Topic: Orgtq music in one place 2 (Ptqenthusiast)
With this thread, I give you voice to composers most of you probably not have listened to. Because, you all in the forum give me inspiration with your music and posts
All my Organteq uploads in this thread are from more recent composers (like mid 1800s to mid 1900s). The old thread can still grow sometimes with baroque music.
Descriptions about composers are more complete than before and they are now right after the music.
Some pieces have probably not been performed often / for a long time, and it might be unique that they can be heard on this site in this thread.
I hope you enjoy listening to my collection of 126 recordings for the time being in these two threads.
Welcome to comment.
NOTICE: You can always comment/post reply on any music piece at the bottom of the page.
1) Cradle Song by Harvey Grace
https://forum.modartt.com/uploads.php?f...ong%20.mp3
Harvey Grace (1874–1944) was an English organist and music writer. He was a chorister at Romsey Abbey, studied under Madeley Richardson at Southwark Cathedral, and became Organist of St. Mary Magdelene, Munster Square, London. He was editor of The Musical Times and a noted author and adjudicator. Grace was appointed Commissioner of the School of English Church Music in 1937, and resigned at the end of the year. He joined the staff of Trinity College of Music in 1939, and also acted as Organist of East Grinstead Parish Church during World War II.
"Ten Compositions," which are in two volumes, were published by Schott & Co. in 1922. "Cradle Song" is the second piece in the collection, and is dedicated: "For Molly."
The piece has a slow swing, which happens from the opening solo melody, right up until the final chord. In the middle section, there can be no doubt that birdsong is heard, but it's not birdsong like Messiaen, but is essential, and stands out in a unique way.
To me, and to another person, this is the single most "striking" cradle song I have ever heard. I did my best to achieve a magical registration to this wonderful music. I hope you like the outcome.
2) ”Plaint” by Harvey Grace (It is written in a very chromatic A minor)
Recorded with headphones.
https://forum.modartt.com/uploads.php?f...ace%20.mp3
As with Cradle Song, as second piece, ”Ten Compositions," which are in two volumes, were published by Schott & Co. in 1922, and "Plaint" is the ninth piece in the collection, and is dedicated: "To my Wife." It is highly expressive, and very sad but is an excellent piece for showing solo timbres.
The main solo is first carried by the ”#9 Clarinet 8” and Bourdon 8 recit (left hand). The accompaniment (right hand) is played with 5 different stops together on all 3 keyboards Positif, Grand Orgue and Récit + pedale. Because I needed a new registration that brings out the sorrow and the suffering in the accompaniment in this sad work (and I think Organteq did it).
This is a very sad work, which Grace asks to be played in a "Free and swaying rhythm. It is written in a very chromatic A minor, and remains in the minor at the conclusion.
For fans of Organteq, be on the lookout for dramatic, massive…..whatever music from mid 1800s to mid 1900s.
3) Interlude in G by W. Wolstenholme (blind from birth ! )
I suggest you listen with headphones, recorded wit hp.
https://forum.modartt.com/uploads.php?f...20G%20.mp3
William Wolstenholme was born in Blackburn, Lancashire on 24 February 1865. He was blind from birth and was was educated at the Worcester College for the Blind Sons of Gentlemen. He showed considerable promise as a musician and impressed Henry Smart who agreed to take him as a pupil. Alas, Smart died before lessons began. He studied the violin under Edward Elgar. In 1887 he went up to Oxford University where he later graduated as a Bachelor of Music.
In 1888 he was appointed organist and choirmaster of St Paul’s Church, Blackburn and began to consolidate his position as a teacher, recitalist and improviser. Fourteen years later he accepted the post of organist at All Saint’s Church Norfolk Square, Paddington and afterwards at All Saints, St. John’s Wood. In 1908 he undertook a major concert tour of the United States. This secured his ‘international’ reputation. William Wolstenholme died in 1931.
"Interlude in G" is actually a "bigger" piece than the title might lead you to think. The music is all solid, "English" organ music and the harmonies and melodic lines are excellent.
4) ”Liebeslied” William Faulkes (1863-1933)
https://forum.modartt.com/uploads.php?f...aulkes.mp3
Composer,organist, pianist, arranger, recitalist, teacher, chamber musician, conductor, musical organizer.
Born in Liverpool, at the age of 10 became a chorister at St. Margaret's Church, Anfield, which was the largest brick church in England, and had the largest organ in Liverpool. At the age of 18, he was appointed organist of St. John's, Tue Brook, and five years later returned to St. Margaret's. He had a fine all-male (all volunteer) choir, and the level of musical excellence at the church was significant. As an organist, he was a brilliant performer.
"Liebeslied" can be found in "The Organ Loft, Volume 72" published by the Vincent Music. Co. Ltd. in 1911.
5) "Grand Chœur alla Handel” William Faulkes
https://forum.modartt.com/uploads.php?f...del%20.mp3
William Faulkes (1863-1933), composer, organist, pianist, arranger, recitalist, teacher, chamber musician, conductor, musical organizer.
Not earlier mentioned:
Remarkably, for a composer so fluent and prolific, Faulkes was consistently omitted from the major dictionaries of music. From time to time, he is found in smaller more specific dictionaries at times, and is sometimes described as a leader of the modern English school of organ playing; or a leading composer of the English romantic school of organ playing.
"Grand Chœur alla Handel" was published by the Vincent Music Co. Ltd. as No. 235 in "The Organ Loft" series.
The piece makes a fine "impersonation" of the grand style of some Handel works. The central section is softer, but not slower, and contrasts well with the framing sections.
6) Postlude on ”St. Ann” Percy Eastman Fletcher
https://forum.modartt.com/uploads.php?f...nn%20-.mp3
Percy Eastman Fletcher, was born in Derby on 12 December 1879 and died on 10 December 1932 at the early age of 52. He took lessons on violin, piano and organ, the former being his most important instrument. Like a number of his composer contemporaries, he made his living as a Musical Director in the London theater world, fulfilling this position successively at the Prince of Wales, Savoy, Daly's, Drury Lane and from, 1915 until his death, His Majesty's Theatre.
His creative activity was however by no means confined to the theater. There were ballads and songs, ad a considerable amount for chorus,as well as sacred works, "The Passion of Christ" (1922), one of the best of those sacred cantatas for small church choirs.
Fletcher wrote a large number of suites for light orchestras, and many fine, now forgotten, orchestral works.
Most of Fletcher's piano music was arranged from orchestral scores, but there are several fine works, originally for piano solo.
He also composed quite widely for organ. An Interlude of 1901 is probably his earliest dated publication, while later works include the two most famous of his organ works, both dating from 1915, "Festival Toccata" and the always exquisite, "Fountain Reverie."
"Postlude on 'St. Ann'" is found in "Hymn-Tune Voluntaries Part II", published by J. Curwen & Sons Ltd. in 1906.
It is a vigorous and quite varied setting of the famous hymn-tune "St. Ann(e)" composed by William Croft (1678-1727), and inseparably linked with Isaac Watts' (1674-1748)great text, "O God, our help in ages past."
Since Fletcher is not "burdened" by things such as the "cathedral tradition", his settings are all quite fresh, colorful, and even entertaining. Since he has written these for "optional pedals," a fair amount of "filling out" is required by the performer, well, my way of playing it gave this effect
7) Matinale Percy Eastman Fletcher Genre: Early 20th century
https://forum.modartt.com/uploads.php?f...le%20-.mp3
Percy Eastman Fletcher, was born in Derby on 12 December 1879 and died on 10 December 1932 at the early age of 52. He took lessons on violin, piano and organ, the former being his most important instrument. Like a number of his composer contemporaries, he made his living as a Musical Director in the London theater world, fulfilling this position successively at the Prince of Wales, Savoy, Daly's, Drury Lane and from, 1915 until his death, His Majesty's Theatre.
His creative activity was however by no means confined to the theater. There were ballads and songs, ad a considerable amount for chorus,as well as sacred works, "The Passion of Christ" (1922), one of the best of those sacred cantatas for small church choirs.
Fletcher wrote a large number of suites for light orchestras, and many fine, now forgotten, orchestral works.
Most of Fletcher's piano music was arranged from orchestral scores, but there are several fine works, originally for piano solo.
He also composed quite widely for organ. An Interlude of 1901 is probably his earliest dated publication, while later works include the two most famous of his organ works, both dating from 1915, "Festival Toccata" and the always exquisite, "Fountain Reverie."
"Matinale" (Morning) was published by Novello in 1926. It is exactly the sort of thing that shows Fletcher at his very best!
The mood is light and carefree, and the harmonies and melodies are always delicate and delightful.
8) Rondino William Wolstenholme blind from birth
https://forum.modartt.com/uploads.php?f...ino%20.mp3
William Wolstenholme was born in Blackburn, Lancashire on 24 February 1865. He was blind from birth and was was educated at the Worcester College for the Blind Sons of Gentlemen. He showed considerable promise as a musician and impressed Henry Smart who agreed to take him as a pupil. Alas, Smart died before lessons began. He studied the violin under Edward Elgar. In 1887 he went up to Oxford University where he later graduated as a Bachelor of Music.
In 1888 he was appointed organist and choirmaster of St Paul’s Church, Blackburn and began to consolidate his position as a teacher, recitalist and improviser. Fourteen years later he accepted the post of organist at All Saint’s Church Norfolk Square, Paddington and afterwards at All Saints, St. John’s Wood. In 1908 he undertook a major concert tour of the United States. This secured his ‘international’ reputation. William Wolstenholme died in 1931.
Not mentioned before:
Stylistically, he has been referred to as the ‘English Cesar Franck’ and although this may be unfair to both composers it is a reasonable rule of thumb and gives the listener a good idea of the kind and quality of music to expect. It is also possible that he can be bracketed with Alfred Hollins and Basil Harwood.
"Two Ballades" were published in 1903 by Alfred Lengnick. Both of them are quite pianistic, and both are technical.
"Rondino" was published by in 1903 by Alfred Lengneck and Co., Ltd. It is without dedication.
It's very attractive and enjoyable, and rather "different" from other works by Wolstenholme.
A-B-A-C-A-B-A-CODA. Good interesting coda!
I like the the variety in this music and I think it is very easy to listen to for most peiople
9) Seranata Homer C Nearing (1895-1986)
Piece under copyright until further notice.
Homer C Nearing (1895-1986), was born in Springfield, Missouri, and graduated from the Kansas City Conservatory of music. During his career, he was a music professor and church musician from 1914 until 1920 in Texas. While there, he was inspired to compose his impressionistic organ suites by the history and terrain of the Southwestern United States.
"Seranata" was published by the H. W. Gray in 1931 as "No. 541" in the large and once very popular "St. Cecilia Series".
The work is dedicated: "To Marguerite Nearing", which I presume is the composer's wife....
Written in the key of A major, "Seranata" is marked "Andantino," but no metronome mark is given.
I don’t follow the composer's registrations. But, I hope you'll like what you hear.
10) The Old Hundredth Harvey Grace
https://forum.modartt.com/uploads.php?f...dth%20.mp3
The Old Hundreth (Three Psalm Tune Postludes, No. 3)
Harvey Grace (1874–1944) was an English organist and music writer. He was a chorister at Romsey Abbey, studied under Madeley Richardson at Southwark Cathedral, and became Organist of St. Mary Magdelene, Munster Square, London. He was editor of The Musical Times and a noted author and adjudicator. He was Organist and Master of the Choristers at Chichester Cathedral from 1931 until 1937. His years at Chichester coincided with a new awareness of liturgical solemnity; plainsong was used regularly at some of the weekday services from May 1936. Grace was appointed Commissioner of the School of English Church Music in 1937, and resigned at the end of the year. He joined the staff of Trinity College of Music in 1939, and also acted as Organist of East Grinstead Parish Church during World War II.
Not mentioned before:
The "Three Psalm Tune Postludes" were published by Novello (date not given), and probably date from his Chichester years. The three works are dedicated to Geoffrey Shaw (1879-1943), and take old English psalm tunes for their musical themes. The third piece uses the widely famous tune, "Old Hundredth" for its foundation. The text usually associated with the melody, "Praise God, from whom all blessings flow" is sung COUNTLESS times each week in churches of all denominations and in all countries.
The form of the work features an improvisatory "free toccata," that is interspersed with more "chordal" passages, and all of this building up to a grand climax.
11) Offertoire in the style of Lefébure-Wély
https://forum.modartt.com/uploads.php?f...ire%20.mp3
Offertoire in the style of Lefébure-Wély
William Faulkes (1863-1933), composer,organist, pianist, arranger, recitalist, teacher, chamber musician, conductor, musical organizer. Remarkably, for a composer so fluent and prolific, Faulkes was consistently omitted from the major dictionaries of music. From time to time, he is found in smaller more specific dictionaries at times, and is sometimes described as a leader of the modern English school of organ playing; or a leading composer of the English romantic school of organ playing.
Born in Liverpool, at the age of 10 became a chorister at St. Margaret's Church, Anfield, which was the largest brick church in England, and had the largest organ in Liverpool. At the age of 18, he was appointed organist of St. John's, Tue Brook, and five years later returned to St. Margaret's. He had a fine all-male (all volunteer) choir, and the level of musical excellence at the church was significant. As an organist, he was a brilliant performer, and earned the admiration of the leading British organist of the time.
In this work Faulkes pays homage to the very popular Louis-James-Alfred Lefébure-Wély (13 November 1817 – 31 December 1869). Here again, we see Faulkes writing in a completely "different" manner than would be assumed to come from the pen of an English organist.
The work is brilliant with great energy and drive, and the variation of dynamics and energy keep the listener and player on the go from start to finish.
Offertoire - (A piece of music played during the taking up of the offering in the church service), Google.
12) Festal March in Bflat George Robertson Sinclair
https://forum.modartt.com/uploads.php?f...air%20.mp3
George Robertson Sinclair (28 October 1863 – 7 February 1917) was an English cathedral organist, who served at Truro and Hereford cathedrals.
( And have to point out already here, that he was working with Sir Edward Elgar - Enigma variations, Pomp.. and more).
Many of the scores, that my friend share with me, have been courtesy of Dr. John Henderson, Librarian of the Royal School of Church Music.
My friend received an email from Henderson with the score to this piece I play here, Festal March in Bflat.
He wrote: "An old friend of mine, one assistant organist at Hereford Cathedral was reading our book and noticed that we had marked George Robertson's Sinclair's Festal March as being lost/unpublished. It is not in any UK libraries but he has a copy and has scanned it for me. You sometimes mention about "rare scores" - well this truly is!!…”
Piece Published in 1889. then been lost/unpuiblished, then one assistant organist at Hereford Cathedral have a copy!! And now I have a copy of a copy!!!
Here is my version/performance of it. Not the first, but probably the second in a LONG time! It’s not an easy piece, especially the pedal part. It seems that Edward Elgar, a close friend of Sinclair, had great admiration for Sinclair's "skillful organ pedalling". This pedal-playing skill appears to be "mentioned" in the 11th variation in Elgar's famous "Enigma Variations". The variation, "Allegro di molto: is headed G.R.S." and portrays Sinclair's bulldog, Dan, falling into the River Wye, and in Elgar's words: "paddling upstream to find a landing place; and his rejoicing bark on landing. Sinclair said: 'Set that to music.' I did, here it is."
This is a grand march, a brilliant piece. As an amateur, I can’t play as fast as it should be. It's a demanding piece, hidden difficulties….
For those interested in history, here is more about Sinclair:
As a young man, Sinclair was destined for the Anglican priesthood, but in 1880 his father died and Sinclair needed to earn a living immediately. He became the first cathedral organist of the new diocese of Truro. He moved from Truro to become organist of Hereford Cathedral in 1889, where he remained for the rest of his life.
At Hereford, Sinclair was conductor of eight Three Choirs Festivals between 1891 and 1912, working with leading British musicians of the day, including Edward Elgar, who incorporated into his Enigma Variations a portrait of Sinclair and his bulldog.
1879 he became assistant organist to Charles Harford Lloyd at Gloucester Cathedral and parish organist of St Mary-de-Crypt, Gloucester.
In 1880, Edward White Benson, first Bishop of Truro, asked Ouseley for advice on a suitable organist for the new Truro Cathedral. Ouseley recommended Sinclair, who was appointed, aged 17. He designed the four-manual organ built by Father Willis, and assembled and trained a choir.
In 1889 he became organist of Hereford Cathedral, where he made a great reputation for his dedication and accomplishments.
As an organist, accompanist, and solo player Dr. Sinclair occupied a very high place in technical attainment and sympathetic feeling.
He died suddenly in Birmingham, aged 53, after conducting a rehearsal of the Birmingham Festival Choral Society.
When I was playing, recording and listening to the March, I was like when you find your lost wallet! My mouth hanging open listening and looking to this rare score that was said being lost/unpublished and old. Suddenly a copy!
It is an amazing life enriching experience to hear and play this old piece, to play this ”forgotten” music, me an amateur, despite the difficulties in the music
13) Widor Toccata
Charles Marie Widor's best - known piece for organ, Toccata from V Symphony Op. 42 No. 1. Often played at wedding ceremonies.
Many organists play this too fast. Widor didn’t like to hear it fast. I listened to his more slow own playing from1932, and tried to get about that tempo.
I like this music more and more every time I listen to it. Can’t explain how it makes me feel. Everyone should listen to this. What an experience. And the arguments about tempo will probably never end. I like this speed so you can hear more of the music
