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Item:131985422129David Heller Plays the Létourneau Pipe Organ Christ Church Methodist, Louisville. Raven OAR-971 David Heller plays the Létourneau organ of 54 ranks built in 2009 as
Opus 107 at the large and acoustically resonant edifice of Christ
Church United Methodist, Louisville, Kentucky. John Cook: Fanfare Johann Pachelbel: Partita Werde munter, mein Gemüte J. S. Bach: Schmücke dich, o liebe Seele , BWV 654 J. S. Bach: Toccata, Adagio, and Fugue in C Major, BWV 564 Johannes Brahms: 4 of Eleven Chorale Preludes, Op. 122: No. 5 Schmücke dich, o liebe Seele No. 8 Es ist ein Ros’ entsprungen No. 9 Herzlich tut mich verlangen No. 11 O Welt, ich muß dich lassen César Franck: Choral No. 3 in A Minor Percy Whitlock: Folk Tune Oskar Lindberg: Gammal fäbodpsalm från Dalarna Herbert Howells: Master Tallis’s Testament Craig Phillips: Fugue on the Carillon d’Alet The Music by David Heller John Cook: Fanfare The
professional life of John Cook developed in three countries. Born in
England, Cook was educated at Christ Church College in Cambridge as a
pupil of Boris Ord and Sir David Willcocks. He left England in 1954 to
assume the post of Cathedral Organist at St. Paul’s Cathedral in London,
Ontario, Canada. In 1961, Cook was appointed Organist and Choir Master
at the famed Church of the Advent in Boston, Massachusetts, 1961-68. He
also served on the faculties of the Longy School of Music in Cambridge,
Massachusetts, as well as the Massachusetts Institute of Technology.
Cook’s Fanfare, his best known organ work, was written while he still
was living in England. It was composed in 1951 as part of a larger work
to celebrate the Festival of Britain that year and subsequently
published in 1952 in the version that is best known today. Johann Pachelbel: Werde munter, mein Gemüte It
is unfortunate that the music of Johann Pachelbel is overshadowed in
our time by his well-known Canon in D Major for strings. Pachelbel was a
prolific composer in many genres, including organ music. His organ
works had a profound influence on the young Sebastian Bach (whose older
brother, with whom he lived after the death of his parents, was a
student of Pachelbel and exposed his younger brother to this middle-
German master’s music). Pachelbel composed several sets of variations on
German Lutheran chorales that feature various compositional techniques,
often incorporating a “crescendo” of rhythmic complexity as the
variation set progresses. This short set of variations is on the
chorale, Werde munter, mein Gemüte , written by Johann Schop
(1600- 1665). This chorale has come down to us in two rhythmic versions:
in common meter (as in this partita), or in triple meter, which J. S.
Bach made famous in Cantata No. 147 and is best known today as Jesu, Joy
of Man’s Desiring. J. S. Bach: Schmücke dich, o liebe Seele , BWV 654 The communion hymn, Schmücke dich, o liebe Seele (Adorn yourself, O dear soul ),
was used only once in an organ work by J. S. Bach – but the end result
was a composition that has transcended time and influenced the likes of
Mendelssohn, Schumann, and Brahms, and has remained one of the master’s
popular organ works. This chorale prelude is one of several extended
settings of Lutheran chorales composed by Bach during his years in
Weimar. These chorale settings were revised later in Bach’s life, during
his tenure in Leipzig, perhaps in preparation for publication during
the last decade of his life. No less a person than Felix Mendelssohn
commented to his friend and colleague, Robert Schumann, about this
piece, “If life were to deprive me of hope and faith, this single
chorale would replenish me with both.” J. S. Bach: Toccata, Adagio, and Fugue in C Major, BWV 564 The
Toccata, Adagio, and Fugue in C Major is another composition that dates
from Bach’s years in Weimar, but perhaps in the earlier years of that
period. This three-movement work is a brilliant fusion of two great
influences in his compositional output at this time: the North German
praeludium, with its sectionalized format and the use of an extended
(and virtuosic) pedal solo; and the music of Italy as seen in the
concerto-ritornello format perfected by Antonio Vivaldi and which Bach
used for the main portion of the Toccata movement. The Adagio is
reminiscent of a solo violin accompanied by a continuo section in the
left hand and pedals. The closing Fugue clearly shows Bach’s mastery of
four-part contrapuntal writing at this time, with the ability to write
an extended fugue that far exceeded the confines of the much shorter
fugal sections in the earlier North German keyboard works of his
predecessors. Johannes Brahms: 4 of Eleven Chorale Preludes, Op. 122 Johannes
Brahms is not usually associated with the organ or its literature, but
that does not mean that he ignored the instrument entirely in his vast
musical output. In a letter to Clara Schumann in 1855, Brahms wrote that
he was practicing the organ daily (finding it difficult to master!) and
was contemplating a career as a traveling organ virtuoso. His study of
the organ seems not to have continued beyond the mid-1850s, perhaps an
outgrowth of his contrapuntal studies with his good friend Joseph
Joachim. The end result of this self-study in counterpoint was the
composition of three early works for the organ. Aside from one single
work composed in the late 1870s, Brahms did not return his attention to
the organ until the final months of his life. The Elf Choralvorspiele,
Op. 122 were begun in May of 1896, and interrupted by the death of his
close friend, Clara Schumann. The remaining chorale settings were
finished later in June of that year, but by the end of the summer, his
own health was deteriorating due to the effects of liver cancer, which
ultimately claimed his life on April 3, 1897. These brief works are
introspective in nature, with many of the texts dealing with matters of
death and life after death. Texts of the Chorales No. 5, Schmücke dich, o liebe Seele Adorn
yourself, O dear soul; leave the dark den of sin. Come to the bright
light, begin to shine wonderfully. For the Lord, full of salvation and
mercy, wishes to have you as his guest. He who can administer the
heavens wishes to dwell in you. No. 8, Es ist ein Ros’ entsprungen It
is a rose sprung from a tender root, from the lineage of Jesse, as me
of old have sung, and brought forth a little flower amidst the cold of
winter, in the middle of the night. No. 9, Herzlich tut mich verlangen I
yearn from my heart for a blessed death, because I am surrounded here
with sorrow and misery. I desire to depart from this evil world and long
for eternal joy. O Jesus, only come soon. No. 11, O Welt, ich muß dich lassen O world, I must leave you, I depart to follow my path to the eternal fatherland; my spirit I wish to relinquish, in order to place my body and life mercifully in the hands of God. —Translations by George Bozarth and Mark Bighley César Franck: Choral No. 3 in A Minor César
Franck’s Choral No. 3 in A Minor is the last of a set of three
“Chorales,” completed just prior to his death in 1890. An admirer of
Bach’s works both as a composer and as a teacher at the Paris
Conservatory, Franck wanted to compose a new and different type of
“chorale,” unlike that of Bach. The opening toccata-like figuration is
contrasted against a second, hymn-like theme that alternates with
opening material throughout the first section. A quiet adagio section
provides a complete change in mood before the final section in which the
two themes from the opening reappear together in a glorious climax at
the work’s conclusion. Percy Whitlock: Folk Tune The
next two works in this recording reflect the influence of native folk
music in the compositional process for each composer. Percy Whitlock’s
short but productive career resulted in a number of compositions for the
organ influenced by the style of his mentors Stanford, Vaughan
Williams, and Harris. The Folk Tune is from a set of Five Short Pieces,
composed in 1929. Oskar Lindberg: Gammal fäbodpsalm från Dalarna Roughly
contemporary to Whitlock was the Swedish organist Oskar Lindberg, whose
professional life was centered in Stockholm where he served two
churches and was a faculty member at the State Academy of Music. His
Gammal fäbodpsalm från Dalarna (Old Summer Pasture Song from Dalarna) is
a simple, plaintive setting of an old folk hymn from the region of
Dalarna in central Sweden. Herbert Howells: Master Tallis’s Testament Perhaps
no single composer is most closely associated with the organ and choral
music of the Anglican Church than Herbert Howells. Born at the end of
the nineteenth century, Howells’ harmonic language was far less direct
than that of his contemporaries, which may have been a reflection of
tonal developments across the channel with impressionist composers in
France (some have even likened him to be the English equivalent of his
contemporary Charles Tournemire in Paris). Howells’ music is often
evocative, creating a sense of mood and color that wasn’t often seen in
his British counterparts. Master Tallis’s Testament is from Six Pieces, a
group of organ works that was begun in 1939. This work was a particular
favorite of the composer, recalling his experience in conducting Ralph
Vaughan Williams’ Fantasia on a Theme of Thomas Tallis. Unlike Vaughan
Williams’ work, Howells’ organ composition is not based on a particular
theme or motive from Tallis’ music – rather it is an evocation of the
spirit of Tallis, which can be heard in the melodic material as well as
the cadences that punctuate each section. True to his signature style,
this popular work of Howells features a glorious buildup of sound that
must immediately fade away to the quietest stops in the organ for the
final phrase. Craig Phillips: Fugue on the Carillon d’Alet Los
Angeles composer Craig Phillips has become a leading composer of organ
and choral music. A native of Tennessee, Philips was educated at
Oklahoma Baptist University and the Eastman School of Music where he
distinguished himself as an organist while pursuing his interest in
composition. Having been appointed Organist and Composer-in-Residence at
All Saints Episcopal Church in Beverly Hills, Phillips continued to
develop his compositional skills, producing a large and varied catalog
of works for various media. The Fugue on the Carillon d’Alet was
composed in 2011 during his annual summer residency in France. The piece
is based on the bells at the Eglise-Saint- André in the village of
Alet-Les-Bains. The bells peal a two-tone angelus three times daily from
the bell tower adjacent to the ruins of the eleventh-century Notre-Dame
Abbey. The fugue subject is based on this simple bell peal, and as the
piece develops, it imitates the rhythm of the bells as they ring out of
synch with each other. David Heller Organist
David Heller has risen to prominence as an outstanding performer and
pedagogue in the United States. The American Organist has described him
as “an eloquent performer” and his playing as “an excellent
demonstration of outstanding music making.” A native of Wisconsin, Dr.
Heller holds degrees from Lawrence University and the Eastman School of
Music, which awarded him the prestigious Performer’s Certificate in
Organ. His teachers have included Miriam Clapp Duncan and Russell
Saunders in organ, and Colin Tilney and Lisa Goode Crawford in
harpsichord. His post-doctoral study was with David Craighead in organ,
and improvisation with Gerre Hancock. As an active recitalist,
David Heller has performed extensively throughout the United States and
Europe, as well as South Korea and most recently, Taiwan. He has
appeared as both performer and presenter at national and regional
conventions of the National Association of Pastoral Musicians, the Organ
Historical Society, the American Institute of Organ Builders, and the
American Guild of Organists. As author of the highly acclaimed book,
Manual on Hymn Playing (G. I. A. Publications), he is frequently sought
as a lecturer and clinician in the areas of church music skills and hymn
playing. As an avid organ historian, he documents the pipe organ in San
Antonio with intent of publishing the results as the culmination of a
collaboration that was begun with the late John Ballard. He has four
recordings to his credit on the Calcante and Pro Organo labels featuring
distinctive instruments. Since 1986, David Heller has been a
member of the faculty at Trinity University in San Antonio, Texas,
serving as Professor of Music and University Organist. His primary
teaching responsibilities in the Department of Music are in the areas of
organ and harpsichord performance and literature, church music skills,
and music theory. In 2010, Dr. Heller received the Distinguished
Achievement Award for Creative Work from Trinity University, a
distinguished honor awarded to faculty. He was appointed Chair of the
Department of Music in 2012. In addition to his teaching duties,
David Heller has held a number of prominent church jobs, including two
artist residencies at Trinity Episcopal Cathedral, Portland, Oregon, and
NorthPark Presbyterian Church in Dallas, Texas. He currently serves as
Associate Organist for St. Luke’s Episcopal Church in San Antonio. Orgues Létourneau, Saint-Hyacinthe, Québec, Canada, Op. 107, 2009, 54 ranks Christ Church United Methodist, Louisville, Kentucky Great 16’ Double Open Diapason 8’ 1st Open Diapason 8’ 2nd Open Diapason 8’ Harmonic Flute 8’ Bourdon 4’ Principal 4’ Open Flute 2’ Twelfth 2’ Fifteenth 1-1/3’ Mixture IV-VI 8’ Trumpet Tremulant 8’ Tuba Zimbelstern Chimes CH Great 16, 8 Swell to Great 16, 8, 4 Choir to Great 16, 8, 4 Swell (expressive) 8’ Open Diapason 8’ Salicional 8’ Voix Celeste 8’ Chimney Flute 4’ Principal 4’ Spire Flute 2-2/3’ Nazard 2’ Flageolet 1-3/5’ Tierce 2’ Full Mixture V 16’ Double Trumpet 8’ Trumpet 8’ Oboe 4’ Clarion Tremulant Swell 16, 8, 4 Choir to Swell Choir (expressive) 16’ Lieblich Gedackt 8’ Viola 8’ Lieblich Gedackt 8’ Flute Celeste II 4’ Principal 4’ Spindle Flute 2’ Octave 1-1/3’ Larigot 1’ Mixture IV 8’ Cremona Tremulant 8’ Tuba Chimes Choir 16, 8, 4 Great to Choir 8 Swell to Choir 16, 8, 4 Pedal 32’ Contra Bourdon 16’ 1st Open Diapason 16’ 2nd Open Diapason GR 16’ Subbass 16’ Lieblich Gedackt CH 8’ Principal 8’ Bourdon 8’ Lieblich Gedackt CH 4’ Choral Bass 32’ Contra Trombone 16’ Trombone 16’ Double Trumpet SW 8’ Tromba 8’ Tuba CH Chimes CH Pedal Unison Off Great to Pedal 8, 4 Swell to Pedal 8, 4 Choir to Pedal 8, 4 Combinations: 128 memory levels 12 General Pistons 8 Pistons per Division Combination Sequencer Programmable Crescendo
Condition:Brand new
Format:CD
Record Label:Raven
Release Title:David Heller, Organist
Artist:David Heller
Genre:Classical
Sub-Genre:Pipe Organ Music
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