HE
ART
OF
TRANSCRIBING FOR
THE
ORGAN
A
complete Text in
Choral
and
for the
Book
Organist
arranging Instrumental Music
By HERBERT
Mus.
F. EIIJNGFORD, Organistto the City St.
of
BAC.
OXON.
at Liverpool
George'sHall
PRICE:
Boards,35.00 Net Cloth, 6.00 Net
NEW
W.
GRAY
COMPANY
Sole Agents for NOVELLO
"
CO., LTD.
YORK
:
THE
H.
COPYRIGHT,
1922,
Printed
BY
H.
THE
in tte
U.S.
W.
A.
GBAT
Co.
CONTENTS PAGE
PREFACE
SCHEME
vi
OP
THE
ABBREVIATIONS
WORK
OP
viii
TERMS
viii
SECTION
TRANSCRIBING CHORAL
THE
ORCHESTRAL
ACCOMPANIMENTS
OF
WORKS
1
SECTION
TRANSCRIBING
I
ORCHESTRAL
II
WORKS
SYMPHONIC
38 "
SECTION
HI
TRANSCRIBING
WORKS
FOR
SMALL
TRANSCRIBING
WORKS
FOR
STRING
TRANSCRIBING
CHAMBER
TRANSCRIBING
PIANOFORTE
TRANSCRIBING
SONGS
ORCHESTRA
114
ORCHESTRA
118
MUSIC
124
MUSIC
.184
148
SUMMARY
154
[ui]
LIST
EXCERPTS
OF
I
SECTION Orchestral
Accompaniments of Choral Works
No. 1 2
3 4 5
6 7 8 9 10 11 12 IS 14 15 16
19 20 21 22 23 24 25 26 27 28 29 80 31 32 33
8 10 12 14 16 18 20 22 24 26 28 80 82 84
II
Symphonic Works
Orchestral
18
6
Mendelssohn,Elijah("Yetdoth the Lord") are the men") Mendelssohn, Elijah("Blessed Mendelssohn, Elijah("Baal,we cry to thee") Mendelssohn, Elijah("Baal!Hear and answer") Mendelssohn,Elijah("The firedescends") Mendelssohn,Elijah("Thanksbe to God") Mendelssohn, Elijah("He,watchingover Israel") Mendelssohn,Elijah("Then did Elijah") Mendelssohn,Elijah("Then did Elijah") Mendelssohn,Elijah("And then shall") Brahms, Requiem ("How lovelyis Thy") Brahms, Song of Destiny ("Butman") Brahms, Song of Destiny ("Butman") Brahms, Song of Destiny ("Butman")
SECTION
17
4
Mendelssohn, Elijah("HelpLord") Mendelssohn, Elijah("Yet doth the Lord")
Mozart,G minor Symphony Mozart,G minor Symphony Mozart,Don Giovanni Overture Beethoven,C minor Symphony Beethoven,C minor Symphony Beethoven,C minor Symphony Beethoven,C minor Symphony Beethoven,C minor Symphony Beethoven,C minor Symphony Beethoven,C minor Symphony Mendelssohn,Midsummer Night'sDream Mendelssohn,Midsummer Night'sDream Midsummer Mendelssohn, Night'sDream Mendelssohn,Midsummer Night'sDream Midsummer Mendelssohn, Night'sDream Mendelssohn,Midsummer Night'sDream
40
"
34
Hebrides Overture Mendelssohn, Mendelssohn,Hebrides Overture
35
Mendelssohn,Hebrides Overture
42 44 46 48 50 50 50 '
54 54 56 56 56 58 58 58 62 "
62 62
List
of Excerpts
No. 36 87 "88
PAGE
Schubert, Unfinished Schubert, Unfinished Manfred
Symphony Symphony
64 61
Overture
Schumann, Schumann, Manfred Overture Weber, Jubilee Overture
68
70
47
Weber, Jubilee Overture Weber, Der Freischiitz Overture Weber, Der Freischutz Overture Weber, Euryanthe Overture Weber, Euryanthe Overture Wagner, Tristan and Isolde Wagner, The Mastersingers
48
Wagner,
49
Tschaikowsky, Pathetic Tschaikowsky, Pathetic
89 40 41 44 48
44 45 46
50 51
52 53
54 55 56 57 58
59
68 70
74
74 76 76 80
Parsifal
84
Symphony
86
Symphony
88
Tschaikowsky, 1812 Overture Brahms, Tragic Overture Brahms, Tragic Overture Brahms, Tragic Overture Grieg, Pianoforte Concerto Grieg, Peer Gynt Suite, No. 1 ("Anitra'sDance") Smetana, Bartered Bride Overture Overture Sullivan,In Memoriam Overture Sullivan,In Memoriam
90 92 94 96
100 10" 104 106
108
"
SECTION Works 60
83
"
for Small
and
Haydn, La Heine La
Reine
III
StringOrchestras,Chamber
and
Pianoforte
Music, Songs
Symphony Symphony
114
61
Haydn,
62
Elgar, Serenade
in E
minor
for
63
Elgar, Serenade
in E
minor
for
64
Mozart, String Quintet in E-flat Mozart, Clarinet Quintet in A major Mozart, String Quartet in D minor Schubert, String Quartet in A minor Schubert, String Quartet in A minor Ellingford,Nocturne for 'Cello and Piano the bee sucks" Arne-Benedict, Variations on "Where Chopin, Funeral March Chopin, Polonaise in C-sharp minor Sullivan,Daydreams (No. 2) Sullivan,Twilight Rachmaninoff, Prelude in C-sharp minor
122
Rachmaninoff,Prelude in C-sharp minor Song "There's a Rosebud" Ellingford, Little lives" Ellingford,Song "Two "London Pride" Ellingford, Song
146
65
66 67 68
69 70 71
72 73 74 75 76 77 78 79
116
Strings Strings
"
118 120
124 126 128 130 132
134 138 140 142 144
146
148 150
Prefa-ce
of transcribingor arranging a musical composition for a combination of instruments or voices other than that for which it was originallycomposed, has engaged the attention of musicians from the 16th century to the present time. The
art
The
earliest form
music
of instrumental
probably
was
an
to
attempt
arrange,
vocal part itselffor the stringedinstruments as a support for the voices, the actual of the early music written historical fact that much then in use; and it is an for the viols is not only similar in structure to, but is an imitation of the choral of the
music
period.
distinct art, is only possible,so far as instrumental as a TRANSCRIPTION, for which the music is to be arranged, the instruments music is concerned, when are
mechanically and tonallysufficient for the of J. S. Bach
the time
of Vivaldi's Violin Concertos.
arrangements of
of his
some
With
of, the
(1685-1750) that arrangements of any permanent value his organ of importance, are earliest transcriptions
These, the
be found.
to
are
Bach
also made
own
of, and
the advent
the subsequent improvement more numerous. pianoforte,arrangements became
of their
for
works
own
arrangements
organ
originalviolin works.
Beethoven, Schubert, Schumann, some
it is not until
Therefore
purpose.
an
Mendelssohn
instrument
or
and
in and
each
Brahms,
combination
development arranged
of instruments
other
a particularlyfavorite form of transcriptionbeing that for original, 4 and from the orchestral score. hands) (2 pianoforte for upwards of a century, The pianofortehas been the household instrument of and the publication the pianofortearrangements of orchestral,oratorio, and operatic music, has been one of the greatest factors in disseminatingthe works of the great masters throughout the civilized and musical world.
than
the
The
progress
of organ
pianoforte. Even (1) The (2) The (3) The (4) The (5) The However,
number
standardization there is much
now
and
has been
much
slower
than
that of the
divergencein:
of manuals;
compass
pattern and compass type of console;
of the pedal-board;
of the stops, and arrangement method of stop-control. the wonderful
improvements in the tonal-designand
stop-control transcriptionsfor the organ an artistic possibility, which, earlyin the 19th century would have been impossible of achievement. The names of Nixon, Vincent Novello, Hopkins, Cooper, Best, and others, are prominent as forerunners in the art of transcribing for the organ. W. T. Best, above aH, stands out pre-eminently for his gigantic series "of of the modern
organ,
have
made
"Arrangements for the organ from the Scores of the Great Masters," this work running to over 1,000 pages! W. T. Best was the first organist of St. George's Hall, Liverpool,and it was a to accomplish so much great work in this particular branch of musical he held the art, during the 40 years Liverpoolappointment. Sir Hubert Parry,in the firstvolume of Grove's Dictionaryof Music writes :"
alone
"The
object of arrangement
is to make
in another.'* language,intelligible [vi]
that which
was
written
in
one
musical
vii
Preface .
The
instruments
in
common
the present Percussion.
at
use
great classes,viz.,Wind, String,and
only has
Not
each
class individual
characteristics which
the other classes;but the instruments from others in the same class. For
instance, the brilliant trillon
be exactly imitated on (violin family)becomes
in each class have
are
not
common
characteristics
to
differing
the
the organ;
the
clumsy
the
on
be divided into three
day, may
pianoforteloses its effect entirelyif it quick repetitionof stringedinstruments and incapableof clear speech pianoforte,
the organ; rapid scalic passages in Srds and 6ths in the form of successive on J chords (at M.M. 120, 4 notes to the quarter-note or greater speed) so =
brilliant when
tellingand to "
the
the medium
of chords
whether of
use
effect if it
divided
among
of the piano, and
the strings,are cumbersome quiteineffective on the organ;
if transferred the tremolo
which is invariablyaccompanied with singlenotes the damper-pedal, on the piano, has not only an entirely different be played on the organ, but it also is far from effective, unless it is
laid out. carefully It is hardly within
or
the
"
province of
book
a
on
organ
to catalogue transcription
which belong to the different instruments. to the Many of these musical idioms, such as scale passages, are common of the string majority of instruments; but there are some, such as the pizzicato to one family,which belong exclusively type of instrument. Transcriptionis not the imitation or reproductionof exactlysimilar effects. It is rather a re-writing of the originalform in order that the melodic and the harmonic background, and all the principal rhythmic phrases and figures, be distributed as far as possible, to suit the altered conditions of features may should in productionor presentation. That is to say, the music of the original, to suit the tonal and mechanical its transcribed form be re-moulded possibilities of the changed medium. is the actual experience The best method for learningthe art of transcribing which is gained by comparing transcribed work with its original form, and to judge of its effect in actual performance. the first on The author hopes that this work "Transcription"yet published useful the whether be to of whom a guide organists, great majority may the simplestservices or the more elaborate forms their duty is to accompany of have continuallyto "adapt" the written chants and tunes to the medium of the terms "to adapt" manuals and pedals. The widest possibleapplication and "to arrange" is here assumed. Hymn-tunes and .chants are only played in the simple written form (without pedals),as a relief from the endless variety of arrangements to tfhich they can be artistically subjected. resolves this is often called "organ accompaniment," it practically Though
a
listof the characteristic idioms
"
"
"
"
itselfinto the rearrangement in various forms on the organ of the written music. of the Seventh Symphony "Allegretto" Beethoven, in the last 24 measures .
theme gives the principal 2
measures
at
a
time.
3rd to the bassoons
and
of this wonderful
1st,
to
flutes and
horns, and
then
to
in
movement
oboe
I; 2nd
the
to
a
oboe
harmonized TL and
and repeats strings,
theme. order, to the end of the 16-measure same This, the author considers,is a perfectexample from
form, clarinets;
the device
in the
in the art of artistic possibilities
adapting or arranging,
originalwork, for the transcribing
of the organ.
Scheme
of the Work
The passages selected for transcription are given: the prominent features. \rith form comments on fa) In their original version,with remarks on the accompaniments as (b) In the pianoforte in the vocal
appear
scores
of choral works
they
with orchestra.
effect transcribed form for the organ, with notes as to the general the passage. for registering that is aimed at, and suggestions works for illustrations of The author has drawn largelyfrom well-known
(c)In
a
orchestral passages. and masses the oratorios, cantatas frequentlyform part of of cathedral and church choirs;and the organ accompaniment of the repertoire careful consideration. these demands
transcribed choral and Choruses
The
arrangements
manuals organ
from
and
with
effectively managed on an instrument with two is registeringdesignedfor the ordinarythree-manual
be
can
but the pedals,
pedals.
Section 1 deals with Choral works with orchestral accompaniments. Section 2 deals with Orchestral work alone. Section 3 deals with music for Small and Stringorchestras;Chamber music; Voice and Piano; and Pianoforte music.
In Sections 2 and 3, the
version is givenmerelyto show pianoforte
a
densed con-
form of the orchestral score, for the sake of convenience. Some of these versions are complicated, such as those by Liszt;while others are in pianoforte form. a simplified
Abbreviationsof Terms used in this Book. In the Orchestral and Choral Works. EL
Flute.
Va.
Pice.
Piccolo.
V'c.
Ob.
Oboe.
C.B.
Cor
Wood-wind
Cor
Ang.
Fag.
Anglais.
=
"
Violoncello.
=
Double Bass.
=
Bassoon.
Cl.
Clarinet.
Cor.
Horns.
Violas.
Piccolos, Flutes, and Oboes,Clarinets, Bassoons.
Brass
=
Str.
=
bones. Trumpets and Trom-
Trpt.
Trumpet.
Tromb.
Trombone.
Ophi. Timp.
Ophideide.
Org.
Kettle Drums.
S.
=
G.C.
Bass Drum.
A.
=
Cymb.
Cymbals. Triangle.
T.
=
Tenor.
B.
=
Bass.
Clock,
Bells or Carillon.
a2.
=
Both
V.
Violin 1.
V*.
Violin 2.
Tri.
=
Strings. Organ. Soprano. Alto.
instruments
playing the part. [viiij
same
Scheme
The
indications
key
instruments of
key
"in
Most
F
of
given
beginning
viz. "in
notation,
implies
he
the
at
B"
older
form
orchestral
Sw:
Gt:
"
Ped.
I to
Man. R.
H.
or
L.
(minus
"
+
(plus
8,
4, and
H.
subtract)
or
add)
or
of
many
implies
"in
B,"
custom
"in
Fis"
=
BFlat.
Fis
H
=
B
Es
the
the
modern
adhere
ones
to
"
B
Organ
=
=
F
Sharp.
E
Flat,
etc.
Transcriptions.
Swell,
Great,
=
Pedal
Organ.
=
Swell,
Great,
=
Manual
=
Right
=
Fed. or
H"
percussion
usual
and
Choir
Organ.
J
Ch:
and
II,
"in
and the
}
I
or
HI,
brass follow
score,
Flat,"
and
scores
key-nomenclature:
of
In
II, and
orchestra
B
"in
ix
wood-wind,
various full
each
implies
Work
Sharp."
the
German
HI,
the
to
of
the
of
2
Organ
coupled
to
the
Pedal
Organ.
Keyboard.
or
hand,
hand.
Left
or
"in").
=
(put
=
(draw
a
=
Stops
of 8 feet
=
Swell
stop
a
Choir
or
stop
"out") .
4 feet
and
Gamba
without
pitch
Reed
or
tone.
HI
Oboe
to
stops, m
with
Reeds
8
ft.
Swell
=
the
For
NOTE. of
organ
three
pedals reeds
"
the
the
Choir,
being two
of
purposes
manuals
and
pedals
extra. or
three
with
The reeds
Swell "
and
organ
the
passages,
forty
thirty
or
would
contain would
feet
8
perhaps
and
stops,
pitch.
the
sounding three
Flute-toned
and
Diapason
all of
transcribed
Pedals
Flute-toned
and
pitch Diapason
Oboe.
with
Reeds,
about
8 feet
the
and
Organ
illustrating "
with
Organ
or
have
author
has
four one
in
couplers,
stops;
reeds, or
two
the
mind
the
pistons, Great,
reeds.
one
average
and
position com-
or
two
for the Organ The Art of Transcribing
Section I. for the Organ the Orchestral Accompaniments Transcribing of Choral Works. orchestralaccompaniment In order to arrange successfully and artistically an carefulconsideration. for the organ, there are many conditions which require chorus may be fugal,with all the choral parts strengthened by one while another sectionis employedin a free contrapuntal section of the orchestra, A
accompaniment. A chorus may
be harmonic,four
independentaccompanimentin
or
some
fivepart chordal
with writing,
an
entirely
part of the orchestra.
The
accompanimentitselfmay be momentarilyof greaterimportancethan the vocal parts,with independent in one or other rhythmicor melodic figures of the orchestralgroups.
tral conditions met with in choral work with orchesgeneral and explained in the analyzed, accompanimentwhich will be discussed, excerptsgivenin this section. These
But before
are
but
there
are
a
few
other conditions which
it would be well to
enlargeupon
to the excerpts. proceeding
First and foremost is the relativevalue
or
force of the
marks in expression
the differentgroups of the orchestra. of the strings is a much softereffectthan that pianissimo of the wood-wind; while the fortissimo of the brass would easily overweight For instance, the
the rest of the orchestralforces. This relativeproportion in the
of sound exists or volume carrying capacity from the softestto the of course in all the varyingdegreesof expressiveness borne in mind when adaptingan orchestral loudest,and must be constantly accompanimenton the organ, so that the balance of tone may be preserved as far as possible. The as
is the string-group
most
inasmuch importantpart of the orchestra,
itforms the foundation of the orchestralforces. HI
The Art
for the Organ of Transcribing
for the orchestral string is not merely a matter The bowing of the string-work A player,but it is of vital importance in the problem of organ adaptation. distributed amongst the strings played with three or more broken chord passage
note notes per bow will givean undulatingor waving effect but if played one and have a more stand out more independent prominently per bow, itwill at once notes per bow. with the phrasingof three or more existence than is possible "
and brilliant rapidscales of the stringsare vigorous,telling, fortissimo when each note is playedwith a separate Jbow owing to the gripor bite of the The
"
bow for each note. The
scaleslose much
same
with three The
or
more
notes
of their force and brilliancewhen
they are executed
per bow.
paramount importance of the stringgroup
in orchestral work
is
an
establishedfact.
they appear in the publishedvocal of the great choral-orchestralworks, be compared with the full score, it scores furnish the materials willbe found that the stringparts alone, almost invariably for these accompaniments If the
accompaniments, pianoforte
as
of the stringparts being made to serve the purpose reproduction has unfortunately of the accompaniment in the vocal scores a practicewhich difficultiesfor the organistwho wishes become a tradition has created many of the orchestral work on the organ. to givea fair representation This actual
"
"
full of misleading accompaniments are full of false quantities, pianoforte in which abound statements. are They remarkably clumsy on passages and equallyineffectiveand often impossible the pianoforte if transferred to the Such
organ.
These
because: pianoforte parts are false and misleading
1.
to the string They indude many idioms which are peculiar familyalone and totally unsuited to the pianoforte.
2.
They give undue prominence to
passages
which
are
subordinate
in the
score.
3.
They often omit importantrhythmicand melodic figures belongingto the which assist and help out the vocal wood-wind, horns,or brass figures, "
leads. 4.
They exhibit rapid arpeggiopassages, originally laid the
5.
which do string-player,
not
for the hand
out
liecomfortably under the
of hands. pianist's
They often failto giveany orchestral indications of the instrumentation.
This last fault is
absent in fortunately
many
of the vocal
scores
of modern
works. It will embarrass reasons
readilybe an
seen
that these vocal
but they create organist,
referred to above.
score
unnecessary
accompaniments
not
only
difficulties because of the
Choral
It
would
be
but
the
facets,
in
problems
Aim
2.
and
the
in
or
the
speed
the
Try
With
NOTE.
The
few
Score
with
where
the
The
The
more
author
the
of
to
on
(after
is
be
advantage
best
technically
unless
idiom
any
the
peculiar
which
of
into
in
is not
to
artistic.
particular
one
artistic
playable is
effect
and
effective
double
or
mechanically
and
other, of
than
reproduce
possible
this
at
sound,
speed
the
at
of
merging
tions repeti-
great
a
because
continuous
one
These
notes.
really well,
sound
effect
rather
part,
organ.
single
or
the
the
the
to
never
can
the
the
useful
offers
spirit
suggestions,
of
out
Orchestration it is
reason
lead
pianoforte music
organ.
to
may
instrumental
an
belong
run
results
excerpt
Twelve
Elijah
some
or
high sound
one
best,
at
a
wobble!
Each will
of
either
they
will
next,
these
analysis
but
reproduce
to
they
rewritten,
of
technically
be
note
one
and
instruments,
not
repetitions
"
sustained
7.
does
often
organ
though
altered
figures
or
which
rapid
an
into
essential
the
out
many
elucidate
to
the
for
so
medium.
context
may on
be
of orchestral
transferred
Avoid
6.
help
may
has
complexity.
reproduction
exact
idiom
an
lay
passages,
should
group
the
Alter
5.
and
avoid
involved
organ,
the
class
and
simplicity
Avoid
4.
guides
or
which
subject
a
organ.
at
on
for
accompaniments
unessential*
the
Complex
3.
orchestral
3
rules
suggestions
transcribing
the
on
formulate
to
subjoined
Eliminate
1.
difficult
very
Works
the
sixteen
Westerns
this
the
is
Elijah
as
his
reason
is
in
given
The
Messiah)
probably
in
and
enjoyed
serviceable
be
much for
for
the
best
of
analyzed,
and
scribing. tran-
each
adaptation.
Mendelssohn's
from
are
known
cent,
per
and
the
I,
business
actual
discussed of
letter.
oratorio households
of
extant,
Elijah.
oratorio
and
Vocal
the
throughout
the
world
encouraged. more
the
the
to
Section
ninety
the
not
"
proceed will
excerpts
is
score
presentation
oratorio
accompaniment
of
will
we
reasonable
a
the
quotation
or
Handel's
and
of
modern of
purposes
drawing
so
many
than organ
that
of
Handel's
Messiah;
arrangement.
examples
from
one
work.
and
for
this
Excerpt from
the
first chorus
1 "Help,
oratorio
in Mendelssohn's
Lord"
Elijah
J:7
Andante.iento
Tirap.ELA. PP
s. A
Will
then
the
A
f
Lord
be
no
more
God
in
Zi
on?
"
A
'i
T. B.
NT
r r
MolSnl
Violin II
Via.
I
C.B.
i
f
I
?
I
I
I
Choral Works In
in dose compact harmony, Excerpt1,the Chorus sings quietly strengthened
and a by reiteratedstring-chords,
very soft drum-roll.
The
note per bow, and exceptfor the sixteenthnote are playing one strings there is silences, a continuity ofsound in this passage of repeatedchords. There is an appearance of staccato,but the execution of this passage on the strings, no such result. produces
The soft drum-rollhas the effectof a sustainedbass-note. The prominence of thisdrum-rollis greatly minimized by the dose middle position of the voice basses the same note at the same singing pitch.In fact the parts,with the sound of the vocal basses merges into that of the drum-roll. No.l
Piano
In the
the pianoforte partsalone are given,thus producing score, the string of a staccato accompaniment. falseimpression
The organ
transcript givenbelow Nol Illtoffboe
Pedal
of sound. The lefthand takes the rhythmicmovement and continuity provides the right of the strings, hand adds to the continuity rhythmicpulsation (both and the pedals a swell-organ), take over the drum note. Note that the latter is playedan octave lowei^-to add weightto the ground tone. on
If the process had been reversed, w":" and notes and the lefthand the quarterhave been rendered too
prominent.
the
righthand takingthe sixteenthwould the pulsating effect eighth-notes"
Excerpt from
Allegro
vivace
doth
the chorus"Yet
in Mendelssohn's
2 the
Lord"
Elijah
oratorio
J:"e
Ob.
Cl.inB
dfc
/r Yet
r
"r 'Yet
Violin
doth
the
Lord
Via.
V'C. C.B.
see
! *
Violtn
r
[I
g
p it
not;
t
p
doth
the
Lord
Excerpt3 from thelatterpartof the chorus "Yet doth the Lord" in Mendelssohn's oratorio Elijah Grave J=B8
*
[8]
Choral Works
Here there is much
food for
with everything goingsoftly,
an
9
thought. The full orchestra is in force,and
increaseof tone
at the third measure.
But
which of the orchestral groups will predominate? Which will mind how the other? above rise, coloring never slightly,
or quality
which Surelynot the strings,
three notes per bow and with a are playing sustained the effect; horns,which,at the second and third undulating nor very overlaid the are trombones; by nor measures, yet the upper wood-wind. As
a
matter
support and a
of fact there is a fine mergingof
here. qualities
The horns
play into the
chords in the firstmeasure and undulating string and brass supporting the voices for the half;the wood-wind,horns,strings,
last measure
and a half, do filterthrough the yet,the horns at the beginning the and of the brass the second and third measures at string-chords, sonority wonderful weightand richness which is unmistakable a superimposes which isrounded offby the rollof the drum.
"
and
No.3
Piano
and falseimpression score is obvious, misleading givenin the pianoforte when itis seen that onlythe string partsare quoted. The
No.3 III to Oboe liOftS
Manual III to 1
n soft a into II
to
ii Fed
Pedal
The lefthand maintainsthe sustainsthe chords which
hand chords,while the right undulating string
belongto
take the foundationbasses. pedals
and the the other groups in the orchestra,
Excerpt4 from the chorusaBlessed
are
the men"
in Mendelssohn'soratorioElijah
moderate J= Allegro li
Ob.
Cor.in G
Cor/inC
Trpt.inC Bless
-
ed
S. A.
Tare
Bless
J T.
men
men, ed
the
are
"who fear
men.
J.
m
B. Bless-
-
ed
Violin 1
ViolinII
Via*
V'C.
OB.
[10]
.are
men
Him
Choral Works
11
This
scored passage for wood-wind and strings lightly a little care. requires The runningpassages for violas and 'cellosare very importantin the accompanimentalscheme. Each vocal part is reinforced at the unison pitchby the and wood-wind,the soprano lead beingdoubled in the higheroctave as strings well by the flutes. The horns and the string basses playlongsustaining notes.
Piano
Only the stringparts
in the
score" pianoforte parts stranded. It willbe noticed in the transcription
appear
leavingthe voice
No.4
HI to Oboe n
Manual
'
18 III tO II III tO I I
to
Fed
Pedal
have compromisedin the disposition of the wood-wind;but the main we features of the orchestral accompanimentare present in the organ arrangement. The sixteenth-note string phrasesare given to the left hand on the
that
great organ. not attempt
righthand takes chargeof the upper wood-wind"but does the highentry of the flutes, because the firstviolins reproduce
The to
and oboes reinforcethe soprano A
word
as
lead at theunison.
to the continuance of the sixteenth-note string passage
helpful.If such
may
be
retainsitsprominencein the orchestralscheme, passage still and if it lieswell within the hand, it would be advisable to continue it in the On the other hand, the exact reproduction of the passage, note transcript. should be not under the hand. for note, in,where it does not lieeasily persisted a
altered to suitthe changedconditions of Such passages should be unhesitatingly suit the to The outlineof the viz., keyboard,not the fingerboard. performance, in the arrangement passage is sufficient
or
adaptation.
Excerpt5 cry to thee"
we from the chorus"Baal,
in Mendelssohn'soratorioElijah non troppoJ Allegro
=
ieo
Fl.
Ob
CUnB
C.B
8
4
8
*
78
Big wood-wind and brass sustainedchords are a prominentfeature of the firsthalf of this extract" while in the last four measures, the wood-wind the vocal leadsat the unison. But the eighth-note strengthen passages of the and are playedvigorously are very important strings indeed, one note per bow. [it]
Excerpt6 from the chorus "Baal! Hear
and answer"
in Mendelssohn'soratorioElijah Presto Jc
Fi.
Ob.
Cor.in A
Cor.in D
TrptinE
Timp.F*C
Hear
[M]
our
cry
0
Baal!
Choral
Works
15
shrill cry of the flutes and oboes here, is very striking.It seems to indicate an excitable phase in the multitudes' feelings which this chorus,"Hear our cry O Baal," is intended to depict. All the vocal leads are backed up by the The
wood-wind, horns, or brass;and the drums
thunder out a tremendous roll. furious note per bow, adding greatly to the stringsplay passages, one aims at, viz.,the turmoil and desperation effect the composer of a disappointed The
throng. No. 8
Piano
The
criticalremarks
regardingthe pianoforte score
apply with almost equalforce to
the
score pianoforte
of the precedingexcerpt of this. None of the woodwind
horns,or brass are indicated. transcript
In the organ
of the
hinted at. The holdingchords of the wood-wind and horns are givento the righthand on an ample choir organ coupled to full swell. The left hand takes charge of the rough stringpassages most
on
a
features principal
moderate
are
indicated
or
great organ, and the pedalssupport the big masses
of sound.
Excerpt 7 from the chorus "The
fire descends
in Mendelssohn's oratorio
from
heaven"
Elijah loco
con Allegro FL
ClinB
Cor. in E!
Cor in E
Trpt.mE
Violin I
Vioholl
fuoco
J="*
Choral Works
17
Wood-wind and the firstand second horns providestrong rhythmicfigures here. They also givea biteto the vocal double entries on the last sixteenthnote of the second beat in the second and third measures, them supporting after by sustained chords. The stringwork immediately force. playedone note per bow, has a vigorous driving In
3 the flutes playat the
measure
the third,and which
jump
down
an
octave
on
is
top of their compass the third beat.
the dramatic forceof the words "The heighten
is repeated in the three following measures"
the intervalof
This imitative device
might well be called "the motif of descent" and which to
and being fiery,
was
vised dedefinitely
firedescendsfrom heaven"
the oboes
the joining
flutesin the
device.
same
It would be
a
pityto try to
imitate this on
the organ.
If it
importantrhythmicand
done,it supporting
omits allthe wood- wind and horn work, and
reproduces
would
onlylead to the omission of the
upper
wood-wind
more
were
work.
Piano
The
score pianoforte the string partsonly.
No. 7
The above arrangement is satisfactory, inasmuch as the of the orchestralaccompanimentare effectively supplied. The organ
features principal
hand disposes of the wood-wind and horn parts on an amplechoir right full to swell,while the left hand adequately coupled representsthe
restlessnessand
of the strings. agitation
Excerpt8 from the chorus"Thanks
be to God"
oratorioElijah in Mendelssohn's moderate con Allegro
fuoco J=ia"
Cl.inB
Cor.in
COI.IAB
ertheyrush a-loog! wa-tersgath-
ViolinII
Via.
Vfc C.B.
[18]
Choral Works
19
between this and the preceding pointsof similarity excerpt. and horns deal with pronounced rhythmic elements,and the deliver rushingsixteenth-note work, sometimes two notes per bow and strings There
The
are
many
wood-wind
sometimes
one
only.
note
The
has all the appearance and also the effectof a series score pianoforte of pianistic exercisesin arpeggioand scale passages, for it givesas before, merely work. the string No. 8
Piano
845
But
what about the other orchestral groups? It would
givethe passage work to Now
the organ
compare
hand, and
one
some
adaptation.
No. 8
and 4 with Reed II 16,8,
been easy to rhythmicchordal work to the other. have
^
8
III to II n
to Fed.
Pedal
chords givento the manuals brightjubilant the descending string phraseto the pedals. In
measure
In
measures
1,
we
2 to
see
the
5, the left hand
delivers the
takes
and arresting
the
righthand
the
rests of the wood-wind eighth-note
over
the
and
runningstringwork, and
rhythmic wood-wind
chords.
Had
been eliminated here,the sustained effect
the dotted quarter-note of the horns could have been obtained by lengthening chords. But the marked rhythmic element would have lost much of its effect. The measures.
rhythm of the horns
*s
preservedin the pedal of these
Excerpt9 from the chorus "He, watchingover
Israel"
in Mendelssohn'soratorioElijah moderate "U12 e Allegro
FI.
Ob,
Cl.inA
Fag
Cor. in D
TimpDA
He o watch-ing He slum sleeps,
vei
-
-
Violin I
Violin II
[80]
fcxcerpi from the chorus "Then
did
Elijah"
in Mendelssohn's oratorioElijah
Moderate
maestoso
J=
Fi.
Cl.inB
Cor. in F
Cor in B
Then
ViolinI
ViolinIf
[22]
did
E-li
-
jab
the
Choral Works The
chorus "Then
did
Elijah"apparentlypresents a very hard nut to crack! vigorousbassoon and bass stringpassages! One might almost be tempted to indulgein a kind of violent dribblingand passingof the feet on the pedalboard, a kind of acrobatic feat of juggling and sixteenth-notes eighthat a fair speedon the pedals. But wherefore so much wasted labor,with at the very least,an equal loss Look
at the
of effect? Look at the powerful horn chords" the lowest horn providinga strong sustained bass. Look at the exultant wood-wind declamatorychords placed high up in the compass of the instruments to enforce the sense of the words did Elijah break forth like a fire." These are the features we must "Then "
aim
reproducingin the
at
letter
but
"
transcriptnot a slavish adherence of the work. of the spirit reproduction
organ
broad reasonable
a
"
to
the
No.10
Piano
important horn and wood-wind
The
chords
are
omitted
in the
pianoforte
score.
No.10 Manual III Full II Full III
to Reed
9
to II
ILto Fed.
Pedal
The
left hand
string passages,
fairlybig great organ will bring out the forceful bass and the righthand will provide the chords on the same on
a
keyboard. The pedalstake the lowest horn notes which givethe foundation tone to the harmony, and also preserve the rhythmicfigure. Or, the righthand could give the chords on a full choir coupledto full swell (an octave higherthan indicated in the transcript) leavingthe great organ for the lefthand. It would be ridiculous to take the nigged bass stringpassages on the proper balance of organ tone. result in destroying
the
pedals,
for it would
equallyabsurd to try and reproducethe syncopatedwork of the strings.Such quick syncopations are peculiarto stringwork but are upper useless on a keyed wind-instrument like the organ. In the transcript, must oust this rhythmic element which, in the form we orchestral in the 76 is distinctly an given excerpt and at the speed J It would
be
"
=
'feature.
Excerpt11 from the latter
partof the chorus'Then
in Mendelssohrfsoratorio Moderato maestoso
did
Elijah"
Elijah
J=7*
n.
Ob,
Cl. in P
Fa*
Cor. in F
Cor In R
Trpt.UC
Bass Tromb. and
Oph.
Timp.A.E
S. A.
ycna
-
not, with fie -~^ryfie-
l.
T. fi.
ViolinI
ViolinII
Via.
V'C. C.B.
Later in the same chorus from which the previous excerpt is taken,we find quitea different problemto tackle. Here "fiery chariotsand fiery horses" are
broughtto the imagination, by allthe strings sixteenth-notes in triplets playing
Choral Works
(one note
bow)
per
"
partialimitation of the sound of rushinghorses
a
"
a
kind
of musical
"onamatopceia." All the rest of the orchestral forces deal with prominentfigures supportingand amplifyingthe vocal elements. NOTE. The bass trombone and drums, continually bottom A. rolling on
ophicleidemaintaining the forceful foundation
work"
and
the
No.ll
Piano
*'
1
None
of the wood-wind, horn,or brass groups
" are
score. givenin the pianoforte
No. 11 Manual
In these days of enormouslylargeand marvellously built organs, it would be rash to assert that such and such an effectcannot be reproduced onamodern ment. instruBut althoughwonderful contrivances are continually being invented to assist and, presumably to ease, the control of innumerable stop-knobsor stophas but two hands and two feet! keys,an organistlike most other human beings, If we look carefully at the orchestration of Excerpt 2, it will be seen that there are three definite forms of accompanying material. First,there is the supportingground work of drums and low brass. These givethe basis of the harmonic
Then
there is the wood-wind and horn group, which serves the and the choral parts. filling harmony assisting purpose up the with d efined are busy Lastly, strings a strongly rhythmicfigure. A satisfactory solution of the firstwill be attained by takingthe low brass of the feet,the proper placefor the foundation part on the pedals. This disposes tone of the harmonic structure. structure.
the double
of
The the
in parts assignedto the wood-wind and horns could be taken filling hand in body) by on right (atfirstsmall,'then increasing a small great organ coupledto swell. Thus we have suppliedthe necessary support for the voices, and have disposedof the feet and the righthand. We have only one hand left and that must take over the stringparts. Here we must compromise and not the to T he best stringrepetitions. reproduce attempt way to make an artistic compromise of the stringgroup is to introduce tremolo chord work. This will of the restless movement, which must be represented produce a certain amount as far as possible. NOTE. The low brass eighth-note altered in order to clear the air,so to speak. phraseis intentionally As it stands in the transcript it is clearer and more sharplydefined than it would be if the pedalswere to adhere to the original.The latter on the pedalswould be inclined to sound thick muddy and raucous. The alteration is a simpleone, yet the improvement in the effect amply justifies the substitution of the sixth 8 and 8 by the upper octave of the fifth eighth-note. eighth-noteof measures a
^
Excerpt12 from the finalchorus "And then shall your Andante maestoso
ff
I
in Mendelssohn* light"
oratorioElijah
J-"t
*
8
4
W
5
The last excerptfrom the Elijah to illustrate serves two very important the openingstring points, first, passage, playedvery loudly(onenote per bow),and withoutany wood-wind, horn or brasswork. Second, the appearance in the pianoforte score of a silent halfwatwre in the accompaniment duringthe [86]
6
Choral Works last two
beats of the second the utter
exhibited in the There
and of the falsity
27
fourth measures. This latter thoroughlyexemplifies accompaniments of choral-orchestral works as
scores. pianoforte
silent half-measures in the accompaniment here,for it will be in the full seen score, that the whole of the wood- wind, horns,and brass forms a magnificentphalanxof orchestral tone, supportingthe choral forces and at the same
forth
no
are
time enhancing the the lightof the as
meaning of the words "And morning breaketh."
then shall your
lightbreak
No. 12
Piano
importance of the first point lies in the fact that although it is advisable to substitute full organ for big stringtone, the passage generally givenhere is so very strong, the moderate speed allowingeach note to be played with a firm bite of the bow, that it would require an ample great organ coupled The
not
Manual III Full [I Full to Reed
8
"
III to II II to Ped.
to a
and grip. good full swell to endow the passage with sufficiently vitality all this where the violas, string violins, organ transcript passage,
Therefore,in the
Excerpt13 lovelyis Thy dwellingplace"
from the chorus "How
in Brahms's
Requiem
Con moto moderate
n.
Ob. a*
I
Cl.in B
Fag.
C.E* ra
n"*
f
m
" *
"EE"
SE
Cor.In B
they praise
Thy
name
ev
-
er
more.
-
S.
"^"
^=^
A.
praise
they
^ Thy
theypraiseThv
T. fi.
S
m theypraise Thy
lame name
ev ev
-
er
-
er
more,
"
-
more,
^ name
ev
-
ViolinI
Via,
CJ.
[28]
er
-
inore^.
they praise
14 Excerpt movement"Bnt from the Allegro
man
iaBrahms's Song of
Allegro
vb.
CJB.
[80]
jnay not
Destiny
linger'*
Choral
Brahms' well
his
as
The
full
unison
in
in
playing each
not
The in
playing
one
strings have
The
is the
part
which
is
excerpt
is
taken,
but
it
provides
the
that
the
voices
the
nearly
not some
paniments. accom-
strengthened of
pair
orchestral
at
wood-wind
indication
so
teresting in-
very
orchestral
its
are
each
wood-wind,
by
of
some
organ
is
a2
the struments inand
"
part.
here the
in
play,
to
passages
strings given
the
directed
as
31
Requiem,
for
all
separate
a
vigorous
sixteenth-notes.
this
unison,
this
shows
11
by
pitches
octave
The
transcribing
of Excerpt
score
and
work
greater
problems
which
from
of Destiny
Song
known
Works
note
one
pianoforte
bow,
absolutely
again
are
per
and
repetitions
independent
"
yet
score.
14
No.
Piano
the
In
the
transcript
organ
string
is maintained
movement
organ.
The
organ
coupled
to
gives
reasonable
It and
also
serves
pedals coupled
a
as
a
good
an
swell
to
the
great,
support
the
with the
corroborate
of
representation
excellent
left
the
by
for
hand
on
right
a
hand
fairly heavy an
on
ample
great choir
voices. what
the
is
choral
going body.
on
in
the
orchestra,
Excerpt15 movement fromthe Allegro "
"Bnt
not
may
man
Song
inBrahmsfe linger?' ^
^
'
^
^
Of
Destiny "^
~
~
"
Allegro
ViolinI]
VU.
vt.
CJB.
*"uMe-bMseg
aw,
taken offthe passage and put
3 .
"
f
to
on
to
the foundation
a more
notes.
form of complicated
15 shows yet been givenin thisbook. Excerpt from the same work than in the preceding Trader sweep of string passage ,
.
orchestration than has
The
a
much work.
Choral The
stringsare
bow, in the form The backed
Works
33
stillplayingrepetition sixteenth-notes of wide-rangebroken-chord passages.
one brilliantly,
note
per
vocal leads, exceptingthe first, not supported,but the chorus is are the whole woodforce of wind, horns,and brass. The harmonically b y up
syncopatedchords
at the end of the
phraseadd
a
prominent rhythmiceffecthere.
No. 15
Piano
The extensive range of the broken chord work in the strings and is so telling brilliantthat some of itsfeatures should be brought out in the organ transcript. No. 15 Manual III Full
Let
us
The firstand
it may be done. and lefthand (alternating) dotted quarter-note chords in the second half of each measure, harmonic strength and givethe requisite see
how
righthand
background which the woodrwind, horns,and brass have in the orchestral score. The string in passages are taken by the lefthand and righthand (alternately) the firstand second half of each measure, and playedlegatissimo. The playingof these string so that the chords accumulate passages legatissimo and grow, will add breadth and weightto the whole generaleffect. It should be played on a full great organ without reeds coupled to full swell. The pedalstake the brass and string basses.
Excerpt16 "But
movement from the Allegro
inBrahms's
may not
man
linger"
Song of Destiny
Allegro 8-
Jfal
J
JT
7WQ:
y
Fl
Ob
ClinB
I
Fag
Cor.in C
and
no
JL.
p^ no
But
nay
nan
not
lin
"
ger and
no
no
iI
* T
P
B. But
man
may
not
lin
"
ger and
no
"
where,
no
-
where*
no
Violin I
Violin II
Via
m
V'C.
C.B.
[84]
-
Choral Works
35
This last excerpt,also from Brahms' Song ofDestiny, will bringto firstsection of this work on organ transcription. The
an
end the
wood-wind scoringis light,
and horns onlybeingused in the firstfour the firstviolinand 'cellobeing added for the lastfive measures. Each vocal lead is helpedout by one of the wood-wind group. measures
"
of the orin this case does give a fair representation chestral parts but as no orchestral indications are given, one is left in the to the orchestral color constituents of the phrase.
The
score pianoforte "
dark
as
No,
Piano
10
The organ
vocal bass and firstbassoon lead may
be taken
by the lefthand (inthe
transcript), No.ie
III
PP
Soft.S,withGambaioneadded
I Soft
8
Manual III to I I to Fed.
^ Pedal
V-P'ijI f "ii* r
ui
=3=
1^1
of the upper wood-wind soft great organ, while the righthand disposes work on a choir organ coupledto swell,both these organs having a fair complement of soft 8 and 4 stops drawn. The second bassoon part can be allocatedto the pedal*"for this is the bass of the passage. Later in the same phrase,the righthand must leave the wood-wind and join
on
a
the upper
vocal leads,the quarter-note movement
impliedrather than actually presentednote for
of flute and firstviolin being note.
The
36
in
idiom
an
of
group
each
group
But
than
available orchestra
very
a
that its
with
sixty
The
orchestra.
judicious
ever-
canvas
instrument
or
make
excellent
an
effects this
and
cussion, per-
effects
possibly
a
"
reproduce,
far
are
and
numerous
more
combinations
"
more
full
modern
the
with
for
of
substitute
a
orchestra,
complete
a
laid
artistically
in
for
the
but
the
accompaniments,
out
it.
the
on
as
organ
reproduction
a
given
frequently
are
the
manuals
and
well
as
is
pedals
as
for
necessary
the
the
of
conception
true
a
chestral or-
consideration.
point
have
we
The
been
dealing will
section
next
orchestral
great
t ype
with
accompaniments,
under
accompaniment. the
substitute
such
of
performance
be
never
both
prominent
wind,
musical
could
feet
accompaniments
instrument,
technique
ample
to
can
of
supply and
four
brass-
performers.
concert-rooms,
good
a
wind,
musical
all
orchestral
and
organ
of
use
complete
of
eighty
to
with
churches
cathedrals,
and
greatest
works
Choral
from
an
be.
might
organ
useful
into
wood-
of hands
pair
no
the
modern
of
organs
Up
our
play
brings
string,
inexhaustible
an
which
effects
and
large
viz.:
instruments,
providing
of musical
however
An
of
groups
or
accompaniment
orchestral
of
scheme
The
variety
on
musical
individual
each
of
characteristics
the
to
spread
being
of
use
instruments.
families
will
suited
best
the
involves
works
color
each
coloring,
musical
of
palette
varying
Organ
the
for
choral
of
accompaniment
orchestral
The
Transcribing
of
Art
be
the to
the
where
works,
with
devoted
orchestra the
orchestral
as
medium
a
transcription
forces
form
of
of phrases solo
great
one
body.
Additional The
"full
terms
significance stops
more
only it
five
would
be
12,
body and
six
or
and
with
composition
pistons
being
of
these In to
necessary
such
weight.
about
of
each.
on
because
transcribed
some
each
on
a
There of
tone,
passages,
thirty extra.
or
and
organ"
great
in
since
the
this
add
but the
forty
case,
organ
probably author
average
sounding
no
has
that
the
two
somewhat
it
organs
lack
the
instruments
of
for
couplers,
requisite
purpose
manuals
composition
or mean
instruments, phrase
quite
the
three
might
small
very
vague
twenty
mean
sixteenth-note
in mind,
"
of
a
would
small
would
instrument
stops
it
in
viz.: to
have
organ"
while
pedals
great
the
swell
IS
instruments
"
latter
the
small are
"full
largest
manuals
Excerpt
to
note
in
cerpt Ex-
in
size
of
amount
alike
ing illustrat-
of
and
pedals,
pedals
or
Section II. The
for the Organ,of Orchestral Transcription,
SymphonicWork. The the
are
of orchestral symphonic work governingthe transcription principles obtain in the rearrangement of orchestral
those which
as
same
accompaniments. In the former classof work,however,much
needed,because the orchestral combination is
are
medium
the organ sound
These remarks
in which
and not
a
for that which is arranged
cut down
applymore
than to crowd
the orchestral score as
score
as
the hands and feet can
actually orchestral composition,
to modern particularly
largeorchestras are the rule.
regardto earlysymphonicmusic,where
such is employed, are
and simplify
notes into the three-staveorgan
With
"solo" one,
written for it. thoughithad been originally
as
It is better to
grasp.
a
of accompaniment.
The chief aim should be to endeavour to make
many
and discrimination
greatercare
as
a
small orchestra relatively
Mozart,Beethoven,Weber, and Mendelssohn
used,there
to contend with. greaterdifficulties
Though many
of these
scores
are
the instruments slender,
are
used in
a
more
modern score. The harmonic than isthe case with the large manner independent material which isgivento each group in. modern orchestral backingand filling-in in the earlierscores. music is entirely lacking the melodic In the latter,
of the importance
work allocated to each instrument
is thrown into greaterprominenceand reliefthan in the modern because of the absence of the innumerable For this reason,
a
of doublings
Mozart, Beethoven, or Weber
so
many
movement
scores,
notes.
is more
difficult
than a Wagner movement. With satisfactorily Wagner or there is so much to choose from in the score, and many effective Tschaikowsky
to
arrange
With Mozart or Beethoven altenmtivesarepossibleinthetranscript. little that
there is very
mightbe consideredredundant from the pointof view of the transcript. The
excerptsgivenin the
organ
following pages are all from works which are Recitals. They Hall,Liverpool, George's
in the author's repertoire of the St.
have thereforehad the test of practical performance. [38]
Orchestral
Many
of
but
ways,
of
heritage
The and
solo
work.
works
organ
of
an
The
more
Mozart,
clearer
technique
works
artistic
more
and of
that
hopes
organist
his
expression
or
the
and
a
of
use
several
in here
adaptations freer
and
larger
transcribed
the
given, splendid
recitals.
playing
will
technique
reeds
and
become,
studies
Weber,
intelligible
artistically
suggestions
flutes
organist
an
being
make
their
his
uses
Beethoven, more
the
to
for
will
of
capable
are
recitalists
symphonic
more
freer
examples author
the
stimulate
may
the
the
Works
and
in
strives
of
in to
become,
technique manual
orchestral
and
pedal
the
manner,
accompanying play
Schubert,
Mendelssohn, his
an
whether
the and
whether work.
in
or
symphonic Schumann, it
be
the
Excerpt17 Symphony Movement) (First
from Mozarf s 0 minor
molto Allegro
Flauto
Oboi
Fagotti
Corno I in B Alto
Corno II inG
Yiolino 1"
Violinolio
Violat
Cello e
Basso, f^~ ^
i
/
[40]
Orchestral Works
It has
alreadybeen pointedout, that
Schubert,Weber, and
41
the orchestral
Mendelssohn
furnish
scores
hoven, of Mozart, Beetdifficult
of the most
some
that can be found, because of the problems in the art of organ transcription of the wood-wind of instruments and because contrapuntalindependence group of the great effectsthese composers produced with the small orchestras at their small compared with the orchestra of Wagner, disposal orchestras relatively "
Berlioz,and the moderns. G minor
Mozart's
Symphony, from which ExcerptsNo. 17 and 18 are taken, such problems. In Excerpt 17 the principal furnishes many subjectis given to the violins. An important counter subjectis carried out by the bassoons, and stringbasses, these stringbasses playingone note per bow. violas,cellos, A secondarybut very prominentcounter-theme is given to the upper wood-wind, and the horns providea littlefilling up material. script. All these features (exceptthe horn part)should be reproducedin the tranThe horn part is immaterial from the transcription view-point although it has its placein the score. "
Allegromolto No.17
"
j8
"4
flue Swell 10,8,4,2and reeds
diapasonand
"t coupled to
fed. AUA
Flayed on a great organ with lighteightand four foot diapasonand flute tone coupledto an ample, but not too heavy, swell,with diapason stringand reed tone, this excerpt will sound artisticand effective. It will be seen that the string basses and bassoon passage
offers an
excellent
pedals,with The pedal note pedalboard. to the top note of a thirty-two and foot and tone not should have too s ixteen heavy eight requisite organ without reeds,and should be coupledto the great. The swell organ will provide a sufficientbackgroundof color. There has been no attempt to reproduceexact orchestral coloring.The and the merging of the strings through prominence of the upper wood-wind dear similar to and with the wood-wind a at a brightquality suggest pitch,seem of reed quality. of organ tone with a coloring opportunityfor a a natural swing up
most
effective
pieceof
in the passage-playing
"
18
Excerpt from
Flanto
^
Oboi
a*
Fagotti
Corno
I
in B Alto
Corno
II
inG
Yiolinoio
Viola
Cello Basio
e
the
same
movement
as
the
preceding
Orchestral
Here
imitate
the
reasonable
a
oboe
and
fifth
the
In
bow.
violins
the
all
violins at
43
18
No.
per
Works
deliver
figure
of
distribution down
parts
an
vigorous
a
it is left
measure
the of
bass
sequential the
to
second
it will
tone,
organ
only,
bassoons.
and
strings
figure, playing violins
be
In
necessary
the
order
to
first
arrive
the
bring
to
note
one
while
flute
octave.
No.18
in
the
the
first
fifth
violin
four
sixth
and
running
for
The
same
as
in
force
is
playing
earlier
the
necessity
previous
The one
tutti, firmly for the
at
actual
the
left hand,
measures.
and
and
to
hand
same
while
measures,
passages.
the
right hand
the
The
measures.
of
artistic
freedom
allow
will
This
can
too,
the
takes
same
brilliantly.
reproduction
the the
for
wood-wind left hand
The
reasons.
There
is
no
wind wood-
upper
small warrant
coloring
in the
continues
should
excerpt
figure
rhythm
transposed
this
of-orchestral
violin
sequential
the
take
point
same
registering for
the
play
here.
be
the
orchestral nor
any
Excerpt 19 from Mozart's Don
Molto
Giovanni
Overture
allegro
JrJ
J-J Flauti
Oboi
Clanneiti
?^
in A
p"=fc"
az
Fagotti
Trombe
" t
in D
Timpani mD
^^
A
Violino 1"
ViolinoII"
Viola
Cello e Basso
[Ml
Excerpt from
Beethoven's
C
20
minor
(First Movement)
Allegro Flauti
Ctarinetti inB
Fagotti
Corni
in Es
Violino
lo
Yiolinolto
Viola
Cello
Contrabasso
1 .
Symphony
Orchestral Works
47
No.20
z
The found the
harmonic
3
4667
background and
in the bassoon parts. The
subjectrhythm: Second
^
real bass of
stringbasses
J J J \J "
violins, violas,and
subjectof this movement is givenfirstto clarinet I, then It is
a
the short
.
horns
The complete the harmonic structure. of the C Minor Symphony) (Firstmovement
second
harmonies
|
to
flute I with firstviolins.
delicate
and a redistribution of the sustained pieceof orchestration, in the transcript, be free for so that the pedalsmay rhythmicsubjectmotif. will be necessary
5
4
the righthand takes,
The
full-toned reed,then
and
on
a
theme
of the second
soft flute stop
sustained harmonies
The
should be
on
firstin subject,
a
choir organ
the great organ.
playedon
the great organ
with
ing register-
stops coupledto swell with flue and string-toned alreadysuggested, basses. The pedalstake the string a softreed. On
a
four manual
instrument
with
a
phrases,may be played on be readily can arranged. registering
and
Excerpt No. 20, are both to be are occupiedwith reiterationsof
clarinet
Those basses may
pedals.
well the
drawn
equipped Solo organ, flute,oboe fourth (Solo)Manual, where the
wish to preserve the actual notation of the rhythm of the string is too quick for dear enunciation in the do so; but the repetition
who
Excerpt from
21
Beethoven's C minor
Symphony
(FirstMovement)
Flauti
Oboi
Clarinetti inB
Fagotti
CorniinEs
TrombeinC
Timpani inC.G
*
8
456
7891011
Orchestral Works
49
JTQ JTD
11
scoringof Excerpt 21 is full and complete. All the instruments are brightloud tone being requiredfrom the forces employed. playingvigorously, ary The pounding drum figurecorroborated by the trumpets forms a kind of secondbass. The violin eighth-note is conspicuous,and comes rightthrough figure and horns have a marked the mass of sound, yet the wood-wind rhythmicprominence The
in the firstthree
which
measures
should not
be overlooked.
The
violin
eighth-note figurejustreferred to, which
leads into the quarter-notepassage,
the highestmelodic part of the is virtually
score.
to give such transcript, prominentmanual (greatorgan).
advisable,in most
an
organ
In the arrangement
a
Nevertheless,it is not always passage
to the
righthand
on
the
givenbelow
No.21
II 8 and
4
diapasonand
flue tone
10
This passage fourth measure.
given to the righthand
is not
Here
firstthree measures,
the wood-wind
while the leftfoot The
lacks the
the and is merelyamplifying
In the last eightmeasures can
the
rightfoot
can
give out the fundamental
should registering
be
an
ample great
the great manual
on
11
until the
rhythmic import it had for the of sound.
mass
take the
stringand brass basses,
basis of the harmony. organ
to
4, coupled to Principal
full swell. with plentyof 16 and 8 flue work should be coupledto the great. pedals, A full choir organ coupledto the swell,will serve for the righthand for the first It willbe noticed that both feet are free for the double pedalling three measures. the registering havingalreadybeen prepared. The
"
22-23-24 Excerpts G minor from Beethoven's No.22 .
No.23
J="* Allegro
Flauto
Piccolo
Flauti
Oboi
Clarinetti inC
Fagotti
Contra-
fagotto
Corni inC
TrombeinC
[SO]
Symphony No.24
Orchestral Works
The
Finale from Beethoven's
C Minor
Symphony
51
makes
and with due regardto organ solo,if it is laid out carefully
a
magnificentorgan
tone.
No.22
No. 23
No.24
r~^~
No.
22
wood-wind.
shows
an
independent use
of three groups,
horns, and viz.,strings,
"
of the horns, because the notes to indicate the repetition possible in duplicated left hand is requiredfor the upper strings (the viola is practically the In wood-wind. for the the 'cello part);and the righthand organ arrangement, the 'cellophraseis givento the pedalscoupledto soft great,an octave higher It is only
for the The Art of Transcribing than in the destroy
score.
This will prevent muddiness
and
Organ incoherence, and
will not
balance of tone.
the
"No. 22
Y irVf
I with reed
Manual H soft B Hoe
coupledto III -with iof t read
r
r
^^
Pedal
No.28
Mamin.1
Pedal
No."4
'".fr r '
i
r LI
Pedal
The
feature in No. 23 is the passage for the double bassoons and bass principal So far of this phraseis concerned,it would fit admirably, as the range strings. the modern thirty-twonote pedal board. But here, the pedals had better be
Excerpts25-26 from Beethoven's C minor
Symphony
(Last Movement)
^^ Flauto Piccolo
Flanti
Clarinetti inC
Fagotti
Contra-
fagotto
CorniinC
TrombeinC
C?
Orchestral Works
Manual
Pedal
Midsummer Mendelssohn's From Night'sDream overture, we will take six of the organ. and adapt them to the medium short phrases, The fullorchestra is employed in 27, 28, 29, all the instruments playing /orlooks large, it should be noticed that there are tissimo. But althoughthe score is formed stave score additional instruments introduced. The seventeen no and bassoons. clarinets, by separate staves beingallotted to each of the two flutes, of the wood-wind work generally. This has been done because of the independence There are onlytwo horns,and in the brass group, two trumpets and an ophideide. A minor point,but one worthy of note, is that the full score notation is version and organ whereas the pianoforte in half-,quarter-, and eighth-notes, and sixteenth-note notation. The latter in quarter-, eighth-, are transcript of this charming work, than the with in is visually, more keeping airylightness the full score
notation.
Excerpts27-28-29 from Mendelssohn'sMidsummer
Dream Night's
Overture
egrodimolto FUutoI
FlautoII
A greatoigta with 8 and 4 flue tone or
fully open)'would be
coupledto fullswell (either partially
sufficient for these three excerpts.
Orchestral Works No.27
*b Piano
j= I
1
Manual
Pedal
us
In 27, a to obtain In 28,
a
redistribution of the flute,clarinet, and violin figuresenables. slight and of clarity lightness movement. short pedaltrillreplaces the vigorousrepetition figureof timpani,
viola,and bass strings. but here theyare counter-balanced In 29, the timpaniplaysimilar repetitions, and bass strings.In 29, too, the sustained brass the (ophicleide) by strongly brilliantviolin passage is transferred to the left hand in the second measure. This will allow the righthand to take the sustained work of the violinsI and upper wood- wind, either on the great manual or choir coupledto swell.
Excerpts 30-31-32 from Mendelssohn's Midsummer No. 30
Vlolino II
Allegrodi molto
Dream Night's
Overture
Orchestral Works
Excerpts 30, 31, 32, illustratethe layingout of divided stringwork, which Mendelssohn to
freelyuses in his Midsummer Night'sDream Overture to bring the hearer's imaginationthe daintylightdancing movements of fairyelves. so
In each of these
I; two
subdivided into four parts,two
violins
the organ, an artisticsubstitute for this orchestral stringtone, can be swell with voiced gambas) and soft flute on a stringtone stops (finely
On found work
phrasesthe violins are
violins II.
(ifnot thick
or
with the addition of woolly),
a
soft reed.
If the organ possesses a very soft and round reed such as a finely voiced contra low the brass be in 31 to (ophideide) fagotto 16, phrase given this stop in may the
pedals,i.e., if couplingaccessories permit. The
left hand
on
a
suitable choir organ,
may
wind bring out the detached wood-
leads of 32.
of obtaininganything akin to the ethereal stringtone of possibility the qualityand voicingof the gambas, the orchestra, depends entirely upon The
celestes dulcianas and similar toned stops to be found salicionals, If the stops referred to are choir organs. effects somewhat analogousto stringtone
refined and good,many really are
obtainable.
No.SO
Piano
rvi n
Piano
on
~~
swell and artistic
The Art of Transcribing for the
GO
No.82
No.30
Manual
Pedal
No.31
No.SS
Pad.
"
Iwith soft reed
Organ
33-34-35 Excerpts from Mendelssohn'sHebrides Overture No.34 moderate No:S3Allegro
No.35
Flanto I
Flanto II
Oboe I
Oboe II
Violoncello
Basso
iff [6*1
*
Orchestral
No.SS
Piano
Piano
Piano
No.83
Manual
Pedal
Pedal
Works
63
Excerpts 36-37 from Schubert's Symphony
in B
minor
No.87
No.86
Allegromoderate
Oboi
Clarinetti in A
Fagotti
CorniinD
TrombeinE
8 Trumboni
Timpani sharp
in B.F
"
ittWtfWW
ViolinoJ
ViolinoII
UP Viola
BTTriJJ
^^
pp
Violoncello
i
mm
i
Vf
'" J.-IJJI-IJ
i
"
i
"
[64]
Orchestral
Works
65
Pedal
of Schubert's
first movement
The
Unfinished"
laid delicately
is very
"
violins is conspicuous,as also
given
No.
36
is
given
as
an
quiet tremulous
lovelythemes
minor, "The of the
movement
(thefirstand second subjects)
'cellos.
merely
not
tremolo
the
and significance,
in B
Symphony
important instance of violin tremolo
phrase is
string tremolo
The
out.
the
are
and
to the wood-wind
beautiful
It
accompaniment.
an
is intended
to
create
an
work. has
Here a
the
melodic
atmosphere of inward
agitation.
It is
on impossibleto imitate successfully
effect)of the violins,but the above If played very
stops and
toned
transcriptsuggests
smoothly and connectedly,a certain
without perceptible
will be
the organ,
a
undue
restlessness.
soft reed, and
A
with the added
the repetition(tremolo artistic
an
amount
of
compromise.
agitatedmovement
small swell organ
with
fulness of soft and
string-
small flute
well. and flue work, will suit this string-passage
and
oboe
The
of orchestral of the desired
clarinet theme color.
tone
quality,with
afford
will
opportunity of the effective imitation
an
depend
the addition
upon
the
possession of good reeds
of small flute and
flue work
which
will
well with the reed tone.
blend
No.
37
shows
the
in the last two
The
8 flue
to the
orchestral blending of strings and
by
measures
is
given
to
the left hand.
work, but that of No.
great manual.
87
wood-wind,
mented supple-
brass.
agitationof the stringsis maintained
of the wood-wind and
It
should
in the The
and the rhythm transcript,
pedal of No.
be increased in
36
will be of 16
weight, and
coupled
The Art
66
of Transcribingfor the Organ
Prime
Sec
No.87
f3 m
Sdmmann's of the
same
Manfred overture
written to
It is considered to be
name.
works, and it certainly should be of the work
was
makes
within the range of
one
a
more
^^
one
Byron's great dramati"? poem most inspired
of Schumann's
heard. The organ arrangefrequently ment of hearings possibleby bringing it
greater number
performer.
In the first quotation (No. 38) from this work, the orchestral forces are busy in all departments, fortissimo.Althoughthe passage is a very agitated one, itwould be inadvisableto attempt to the
reproduce
string repetitions.
Orchestral Works
67
No.86
No.87
hands on U to 8 with /both coupledto III with reeds Ped.to II
It would
Ir
ULr
be possibleto but it is
arrangement"
so
as
use
more
well to remember
usual number
phrase given here
two
"
to the three
pitch,and by the flutes in the
and
violas in the
No. 39
score
given gives
of three trumpets in the orchestra, in Schumann's day. The beautiful
in use
a
most
impressive
purpose.
is also upper
and penetratingtone of the trumpets which of the wood-wind. doublingsand reinforcings crescendo and diminuendo
firm chords
suitable substitute.
more use
The
trumpets, not only forms
It will be noticed that this theme
The
of sound.
r
part of the organ
that the brass chords in the
mass
"
for that coda, but is reserved expressly
unison
*pr N pr
tremolo chords in the left hand
give a sonorityand weightto the whole in the transcript to the left hand are a of the rather uncommon us an example instead of the
LLflr
v
signs
"
duplicatedby the clarinetsat the octave, but it is the peculiarly soft
should be stressed, rather than the
~"
observed
by the violins
be
easilyaccomplishedwith the swell pedal in the organ arrangement. The pedal phrase here is melodic. It should not be played by the left foot only,but by both feet,in order to secure artistic an of the bass which is an essential feature of this excerpt. The phrasing passage wood-wind
score
cannot
chords, the repetitionsof the first violins,and the low repetitions
of the violas
purelyorchestral devices. They are not essentialfrom the harmonic melodic point of view, and therefore they can or be sacrificed in the adaptation. are
Excerpts 38-39 from Schumann's No. 88 In strennous
Flutes
Oboes
Clarinets in B flat
Bassoons
"Ventil Horns in E flat
8 Natural
Horns in E flat
SVentil
Trumpets in E flat
Timpaniin E flat B flat
Manfred
tempo vigorous
Overture J= 1*4
Op.115 No. 89
Excerpts 40-41 from Weber's No.40
Jubilee
Overture
No.41 dante
Piccolos
Orchestral Works
71
No.40
Piano
Piano
Tfo.40
fc Manual
"
p 1 to III with
son Sand 4 and soft reed n soft s
i Fed 16 and 8
Pedal
^^ a
brilliant
Weber's
music, and
No.
gives us
and
chords for the trombones
has
trumpets, playing softly,are
some
a
rhythmically
soft and
coupled
to
round
toned
swell will
serve
work.
outstanding features,
two
on
choir
The
the great manual.
of the wood- wind
for the purposes
41
it, with
quotationfrom
substituted artistically
be
prominent. They can eight-foot diapason on
No.
of
for the organ.
form
horn
and
quiet wood-wind
a
piece
splendidlyvivacious
a
in.
soft brass thrown
The
Jubilee is
The
overture
effective in its transcribed
is most
40
of Transcribingfor the Organ
AH
The
72
and
a
third, which
is
apparently
prominent.
theme, which is identical with the English National
The
by strong wood-wind, horn,
one
This
is the first and
The
second
note
The
This
rhythm,
a
third
chords, all playingfortissimo.
feature.
of rapid passage-playing
is the
visuallyprominent rhythmic figure of the string visuallyimportant because of its independent other instrument. Its real not duplicated by any is
feature
rhythm which
violas, all playing
violins and
the
brilliance.
utmost
third feature is the
basses.
brass
important
most
bow, with the
per
and
is announced
Anthem,
is
importance,however, isgreatlyminimized low
notes
because the strong forcible and ting penetraof the trombones, the full chords of the brass generally,and the
pounding fortissimodrum-roll stringbasses. of the a
heavy
Therefore, in the bass
With
a
solo organ, this case,
strings can
four manual the
be
coupled
on
a
great organ
over-shadow
a
the
the
the
bring out manual, and
full choir
rhythm
pedals
be
effectively given
with'out
any
be reserved
is excellent for this kind
reed-work
to
or
on
passage-playing
full swell.
such
heavy
for scale passages. of work.
care
theme-chords
the
coupled to
of the
take
can
possessinga powerful eight-footreed
could
the full great organ,
can
to the swell
instrument
stops, coupled to full swell,should work
left hand
assignedto
theme-chords
to
arrangement,
organ
of the brass, the
great with reeds, but not
of the upper
all contribute
a
on
stop.
its
In
sixteen-foot The
mixture
Orchestral Works
It is a most
73
and engrossing fascinating study to
arrange
the great orchestral
transcends for the organ. The music of these splendidconceptions form. Their anythingthat has ever been written for the organ in this particular overtures
to an organist's isnot onlya acquisition repertoire
very
great artisticasset,but the
practiceand performanceof them will improve and enlargethe interpretive and technical equipment of those who will take the trouble to learn them, to a level, infinitely higherthan is possible by any other means.
The
greatest organ
ever
written" that
of
the
immortal
Johann
and for this very reason, it has its is exclusively contrapuntal, Bach's greatest organ be made to *live" on works can a fine
Sebastian Bach limitations.
music
"
unattainable on the wretched instruments absolutely of a century or more On the other hand, a really good modern instrument ago. different type from Bach's, in order to reveal fully requiresmusic of a totally of enlargingthe its wonderful interpretive Hence the necessity capabilities. artisticpowers as well as his repertoire cent organist's by making use of those magnifiorchestral works which are capableof successful adaptationto the organ. modern
organ
in
No. 42 and 43
a
manner
are
both
scored. slenderly
eighth-note passage, stands out brilliantly. with a totally figureis givento second violins and 'cellos,
In the former,the violin and viola the In the latter,
same
different effect.
placesthe passage referred to between the two it will sound well. hands, and, played neatly with the suggestedregistering, The
arrangement
In No.
of No. 42,
43, the quiettone
of the second violins is enriched
by the
resonant
This may be taken, either on a soft qualityof the 'cellosin the lower octave. small flue stop on the great coupledto swell to oboe, or on the swell to oboe as suggestedin the arrangement.
The on
a
pedalscan
choir
or
hold the low horn note, and the clarinet phrasemay
solo manual, with
clarinet timbre.
a
be played soft blendingflutequality to helpout the organ
Excerpts42 -43 from Weberfe Der
Freischiitz Overture
Molto vivace a2
No. 43 Flutes
Oboes
Clarinets in B
Bassoons
Horns in Eb Horns in F
Horns in C
Trumpets in C
Timpani in C. A:
ViolinsI
ViolinsII
Violas
Violoncellos
Double-basses
[74]
OrchestralWorks
75
I. J"
No.42
Piano
Manual
"
~HF\
FT*
r^
IIwith 8 and 4 to IIIwith IIIwit reeds 8
Pedal
33
J
SE
'
J
'
II to Fed.
?-"
r
r
Manual
III to Oboe
II to Fed. a I softs)
Pedal
taken, on page 76 are quotations remark The same applieswith providesmany excellent passages for pedalling. equalforce to Mendelssohn's Hebrides and Weber's Jubilee overtures, already quoted from. Such passages, which in orchestralscores are given to the string basses reinforced by the bassoons,and sometimes further strengthened by violas, thoroughlygermane to, and double-bassoons, and bass clarinets, are clarinets, Webb's
Euryantheoverture, from
in the idiom of,the
which the
pedaldepartmentof modern
organs.
Excerpts44-45 Enryanthe Overture No.45. No.44 marcato-conmoltofaoco kg* Allegro from Weber's
,
^
Plntei
Oboes
Clarinets inB
Bassoons
Horns in B flat Alto
Horns. mEflat
Trumpets in E Hat
Timpaniin Eflat.Bflat
[76]
The Art
78
for the Organ of Transcribing
The Finale of Mendelssohn's Organ Sonata No. 1 playable passages be found? the nearest approachto such passages in the two brilliant in F minor,provides Bach's instrumentation was of an earliergeneration scale passages. descending hoven than Beethoven's, and is not justly comparableto what is known as the Beet-
type* embracing of the finestBach
pedalpassages
employedin the gorgeous
Weber, Mendelssohn, and others.
course are
justly comparableto such his "First Organ Sonata."
not
Finale of
as
Therefore
Mendelssohn
Though some good pedal passages are to be found in what is acceptedas Guilmant, great original organ music, viz.: the works of Merkel, Rheinberger, the Widor, Parry,Harwood, excluding purelyfugalforms, yet they are the rather than the rule. Fortunately, modern organ composers some exception are the pedal-board with much more freedom,and by so doing,are helping utilizing to raise the standard of organ-pedal technique.
In No.
44
the second
the
pedalstake
measure,
the lower
and bassoon passage. In strings for trumpets and drum. conspicuouslittlefigure
over
there is a
This may be sacrificed, that the balance of organ so by the left-hand chords.
tone, may
be preserved
No. 45 is quitea differentproblem. The whole orchestra is playing fortissimo, wood- wind, horns and brass
holdingand repeatingbig full chords; upper strings out the notes (threeper bow) of a diminished seventh, ascending chordlashing note by chord-note, and the string basses playingsimilar notes in the form of broad is The effect a brilliant. arpeggio. very fieryand exceedingly
There
are
many
is to infuse the
ways
utmost
of
arrangingsuch
amount
of
a
passage
but the chief aim
brilliance, body,and
weight into it.
here The
risingnotes of the string -basses, beingalmost eclipsed by the weightof drum and brass,may be disregarded.
In the transcript, we brilliance "
It has
a
get weightin the pedals;body in the left hand; and
bravura diminished seventh arpeggiopassage
alreadybeen mentioned, that
in
"
in the
righthand.
the scores of Beethoven, considering Mendelssohn, Schubert and Weber, great care is requiredin layingout the thematic and contrapuntalmaterial to the best advantagefor the These organ. confront us with difficulties scores quitedifferentand distinct from the Wagner or Tschaikowsky because of the contrapuntal scores, and interest independence,
Orchestral
the
of
allotted
parts
Tschaikowsky kinds that
it becomes
Take is
a
and
remarkable
various
modern
is the
Prelude
Wagner's
to
of musical
homogeniety
qualitiesof tone
in
much
so
later
Tristan
to
a
larger
than
from
and
that
the
devices
of
the
all
standpoint.
(Ex. 46), where
which
where
Wagner,
of Beethoven,
different
a
Isolde
into
point
that
contrapuntal
scores
texture,
merged
are
It is true
abound
scores
view
to
79
instruments.
employed
necessary
for instance
string
the
orchestra
the
but
"
to
other
and
Works
there
wood-wind,
horn,
individuality partially
disappears.
In
first two
the
horn
and
bassoons,
strings (second assimilate occurs
also
wood-wind
in
violins of
some
that
tinge
the
upper
theme
distinctly wood-
is and
theme
to
quality.
five, where
of the
strengthened by clarinets, English
wind
violas) although
wood-wind three
measures
to
the
measures,
the
in
tone-quality;
the
but
musically independent, The
same
tone
of
first violins.
kind the
of
'cellos
seem
lower to
tone-fusion
gives
a
quasi
46 Excerpt from
Prelude to TWagnarfe
Tristan and Isolde
and veryexpressively Slowly
[80]
Orchestral Works
81
No. 46
Piano
in music of a homogeneous nature such as that blendingof tone qualities in the process of transference in the above extract creates a peculiar difficulty to the organ keyboard. Whilst,from the musical pointof view, allthe salient be reproduced with ease, the difficulty and melodic features can harmonic balance of organ tone. referred to liesin the attempt to gain a satisfactory has the upper theme in the earlier measIn the adaptationthe right-hand ures, and and toned Oboe. Swell with fluteand a on eight-, four-foot string stops and four-foot stringand flutetone coupled The left-hand, a Choir with eight-, on The
Swell,takes the under theme until it risesabove the rest, in the fifthmeasure.
to
No.46
Manual
Pedal,
J, IftJ, jj,IflJ.
J. 1 to
Ped.'
Ped.Uandf
of reqriiite weight
Swell or Choir), If both hands were to play on one keyboard here (either the left-hand part would lose a certain amount of weight,which its importance in the musical structure demands. This additional weightis gainedby giving the under part to the left-hand on the Choir the Choir beingcoupledto the "
Swell. the hands gradually of the firstfour measures, approacheach rises to such an the left-hand under-theme but at the fifth measure, left-hand that it is necessary to change hands, and to continue the rising the lower the down Choir t he to on keyboard by letting right-handdrop
In the other
"
extent
theme at
that
course
measure.
Thus
it will be
seen
that this
left-handtheme in rising
ures meas-
the three to five,has the advantage of prominence in two ways: first, of in the additional tone measures Choir-organ weight prominencegainedby three and four;and second,the prominencegainedby the fact that in the fifth "
it lieson
measure,
top of the other part and
not underneath.
This
prominence
of
is a pointoften overlooked, higherparts over lower parts on the same keyboard, but unfortunately, in original not only in organ transcriptions, compositions for the organ. the of this fact results in faultybalance of tone The ignoring "
middle parts being over-laid are
on
one
and the
same
or
manual.
by over-weighted
the upper
parts when both "
Excerpt47 from Wagnerfe Overture to The Mastersingers Moderate*molto
[83]
48 Excerpt from WagnertPrelude to Parsifal
Veryslowfr
One further of modern
examplefrom Wagner,illustrates again the massed formation Ex. 48 is from the Prelude to Parsijd, where
orchestralscores.
[84]
Excerpt49 from the firstmovement
Pathetic of Tschaikowskyfe
Symphony
J=u" nofl'troppo Allegro
Flute 1
Flute
The firstmovement of Tschaikowsk/s "Pathetic" Symphony No. 6,Op. 74, is a wonderful pieceof orchestration.It is profoundly human, and seems to the entire of human emotions from the through range gamut depthsof abysmal of ecstaticjoy,even as its musical expressiveness to the heights sorrow ranges
from sounds fortissimo.
hardlyeven
whisperedto
utterances
[86]
of the wildest and fiercest
OrchestralWorks
87
There are many musicians who denounce in no uncertain terms, transcribing for the organ, such orchestral music as that of Wagner's Tristan and Isolde lude, Pre-
Tschaikowsky's"Pathetic" Symphony (first movement), and other works of a similar nature. it seems Surely, a wicked waste of artisticmaterial, granted a and an adequatelytrained executant reallywell-equipped organ both from the technical and artisticpoint of view, that chieflyfor the expositionof pure
our
organ
too,
narrow
very
a
view
of musical
art
that
modern music.
should be
organs
It
to
seems
served re-
indicate,
musicians
should discourage rather than encourage the exploitation of that vast heritage of glorious orchestral music, for the purposes of organ solo work. In one of John Ruskin's works on Art, the following sentiment is expressed: "It is better to save to buy one up enough money original picture a so
many
"
by
artist,than
good
be satisfied with a mere reproduction!" The wonderful in the art of color-printing in color)and of the (reproductions to
provement im-
graphic photo-
in generalhas the dodo!
probablycaused the above
art
extinct
as
sentiment
to become
as
By transference of thoughtthe same reasoning to the principle may be applied of transcribingmodern orchestral music, for the modern organ providingthat the music in its rearrangedform, is set out distinctly in the idiom of pure organ "
music.
No.49
Piano
a
1
Ex.
of rapidrepetitions, number both in the 49, contains an innumerable and wood-wind All these be must string rapidrepetitions suppressed groups. in the transcript. The passage quoted will suffer no loss of artisticeffect by the deletion of these As
an
exact
rapidlyrepeatednotes in the changed medium ofexpression. is imitation of the orchestral colors and idioms, the transcription of the resultis an organ music, thoroughly exposition Tschaikowsky's
futile, but, as and thoroughlyorganistic in idiom. good, thoroughlyartistic, No.40
Manual
Pedal
should have Reed, Flute and String quality Choir-organ(right-hand) coupled to the Swell-organwith stops of similar timbre. The Great-organ (left hand) may bring out the bassoon and horn phraseson Diapasons coupled to Swell;and the Pedal may be coupledto the Great. The
Excerpt50 from the firstmovement
of
Pathetic Symphony Tschaikowsky's
vivo J=m Allegro
Flute 1.
Flute 2.
Flute 8. (Piccolo)
[88]
Orchestral Works
89
symphony as the precedingexcerpt, entails a wider work, fieldof organ technique.It bringsinto play,the use of double-pedalling under conditions which are technically but which, on the other hand, difficult, The left-footPedal-note,coupled to organ usage. are quite artisticand germane Ex.
50, from
the
same
No.60
Piano
No.50
Manual
Pedal
to
and drum Great, retains the string-basses double-fortissimo.
the latter,in the orchestra,
parts
"
The
right-foot gives us an pedal-phrase being pounded out forceful the of the firstand trombones. third of enunciating passage opportunity The
of the theme
care on
left-hand,either
Full Choir
well
as
if there
of the
coupledto
are
four and
manuals.)
phrase. (This part
would
the
just referred
on
parts
as
the Great,
the right-foot takes the end
to.
This
right-handunder-partwould
run
procedure makes for into the left-hand,
foul the left-hand part.
this is Technicallyspeaking, chief features of the
wood-wind
be played
may
In the third measure,
trumpet theme
clearness, otherwise the Pedal
Full
Full Swell deals with the upper
the oboe and trumpet
of the oboe
and
or Great-organ Solo-organ heavy Reed, takes bassoons,second trombone and tuba. The right-hand
a
on
score
a
difficultpieceto
brought out
in
a
manner
play,but which
but the languageof the transcriptis that of real organ
not
only are
will sound
music.
the
artistic,
Excerpt 51 from
1812 Tschaikowskyfe
Overture
JjJJS" Allegrogiusto ^
^
Flute i. cresc.
mp
Flute* 2.
^^
*="
"="
Oboes
erue.
Clarinets
^
inBk
W
crwc.
EnglishHorn
pi "
"*
CTMC.
$
Bassoons
^
ft.2.
Boras
in F
w
1.4.
CT80C.
Tuba
Triangle
Violins I
Violins II
Orchestral Works
91
Tschaikowsky's"1812" Overture providesa further opportunity of double-pedalling. The theme, which is given to the firstflute and treated is in conjunction with the violas and 'cellos. The violins, canonically, ground supportingchords of the lower wood-wind and horns, are a necessary backto the whole,while the softly sustained low notes of the tuba and doubleEx.
51, from
basses form
the harmonic
basis.
No.51
Piano
straightforward piece perfectly The Pedals, coupledto a soft eight-, of organ music. or four-foot Great-organ theme to come througheasily.The stop of flute tone, willenable the right-foot The
of the transcription
No.51
passage
results in
a
mitring tone
Manual
Pedal
The supdrawn. Pedal-organitselfshould have a lightsixteen-foot flue-stop porting and the theme of the flute chords can be played on the Choir-organ, the Swell. and violins,
Where
(Solo)keyboard contains chords
might
with
the instrument
good played on this manual.
some
advantagebe
then utilize either the Swell
has four manuals, and the fourth
stops of flute and reed tone, the sustained
or
Choir.
The
could right-hand
Excerpt 52 from Brahms's Tragic Overture
Allegronon troppo
Flutes
Oboes
Clarinets inBb
Bassoons
"
Horns in D 1. ".
* 7
f'
'
P
T
"
P
Horns in F 1,4,
Trumpets
^
iflD
fE^P
Timpani
f
inD.A.
M
1 1"
"
f
f*
1
f
I I'
'
f
Violini I
Violins II
"
if
*
-
3
By kind permissionof Messrs. Alfred Ungnick
4 A Co.
IJ
Excerpt 53 fromBrahms's Tragic Overture
ma Allegro
non
troppo
Flutes
Oboes
Clarinets inBb
Bassoons
fif
Violins 1
f
if rfif r
iff
Tiolins II
Violas
Violoncellos
Dcmbfc-b
of By kind permission
Mmra.
Alfred
LengniokA Co.
excerpts,is example(53)from the same work as the two preceding is crescendo I t where furnishes instance a general an interesting. particularly fortissimo. carried out from the pianopointin the firstmeasure on to a The crescendo isexecuted without increasing the orchestralforces employed, of horns and trumpets five measures beyond the given use except for a light quotation. It is a troublesome phraseto manage an on organ, because the hands,as the shows,are fully clearly transcript occupiedduringthe whole of the time. The The next
Orchestral Works
95
No.58
Piano
busilyengaged in bringingout the importantthematic material of the principal notes subjectof the Overture. The wood-wind be prepared for quality;the Swell should and the Pedals, with a have all the stops approximatingto full string-tone; soft Pedal Reed if the instrument possesses one, should be coupledto the Great, with lighteight-foot flue work. Couple the Choir and Swell, and, also the
feet too,
are
"
actuallythe first seven Choir (or Solo) should
latter to the Great. With the above registering as
takingthe left-hand down or the Swell at the eighth,and
up to
a
startingpoint,a crescendo
to the Great
the Great
can
at the sixth measure;
at the
tenth, where
the
be made
by
adding to score
more
of further increases beingmade. is too long for one page, and seeing This whole passage of thirteen measures that the plan of this book is to show on the right-handpage the explanatory of the score notes and transcripts givenon the left-hand page, only the firstsix
easilyadmits
measures
are
here
quoted.
Excerpt54 fromBrahmsfe
TragicOverture
nooJroppo Allegro-ma
Flutes
Oboes
Clarinets in ft
Bassoons
*
8
of Jfoisrft'Alfred By kind pennissiov A Co, Lengnlck
[06]
Orchestral Works
The
last
example from Brahms's "Tragic" Overture
piece of figureof
97
orchestral
the upper
writingto
an
no
rhythmic
importance. Yet this
or
chords.
No.54
Piano
'
Manual
The
suitable to the organ.
means
rapidreiteration of singlenotes
No.54
jointed disparticularly
idiom which, though perfectly natural to the
is by wood-wind, and horn families,
referred to is the
a
for the organ.
arrange
stringsand horns, is of paramount
rhythmicfigurecontains
is
r
The
string, idiom
If this passage
be
the organ
playedon
for the Organ of Transcribing
Art
The
in sound will be that of chords
actual result
version, the pianoforte
it is given in the
as
playedjustbeforethe strong part
of the beat
and held over!
will be audible. Xo distinctrepetition effect
This is not
to whether
questionas
a
of free wrist-action;nor
amount
whether playedby repetitions, inaudible in any truth is,that the if it is not
as
to foreign utterly
is the
or
The
means.
by mechanical the accoustic
case
in
are properties
chords is
is no
use
seeinga performermake be heard
they can
where
actuality.None action pallet
on repetitions
make
of the
the
performanceof
of these characteristics
of the organ, and however
which transcript
repeatednotes. to full Swell.
the Great.
we
the
good
these
The
which,
that instrument. an
organ.
rapidrepetitions
imagination only.
the organ
It
less keyboard,un-
distinct sounds.
very
of
rapid repetitions an
the organ to
an
playedon
with flue and Pedal-organ,
run
wind wood-
strument percussionin-
present in the modern
are
offer indicates
It is intended to be The
idiom
the "lipping"of string-player;
alwaysa tendency for rapidlyrepeatedsounds
The
very
players;and the "hammer-blow"
brass instrument which
these
throughthe buildingas
It is the "bite" with the bow or
normal.
an
quick
practically
on speedare artistically possible
is audible in the real effectof repetition, indicated,
are
of
processes, will be
the organ, is absolutely ineffective on moderate
mal abnor-
an
possess
fact remains, that
or
original organ music,
some
not
the appearance
concern
of single notes quickrepetitions
at a Only repetitions
Even
hand
hall where
concert
does it
mechanical
obtainable by repetitions
does, or does
one
action may
artistic
key-to-
be, there is
into each other.
artistic substitute for the short a
fairly big Great-organ coupled
reed stops, must
be coupled to
Works
Orchestral
or
the
from
even
of the
part
is usually developed
which
The
the
of successful in its
merely
was
of the
concertos
way
advent
of
the
are
Bach
to
and
the
the
and
infancy,
predecessors
the
strumental in-
solo
soloist and
of the from
movements
period present
these
of
concertos
music
modern
Mozart
and
difficulties in
real
no
orchestral
all IQL the
at
Haydn
"
and
instruments
organ.
exist
not
certos con-
of pianoforte concertos,
capacity both
Handel
did
solo
two
case
transcription, because
organ
Beethoven's
in
smaller
many
violin
pianoforte or
insuperable, because
musical
utmost
artisticallyadapted
be
can
original,especially
there
But
instrument.
(i.e.for
concertos
difficulties,almost
to
the
from
larger movement double
involve
orchestra) would
the
the
transcribing of
The
99
at
sense,
of
and
"
that
time
until the Beethoven
himself.
Bach musical
debt, the
and ideas
score
Grieg
in
of the
a
A
minor
small
passages,
hardly
is
quotations
introduces
against the
tables be
Slow
theme,
orchestral while
from
this work,
force
one
is
employed;
the wood-wind,
the solo instrument.
second
a
debt
Movement
Ex.
chief tune
measure
which
as
55
through
us
the
upper
'cellos and
the
transcribed
a
the
from
solo. beautiful
for first 'cellos
in fprlier, the
organ
shows
the
acknowledged he
(Adagio) an
turned
for
of gratitude, for Vivaldi's
to-day except
exceedingly effective
canonically,the
same
it
both
often
Concertos
made
known
They
Bach
account.
Violin
and
transcriptions; The
organ
Concerto
Vivaldis'
the
would
excellent
to
of
case
pair of artistic thieves!
a
men
turned
he
concertos
Bach's
were
of other
in the
and,
organ,
violin
Handel
medium
of
Grieg's Piano A
glance
at
the
where
passage,
(the 'cellos dividing),
pianoforte solo part.
strings playing quiet double-bosses
Only
tremolo
lightly support
Excerpt55 from the middle movement
of
Pianoforte Griegfc
Concerto
AdagioJ)=84 Flutes
Oboes
Clarinets
*
"
By
Hud
8
permlsiion of Hours.
[100]
4
C Jt Peters,Leipsit;.
fc A.minor
Excerpt56 from
Grieg*Peer Gynt Suite,No.lAnitra'sDance
Tempo dHVIazurka J=i"o Triingle
con
lord.
ViolinsI
Violins n
TLolu
c
Violoncellos
*
3
a
By Matf pendsdon
456
of JfossrtfC.P.Fetus,Lripxlg.
The third movement Peer Gynt Suite is a charminglittle of Grieg's dance, of and very prettily scored. It is so airyand dainty, as to be, in the opinion that remember outside realms almost the of But music. must we many, organ and Cinemas,as well in Concert Halls, Theatres, splendid organs have been placed as
in sacred edifices. We
must
remember
insteadof beingreservedmainly too,that organs to-day,
for the servicesof the variousChurches
a centuryago, are being as theywere used to minister to the enlightenment leisurehours. of the people's extensively Their mission to-day has expanded far beyondthe restrictedthoughpraiseworthy
[102]
Orchestral Works
103
of our forefathers' times. They minister to the educational and delectational joys and interests of the masses of music-lovinghumanity. And, where the instrument is reallyadequate both tonallyand mechanically, and the executant a true and well equippedartistwith a wide range of musical sympathies
uses
and tastes, their power
for
providinghealthyand
sane
enjoyment is unbounded.
Every good organ should have beautiful Flutes,Clarinets, Oboes, Trumpets, and Reeds, as well as a fair amount of Stringand general flute-toned stops. should also have
foundation of that tone which is a splendid the glory of the organ, viz.: full and rich Diapason tone of thirty-two-, sixteen-, of Mixture work. four-,and two-foot pitches, as well as a good sprinkling eight-,
Every good
organ
Given an instrument such as is briefly outlined above, why should not the the plaintive beautiful Flutes,the full toned Clarinets, Oboes, and the brilliant similar to that of their orchestral prototypes Trumpets be used in a manner
providing always, of course, that the music is arrangedto suit the organ? It the organ transcription is this reasoning which leads us to consider freely, of such
charminglydaintylittledances
as
that from which
Excerpt56 is taken.
No 56
Piano
It will be observed that the 'cellosare with The
divided,and that the firstviolinsshare the first 'cellos, the principal theme and its counter-theme underneath. rest of the small force providesa lightaccompaniment to these melodies. in the score, may be ignoredin the transcript. part given to the triangle
The If however
the instrument possesses a triangle-effect a fourth manual, the on for the use of such laying-outof the transcriptgives occasional opportunities an
effect, e.g. in
hand
measures
two
and six,at the quarter-note silences in the left
part. No
66
Manual ni
Pedal
j n
\J
n
ps*
The
for this passage may be: registration I. Choir-organ string-tone coupledto Swell,for the right-hand. n. 'Cello or Small-Diapason; for the left-hand thumb. Great-organ, IH. with for the left-hand. Swell-organ Oboe, string-toned stops The
and eight-foot flue stops,need Pedals,with light sixteen-,
not
be
coupled.
Excerpt 57 from Smetana's
BarteretBride Overture
Vivacissimo Violins1
Violins II
8
9
Messrs :Bd.Bote *.UBock, Berlin, ByHndpennissifmof W.
Smetana's Bartered Bride Overture,is a
8.
work interesting curiously
to
place
The fugalnature under considerationfor the purposes of organ transcription. of the overture certainly lends itselfto effectivetreatment on the organ. and the added partsare written in eighthThe subject, itscounter-subject, notes, which if taken at the speedintended by the composer, demand clearnessin manual technique, what and an even over greatercommand be calledthe dove-tailedtoe-and-heel technique of the [104]
great
might
pedal-board.Given
the
Orchestral Works
105
to use this dove-tailed toe-and-heel technique the part allotted facility requisite rendered. and effectively be artistically to the Pedals in Ex. 57 can "
No.57
Piano
be compared with the original, version and the transcript pianoforte of the parts are rewritten,in order to avoid the eighththat some the left hand is free to uncouple the repetitions.In the fifth measure
If the it will be note
seen
Great and Pedal organs. No.57
rrrfrrrf rfrrrrrt rrrrrrrT Manual
1{semprep
t to Fed.
I
UtoPodJ Pedal A
A
8
*
9
*
4^-*
of the stops will be found by arranging: satisfactory disposition L
The
gether Choir-organ,with right and four-foot string and flute-tone to"
with n. HI. The not too
The
an
"
Beed. eight-foot
four-foot. to Principal Great-organ,
The Swell,similar to the Choir-organand
coupledto it.
or pedals,coupledat firstto the Great-organ,should have light, drawn. flue stops heavy,sixteen- and eight-foot
at least
Excerpt58 from Sullivan's In Memoriam
Overture
molto Allegro
*
8
of By tindpeniisiba
4 Herbert Svllhu
[106]
5^
ft
Bt*,iiidNonUo*C"*Ltd.
78
Orchestral Works
Sullivan's
In
Memoriam
excerpts. with
Ex.
58
gradual crescendo
will reveal is indicated
of instruments.
the number and that
of No.
given to
the
54
point which
a
in the There
is
(alsofrom Brahms's
a
work, and by
these
us
with
(from
53
both
two
further
ture) TragicOver-
Brahms's have
extracts
in
"
used
by
adding to
this
viz.: in the
the low
A
common.
similaritybetween
Tragic Overture) as
teresting exceedingly in-
of these excerpts, without
score
rapid repeated-noteidiom
in the Sullivan
Both
furnishes
Overture
comparison of Excerpt
A
107
example
prominence
stringsand
bassoons
of the orchestral forces in the Brahms's
most
points requiregreat
care
in the
transcription.The
ture. over-
unsuit-
No.68
Piano
ei
"
ableness of the it has
71
1
repeated-noteidiom
alreadybeen enlargedupon
on
in
an
organ
need
Manual
Pedal
n
fl-f 0
I
'
] \0
not
dealingwith Excerpt
No.68
m
a
nrT
be discussed here, as 54.
Excerpt59 from Sullivan'sIn Memoriam
Overture
Allegro^molto Oboes
sempre
cresc.
sempre
cresc.
-sempre
cresc.
p
sempre
cresc.
P
sempre
erase.
sempre
cresc.
Eorns'inC
14.
AltolTenor
m
Trombones
Ban
Ophlcleide
Timpani
Violins 1 cresc.
Violins II
^ sempre
cresc*
i ttmjfrecrtsc.
Violoncellos;
fey NoTello A klndyermiasionjrf VerluaJSallinnJBsii^aad
[108]
Cti^Ltd.
brass the
feature, is
note
and
have
and
and
oboes, the
type
string
of music
rhythm
Register
L II. m.
Couple
the
the
Swell
the
the
string nor
as
organ
with to
of
the
at
horn,
strings here, this
is.
But
string-, flute-,
eight-foot Diapasons;
to
the
the
the
soft-
left-hand
with
for
its repeatedof the
passage
Swell-organ.
and
in each
the last eighth-note The
group.
Oboe.
Pedals
and
is the
and
oboes
group,
more
warrant
the
melodic
'cellos
the Pedals
reed-tone;
the
omission retain
measure,
importance to
germane
follows:
with
the
one,
string accompaniment.
Choir-organ, Great,
to
of
Pedal-board.
upper-string notes
the
for
organ-playing,
anticipation
though
important
"
of
given
the
of
note
sustained
the
work
to
the
omitted
have
we
the
altered
of
genus
suited
double-basses
We
in the
not
required
Organ
theme
the
are
figure of the
accompanimental
The
other.
here
will be
right-hand
The
tune.
features
melodic
principal
The
for the
of Transcribing
Art
The
110
the
organ
of
the
of
the
than
upper-
characteristic
SECTION
III
Section
III
and
for Small for the Original Works Organ Transcribing and Pianoforte Music, String Orchestras, Chamber and
The from
larger
the
Small
for
the
as
inexhaustible is
treated
Chamber
for
the
they and
less in
Music,
each
executant
trio, quartet,
capable of
of
consummation
But
although
the
organ,
the
the
middle
slow
than
and
in the
(See the
text
companying ac-
larger
a
'cello
this
perhaps
are
with
the
definite
solo
and
is not
purest far
full
to
instrument
each is
apparently With
orchestra.
capacity, and
the
nonet,
or
the
type
whether
music
great of
written
instrumental
seek, especially
perfect
most
of musical
range
in
the
that
to
bring
within
these
works,
the
or
and
of instruments,
expression.
quintet
string quartet
Given
furnishes
the us
music
with
the
music.
be
impossible from
movements
movements,
for
band,
individuality
more
case
in
small
a
the
with
compared
quintet.
or
might
the
reason
instrumental
it
the
performs
tremendous
a
is
finest
it is the
players
movements
somewhat
stand
limited
and
and
capacity,
forms
string quartet
violin, viola
the
Rondo
Concertos.
In
octet,
The
extant.
is small
quintet, septet,
solo-combinations
are
and
music
the
full orchestra.
solo
a
players
of the
The
of the
the
expressiveness
Chamber from
expression
from
these
case
or
and
numbers
musical
resources
more
demanded
it be
of
medium
similar
Sonata-form
quick
Orchestras
Accompaniment
55.)
Excerpt
The
Pianoforte
i.e.,the
movements,
works
category
same
with
Songs
offer
a
wide
[us]
choice
of much
the
artistic
smaller beautiful
range
pieces, such music.
of as
60
Excerpt from
the Romanza
of
Haydn's
Allegretto Plate
i
Oboes
Bassoons
Horns' in ft
Violins
I
Violins II
La
Beine
Symphony
Small
Excerpt
is from
60
the
Orchestra
*kRomanza"
115
of Haydn's
Reine
La
Symphony.
No
Manual
legato
no*
the
In
first two
horns, and
a
early decades
few
A.
well
the
Great-organ
to
be
would
Claribel
the or
might
organ,
without
the
Principal
produce
a
latter
having
to
any
band
the
obtain
of Ex.
the
have
stops
satisfactory string-tone drawn
on
The
60.
effect
the
two
until
not
was
and
the
string players
to-day.
Pedals
and
it
of the
numbers
with
flue
to
the
Swell
phrase
with
Reeds,
would
sound
left hand
on
a
Great
eight-foot string-tone "
or
couple
stops
to
second
string-quality (the Violoncello more
bassoons,
two
that
string-toned stops;
and
playing firmly
oboes,
two
remembered
that
is
(of light quality) coupled
phrase
Stopped-Diapason; Pedal
4
Swell
on
be
that
small'
flute,
century
proportions
If the
One
for it should
nineteenth
right-hand
the
measures
score!
for the first
sufficient
with
the
at
"
to
half
a
strings
of the
increased
were
it
look
But
brightly.
and
4
Violone) the
coupled
Pedal-organ.
Pedal to
is too to
the
coupled. un-
pungent,
the
Choir-
Swell,
and
Excerpt 61 from
the
same
movement
as
the
preceding
Allegretto
Flute
Oboes
Busoons
Horns
in Eb
Violins
1
p
Violins n
f
Violu
Double
95
J J J
J I r j.
f
Excerpt62 from
Serenade Elgarfe
in E minor for
String-orchestra
Violins1
Violins II
Violas
VioloncellosI
of By kind permission
Messrs.
A HJrtel, breittopl Leipzig
[1181
String Orchestra become
to
apt
tedious and
It is difficultto account
enjoyed
or
more
and
"
for this ennui
continued
are qualities
An hour
all
of
for
color.
But
though
an
be very
in the
hour's
one
a
about
even
it is
a
a
changing
the
recital, can pianoforte
be
it is all
case,
any
out with-
stringwork
and
peculiar
tone-color.
thoroughly
in the other, it is
feelingor thought of monotony
change of color
"
reliefof
a
more
restful and
artistically possibleto reproduce whole
complete short
semblance satisfactory for
invariablyresults when
long time without
a
trying,without the welcome
phrases,and
with
long a period
in tone-
performance of flute,oboe, clarinet, and bassoon
quality. Therefore, while and
which
stringquartet playing,or
pianofortework, there is never
would
in for too if persisted
wearisome
compensating relief of tone-color.
some
tonal
118
of string music
movements
of tonal-imitation, we otherwise
monotony
and
must
sooner
weariness
on
or
will
music
satisfying passages
the organ later cast
inevitably
result.
Excerpt 62 is from The movement
one
from which
of Sir Edward it is taken
is not
of imitative stringquality on- the organ.
Manual
Elgar'searlyworks for stringorchestra. too
long for the effective reproduction
Excerpt63 from the
same
as
the preceding
j=9" piacevole Allegro Violins!
Violinsn
) i
U
[WO]
Siring
Orchestra
121
Manual
*
qq*
Pedal 8
Excerpt not
placid
so
brighter and
could
qualitiesfor
tone
would
measures
be
sound
an
well
transcript.
organ
lightGreat-organ, with eight-, The last four Swell, with light reeds. a
on
given, with registeringas
in No.
62.
example from chamber-music, as distinct from compositions written is from Mozart's orchestras, String Quintetin E-flat. string first
The
spread position of
stringsplaying and a
a
firm
The
64
'cello passage
here, because score.
also
the
first beat
suggested on
of Measure and
the third beat
These
quality of
two organ
of
1, with
of tone.
body
of the legato character
context.
sonorous
more
would
on
chords, suggests breadth
of the musical
measure
the
ness Firm8
"
but
of the phrase, and
points provide opportunities tone than the quiet sections
bear.
in
suggested for the second in the
are
parts
degree, partly because
brighter and
Excerpt
the
detached
fullness of tone
smaller
partly because of
varied
more
Our for
for
Ex.
as
four-foot flue stops coupled to the
measures
in
entirelydifferent piece of music from the preceding. It is There is a vitalityand rhythmic lilt which 62. suggests
an
first four
The and
is
63
4
4
measures
half of Ex.
of the prominence
to
7
60; but
which
will require a it should
results
from
timbre
be much
similar more
its melodic
to
that
pronounced independence
Excerpt64 from the Andante
in Mozart's
String Quintet in E-f-lat
Violin 1
ViolinII
Viola I
[1*8]
Chamber
Husic
123
Wo.64
If the organ can be arranged as follows: I. Choir-organstring-tone, coupled to Swell; n. with flue-work; Great, lightqualityeight-foot III.
and flue-work. Swell-organ, string-, eight-footstring-stop an coupled to Choir; this excerpt could
Pedal, with be plaved NOTE.
as
suggestedin the above transcript. The
sign
"
indicates both hands
on
the manual
I, II, HI, above the .right-, or left-hand stave,
are
named.
intended for the
or right-,
left-hand
respectively. (I),(II),(m) althoughnot absolutely necessary,
are
given
to
prevent
fusion con-
doubt; e.g.,the second, third and fourth beats of Measure 1 in Ex. 64 or therefore HI is indicated;but on the firstbeat of are played on the Swell-organ, the next measure, the I left-hand drops down to the Choir, shown by the signI continues on the Swell,indicated above the left-hand part, while the right-hand by the apparently redundant
sign(HI).
Excerpt65 from the
Larghetto in Mozart's Quintet
in-A majorfor Clarinet and
Viola
TOtancello
[124]
Strings
Excerpt66 from the Andante
in Mozart's
String Qnartet in D minor
Violin I
Violin D
Viola
Excerpt66,alsofrom a work by Mozart,isfullof suggestions for varied toneThe 'cellobroken-chord passages and the spreadposition coloring. of the chords in the second and third measures upper-string are indicativeof strength, and vigor.The firstviolinpart in the A-flatsectionhas allthe firmness, ance appear-
and effectof
a
accompanimentby
a
solo passage with a soft gently-figured accompaniment. The solo part mightbe represented by Flute,Oboe, or Clarinet and the combination of stops which would
of sound. [126]
quality; ground providea quietback-
Chamber
Music
127
No.ee Andante
13
For the firstfew measures, the organ should be preparedas follows: I. Choir-organ, a nd flue; string II. Great-organ, lighteight-,and four-foot; HI. Swell,stringand flue,and with the Oboe; Pedals, 16, and 8, coupledto Great and Choir. could utiliseChoir In the second part of the excerpt,the right-hand and with the Pedals uncoupled. (both with string-tone); The student is recommended This is only one suggestedregistering. of accompanied solo work. for himself,and try other effects also that there should be an increase in tone duringthe last three measures.
coupled
to Swell
to experiment
Note
Excerpt67 from the Andante
in Schubert'sString Quartet in A minor
Violin!
ViolinU
VidU
J "w
J "
J _*
J
J
"
"
Violoncello
si
m
[128]
Chamber
Our
last A
from
examples
Minor
Music
string-quartet
Quartet,
Op.
violin
tune.
work
Ex.
89.
are
has
67
129
two
from
the
"Andante"
in
features
prominent
for
bert's Schuduction, repro-
viz.:
(a)
The
first
from
movement
of
melody
The
running
is
the
Schubert's
Impromptu (b)
This
which
(No.
8,
"first is
Rosamunde
taken,
Entr'acte
Op.
subject" and in
of
proper
it
is
B-flat9
identical and
of
the
whole
-with his
the
forte piano-
142). of
accompaniment
No.
the
excerpt
the
second
violin.
67
J'i" DJ
J
j
F
j
j
j
fr"
Manual
Pedal
ILJ
i
The
right-hand
registering on
III,
may
and
be the
i
the
i
same
left-hand
as
oh
in
I.
the
second
part
of
Ex.
66,
but
with
the
Excerpt68 from the
same
movement
ViolinI
ViolinII
Viola
Violoncello
[130]
as
the
preceding
Chamber
Music
131
6
No.
Manual
Pedal
Here
vigor.
again, The
strongly, A
as
spread
in
chords
contribute
their of
light Great-organ
would
serve
well
the
for
first
part
and share
Ex.
66, the
effect
is
in
excerpt.
making four-foot
for
bigness
flue, coupled
of
one
arpeggios, all being played
eight-, and
this
of
very
and
to
strength
firmly and
breadth Swell
of with
and
very
sound.
Reeds,
Excerpt69 froxna.Nocturne for 'CelloSolo with Pianoforte accompanimentby H.E
poco
Ellingford
apoeostrinfsndo8 appassionato
Cello
Piano
L^^.".""
^.
ii
i
Ti
^
FT ii
_?r""*^
One examplefrom instrumentalsolo work with pianoforte accompaniment to elucidate of the methods that may be adoptedin the making some
willserve
of organ arrangements. If the solo part is the most prominentfeaturein the [132]
Excerpt70 from Benedict'sPianoforte Variations the bee sacks on Arne'stune Where
Allegretto
Piino
F^
C184]
Music Pianoforte
of pianoforte music is rich in repertoire
The
in the whole
world of music.
Amidst
135
of the most
some
beautiful ideas
this wealth of great musical art, there
instances where the effectof the music is greatlyenhanced
many
the organ
to
idea
keyboards;innumerable richer and
to become
seems
ferred by beingtrans-
instances in which
the musical
beautiful in its changed medium
more
are
of
pression ex-
form. than in its original
we
The
itselfhas partially imitative qualities. In the pianoforte
find
a
obtainable
in the upper
"
produced by
be
can
of flute tone
semblance
a
certain
of fourths,fifths, and octaves; disposition
C
late Hans
Von
and
the terms,
are
supposed. Hence,
be
of touch
in
on
the modern
than is commonly pianoforte
impart to the
to
subsequentepisodequitea varietyof coloring.This of
means
tone-colors of the different wood-wind
of the world's great
grand.
ing right-hand phrasesin the 100th and follow-
sensitive playeris able practised,
a
promoted especially by
edition of the sonata
good modern
explanatoryfoot-note:
an
individual imitations in the can
the
modulations
more
a
and quasioboe, quasibassoon,quaiflute, quasiclarinet,
added, in the form of
'There
and, in
Btilow,in his edition of Beethoven's pianofortesonata
Major (Op. 53),placedover measures;
"
sixteen-foot, organ-pedal or of the lower notes
is not difficult of the 'cellosand double-basses, to realiseon
The
quasihorn effectsare
part of the pianoforte keyboard too, bell-like effects
octaves, the roll of the
the bottom
in the middle octaves,
"
octaves,
upper
referred
a
vivid
imaginationof the peculiar
instruments."
to.) Here then
we
see
(See page how
8 of Billow's
Btilow,who
student invited the pianoforte pianists,
to use
was
one
his orchestral
music. of pianoforte imaginationin the interpretation
Now, there is one music
and
who organists features of
a
can
great difference between
that of music render
on
full orchestral
the organ
forte arrangement of piano-
written for the full orchestra.
the score"
keyboard a reasonable at
account
The
number
of
of the salient
sight"is comparativelysmall; but
any
The
136
trained
properly artistic
and
eyes
hands
pianoforte there
at
would
of
exposition
organist's
an
well
been
the
there
developed, The
organ.
the
and
sake
of
included
Ex.
Bee
the
from
played
are
all
the
to
words, in
the
not
the
with
organ
orchestral
an
other
is
a
the
normal
case,
and
of
giving
idea
the
from
work,
and
correct
intentions
this
the
fairly
a
In
composer's
score,
down
of
contents
70
sucks."
Mixtures
admirably.
this
The
any
too
which
Songs
completeness,
from
hardly
remark
same
and
tone-coloring is
original
in
is
of
sense
accompaniment.
for
the
in
difficulty.
moderate
sit
to
care
Organ
sight
at
orchestral
full
the
play
can
glance,
a
the
for
full
score
sight.
If
for
at
with
who
of
music
grasp,
but
few
very
rational
a
can
score;
are
organist
pianoforte
the
Transcribing
educated
and
manner
of
Art
a
few
necessity
applies at
are
without
form,
his
the
all
labor
technique
organ
transcribe
to
to
vocal
possible
on
equally
both
examples,
general
have
pianoforte solos
the
of
actual
of
pianoforte
with
music
forte pianobe
can
organ
But,
transcription. music
and
songs
work.
Benedict's
sparkling
judiciously
Pianoforte
effect
combined,
of
Variations
Flutes
on
eight-, each
of
on
and
the
Arne's
four-foot, three
"Where
tune
manuals,
with
the
Mutations
will
suit
it
Music
Pianoforte
187
Manual
Pedal
7
'"'
T
J
I?
'
T
T
P
J"
j
J
Excerpt from
Lento
Chopin's Funeral
71 March
J
Piano
*
to.
^
Funeral
Chopin's orchestra in
Excerpt
Music
have
been
might
magnificently
so
"
March
Pianoforte
grand
the
are
139
for
written
chord
rising
great
the
modern
full shown
passages
71.
loco
Manual
Pedal
If
the
second the be with
and
fourth
of
rest
subjected the
against
has
organ
the
-to
quasi
good
organ
varied
horn
"
heavy will
measures
accompaniment a
a
full
in
stand
all
on
a
small
accompaniment
brilliant
would
Full
on
sound
Swell; a
or
and left
The
departments. It
treatment.
with
out
left-hand
the
Tuba,
pressure
well
Great-organ
telling
Great be
Flute
effect
trill
hand
on
it would
chords
the
against
phrase
may
Diapason-tone
given 8.
in
to
a
Clarinet
Excerpt72 from
Polonaise Chopin's
Allegro appassionato sotto
voce
Piano
M
[140
in C-
Sharpminor
Excerpt
73
from No. 2. of Sullivan's Daydreams
grazioso Allegretto
By UfllpmriMltt
of Hubert
SiUhw
B*.
Music Pianoforte
143
Excerpts73 and 74 are from Sullivan's earlypianoforte works. They are in simple construction,and they make charminglittlepiecesin a transcribed form for the organ. NO.TO
Manual
Pedal
Ex. 73 may
a quiet reed,against Solo for a Swell-, or Solo-organ chordal motive in the third, the Choir,uncoupled. The little
be taken
accompanimenton
as
a
broughtinto reliefby beingplayedon a to the small Great-organ Flute. The Pedals,with light16, should be coupled and the Great manual may be coupledto the Swell,ifdesired. Choir-organ,
sixth,and seventh
measures
may
be
Excerpt74 from Sullivan's Twilight
Andante quasi allegretto
Piuo
to.
[144]
Music Pianoforte
m
p.
with
145
and flue Oboe,string
II for left hand thumb soft Flute
Pedal
The melodic part of Ex. 74 suggeststwo
methods of treatment.
It
can
be
playedas a duet on one solo stop;or it can be playedas a duet for two voices the upper-voice by the right-hand on a reed stop, and the lower-voice on fingers "
lower
thumb on a flute stop. This lattermethod keyboardby the right-hand involves the use of thumbing.The accompanimentshould be givento a very quietand unobtrusive combination of Choir-organstops. a
In order to obtain
be
effectin the accompaniment somewhat legatissimo each chord-note should akin to the damper-pedal effecton the pianoforte" the its the held beyond actual value as longas of the chord position lengthof a
more
under thehand willadmit.
"
Excerpt75 from Rachmaninoff'sPrelude inC-
Sharpminor
Agitato
Piano ^^"
mjf
^^fi^
*s^^^' ___
_^_____
Excerpt76 from the
same
work
as
the
preceding
.Pitno
6
Rachmaninoff's ever Prelude in C-Sharp Minor offers popularpianoforte be for bigeffectson a grandscale. In Ex. 75, the right-hand can opportunities taken on a Full-Choir coupledto Full Swell; with heavy Pedal 16 and 8 coupledto Great Diapasons16 and 8. The left-hand can then bring out the under theme on Great Diapasontone. Here,in Ex. 76, a fairly for increasing to the bigGreat organ (allowing room Full Swell entire Great-organ at the second or fourth measures) to "nd coupled Full Pedal willbe necessary.
The SweD-Sub-Octave to Great would add to the
Music Pianoforte
147
effectat the third measure, accompanied by the use of the Swell-crescendo-pedal. should be held as long as the All the chord-notes of the eighth-note-triplets admit. will o f hand position the No.75
Excerpt 77 from the song There's
a
Rosebud
by HEEIlingford
Js80
imp
Yoica
lojonrheart
thai rosebud
shel-ters,And
"
its
rswliance shall
a
rise,
-
lift
iiiii
i
i=*
UiiiV
"*"
Piano
^
"
J p nr
p pir
in all Life'sgar
Lbvfe4iest rose
k .
i
i
UgMforwin-ter skies,
Sum-mer
lightforvin-ter.
vail.'
10 By
collavoct
il kind
skies..
12
of M6Mrs.Bo"vort]iAG[o.,Lofld"m. peralsiion
[148]
13
"
den, Stun-mer
Excerpt 78 from the song Two
by H.E Elliogford
A
Andante Voice
Dfttle Lives
IE"=" -
danced
daws
o'erthe
dim-
pled
bay,
-
San*
light
fell
Piano
ratentondo
Light
Day
-
light
o
-
TOT
And
By kind permiMtat
and
laugh -ter
twi
of Messrs.
light
Seal, Stvttud
4
past.
Co.,London,
on
a
Songs
151
No.
Manual
Pedal
CIWA
9
roBtntando molt
tPed.lt
In
Excerpt78, a good Flute with Tremulant,would make an effectivesolo Voix Celeste and small a Swell-organ stop. The accompanimentwould require Gamba. In the playing of this accompaniment,allchord-notes which liewithin the chord-position of the hand should be held down beyondthe length teenth-n of the sixvalue. The use of the Swell-crescendo-pedal will be necessary for the crescendo indicated at the fifthmeasure. A soft-eight-foot Pedal stop is intended for the firstsix measures, with the addition of a light sixteen-footat the seventh.
Excerpt 79 from the song
Pride
London
byH.F.Ellingford
Andante Voice
J" JJ There's
a
dear lit-tleflow-er That
hap -pens
to
J" The
be
lit-tle flow-er
one
This
" Piuo
I
""*="=
? i
""
=-^
"
{"MJJ
"-*"e.
j. j world holds for me;
She's
street
and she'spret-ty,And
where
does
she hide?
Why, itfc
_
J) IJ dowa
in
Ci-
the
ty, She's
my-Lon-.don
Pride,
j! Jl g
It's down-
.the Ci
in
-
ty, She's
* crwc.
0
A
raW.
*
S
? my
Lon
-
don
Pride!
A
"r "
of Meaara.ChappellACo.jLondon. By kind permission
[Ml]
^
Songs
153
Manual
Pedal
Ex. 79,
requiresthe
in the firstfour
use
measures.
of the upper part of a thirty-two-note Pedal-board It also necessitates the employment of the left-foot for
lies; crescendo-pedal belongingto the manual on which the chosen solo-stop 8. At the fifth while the right-foot is busy with the pedal-partin Measure more measure weight of tone is requiredin both the solo part and the accompaniment,
the
and
some
sixteen-footstop should be added mentioned
regard to the playing of song The true guide to the rhythm and the general arrangements on the organ. will be found in the words of the lyric. As these words would be sung expression should the vocal rhythm, the nuances, and true artist,so far as it is possible, by a the inflection of the words be reproducedon the organ. An artistic player will find the means in to do this in the careful attention to the vocal phrases and of the restricted and almost imperceptible the use crescendo-pedal. One
further
point may
be
to the Pedal.
with
SUMMARY The
of a good modern
resources
organ
with three
or
more
varied,and the constitutents of the fullorchestral score to formulate make it possible
or
even
too
keyboardsare too to comprehensive
suggestwhat mightbe considered the best
of a givenphrase. The fact is,that more than one good arrangement adaptation The chief aims throughoutthis work have been three-fold. is often possible.
First,to enlargeupon
the constituents of the orchestralor chamber
of the
score
melodic and prominentreliefthe principal harmonic featurescontained therein. Second, to bringall the foregoing passages show how to able suitwithin the range of practical Third, politics. eminently organ of music other than that which is the modern organ to the interpretation written for it. has been specially the two keyboardinstruments which have The organ and the pianoforte are of original been utilisedfor over two centuries not merelyfor the exposition The music but also for the making of arrangements. organ and pianoforte into the home the instrumental and has been responsible for bringing pianoforte vocal music, in a transcribedform of all nationalitiesand periods.The organ but on a larger of bringing scale,has been the means too, in a similarmanner of instrumental to the churches,concert and entertainment hallsa great variety
givenexcerpts,and
to throw
into
and vocal music which, but for that instrument,would have been
a
sealed book
in these
places. in these days,which giveconcerts orchestras, splendid but there are not nearlyenough,and never fairly numerous,
The are
in various centres will be, to go the
rounds of the thousands of churches and hallsof musical entertainment. here then the organ intimate
helpin
can
knowledgeof the
that great work
the
of the more disseminating orchestralmasterpieces. both tonally be totally and mechanically, inadequate,
The organ to-daymay for the artisticinterpretation of much
"
of the ultra modern
'but the orchestralwork has been and is beingcomposed;
music
of the
periodand type
which the
ever
In the
to
written.
foregoing pages
we
have dealt with short passages, and have tried to
to how
with practical theyshould be transcribed, suggestions the method of performance.But as organs are almost as varied in their
givesome as
orchestral music which
be made can to sound foregoing excerptshave been collected, the finest organ as as ennoblingand as edifying, grand and as beautiful,
from as
It is
idea
as
individual constituents
as
the musical contents
of the differentscores,
we
will
by dealingwith a few well known works, briefly and indicating theirsalientfeatures, methods of treatment. discussing
summarise
the whole matter
Mozart's
and gaiety. It Figarooverture is a^workfullof sparkle, lightness, is intended to be playedat a great speed, about J 160. There is much rapid at the unison and octave; and in eighth-note passage playingon the strings =
many
of these passages, the bassoons
joinforces with them. [154]
There
are
many
Summary the wood-wind
where
instances
and drums
form
values
corroborate
in thirds.
eighth-note passages
melodic
Short
phrases
secondarysubjectmaterial, and the horns,trumpets, mainly for the purpose of emphasizingthe accents, filling
point of view of organ-tone, there is nothing in the overture the heavy ponderous weight of the Great-,and Pedal-organs.
The
quick passages
the
of low stringsand bassoons
of technical reasons,
because
The
cumbersome.
such
the
but because
would
the manuals
technicalities. If
laborious
be
few
a
be too
destroyed. The
difficulttechnically, at such
be very
effect on
ultimate
suited to the
not
are
the effect would
prevailinglightnesswould
in thirds scale-passages and
of
the
From
not
The
structure, and climaxes.
up the harmonic
"
these
playing is the predominating feature.
rapid passage longernote
have
155
would
by
double notes
no
be
pedals;
heavy
and
wood-wind a
high speed
compensate
means
quiring re-
for
played at the beginning the phrase,to guide the
of of such passages it will serve to indicate the nature the the and towards at time, to fillout apparently form, same imagination original thin
the
on
As
places.
generalrule, such
Choir-organcoupledto would
organ
a
Egmont
is
a
of sound, and than
using full combinations
score.
Small
a
Great-
are
are
The
of organ
used
conceived
tone
a
on
greater scale,
a
producebig combinations
to
through
Egmont
the
Figaro. largerthan that of Mozart,
much
so
divided, combine
all the instruments
in the Mozart
is not
the musical ideas
each strings,
and
wood-wind
even
grander conception than
much
The orchestra employed by Beethoven
The
of
effective
more
rigid.
overture
and but the writing is fuller,
much
are
the Swell-,for the tone
be too strident and
Beethoven's
these
as
passages
much
more
extensive
givesus opportunitiesfor
overture
especiallyin the brilliant coda
"
pass com-
of the
overture.
The the
full wood-wind
largeheavy
will bring into
passages
pressure
play the Solo-organreeds (not
ones) and flutes combined.
manual, the orchestral wood-wind
In the absence
phrases could be given on
of
a
Solo
the reeds and flutes
of Choir-organ and Swell-,coupled. In the fortissimo tutti passages of the harmonies.
out
by being played
in
a
Chords
care
should be taken to avoid
should be
so
arranged
that
close positionin the highest octaves
they
of the
a
faultylaying
do not
scream,
Great-Manual;
that they do not groan, by being playedin as close a positionin the lowest octaves; and that they do not yawn, by having big gaps between the rightand left-hand
note-groups.
joiningtogetherthe discursive or conversational elements of the (thatis to say, those phraseswhere subjectmaterial is thrown from one In
or
or
group
of instruments
to
another) with
will be necessary in order to avoid the other. indescribable muddiness on
phrases which is an
orchestral feature,can
view of the reasonablyintelligent of application necessary is the practical from an orchestral pointof view as well
if
a
as
ment instru-
cretion sections,great dis-
ugly breaks of sound on the one hand, The principle of the overlappingof be successfully adapted to the organ
musical a
the tutti
overture
true
context
is
grasped. All
conception of the musical
from the
view-pointof
organ
that
is
context
music.
The Art of
156
The organ
Transcribing for the Organ
to the of this principle application
music
for the full orchestra,has been
reverse
process,
that of arranging
demonstrated successfully
to
in his orchestral arrangement
an
of eminentlyartisticdegreeby Sir Henry Wood Bach's great Toccata in F, and by Sir Edward Elgarin his similar adaptationof lifeinto Weber's Invitation to Bach's C Minor Fugue. Berlioz,too, placednew the Dance,when he transcribed that brilliantpianoforte piecefor the fullorchestra. hoven's a much largerorchestra than BeetWagner's Tannkauser overture requires Chorus") is given to low Egmont. The openingtheme (the"Pilgrims' and upper wood-wind beingadded a littlelater. Then wood-wind, the strings the same theme is givento the brass in chords,accompaniedby full wood-wind, re-iteratedchords,and the prominentdescendingsixteenthhorns,and low string of the violins. A return to the openingbars leads into the "Venusnote duplets burg-Music." Here we get the violinsdivided,sometime into four and sometimes all over the score, as well as the into six parts,tremolo; ecstatic rhythmicfigures of the various motifs. Stringstear out rushingchromatic scale announcement seethes with passages and execute rapidarpeggios.The whole orchestral mass theme" thundered excitement until the final return of the "Pilgrims' passionate the brass fashion and in out by trumpets, accompanied by the rest triumphant of the orchestra, here again as in the earlierpart of the overture, the descending sixteenth-note dupletsof the violins shiningthrough the rest of the orchestral body like brightshimmeringsilver. of the "Pilgrims' theme" Picture the wood-wind statement a good Solo-, on flute with and flue Swell Then and the theme reeds, Choir, or same quality. givento a Great- reed in chords,with the prominent violin descendingpassages the Pedals providing the rhythmicpulsathe Choir-,coupledto Swell-organ, on tion of the re-iterated chords. Then on to the 'Tenusburg," where in the work, we can shut off all the sixteenupper ranges of the wood- wind and string flue work of the Swell and Choir, to suggest foot,and much of the eight-foot of the musical context enables us to effect lightnessof effect. The disposition without any marringeffectsof halting the changesin registration The or breaks. theme" occurringtwice in the middle of the overture, is joyous "TannhSuser the and Great-, combined, and, after much excitement,a Swell-organ givenon lull bringsus to the beautiful clarinet tune accompaniedby tremolodelightful and a pianissimo where, on the organ, clarinet qualitycan be utilised, strings; combination of Swell- organ stringtoned stops as an accompaniment (highup in the Swell-manual), be effected by means of composition can pedalsand pistons. Then on againto the climax and such a glorious climax! If the organ possesses a full-toned heavy pressure Tuba on a Choir-,or Solothe brass chords will ring out the theme, with the brilliant Manual, how finely violin descendingpassages, turned into rapiddescendingscales instead of the duplets, broughtout on the Great organ 8's,4's,2's and. mixtures (no reeds,and with all heavy eight-foot Diapason-toneshut off)coupled to Pull Swell! A of registration is of course great amount absolutely necessary in a work of the calibreof Wagner'sTannhauser overture but it can allbe artistically done on an adequateorgan. "
"
chief
The for
solo
point
purposes
freely deleted
complex
similar for
the
organ.
It has
if the
had
music
The
of
intentions been
modern
tonal
as
is
the
have
general
The
these
of
exploitation
the
passages
composers' sound
as
its
and
true
produces
The
nature.
most
of curious of
feeling
a
in
development
box
huge
a
marvels
Its
instrument.
work,
accessory
tricks
innumerable
arranging
in
A
organ.
it resemble
make
complexities unfortunately
recent
the
medium.
the arrangements
somewhat
concealed
perhaps
make
to
than
preserve
complicated
and
and
stop-control
resources,
for
written
to
arranged
expression
changed
work
this
author
and
wonderful
a
the
practicable,
originally
organ
in
ingenuity
far
of
aim
the
been
as
throughout
adopted
composers
relentlessly thinned-
and
passages,
unintelligible in the
be
would
been
has
amplified
these
of musical
form
other
some
notes,
which
phrases
method
original
for
Organ
when
is that
mind
in
borne
"works
their
original, they out
be
to
the
for
of Transcribing
Art
The
158
tricks.
wearying
restlessness. The
is not
organ
It is not
prototypes. the
soft
middle
of
notes
stringed instrument, string family
large
many not
that
heard
horn
does
in
notes
the or
The
body
considerably
own
nor
It
it.
unlike
yet
a
of the
band,
but
It
does
effects.
beautiful
some
is not
those
wood-wind
wood-wind
rich
and
voice,
precious
when
brass)
the
preserve to
playing
are
the
"
the
rich
quasi-vocal
organ,
fairly
diapason
for 'even
close
tone
this
(with
in
harmony
is
"
quality
double-basses
violas, 'cellos and
to
of sound
in
its
as
well
as
for performances
use
and
concert
grand
color, its solemnity in this
its broad
with
description
every
covered
the
book.
to-day halls is
and and
and
and
string
many
of it
a
more
has
its
cinemas.
tones,
brightness,
its
than
is
tone
beautiful
frequently given grave
its tonally
diapason. tone,
its flutes, reeds,
enlarged;
buildings, but
more
soft
organ,
early restricted
suited
its
orchestra
mixtures,
magnificent
and
reeds
resembling
from
qualities not a
chestral or-
somewhat
produced
brass
a
human
tone,
their
have
stops
the
a
can
low
medium
compass.
modern and
almost
of
not
belong exclusively
not
very
of their
parts
is
gorgeous
possess
be
can
beautiful
It
quietly.
glory and
very
quality be
pianoforte,
it possesses
subtleties
important
most
obtainable.
are
Its
organs
its
yet
pianoforte, although
a
the
yet
playing
the
possess
effects
orchestra,
an
or
capable
varieties
less sacred
on
all
the
these organ,
gracefulness, the
orchestral
of
tions muta-
producing
of tone-color. character
rightful place, la
amplifying
not
has in
only
buildings, and
music
been sacred
of
music
there
its wealth
a
Its
is
none
of variety
of the
period
-
s
THE
TECHNIQUE ART
and
ORGAN
of
PLAYING By
CLARENCE
DICKINSON
M.
A., Lnr.
Doc.
the collaboration of
With H.
D., Mus.
A.
DICKINSON M.
A., PH. D.
This important work, unique in its system of instruction, is by virtuoso who reveals the secrets which lead to great achievements and a perfect mastery of the Organ. The author is one who has had the inestimable privilegeof studying with such artists as Guilmant, a
Vierne, and Moszkowski, of Paris;Wild, of Chicago;and Reimann, from close association with them of Berlin;and of gaininginspiration numbers his own and their artistry. He of the pupilsmany among mpst prominent organistsof the day. The many problems which beset the church and concert organists of material solved; and the mass squarely met and definitely are
presentedin the work is arrangedand treated with the
utmost
ness clear-
with sound pedagogical methods, carrying and in accordance from the elementary studies to the highest the student systematically artisticattainments. The work is in one Volume, music folio size,containingfifty and two hundred pages of text with eighty musical illustrations, musical exercises and somely of compositions. Handgraduated pages bound in cloth boards.
Price: Cloth,$6.00,net"
NEW
YORK
.\
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Published
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Orchestration
Choral
By
FORSYTH
CECIL of
Author
"A
number
and
American
and
composers
is
desirable,in
most
other
the
of musical
interests
Organists constantly inquire a
technical
use
grounding
this slim
that
them claim
to
routine
them
problems
General foundation
is
which
by
prevent
according
to
on
every
When
page
are
shown
once
this
may
be.
the
foundation-techniqueis the thing
musical to
aim
which
book
no
it is for their
pretence
NEW Sole
YORK
avoided
But
Agents
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indeed, they
"
are
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in their
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H. "
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Size, Cloth, $2.00
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deal practicallywith
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elaborate
that
fields of instrumenta
composer.
gives
one
certainty of orchestral method.
Octavo
should
of their compositions.
into the
a
it is
will give them
And
ability of the individual at,
increase
orchestration.
mainly
these
their extension
by English year rarely performed
increasing; and
is
It makes
been
means
no
they
But
necessities. to
handy
of modem
pastures
face them
of the book.
nothing
short
the foot-hills thereunder, and
principleshave
orchestral there
to
a
each
are
that
culture,
force employed
written.
been
has
into the high sun-smitten lead
of these
scoring of their compositions.
in the
volume
for
written
proportion
the
But
etc.
works
Most
small the orchestral
continue, however
choral
enormous.
accompaniment.
orchestral
with
of anthems
"Orchestration,"
Music,5'
Nationalism,9'
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FRENCH
Present
and
Past
By
GRACE
HARVEY
love the instrument which a poet has named "the I do not hesitate to recommend to all who of Mr. voice of the the Grace, French Organ Music, Church," Harvey fascinating study great Past and Present,because it is well written,well arranged, and comprehensive. One finds in it (a rare thing in a time when the historians of music set themselves to the task of writing dry lists) the a very judiciouslyexpressed appreciationof the works and their styles. There is,moreover, which ought to be essential qualitiesof every artist worthy the name. love and enthusiasm Cesar That love and enthusiasm were certainlythe characteristics of my revered master
masters
for its own Thus Mr. Harvey Grace's book is doubly precious to me, first, sake, and of the greatest of the musician of genius who one was by its dedication to the memory of all our of the organ, as well as the incomparable improvisorand the true founder
French
symphonic school.
Franck. second
D'INDY,
VINCENT
Cantorum,"
Director,"Schola '
Paris.
October, 1919.
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