During the 2017 NPM National convention in Cincinnati, Ohio, Wm. Glenn Osborne will offer a masterclass in organ playing. Participants may bring repertoire or seek coaching in improvisation. Registration is required in order to play. Cost is $30 before the convention begins or $50 on-site.
The Cathedral of Mary Our Queen hosts 10 high school graduations every year in addition to having our own Cathedral School 8th grade ceremony. While not all of the schools use the popular piece by Elgar, enough of them do that I’ve had to find ways to amuse myself while playing these short 32 measures over and over again. The longest procession for 270+ graduates takes 23-25 minutes! After my first rehearsal, I knew I would need to work out some pistons for different registrations, and I also thought about how to create other variations to keep my mind occupied.
The piece basically has a melody, chords, and a bass line. I have a right hand, left hand, and feet. Through the rehearsals and graduations, I have managed to become skilled enough to play any of the parts of the piece with any of my appendages. Thus you get the following video presenting the options:
Not a perfect rendition, but an exploration of the variety of ways I keep myself entertained when I have 10 graduations to play for each spring. First six presentations in order are:
1)RH tune; LH chords; Ped bass
2)LH tune; RH chords; Ped bass
3) Ped tune; LH Bass; RH chords
4) Ped tune; RH bass; LH chords
5) LH tune; RH bass; Ped chords
6) RH tune; LH bass; Ped chords
It’s not perfect and the solo trumpet is at the other end of the building, but I thought it might be entertaining for you to see how I entertain myself during this season of graduations.
After a few years of sitting figuratively “in the closet collecting dust,” I finally had an opportunity to brush up and record this composition for organ and brass quintet which I composed in 2014 for the wedding of my brother-in-law. This was written as the entrance procession for the attendants and bride to enter. There is a second movement for the recessional that I hope to get recorded as well.
Written for a colleague who was searching for a Dupré-style setting of the Passion Chorale for use as a postlude on Palm Sunday, this piece was written in 2015 and will likely grow into either a larger set of variations on the tune or a collection of short pieces for Lent and/or Holy Week. Here’s the video from when I played it as the postlude for Mass this weekend.
Wm. Glenn Osborne presents a concert of Lenten organ music and hymns on Sunday afternoon, March 19 at Trinity United Methodist Church in Mullica Hill, New Jersey. More details to be posted soon.
A solo piece for soprano, organ, and trumpet written for and premiered at the Holiday Brass concert at the Cathedral of Mary Our Queen in Baltimore, MD on 29 November 2016. Video of the premier performance is below:
Downloadable score packet includes part for Trumpet in Bb and in C.
As part of a series of articles on Charles Tournemire at www.organimprovisation.com, I set about to actually compose a suite modeled on L’orgue mystique. Tournemire did not write much music for Advent, so I decided to use familiar melodies from that season as themes for each movement. Three of the five movements are written now, and I played the one based upon Nun komm der Heiden Heiland as prelude today at the Cathedral of Mary Our Queen. I hope to have the other movements finished soon.
In 2010, for a Marian celebration when William Picher hired 2 trumpets, strings, flute and timpani for a Mass at the Basilica of the National Shrine of Mary, Queen of the Universe, he asked me for an arrangement of Immaculate Mary. As this is a popular hymn for many Marian feasts, I eventually prepared a solo organ accompaniment version of the score. This reduced arrangement is included in their most recent CD of Marian Music: Ave Maria. It was always a pleasure to work with and write music for the Basilica Choir while I was in Orlando, and I am delighted that they continue to sing (and record) compositions and arrangements that I did for them.
When I composed the Audubon Park Psalter, my intention was that most all of the settings would be flexible enough to work in a traditional setting with organ and choir as well as a more contemporary setting with piano and guitar. While I have attempted to make recordings of the Contemporary Group at the Cathedral of Mary Our Queen before, because I have been the one at the piano, it has been difficult to capture anything remotely balanced. This week, I was able to be out in the congregation, so captured the psalm while standing next to a pillar. Here’s the resulting video:
What I really appreciate is being able to hear the people sing, even though this is a new piece for them.
I also captured the psalm at the 11:00 Mass with the choir and organ:
My last lesson for www.organimprovisation.com featured instructions on transposition and suggested using a piece by Louis Vierne as the transposition exercise and a model for improvising. The piece is a relatively simple piece from the 24 Pièces en style libre: 1. Préambule.
As transposition practice, I played it in C# major, D Major, Eb Major, and started it in several other keys.
After that, I followed the score as a model and improvised some imitation Vierne in F Major and in G minor. There are some hesitations as I searched for similar interesting tonal gestures without following exactly what Vierne did, but that’s why we practice. I decided to make this exercise my prelude this weekend, so there are two more that follow the score less slavishly in A minor and D minor as well.