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**26523
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id>yt:channel:D6mjVGtJtj6rjB_VUhnLfg/id>
yt:channelId>D6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>Mark Dancer – Anacrusis Music/title>
link rel="alternate" href="https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2020-03-21T20:50:42+00:00/published>
entry>
id>yt:video:RfYwG0CMrSs/id>
yt:videoId>RfYwG0CMrSs/yt:videoId>
yt:channelId>UCD6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>JS Bach – Prelude & Fugue in A major BWV 536/title>
link rel="alternate" href="https://www.youtube.com/watch?v=RfYwG0CMrSs"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2024-06-26T23:00:24+00:00/published>
updated>2024-06-26T23:00:29+00:00/updated>
media:group>
media:title>JS Bach – Prelude & Fugue in A major BWV 536/media:title>
media:content url="https://www.youtube.com/v/RfYwG0CMrSs?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
media:thumbnail url="https://i3.ytimg.com/vi/RfYwG0CMrSs/hqdefault.jpg" width="480" height="360"/>
media:description>This is one of Bach's earlier preludes and fugues, probably composed when he was in his twenties. The prelude has an improvisatory feel to it, as though Bach was simply enjoying the sound of the instrument in the building. The fugue is one of his most lyrical and legato. It lies under the hands and feet well and is in almost constant quaver movement, especially from around two-thirds of the way through./media:description>
media:community>
media:starRating count="6" average="5.00" min="1" max="5"/>
media:statistics views="101"/>
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entry>
id>yt:video:v9hx7Dfl4pc/id>
yt:videoId>v9hx7Dfl4pc/yt:videoId>
yt:channelId>UCD6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>Eric Thiman – Improvisation on 'Crimond'/title>
link rel="alternate" href="https://www.youtube.com/watch?v=v9hx7Dfl4pc"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2024-06-19T23:00:34+00:00/published>
updated>2024-06-22T21:36:43+00:00/updated>
media:group>
media:title>Eric Thiman – Improvisation on 'Crimond'/media:title>
media:content url="https://www.youtube.com/v/v9hx7Dfl4pc?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
media:thumbnail url="https://i3.ytimg.com/vi/v9hx7Dfl4pc/hqdefault.jpg" width="480" height="360"/>
media:description>Eric Thiman (pronounced Tee-man) was born in Ashford, Kent in 1900 and died in 1975. He was one of the leading Non-conformist organists in England. He was largely self-taught, was awarded FRCO in 1921 and his DMus in 1928. From 1930 Thiman was Professor of Harmony at the Royal Academy of Music, going on to be Dean of Music at the University of London from 1956-1962. He was a prolific composer, with over 1,300 works published.
This is a quiet piece based on the tune commonly sung to "The Lord's my shepherd, I'll not want", composed in 1952 and in the style of a sarabande./media:description>
media:community>
media:starRating count="2" average="5.00" min="1" max="5"/>
media:statistics views="41"/>
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/entry>
entry>
id>yt:video:G6rlGVqlsBM/id>
yt:videoId>G6rlGVqlsBM/yt:videoId>
yt:channelId>UCD6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>Matthew Camidge – Concerto in G minor/title>
link rel="alternate" href="https://www.youtube.com/watch?v=G6rlGVqlsBM"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2024-06-12T23:00:14+00:00/published>
updated>2024-06-17T22:26:28+00:00/updated>
media:group>
media:title>Matthew Camidge – Concerto in G minor/media:title>
media:content url="https://www.youtube.com/v/G6rlGVqlsBM?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
media:thumbnail url="https://i4.ytimg.com/vi/G6rlGVqlsBM/hqdefault.jpg" width="480" height="360"/>
media:description>Matthew Camidge (1774-1844) was the second of a dynasty of organists who held that position at York Minster for 103 years, from 1756 to 1859, four generations in all. He was chorister at the Minster and then at the Chapel Royal under James Nares, who was the predecessor at York of Matthew's father John. John died in 1803, whereupon Matthew took up the reins until 1842. He was a favourite of King George III and was apparently the first Organist at York to teach the boys to sing from music rather than learning everything by rote.
This concerto is the second of a set of six and comprises a slow introduction, followed by an allegro. A slow, cantabile movement is next, and the concerto is rounded off by a Gavotte, though this is really a Bourrée.
The organ at York had pedals, but no stops for them, so they would have been used to assist the hands as required, which is how I have used them here.
I am playing from the edition edited by Francis Jackson./media:description>
media:community>
media:starRating count="3" average="5.00" min="1" max="5"/>
media:statistics views="77"/>
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/entry>
entry>
id>yt:video:nJHRA5qJScE/id>
yt:videoId>nJHRA5qJScE/yt:videoId>
yt:channelId>UCD6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>Elgar – Chanson de Matin Op 15 No 2/title>
link rel="alternate" href="https://www.youtube.com/watch?v=nJHRA5qJScE"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2024-06-05T23:00:33+00:00/published>
updated>2024-06-07T21:08:51+00:00/updated>
media:group>
media:title>Elgar – Chanson de Matin Op 15 No 2/media:title>
media:content url="https://www.youtube.com/v/nJHRA5qJScE?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
media:thumbnail url="https://i3.ytimg.com/vi/nJHRA5qJScE/hqdefault.jpg" width="480" height="360"/>
media:description>Here is something which needs little introduction. It is the second of two pieces originally for violin and piano, the first being, unsurprisingly, Chanson de Nuit. The two pieces were published in 1899, although their date of composition could be as much as ten years earlier. Elgar later orchestrated them and that version premiered at a Promenade Concert in 1901. Chanson de Matin is by far the more popular of the two, quite possibly due to its unpretentious charm. This is the organ arrangement by Herbert Brewer./media:description>
media:community>
media:starRating count="3" average="5.00" min="1" max="5"/>
media:statistics views="50"/>
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/entry>
entry>
id>yt:video:ID3JrIyW3DU/id>
yt:videoId>ID3JrIyW3DU/yt:videoId>
yt:channelId>UCD6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>Handel – Organ Concerto in D minor HWV 309 3rd Mvt (Allegro)/title>
link rel="alternate" href="https://www.youtube.com/watch?v=ID3JrIyW3DU"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2024-05-29T23:00:20+00:00/published>
updated>2024-06-04T04:11:15+00:00/updated>
media:group>
media:title>Handel – Organ Concerto in D minor HWV 309 3rd Mvt (Allegro)/media:title>
media:content url="https://www.youtube.com/v/ID3JrIyW3DU?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
media:thumbnail url="https://i2.ytimg.com/vi/ID3JrIyW3DU/hqdefault.jpg" width="480" height="360"/>
media:description>It's been a while since I recorded anything from a Handel Organ Concerto, so here is the final movement, Allegro, from his Concerto in D minor HWV 309, or Opus 7, Number 4, or simply, the tenth concerto of his sixteen.
This is music that Handel reused – as he so often did – originating in his Harpsichord Suite HWV 428 published in 1720, where it was marked Presto. The Opus 7 set of concertos was put together in the 1740s and published posthumously in 1761./media:description>
media:community>
media:starRating count="10" average="5.00" min="1" max="5"/>
media:statistics views="249"/>
/media:community>
/media:group>
/entry>
entry>
id>yt:video:PKXctiWYSIg/id>
yt:videoId>PKXctiWYSIg/yt:videoId>
yt:channelId>UCD6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>Edwin Lemare – Andantino in D flat WoO 1 ("Moonlight and Roses")/title>
link rel="alternate" href="https://www.youtube.com/watch?v=PKXctiWYSIg"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2024-05-23T16:51:43+00:00/published>
updated>2024-06-27T15:21:40+00:00/updated>
media:group>
media:title>Edwin Lemare – Andantino in D flat WoO 1 ("Moonlight and Roses")/media:title>
media:content url="https://www.youtube.com/v/PKXctiWYSIg?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
media:thumbnail url="https://i1.ytimg.com/vi/PKXctiWYSIg/hqdefault.jpg" width="480" height="360"/>
media:description>This is one of Edwin Lemare's most famous pieces, thanks to its adaptation into the song 'Moonlight and Roses' by Ben Black and Charles N Daniels in 1925, the original dates from 1892. It is not to be confused with his Op 83 No 2 Andantino, also in D flat and subtitled 'Moonlight'! It's a very quiet piece which I have recorded at home as my Viscount Ouverture has all the right stops. It makes use on the second page of a favourite organists' trick of thumbing down, which means playing with the fingers on one manual and the thumb on the one below./media:description>
media:community>
media:starRating count="7" average="5.00" min="1" max="5"/>
media:statistics views="142"/>
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/media:group>
/entry>
entry>
id>yt:video:EmKm-78mPvs/id>
yt:videoId>EmKm-78mPvs/yt:videoId>
yt:channelId>UCD6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>JS Bach – Komm, Heiliger Geist BWV 652/title>
link rel="alternate" href="https://www.youtube.com/watch?v=EmKm-78mPvs"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2024-05-15T23:00:05+00:00/published>
updated>2024-06-13T14:10:36+00:00/updated>
media:group>
media:title>JS Bach – Komm, Heiliger Geist BWV 652/media:title>
media:content url="https://www.youtube.com/v/EmKm-78mPvs?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
media:thumbnail url="https://i2.ytimg.com/vi/EmKm-78mPvs/hqdefault.jpg" width="480" height="360"/>
media:description>For Pentecost here is the second of Bach's two settings of this melody in the Eighteen – or Leipzig – Chorales. It is beautifully crafted, as one would expect, working each phrase of the chorale melody in turn contrapuntally with a coloratura overlay. It is quite a lengthy piece and just as one feels one is on the home straight, Bach effectively doubles the tempo by going into semiquavers (sixteenths) instead of quavers (eighths) to make the last page seem almost like a cadenza!/media:description>
media:community>
media:starRating count="8" average="5.00" min="1" max="5"/>
media:statistics views="79"/>
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/media:group>
/entry>
entry>
id>yt:video:c0O3pv3X3hU/id>
yt:videoId>c0O3pv3X3hU/yt:videoId>
yt:channelId>UCD6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>Gabriel Fauré – Après un rêve Op 7 No 1/title>
link rel="alternate" href="https://www.youtube.com/watch?v=c0O3pv3X3hU"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2024-05-08T23:00:29+00:00/published>
updated>2024-06-13T14:32:04+00:00/updated>
media:group>
media:title>Gabriel Fauré – Après un rêve Op 7 No 1/media:title>
media:content url="https://www.youtube.com/v/c0O3pv3X3hU?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
media:thumbnail url="https://i4.ytimg.com/vi/c0O3pv3X3hU/hqdefault.jpg" width="480" height="360"/>
media:description>This year is the centenary of the death of Gabriel Urbain Fauré, who was born in 1845 in Pamiers, Ariège, (Occitanie) in the south of France. Like Schubert in Vienna at the beginning of the century, Fauré occupies pride of place in France as song-writer supreme, and while his songs are known and loved by singers, they are not so much appreciated by the wider public, despite the popularity of his Requiem.
This song is an early work, dating from 1877 and has the most haunting of melodies; the words are below. It has been arranged for various solo instruments and piano as well as for organ. (For obvious reasons I am using the French specification of my Viscount Ouverture and enjoying the new ebony and cherry keyboards recently fitted.)
Dans un sommeil que charmait ton image
Je rêvais le bonheur, ardent mirage,
Tes yeux étaient plus doux, ta voix pure et sonore,
Tu rayonnais comme un ciel éclairé par l'aurore;
Tu m'appelais et je quittais la terre
Pour m'enfuir avec toi vers la lumière,
Les cieux pour nous entr'ouvraient leurs nues,
Splendeurs inconnues, lueurs divines entrevues,
Hélas! Hélas! triste réveil des songes
Je t'appelle, ô nuit, rends-moi tes mensonges,
Reviens, reviens radieuse,
Reviens ô nuit mystérieuse!
(Words adapted into French by Romain Bussine from an anonymous Italian poem.)/media:description>
media:community>
media:starRating count="6" average="5.00" min="1" max="5"/>
media:statistics views="141"/>
/media:community>
/media:group>
/entry>
entry>
id>yt:video:uvyXsxjVkLA/id>
yt:videoId>uvyXsxjVkLA/yt:videoId>
yt:channelId>UCD6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>Johann Pachelbel – Canon in D/title>
link rel="alternate" href="https://www.youtube.com/watch?v=uvyXsxjVkLA"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2024-05-01T23:00:24+00:00/published>
updated>2024-06-06T14:57:01+00:00/updated>
media:group>
media:title>Johann Pachelbel – Canon in D/media:title>
media:content url="https://www.youtube.com/v/uvyXsxjVkLA?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
media:thumbnail url="https://i2.ytimg.com/vi/uvyXsxjVkLA/hqdefault.jpg" width="480" height="360"/>
media:description>Johann Pachelbel (1653-1706) was born in Nuremberg and showed great musical talent at an early age. He was tremendously influential as both an organist and a composer. He became friends with Johann Ambrosius Bach (father of Johann Sebastian) during his short time in Eisenach (1677-78), but continued the friendship after his move to Erfurt, where the Bach family was very well-known.
It is a great shame that he tends to be known nowadays – apart from among cognoscenti in the organ world – for his Canon in D, as there is much else to enjoy. It was originally for three violins and basso continuo and is a ground (i.e. repeating) bass, with some masterful weaving and invention as it progresses. There have been plenty of arrangements made for all sort of combinations of instruments. I am playing Jerry Lanning's version, which packs in just about as many notes of the original as can be played by two hands and is the most successful version I have come across. I have deliberately kept the registration plain to correspond to the original instrumentation./media:description>
media:community>
media:starRating count="23" average="5.00" min="1" max="5"/>
media:statistics views="665"/>
/media:community>
/media:group>
/entry>
entry>
id>yt:video:kREQGe58VW0/id>
yt:videoId>kREQGe58VW0/yt:videoId>
yt:channelId>UCD6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>Josef Rheinberger – Cantilène from Sonata XI (Op 148)/title>
link rel="alternate" href="https://www.youtube.com/watch?v=kREQGe58VW0"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2024-04-24T23:00:22+00:00/published>
updated>2024-05-29T20:34:32+00:00/updated>
media:group>
media:title>Josef Rheinberger – Cantilène from Sonata XI (Op 148)/media:title>
media:content url="https://www.youtube.com/v/kREQGe58VW0?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
media:thumbnail url="https://i4.ytimg.com/vi/kREQGe58VW0/hqdefault.jpg" width="480" height="360"/>
media:description>Josef Rheinberger (1839-1901) composed no fewer than twenty organ sonatas, which were intended as a set in all twenty-four keys. The Eleventh, in the key of D minor, was composed in 1887. It contains four movements, of which this is the second. It is clearly a homage to Bach, echoing both the Air from the Orchestral Suite in D and also the slow movement of the F minor harpsichord concerto. It is a beautiful solo melody that goes very well on the Great flute at St Peter's, Petersfield, with the Swell strings for left hand accompaniment./media:description>
media:community>
media:starRating count="3" average="5.00" min="1" max="5"/>
media:statistics views="56"/>
/media:community>
/media:group>
/entry>
entry>
id>yt:video:6NrjteWZ0NE/id>
yt:videoId>6NrjteWZ0NE/yt:videoId>
yt:channelId>UCD6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>Morton Gould – Pavanne/title>
link rel="alternate" href="https://www.youtube.com/watch?v=6NrjteWZ0NE"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2024-04-17T23:00:03+00:00/published>
updated>2024-05-22T04:39:46+00:00/updated>
media:group>
media:title>Morton Gould – Pavanne/media:title>
media:content url="https://www.youtube.com/v/6NrjteWZ0NE?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
media:thumbnail url="https://i3.ytimg.com/vi/6NrjteWZ0NE/hqdefault.jpg" width="480" height="360"/>
media:description>The Pavanne by Morton Gould (1913-1996) is one of his most often performed and recorded works, but is actually the second movement of his American Symphonette No. 2 of 1938, a symphonic suite written with a jazz tinge and intended for radio performance. The Pavanne is written as a short allegretto, lasting roughly three-and-a-half minutes. It has a chirpy melody over an ostinato-style bass along with some big band type moments. It has been arranged for various combinations of instruments and for piano. This is my interpretation of it for the organ./media:description>
media:community>
media:starRating count="10" average="5.00" min="1" max="5"/>
media:statistics views="203"/>
/media:community>
/media:group>
/entry>
entry>
id>yt:video:ReopJMwPNvg/id>
yt:videoId>ReopJMwPNvg/yt:videoId>
yt:channelId>UCD6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>Mozart – Epistle Sonata in C, K 263/title>
link rel="alternate" href="https://www.youtube.com/watch?v=ReopJMwPNvg"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2024-04-10T23:00:09+00:00/published>
updated>2024-05-29T10:12:29+00:00/updated>
media:group>
media:title>Mozart – Epistle Sonata in C, K 263/media:title>
media:content url="https://www.youtube.com/v/ReopJMwPNvg?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
media:thumbnail url="https://i3.ytimg.com/vi/ReopJMwPNvg/hqdefault.jpg" width="480" height="360"/>
media:description>Mozart wrote a total of seventeen Epistle Sonatas (or Church Sonatas) when he was in Salzburg to be played at Mass between the Epistle and Gospel. They are lovely pieces, single movements, scored for strings and organ. This is one of five in the key of C major (none of the seventeen is in a minor key).
This one has been arranged for solo organ by Zsigmond Szathmáry./media:description>
media:community>
media:starRating count="5" average="5.00" min="1" max="5"/>
media:statistics views="100"/>
/media:community>
/media:group>
/entry>
entry>
id>yt:video:-Wq3JHBYpYQ/id>
yt:videoId>-Wq3JHBYpYQ/yt:videoId>
yt:channelId>UCD6mjVGtJtj6rjB_VUhnLfg/yt:channelId>
title>Théodore Dubois – Alleluia (O filii et filiæ)/title>
link rel="alternate" href="https://www.youtube.com/watch?v=-Wq3JHBYpYQ"/>
author>
name>Mark Dancer – Anacrusis Music/name>
uri>https://www.youtube.com/channel/UCD6mjVGtJtj6rjB_VUhnLfg/uri>
/author>
published>2024-04-03T23:00:00+00:00/published>
updated>2024-05-23T16:30:43+00:00/updated>
media:group>
media:title>Théodore Dubois – Alleluia (O filii et filiæ)/media:title>
media:content url="https://www.youtube.com/v/-Wq3JHBYpYQ?version=3" type="application/x-shockwave-flash" width="640" height="390"/>
media:thumbnail url="https://i2.ytimg.com/vi/-Wq3JHBYpYQ/hqdefault.jpg" width="480" height="360"/>
media:description>For Low Sunday, the 2nd Sunday of Easter, Quasi modo – whatever title you care to give it, here is "Alleluia" by Théodore Dubois (1837-1924). Dubois was variously choirmaster at Sainte-Clotilde and (1871-77) and then succeeded Saint-Saëns at the L'Église de la Madeleine.
This piece is a Grand Chœur based on the Easter hymn "O filii et filiæ" (O sons and daughters, let us sing) and comes from his collection Douzes Pièces Nouvelles. It is a bit of a mystery tour of key changes, almost as if the composer were experimenting as to where different chords could lead, and takes some concentration to play or one can end up taking a 'wrong turn'!/media:description>
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title>Antony Baldwin – Mr Theo Saunders, his Trumpet Tune/title>
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name>Mark Dancer – Anacrusis Music/name>
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media:description>Here is a bright and breezy trumpet tune for Easter. Antony Baldwin (b. 1957) was organ scholar at Trinity College, Oxford, then studied at post-graduate level at Durham. He has composed many choral and organ pieces, including this one for Theo Saunders (1957-2016), who was sometime Organist & Master of the Choristers at Armagh Cathedral. This short Trumpet Tune, with its title styled after the manner of early English keyboard music was composed in 2005, is great fun and shows off the brilliance of the Great Trompete at St Peter's, Petersfield./media:description>
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media:description>Here, ready for Passiontide, is Bach's chorale prelude on 'Aus tiefer Not', in organo pleno con pedale doppio, BWV 686.
Clavierübung III contains two versions of each chorale prelude, one for manuals only and the other with pedals. The two settings of the metrical Psalm 130 (Out of the deep) are masterpieces of the art of 'working a point', i.e. taking each phrase and turning it into a piece of counterpoint. I recorded the manualiter version in 2021 but never got round to doing this one until now. This version is a tour de force in that it is in six voices and, as the subtitle says, TWO are in the pedals, with the melody or cantus firmus in long notes in the tenor register for the right foot and a lower part for the left (assisted from time to time by the right) to give the bass part./media:description>
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++++ UPdate DAvidKanal SET tsc=1719790429 WHERE Cid="145490"
01.07.2024 01:33
01.01.1970 01:00
01.01.1970 01:00
Mark Dancer – Anacrusis Music
19.06.2024 14:06:19
19.06.2024 14:06:15
29.05.2023 03:46:04 5 56
01.07.2024 01:33:49
01.07.2024 01:33:46
29.05.2023 03:46:04 5 58
1:: JS Bach – Prelude & Fugue in A major BWV 536
01.01.1970 01:00:00 26.06.2024 23:00:24 This is one of Bach's earlier preludes and fugues, probably composed when he was in his twenties. The prelude has an improvisatory feel to it, as though Bach was simply enjoying the sound of the instrument in the building. The fugue is one of his most lyrical and legato. It lies under the hands and feet well and is in almost constant quaver movement, especially from around two-thirds of the way through.
2:: Eric Thiman – Improvisation on 'Crimond'
01.01.1970 01:00:00 19.06.2024 23:00:34 Eric Thiman (pronounced Tee-man) was born in Ashford, Kent in 1900 and died in 1975. He was one of the leading Non-conformist organists in England. He was largely self-taught, was awarded FRCO in 1921 and his DMus in 1928. From 1930 Thiman was Professor of Harmony at the Royal Academy of Music, going on to be Dean of Music at the University of London from 1956-1962. He was a prolific composer, with over 1,300 works published.
This is a quiet piece based on the tune commonly sung to "The Lord's my shepherd, I'll not want", composed in 1952 and in the style of a sarabande.
3:: Matthew Camidge – Concerto in G minor
01.01.1970 01:00:00 12.06.2024 23:00:14 Matthew Camidge (1774-1844) was the second of a dynasty of organists who held that position at York Minster for 103 years, from 1756 to 1859, four generations in all. He was chorister at the Minster and then at the Chapel Royal under James Nares, who was the predecessor at York of Matthew's father John. John died in 1803, whereupon Matthew took up the reins until 1842. He was a favourite of King George III and was apparently the first Organist at York to teach the boys to sing from music rather than learning everything by rote.
This concerto is the second of a set of six and comprises a slow introduction, followed by an allegro. A slow, cantabile movement is next, and the concerto is rounded off by a Gavotte, though this is really a Bourrée.
The organ at York had pedals, but no stops for them, so they would have been used to assist the hands as required, which is how I have used them here.
I am playing from the edition edited by Francis Jackson.
4:: Elgar – Chanson de Matin Op 15 No 2
01.01.1970 01:00:00 05.06.2024 23:00:33 Here is something which needs little introduction. It is the second of two pieces originally for violin and piano, the first being, unsurprisingly, Chanson de Nuit. The two pieces were published in 1899, although their date of composition could be as much as ten years earlier. Elgar later orchestrated them and that version premiered at a Promenade Concert in 1901. Chanson de Matin is by far the more popular of the two, quite possibly due to its unpretentious charm. This is the organ arrangement by Herbert Brewer.
5:: Handel – Organ Concerto in D minor HWV 309 3rd Mvt (Allegro)
01.01.1970 01:00:00 29.05.2024 23:00:20 It's been a while since I recorded anything from a Handel Organ Concerto, so here is the final movement, Allegro, from his Concerto in D minor HWV 309, or Opus 7, Number 4, or simply, the tenth concerto of his sixteen.
This is music that Handel reused – as he so often did – originating in his Harpsichord Suite HWV 428 published in 1720, where it was marked Presto. The Opus 7 set of concertos was put together in the 1740s and published posthumously in 1761.
6:: Edwin Lemare – Andantino in D flat WoO 1 ("Moonlight and Roses")
01.01.1970 01:00:00 23.05.2024 16:51:43 This is one of Edwin Lemare's most famous pieces, thanks to its adaptation into the song 'Moonlight and Roses' by Ben Black and Charles N Daniels in 1925, the original dates from 1892. It is not to be confused with his Op 83 No 2 Andantino, also in D flat and subtitled 'Moonlight'! It's a very quiet piece which I have recorded at home as my Viscount Ouverture has all the right stops. It makes use on the second page of a favourite organists' trick of thumbing down, which means playing with the fingers on one manual and the thumb on the one below.
7:: JS Bach – Komm, Heiliger Geist BWV 652
01.01.1970 01:00:00 15.05.2024 23:00:05 For Pentecost here is the second of Bach's two settings of this melody in the Eighteen – or Leipzig – Chorales. It is beautifully crafted, as one would expect, working each phrase of the chorale melody in turn contrapuntally with a coloratura overlay. It is quite a lengthy piece and just as one feels one is on the home straight, Bach effectively doubles the tempo by going into semiquavers (sixteenths) instead of quavers (eighths) to make the last page seem almost like a cadenza!
8:: Gabriel Fauré – Après un rêve Op 7 No 1
01.01.1970 01:00:00 08.05.2024 23:00:29 This year is the centenary of the death of Gabriel Urbain Fauré, who was born in 1845 in Pamiers, Ariège, (Occitanie) in the south of France. Like Schubert in Vienna at the beginning of the century, Fauré occupies pride of place in France as song-writer supreme, and while his songs are known and loved by singers, they are not so much appreciated by the wider public, despite the popularity of his Requiem.
This song is an early work, dating from 1877 and has the most haunting of melodies; the words are below. It has been arranged for various solo instruments and piano as well as for organ. (For obvious reasons I am using the French specification of my Viscount Ouverture and enjoying the new ebony and cherry keyboards recently fitted.)
Dans un sommeil que charmait ton image
Je rêvais le bonheur, ardent mirage,
Tes yeux étaient plus doux, ta voix pure et sonore,
Tu rayonnais comme un ciel éclairé par l'aurore;
Tu m'appelais et je quittais la terre
Pour m'enfuir avec toi vers la lumière,
Les cieux pour nous entr'ouvraient leurs nues,
Splendeurs inconnues, lueurs divines entrevues,
Hélas! Hélas! triste réveil des songes
Je t'appelle, ô nuit, rends-moi tes mensonges,
Reviens, reviens radieuse,
Reviens ô nuit mystérieuse!
(Words adapted into French by Romain Bussine from an anonymous Italian poem.)
9:: Johann Pachelbel – Canon in D
01.01.1970 01:00:00 01.05.2024 23:00:24 Johann Pachelbel (1653-1706) was born in Nuremberg and showed great musical talent at an early age. He was tremendously influential as both an organist and a composer. He became friends with Johann Ambrosius Bach (father of Johann Sebastian) during his short time in Eisenach (1677-78), but continued the friendship after his move to Erfurt, where the Bach family was very well-known.
It is a great shame that he tends to be known nowadays – apart from among cognoscenti in the organ world – for his Canon in D, as there is much else to enjoy. It was originally for three violins and basso continuo and is a ground (i.e. repeating) bass, with some masterful weaving and invention as it progresses. There have been plenty of arrangements made for all sort of combinations of instruments. I am playing Jerry Lanning's version, which packs in just about as many notes of the original as can be played by two hands and is the most successful version I have come across. I have deliberately kept the registration plain to correspond to the original instrumentation.
10:: Josef Rheinberger – Cantilène from Sonata XI (Op 148)
01.01.1970 01:00:00 24.04.2024 23:00:22 Josef Rheinberger (1839-1901) composed no fewer than twenty organ sonatas, which were intended as a set in all twenty-four keys. The Eleventh, in the key of D minor, was composed in 1887. It contains four movements, of which this is the second. It is clearly a homage to Bach, echoing both the Air from the Orchestral Suite in D and also the slow movement of the F minor harpsichord concerto. It is a beautiful solo melody that goes very well on the Great flute at St Peter's, Petersfield, with the Swell strings for left hand accompaniment.
11:: Morton Gould – Pavanne
01.01.1970 01:00:00 17.04.2024 23:00:03 The Pavanne by Morton Gould (1913-1996) is one of his most often performed and recorded works, but is actually the second movement of his American Symphonette No. 2 of 1938, a symphonic suite written with a jazz tinge and intended for radio performance. The Pavanne is written as a short allegretto, lasting roughly three-and-a-half minutes. It has a chirpy melody over an ostinato-style bass along with some big band type moments. It has been arranged for various combinations of instruments and for piano. This is my interpretation of it for the organ.
12:: Mozart – Epistle Sonata in C, K 263
01.01.1970 01:00:00 10.04.2024 23:00:09 Mozart wrote a total of seventeen Epistle Sonatas (or Church Sonatas) when he was in Salzburg to be played at Mass between the Epistle and Gospel. They are lovely pieces, single movements, scored for strings and organ. This is one of five in the key of C major (none of the seventeen is in a minor key).
This one has been arranged for solo organ by Zsigmond Szathmáry.
13:: Théodore Dubois – Alleluia (O filii et filiæ)
01.01.1970 01:00:00 03.04.2024 23:00:00 For Low Sunday, the 2nd Sunday of Easter, Quasi modo – whatever title you care to give it, here is "Alleluia" by Théodore Dubois (1837-1924). Dubois was variously choirmaster at Sainte-Clotilde and (1871-77) and then succeeded Saint-Saëns at the L'Église de la Madeleine.
This piece is a Grand Chœur based on the Easter hymn "O filii et filiæ" (O sons and daughters, let us sing) and comes from his collection Douzes Pièces Nouvelles. It is a bit of a mystery tour of key changes, almost as if the composer were experimenting as to where different chords could lead, and takes some concentration to play or one can end up taking a 'wrong turn'!
14:: Antony Baldwin – Mr Theo Saunders, his Trumpet Tune
01.01.1970 01:00:00 30.03.2024 00:00:19 Here is a bright and breezy trumpet tune for Easter. Antony Baldwin (b. 1957) was organ scholar at Trinity College, Oxford, then studied at post-graduate level at Durham. He has composed many choral and organ pieces, including this one for Theo Saunders (1957-2016), who was sometime Organist & Master of the Choristers at Armagh Cathedral. This short Trumpet Tune, with its title styled after the manner of early English keyboard music was composed in 2005, is great fun and shows off the brilliance of the Great Trompete at St Peter's, Petersfield.
15:: JS Bach – Aus tiefer Not (BWV 686) (Double pedal)
01.01.1970 01:00:00 14.03.2024 00:00:04 Here, ready for Passiontide, is Bach's chorale prelude on 'Aus tiefer Not', in organo pleno con pedale doppio, BWV 686.
Clavierübung III contains two versions of each chorale prelude, one for manuals only and the other with pedals. The two settings of the metrical Psalm 130 (Out of the deep) are masterpieces of the art of 'working a point', i.e. taking each phrase and turning it into a piece of counterpoint. I recorded the manualiter version in 2021 but never got round to doing this one until now. This version is a tour de force in that it is in six voices and, as the subtitle says, TWO are in the pedals, with the melody or cantus firmus in long notes in the tenor register for the right foot and a lower part for the left (assisted from time to time by the right) to give the bass part.
16:: Clara Schumann – Prelude & Fugue in B flat (Op 16 No 2)
01.01.1970 01:00:00 07.03.2024 00:00:03 Clara Schumann (1819-1896) wrote no music for the organ, but of her Three Preludes and Fugues for Piano, Opus 16, five of the six movements are eminently transferable to the instrument. I have arranged the Prelude myself, adding sustained pedal notes where appropriate as there is (obviously) no sustaining pedal on the organ! The Fugue needed no changes, being a four-voice fugue with the bass easily playable by the feet.
There is plenty of information about Clara Schumann to be found online so there is no need for me to include that here. See here for a fairly concise article about her: https://en.wikipedia.org/wiki/Clara_Schumann)
This recording is timed to coincide with International Women's Day and also Women Composers Sunday, on March 8 and 10, 2024 respectively.
17:: JS Bach – Erbarm dich mein, O Herre Gott (BWV 721)
01.01.1970 01:00:00 29.02.2024 00:00:21 Sometimes less is more. Sometimes just the one stop will do. Here are two renditions of Bach's beautiful chorale prelude on "Erbarm dich mein, O Herre Gott", one of a number of miscellaneous chorale preludes. The text is below. It consists of repeated chords for manuals only with the melody line sustained on top. As an experiment as I practised, I tried it with the melody on a 4ft stop coupled to the pedals. As I couldn't decide which I preferred, I have combined them into one video. Skip to around four minutes in for the pedal version.
Here is the text and translation of the first verse, the whole is a paraphrase of Psalm 51:
Erbarm dich mein, o Herre Gott,
nach deiner großn Barmherzigkeit.
Wasch ab, mach rein mein Missethat,
ich kenn mein Sünd und ist mir leid.
Allein ich dir gesündigt hab,
das ist wider mich stetiglich;
das Bös vor dir mag nicht besta[h]n,
du bleibst gerecht, ob urtheilst mich.
Have mercy on me, O Lord God,
According to thy great mercy,
Wash away, cleanse me from my sin,
I acknowledge my sin and it grieves me.
Against thee alone have I sinned,
And it stands against me constantly;
Before Thee evil cannot stand,
And Thou art just when thou judgest me.
18:: Felix Mendelssohn – Prelude & Fugue in G major Op 37 No 2
01.01.1970 01:00:00 08.02.2024 00:00:02 Felix Mendelssohn was an organist from the age of eleven until his death, but wrote surprisingly little for the instrument, principally, three Preludes & Fugues and the Six Sonatas, the latter being more suites of movements than traditional sonatas. The Preludes & Fugues date from 1836-7 and are very finely crafted pieces. The Prelude is in a pastorale style and the fugue, by way of contrast, is in the rather old fashioned alla breve 4/2 time, beginning with the bass voice and adding successive upper voices, building gradually to its climax at the end.
19:: Georg Böhm – Vater unser im Himmelreich
01.01.1970 01:00:00 01.02.2024 00:00:16 Georg Böhm was born 24 years before JS Bach in 1661 in Hohenkirchen and died in 1733. He became organist of the principal church of Lüneburg after the death of Christian Flor and remained in post until his death. His music was a strong influence on JSB as recorded by the latter's son CPE in a letter to Forkel in 1775. This beautiful chorale prelude on the paraphrased Lord's Prayer was later copied with additional ornamentation by JG Walther, which I have incorporated into this performance as it shows just how much elaboration might have been expected over the basic musical text in those days.
20:: JS Bach – Pièce d'Orgue BWV 572
01.01.1970 01:00:00 25.01.2024 00:00:30 JS Bach's "Pièce d'Orgue" is unusual in several respects. Firstly, the title and all the tempo indications are in French. Secondly, it includes a low B on the pedals, which was not standard (still isn't) on German organs, but was a possibility in France. Thirdly, it is unlike anything else he wrote for the instrument, being in three very contrasting sections. It opens with a sparkling and monodic manuals-only section in 12/8 time marked 'Très vitement'. The long central section is a splendid bit of five-part writing in 2/2, marked 'Gravement' and forms the bulk of the composition, which, following a long dominant pedal-point, ends abruptly with a totally unexpected diminished seventh chord. The concluding two pages, marked 'Lentement' are toccata-like sextuplet demisemiquavers over a descending chromatic pedal part – the pulse is what is slow, not the demisemiquavers! – leading to the final flourish and cadence.
21:: Claude Debussy – String Quartet Opus 10 – Andantino
01.01.1970 01:00:00 18.01.2024 00:00:19 Claude Debussy (1862-1918) needs no introduction as a composer except to say that he wrote no music for the organ! Organists have tried over the years to arrange some of his works for the organ, with varying degrees of success. Debussy planned to write two String Quartets but in the event only composed the one, Opus 10, which dates from 1893, and from that the third movement transcribes very well for organ.
This version is by Douglas Hopkins, who was variously Suborganist at St Paul's Cathedral (London), then Organist of Peterborough and later Canterbury Cathedrals.
22:: Alexandre Guilmant – Canzone in A minor Op 40 No 2
01.01.1970 01:00:00 04.01.2024 00:00:33 This week some real Guilmant. This is serendipity: I was browsing one of my volumes which contain multiple sets of Guilmant's "Pièces en différent styles pour orgue" and came across this charming little piece. As with any piece by him, there is a composer's note at the end. Normally this is simply the date and place of composition, but here we learn – "Composée à l'occasion du cinquantième anniversaire de prêtrise de Monsignor Modelonde, Curé de la Ste.-Trinité et à lui offerte et dédiée par son très-humble serviteur. Alex: G. Paris, 21 7bre 1873." (Composed on the occasion of the fiftieth anniversary of priesthood of Mgr Modelonde, priest at Ste-Trinité and offered and dedicated to him by his most humble servant. Alexandre Guilmant, Paris, 21 September 1873.)
23:: Alfred Hollins – Christmas Cradle Song (based on O come, all ye faithful)
01.01.1970 01:00:00 28.12.2023 17:40:37 "O come, all ye faithful" is one of the most popular Christmas carols. In the UK it tends to be sung with tremendous gusto. In France (and other places) it is far more contemplative in nature. Hollins takes this latter approach and creates a beautifully reflective piece on the wonder of Christmas. This piece is in the style of Guilmant, so I am using the French style of my Viscount Ouverture.
Alfred Hollins was born in Hull in 1865 and died in Edinburgh in 1942. He was blind from birth but showed exceptional musical ability from a very young age. He was renowned both as an organist and as a pianist and toured the world giving recitals and inaugurating instruments and so on. He was awarded honorary Fellowship of the Royal College of Organists in 1904 and given an honorary Doctorate of Music from the University of Edinburgh in 1922.
24:: Adolphe Adam – O holy night (Cantique de Noël)
01.01.1970 01:00:00 21.12.2023 00:00:25 Another very famous melody for Christmas, Adolphe Adam's Cantique de Noël, known in English as O Holy Night. From its origins as a song with but a single verse it has been arranged for just about every combination of instruments imaginable. This version is by Thomas Tertius Noble – he of 'Noble in B minor' Evening Canticles, sometime organist of Ely Cathedral, York Minster and latterly St Thomas, Fifth Avenue, NYC.
The solo stop for the first half of this is the Great Principal 4', played an octave lower, which sings very well against the Swell.
25:: Arcangelo Corelli – Christmas Concerto – Pastorale
01.01.1970 01:00:00 14.12.2023 00:00:17 Here is one of the most famous pieces of Baroque Christmas music, an excerpt – the final movement – from Corelli's Christmas Concerto. The Pastorale follows as calm ending to this Concerto Grosso, there having been some very vigorous movements before it.
In this performance I am using just the Great Chimney Flute for the concentrate instruments, with the Swell strings coupled to it for the tutti.
26:: William Byrd – Fantasia sopra Ut Re Mi Fa Sol La
01.01.1970 01:00:00 23.11.2023 00:00:09 2023 is the quatercentenary of the death of the great Tudor composer William Byrd, so it would be remiss of me not to record something! This piece is 'Hexachord Setting' and to be found in both the Fitzwilliam Virginal Book and 'My Ladye Nevells Booke'. It works perfectly well on the organ, too, in my opinion. There are some seventeen iterations of the hexachord ascending and descending: a figure that was used by most major keyboard composers of the era, seemingly holding a fascination for them. Slightly unusually here, Byrd gives the theme on all sorts of notes or keys – G, C, F, B flat, though G predominates – and in all registers. There are the usual cross-rhythms and colorations to take account of as well as the usual matter of 'taste' and/or convention when it comes to accidentals. If the opening sounds slow-paced, there is a reason – fantasias and toccatas from this time always begin with long notes and ramp up the speed of movement as the music progresses!
27:: Dietrich Buxtehude – Toccata in D minor BuxWV 155
01.01.1970 01:00:00 16.11.2023 00:00:18 Here is a flamboyant Toccata by Dietrich Buxtehude. it is full of flourishes for feet and hands and in the usual fantasia and fughetta style prevalent in the earlier (pre-JS Bach) Baroque, in which after an initial improvisatory section two or more short fugues ensue with brief interludes along the way.
Buxtehude, the great forerunner of JS Bach, was born in 1637 and died in 1707. From 1688 he was organist of the Marienkirche in Lübeck, succeeding Franz Tunder and as was fairly common practice married his predecessor's daughter Anna Margarethe. His influence was widespread and musicians – including Bach – travelled from far and wide to hear him play.
28:: Hendrik Andriessen – Thema met Variaties
01.01.1970 01:00:00 10.11.2023 09:52:26 Hendrik Andriessen (1892-1981) was a Dutch composer and organist. He was a noted improviser and influential in the revival of Catholic liturgical music in the Netherlands.
This is a slightly austere piece in A minor, and was composed in 1949 for Lady Susi Jeans at Cleveland Lodge in Dorking, Surrey. It has been popular with organists ever since. It suits the style of the Petersfield organ very well with its Classical voicing.
29:: JS Bach – Schmücke dich, O liebe Seele (Deck thyself, my soul, with gladness) BWV 654
01.01.1970 01:00:00 02.11.2023 00:00:18 This is the fourth of "The Eighteen" or "Leipzig" Chorales, a collection of extended chorale preludes composed in the last decade of Johann Sebastian Bach's life, the bulk of them between 1739 and 1742. It is one of my favourite chorale preludes from his entire œuvre, as it does everything I could want to hear or play in such a composition. It has a particular serenity to it that is very appealing. It is also a tune that is well-known in England, which makes it more than just a random-but-nice prelude for the listener.
30:: JS Bach – Two Chorale Preludes: Liebster Jesu, wir sind hier BWV 731 & 730
01.01.1970 01:00:00 25.10.2023 23:00:24 Here are the two beautiful G major settings of this chorale: first the highly decorated solo melody version and then the elaborate harmonisation. There are two slightly different versions of this melody – the third phrase being the variant. In BWV 730, Bach introduces much busier semiquaver movement for this third phrase only, in contrast with general quaver movement for the rest of the piece. This makes a tempo that works for the whole tricky to gauge – hopefully I’ve got it about right!
31:: Arthur Wills – Sortie from 'Eucharistic Suite'
01.01.1970 01:00:00 18.10.2023 23:00:01 Arthur Wills (1926-2020) was Organist of Ely Cathedral from 1958 to 1990 and professor of organ at the Royal Academy of Music from 1964 to 1992. He was well-known also as a recitalist, touring extensively world-wide.
The Eucharistic Suite dates from the summer of 1961 and consists of an Introit, Communion and Sortie, three very different movements.
The Sortie, which I am playing at the prescribed metronome mark, in accordance with the Composer's Note, is in A-B-A form, the A sections sounding distinctly as though there's a train to catch and surrounding a calm B section in F sharp major. (I have had to do a small amount of adaptation to get round the fact that the organ at St Peter's only goes up to top G rather than the A and B in score.)
32:: Bernardo Pasquini – Toccata in D minor (Dorian)
01.01.1970 01:00:00 11.10.2023 23:00:21 Bernardo Pasquini was born in 1637 in Massa in Valdinievole (Tuscany), so six years before the death of his great forebear Girolamo Frescobaldi, and is regarded as one of the greatest Italian keyboard composers between Frescobaldi and Domenico Scarlatti. He died in Rome in 1710.
This toccata is very much harking back to Frescobaldi, with its thoughtful opening section, taking the literal meaning of toccata as coming from the verb to touch. It then moves into two consecutive canzona-type sections, and finally into a more bravura and dramatic concluding few lines. Typical of its time and country of origin, there is nothing much beyond long pedal-points for the feet to do!
33:: Antonio Vivaldi – Allegro from Mandolin Concerto in C RV 425
01.01.1970 01:00:00 26.07.2023 23:00:01 Antonio Vivaldi wrote many concerti for violin, cello, flute, bassoon and so on, but only two for mandolin: a double concerto in G and this one for solo mandolin in C. Because of the gentle nature of the instrument, the scoring is very sparse and almost chamber-like compared with the works for stronger instruments. This is the opening Allegro and has been arranged by Jonathan Scott with some judicious fleshing out to make it effective on the organ.
34:: Bach – The Art of Fugue – Contrapunctus I
01.01.1970 01:00:00 19.07.2023 23:00:07 Johann Sebastian Bach's The Art of Fugue (Die Kunst der Fuge) is an extended work containing about as many ways of working with a fugue subject as one could possibly imagine. It was left incomplete at his death, with the last, quadruple fugue remaining to be finished. Various people have made attempts as writing that concluding section and with varying degrees of success! This is the very opening fugue. The work was written in open score, i.e. one stave per voice and no particular instruments were specified. This organ arrangement is by Helmut Walcha.
35:: Jean-Baptiste Lully – Passacaille from Armide
01.01.1970 01:00:00 13.07.2023 18:57:27 Lully was one of the most prominent and prolific French Baroque composers alongside Rameau and Couperin. Born in Florence in 1632, he went to Paris at the age of fourteen (it's a slightly convoluted story, which I shan't go into here) and in 1653 entered the service of Louis XIV as royal composer for instrumental music and later director of Les Petits Violons. He died in 1687.
Armide is a tragic opera to a libretto by Philippe Quinault composed in 1686. Here’s a brief synopsis. During the First Crusade, Armide ensnares her enemy the Christian knight Renaud with her magic spells. At the moment she raises her dagger to kill him, she finds herself falling in love with him. She casts a spell to make him love her in return. Upon returning to her castle, she cannot bear that Renaud's love is only the work of enchantment. She calls on the Goddess of Hate to restore her hatred for Renaud, but fails to escape from her feelings of love for him. The Goddess condemns Armide to eternal love. Before Armide can return to Renaud, two of his fellow soldiers reach Renaud and break Armide's spell. Renaud manages to escape from Armide, who is left enraged, despairing, and hopeless.
This Passacaglia is from Act Five. A passacaglia is a dance in triple time and, depending on what area of which country you are in, is either fast (Spain) or slow and elegant (Parisian court). It was a very well-known number from the opera and is thought to have inspired the movement of that name in Purcell’s King Arthur, which was composed only a few years later. This arrangement is by Jonathan Scott and is organistic rather than merely a straight transcription of the notes.
36:: Heinrich Scheidemann – Englische Mascarada
01.01.1970 01:00:00 14.06.2023 23:00:05 Heinrich Scheidemann (c. 1595-1663) was a north German organist, harpsichordist and composer. He was an important forerunner of Buxtehude and Bach. He studied with Sweelinck in Amsterdam from 1611-1614 and this is very evident in his music, especially the harpsichord pieces. I shall be recording some of his other music once I have completed 200 videos of service postludes.
This piece, the Englische Mascarada oder Judentanz dates from 1642 and was written in tablature. How anybody could read that to play from it is a mystery to me! It works equally well on organ or harpsichord despite the very obvious differences between the instruments, but probably shows the Sweelinck influence more on the organ.
37:: Stanford – Prelude on Song 22 by Orlando Gibbons, Op 105 No 2
01.01.1970 01:00:00 07.06.2023 23:00:14 Stanford wrote two sets of 'Short Preludes and Postludes'. This one comes from the second set of 1908 and is the second of three pieces in the collection based on hymn tunes by Orlando Gibbons. In my mind this particular one is indelibly associated with the hymn 'Love of the Father, Love of God the Son', the words being by Robert Bridges' translation of the 12th Century hymn 'Amor Patris et Filii'.
38:: Jean-Philippe Rameau – Danse des Sauvages (Les Indes galantes)
01.01.1970 01:00:00 31.05.2023 23:00:30 Les Indes galantes is a ‘ballet héroïque’ by Rameau (1683-1764) dating from 1736. It has an allegorical prologue and then four entrées (acts) each with their own distinct plot on the theme of love, in the Ottoman Empire, Peru, Persia and North America. This movement is probably the most famous number and comes from the final entrée. Its full title is ‘Danse du grand calumet de paix exécutée par les sauvages’. (Calumet de paix is a peace pipe).
39:: Hector Berlioz – Toccata in C
01.01.1970 01:00:00 24.05.2023 23:00:15 Hector Berlioz (1803-1869) is probably not the first French name that comes to mind as a composer for the organ and indeed there are only three short compositions for "Orgue Harmonium". This short toccata dates from 1845, the decade of "Le carnaval romain", "Les nuits d'été" and "La damnation de Faust". It consists of a running bass for the left hand with a chordal right hand containing some quite intricate changes and suspensions that dictate what seems a slow tempo initially, but would lose all direction and clarity if played faster.
40:: Johann Pachelbel – Allein Gott in der Höh' sei Ehr' (Glory be to God on high)
01.01.1970 01:00:00 17.05.2023 23:00:21 Johann Pachelbel (1653-1706) was a South German composer, organist and teacher of the middle Baroque. He composed a great quantity of music both sacred and secular which was very popular in its day. He was influenced by the likes of Froberger and Frescobaldi and his music is well crafted if not quite as adventurous as his northern counterpart Buxtehude. His organ music is not played anything like as much as it should be, as he tends to be overshadowed somewhat by his contemporaries and the only work people have heard of by him nowadays is the (in)famous and ubiquitous Canon in D, which is rather a shame in my opinion.
This is a typical chorale prelude of the time with a florid and contrapuntal manual part and the melody on the pedals.
41:: Léo Delibes – Mazurka from Coppélia
01.01.1970 01:00:00 10.05.2023 23:00:22 I was asked to play this as the recessional music at a wedding blessing a couple of weeks ago, and it went down a storm, so I am repeating it as a wonderfully uplifting piece to celebrate the final retirement of one of St Peter's, Petersfield's "retired" clergy, now well into his eighties. If ever there was a case of "Well done, thou good and faithful servant", it is him.
If you want to know more about Delibes and Coppélia, here are some links to start you off:
https://en.wikipedia.org/wiki/Coppélia
https://en.wikipedia.org/wiki/Léo_Delibes
42:: JS Bach – Gavottes I & II from Orchestral Suite No 3 in D, BWV 1068
01.01.1970 01:00:00 03.05.2023 23:00:30 Here is some orchestral music by Bach arranged for the organ by Smith Newell Penfield (1837–1920). The Orchestral Suite No 3 dates from 1731. This movement follows one of the composer's most celebrated pieces, the so-called 'Air on the G String'. The Air is an oasis of calm after the brilliant and exuberant Ouverture, but the Gavottes send us well and truly back into dance mode, the whole thing being rounded off by a Bourrée and a Gigue.
43:: JS Bach – Canzona BWV 588
01.01.1970 01:00:00 26.04.2023 23:00:18 Here is Bach in Italian mode and slightly archaic mode, too. This is an unusually extended piece for manuals only by the master, who takes his inspiration from Italy, and in particular, Frescobaldi. Having said that, I personally find it strongly reminiscent of Sweelinck and his contemporaries (listen out for the countersubject with its descending chromaticism), so take your pick! As I said, this is specifically indicated as 'manualiter', but there are several places where it is necessary to make use of a pedal coupler to facilitate some awkward and large stretches. It is in two distinct sections, both fugal, one in quadruple time and the other, which is faster, in triple.
44:: Percy Whitlock – 'Chanty' from the Plymouth Suite
01.01.1970 01:00:00 19.04.2023 23:00:09 Percy Whitlock was born in Chatham, Kent in 1903 and tied tragically young from tuberculosis in 1946 in Bournemouth. He studied at the Royal College of Music in London with Stanford and Vaughan Williams. From 1921 to 1930 he was assistant organist of Rochester Cathedral, before moving to be director of music at St Stephen's, Bournemouth for five years. In 1932 he took on the additional position of borough organist, which from 1935 became his full time occupation.
The Plymouth Suite dates from 1937, the Chanty itself from September 20. It is the third movement and is dedicated to James Hugh Reginald Dixon, organist of Lancaster Cathedral, who had recently composed his own 'An Organ Shanty'.
45:: David Lasky – Trumpet Tune on 'Jesus Christ is risen today' ('Lyra Davidica')
01.01.1970 01:00:00 13.04.2023 23:00:05 American composer David Lasky (b. 1957) was educated at the University of Massachusetts in Lowell and St. Joseph’s College. Since 1981, he has been organist and director of music at St. Cecilia’s Church in Leominster, Massachusetts.
This is a short trumpet tune on the Easter hymn 'Jesus Christ is risen today'. It is an elaboration on the melody with short interludes. I am playing this on the Tuba Mirabilis against fairly full Swell and Great. It was written in the key of C, probably to match the key most people sing the hymn in, but I have transposed it into D (which happens to be the original key of the tune) to give it a bit more brightness and vigour.
46:: JS Bach – Herzlich thut mich verlangen (The Passion Chorale) BWV 727
01.01.1970 01:00:00 06.04.2023 23:00:31 This recording is being released on Good Friday and is an exquisite harmonisation of the Passion Chorale by JS Bach. It is a wonderfully calm and reflective working of the chorale: one to be listened to with eyes closed.
47:: Nicolas De Grigny – Pange lingua en taille à 4
01.01.1970 01:00:00 29.03.2023 23:00:14 As Holy Week begins, here is more from one of my favourite composers for the organ, Nicolas de Grigny (1672-1703). This is the first of three settings of the great hymn Pange lingua gloriosi (Sing, my tongue, the glorious battle). It is for Plain Jeu with the Cantus Firmus in the pedal at 8ft pitch. (Plain jeu later 'changed' to plein jeu as a concept and instruction, despite the inherent difference between what translates as 'integrated' rather than 'full'). Here I am using the Positive up to Cymbale, with the Récit Bombarde and Clairon coupled down to the pedal.
48:: JS Bach – Kyrie, Gott heiliger Geist (BWV 671)
01.01.1970 01:00:00 23.03.2023 00:00:06 Sunday March 26 is the Fifth Sunday of Lent, or Passion Sunday. This is the third of the large-scale Kyrie Chorales in Clavierübung III, being the third verse of the hymn 'Kyrie, Gott Vater in Ewigkeit', itself a translation of the Latin 'Kyrie fons bonitatis', and is to be played 'cum organo pleno', the chorale melody itself being on the pedal. Like 'O Mensch, bewein' that I posted on the channel a few weeks back, it has a tremendous harmonic twist at the very end, as the phrase for 'eleison' is heard in the bass.
Here is the text with a literal translation:
Kyrie, Gott heiliger Geist,
Tröst', stärk' uns im Glauben aller meist,
Daß wir am letzten End' fröhlich
Abscheiden aus diesem Elend!
Eleison!
Kyrie, God the Holy Spirit,
Comfort and strengthen us in our faith,
So that at the last we may joyfully
Leave this misery.
Eleison!
49:: Théodore Salomé – Grand Chœur en la majeur
01.01.1970 01:00:00 16.03.2023 00:00:11 This is the organ voluntary for the Fourth Sunday in Lent, Mothering Sunday, Lætare, Refreshment Sunday – whichever you care to call it. So, it's a more jolly number than the usual Lenten fare.
Théodore-César Salomé (1834 – 1896) was a Parisian organist and composer. Educated at the Paris Conservatoire, he won prizes for harmony and organ several years running and the Second Grand Prix de Rome in 1861 for his cantata Atala. He was the choir organist at La Trinité during Chauvet's and Guilmant's time as titulaires. Gounod and Bizet, who were members of the congregation of the church sent some of their students to study the organ with him.
50:: Sir Edward Elgar – Cantique Op 3
01.01.1970 01:00:00 09.03.2023 00:00:00 Elgar's Cantique (Op 3) gives me a chance to dialogue between some of the softer stops on the Petersfield organ and take advantage of the unusual manuals layout.
The following programme note is taken from www.elgar.org and is amusing as well as enlightening!
'Cantique op. 3 (1879)
Arranged for organ 1912; arranged for orchestra 1912
This has a curious provenance. In 1877-8, Elgar and his friends formed a quintet, “The Brothers Wind”, to play the wind ensemble music that the Germans dub “Harmonie Musik”, with a slightly unusual instrumentation. Hubert Leicester and Frank Exton played flutes, Frank Elgar oboe, Willie Leicester clarinet and Edward bassoon. Edward wrote or arranged a new work each week for the group (usually during the sermon in the church where he was organist) and initially called them Harmony Music. As they rehearsed in a shed behind Elgar’s music shop, the music was quickly also called “Shed Music”.'
51:: Bach – O Mensch, bewein' dein' Sünde groß (BWV 622)
01.01.1970 01:00:00 04.03.2023 00:00:21
52:: Mélanie (Mel) Bonis – Toccata in G minor Op 97
01.01.1970 01:00:00 02.03.2023 00:00:31
53:: JS Bach – Kyrie II from the Mass in B minor
01.01.1970 01:00:00 23.02.2023 00:00:04
54:: Guilmant – Marche Triomphale Op 34
01.01.1970 01:00:00 16.02.2023 00:00:35
55:: Alfred Hollins – Grand Chœur No 2 in C
01.01.1970 01:00:00 09.02.2023 00:00:07
56:: Dietrich Buxtehude – Præludium in C BuxWV 138
01.01.1970 01:00:00 02.02.2023 00:00:19
57:: Felix Mendelssohn – Wedding March from "A Mid-summer Night's Dream"
01.01.1970 01:00:00 26.01.2023 00:00:30
58:: Handel – The Arrival of the Queen of Sheba (Sinfonia from 'Solomon')
01.01.1970 01:00:00 19.01.2023 00:00:09