Symphonie No. 8 in B major, Op. 42 Charles- Marie Widor (1844-1937)
I. Allegro
Toccata and Fugue in E major BWV 566 Johann Sebastian Bach (1685-1750)
Fantasia alla Marcia Denis Bedard (born 1950)
Allegro in f-sharp minor, Op. 18, no. 2 Alexandre Guilmant (1837-1911)
Adagio from the Symphony-Cantata: Ariane, Op. 53. Alexandre Guilmant
The Reverend Mustard - His Installation Prelude Nico Muhly (born 1981)
Arioso Leo Sowerby (1895-1968)
Toccata Gerre Hancock (1934-2012)
Program Notes
Charles-Marie Widor (1844-1937) is one of the towering figures of the French Symphonic school of organ music. He presided over the console of the church of St. Sulpice in Paris for 64 years. His greatest legacy is in the form of ten symphonies for the organ. These symphonies are not standard four-movement works, which are comparable to large-scale compositions written for the orchestra. Rather, they are collections of suites intended to highlight the orchestral colors of the organs of Aristide Cavaillé-Coll; hence the title, “symphony”. The eighth symphony is arguably the least often heard of the symphonies, possibly because of its length (clocking in at 50 minutes), not to mention its difficulty. (The fifth symphony is arguably the best known of the ten.) The opening movement of the eighth symphony is broad, expansive, and dramatic. Its average volume level is medium loud, but three blazingly loud episodes culminate in an ending of bliss and serenity.
Johann Sebastian Bach (1685-1750) is quite possibly the most famous and respected composer in the history of classical music, so much so that Robert Schumann is quoted as saying, “if the only music that were to survive was the music of Johann Sebastian Bach, music would still survive”. Bach was so revered that his death in 1750 marked the end of the Baroque era of music. Bach was prolific in most musical genres, but his organ music alone is remarkably vast. The organ works can be divided into two genres, chorale-based works and free compositions (i.e., music not based on German Lutheran chorales). Today, you will hear the latter. Bach enjoyed the fugue form (derived from the Latin word fuga, or “flight”). He paired preludes, toccatas, fantasias, and even a passacaglia with fugues. The Toccata and Fugue in E major is not often heard in recitals, yet it’s a remarkable piece. It was likely an earlier composition, having been influenced by the “praeludiae” of his mentor/idol, Dietrich Buxtehude. Following a prelude with lots of sweeping gestures, there is a fugal section which, by its very nature, stays in a strict tempo and features imitative writing. A “recitative” follows, with a fluctuating rhythm. The final section is another fugue which builds to a glorious ending, complete with lots of fun pedal passages.
Denis Bédard (born 1950) is a Canadian composer who at the age of 75 is still writing prolifically for the organ. Born is Quebec City, Denis studied in Canada and the Netherlands before teaching at the Conservatoire de musique de Québec and the University of British Columbia. He has also presided at several churches, most recently Holy Rosary Cathedral in Vancouver, BC, from which he retired in 2021. His music is characterized by an “accessible” style, meaning that he enjoys memorable melodies and a tonal center. He also enjoys movies, and his music often has a march-like quality reminiscent of Hollywood cinema. The “Fantasia alla marcia’ is no exception. Written in 2019, it has a loud, joyous opening section. Its second section still sounds like a march, yet it’s softer and more lyrical. A brief interlude on the organ’s voix céleste brings the listener to the return of the opening section. All this is accomplished in under five minutes!
Alexandre Guilmant (1837-1911), while associated with the French symphonic school, is not as well-known a composer as Widor, yet he is a fine composer. Some of his pieces are still popular today, but not to the extent of Widor or even Louis Vierne. Perhaps this is because Guilmant has become better remembered as a teacher and a performer instead of as a composer. He taught many French and even more American students during his tenure at the Schola Cantorum de Paris and the Conservatoire de Paris. He was also a musicologist, reviving many pieces of 17th and 18th-century French organ music. His organ works vary from short, Gregorian chant-based works to large-scale sonatas (eight in total). He even arranged two of his works for organ and orchestra! The two pieces you’ll hear come from his many volumes of “Pièces dans différents styles”. The Allegro in f-sharp minor is a soft but relentless piece. Its outer sections feature a flowing melody in one hand with a “hiccup” echo in the other. The middle section is much more tranquil AND in a major key. The Adagio from the symphony-cantata“Ariane” is a transcription of the composer's composition, originally written for orchestra. Even though it’s very tonal, its time signatures are 7/8 and 11/8, very unusual for the 19th century. Still, “adagio” means “slow”, and the music sounds remarkably calm, even ethereal.
Nico Muhly (born 1981) is the one composer on today’s program who is younger than me. He is based in New York City, and his music could be loosely labelled as minimalist. He is comfortable working with both classical and pop musicians, namely David Bowie. “The Reverend Mustard, His Installation Prelude” was written for Nico’s friend, James Mustard, for his installation service as the rector or the Church of Saint Mary the Virgin in East Barnet, New York. Nico describes his piece as “effervescent and hyper”. It is written in perpetual motion, with constant dialogue between the hands.
Leo Sowerby (1895-1968)is widely regarded as the dean of American Church music. Born in Michigan, he is best known for his tenure as organist and choirmaster of St. James Cathedral in Chicago, but for a while, he was a cutting-edge composer in the United States. In the 1910s and 1920s, Sowerby thoroughly absorbed the jazz idiom, and his music reflected the optimism of the “roaring twenties”. Even though his music was considered “old hat” later in his life, Sowerby’s church music is still performed today. Sowerby’s “Arioso” is lounge music at its finest, using the softest and most indulgent sounds possible on the organ. After a very free-flowing introduction, the main theme is introduced. The middle section gets agitated and wanders through several tonal centers before returning to the main theme. The ending is beyond ethereal. Time stands still, and the piece ends in a hushed whisper.
Gerre Hancock (1934-2012), during his lifetime, was idolized as the most brilliant American improviser and choral director of his time. His tenure at St. Thomas Church, New York City, was quite possibly the golden age of men's and boys' choirs in the United States. “Uncle Gerre” was heavily influenced by the 20th century French style of organ improvisation, and his toccata reflects that it its harmonies. Written in 2002 for the dedication of the organ in the chapel of St. Paul’s School, Brooklandville, MD, the piece starts quietly and builds up to a massive climax, hopefully a fitting end for today’s program!
Biography of Brennan Szafron
A native of Regina, Saskatchewan, Canada, Brennan Szafron has served as the organist and choirmaster of Holy Cross Episcopal Church in Tryon, NC, since November of 2021. He leads a varied music ministry, including an adult choir, a children’s choir, and a handbell ensemble. Prior to that, he served for 18 years as the organist and choirmaster of the Episcopal Church of the Advent in Spartanburg, SC.
He maintains his Spartanburg connections as an adjunct instructor of organ and university organist at Converse University and as the principal keyboardist with the Spartanburg Philharmonic. He performs frequently as an accompanist with the Spartanburg Master Chorale and in North Carolina, he has rung for three years with the Blue Ridge Ringers handbell ensemble. In August 2024, he became the ensemble’s assistant director.
He holds degrees in organ performance and church music at the University of Alberta (B. Mus.. with distinction), Yale University (MM), and the University of Michigan (DMA). Over the years, he has performed frequently as a solo recitalist both locally and nationally, notably at Washington National Cathedral, St. Thomas Church New York City, and the Cathedral of St. Phillip in Atlanta, GA.
Dr. Szafron’s non-musical passion is the great outdoors. He is an avid hiker and swimmer and has visited all 47 state parks in South Carolina and 90 percent of the state parks in North Carolina. He visits his parents and other family members in Calgary, Alberta whenever possible.