Organist Zach Klobnak to Perform this Sunday in Good Shepherd

As our "Miller and Wrigley Organ" is capable of playing all representative periods of organ literature, we are exposed to a great wealth of music, particularly organ music of the Romantic era. One such work is the fourth movement of Symphony No. 3 by Louis Vierne (1870-1937). Vierne wrote six symphonies for the organ, between 1899 and 1930.Their respective keys climb one by one up the steps of the scale: D minor, E minor, F sharp minor, G minor, A minor, B minor. A seventh and last symphony, in C, would have completed the series were he not forced to abandon the work due to ill health. The luscious Adagio is like a "song without words" and is inspired by the long winding melodies of Wagner and Franck. The piece is based completely on material heard in the first few measures. The melodies prayerful and seem to desire resolution, which is realized beautifully when they reappear in major played by Harmonic Fluteand later string celestes.

The Anthem Soul of my Saviour by Richard Shephard is a sensitive setting of text by the early 14^th century Pope John XXII. The three verses of text are set in a strophic manner with varied harmonic accompaniment from the organ. Shephard (b. 1949) began his career as a chorister under Herbert Sumsion at Gloucester Cathedral, and has had a long association with York Minster.

Bach's Praeludium in E Major-most likely written around 1708-dates from early in his compositional output. Though the work is often referred to as a Prelude and Fugue or a Praeludium, it is probably more accurately described as a Toccata. The term 'toccata' is derived from the Italian word toccare, meaning "to touch," and is a piece intended primarily as a display of manual dexterity. They are almost always for solo keyboard, usually free in form, and often incorporate more rigorous musical styles, such as fugue. This piece is a highly sectionalized toccata, showing great influence from North German composer and organist Dietrich Buxtehude (ca. 1637-1707) and his free organ works. The following clearly defined sections in this work are:

1)    Prelude-a bold opening with a recitative-like passage for the hands, a responsive pedal solo, and passages in dialogue with one another; this section makes a strong case for musical rhetoric embedded in the music, which also shows a direct influence of Buxtehude;

2)    Fugue-called a spielfuge, this fugue is light and bouncy and is characterized by idiomatic instrumental writing;

3)    Free Section-a short section reminiscent of the opening Prelude with scales in the manuals and trills in the pedal, ending on a dominant chord; and

4)    Fugue-this fugue showcases a fanfare-like subject; the heads of both fugue subjects highlight the downward spelling of an E-major chord.

Remembered mainly as a violist, composer of chamber music, and composition tutor to Benjamin Britten, Englishman Frank Bridge's works for organ span the first four decades of the twentieth century. His Adagio in E Major, written in 1905, is his best-known and most oft-performed organ piece. The work opens with a single voice - the tenor - announcing the melody from the celeste stops of the swell division. Perhaps Bridge had his own instrument - the viola - in mind when selecting the range and timbre of the opening. As the piece unfolds and the melody is restated, the dynamics increase to a dramatic climax. The piece ends as it began in a soft, peaceful mood.

The R�pons pour le Temps de P�ques (Response for the Time of Easter) of Jeanne Demessieux is a fantasia for organ based on three Gregorian chants from the Easter mass: Ite, misse est (Dismissal), Victimae paschali laudes (Sequence), and Resurrexit (Introit). The piece was written during the last year of her life and published posthumously in 1970. Improvisatory in nature, the piece actually has a balanced ABA structure in which Demessieux juxtaposes toccata- and chorale-like writing that treats the chants both individually and in combination. Various toccata-like sections seem to be illustrating the earthquake from the resurrection story recounted in St. Matthew's gospel, "After the Sabbath, as the first day of the week was dawning, Mary Magdalene and the other Mary went to see the tomb. And suddenly there was a great earthquake; for an angel of the Lord, descending from heaven, came and rolled back the stone and sat on it." (28:1-2). The piece concludes with a pianissimo section of profound tranquility. Full of wonder, awe, and fear, Demessieux's mystical nature celebrates Easter in a much different way than our usual 21^st century celebratory customs. Her use of bitonality throughout seems to be making bold statements that reflect the mystery of the resurrection celebrated during the time of Easter.

Alexandre Guilmant was named Organ Professor at the Paris Conservatory in 1896, succeeding Charles-Marie Widor who had moved within the conservatory to teach composition. Widor held close ties to the organ class, however, because a condition of Guilmant's appointment was that Louis Vierne remain as his assistant; Vierne served as a tie between the two men. Because of the unique nature of Guilmant and Widor's relationship as well as the length and degree of their influence, they are considered the founders of the late-nineteenth-century French Romantic Organ School. While Widor is remembered as a great organ symphonist, Guilmant's compositions often hold tight to solid traditional styles within classically oriented structures and balanced proportions. His Sonate No. 6 is no exception as the first movement is in a strict sonata-allegro form with clear exposition, development, and recapitulation sections. Written in Meudon in September 1897, Guilmant dedicated the piece "to my friend Charles-Marie Widor."

This week marks the one-year anniversary of the weekly publication of the Shepherd's Song.

The Shepherd's Song brings you news and information about all musical matters at the Church of the Good Shepherd, as well as advertising of community events.

The title of this publication was devised by choirman and verger David Goodpaster. The Organist serves as chief contributor and editor.

All issues of the Shepherd's Song are archived on Good Shepherd's web site at this LINK. 

If you have any ideas and suggestions regarding format, content, or overall appearance of this weekly publication, please reply this e-mail (choirmaster@goodshepherdlex.org). One such suggestion, being implemented this week, is to put the Sunday recitalist's announcement closer to the top of the e-mail. Any such suggestions are warmly welcomed to facilitate the dissemination of information. Thanks!