This is a new printing of the original edition on sturdy, acid-free
paper. 12 pages. All markings are original. This is a brisk march with bright, simple passages that might evoke a military from centuries past . Highest
quality guaranteed. Size of music is
10.5" x 13.5". $10.00.
Gottfried H Federlein (1883-1952)
was born in New York City, the second son of Gottlieb H Federlein, a Jewish organist (student of Rheinberger) and voice teacher,
and Ella Harrison, a contralto soloist. Gottfried began his music study at an early age, began playing Episcopal
services at age 17, and was awarded the FAGO at age 20. He was supportive of Robert Hope-Jones and the Wurlitzer
“Unit Orchestra” and continued his use of colorful solo stops throughout all of his playing and
compositions. He is best remembered for his 30 years at Temple Emanu-El in New York. Moderate.
The French organ term “Grand Choeur” defined the use of Plein Jeu combined with the Grand Jeu
(Great Diapason chorus with reeds plus Swell Diapasons with reeds) as a registrational practice. The duplication of many
passages at different octaves gives a brilliance to the overall sound of the typical organ played in 1912;
Most of the small to medium sized organs had little in the way of stops above 4'.
Although Federlein played the IV/15 Wurlitzer, Opus 1 (1910), at the Society for Ethical Culture in New York City,
most organists at that time did not have the choice of this unification. The performer should choose registration that
reflects this tonal aesthetic, avoiding stops with extreme harmonics, and choosing couplers and perhaps avoiding unneeded duplication;
this will also help you keep the half-note at 92, a brisk march! An article about pieces from recent years published in
Musical America on June 19, 1915, titled “Some Compositions by Americans Which Are Worthy of
Recognition” noted Federlein’s
Toccata and this
Grand Choeur Militaire in a list of only 11 organ compositions.
