The liturgical organist: the creative use of solo organ music in the Lutheran liturgy

University of Iowa Iowa Research Online Theses and Dissertations Fall 2014 The liturgical organist: the creative use of solo organ music in the Lutheran liturgy Thomas Keith Hamilton University of Iowa Copyright 2014 Thomas Keith Hamilton This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/1463 Recommended Citation Hamilton, Thomas Keith. "The liturgical organist: the creative use of solo organ music in the Lutheran liturgy." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2014. http://ir.uiowa.edu/etd/1463. Follow this and additional works at: http://ir.uiowa.edu/etd Part of the Music Commons

THE LITURGICAL ORGANIST: THE CREATIVE USE OF SOLO ORGAN MUSIC IN THE LUTHERAN LITURGY by Thomas Keith Hamilton An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa December 2014 Essay Supervisor: Assistant Professor Gregory Hand

Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL D.M.A. ESSAY This is to certify that the D.M.A. essay of Thomas Keith Hamilton has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree at the December 2014 graduation. Essay Committee: Gregory Hand, Essay Supervisor Michael Eckert Rene Lecuona Marian Wilson Kimber Brett Wolgast ii

To my parents who bought a piano instead of a couch iii

ACKNOWLEDGMENTS I would like to thank Dr. Gregory Hand for his patient guidance and in completing this project, Dr. Delbert D. Disselhorst for his wonderful teaching and sage advice, Dr. Brett Wolgast for his ever-present support, and Marian Wilson Kimber who told me all along that I could do this. Further thanks to my colleagues, past and present, who have been so supportive of my work in music ministry: Rev. Bill Van Oss, Rector of St. Paul s Episcopal Church in Duluth, Minnesota, and the late Rev. Mark A. Olson. My deepest appreciation goes to my family: Carol, Meredith, Ian, and Serrie have been so supportive of my goal to finish this degree and have sacrificed a lot along the way; my father and my late mother who saw to it we had music all around us while we were children; and to my siblings, Paul, Carol, and Mary, who have been a great cheering section. iv

TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES v INTRODUCTION: THE NEED TO EXPAND OUR HORIZONS 1 CHAPTER 1. THE EARLY LUTHERAN CHURCH S APPROACH TO MUSIC IN THE LITURGY 4 2. A SURVEY OF THE HISTORICAL USE OF ORGAN LITERATURE IN LITURGY 9 3. THE ROLE OF THE LITURGICAL ORGANIST: PAIRING LITURGY AND MUSIC 18 4. EXAMPLES AND EXPLANATIONS: USING FREE ORGAN LITERATURE IN LITURGY 28 CONCLUSION 64 BIBLIOGRAPHY 67 v

LIST OF MUSICAL EXAMPLES Example 1. Petr Eben: Sunday Music: III. Moto Ostinato, mm. 1-4. 30 Example 2. Petr Eben: Sunday Music: III. Moto Ostinato, mm. 5-10, right hand. 31 Example 3. Petr Eben: Sunday Music: III. Moto Ostinato, mm. 55-67. 32 Example 4. Petr Eben: Sunday Music: III. Moto Ostinato, mm. 79-80. 33 Example 5. Petr Eben: Sunday Music: III. Moto Ostinato, mm. 118-129. 34 Example 6. Petr Eben: Sunday Music: III. Moto Ostinato, mm. 143-145. 34 Example 7. Petr Eben: Sunday Music: III. Moto Ostinato, mm. 153-155. 35 Example 8. Max Reger, Introduction and Passacaglia in d, mm. 1-5. 35 Example 9. Max Reger, Introduction and Passacaglia in d, mm. 15-22. 36 Example 10. Max Reger, Introduction and Passacaglia in d, mm. 111-121. 37 Example 11. Felix Mendelssohn, Sonata in A, Op. 65, No. 3, mm. 1-8. 40 Example 12. Felix Mendelssohn, Sonata in A, Op. 65, No. 3, mm. 24-28. 41 Example 13. Felix Mendelssohn, Sonata in A, Op. 65, No. 3, mm. 36-40. 41 Example 14. Felix Mendelssohn, Sonata in A, Op. 65, No. 3, mm. 58-60. 42 Example 15. Jean Langlais, Chant de Paix, mm. 1-3. 43 Example 16. Jean Langlais, Chant de Paix, mm. 2-8, pedal only. 44 Example 17. Jean Langlais, Chant de Paix, mm. 30-32. 44 Example 18. Jehan Alain, Deuxième Fantaisie, mm. 1-8. 46 Example 19. Jehan Alain, Deuxième Fantaisie, mm. 26-36. 47 Example 20. Jehan Alain, Deuxième Fantaisie, mm. 42-54. 48 Example 21. Jehan Alain, Deuxième Fantaisie, m. 59. 48 Example 22: Jehan Alain, Deuxième Fantaisie, m. 69. 49 vi

Example 23. Jehan Alain, Deuxième Fantaisie, mm. 69-77. 49 Example 24. Jehan Alain, Deuxième Fantaisie, mm. 84-92. 50 Example 25. Jehan Alain, Deuxième Fantaisie, mm. 98-103. 50 Example 26. Jehan Alain, Deuxième Fantaisie, illustration of sounding pitches, mm. 100-103. 51 Example 27. Jehan Alain, Deuxième Fantaisie, mm. 114-124. 51 Example 28. César Franck, Chorale No. 2 in b minor, mm. 1-8. 52 Example 29. César Franck, Chorale No. 2 in b minor, mm. 33-37. 53 Example 30. César Franck, Chorale No. 2 in b minor, mm. 49-53. 53 Example 31. César Franck, Chorale No. 2 in b minor, mm. 65-80, melody only. 54 Example 32. César Franck, Chorale No. 2 in b minor, mm. 80-83. 54 Example 33. Maurice Duruflé, Fugue sur le nom d Alain, mm. 1-5. 56 Example 34. Maurice Duruflé, Fugue sur le nom d Alain, mm. 43-46. 57 Example 35. Maurice Duruflé, Fugue sur le nom d Alain, mm. 88-92. 57 Example 36. Maurice Duruflé, Fugue sur le nom d Alain, mm. 105-107. 58 Example 37. Maurice Duruflé, Fugue sur le nom d Alain, mm. 116-118. 58 Example 38. Maurice Duruflé, Fugue sur le nom d Alain, mm. 124-128. 59 Example 39. J. S. Bach, Prelude in D, BWV 532, mm. 1-5. 60 Example 40. J. S. Bach, Prelude in D, BWV 532, mm. 14-16. 61 Example 41. J. S. Bach, Prelude in D, BWV 532, mm. 26-31, pedal only. 61 Example 42. J. S. Bach, Fugue in D, BWV 532, mm. 1-6. 62 Example 43. J. S. Bach, Fugue in D, BWV 532, mm. 128-136. 63 vii

1 INTRODUCTION: THE NEED TO EXPAND OUR HORIZONS Sunday after Sunday, liturgical organists are faced with the challenge of providing music for liturgy. While hymns, psalms, musical settings of liturgical texts, choral anthems and responses are often made clear in their choice due to the marriage of text and music, choosing music outside of those parameters is a challenge. Music that happens prior to worship as the community gathers, music to accompany ritual actions such as the presentation of the offering or the distribution of the Eucharist, and music that sends people on their way at the end of the service is not something to be taken lightly. Such choices are important and can have a significant effect on the over-all tenor of the liturgy. Many organists have concluded the most efficient and effective solution is to seek pieces which are based on the hymns sung by the assembly and trust that a cohesive liturgical whole has been created. This essay attempts to move beyond that notion into the realm of solo organ literature that is not derived from a chorale or hymn melody. Each piece of music carries its own aesthetic characteristics, and the task of the liturgical organist is to determine how those characteristics can best be incorporated into a given religious celebration. A word of caution emerges quickly in beginning to approach ancillary liturgical music in this way. While the intent here is not to assign a program to music where one does not exist, acknowledging the character of a piece or to musical gestures within the piece is necessary for its effective use in liturgy. This is also not to imply that a composer had a liturgical function in mind while crafting a piece of free organ music. Even so, the mood of a piece of solo organ music can serve to enhance the liturgical celebration. All

2 of what is discussed here interprets how art, specifically music, fits into liturgy in order for music to deepen the religious celebration. The essay begins with an examination of Martin Luther s attitude toward liturgical music in addition to how early Lutheran musicians dealt with the problem of creating music consistent with the character of the liturgy. Since improvisation was commonplace among organists of the time, it was easy for them to extemporize on a chorale or liturgical melody in keeping with the spirit of the liturgy. Modern-day American organists are not as readily trained in improvisation and must therefore rely on music composed by others as their primary resource for liturgical music. This is an attempt to respond to the conundrum of what to play for liturgy that may transcend merely reiterating the melodies already present elsewhere. Chapter 2 examines historical writing and current resources for effective use of the organ in liturgy. Such resources are scarce, and none of them examine the effective use of free organ literature in liturgy. General statements are made as to the music needing to reflect the character of the liturgy, but the notion that one specific piece may be more appropriate than another for a given liturgical celebration is not part previous discussions. The role and function of a liturgical organist will be discussed in chapter 3. It will be made clear that the organist has a role in the proclamation of the liturgy rather than merely filling time and space with background music. While ancillary music is not the top priority of the church organist, care in selecting such pieces is paramount to the assembly s full experience of the liturgy. Suggestions for selecting solo organ music are also given. While the process is somewhat intuitive, there are certain criteria which assist in making decisions regarding the use of free organ music in the liturgy. Each piece of

3 music has attributes which make it more or less appropriate for a given liturgical event. This prevents the notion that any piece will work for any given liturgy based on a subjective interpretation of the aesthetic effect of the music. Chapter 4 gives examples and analyses of pieces which would be appropriate for the liturgies of Holy Week. Two pieces are given for Palm-Passion Sunday, Maundy Thursday, Good Friday, and Easter Sunday. The contrast between the pieces for a given celebration will be discussed along with clear reasons why each piece reflects the spirit of the day. The conclusion will provide a summary of the ideas presented along with a suggested parallel process when incorporating chorale-based music into liturgy. There is also further discussion of what is to be gained by the inclusion of specific pieces of organ music in liturgy. Finally, distinctions will be made between this approach to incorporating music into liturgy and assigning a program to music where one does not exist.

4 CHAPTER 1: THE EARLY LUTHERAN CHURCH S APPROACH TO THE PROBLEM The background for musical inclusion in the liturgy is rooted deeply in the history of the Lutheran Church. The formation of the Lutheran church and Martin Luther s attitude toward church music in general opened the path for new musical expressions to find their way into liturgy. Understanding Lutheran church history allows for such open musical expression in liturgy. The focus of this chapter will be specific to the Lutheran context because of Martin Luther s welcoming of music of all kinds, texted or not, into the liturgy. Though Luther was not the earliest religious reformer, he was the most significant voice against the abuses of the Catholic Church that had become common-place in the early sixteenth century. Luther s posting his ninety-five theses on the door of the Castle Church at Wittenberg in 1517 incited the Protestant Reformation, one of the most tumultuous times in the history of the western church. Pope Leo X excommunicated him, and he was summoned to answer for charges of heresy in many places to many church and political officials, the last of which was at the Diet of Worms in 1521. 1 Luther s refusal to recant his statements against the church led to the formation of the new church bearing the name Lutheran. In common Lutheran understanding, liturgy is celebrated in order to proclaim the Good News of Christ and his sacrifice for all believers to the community of faith. Prior to the Protestant Reformation, liturgy was performed by the priest on behalf of the people in order to please God and atone for the sins of the individual. Luther reversed this idea by 1 Williston Walker, Richard A. Norris, David W. Lotz, and Robert T. Handy, A History of the Christian Church, 4 th ed. (New York: Charles Scribner s and Sons, 1985), 431.

5 making liturgy the proclamation of God s grace to the assembly. Consequently, those who lead liturgy speak God s grace through word and sacrament, and the community returns its praise and thanks to God in prayer and song. Intrinsic to Luther s theology were these words from Paul s letter to the Romans: for we hold that a person is justified by faith apart from works prescribed by the law. 2 Under the popes of the late fifteenth and early sixteenth centuries, liturgy had become a work of atonement and not an act of faith. Luther saw this as intolerable and reformed the mass so as to eliminate those portions which did not proclaim the grace of God given freely to all. 3 Robin Leaver writes: [Luther] reversed the accepted action of the mass: instead of prayer and intercession directed from the church to God, he saw it as proclamation of the Gospel from God to the community, gathered at the altar. 4 Music occupied much of Luther s attention as the new church and its rituals took shape. He allowed, welcomed, and supported the use of music in liturgy. He saw music as intrinsic to the nature of liturgy, and, to Luther, all of liturgy was proclamation. Leaver continues: What was at issue, according to Luther, was not music itself but how it was used. If it was performed merely in fulfillment of demands of unreformed ecclesiastical law then it was to be condemned, but if it was performed in response to the gospel then it was to be commended: After faith, we can do no greater work than to praise, preach, sing, and in every way laud and magnify God s glory, honor, and name. 5 2 Romans 3:28 3 Robin Leaver, Luther s Liturgical Music: Principles and Implications (Grand Rapids, MI: William B. Eerdmans, 2007), 292. 4 Leaver, 292. A footnote in the American version of Luther s works indicates the use of the word evangelical to mean in accord with the Gospel. 5 Martin Luther,, Luther s Works, 55 vols., ed, Jaroslav Pelikan and H. T. Lehman (St. Louis and Philadelphia, 1955-1976), 44:59.

6 In contrast to other reformers such as Ulrich Zwingli and John Calvin, Luther freely embraced and encouraged the use of music in the liturgy and supported the use of the organ and other instruments. 6 Luther welcomed all types of music, including instrumental music, with or without references to a specific Biblical or chorale text. How should the modern organist respond to this complex set of circumstances? The liturgical organist must see everything he or she does as proclamation and carry that task out with thoughtful and informed choices for solo organ music. The organist proclaims with the organ what the preacher proclaims with words, and organists must see their vocation as essential to the effective proclamation of the liturgy. The attention Luther paid to language indicates the need for respect of tradition while encouraging people to engage fully with the Gospel. Luther welcomed word proclaimed and music sung in many languages. The extension of musical language in modern-day practice allows the use of music by composers from J. S. Bach, the most significant composer in the Lutheran tradition, to Olivier Messiaen, a twentieth-century composer and Roman Catholic mystic. If liturgy is about proclamation and proclamation requires exegetical tools which break open the Biblical narrative, then music including music without text can and must serve that same end. Therefore, a new approach to solo organ music emerges and encourages discovery of the essential truth or character of a piece of music in order to interpret or reflect a given Gospel or liturgical truth for the gathered community. Liturgical music does not exist for its own sake but for greater understanding of the Biblical truth. 6 Paul Henry Lang, Music in Western Civilization (New York: W. W. Norton, 1941), 258-259.

7 While congregational song was on the rise in the early Lutheran church, so was the use of the organ. It was the task of the organist to introduce the chorale to be sung by the congregation, and the organist could shape the mood of the chorale because he improvised on the chorale melody in the same spirit as the chorale. It is through these chorale introductions as well as Alternatimpraxis 7 that the organ found its voice in liturgy, eventually giving way to the vast literature of organ music based on chorales, including chorale preludes, chorale partitas, and chorale fantasias. Prior to the twentieth century, organists were trained to improvise the ancillary portions of the liturgy such as prelude, communion and postlude music. This allowed organists the freedom to match their music to the daily readings, the sermon, and the overall tone of the liturgy. Contemporary organists face a dilemma due to a lack of education in improvisation. Because today s organists are not well-trained in the art of improvisation in the spirit of the liturgy, they must rely on music composed by others to use as liturgical music. These pieces do not always reflect the spirit of the hymn text or the over-all spirit of the liturgy effectively. However, with some fore-thought, freely composed solo organ music can support and enhance the liturgical experience. By limiting oneself to the narrow view that compositions based on hymn or chorale melodies best reflect the spirit of the liturgy, current practice in liturgical organ playing discourages organists from considering repertoire outside these limitations. Other types of music can also reflect the spirit of the liturgy effectively if they suggest appropriate moods and images to the listener. The objective of this essay is to encourage the effective use of solo organ literature which is not based on hymns and chorales in 7 Alternatimpraxis describes the alternating of the organ with sung choral or congregational verses. The organist would often improvise based on ideas found in the text of the hymn or chorale

8 liturgy. The intent is not to exclude such pieces completely but to broaden the organist s view and stimulate her or his imagination around the intentional inclusion of solo organ literature. The goal is that those who gather to worship will hear music which is consistent with the spirit of the liturgy resulting in a deeper appreciation and understanding of the liturgical celebration.

9 CHAPTER 2: A SURVEY OF THE HISTORICAL USE OF SOLO ORGAN LITERATURE IN LITURGY While a congregation does not assemble for the purpose of hearing the organist, his or her music plays an important role in the service. Because of Luther s receptivity to music in all its forms, a Lutheran context is the most practical arena in which this conversation can take place. At the same time, sources outside the Lutheran church inform and enlighten us to the broader view, and most modern worship planning resources maintain the posture of the early church where the chorale-based music is the only acceptable expression of the organ in liturgy. This essay enters into this conversation and prompts liturgical organists to think beyond chorale and hymn based music. For Luther, music and theology were so closely linked that references to the former abound throughout his writings. Robin Leaver has provided an excellent systematic analysis of Luther s view on music in his book, Luther s Liturgical Music. 8 In this comprehensive volume, Leaver clarifies Luther s stand on the use of music in the liturgy. For Luther worship should be a musical experience, a combination of chant and hymnody, choral and instrumental. Is it from Luther s conviction that music is a beautiful and magnificent gift of God, and next to theology, and therefore a fundamental component of liturgy and worship, that the distinctive Lutheran musical tradition developed under the leadership of its Kantors of church and school, beginning with Luther s colleague Johann Walter and culminating in Johann Sebastian Bach. 9 Leaver continues to cite references by Luther that have led to the present misunderstanding of Luther s attitude toward the organ: 8 Leaver, 294-295. 9 Ibid., 294.

10 If now (as Paul says) some unbeliever were to enter into the midst of these men and heard them braying, mumbling, and bellowing, and saw that they were neither preaching nor praying, but rather, as their custom is, were sounding forth like those pipe organs (with which they have so brilliantly associated themselves, each one set in a row just like his neighbor), would this unbeliever not be perfectly justified in asking, Have you gone mad? What else are these monks but the tubes and pipes Paul referred to as giving no distinct note but rather blasting out into the air? 10 These people utter this prayer with their lips, but contradict it with their hearts. They are like lead organ pipes which daily drawl or shout out their sounds in church, yet lack both words and meaning. Perhaps these organs represent and symbolize these singers and petitioners. 11 Leaver, however, contextualizes the notion of Luther s apparent distaste for the organ; Luther did not despise the organ but only how it was abused in the unreformed mass of his time. The context of most of these statements, however, reveals that the criticisms were not of music per se but of its use, or rather abuse, in unreformed liturgies, which for Luther was a theological issue. His critical references to the sound of the organ may have had more to do with the imperfect development of the instruments he had heard that they had not yet reached the refinement of later times rather than with any objection to organs on principle. 12 Leaver notes that some of Luther s friends who were organists would have exposed him to good organs and organ playing, and writings by Luther reveal that instrumental music was not to be banished from the church. It is this openness which makes the modern Lutheran Church an excellent place to work out the notion of the use of free organ music in liturgy. Other reformers of Luther s time took music seriously enough to severely limit its use or ban it altogether. John Calvin limited liturgical music to a unison line sung without accompaniment. Ulrich Zwingli, the founder of the Dutch Reformed church, believed that 10 Luther, Vol. 44, quoted in Leaver, 7. 11 Luther, Vol. 42, quoted in Leaver, 7. 12 Leaver, 7-8.

11 music, vocal or instrumental, had no place in liturgy. 13 This conservative attitude toward the use of music in liturgy further underscores the unique nature of Luther s openness to the use of many forms of instrumental music in liturgy. In addition to the reformed tradition, early Roman Catholic musicians also wrote treatises on the role of the organ in liturgy. Girolamo Diruta s Il Transilvano 14 and Adriano Banchieri s Conclusioni nel suono dell organo 15 are two early sources for liturgical music. Dating from the turn of the seventeenth century, these early documents contain instructions on how to play at mass, how to improvise on chant melodies, appropriate use of modes, etc. These works are useful in underscoring the attitude that an organist was expected to provide music consistent with the mood of a liturgical action. Not every type of music was appropriate everywhere in the Mass. For example, certain modes were appropriate when intoning the Credo while others were more fitting at the Elevation, the most solemn moment in the mass where, in Roman Catholic thought, the bread and wine become the body and blood of Christ. Context was the predominant consideration in supplying music for the mass. In his letter of 1792 written to Christ Church and St. Peter s on the conduct of a church organ, 16 Frances Hopkinson outlines six rules intended to guide the church organist in the proper playing of the church service. Two of these rules are particularly relevant to the current discussion. The first rule states, 13 Ibid., 3. 14 Girolamo Diruta, Il transylvano, trans. and ed. by Murray C. Bradshaw and Edward J. Soehnlen (Henryville, PA: Institute of Mediaeval Music, 1984). 15 Adriano Banchieri, Conclusioni nel suono dell organo, trans. Lee R. Garrett (Colorado Springs: Colorado College Music Press, 1982). 16 Francis Hopkinson, A Letter to the Dr. Rev. White, rector of Christ Church and St. Peter s on the Conduct of the Church Organ in The Miscellaneous Essays and Occasional Writings (Philadelphia: T. Dobson, 1792), quoted in David W. Music, Instruments in Church: A Collection of Source Documents (Lanham, MD: Scarecrow, 1998), 132-135.

12 The organist should always keep in mind, that neither the time [n]or place is suitable for exhibiting all his powers of execution; and that the congregation have [sic] not assembled to be entertained with his performance. 17 Hopkinson s subsequent rules deal with similar issues for different parts of the liturgy, most of which are unique to the American Episcopal liturgical structure. The sixth rule, however, also posits an interesting notion: The voluntary after the service was never intended to eradicate every serious idea which the sermon may have inculcated.... It should bear, if possible, some analogy with the discourse delivered from the pulpit; at least it should not be totally dissonant from it. 18 Here Hopkinson recognizes that music influences the listener. The postlude should at least be consistent with the ideas presented in the sermon so as not to contradict its message. Friedrich Blume s extensive volume on the history of Protestant church music presents a very detailed view of liturgical music from the sixteenth century onward. For early sources, he cites various collections of music to determine what sorts of pieces might have been used. However, he states the difficulty involved with this method as lines had not yet been drawn between music for organ or harpsichord or, more specifically, between music for use in the home or in the church. Blume surmises that pieces written on a cantus firmus were for use in the church while those lacking a cantus firmus were not. For Blume, the assumption that pieces written on a pre-existing melody are for use in the church prevails. He underscores the improvisational abilities of the organists of the time noting that written chorale harmonizations for congregational singing were rare. An organist would have known how to produce an accompaniment 17 Ibid., 133. 18 Ibid., 135.

13 extemporaneously for hymns which were well-known. Thorough bass would have been provided for new chorale melodies. 19 In his essay, Organ Music for the Liturgical Service, Lutheran Church musician and educator Walter Buszin provides a synopsis of significant points in the history of the use of the organ in the Lutheran church. Here Buszin points out that the organ was first sanctioned for use in worship by the faculty at Wittenburg in 1597. 20 Buszin also discusses the role of the organ in early Lutheran liturgy. Organists were forbidden to play music which was not based on themes, chorales or chant melodies in the service. During communion, however, they could freely improvise on a given chorale or chant tune or on their own original material. 21 While the limitations are clear, the latitude given to the organist in terms of what to play during communion is notable. Buszin also explains that the singing of a chorale in alternatim, while rooted in the plainchant melodies in the Roman Catholic Church, found its way into Lutheran practice. Even so, it took shape with the distinctly Lutheran emphasis on the primacy of proclamation in liturgy and Lutheran s ardor for the German chorale. The Alternatimpraxis had originated in the Roman Catholic Church and found its way into Lutheran usage. From here, chorale variations arose, and the chorale prelude and organ chorale developed. Organ music had now become an interpreter of the text. 22 The idea that organ music can serve to deepen the understanding of a Biblical text is deeply rooted in the history of the church. In the subsequent time, there was little written about what an organist should play in liturgy. 19 Friedrich Blume, Protestant Church Music (New York: W. W. Norton, 1974), 245ff. 20 Walter E. Buszin, Organ Music for the Liturgical Service. in Music for the Church: the Life and Work of Dr. Walter E. Buszin, ed. by Koriath Kirby (Fort Wayne, IN: The Good Shepherd Institute, 2003), 154. 21 Ibid., 157. 22 Ibid., 158.

14 Walter Swisher, writing in 1929, spoke to the question of the role of the organ in worship at that time. His general observation is that the prelude should begin softly and nearly imperceptibly, 23 although he qualifies his suggestion by stating it may be appropriate to break that rule on festive occasions. Swisher provides a list of recommended organ pieces as preludes, but he gives no rationale for their use other than the fact that he considers these pieces to be suitable for service preludes. 24 While he is comfortable recommending major works such as César Franck s Trois Chorals, he does not recommend a specific context in which the pieces may be used most effectively. Ultimately, Swisher indicates that in the early part of the twentieth century, prelude music most often served to encourage a posture of prayer prior to the beginning of worship. He professes neither a connection to compositions based on a pre-existing melody nor a deeper view of the use of free organ literature. The merging of artistic expression, biblical truth, and liturgical context logically leads one to consider larger aesthetic questions in worship. Frank Burch Brown defines and discusses aesthetics in worship at great length in his book Inclusive Yet Discerning: Navigating Worship Artfully. 25 Brown includes an extensive analysis of the reasons for art in the church. Brown broadens the scope of the conversation with an extensive discussion of the reason for art including music in the church. He states that art is neither completely subjective nor objective in its message. Brown goes on to state, 23 Walter Samuel Swisher, Music in Worship (Boston: Oliver Ditson, 1929), 20. 24 Ibid., 30. 25 Frank Burch Brown, Inclusive Yet Discerning: Navigating Worship Artfully (Grand Rapids, MI: William B. Eerdmans, 2009).

15 words might not always need to take precedence in the arts of the church if one happens to believe, with various theologians, that all beauty all aesthetic goodness is from God, and honors God. 26 Not all of what takes place in liturgy needs to include words. If one believes all things of artistic beauty come from God, art can be used to illustrate and proclaim God s grace to the world. From a musical standpoint, a listener should be able to hear how a piece of music interacts within the larger context of the liturgy with little, if any, explanation. Don Saliers elaborated on Brown s ideas in his presentation to the Evangelical Lutheran Church in America Worship Jubilee 2000. In his presentation, Proclamation through the Arts: Poet, Painter, Music-Maker, he posited the following four theses: 1. The meaning and point of the language used in worship to proclaim and celebrate Christ in our assemblies depends radically on non-verbal forms. 2. Christian public worship is an art, but not a work of art. 3. Christian public worship is faithful and relevant to the extent that its art features a series of permanent tensions: the already and the not-yet, etc. 4. Christian liturgy is an eschatological art lured by the incarnate God s faithful promises. This art asks the church to grow into human maturity in Christ. Here the arts give us a foretaste of glory divine, yet also draw us into life with God here and now. 27 Saliers is clear that art is all encompassing. His first thesis highlights the arts as key to proclamation outside of the use of words. The second thesis points to worship as an active and living artistic activity. It is not a relic to be admired from a distance, but an interactive work of art created as it unfolds in time. The third and fourth points suggest a concept of liturgy as kingdom play, 28 where the gathered assembly participates and creates a vision of the world as God s kingdom yet to come but nonetheless breaking into the present. Finally, he recognizes the nature of liturgy as an eschatological event where 26 Ibid., 29. 27 Don Saliers, Proclamation through the Arts: Poet, Painter, Music-Maker, in Lifting Up Jesus Yesterday, Today and Forever (Minneapolis: Augsburg Fortress, 2001), 28. 28 Gordon Lathrop, from a lecture on Worship as Evangelism, May 2000.

16 the arts give us a glimpse of God while helping the believer in the Christian journey. Finally, Saliers draws his four theses together by asking, What renders music, painting, dance, proclamatory? These proclaim when, like preaching in relation to biblical texts, the perceiver discovers more than a literal reiteration of something already established. 29 Consistent with Luther s view of liturgy as proclamation, music also proclaims. It leads the listener more deeply to the center of worship and broadens the listener s experience into something new, not echoing something already known. Current resources for organists suggest various pieces for use in liturgy. All of these writings deal with music that is based on a pre-composed hymn or chorale. One such resource appears as a monthly article in The American Organist, the monthly journal of the American Guild of Organists. Its title is Easy Service Music and suggests music that is based on hymns recommended for the day. In this column, no reference is made to free organ pieces which may serve to inform the listener of the spirit of the liturgy or the essential message of the texts. The Evangelical Lutheran Church in America publishes a comprehensive source book for worship planning called Sundays and Seasons. 30 This formidable volume, published new each year, lists repertoire for keyboard instruments for each liturgy of the church year. As with Easy Service Music, the suggestions are based on recommended hymns for the day. For example, the list of suggested instrumental music for Palm- Passion Sunday, Year A, is as follows: Bach, J. S. Valet will ich dir geben, Organ. Various editions Childs, Edwin T. Calvary from Spirituals for Organ: For Manuals Only. Kybd. 29 Saliers, 33. 30 Evangelical Lutheran Church in America, Sundays and Seasons: Year A 2014 (Minneapolis: Augsburg, 2013).

17 Eithen, Sandra. Rhosymedre from Love Is the Sunlight: Eight Hymn Preludes for Wedding of General Use. Pno. Oliver, Curt. Der am Kreuz from Built On a Rock: Keyboard Seasons. Kybd. 31 This list implies that any music in liturgy should be based on the hymns of the day. Yet, as will be illuminated in chapter 4, there are other pieces for Palm-Passion Sunday which effectively communicate the character of the day but do not make use of hymn tunes as the basis of composition. While much is written about the organ, organ playing, and its function in the liturgy, very little of the writing addresses how free organ music can play a role in liturgical proclamation. This essay seeks to inspire the imagination of a liturgical organist to think of new ways in which the organ can enhance the liturgical experience. Because the music proclaimed by the organ communicates with the listener, the message must be consistent with the symbols and moods of the rest of the liturgy. There is music which serves this purpose well, providing cues to the spirit of the liturgical celebration or to the themes presented in the readings or preaching. 31 Ibid., 150.

18 CHAPTER 3: THE ROLE OF THE LITURGICAL ORGANIST: PAIRING LITURGY AND MUSIC Certain pieces of organ literature indicate, through their musical characteristics, the ideas presented in the given scripture readings or the essence of the liturgical celebration. It is the task of the liturgical organist to find music which supports, enlightens, and is consistent with those texts. Beyond merely playing festive music for a festive Sunday, there is music which can more accurately reflect the spirit of the liturgy. In this way, the organ plays a significant role in the proclamation of the liturgy. The use of the term liturgical organist is intentional in order to refer to the role of the organist in liturgy. It illustrates that an organist serves the liturgical assembly by integrating the themes of scripture as well as understanding the progression of the liturgy. The liturgical organist understands the theological underpinnings of a given liturgy and seeks out music which best reflects those ideas. It is the task of the liturgical organist to develop a repertoire that reflects the truths reflected in the readings for the day. Lutheran church musician and composer Carl Schalk explains the responsibilities and priorities of the organist as such: 1. To lead the assembly in hymns and sung liturgical music. 2. To accompany the choir in its liturgical responses and anthems. 3. To provide ancillary music where necessary. 32 As indicated, congregational song is the mainstay of the Lutheran understanding of liturgy, and its effective leadership is crucial to engaging the entire assembly. This essay does not attempt to refute Schalk s priorities. However, with thoughtful planning regarding solo organ music, the organ can engage the worshipping community with as much intensity in solo music as when it is used to energize congregational song. In this 32 Carl Schalk, lecture on the role of the church musician, San Diego, CA, July 1987.

19 way the liturgical organist becomes an integral part of the leadership and proclamation of the liturgy. Organ music used in liturgy fits into one of three classifications. The first category is music based on a pre-existing hymn, chorale, or plainchant melody. Because of the early mandate to include only literature which references sacred melodies, this body of literature is vast. In the tradition of the North German School, composers such as Georg Böhm, Dietrich Buxtehude, Johann Pachelbel, Johann Gottfried Walther, and others utilized the chorale as the basis in formulating liturgical music for the organ. Most common was the chorale prelude, which served to introduce the chorale to the singing assembly. In general, these pieces are shorter in length than later counterparts as the chorale melody is often played with little or no interruption. The later and larger organ chorales of J. S. Bach are much more elaborate settings, often too long for the introduction of the chorale for congregational singing. Alongside the chorale prelude, composers often employed theme and variation technique in their treatment of a chorale. Early examples of this approach are found in the Buxheimer Orgelbuch (ca. 1470) and in the works of Jan Pieterzsoon Sweelinck. The form reached its peak in the hands of the north German composers mentioned above who assembled larger groups of variations into chorale partitas. The second category includes music that is tied to sacred ideas in ways other than a pre-existing melody. Program music which reflects themes found in scripture, theological truths, and specific mass texts along with music that was composed for a specific liturgical function are included here. For example, Girolamo Frescobaldi composed toccatas and other pieces for use at specific points in the mass to underscore

20 and enhance the liturgical action. Max Reger s Benedictus 33 and other liturgically referenced pieces also fit here. 34 Twentieth-century French musician and mystic Olivier Messiaen composed suites for specific Holy Days such as La Nativité 35 and L ascension. 36 Jehan Alain s Litanies 37 is based on his notion of the desperation of the Christian offering prayer to God. He writes about this piece, When the Christian soul, in its distress, cannot find words to implore God s mercy, it repeats ceaselessly and with a vehement faith the same invocation. Reason has reached its limit. Faith alone can go further. 38 Lutheran examples of this type of music are rare since the chorale has held sway throughout the history of the church. The third category, which is the focus of this essay, consists of music which has no pre-existing melody or any explicit ties to sacred or liturgical themes. The difference between this and the previous category lies in the fact that there is no extra-musical idea which informed or inspired the composer to create this music. It is music which was composed for its own sake with no outside reference. Hence, it is called free organ music. The primary rule to observe in using free organ music is that it must fit with the nature of the liturgy in general. Gerhard Krapf writes: It [organ playing] may also be an indirect message, particularly in the instance of festive preludes and postludes or whenever non-hymnic musical material is introduced in which case the general tenor of the music would be such as to underscore the particular liturgical context. 39 33 Max Reger, Benedictus, Op.59 #9, (Leipzig: C. F. Peters, 1913). 34 The text on which Benedictus is based is Matthew 21:9: Blessed is the one who comes in the name of the Lord. Hosanna in the highest. 35 Olivier Messiaen, La Nativité (Paris: Leduc, 1936). 36 Olivier Messiaen, L ascension (Paris: Leduc, 1934). 37 Jehan Alain, Litanies from Trois Pièces pour grand orgue (Paris: Leduc, 1939). 38 Ibid, 31. 39 Gerhard Krapf, Liturgical Organ Playing (Minneapolis: Augsburg, 1964), 21.

21 This essay seeks to take Krapf s idea further in that solo organ literature can move beyond merely reflecting a general tenor of a given liturgy into music which is more specific in creating and supporting the primary message of the liturgy. That is to say, there are pieces which, when coupled with a given liturgical context, clearly support the entire liturgy as proclamation. Specific examples of this will be given in detail in chapter 4. The use of free organ music in liturgy requires two things: understanding the essential message of the liturgy and choosing music that will most effectively reflect that message. The liturgical organist stands at that intersection with the liturgy on one side and a vast array of solo organ literature on the other. The task is to fuse music into liturgy to form a cohesive whole. Therefore, the music must be consistent with the liturgical message. The liturgical organist chooses music which sounds as though it fits and is consistent with the overall message of the liturgy. While this is true of music for any liturgical event in a general way, there are specific pieces which can support and reflect liturgical or scriptural themes. It is helpful to move away from generalizations that suggest prelude music must be quiet and meditative and postludes must be loud or march-like. Free organ music can have a connection to the bigger picture, or it can highlight smaller details. Playing a piece of music that does not highlight the ideas of the liturgy can either confuse the congregation, or worse, alienate them altogether. In making decisions about solo organ music, the first responsibility of the liturgical organist is to examine the scripture readings for the day, and, when reading the text, determine significant images or movement in the story. For example, the Transfiguration

22 of Jesus is a vivid narrative of Jesus walk up a mountain where remarkable things take place: Six days later, Jesus took with him Peter and James and his brother John and led them up a high mountain, by themselves. And he was transfigured before them, and his face shone like the sun, and his clothes became dazzling white. Suddenly there appeared to them Moses and Elijah, talking with him. Then Peter said to Jesus, Lord, it is good for us to be here; if you wish, I will make three dwellings here, one for you, one for Moses, and one for Elijah. While he was still speaking, suddenly a bright cloud overshadowed them, and from the cloud a voice said, This is my Son, the Beloved; with him I am well pleased; listen to him! When the disciples heard this, they fell to the ground and were overcome by fear. But Jesus came and touched them, saying, Get up and do not be afraid. And when they looked up, they saw no one except Jesus himself alone. As they were coming down the mountain, Jesus ordered them, Tell no one about the vision until after the Son of Man has been raised from the dead. 40 The story starts with an unremarkable journey and turns into a miraculous event culminating with the voice of God emanating from the clouds. Images in the story include significant references to light, Jesus appearance as dazzling white, and the voice of God validating Jesus as God s son. Keeping these points in mind, an organist who wishes to use free organ music will search for a piece of music that may echo these same images. One example of a piece of free organ music that illustrates this reading is Henri Mulet s Carillon-Sortie. 41 Reminiscent of the dazzling light as noted in the narrative, the opening figuration of the piece begins with a full sound on an enclosed division of the organ with a buoyant melody in the left hand on a louder manual. In the beginning of the piece, the pedal is incidental, echoing small pieces of the left hand melody. The piece builds in volume and intensity to its height where the full pedal sounds forth with boldness sounding the original melody. The consistent crescendo throughout the piece 40 Matthew 17:1-9. 41 Henri Mulet, Carillon-Sortie, French Masterworks for Organ: a Collection of Nineteenth Century Classics (Glen Rock, NJ: J. Fischer), 1963.

23 and the melody sounding forth in the pedal can illustrate the increasing intensity of the brilliant white that surrounded Jesus and the voice resounding from the clouds. In this way, the piece is consistent with the dramatic shape of the story. A note in the worship bulletin, such as the following, will help the listener make these connections: The prelude this morning reflects the images from the Gospel readings of light and Jesus appearing dazzling white. The piece begins with a full but quiet sound and moves to full organ. It is as though the light is just beginning to shine and grows until the pedal thunders out the melody reminiscent of the voice of God from the heavens. In this way, the listener can better understand how the piece echoes the Gospel story. Another example of the application of this method is can take place in the selection of music for Holy Trinity Sunday, a unique celebration in the church year in that it deals with a doctrine of the church rather than a specific event in the life of Jesus. The day marks the coming together of the three entities of the Trinity: God as creator, Jesus as redeemer, and the Holy Spirit who calls the church into being. The Gospel lesson for the day is Jesus command to the disciples: Now the eleven disciples went to Galilee, to the mountain to which Jesus had directed them. When they saw him, they worshipped him; but some doubted. And Jesus came and said to them, All authority in heaven and on earth has been given to me. Go therefore and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, and teaching them to obey everything that I have commanded you. And remember, I am with you always, to the end of the age. 42 Jesus Trinitarian reference is significant here in that it is the only reference in any of the Gospels to the three entities of the Trinity:... in the name of the Father and of the Son and of the Holy Spirit... In contrast to other Sundays of the church year, the essence of 42 Matthew 28:16-20.

24 this liturgical celebration is the relationship between the three entities of the Trinity, a relationship best described using the Greek term perichoresis, which allows the individuality of the persons [of the Trinity] to be maintained while insisting that each person shares in the life of the other two. 43 The question to ask is how might this notion of perichoresis, the inter-relationship of the three persons, be best reflected from a musical standpoint? Several movements of J. S. Bach s six trio sonatas feature equally imitative writing between the three voices, and those movements effectively capture the essence of the doctrine of the Trinity. The trio sonatas are pieces which employ a three-voice texture, one for each hand and one for the feet, all in tightly woven counterpoint. If one were to play this a trio sonata movement for worship, a brief description in the worship bulletin could look like this: J. S. Bach s trio sonatas, while not composed with Trinitarian references in mind, reflect the nature of the Holy Trinity well. Each of three movements is composed with three lines: one for each hand and one for the feet, as though two violins and a cello were playing together. The interplay of these independent lines reflects the very nature of perichoresis, the Greek term for the inter-relationship between the three parts of the Triune God. The listener would then be able to hear the connection between the three parts in the music and the three parts of the Trinity. A less effective example from the works of Bach is the trio setting of the chorale Allein Gott in der Höh sei Ehr, BWV 664, the quintessential hymn text for Trinity Sunday. In this setting, Bach composed in a trio texture. In this piece, the pedal functions in a continuo role with no imitative role with the other two voices. At the end of the piece, however, the pedal sounds a portion of the chorale melody, suddenly taking 325. 43 Alister McGrath, Christian Theology: An Introduction, 3 rd ed. (Cambridge, MA: Blackwell, 2005),

25 precedence over the upper voices. In contrast to the trio sonata previously mentioned, the inequality of the voices does not reflect the equality of the three parts of the Trinity. Organists must examine each piece of organ music in the repertoire with new eyes and rid themselves of generalizations that are not helpful. For example, many church organists eschew playing the free works of J. S. Bach in liturgy thinking there is no ready link between these pieces and any liturgical theme. However, many of these pieces carry with them a mood which can be employed in liturgy to great effect. Such pieces can be put to good use in liturgy without the assumption that the piece is only appropriate to the recital program. Transcriptions of music to the organ from other media raise unique concerns. The context of such music should be carefully considered before playing such music in liturgy. Samuel Barber s Adagio for Strings 44 is effectively reproduced on the organ, however its associations with films such as The Elephant Man 45 and Platoon 46 may deem it unwise for use in liturgy. In The Elephant Man it is played during the final scene as the main character dies. In Platoon, it accompanies a graphic and violent depiction of the Vietnam war. It is possible that such associations may make this piece an unwise choice for inclusion in the liturgy. A liturgical organist must be aware of this potential pitfall. Solo organ literature, however, is rarely heard in any context but liturgy or the concert hall, so outside references are rare. Music composed specifically for the organ without the use of a cantus firmus is mostly free from such extra-musical associations. 44 Samuel Barber, Adagio for Strings, trans. William Strickland (New York: G. Schirmer), 1949. 45 David Lynch, The Elephant Man, Paramount Pictures, 1980. 46 Oliver Stone, Platoon, Orion Pictures Corporation, 1986.

26 Those in the assembly must be able to hear the connection between the music and the liturgy with minimal guidance. An insider s knowledge of a specific musical reference is not enough. For example, playing a piece with the key signature of three flats or sharps as representative of the Trinity is not well-defined enough to justify playing it for Trinity Sunday, even if the key signature is highlighted in a note in the service bulletin. Unless the piece sounds consistent with the rest of the liturgy, the listener will not be able to connect it to the larger scheme. Another caution to the organist is that one must not place ideas into the readings that are not readily apparent. Consider this text: Then little children were being brought to him in order that he might lay his hands on them and pray. The disciples spoke sternly to those who brought them; but Jesus said, Let the little children come to me, and do not stop them; for it is to such as these that the kingdom of heaven belongs. And he laid his hands on them and went on his way. 47 A likely erroneous reading of this text would be to focus on the concept of children and include music based on Sunday school melodies or music that is playful, like a scherzo. Of course, the text says nothing about playfulness, and, more importantly, the liturgy as a whole is not playful. Imposing a surface detail from the text onto the liturgy is irresponsible artistically and theologically. The question also remains whether or not a piece of music that is deemed appropriate for one liturgical occasion can also fit into another. For example, the idea of Ascension Day carries the same sense of upward motion that Easter resurrection does. Are the pieces interchangeable with one situation to the other? As will be pointed out, the Easter narrative speaks of the fear of those who were the first to witness the resurrection, 47 Matthew 19:13-15.

27 whereas the Ascension takes place outside the city without much fanfare. The story of Jesus Ascension is much less active. In the Gospel of Luke, Jesus leads disciples to Bethany where he commands them to remain together until they have been clothed from on high. 48 He is then taken up to heaven in a rather quiet manner. In short, Ascension does not portray the kind of unbridled energy that is found at Easter. If the liturgical musician s understanding of Easter is one of pure celebration, then the day calls for music that illustrates unrestrained enthusiasm. Jesus Ascension appears to be more intimate. The text does not indicate the disciples were afraid as at Easter. Furthermore, the absence of angels who, at Easter, explained that Jesus had risen, suggests that the Ascension is somehow self-explanatory. While it is not impossible to imagine a particular piece fitting into more than one liturgical setting, the connections must be made clear to the listener. The crossroads at which the liturgical organist stands travel in all directions: from text to music and back again. Looking at solo organ music through the lens of a Biblical text enhances the liturgical experience in that it creates a consistent message. Hearing how a Biblical text may be played out in a piece of solo organ music expands the possibilities how the text can be understood. This interplay is where liturgical organists find their voice in the worship life of the church. 48 Luke 24: 49.

28 CHAPTER 4: EXAMPLES AND EXPLANATIONS: USING FREE ORGAN LITERATURE IN LITURGY The musical examples which follow will illustrate some of the thought behind incorporating free organ music into the liturgy. To that end, the liturgies for Holy Week provide fertile ground for insight into how free organ music can be incorporated into liturgy. The clear imagery and significant drama in these Biblical stories provide ample resources with which to identify pieces of solo organ literature that fit well with the liturgical themes. The pieces chosen here will be placed alongside the intended message of the liturgy in order to create connections that will make sense to the listener. Palm Passion Sunday As Holy Week unfolds, the contrast and tension built into the liturgies for each day are palpable. The Palm-Passion Sunday liturgy opens with the reading of the processional gospel, the story of Jesus triumphal entry into Jerusalem as recorded in all four of the gospel accounts. From the Gospel according to Matthew: When they had come near Jerusalem and had reached Bethphage, at the Mount of Olives, Jesus sent two disciples, saying to them, Go into the village ahead of you, and immediately you will find a donkey tied, and a colt with her; untie them and bring them to me. If anyone says anything to you, just say this, The Lord needs them. And he will send them immediately. This took place to fulfill what had been spoken through the prophet, saying, Tell the daughter of Zion, Look, your king is coming to you, humble, and mounted on a donkey, and on a colt, the foal of a donkey. The disciples went and did as Jesus had directed them; they brought the donkey and the colt, and put their cloaks on them, and he sat on them. A very large crowd * spread their cloaks on the road, and others cut branches from the trees and spread them on the road. The crowds that went ahead of him and that followed were shouting, Hosanna to the Son of David!

29 Blessed is the one who comes in the name of the Lord! Hosanna in the highest heaven! 49 Shouts of Hosanna! ring out as Jesus rides into the city on a donkey. The crowd of people spreads palm branches on the road to welcome him into Jerusalem. However, the tension in this liturgy is in the reality that shouts of Hosanna will turn to shouts of Crucify him by the end of the week. The liturgy begins with celebration. However, with the reading of the Passion story in the same liturgy, the narrative turns quickly from triumphal entry and celebration to calling for Jesus death. In this way, the texts for the entire Palm-Passion Sunday liturgy set up a dialogue between celebration and mourning, life and death, good and evil. One possible approach to the Holy Week journey is to see it as the ultimate encounter of good and evil, and Palm-Passion Sunday as the microcosm of this larger story. The third movement of Petr Eben s Sunday Music: Moto Ostinato, can reflect these ideas well with its unrelenting forward motion as in a procession or parade, along with the dialogue of good and evil between musical ideas, dissonant melody lines, and the drama associated with the death of Jesus. Though the title implies a liturgical connection, Sunday Music was not composed for liturgical use. According to the introduction in the score, Eben s intent was to describe something out of the ordinary and festive or artistically elevating. 50 In her thesis on Eben s organ music, Janette Fishell states the piece was inspired by Mark 5:9, the story of the man possessed by devils who said to Christ, My name is Legion, for we are many. 51 Jesus coming face to face with evil in that story parallels the ultimate battle of good and evil in the Holy Week narrative. Some 49 Matthew 21:1-9. 50 Eduard Herzog, Introductory notes to Petr Eben s Sunday Music (Prague: Editio Supraphon, 1963). 51 Janette Fishell, The Organ Music of Petr Eben (D.M. diss, Northwestern University, 1988), 59-60.

30 may postulate that Eben s basis of the story from the Gospel of Mark would preclude its use in this forum. However, it is the character of the music which suggests a connection to the liturgy, and that character reflects the contrast of Jesus Triumphal Entry with the over-riding sense of foreboding at the rest of the story of Holy Week. Several salient musical features in this piece support the thematic movement of the liturgy. As the title of the movement implies, Moto Ostinato is constantly moving forward with urgency and excitement created through a relentless rhythmic motif. The excitement is propelled by a repeated rhythmic figure, which is announced in the opening measures (Example 1). Example 1. Petr Eben, Sunday Music, III. Moto Ostinato, mm. 1-4. The unrelenting rhythmic figure can underscore the sense of motion in both the physical sense of Jesus entry, as well as the figurative moving toward his inevitable death. Though the ostinato rhythm is displaced and manipulated, it is rarely absent. The highly chromatic and angular melody first introduced in measure 5 adds to the sense of drama and chaos (Example 2).

31 Example 2. Petr Eben, Sunday Music,III. Moto Ostinato, mm. 5-10, right hand. In the opening section, mm. 1-29, the melody alternates between the right hand and the pedal. This can point to the dialog between good and evil reflected both in Eben s program and the Palm-Passion Sunday liturgy where Jesus was lauded as King upon his entry into Jerusalem, but within days was accused of criminal behavior and crucified. The chromatic twists of the melody can highlight the complications of the story: the High Priests feeling threatened and immediately plotting to kill Jesus, Pontius Pilate s denunciation of his own role in the story, Judas Iscariot s betrayal, and Peter s denial. The melodic dialogue and ostinato rhythmic figure come together with urgency and immediacy. Eben further illustrates the notion of dialogue in the middle of the piece in two ways. First, in the most highly developed contrapuntal writing of the piece, the right hand plays a counter-melody based on the same angular contour as the original melody while the left hand plays the rhythmic ostinato, and the pedal plays the original melody (Example 3). A counter melody is introduced in the right hand at m. 55. With the initial diminished fifth interval and downward motion, it stands in contrast to the original melody which, by and large, stays within the range of five notes. The counter melody and the original melody sound together between the right hand and the pedal in m. 59, and the contrary motion of the two figures can illustrate the contradiction between Jesus reception as the King of the Jews and ultimate death as a criminal. The middle voice is

32 derived from the ostinato pattern and will appear again in the pedal at the climax of the piece. Example 3. Petr Eben, Sunday Music, III. Moto Ostinato, mm. 55-67. Second, Eben reduces the texture to a single line in the right hand while the left hand plays urgently sounding chords in the ostinato rhythm. Even in the more transparent texture, Eben continues the sense of urgency. The right hand figuration is derived from the melody while the left hand plays the rhythmic ostinato pattern (Example 4).

33 Example 4. Petr Eben, Sunday Music, III. Moto Ostinato, mm. 79-80. The final tour de force appears in the statement of the melody beginning at m. 118. The melody is played in block chords in the manuals with the pedal employing the same pattern as the middle voice that first appeared in m. 55. The organ is almost at its loudest, and the rhythmic drive is at its peak. In m. 124, the themes are reversed between the manuals and pedal with the melody in the pedal in octaves and the hands playing the driving rhythmic ostinato (Example 5). A coda section in mm. 143-152 further advances the ceaseless motion and epic tension through the use of the ostinato rhythm and swift manual changes. The increased intensity can indicate the chaotic crescendo of the crowd in both the triumphant entry as well as the ugly mob calling for Jesus death and is created through striking harmonic motion based on the original melody (Example 6). The piece ends abruptly on an open fifth (Example 7). The drama of the piece can reflect the movement from celebration to death as well an unrelenting sense of march-like forward motion, a march that is twisted and convoluted by the compound meter. When the assembly is made aware of what is to unfold in the readings for the day, these features make Eben s piece an effective prelude to the Palm-Passion liturgy.

34 Example 5. Petr Eben, Sunday Music, III. Moto Ostinato, mm. 118-129. Example 6. Petr Eben, Sunday Music, III. Moto Ostinato, mm. 143-145.

35 Example 7. Petr Eben, Sunday Music, III. Moto Ostinato, mm. 153-155. Max Reger s Introduction and Passacaglia in d illustrates the drama of Palm- Passion Sunday in a different way. Opening on full organ with clashing harmonies of a C# diminished chord over a D in the pedal and continuing with the manual syncopation against the pedal, Reger immediately indicates that something is out of balance (Example 8). Example 8. Max Reger, Introduction and Passacaglia in d, mm.1-5. As with Eben s piece, Reger s Introduction, with its constant pushing forward, can reveal persistent motion toward the inevitable death of Jesus. The Introduction continues with

36 the same gravity for another ten measures, unrelenting in its intensity. However, this piece moves in a different direction with the passacaglia which provides some relief to the energy established in the Introduction. The theme is first stated very quietly in the pedal (Example 9). Example 9. Max Reger, Introduction and Passacaglia in d,mm. 15-22. In its subtle way, the passacaglia theme can evoke in the listener a quieter sense of Jesus resigned movement toward the cross. As the passacaglia moves forward, the tension increases as Reger uses shorter note values for the hands, moving from eighth notes to eighth-note triplets to sixteenth notes. Along with the increasing rhythmic motion, Reger calls for increased dynamic intensity until the final statement of the passacaglia theme is on full organ, and there is a mode shift from the minor to the parallel major key. The final three measures return to the intensity and chaos in of the introduction (Example 10, at Adagio); however, the final chord is in D-major, a triumphant ending and a clear contrast to the ambiguous concluding open fifths of Eben s piece.

37 Example 10. Max Reger, Introduction and Passacaglia in d, mm. 111 121. Maundy Thursday Similar to Palm-Passion Sunday, the Maundy Thursday liturgy contains many different themes: Jesus institution of the Last Supper, Jesus role as servant in the washing of feet, and Judas Iscariot s betrayal of Jesus. These ideas create a tension that arises out of the contrasts between the following two texts. The appointed reading from 1 Corinthians recounts Jesus institution of the Last Supper:

38 For I received from the Lord what I also handed on to you, that the Lord Jesus on the night when he was betrayed took a loaf of bread, and when he had given thanks, he broke it and said, This is my body that is for you. Do this in remembrance of me. In the same way he took the cup also, after supper, saying, This cup is the new covenant in my blood. Do this, as often as you drink it, in remembrance of me. For as often as you eat this bread and drink the cup, you proclaim the Lord s death until he comes. 52 The notion of suffering servant continues in the Gospel reading from John, which describes the washing of the disciples feet: Now before the festival of the Passover, Jesus knew that his hour had come to depart from this world and go to the Father. Having loved his own who were in the world, he loved them to the end. The devil had already put it into the heart of Judas son of Simon Iscariot to betray him. And during supper Jesus, knowing that the Father had given all things into his hands, and that he had come from God and was going to God, got up from the table, took off his outer robe, and tied a towel around himself. Then he poured water into a basin and began to wash the disciples feet and to wipe them with the towel that was tied around him. He came to Simon Peter, who said to him, Lord, are you going to wash my feet? Jesus answered, You do not know now what I am doing, but later you will understand. Peter said to him, You will never wash my feet. Jesus answered, Unless I wash you, you have no share with me. Simon Peter said to him, Lord, not my feet only but also my hands and my head! Jesus said to him, One who has bathed does not need to wash, except for the feet, but is entirely clean. And you are clean, though not all of you. For he knew who was to betray him; for this reason he said, Not all of you are clean. After he had washed their feet, had put on his robe, and had returned to the table, he said to them, Do you know what I have done to you? You call me Teacher and Lord and you are right, for that is what I am. So if I, your Lord and Teacher, have washed your feet, you also ought to wash one another s feet. For I have set you an example, that you also should do as I have done to you. Very truly, I tell you, servants are not greater than their master, nor are messengers greater than the one who sent them. If you know these things, you are blessed if you do them. 53 Judas Iscariot s betrayal is hinted at in the Corinthians reading which states,... in the night in which he [Jesus] was betrayed [by Judas]... and concludes with Jesus memorial promise to be present in proclamation each time the meal is celebrated. 52 1 Corinthians 11:23-32. 53 John 11:23-32.

39 The complexity of Maundy Thursday is clear: Jesus covenant is established with the Church in the Last Supper; he establishes his posture as servant in the washing of the disciples feet; the forty-day fast of Lent is over; and the Sacred Triduum, the three most holy days in the Christian calendar, begins. In a sense, Maundy Thursday provides a break from the journey to the cross begun on Palm-Passion Sunday. Jesus actions with the disciples are about the disciples carrying on after his death, but these actions also illustrate profound love which contrasts with the approaching arrest and crucifixion. With all of these factors knit together in one liturgy, the liturgical organist must look for a piece that reflects the celebratory nature of the end of the Lenten fast, carries the weight of the betrayal in the background, and exhibits the intimacy of the foot washing. Felix Mendelssohn s Sonata in A, Op. 65, No. 3, contains elements that can illustrate all of these themes. The piece is in two movements. The first is in ABA form, with the A sections full of sweeping gestures played with a full and large sound, while the B section is a double fugue in the manuals over the chorale tune in the pedal. The A sections can reflect the celebration marking the end of the Lenten fast and the institution of the Lord s Supper, while the B section, with its fugue subjects full of harmonic tension and subtle use of the chorale, can evoke images of Jesus betrayal. The second movement provides respite with its flowing figuration and points toward a mood appropriate to the story of the humble servant Jesus washing the feet of the disciples. The majestic opening of the piece may provide a declaration of the end of the Lenten fast (Example 11). In the dignity of the opening theme, the forty days of Lent are

40 over, and the Church prepares for the celebration of the most holy days of the Christian calendar, the Triduum. Example 11. Felix Mendelssohn, Sonata in A, Op. 65, No. 3, mm. 1-8. The middle section of the movement is a fugue in the manuals over a pedal statement of the German chorale Aus tiefer Noth schrei ich zu dir, the original hymn text based on Psalm 130, Out of the depths have I cried to thee, O Lord. While Mendelssohn s use of the chorale melody seems to be antithetical to the argument against the use of chorale-based music in liturgy, Mendelssohn did not compose the piece to be used as a chorale prelude on the pre-existing melody. In other words, a listener does not hear the piece as a setting of the chorale. Rather the chorale is in the background,

41 surrounded by complex contrapuntal writing. Just as the idea of Jesus betrayal is in the background of the reading, so is the chorale melody in the musical background. The story of Maundy Thursday turns quickly from the intimate gathering in the upper room to Jesus arrest. In similar fashion, the appearance of Mendelssohn s fugue is sudden and dramatic. The dynamic is reduced, un poco meno forte, and the key signature changes to the parallel minor. The fugue subject is full of tension employing an augmented second and augmented fourth in its construction (Example 12). Example 12. Felix Mendelssohn, Sonata in A, Op. 65, No. 3, mm. 24-28. The shift in mood is abrupt, not unlike the movement of Maundy Thursday night which moves from Jesus washing the disciple s feet to betrayal and arrest. The chorale appears in the background as the soprano voice completes its first statement of the fugue (Example 13). Example 13. Felix Mendelssohn, Sonata in A, Op. 65, No. 3, mm. 36-40.

42 Similarly, the idea of Judas s desperation plays in the background of the texts, and the chorale on the bottom of the texture can echo this impression. The choice of registration is important. The chorale must be heard but not be so prevalent as to overshadow the counterpoint in the manuals. A note in the worship bulletin pointing out the chorale melody would be helpful for the listener. The second fugue subject begins a flurry of activity. Here the piece gathers energy through the use of shortened note values along with an accelerating tempo and increasing dynamic level to the end of the movement. The harmonic tension is increased in the second subject that outlines a diminished seventh chord as marked by the asterisks (Example 14). Example 14. Felix Mendelssohn, Sonata in A, Op. 65, No. 3, mm. 58-60. The pedal melody remains in the background under the ever-increasing activity in the manuals. Through the increase in dynamic level and tempo, the movement can reflect the Judas Iscariot s betrayal, Peter s denial, and Jesus arrest; all of which point toward circumstances moving beyond the control of anyone involved. Frantic energy and desperation can be felt in the acceleration. After the entire chorale is stated, a pedal solo

43 leads to the return of the grandiose A section, lending balance to the piece and reminding the listener of the end of the Lenten fast. In the midst of the Maundy Thursday liturgy, the second movement must be included because, on its own, the first movement lacks the intimacy of the foot washing element in the Maundy Thursday narrative. The second movement is reminiscent of Mendelssohn s Lieder ohne Worte for piano. Its gentle sounds, continual descending figuration, and tuneful melody can accompany Jesus act of foot washing with beauty and grace. When the whole sonata is used as prelude to the Maundy Thursday liturgy, this movement shifts the listener from the grandiose and tumultuous first movement in observance of the end of Lent and the angst around the betrayal of Jesus toward a quiet introspection in preparation for the liturgy of foot washing and Holy Communion. A second possible approach to Maundy Thursday is to see it veiled in the mystery of the Eucharist. Jean Langlais Chant de Paix can reflect this sense of mystery well with its ethereal sounds on the manuals supported by its angular melody in the pedal. The tempo marking is très lent and gives the piece a sense of being suspended in time. It begins quietly on the manuals (Example 15). Example 15. Jean Langlais, Chant de Paix, mm. 1-3.

44 The manuals sustain the notes in m. 2, while the pedal plays the melody on a flute stop that sounds an octave higher than written (Example 16). A sense of tension is maintained throughout the piece by the continuous use of triads with added sixths and seconds. That tension is relieved at the final chord which is a major triad (Example 17). Example 16. Jean Langlais, Chant de Paix, mm. 2-8, pedal only. Example 17. Jean Langlais, Chant de Paix, mm. 30-32. If used as the prelude to the Maundy Thursday liturgy, the quiet suspension in time of this piece is most effective in highlighting the mystery of the Eucharist. Good Friday The Christian liturgical calendar is centered on Easter, the day which marks the resurrection of Jesus. The Friday before Easter is a day of great solemnity set aside to mark the trial, crucifixion and death of Jesus. The story from the eighteenth and

45 nineteenth chapters of the Gospel of John provides rich and vivid imagery of the last days of Jesus life. Although the liturgies for Palm-Passion Sunday and Maundy Thursday just preceding are steeped in contrasting themes, the Good Friday liturgy moves singularly in the direction of death. Jesus is arrested; Peter denies being connected to Jesus; Judas betrays Jesus to the authorities; Jesus goes on trial before Pilate; and the crowd cries for his death. As is common with injustice, frustration and disbelief abound. So Jesus came out, wearing the crown of thorns and the purple robe. Pilate said to them, Here is the man! When the chief priests and the police saw him, they shouted, Crucify him! Crucify him! Pilate said to them, Take him yourselves and crucify him; I find no case against him. The Jews answered him, We have a law, and according to that law he ought to die because he has claimed to be the Son of God.... When Pilate heard these words, he brought Jesus outside and sat on the judge s bench at a place called The Stone Pavement, or in Hebrew Gabbatha. Now it was the day of Preparation for the Passover; and it was about noon. He said to the Jews, Here is your King! They cried out, Away with him! Away with him! Crucify him! Pilate asked them, Shall I crucify your King? The chief priests answered, We have no king but the emperor. Then he handed him over to them to be crucified. So they took Jesus; and carrying the cross by himself, he went out to what is called The Place of the Skull, which in Hebrew is called Golgotha. There they crucified him, and with him two others, one on either side, with Jesus between them.... After this, when Jesus knew that all was now finished, he said (in order to fulfill the scripture), I am thirsty. A jar full of sour wine was standing there. So they put a sponge full of the wine on a branch of hyssop and held it to his mouth. When Jesus had received the wine, he said, It is finished. Then he bowed his head and gave up his spirit. Since it was the day of Preparation, the Jews did not want the bodies left on the cross during the sabbath, especially because that sabbath was a day of great solemnity... After these things, Joseph of Arimathea, who was a disciple of Jesus, though a secret one because of his fear of the Jews, asked Pilate to let him take away the body of Jesus. Pilate gave him permission; so he came and removed his body. Nicodemus, who had at first come to Jesus by night, also came, bringing a mixture of myrrh and aloes, weighing about a hundred pounds. They took the body of Jesus and wrapped it with the spices in linen cloths, according to the burial custom of the Jews. Now there was a garden in the place where he was crucified, and in the garden there was a new tomb in which no one had ever been

46 laid. And so, because it was the Jewish day of Preparation, and the tomb was nearby, they laid Jesus there. 55 The images are clear: Jesus carries the cross to the place of crucifixion; Jesus announces he is thirsty and is offered the sour wine; Jesus declares the end and dies; Joseph of Arimathea lays Jesus body in the tomb. Jehan Alain s Deuxième Fantaisie can well illustrate the themes of Good Friday with its severe harmonic and melodic language, sudden contrasts, increasing frantic energy, dramatic use of silence, and idiosyncratic use of the sounds of the organ. The piece begins and ends quietly with a chaotic middle section that can reflect the sense of desperation over the inevitability of Jesus suffering and death, and the violence of his crucifixion. The piece opens with the first of three themes, accompanied with chordal but dissonant harmonies (Example 18). Example 18. Jehan Alain, Deuxième Fantaisie, mm. 1-8. 55 John 18:1-19:42, sections omitted.

47 The second gesture is a severe recitative which Alain scores with a purposefully intrusive sound (Example 19). He calls for a straight-toned incisive reed, a high pitched mixture that lends a shrill sound to the tone, and the Cornet, a compound stop which contains a unison pitch, along with the octave above, a fifth above that, the pitch two octaves above, and finally the third above that. The registration intensifies the sound of the recitative-like figure; the tone is incisive and severe. The addition of non-unison stops can also add intensity to Alain s use of the augmented fourth/diminished fifth interval with the high notes creating dissonance beyond the unison and octave pitches. The severe registration along with the striking dissonance can reflect several ideas: the call for Jesus to be crucified, the taunting of Jesus on the cross, giving Jesus sour wine to drink, and the jeers from one of the criminals who was crucified with Jesus. Example 19. Jehan Alain, Deuxième Fantaisie, mm. 26-36. The second appearance of the recitative is prepared by a dissonant section in block chords (mm 42-48). The day itself is dissonant, as Jesus is facing a torturous death. By the end of the block chords, the registration is increased to full organ as the recitative figure is restated. (Example 20).

48 Example 20. Jehan Alain, Deuxième Fantaisie, mm. 42-54. +Doublette +Mixture +Plein Jeu +Anches The augmented fourth interval once again figures prominently in the restatement of the recitative and provides the impetus for the next section, a toccata of high energy utilizing the same interval. Alain sets the rhythm of the accompaniment utilizing eight sixteenth notes, beamed in a three plus five configuration (Example 21). The beaming indicates an offset accent of three plus five sixteenth notes instead of the usual two sets of four and sets up a change in the rhythmic pattern yet to come. Example 21. Jehan Alain, Deuxième Fantaisie, m. 59.

49 As the intensity increases, the rhythm is reduced to only seven sixteenth notes, eliminating any sense of pause and creating a much more frantic movement to the music (Example 22). Example 22. Jehan Alain, Deuxième Fantaisie, m. 69. The change in rhythm and increased movement can suggest the desperation of Jesus followers, of those who wish to see him killed, and even of Pilate himself. The piece culminates in scalar passages in the left hand, which utilize the instability of the augmented fourth sonority in their outline while the pedal plays the original melody (Example 23). Example 23. Jehan Alain, Deuxième Fantaisie, mm. 69-70.

50 As the relentless toccata slows to a stop, the recitative is played on the lower range of the keyboard and is punctuated by full-organ chords on the Grand Orgue (Example 24). Example 24. Jehan Alain, Deuxième Fantaisie, mm. 84-92. Reflective of the moment of Christ s death, the recitative, sounding alone, comes to an end while the organist removes stops (Example 25). Example 25. Jehan Alain, Deuxième Fantaisie, mm. 98-103. In a mid to high register, the pitches of non-unison stops such as the Tierce and Nazard are inaudible to the ear, so the combination of these stops is part of the color palette. However, in the lower register, the ear can discern the distinct parallel tones created by these non-unison stops. Beginning in m. 100 with the removal of the Cymbale, the stops yield a sound of parallel octaves, fifths, and thirds (Example 26). Followed by silence, the

51 hollow parallel relationships can reflect the emptiness of death that dominates the Gospel reading. Example 26. Jehan Alain, Deuxième Fantaisie, illustration of sounding pitches, mm. 100-103. After the silence, the piece ends quietly. The opening melody is fused with the recitative figure, and it closes with descending chord clusters marked by two pedal notes leading to a mournful and sighing end (Example 27). Example 27. Jehan Alain, Deuxième Fantaisie, mm. 114-124.

52 Another view to the Good Friday story is to stand back from the specific details to view the larger picture of Jesus journey to the cross. Jesus remains steady and calm while chaos breaks out around him. While the crowd is shouting for his death, Jesus moves steadily toward the cross much like a funeral procession. Without giving the same attention to minute detail as with Alain s piece, the notion of procession, suggesting Jesus moving toward the cross, is prevalent in the first section of César Franck s Chorale in b minor. The opening section is a chaconne, and the theme is somber and steady (Example 28). Example 28. César Franck, Chorale No. 2 in b minor, mm. 1-8. In the opening statement of the theme, the accompaniment, in parallel octaves, is simple and straightforward. The registration is on the French Fonds, or the foundation stops at unison pitch, sounding with a rich tone. As with Alain s piece, the increasing turmoil in the story is musically reflected through the use of shorter rhythmic values over the continuing chaconne theme in the bass. The intense chromaticism adds to the drama (Example 29).

53 Example 29. César Franck, Chorale No. 2 in b minor, mm. 33-37. With the addition of the reeds on two of the three keyboards, the sound becomes louder and more intense. The energy further increases due to shorter rhythmic values. What were once quarter notes turn into eighth notes, then triplets with the addition of the reeds of the Rècit and Positiv. With the ever-steady sense of walking in the bass, the faster and more intense rhythm in the manuals can evoke images of the unfolding chaos of the crowd amidst Jesus calm walk to the cross (Example 30). Following the flurry of activity, the registration is reduced, and the music settles back into its original solemn tone. The chaconne theme is replaced by a lyrical melody (Example 31). Example 30. César Franck, Chorale No. 2 in b minor, mm. 49-53.

54 Example 31. César Franck, Chorale No. 2 in b minor, mm. 65-80, melody only. Interspersed into this lyrical section are quiet and highly chromatic flourishes on the Rècit, a division of the French organ enclosed in a box and placed deep within the organ. Since the music is marked pianissimo, the shutters would be closed. The contrast of the flourishes with the steadiness of the lyrical theme can point to the tension between Jesus actual movement toward the cross and the confusion and anguish of his followers (Example 32). Example 32. César Franck, Chorale No. 2 in b minor, mm. 80-83. Beginning in m. 115, the opening section is brought to a close on quietly and peacefully on a B major chord. For the Good Friday liturgy, this is where the piece should end. From here the piece goes into a large fantasia which is dramatic but too elaborate for Good Friday.

55 Resurrection The Easter narrative is the turning point in the church year and is also the event which marks Jesus move from Rabbi to Messiah. While this is indeed cause for celebration, closer reading of the Biblical texts reveals a much different reaction to Jesus resurrection than is often reflected in our Easter liturgies. The most celebratory account takes place in the Gospel of Matthew, and it is a muted response: After the sabbath, as the first day of the week was dawning, Mary Magdalene and the other Mary went to see the tomb. And suddenly there was a great earthquake; for an angel of the Lord, descending from heaven, came and rolled back the stone and sat on it. His appearance was like lightning, and his clothing white as snow. For fear of him the guards shook and became like dead men. But the angel said to the women, Do not be afraid; I know that you are looking for Jesus who was crucified. He is not here; for he has been raised, as he said. Come, see the place where he lay. Then go quickly and tell his disciples, He has been raised from the dead, and indeed he is going ahead of you to Galilee; there you will see him. This is my message for you. So they left the tomb quickly with fear and great joy, and ran to tell his disciples. Suddenly Jesus met them and said, Greetings! And they came to him, took hold of his feet, and worshipped him. Then Jesus said to them, Do not be afraid; go and tell my brothers to go to Galilee; there they will see me. 56 The story told in the Gospel of Mark is more subdued and succinct: When the sabbath was over, Mary Magdalene, and Mary the mother of James, and Salome bought spices, so that they might go and anoint him. And very early on the first day of the week, when the sun had risen, they went to the tomb. They had been saying to one another, Who will roll away the stone for us from the entrance to the tomb? When they looked up, they saw that the stone, which was very large, had already been rolled back. As they entered the tomb, they saw a young man, dressed in a white robe, sitting on the right side; and they were alarmed. But he said to them, Do not be alarmed; you are looking for Jesus of Nazareth, who was crucified. He has been raised; he is not here. Look, there is the place they laid him. But go, tell his disciples and Peter that he is going ahead of you to Galilee; there you will see him, just as he told you. So they went out and fled from the tomb, for terror and amazement had seized them; and they said nothing to anyone, for they were afraid. 57 56 Matthew 28:1-10. 57 Mark 16:1-8.

56 The tension in the Easter story is between fear and exaltation. Those who were firsthand witnesses to the resurrection had the initial reaction of fear. The first words at the tomb and the first words from Jesus are, Do not be afraid. While Matthew tells us the women worshiped Jesus because they felt great joy, Mark states that they left because terror and amazement had seized them; and they said nothing to anyone for they were afraid. Remembering that the emotion is transformed from the grief of Good Friday to fear and amazement at the resurrection is essential to understanding Easter Sunday. Easter planning can acknowledge the reaction of fear and confusion, and it can also lean toward unmitigated rejoicing at the announcement of life restored. A piece which captures this movement from fear to rejoicing is Maurice Duruflé s Fugue sur le nom d Alain. The fugue is a double fugue where the two subjects contrast with each other between a solemn and dignified first subject (Example 33) which can be reminiscent of the Good Friday funeral march and a rhythmically active second subject which moves the listener toward resurrection (Example 33). Example 33. Maurice Duruflé, Fugue sur le nom d Alain, mm. 1-5. The evening before the celebration of Jesus resurrection, the Easter Proclamation is sung at the Vigil of Easter, and it states, O night truly blessed which alone was worthy to know the time and the hour wherein Christ arose again from hell! This is the night of which it is written: and the night is as clear as the day ; and, then shall my night be turned into day. The holiness of this night puts to flight the deeds of wickedness; washes away sin;

57 restores innocence to the fallen, and joy to those who mourn; casts out hate; brings peace; and humbles earthly pride. 58 The sense of quickening in the deep of the blessed night is illuminated by the introduction of the second fugue subject, played in sixteenth notes on the secondary enclosed manual with a bright registration and the shutters closed. Here the piece can illustrate the move from the death of Good Friday to the new life of Easter (Example 34). Example 34. Maurice Duruflé, Fugue sur le nom d Alain, mm. 43-46. The quiet but bright motion can indicate a quickening, a return of life, a Resurrection. Thus begins a complicated harmonic labyrinth which ultimately returns to the key center of D minor with a constant crescendo. A significant moment is in m. 65 where the first subject is stated in E b major in the top voice. Duruflé instructs the organist to move to the Grand orgue, the main keyboard of the French organ. With this move, the sound gets louder but also increases in weight and color. The piece continues in constant crescendo from here to the end, an unrelenting build-up of sound and excitement can indicate sense of life restored (Example 35). Example 35. Maurice Duruflé, Fugue sur le nom d Alain, mm. 88-92. 58 Evangelical Lutheran Church in America, Lutheran Book of Worship, Minister s Desk Edition (Minneapolis: Augsburg Fortress, 1978), 145.

58 Increasing the intensity, the first fugue subject appears at m. 105 in stretto at the interval of a perfect fifth between the right hand and pedal. The reeds and Cornet of the Recit are added, increasing the volume and color of the organ (Example 36). Example 36. Maurice Duruflé, Fugue sur le nom d Alain, mm. 105-107. The drama continues to build as the first subject appears between the left hand and pedal in inversion in similar stretto. The accompaniment figure is derived from the first subject in diminution, increasing the energy in unrelenting forward motion. The new section is accentuated by the addition of the reeds and cornet on the Positiv division (Example 37). Example 37. Maurice Duruflé, Fugue sur le nom d Alain, mm. 116-118.

59 The coup de grâce is in the last statement of the fugue. The reeds and cornet of the Grand Orgue and Pédale are added, stretto is employed yet again, and the mode shifts to the parallel major by the appearance of F#. The piece concludes on full organ and thus celebration of the Resurrection begins (Example 38). Example 38. Maurice Duruflé, Fugue sur le nom d Alain, mm. 124-128. Finally, a coda provides the opportunity to add any stops that might be remaining on the organ; the piece closes with a flourish in the manuals and pedals. However, Duruflé does not release the harmonic tension until the very end. As illustrated above, the final entrance of the fugue subject in the pedal gives the illusion of the key of D major. However, B b and E b remain, possibly indicating death s hold on Jesus until he is finally released into new life. The final resolution does not appear until the piece is punctuated by two final D-major chords.

60 A different but equally persuasive interpretation of the text is to bypass the progression from Good Friday to Easter suggested by Duruflé and move directly to the unbridled joy of resurrection. A composition that embodies this character is J. S. Bach s Prelude and Fugue in D, BWV 532, a piece which is not often thought of as church music. Unlike Duruflé s piece which begins with the somber tone of Good Friday and grows into the Resurrection, Bach immediately announces the resurrection with joy. The embodiment of resurrection can be surmised in the opening measures of the Prelude. It begins with an ascending D-major scale in the pedal, and the hands play fanfare-like figures. These two ideas alternate through the first five measures of the piece. While these five measures are a small percentage of the piece as a whole, the upward motion of these flourishes sets up the whole work with a surge of energy that can illustrate Jesus physical rising. (Example 39). Example 39. J. S. Bach, Prelude in D, BWV 532, mm. 1-5.

61 The gathering of energy is enhanced by the crescendo Bach builds into the manual chords. When a voice has entered, it continues to be heard until all five notes are sounding at once. As notes are added to the chord, the sound becomes louder. In the following sections, F# pedal point sounds underneath a progression of diminished seventh chords which lead to a cadence in the key of F#-major. Two such sections appear in the prelude: here and in a closing Adagio which will be discussed later. A two octave ascending D-major scale ending with a large D-major chord accomplishes an immediate return to the home key (Example 40). Example 40. J. S. Bach, Prelude in D, BWV 532, mm. 14-16. With the consistently upward gestures, this opening can establish a clear sense of rising, of resurrection, of celebration, and of joy. These gestures set up an alla breve section which is based on a motif which Bach often used to symbolize the cross (Example 41). Example 41. J. S. Bach, Prelude in D, BWV 532, mm. 26-31, pedal only.

62 The alla breve comes to a close on an A-major chord, the dominant of the key of D, and proceeds to a closing adagio. This section is full of improvisatory flourishes and colorful harmonic changes and balances the F# minor section previously mentioned. It provides a dramatic close which contrasts the unbridled joy and can imply the presence of death as a prerequisite for resurrection. The following fugue continues the energy established in the prelude. The subject is active and exciting due to its use of sixteenth notes, repeating figuration, and silence (Example 42). Example 42. J. S. Bach, Fugue in D, BWV 532, mm. 1-6. The fugue closes as the prelude began: with alternation between the manual and pedal. The pedal takes over the entire texture with an ambitious solo based on the fugue subject. The solo finds its way to the bottom of the pedal board and makes its way to the top with speed and clear direction (Example 43). In contrast to the solemn beginning of Duruflé s piece, Bach s music lays all the energy implied by the resurrection before the listener. A note of explanation in the worship bulletin may be unnecessary as the consistent ascending figures and vibrant energy in the piece clearly shape the perception of resurrection.