Скачать с ютуб Where Shall I Fly? - Matthew O'Sullivan plays organ at Lewis & Clark College, March 10th, 2024 в хорошем качестве

Where Shall I Fly? - Matthew O'Sullivan plays organ at Lewis & Clark College, March 10th, 2024

Contemporary music on the world's only circular pipe organ - the Casavant in Agnes Flanagan Chapel, Lewis & Clark College, Portland, Oregon. A recital by Matthew O'Sullivan - organist and tutor in organ at Lewis & Clark College. Recording and photography by Diana Powe. 0'00": Voluntary Festiva in G (Joy) (No.3 from Three Voluntaries) (2024) (world premiere) Martin Ellis (b.1967) 5'10": Passacaglia from ‘Sketchbook One’ (1992) Daniel E. Gawthrop (b.1949) 10'58": Organ Sonatina no.11, op.879 (2023) (world premiere) 1. Tempo giusto (10'58") 2. Adagio con sentimento (15'24") 3. Allegretto (16'59") Christopher M. Wicks (b.1975) 19'02": Where Shall I Fly? – Four Movements for Organ (2017-2020) (concert premiere) 1. Felix Columba (19'02") 2. Desert Streams (28'37") 3. Sacred Song (30'53") 4. Warszawa – Paris – Venezia (35'04") Matthew O’Sullivan (b.1978) 43'26": Finale, op.78 (2017) Rachel Laurin (1961-2023) (Encore) 48'57": What a Friend We Have In Jesus arr. Dorothy Young Riess (b.1931) Notes by Matthew O’Sullivan on ‘Where Shall I Fly?’ This project originated when I was organist at Hope Lutheran Church in Bozeman, Montana. Playing for an appreciative and supportive congregation, on a well-equipped instrument, in an inspiring modern space, helped rekindle my commitment to the organ. In particular, I enjoyed choosing specific pieces of organ music to fit the prelude, offertory, communion and postlude in each service. Feeling that I had never risen to the challenge of writing idiomatic music for my own instrument, I set myself the task of writing a set of pieces that would work equally well in a church service as prelude, offertory, communion and postlude, or in a concert setting. The unifying concept would be that each movement would be a response to a specific work from the nineteenth century that I admired. The pieces that resulted are hard to describe in terms of their relationship to their models; I tried not to look too closely at the originals while writing my responses, but rather to admit anything into my thought processes that helped the pieces take shape, be that melodic fragments, harmonic processes, or the overall macro structure of the original. In places, the sound world feels connected to that of the model, most obviously because the home key is the same as that of the model in every case; in others, the relationship is perhaps only obvious to the composer. Because of this, my hope is that the pieces say all they need to say without requiring the listener to be in any way familiar with the original. Felix Columba The Latin title translates literally as ‘the happy dove’, but the translation as a whole is actually irrelevant. The title came about because of its association with Felix Mendelssohn, because the piece is a response to Mendelssohn’s choral work Hear my prayer (with the famous line ‘O for the wings of a dove’), and also because I just liked the way it sounded... Desert Streams The shortest piece in the set, designed to be used as an offertory, is a response to Samuel Sebastian Wesley’s anthem The Wilderness. I find Wesley a fascinating composer, who at his best had a thrilling command of texture and harmony. The Wilderness is one of his most consistent inspirations, with a central section setting the words ‘For in the wilderness shall waters break out, and streams in the desert’. Sacred Song Johannes Brahms’s motet Geistliches Lied, whose title translates literally as Sacred Song, possesses a unique sound world, to which this piece responds. Warszawa – Paris – Venezia To create a suitable postlude, I was drawn beyond the sphere of choral music towards the Barcarolle by Chopin. When I moved to the US in 2015, I travelled by sea aboard the ‘Queen Mary 2’. By happy coincidence, the piano recitals on the ship were played by Hugh Petter, whom I had known since the age of 11, when his sons and my brothers became choristers together at New College, Oxford. One of Hugh’s selections, played towards the end of a sometimes tempestuous voyage, was this ultimate piece of water music, which has been associated ever since in my head with this time of great change in my life. The title of my response to Chopin references three cities: Warsaw, his original home; Paris, the city where he spent most of his adult life; and Venice, the city whose music fired his imagination in this particular case. I hoped for my piece to resonate with the spirit of exploration, of imagination and broad horizons. This was all the more important for me as I wrote the piece at a time when all of our ability to travel was severely curtailed. The entire set is dedicated to the people of Hope Lutheran Church, Bozeman, Montana, with gratitude for their years of friendship and support.