Organ Recitals - Who is Preparing What?
  • M. Jackson Osborn
    Posts: 8,415
    I'm torn betwixt two possible programs for several upcoming recitals during Eastertide.
    If any would care to cast a vote, I'll take it into consideration.
    Here are the two possible repertories, similar but different -

    Program One -
    1. D. Buxtehude - G-minor Praeludium
    2. S. Scheidt - Magnificat septimi toni (with alternatim chant)
    3. J.B. Cabanilles - Pasacalles II, Primer Tono
    4. J.P. Sweelinck - Four variations on Vater unser im Himmelreich (preceded by the chorale sung)
    5. G. Frescobaldi - Toccata quinta, from the IInd book of toccatas, canzonas, etc.
    6. J.Titelouze - Ad coenam Agni providi (with alternatim chant)
    7. H. Purcell - A Voluntary for ye Double Organ
    8. G.A. Homilius - Sei Lob und Ehr dem hochsten Gut (preceded by the chorale)
    9. J.S. Bach - Praeludium und Fuge in C-minor (BWV 546)

    It will be seen that in the above list there is a paedagogical relationship betwixt nos. 1, 5, and 9; and betwixt 7 and 4 (it was to the English school, specifically John Bull, that Sweelinck and the Dutch school were largely indebted); Too, there was significant cross polination with the Spanish and English and Dutch (nos. 3, 4, 7); and finally, Homilius was a student of Bach. Further, there is a symmetrical pattern of sacred vs profane with the pieces betwixt 1 & 5, and 5 & 9. This more or less 'centralises' Frescobaldi as the grandfather here, with Titelouze as the last word of the Franco-Flemish ployphonic tradition - though he, too, owes some debt to the English emigre community in the Low Countries from whence he came. Some of his versets in the Hymnes de l'eglise are easily as intricate as many Tudor voluntaries. Another symmetry is that of the cantus firmus pieces two are chant and two are German chorales - symmetrically placed.

    Program Two -
    1. D. Buxtehude - G-minor Praeludium
    2. S. Scheidt - Magnificat septimi toni (alternatim chant)
    3. J. Titelouze - Ad coenam Agni providi (alternatim chant)
    4. H. Purcell - Volunatry for ye double organ
    5. J.S. Bach - Praeludium und Fuge in C-minor (BWV 546)
    6. M. Ferguson - In nomine (a voluntary on the antiphon Gloria tibi Trinitas) (preceded by its chant)
    7. J. Ahrens - Victimae paschali laudes (preceded by its chant)
    8. O. Messiaen - Alleluias sereine..., from L'Ascension
    9. J. Langlais - Les Acclamations Carolingiennes, from Suite Medievale (preceded by portions of its chant)
    (or J. Langlais - Chant de joie, from Neuf pieces

    Here, the Bach is the dividing line betwixt Baroque and Modern (yes, I know - the XIXth century is missing - no comment.)

    Cast your votes - though I shant be bound by the results --- only influenced.
    Each program is built around a symmetrical alternation betwixt cantus and non-cantus firmus pieces.

    Who else has recitals coming up?
    Share your programs.
    Thanked by 1CHGiffen
  • kevinfkevinf
    Posts: 1,191
    Sept Chorals pour les dernier paroles du Christ-C. Tournemire. Thats the whole program with slides to illuminate the words.
    Thanked by 1M. Jackson Osborn
  • M. Jackson Osborn
    Posts: 8,415
    I'd love to hear your program, Kevin.
    While I admire Tournemire's music, I've never programmed any of it,
    though I had considered the Ascension pieces to do this Ascensiontide.
  • Caleferink
    Posts: 434
    As a listener I would personally prefer Program 2 as it is a little more diversified in time periods and therefore compositional styles. I admit I'm a bit of a sucker for good modern (XX-XXI centuries) organ music, but I know that's not everyone's cup of tea.
    Thanked by 1M. Jackson Osborn
  • M. Jackson Osborn
    Posts: 8,415
    Good points, Caleferink.
    I am always hesitant to not include modern music - there is, after all, so much that needs to be heard - and that I love playing, and some of which I've premiered. Too, people often get the impression that all the good music is three hundred years old. This isn't helped by the fact that their ears (too many of them) are often offended at modern music (like their eyes at modern art). It may be fair to say that advances in music, like art and technology in general have far out-paced the average human being's ability to comprehend.

    I've never, actually, programmed an all renaissance-baroque program, but am leaning in that direction for this one. We'll see where the pendulum stops. I have some wonderful Walter Piston pieces that I've always wanted to share publicly, but they never seem to fit in with my programming quirks.

    Many thanks for your thoughts. We'll see.
    Thanked by 1CHGiffen
  • MarkS
    Posts: 282
    I vote for number Program 1, for sort of the opposite reason than Caleferink—somehow the juxtaposition of the Messiaen (which I love)/Langlais (which I have yet learned to appreciate) seems a little jarring on paper (I don't know the Ahrens or the Ferguson). Although perhaps the alternation of chant would serve as a unifying feature, tying together the whole program in a way that I'm not envisioning. However, there is a sort of (tonal, stylistic) purity in the first program that I find attractive!

    I'll post my upcoming Lent/Easter program when it's finalized (which, really, it should have been already).
    Thanked by 1M. Jackson Osborn
  • M. Jackson Osborn
    Posts: 8,415
    I can't wait to see it!
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