Practical Organ Music
November 2016
Putting on Ayres
One day in master class, my college piano teacher remarked to us that keyboardists are really just frustrated singers. There must be some truth to her remark, because organ literature is filled with beautiful melodies that invite everyone to hum along. Bach’s “Air on a G String” and his “Sinfonia” (or “Largo”) from Cantata 156 are familiar and much loved examples. S.S. Wesley’s Air, with its elegant triplet swing is another. Songs, with or without words, need no justification for their existence: to hear their beauty is to know love. The simplicity of the song form supports an infinite expressive range: love, peace, sublimity, drama, adoration. From lullabies to dramatic opera arias, song form can say it all.
And, of course, we organ aficionados think the organ can do it better! After all, we have a wealth of tone colors. Under our fingers lie rich harmonies. Grand and noble rhythms encourage our best composers to fill the air with sweeping symphonic sounds. While you may not be up for a weekly movement from one of the great organ symphonies, you can bring beauty to every service, recital or concert with some of the transcriptions in J. Michael Case’s Ten Transcriptions and Arrangements for Organ (MorningStar 10-681). It is filled with a variety of familiar and unfamiliar tunes you will enjoy. Here is a simple, yet effective version of Gustav Holst’s “Jupiter Theme,” a lovely arrangement of the “Meditation” from his first symphony, and the “Ave Maria” from Rachmaninoff’s All-Night Vigil. There are two largos from Baroque masters, Vivaldi and A. Corelli, as well as easy organ solo versions of Franck’s much-loved Panis Angelicus and Adolphe Adam’s O Holy Night. There are more familiar works in Samuel Metzger’s new Five Classical Transcriptions for Organ (MorningStar 10-099), including Bach’s Sanctify Us By Thy Goodness, his “Quia Respexit” from Magnificat, another A. Corelli piece, Sarabande, “Largo” from the Vivaldi Lute Concerto in D Major, and one of my favorites, “In Paradisum” from the Faure Requiem.
It is easy to follow the trail of classic influence on song form through some of Mendelssohn’s shorter sonata movements, to many of Alexander Guilmant’s pieces to be found among his assorted collections, past the famous “Cantilena” from Gabriel Rheinberger’s Eleventh Organ Sonata, right on to Flor Peeter’s “Aria” from his Trumpet Sonata. Peeter’s best known student, Paul Manz, gifted us with his own Aria (MSM 10-906) as did Manz’ student, Michael Burkhardt (MSM 10-170). Herbert Howells’ Two Slow Airs for Organ (Novello 14015550) are sensitive offerings from England. Joel Martinson’s Aria on a Chaconne (Concordia 97-6271) continues to touch me every time I play it. Each of these provides lovely, thoughtful, practical music for the many services you play, whether for prelude, communion, or memorial services.
Songs that touch the heart will never go out of style. A transcription of Gabriel Fauré’s Pavane with its yearning b-minor melody is always worth learning. In the same key is Andrew Carter’s “Aria” (Andrew Carter Organ Album, Oxford, 2004), with its long flowing lines, restated in the tenor. It is easy to find several examples of works that move into rich harmonic fields that demonstrate mid-20th century compositional styles. Robert Elmore is always a good bet for that. His Autumn Song (OUP) and the “Pavane” from Rhythmic Suite are worth the search. Just as luscious without quite so many accidentals is the Aria that Emma Lou Diemer wrote in 2004 (Zimbel Press). There is also a lovely aria composed by Craig Phillips in his Wondrous Love collection (Fred Bock 0945). Daniel Gawthrop’s imaginative works include several pieces worth collecting. First, his Nocturne (Dunstan House 0512) is an easy piece with an expansive tune that few have ever heard. His moderately easy Arioso (DH 0702) is a well-developed piece that is a little longer. And finally, Gawthrop’s Sketchbook Three (DH 0204) contains a heart touching “Prelude” along with three other pieces in a variety of characters. You will also enjoy the fourth movement, “Recessional in English Style.”
Let’s leave the past behind, so we can explore some newer works that will add depth and variety to your library. Raymond Haan, whose Three Canzonets for Organ (Flammer HF-5132) have been a mainstay for me, has new volume of similar spirit. Three Lyric Solos (MSM 10-692) contains an “Organ Hymn,” quietly building to full organ and then receding to a quiet close. “Lyric Procession,” with optional trumpet, is a grand and noble song to close a solemn service. I have also enjoyed the first movement of James Biery’s Aria and Toccata (MSM 10-682) where a steady quarter-note pulse supports a slightly syncopated melody line that floats above it. The toccata that follows is a moderately challenging romp that is fun to play. Ronald Perera, who likes to push the boundaries just a little, gives us his Aria (E.C. Schirmer 8357). This is another “arch form” piece that starts and ends softly with a big build-up in the middle. It reminds me of two by David Conte, both very sparse: Soliloquy (ECS 5149) and Recollection (ECS 5963). Works using simple resources that challenge our musicianship are worth exploring whether we share them in worship or not.
The Psalms often provide composers with inspiration. Alan Hommerding explores a variety of them with three new pieces. Two Psalms In Memoriam (World Library Publications 003106) explores grief and loss in “The Lord is Near to the Brokenhearted.” It contrasts nicely with his lively exultation, “I Will Praise the Lord All My Life.” Alan goes even further into the celebration mode with You Crown the Year with Goodness (WLP 003088). With two vital, rhythmic motifs to explore, this is a delightfully expansive work that never looks back! Psalm 23 continues to be the people’s choice for most loved psalm. Its pastoral images reassure us in times of anxiety. Here is a real treasure to share with your people: Gwyneth Walker’s Beside the Still Waters (E.C. Schirmer 8148). Her quietly flowing triplets sustain a sumptuous tenor melody that builds to the heights of song before graciously fading to a quiet end. It will leave you breathless.
Songs of the heart often lead to prayer. The organ is often called upon to open the gates of prayer. I am sure you already have many favorites in literature of the prayer. Let me add a few more for you to consider. Preludes for a Prayer, Zaonivmir Nagy’s new volume from Paraclete Press (PPM01615) is quite an exploration. Three of the seven short pieces conform to our expectations of quiet and reflection, while the others describe more intense states of prayer. Perhaps more predictable are the seven sets of hymn tune-based arrangements by Robert J. Powell, Prayerful Preludes (MSM 10-786 on). Most of these are based on familiar evangelical hymns. So are the arrangements by Neil Harmon in his In Prayer: Five Organ Preludes (MSM10-667) and in Alfred V. Fedak’s Eight Meditative Preludes for Organ (Concordia 9707736). Each of these composers keeps technical limits clearly in mind as they create very useful materials that will touch the hearts of your people.
Don’t tell your pastor or your priest, but for many Sunday worshipers, music is the heart of the matter. Music can touch the deepest corners of our souls in ways that the best-written sermon or the most carefully prepared communion cannot. Fortunately, we are not in competition with the word or the sacraments. Luther reminds us that music is a gift that has a place of honor next to theology. I love hearing him thunder, “I have no use for cranks who despise music. It drives away the Devil and makes people joyful.” That’s quite a challenge in today’s world. Let’s get to work!