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NOTES ON THE MUSIC
Music has far greater power than merely to please or displease. Its capacity to bring inner richness and harmony has been commonly acknowledged throughout the history of music. J.S.Bach, for example, said that a good basso continuo is good for the soul. That is why the majority of my music is religious in nature. Even the Passacaglia is a description of the joy of something bigger than any of us. My intention is always present, even though it is sometimes realized in playful ways.
Toccata, The Majesty of Christ, is dedicated to the memory of French organ virtuosa and composer Jeanne Demessieux. It contains some of her “sounds” and is quite French in character. There are five original themes which depict various events and qualities in Christ's life. As with many mysteries, these themes are stated in hidden ways at first and then made clear later on. This principle of clarification is complimented by another: an action can have different effects in different contexts. Consider how different the word “hello” can be, depending upon the mood of the speaker and the person to whom it is spoken! In this music a theme can have entirely different effects and meanings when it is placed in different musical circumstances. For example, in the first soft section the bass line hops about in a “boyish” fashion in order to depict Christ's youth. Later, it is stated in very fast notes to portray his Passion. The mysteries, conflicts and sadness of Christ's past are resolved into an overall impression of triumph and majesty at the last of the piece.
Chorale Prelude, Veni creator spiritus, is a setting of the plain chant melody quite distant from the original version, which came into common use in the ninth century. The melody now rests in long notes and is surrounded by figures whose ebb and flow always point to an unknown ocean. This musical invitation for the Holy Ghost to come was spontaneous in its conception and realization.
Chorale Prelude, The Saint's Delight and Land of Rest, combines themes of two old American hymns into one piece. One theme is essentially sad and the other happy. Throughout, one melody “flavors” the other and there results a feeling of contentment along with a yearning for something yet to be attained.
Chorale Prelude, Lasst uns erfreuen, sets the melody most commonly known among English-speaking congregations as the hymn Ye Watchers and Ye Holy Ones. The joyful praise and majesty of the text and original music is altered in this setting. The sound becomes sprightly, even slightly jazzy with a contemporary feeling. These qualities are intended to encourage a fresh look at this beautiful hymn and new sentiments towards its text.
Chorale Prelude, King's Weston, sets the well-known melody composed by that master of English hymnody, Ralph Vaughan Williams. The majesty of this hymn is first expressed by the organ's mid-volume reed stops, the sound of which may well remind one of a renaissance band. Then the tune is proclaimed by the organ's imposing en chamade trumpet, with fast, bright notes in the background. There is no mistake: “At the Name of Jesus every knee shall bow.”—these words, which comprise the first line of the hymn, are depicted in music.
Mass of Saint Louis is a setting of the short (i.e., no Credo) Roman Catholic liturgy written while I was organist at the Church of St. Louis in Austin, Texas. Simple and functional pieces such as this must still be well-written and cannot be too long. Perhaps this is the most difficult music to write! The texts should be easy to sing and, though very old, must sound fresh for today's listeners. Since the music should not draw undue attention to itself in a religious service, it leans toward the light side—even when loud—and encourages the listener to meditate freely.
Passacaglia is an example of variation form, the charm of which comes in part from combining the predictable with the unpredictable: a recurring theme is surrounded by new melodies and harmonies in each variation. Bach's Passacaglia in c-minor for organ was the main source of inspiration and was, in part, a model. Some of his figures and techniques were used, and this Passacaglia has exactly the same number of variations as his. Different, however, is a basic concept: Bach's theme begins and ends on the same note, a C, though an octave lower at the end. The theme of my Passacaglia does not and consequently affords greater “pull” from the end of each variation to the beginning of the next. If the piece ended on the last note of the last variation, it would not end in the key or tone in which it began. There had to be a section after the last variation which brought the piece conclusively back to its home key. In it, Bach's name (though transposed) has been spelled in the German way: B (B-flat), A, C, H (B-natural).
Prelude and Fugue in A-flat major, Ecumenical, takes its theme from the first notes of the Lutheran hymn, In Thee is Gladness. The same notes backwards form the first part of the melody called the De Angelis Kyrie (Lord have mercy). Difference of subject matter, which is indicated in the titles of the themes, and differences of sound are superficial. In reality, these two themes emerge from the same source and are one. When they are combined at the end of the fugue, there is an effect of strength not present in the separate statements of each. The Prelude features the organ's string and flute stops; the Fugue starts with the latter sound and, without trumpets, builds to the end.
em>Gloria Patri is a movement from a larger cantata being written in 1990/91 for the Austin Civic Chorus. Rather like the Mass of Saint Louis, the Gloria Patri is essentially light in sound. Its approach to the concept of the Trinity is not bombastic and allows a more ethereal and tender quality to the text, whose majesty speaks for itself. Roughly the first half of the work is a fugue, a form in which voices successively enter and imitate each other. Similar action of more than one person at different times is implied, and a consensus is reached that is stronger than a setting of the text which primarily would have involved the use of different chords. In the latter case, all voices would have acted at the same time and
there would have been less an impression of people reacting to each other.
Psalm 19, The heavens declare the glory of God. The first part of this piece quotes exactly the first six measures of a variation from “Goe from my window,” a harpsichord piece by John Munday (d.1630). Though the source quoted is secular, it is quite appropriate in conveying the sense of vastness found in the Psalm. Munday's musical figure descends stepwise eight notes and can symbolize God's glory from the heavens coming down to us. This figure is stated throughout the piece and unifies the five plain chant melodies which proclaim various aspects of the text. In writing this music, my particular challenge was to blend a fragment of music from the early 17th century with sounds from our time. Whether loud or soft, the organ's sound except for the end of the piece is always bright. Very small pipes producing extremely high pitches contribute to this effect.
Four Biblical Dances incorporate appropriate plain chant melodies in my musical interpretation of the following passages which mention dancing:
1. Ecclesiates 3:1,4. “To everything there is a season, and a time to every purpose...a time to weep…laugh…mourn...and a time to dance.” Such vivid contrasts in this passage would ordinarily invite equal contrasts in a musical setting. However, life's different aspects can eventually blend into an overall quality. Happy events are not too happy, nor are the sad too sad. So it is with the way the themes have been treated in this piece. The biblical passage is approached quietly with a view to the mystery of life with all its events and rhythms. The Te Deum theme, which is hidden by being stated slowly in the bass part, underlines the entire concept.
2. Psalm 30:11. “Thou hast turned for me my mourning into dancing; thou hast put off my sackcloth and girded me with gladness.” This work is divided into halves. The first is sad, the second happy. The transition occurs with two brief statements in the bass of the first theme from the first dance. After an explosive presentation of themes representing the beginning and end of Christ's life, the music gradually softens to end in contentment.
3. Matthew 11:16, 17. “We have played the pipes for you, and you would not dance; we sang dirges, and you would not mourn.” It is difficult to depict indifference in music without words. After much thought, I chose a descending two-note figure which gives the effect of a “sigh.” The sections using this figure sound on two different, rather “lonely” flutes and are curt responses to the happiness and sadness expressed in the text.
4. II Samuel 6:14. “And David danced whirling around before the Lord with all his might.” In this work David is portrayed as thoroughly “macho,” tireless and somewhat lacking in discretion with his dancing. No matter. He's having fun and is making a big impression. Brassy sounds in this piece lean toward the brazen.
Hail Mary. There is a special intrigue with music which sounds vaguely old and new at the same time. The effect can produce a sense of timelessness. There is also a special charm in music which sounds spontaneous but is mathematically planned. This a cappella chorus was written with both purposes in mind.
Te Deum is dedicated to my friend, organbuilder Pieter Visser, creator of the instrument heard in this recording. The original Te Deum (We praise thee, O God) is an ancient hymn of thanksgiving. Its first phrase, Te deum laudamus, and a later one, in gloria patris, are used in sequence to constitute the melody commonly used in organ music of this century and specifically used as the primary theme of this work. The first two phrases of the secondary theme, I am the resurrection and the life..., are from services for the dead. This is heard very quietly on an organ stop resembling a clarinet at the center of the piece. In the outer sections it is sometimes combined with the Te Deum theme. After the introduction on trumpets comes the first section which is intended to sound rather jazzy. Ocean waves come to mind after the middle section on I am the resurrection and the life.... The work ends with an expression of the full majesty and joy of the ancient hymn, with the full organ employed.
Notes c. 1991 by Frank Speller
ABOUT THE ARTISTS
Frank Speller teaches organ and harpsichord at the University of Texas at Austin. With degrees from the University of Colorodo and Indiana University, he has studied with Everett Hilty and Alexander McCurdy in the United States, and Jeanne Demessieux and Pierre Froidebise in France. Having concertized extensively in the United States, he has performed organ recitals for three regional conventions and one national convention of the American Guild of Organists. In Europe he has presented more than 25 recitals, playing in such cathedrals as those of Nôtre Dame in Paris, Chartres, Utrecht and Braunschweig. He has also performed on National Public Radio. Speller's original compositions and editions of organ music are published by Belwin Mills, Concordia, Alexander Broude, Peer-Southern Organization and Morning Star Music Publishers.
Patrick Gardner, director of the University of Texas Concert Chorale in this recording, has conducted and lectured in 29 states, Canada, the Bahamas and Europe. He has won the praise of such notable composers as Lou Harrison, William Bolcom, and William Albright for his performances of their music. Mr. Gardner has directed various choral groups in conventions of major American musical organizations.
ABOUT THE ORGAN
This instrument is one of the largest tracker-action organs in the United States—a musical and engineering feat which, if not for its quality of craftsmanship and sound, would alone mark it as noteworthy. A “tracker” is a flat strip of wood which conveys the action of the keyboard or “manual” directly to the organ pipes. Although many of the organ's functions are electrically controlled, such as the stop action and the computer memory piston system, the trackers are traditional wooden linkages whose origins date back at least two thousand years.
This organ is adapted from classic 18th-century Dutch designs. Several additions and modifications, however, such as the harmonic corroborating Septime and None registers and the microprocessor based combination action, make this organ more wide ranging and adaptable, permitting the organist to effect quick changes in sound and allowing him to perform the entire range of organ scores from the early Renaissance to the most contemporary avant garde. By its design, the organ encourages experimentation, expansion.
In December, 1980, Visser-Rowland Associates of Houston began construction of this “king of instruments,” which would occupy their staff for 16,750 working hours. The planning alone took seven months.
The 5,315 pipes range from giant 16-foot principals to pipes smaller than an ordinary pencil. Their materials include copper, brass, wood and alloys of tin and lead. The multi-colored copper pipes have been deliberately scorched to produce varying hues to set off the shimmer of the polished tin pipes.
The highest level of pipes is called the Hoofdwerk, operated by the second keyboard. The next level down, immediately above the cluster of horizontal trumpets, is the Zwelwerk, which is controlled by the third manual. The battery of trumpets—the trompettes en chamade—is operated by the fourth, or top, keyboard. Finally, the Rugwerk, the lowest set of pipes, mounted on the balcony railing behind the performer, is connected to the first manual. The largest pipes, the copper principals mounted on either side of the main organ case, form the façade of the Pedaalwerk, the set of pipes controlled by the pedal keyboard. Any and all of the manuals can be coupled to the Hoofdwerk; any and all of the manuals can be coupled to the Pedaalwerk.
The entire organ is encased in a 38-foot tall red Appalachian oak frame with a clean, geometric design which harmonizes with the modern lines of Bates Recital Hall. All of the woods were milled by Visser-Rowland Associates and include poplar, birch, walnut for the console; Texas holly for the keyboard sharps; ebony for the pedal sharps and manual naturals; as well as different tulipwoods, plywoods and veneers from India, Brazil and the Baltics. Organ, frame, pipes and mechanism weigh approximately 48,000 pounds.
STOPLIST OF THE VISSER-ROWLAND TRACKER-ACTION ORGAN
BATES RECITAL HALL, THE UNIVERSITY OF TEXAS AT AUSTIN
MANUAL I - RUGWERK
1. Praestant8'
2. Bourdon8'
3. Quintadeen8'
4. Octaaf4'
5. Spitsfluit4'
6. Superoctaaf2'
7. Larigot1 1/3'
8. Septime (from tenor C)1 1/7'
9. Sifflet1'
10. None (from tenor C)8/9'
11. Sesquialter II ranks2 2/3'
12. Tertiaan III ranks1 1/3'
13. Scherp V ranks1'
14. Dulciaan16'
15. Trompet8'
16. Kromhoorn8'
17. Regaal4'
Tremulant
Cymbelstern, 13 bells, programmable
MANUAL III - ZWELWERK
1. Gedekt16'
2. Praestant8'
3. Salicionaal8'
4. Voix celeste8'
5. Gedekt8'
6. Octaaf4'
7. Nachthoorn4'
8. Nasard2 2/3'
9. Flageolet2'
10. Terts1 3/5'
11. Klein kwint1 1/3'
12. Scherp mixtuur IV ranks2'
13. Cymbel III ranks1'
14. Fagot16'
15. Trompet8'
16. Musette8'
17. Klaroen4'
Tremulant
PEDAALWERK
1. Subbas32'
2. Praestant16'
3. Gedektbas8'
5. Gedekt8'
6. Koraalbas4'
7. Nachthoorn2'
8. Fluitje1'
9. Mixtuur V ranks2 2/3'
10. Contra Bazuin32'
11. Bazuin16'
12. Fagot16'
13. Trompet8'
14. Schalmei4'
15. Regaal2'
Tremulant
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