Organ Suite

Hi,

It has been a few weeks since I have posted some of my own content. I have been asked to write a piece for Organ by a friend of mine who intends to play it at a local church. I have completed drafts of the other two movements although I need to add a bassline. Once that is complete I will upload to the thread. The Allegro is mostly finished; I am just completing the recap and reviewing some of the harmonies. The Bass part in the development section and towards the end of the exposition is intended to be more interesting than that at present; I usually produce a simple harmonic draft to indicate which notes I should emphasize and what not. I will say that the harmony in the development section is uncharacteristically "adventurous" against my track record, however I suppose pushing the boundaries is how we learn best.   

The focus at the moment is providing a bridge between the first subject and the second subject during the recapitulation. Of course, I cannot replicate what I did in the exposition as I would modulate to D. The second subject must be played in the tonic key in line with sonata form and from what I understand, composers simply added some new material for what would be the transition, modulating instead to the subdominant before ending with a dominant chord, or tonic of the home key.

It was nice to listen to this work. I think it's less frequent to hear works for piano solo in such a classical style (baroque or romantic are more often ween, aren't they?).

It's perfect for a church interpretation.

A nice, refreshing listen. Very reminscent of the Classical era, and, as such, elegant and refined. I'm sure your friend will be well-pleased with this! Great job!

jC Bach wrote a number of organ works that I believe fall under his op 19. They are composed for “4 hands”, and are much aligned with this style. A number of the motifs which I have applied here are influenced by Carl Abel’s well known symphony in E flat, specifically the “romanesca” in the exposition where you have a falling bass to the dominant whilst the upper voice rises in a 1-5-1 fashion. The rhythmic pattern was as much a cliche as the schematic outline; I have encountered some works of Mozart (his sinfonia concertante in E Flat, for instance) in which it is applied in the same manner, and is often used to lead to the dominant key in preparation for the second subject, like how it is applied here. 

Hi all,

One thing Quarantine can be good for is enhanced focus on personal projects. This is now more or less complete - only a few minor things to edit for enhancement/correction although i think it appropriate to upload the full draft.

Hope it is enjoyable and look forward to hearing any feedback. I will be coming back on at some point this weekend to write up a detailed overview.

Thanks,

Hi Markus, my congratulations! That's an excelent work. I don't see often music for Organ in the forum, and that's a nice excelent instrument. 

I can see here more classical period than in your previous Works (more Baroque). You must have put a lot of time on writing that, the effort has been well worth it😉

just a minor critic: I would probably finished the first movement one bar before. The ending is very well constructed with the descending arpeggiations of the tonic chord mes.126-128, so the listener feels the final is near, but that last statement was a bit unexpected. Anyway it's your piece, so leave it like it is (unexpected things are also Good).

Take care!

Thanks Gulliem. Your feedback is appreciated. I much enjoyed your bagatelle by the way, and shows how versatile you are as a composer.

To be honest I interchange between classical and baroque idioms when I write and generally results in idiosyncratic material. For instance, the development of the largo movement does deviate somewhat towards the recap. Nonetheless, Classical idioms are at large closely related to those which underpinned baroque ones, only they tend to be presented in a more straightforward manner. Towards the later 18th century, and in particular the mature works of Mozart’s one will find that those idioms are transformed in ways not ordinarily done, which attests to his skill as a composer and innovator. 

I have listened to the presto again and I’m not happy with the recap - I applied a monte romanesca which is followed by descending suspensions but i cadenced in the wrong place. So I need to rework that a little. 

I must confess that I am worried where I get some of my ideas from. Rest assured I do not copy anything, although there are some melodies that I have written that are reminiscent... I’ll never know unless I stumble across a direct influence in my music library, however if anyone spots anything I’d Ben very interested to know - haha!!