11.09.2024 SNR Simmons Program Notes

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Toccata, Adagio, and Fugue in C BWV 564, J.S. Bach

Johann Sebastian (1685-1750) Bach was a significant composer of the Baroque era, whose fame is based on perfect mastery of counterpoint and harmony, with complicated musical structures. Among his works, the Toccata, Adagio, and Fugue in C major, BWV 564, represents his virtuosity for organ. Written in the early 1700s, it shows the impressive ability Bach possessed to fuse many musical styles into a large work. With fast, virtuosic passages full of dramatic flourishes and technical demands, the Toccata is a favorite of many organists. The work opens with improvisatory-like figures that set the tone for the whole composition. In contrast, the Adagio is a slow, and more lyrical which offers flexibility for the organist to improvise embellishments, stretching time and mood. The closing Fugue is another example of contrapuntal skill from Bach. The subject is rhythmic and playful while adhering to the complex harmony rules of Bach’s time. This work is often considered a prime example of Bach's early style. While it is mostly performed on organ, the work has been transcribed for many other instruments. The Toccata, Adagio, and Fugue in C major stands strong within the organ canon and continues to entice musicians and audiences to this day.

Sonata 1, Paul Hindemith

Paul Hindemith (1895-1963) was a German composer, violist, and conductor; he is considered one of the most important innovators in 20th-century music. His Organ Sonata No. 1, written in 1937, is a milestone in the modern organ repertoire and demonstrates his neoclassical style. Hindemith had great interest in counterpoint and structure, which becomes apparent through the course of the sonata's four movements. The first movement is marked Mäßig bewegt, Lebhaft (somewhat moving, lively), and within this movement are interesting harmonies and musical lines that showcase Hindemith's approach to dissonance and resolution. The second movement, Sehr Langsam (very slow), is intriguing in character and the rhythm is sophisticatedly explored by Hindemith. The third movement Phantasie Frei (free fantasy) features the most dissonance and rhythmic drive throughout the piece. This movement implements the same dissonant (some may even say eerie) motive that culminates in a broad set of chords. The final moment, Ruhig Bewegt (moving quietly) is similar to the first movement, however, this movement features motives from the past three movements in rhythm, melody, and harmony. Hindemith's Organ Sonata No. 1 is a work demanding not only technical virtuosity but also an intellectual approach. Although it was written near the beginning of World War II, the sonata is timeless, mixing modern harmonic language with traditional forms. Hindemith offers the organist a piece that can fully explore all colors the organ has to offer.

Variations on Amazing Grace, Anita Greenlee

Anita Greenlee is assistant professor of organ at the Wells School of Music at West Chester University of Pennsylvania. She studied organ at the Julliard school with Dr. Vernon de Tar and in Europe with Cor Kee, Anton Heiller, Marie-Claire Alain and Luigi Tagliavini. She has given numerous performances throughout northern Europe and the United States, including performances on the esteemed Longwood Gardens organ Greenlee is also the founder of the Greenleigh Chorale, where she conducts major chroal-orchestral works. Greenlee’s impressive curriculum vitae has supported her career of excellent music making and pedagogical skill. Her piece Variations on Amazing Grace offers a new perspective of listening to the familiar hymn tune. This piece explores the colors of the organ and many compositional styles that evoke energetic, reflective, and thankful emotions. This piece often “hints” to the melody of Amazing Grace, leaving the musical interpretation to the organist as well as the listener. Anita Greenlee has mastered the art of organ performance, composition, and pedagogy, and continues to inspire Wells School of Music Students every day.

Choral 3 in A Minor, Cesar Franck

César Franck (1822-1890) was a Belgian composer and organist known for his significant contributions to the French romantic organ tradition. While Franck was born Belgium, his appointment at the Paris Conservatory demanded he take French Citizenship. Franck’s Choral No. 3 in A minor is probably the best-known of three chorales he wrote in 1890 and was written only months prior to his death. Franck wrote these chorales to make up the final batch of organ works, which many (including Reid) consider the pinnacle of his compositions for the instrument. His Choral No. 3 is marked by its intense emotional depth, dramatic structure, and masterly use of the organ's tonal range. The work immediately launches itself with a striking, declamatory introduction that draws the listener into its intense, almost symphonic character. The main choral theme, which follows shortly after, is rich and hymn-like, displaying Franck's characteristic lyricism and expressiveness. The theme undergoes a series of transformations throughout the course of the work, being worked out with artful harmonic progressions. Franck shows his mastery of the organ with the full tonal palette, juxtaposed between powerful, majestic sections to more intimate and contemplative ones. This work is known for melding structural complexity with deeply spiritual overtones that relate to Franck's own devout Catholic faith. The middle section of the piece features a series of lyrical, flowing lines that provide a contrast to the more dramatic outer sections. In its final bars, this piece turns into and explosion of thematic material and triumphant walls of harmony. The Choral No. 3 is widely regarded as one of the masterworks in the organ repertoire. It is a staple in the repertoire of every organist and well-received for its beauty, depth, and challenges.

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