Secular Sketches

Program

The Thunder Storm [sic], Opus 108 – Descriptive for the Organ
Thomas Philander Ryder, Jr. (1836-1887)

Sacred Illuminations

Thomas Ryder was the first composer in America to write a storm piece for organ,
a genre that developed as an outgrowth of improvisations and composed pieces
based on themes of battles and of the Last Judgment. It begins by setting
a pastoral mood, followed by the imitation of the sounds of a bagpipe. During
this, thunder intrudes through use of note clusters in the pedals and the manuals
as well as half drawn stops. The storm breaks loose on the full organ with agitated
writing in the manuals and a deep pedal tremolando. After the thunder subsides,
Ryder concludes with the then popular “Vesper Hymn,” “Now on Land and Sea
Descending,” representing the people giving thanks to God for being delivered
from the storm.

La Nativité from Poèmes Évangéliques d’après les texts sacrés
Jean Langlais (1907-1991)
In a humble manger, on a mild night, Mary and Joseph await the birth
of Christ the Lord. The child is born, the celestial innocent, and the graceful
appearance of a star makes the event known to the shepherds of Bethlehem.
Shepherds, having come to the nursery, offer tender melodies in adoration
to the Jesus child. Then, the Holy Family is pictured in the quiet peace
of the Lord.

Joie et Clarté des Corps Glorieux from Les Corps Glorieux
Olivier Messiaen (1908-1992)
Then the righteous will shine like the sun in the kingdom of their Father.
Let anyone with ears listen! (St. Matthew XIII:43)

Crucifixion from Symphonie-Passion

Marcel Dupré (1886-1971)

The 3rd movement of the Symphonie-Passion, first conceived
as an improvisation on the Grand Court organ of the Wannamaker Store
in Philadelphia, paints a vivid tonal picture of the pain and brutality
of the crucifixion of Jesus Christ. The composition ends with a weeping
motive, perhaps signifying the tears and the intense sorrow of Mary.

Mors et resurrectio from Trois Paraphrases Grégoriennes
Jean Langlais
“Where, O death, is your victory? Where, O death, is your sting?”
(1st Letter of St. Paul to the Corinthians XV:55)

Fountain Reverie

Percy Eastman Fletcher (1879-1932)

Known primarily for his aptitude as a “light” music composer, Fletcher wrote
for band, orchestra, voice, piano, and organ. Despite a tremendous output
and great popularity in his time, Fletcher has sadly become almost completely
forgotten. His day-dreamy Fountain Reverie captures the spirit of the late
Victorian era, with a flowing right hand motive which evokes an image of rippling
water, balanced with a sweet, yet hauntingly beautiful melody in the left hand.

To Call My True Love to My Dance (2007)
Theme: Allegro
Variation I: Cantabile
Variation II: Valse
Variation III: Deciso
Variation IV: Arabesque

Naji Hakim (b.1955)

Variation V: Burletta
Variation VI: Tango
Variation VII: Scherzando
(Variation VI is then repeated)
Variation VIII: Berceuse
Variation IX: Finale

This piece is based on a Danish song “Vil du danse med mig?” (Will you dance
with me?) by author and composer Hanne Kurup. It consists of a set of 10 much
contrasted variations. The title “To Call My True Love To My Dance” is quoted from
a Christmas carol: “Tomorrow Shall Be My Dancing Day.” This composition was
commissioned by Faythe Freese, Professor of Organ at the University of Alabama.

Upcoming concerts
Sunday, Feb. 13, 2:30 pm
Notebook for Johann Sebastian Bach
American organist Dana Robinson pieces together the many influences
on Bach’s writing for the organ, creating a sonic notebook of baroque
music on the Fritts and Traeri organs.
Sunday, March 6, 2:30 pm
The King of Instruments in the Service of Kings
Throughout history, the organ has added splendor to ceremonial
occasions as a manifestation of power and opulence. Goldman
professor of organ Kimberly Marshall concludes the 2010-11 series
with tales of collaboration from five centuries.

Homer
Ferguson
organ
Summer Sketches
and Sacred Illuminations
January 30, 2011
2:30 pm
ASU Organ Hall