Sunday, April 24, 2016

Sharon Ruth Veitch: Graduate Recital, Eastern Carolina University School...





(Part 2) Organist: Sharon Ruth Veitch. Time: 5PM. Date: 24 April 2016. Place: St. Paul's Episcopal Church, Greenville, NC. This recital is presented in partial fulfillment of the requirements for the Certificate of Advanced Performance Studies (CAPS) from Eastern Carolina University School of Music.

-intermission-

Benedictus from Opus 59 ...
Max Reger (1873-1916)


Choral Prelude and Fugue on “O Traurigkeit, O Herzeleid Johannes Brahms (1833-1897)

Symphony V Charles-Marie Widor (1844-1937)

IV. Adagio
V. Toccata

Program notes

Benedictus from Opus 59, No. 9

Johanne Baptist Joseph Maximilian Reger (1873-1916), born in Brand Bavaria, settled in Munich as an organist, chamber pianist and accompanist. He became a professor of composition and eventually as a Hofkapellmeister at the court of Georg II. In 1916, he died of a heart attack at the age of 43.

In Opus 59, there are twelve pieces. It was composed and published in 1901 and is in the Romantic style. There are four pieces of the twelve that are inspired by the Catholic liturgy and often called his “organ mass” – Kyrie, Gloria, Benedictus and Te Deum. The Benedictus is the most popular. This piece begins slowly, steadily and thoughtfully with much chromaticism. The quietness is left for more vigorous and almost antagonistic unsettledness. When this piece comes to a conclusion, the beginning slow, steady and quiet thoughtfulness returns.

Choral Prelude and Fugue on “O Traurigkeit, O Herzeleid”

Johannes Brahms, (1833-1897), born in Hamburg, Germany, spent most of his professional life in Vienna. Austria. He is considered one of the greatest composers and considered one of the “Three B’s” – Bach, Beethoven and Brahms by the Hans von Bülow, a nineteenth-century conductor.

In 1858, Brahms composed the Prelude, and in 1873, composed the Fugue of Choral Prelude and Fugue on “O Traurigkeit, O Herzeleid”. Both the Prelude and Fugue are in A minor. It was first performed in Vienna in 1882 and lasts about 7-8 minutes.

In the Prelude, each phrase of the chorale is heard in the highest and lowest voices in 4/4 meter. The accompaniment is in the middle of these voices in a 12/8 meter. In the Fugue, the theme is present in inversion in the first few notes yet is not easily heard.

You will find the words to this chorale in the 1982 blue hymnal of the Episcopal Church, #173. The chorale speaks of sorrow and weeping and you can almost feel the pain, sorrow and tears in this piece.

Symphony V, Adagio and Toccata

This work was composed Charles-Marie Widor in 1879. The final movement of Symphony V is known as “Widor’s Toccata” because it is his most famous piece. It is used as recessional music a wedding ceremonies such as Prince William, Duke of Cambridge and Catherine Middleton on 29 April 2011 at Westminster Abbey.

Sharon Ruth Veitch: Graduate Recital, Eastern Carolina University School...





(Part I) Organist: Sharon Ruth Veitch. Time: 5PM. Date: 24 April 2016. Place: St. Paul's Episcopal Church,  Greenville, NC. This recital is presented in partial fulfillment of the requirements for the Certificate of Advanced Performance Studies (CAPS) from Eastern Carolina University School of Music.

Program

Choral No 3 in A minor                                                 César Franck
              (1822-1890)

Deux Chorals pour Orgue (1935)                               Jehan Alain
                                                                                         (1911-1940)

1. Choral Dorien
2. Choral Phrygien

Fugue sur le thème du Carillon des heures de la Cathédrale de Soissons                                                                  Maurice Duruflé  
                                                                                         (1902-1986)

Program Notes for Organ Recital of Sharon Veitch
5:00 PM, Sunday, April 24, 2016, St. Paul’s Episcopal Church, Greenville, NC

Choral No. 3 in A minor

César-Auguste-Jean-Guillaume-Hubert Franck (1822-1890), born in Belgium, was a composer, organist and music teacher.  In Paris, he was the organist at Notre Dame de Lorette and St. Jean-St. Francois.  In 1858, he became the organist at Sainte-Clotilde until his death.

 Many of his works utilize “cyclic-form” where a central motive creates unity throughout several movements. The beginning motif in Choral No. 3 in A minor is a flurry of notes that can be heard several times throughout the work.  Following this, the choral theme can be heard in long notes intermixed with relaxing cadences.  In the Adagio, the upper voice in the right hand carry the melody followed by another section in which the left hand presents the melody.  Following the Adagio, there is a commencement of the introductory theme with an intensity building in texture, dynamics, conflict and resolution.

Deux Chorals pour Orgue (1935) (Dorien – Phrygien)
  
 Jehan Alain (1911-1940) came from the western suburbs of Paris from a family of musicians and was an organist and composer.  He had a very short career beginning in 1929 and ending with outbreak of the Second World War in 1939.  He was killed in action.  He was a composer of organ works, vocal works, chamber music and piano compositions.  Alain was influenced not only by other composers such as Debussy and Messiaen but also other music – baroque and jazz, dance, the Far East.

 The Deux Chorals (Dorien – Phrygien) are from a collection of music both ancient and modern.  As the title suggest, the ancient Dorien and Phrygien modes are employed in these chorals.  They are slow, methodical and somewhat mystical as is heard in works of Messiaen.

Fugue sur le thème du Carillon des heures de la Cathédrale de Soissons

Maurice Duruflé (1902-1986), from Louviers, France was an organist, church musician, composer, recitalist, Conservatoire professor, and orchestral musician.  He was influential in promoting the use of hymns and congregational singing in the church. 

Duruflé dedicated the Fugue sur le thème du Carillon des Heures de la Cathédrale de Soissons, to Canon Henri Doyen, organist of the Cathedral at Soissons.  The theme of the carillon used at the Cathedral at Soissons is a descending eight-note pattern.  Duruflé presents this theme happily and joyfully and then uses inversion, augmentation and stretto while creating a texture of a toccata and ending the fugue in three chords that are connected by one note.

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