Prelude for Organ by Fanny Mendelssohn (1805-1847)
Song of Peace in a Time of War by Mary Beth Bennett (b. 1954)
Chorale Prelude: Du, o schönes Weltgebäude by Dame Ethel Smyth (1858-1944)
Introduction to the Grand Fugue, by Samuel Wesley (1766-1837)
in E Flat by Sebastian Bach
Fugue in E-flat Major "St. Anne" J.S. Bach / arr. Vincent Novello (1781-1861)
BWV 552
A Fancy for two to play by Thomas Tomkins (1572-1656)
Fantasia d-final by William Byrd (1540-1623)
Prelude on an Old Folk Tune by Amy Marcy Beach (1867-1944)
Hommage à Gershwin: Quodlibet on Slane by Christa Rakich (b. 1952)
Paean by Kenneth Leighton (1929-1988)
Program Notes
This morning’s concert opens with a vigorous and march-like Prelude for Organ by Fanny Mendelssohn (1805-1847). Fanny, older sister to well-known Felix, was considered by herfamily as the better musician of the two. Despite this internal recognition of her talent, she wasalso held to her father’s belief that a woman’s place was as an ornament to her husband.
Song of Peace in a Time of War, by Virginia based composer Mary Beth Bennett (b. 1954), is a reminder of the gift of music despite the chaos around the world. Bennett begins the work with a nod to Jean Langlais’s “Song of Peace.” A turbulent middle section of loud crashing chordsfollows. After a pensive modal section, the work concludes with fragments of the well-knownEaster hymn tune, Victory.
Ethel Smyth (1858-1944) became one of the most significant English composers of her era but undeservedly remains rather obscure. Du, O schönes Weltegebäude! (O thou fair Earth) speaks of devotion to Jesus and a longing for death. Listen for the sighing motive played by the left hand and the ostinato-like (repeating) patterns played on the pedals with the feet. Shades of Bach and Brahms are evident in Smyth’s style, an influence developed during her period of study in Germany.
Whilst we often credit Felix Mendelssohn with bringing Bach’s music to England, there was no greater native proponent for rediscovery than Samuel Wesley (1766-1837). Here we play Introduction to Grand Fugue in E flat by Sebastian Bach, written to proceed a duet arrangement by Vincent Novello of Bach’s “St. Anne” Fugue. Wesley and Novello (the same person as the orange Messiah scores!) premiered both pieces in succession at the Foundling Hospital in 1814.
Thomas Tomkins (1572-1656) was a student of the English virginalist school. The school derives its name from the small, square harpsichord found in many homes at the time. Some of these instruments featured a second, smaller keyboard adjacent to the main one, known as mother-and-child virginals. Fancy for two was written for one of these curiosities and it is fitting that mother and son will play it side-by-side today.
William Byrd (1540-1623) was the father and master of the English virginalist school. His prolific compositions include well-known choral pieces and not so familiar keyboard works. Many can be played both on the virginal and organ. Fantasia d-final is in three distinct sections: simple counterpoint, then joyous madrigalian dance, and more counterpoint crowned with glorious scalic flourishes that keep the player on their toes so to speak.
American composer Amy Marcy Beach’s (1867-1944) Prelude on an Old Folk Tune is her only work for organ. Despite gender barriers, Beach achieved wide recognition with her compositions that include symphonies, a piano concerto, choral music and much chamber and piano music.
In 2004-2005, The American Organist magazine published several articles about improvisation on the organ by Professor Christa Rakich. Pleased with the results of some of the improvisations created because of this project, Christa took the time to notate her favorites and make them available for other to enjoy today. Today’s selection Hommage a Gershwin was selected especially for a summer day in Charleston!
Kenneth Leighton (1929-1988) is one of the unrecognized geniuses of the 20th century whose life was tragically cut short by cancer. His style is uniquely rhythmic, highly contrapuntal, and consciously mixes church modes with contemporary tonal tendencies and shades of atonality. Paean is true to its name: joyful, thrilling, and displays many of the best qualities of Leighton’s work. We hope you enjoy the program!
Biographies of Virginia and Johnathan Bolena
Virginia Bolena is Organist and Director of Music at Trinity Episcopal Church in Staunton, Virginia, where she presides over their Taylor & Boody pipe organ. Since commencing this appointment in 2013, Virginia has significantly grown the chorister program, directed the choirs during two UK cathedral residencies, overseen the purchase of a Taylor & Boody continuo organ, and organized a regular concert series.
As an organist, she has performed for the American Institute of Organbuilders and the American Pipe Organ Builders Association. Solo recitals have taken her to notable venues, including Saint Thomas Church, NYC; Oxford Town Hall, UK; and Interlochen Center for the Arts. Current performance interests include studying and promoting the underperformed works of female composers.
A dedicated member of the organ community, Virginia serves on the board of the local American Guild of Organists chapter. She performs regularly with the Staunton Music Festival. Eager to continue challenging her skills, Virginia has participated in the Virginia Baroque Academy and will attend the Noordbroek Organ Academy, in the Netherlands, later this summer.
Hailing from Staunton, VA, organist Jonathan Bolena is a rising sophomore at Oberlin Conservatory. There, he studies organ with Jonathan Moyer and harpsichord with Mark Edwards. Jonathan began his formal musical training in his mother’s choirs before attending Saint Thomas Choir School in New York City where, during the 2024/25 academic year, he served as Organ Scholar. Between his formative periods at Saint Thomas, Jonathan attended Woodberry Forest School where he was Organ Scholar of the school’s chapel. During his senior year he earned his Associateship Diploma from the Royal College of Organists and served as the Interim Director of Music at St. Paul’s Episcopal Church in Ivy, VA.
Jonathan is a collaborative musician and enjoys continuo accompanying at Oberlin where he performs with various ensembles on period instruments. On breaks, he frequently accompanies his mother’s choir of Trinity Espicopal Church, Staunton, VA; in 2024 he played for their weeklong residency at Wells Cathedral. This summer, Jonathan will be a guest clinician at Trinity’s Sacred Music Week leading the Boy’s Choral Experience summer camp and an adult choral workshop.