The Art of Transcribing for the Organ Music

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

.\

THE

Sole Agents for NOVELLO

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W.

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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

for NOVELLO

THE

the

indeed, they

"

are

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in their

more

technique

H. "

it does

application to everyday applications have been grasped

Size, Cloth, $2.00

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of taking

deal practicallywith

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elaborate

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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

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Music,5'

Nationalism,9'

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Author "The

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MUSIC

ORGAN

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.

Price,Cloth,$1.50 List

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