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June, 1966 TABLE of CONTENTS 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.
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