First a short, dark Adagio, begun and ended by the organ alone. Then a longer Allegro in which the strings generally play accompaniment figures, while the organ has more melodic material. The last movement, Allegro vivace, has the organ playing toccata-like chords in alternating hands, while the strings play simple quarter note figures.
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This is followed by an organ solo in thick chords. An accelerando leads to a short Presto and a rather whimsical ending. A romantic organ would probably work best, and the writing really implies more than a sting quartet. This minute work is in three movements, although the Cadenza at the end of the second movement goes into the concluding Vivace without a pause. The first movement starts with a Lento introduction, which is followed by an Allegro Furioso. It is mostly loud, and darkly chromatic. This piece requires a fairly large organ to balance the orchestral writing. There are a few registration suggestions, and a few crescendos and diminuendos in the organ part.
Introduction and Toccata for Organ and Strings. This 7-minute work is quite chromatic.
It was written for Gerald Bales around , is dedicated to him, and the thematic material is derived from his name. In the short, maestoso Introduction, the organ and strings alternate. The Introduction leads directly into the Toccata, in which the organ and strings play mostly together, except for a measure pedal solo.
This could be shortened. A romantic-style organ would work best. This expressive minute pieces has several prominent organ solos, including the first 24 bars, which are then repeated by the string ensemble. The piece starts and ends softly. There are a few divisi in the more energetic sections, but the piece could definitely be performed with two players to a part.
The double-bass part is mostly doubled by the organ pedal. The harmonic language is typical of the composer. No crescendos or diminuendos are required in the organ part.
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Symphony No. This piece was written for, and premiered at, the National Convention in Hamilton in Gerald Bales was the soloist, with Gordon Jeffery conducting. The review in the Diapason describes it as the highlight of the programme. The title implies that several movements were intended. Apparently only one was completed, but it is about 10 minutes long, and stands well on its own.
The orchestra includes flute and oboe, as well as a full compliment of strings. All instruments have significant and idiomatic parts. The organ is used mainly as a member of the orchestra, with few actual solos, although it does stand out in several passages, especially in the arpeggiated passages increasing in velocity toward the fortissimo ending. The beginning is also loud, but there are contrasting sections in the middle, with some specific registrations indicated for the organ, as well as crescendos and diminuendos.
This light-hearted set of variations, subtitled "A Diversion", is based on the English folk-song popularly known as "The Wraggle-Taggle Gypsies". The percussion part can be performed by one player, but requires a variety of instruments: tambourine, snare drum, bass drum, suspeced cymbal, etc. There are numerous registration suggestions and expression marks in the organ part, but most of it is not especially difficult, except perhaps the final Presto. The whole piece lasts about 16 minutes.
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Walshaw, Gregory Watson Henderson, Ruth. Thomas Annand has been delighting both audiences and critics alike with his many-faceted talents as organist, harpsichordist and conductor. Annand embarked on a solo career on organ and harpsichord. He is the organist and harpsichordist for the National Arts Centre Orchestra and the Thirteen Strings, both of which he has appeared with as soloist, and was co-founder and conductor of Capital Brass Works for six seasons.
Two Christmas Anthems. Stuart Beaudoin has over 35 years of experience as a church musician in the Greater Toronto region. He has long been involved in various programs of the Royal Canadian College of Organists both in the Toronto Centre and in relation to the National Office.
He also participated with the preparation of the Voices United hymnal of the United Church of Canada. Stuart conducts a variety of chamber choir, orchestra and ecumenical groups. A performer of all styles of music from the seventh century through the Christian contemporary style of the present, Stuart believes in offering all styles of good music for worship.
Fantasia on Jesous Ahatonhia. Although he was born in Melbourne, and returned in , Gordon Atkinson spent much of his life in England and North America. He moved to Canada in He has written eight settings of the Mass.
Soliloquy No. Since he has been organist and music director at Holy Rosary Cathedral in Vancouver and organ professor at the University of British Columbia.
He has given recitals across Canada and abroad. His music, essentially tonal and melodic, is characterised by a concern for formal clarity and immediate communication with as large a public as possible. Masque Te Deum Laudamus I. Professor Norman John P. Norman began playing the piano at age six and took up the organ at age 14 when enrolled at Westminster School in London where he became school organist.
He read Philosophy at Christ Church, Oxford, receiving undergraduate and graduate degrees, culminating in a BPhil thesis on Aristotle in While at Oxford, he took organ instruction at Exeter College and was encouraged to practise improvisation. It was also during this time that he converted from the Church of England to Roman Catholicism. In , he became the founding member of the Philosophy Department at Memorial University of Newfoundland.
In St. He was the Organist and Choir Director at St.
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He programmed music from Catholic, Anglican, Lutheran, and other Christian traditions and composed a number of introits, an anthem, a carol arrangement, and a set of much-loved pieces for the Feast of Corpus Christi. His improvisations inspired the devotion of musical colleagues, congregation, and clergy alike. Behold The Bread of Angels. Giles Bryant - Since , when he first began to sing as a treble in his school Chapel choir, Giles Bryant has been actively engaged with choral music, both as a singer and as an organist and choirmaster.
In he was appointed Organist and Master of the Choristers at St. James' Cathedral. He is greatly in demand as lecturer and clinician on choral subjects, and has adjudicated choirs extensively in Canada, England and the USA.
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He has given organ recitals across Canada, in England, France, and Spain. Dr Bryant has written many articles on choral matters in Canada and in England, and is a contributor to the Encyclopedia of Music in Canada, and Grove's Dictionary of Music. Causa in Variations on the Huron Carol 'Jesous Ahatonhia'.
He holds three deg rees in Composition and Theory from the Univers ities of Toronto a nd British Columbia and since , has been teaching at Queen's University in Kingston, Ontario, where he is a full professor. For his outstanding work as a compose r over the years, in he was awarded a Queen's University Award for Excellence in Research and Scholarship.
He has composed a large body of instrumental and vocal music in all genres and his work, Flanders Fields Reflections, for string orchestra, received the Juno Award for the Best Canadian Classical Composition. Burge loves working with young musicians and is in high demand as a music festival adjudicator. In recent years he has joined the Red Leaf Pianoworks collective and has been performing solo piano recitals of his own compositions. Prelude and Toccata No. Barrie Cabena was born and educated in Melbourne, Australia.