FOR SOLO OBOE AND ORGAN (FOUR HANDS).

A TRANSCRIPTION OF JEAN FRANÇAIX S L HORLOGE DE FLORE FOR SOLO OBOE AND ORGAN (FOUR HANDS). DOCUMENT Presented In Partial Fulfillment Of The Requirements for the Degree Doctor Of Musical Arts in the Graduate School of the Ohio State University by Stephen R. Secan, M. A. ***** The Ohio State University 2005 Reading Committee: Approved by Robert Sorton, Adviser Christopher Weait Burdette Green Adviser School of Music

Copyright by Stephen Secan 2005

ABSTRACT The orchestral accompaniment of Jean Francaix s L horloge de flore (The Flower Clock), a concerto for solo oboe and orchestra, was arranged for organ (four hands). Resource material used in the arrangement was derived from the orchestra score, the solo part and the piano reduction. Due to the complexity of solo voices in the score, two performers at one organ console are required. In order to achieve the most effective organ registrations, the transcription is best realized on a large Romantic symphonic organ. The commentary that accompanies the score gives a brief performing history of the orchestral version and the piano reduction. Performance difficulties encountered in the piano reduction are discussed as they relate to the need for an organ version. Problems in the transcription process are also discussed along with formal and compositional aspects of the concerto. ii

For my parents Frank D. Secan and Martha Alice Smith Secan iii

Acknowledgements I wish to thank G. Dene Barnard and Timothy Smith, organists at First Congregational Church in Columbus, for their for their numerous contributions to this project. Dene Barnard has been very generous with his time, professional expertise, and boundless energies. Tim Smith has provided invaluable insight into the workings of the Kimball organ. I am grateful to both of them for their artistry. I would like to thank my adviser, Robert Sorton, and all members of my reading committee for their encouragement and constructive criticism. In particular, I wish to express gratitude to Burdette Green and Chris Weait for their patience and enthusiasm. I wish to thank Brett Rosenau from Theodore Presser, and the publishers at Editions Musicales Transatlantiques, for granting permission for the transcription of L'horloge de flore. I am indebted to Laura Piantini from the rental department at Presser, for providing information on early performances of the concerto. I would also like to extend special thanks to James De Francesco for his fine work on the computer version of the score. Finally, I would like to express my appreciation to the members of First Congregational Church, and to the committee that supervised the restoration of the Martin- MacNevin Memorial organ, formerly known as the Kimball organ at First Congregational Church (Columbus, Ohio). iv

VITA May 8, 1952 Born in Tupelo, Mississippi 1973 B.M. in Applied Music Eastman School of Music (University of Rochester) 1973-78 Solo English horn, Columbus Symphony 1978-present Principal Oboe, Columbus Symphony 1973-1978, Adjunct faculty, Otterbein College 1995-2001 1973-1988 Adjunct faculty, Capital University 1997 M.A. in Music Theory The Ohio State University v

TABLE OF CONTENTS Abstract... page ii Dedication... page iii Acknowledgements... page iv Vita... page v Organ Score... page 1 Commentary... page 33 Appendix... page 57 Bibliography... page 60 vi

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Commentary The purpose of this document was to arrange a performable reduction of Jean Françaix's L'horloge de flore, one which retains the character of the original version, including many features of the colorful orchestration. Precedence for the arrangement Solo literature from the Baroque period written for the oboe and keyboard is often performed on organ, as well as harpsichord. In his extensive catalogue of music for oboe written before 1800, Bruce Haynes lists several early examples of music composed specifically for oboe and organ, including a chorale prelude by J.S. Bach, and fourteen compositions in a similar style by his student, Johann Krebs. 1 In her bibliography of oboe music, Virginia Gifford lists twenty five compositions written for oboe and organ, including works by Pinkham, 1 Bruce Haynes, Music for Oboe 1650-1800 (Berkeley: Fallen Leaf Press). 33

Hovhaness, Schroeder, and Langlais. 2 Other relevant modern works include the Ballade for oboe d'amore and organ by Swiss composer Frank Martin, and works for English horn and organ by Sowerby, Koetsier and Lüttmann. A small body of literature exists of music written for organ (four hands). Samuel Wesley's Duet for organ is an early example of an original composition. There are also numerous transcriptions of orchestral works for organ with multiple performers; for example, James Biery's Suite from Bizet's Carmen is a popular arrangement well known to organists. Historical Background French composer Jean Françaix began his career in the 1930s as a piano soloist and celebrated pupil of Nadia Boulanger. Throughout Françaix s life, his reputation as a composer was founded on an ability to write clever and appealing music. Among his earlier compositions, the Woodwind Quartet (1933) and Concerto for Four Winds (1935) established a facility in writing for woodwinds that was reinforced by the Divertissement for Oboe, 2 Virginia Snodgrass Gifford, Music for Oboe, Oboe D 'Amore, and English Horn London:Greenwood Press). 34

Clarinet, and Bassoon (1947) and Quintette for winds (1948). Certainly the latter two works were well known in the 1950s to the members of the Philadelphia Woodwind Quintet (all first chair players of the Philadelphia Orchestra). In 1957, Françaix received a commission from John de Lancie, principal oboist of the Philadelphia Orchestra, to write a solo work for oboe and chamber orchestra. The concerto that resulted, L horloge de flore (The Flower Clock), was completed in early summer of 1959. Structure of the Concerto Scored for solo oboe, two flutes, two clarinets, two bassoons, two horns, and a chamber section of strings, the character of this elegant concerto is unmistakably French. The overall form is somewhat unorthodox; it comprises seven movements, played without pause. Several movements bear the grace and simplicity of native folksong, although the melodic material is entirely original to the composer. Other movements are jazzy and modernistic; the cheeky finale could have come straight out of the dance halls of Paris. 35

Each movement bears the title of one of the flowers on the Flower Clock of Swedish botanist Carl von Linné (1707-1778). In the orchestral score an inscription explains that Linné gave the name L horloge de flore to a series of flowers classified according to the hour of the day or night at which they bloom. Titles of the seven movements are indicated in the score, as follows: 3 A.M.- Galant de jour (poisonberry) 5 A.M.- Cupidone bleue (blue catananche) 10 A.M.- Cierge à grandes fleurs (torch thistle) 12 Noon- Nyctanthe du Malabar (Malabar jasmine) 5 P.M.- Belle-de-nuit (belladonna, or deadly nightshade) 7 P.M.- Géranium triste (mourning Géranium) 9 P.M.- Silène noctiflore (night-flowering catchfly) Performance History The Flower Clock was premiered on March 31, 1961 in a concert by the Philadelphia Orchestra at the Academy of Music, with Mr. de Lancie as soloist. Writing about that occasion, Samuel Singer describes the work as a lightweight but nonetheless beguiling suite, [which] exploits the pastoral character of the oboe in varied style with an occasional light touch. 3 The concerto was heard again on Philadelphia Orchestra concerts the weekend of November 15,1968. In the interval between 3 Musical Courier 163:51 May 1961. 36

these performances, Mr. de Lancie recorded the work with the Andre Previn and the London Symphony (August- September, 1966). 4 Due to the wide circulation of the premiere recording and the engaging nature of the music, the concerto was being programmed with increasing frequency by other American orchestras at various budget levels; for example, in 1974 Robert Sorton performed the concerto with the Asheville Symphony, and in 1976 I performed the work with Evan Whallon and the Columbus Symphony. Archives from the rental department of Theodore Presser indicate that from 1968-1974, the first six years the publisher received rental rights for the composition, the work was programmed thirty times by American orchestras, twenty performances in 1974 alone. 5 Over the next decade, the work was given ninety seven performances in America, including professional orchestras (e.g. Chicago Symphony, Rochester Philharmonic, Baltimore Symphony), and orchestras at major conservatories such as Eastman School of Music (University of Rochester), Peabody Conservatory 4 Originally released on LP (RCA Red Seal LCS- 2945). 5 Special thanks to Laura Piantini, staff member of Presser s rental department for supplying information on rental orchestra parts of The Flower Clock from 1969-2005. 37

(Baltimore), Cleveland Institute of Music, Curtis Institute of Music (Philadelphia), and San Francisco Conservatory. 6 Although the orchestral version of Françaix s The Flower Clock was being introduced in concert venues all over America, concert performances with the piano reduction were surprisingly uncommon. For example, in a contemporary four-year period at Eastman School of Music (1969-73), there was not one performance of The Flower Clock with piano reduction, despite the fact that significant interest had been generated in the concerto by a graduation performance in April, 1969 with James Gorton (currently associate principal oboe, Pittsburgh Symphony) and the Eastman-Rochester Orchestra, Walter Hendl conducting. To the best of my recollection, several Eastman oboists (myself included) learned the concerto, only to find that no pianist in the school would agree to perform the work using the composer s piano reduction. Consensus among accompanists in the school at that time was that the reduction was not performable. 6 The concerto was a significant commercial success for the publisher Theodore Presser. Later in his career, John de Lancie became a member of the board of directors at Presser. 38

Performance Practice and the Composer s Piano Reduction Considering the performance difficulties encountered in the piano reduction, one has to wonder what Françaix had in mind when he composed the piano version of the concerto. Clearly the composer s intent was to supply a complete orchestral reduction that included as much of the detail as possible. In that sense it is very successful. Nevertheless, it seems unlikely that Françaix would have knowingly written a piano accompaniment that was totally impractical in a performance setting, especially considering the composer s reputation as a meticulous craftsman. 7 Over the years numerous pianists have periodically suggested that The Flower Clock might be better served if it were performed with two pianists in a four hand version. Sources close to John de Lancie have reinforced that position: Elizabeth Camus recounts that Mr. de Lancie described rehearsals of the concerto with the composer at the piano, and Françaix's daughter assisting 7 Françaix was an excellent pianist; at age 18, he won first prize in piano at the Paris Conservatory. By the time he wrote L horloge de flore, the composer had written a number of prominent works for the piano, most notably the Concertino for Piano (1932) and the Piano Concerto (1936), which established Françaix s early reputation as a composer. 39

(four hands). 8 Jan Eberle, a former student of Mr. de Lancie, corroborates that recollection. Ms. Eberle remembers Mr. de Lancie explaining to her that the composer meant the piano reduction to be realized with two performers. At the time Mr. de Lancie expressed the desire that someone in the future would simplify the reduction for a single pianist. 9 As professor of accompanying at Cleveland Institute of Music, Elizabeth De Mio has performed the piano reduction of The Flower Clock on several occasions. She describes the problems involved in playing the reduction as sometimes overwhelming. Really, the reduction is unplayable in its current form. When I have to perform from it, I don t read the notes, I just refer to them and improvise a version as we go along. When asked if she ever considered playing it four hands with an assistant, Ms. De Mio agreed that this might be a reasonable solution. She went on to say: For example, it s probably the only way you could comfortably provide the clarinet solos that appear alternating with the solo oboe in the fourth movement. Or for that matter, the 8 Interview with Elizabeth Camus (Cleveland Orchestra, Baldwin-Wallace); April, 2005. 9 Interview with Jan Eberle (Chautauqua Orchestra, Michigan State University); April, 2005. 40

tune from the introduction of the first movement that reappears as a section horn solo in the middle of the finale. You might have to rewrite sections of several movements in order to divide the music logically between two performers, because the texture of the music is sometimes very complex, fistfuls of notes in some places. 10 On Organ Transcriptions With regard to reducing an orchestra piece to a keyboard medium, the use of organ in orchestral transcriptions has some historical precedence. There may be several reasons for this. The organ has the capability to produce sustained sound at a wide range of dynamics, using a large variety of tone colors. Also, there is the ability to provide precise control over length of notes, ranging from legato to short notes approaching the brevity of string pizzicato. A large orchestral concert organ has the breadth and presence necessary to replicate the fortissimo of an extended orchestral finale. For example, there is fine transcription of Holst s Planets, transcribed by Boston organist Peter Sykes, which illustrates the capability of the organ to simulate large orchestral forces. 10 An excellent contrasting example is the Caspar Koch transcription of Mendelssohn s Overture 10 Recorded on the Great Skinner Organ at Girard College in Philadelphia. Released on compact disc in 1995 (Raven OAR-380). 41

to A Midsummer Night s Dream, which effectively replicates all the transparent woodwind textures and delicate string passagework in Mendelssohn s orchestral score. 11 In rendering an orchestra score as varied and colorful as The Flower Clock, the choice of an organ transcription offers some useful advantages over an ordinary piano reduction. Taking the first movement, as an example: the organ s capability to sustain tone can be effectively used to imitate the hushed sostenuto in the string accompaniment, even when juxtaposed with a simulation of the pizzicato bass-line in the cellos and contrabasses. (The use of the organ pedals gives the performer a way to deal separately with the bass pizzicato, leaving the hands free for the sustained passages.) One of the fundamental enhancements the organ provides, as opposed to the piano, is the variety of possible tone colors. The use of an appropriate organ stop can effectively replicate the character of orchestral solo lines. Organ registrations can also provide a multitude of shadings in timbre and dynamics in accompaniments. Effective use of 11 Overture to a Midsummer Night s Dream by Felix Mendelssohn transcribed for organ by Caspar Koch, G. Schirmer, 1922. 42

organ registration has the potential benefit of clarifying music that is thickly scored, while also reducing demands on the performers in those passages. Several times in the process of transcribing, coupled voices were used to simplify the texture, or to duplicate the timbre of combined orchestra instruments. For an effective example, see the brief solo for flute and viola in mm. 14-17 of movement five (Belle de Nuit). 12 On Performing the Score Four Hands In light of the fact that Françaix s piano reduction is quite inclusive of materials from the orchestra version, it would have been a disservice to the composer and the orchestra score to do otherwise in a transcription for organ. In order to accomplish the composer s intention of a complete transcription, I planned from the beginning that an assistant would be necessary to supply some of the solo lines, deal with registration changes, and turn pages. Indeed, in the process of transcribing it became apparent that movements 3, 5, 6, and 7 would require two organists, performing with both hands at multiple 12 Couplers have several uses on a pipe organ. Couplers make it possible to play organ stops from one division on another manual than their own. "On a large electic action instrument these couplers are available at different pitch levels 16', 8', and 4', which means that all of the stops can be coupled at their normal pitch, or an octave lower, or an octave higher. (For example, a 4' stop coupled to another manual at 4' will sound at 2' pitch.) On many organs one can also couple a manual to itself an octave higher or an octave lower." Soderlund, p. 9. 43

keyboards. Fortunately for the performers, there were no passages that required the use of four feet! On the Choice of Organs In discussions with organists about The Flower Clock, they suggested that this work might be modeled after transcriptions for Romantic symphonic organs. There were several reasons for this. First of all, the Romantic organ has expanded options in registrations. Also, the large number of manuals at the console gives the performer increased flexibility to change registrations quickly. The organ for which the transcription was written was built in 1931 by the W. W. Kimball Company 13 for the First Congregational Church, in Columbus, Ohio. The organ has four manuals, 73 stops, and 66 ranks including harp and chimes. In all there are 4407 pipes housed in a three story installation. A complete listing of the organ s specifications can be found in Appendix 1. 13 Founded in 1857 by William W. Kimball (1828-1904) in Chicago. During the first half of the twentieth century the firm produced many notable instruments, including organs in several large churches in Chicago, two huge municipal installations in Minneapolis and Memphis, and a reconstruction of the organ in the Mormon Tabernacle (1901). The company also produced a large number of cinema organs in the period 1914-1930, under the direction of Robert Pier Elliot; the largest such instrument was built in 1924 for the Forum Theater in Los Angeles. Mr. Elliot s family were members of First Church, and he is reported to have been involved with the tonal finishing of the instrument during the original installation. The organ branch of the company folded in 1942, having produced 7,326 instruments. Historical information about the Kimball organ was provided by Mike Herzog, of Peebles-Herzog, Inc., the firm which completed renovation of the instrument in 2005. 44

Resources for the transcription Resource materials used in the transcription process included the published solo part and piano reduction, which provides most of the details of the orchestral score. A facsimile of the autograph was available as a resource for orchestral material not found in the composer s piano reduction. 14 In the final three movements especially, the use of two organists made it possible to maximize the requirements of the orchestra score. Transcription Decisions Seven Individual Movements. Each of the seven movements of The Flower Clock has its own distinct musical character. Because some movements are simple song forms (Galant de Jour, Belle-de-nuit), others are dance-like in character (Silène noctiflore) or more contrapuntal (Cupidone bleue), each movement was orchestrated in its own way. As a result, they each posed a specific set of problems in transcribing the orchestral accompaniment for organ. 14 For providing a photocopy of the facsimile of the autograph, I am indebted to Evan Whallon, former music director of the Columbus Symphony. 45

Interspersed throughout The Flower Clock are various instrumental solos. These orchestral solos often interact with the solo line. In this transcription, many of these orchestral voices are performed by the assistant on the extreme upper and lower manuals of the organ, where many of the solo stops on the instrument are accessed. In selecting registration for these passages, we focused on finding the proper timbre to fit the character of the musical line, for example, using the English horn 8 stop on the organ for the bassoon solos in movement 2. 3 hueres Galant de Jour In movement 1, the solo oboe is featured in a simple folksong like melody. The general effect of the orchestral accompaniment is very understated, sections of subtle pianissimo sostenuto contrast with the transparency of pizzicato sections. In the first two movements, counterpoint between solo voices sometimes becomes complex enough that both organists are required to alternate solo lines. In Galant de Jour, this occurs between rehearsal 2 and 4. 46

One of the main problems in transcribing the organ accompaniment relates to the approximation of the various note lengths possible on stringed instruments. In Galant de Jour this problem is encountered throughout the movement- for example, at measure 16 cellos and double basses alternate between pizzicato and separate notes with bow strokes. Because a wide variety of note lengths are readily obtainable on the organ, the main problem is playing notes short enough to replicate string pizzicato. For example, in measure 16-19 the orchestra score specifies the simultaneous performance of pizzicato in the basses and sostenuto in the upper strings. In this case, it was convenient to assign the legato lines to the right hand, while allocating pizzicato in the left hand and a variety of strokes to the pedals. Transcribing the bass line was a special problem in this movement. Wherever it was possible I maintained the original contour the bass line. From rehearsal 2 to rehearsal 3 it was necessary to use octave transposition to fit notes within the range of the pedals. 47

5 heures Cupidon bleue In movement 2, following an animated introduction by the solo oboe, a dance rhythm in 5/4 time is established in the orchestral accompaniment. At rehearsal 6 the main motive of the movement is presented in the solo oboe, followed by a foreshortened repetition of the material, in the flute with strings. After some counterpoint between the solo oboe and solo clarinet, the main motive returns in the oboe with octave displacements, completing the first section [aaba ]. A dramatic entrance by the solo horn carries the music into a contrasting lyrical section, modulating to D-flat major from the main key of the movement (A major/ a minor). The middle section after rehearsal 9 is tonally transient; each succeeding four bar phrase touches a new tonal center (D-flat, d minor/f major, B major, B-flat minor). However, at rehearsal 10 there is a convincing return to the original key of the movement with a statement of the main motive in the clarinet, closely followed with a stretto in the solo oboe. The entire final section is contrapuntal, with prominent solos for flute and viola, and secondary counterpoint in the 48

bassoons and clarinets. The movement ends with a declamatory cadenza-like statement by the solo oboe that leads into the third movement. The primary difficulty in transcribing the second movement was accommodating the various contrapuntal solo voices that occur within the framework of the ongoing dance rhythm. For example, at rehearsal 10 the contrasting voices of clarinet and bassoon appear in free counterpoint accompanied by a legato solo line in the viola. In the organ reduction, the underlying dance rhythm in the woodwinds was condensed for the main organist into right and left hands on the middle two manuals at the organ console (clarinet and bassoon, respectively); the various solo lines were allocated to the assistant on the outer two manuals. 10 heures Cierge à Grandes Fleurs In movement 3, the composer offers a serene contrast to the animated counterpoint of Cupidon Bleue. The pace of the opening accompaniment is unhurried. At rehearsal 12 the solo oboe enters with a legato melody which floats 49

along in a lightly detached manner. The upper strings provide a subtle harmonization in pianissimo. As in movement 1, it was useful to separate the pizzicato bass line in the cellos and basses into left hand and organ pedals, respectively. The violas sixteenth notes in parallel thirds were allocated to the primary organist. The legato harmonization of the melody in upper strings was given to the assistant 15. It should be noted that, because of the many voices involved, it is necessary to use the lightest registration possible in all voices (with the possible exception of the viola voice, which should be heard in relief). Otherwise the pastoral simplicity of the movement would be impossible to achieve. 12 heures Nyctanthe du Malabar After a seamless transition, movement 4 begins with a syncopated dance rhythm in pizzicato strings. The melody in the solo oboe has the flavor of 1950s French jazz. During the course of the movement the solo oboe 15 This is the first place of the score which requires the use of four hands. 50

alternates solo statements with the clarinet; perhaps it is meant to sound like improvisation being passed back and forth between jazz performers.16 Movement 4 ends with a sustained B-natural in the solo oboe which connects directly to the string harmonics in the first two measures of the following movement (Belle-de-nuit). The organ accompaniment of movement 4 was taken directly from the piano reduction, virtually unchanged. Organ pedals were added to the bass line (sometimes transposed up an octave) in order to emphasize accented notes. To aid pagination in the organ part, the clarinet solo (performed by the assistant) appears alternately on the same staff with the solo oboe, exactly as it appears in the piano reduction. As with earlier pizzicato passages, the simulated pizzicato throughout this movement must be as short as is practicable. 17 heures Belle-de-Nuit The fifth movement has the character of a traditional French air. In the introduction, first and second clarinets alternate grace note accompaniment figures. 16 According to Jan Eberle, John de Lancie told her that the solo line in this movement was originally written entirely for the oboe (Interview, April 2005). 51

Strings provide underlying harmonies. The solo oboe enters at rehearsal 21 with a folksong-like melody. There were few complications in the transcribing process. the clarinet lines were condensed to one voice. The primary organist was given harmony, modeled after the string voicing of the orchestra score. 19 heures Géranium triste Movement 6 opens with the character of a sprightly intermezzo, with contrapuntal interaction between pairs of flutes and clarinets. A steady pizzicato bass line is provided by solo viola and solo cello. After this short introduction, the oboe enters with a plaintive melody, then joins the interplay of the accompanying voices. The entire movement proceeds with a contrapuntal mixture of woodwind voices, culminating in statement of the motive that leads to the finale. In the transcribing of movement 6 (Géranium triste), the flute parts were condensed to one staff for the assistant and the clarinet parts were similarly condensed for the primary organist (right hand). Initially I scored the solo string parts for organ pedals; in rehearsal this 52

proved to be impractical. The solution was to shift them over to the primary organist s left hand. 17 The organ registration for the woodwind voices in this contrapuntal movement needs to be bright and fully in relief in order to balance properly with the solo line; however, the general dynamic level should be as gentle as possible. 18 21 heures (Silène noctiflore) In the first section of the finale, a French can-can, the solo oboe alternates statements of the main theme of the movement with a full orchestral ritornello. There follows a middle contrasting section during which the solo oboe develops motives from the movement over a string trio. A solo statement of the main theme initiates the final section, which ends in a full orchestral texture, with orchestral solos interacting with the solo oboe. 17 The Kimball organ has 4 and 8 couplers on all manuals except the Great division. Using couplers at eight measures before rehearsal 24, the assistant can perform the flute lines one octave higher on the keyboard (4 couple on, 8 coupler off in the Solo division). This makes it much easier logistically for both organists to perform multiple voices with two hands. (See footnote explanation about couplers, p. 43). 18 Most pipe organs have one or two enclosed divisions. Because all five divisions of the Kimball organ are enclosed, the instrument has increased capability to provide multi-voice accompaniments at reduced dynamic levels. 53

It is interesting to note that the portions of the finale that are scored for full orchestra are carefully distributed in the piano reduction between upper and lower staves, making it practical to perform the music for four hands. 19 As a result, the piano reduction of the score was useful in transcribing the finale. In the middle section, scored for string trio, the music is best served with a muted organ registration, providing a contrast to the extroverted character in the first section. A quieter registration here also gives the oboist the opportunity to be flexible with the dynamic range in the solo part. In the final section, the solo lines for flute and clarinet need to be in full relief from the rest of the organ accompaniment, in a balanced dynamic with the solo oboe. Summary The primary goal of this project has been to provide a transcription of The Flower Clock that sounds idiomatic, as if it were originally written for oboe and organ, but without losing any of the character of the orchestral 19 Particularly in this place in the piano reduction, one can visualize the composer and his daughter in rehearsal dividing the accompaniment by staff to deliver the big orchestral tuttis four hands. 54

version. In that sense, my intent was that the organ version should not be strictly imitative of the orchestral version. If the organ transcription is successful on its own merits, it will be a useful addition to the music for oboe and organ, a literature that has been surprisingly neglected by French composers. Certainly it is my hope that this transcription will make performance opportunities of Francaix's splendid work more widely available. In the planning stages of a performance of this transcription, it would be advisable for oboists to find an organ similar to the instrument for which this arrangement was intended. Ideally, the organ console should be equipped with four manuals (three manuals, at minimum) so that the two organists would have sufficient options for performing the solo voices in the score. Also, in order to achieve the quieter dynamics, at least two ranks should be enclosed. The organ registrations provided in the score are meant to be a guideline. They reflect the organ stops available 55

on the organ for which the music was arranged. 20 The best advice on organ registrations will come from professional organists; they are most qualified to provide guidance on appropriate organ stops to achieve effective timbres and dynamic levels specific to their particular instrument. For those interested in learning more about pipe organs, you will find helpful information in Soderlund's A Guide to the Pipe Organ for Composers and Others. An exhaustive treatment of the subject can be found in The Organ Handbook by Hans Klotz, a comprehensive standard reference which discusses all facets of organ construction and performance 20 See the appendix for a full listing of specifications for the Kimball organ in First Congregational Church at Columbus, Ohio. 56

APPENDIX The Martin-MacNevin Memorial Organ First Congregational Church (Columbus, Ohio) Designed and built by W. W. Kimball, Chicago, 1931 Restored by Peebles-Herzog, Columbus, 2004 73 stops, 66 ranks, harp and chimes - 4,407 pipes GREAT - 14 stops, 16 ranks, 1,000 pipes 16 Double Open Diapason 61 8 First Open Diapason 61 8 Second Open Diapason 61 8 Third Open Diapason 61 8 Hohlflute 61 8 Gemshorn 61 4 Octave 61 4 Harmonic Flute 61 2 2/3 Twelfth 61 2 Fifteenth 61 IV Mixture (15-17-19-22) 244 16 Contra Tromba 61 8 Tromba 61 4 Tromba Clarion 24 Chimes (Deagan Class A ) 25 Harp (Ch) Tremolo CHOIR - 10 stops, 10 ranks, 706 pipes 16 Contra Viola 73 8 English Diapason 73 8 Melodia 73 8 Dulciana 73 8 Unda Maris 73 4 Flute d Amour 73 2 2/3 Nazard 61 2 Piccolo 61 8 Clarinet 73 8 Orchestra Oboe 73 8 Harp (Deagan de luxe) 49 4 Celesta Tremolo 57

SWELL - 19 stops, 25 ranks, 1,705 pipes 16 Bourdon 73 8 Open Diapason 73 8 Clarabella 73 8 Gedeckt 73 8 Spitz Flute 73 8 Spitz Flute Celeste 73 8 Viola 73 8 Salicional 73 8 Voix Celeste 73 4 Octave Geigen 73 4 Flauto Traverso 73 2 Flautina 73 V Mixture (15-19-22-26-29) 305 III Dolce Cornet 183 16 Double Trumpet 73 8 Cornopean 73 8 Oboe 73 8 Vox Humana 61 4 Clarion 73 Harp Tremolo SOLO - 7 stops, 7 ranks, 511 pipes 8 Melophone 73 8 Violoncello 73 8 Cello Celeste 73 4 Orchestral Flute 73 8 Tuba Mirabilis 73 8 French Horn 73 8 English Horn 73 Tremolo ECHO - 6 stops, 5 ranks, 317 pipes 8 Cor de Nuit 61 8 Viola Aetheria 61 8 Vox Angelica 61 8 Quintadena 61 8 Vox Humana 61 Tremolo 16 Echo Bourdon (Pedal stop) 12 (Cor de Nuit) 58

PEDAL - 18 stops, 3 ranks, 168 pipes 32 Contra Bourdon 12 16 First Open Diapason 32 16 Second Open Diapason (Gt) 16 Violone (Solo) 12 16 Bourdon 32 16 Lieblich Gedeckt (Sw) 16 Contra Viola (Ch) 10 2/3 Quint (Bourdon) 8 Octave (First Open) 12 8 Cello (Solo) 8 Flute (Bourdon) 12 8 Stillgedeckt (Sw) 4 Flute (Bourdon) 12 16 Trombone 32 16 Contra Tromba (Gt) 8 Trumpet (Trombone) 12 8 Tromba (Gt) 4 Claron (Trombone) Chimes (Gt) COUPLERS Gt to Ped 8 Sw to Gt 16 Solo to Gt 4 Sw to Ped 8 Sw to Gt 8 Sw to Ch 16 Ch to Ped 8 Sw to Gt 4 Sw to Ch 8 Solo to Ped 8 Ch to Gt 16 Sw to Ch 4 Echo to Ped 8 Ch to Gt 8 Solo to Sw 8 Gt to Ped 4 Ch to Gt 4 Solo to Ch 8 Solo to Ped 4 Solo to Gt 8 PISTONS Solo-Echo 8, 0 Solo to Ped Rev Sw 8, 0 Sw to Ped Rev Gt 8, 0 Gt to Ped Rev Ch 8, 0 Ch to Ped Rev Ped 8 Generals 8 General Cancel 16 & 32 Stops Off Master Expression Rev Chimes Soft Chimes Sust Harp Sust Int Man Couplers Off Comb (on/off) All Couplers on Comb (on/off) October 21, 1999 59

BIBLIOGRAPHY Bellier, Muriel, Jean Françaix, New Grove s Dictionary, 2 nd ed., Stanley Sadie, ed., IX:138-140. De Schauensee, Max. Liner notes for Music from France for Oboe and Orchestra, John de Lancie, London Symphony Orchestra, Andre Previn. RCA Red Seal LSC-2945. Reissued as BMG Classics Compact Disc 7989-2-RG. Ellingsford, Herbert F. The Art of Transcribing for the Organ. New York: H.W. Grey Company, 1922. Gifford, Virginia Snodgrass. Music for Oboe, Oboe D'Amore, and English Horn. London: Greenwood Press, 1983. Haynes, Bruce. Music for Oboe, 1650-1800, 2 nd Berkeley: Fallen Leaf Press, 1992. Irwin, Stevens. Dictionary of Organ Stops, 2 nd New York: Schirmer, 1983. edition. edition. Klotz, Hans. The Organ Handbook. London: Concordia, 1969. Myers, Rollo H., Jean Françaix, Grove s Dictionary of Music and Musicians. 5 th ed., Eric Blom, ed., III:461-463. Rosteck, Jens, Jean Françaix, Die Musik in Gesichte und Gegenwort, 2 nd ed., Ludwig Fincher, ed., Personenteil VI: 1559-1567. Singer, Samuel. New Performances, Musical Courier, 163 (May 1961) 51. Soderlund, Sandra. A Guide to the Pipe Organ for Composers and Others. Boston: ECS Publishing, 1994. 60