We Gather Together, Four Thanksgiving Hymn Settings for Organ - Neil Harmon
10-605

Noel! Four Christmas Carol Preludes for Organ - Neil Harmon
10-163

The Diapason “Reviews”
February 2009 Issue
by James McCray

In these two seasonal collections, Neil Harmon demonstrates his skill as a composer and provides welcome additions to settings of familiar hymns. The first volume contains preludes on For the Beauty of the Earth (DIX), From All That Dwell Below the Skies (DUKE STREET), Now Thank We All Our God (NUN DANKET ALLE GOTT), and We Gather Together (KREMSER). The Christmas volume contains settings of Infant Holy, Infant Lowly (W ZLOBIE LEZY), Hark! The Herald Angels Sing (Mendelssohn), Silent Night, Holy Night (STILLE NACHT), and The First Noel.

Common to all of them is an introduction that also functions as an interlude between statements of the tune and as a conclusion. Rhythmic liveliness and harmonic freshness characterize the settings in both volumes. Harmon manages to inject coloristic chords and suggest tonal diversions without leaving the home key in most cases (as apposed to modulating several times within a 3-page piece as a substitute for development, a favored technique with less imaginative composers). In every case, the construction is seamless.

Each prelude has its own character, reflecting the text and spirit of the respective hymn. Briefly, in the Thanksgiving collection KREMSER is flowing and harmonious, DUKE STREET swings along in a jaunty 6/8 meter, DIX celebrates in 3/8 with the cantus firmus coming in off the beat, and NUN DANKET blazes forth in a toccata that calls to mind Egil Hovland’s magnificent setting.

The Christmas collection is no less interesting. The First Noel is short (Harmon calls it an introit) and would serve as a good introduction to the hymn. Silent Night is, as one would expect, a quiet prelude, but in the key of D-flat it’s even warmer than usual. And Harmon writes expressively but avoids sentimentality, always a danger with this beloved German tune. Infant Holy, Infant Lowly rocks asymmetrically but gently in 5/8. Hark! The Herald Angels Sing just rocks. In 6/8, with a variety of figurations, syncopations, and a grand flourish of chords and pedal at the end. It’s a stunning postlude and conclusion to the set.

The good news is that all of these settings are within the reach of any competent organist. They all require the use of pedals, but these parts are not overly taxing, and when the pedal line is most active, the manual parts are simple (and vice versa). Harmon is well versed in traditional counterpoint and Baroque styles, but he has a modern harmonic sensibility. It’s a happy marriage, and the resulting pieces are fresh and appealing. Highly recommended.

Reprinted from The Diapason (February 2009), pp. 19.

The Bethlehem Collection, Six Preludes and Postludes for Christmas
David M. Cherwien
10-165

The Diapason “Reviews”
February 2009 Issue
by Sara Mahler Hughes

This collection comprises six carol settings: Bring a Torch, Jeannette, Isabella, Joy to the World, The Sussex Carol, O Bethlehem (O Belén), and Your Little Ones, Dear Lord, Are We (Little Lamb, also Her Kommer Dine Arme Små). The pieces, all newly composed for this publication, range from 3-7 pages long and are suitable for service music or a pre-Christmas Eve program. All show the sure hand of one of America’s most experienced and respected church music composers. Solid technique grounded in counterpoint and historical styles characterize these pieces.

The carol melodies are mined for motives that in turn give rise to accompanimental figuration. Sometimes, as in Bring a Torch, the figuration provides a lilting cushion (reminiscent of Bach’s opening motive in Kommst du nun, Jesu, von Himmel herunter); in O Bethlehem, a gentle rocking motion; in Joy to the World, a propulsive in moto perpetuo toccata. Cherwien varies the predominant figuration in each piece enough to avoid monotony, however, and the results are refreshingly surprising.

In The Sussex Carol, the trio texture provided by a playful broken-triad figure in the treble, a walking bass, and the melody in the left hand is interrupted by a series of secondary dominant chords separated by measures of rests. Shortly thereafter, the music modulates from F to A major, then D-flat major before returning to F. Joy to the World is even more tonally adventurous because Cherwien treats the notes of the cantus firmus as chord members of triads in keys other than the tonic key of D. Thus, the first twenty-one measures cycle through D, E-flat, B-flat, G, and B before returning to D in measure 24. It’s an exciting ride and listeners are sure to enjoy the trip, especially as it ends with a manual and pedal flourish that underscores the triumphant nature of the carol. Highly recommended.

Reprinted from The Diapason (February 2009), pp. 19.

Fantasy on Tempus Adest Floridum - Karen Keene
MSM-10-158
The American Organist “Reviews”
April 2007 Issue
by Rollin Smith

Talk about all-purpose: this tune fits “Gentle Mary Laid Her Child,” “Good King Wenceslas,” and “Spring Has Now Unwrapped the Flowers,” making it suitable for Easter (but I doubt many congregations know the latter and might think it odd the organist is playing “Good King Wenceslas” on Easter Sunday). There is also a “flaming martyrs” text, “Never flinched they from the flame”—No. 136 in The Hymnal 1940. This is basically an introduction and three variations, the second being a rustic dance of younger excitable shepherds. The whole piece is charming, and a delight to play. Not difficult and easy to listen to. The melody is prominent, the variations are engaging, and the price is not prohibitive.
Reprinted from The American Organist (April 2007), pp. 84-86. Used with permission.

The First Noel: Hymn Enhancements for Advent and Christmas - Karen Keene
MSM-10-157
The American Organist “Reviews”
April 2007 Issue
by Rollin Smith

These eleven brief carol settings are either introductions, accompaniments, or meditations. Treated are Adeste fideles, Freu dich sehr, Forest Green, Hyfrydol, Stille Nacht, Sussex Carol, and three versions of The First Noel. These are all good. There’s not one I wouldn’t use this Christmas.
Reprinted from The American Organist (April 2007), pp. 84-86. Used with permission.

The Holly and the Ivy: “6 Traditional Carols for Organ”- James Biery
MSM-10-159
The American Organist “Reviews”
April 2007 Issue
by Rollin Smith

These are manuals-only settings with some Pedal indicated, but not essential. Carols are Irish Carol, My Dancing Day, Patapan, Rocking, Tempus adest floridum, and The Holly and the Ivy. All are delightful, easy, and would be just as good on a Christmas recital as in a church service.
Reprinted from The American Organist (April 2007), pp. 84-86. Used with permission.

Join to Sing: 18 Organ Introductions on Familiar Hymns - Albert L. Travis
MSM-10-791
The American Organist “Reviews”
April 2007 Issue
by Rollin Smith

Wow! If, after hearing one of these introductions, your congregation doesn’t sing twice as loud, pulses need checking. These are truly exciting introductions, not difficult, and each catches the spirit of the hymn that follows. Most are peppy, though a couple are moderate and one, Sojourner, is shameless. This collection should have been included with the Christmas music because there’s an introduction to Antioch that you cannot be without. It’s worth the price of the 30-page volume. Other intros are Canonbury, Coronation, Cwm Rhondda (2), Diadem (2), Ein’ fest Burg, Ellers, Foundation, Kingsfold, Madrid, Pleading Savior, Roeder, St. Agnes, St. Denio, Tidings, and Wondrous Love.
Reprinted from The American Organist (April 2007), pp. 84-86. Used with permission.

The Holly and the Ivy: “6 Traditional Carols for Organ”- James Biery
MSM-10-159
The Journal of the Association of Anglican Musicians “Instrumental Music Reviews,”
November 2006 issue
by Richard A. Konzen, DMA

This volume has six fairly easy settings of mostly familiar carols. Included are the tunes IRISH CAROL, MY DANCING DAY, PATAPAN, ROCKING, TEMPUS ADEST FLORIDUM, and THE HOLLY AND THE IVY. Registrations are straightforward and very adaptable. Pedal parts are easy; someone with limited pedal technique could handle this music.
Reprinted from The Journal of the Association of Anglican Musicians (Vol. 15, No. 9, November 2006) with permission.

Fantasy on Tempus Adest Floridum - Karen Keene
MSM-10-158, $8.00
The Journal of the Association of Anglican Musicians “Instrumental Music Reviews,”
November 2006 issue
by Richard A. Konzen, DMA

This fantasy is associated with several hymn texts, making this work useful not only for Christmas, but also for Easter (Spring has now unwrapped the flowers). There is also a text from The Hymnal 1940, “Let us now our voices raise.” The fantasy falls into three sections; the melody is always easy to find. A program for the fantasy is provided as well as good suggestions on how to manage this piece on instruments of different sizes. The registration is colorful as is the harmony. It is a fun piece that is not difficult to play, though one will be practicing the sections with the melody in the pedal.
Reprinted from The Journal of the Association of Anglican Musicians (Vol. 15, No. 9, November 2006) with permission.

O Come, Emmanuel: “Six Advent and Christmas Hymns for Cello or Viola and Organ”- Raymond Haan
MSM-20-168
The Journal of the Association of Anglican Musicians “Instrumental Music Reviews,”
November 2006 issue
by Richard A. Konzen, DMA

Here are six settings that could be done with a good high school student or someone of equivalent ability. There are reproducible parts with this volume, and the viola player has the advantage of getting bowed parts—cellists will have to mark their own bowings. The volume contains the tunes CHRISTMAS DOWN, DIVINUM MYSTERIUM, PUER NOBIS NASCITUR, QUEM PASTORES, VENI EMMANUEL, and VOM HIMMEL HOCH. The instrumental parts are not difficult, though some extra rehearsal would be needed for the setting of VOM HIMMEL HOCH. The organ part is fairly easy to read and has colorful registrations. One setting to take a look at is DIVINUM MYSTERIUM.
Reprinted from The Journal of the Association of Anglican Musicians (Vol. 15, No. 9, November 2006) with permission.

A Wedding Triptych Based on Three Hymns – John Ferguson
MSM-10-650
The Diapason “New Organ Music”, May 2006 issue
by Gale Kramer

In the Prelude on When Love is Found (O Waly Waly) the composer, not surprisingly, finds a canon. The Processional on Now Thank We All Our God features a carillon figure in parallel fourths over the theme in double pedal. The warmth of parallel sixths in the Rhapsody on Go, My Children, with My blessing (Ar hyd y nos) contrasts with the hardness of the parallel fourths in the Carillon. In addition, some rich harmonic dalliances balance the strict diatonicity of the previous movements.

Mountain Music – Harold Stover
MSM-12-125, $20.00
“Twentieth Century American Organ Music Is Alive and Well!”
Performance Review by Rod Parke
(Alan Morrison performance at Benaroya Hall in Seattle, WA)

Harold Stover (b. 1946) wrote his masterful Mountain Music with each movement based on a Shaker melody. He sought "to reconcile the disparate worlds of the classical organ and the country fiddle." The result was a fascinating Coplandesque work with beautiful exploitation of the organ's huge palette of sounds without ever violating a clear respect for each tune's origins. The second movement, "Quick Dance," was a hoedown of joyous energies and melodic grace. Mountain Music brought the recital to a special height.

3 Hymns of Praise, Set 6 - Robert Hobby
MSM-10-542
The Diapason “New Organ Music”, May 2006 issue
by Gale Kramer

Double pedal, although it is not too strenuous, is required in the setting of Cwm Rhondda. The interludes between sections, besides enabling modulations to new keys, give breathing space to the music. Nettleton receives a contemplative, introspective treatment. The most substantial of these three is Variations on Oh, for a Thousand Tongues. Stanzas of Wesley’s celebrated hymn are used as mottoes for the five variations. There is a dramatic fanfare for the opening apostrophe to the thousand tongues, followed by a pastoral setting for the gracious Master. Quiet charms characterize the music in the sinner’s ears, and jagged rhythms illustrate the power of canceled sin. A stirring doxological toccata in 10/8 meter brings the variations to a close.

3 Hymns of Praise, Set 7 - Robert Hobby
MSM-10-578, $11.00
The Diapason “New Organ Music”, May 2006 issue
by Gale Kramer

Hyfrydol gets a 9/8 meter setting in a gentle, flowing manner. The setting for Forest Green is two-voice counterpoint in the manuals with cantus in the pedal. Sing Praise to the Lord (Parry’s Laudate Dominum) receives an eight-page treatment, about four times through the tune, concluding with a broad triumphal epilogue and a bravura coda.

Christmas Around the World: Seven Carol Settings - Sondra K. Tucker
MSM-10-156
Pastoral Music “Preparing for Worship”, April-May 2006 issue
by Heather Martin Cooper

Each of these pieces is three to four pages long and playable on a two-manual organ with softer, colorful registrations. They are mostly playful, fun music for the player and the listener alike and would serve as a nice recital set or individually as organ preludes for the Christmas Season. The collection is valuable especially for the four carols that one does not normally find in solo organ settings. Included are Burgundian Carol (“Pat-a-pan”), Basque Carol (“The Angel Gabriel”), Hispanic Carol, Polish Carol (which combines “Infant Holy” with “the First Nowell”), Sussex Carol (“On Christmas Night”), West Indies Carol (“Mary’s Boy Child”), and Wexford Carol (“Good People All”).

Variations on Greensleeves - Janet Linker
MSM-10-155
Pastoral Music “Preparing for Worship”, April-May 2006 issue
by Heather Martin Cooper

Ms. Linker’s variations were commissioned by and are dedicated to Marilyn Mason. Greensleeves appears in mainline hymnals, but in two different versions: The D-sharp/natural occurs at different points, depending on the publisher of the hymnal. Linker’s theme is slightly different from those in the hymnals I examined, but this is to be expected when one is dealing with a folk melody. Although no mention is made of the text “What Child is This,” when I was playing this set for the prelude to Mass on Epiphany, I began to think of ways that the music could be a reflection of that text. The first variation, with its walking bass line and forward motion, may call to mind the journey of the Magi; and the second variation-a lilting dance-expresses a joy that could be associated with the angels’ greeting. The third variation has a more mystical tone, perhaps a meditation on the sleeping Babe. The finale is short yet majestic, ending in a rather big D major. Could it be a reference to the King who is enthroned in loving hearts? Whether there is any such connection or not, the piece is solid and recommended. From The Marilyn Mason Music Library, Vol. 2.

Hail Thee Festival Day: Five Hymn Settings for Organ - Robert J. Powell
MSM-10-585, $11.00
CrossAccent: Journal of the Association of Lutheran Church Musicians, 2006, Volume 14, Number 1

This set includes some of Powell’s most attractive hymn settings to date. Any of these would serve effectively in the service or as a group on a recital program. Tunes included are Down Ampney; Houston; Jesu Kreuz, Leiden und Pein; Owen; and Salve Festa Dies.

The composer of the tune provides this “companion piece” to the choral anthem. The melody moves from the tenor register to the top voice with gentle eighth-note accompaniment throughout.

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