July 15, 2012 - Proper 10

Etude - Joannes Rochut
Adagio and Allegro - Benedetto Marcello
Toccata per l'Elevazione - Girolamo Frescobaldi
Hymns: Bunessan, #589 Walden, #232 Nyland,
              #779 Dunedin

This week’s music is all Italian influenced. We also have the opportunity to hear the euphonium, an instrument that closely resembles a small tuba in a person but plays in the warm rich range of the cello. This instrument is almost exclusively found in band settings (as opposed to orchestra). It has a rich singing tone that lends itself to solos and has been used extensively in marches and the music of the British band tradition. The euphonium does occasionally appear in the orchestra, often being substituted for similar instruments such as the “baryton” and the “Wagner tuba.”

The prelude this morning is an etude; a short but difficult musical composition designed to practice or develop a specific skill. This etude is from the book Melodious Etudes for the Trombone by Joannes Rochut (1881-1952). Rochut was educated at the Paris Conservatoire and from 1925-1930 served as principal trombonist for the Boston Symphony Orchestra under the baton of Serge Koussevitzky.

In 1928 Rochut published his Melodious Etudes 1-3 which are transcriptions of Vocalises by the famed Italian tenor, Marco Bordogni (1789-1856). Bordogni was a singing teacher that spent much of his career in Paris. He originated several roles in the operas of Rossini. He taught at the Paris Conservatoire from 1820 until shortly before his death.

The postlude is a transcription of an Adagio and Allegro by Benedetto Marcello (1686-1739). The piece was originally written for bassoon but because the bassoon and euphonium have similar ranges the transcription works well. Marcello was an Italian composer, magistrate, writer, advocate, and teacher. His older brother, Alessandro was also a composer and many of Benedetto’s compositions have been misattributed to his brother. In addition to his instrumental music, B. Marcello is remembered for his sacred vocal music including his collection of settings of the first 50 Psalms.

The communion music this week is Girolamo Frescobaldi’s Toccata Per l’Elevazione. Frescobaldi (1583-1643) was perhaps the most famous and revered keyboardist of his time. His music served as an instruction book on counterpoint for composers for years to come. His influence can be seen in the writings of Bach, Purcell and countless other composers. This “elevation toccata” is from the Mass of the Apostles, one of three organ masses published in Frescobaldi's 1635 publication Fiori Musicali (“Musical Flowers”). These pieces are typically played slowly on the voce umana stop, a principal stop which was tuned slightly sharp so that when played along with the principal it would produce a soft undulating effect. This piece is filled with dissonances that do not fully resolve until the end. It has several chains of suspensions that “resolve” falsely from when chromatic chord to another before reaching the final cadence. These pieces are some of Frescobaldi’s most intimate and personal works. The key that the piece is in often symbolizes the mystical and is especially appropriate for the elevation of the Blessed Sacrament.