Variations de Concert (Op.1) by Joseph Bonnet (1884-1944)
Symphony I by Louis Vierne (1870-1937)
V. Andante
Pastorale (Six Pieces, Op 19) by Cesar Franck (1822-1890)
Allegro Giocoso (Sept Improvisations, Op. 150) by Camille Saint-Saens (1835-1921)
Cantilène (Trois Pieces, Op, 29, No. 2) by Gabriel Pierné (1863-1937)
Fiat Lux (Douz Pièces Nouvelles) by Théodore Dubois (1837-1924)
Franco-African Triptych Godwin Sadoh (b. 1965)
(In memory of Jean-Louis Florentz)
I. Bata T'o Njo (The Dancing Shoes)
II. Prière
III. Fantasia Africana
Program Notes
Variations de Concert (Op.1) Joseph Bonnet
Joseph Bonnet received the premier prix at the Paris Conservatoire as a student of Alexandre Guilmant and came to the US in 1940, settling in New York and founding the organ department at the University of Rochester’s Eastman School of Music. Dedicated to Clarence Eddy, the work was written to show off the sonic possibilities of the French organ. It begins with a dramatic introduction and statement of the theme, followed by four variations that end with a virtuosic pedal cadenza, which includes scales, arpeggios, and even four-part chords played by the feet, concluding with a brilliant toccata with the theme in the pedal.
Symphony I, Louis Vierne
V. Andante
Louis Vierne, the blind organist of Notre Dame Cathedral, was a student of both Franck and Widor. Using the symphonic tone colors of the Notre Dame organ, he developed the organ symphony into an art form that showcases dense chromaticism and harmonic richness. The Andante features lush harmonies and soaring melodies, showcasing the strings and flutes of the organ in both the manuals and the pedals.
Pastorale (Six Pieces, Op 19) Cesar Franck
The melodic and beautifully crafted music of Franck was once considered trailblazing. Franck composed for a number of different musical genres, including both sacred and secular works for the organ. The Pastorale features an opening theme played on the plaintive oboe stop, which expands and dialogues with chordal statements. As the piece develops, staccato chords give way to fugal statements based on the opening motif, eventually combining the two themes.
Allegro Giocoso (Sept Improvisations, Op. 150, No. 7) Camille Saint-Saens
This collection, composed in his last compositional period, dates to the end of 1917 and the beginning of 1918. Saint-Saens had not written for the organ in nearly 20 years, concentrating on other compositional genres. The Allegro Giocoso is a joyful work with intense rhythmic drive and drama.
Cantilène (Trois Pieces, Op, 29, No. 2) Gabriel Pierné
French organist Gabriel Pierné was a student of Franck and was his successor at the Church of St. Clotilde, although he was never named Organist Titulaire. The Cantilène is the middle movement of the Trois Pièces. It is written in a lyrical style in the warm key of E flat Major and features some of the softer solo colors of the organ.
Fiat Lux (Douze Pièces Nouvelles) Théodore Dubois
Fiat Lux, meaning “let there be light” in Latin, is a work that musically describes Genesis 1:3: “God said, ‘Let there be light!’ And there was light.” The work is a crescendo from pianissimo to fortissimo, depicting the earth without form and culminating in a glorious sunrise. Du Bois taught at the Paris Conservatoire and served in several parishes in Paris.
Franco-African Triptych (In memory of Jean-Louis Florentz) Godwin Sadoh
I. Bata T'o Njo (The Dancing Shoes)
II. Prière
III. Fantasia Africana
I was privileged to be asked by the composer to play the world premiere of this piece. Taken from Sadoh’s notes: “The Franco-African Triptych for Organ Solo was commissioned by the Association Ephemere Classique to celebrate the memory of the French composer, Jean Louis Florentz and his interest in African music. The three-movement work exemplifies the attributes of modern intercultural music through the juxtaposition of musical ideations from the African and French cultures.
The first piece, Bata T'o Njo (The Dancing Shoes) is set for the pedals only. It is infused with scintillating rhythmic patterns to move the performer and audience to dance. The organist should play the music percussively, imitating African drumming. The second movement, Prière, is built on a Zulu song from South Africa, Nkosi Sikele 'i Africa (Prayer for Africa). The last piece, Fantasia Africana, is very lively and uses all the resources of the organ.
It is an original composition based on a 'five-note motivic cell' that is derived from the composer's first and last name, Jean Florentz. (equivalent notes G E A F E) The music closes using all the resources of the organ with fff.”
Biography of R. Monty Bennett
R. Monty Bennett began musical studies at an early age in his native California. A graduate of the University of California, Santa Barbara, he was a student of Dr. James Welch. Early keyboard studies were under the tutelage of William Bagileo, Herbert Nanney, and Dr. Roger Nyquist.
For 10 years, he served as the Principal Organist at Friendship Missionary Baptist Church, Charlotte, North Carolina, where he designed and dedicated the five manual Fratelli Ruffatti pipe organ. He now serves as the Director of Sacred Music/Principal Organist at Our Lady of Grace Roman Catholic Church, Lancaster, SC.
Monty has performed around the world as an organist, and in 2005, he made his European debut playing a recital for the 22nd International Festival of Organists in Turin, Italy, where he played the European première of a collection of African-American spirituals by Calvin Taylor. He has performed for numerous chapters of the American Guild of Organists, as well as playing at major churches and universities across the county. As a champion of the music of Black composers, he was chosen to play the world première of the Franco-African Triptych by the Nigerian composer, Godwin Sadoh.
Monty holds the Colleague certification of the AGO, the Fellowship diploma of the Three Counties School of Music, is a Fellow of the Guild of Musicians and Singers, a Fellow of the Cotswold Society of Church Musicians, a Fellow of the Fraternity of St. Cecilia, and is a Certified Nonprofit Executive (NANOE).