DUDLEY BUCK: THE HOLY NIGHT, $8; FELIX MENDELSSOHN: OVERTURE TO A MIDSUMMER NIGHT’S DREAM, transcribed by Caspar P. Koch, $15 (available from Michael’s Music Service, 4146 Sheridan Dr., Charlotte, NC 28205-5654; phone 704-567-1066; <michaelsmusicservice.com>. These selections are but two in a series of reprints issued by Michael’s Music Service. They are printed full-size on heavy, acid-free paper, and the quality of the reproduction is superb. “The Holy Night” is one of Four Tone Pictures published in 1891 and is dedicated to Buck’s student, John Hyatt Brewer. It weaves “Silent Night,” or as it was then known, “Holy Night,” with original material, builds up to a martial treatment of “Adeste fideles,” and then diminuendos back to a pianissimo “Silent Night.” It is thus suitable for a prelude to a Christmas service, gives you two familiar Christmas carols, and the congregations’s hearty appreciation. The last page carries an excellent biography of Buck, notes on the piece, a glossary of all registration terms, and a general list of Buck’s organ works.
The Mendelssohn was transcribed by Caspar Koch (Ethel Smith’s organ teacher), who was for 50 years organist of Carnegie Hall (North Side) in Pittsburgh. It is typical of what was played by municipal organists at the time of its publication in 1922, and while not as difficult as a Lemare transcription, it nevertheless takes a good player (with stamina — it’s 24 pages long). Again, John Apple has provided historical information on the work and Caspar Koch, as well as a list of Koch’s transcriptions and music editions (he edited the famous Reubke 94th Psalm for Schirmer).
Other works in the series are Ketèlbey’s In a Monastery Garden ($7) and Eugene Thayer’s Second and Fifth Sonatas ($14 each), as well as Ralph Kinder’s Fantasia on “Duke Street” ($12).
Beautifully presented reprints of the highest quality.
Rollin Smith visit The American Organist
DUDLEY BUCK: CHORAL MARCH, Michael’s Music Service (michaelsmusicservice.com) $8 + p&p. This is a facsimile reprint of the original, a piece ‘in canon-form.’ The work is based on the chorale ‘Ein feste Burg is unser Gott.’ It is a rousing, tub-thumping march in solid 19th century harmony and counterpoint style that will fit well as both postlude and recital piece. It is of ARCO-level and well worth acquiring.
David Baker visit The Organ
MICHAEL JOHNSTON: CHORAL PRELUDE ON CHRIST THE LIFE OF ALL THE LIVING, Michael’s Music Service (michaelsmusicservice.com) $4 + p&p. This is a trio-textured chorale prelude in 18th century style. The work is a useful addition to the repertoire, whether for recital, service or study.
David Baker visit The Organ
THREE ROSA RIO SHEET MUSIC COLLECTIONS. Rosa Rio’s arrangements spanning the three collections Rosa Rio Special Arrangements for all Organs, Sacred Duets for Organ and Piano arranged by Rosa Rio, and Organ Arrangements of Classic Melodies Volume III arranged by Rosa Rio traverse the entire range of skill levels. All three of them are compilations of works extracted from previously published material. Perhaps the best part of all three collections is that they give a little something for everyone, although they vary completely in their overall character.
The first of them, Rosa Rio Special Arrangements for all Organs, consists of eleven arrangements of early to mid-20th century popular songs. The scores at first glance appear to resemble “fake book” notation; i.e., melody in treble clef with chords written above. Pedal notes, however, are also indicated below the chord symbols as encircled note names. This is an important addition as it automatically builds into these arrangements the correct inversion to be used at each chord change. In particular, this device is quite valuable for the beginning organist who soon learns the technical necessity of chordal efficiency (non-duplication of chord tones) in order to create clean textures.
A glance through the volume quickly reveals other interesting construction details worth noting. For the organist first becoming acquainted with use and construction of counter-melodies, as well as the manipulation of 2nd touch, these are noted (ex: “Volare” mms. 28-31 or “Charmaine” mms 16-19) when appropriate for both right and left hands. On a practical level, arrangements are also usually kept to two pages to avoid inconvenient turns in performance. Several measures of the final two arrangements (“Spring Is Here” and “Autumn Serenade”) are notated in full which represents a nice transition for students moving to a more advanced level of interpretation. Another nice feature is the consistent variety of meter and key. This creates an all-important opportunity for a “breath of fresh air.” In some cases, these changes are really quite novel, such as at ms. 37 of “Charmaine” where we move from 3/4 to 4/4 with some lively syncopations noted in the right hand as part of the new, brighter tempo. It reminds the author of some of Ann Leaf’s delightful musical sleight-of-hand as can be heard in her recording That Ain’t the Way I heard It.
In fact, as a teaching tool or book for further musical development, the only aspect of this edition which warrants any criticism is the unfortunate inconsistency in registration. “Volare,” for example, suggests on the Hammond Organ to use 76-8806-000 on the Solo (upper) keyboard, while the “all organ” registration is indicated as “Tibia 8', Fr. Horn 8', Flute 8-4'.” Even in trying to understand this as a broad tonal suggestion, one realizes that the former is a chorus based on the 16' pitch series, the latter on the 8'. The author also objects to the classification “all organ.” The tonal palate of a theater organ is not interchangeable with that of the classical or even the orchestral organ, and students must be aware of this clear distinction from the start. In seeking to properly register these pieces, a student would be better advised to ask his instructor for some pointers, do some careful listening to favorite theater organ albums and consult one of the few available sources about the subject of registration such as The Secrets of Theatre Organ Registration by Walter Strony (1991, published by Walter Strony).
On now to our second collection of Rio arrangements: Sacred Duets for Organ and Piano. Properly speaking, these pieces are ecclesial and not secular in origin. This aside, however, when looked at stylistically, they show much of the same careful arranging seen in the collection mentioned above. Printed in full score (organ on three staves and piano on two), this work represents more of a challenge to both the pianist and organist technically, yet the arrangements are seldom difficult and quite rewarding musically. It might be better to think of the theatrical role of the organ in these arrangements as that of an orchestra frequently in places we see the organ in dialogue with the piano. Although one finds the occasional portamento for the organ, nothing about these arrangements would preclude their being played and effectively registered on a classical organ. Unlike the previous volume, no registrations are suggested. Overall, this is an excellent collection to keep in one’s library as a church organist — effectively arranged duets for piano and organ are difficult to come by.
Finally, of perhaps the greatest interest amongst all three volumes being reviewed is Organ Arrangements of Classic Melodies Volume III. Notated fully on three staves, contained herein are six fantastic arrangements of theater organ standard literature. This volume in particular would be a valuable addition to the library of any organist working in the moderate to advanced skill level. More importantly than that, however, they provide excellent material for teaching the art of arrangement itself.
Efficient, stylistically innovative, harmonically interesting and carefully planned out, these are arrangements which have a music language which is completely Rio’s, although one can also hear the unmistakable distant echo of Jesse Crawford in the highly efficient voice leading, occasional use of blocking with the melody mise en scène.
Speaking of Crawford, “Forgotten Melody” — the work he made famous through his radio broadcasts — is one of the works to be found in this collection. Also appearing in an interesting setting here is “Moonlight Serenade” which combines the opening right hand motive of Beethoven’s Sonata Op. 27 No. 2 known popularly as the “Moonlight” with Glenn Miller’s well-known melody in the left hand.
From this collection, in particular must be mentioned “Dreaming” — composed by Rosa Rio herself. It is the only of her compositions appearing to date in published form. Some readers might remember that this work appeared on a recital program by Lew Williams during his performance at Grace Baptist Church during the 2006 ATOS convention. One of the more challenging pieces of the collection, the three-page composition even includes a few passages for solo pedal as well as several meter changes. It is a work well worth performing and, it is important to note, a piece of organ literature composed specifically for the theatre organ.
All three collections are available at the prices indicated below from Michael’s Music Service, www.michaelsmusicservice.com, 704-567-1066.
Steven Ball visit Theatre Organ
RHAPSODY IN BLUE. George Gershwin, arranged by Jesse Crawford. With its premiere in New York City on February 12, 1924, in ÆoIian Hall by the Paul Whiteman Orchestra, Gershwin’s “Rhapsody in Blue” opened a new chapter in what was heard and accepted on the stages of concert halls around the world. This new composition was a synthesis of what were then two completely foreign worlds jazz and classical music The effect of this premiere would be heard long after the final chord faded away. It marked the opening of an era of musical creativity, imagination and inspiration amongst American composers such as has never been equaled since.
Of course, Gershwin did not create without foundations—one could argue that the stage for this music had already been set long before by composers such as Stravinsky and especially Debussy, who were responsible for the eventual liberation of both form and the complete tonal chromatic. Still,. in its marriage of two worlds, the “Rhapsody” stands alone.
That the experiment succeeded, there can be no doubt. Evidence for this can he found in the myriad recordings and arrangements which appeared almost immediately after the original premiere. The subject of this review is one of these, by the nation’s foremost theatre organist, Jesse Crawford.
Originally published by Harms Music of New York City in 1927, Crawford’s arrangement of “Rhapsody in Blue” is now available in a restored reprint from Michael’s Music Service and can be found in their online catalogue at www.michaelsmusicservice.com.
First, it must he noted that in providing such restorations, Michael’s Music Service is performing an important and almost unique service in preserving the cultural and musical language of the theatre organ. As is true with most of the contents of the current catalogue, the original editions of this work are relatively rare. Their reappearance makes the work again easily available to scholars and students of the theatre organ. The importance of this work cannot be overstated, and the author would strongly encourage the reader to take a moment to peruse the catalogue.
Also well worth the visit to this website is the availability in MP3 format at no cost, of a recording of Jesse Crawford performing this very arrangement of the “Rhapsody.” For many who might not be familiar with Crawford due to the continued unavailability of his recordings in restored format in modern times, he is credited as the inventor of the ‘language’ (in fact several of the essential basic techniques) used in performing on or arranging for the theatre organ. Known as the ‘Poet of the Organ’ for his superb mastery of phrasing, registration and musical line, he was both the highest-paid organist of the era and the first organist ever to sell over a million recordings. Such a virtuosic performance as one can hear in the “Rhapsody” might well he a fitting introduction to his work. The author hopes that more of his recordings will soon be re-released, making them available for study and enjoyment for future generations of theatre organists and enthusiasts.
Technically, the arrangement presented here is not easy—in fact, it is quite difficult in places. It requires substantial pedal and manual technique, agility with second touch and proficiency with registration changes. Interestingly, on this last point, Crawford has arranged the entire composition for an instrument with two manuals and pedals (not the usual four-manual instruments he would normally have worked with for performance or recording at the New York Paramount).
More interesting still is the editorial tact which Crawford takes. in even the most cursory comparison with other editions (the author is here referencing both the 1924 Warner Brothers orchestral score reduced for dual piano and the 1924/1944 New World music arrangement for organ as transcribed by Charles Cronham), several things jump out at us right away. First, Crawford adds a tour-measure introduction quoting material of the first theme (see first page) as appears the edition in the right hand in measures 6 – 8. He also begins the piece transposed up a half step from the original B flat major to B major.
Therefore, strictly speaking, this is an arrangement. and not an exact transcription of the “Rhapsody iii Blue” which is, properly, a concerto for piano and orchestra. In fact, for all of the specific registration advice given by Crawford, there is not one mention of a piano! For the most part, throughout the piece the large sections of the concerto for solo piano are (usually) entirely omitted in lieu of the later re-statement of these themes by the orchestra. It is also interesting to note that Crawford isn’t consistent with other editions in the indications of tempo, choosing Allegro non troppo at the beginning instead of the Molto moderato (normally appearing at measure 5) and entirely omitting the Più mosso (normally appearing at measure 15).
Although an in-depth, measure-by-measure discussion of this edition is outside the scope of the current review, it is warranted as a perfect case study of Crawford at his finest just before he began to he influenced by the musical and theoretical ideas Joseph Schillinger who, incidentally, was also to work with Gershwin himself.
The registrations arc, as mentioned before, both interesting and comprehensive. Although generally ‘aimed’ for an instrument with two manuals, several of the specific voices called for such as the Musette, Krumet, Saxophone, Quintadena or French Horn, would only have been available (except in rare “special” cases) on larger instruments. It is expected that all instruments would have certain minimum colors and console accessories including Second Touch, a Glockenspiel, Tremulants and (interestingly) a Crescendo Pedal. The author was very struck by the very orchestral nature of the registrations provided—they tend to indicate textures and layers of colors rather than attempting to imitate any one specific sound. It is clear that these registrations are intended for a Unit Orchestra—especially the Wurlitzer brand with which Crawford at the time of this publication was so strongly associated.
Much can he learned by studying this work. This represents a difficult solo arrangement, released by the most famous Theatre Organist of day in the final year before sound film was introduced. It underscores the fundamental importance of teaching good organ technique to all organ students right from the very beginning. Good posture, efficient fingering and clean pedaling are extremely important in order to he able to perform this work properly. These will allow one to get past the mechanics of manipulating the keys and stops of the organ and actually get to the business of making music. It is the art of the Theatre Organ, after all, to play the music and not just the notes.
The author highly recommends the purchase of this arrangement. It is printed clearly on excellent paper and reasonably priced at $12. As such, it is an invaluable addition to the music library of the skilled theatre organist, the organ student, historian and collector.
Steven Ball visit Theatre Organ
BILLY STRAYHORN, arr. Alec Wyton, Lotus Blossom. This is the charming mood piece sometimes called Hominy or All Roads Lead Back to You or Charlotte Russe, tidily arranged by Alec Wyton, formerly head of the church music department at Manhattan School of Music. I’m struggling to see when exactly an organist might play it — and certainly it’s not going to have what Sherlock Holmes would call a European vogue. But it’s a sensible arrangement of a jazz classic all the same, with motion and purpose, and it fits well under fingers and feet. Duke Ellington often concluded his shows with a piano version. More details can be had from michaelsmusicservice.com..
Francis O’Gorman visit Organists’ Review
BILLY STRAYHORN: LOTUS. Arranged for organ by Alec Wyton. Billy Strayhorn was Duke Ellington’s alter ego, a composer with a harmonic and melodic sensibility that was often indistinguishable from The Duke’s own. Lotus Blossom is widely considered to be his masterpiece and this organ transcription by Alec Wyton takes care of business nicely. An off-lush introduction puts Satie-esque chords in the right-hand against a gorgeous melodic paraphrase in the left; the theme itself is decked out with a chromatically abundant accompaniment. This arrangement is widely accessible to players with limited keyboard skills. And I should know.
Philip Clark visit Choir & Organ
BILLY STRAYHORN: LOTUS. Michael’s Music Service, 4146 Sheridan Dr., Charlotte, NC 28205; michaelsmusicservice.com. Alec Wyton’s 1987 arrangement of Billy Strayhorn’s popular song is again available in a new edition. Strayhorn, a member od Duke Ellington’s band, is best known for “Take the A Train.” “Lotus” was known by several titles (“Hominy,” “All Roads Lead Back to You,” and “Charlotte Russe”) before being registered in 1959 as “Lotus Blossom.” In 1974, Wyton improvised on “Lotus Blossom” during Communion at Duke Ellington’s funeral at St. John the Divine. Ellington’s sister later requested he transcribe the piece for organ. A lovely melody is stated three times in an unabashedly “pop” harmonization, reminding one of Jesse Crawford. It may not be your best choice for Communion meditation, but it makes a fine addition to a recital to counterbalance the fugues and chorale preludes.
Rollin Smith visit The American Organist
GEORGE GERSHWIN: Rhapsody in Blue, arr. Jesse Crawford, $12 + $3 shipping. Michael’s Music Service; michaelsmusicservice.com; phone: 704-567-1066. If you wonder why this rare Jesse Crawford arrangement is being republished, go to the above Web site and click on Crawford’s own 1930 recording. This is not the complete Rhapsody in Blue but an eight-page condensation, or potpourri, of the various themes, but they are so ingeniously woven together that no one would ever know who wasn’t seriously familiar with the original. The only difficult things about this are not due to the arranger but the composer: you have to get used to the chords and, of course, the sophisticated rhythms. And it is more suitable for some organs than others. “Tremulants” is never spelled in the singular; don't neglect this just because your Schlicker doesn't have second touch. This will certainly make the laymen at your next recital more tolerant of your fugues and chorale preludes.
Rollin Smith visit The American Organist
ROSA RIO: Organ Arrangements of Classic Melodies, Vol. 1. $15 + $3 shipping. Michael’s Music Service; michaelsmusicservice.com; phone: 704-567-1066. These are masterful arrangements originally published in the 1950s and the ’60s by one of the great theater organists and is being included here because it contains two Christmas pieces you will find eiminently usable and because the whole volume makes a nice Christmas present either to yourself or to introduce a colleague to crossover organ repertoire.
Rosa Rio was an accomplished theater organist, and when talkies came in she tranferred to radio work, accompanying soap operas on the Hammond organ — at one time for as many as 13 coast-to-coast broadcasts five days a week. Among those she provided music for were The Shadow, Lorenzo Jones, When a Girl Marries, and Brighter Day. Now, at age 105, she is still composing and arranging!
Included in this, the first of several volumes of her collected arrangements, are “Night and Day” (Cole Porter), “Mack the Knife” (Kurt Weill), “A Home in the Meadow” (“Greensleeves” adapted by Robert Dolan for the film, How the West Was Won), “Jalousie” (Jacob Gade), “On the Trail” from Grand Canyon Suite (Ferde Grofé), and Rosa Rio’s own interpretation of “Silent Night, Holy Night.” These come under the adjectives “easy and effective”: not simple (“Greensleeves” and “Silent Night” come closest), but playable without a lot of hard work (as with Ethel Smith’s virtuosic arrangements). Registrations for both pipe organ and Hammond are provided (vibrato tastefully never exceeding 2 — how do you know there’s only one higher setting?), and four pieces are suitable for spinet organs. Michael Johnston has included color plates of the covers and backs of the original editions. With “lighter numbers” being included on some recital programs, these make superb “audience friendly” additions available to a new generation.
Rollin Smith visit The American Organist
ALBERT KETÈLBEY. Arranged for organ by Hugh Ware. In a Monastery Garden. Responsible perhaps more than anything else for launching the career of Albert Ketèlbey as a composer of note was his 1915 work “In a Monastery Garden.”
In the opinion of this reviewer, it is the words of the composer himself which best introduce the work: “The first theme represents a poet’s reverie in the quietude of the monastery garden amidst beautiful surroundings—the calm serene atmosphere—the leafy trees and the singing birds. The second theme in the minor expresses the more ‘personal’ note of sadness, of appeal and contrition. Presently, the monks are heard chanting the “Kyrie Eleison” with the organ playing and the chapel bell ringing. The first theme is now heard in a quieter manner as if it had become more ethereal and distant; the singing of the monks is again heard—it becomes louder and more insistent, bringing the piece to a conclusion in a glow of exultation.”
Since its first printing, huge numbers of copies have been sold in many different editions and arrangements over the years—a testament to its immense popularity in the teens and twenties as a standard piece of light popular music and to its remarkable effectiveness as a tone poem.
There are aspects of this piece which are very much ‘of the era,’ and it is important to recognize this when programming the work in modern times. There is little question that the impression left on the audience of today will be far removed from that left on the original ears which first heard this composition more than 90 years ago. But on the other hand, this is exactly what lends it its charm in a modem program. Certain aural effects such as the “Song of the Birds” at ms. 9 which might appear to be a bit corny to contemporary ears were very much stock and trade of the average theater organist of the era. It is, perhaps, not so bad for a modern audience to be reminded of the role that organists of the era played in the interpretation of silent films and, in the larger sense, the place that such a composition held in the general repertoire of mood music.
While we are on the subject of themes, it is interesting to take a close look at the “Chant of the Monks” beginning at mms. 49-64 and occurring again at the very end of the composition in mms. 81-88. This is really a creation of the composer which draws, at best, only very loosely on the idea of Gregorian Chant. This theme, although charming, lacks any real modal characteristics. As such, it is certainly not a strict quotation from the Gregorian melody.
Highlighting the various sections and themes of the piece are several creative registration suggestions on the part of the arranger. These are all notated in the language of the classical organ, suggesting both stops and divisions which one would expect most to find on a classical or orchestral instrument. That being said, the transition to more theatrical registrations would be quite easy given the careful way in which every theme and manual change have been worked out in the score in advance. It is simply a question of different nomenclature and, of course, a more colorful paintbrush to work with! After all, organists then as much as now, are called upon frequently to speak either dialect of this same language—music for the pipe organ.
The arrangement is good, and the composition is a delight without being too challenging for the intermediate organist. It is a sound addition to any music library, and beautifully printed on excellent paper. Order from Michael's Music Service, 4146 Sheridan Drive, Charlotte, North Carolina 28205-5654, 704-567-1066, www.michaelsmusicservice.com, for $7.00 plus $4.00 shipping/handling (outside the United States, shipping/handling is an additional $1.00 to $7.00).
Steven Ball visit Theatre Organ
BILLY STRAYHORN. Arranged for organ by Alec Wyton. Lotus. While on the subject of more or less classically leaning music, there is also the lovely “Lotus” of Billy Strayhorn with the inspired arrangement of Alec Wyton to consider. This tune, known by many names (“Hominy,” “All Roads Lead Back to You,” “Charlotte Russe,” and “Lotus Blossom”), first came to life under the pen of Billy Strayhorn who was most well known for his close professional and personal relationship with the late, great Duke Ellington.
It was at Ellington’s funeral at the Episcopal Cathedral of St. John the Divine in New York City on May 24, 1974, that the hand of Alec Wyton came to be involved in the creation of “Lotus” in the form which is currently available in print from Michael's Music—a reprint of the 1987 edition of the Dean Publishing Company.
Dr. Wyton, organist of the Cathedral and brilliant performer in his own right, had at the time of the funeral already served asorganist there for some 20 years. Ruth Dorothea Ellington, who regularly attended services at the Cathedral, had been aware of Wyton’s phenomenal gifts as an improviser, and had requested that he take “Lotus Blossom” as a theme for improvisation during Communion. Many years later at the request of Mrs. Ellington, this improvisation was transcribed by Wyton from the recording of the service. The result can only be described as ethereal.
The Michae’s edition itself includes an especially informative preface, several interesting photos, and a reproduction of Mrs. Ellington’s letter to Dr. Wyton concerning the original publication of “Lotus.” Again, the paper and printing quality are excellent, the edition very clear, and the difficulty level easy to medium. This would be an interesting and strong addition to the library of any organist bridging, as it does, so many different traditions of playing simuhaneously in the same piece of music.
Order from Michael’s Music Service, 4146 Sheridan Drive, Charlotte, North Carolina 28205-5654, 704-567-1066, www.michaelsmusicservice.com, for $7.00 plus $4.00 shipping/handling (outside the United States, shipping/handling is an additional $1.00 to $7.00).
Steven Ball visit Theatre Organ
SUITE EUCHARISTIQUE: SALVE, SANCTA PARENS [M/MD], Franz Xavier Mathias, ed. Michael Johnston, Michael's Music Service, $10.00. Available from www.michaelsmusicservice.com. This prolific composer, a priest, lived from 1871 to 1939. Organist at Strasbourg Cathedral for ten years, he was also Professor of Sacred Music at the University.
This suite was written for organ or harmonium; the movement Deo Gratias calls for some awkward left hand octaves which could well be transferred to the pedals. The movements themselves are intended for use in the Tridentine liturgy. The liturgical chants are given for use by priest or cantor so that the suite can be used as originally intended.
There are five movements, some quite long. The style tends to be somewhat stodgy and may only appeal to a limited audience. To make up your own mind before buying, go to the website mentioned at the head of this review, click on the title of the work, and then on the MP3 button to heard a recording of the Benedictus.
Trevor Webb visit Church Music Quarterly
Comments: Mathias used octaves for several reasons: Many organs and all harmoniums used to accompany the Mass had no pedals; many organists outside of the major cities and churches could not play pedals; buildings used for the Mass in his experience were reverberant and the extra bass octave added depth and did not seem choppy because the reverberation covered it, and this meant that the octaves could be played non-legato which would not be awkward. Yes, some of the movements are long because the old Mass made more of some sections that are today greatly shortened or eliminated. —Michael Johnston