April 22, 2012 - Easter 3

I Believe This Is Jesus - Undine Smith Moore

O Paschal Lamp of Radiant Light - Sam Batt Owens

Chant de Paix - Jean Langlais

Carillon - Louis Vierne

Hymns: #212 Richmond, #193 Puer Nobis,

             #213 Middlebury 

The gradual anthem this week was composed by Undine Smith Moore, known to some as “the Dean of Black Women Composers.”  She spent the majority of her career (from 1927-1972) teaching piano, organ, and music theory at Virginia State College. She was known for her contributions to choral music including a 16-part oratorio called Scenes from the Life of a Martyr based on the life of Dr. Martin Luther King. The work was nominated for a Pulitzer Prize. Her arrangement of the spiritual I Believe This is Jesus is dedicated to the Virginia Union University Choir of Richmond, VA. It begins with an explosive five note motive that is passed around the choir. It then moves on to feature the men in unison with the women commenting with “Oh come and see”. This B section continues the rhythmic drive and moves to a reorchestrated version of the beginning theme with melody for solo tenor against the affirmative “yes” of the rest of the choir. The piece stops after a huge build on a unison statement of the opening theme that brings the piece to its final statement to “come and see.”

The communion anthem, O Pascal Lamp of Radiant Light was written by Sam Batt Owens, a former professor of music at Birmingham Southern College, Vanderbilt University, and Fisk University. During his lifetime he composed over 250 pieces and served in prominent positions in the church music field. This piece has a gentle fluidity to it that I personally find very endearing. It also makes it difficult to sing. The singers must be very sensitive to the ebb and flow of dynamics in this piece, which are fueled by the text. The dynamics at some points are even more important (perhaps) than the notes. The final 10 measures of  “alleluia” draw the piece to a triumphal but contemplative close that leaves the listener fulfilled and at rest despite the shifting tonalities that preceded it.

The prelude and postlude both come from the French Romantic School and were both composed by blind organists. There are days when I have a hard time playing the organ and I have reasonably good vision. I can’t imagine playing the organ without sight. Even more than that I can’t imagine making a living as a blind concert organist that had to constantly adjust to new and different organs. If that weren’t enough for them, they also included large-scale improvisations in most if not all of their concerts. Wow. That is all I can say.

The prelude comes from Jean Langlais’ (1907-1991) Neuf Pieces it is the Chant de Paix or Song of Peace. These pieces were written in response to World War II. This piece was dedicated to Mademoiselle Claire Boussac, and sharply contrasts some of the less peaceful movements in the collection. The piece is a dialogue between two four-foot flutes, one in the right hand and the other in the pedal. The left hand supports this conversation on the string stops by playing dissonant but interesting chords throughout.

The postlude is Louis Vierne’s Carillon from his 24 Pieces in Free Style. These pieces were written to be played on either organ or harmonium and contain registrations for both. The piece is dedicated to Rene Vierne, Louis’ brother who was killed in combat. The inspiration comes from the carillon at la chapelle du Chateau de Longpont. It begins and ends on full organ with the pedal playing the carillon part. The middle section alternates between the swell and the great with the hands switching each measure at some points. The piece then builds to a climactic finish.