From ‘America’ to France (via Poland)

After celebrating Independence Day last week, today is France’s national holiday: Bastille Day! While I couldn’t find the recording of Pierre Cochereau’s improvisation on La Marseillaise for General de Gaulle’s funeral on line, I did find Jeremy Filsell’s transcription/recreation for your listening pleasure:

While the theme is normally in a major key, as this improvisation was originally created for a funeral, the minor mode beginning suits the occasion perfectly. When we began creating holiday variations last week, we started working with Charles Ives’ Variations on ‘America’. Ives also provides us with a variation in minor which is what we will focus on today. (Here’s a link to the video in case you want a refresher.)

Polonaise

The polonaise (which is the French word for ‘Polish’) is a traditional Polish dance in 3/4 time. Ives includes one of these dance movements as his fourth variation on America. You can see the traditional rhythm in the excerpt below:
IvesPolonaiseExample

As mentioned last week, rarely does Ives let a measure go by without any thematic material. Here we have two measures to practice our polonaise rhythm before beginning the theme. If we wish to improvise polonaises, we could spend much more than two measures practicing the rhythm. Choose some simple chord progressions and practice the rhythm in different keys. While Ives keeps the rhythmic figure confined to the left hand and pedal, we could also practice it with right hand and pedal or hands alone.

Once you have mastered the rhythm, then it’s time to add in the theme. For the first half of this variation, the theme is played by the right hand on a solo stop. If necessary, practice soloing out the theme with a simplified accompaniment first before adding the polonaise rhythm back in. For the second half, Ives requires the left hand to play both the theme and the rhythm. Just as you would probably want to practice the left hand alone if you were learning the Ives, so too, you probably want to practice the same idea with whatever theme you have chosen to turn into a polonaise. The first variation in the Ives set has the left hand playing the harmonized theme, so even Ives gives you a simplified version to practice first before increasing the difficulty level. The right hand then adds some sparkle with it’s commentary.

Fireworks

It is interesting to contrast the Polonaise with the first variation Ives offers. Having already practiced the harmonized theme played by the left hand and pedal in a simplified rhythm, rather than add difficulty to the left hand, Ives adds a running line for the right hand to play. He begins with sixteenth notes (basically four notes to each note of the theme), but then doubles the speed to 32nd notes (8 to 1)! The fast motion, large leaps upward and chromatic movement downward make me think of fireworks which seems a most fitting idea for variations on a patriotic song.
While these two variations appear to be very different, there are several common techniques that we can practice to advance our improvisation skills. Thanks to registration options at the organ, we could also practice the same ideas found in each of these variations but swapping hands. For example, use right hand and pedal to play the polonaise rhythm while the theme is played by the left hand in either the tenor or soprano register. Play the theme with right hand and pedal while the left hand adds fireworks on a 2′ stop! What if the polonaise was in a major key and the fireworks in minor? What other dance rhythms could you use instead of a polonaise?

While not looking to start a revolution today, I hope you are inspired to create your own fireworks while practicing your improvisations!

Viva la France!

Glenn


 
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Newsletter Issue 12 – 2014 07 14
See the complete list of past newsletter issues here.
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Jan Overduin – Making Music: Improvisation for Organists


Jan Overduin
Making Music: Improvisation for Organists
The best summary of this book can be found in the opening quote and paragraph from the preface:

There is no mystique or magic to improvising, just consistent and conscientious practice.
Gerre Hancock

It has been said of Jean Langlais that he could teach stones to improvise, and it is true that his own example and his enthusiasm for the art of improvisation were inspiring and contagious. But miracles are as rare in improvisation as they are in any field, and after several decades of teaching improvisation, I have come to rely less on the miraculous and more on clearly laid out exercises and assignments. The aim of this book is to show the student that improvisation is within the grasp of everyone, even those with minimal keyboard skills. To some this might seem like a tiny miracle, but it is achieved by hard work and an encouraging teacher rather than by chance.

What an inspirational message for the beginning student!

Jan Overduin also explains in the preface his belief that “the traditional comes first, then the modern.” Thus, this book is primarily focused on common practice tonal language. He begins with melody alone, moves slowly through one or two chords, thirds and sixths before arriving at the pentatonic mode. Even though the harmonic language is simple, he introduces contrapuntal concepts early by having each voice play a different rhythmic species. Only in Chapter 29 on Toccata is there any sort of exercise that deviates from tonal harmony (when the right hand is to play white keys and the left hand black keys).

Each chapter begins with an explanation of the material to be covered and then provides assignments with examples for further clarification and/or completion. Most chapters have 5-7 assignments, though the chapter on ostinato has 12 and rondo only has one. While each assignment usually grows out of the material that appeared previously, occasionally there are a few larger leaps that might benefit from some teacher guidance or further demonstrations. The examples and assignments are clear enough that they seem quite easy and approachable. A student can most likely follow this book without the guidance of a teacher, but should be careful not to skip over the assignments that seem too easy. While the explanations seem simple, I know that integrating the skills to be able to accomplish the given tasks will take time and practice.

In comparison to other methods reviewed so far, this may be one of the best places to start, especially if one wishes to improvise in any common practice harmonic style. Also published by Oxford University Press, Improvising: How to Master the Art by Gerre Hancock, while offering similar clear assignments for each chapter topic, would really work best as a follow up volume to this one, allowing review of the material covered here and advancement into larger forms. Creative Hymn Playing by Michael Burkhardt covers some of the same material as Jan Overduin, but is more limited in what it offers. Breaking Free by Jeffrey Brillhart would also make an excellent second or companion volume to this one depending upon the interests and aptitudes of the student. Many of the assignments in form and structure in this book could be used with the harmonic instruction of Breaking Free.

St. Alban’s International Organ Competition

The St. Alban’s International Organ Festival has included a competition in both interpretation and improvisation since 1963. Previous winners of the improvisation prize include: Martin Baker, David Briggs, Naji Hakim, Jos van der Kooy, André Isoir, and Guy Bovet. The complete list of improvisation and interpretation winners is available here.

The next competition will be held July 8-18, 2015. The competition is open to organists born after July 20, 1982. The guidelines for the improvisation competition (including initial themes) can be found here. Complete information about the competition may be found at the competition website:
http://www.organfestival.com/St_Albans_International_Organ_Festival/Competitions.html

2014 Summer Courses

In addition to the offerings at the AGO National Convention in Boston, there are several other courses around the world offering improvisation instruction during the summer of 2014. Please feel free to share information about other courses in the comments. I will try to add to the list as I find out about other offerings.

London Organ Improvisation Course
http://www.loic.org.uk
15-18 July 2014
The London Organ Improvisation Course is intended to help organists of all standards to improve their improvising skills for personal musical development, service-playing, concerts and for the examinations of the Royal College of Organists. One day of the course will take place in St. Albans and will include a concert by the guest teacher, Franz Josef Stoiber, Organist of Regensberg Cathedral, Germany. Other teachers for the course include: Ronny Krippner, Duncan Middleton, and Gerard Brooks, Course Director.

Masterclass: Masters Of Ste Clotilde
http://steclotilde-organ.tk/
Monday June 30 to Wednesday July 2 2014
Monday to Wednesday, morning: (9h-12h):
Franck, Tournemire, Pierne, Duruflé, Bonnal, Langlais, Cogen,…
Monday and Tuesday Afternoon (14h-17h): Improvisation
with Olivier Penin and Nicolas Pichon

Classical Music On The Spot:
Eighteenth-Century Keyboard Improvisation

Eastman School of Music • 26 Gibbs St. • Rochester, NY 14604
Workshop I: June 30-July 4 / Monday-Friday, 9:00 a.m.-5:00 p.m.
Workshop II: July 7-11 / Monday-Friday, 9:00 a.m.-5:00 p.m.
Gilad Rabinovitch & Johnandrew Slominski, directors
Two weeklong 18th-century keyboard improvisation workshops in which students will hone their improvisation skills and deepen their understanding of the galant and high classical styles. There will be a special emphasis on the Italian tradition of partimenti and on Robert Gjerdingen’s galant schemata as a basis for keyboard improvisation. Analysis and listening will complement practical improvisation activities. The first workshop will be an introduction to style improvisation; the second workshop will examine advanced topics (including ornamentation and performance practice) and treatises (Quantz, C.P.E. Bach, Niedt, and the Langloz Manuscript).

Haarlem International Summer Academy for Organists
http://www.organfestival.nl
12 – 26 July 2014
Improvisation for advanced students: an extended, 11-day course for advanced improvisers directed by Jürgen Essl (Stuttgart) and Peter Planyavsky (Vienna).
Improvisation for beginners: A 5-day course with the Haarlem Stadsorganist Jos van der Kooy, well-known for his sympathetic and encouraging approach to professional organists lacking improvisation skills.

International Summer Organ Conservatoire
http://organconservatoire.org/
July 12th – 28th 2014
Directed by Nigel Allcoat with guests, Prof. Erwin Wiersinga (Berlin University of Arts and the Martinikerk, Groningen), and Prof. William Whitehead (London). The first week is in Saint-Antoine l’Abbaye (12-19 July) and the second week is in Poligny (20-28 July).

The Saessolsheim Organ Academy 2014
http://www.asamos.org/
23-30 July 2014
Saessolsheim, Alsace, France
Improvisation instruction will be offered during this course by Francis Jacob.

Smarano Organ and Clavichord Academy
The 18th Century Fantasia and C.P.E. Bach
29 Jul – 8 Aug, Venice-Smarano, Italy
Will include sessions on improvisation: “Free Fantasia” and “Stylus Fantasticus” at the keyboards by William Porter and Edoardo Bellotti.

South German Organ Academy OAO 2014
31 July – 3 August 2014
Organ class on the 1784 Holzhey Organ in Obermarchtal Monastery with a visit to the ISAM (International Summer Academy of Music) Organ Class in Ochsenhausen with Jürgen Essl.
Johannes Mayr will teach a participant’s free choice of repertoire from early Baroque to early Romantic and/or improvisation.

Organ course with Ansgar Wallenhorst
Glenstal Abbey
County Limerick, Ireland
August 11th-13th 2014
Taught by Ansgar Wallenhorst, this workshop is open to organists at every level of ability who wish to develop their own creativity in improvisation either in the context of liturgical services or in concert performance. With a combination of group work in the mornings (9.00-12.00) and individual lessons in the afternoon (15.00-17.45), the workshop will be adapted to the abilities, tastes and preferences of the individual participants. Participants are invited to bring music which they already play or are learning as an indication and basis for developing according to their own level and stylistic preferences. Evening sessions will include, on Monday, an exploration of improvisational style in Irish traditional music Cas Amhrán Cráifeach – a poetics of religious and secular song from the Irish sean-nós tradition with Nóirín Ní Riain PhD, and a short recital on Tuesday.

International Organ Academy Improvisation Course
1-5 September 2014
Improvisation course by Thierry Escaich on the Schwenkedel organ of the St Donat Church (France)

Faszination Orgelimprovisation
3–6 September 2014, Waldsassen, Germany
Course for Organists by Franz Josef Stoiber

Richard Grayson

Richard Grayson
Website:
http://faculty.oxy.edu/rgrayson/

Professor of Music, Emeritus, Occidental College
Music Faculty, Crossroads School
Richard Grayson (born 1941) is an American composer and pianist. He is best known as an improvisor of classical music, most often with live-electronics. By the 1980s, he was regarded as one of the best non-jazz improvisers (Shulgold 1985). He was also organist at St. Martin of Tours Church, West Los Angeles until his retirement on May 31, 2009, after having served in that position for 28 years.

He offers an improvisation handbook for free download on his website here.

YouTube Channel:
https://www.youtube.com/user/improvelectronic/videos
While not improvisations at the organ, the collection of videos present wonderful demonstrations of different composer’s styles and how themes from one era can be treated in the style of a completely different composer.
Examples include:
“Singin’ in the Rain” in the style of Wagner
“Singin’ in the Rain” in the style of a Chopin Waltz
Moonlight Sonata in the Style of Khachaturian
Stravinsky’s “Rite of Spring” in the style of Mozart
Can Can in the style of Stravinsky
And this is only a sample!!!

Multi-Organist Improvisation

As impressive as it may seem to hear one organist improvise, there are occasions where two or more organists gather together and improvise, either one after another, or perhaps even at the same time. Below are a few videos from YouTube where you can see how different artists manage to make this happen.

Olivier Latry, Vincent Dubois, Paolo Oreni and Michael Bottenhorn – Happy Birthday – St. Joseph, Bonn Beuel
Olivier Latry, Philippe Lefèbvre, Vincent Dubois, Paolo Oreni and Kalevi Kiviniemi – Improvisation-à-cinque – St. Joseph, Bonn Beuel
Olivier Latry & Philippe Lefebvre – Variations Pt. 1

Olivier Latry & Philippe Lefebvre – Variations Pt. 2
Frédéric Blanc, François-Henri Houbart and Olivier Latry improvise

AGO Boston 2014

The 2014 National Convention of the American Guild of Organists will be held June 23-27 in Boston. The convention website with complete information may be found here.

Listed below is information about the events at the convention that will include or focus on improvisation:

National Competition in Improvisation:

  • Semi-final competition round
  • Monday, June 23, 9am to 1pm
    First Lutheran Church of Boston
    299 Berkeley Street, Boston

  • Final competition round
  • Thursday, June 26 at 9am

Concerts:

  • 2012 winner concert
  • Robert Nicholls
    Arlington Street Church
    351 Boylston St, Boston
    Wednesday, June 25 & Thursday, June 26, 3:30 pm

  • Concert
  • Thierry Escaich
    Basilica of Our Lady of Perpetual Help
    1545 Tremont St, Boston
    Friday, June 27, 9:15 AM

  • Hymn Sing
  • Bruce Neswick and Pamela Ruiter-Feenstra
    Old South Church in Boston
    645 Boylston St, Boston
    Friday, June 27, 2:30 PM

  • Worship: Jazz Service and Concert: Silent Movie
  • Peter Edwin Krasinski
    Old South Church in Boston
    645 Boylston St, Boston
    Wednesday and Thursday, June 25 and June 26, 7:30 PM


Masterclass on Organ Improvisation

Thierry Escaich
Friday, June 27, 1:00 pm

Other workshops:
Tournemire’s Improvisation on “Victimae paschali”: Audio vs. Transcription
Kirsten Rutschman
Tuesday, June 24, 3:00 pm

Practical Aspects of Teaching Tournemire’s Improvisatory Style
Ann Labounsky
Tuesday, June 24, 3:30 pm

Improvisation Pedagogy: Sustainable Musicianship
Pamela Ruiter-Feenstra
Tuesday, June 24, 4:15 pm

Inspired Service Playing: How to Move From Here to There
Joyce Shupe Kull
Tuesday, June 24, 4:15 pm

Accompanying the Divine: Dramatic Improvisation in Liturgy and Silent Film
Peter Edwin Krasinski
Wednesday, June 25, 8:30 am

Extemporaneous Sublime: Indeterminacy and Transience of the Improvised Moment
Zvonimir Nagy

Thursday, June 26, 9:45 am

Harmony by the Numbers – Principles of Thoroughbass Fluency
Dean Billmeyer

Thursday, June 26, 11:00 am

Competitions

While decidedly fewer in number than competitions in organ performance, there are still a few improvisation competitions that take place. Below are brief descriptions of different competitions with links to the competition website for more information.

Chartres

The competition in improvisation consists of a pre-selection recorded round, two live eliminatory rounds (¼ finals and ½ finals) and a final round. The final round will take place on the great organ in Chartres Notre-Dame Cathedral. The competition takes place every four years with the next one anticipated to be in 2016.

Haarlem

The Haarlem International Organ Competition takes place every year in July and is open to organists under the age of 40. A pre-selection recorded round selects eight applicants to compete live in two elimination rounds. The final competition will take place on the Müller organ (1738 / IIIP / 62) in St Bavo’s Church.

NCOI

The American Guild of Organists National Competition in Organ Improvisation takes place every other year during the national convention of the American Guild of Organists. The competition is open to all organists regardless of age or citizenship.

YouTube Channels

YouTube is a great place to visit in order to see and hear many different organists improvise. Some even have their own channels. Listed below are artists and other YouTube channels that include improvisation videos as a significant portion of their content.

Artists

Other Users

Playlists