Organ Concert Program Notes 1

This evenings program takes the listener on a journey across many of the
organ centers of early modern Europe, beginning in (and often returning to)
Germany with excursions into France and the Netherlands. The program is drawn
primarily from the late 17th and early 18th centuries, though it also ventures into the
early 17th century with a toccata by Sweelinck and into the late 18 th century with a
brief piece by Haydn. And yet, despite a relatively narrow focus on the Baroque
period, what emerges most clearly in this program is the rich diversity of the
repertoire. Though these composers share a broadly similar tradition, performing
these works side-by-side reveals the subtle nuances in style, interpretation, and
registration that reflect the influence of each composers unique cultural and
musical upbringing, along with their own compositional idiosyncrasies.
We begin in Germany with a work by organist and violinist Nicolas Bruhns
(1665 1697). In his rather short life he published five pieces, including two
Praeludium in e, two Praeludium in g, and a chorale prelude on Nun komm der
heiden, heiland. With its free and almost wild character, the Praeludium in e minor
heard this evening suggests the influence of Bruhns famous teacher, Dieterich
Buxtehude. In fact, Bruhns music often seems even freer than that of Buxtehude,
and one is left to wonder what Bruhns may have created had he lived longer.
Erbaum dich mein, O herre Gott (Have mercy on me, O Lord) is one of J.S.
Bachs (1685 1750) miscellaneous chorale preludes, meaning it is not associated
with a collection of chorales. The rhythmically simple accompaniment of eighth
notes offers a gentle but hauntingly beautiful background for the cantus firmus (or
chorale tune), which is further enlivened by sometimes surprising harmony. Listen
for the cantus firmus, which, though written in the soprano, is played on the pedals
using the new 2 Nachthorn (flute) stop.
As we head to France with four movements from Clrambaults Suite on
deuximeme ton, it is important to note that the French classic organ was much
different than its German counterpart and usually only included two pedal stops.
Furthermore, French organ music was limited to liturgical pieces, suites, and Nols

Organ Concert Program Notes 2

(variations for Christmas). During King Louis XIVs rule, French music was
characterized by dramatic ornamentation, inequality of note values, and the use of
dance rhythms, all the while remaining controlled, elegant, and self-consciously
French. Composers had the freedom to be creative, but they had to adhere to the
restrictions of the style and le bon gout (good taste determined by the King).
Parisian Louis Nicolas Clrambault (1676 1749) composed in this unique
style, and though best known as a composer and organist, most of his compositions
are for choir. His only known organ pieces include two suites. The Suite on
deuximeme ton (Suite on the second tone, G dorian) heard here is comprised of
seven movements which were intended to be used in alternatim with sung verses.
Plein jeu refers to the registration required (a plenum using Principal stops, reeds
and mutations). The Duo is a polyphonic piece for two manuals featuring the new
Cornet stop on the Great division. Fltes calls for several flute stops coupled
together between two manuals, and the Caprice utilizes the new 16 Fagott (reed) in
addition to the other reed stops on the organ.
Just as French composers tailored their works to the limitations of the French
classic organ (at least compared to its German counterpart), north German
composer Georg Bhm (1661 1733) often composed with practical concerns in
mind. Many of his keyboard works were designed to be performed interchangeably
on the clavichord, harpsichord, or organ, allowing musicians to tailor their
performances to the instruments at their disposal. That is not the case for the Bhm
selection heard here, Vater unser in Himmelreich (Our Father in heaven), which calls
for the cantus firmus to be played on the pedals using the beautiful 4 Trompet stop.
Like works by other north German composers, Vater unser in Himmelreich makes
use of the stylus phantasticus, which can be heard throughout Bhms many
compositions for organ.
And finally, a Baroque organ concert would not be complete without one of
J.S. Bachs numerous free works, so the recital closes with Bachs stunning Prelude
and Fugue in C (BWV 547), which was composed late in his career in 1744. The

Organ Concert Program Notes 3

prelude joyfully bubbles along in 9/8 meter with an air of distinct sophistication but
is followed by a complex, five-voice fugue in common meter. Bach develops the
subject in four voices before finally introducing the fifth voice in the pedal just
twenty-four measures from the end. With all five voices now in play, the last two
pages reach a dramatic climax, complete with mixtures and pedal reeds.
With Bachs striking five-voice fugue still fresh in our ears, we turn to the
calm, reflective time of Evensong. During the service, we will travel even further
north, now to the Low Countries, for a choral Magnificat by Orlando di Lasso with
organ verses by German composer Johann Erasmus Kindermann (1615 1655) and
a closing voluntary, Toccata in C, by Dutch composer Jan Pieterszoon Sweelinck
(1562 1621).
Magnificats come in a variety of forms, from pure chant to alternating chant
and polyphonic vocal or organ verses to mixtures of chant, vocal polyphony, and
interpolated organ verses. The practice of combining vocal and organ Magnificats is
cited in many documents and church service orders of the 16 th and 17th centuries.
This practice arose because singers were sometimes simply not available, leaving
the organist to improvise or compose polyphonic organ pieces using the notes of
the chant tone and mode as a theme. This evening, you will hear such a Magnificat
featuring polyphonic vocal verses by di Lasso and interpolated organ verses by
Kindermann (1615 1655), further showcasing the instrument and allowing the
congregation to experience an unusual liturgical style.
The service will close with the Toccata in C by Dutch organist, composer, and
teacher Jan Pieterszoon Sweelinck (1562 1621). Sweelinck bridged the gap
between the late Renaissance period and the early Baroque period and did much to
influence the German organ school that developed in the Baroque period. The
number of German organists who came to study with Sweelinck was so great that
he was considered a deutscher Organistenmacher, or maker of German organists.
In the Toccata in C, a strong tonal center holds together fast rhythmic patterns that
cover most of the keyboard, and the performer is granted much freedom to

Organ Concert Program Notes 4

interpret tempi and ornamentation. For this reason, Sweelincks music is
invigorating both to hear and to play, and I hope you will enjoy this exciting
conclusion to the rededication of Trinitys organ.