Starting at 7:30pm on Wednesday, June 27, an optional tour of local organs will center around the famous 1948 Aeolian-Skinner organ, with its iconic 1867 façade, in the Mormon Tabernacle. Considered one of the finest examples of “American classic” organ building, it is also one of the largest organs in the world with just over 200 ranks and 11,600+ pipes. Additional optional instruments to see at Temple Square are the monumental 2003 V/130 Schoenstein in the Conference Center, and the 1983 III/65 mechanical-action Sipe organ in the Assembly Hall.
Organ Music At Colloquium XXII
Below is a preview. There’s still time to register for the Sacred Music Colloquium if you want to be there to experience this great repertoire live.
Tuesday, June 26, 5:15 pm Mass
Jonathan Ryan, organist
Likely dating from the end of Bach’s Weimar period as court organist (1708-1717), the somber Fantasy & Fugue in C Minor, BWV 537 represents a growth in Bach’s free-form composition to include works of more poignancy than virtuosity. Indeed, the opening exclamatio figure of an ascending minor sixth that forms the imitative basis for the Fantasy yields a work of extraordinary surprises and highly forward-looking harmonies. The notable chromaticism of the Fantasy gives way to an exclusively chromatic secondary theme in the Fugue, heard first in the middle “B” section, and then in combination with the declamatory primary theme.
Also from the Weimar years, but around 1710, the Pièce d’Orgue, BWV 572, also termed “Preludio” and “Fantasie,” stands as a unique work in the Baroque organ repertoire. Not paired with a fugue, this étude in harmony consists of three sections, Très vitement-Gravement-Lentement, and perhaps owes its French title to the weighty middle Gravement section whose nearly endless deceptive cadences and chromaticism closely resemble the Grand Jeu movements of the French Baroque.
Thursday, June 28, 5:15 pm Mass
Ann Labounsky, organist
Like Nicolas DeGrigny, Jean Titelouze (1562-1633), spent most of his life outside of Paris and the court life in the smaller town of Rouen in Normandy where he was a priest and organist of the Cathedral . His entire opus comprises variations on eleven familiar Gregorian chant hymns (1624) and Magnificat settings (1626) which were performed in alternation between the choir and the organ. The style is exemplary of the vocal renaissance period yet idiomatic for the organ with well defined voice-leading and pedal parts that employ strict imitation and canon. Unlike his successors such as Couperin and DeGrigny, he was not influenced by the French court dances such as the minuet and gigue.
Friday, June 29, 5:15 pm Mass
Jonathan Ryan, organist
Eight years after completing his Second Symphony, Vierne, in the summer of 1911, returned to writing the Third of his Six Organ Symphonies. Demonstrating Vierne’s stylistic development at the time, the Troisième Symphonie in F-sharp Minor is noted for its comparatively compact yet memorable nature. Perhaps the emotional center of the work, the fourth of five movements, the sublime Adagio, hearkens back to César Franck in its soaring yet meditative melody, highly chromatic harmony, and frequently vague rhythm. The Finale, true to organ-symphony form, launches immediately as a quintessential, fiery toccata with its first, rhythmically charged theme heard at the outset surrounded by a restless accompaniment. The second theme, by contrast, is more lyrical, but seems unable to achieve any true lyricism in its turbulent surroundings. The first theme ultimately brings the movement to a thrilling conclusion in F-sharp Major.
Saturday, June 30, 11:00 am Mass
Doug O’Neil, organist
Marcel Dupré was famous for performing organ concerts throught the world, but also left a legacy of music suitable for the church. He composed Offrande à la Vierge (Offering to the Virgin) in 1944. The third movement is titled “Virgo mediatrix” and refers to Mary’s traditional role in the church as a mediator in salvation.
Charles Tournemire, unlike many of his contemporaries, concentrated his life’s work principally on music for the liturgy, culminating in his massive organ cycle L’Orgue Mystique for the liturgical year, specifically for use during the Mass, and almost entirely based on plainchant. Tournemire was also perhaps the first great organ improviser of the 20th century, and made many 78-RPM recordings of this art. His student Maurice Duruflé later transcribed five of these improvisations, selecting two free improvisations, and three based on plainchant: the hymn “Te Deum laudamus,” the Easter sequence “Victimae paschali laudes,” and this piece on the Marian hymn “Ave maris stella.” It is the legacy of a great musician fully and humbly devoted to his work for the church.
Sunday, July 1, 11:00 am Mass
Horst Buchholz, organist
Seemingly preceding the 20th-century minimalist movement by centuries, a chaconne centers itself around comparatively slim musical material, namely, a repeating harmonic progression, to create a series of continuous variations. One of Buxtehude’s three “ostinato” organ works, the Chaconne in C Minor utilizes a four-measure harmonic progression to yield a piece of extraordinary variety, intimacy, and drama, perhaps giving just insight to J.S. Bach’s captivation with the North German Baroque master.
Episcopal Ordination Live-stream
Here is the link for the Diocese of Rockford’s live-stream of the ordination of Bishop-elect David Malloy, scheduled to begin at 1:30 Central time.
Liturgy and the New Evangelization
Today the Holy Father appointed four consultors to the dicastery for New Evangelization. Three are liturgists, including the American Fr. Jeremy Driscoll, O.S.B., an expert with the Vox Clara Committee.
Appointed as consultors of the Pontifical Council for Promoting New Evangelisation: Fr. Marco Frisina, president of the Commission for Sacred Art of the diocese of Rome, and professor at the Pontifical Lateran University and the Pontifical University of the Holy Cross; Fr. Jeremy Driscoll O.S.B., professor at the Mount Angel Seminary in St. Benedict, Oregon, U.S.A., and at the Theological Faculty of Rome’s St. Anselm Pontifical Athenaeum; Fr. Marko Ivan Rupnik S.J., director of the Aletti Centre, and professor at the Pontifical Oriental Institute, the Pontifical Gregorian University and the Pontifical Liturgical Institute of Rome’s St. Anselm Pontifical Athenaeum, and Salvatore Martinez, president of the Renewal in the Holy Spirit Association, Italy.
Update: Here is an illuminating interview with Fr. Rupnick. “It’s not enough for someone to say: wonderful! [Liturgical art] needs an inner life, that makes it possible for one to be aware of the Mystery present.”
Are You Singing the Creed?
How many parishes are actually singing the Creed? Directives say that the Creed is to be sung, yet I’ve rarely come upon a congregation that sings it regularly. My own parish does not. More often than not, when I have heard it, it has been in traditionally-minded parishes, and what is usually sung is Credo III. How about a really scientific survey – right here. Who is singing the Creed? In Latin? In English? And which one?
Chant and Improvisation in the Liturgy
Jenny Donelson, CMAA Academic Liaison, on an upcoming conference:
Esteemed organist and pedagogue Dr. Ann Labounsky and the music department at Duquesne are partnering with the CMAA to present a conference on the subject of improvisation:
The Aesthetics and Pedagogy of Charles Tournemire: Chant and Improvisation in the LiturgyOctober 21-23, 2012 at Duquesne University in Pittsburgh, PA
Our model? A man steeped in chant and the liturgical traditions of the Church: Charles Tournemire.
In his time, Tournemire’s work as an improviser was well-known throughout the world, and myriad students flocked to him to learn the craft. Being steeped in the French symphonic tradition, having studied Dom Guéranger’s Liturgical Year, served as organist for decades at Ste. Clotilde in Paris, and being keenly interested in the role of the organist as a theological commentator on the action of the liturgy, Tournemire’s shadow rightly extends to this day in his writings, recordings, and lineage of students.
The revitalization of sacred music in our time must take into account not only Gregorian chant and polyphonic choral music, but also the proper role of the organ at Mass, and this role essentially includes improvisation. It’s our hope that this conference will make a significant contribution towards understanding that role through the lens of Tournemire’s magnificent example.
The location? A city filled with a large number of wonderful organs and a wonderful cast of French organ scholars and experts. Pittsburgh is really an ideal location for a conference like this, thanks in no small part to the work and teaching of organists like Ann Labounsky and Robert Sutherland Lord. More information on attending the conference will be forthcoming in June, but for now we’re accepting proposals for papers and recitals that relate to the topic. More information on the conference and the submission process are available here.
The conference will explore the aesthetic, liturgical, theoretical, and technical principles of Tournemire’s improvisations and teachings on improvisation, the use of Gregorian chant in organ improvisation, the role of organ improvisations in the Catholic liturgy, and pedagogical approaches to teaching organ improvisation. It will include liturgies, opportunities for the study of improvisation at the organ, discussion groups, and recital programs and papers relating to the conference theme. Join us!
An Oldie-but-Goodie
St. Ambrose is the universally acknowledged author of 4 hymns, three of which are attested to in the writings of St. Augustine. Many scholars believe St. Ambrose to be the author of another dozen hymns that are still known. In homage to his abilities, holiness, and authority, many hymns were attributed to him, but are unlikely to be his. An entire meter, now known as Long Meter (8.8.8.8) and in times past called “church meter,” was known in times before that as Ambrosian meter.
St. Ambrose’s hymns are characterized by theological density, bold use of images, and scriptural allusions. I believe that this is an example worth emulating.
This is my translation of Apostolorum Passio, for the upcoming feast of Sts. Peter and Paul. It may be sung to the chant tune of the Latin text, or to any number of familiar chant tunes such as Jesu Dulcis Memoria. Among the many LM modern hymn tunes to which it might be sung, I especially enjoy Deo Gratias.
Blest day by suff’ring sanctified:
Christ’s chosen high apostles died.
Today St. Peter wins renown.
Today St. Paul accepts the crown.
Together, equally, they bled:
Together: the victorious dead.
They followed God and sacrificed
And now their faith is crowned by Christ.
St. Peter holds the highest place,
Yet Paul is not the less by grace.
An equal faith was giv’n to Paul:
The chosen vessel of God’s call.
St. Peter, downward crucified—
To honor God in how he died—
Securely tied, he sees unfold
The death his Shepherd once foretold.
On such foundations Rome may claim
The highest service of God’s name.
His noble blood has dignified
The city where this prophet died.
Let all the world, then, run to Rome.
Let families of nations come!
The head of nations teaches there,
Beside the nations’ teacher’s chair.
O Lord, we ask that we may be
In their exalted company,
And with our princes sing Your praise
Forever, to unending days.