out w. ich, when
63urnet C. Tuthill, "Lea Soweroy, " The IMusical Quarterly, XIV (Juli , 1958), 253. 10 considered piecemeal, is one of the main reasons for the
difficulties in the way of a quick understanding of his aims. "7
Use of the second type of melody is limited in the
hymn-tune compositions because of the conservative,
traditional nature of the hymn-tune melodies. However, when
setting the hymn-tune melodies of a freer nature, Sowerby
employs this wandering type of melody. Examples of such use can be found in Prelude on "Were You There" and Prelude on "Ad Perennis Vitae Fontem."
Generally, Sowerby's harmony is characterized by an
illusive tonality, conventional key relationships, and some
polychordal writing. Chord-by-chord analysis of his harmonic
scheme reveals nothing strikingly unique, although he tends
to use seventh, ninth and eleventh chords more frequently
than most of his contemporaries. He will often build these
chords gradually, slowly increasing dissonance, and then releasing the tension by a gradual return to consonance.
Linear analysis of Sowerby's style, however, is quite revealing, as his harmony is greatly influenced by contra puntal devices, such as augmentation and diminution of the theme. He will sometimes change intervals in the theme to make these techniques give the effect he desires. However, as Riemenschneider points out, he will sometimes use a melody and its inversion, no matter what the result, depending upon
T Albert Riemenschneider, "Leo Sowerby's Works for the Organ," The Diapason, XXIV (February, 1933), p. 29. 11
the flow of voices to carry the situation to the end.8
Sowerby also frequently uses thematic material for an
ostinato figure. Bell motives--short ostinato figures
which give the melodic effect of the traditional Westminster
chimes--are commonly found in his works. Another device
frequently used to establish tonality is pedal-point.
A distinctive characteristic of Sowerby's organ works
is the abundance of pianistic techniques. His works are
full of fast-moving, scale-like passages, sometimes coupled
with thick chords, as can be found in his Pageant of Autumn.
(See Figure 3.)
I
AFLL
Fig. 3-Paeant of Autumn
Another example of pianistic technique is found in
8 Ibid., p. 29 12
Requiescat in Pace, where he uses an arpeggiated figure with the melody in the right hand. (See Figure 4.)
I L _ _
I- TI FfN T TF I I [
broadening -
I LL I I TI ! C-7 -1 d iTj C,
TI q.(:L ; 00L
Ti
Fig. 4--Requiescat in Pace
Sowerby's performing prowess shows itself in the brilliant and difficult pedal passages found in Pazeant, probably his most technically difficult organ composition.
(See Figure 5.)
bit 1 2t:42, A- 60. v I E ij 64=4- 6;:
VC)
Fig. 5--Pageant 13
Sowerby's facility and experience at orchestral writing has had a distinctive influence on his organ style. This influence is seen in his music in several ways. He makes frequent use of solo stops, such as the English horn and oboe, above a string accompaniment. When such passages appear, the angularity of some of his melodies is softened by the mild string accompaniment. Orchestral crescendo effects are used, but almost always by a gradual building of sound. Tuthill remarks that Sowerby has an "uncanny sense of climax." 9
Sowerby's early work was clearly influenced by the
Romantic and Impressionistic schools. Allan Bacon, in describing Sowerby's Madrigal, published in 1920, remarks that the "combination of sheer lyric beauty and luscious harmony results in a rapt intensity of utterance equalled only by Franck at his best."10 Rich, chromatic harmony pre vails throughout the composition. Carillon, one of Sowerby's most popular compositions, is also typical of his early style. It is a descriptive piece, based on a bell motive.
Sowerby also employs his typical full-organ climax, beginning the piece softly, building up to the climax, and diminishing it gradually to the end.
9Burnet C. Tuthill, "Leo Sowerby," The Musical Quarterly, XXIV (July, 1938), 258.
10Allan Bacon, "Mr. Leo Sowerby and His Compositions," The American Organist, XX (November, 1928), 489. 14
A marked change from Sowerby's early works can be seen in his later compositions. The later works are more techni cally and harmonically advanced. His use of various tech niques such as ostinato, bell motives, canon, and other devices is much more pronounced, as is the contrapuntal aspect of his style. This increasing interest in contra puntal writing led him to write many later compositions in the strict polyphonic forms of fugue, passacaglia, and chaconne.
William Lester, in reviewing Sowerby's Canon, Chacony and F states that it is not "built for feeling, but rather for logic". He goes on to say that the search for emotional expression in music is not in fashion--that
"decorative design, cold logic and novelty" seem to be the motive in contemporary composers' writing.1 1
To a certain extent, Lester's criticism of this work may prove valid. However, Sowerby's sincerity of expression and purpose is unquestionable. This unique sincerity is greatly responsible for the style which has become distinctly his own.
He does not believe in tazs, or labels, or groups, or "schools"; he tries merely to be himself, and as he himself expresses it, not thinking about my style, or idiom, trying constantly to improve my technic, so that when I shall have something to say, I shall be able to s it clearly and directly, and--God willing--simply.
llWilliam Lester, "New Music for the Organ," The Diapason, XL (December, 1951), 31.
12 John Tasker Howard, Our Contemporary Composers (New York, 1943), p. 81. CHAPTER III
SOWERBY'S COMPOSITIONS BASED
ON HYMN TUNES
Compositions based on hymn tunes are generally used as a means of relating the different musical portions of a wor ship service. Although they are traditionally played prior to the singing of the hymn upon which they are based, they are sometimes played following the hymn, perhaps as a post lude. However, their usage has not been bound to this tra dition. Some of the artistically worthy hymn-tune compositions have become a part of the standard concert repertoire, in the same way that J. S. Bach's chorale preludes have lost their original liturgical significance and are accepted as indepen dent artistic creations.
Leo Sowerby has written twenty-one organ compositions based on hymn tunes. All but two of these compositions were written after his affiliation with the Episcopal Church. As will be seen later, there appears to be a definite hymn-text influence in these compositions. Thus it is worthy of mention that the texts he used for the last nineteen pieces are found in The Hymnal 1940 and its predecessor, The Hymnal, published in 1933.
15 16
The evolution of Sowerby's style, discussed in Chapter
II, is readily seen in his hymn-tune compositions. The most
obvious aspects of this change are his increased facility at
contrapuntal treatment of thematic material and his increased use of various contrapuntal devices.
Sowerby's early hymn-tune compositions, Chorale Prelude
on a Calvinist Hymn-Tune and Rejoice, Ye Pure in Heart, reveal late Romantic and Impressionist influences in their harmonic tendencies and formal procedures. They are in a rhapsodic
style, seemingly guided by Sowerby's mood. However, they are held together by his adept use of thematic material.
Rejoice, Ye Pure in Heart, published in 1920, is based on the hymn tune "Marion", written by Arthur H. Messiter.
The text for the tune was written by Edward Plumptre in 1865.1
Its manner resembles that of Cesar Franck's Trois Chorales, in that there is a wide variety of registration, mood, and color. Style and procedure, involving melodic fragmentation and frequent modulation, are also similar to Franck's.
Albert Riemenschneider remarks that Sowerby must have used the text of the hymn to lay out the variations of his 2 composition. The composition begins with a grandiose intro duction based on the refrain of the hymn. This introduction
1 The Joint Commission on the Revision of the Hymnal of the Protestant Episcopal Church in the United States, The Hymnal 1940 Companion (New York, 1949), p. 338. 2 Albert Riemenschneider, "Leo Sowerby's Works for the Organ," The Diapason, XXIV (February, 1933), 29. 17 leads into a simple harmonization of the complete hymn tune in its original form. The first variation gives the pedal the melody, while the upper two parts carry on a simple harmonization. Riemenschneider compares this variation with the second stanza, explaining that the stanza deals with extremes--youth and age, strong and meek--and that the firm ness of the pedal melody is contrasted by the quiet, meek harmonic accompaniment.3 The third stanza speaks of angel choirs and saints. Similarly, Riemenschneider says, the second variation gives a mystical effect, suggesting distance.
A portion of the hymn-tune melody is treated in a chordal fashion, with the harmony doubled in both upper and lower parts. The third variation, which interprets the fourth stanza, contrasts strongly with the preceding variation, as it is treated broadly, suggesting the hosannas and alleluias mentioned in the text. In this variation, there is a fortis simo chordal statement of the theme in the upper parts, and the pedal line is in canon with the hymn-tune melody. Vari ation four is an exact repetition of the previous variation with softer stops, and is followed by a thematic episode leading into the fifth variation. Here the melody appears in the bass line, accompanied by a chromatic three-voiced har mony suggestive of the melody. A development follows which
3lbid., p. 29. 18
Riemenschneider feels is suggested by the last line of stanza six--"Till dawns the golden day. "4 This chordal episode, based on fragments of the theme, begins softly and builds to a dramatic fortissimo climax which introduces the sixth variation. In this variation, the melody is found in the pedals, expressing the exaltation of the pilgrims, "having found their Father's house, Jerusalem." 5 A second theme--a short motive in half notes--accompanies the melody in the pedals. In the episode which follows, this second theme is prominent and is combined with the opening bar of the hymn tune melody, leading into the last variation, in which,
Riemenschneider says, "all of the resources of the organ are demanded as a climax portraying the character of exaltation contained in the final stanza.,"6 In this last variation for full organ, the hymn tune is in a relatively simple harmon ization, accompanied by a chromatic pedal line. The extreme length of this piece would make it practical only for a pre lude to a service or for a concert piece.
ponaohoralenPrelue Calvinist Hymn-Tune, published in 1925, is based on a Good Friday hymn which deals with the sufferings and death of Jesus. Its structure is rather free, resembling variation form. The introduction gives an improvisatory effect, presenting melodic fragments of the tune.
4 Ibid., p. 29.
5 lbid., p. 29. 6 Ibid., p. 29. 19
It is followed by a complete statement of the hymn tune as a solo melody. This presentation of the theme is followed by a gradual climax based on theme fragments, growing more chro matic as it expands. Following the climax the piece gradually diminishes, leading into the second complete statement of the theme--a simple harmonization for string stops. A coda based on an inversion of the theme quietly ends the piece.
Meditations on Communion , published in 1942, is a set of six rather short pieces based on Communion hymns. They are appropriately played during the administration of Holy
Communion to a congregation, or prior to the singing of the
Communion hymn upon which they are based. In this set,
Sowerby makes some use of traditional chorale prelude forms, such as the chorale motet and the chorale fugue. The now diatonic, now semi-chromatic harmony is representative of a
Romantic influence, while consistent use of parallelism reveals an Impressionist influence. Frequent use is made of contrapuntal techniques.
The first meditation, Picardy, is based on the hymn better known as "Let All Mortal Flesh Keep Silence." The text, anonymously translated from the original Latin, was originally that of the Cherubic Hymn from the Liturgy of St. James of Jerusalem as used in the Eastern Orthodox churches.7
T The Joint Commission on the Revision of the Hymnal of the Protestant Episcopal Church in the United States, The Hymnal 1940 Companion (New York, 1949), p. 140. 20
"Picardy" is a traditional seventeenth-century French melody, adapted to this translated text. The text is characterized by a gradual climax. The first verse begins with "Let all mortal flesh keep silence, and with fear and trembling stand."
The second verse speaks of the "King of kings" and'"Lord of lords." The final words of the third verse--"the powers of hell may vanish as the darkness clears away"--are followed by a triumphant fourth verse, ending with "Alleluia, Alleluia, Alleluia, Lord most high!"
Sowerby's Picardy reveals a similar dramatic climax.
The first soft statement of the theme appears with an accompa niment of parallel fifths and a pedal ostinato. The accompa niment to the second theme statement is expanded to include parallel fourths, fifths, and sixths, and it grows more chro matic and intense as it proceeds. The third statement of the tune takes on a militant, triumphant air as Sowerby now employs steadily-moving major triads in the accompaniment. The final words of the third verse--"as the darkness clears away"--are suggested as this variation tapers off, concluding with a soft chordal statement of the tune above a pedal ostinato figure.
The second meditation, Luise, is based on the tune "Luise," written by Johann Crueger. "Let Thy Blood in mercy poured; let Thy gracious Body broken," begins the text written by
John Brownlie.8 Luise, a quiet, flowing piece, is in the
8 Ibid., p. 136. 21 form of a chorale motet, in which each line of the chorale is treated in fugal style, before the entrance of the complete line.
ne Linpua, the third meditation, is based on the tune of St. Thomas Aquinas' hymn for Vespers on the Feast of
Corpus Christi. The tune is a plainsong in phrygian mode, used in the churches of Salisbury before the Reformation.9
Sowerby uses much parallelism to enhance the mystical atmos phere created by the text, which begins with "Now, my tongue, the myst'ry telling of the glorious Body sing." The medi tation is in variation form, introduced by a fugal episode on the theme. The first statement of the theme appears with an accompaniment of parallel fifths. The second variation treats the original theme in diminution as an accompaniment figure to the tune, the note values slightly changed in some cases.
After a brief interlude, the tune returns again below an accompaniment which ascends and descends with the curve of the melody, illustrating another use of parallelism. The piece ends with a few measures based on the typical plain
song "amen.
"Meditation" is a hymn tune composed in 1890 by John
Henry Gower for Isaac Watts' text--"There is a land of pure delight." 10 In The Hymnal 1940, the tune appears with the
9Ibid., p. 141. 1 0 Ibid., p. 50. 22
Communion text which speaks of "..Jod, unseen yet ever near,.."
Sowerby's setting of "Meditation" is characterized by a
steadily-moving parallel and syncopated movement against the
simple hymn tune in E major. It is in variation form, with four complete statements of the tune.
"St. Vincent" is an arrangement of a melody by Sigismund
Neukomm, used with St. Thomas Aquinas' text, "0 saving Victim,
opening wide the gate of heav'n to man below." 1 1 Sowerby's
St. Vincent is in the form of a chorale motet. Each phrase
of the tune is accompanied by parallel sixth movement.
The last meditation, Sacramentum Unitatis, based on a
hymn tune by Charles Lloyd, resembles a chorale fugue in
which only the first line of the chorale is treated in imita
tion. In this meditation, Sowerby has chosen to treat the
phrase which contains the words, "Thou, who at Thy first
Eucharist didst pray", from the text by Charles Lloyd. His use of this phrase stressing prayer suggests his intention to create an appropriately prayerful atmosphere.
The first two compositions discussed are generally more complex in style and form than the Communion Meditations.
The latter works are very simple in style and form, making them appropriate to their function--that of meditative pieces. In these early compositions there is a general lack of the contrapuntal complexity and dissonance found in the later works.
1 i Ibid., pp. 147-148. 23
tThe King's Majesty" is a majestic unison tune written in 1940 by Graham George. The text for Palm Sunday, written by Henry Hart Milman, deals with Christ's triumphant entry into Jerusalem. The contemporary, free nature of the hymn
tune has perhaps contributed to the success of Sowerby's Prelude on "The King's Majesty", published in 1945. The hymn tune is similar to some tunes of Ralph Vaughan Williams and others of the English school by which Sowerby was influ enced at the American Academy in Rome. The tune is also similar to some of Sowerby's own melodies, such as the martial theme upon which his Pageant is based. The prelude is in the form of an introduction with eight variations. Sowerby vividly portrays the text, creating a march-like effect through out the piece. The thick-textured harmony is much more chro matic than that of the earlier works. He makes frequent use of techniques such as ostinato, syncopation, canon, and march-like successions of detached chords. After six vari ations, each presenting the tune in its entirety, the final variation brings the piece to a dramatic close with a brilliant, fortissimo, ocata-like accompaniment beneath the hymn tune in the upper voice. The text of the hymn tune "Malabar" is from a Communion prayer in the 2 Liturgy of Malabar.1 A paraphrase of this text
1 2 Ibid., pp. 141-2. 24
appears with the tune written by David MIcK. Williams as a Communion hymn for The Hymnal 1940. Prelude on "Malabar", published in 1949, is an interesting example of Sowerby's use of thematic material. The hymn tune and its inversion in diminution provide most of the material upon which the composition is based, creating a unique simplicity. The
prelude, in the form of an introduction and variations, begins with an introduction based on an inversion of the hymn tune. This material is fully developed for seventeen measures, continuing under the first statement of the theme. A state ment of the tune in the dominant then leads into the final statement of the hymn tune, building up to a climax and tapering off until the end, where the last phrase of the tune is presented. The simplicity of the thematic and harmonic material, coupled with the gradual climax, is perhaps sugges tive of the first phrase of the hymn tune's text--"Strengthen for service, Lord, the hands that holy things have taken." The text of the hymn tune "Palisades" includes stanzas one, three, four, and five from the eleven stanzas of the prologue to Alfred Tennyson's "In Memoriam." Sowerby himself wrote the hymn tune, naming it after his summer home, "Palisades, where it 1 3 was written. In his composition, Chorale Prelude on "Palisades", Sowerby first presents the original simple
1 3 Ibid., p. 236. 25 harmonization of the hymn tune. It is followed by what resembles a chorale motet. However, the tune, when presented phrase by phrase, is in canon between the upper voice and the pedal. The harmonic scheme of the piece is rather conserva tive, characterized by some chromaticism and much parallel movement in thirds, fourths, and sixths. A gradual crescendo is present throughout, reaching its climax at the end of the piece.
The remaining hymn-tune preludes, a set of ten published separately in 1956, are still more advanced harmonically and contrapuntally. The use of this modern idiom with these conservative hymn tunes has been questioned by Gilman Chase, who says that there is present "the impossible combination of musical oil and water." He speaks highly of Prelude on "Sine
Nomine", however, saying that Sowerby's work is "much in sympathy" with Vaughan Williams' tune. 1 4
These later hymn-tune compositions are, for the most part, in some sort of variation form. Sowerby's adept use of thematic material shows itself repeatedly. His contra puntal facility joins with this skill to present a fasci nating show of workmanship. As was pointed out by Chase, however, this cerebral aspect of his writing can cause the listener to lose sight of the simple hymn tune.1 5
14Gilman Chase, "Music for Organ," The American Organint, XL (January, 1957), 22. ~~ 1 5 Ibid., p. 22. 26
The text for Ralph Vaughan Williams' hymn tune "Sine
Nomine" was written by William W. How. It is a majestic hymn
for All Saints' Day. Sowerby has explained that his Prelude on "Sine Nomine" is in a form somewhat akin to that of the
last movement of Beethoven's Symphony in E Flat Major, in which several variations on the bass precede the announcement of the theme.1 6 The bass figure used in Sowerby's composition is the same as is found in the hymn "Sine Nomine" in The Hymnal
1940, and is treated in variation form for the first fifty-four measures. Seven variations on the entire theme follow. In variation four, a subsidiary theme is used which can be found published separately with a group of descants written by
Sowerby.1 7 The descant, written specifically for the hymn
"Sine Nomine", is found in the soprano voice of this varia tion. In the sixth variation, the descant, bass, and a chordal statement of the theme are combined, preparing for the last grandiose variation for full organ--a thick, chordal statement of the hymn tune. The texture of the piece is basi cally contrapuntal and thick, with considerable parallel chordal movement and some chromaticism.
Prelude on "ap" is a sprightly piece based on the hymn tune of the same nature. The text of the hymn was
1 6 Letter from Leo Sowerby, Washington, D. C., October 18, 1965. 1 7 Leo Sowerby, Ten Hymn Tune Descants (New York, 1965), p. 1. 27 written by Isaac Watts and speaks of "..a land of pure delight, where saints immortal reign;.." The traditional
English melody was harmonized by Ralph Vaughan Williams.18
Sowerby's prelude is in variation form with ten variations on the tune. Of considerable importance is the introductory ostinato figure--a bell motive used to accompany the theme at times. It also acts as a pivot from variation to varia tion. Another ostinato figure is presented in the pedals in the sixth variation. In variations three, six, and seven, the tune is altered slightly. The harmonic texture of the piece remains rather conservative, befitting the simple, bright nature of the hymn tune.
Prelude on "Ad Perennis Vitae Fontem" is based on the sixteenth-century modal hymn tune "Ad Perennis." The piece, in aeolian mode, is in the form of a prelude and fugue, the latter showing Sowerby's skill in traditional contrapuntal forms. The prelude is very free and meditative, producing a wandering effect. The hymn tune in its entirety is not stated in the prelude, but merely hinted at. This short, forty-four measure prelude builds to a fortissimo climax, gradually diminishes, and ends quietly on an open fifth.
1 8 The Joint Commission on the Revision of the Hymnal of the Protestant Episcopal Church in the United States, The Hymnal 1940 Companion (New York, 1949), p. 344. 28
The four-voice fugue is based on the entire hymn tune.
It successfully portrays the joyful atmosphere of the hymn
text, which speaks of "..light's abode, celestial Salem..O
how glorious are the praises which of thee the prophets sing!"
The fuzue begins softly, introducing the first phrase of the
hymn tune. As the other voices enter, the registration is
expanded. The fugue goes on to treat all of the hymn tune,
gradually building to a dramatic toccata-like finale which concludes the piece.
"SonF 46," a tune by Orlando Gibbons, is used by Sowerby
to create a prelude very worthy of merit. One of the texts used with the tune, written by Edward H. Bickersteth, is based on Isaiah 26:3 and speaks of "peace, perfect peace. " 9
The primary beauty of Sowerby's Prelude on "Song 46" lies in
its extreme simplicity, expressing the peaceful atmosphere
suggested by the text. The hymn tune itself provides most of the material on which the composition is built. The first two measures of the tune, outlining a major triad, are used in diminution throughout the entire piece. This same thematic material accompanies three statements of the tune. In the last statement, the accompaniment creates a stretto effect between the upper and lower parts. The prelude ends by out lining the triadic motive used throughout.
1 9 Ibid., p. 271. 29
"Charterhouse" is used with two texts in The ymnal 1940. One text, by Robert Nelson Spencer, summarizes the entire Confirmation service. The other text, by Frank Fletcher, is an attempt to supplement the portrait of "Jesus meek and gentle" by a portrayal of his strength and sympathy.2 0 In Sowerby's Prelude on "Charterhouse", a contrast between the hymn tune and the accompaniment is suggestive of this latter portrayal. The prelude resembles a cantus-firmus chorale, treating the chorale in long notes, accompanied by contra puntal voices in faster movement. The entire hymn tune is presented phrase by phrase only once. Each phrase is preceded by an interlude of the accompaniment material. The accompa niment is based partially on the hymn tune, but has its own flowin; theme, sugestive of the "sympathy" portrayal in the text. The long notes of the hymn tune contrast to suggest the "strength" portrayal. The accompaniment's sixteenth-note movement flows alongv very serenely through the entire piece, slowin; down only in the last measure. The origin of the text used with the tune "Land of Rest" is unknown, but the tune is believed to be of Scottish or North Engzland origin. The hymn, better known as "Jerusalem, My happy Home," is a simple folk tune. There is a possibility that the Negro spiritual, "Swing Low, Sweet Chariot," is derived
2OIbid., p. 236. 30
from the tune, as it also has been widely sung throughout the Appalachian region, which is populated by some Scottish and North English 2 people. 1 Prelude on "Land of Rest" is one of the more technically interesting hymn-tune compositions, making constant use of canon in variation form. However, one can lose interest in its lengthy display of canonic variation, primarily because of the simplicity of the hymn tune. The tune is particularly well suited for canonic treatment, as the range does not exceed a ninth and the skips lie within the I and IV chords. Sowerby makes extensive use of canonic possibilities in the fourteen variations of the composition. Throughout the piece, the complexity of canonic variation increases gradually. In the eighth variation, a canon between the tenor and alto and a canon between the alto and soprano proceed simultaneously. In variation eleven, a double canon proceeds between the soprano and alto and between tenor and bass, all in the tonic. In the thirteenth variation, a canon on the theme is accompanied by a canon on the subsidiary theme. The piece ends simply with a canon between the pedal and the soprano. Because of the free nature of the hymn tune "Were You There," Sowerby's Prelude on "Were You There" takes on a flavor more typical of his secular compositions, particularly
2lIbid. ,p. 342 31
those of the free-flowing, wandering type. The prelude is
in variation form. In typical fashion, Sowerby begins the
piece by using an octave, gradually adding notes, building
to a dissonant eleventh chord in measure three, and then
gradually releasing the tension. The introduction continues
in a similar fashion, occasionally introducing fragments of
the hymn tune. In measure twenty-one, the hymn tune enters,
accompanied for seven measures by a bell motive used as an
ostinato, and continuing above a chromatic chordal accompa
niment. After a short interlude for flute stops, the theme
again appears in octaves in the right hand, above an accompa
niment moving in sixths. The last statement of the tune
begins as a solo melody, and gradually adds notes to form a
full, dissonant climax. A gradual descrescendo begins at this point, brinqinz in the solo melody, and ending quietly on a seventh chord.
Prelude on "St. Dunstan's" is based on the hymn tune written by Winfred Douglas, which speaks of "He who would valiant be 'gainst all disaster." The text comes from the chapter of John Bunyan's Pilgrim's Progress entitled
"Mr. Valiant for Truth. "2 2 The hymn is in a firm three-four meter, marked to be sung "sturdily." Sowerby has treated his composition in an apt manner, bringing out those qualities
22 Ibid., p. 330. 32
of sturdiness. A march-like ostinato based on the hymn tune introduces the prelude and is followed by five varia tions on the tune. The thick texture is basically contra puntal. Variation three, in which there is a canon on the theme, provides a good example of this resulting texture. Both parts of the canon are accompanied by chords. The texture crows progressively thicker in this fashion until the last broad statement of the tune for full organ. The endin' is based on an echo of the first three notes of the hymn tune, The hymn "St. Patrick" is a traditional Irish melody
attributed by legend 2 3 to St. Patrick. Its beginning words, "I bind unto myself today the strong Name of the Trinity,," have made it a favorite hymn for use in the Confirmation service of the Episcopal Church. It is a majestic tune, beginning in minor, g modulating to B-flat major, G major, and back to g minor. Sowerby's Prelude on "St. Patrick" is a forceful, dramatic piece in the form of an introduction and variations. The introduction, based on fragments of the hymn tune, continues through thirty-six measures, leading into a bell-motive ostinato figure which accompanies the first entry of the theme in the pedals. The second chordal statement of the theme is quite dissonant as a result of chords with added fourths, ninths, and eleventh. The third statement
2 3 bid., p. 176. 33
is in canon, accompanied by a section in eighth notes. This accompaniment material is used in fragments to close the piece.
Prelude on "Deus Tuorum Militum" is based on the hymn more commonly known as "0 Love, How Deep, How Broad," from an anonymous Latin text. The stately piece is in the form of an introduction and variations. Throughout the piece, Sowerby uses two of his favorite devices, ostinato and bell motive, to enhance its already majestic nature. In order to illus trate his frequent use of the two devices, an analysis of each variation is given. The introduction, based on the first two measures of the tune, continues through measure twenty-six, when the hymn tune appears in the pedals, accompanied by an ostinato figure in the upper parts. The second variation uses the unaltered theme and proceeds in a dissonant, chordal fashion. The third variation presents a melodic alteration of the theme in chordal fashion, accompanied by an ostinato figure in eighth notes. This figure prepares for another ostinato, a bell motive, which accompanies a melodic varia tion of the theme. Variation five is a chordal presentation of the theme, alternating the melody in different voices. It is accompanied by a pedal ostinato which leads into a pedal-point of two notes at the interval of a second. Begizming in measure one hundred and thirty-six, a section of two-part counterpoint based on the theme appears over the pedal-point, giving a bell-like effect. A chordal episode on the theme 34 follows, preparing for the entrance of the hymn tune in the mediant. This statement is thick, chordal, and pianistic.
After a climax employing full organ, ostinato bass, and chordal fragments of the theme, the upper voices resolve on a C major chord which is sustained for nineteen measures.
Under this chord, the lower part proceeds in a triadic manner, again giving a bell-like effect and producing a dramatic ending for full organ.
Although the rate of stylistic change in Sowerby's compositions based on hymn tunes does not show a marked
consistency, it is obvious that his style is one which has gradually acquired new characteristics and a greater com
plexity. As has been shown, groups of early and late compo
sitions have definite tendencies in their manner. The
hymn-tune compositions have provided an insight into the
study of Sowerby's style, in both general and particular
ways. His fondness for using various contrapuntal tech
niques, the influence of these techniques on his harmony,
and his frequent use of seventh, ninth, and eleventh chords
all contribute to the uniqueness of his style. The hymn tunes
used for his compositions have supplied a well-known source
of material from whici. to analyze his general use of melodic
material and frequently-used devices, such as ostinato and bell motives. Both Sowerby's early and late styles were
considerably influenced by such techniques, although they
appear more consistently and in greater complexity in the
later compositions. 35
Sowerby's hymn-tune compositions have also served as an insight into his manner of writing liturgical music. He is
one of the first American composers to introduce modern idioms
in such writings, thus showing one of his many efforts to raise the standards of American church music. His convictions in regard to the use of such idioms in liturgical music are expressed in his Ideals in Church Music.
Certainly, a good deal of what is written today is of doubtful value; it may not live. But just as it is right and natural that the composer of today should express himself in the idiom of today, so it is right and natural that his work, if it measures up to the proper standards, should be performed today---not tomorrow--for only by trial and error will that which is most worthy be discovered. 2 4
4 2 Leo Sowerby, Ideals in Church Music (Greenwich, 1956), p. 15. APPENDIX
LEO SOWERBY'S COMPOSITIONS FOR SOLO ORGAN
Date of Composition Publication
Prelude on the Benediction, "Ite Missa Est" 1916
Comes Autumn Time 1916 Chorale Prelude on a Melodic Fragment from a Motet by Palestrina 1919
Madrigal 1920
Carillon 1920
A Joyous March 1920
Rejoice, Ye Pure in Heart 1920 Chorale Prelude on a Calvinist Hymn-Tune 1925 Requiescat in Pace 1926
Pageant 1931 Symphony in G Major 1932 Suite 1935 Fanfare 1937
Lazeant of Autumn 1938
Toccata 1941 Arioso 1942
Meditations on Communion H 1942
36 37 Date of Composition Publication
Prelude on "The King's Majesty" 1945 Sonatina 1947 Prelude on "Malabar" 1949 Interlude 1950 Chorale Prelude on "Palisades" 1950
Canon, Chacony and Fugue 1951 A Wed Processional 1952 Prelude on "Deus Tuorum Militum" 1956 Prelude on "Sine Nomine" 1956 Prelude on "St. Dunstan' s" 1956 Prelude on 1956 Prelude on " 46" 1956 Prelude on "St. Patrick" 1956 Prelude on "Were You There" 1956 Prelude on "Land 'of Rest" 1956 Prelude on "Charterhouse" 1956 Prelude on "Ad Perennis" 1956 Jubilee 1959 Two Sketches 1964 The Snow Lay on the Ground 1965 Symphonia Brevis 1966
Praeludium super "Benedictus sit Deus Pater" In Preparation Postludium super "Benedictus es Domine" In Preparation BIBLIOGRAPHY
Books
Howard, John Tasker, Our Contemporary Composers, Philadelphia, The Blakiston Co., 1943.
Sowerby, Leo, Ideals in Church Music, Greenwich, Seabury Press, 1956.
Articles
Bacon, Allan, "Mr. Leo Sowerby and His Compositions," The American Organist, XI (November, 1928), 487-489.
Chase, Gilman, "Music for Organ," The American Organist, XL (January, 1957), 22.
Ellinwood, Leonard, "Leo Sowerby--With Visor,'" American Guild of Organists Quarterly, (April, 1965), 65-66
Lester, William, "New Music for the Organ," The Diapason, XL (December, 1951), 31.
Riemenschneider, Albert, "Leo Sowerby's Works for Organ,' The Diapason, XXIV (February, 1933), 29.
Sowerby, Leo, "Church Music Duties Defined in CO Lecture," The Diapason, L (December, 1958), 8-41.
Tuthill, Burnet, "Leo Sowerby," The Musical Quarterly, XXIV (July, 1938), 249-264.
Publications of Learned Organizations
The Joint Commission on the Revision of the Hymnal of the Protestant Episcopal Church in the United States, The Hymnal 1940 Companion, Norwood, The Plimpton Press, 1949.
38 39
Unpublished Materials
Parks, 0. G., "A Critical Analysis of the Works of Leo Sowerby, " unpublished master's thesis, Department of Music, North Texas State University, Denton, Texas, 1941.