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The art of transcribing or arranging a musical composition for a combination of instruments or voices other than that for which it was originally composed ,has engaged the attention of musicions from the 16th century to the present time.
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HE ART OF
TRANSCRIBINGFOR THE
ORGAN
A completeText Book for the Organistin arranging
Choral and Instrumental Music
By
HERBERT F. EIIJNGFORD, Mus. BAC. OXON.
Organistto the City of Liverpoolat
St. George'sHall
PRICE:
Boards,35.00 Net
Cloth, 6.00 Net
NEW YORK : THE H. W. GRAY COMPANY
Sole Agents for NOVELLO " CO., LTD.
COPYRIGHT, 1922, BY THE H. W. GBAT Co.
Printed in tte U.S. A.
CONTENTS
PAGE
PREFACE vi
SCHEME OP THE WORK viii
ABBREVIATIONS OP TERMS viii
SECTION I
TRANSCRIBING THE ORCHESTRAL ACCOMPANIMENTS OF
CHORAL WORKS 1
SECTION II
TRANSCRIBING ORCHESTRAL SYMPHONIC WORKS 38
"
SECTION HI
TRANSCRIBING WORKS FOR SMALL ORCHESTRA 114
TRANSCRIBING WORKS FOR STRING ORCHESTRA 118
TRANSCRIBING CHAMBER MUSIC 124
TRANSCRIBING PIANOFORTE MUSIC .184
TRANSCRIBING SONGS 148
SUMMARY 154
[ui]
LIST OF EXCERPTS
SECTION I
Orchestral Accompanimentsof Choral Works
No.
1 Mendelssohn, Elijah("HelpLord") 4
2 Mendelssohn, Elijah("Yetdoth the Lord") 6
3 Mendelssohn,Elijah("Yetdoth the Lord") 8
4 Mendelssohn, Elijah("Blessedare the men") 10
5 Mendelssohn, Elijah("Baal,we cry to thee") 12
6 Mendelssohn, Elijah("Baal!Hear and answer") 14
7 Mendelssohn,Elijah("Thefiredescends") 16
8 Mendelssohn,Elijah("Thanksbe to God") 18
9 Mendelssohn, Elijah("He,watchingover Israel") 20
10 Mendelssohn,Elijah("Then did Elijah") 22
11 Mendelssohn,Elijah("Then did Elijah") 24
12 Mendelssohn,Elijah("And then shall") 26
IS Brahms, Requiem ("How lovelyisThy") 28
14 Brahms, Song of Destiny("Butman") 80
15 Brahms, Song of Destiny("Butman") 82
16 Brahms, Song of Destiny("Butman") 84
SECTION II
Orchestral Symphonic Works
17 Mozart,G minor Symphony " 40
18 Mozart,G minor Symphony 42
19 Mozart,Don Giovanni Overture 44
20 Beethoven,C minor Symphony 46
21 Beethoven,C minor Symphony 48
22 Beethoven,C minor Symphony 50
23 Beethoven,C minor Symphony 50
24 Beethoven,C minor Symphony 50
25 Beethoven,C minor Symphony'
54
26 Beethoven,C minor Symphony 54
27 Mendelssohn,Midsummer Night'sDream 56
28 Mendelssohn,Midsummer Night'sDream 56
29 Mendelssohn,Midsummer Night'sDream 56
80 Mendelssohn,Midsummer Night'sDream 58
31 Mendelssohn,Midsummer Night'sDream 5832 Mendelssohn,Midsummer Night'sDream 5833 Mendelssohn,Hebrides Overture 62
34 Mendelssohn,Hebrides Overture " 6235 Mendelssohn,Hebrides Overture 62
List of Excerpts
No. PAGE
36 Schubert, Unfinished Symphony 64
87 Schubert, Unfinished Symphony 61
"88 Schumann, Manfred Overture 68
89 Schumann, Manfred Overture 68
40 Weber, Jubilee Overture 70
41 Weber, Jubilee Overture 70
44 Weber, Der Freischiitz Overture 74
48 Weber, Der Freischutz Overture 74
44 Weber, Euryanthe Overture 76
45 Weber, Euryanthe Overture 76
46 Wagner, Tristan and Isolde 80
47 Wagner, The Mastersingers " 83
48 Wagner, Parsifal 84
49 Tschaikowsky, Pathetic Symphony 86
50 Tschaikowsky, Pathetic Symphony 88
51 Tschaikowsky, 1812 Overture 90
52 Brahms, Tragic Overture 92
53 Brahms, Tragic Overture 94
54 Brahms, Tragic Overture 96
55 Grieg, Pianoforte Concerto 100
56 Grieg, Peer Gynt Suite, No. 1 ("Anitra'sDance") 10"
57 Smetana, Bartered Bride Overture 104
58 Sullivan,In Memoriam Overture 106
59 Sullivan,In Memoriam Overture " 108
SECTION III
Works for Small and StringOrchestras,Chamber and Pianoforte Music, Songs
60 Haydn, La Heine Symphony 114
61 Haydn, La Reine Symphony 116
62 Elgar, Serenade in E minor for Strings " 118
63 Elgar, Serenade in E minor for Strings 120
64 Mozart, String Quintet in E-flat 122
65 Mozart, Clarinet Quintet in A major 124
66 Mozart, String Quartet in D minor 126
67 Schubert, String Quartet in A minor 128
68 Schubert, String Quartet in A minor 130
69 Ellingford,Nocturne for 'Cello and Piano 132
70 Arne-Benedict, Variations on "Where the bee sucks" 134
71 Chopin, Funeral March 138
72 Chopin, Polonaise in C-sharp minor 140
73 Sullivan,Daydreams (No. 2) 142
74 Sullivan,Twilight 144
75 Rachmaninoff, Prelude in C-sharpminor 146
76 Rachmaninoff,Prelude in C-sharp minor 146
77 Ellingford,Song "There's a Rosebud" 148
78 Ellingford,Song "Two Little lives" 150
79 Ellingford,Song "London Pride"
Prefa-ce
The art 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 earliestform of instrumental music was probably an attempt to arrange,
as a support for the voices,the actual vocal part itselffor the stringedinstruments
then in use; and it is an historical fact that much of the early music written
for the viols is not only similar in structure to, but is an imitation of the choral
music of the period.TRANSCRIPTION, as a distinct art, is only possible,so far as instrumental
music is concerned, when the instruments for which the music is to be arranged,
are mechanically and tonallysufficient for the purpose. Therefore it is not until
the time of J. S. Bach (1685-1750)that arrangements of any permanent value
are to be found. These, the earliest transcriptionsof importance, are his organ
arrangements of Vivaldi's Violin Concertos. Bach also made organ arrangements
of some of his own originalviolin works.
With the advent of, and the subsequent improvement in and developmentof, the pianoforte,arrangements became more numerous.
Beethoven, Schubert, Schumann, Mendelssohn and Brahms, each arrangedsome of their own works for an instrument or combination of instruments other
than the original,a particularlyfavorite form of transcriptionbeing that for
pianoforte(2 and 4 hands) from the orchestral score.
The pianofortehas been the household instrument for upwards of a century,and the publicationof the pianofortearrangements of orchestral,oratorio, and
operaticmusic, has been one of the greatest factors in disseminatingthe works
of the great masters throughout the civilized and musical world.
The progress of organ standardization has been much slower than that of the
pianoforte.Even now there is much divergencein:
(1) The number and compass of manuals;(2) The pattern and compass of the pedal-board;(3) The type of console;
(4) The arrangement of the stops, and
(5) The method of stop-control.
However, the wonderful improvements in the tonal-designand stop-controlof the modern organ, have made transcriptionsfor the organ an artisticpossibility,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 transcribingfor the organ.
W. T. Best, above aH, stands out pre-eminently for his giganticseries "of
"Arrangements for the organ from the Scores of the Great Masters," this workalone running to over 1,000 pages! W. T. Best was the first organistof St.
George'sHall, Liverpool,and it was a great work to accomplish so muchin this particular branch of musical art, during the 40 years he held theLiverpoolappointment.
Sir Hubert Parry,in the firstvolume of Grove's Dictionaryof Music writes :"
"The objectof arrangement is to make that which was written in one musicallanguage,intelligiblein another.'*
[vi]
Preface.
vii
The instruments in common use at the present day, may be divided into three
great classes,viz.,Wind, String,and Percussion.
Not only has each class individual characteristics which are not common to
the other classes;but the instruments in each class have characteristics differingfrom others in the same class.
For instance, the brilliant trillon the pianoforteloses its effect entirelyif itbe exactly imitated on the organ; the quick repetitionof stringedinstruments
(violinfamily)becomes clumsy on the pianoforte,and incapableof clear speechon the organ; rapid scalic passages in Srds and 6ths in the form of successive
chords (at M.M. J = 120, 4 notes to the quarter-note or greater speed) so
tellingand brilliant when divided among the strings,are cumbersome if trans-ferred
to the medium of the piano, and quiteineffective on the organ; the trem-olo
" whether of chords or singlenotes " which is invariablyaccompanied with
the use of the damper-pedal,on the piano,has not only an entirelydifferenteffect if it be played on the organ, but it also is far from effective,unless it is
carefullylaid out.
It ishardlywithin the provinceof a book on organ transcriptionto cataloguea listof the characteristic idioms which belongto the different instruments.
Many of these musical idioms, such as scale passages, are common to the
majority of instruments; but there are some, such as the pizzicatoof the stringfamily,which belongexclusivelyto one type of instrument.
Transcriptionis not the imitation or reproductionof exactlysimilar effects.
It is rather a re-writingof the originalform in order that the melodic and
rhythmic phrasesand figures,the harmonic background, and all the principalfeatures may be distributed as far as possible,to suit the altered conditions of
productionor presentation.That is to say, the music of the original,should in
its transcribed form be re-moulded to suit the tonal and mechanical possibilitiesof the changed medium.
The best method for learningthe art of transcribingis the actual experiencewhich is gained by comparing transcribed work with its originalform, and to
judge of its effect in actual performance.The author hopes that this work " the first on "Transcription"yet pub-lished
" may be a useful guide to organists,the great majorityof whom " whether
their duty is to accompany the simplestservices or the more elaborate forms "
have continuallyto "adapt" the written chants and tunes to the medium of
manuals and pedals. The widest possibleapplicationof the terms "to adapt"and "to arrange" is here assumed.
Hymn-tunes and .chants are only played in the simplewritten form (without
pedals),as a relieffrom the endless variety of arrangements to tfhich they can
be artisticallysubjected.
Though this is often called "organ accompaniment," it practicallyresolves
itselfinto the rearrangement in various forms on the organ of the written music.
.Beethoven, in the last 24 measures of the Seventh Symphony "Allegretto"
givesthe principaltheme of this wonderful movement in a harmonized form,
2 measures at a time. 1st, to flutes and oboe I; 2nd to oboe TL and clarinets;
3rd to the bassoons and horns, and then to the strings,and repeats the device
in the same order,to the end of the 16-measure theme.
This, the author considers,is a perfectexample from originalwork, of the
artisticpossibilitiesin the art of arranging,adaptingor transcribingfor the organ.
Scheme of the Work
The passages selected for transcriptionare given:
fa)In their originalform \rith comments on the prominent features.
(b)In the pianoforteversion,with remarks on the accompaniments as they
appear in the vocal scores of choral works with orchestra.
(c)In a transcribed form for the organ, with notes as to the generaleffect
that is aimed at, and suggestionsfor registeringthe passage.
The author has drawn largelyfrom well-known works for illustrations of
transcribed choral and orchestral passages.
Choruses from the oratorios,cantatas and masses frequentlyform part of
the repertoireof cathedral and church choirs;and the organ accompaniment of
these demands careful consideration.
The arrangements can be effectivelymanaged on an instrument with two
manuals and pedals,but the registeringisdesignedfor the ordinarythree-manual
organ with pedals.Section 1 deals with Choral works with orchestralaccompaniments.Section 2 deals with Orchestral work alone.
Section3 deals with music for Small and Stringorchestras;Chamber music;Voice and Piano; and Pianoforte music.
In Sections 2 and 3, the pianoforteversion isgivenmerelyto show a con-densed
form of the orchestral score, for the sake of convenience. Some of these
pianoforteversions are complicated,such as those by Liszt;while others are in
a simplifiedform.
Abbreviationsof Terms used in this Book.
In the Orchestral and Choral Works.
EL
Pice.
Ob.
Cor Ang.Fag.
Cl.
Cor.
Trpt.
Tromb.
Ophi.
Timp.G.C.
Cymb.
Tri.
Clock,
V.
V*.
Flute.
Piccolo.
Oboe.
Cor Anglais.
Bassoon.
Clarinet.
Horns.
Trumpet.Trombone.
Ophideide.Kettle Drums.
Bass Drum.
Cymbals.
Triangle.Bellsor Carillon.
Violin 1.
Violin2.
Va.
V'c.
C.B.
Wood-wind
Brass
Str.
Org.S.
A.
T.
B.
a2.
[viiij
= Violas.
" Violoncello.
= Double Bass.
= Piccolos, Flutes,
Oboes,Clarinets,and
Bassoons.
= Trumpets and Trom-bones.
= Strings.= Organ.= Soprano.= Alto.
= Tenor.
= Bass.
= Both instruments
playing the same
part.
Scheme of the Work ix
The key indications given to the various wood-wind, brass and percussion
instruments at the beginning of each full orchestra score, follow the usual custom
of key notation, viz. "in B" implies "in B Flat," "in H" implies "in B," "in Fis"
implies "in F Sharp."
Most of the older orchestral scores and many of the modern ones adhere to
he German form of key-nomenclature: "
B= BFlat. Fis
=F Sharp.
H=
B Es=
E Flat, etc.
In the Organ Transcriptions.
HI, II, and I }
or " = Swell, Great, and Choir Organ.
Sw: Gt: and Ch: J
Fed.=
Pedal Organ.
HI, II, or I to Ped.= Swell, Great, or Choir Organ coupled to the Pedal Organ.
Man.=
Manual or Keyboard.
R. H. or L. H.= Right hand, or Left hand.
" (minus or subtract) = (put a stop "in").
+ (plus or add) = (draw a stop "out").
8, 4, and 2 = Stops of 8 feet and 4 feet pitch without Gamba or Reed
tone.
HI to Oboe = Swell Organ with 8 feet pitch Diapason and Flute-toned
stops, and the Oboe.
m with Reeds 8 ft.=
Swell Organ with Diapason and Flute-toned stops, and
the Reeds, all of 8 feet pitch.
NOTE. For the purposes of illustrating transcribed passages, the author has in mind the average
organ of three manuals and pedals "with about thirty or forty sounding stops; couplers, pistons, and com-position
pedals being extra. The Swell organ would contain three or four reeds, the Great, one or two
reeds"
the Choir, two or three reeds"
and the Pedals would perhaps have one or two reeds.
The Art ofTranscribingforthe Organ
Section I.
Transcribingfor the Organ the OrchestralAccompaniments
of Choral Works.
In order to arrange successfullyand artisticallyan orchestralaccompanimentfor the organ, there are many conditions which requirecarefulconsideration.
A chorus may be fugal,with all the choral parts strengthenedby one
sectionof the orchestra,while another sectionisemployedin a freecontrapuntal
accompaniment.
A chorus may be harmonic,four or fivepartchordal writing,with an entirely
independentaccompanimentin some part of the orchestra.
The accompanimentitselfmay be momentarilyof greaterimportancethan
the vocal parts,with independentrhythmicor melodic figuresin one or other
of the orchestralgroups.
These are but a few generalconditionsmet with in choral work with orches-tral
accompanimentwhich will be discussed,analyzed,and explainedin the
excerptsgivenin thissection.
But there are other conditions which it would be well to enlargeuponbefore proceedingto the excerpts.
First and foremost is the relativevalue or force of the expressionmarks in
the differentgroups of the orchestra.
For instance,the pianissimoof the stringsis a much softereffectthan that
of the wood-wind; while the fortissimo of the brass would easilyoverweightthe rest of the orchestralforces.
This relativeproportionin the carryingcapacityor volume of sound exists
of course in all the varyingdegreesof expressivenessfrom the softestto the
loudest,and must be constantlyborne in mind when adaptingan orchestral
accompanimenton the organ, so that the balance of tone may be preservedasfar as possible.
The string-groupis the most importantpart of the orchestra,inasmuch
as itforms the foundation of the orchestralforces.
HI
The Art of Transcribingfor the Organ
The bowing of the string-workisnot merely a matter for the orchestral string
player,but it is of vital importance in the problem of organ adaptation. A
broken chord passage distributed amongst the stringsplayedwith three or more
notes per bow willgivean undulatingor waving effect" but ifplayed one note
per bow, itwillat once stand out more prominentlyand have a more independent
existencethan ispossiblewith the phrasingof three or more notes per bow.
The fortissimorapidscales of the stringsare vigorous,telling,and brilliant
when each note isplayedwith a separate Jbow" owing to the gripor bite of the
bow for each note.
The same scaleslose much of their force and brilliancewhen theyare executed
with three or more notes per bow.
The paramount importance of the stringgroup in orchestral work is an
establishedfact.
If the pianoforteaccompaniments, as they appear in the publishedvocal
scores of the great choral-orchestralworks, be compared with the full score, it
willbe found that the stringparts alone,almost invariablyfurnish the materials
for these accompaniments
This actual reproductionof the stringparts beingmade to serve the purpose
of the accompanimentin the vocal scores " a practicewhich has unfortunatelybecome a tradition" has created many difficultiesfor the organistwho wishes
to givea fairrepresentationof the orchestral work on the organ.
Such pianoforteaccompanimentsare fullof false quantities,full of mislead-ing
statements. They abound in passages which are remarkably clumsy on
the pianoforteand equallyineffectiveand often impossibleif transferred to the
organ.
These pianoforteparts are falseand misleadingbecause:
1. They indude many idioms which are peculiarto the stringfamilyaloneand totallyunsuited to the pianoforte.
2. They giveundue prominenceto passages which are subordinate in the
score.
3. They often omit importantrhythmicand melodic figuresbelongingto the
wood-wind, horns,or brass " figures,which assist and helpout the vocalleads.
4. They exhibit rapidarpeggiopassages, originallylaid out for the hand ofthe string-player,which do not liecomfortablyunder the pianist'shands.
5. They often failto giveany orchestral indications of the instrumentation.
This last fault is fortunatelyabsent in many of the vocal scores of modern
works.
It will readilybe seen that these vocal score accompaniments not onlyembarrass an organist,but they create unnecessary difficultiesbecause of the
reasons referred to above.
Choral Works 3
It would be very difficult to formulate rules for a subject which has so many
facets, but the subjoined suggestions or guides may help to elucidate some
problems in transcribing orchestral accompaniments for the organ.
1. Eliminate the unessential* and lay out the essential to the best advantage
on the organ.
2. Aim at simplicity and avoid complexity.
3. Complex and involved passages, though they may be technically playable
on the organ, should be altered and rewritten, unless the effect is artistic.
4. Avoid the exact reproduction of any idiom peculiar to one particular
class or group of orchestral instruments, which is not artistic and effective
in the transferred medium.
5. Alter the context or figures of an instrumental part, rather than reproduce
an idiom which does not belong to the organ.
6. Avoid rapid repetitions either of single or double notes. These repeti-tions
may often be technically or mechanically possible at a great speed
on an organ "but they can never sound really well, because at the high
speed one note will run into the other, and this merging of one sound
into the next, results in the effect of one continuous sound, or at best, a
sustained wobble!
7. Try to reproduce the spirit of the score "not the letter.
With these few suggestions, we will proceed to the actual business of tran-scribing.
Each excerpt or quotation will be discussed and analyzed, and each
analysis will lead on to a reasonable presentation of the adaptation.
NOTE. Twelve out of the sixteen excerpts given in Section I, are from Mendelssohn's oratorio Elijah.
The Elijah is (after Handel's oratorio The Messiah) the best known oratorio extant, and the Vocal
Score with pianoforte accompaniment is probably in ninety per cent, of households throughout the world
where the music of the Westerns is enjoyed and encouraged.
The Orchestration of the Elijah is much more modern than that of Handel's Messiah; and for this
reason it is more useful and serviceable for the purposes of organ arrangement.
The author offers this as his reason for drawing so many examples from one work.
Excerpt 1
from the first chorus "Help, Lord"
in Mendelssohn's oratorio Elijah
Andante.iento J:7
Tirap.ELA.
PP
s.
A
T.
B.
A f
Will then the
A
Lord be no more God in Zi"
on?
'i NT r r
MolSnl
Violin II
Via.
C.B.
I I ? I I I
i f
Choral Works
In Excerpt1,the Chorus singsquietlyindose compact harmony,strengthenedby reiteratedstring-chords,and a very softdrum-roll.
The stringsare playingone note per bow,and exceptfor the sixteenthnotesilences,there is a continuityofsound in thispassage ofrepeatedchords. There
is an appearance of staccato,but the execution of this passage on the strings,producesno such result.
The softdrum-rollhas the effectof a sustainedbass-note. The prominenceof thisdrum-rollisgreatlyminimized by the dose middle positionof the voice
parts,with the basses singingthe same note at the same pitch.In fact the
sound of the vocal basses merges into that of the drum-roll.
No.l
Piano
In the pianofortescore, the stringpartsalone are given,thus producingthefalseimpressionof a staccato accompaniment.
The organ transcriptgivenbelow
NolIlltoffboe
Pedal
providesrhythmicmovement and continuityofsound. The lefthand takes the
rhythmicpulsationof the strings,the righthand adds to the continuity(bothon a swell-organ),and thepedalstake over the drum note. Note thatthe latter
isplayedan octave lowei^-toadd weightto the groundtone.
If the process had been reversed,w":" the righthand takingthe sixteenth-
notes and thelefthand the quarter-and eighth-notes"thepulsatingeffectwouldhave been renderedtoo prominent.
Excerpt 2
from the chorus"Yet doth the Lord"
in Mendelssohn's oratorio Elijah
Allegro vivaceJ:"e
Ob.
Cl.inB
dfc
/r t pYet doth the Lord
Violin !
Violtn [I
Via.
V'C.
C.B.
r r p"r
'Yet doth the Lord see it not;
* g
Excerpt3from thelatterpartof the chorus "Yet doth the Lord"
in Mendelssohn's oratorioElijah
Grave J=B8 *
[8]
Choral Works 9
Here there is much food for thought.The fullorchestra is in force,and
everythinggoingsoftly,with an increaseof tone at the third measure.
But which of the orchestralgroups will predominate?Which qualityorcoloringwillrise,never mind how slightly,above the other?
Surelynot the strings,which are playingthree notes per bow and with a
very sustainedundulatingeffect;nor the horns,which,at the second and third
measures, are overlaidby the trombones;nor yetthe upper wood-wind.
As a matter of fact there is a finemergingof qualitieshere. The horns
supportand playinto the undulatingstringchords in the firstmeasure and
a half;the wood-wind,horns,strings,and brass supportingthe voices for the
last measure and a half,yet,the horns at the beginningdo filterthroughthestring-chords,and the sonorityof the brass at the second and third measures
superimposesa wonderful weightand richness which is unmistakable " and
which isrounded offby the rollof the drum.
Piano
No.3
The misleadingand falseimpressiongivenin the pianofortescore isobvious,when itisseen that onlythe stringpartsare quoted.
No.3
IIIto Oboe
liOftS
III to 1
n soft a
into ii
II to Fed
Manual
Pedal
The lefthand maintainsthe undulatingstringchords,while the righthandsustainsthe chordswhich belongto the other groups in the orchestra,and the
pedalstake thefoundationbasses.
Excerpt4from the chorusaBlessed are the men"
inMendelssohn'soratorioElijah
Allegromoderate J=
li
Ob.
Cor.in G
Cor/inC
Trpt.inC
S.
A.
T.
B.
Violin 1
ViolinII
Via*
V'C.
OB.
Bless - ed
T-men,
are
J.
"whoare
Bless
m
ed
Jthe
men
men.
fear Him
Bless- - ed .are men
[10]
Choral Works 11
This lightlyscored passage for wood-wind and stringsrequiresa littlecare.The runningpassages for violasand 'cellosare very importantin the accom-
panimentalscheme. Each vocal part is reinforced at the unison pitchby the
stringsand wood-wind,the soprano lead beingdoubled in the higheroctave as
wellby the flutes. The horns and the stringbassesplaylongsustainingnotes.
Piano
Only the stringparts appear in the pianofortescore" leavingthe voice
partsstranded. It willbe noticed in the transcription
No.4
HI to Oboe
n ' Manual
18
III tO II
III tO I
I to Fed
Pedal
that we have compromisedin the dispositionof the wood-wind;but the main
features of the orchestralaccompanimentare present in the organ arrange-ment.The sixteenth-notestringphrasesare given to the lefthand on the
great organ. The righthand takes chargeof the upper wood-wind"but does
not attempt to reproducethe highentry of the flutes,because the firstviolins
and oboes reinforcethe soprano lead at theunison.
A word as to the continuance of the sixteenth-notestringpassage may be
helpful.If such a passage stillretainsitsprominencein the orchestralscheme,and ifit lieswell within the hand, it would be advisable to continue itin the
transcript.On the other hand, the exact reproductionof the passage, note
for note, should not be persistedin,where itdoes not lieeasilyunder the hand.
Such passages should be unhesitatinglyalteredto suitthe changedconditionsof
performance,viz.,to suitthe keyboard,not the fingerboard.The outlineof the
passage issufficientin the arrangement or adaptation.
Excerpt5from the chorus"Baal,we cry to thee"
inMendelssohn'soratorioElijah
Allegronon troppoJ = ieo
Fl.
Ob
CUnB
C.B
8 4 8 * 78
Big wood-wind and brass sustainedchords are a prominentfeatureof thefirsthalf of this extract" while in the last four measures, the wood-wind
strengthenthe vocal leadsat the unison. But the eighth-notepassages of the
stringsare very importantindeed,and are playedvigorouslyone note per bow.
[it]
Excerpt6from the chorus "Baal! Hear and answer"
inMendelssohn'soratorioElijah
Presto Jc
Fi.
Ob.
Cor.inA
Cor.inD
TrptinE
Hear our cry 0 Baal!
Timp.F*C
[M]
Choral Works 15
The shrillcry of the flutes and oboes here,is very striking.It seems to
indicate an excitable phasein the multitudes' feelingswhich this chorus,"Hear
our cry O Baal," isintended to depict.All the vocal leads are backed up by the
wood-wind, horns, or brass;and the drums thunder out a tremendous roll.
The stringsplayfurious passages, one note per bow, addinggreatlyto the
effectthe composer aims at, viz.,the turmoil and desperationof a disappointedthrong.
No. 8
Piano
The criticalremarks regardingthe pianofortescore of the precedingexcerptapplywith almost equalforce to the pianofortescore of this. None of the wood-wind
horns,or brass are indicated.
In the organ transcript
most of the principalfeatures are indicated or hinted at. The holdingchords of
the wood-wind and horns are givento the righthand on an ample choir organ
coupledto fullswell. The lefthand takes chargeof the rough stringpassageson a moderate great organ, and the pedalssupport the bigmasses of sound.
Excerpt 7
from the chorus "The fire descends from heaven"
in Mendelssohn's oratorio Elijah
Allegrocon fuoco J="*loco
FL
ClinB
Cor. in E!
Cor in E
Trpt.mE
Violin I
Vioholl
Choral Works 17
Wood-wind and the firstand second horns providestrongrhythmicfigureshere. They alsogivea biteto the vocal double entrieson the lastsixteenth-
note of the second beat in the second and third measures, supportingthem
immediatelyafter by sustained chords. The stringwork is fiery,and beingplayedone note per bow, has a vigorousdrivingforce.
In measure 3 the flutesplayat the top of their compass the intervalof
the third,and jump down an octave on the third beat. This imitativedevice
which mightwell be called "the motif of descent" and which was definitelyde-vised
to heightenthe dramatic forceofthe words "The firedescendsfrom heaven"
isrepeatedin the threefollowingmeasures" the oboes joiningthe flutesin the
same device.
It would be a pityto tryto imitate this on the organ. If it were done,itwould onlylead to the omission of the more importantrhythmicand supporting
upper wood-wind work.
Piano
The pianofortescore omits allthe wood- wind and horn work,and reproducesthe stringpartsonly.
No. 7
The above arrangement is satisfactory,inasmuch as the principalfeaturesof the orchestralaccompanimentare effectivelysupplied.
The righthand disposesof the wood-wind and horn partson an amplechoir
organ coupledto full swell,while the left hand adequatelyrepresentstherestlessnessand agitationof the strings.
Excerpt8from the chorus"Thanks be to God"
inMendelssohn'soratorioElijah
Allegromoderate con fuoco J=ia"
Cl.inB
Cor.in
COI.IAB
wa-tersgath-ertheyrush a-loog!
ViolinII
Via.
VfcC.B.
[18]
Choral Works 19
There are many pointsof similaritybetween this and the precedingexcerpt.The wood-wind and horns deal with pronounced rhythmicelements,and the
stringsdeliver rushingsixteenth-note work, sometimes two notes per bow and
sometimes one note only.
The pianofortescore has all the appearance and also the effectof a series
of pianisticexercisesin arpeggioand scalepassages, for itgivesas before,merelythe stringwork.
No. 8
Piano
845
But what about the other orchestral groups? It would have been easy to
givethe passage work to one hand,and some rhythmicchordal work to the other.
Now compare the organ adaptation.
No. 8^
II 16,8,and 4 with Reed 8
III to II
n to Fed.
Pedal
In measure 1, we see the brightjubilantchords givento the manuals and
the descendingstringphraseto the pedals.
In measures 2 to 5, the lefthand takes over the runningstringwork, and
the righthand delivers the arrestingand rhythmicwood-wind chords. Had
the eighth-noterests of the wood-wind been eliminated here,the sustained effect
of the horns could have been obtained by lengtheningthe dotted quarter-note
chords. But the marked rhythmic element would have lostmuch of itseffect.
The rhythm of the horns
measures.
*s preservedin the pedal of these
Allegro
Excerpt9from the chorus "He, watchingover Israel"
inMendelssohn'soratorioElijah
moderate "U12 e
FI.
Ob,
Cl.inA
Fag
Cor.in D
TimpDA
He watch-ingo - vei
sleeps, He slum -
ViolinI
Violin II
[80]
fcxcerpifrom the chorus "Then did Elijah"
inMendelssohn's oratorioElijah
Moderate maestoso J=
Fi.
Cl.inB
Cor.in F
Cor in B
Then did E-li - jab the
ViolinI
ViolinIf
[22]
Choral Works
The chorus "Then did Elijah"apparentlypresents a very hard nut to crack!
Look at the 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 jugglingeighth-and sixteenth-notes
at a fairspeedon the pedals.But wherefore so much wasted labor,with at the very least,an equalloss
of effect?
Look at the powerfulhorn chords" the lowest horn providinga strongsustained bass. Look at the exultant wood-wind declamatorychords " placedhigh up in the compass of the instruments to enforce the sense of the words
"Then did Elijah break forth like a fire." These are the features we must
aim at reproducingin the organ transcript" not a slavish adherence to the
letter" but a broad reasonable reproductionof the spiritof the work.
No.10
Piano
The importanthorn and wood-wind chords are omitted in the pianofortescore.
No.10
Manual
III Full
II Full to Reed 9
III to II
ILto Fed.
Pedal
The left hand on a fairlybig great organ will bring out the forceful bass
string passages, and the righthand will provide the chords on the same
keyboard.The pedalstake the lowest horn notes which givethe foundation tone to the
harmony, and also preserve the rhythmicfigure.Or, the righthand could givethe chords on a fullchoir coupledto fullswell
(an octave higherthan indicated in the transcript)leavingthe great organ for
the lefthand.
It would be ridiculous to take the niggedbass stringpassages on the pedals,for it would result in destroyingthe proper balance of organ tone.
It would be equallyabsurd to try and reproducethe syncopatedwork of the
upper strings.Such quick syncopationsare peculiarto stringwork " but are
useless on a keyed wind-instrument like the organ.In the transcript,we must oust this rhythmic element which, in the form
given in the excerpt and at the speed J = 76 is distinctlyan orchestral
'feature.
Excerpt11from the latter partof the chorus'Then did Elijah"
inMendelssohrfsoratorio Elijah
Moderato maestoso 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.
T.
fi.
ViolinI
ViolinII
Via.
V'C.
C.B.
ycna - not, with fie -~^ryfie-
l.
Later in the same chorus from which the previousexcerptistaken,we find
quitea differentproblemto tackle. Here "fierychariotsand fieryhorses" are
broughtto the imagination,by allthe stringsplayingsixteenth-notesin triplets
Choral Works
(one note per bow) " a partialimitation of the sound of rushinghorses " a kindof musical "onamatopceia." All the rest of the orchestral forces deal with
prominentfiguressupportingand amplifyingthe vocal elements.
NOTE. The bass trombone and ophicleidemaintainingthe forceful foundation work" and thedrums, continuallyrollingon bottom A.
No.ll
Piano
1 *' "
None of the wood-wind, horn,or brass groups are givenin the pianofortescore.No. 11
Manual
In these days of enormouslylargeand marvellouslybuilt organs, itwould be
rash to assert that such and such an effectcannot be reproducedonamodern instru-ment.
But althoughwonderful contrivances are continuallybeinginvented to
assistand, presumablyto ease, the control of innumerable stop-knobsor stop-keys,an organistlikemost other human beings,has but two hands and two feet!
If we look carefullyat the orchestration of Excerpt2, 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 structure. Then there isthe wood-wind and horn group, which serves
the double purpose of fillingup the harmony and assistingthe choral parts.Lastly,the stringsare busy with a stronglydefined rhythmicfigure.
A satisfactorysolution of the firstwill be attained by takingthe low brass
part on the pedals. This disposesof the feet,the proper placefor the foundation
tone of the harmonic structure.
The fillingin parts assignedto the wood-wind and horns could be taken
by the righthand on a small great organ (atfirstsmall,'thenincreasingin body)coupledto swell. Thus we have suppliedthe necessary support for the voices,and have disposedof the feet and the righthand. We have onlyone hand left
and that must take over the stringparts. Here we must compromise and not
attempt to reproducethe stringrepetitions.The best way to make an artistic
compromise of the stringgroup is to introduce tremolo chord work. This will
produce a certain amount of the restlessmovement, which must be representedas far as possible.
a
NOTE.^
The low brass eighth-notephraseisintentionallyaltered in order to clearthe air,so to speak.As it stands in the transcriptit 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 isa simpleone, yetthe improvement in the effectamply justifiesthe substitution of the sixth
eighth-noteof measures 8 and 8 by the upper octave of the fiftheighth-note.
Excerpt12from the finalchorus "And then shall your light"inMendelssohn* oratorioElijah
Andante maestoso J-"t
ff I * 8 4 W 5 6
The lastexcerptfrom the Elijahserves to illustratetwo very importantpoints, first,the openingstringpassage, playedvery loudly(onenote perbow),and withoutany wood-wind,horn or brasswork. Second,the appearancein the pianofortescore of a silenthalfwatwrein the accompaniment duringthe
[86]
Choral Works 27
last two beats of the second and fourth measures. This latter thoroughlyex-emplifies
the utter falsityof the accompanimentsof choral-orchestral works as
exhibited in the pianofortescores.There are no silenthalf-measures in the accompaniment here,for it will be
seen in the fullscore, that the whole of the wood- wind,horns,and brass forms a
magnificentphalanxof orchestral tone, supportingthe choral forces and at the
same time enhancing the meaning of the words "And then shall your lightbreakforth as the lightof the morning breaketh."
No. 12
Piano
The importanceof the first point lies in the fact that although it is
not generallyadvisable to substitute full organ for big stringtone, the passage
givenhere is so very strong,the moderate speed allowingeach note to be playedwith a firm bite of the bow, that it would requirean ample great organ coupled
Manual
III Full
[I Full to Reed 8 "
III to II
II to Ped.
to a good full swell to endow the passage with sufficientlyvitalityand grip.Therefore,in the organ transcriptthis stringpassage, where all the violins,violas,
Excerpt13from the chorus "How lovelyis Thy dwellingplace"
in Brahms's Requiem
Con moto moderate
n.
Ob.
Cl.inB
Fag.
Cor.In B
S.
A.
a*
I f
mraC.E* "n"* *
"EE"
SE
they praise Thy name ev - er - more.
"^" ^^=^
T.
fi.
ViolinI
they praise Thy
theypraiseThv
S m ^
lame ev - er " more,
name ev - er - more,
Via,
CJ.
theypraiseThy name ev - er - inore^. they praise
[28]
Excerpt14from theAllegromovement"Bnt man jnay not linger'*
iaBrahms's Song of Destiny
Allegro
vb.
CJB.
[80]
Choral Works 31
Brahms' Song of Destiny from which this excerpt is taken, is not nearly so
well known as his greater work The Requiem, but it provides some very in-teresting
problems in transcribing for the organ some of its orchestral accom-paniments.
The full score of Excerpt 11 shows that the voices are strengthened at the
unison and octave pitches by all the wood-wind, each pair of wood-wind in-struments
playing in unison, as directed by the orchestral indication a2 "and
not each one playing a separate part.
The strings have vigorous passages to play, one note per bow, and repetitions
in sixteenth-notes. The strings here are again absolutely independent " yet
this is the part which is given in the pianoforte score.
No. 14
Piano
In the organ transcript
the string movement is maintained by the left hand on a fairly heavy great
organ. The pedals coupled to the great, with the right hand on an ample choir
organ coupled to a good swell corroborate the voices.
It gives a reasonable representation of what is going on in the orchestra,
and also serves as an excellent support for the choral body.
Excerpt15
fromthe Allegromovement"Bnt man may not linger?'inBrahmsfe Song Of Destiny
Allegro"
" ^' ^ ~
^ ^~
"^
*"uMe-bMseg aw, taken offthe passage and put on to the foundation notes. The
ViolinI]
VU.
vt.
CJB.
, .
. " f3 to a more complicatedform of
orchestration than has yetbeen givenin thisbook. Excerpt15 shows a much
Trader sweep of stringwork than in the precedingpassage from the same work.
Choral Works 33
The stringsare stillplayingrepetitionsixteenth-notes brilliantly,one note perbow, in the form of wide-rangebroken-chord passages.
The vocal leads, exceptingthe first,are not supported,but the chorus is
backed up harmonicallyby the whole force of wood- wind, horns,and brass. The
syncopatedchords at the end of the phraseadd a prominent rhythmiceffecthere.No. 15
Piano
The extensive range of the broken chord work in the stringsis so tellingandbrilliantthat some of itsfeatures should be brought out in the organ transcript.
No. 15
ManualIII Full
Let us see how it may be done.
The righthand and lefthand (alternating)dotted quarter-note chords in the
firstand second half of each measure, givethe requisiteharmonic strengthandbackground which the woodrwind, horns,and brass have in the orchestral score.
The stringpassages are taken by the lefthand and righthand (alternately)in
the firstand second half of each measure, and playedlegatissimo.The playingof these stringpassages legatissimoso that the chords accumulate
and grow, will add breadth and weightto the whole generaleffect.It should be played on a full great organ without reeds coupledto full
swell. The pedalstake the brass and stringbasses.
Excerpt16from theAllegromovement "But man may not linger"
inBrahms's Song of Destiny
Allegro8-
Jfal 7WQ: JT J yFl
Ob
ClinB
Fag
Cor.in C
T
B.
Violin I
ViolinII
Via
V'C.
C.B.
I
p^and no
JL.
no
But
*
inan
Inay not lin " ger and no no -
PBut man may not lin " ger and no " where, no - where* no
m
[84]
Choral Works 35
This lastexcerpt,also from Brahms' Song ofDestiny,willbringto an end the
firstsection of this work on organ transcription.The scoringis light,wood-wind and horns onlybeingused in the firstfour
measures " the firstviolinand 'cellobeingadded for the lastfive measures. Each
vocal lead ishelpedout by one of the wood-wind group.The pianofortescore in this case does give a fair representationof the or-chestral
parts" but as no orchestral indications are given,one is left in the
dark as to the orchestral color constituents of the phrase.
No,
Piano
10
The vocal bass and firstbassoon lead may be taken by the lefthand (inthe
organ transcript),
No.ie
III Soft.S,withGambaioneadded
I Soft 8
III to I
I to Fed.
Manual
^
Pedal V-P'ijIf =3=ui "ii* r 1^1
PP
on a soft great organ, while the righthand disposesof the upper wood-wind
work on a choir organ coupledto swell,both these organs having a faircomple-mentof 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
the upper vocal leads,the quarter-notemovement of fluteand firstviolinbeing
impliedrather than actuallypresentednote for note.
36 The Art of Transcribing for the Organ
The orchestral accompaniment of choral works involves the use of an ever-
varying palette of musical coloring, each color being spread on our musical canvas
in an idiom best suited to the characteristics of each individual instrument or
group of instruments.
The scheme of orchestral accompaniment brings into play four prominent
families or groupsof instruments, viz.: string, wood- wind, brass- wind, and
per-cussion,
each group providing an inexhaustible supply of musical effects" a
variety of musical effects which no pair of hands and feet could possibly reproduce,
however large and modern the organ might be.
But organs of a very useful and complete t ype are far more numerous and more
available than that greatest of all musical combinations"
the modern full
orchestra with its sixty to eighty performers.
Choral works with orchestral accompaniments are frequently given in
cathedrals, churches and concert-rooms, with the organ as a substitute for the
orchestra. The organ can never be a reproduction of a complete orchestra, but the
judicious use of a good instrument, with artistically laid out accompaniments,
will make an excellent substitute for it.
An ample technique both on the manuals and pedals isnecessary for the
performance of such accompaniments, as well as a true conception of the or-chestral
effects under consideration.
Up to this point we have been dealing with the orchestra as a medium of
accompaniment. The next section will be devoted to the transcription of phrases
from the great orchestral works, where the orchestral forces form one great solo
body.
Additional note to Excerpt IS
The terms "full great organ" and "full swell organ" have a somewhat vague
significance since in some of the largest instruments it would mean twenty or
more stops on each of these manuals"
while in small organs it might mean
only five or six on each. In this latter case, viz.: that of very small instruments,it would be
necessary to add the pedals to the sixteenth-note phrase in Ex-cerpt
12, because such a small great organ would lack the requisite amount of
body and weight. There are probably no two instruments quite alike in size
and composition of tone, but the author has in mind, for thepurpose of illustrat-ing
transcribed passages, theaverage instrument of three manuals and pedals,
with about thirty or forty sounding stops " couplers, composition pedals or
pistons being extra.
Section II.
The Transcription,forthe Organ,of Orchestral
SymphonicWork.
The principlesgoverningthe transcriptionof orchestral symphonicwork
are the same as those which obtain in the rearrangementof orchestral
accompaniments.
In the former classof work,however,much greatercare and discrimination
are needed,because the orchestral combination is a "solo" one, and not a
medium of accompaniment.
The chiefaim should be to endeavour to make that which is arrangedfor
the organ sound as thoughithad been originallywritten for it.
It isbetter to simplifyand cut down the orchestralscore than to crowd as
many notes into the three-staveorgan score as the hands and feet can actually
grasp. These remarks applymore particularlyto modern orchestralcomposi-tion,
in which largeorchestrasare the rule.
With regardto earlysymphonicmusic,where a relativelysmall orchestra
isemployed,such as Mozart,Beethoven,Weber, and Mendelssohn used,there
are greaterdifficultiesto contend with.
Thoughmany of these scores are slender,the instruments are used in a more
independentmanner than isthe case with the largemodern score. The harmonic
backingand filling-inmaterial which isgivento each group in.modern orchestral
music isentirelylackingin the earlierscores.
In the latter,the melodic importanceof the work allocated to each instru-ment
is thrown into greaterprominenceand reliefthan in the modern scores,
because of the absence of the innumerable doublingsof so many notes.
For thisreason, a Mozart,Beethoven,or Weber movement ismore difficult
to arrange satisfactorilythan a Wagner movement. With Wagner or
Tschaikowskythere is so much to choosefrom in the score, and many effective
altenmtivesarepossibleinthetranscript.With Mozart or Beethoven thereisverylittlethat mightbe consideredredundant from the pointof view of the organ
transcript.
The excerptsgivenin the followingpages are all from works which are
in the author's repertoireof the St. George'sHall,Liverpool,Recitals. Theyhave thereforehad the test of practicalperformance.
[38]
Orchestral Works
Many of the examples are capable of being artistically transcribed in several
ways,but the author hopes that the suggestions and adaptations here given,
maystimulate
organ recitalists to make a larger and freer use of the splendid
heritage of symphonic works for their recitals.
The more an organist useshis flutes and reeds in an orchestral manner, the
freer and more artistic will his playing become, whether in accompanying or in
solo work. The more an organist studies and strives to play the symphonic
works of Mozart, Beethoven, Weber, Mendelssohn, Schubert, and Schumann,
the clearer and more intelligible will his technique become, whether it be the
technique of expression or the technique of manual and pedal work.
Excerpt17from Mozarf s 0 minor Symphony
(FirstMovement)
Allegromolto
Flauto
Oboi
Fagotti
Corno I
in B Alto
Corno II
inG
Yiolino1"
Violinolio
Violat
Cello e
Basso, f^~^
i /
[40]
Orchestral Works 41
It has alreadybeen pointedout, that the orchestral scores of Mozart, Beet-hoven,
Schubert,Weber, and Mendelssohn furnish some of the most difficult
problems in the art of organ transcriptionthat can be found, because of the
contrapuntalindependenceof the wood-wind group of instruments and because
of the great effectsthese composers producedwith the small orchestras at their
disposal" orchestras relativelysmall compared with the orchestra of Wagner,Berlioz,and the moderns.
Mozart's G minor Symphony,from which ExcerptsNo. 17 and 18 are taken,furnishes many such problems. In Excerpt 17 the principalsubjectis givento the violins. An importantcounter subjectis carried out by the bassoons,
violas,cellos,and stringbasses, these stringbasses playingone note per bow.
A secondarybut very prominentcounter-theme isgivento the upper wood-wind,and the horns providea littlefillingup material.
All these features (exceptthe horn part)should be reproducedin the tran-script.
The horn part isimmaterial from the transcriptionview-point" althoughit has its placein the score.
No.17Allegromolto
" j8 "4 diapasonand flue
"tcoupled to Swell 10,8,4,2and reeds
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 stringbasses and bassoon passage offersan excellent
opportunityfor a most effective pieceof passage-playingin the pedals,with
a natural swingup to the top note of a thirty-twonote pedalboard. The pedal
organ should have requisitesixteen and eightfoot tone " not too heavy and
without reeds,and should be coupledto the great. The swell organ willprovidea sufficientbackgroundof color.
There has been no attempt to reproduceexact orchestral coloring.The
prominence of the upper wood-wind and the merging of the stringsthroughand with the wood-wind at a similar pitch,seem to suggest a dear brightqualityof organ tone with a coloringof reed quality.
Excerpt 18
from the same movement as the preceding
Flanto
Oboi
Fagotti
Corno I
in B Alto
Corno II
inG
Yiolinoio
Viola
Cello e
Basio
^
a*
Orchestral Works 43
No. 18
Here all the violins deliver a vigorous sequential figure, playing one note
per bow. In the fifth measure it is left to the second violins only, while the first
violins imitate the figure of the bass strings and bassoons. In order to arrive
at a reasonable distribution of organ tone, it will be necessary to bring the flute
and oboe parts down an octave.
No.18
This will allow freedom for the right hand to play the sequential violin figure
in the first four measures. The same hand can take the wood-wind rhythm in
the fifth and sixth measures, while at the same point the left hand continues the
violin running passages. The left hand, too, takes the transposed upper wood-wind
of the earlier measures. The registering for this excerpt should be the
same as in the previous one and for the same reasons. The small orchestral
force is playing tutti, firmly and brilliantly. There is no warrant nor any
artistic necessity for the actual reproduction of-orchestral coloring here.
Excerpt 19
from Mozart's Don Giovanni Overture
Molto allegro
J-J JrJ
Flauti
Oboi
Clanneiti
in A
Fagotti
Trombe in D
TimpanimD A
Violino 1"
ViolinoII"
Viola
Cello e
Basso
?^az
" t
p"=fc"
^^
[Ml
Excerpt 20
from Beethoven's C minor Symphony
(First Movement)
Allegro
Flauti
Ctarinetti
inB
Fagotti
Corni in Es
Violino lo
Yiolinolto
Viola
Cello
Contrabasso
1.
Orchestral Works 47
No.20
z 3 4667
The harmonic backgroundand real bass of ExcerptNo. 20, are both to be
found in the bassoon parts. The stringbasses are occupiedwith reiterationsof
the subjectrhythm:^ J J J \J " | .
Second violins,violas,and horns completethe harmonic structure. The
second subjectof this movement (Firstmovement of the C Minor Symphony)isgivenfirstto clarinetI,then to fluteI with firstviolins.
It is a delicate pieceof orchestration,and a redistribution of the sustained
harmonies will be necessary in the transcript,so that the pedalsmay be free for
the short rhythmicsubjectmotif.
4 5
The righthand takes,the theme of the second subject,firstin a choir organ
full-toned reed,then on a soft flute stop on the great organ.
The sustained harmonies should be playedon the great organ with register-ing
alreadysuggested,coupledto swell with flue and string-tonedstops drawn
and a softreed. The pedalstake the stringbasses.
On a four manual instrument with a well equipped Solo organ, flute,oboe
and clarinet phrases,may be played on the fourth (Solo)Manual, where the
registeringcan be readilyarranged.
Those who wish to preserve the actual notation of the rhythm of the string
basses may do so; but the repetitionis too quickfor dear enunciation in the
pedals.
Excerpt 21
from Beethoven's C minor Symphony
(FirstMovement)
Flauti
Oboi
Clarinetti
inB
Fagotti
CorniinEs
TrombeinC
TimpaniinC.G
* 8 456 7891011
Orchestral Works 49
JTQ JTD
11
The scoringof Excerpt 21 is full and complete. All the instruments are
playingvigorously,brightloud tone beingrequiredfrom the forces employed.The poundingdrum figurecorroborated by the trumpets forms a kind of second-ary
bass. The violin eighth-notefigureisconspicuous,and comes rightthroughthe mass of sound, yet the wood-wind and horns have a marked rhythmicprom-inence
in the firstthree measures which should not be overlooked. The violin
eighth-notefigurejustreferred to, which leads into the quarter-notepassage,
is virtuallythe highestmelodic part of the score. Nevertheless,it is not always
advisable,in an organ transcript,to givesuch a passage to the righthand on the
most prominentmanual (greatorgan).
In the arrangement givenbelow
No.21
II8 and 4 diapasonand flue tone
10 11
This passage is not given to the righthand on the great manual until the
fourth measure. Here the wood-wind lacks the rhythmicimport ithad for the
firstthree measures, and ismerelyamplifyingthe mass of sound.
In the lasteightmeasures the rightfoot can take the stringand brass basses,
while the leftfoot can give out the fundamental basis of the harmony.
The registeringshould be an ample great organ to Principal4, coupled to
fullswell.
The pedals,with plentyof 16 and 8 flue work should be coupledto the great.
A fullchoir organ coupledto the swell,will serve for the righthand for the first
three measures. It willbe noticed that both feet are free for the double pedalling
" the registeringhavingalreadybeen prepared.
Flauto
Piccolo
Flauti
Oboi
Clarinetti
inC
Fagotti
Contra-
fagotto
Corni inC
TrombeinC
Excerpts22-23-24from Beethoven'sG minor Symphony
No.22 No.23 No.24
.AllegroJ="*
[SO]
Orchestral Works 51
The Finale from Beethoven's C Minor Symphony makes a magnificentorgansolo,if it islaid out carefullyand with due regardto organ tone.
No.22
No. 23
No.24
r~^~
No. 22 shows an independentuse of three groups, viz.,strings,horns, and
wood-wind. "
It is only possibleto indicate the repetitionnotes of the horns, because the
left hand is requiredfor the upper strings(theviola is practicallyduplicatedin
the 'cellopart);and the righthand for the wood-wind. In the organ arrange-ment,
the 'cellophraseisgivento the pedalscoupledto soft great,an octave higher
The Art of Transcribingfor the Organ
than in the score. This will prevent muddiness and incoherence, and will not
destroy the balance of tone.
Manual
"No.22I with reed
Pedal
H soft B Hoe coupledto III -withioft read
Y irVf
r r
^^
No.28
Mamin.1
Pedal
No."4
'".frr ' i r LI
Pedal
The principalfeature in No. 23 isthe passage for the double bassoons and bass
strings.So far as the range of this phraseis concerned,it would fitadmirably,the modern thirty-twonote pedalboard. But here,the pedalshad better be
Excerpts25-26from Beethoven'sC minor Symphony
(Last Movement)^^
Flauto
Piccolo
Flanti
Clarinetti
inC
Fagotti
Contra- C?fagotto
CorniinC
TrombeinC
Orchestral Works
Manual
Pedal
From Mendelssohn's Midsummer Night'sDream overture, we will take six
short phrases,and adapt them to the medium of the organ.
The fullorchestra is employed in 27, 28, 29, allthe instruments playing/or-tissimo. But althoughthe score looks large,it should be noticed that there are
no additional instruments introduced. The seventeen stave score is formed
by separate staves beingallotted to each of the two flutes,clarinets,and bassoons.
This has been done because of the independenceof the wood-wind work generally.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
in half-,quarter-,and eighth-notes,whereas the pianoforteversion and organ
transcriptare in quarter-, eighth-,and sixteenth-note notation. The latter
is visually,more in keepingwith the airylightnessof this charmingwork, than
the full score notation.
Excerpts27-28-29from Mendelssohn'sMidsummer Night'sDream Overture
egrodimolto
FUutoI
FlautoII
or
A greatoigta with 8 and 4 flue tone coupledto fullswell(eitherpartiallyfullyopen)'wouldbe sufficientfor these threeexcerpts.
Orchestral Works
No.27
*b
Piano
j=I 1
Manual
Pedal
In 27, a slightredistributionof the flute,clarinet,and violinfiguresenables.
us to obtain clarityand lightnessof movement.
In 28, a short pedaltrillreplacesthe vigorousrepetitionfigureof timpani,viola,and bass strings.
In 29,the timpaniplaysimilarrepetitions,but here theyare counter-balanced
by the stronglysustained brass (ophicleide)and bass strings.In 29, too, the
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 Night'sDream Overture
No. 30 Allegrodimolto
Vlolino II
Orchestral Works
Excerpts 30, 31, 32, illustratethe layingout of divided stringwork, which
Mendelssohn so freelyuses in his Midsummer Night'sDream Overture to bringto the hearer's imaginationthe daintylightdancing movements of fairyelves.
In each of these phrasesthe violins are subdivided into four parts,two violins
I;two violins II.
On the organ, an artisticsubstitute for this orchestral stringtone, can be
found on a swell with stringtone stops (finelyvoiced gambas) and soft flute
work (ifnot thick or woolly),with the addition of a soft reed.
If the organ possesses a very soft and round reed such as a finelyvoiced contra
fagotto16, the low brass (ophideide)phrasein 31 may be givento this stop in
the pedals,i.e., ifcouplingaccessories permit.
The lefthand on a suitable choir organ, may bring out the detached wood-wind
leads of 32.
The possibilityof obtaininganythingakin to the ethereal stringtone of
the orchestra,depends entirelyupon the qualityand voicingof the gambas,
salicionals,celestes dulcianas and similar toned stops to be found on swell and
choir organs. If the stops referred to are reallyrefined and good,many artistic
effectssomewhat analogousto stringtone are obtainable.
No.SO
Piano
rvin~~
Piano
GO The Art of Transcribingfor the Organ
No.82
No.30
Manual "
Pedal
Iwith soft reed
No.31
No.SS
Pad.
Excerpts33-34-35from Mendelssohn'sHebrides Overture
No:S3Allegromoderate No.34 No.35
Flanto I
Flanto II
Oboe I
Oboe II
Violoncello
Basso
iff *
[6*1
Orchestral Works 63
No.SS
Piano
Piano
Piano
No.83
Manual
Pedal
Pedal
Excerpts 36-37
from Schubert's Symphony in B minor
No.86 No.87
Allegromoderate
Oboi
Clarinetti
in A
Fagotti
CorniinD
TrombeinE
8 Trumboni
Timpaniin B.F sharp
ViolinoJ
ViolinoII
Viola
Violoncello
ittWtfWW
UP
BTTriJJpp
mm
^^
i i
"
Vf
'" J.-IJJI-IJ ii
""
[64]
Orchestral Works 65
Pedal
The first movement of Schubert's beautiful Symphony in B minor, "The
Unfinished" " is very delicatelylaid out. The quiettremulous movement of the
violins isconspicuous,as also are the lovelythemes (thefirstand second subjects)
given to the wood-wind and 'cellos.
No. 36 is given as an important instance of violin tremolo work. Here the
string tremolo phrase is not merely an accompaniment. It has a melodic
significance,and the tremolo is intended to create an atmosphere of inward
agitation.
It is impossibleto imitate successfullyon the organ, the repetition(tremolo
effect)of the violins,but the above transcriptsuggests an artistic compromise.
If played very smoothly and connectedly,a certain amount of agitatedmovement
will be perceptiblewithout undue restlessness. A small swell organ with string-toned stops and a soft reed, and with the added fulness of soft and small flute
and flue work, will suit this string-passagewell.
The oboe and clarinet theme afford an opportunity of the effective imitation
of orchestral tone color. It will depend upon the possessionof good reeds
of the desired quality,with the addition of small flute and flue work which will
blend well with the reed tone.
No. 37 shows the orchestral blending of stringsand wood-wind, supple-mented
in the last two measures by brass.
The agitationof the stringsis maintained in the transcript,and the rhythm
of the wood-wind is given to the left hand. The pedal of No. 36 will be of 16
and 8 flue work, but that of No. 87 should be increased in weight,and coupled
to the great manual.
66 The Art of Transcribingfor the Organ
Prime
Sec
No.87
f3
m ^^
Sdmmann's Manfred overture was written to Byron'sgreat dramati"?poemof the same name. It is considered to be one of Schumann's most inspiredworks,and it certainlyshould be more frequentlyheard. The organ arrange-ment
of the work makes a greater number of hearingspossibleby bringingitwithin the range of one performer.
In the firstquotation (No. 38) from this work, the orchestralforces are
busy in all departments,fortissimo.Althoughthe passage is a very agitatedone, itwould be inadvisableto attempt to reproducethe stringrepetitions.
Orchestral Works 67
No.86
No.87
/bothhands on U to 8 with so
coupledto IIIwith reeds
Ped.to II
ULr Ir v LLflr *pr N pr r
It would be possibleto use tremolo chords in the lefthand part of the organ
arrangement" but it is as well to remember that the brass chords in the score
givea sonorityand weightto the whole mass of sound. The firm chords givenin the transcriptto the lefthand are a more suitable substitute. No. 39 givesus an example of the rather uncommon use of three trumpets in the orchestra,instead of the more usual number " two " in use in Schumann's day. The beauti-ful
phrasegiven here to the three trumpets,not only forms a most impressivecoda, but is reserved expresslyfor that purpose.
It will be noticed that this theme is also duplicatedby the clarinetsat the
unison pitch,and by the flutes in the upper octave, but it is the peculiarlysoftand penetratingtone of the trumpets which should be stressed,rather than the
doublingsand reinforcingsof the wood-wind.
The crescendo and diminuendo signs " ~" observed by the violins
and violas in the score cannot be easilyaccomplishedwith the swell pedalin 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 an artistic
phrasingof the bass passage which is an essential feature of this excerpt. The
wood-wind chords,the repetitionsof the firstviolins,and the low repetitionsof the violas are purelyorchestral devices. They are not essentialfrom the har-monic
or melodic pointof view, and therefore they can be sacrificed in the
adaptation.
Excerpts 38-39
from Schumann's Manfred Overture Op.115
No. 88 In strennous vigoroustempo J=1*4 No. 89
Flutes
Oboes
Clarinets
in B flat
Bassoons
"Ventil
Horns
in E flat
8 Natural
Horns
in E flat
SVentil
Trumpetsin E flat
TimpaniinE flat B flat
Excerpts40-41
from Weber's Jubilee Overture
No.40 No.41dante
Piccolos
Orchestral Works 71
No.40
Piano
Piano
Tfo.40
fc
Manual " p 1to IIIwith son Sand 4 and soft reed
i
Fed 16 and 8
Pedal ^^a
n soft s
72 The AH of Transcribingfor the Organ
Weber's brilliant overture The Jubilee is a splendidlyvivacious piece of
music, and is most effective in its transcribed form for the organ.
No. 40 gives us a quiet wood-wind and horn quotationfrom it,with some
soft brass thrown in.
The chords for the trombones and trumpets, playing softly,are rhythmically
prominent. They can be artisticallysubstituted on a soft and round toned
eight-footdiapason on the great manual. The choir coupled to swell will serve
for the purposes of the wood- wind work.
No. 41 has two outstanding features, and a third, which is apparently
prominent.
The theme, which isidentical with the EnglishNational Anthem, is announced
by strong wood-wind, horn, and brass chords, all playingfortissimo.
This is the first and most important feature.
The second is the rapid passage-playingof the violins and violas,all playing
one note per bow, with the utmost brilliance.
The third feature is the visuallyprominent rhythmic figure of the stringbasses. This third feature is visuallyimportant because of its independent
rhythm, a rhythm which is not duplicatedby any other instrument. Its real
importance,however, isgreatlyminimized because the strong forcible and penetra-ting
low notes of the trombones, the full chords of the brass generally,and the
pounding fortissimodrum-roll all contribute to over-shadow the rhythm of the
stringbasses. Therefore, in the organ arrangement, the pedals can take care
of the heavy bass of the brass, the left hand can bring out the theme-chords on
a great with reeds,but not coupled to the swell manual, and the passage-playingof the upper stringscan be assignedto a full choir coupled to full swell.
With a four manual instrument possessinga powerful eight-footreed on its
solo organ, the theme-chords could be effectivelygiven to such a stop. In
this case, the full great organ, with'out any reed-work or heavy sixteen-foot
stops, coupled to full swell,should be reserved for scale passages. The mixture
work on a great organ is excellent for this kind of work.
Orchestral Works 73
It is a most fascinatingand engrossingstudyto arrange the great orchestral
overtures for the organ. The music of these splendidconceptionstranscends
anythingthat has ever been written for the organ in this particularform. Their
acquisitionto an organist'srepertoireisnot onlya very greatartisticasset,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,infinitelyhigherthan ispossibleby any other means.
The greatest organ music ever written" that of the immortal Johann
Sebastian Bach " isexclusivelycontrapuntal,and for this very reason, it has its
limitations. Bach's greatest organ works can be made to *live" on a fine
modern organ in a manner absolutelyunattainable on the wretched instruments
of a century or more ago. On the other hand, a reallygood modern instrument
requiresmusic of a totallydifferent type from Bach's,in order to reveal fully
its wonderful interpretivecapabilities.Hence the necessityof enlargingthe
organist'sartisticpowers as well as his repertoireby making use of those magnifi-cent
orchestral works which are capableof successful adaptationto the organ.
No. 42 and 43 are both slenderlyscored.
In the former,the violinand viola eighth-notepassage, stands out brilliantly.
In the latter,the same figureis givento second violins and 'cellos,with a totally
different effect.
The arrangement of No. 42, placesthe passage referred to between the two
hands, and, played neatlywith the suggestedregistering,it will sound well.
In No. 43, the quiettone of the second violins is enriched by the resonant
qualityof the 'cellosin the lower octave. This may be taken, either on a soft
small flue stop on the greatcoupledto swell to oboe, or on the swell to oboe as
suggestedin the arrangement.
The pedalscan hold the low horn note, and the clarinetphrasemay be playedon a choir or solo manual, with a soft blendingflutequalityto helpout the organ
clarinet timbre.
Excerpts42 -43
from WeberfeDer Freischiitz Overture
Molto vivacea2
No.43
Flutes
Oboes
Clarinets
in B
Bassoons
Horns inF
Horns in C
Trumpetsin C
TimpaniinC. A:
ViolinsI
ViolinsII
Violas
Violoncellos
Double-basses
Horns inEb
[74]
OrchestralWorks 75
Piano
No.42 I. J"
Manual
Pedal
~HF\"
FT*IIwith 8 and 4 to IIIwit4 to IIIwith reeds 8
33SE
r^
II to Fed.
J ' J '
Manual
Pedal
?-" r r
III to Oboe
IIto Fed. a I softs)
Webb's Euryantheoverture, from which the quotationson page 76 are taken,
providesmany excellent passages for pedalling.The same remark applieswith
equalforce to Mendelssohn's Hebrides and Weber's Jubilee overtures, already
quotedfrom. Such passages, which in orchestralscores are givento the string
basses reinforced by the bassoons,and sometimes further strengthenedby violas,
clarinets,double-bassoons,and bass clarinets,are thoroughlygermane to, and
in the idiom of,the pedaldepartmentof modern organs.
Excerpts44-45from Weber's Enryanthe Overture
No.44, ^
No.45.
Allegromarcato-conmoltofaoco kg*
Plntei
Oboes
Clarinets
inB
Bassoons
Horns in
B flat Alto
Horns.
mEflat
Trumpetsin E Hat
TimpaniinEflat.Bflat
[76]
78 The Art of Transcribingfor the Organ
playablepassages be found? The Finale of Mendelssohn's Organ Sonata No. 1
in F minor,providesthe nearest approachto such passages in the two brilliant
descendingscale passages. Bach's instrumentation was of an earliergeneration
than Beethoven's,and is not justlycomparableto what is known as the Beet-hoven
type* embracing of course Weber, Mendelssohn, and others. Therefore
the finestBach pedalpassages are not justlycomparableto such as Mendelssohn
employedin the gorgeous Finale of his "First Organ Sonata."
Though some good pedalpassages are to be found in what is acceptedas
greatoriginalorgan music,viz.:the works of Merkel, Rheinberger,Guilmant,
Widor, Parry,Harwood, excludingthe purelyfugalforms, yet they are the
exceptionrather than the rule. Fortunately,some modern organ composers are
utilizingthe pedal-boardwith much more freedom,and by so doing,are helpingto raisethe standard of organ-pedaltechnique.
In No. 44 the pedalstake over the lower stringsand bassoon passage. In
the second measure, there is a conspicuouslittlefigurefor trumpets and drum.
This may be sacrificed,so that the balance of organ tone, may be preserved
by the left-hand chords.
No. 45 isquitea differentproblem. The whole orchestra isplayingfortissimo,wood- wind, horns and brass holdingand repeatingbig fullchords; upper strings
lashingout the notes (threeper bow) of a diminished seventh,ascendingchord-
note by chord-note,and the stringbasses playingsimilar notes in the form of
a broad arpeggio.The effectis very fieryand exceedinglybrilliant.
There are many ways of arrangingsuch a passage but the chief aim here
is to infuse the utmost amount of brilliance,body,and weight into it. The
risingnotes of the string-basses,beingalmost eclipsedby the weightof drum
and brass,may be disregarded.
In the transcript,we get weightin the pedals;body in the left hand; and
brilliance" a bravura diminished seventh arpeggiopassage " in the righthand.
It has alreadybeen mentioned,that in consideringthe scores of Beethoven,Mendelssohn, Schubert and Weber, great care is requiredin layingout the
thematic and contrapuntalmaterial to the best advantagefor the organ. These
scores confront us with difficultiesquitedifferentand distinct from the Wagneror Tschaikowskyscores, because of the contrapuntalindependence,and interest
Orchestral Works 79
of the parts allotted to the various instruments. It is true that the Wagner,
Tschaikowsky and other modern scores abound in contrapuntal devices of all
kinds " but the orchestra employed is so much larger than that of Beethoven,
that it becomes necessary to view the later scores from a different standpoint.
Take for instance Wagner's Prelude to Tristan and Isolde (Ex. 46), where there
is a remarkable homogeniety of musical texture, into which the wood-wind, horn,
and string qualitiesof tone are merged to a point where individuality partially
disappears.
In the first two measures, the upper theme strengthened by clarinets,Eng-lish
horn and bassoons, is distinctly wood- wind in tone-quality; but the lower
strings (second violins and violas) although musically independent, seem to
assimilate some of that wood-wind quality. The same kind of tone-fusion
occurs also in measures three to five, where the tone of the 'cellos gives a quasi
wood-wind tinge to the theme of the first violins.
Excerpt46from TWagnarfePreludeto Tristan and Isolde
Slowlyandveryexpressively
[80]
Orchestral Works 81
No. 46
Piano
The blendingof tone qualitiesin music of a homogeneous nature such as that
in the above extract creates a peculiardifficultyin the process of transference
to the organ keyboard.Whilst,from the musical pointof view, allthe salient
harmonic and melodic features can be reproducedwith ease, the difficultyreferred to liesin the attempt to gain a satisfactorybalance of organ tone.
In the adaptationthe right-handhas the upper theme in the earliermeas-ures,
on a Swell with eight-,and four-footfluteand stringtoned stopsand Oboe.
The left-hand,on a Choir with eight-,and four-foot stringand flutetone coupledto Swell,takes the under theme until itrisesabove the rest,in the fifthmeasure.
No.46
Manual
Pedal, J. jj,IflJ.J, IftJ,1to Ped.'Ped.Uandf ofreqriiiteweight
If both hands were to play on one keyboard here (eitherSwell or Choir),the left-handpart would lose a certain amount of weight,which itsimportancein the musical structure demands. This additional weightis gainedby givingthe under part to the left-hand on the Choir " the Choir beingcoupledto the
Swell.
In the course of the firstfour measures, the hands graduallyapproacheachother " but at the fifth measure, the left-hand under-theme rises to such an
extent that it is necessary to changehands,and to continue the risingleft-handtheme on the Choir by lettingthe right-handdrop down to the lower keyboardat that measure. Thus it willbe seen that this risingleft-handtheme in meas-ures
three to five,has the advantageof prominencein two ways: " first,the
prominencegainedby the additional weightof Choir-organtone in measures
three and four;and second,the prominencegainedby the fact that in the fifth
measure, it lieson top of the other part and not underneath. This prominenceof higherparts over lower parts on the same keyboard,is a pointoften overlooked,not only in organ transcriptions,but unfortunately,in originalcompositionsfor the organ. The ignoringof this fact results in faultybalance of tone " the
middle parts beingover-laid or over-weightedby the upper parts" when both
are on one and the same manual.
Excerpt47from WagnerfeOverture to The Mastersingers
Moderate*molto
[83]
Excerpt48fromWagnertPrelude to Parsifal
Veryslowfr
One further examplefrom Wagner,illustratesagainthe massed formationof modern orchestralscores. Ex. 48 is from the Prelude to Parsijd,where
[84]
Excerpt49from the firstmovement of TschaikowskyfePathetic Symphony
Allegronofl'troppoJ=u"
Flute 1
Flute
The firstmovement of Tschaikowsk/s"Pathetic" Symphony No. 6,Op.74,is a wonderful pieceof orchestration.It isprofoundlyhuman, and seems to
range throughthe entiregamut of human emotions from the depthsof abysmalsorrow to the heightsof ecstaticjoy,even as itsmusical expressivenessrangesfrom sounds hardlyeven whisperedto utterances of the wildestand fiercestfortissimo.
[86]
OrchestralWorks 87
There are many musicians who denounce in no uncertain terms, transcribingfor the organ, such orchestral music as that of Wagner'sTristan and Isolde Pre-lude,
Tschaikowsky's"Pathetic" Symphony (firstmovement), and other worksof a similar nature. Surely,it seems a wicked waste of artisticmaterial,granteda reallywell-equippedorgan and an adequatelytrained executant both fromthe technical and artisticpoint of view, that our modern organs should be re-served
chieflyfor the expositionof pure organ music. It seems to indicate,too, a very narrow view of musical art that so many musicians should dis-courage
rather than encourage the exploitationof that vast heritageof gloriousorchestral music, for the purposes of organ solo work.
In one of John Ruskin's works on Art, the followingsentiment isexpressed:"
"It is better to save up enough money to buy one originalpictureby a goodartist,than to be satisfied with a mere reproduction!" The wonderful im-provements
in the art of color-printing(reproductionsin color)and of the photo-graphicart in generalhas probablycaused the above sentiment to become as
extinct as the dodo!
By transference of thoughtthe same reasoningmay be appliedto the principleof transcribingmodern orchestral music, for the modern organ " providingthatthe music in its rearrangedform, is set out distinctlyin the idiom of pure organ
music.
No.49
Piano
1 a
Ex. 49, contains an innumerable number of rapidrepetitions,both in the
stringand wood-wind groups. All these rapidrepetitionsmust be suppressedin the transcript.The passage quoted will suffer no loss of artisticeffectbythe deletion of these rapidlyrepeatednotes in the changedmedium ofexpression.As an exact imitation of the orchestral colors and idioms, the transcriptionis
futile,but,as an organ expositionof Tschaikowsky'smusic,the resultisthoroughlygood,thoroughlyartistic,and thoroughlyorganisticin idiom.
No.40
Manual
Pedal
The Choir-organ(right-hand)should have Reed, Flute and Stringquality
coupled to the Swell-organwith stops of similar timbre. The Great-organ(lefthand) may bring out the bassoon and horn phraseson Diapasons coupledto Swell;and the Pedal may be coupledto the Great.
Excerpt50from the firstmovement of Tschaikowsky'sPathetic Symphony
Allegrovivo J=m
Flute 1.
Flute 2.
Flute 8.
(Piccolo)
[88]
Orchestral Works 89
Ex. 50, from the same symphony as the precedingexcerpt, entails a wider
fieldof organ technique.It bringsinto play,the use of double-pedallingwork,
under conditions which are technicallydifficult,but which, on the other hand,
are quiteartisticand germane to organ usage. The left-footPedal-note,coupled
No.60
Piano
No.50
Manual
Pedal
to Great, retains the string-bassesand drum parts" the latter,in the orchestra,
being pounded out double-fortissimo. The right-footpedal-phrasegivesus an
opportunityof enunciatingthe forceful passage of the firstand third trombones.
The left-hand,either on a Full Great-organor Solo-organheavy Reed, takes
care of the theme of the bassoons,second trombone and tuba. The right-hand
on Full Choir coupledto Full Swell deals with the upper wood-wind parts as
well as the oboe and trumpet phrase. (Thispart may be played on the Great,
ifthere are four manuals.) In the third measure, the right-foottakes the end
of the oboe and trumpet theme just referred to. This procedure makes for
clearness,otherwise the right-handunder-partwould run into the left-hand,
and the Pedal would foul the left-hand part.
Technicallyspeaking,this is a difficultpieceto play,but not only are the
chief features of the score broughtout in a manner which will sound artistic,
but the languageof the transcriptis that of real organ music.
Flute i.
Flute* 2.
Oboes
Clarinets
inBk
EnglishHorn
Bassoons
ft.2.
Boras in F
1.4.
Tuba
Triangle
Violins I
Violins II
Excerpt51from Tschaikowskyfe1812 Overture
AllegrogiustoJjJJS"^ ^
mp cresc.
"="erue.
pi" "*
crwc.
CTMC.
CT80C.
*="
^ W
^
^^
$
w
Orchestral Works 91
Ex. 51, from Tschaikowsky's"1812" Overture providesa further oppor-tunity
of double-pedalling.The theme, which is given to the firstflute and
violins,is treated canonically,in conjunctionwith the violas and 'cellos. The
supportingchords of the lower wood-wind and horns, are a necessary back-ground
to the whole,while the softlysustained low notes of the tuba and double-
basses form the harmonic basis.
No.51
Piano
The transcriptionof the passage results in a perfectlystraightforwardpiece
of organ music. The Pedals, coupledto a soft eight-,or four-foot Great-organ
stop of flute tone, willenable the right-foottheme to come througheasily.The
No.51 mitring tone
Manual
Pedal
Pedal-organitselfshould have a lightsixteen-foot flue-stopdrawn. The sup-porting
chords can be played on the Choir-organ,and the theme of the flute
and violins,the Swell. Where the instrument has four manuals, and the fourth
(Solo)keyboard contains some good stops of flute and reed tone, the sustained
chords might with advantagebe playedon this manual. The right-handcould
then utilizeeither the Swell or Choir.
Excerpt52from Brahms's Tragic Overture
Allegronon troppo
Flutes
Oboes
Clarinets
inBb
Bassoons
Horns in D
1. ".
Horns in F
1,4,
TrumpetsiflD
TimpaniinD.A.
Violini I
Violins II
"
P7 "
^
* f ' ' T
fE^P
f M 1 1 " " f I I ' ' f IJ
P
f* 1 f
"
if *-
3 4
By kind permissionof Messrs. Alfred Ungnick A Co.
Excerpt 53
fromBrahms's TragicOverture
Allegroma non troppo
Flutes
Oboes
Clarinets
inBb
Bassoons
Violins 1
Tiolins II
Violas
Violoncellos
Dcmbfc-b
fif f if rfif r iff
Bykind permissionof Mmra. Alfred LengniokA Co.
The next example(53)from the same work as the two precedingexcerpts,is
particularlyinteresting.It furnishes an instance where a generalcrescendo is
carriedout from the pianopointin the firstmeasure on to a fortissimo.
The crescendo isexecuted without increasingthe orchestralforcesemployed,
except for a lightuse of horns and trumpetsfive measures beyond the givenquotation.
It isa troublesome phraseto manage on an organ, because the hands,as the
transcriptclearlyshows,are fullyoccupiedduringthe whole of the time. The
Orchestral Works 95
No.58
Piano
feet too, are busilyengagedin bringingout the importantthematic material "
actuallythe firstseven notes of the principalsubjectof the Overture. The
Choir (or Solo)should be preparedfor wood-wind quality;the Swell should
have all the stops approximatingto full string-tone;and the Pedals,with a
soft Pedal Reed ifthe instrument possesses one, should be coupledto the Great,with lighteight-footflue work. Couple the Choir and Swell,and, also the
latter to the Great.
With the above registeringas a startingpoint,a crescendo can be made by
takingthe left-hand down or up to the Great at the sixth measure; adding to
the Swell at the eighth,and to the Great at the tenth, where the score more
easilyadmits of further increases beingmade.This whole passage of thirteen measures is too longfor one page, and seeing
that the plan of this book is to show on the right-handpage the explanatorynotes and transcriptsof the score givenon the left-hand page, onlythe firstsix
measures are here quoted.
Excerpt54fromBrahmsfe TragicOverture
Allegro-manooJroppo
Flutes
Oboes
Clarinets
in ft
Bassoons
* 8
By kind pennissiovof Jfoisrft'AlfredLengnlckA Co,
[06]
Orchestral Works 97
The last example from Brahms's "Tragic"Overture is a particularlydis-jointed
pieceof orchestral writingto arrange for the organ. The rhythmic
figureof the upper stringsand horns,is of paramount importance. Yet this
rhythmicfigurecontains an idiom which, though perfectlynatural to the string,
wood-wind, and horn families,is by no means suitable to the organ. The idiom
referred to is the rapidreiteration of singlenotes or chords. If this passage be
No.54
Piano
'
r
No.54
Manual
The Art of Transcribingfor the Organ
playedon the organ as it is givenin the pianoforteversion,the actual result
in sound will be that of chords playedjustbeforethe strong part of the beat
and held over!
Xo distinctrepetitioneffectwillbe audible.
This is not a questionas to whether one does, or does not possess an abnor-mal
amount of free wrist-action;nor does it concern the appearance of quick
repetitionsobtainable by mechanical means. The fact remains, that these
repetitions,whether playedby hand or by mechanical processes, willbe practically
inaudible in any concert hall where the accoustic propertiesare normal. The
truth is,that the quickrepetitionsof singlenotes or chords is an idiom which,
ifit is not utterlyforeignto the organ, is absolutelyineffective on that instru-ment.
Only repetitionsat a moderate speedare artisticallypossibleon an organ.
Even as is the case in some originalorgan music, where very rapidrepetitions
are indicated,the real effectof repetition,is audible in the imaginationonly. It
is no use seeinga performermake these repetitionson the organ keyboard,un-less
they can be heard throughthe buildingas distinct sounds.
It is the "bite" with the bow of the string-player;the "lipping"of wood-wind
or brass instrument players;and the "hammer-blow" of percussionin-struments,
which make the performanceof very rapidrepetitionsan artistic
actuality.None of these characteristics are present in the modern key-to-
palletaction of the organ, and however good the organ action may be, there is
alwaysa tendencyfor rapidlyrepeatedsounds to run into each other.
The transcriptwhich we offer indicates an artisticsubstitute for the short
repeatednotes. It isintended to be playedon a fairlybigGreat-organcoupled
to full Swell. The Pedal-organ,with flue and reed stops,must be coupled to
the Great.
Orchestral Works 99
The transcribingof the largermovement from the pianoforte or violin con-certos
or even from the double concertos (i.e.for two solo instruments and
orchestra) would involve difficulties,almost insuperable, because the solo in-strumental
part of the original,especially in the case of pianoforte concertos,
is usually developed to the utmost musical capacity both of the soloist and of
the instrument. But there are many smaller movements from these concertos
which can be artisticallyadapted to the organ.
The concertos of the Bach and Handel period present no real difficulties in
the way of successful organ transcription,because orchestral music at that time
was merely in its infancy, and did not exist at all IQL the modern sense, until the
advent of Beethoven's predecessors " Haydn and Mozart "and of Beethoven
himself.
Bach and Handel were a pair of artistic thieves! They both turned the
musical ideas of other men to excellent account. Bach often acknowledged the
debt, and, in the case of Vivaldis' Violin Concertos which he transcribed for
the organ, he turned the tables and made it a debt of gratitude, for Vivaldi's
violin concertos would hardly be known to-day except through the medium of
Bach's organ transcriptions; The Slow Movement (Adagio) from Grieg'sPiano
Concerto in A minor is exceedingly effective as an organ solo. A glance at the
score of the quotations from this work, Ex. 55 shows us a beautiful passage, where
Grieg introduces canonically,the chief tune for first 'cellos (the 'cellos dividing),
against the same theme, one measure fprlier,in the pianoforte solo part. Only
a small orchestral force is employed; the upper strings playing quiet tremolo
passages, while the wood-wind, second 'cellos and double-bosses lightlysupport
the solo instrument.
Excerpt55from the middle movement of GriegfcPianoforte Concerto fcA.minor
AdagioJ)=84
Flutes
Oboes
Clarinets
* " 8 4
By Hud permlsiion of Hours. C Jt Peters,Leipsit;.
[100]
Excerpt56from Grieg*Peer Gynt Suite,No.lAnitra'sDance
TempodHVIazurka J=i"o
Triingle
con lord.
ViolinsI
Violinsn
TLolu
c
Violoncellos
* 3 a 456
By Matf pendsdon of JfossrtfC.P.Fetus,Lripxlg.
The third movement of Grieg'sPeer GyntSuite is a charminglittledance,and very prettilyscored. It is so airyand dainty,as to be,in the opinionof
many, almost outside the realms of organ music. But we must remember that
splendidorgans have been placedin ConcertHalls,Theatres,and Cinemas,as well
as in sacred edifices.
We must remember too,thatorgans to-day,insteadofbeingreservedmainlyfor the servicesof the variousChurches as theywere a centuryago, are beingextensivelyused to minister to the enlightenmentof the people'sleisurehours.Theirmissionto-dayhasexpandedfarbeyondthe restrictedthoughpraiseworthy
[102]
Orchestral Works 103
uses of our forefathers' times. They minister to the educational and delecta-
tional joys and interests of the masses of music-lovinghumanity. And, where
the instrument is reallyadequateboth tonallyand mechanically,and the ex-ecutant
a true and well equippedartistwith a wide range of musical sympathiesand tastes,their power for providinghealthyand sane enjoymentis unbounded.
Every good organ should have beautiful Flutes,Clarinets,Oboes, Trumpets,and Reeds, as well as a fair amount of Stringand generalflute-toned stops.Every good organ should also have a splendidfoundation of that tone which is
the glory of the organ, viz.: full and rich Diapason tone of thirty-two-,sixteen-,eight-,four-,and two-foot pitches,as well as a good sprinklingof Mixture work.
Given an instrument such as is brieflyoutlined above, why should not the
beautiful Flutes,the fulltoned Clarinets,the plaintiveOboes, and the brilliant
Trumpets be used in a manner similar to that of their orchestral prototypesprovidingalways,of course, that the music is arrangedto suit the organ? It
is this reasoningwhich leads us to consider freely,the organ transcriptionofsuch charminglydaintylittledances as that from which Excerpt56 is taken.
No 56
Piano
It will be observed that the 'cellosare divided,and that the firstviolinsshare
with the first'cellos,the principaltheme and its counter-theme underneath.
The rest of the small force providesa lightaccompaniment to these melodies.
The part givento the trianglein the score, may be ignoredin the transcript.If however the instrument possesses a triangle-effecton a fourth manual, the
laying-outof the transcriptgives occasional opportunitiesfor the use of such
an effect,e.g. in measures two and six,at the quarter-note silences in the left
hand part.
No 66
Manual
Pedal
ni
j n \J n ps*
The registrationfor this passage may be:
I. Choir-organstring-tonecoupledto Swell,for the right-hand.n. Great-organ,'Cello or Small-Diapason;for the left-hand thumb.
IH. Swell-organstring-tonedstops with Oboe, for the left-hand.
The Pedals,with lightsixteen-,and eight-footfluestops,need not be coupled.
Excerpt57from Smetana's BarteretBride Overture
Vivacissimo
Violins1
Violins II
8 9
ByHndpennissifmofMessrs:Bd.Bote *.UBock,Berlin,W. 8.
Smetana's Bartered Bride Overture,is a curiouslyinterestingwork to placeunder considerationfor the purposes of organ transcription.The fugalnatureof the overture certainlylendsitselfto effectivetreatment on the organ.
The subject,itscounter-subject,and the added partsare written in eighth-notes, which if taken at the speedintended by the composer, demand greatclearnessin manual technique,and an even greatercommand over what mightbe calledthe dove-tailedtoe-and-heeltechniqueof the pedal-board.Given the
[104]
Orchestral Works 105
requisitefacilityto use thisdove-tailed toe-and-heel technique" the part allotted
to the Pedals in Ex. 57 can be artisticallyand effectivelyrendered.
No.57
Piano
If the pianoforteversion and the transcriptbe compared with the original,it will be seen that some of the parts are rewritten,in order to avoid the eighth-note repetitions.In the fifth measure the left hand is free to uncouple the
Great and Pedal organs.
No.57
Manual
Pedal
1{semprep
t to Fed. IUtoPodJ
rrrfrrrf rfrrrrrt rrrrrrrT
A8
* 9 * 4^-*
A satisfactorydispositionof the stops willbe found by arranging:
L The Choir-organ,with right" and four-foot string" and flute-tone to-gether
with an eight-footBeed.n. The Great-organ,to Principalfour-foot.HI. The Swell,similar to the Choir-organand coupledto it.
The pedals,coupledat firstto the Great-organ,should have light,or at least
not too heavy,sixteen- and eight-footflue stops drawn.
Excerpt58from Sullivan'sIn Memoriam Overture
Allegromolto
* 8 4 5^ ft 78By tindpeniisibaof Herbert Svllhu Bt*,iiidNonUo*C"*Ltd.
[106]
Orchestral Works 107
Sullivan's In Memoriam Overture furnishes us with two exceedinglyin-teresting
excerpts. A comparison of Excerpt 53 (from Brahms's TragicOver-ture)
with Ex. 58 will reveal a point which both extracts have in common. A
gradualcrescendo is indicated in the score of these excerpts, without adding to
the number of instruments. There is a further similaritybetween this example
and that of No. 54 (alsofrom Brahms's TragicOverture)" viz.:in the prominence
given to the rapidrepeated-noteidiom as used by the low stringsand bassoons
in the Sullivan work, and by most of the orchestral forces in the Brahms's over-ture.
Both these pointsrequiregreat care in the transcription.The unsuit-
No.68
Piano
ei " 1 71 a
ableness of the repeated-noteidiom on an organ need not be discussed here, as
it has alreadybeen enlargedupon in dealingwith Excerpt 54.
No.68
Manual
Pedal
n nrTm
fl-f' ]
0 I \0
Excerpt59from Sullivan'sIn Memoriam Overture
Allegro^molto
Oboes
Eorns'inC
14.
AltolTenor
Trombones
Ban
Ophlcleide
Timpani
Violins 1
ViolinsII
Violoncellos;
m
sempre cresc.
sempre cresc.
-sempre
p sempre
P sempre
cresc.
cresc.
erase.
sempre cresc.
sempre
ttmjfre
cresc.
^cresc*
crtsc.
i
feyklndyermiasionjrfVerluaJSallinnJBsii^aadNoTello A Cti^Ltd.
[108]
110 The Art of Transcribing for the Organ
The principal melodic features here are the theme of the oboes and the soft-
brass tune. The right-hand will be required for the one, and the left-hand for
the other. The accompanimental figure of the string group, with its repeated-
note feature, is not in the genus of organ-playing, nor is the passage of the 'cellos
and double-basses suited to the Pedal-board.
We have altered the note of anticipation at the last eighth-note in each measure,
and we have omitted the upper-string group. The melodic importance of the
oboes, and the sustained notes of the horn, more germane to the organ than
the type of music given to the strings here, warrant the omission of the upper-
string work" important though this is. But the Pedals retain the characteristic
rhythm of the string accompaniment.
Register the organ as follows:
L Choir-organ, with string-, flute-, and reed-tone;
II. Great, with eight-foot Diapasons;
m. Swell to Oboe.
Couple the Pedals to the Swell-organ.
SECTION III
Section III
Transcribing for the Organ Original Works for Small and
String Orchestras, Chamber and Pianoforte Music,
and Songs with Pianoforte Accompaniment
The larger movements, i.e.,the quick Sonata-form and Rondo movements
from the works for Small Orchestras and Chamber music stand somewhat in the
same category as the similar numbers from the Concertos. (See the text ac-companying
Excerpt 55.)
The medium of musical expression is small and limited compared with the
inexhaustible resources of the full orchestra. In a small band, each instrument
is treated more or less in a solo capacity, and more individuality is apparently
demanded from the players than is the case with the full orchestra. With
Chamber Music, each executant performs in a definite solo capacity, and whether
it be the trio, quartet, quintet, septet, octet, or nonet, the great music written
for these solo-combinations forms the finest and purest type of instrumental
expressiveness extant. The reason for this is not far to seek, especially in the
case of the string quartet or quintet.
The violin, viola and 'cello are perhaps the most perfect of instruments, and
they are capable of a tremendous range of musical expression. Given the music
and the players it is the string quartet or quintet that furnishes us with the
consummation of instrumental music.
But although it might be impossible to bring within the artistic range of
the organ, the larger movements from these works, the smaller pieces, such as
the middle slow movements, offer a wide choice of much beautiful music.
[us]
Excerpt 60
from the Romanza of Haydn's La Beine Symphony
Allegretto
Plate
Oboes
Bassoons
Horns' in ft
Violins I
Violins II
i
Small Orchestra 115
Excerpt 60 is from the *kRomanza" of Haydn's La Reine Symphony.
No
Manual
no* legato 4
In the first two and a half measures the small' band is playing firmly and
brightly. But look at the score! One flute, two oboes, two bassoons, two
horns, and a few strings" for it should be remembered that it was not until the
early decades of the nineteenth century that the numbers of the string players
were increased to the proportions that obtain to-day.
A. Great-organ to Principal 4 (of light quality) coupled to Swell with Reeds,
would be sufficient for the first phrase of Ex. 60. The second phrase would sound
well with the right-hand on Swell string-toned stops; the left hand on a Great
Claribel or Stopped-Diapason; and the Pedals with eight-foot string-tone" un-coupled.
If the Pedal string-quality (the Violoncello or Violone) is too pungent,
it might produce a more satisfactory effect to couple the Pedal to the Choir-
organ, the latter to have string-tone and flue stops coupled to the Swell, and
without having any stops drawn on the Pedal-organ.
Excerpt 61
from the same movement as the preceding
Allegretto
Flute
Oboes
Busoons
Horns in Eb
Violins 1
Violins n
Violu
Double 95 J J J J Ij. r
f
p
f
Excerpt62from ElgarfeSerenade in E minor for String-orchestra
Violins1
Violins II
Violas
VioloncellosI
Bykind permissionof Messrs. breittoplA HJrtel,Leipzig
[1181
String Orchestra 118
apt to become tedious and wearisome ifpersistedin for too long a period with-out
some compensating relief of tone-color.
It is difficultto account for this ennui which invariablyresults when peculiar
tonal qualitiesare continued for a long time without changing the tone-color.
An hour or more of stringquartet playing,or a pianoforterecital,can be thoroughly
enjoyed " and though in the one case, it is all stringwork and in the other, it is
all pianofortework, there is never any feelingor thought of monotony in tone-
color. But an hour's performance of flute,oboe, clarinet,and bassoon music
would be very trying,without the welcome reliefof a more restful and satisfying
quality. Therefore, while it is artisticallypossibleto reproduce whole passages
and phrases,and even complete short movements of stringmusic on the organ
with a satisfactorysemblance of tonal-imitation,we must sooner or later cast
about for a change of color " otherwise monotony and weariness will inevitably
result.
Excerpt 62 is from one of Sir Edward Elgar'searlyworks for stringorchestra.
The movement from which it is taken is not too long for the effectivereproduction
of imitative stringquality on- the organ.
Manual
Excerpt63from the same as the preceding
Allegropiacevolej=9"
Violins!
Violinsn
) i
U
[WO]
Siring Orchestra 121
Manual
Pedal
* qq*
8 4
Excerpt 63 is an entirelydifferent piece of music from the preceding. It is
not so placid as Ex. 62. There is a vitalityand rhythmic lilt which suggests
brighterand more varied tone qualitiesfor an organ transcript.
The first four measures would sound well on a lightGreat-organ,with eight-,
and four-foot flue stops coupled to the Swell, with lightreeds. The last four
measures could be given, with registeringas in No. 62.
Our first example from chamber-music, as distinct from compositions written
for string orchestras,is from Mozart's StringQuintetin E-flat.
The spread positionof the parts on the first beat of Measure 1, with the
stringsplaying firm detached chords, suggests breadth and body of tone. Firm-ness
and fullness of tone are also suggested on the third beat of measure 8 " but
in a smaller degree, partly because of the legato character of the phrase, and
partly because of the musical context. These two points provide opportunities
for a brighter and more sonorous quality of organ tone than the quiet sections
of Excerpt 64 would bear.
The 'cello passage in measures 4 to 7 will require a timbre similar to that
suggested for the second half of Ex. 60; but it should be much more pronounced
here, because of the prominence which results from its melodic independence
in the score.
Excerpt64from the Andante inMozart's StringQuintetin E-f-lat
Violin1
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. Great, with lightqualityeight-footflue-work;
III. Swell-organ,string-,and flue-work.
Pedal, with an eight-footstring-stopcoupledto Choir; this excerpt could
be plaved as suggestedin the above transcript.
NOTE. The sign " indicates both hands on the manual named.
I,II,HI, above the .right-,or left-hand stave, are intended for the right-,orleft-hand respectively.
(I),(II),(m) althoughnot absolutelynecessary, are given to prevent con-fusion
or doubt; e.g.,the second,third and fourth beats of Measure 1 in Ex. 64
are playedon the Swell-organ,therefore HI is indicated;but on the firstbeat of
the next measure, the I left-hand drops down to the Choir, shown by the signI
above the left-hand part, while the right-handcontinues on the Swell,indicated
by the apparently redundant sign(HI).
Excerpt65from the Larghetto in Mozart's Quintet
in-AmajorforClarinetand Strings
Viola
TOtancello
[124]
Excerpt66from the Andante in Mozart's StringQnartet in D minor
ViolinI
ViolinD
Viola
Excerpt66,alsofrom a work by Mozart,isfullof suggestionsfor varied tone-coloring.The 'cellobroken-chord passages and the spreadpositionof theupper-stringchords in the second and third measures are indicativeof strength,firmness,and vigor.The firstviolinpart in the A-flatsectionhas allthe appear-ance
and effectof a solo passage with a soft gently-figuredaccompaniment.The solo partmightbe representedby Flute,Oboe,or Clarinet quality;and theaccompanimentby a combination of stopswhich would providea quietback-ground
of sound.
[126]
Chamber Music 127
No.ee
Andante
13
For the firstfew measures, the organ should be preparedas follows:
I. Choir-organ,stringand flue;II. Great-organ,lighteight-,and four-foot;
HI. Swell,stringand flue,and with the Oboe;
Pedals,16,and 8, coupledto Great and Choir.
In the second part of the excerpt,the right-handcould utiliseChoir coupledto Swell (both with string-tone);and with the Pedals uncoupled.
This is only one suggestedregistering.The student is recommended to ex-periment
for himself,and try other effectsof accompanied solo work. Note
also that there should be an increase in tone duringthe last three measures.
Excerpt67from the Andante inSchubert'sString QuartetinA minor
Violin!
ViolinU
VidU
Violoncello
J J J J J"w " _*
" "
si m
[128]
Chamber Music 129
Our last examples from string-quartet workare from the "Andante" in Schu-bert's
A Minor Quartet, Op. 89. Ex. 67 has two prominent features forrepro-duction,
viz.:
(a) The first violin tune. This is the "first subject" properof the whole
movement from which the excerpt is taken, and it is identical -with the
melody of Schubert's Rosamunde Entr'acte in B-flat9 and of his piano-forte
Impromptu (No. 8, Op. 142).
(b) The running accompaniment of the second violin.
No. 67
Manual
Pedal
J'i" DJ JF
j j j jfr"
i ILJ i i
The registering maybe the same as in the second part of Ex. 66, but with the
right-hand on III, and the left-hand oh I.
Excerpt68from the same movement as the preceding
ViolinI
ViolinII
Viola
Violoncello
[130]
Chamber Music 131
No. 6
Manual
Pedal
Here again, as in the first part of Ex. 66, the effect is one of strength and
vigor. The spread chords and arpeggios, all being played very firmly and very
strongly, contribute their share in making for bigness and breadth of sound.
A light Great-organ of eight-, and four-foot flue, coupled to Swell with Reeds,
would serve well for this excerpt.
Excerpt69froxna.Nocturne for'CelloSolo
with Pianoforte accompanimentbyH.E Ellingford
poco apoeostrinfsndo8 appassionato
Cello
Piano
^. L^^."."" ^ _?r""*^
ii i Ti FT ii
One examplefrom instrumentalsolowork with pianoforteaccompanimentwillserve to elucidatesome of the methods that may be adoptedin the makingof organ arrangements. If the solo part isthe most prominentfeaturein the
[132]
Excerpt70from Benedict'sPianoforte Variations
on Arne'stune Where the bee sacks
Allegretto
Piino
F^
C184]
PianoforteMusic 135
The repertoireof pianofortemusic isrich in some of the most beautiful ideas
in the whole world of music. Amidst this wealth of great musical art, there are
many instances where the effectof the music isgreatlyenhanced by beingtrans-ferred
to the organ keyboards;innumerable instances in which the musical
idea seems to become richer and more beautiful in its changed medium of ex-pression
than in its originalform.
The pianoforteitselfhas partiallyimitative qualities.In the upper octaves,
we find a semblance of flutetone " in the middle octaves, quasihorn effectsare
obtainable " in the upper part of the pianofortekeyboard too, bell-likeeffects
can be producedby a certain dispositionof fourths,fifths,and octaves; " and, in
the bottom octaves, the rollof the organ-pedalsixteen-foot,or of the lower notes
of the 'cellosand double-basses,is not difficultto realiseon a good modern grand.
The late Hans Von Btilow,in his edition of Beethoven's pianofortesonata in
C Major (Op.53),placedover the right-handphrasesin the 100th and follow-ing
measures; the terms, quasibassoon,quaiflute,quasiclarinet,and quasioboe,
and added, in the form of an explanatoryfoot-note:
'There are more modulations of touch on the modern pianofortethan iscom-monly
supposed. Hence, a practised,sensitive playeris able to impartto the
individual imitations in the subsequentepisodequitea varietyof coloring.This
can be promoted especiallyby means of a vivid imaginationof the peculiar
tone-colors of the different wood-wind instruments." (See page 8 of Billow's
edition of the sonata referred to.) Here then we see how Btilow,who was one
of the world's great pianists,invited the pianofortestudent to use his orchestral
imaginationin the interpretationof pianofortemusic.
Now, there is one great difference between the organ arrangement of piano-forte
music and that of music written for the full orchestra. The number of
organistswho can render on the keyboard a reasonable account of the salient
features of a full orchestral score" at sight"is comparativelysmall;but any
136 The Art of Transcribing for the Organ
properly trained and educated organist can play at sight in a fairly correct and
artistic manner pianoforte music of moderate difficulty. In other words, the
eyesand the hands can grasp, at a glance, all the composer's intentions in a normal
pianoforte score;but with the full orchestral
score,this is not the
case, and
thereare very
few who wouldcare to sit down to the
organwith the idea of giving
arational exposition of the contents of
anorchestral work, from the full
score
at sight.
Ifan organist's sense
of tone-coloring and his general organ technique have
been well developed, there is hardly any necessity to transcribe pianoforte music
for theorgan.
The same remark too applies equally to vocal solos with piano-forte
accompaniment. Songs whichare at all possible on
theorgan can be
played from the original form, without the labor of actual transcription. But,
for the sake of completeness, afew examples, both of pianoforte music and
songs
areincluded in this work.
Ex. 70 is from Benedict's Pianoforte Variationson
Arne's tune "Where the
Bee sucks." The sparkling effect of Flutes eight-, and four-foot, with Mutations
and Mixtures judiciously combined, on each of the three manuals, will suit it
admirably.
Pianoforte Music 187
Manual
Pedal 7 '"' T I? T P T j
J ' J" J
Excerpt 71
from Chopin's Funeral March
Lento J
Piano
* to.
^
Pianoforte Music 139
Chopin's Funeral March might have been written for the modern full
orchestra" so magnificently grand are the great rising chord passages shown
in Excerpt 71.
loco
Manual
Pedal
If the organ has a good heavy pressure Tuba, the left-hand chords in the
second and fourth measures will stand out with brilliant and telling effect against
the rest of the organ "full in all departments. The left hand trill phrase may
be subjected -to varied treatment. It would sound well on Great Diapason-tone
with the accompaniment on a small Full Swell; or it would be given to a Clarinet
against a quasi horn accompaniment on a Great-organ Flute 8.
Excerpt72from Chopin'sPolonaise inC- Sharpminor
Allegroappassionatosotto voce
Piano
M
[140
Excerpt 73
from No. 2.of Sullivan'sDaydreams
Allegrettograzioso
By UfllpmriMltt of Hubert SiUhw B*.
PianoforteMusic 143
Excerpts73 and 74 are from Sullivan'searlypianoforteworks. They are
simplein construction,and they make charminglittlepiecesin a transcribed
form for the organ.
NO.TO
Manual
Pedal
Ex. 73 may be taken as a Solo for a Swell-,or Solo-organreed,againsta quiet
accompanimenton the Choir,uncoupled.The littlechordal motive inthe third,
sixth,and seventh measures may be broughtinto reliefby beingplayedon a
small Great-organFlute. The Pedals,with light16, should be coupledto the
Choir-organ,and the Great manual may be coupledto the Swell,ifdesired.
Excerpt74fromSullivan'sTwilight
Andantequasiallegretto
Piuo
to.
[144]
PianoforteMusic 145
m with Oboe,stringand flue
IIfor lefthand thumb
p. 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-voiceby the right-handfingerson a reed stop,and the lower-voiceon
a lower keyboardby the right-handthumb on a flutestop. This lattermethod
involves the use of thumbing.The accompanimentshould be givento a very
quietand unobtrusive combination of Choir-organstops.
In order to obtain a more legatissimoeffectin the accompaniment" some-what
akin to the damper-pedaleffecton the pianoforte"each chord-note should
be held beyondthe lengthof itsactual value as longas the positionof the chord
under thehand willadmit.
Excerpt75from Rachmaninoff'sPrelude inC- Sharpminor
Agitato
mjf ^^" *s^^^'___ _^_____
^^fi^
Piano
Excerpt76from the same work as the preceding
.Pitno
6
Rachmaninoff's ever popularpianofortePrelude in C-SharpMinor offers
opportunitiesforbigeffectson a grandscale. In Ex. 75, the right-handcan be
taken on a Full-Choir coupledto Full Swell; with heavy Pedal 16 and 8
coupledto Great Diapasons16 and 8. The left-hand can then bringout the
under theme on Great Diapasontone.Here,inEx. 76,a fairlybigGreat organ (allowingroom forincreasingto the
entire Great-organat the second or fourth measures)coupledto Full Swell "ndFull Pedal willbe necessary. The SweD-Sub-Octave to Great would add to the
PianoforteMusic 147
effectat the third measure, accompanied by the use of the Swell-crescendo-pedal.All the chord-notes of the eighth-note-tripletsshould be held as long as the
positionof the hand willadmit.
No.75
Excerpt77from the song There's a Rosebud by HEEIlingford
Js80
impYoica "lojonrheart thai rosebud shel-ters,And its rswliance shall a - rise,
lift
iiiii i i=* UiiiV
Piano "*"
^
k.
" p pir J p nrLbvfe4iest rose in all Life'sgar " den, Stun-mer
ii
UgMforwin-ter skies, Sum-mer lightforvin-ter. skies..
vail.' collavoct
10 il 12 13
By kind peralsiionof M6Mrs.Bo"vort]iAG[o.,Lofld"m.
[148]
Excerpt 78
from the song Two Dfttle Lives by H.E Elliogford
Andante A
IE"="Voice
- daws danced o'erthe dim- pled bay,-
San* light fell on a
Piano
ratentondo
Light and laugh-ter
Day - light o - TOT And twi light past.
By kind permiMtat of Messrs. Seal, Stvttud 4 Co.,London,
Songs 151
No.
Manual
Pedal
CIWA roBtntando molt
9 tPed.lt
In Excerpt78, a good Flute with Tremulant,would make an effectivesolo
stop. The accompanimentwould requirea Swell-organVoix Celeste and small
Gamba. In the playingof thisaccompaniment,allchord-notes which liewithin
the chord-positionof the hand should be held down beyondthe lengthof the six-teenth-note
value. The use of the Swell-crescendo-pedalwill be necessary for
the crescendo indicated at the fifthmeasure. A soft-eight-footPedal stop is
intended for the firstsix measures, with the addition of a lightsixteen-footatthe seventh.
Excerpt79from the song London Pride byH.F.Ellingford
Andante
Voice J" JJ J"There's a dear lit-tleflow-er That hap -pens to be The one lit-tle flow-er This
"Piuo
I""*="= ?i "" =-^ "
"-*"e. {"MJJ
j. j
world holds for me; She's street and she'spret-ty,And_
where does she hide? Why, itfc
J)IJ j! Jlgdowa in the Ci- ty,She's my-Lon-.don Pride, It's down- in .the Ci - ty, She's
*crwc. 0 raW. A
*S
?
my Lon - don Pride!
A
By kind permissionof Meaara.ChappellACo.jLondon.
"r"
^
[Ml]
Songs 153
Manual
Pedal
Ex. 79, requiresthe use of the upper part of a thirty-two-notePedal-board
in the firstfour measures. It also necessitates the employment of the left-footfor
the crescendo-pedalbelongingto the manual on which the chosen solo-stoplies;
while the right-footis busy with the pedal-partin Measure 8. At the fifth
measure more weightof tone is requiredin both the solo part and the accompani-ment,and some sixteen-footstop should be added to the Pedal.
One further point may be mentioned with regard to the playingof song
arrangements on the organ. The true guide to the rhythm and the general
expressionwill be found in the words of the lyric.As these words would be sung
by a true artist,so far as itispossible,should the vocal rhythm, the nuances, and
the inflection of the words be reproducedon the organ. An artisticplayerwill
find the means to do this in the careful attention to the vocal phrasesand in
the restricted and almost imperceptibleuse of the crescendo-pedal.
SUMMARY
The resources of a goodmodern organ with three or more keyboardsare too
varied,and the constitutents of the fullorchestralscore too comprehensiveto
make itpossibleto formulate or even suggestwhat mightbe considered the best
adaptationof a givenphrase.The factis,that more than one good arrangement
is often possible.The chief aims throughoutthis work have been three-fold.
First,to enlargeupon the constituents of the orchestralor chamber score of the
givenexcerpts,and to throw into prominentreliefthe principalmelodic and
harmonic featurescontained therein. Second,to bringallthe foregoingpassageswithin the range ofpracticalorgan politics.Third,to show how eminentlysuit-able
is the modern organ to the interpretationof music other than that which
has been speciallywritten for it.
The organ and the pianoforteare the two keyboardinstruments which have
been utilisedfor over two centuries not merelyfor the expositionof original
organ and pianofortemusic but also for the making of arrangements. The
pianofortehas been responsibleforbringinginto the home the instrumental and
vocal music,in a transcribedform of allnationalitiesand periods.The organ
too, in a similarmanner but on a largerscale,has been the means of bringing
to the churches,concert and entertainment hallsa greatvarietyof instrumental
and vocal music which,but for that instrument,would have been a sealedbook
in these places.The splendidorchestras,in these days,which giveconcerts in various centres
are fairlynumerous, but there are not nearlyenough,and never willbe,to go the
rounds of the thousands of churches and hallsof musical entertainment. It is
here then the organ can helpin that greatwork " the disseminatingof the more
intimate knowledgeof the orchestralmasterpieces.
The organ to-daymay be totallyinadequate,both tonallyand mechanically,for the artisticinterpretationofmuch ofthe ultra modern orchestral music which
has been and isbeingcomposed;'but the orchestralwork of the periodand type
from which the foregoingexcerptshave been collected,can be made to sound
as grandand as beautiful,as ennoblingand as edifying,as the finest organ
music ever written.
In the foregoingpages we have dealt with short passages, and have tried to
givesome idea as to how theyshould be transcribed,with practicalsuggestions
as to the method of performance.But as organs are almost as varied in their
individualconstituents as the musical contents of the differentscores, we will
summarise the whole matter by dealingwith a few well known works,briefly
discussingtheirsalientfeatures,and indicatingmethods of treatment.
Mozart's Figarooverture isa^workfullof sparkle,lightness,and gaiety. It
isintended to be playedat a greatspeed,about J = 160. There is much rapideighth-notepassage playingon the stringsat the unison and octave; and in
many of these passages, the bassoons joinforces with them. There are many
[154]
Summary 155
instances where the wood-wind have these eighth-notepassages in thirds. The
rapid passage playing is the predominating feature. Short melodic phrases of
longernote values form the secondarysubjectmaterial,and the horns,trumpets,
and drums corroborate mainlyfor the purpose of emphasizingthe accents, filling
up the harmonic structure, and climaxes.
From the point of view of organ-tone, there is nothingin the overture re-quiring
the heavy ponderous weight of the Great-,and Pedal-organs.The quickpassages of low stringsand bassoons are not suited to the pedals;
not because of technical reasons, but because the effect would be too heavy and
cumbersome. The prevailinglightnesswould be destroyed. The wood-wind
scale-passagesin thirds would be very difficulttechnically,at such a high speed" and the ultimate effect on the manuals would by no means compensate for
such laborious technicalities. If a few double notes be playedat the beginningof such passages it will serve to indicate the nature of the phrase,to guide the
imaginationtowards the originalform, and at the same time, to fillout apparently
thin places. As a generalrule,such passages as these are much more effective
on the Choir-organcoupledto the Swell-,for the tone of even a Small Great-
organ would be too strident and rigid.Beethoven's Egmont overture is a much grander conceptionthan the Figaro.
The orchestra employed by Beethoven is not so much largerthan that of Mozart,
but the writingis fuller,and the musical ideas are conceived on a greater scale,
The wood-wind and strings,each divided, combine to producebig combinations
of sound, and all the instruments are used through a much more extensive com-pass
than in the Mozart score. The Egmont overture givesus opportunitiesfor
using full combinations of organ tone " especiallyin the brilliant coda of the
overture.
The full wood-wind passages will bring into play the Solo-organreeds (not
the largeheavy pressure ones) and flutes combined. In the absence of a Solo
manual, the orchestral wood-wind phrasescould be given on the reeds and flutes
of Choir-organand Swell-,coupled.
In the fortissimo tutti passages care should be taken to avoid a faultylayingout of the harmonies. Chords should be so arranged that they do not scream,
by being played in a close positionin the highestoctaves of the Great-Manual;
that they do not groan, by beingplayedin as close a positionin the lowest octaves;
and that they do not yawn, by havingbig gaps between the right-and left-hand
note-groups.
In joiningtogetherthe discursive or conversational elements of the overture
(thatis to say, those phraseswhere subjectmaterial is thrown from one instru-ment
or group of instruments to another) with the tutti sections,great dis-cretion
willbe necessary in order to avoid uglybreaks of sound on the one hand,
or indescribable muddiness on the other. The principleof the overlappingof
phraseswhich is an orchestral feature,can be successfullyadapted to the organ
if a reasonablyintelligentview of the musical context is grasped. All that is
necessary isthe practicalapplicationof a true conceptionof the musical context
from an orchestralpointof view as well as from the view-pointof organ music.
156 The Art of Transcribingfor the Organ
The applicationof this principleto the reverse process, that of arranging
organ music for the full orchestra,has been successfullydemonstrated to an
eminentlyartisticdegreeby Sir Henry Wood in his orchestral arrangement of
Bach's greatToccata in F, and by Sir Edward Elgarin his similar adaptationof
Bach's C Minor Fugue. Berlioz,too, placednew lifeinto Weber's Invitation to
theDance,when he transcribed that brilliantpianofortepiecefor the fullorchestra.
Wagner's Tannkauser overture requiresa much largerorchestra than Beet-hoven's
Egmont. The openingtheme (the"Pilgrims'Chorus")is given to low
wood-wind, the stringsand upper wood-wind beingadded a littlelater. Then
the same theme isgivento the brass in chords,accompaniedby fullwood-wind,
horns,and low stringre-iteratedchords,and the prominentdescendingsixteenth-
note dupletsof the violins. A return to the openingbars leads into the "Venus-
burg-Music." Here we getthe violinsdivided,sometime into four and sometimes
into sixparts,tremolo; ecstaticrhythmicfiguresallover the score, as well as the
announcement of the various motifs. Stringstear out rushingchromatic scale
passages and execute rapidarpeggios.The whole orchestral mass seethes with
passionateexcitement until the final return of the "Pilgrims'theme" thundered
out in triumphantfashion by the brass and trumpets, accompaniedby the rest
of the orchestra," here againas in the earlierpart of the overture, the descendingsixteenth-note dupletsof the violins shiningthroughthe rest of the orchestral
body likebrightshimmeringsilver.
Picture the wood-wind statement of the "Pilgrims'theme" on a good Solo-,
or Swell and Choir,with reeds,flute and flue quality.Then the same theme
givento a Great- reed in chords,with the prominent violin descendingpassageson the Choir-,coupledto Swell-organ,the Pedals providingthe rhythmicpulsa-tion
of the re-iterated chords. Then on to the 'Tenusburg,"where in the
upper ranges of the wood- wind and stringwork, we can shut off allthe sixteen-
foot,and much of the eight-footflue work of the Swell and Choir,to suggest
lightnessof effect. The dispositionof the musical context enables us to effect
the changesin registrationwithout any marringeffectsof haltingor breaks. The
joyous"TannhSuser theme" occurringtwice in the middle of the overture, is
givenon the Great-,and Swell-organcombined, and, after much excitement,a
delightfullullbringsus to the beautiful clarinettune accompaniedby tremolo-
strings;where, on the organ, clarinet qualitycan be utilised,and a pianissimocombination of Swell- organ stringtoned stops as an accompaniment (highupin the Swell-manual),can be effected by means of compositionpedalsand pistons.
Then on againto the climax " and such a gloriousclimax!
If the organ possesses a full-tonedheavy pressure Tuba on a Choir-,or Solo-
Manual, how finelythe brass chords will ringout the theme, with the brilliant
violin descendingpassages, turned into rapiddescendingscales instead of the
duplets,broughtout on the Great organ 8's,4's,2's and.mixtures (noreeds,andwith all heavy eight-footDiapason-toneshut off)coupled to Pull Swell! A
great amount of registrationis of course absolutelynecessary in a work of the
calibreof Wagner'sTannhauser overture but it can allbe artisticallydone on an
adequateorgan.
158 The Art of Transcribing for the Organ
The chief point to be borne in mind is that when these composers arranged
for solo purposestheir "works for some other form of musical expression than the
original, they freely deleted notes, amplified passages, and relentlessly thinned-
out complex phrases which would be unintelligible in the changed medium. A
similar method has been adopted throughout this work in arranging passages
for the organ. It has been the aim of the author to preserve the composers'
original intentions as far as practicable, and to make the arrangements sound as
if the music had been originally written for the organ.
The modern organ is a wonderful and complicated instrument. Its marvels
of ingenuity in stop-control and general accessory work, and development in
tonal resources, have perhaps concealed somewhat its true nature. The most
recent complexities unfortunately make it resemble a huge box of curious tricks.
The exploitation of these innumerable tricks produces a feeling of wearying
restlessness.
The organ is not an orchestra, yet its most important stops have their or-chestral
prototypes. It is not a pianoforte, although tone, somewhat resembling
the soft middle notes of the pianoforte, can be produced from it. It is not a
stringed instrument, yet it possesses beautiful qualities not unlike those of the
string family playing quietly. It is not a brass nor a wood-wind band, but
many large organs possess gorgeous reeds and rich wood-wind effects. It does
not possess the subtleties of the human voice, yet some beautiful quasi-vocal
effects are obtainable.
Its very glory and its own precious preserve "the rich diapason tone " is a
quality that does not belong exclusively to the organ, for 'even this quality can
be heard in the orchestra when the violas, 'cellos and double-basses (with low
horn notes or very soft brass) are playing fairly close harmony in the medium
parts of their compass.
The modern organ, with its broad diapason. tone, its tonally amplifying muta-tions
and mixtures, its flutes, reeds, and string tone is capable of producing a
magnificent body of sound as well as many beautiful varieties of tone-color. Its
early restricted use for performances of a more or less sacred character has been
considerably enlarged; and to-day it has its rightful place, not only in sacred
buildings, but in concert halls and cinemas. la all these buildings, music of
almost every description is frequently given on the organ, and there is none
more suited to its grand and grave tones, its gracefulness, its wealth of variety
and color, its solemnity and brightness, than the orchestral music of the periodcovered in this book.
-
s
THE TECHNIQUE
and ART of
ORGAN PLAYING
By
CLARENCE DICKINSONM. A., Lnr. D., Mus. Doc.
With the collaboration of
H. A. DICKINSON
M. A., PH. D.
This importantwork, unique in its system of instruction,is bya virtuoso who reveals the secrets which lead to great achievements
and a perfectmastery of the Organ. The author is one who has had
the inestimable privilegeof studying with such artists as Guilmant,Vierne,and Moszkowski, of Paris;Wild, of Chicago;and Reimann,of Berlin;and of gaininginspirationfrom close association with them
and their artistry. He numbers among his own pupilsmany of the
mpst prominent organistsof the day.The many problems which beset the church and concert organists
are squarely met and definitelysolved; and the mass of material
presentedin the work isarrangedand treated with the utmost clear-ness
and in accordance with sound pedagogicalmethods, carryingthe student systematicallyfrom the elementary studies to the highestartisticattainments.
The work is in one Volume, music folio size,containingfifty
pages of text with eighty musical illustrations,and two hundred
pages of graduated exercises and musical compositions.Hand-somely
bound in cloth boards.
Price: Cloth,$6.00,net" Boards,$5.00,net
NEW YORK .\ THE H. W. GRAY CO.
Sole Agents for NOVELLO " CO., Ltd., London
Just Published
Choral Orchestration
By
CECIL FORSYTH
Author of "A History of Music,5' "Orchestration,"
"Music and Nationalism,9' etc.
The number of anthems and other choral works written each year by Eng-lish
and American composers is enormous. Most of these are rarely performed
with orchestral accompaniment. But the proportion is increasing; and it is
most desirable,in the interests of musical culture, that this increase should
continue, however small the orchestral force employed may be.
Organists constantly inquire for a short handy book which will give them
a technical grounding in the scoring of their compositions. And it is for their
use that this slim volume has been written. It makes no pretence of taking
them into the high sun-smitten pastures of modem orchestration. But it does
claim to lead them to the foot-hills thereunder, and to deal practicallywith the
routine problems which face them on every page of their compositions.
General principleshave by no means been avoided " indeed, they are the
foundation of the book. But they are shown mainly in their application to every-day
orchestral necessities. When once these applications have been graspedthere is nothing to prevent their extension into the more elaborate fields of in-strumentation,
according to the musical abilityof the individual composer. A
foundation-techniqueis the thing to aim at, a technique that gives one ease and
certainty of orchestral method.
Octavo Size, Cloth, $2.00 net
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ORGAN-STOPS
AND THEIR
ARTISTIC REGISTRATION
NAMES, FORMS, CONSTRUCTION,
TONALITIES, AND OFFICES IN
SCIENTIFIC COMBINATION :: :: ::
By
GEORGE ASHDOWN AUDSLEY, LL. D.
ECCLESIASTICAL AND ORGAN ARCHITECT
Author of
"The Art of Organ-Building,""The Organ of the Twentieth Century,"
Numerous Articles on Organ Matters and Acoustics,and
Author and Joint Author of Twenty-threeWorks
on Architecture,Art, and Industry
ILLUSTRATED
Price,Cloth,$2.50
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FRENCH ORGAN MUSIC
Past and Present
By
HARVEY GRACE
I do not hesitate to recommend to all who love the instrument which a poet has named "the
greatvoice of the Church," the fascinatingstudy of Mr. Harvey Grace, French Organ Music,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)
a very judiciouslyexpressedappreciationof the works and their styles. There is,moreover, the
love and enthusiasm which ought to be essential qualitiesof every artist worthy the name.
That love and enthusiasm were certainlythe characteristics of my revered master Cesar
Franck. Thus Mr. Harvey Grace's book is doubly precious to me, first,for its own sake, and
second by its dedication to the memory of the musician of genius who was one of the greatestmasters of the organ, as well as the incomparable improvisorand the true founder of all our
French symphonic school.
VINCENT D'INDY,
Director,"Schola Cantorum,"
October, 1919.'
Paris.
Price,Cloth,$1.50 net
List of Composers
JEAN TITELOUZE
FRANCIS ROBERDAY
NICOLAS LE BEQUEDu MAGE
FRANCOIS COUPERIN
NICOLAS GIGAULT
ANDR" RAISON
JEAN HENRY D'ANGLEBERT
NICOLAS DE GRIGNY
Louis CLAUDE D'AQUINJEAN FRANCOIS DANDRIEU
Louis NICOLAS CL"RAMBAULT
ALEXANDER PIERRE FRANCOIS BO"LY
Louis JAMES ALFRED LEF"BURE-
WfeLY
ANTOINE EDOUARD BATISTE
OfesAR FRANCK
NICHOLAS JACQUES LEMMEXS
CAMILLE SAINT-SASNS
TBQ"ODORE G"SAR SALOME
FfeLix ALEXANDRE GUILMANT
FRANCOIS CU"MENT THEODORE Du-
BOIS
CHARLES ALEXIS CHAUVET
ALOYS CLAUSSMANN
F. DE LA TOMBELLE
SAMUEL ROUSSEAU
EUGENE GIGOUT
CHARLES MARIE WIDOR
LEON BOELLMANN
LOUIS VlERNE
HENRI DALLIER
GEORGES JACOBPIERRE KUNC
PIERRE DE BR"VILLE
GUY ROPARTZ
ERNEST CHAUSSON
DEODAT DE S^VERAC
REKfe VlERNE
FLORENT SCHMITT
G. DUPONT
VICTOR DYNAM FUMET
CHARLES TOURNEMIRE
AUGUSTIN BARrf:
JOSEPH JONGENP. L. HlLLEMACHER
JOSEPH BONNET
CHARLES QUEF
NEW YORK .-. THE H. W. GRAY CO.
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