October 23 Organist: Michael Ferguson
Prelude and Fugue in G Major J.S.
Bach (1685-1750)
Blithe
Bells Percy
Grainger (1882-1961)
Suite in D Minor, Op. 14 Edward
Elgar (1857-1934)
(or: “Vesper
Voluntaries, No. 26”)
&nbs
Every
so often, a great artist creates a gem that somehow gets lost in the shuffle.
Overlooked and mis-appreciated, Elgar’s so-called “Vesper Voluntaries” are just such an item. Overlooked—not least for being originally published (by
Osborn & Tuckwood) as volume 26 of an undistinguished series, every one of
them entitled “Vesper Voluntaries,” consisting of “the best and
cheapest” church voluntaries, by a long list of perfectly obscure composers,
the likes of Beazly, Greenish, Carnall, Boggetti, Horspool, and—as of
then—Edward Elgar. Overlooked also, for being out of print for most of the 129
years since appearing in 1890. And mis-appreciated, mostly because the
publisher’s vague and in this case misleading title is definitely the wrong
setting for this gem.
When the work was republished c. 1910 by
Ascherberg, Hopwood & Crew, Elgar took the opportunity to reset his lost
gem as “Suite in D Minor, Opus 14.” This title gives a much better idea
of what he had created: a continuous suite of pieces, framed with an introduction
and coda, artfully varied by mood and color, and unified by key and the use of
cyclical themes.
Since Elgar only ever composed one other
organ work, the later Sonata, this “new” organ work makes a most welcome
addition to the repertoire. Though the “orchestral” sonata, so very grand and
expansive, easily dwarfs the “chamber music” of this new suite, it in no way
transcends the intimate warmth of the suite’s brilliantly paced set of
miniatures. Written by a just-married young man of 32 about to leave his native
Worcestershire for the wider world, this Suite—perhaps better than other of his
works—reveals the “dreamy child” who used to sit in the reeds by the Severn
River with his paper, trying to compose, all the while “longing for something
very great—source, texture and all else unknown.” Indeed, great things came to
him later on: a Coronation Ode for his king, the Symphonies, the Sea
Pictures, and The Dream of Gerontius. And yet that unknown source
and texture proved to be Elgar’s own great heart and soul, already evident in
this overlooked gem, refracting the scenes of river and sky, trees and wind, so
dear to that boy. —MF
Michael Ferguson is an organist,
teacher, writer, and composer. He is
Music Minister of Saint John in the Wilderness Episcopal Church, White Bear
Lake, where he directs and accompanies the choirs. He studied piano with Marcia and Bernhard
Weiser, organ with Edward Berryman, and composition with Jean Langlais. A St. Paul native, Michael’s compositions
have been performed worldwide, including at Notre Dame Cathedral, Paris. He has performed as organist in recital at
Westminster Cathedral, London. His compositions
and performances can be heard on YouTube, and scores of his music are available
through Birolius.com, including his organ transcription of Blithe Bells,
featured on today’s program.
At St. Olaf, we are blessed to have a magnificent 67-rank pipe organ. This fall, it will be showcased in a series of recitals on Wednesday afternoons, immediately following the noon Mass.
Come hear the organ thunder with might and whisper gently as talented organists showcase a variety of repertoire.
Wednesday Organ Recitals run from September 18 through December 4, and will be approx. 30-40 minutes long.
Freewill donation.
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