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This is to certify that the

thesis entitled

AN ANALYSIS OF CONCERTO NR BRASS, ORGAN . AND PERCUSSION BY
ROBERT ELMORE, CONCER’IO FOR BRASS AND ORGAN BY SETH BINGHAM,
AND CONCERTO FOR ORGAN AND BRASSES BY NORMAN IDCKWOOD

presented by

Stephen Reynolds Lange

has been accepted towards fulfillment
of the requirements for

PhoDo degree in Music

mm

Major WORN

 

Date AZL

0-7639

 

AN ANALYSIS OF
CONCERTO FOR BRASS, ORGAN, AND PERCUSSION BY ROBERT ELMORE,
CONCERTO FOR BRASS AND ORGAN BY SETH BINGHAM, AND
CONCERTO FOR ORGAN AND BRASSES BY NORMAND LOCKWOOD

By
Stephen Reynolds Lange

A THESIS SUPPLEMENTARY
TO THREE ORGAN RECITALS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY
IN APPLIED MUSIC, LITERATURE, AND THEDRY

Department of Music

1978

 

 

t.)

it:

9h

ABSTRACT

AN ANALYSIS OF

CONCERTO FOR BRASS, ORGAN, AND PERCUSSION BY ROBERT ELMORE,
CONCERTO FOR BRASS AND ORCAN BY SETH BINGHAM, AND
CONCERTO FOR ORCAN AND BRASSES BY NORMAND LOCKWOOD

By
Stephen Reynolds Lange

Few organ concerti are now performed with any degree of frequency,
chiefly because Of the unavailability of inexpensive performance
editions. Three concerti written by American composers for the organ
in the 1950's and 1960's--Concerto for Brass, Organ, and Percussion by
Robert Elmore, Concerto for Brass and Organ by Seth Bingham, and
Concerto for Organ and Brasses by Normand Lockwood--are quite practical
because they are published in readily accessible editions. In addition,
they use small instrumental ensembles, are of moderate length, and make
only moderate technical demands on the instrumentalists (except for the
Elmore concerto).

This thesis presents an analysis of the musical elements of each
concerto-melody, harmony, rhythm, counterpoint, and form-~along with
material on the composer's life and general musical style. This analysis
should give performers aid in understanding the compositional elements
which constitute the works and thus promote better performances of them.

This thesis is supplementary to three public organ recitals given

on July 9, 1973; April 15, 1975; and April 30, 1976, in which the

FL:

Iii

Stephen Reynolds Lange

following compositions were performed: Postlude pour l'Office de
complies by Jehan Alain; Passacaglia and Fugue in C Minor, Trio Sonata
in E-flat Major, Chorale preludes on Kyrie,_Gott heiliger Geist and
Allein Gott in der H3h' sei Ehr' (Clavierflbung, Part III) by Johann
Sebastian Bach; Praeludium, Fuge, und Ciacona by Dietrich Buxtehude;
Offertoire sur les Grands j§g§’(Messe pour les Paroisses) by Francois
Couperin; Orgelpartita: "wachet auf,_ruft uns die Stimme" by Hugo
Distler; Prelude and Fugue in B Major by Marcel Dupre; Concerto for
BrassI Organ, and Percussion by Robert Elmore; Chorale NO. II in

B Minor by Cesar Franck; Toccata per l'Elevatione by Girolamo Fresco-
baldi; Let the Bright Seraphim (Samsgn) for organ and voice by George
Frideric Handel; Threnos: in time of war by Iain Hamilton; Three Psalms
for organ and voice by Arthur Honegger; Sonata for Organ, Op. 86, by
~Vincent Persichetti; Sonata in the Ninety-fourth Psalm by Julius
Reubke; Prelude for Organ and Tape by Richard Stewart; and Allegro

zivace (Symphonie V) by Charles-Marie Wider.

TO Nan

ii

ACKNOWLEDGMENTS

Permission to reproduce music examples for this thesis is grate-
fully acknowledged as follows:

Concerto for Brass, Organ and Percussion by Robert Elmore

(New York: H. W. Gray, 1969). Used by permission of Belwin-
Mills Publishing Corporation.
Concerto for Brass and Organ by Seth Bingham (New YOrk:
H. w. Gray, 195A). Used by permission of Belwin-Mills
Publishing Corporation.

Concerto for Organ and Brasses by Normand Lockwood (New YOrk:
Associated Music Publishers, 1953). Used by permission of
G. Schirmer, Inc.

The author wishes to express his deep gratitude to Dr. Theodore
Johnson, the thesis advisor, with whom it has been an extreme privilege
and pleasure to work. His incisive criticism of the various stages
of this study has been invaluable; his friendly cooperation, greatly
appreciated.

Sincere thanks also goes to Dr. Corliss Arnold, who has guided
the author through three doctoral recitals and has graciously and
meticulously proofread each chapter of the thesis.

The author also wishes to thank the other members of his guidance
committee, professors Ethel Armeling, Richard Klausli, and Edgar Kirk,
who have been a source of inspiration to him.

Finally, the author wishes to thank his mother and father, who
started him in the field of music, and especially his wife, Nancy,

without whose love, encouragement, and support this thesis would not

have been completed.

iii

TABLE OF CONTENTS

Page
LIST OF MUSICAL EXAMPLES . . . . . . . . . . . . . . . . . . v
LIST OF TABLE 0 O O O O 0 C O O I 0 O 0 O O O O O O O O O O x
CHAPTER
I. INTRODUCTION . . . . . . . . . . . . . . . . . . 1
II. CONCERTO FOR BRASS, ORGAN, AND PERCUSSION
BY ROBERT ELMORE . . . . . . . . . . . . . . 3
III. CONCERTO FOR BRASS AND ORGAN BY SETH BINGHAM . . 39
IV. CONCERTO FOR ORGAN AND BRASSES BY
NOWND LOCKWOOD O O O O O O O O 0 O O O 0 O 72
v O SUMY O O O O 0 0 O O 0 0 O O O O O O O O O O 1 0?
BIBLIOGRAPHY O O I O O O O O O O I O O O O I O O O O O O O O 1 09

iv

9.
10.

11.

LIST OF MUSICAL EXAMPLES

Elmore, Concerto, second movement, trombone melody

Elmore, Concerto, second.movement, m. 269

Elmore, Concerto, second movement.
a) Ostinato, m. 269 . . . . . .
b) Trombone melody, mm. 270-272

Elmore, Concerto, first movement.
a) MOtive A, m o 1 -5 o o o

Elmore, Concerto, first movement.
a)Mn.19-23.......
b) Mm. 26-27 . .
c) M. 57 . . . .
d) M. 6h . . . .
e) M. 111 . . . .

r) Mm. 188-190
g) Mm. 232-235

Arrangement Of Mbtive A in a quartal

Elmore, Concerto, first movement.
a)Mm.2§-29..o....
b)Mm.6h-66
c) Mm. 66-69 . . . . . . .

Elmore, Concerto, first movement.
a) Mo"t'iv"e""'A', mm. 1-1. . . .

b)Mm.2S-26
c) M. 26 . . . . . . . . .
d)M.27.........
e) M. 29 . . . . . . . . .
f)M.h2.........

structure

Elmore, Concerto, first movement, mm. h2-hh .

Elmore, Concerto, first movement, mm. ITS-1:7 .

ELmore, Concerto, first movement, mm. 95-100 .

Page

10

11
11

12
‘12

13
13
13
13
13
13
13

1h

12.

13.
1h.

15.
16.

17.
18.
19.
2O.
‘21.
22.
23.
2h.
25.
26.
27.
28.
29.
3o.
31.
32.

Elmore, Concerto ,
8) Mm. 95-96

first movement.

0 O O O O O I O O O O O O O

b)Mflo1OS-1oaooooooooooooo

Elmore, Concerto,

Elmore, Concerto ,

a)M.111.......
b) M. 127 . . . . . . . .
c) M. 1hh . . . . . . . .
d) Hm. 155-156 . . . . .

Elmore, Concerto,

Elmore, Concerto,

first movement, mm. 129-130

first movement.

first movement, m. 201 . . .

first movement.

a)M.21E-...............
b) M. 226 . . . . . . . . . . . . . . . .

Elmore, Concerto,
Passacaglia theme
Shapes assumed by
Elmore, Concerto,
Elmore, Concerto,
Elmore, Concerto,
Elmore, Concerto,
Elmore, Concerto,
Elmore, Concerto,
Elmore, Concerto,

Elmore, Concerto ,

Bingham, Concerto ,

first movement, mm. 255-258

and Gregorian chant . . . .
the passacaglia theme . . .
third movement, m. 313 . . .
third movement, mm. 321-32h
third movement, mm. 335-339

third movement, m. 352 . . .
third movement, m. 360 . . .
third movement, mm. 368-371

third movement, mm. NOB-R10
third movement, mm. h33-h36

first movement, mm. 1-9 . .

Bingham, Concerto, first movement, mm. 25-31 .

Bingham, Concerto, first movement, mm. 37-38 .

Bingham, Concerto, first movement, mm. 59-61 .

Bingham, Concer O

a) Theme I (in even quarters)
b) Inversion of Theme I . . .

C) m. 98.99

first movement.

vi

19
19

21
22
22
22
22
2h
25
25
26
27
29
32
33
3h
3h
35
35
37

38

33.
3h.

35.

36.

37.

38.

39.

h0.

h1.
h2.
h3.

h5.
h6.
h7.

h8.

Bingham, Concerto, second movement, mm. 208-220

Bingham, Concerto, second movement.
a) m. 216-220 a o o o o o o o o
b) m. 273-277 0 o o o o o o o o

Bingham, Concerto, second movement, mm. 212-217

Bingham, Concerto, second movement.
a) M. 229 . . . . .
b) Mm. 263-26h . .
c) M. 289 . . . . .
d) Mm. 296-297 . .

Bingham, Concerto, second movement, mm.

Bingham, Concerto, second movement.

a) um. 235-236 . . . . . . . . .
b) Mm. 285-286 . . . . . . . . .

Bingham, Concerto, second movement.
a) MRI. 223.2211 0 o o o o o o o o
b) m. 257-258 0 o o o o o o o o

Bingham, Concerto, third movement.
a) Theme 12, mm. 319-321 . . .
b) Theme I , mm. 323-327 .
c) Theme I , mm. 33h-336 . . .
d) Theme I , mm. 338-3h2 . . .
6) Theme I , mm. 356-359 . . .

2211-229

Bingham, Concerto, third movement, m. 331 . . .

Bingham, Concerto, third movement, mm.
Bingham, Concerto, third movement.

a) Third phrase, mm. 391-39h . .

b)MOtiveBooooooooooo
Bingham, Concerto, third movement, mm.
Bingham, Concerto, third movement, mm.
Bingham, Concerto, third movement, mm.
The symmetrical scale.

a) Symmetrical Scale .

b) First transposition . . . .
c) Second transposition . . . .

Lockwood, Concerto, first movement, m.

383-391 .

383-387 .
399-hoh .
h51-h52 .

S7 . . .

53
55
SS
57

59
59

6O
6O

61
61
61
61
61
62
6h
65
65

65

67

77
77
77

h9.
50.
51.
52.
53.
Sh.

56.

570
58.
59.

60.
61.
62.
63.
6h.
65 .

66.
67.
68.

Hanmonic structures . . . . . . . .
Lockwood, Concerto, first movement,
Lockwood, Concerto, first movement,
Lockwood, Concerto, first movement,
Lockwood, Concerto, third movement,
Lockwood, Concerto, third movement,
Lockwood, Concerto, third movement,

Lockwood, Concerto, first movement.
a)m.1-Eocoooooooo
b)Mm.50-51.........
c)Mm.63-6h.........

Lockwood, Concerto, first movement,
Lockwood, Concerto, first movement,

Lockwood, Concerto first movement.
a) Mm. -11, Theme . . . . .
b) m. 19-22 a o o
c) Mm. 23-30 . . .
d) Mm. 57-59 .
e) Mm. 60-62
f) Mm. 6h-68
z) Mm. 77-79

Lockwood, Concerto, first movement,
Lockwood, Concerto, first movement,
Lockwood, Concerto, first movement,
Lockwood, Concerto, first movement,
Lockwood, Concerto, first movement,
Lockwood, Concerto first movement.

a) m. 0- O O O 0 O O O O O

b) Ostinato pattern, mm. 57-58

Lockwood, Concerto, first movement,

Lockwood, Concerto, second movement, mm. 115-126

Lockwood, Concerto, second.movement.

a)m.11-126ooooooooooooooo

mm. 8-11 .
mm. 26-27 .
mm. 69-70 .
mm. 229-232
mm. 278-28h
mm. 323-328

mm. 15-19 .

mm. h5-h9 .
m. 57 . . .
mm. 63-6h .
mm. 108-109
mm. 3h-39 .

mm. 6h-65 .

b)Mm.139-1SO...o...........

C)Mo187-198000000000000000

viii

78
78
79
79
80
80
81
81
81
81

82
83

9O
9O

91
92

93
93

69.
70.
71.
72.

7h.

75.

76.

77.

Lockwood, Concerto, second movement, mm. 163-16h

Lockwood, Concerto, second movement, mm. 175-179

Lockwood, Concerto, third movement, mm. 208-21h

Lockwood, Concerto, third movement.

a) Mm.- 213-215
b) Mm. 218-221

Lockwood, Concerto, third movement, Mbtive
o 2 -211

a) Mm . . . . . .
b) (Octave Displacement) .
c) (Retrograde Inversion) .
d) Mbtive B, m. 238 . . . .

Lockwood, Concerto, third.movement.

a) m 0 238-253
b) Mm. 26h-269

Lockwood, Concerto, mm. 292-293.

a) Mbtive B . . . . . . . . . . .

b) Inversion of Mbtive B

c) Motive A (rhythmically varied)
d) Mbtive A (inversion) . . . . .

e) Mm. 292-293

Lockwood, Concerto, material common to

third movements.
a) Mm. 269-276 (Brass)

first

b) Mm. 278-28h (Inversion of mm. 8-11)

Lockwood, Concerto, third movement, mm. 3h2-353

ix

95
95
98

99
100

100
100
100
100

101
101

102
102
102
102
102

103
103

105

Table

LIST OF TABLES

Frequency of melodic intervals . . . . .

Groupings of the theme and variations
Transpositions of the symmetrical scale
Transpositions Of the symmetrical scale

subject entrances in the third movement

Page
10
31
87
97
99

CHAPTER I

INTRODUCTION

For more than 250 years composers have wrestled with the exciting,
yet challenging, genre of the organ concertO--exciting because of the
tremendous dramatic potential inherent in the utilization Of two such
colorful and powerful resources as the organ and orchestra, and
challenging because of the immense compositional skill necessary to
harness this potential successfully. The organ concerto was invented
by George Frideric Handel in the 1730's and was used by him.to entertain
audiences during intermissions in performances of his oratorios. The
fOrm remained popular with such English composers as Arne, Felton, and
wesley for’most of the eighteenth century. The concerto, however, for
reasons not yet completely documented, but which.may include the secular
nature of the genre and the ecclesiastical location of most organs, did
not achieve the same popularity with Continental composers until the
late nineteenth and early twentieth centuries. In this period the organ
concerto re-emerged as a popular and viable form, and composers of a
number of nationalities turned to it.

Only a few, however, of the more that 250 organ concerti that have
appeared since the inception of the form in the 1730's are now performed
with any degree of frequency. This condition results largely from
several inter-related factors, which include: the unavailability of
inexpensive performance editions, if editions are available at all; the
extensive instrumental resources requisite for a realization; the
mediocre quality of some; and the relative obscurity of many.

1

In the sixth and seventh decades of this century, however, three
important contributions to the literature for organ and other instruments
were made. These three works--Concerto for Brass,70rgan, and Percussion
by Robert Elmore, Concerto for Brass and Organ by Seth Bingham, and
Concerto for Organ and Brasses by Normand Lockwood-the score and parts
of which are readily accessible in modestly-priced editions, are scored
for small instrumental ensembles. Because of this, the concerti, or
at least selected movements from them, can be easily programmed for
church or concert. Only the Elmore concerto possesses rhythmic com-
plexities of such an extent as to require a conductor.

The purpose of this study is to present an analysis of these
three concerti. They were selected, primarily, because they are fairly
representative works Of three important American composers for organ,
and they were conceived in the same genre (concerto) and scored for
similar instrumental groups (brass instruments plus organ). Although
they were written in the mid-twentieth century, the concerti represent
three diverse musical styles, all of which have played a.major role in
twentieth-century organ literature.

An analysis of the musical elements of each concerto is treated
in a single chapter of this thesis, along with material on the composer's
life and general musical style. The major source of information about
each concerto is the score itself.

Whenever musical examples of the compositions are given, the
captions will designate the titles of the compositions only as “£92?
23532.” Although Bingham has written one other organ concerto (£22-
22522, 0p. h6), only references to the Concerto for Brass and Organ_
will be made in this thesis. The publishers of the concerti are listed

in the acknowledgments.

CHAPTER II

CONCERTO FOR BRASS, ORGAN, AND PERCUSSION BY ROBERT ELMORE

As a composer, recitalist, teacher, and church musician, Robert
Elmore has contributed to the advancement Of church music in America
for the past four decades. Elmore, who was born in Ramaputnam, India,
in 1913, Of missionary parents, began his musical training at the age
of six years in Lincoln, Nebraska. From 1926 to 1933 he studied organ,
piano, and composition with Pietro Yon. In 1933 he received the degree
of Licentiate, in Organ, concert piano, and pianoforte accompaniment,
from the Royal Academy of Music and the degree of Associate from the
Royal College of Organists, both in London. After returning to the
United States, Elmore received the Bachelor of Music degree from the
University of Pennsylvania (1937), where he studied composition with
Dr. Harl McDonald. Since then he has held positions in many churches,
including Holy Trinity Church, Philadelphia, Pennsylvania; Central
Moravian Church, Bethlehem, Pennsylvania; and Tenth Presbyterian Church,
Philadelphia, Pennsylvania, his present church. He has taught organ,
piano, and composition at the Philadelphia Music Academy, Eastern
Baptist College, Clarke Conservatory Of Music, and the Philadelphia
Conservatory of Music. Two honorary doctorates have been conferred
upon him: a Doctor of Laws degree from Alderson-Broaddus College and
a Doctor of Humane Letters degree from Mbravian College.

During the early part of his career in the 1930's, Elmore became

widely known as a "player of great skill and a musician of unusual

 

€01

perception."1 In a recital review, Seth Bingham wrote Of Elmore:

As a concert organist Elmore must be classed as one of a
small select group in the front rank of American performers.
This was quite evident in his interpretation of the Bach
numbers. Few could equal the life and sparkle of his Gigue
Fugue performance, the fine feeling in the Adagio or the
crisp fancy-free lines against the pizzicato pedal in the

C minor trio. If the lily was a bit overpainted in the
first In dulci 'ubilo, the exquisite staccato at top speed
in what he (Elmore) aptly terms Bach's "effervescent"
setting of "Rejoice Greatly" "with the hands embroidering 2
a free and scintillating counterpoint" held one spellbound.

Although Elmore's initial successes were as a performer--including
appearances with the Detroit Symphony and the Philadelphia Orchestra
under Eugene Ormandy--his most lasting contributions to music are as
a composer and church musician. Elmore, who holds the calling of
church musician in high regard, states in an article entitled "A Good

Church Organist Is a Rarity":

The organist who serves the Lord in chancel or choir loft
must have musicianship, knowledge of music of all periods,
brilliant technique (Yes! I do mean brilliant!), and great
personal magnetism. All these qualities are essential, Of
course, to the concert artist. But the church organist must
tOp all of this with total dedication to the service of the
Lord. In very truth, he must put all of his brilliance, his
musicianship, his personal power, on the altar as an offering
to his God.

Later in the same article, he summarizes the requirements for a
good church organist:

So we come to the requirements for the church organist: total
dedication to the Lord, and total dedication to music. The
two go together and, in fact, I would say that one is not
possible without the other. I love to think of the first
recorded miracle of Jesus when, at the wedding reception,

He turned water into wine. Those of us who know and serve
Him have the joy of seeing this miracle again and again in

 

1"Robert Elmore Back in Recital Activity with Church Work,"

The Diapason, June 1, 1953, p. 6.

Seth Bingham, "Estelle Borhek Johnston Memorial Music Festival,"
The American Organist, December 196b, p. 8.

3Music Journal, XXVI (February 1968), 27.

our lives. Our practicing and rehearsing corresponds to
pouring in the water. This is our part, and we dare not
fail in it. But then He takes over and turns the water,
our music, into His wine of joy and blessing. And we can
claim His promise that He "will not fail thee, nor forsake
thee, until thou hast finifihed all the work for the service
of the house of the Lord."

Mbst Of'Elmore's compositions have been written for the church;
many of them, especially the cantatas and anthems, for specific festivals
and services. His choral works are frequently based on hymns, his organ
works on hymn-tunes.

On the whole, his organ works fall into one of two categories:

1) those which are introspective or meditative, and 2) those which

are exuberant or festive. The former category, which includes such
works as Three Meditative Mbments on Mbravian Hymns, Contemporary
Chorale Preludes, and Meditation on "veni Emmanuel," is characterized
by tertian sonorities (especially seventh and ninth chords), chromatic
movement within accompanimental lines, homophonic texture, and readily-
distinguishable canti firmi. In compositions of the second category,
such as Rhythmic Suite, Festival Toccata, and the Concerto for Brass,
Organ, and Percussion, rhythm assumes a striking role; the music possesses
a:much greater linear interest; and virtuoso demands are frequently
made upon the hands and the feet.

The Concerto for Brass,Organ, and Percussion, composed by
Robert Elmore in 196h for his associate organist at Central Moravian
Church, Robert Plimpton, undoubtedly ranks among his best organ
compositions. A highly unified, imaginative, and colorful work, the

concerto manifests many characteristics common to his other organ works:

thid., p. 59.

 

brilliant virtuoso pedal and manual writing, scalic flourishes, rhythmic
vitality, an intermingling Of tertian and quartal sonorities, lyric
melodies, chromatic movement, clear-cut formal organization, and

roots in church hymnody. This work, one of his most recent, is scored
for three trumpets, three trombones, percussion (timpani, snare drum,
bells, cymbal, and triangle), and organ. Of the many elements which
impart color to this work, the most important are: 1) instrumentation,
2) use of a wide range of pitches and dynamics, 3) frequent changes of
tempo, meter, and key signature, A) variety of scales, 5) ornamental
figurations, 6) texture changes, 7) juxtaposition of different types
of harmonic construction, and 8) markedly contrasting themes.

The vast variety of instrumental color available within and among
the three instrumental groups--organ, brass, and percussion--is
extensively exploited. The organ, with its unique capability for
achieving many different timbres through registration changes, produces,
by itself, a broad spectrum of color. A kaleidoscopic registration is
implicit in the frequently changing nature of the composition, although
only once (in the second movement) is a specific stop actually designated.
The brass choir, though lacking the tonal variety Of the organ, is used,
nonetheless, very cleverly. If one assumes that each Of the trumpets
(and each of the trombones) has the same timbre, then there exist six-
teen different combinations of the six instruments, all of which--ranging
from the total absence to the total presence of all six--appear at one
time or another.‘ Additional color is achieved through the use of mutes.
The percussion instruments, though employed in a more limited way than
the organ or brass, also impart a distinctive aura to the musical fabric.

Further variety results from an effective use of nearly the entire

range of pitches and dynamics Of the instruments. The lowest and
highest pitches Of the organ, both in the manuals and pedals, are

used. Several passages specifically exploit either the high range

(mm. 353-368) or the low range (mm. 1h2-1h7) of the organ, although
much of the writing lies in the middle register. The brass instruments
are treated similarly; the range of the trumpet part extends from
small F-sharp to two-line B and that of the trombone part from great C
to two-line C. Dynamic markings range from ppp to f£f_and include all
intervening conventionally notated gradations.

Tempo, meter, and key-signature changes abound in the work,
especially in the first movement, which contains eleven tempo indi-
cations (excluding accelerando and ritardando markings), forty meter
changes, and thirty-one key-signature changes.

Additional color is imparted to the work by the use Of several
different scales. Such scales as the chromatic scale, which comprises
one of the two principal motives unifying the whole concerto, the major
scale (e. g., the E major scale in m. 82, the D-flat major scale
in mm. 1h7-150, and the G major scale in mm. h22-h25), and the Mixolydian
mode (as found with the entire theme of the passacaglia) provide material
for much of the work, while such scales as the whole-tone scale (in m. 153)
and an incomplete form of the pentatonic scale (mm. 352-357) add inci-
dental color. Ornamental figurations such as trills and glissandi,
outgrowths of these scales, also occur frequently throughout the work.

Of the thirteen instances of trills in the organ part, five are in the
pedals. In additiOn, there occur five instances Of pedal glissandi.

Changes of texture also distinguish this work. Organ solos,

brass solos, nine-note chords in the organ doubled by Six-note chords

in the brass, homophonic sections, and quasi-polyphonic writing--all,
along with nearly every other texture possible with this instrumen-
tation, are found in the concerto. The texture of the instrumental
parts varies from one voice to ten voices in the manuals, to three in
the pedals, and to six in the brass. Only during the Interlude does
any texture remain unchanged for more than eight measures.

One device that imparts a distinct color to the work and, at the
same time, increases the tonal stability is the pedal point. In the
first movement alone, over thirteen passages, some as long as ten or
twelve measures, employ this device; even one entire variation of the
passacaglia is based on its use.

The variety that arises from the juxtaposition of two contrasting
types of harmonic construction and two contrasting subjects will be
dealt with later.

The concerto is a three-movement cyclic work in the traditional
fast-slow-fast order. It draws nearly all of its thematic material from
the second movement, a short, through-composed chorale prelude that is
based on the music generally associated with the Latin hymn “2221:
Creator Spiritus." The outer two movements, the first in sonata-allegro
form, and the last a passacaglia, share between them not only general
thematic material but also one main specific idea--the first subject
of the first movement, which returns as a coda to the third movement.

Serving as the germinal movement Of the concerto, the second
movement, in spite Of its brevity, simplicity, and designation "Inter-
lude,” assumes a position of extreme importance. The ggntgg'figmgg of
the movement, which is accompanied by an asymmetrical five-note ostinato

pattern, is presented in a direct, phrase-by-phrase manner by a solo

trombone. The trombone melody, along with the Gregorian chant on which
it is based, is shown in Example 1. Notes circled in the transposed
chant are omitted from the trombone melody; those circled in the

trombone melody are extraneous to the chant.

Example 1--Elmore, Concerto, second movement, trombone melody.

Gregorian chant Transposed chant Trombone melody

e I

II:

Phrase III:

Phrase IV:

Phrase V (Phrase IV repeated):

 

10

Except for transposition, the phrases of the chant undergo few
alterations. The transpositions employed are listed below:

Phrase I . . . . . . . . . . . Minor third down

Phrase II. . . . . . . . . . . NO transposition

Phrase III . . . . . . . . . . Major third up

Phrase IV. . . . . . . . . . . Perfect fifth up

Phrase V (Phrase IV repeated). NO transposition.

The Opening three-note pattern of the chant occurs nine times,
four in the original shape and five in inversion. The table below

lists the frequency of melodic intervals within the chant.

Table 1-Frequency of melodic intervals.

 

Interval Gregorian chant Ostinato
Frequency“ Percentage Frequency Percentage
Minor second 3 7.5 - ----
Major second 28 70.0 2 50.0
Minor third 3 7.5 - ..--
Major third 2 5.0 1 25.0
Perfect fourth 3 7.5 1 25.0
Perfect fifth 1 , 2.5 - ----
Total hO 100.0 b 100.0

The ostinato pattern that accompanies this melody captures, in
many ways, the essence of the chant and summarizes its melodic movement.
Consisting of five triplets, the ostinato coincides with the beat upon

every third repetition (see Example 2).

Example 2-Elmore, Concerto, second movement, m. 269.

 

11

This five-beat pattern, in turn, forms part of a larger complex
which repeats every five measures. The Interlude comprises three and
one-fifth such complete statements. The similarity between this pattern

and the first phrase of the trombone melody is evident in Example 3.

Example 3--Elmore, Concerto, second movement.

a) Ostinato, m. 269.

 

b) Trombone melody, mm. 270-272.

 

 

Triadic harmonies, which begin in the fourth measure of the
movement, support both the ostinato and the trombone solo. The pedal
part, which is based on several important and frequently recurring
melodic patterns, has the roots of triads, while the left-hand part
supplies thirds and fifths. The harmonic rhythm is rather slow, with
chord changes every four beats.

The first movement, in marked contrast to the peaceful and
unvarying undulation of the second movement, is characterized, on the
whole, by agitated and sporadic mood and texture fluctuations. In
sonata-allegro form with reversed recapitulation, the first movement

has the following formal outline:

12

InLrOdUCLiOn o e o e o e o e e o e o e e o e e e m. 1-39

prSition O O O O O O O O O O O O O m. 210-1 10

FITSL-theme area. 0 o e e e O m. hO-Bé
Transition. . . . . . . . . . mm. 87-9h
Second-theme area . . . . . . mm. 95-110

Development. . . . . . . . . . . . . . . . . . . mm. 111-188

Cadenza. . . . . . . . . . . . . . . . . . . . . mm. 189-231

Return of introduction . . . . . . . . . . . . . mm. 232-237

Recapitulation . . . . . . . . . . . . . . . . . mm. 238-265
Second-theme area . . . . . . mm. 238-258

First-theme area. . . . . . . mm. 259-265

COdaQooeeeeoeeooeeeoooeeoeMe266-269

Nearly all the material Of the introduction and the first-theme

area is derived from MOtive A or Motive B (see Example h).

Example h--Elmore, Concerto, first movement.

 

b) Motive B, mm. 2h-26.

15'

 

Motive A, first presented by the organ at the outset of the move-
ment as a variation on the ostinato pattern of the Interlude, assumes
myriad forms, some of which are shown in Example 5. Motive A is used

in diminution, augmentation, and double augmentation. It is treated

13

imitatively between trumpets and trombones (mm. 60-61), bells and
trumpet (mm. 67-68), bells and trombone (mm. 68-69), and among all

brass instruments (mm. 77-80).

Example 5--Elmore, Concerto, first movement.

a.) M“. 19‘230

 

 

 

b) Mm. 26-27.

 

L J L r

c) M. 57. d) M. 6h.

 

r J L I

e) M. 111. f) Mm. 188-190.

 

 

 

2) mm. 232-235.

 

1h

Motive A also appears vertically in quartal arrangements and

provides material for its own accompaniment (Example 6).

Example 6--Arrangement Of Motive A in a quartal structure.

 

Motive B, first presented by the second and third trumpets in
m. 2h, consists of scalic chromatic motion, upon which a variety of
rhythmic patterns is imposed. The use of Motive B in m. 2h--paired
with its own inversion to form two divergent lines--typifies the
treatment it receives throughout much of the movement. Motive B also
frequently appears in conjunction with the parallel motion of quartal
harmonic structures (Example 7).

The introduction, therefore, contains most of the melodic and
harmonic material from which the rest of the movement is constructed.
The tonality centers on G for the first twenty-two measures and then
shifts through E (in mm. 33-38) to E, the basic tonality of the move-
ment. The first section of the introduction consists of dialogues
(mm. 1-16) between the organ and brass instruments (first the trombones
and then the trumpets)--a treatment Of these two instrumental forces
which is exploited later in the movement. These dialogues are followed
by an imitative section in the organ part over a pedal point C in the
part for the timpani. Each entrance of the imitative idea, which is
based on MOtive A, is at a tonal level a perfect fifth higher than the

previous one. This section leads to a fantasia-like section (mm. 2h-30),

15

Example 7--Elmore, Concerto, first movement.

a) Mm. 28-29.

 

 

b) Mm. 6h-66.

 

 

c) Mm. 66-69.

 

PM};

U/H

16

in which Motive B is first introduced and then used to accompany Motive A
in the first trumpet part. The organ figuration of mm. 26-27 is of prime
importance, for it forms, through intervalic expansion and rhythmic
diminution, an intermediate stage in the metamorphosis of Motive A into
the stylized shape of the first subject. Two measures later, this
pattern assumes a shape even more similar to that of the first subject.
Several stages of the metamorphosis of Motive A into the first subject

are shown in Example 8.

Example 8--Elmore, Concerto, first movement.

a.) MOtive A, m. 1.16. b) m. 25.26.

 

c) M. 26. d) M. 27.

31

    

e) M. 29. f) M. h2.

 

17

The final section of the introduction is composed of a soft,
reflective dialogue between the trumpets and organ and a brief three-
measure fanfare, both of which are based on variants of Motive A.

This fanfare (mm. 37-h0) leads directly into the first-theme area.

The first-theme area (m. 110-86) not only presents, but, to a
limited degree, develops the first subject. The most important aspects
of this section include the use of: Motive A, both melodically and
harmonically; Motive B, frequently as an accompanimental figure; and
a statement-response relationship between the brass instruments, organ,
and percussion. The first subject, anticipated by a.rhythmic ostinato
in the timpani (mm. h0-h1), is initially presented by the organ in
mm. h2-hh. The subject is characterized by a driving, syncopated
rhythm, an angular contour, and tonic accents which do not coincide
with the beat. The derivation of it from Motive A and Motive B is

shown in Example 9.

Example 9--Elmore, Concerto, first movement, mm. 1:24.111.

 

 

 

 

 

 

L_______J L____JL____JL_414- l LII ll n, 11 r 1
A k
LL u L} n YA \—
l I T n“ 1 r1 1:) I.) H {.1A {‘1 E] I
n .l
orwxr I u» n! Irv Rruér. mg

 

 

18

The rhythmic burst of the first subject is punctuated by five
chords in the brass instruments. These chords reflect the quartal
implications of Motive A and the divergent chromatic movement of

Motive B (see Example 10).

Example 10--Elmore, Concerto, first movement, mm. h5-h7.

 

The quasi-developnental section which follows in mm. 56-87 exten-
sively uses Motive A, for it appears in one of its various forms in all
but five of the thirty-one measures. The tonality of this section centers
at first on G and then on B (mm. 7h-80), in preparation for the strong
return to E in mm. 82-87. This return re-establishes the original tonal
center of the first-theme area (E) before the modulation to the initial
one of the second-theme area occurs. The transition between the two
areas is characterized by downward chromatic movement of minor triads
in root position in the upper voices (with two exceptions) and upward)
movement of perfect fifths in the lower voices-an inversion of the
expanding contrary motion of Motive B.

The second subject, anticipated in m. 90 in the organ part, first

appears in its entirety in mm. 95-100 (see Example 11).

the
are

and

19

Example 11--Elmore, Concerto, first movement, mm. 95-100.

 

Contrasting markedly to the instrumental nature of the first
subject is the distinctly lyric nature of the second subject, which
possesses a smooth rhythmic flow, limited range, rounded contour, and
clear-cut phrases. The second-theme area (mm. 95-110) comprises three
melodic statements, the last Of which is transposed down a perfect
fifth. The first four measures of each statement consist of a two-
measure unit that is immediately restated in a slightly altered and
extended form.

The harmonies that support this melody, tertian sonorities, also
strongly contrast with those of the first-theme area. In Example 12
the tertian sonorities that accompany two segments of the second subject
are shown, reduced to one staff. They include triads, seventh chords,

and ninth chords.

Example 12--ELmore, Concerto, first movement.

a) Mm. 95-96.

    

'0-

b) Mm. 105-108.

 

’t)

5‘;

20

The strong E Aeolian implications Of the melody are somewhat
obscured by the almost equally strong A Dorian implications of
the accompaniment. During the second complete statement of the melody,
the tonality shifts briefly to g-sharp minor and, in so doing, antici-
pates the modulation which occurs between the end Of the second-theme
area and the beginning of the development section (from d minor to
g-sharp minor). The tertian sonorities of mm. 105-106, built on roots
which descend from G-sharp to D-sharp, lead to the first chord of
m. 107, which occurs above a pedal point D. This pedal D, along with
the tertian structures of the manuals, accompanies the third and final
statement of the melody, the tonality of which now centers on A.

The development section, mm. 111-188, divides into three large
areas: 1) mm. 111-1hh, 2) mm. 1104-159, and 3) mm. 159-188. In the
first area, the contrasting natures of the first and second subjects
are emphasized by the appearance of them together. Material from
the first subject, especially Motives A and B, is treated in short
two- and three-part sequences and in imitation. It is used to accompany
the opening motto of the second subject, which occurs successively
in the first trombone and first trumpet parts. In mm. 129-130, the
first two measures of the second subject (the second measure of which
is transposed) are presented in durchbrochene Arbeit--the distribution
of melodic fragments to different instruments--in this case, between
the trumpets and trombones. The accompanimental figures are a colorful
white-key versus black-key pattern in the organ (see Example 13) and

a variant of Mbtive A in the bells.

21

Example 13--Elmore, Concerto, first m6vement, mm. 129-130.

 

This section is also characterized by frequent meter and key-
signature changes. In the thirty-three measures which comprise this
first section, there are twenty-three time-signature changes and
‘sixteen key-signature changes. As a consequence of these changes
and of modulations through such keys as g-sharp, a, b-flat, e, and
a-flat, the music of the first section evokes a feeling of restless-
ness and instability. This fluidity is increased to an even greater
extent by the highly chromatic movement of the lower voices and the
frequently sequential treatment of the upper ones.

The second area of the development section (mm. 1hh-159) opens
with three-note quartal chords in the brass (Motive A appears in the
upper-most voice), which are embellished by D-flat major scale flourishes
in the organ. Measures 153-15h, which utilize a brief whole-tone scale
and parts of a chromatic scale--Motive B--prepare for mm. 155-158,
in which material derived from Mbtive A is presented. The derivation
of this material from previous material is shown in Example 1h. The
lower voices consist of arpeggiated minor chords, the roots of which
ascend chromatically from D to F. This chromatic movement continues

into the third area of the development section, which begins in m. 159.

22

Example 1h--Elmore, Concerto, first movement.

a) M. 111.

 

b) M. 127.

 

c) M. 11:11.

 

d) Mm. 155-156

 

23

The third area, devoted almost exclusively to the developnent
of the second subject, Opens with a statement by the first trumpet
of the first two measures Of the second subject. These two measures,
which center in c-sharp, are immediately restated a semitone higher,
in d. In mm. 163-166 another two-stage sequence occurs, this one
based on only the initial two notes of the second subject. The first
stage of this sequence consists of this Opening motto, presented
first in the brass parts and then echoed, in an ornamental fashion,
in the organ part. This pattern, stated first in e and then in f,
leads into a seven-measure passage that is characterized by'a pedal
trill on D and a repeated chord, based on tertian harmony, in the
left-hand part. Above this the second subject is presented in parallel
thirds in durchbrochene Arbeit between pairs of trumpets and trombones
and the organ. This is followed by an imitative section in the brass
based on the second subject, with successive entries of the subject on
E, A, B, D, F, and A. This portion of the development section closes
with crashing six-, seven-, eight-, and even ten-note chords, some of
which contain as many as six different tones. These quartal structures,
found in mm. 181-188, are projections at different tonal levels of the
opening notes of the second subject.

Fbllowing these chords is a pedal cadenza (mm. 188-231), which
contains some two- and three-part writing and which, like the development,
divides into three sections. The first section, mm. 188-200, is based
on the Opening four notes Of the first subject in augmentation. The
section consists of the repetition Of this four-note pattern at three
different tonal levels, the last two of which are accompanied by Mbtive B

in the lowest pedal part.

2h

The second section of the pedal cadenza, mm. 201-218, Opens with
a continuous sixteenth-note rhythmic pattern in the snare drum part,
striking because Of its asymmetrical division of every two beats

(eight sixteenths) into 3 + 3 + 2 (see Example 15).

Ebcample 15--Elmore, Concerto, first movement, m. 201.

3’ J? J? =2 3’ :-

 

The pedal part begins in m. 203 with a figuration derived from
the material of m. 1hh (shown in Example 1h). This figuration, charac-
terized by gradually increasing rhythmic activity, evolves into a pattern
(in m. 209) which closely resembles the material of m. 115 (the right-
hand part). Near the end of this section, in mm. 21h-218, Motive B
appears once again--with the chromatic movement of both the upper and
the lower notes of the figuration.

Section three of the pedal cadenza (mm. 218-231), stylistically
similar to section two, begins with a brief, four-measure, chordal
statement by the trombone choir. The statement consists Of a variant
of Mbtive A in the first trombone and of Mbtive B in the second and
third trombones. In.m. 221 the first subject, in augmentation, appears
in the pedals. This evolves into a figuration, first presented at the
end of the previous section, in which the voices diverge chromatically.
In m. 226 the pedal presents a repeated turn-like figure, which is
derived directly from m. 21h (see Example 16). Above this figure,

in mm. 227-229, is a homophonic statement by the trumpets that strongly

25

resembles the one by the trombones in mm. 218-221. The cadenza

closes with a chromatic scale of nearly two octaves in the pedals.

Example 16--Elmore, Concerto, first movement.

a) M. 21h.

 

b) M. 226.

 

Separating the cadenza from the recapitulation, which begins in

m. 238, is a brief, compressed return of material from the introduction,
specifically that of mm. 33-36. This passage (mm. 232-237) opens with
large chords in the organ and brass parts, in the key of E major.
Mbtive A is given successively to the trombones and pedals; the trum-
pets, in diminution; and the organ, in double diminution.

In the recapitulation which follows, the material of the exposition
is treated in two noteworthy ways: the first- and second-theme areas
are presented in reversed order, and the first-theme area is drastically
compressed. Consequently, what ensues in mm. 238-258 is the return
not of the first-, but of the second-theme area.

This return comprises three distinct sections (mm. 238-2h5,

mm. 2h6-25h, and mm. 255-258). The first and third of these contain

he

am?

Show

5e

\a.‘
5d“ bra

26

a pedal point E, and the second begins and ends on a pedal point D.

The tonality of the melodic statement of the first section centers
around C-sharp, while that of mm. 2h6-2h9 centers around A. The third
section consists of an abridged statement of the second subject by the
brass choir alone, in the key of E major, with extensive use of seventh
and ninth chords. Those sonorities occurring on strong beats are

shown, reduced to one staff, in Example 17.

Ehample 17--Elmore, Concerto, first movement, mm. 255-258.

 

The return of material from the first-theme area, in mm. 259-265,
consists essentially Of a restatement of only mm. hO-hS of the expo-
sition--a sizable reduction of the original material. The final five
beats of this return (beginning in m. 263) are immediately restated,
one octave higher, in mm. 26h-265. The movement closes after a brief
coda (mm. 265-268)--a brass fanfare, utilizing quartal harmonic structures
and punctuated by seven-note chords in the organ--on E, with octave
doublings by the various instruments.

Much of the material of the final movement of the concerto, like
that of the first movement, is based on Motive A, the six-note figure
that Opens the concerto. In addition, the movements share such charac-
teristics as the juxtaposition Of tertian and quartal harmonic structures,
extensive chromatic movement, and well-defined formal organization. In

contrast to the first movement, however, the final movement contains

(h

I
“first:
V

11
rlfig‘l
- ““y‘

R.
van

9718

27

few changes of meter, key signature, or texture. The emphasis of the
movement is on the achievement of continuity through a gradual unfolding
of one variation into another and through the close integration of the
efforts of the brass and organ, rather than of diversity through abrupt
and frequent changes.

The final movement comprises a passacaglia, which consists of
a theme and eighteen variations, and a coda, which is a restatement of
material from the first movement (mm. h2-h5) in a transposed and slightly
altered form. The eight-measure theme Of the passacaglia is constructed
along classic lines. It is in triple-simple meter, begins with an
anacrusis, and divides evenly into two sections. Example 18 illustrates
how closely the theme resembles the music generally associated with the
Latin hymn, "Veni,ACreator Spiritus," and how nearly identical the first
half of the theme, MOtive A, and the ostinato pattern of the second

movement are.

Example 18--Passacaglia theme and Gregorian chant.

Chant

Theme

Motive A

 

Chant

Theme

 

n)

28

Of particular importance is the whole-step figuration of the
second through fourth notes of the theme. In retaining this whole-tone
relationship throughout the movement (except in m. 337), these three
notes underscore the strong Mixolydian flavor of the theme. The first
scale degree, G, is heavily emphasized through repetition and metrical
and agogic accents. Those notes most frequently iterated, after G, are
D (six times) and C (three times), the two most important structural
points of the mode. The remaining notes (there are no chromatic alter-
ations in the original theme) occur only once or twice each.

The original form of the theme, however, is not retained through-
out the movement. The interval structure is modified, tonal center
shifted, modality changed, distribution between instruments varied, and
rhythm altered. Example 19 presents the eleven different shapes assumed
by the theme; only in eight of the eighteen variations is the original
shape retained. Alterations may occur in any measure, although two
types predominate: 1) the expansion or contraction of an interval by
step, which results in little change in melodic contour (e. g., in the
sixth and tenth variations); and 2) the radical alteration of an interval
that plunges the theme into a new tonal level (e. g., in the seventh,
eighth, and eleventh variations). The latter type of alteration
usually occurs in the fourth or fifth measure of the theme and occa-
sionally imparts the flavor of a different mode (e. g., Dorian or
Aeolian). In three of the variations the rhythm of the theme is
altered: variation four by the ornamentation and arpeggiation of the
theme, variation thirteen by the entrance of the subject one beat later
in the metrical scheme, and variation fourteen by the lengthening of

some note values and the shortening of others.

29

Example 19--Shapes assumed by the passacaglia theme.

 

Sven----—---- -----—- ---- --—---- -— - -—---—-----——---\

 
 

 

30

Further variety is achieved by the extensive use Of durchbrochene

 

£22232: This technique is utilized in nine of the eighteen variations;
six times the two phrases of the theme are divided equally between two
groups, and three times only the final two measures are assigned to a
different color.

In addition to the variety that results from the different melodic
shapes assumed by the theme and from the instrumentations which color
them, is that which arises from the supporting harmonic structures.
Manifesting a harmonic duality similar to that of the first movement,
the passacaglia contains both tertian and quartal harmonic structures.
Six of the variations use tertian structures exclusively, six use
quartal structures exclusively, and six use a juxtaposition of the two.
In many instances, e. g. in mm. 329-332, mm. 360-367, and mm. h33-h36,
the harmonic structures merely result from projections of the highest
voice to various pitch levels. This procedure is employed extensively
in mm. 297-313, in which a series of parallel quartal chords-a projection
at the second and the fourth, first of a descending and then of an
ascending chromatic scale--are played by the trumpet choir.

The linking of several variations through common figurations,
instrumentations, dynamics, styles, etc., imparts an overall formal
organization to the passacaglia. Table 2 shows various groupings of
the variations according to these characteristics.

The variations, as a whole, form a large three-part form. The
first section, mm. 289-381, which include the first eleven variations,
is characterized, with one exception, by constantly increasing rhythmic
activity and by a gradually accelerating tempo from one variation to

the next. For example, the seventh variation is designated pih mosso,

31

the ninth pgco accelerando, and the tenth un poco pih mosso.

Table 2--Groupings of the theme and variations.

Theme
Variation

Variation 2 -
variation 3
Variation h
variation 5

Variation 6 i -----
Variation 7

variation

Variation 9

variation
Variation
Variation
Variation
Variation
Variation
Variation
variation
Variation

In the first variation, mm.

the pedals, unaltered.

1

   

8

10} .........
11

12 _____
131

114 '
15 - - - - - -
17
18

Common Characteristics

Parallel trumpet chords
Unornamented presentation of theme
Theme in G Mixolydian

Increasing rhythmic drive and tempo
Theme at different tonal levels

Theme at different tonal levels

Relaxation Of musical tension

For organ alone

Scalic accompaniment of theme
Theme in G Mixolydian; increasing
dynamic levels

289-296, the subject is presented in

The three trumpets accompany it with a series

of parallel chords in fourths in first inversion, which descend chro-

matically for an octave.

The chords change with increasing frequency

as the cadence is approached and finish the pattern after the first _

trombone enters with the theme at the beginning of the second variation.

Containing the same quartal chords as the first variation, but in a

chromatically ascending pattern, the second variation is closely

related to the

first. The theme is presented by the first trombone

throughout, while a countersubject is introduced by the organ in smaller

note values.

This countersubject, based heavily on movement by half

step and perfect fourth, appears only in this variation.

The third variation (mm. 313-320), for organ alone, consists

32

of five-note chords in the manuals above the theme in the pedals.

The two most important aspects of this series of chords are: 1) the
parallel movement of many of the entire chord structures and 2) the
semitone movement of each Of the chord's individual voices. For
instance, in mm. 31h-320, the lowest voice of each of the chords moves
downward by semitone fbr more than an octave, in fifths (at first
perfect and then diminished) with the next higher chord member. The
first chord of this series, shown in Example 20, because of the semi-
tone clashes between the perfect fifth in the left hand and the two
perfect fourths in the right hand, is much more poignant and sharply

clashing than is the perfect-fourth sonority Of the first two variations.

Example 20-Elmore, Concerto, third movement, m. 313.

Svtr~"\

 

The first half of the theme in the fourth variation (mm. 320-328)
is contained in the first notes of an arpeggiated figuration in the
organ part; the last half is presented unornamented in the first trom-
bone part. The first half of the theme is shown in Example 21 in

circled notes.

33

Example 21--Elmore, Concerto, third movement, mm. 321-32h.

 

A countermelody, which emphasizes the root and fifth of a G chord,
is introduced in the trumpets, while the organ accompanies both with
quartal chords. These chords, both arpeggiated and block, descend, as
in previous variations, by semitone in the last half of the variation.

In the next variation (mm. 329-336), the theme, which is presented
in the top-most voice of three- and four-note chords in the organ,
receives an imaginative tonal treatment. The modality of the theme seems
to vacillate between two modes, Ionian (or major) and Phrygian on E, the
former characterized by inflected notes, the latter by basic notes. This
vacillation represents a variant of the black-key versus white-key
technique of earlier passages. The roots Of the harmonic progression
that supports the theme are nearly palindromic (E, C-sharp, D, E, D,
C-sharp, D), and the harmonic structures built on these roots involve
tertian sonorities--triads, seventh chords, and ninth chords.

The brass instruments elaborate imitatively on the fanfare-like
figuration of the fourth variation. The trombones assume the last two
measures of the theme, while the organ begins a sequence based on the

fifth and sixth measures of the theme (see Example 22).

311

Example 22--Elmore, Concerto, third movement, mm. 335-339.

 

In the sixth variation the organ continues the sequence, while
the theme is presented by the first trumpet. Both are accompanied
by tertian harmonies, usually seventh chords, in the second trumpet,
third trumpet, and third trombone, The last segment of the theme,
once again treated sequentially, leads to the new tonality of the
seventh variation, which uses F Phrygian.

In this variation the first half of the theme is presented in
the pedals and is accompanied by triadic toccata-like chords in the
manuals and by quartal chords in the brass instruments. The last
half of the theme is presented by the brass in quartal harmony.

The eighth variation (mm. 351-359) Opens with the theme for
trumpets in unison, and closes with the theme given to the trombones
in the highest voice Of root-position triads. The theme is accompanied
by an ostinato in the organ and timpani; the former consists of an
arpeggiated version of quartal chords, the latter of an alternation of
the two notes G and D. The organ ostinato, striking becauSe of its
white-key verSus black-key, basic-note versus inflected-note usage,

is two measures long and is repeated twice (see Example 23).

Example 23--Elmore, Concerto, third movement, m. 352.

‘wn.

 

35

By means of a one-measure extension (at m. 359), a variant of
the preceding measure, the music progresses to a new tonal level,
c minor. The theme, several of its intervals slightly altered, is the
highest voice of three-note quartal chords in the manuals. Accompanying
these chords is a chromatic figuration in the pedals, which ascends

from great C to one-line D-flat (see Example 21:).

Example 2h-Elmore, Concerto, third movement, m. 360.

3 3 3

 

The brass instruments Open the tenth variation (mm. 368-375)
with fortissimo six-note chords, a series of parallel major-major seventh
chords (see Example 25). The tonality of the first half of the theme
is a perfect fifth lower than that of the previous statement. With
the deletion of the perfect fifth leap which usually begins the second
half of the theme, the tonality of the theme returns to the level of the

ninth variation.

Example 25—Elmore, Concerto, third movement, mm. 368-371.

 

36

In the next variation (mm. 375-389), the climax of the first part
of the passacaglia is reached. The theme, the tonality Of which returns
to G, although in minor mode, is played by the brass instruments,
while the organ part has punctuating quartal chords. The end of this
variation consists of a sequential, imitative interlude that lasts
nine measures. During the interlude the dynamic level drops from
fortississimo to pianississimo, the tempo returns to its original'
speed, and the instrumentation is reduced to timpani and organ.

The twelfth and thirteenth variations, which together form the
second section of the passacaglia, allow a brief respite from the
ever-increasing activity and complexity of the first Section. The
twelfth variation (mm. 390-398), in which the theme is presented by
the first trombone over a pedal G in the timpani and organ, is charac-
terized by tonal stability and harmonic repose. In the first half of
the theme the metrical accents are shifted a beat, causing those notes
which are usually unaccented to become accented and those which are
usually accented to become unaccented. This displacement is rectified
in the second half Of the theme, which is found in all the voices
of parallel triads.

The next variation.(mm. 399-h07), for brass alone, begins in
E-flat major and ends in G major. The theme, presented in the first
trumpet part in a rhythmically altered form, is harmonized in the
lower brass parts by tertian structures, which are rather freely
related.

The third, and final, section of the passacaglia, like the first,
is characterized by the use of constantly increasing rhythmic activity,

high pitches, loud dynamics, and technically demanding writing. All

37

four of the next variations, the fourteenth, fifteenth, sixteenth, and
seventeenth, are written for the organ alone. In the first three of
these, the theme is straightforwardly presented in the pedals. In the
fourteenth variation (mm. h08-h15) it is accompanied by imitative
entrances of the second through fifth notes of the theme in diminution

(see Example 26).

Example 26-Elmore, Concerto, third movement, mm. h08-h10.

 

Like the fourteenth variation, the fifteenth (mm. h16-h23) is
based on harmony in fourths. Quartal material is used both in the
four-note patterns which encompass a fourth and form the basis for
the right-hand runs and in the three-note chords which punctuate them.
The rhythmic activity of the sixteenth variation (mm. h2h-h31) increases
suddenly with thirty-second note G-major scales and sextuplets of
major tenths which descend chromatically. In variation seventeen
(mm. h33-hh0) the theme is placed in nearly all the voices of five-
and six-note quartal chords (see Example 27), while the pedals play

running chromatic scales.

38

Example 27--Elmore, Concerto, third movement, mm. h33-h36.

9G.
2- ------------------------------------------------ 1‘

 

Characterized by pedal glissandi, six- and seven-note chords, and
brass fanfares, the final variation, in‘a broad tempo, brings to a
close that part of the movement based on the passacaglia theme. This
variation, which ends on a type of half cadence over a pedal trill,
leads into a code based on the first theme of the first movement.
Although the return of this material is not exact, its similarity to
material of the first-theme area is unmistakable.

The last section of the movement, mm. h59-h66, consists of two
streams of parallel triads (B-flat major, C major, d minor) in the
trumpet and trombone parts. These triads, punctuated by the same chords
in the organ part, occur over a C-G ostinato in the timpani and
glissandi in the pedals. The concerto ends, after six measures of

accelerando, on C in all the instrumental parts.

CHAPTER III

CONCERTO FOR BRASS AND ORGAN BY SETH BINGHAM

For many years Seth Bingham was recognized as one of the outstanding
personalities associated with the field of organ music. As a faculty
member of Yale University, Columbia University, and Union Theological
Seminary, he influenced several generations of organists, composers,
and church musicians. He composed more than forty works for the organ,
numerous anthems, and wrote more than thirty articles, many of which
appeared in The Diapason. In addition to having taught and composed,
Bingham also performed, conducted, lectured, and served as the organist-
choirmaster at Madison Avenue Presbyterian Church, New YOrk City.

Bingham, who was born in 1882 in Bloomfield, New York, was a full
generation older than Elmore and Lockwood. He studied under several
composers, the most famous and influential of whom included: Harry Jepson,
University Organist at Yale (who, Bingham said, was I'the man who did the
most to help and guide my early career"); Horatio Parker, professor of
composition at Yale; Charles-Marie Wider, organist of St. Sulpice and
professor of organ at the Paris Conservatory; and Vincent d'Indy, pupil
of Franck and co-founder with Bordes and Guilmant of the Schola Cantorum
(Paris). Bingham died in 1972 in New York City.

Bingham's compositional style, which reflected the styles Of his
teachers, remained conservative throughout his life. His harmonic
vocabulary was grounded in the harmonic practices of the late nine-
teenth century. His music was nearly always tonal, occasionally functional,
and frequently highly chromatic.

39

to

In the forward to Thirpy-six Hymns and Carol Canons in Free Style
(New YOrk: H. W. Gray, 1952), Bingham explained his use of the words
"in free style":

Devising "correct” canons Of one's own invention is com-
paratively simple. In contrast, fitting a canonic voice to
a fixed tune challenges one's creative powers. Those die-
hards for the rigid maintenance of 19th-century harmonic
“traditions," eagerly scanning these pages for violations
of the Victorian code, will not be disappointed. Listener
and performer are confronted with numerous ”dissonant” hths,
delayed parallels, unprepared and unresolved discords, cross
and false relations, bi-tonalisms, augmented and diminished
skips, intervalic shifts, consecutive and hidden 5ths by
the dozen as well as consecutive 2nds, hths, 7ths, 9ths, and
occasional unisons or octaves for good measure; also melodic
changes, altered rhythms, crossed parts, interludes, changes
of distance, telescoping, cadential codettas and a few un-
classified deviations from the Victorian party-line--in
short, any musical device to keep the canonic movement vital
and interesting. Hence the words “in free style" on the
title page.

That Bingham was a fairly conservative composer is attested by

his need to justify such devices and styles nearly forty years after
‘ Debussy's Preludes, Stravinsky's Petrushka and Rite of Spring, and
thirty years after Schoenberg's formulation of the dodecaphonic
theory. Other characteristics which are manifested in Bingham's
organ music include: a strong sense of formal organization; frequent
use Of contrapuntal devices, especially canon and.imitation; octave
doubling of melodies; staccato chords; added-note chords; extended
tertian sonorities; free relation of triads; and triplets. All Of
these devices, in addition to many of those mentioned in the forward
to Thirty-six Hymns and Carol Canons in Free Style, occur in his
Concerto for Brass and Organ, Op. 57, published in 195A.

The concerto, dedicated to Marilyn Mason, was given the premiere

performance by her at the Twenty-second National Convention of the

111

American Guild of Organists, held in St. Paul and Minneapolis, Minnesota,

in 195k; the composer conducted the performance. Reviews of the work

included the following:

One sensed a feeling of excitement and expectancy on the
part of the large audience when Mr. Bingham raised his baton
to conduct the group of brass players assisting Miss Mason in
the performance of his latest work. Here was one Of the great
men of the profession, who through the years has won the admi-
ration Of his colleagues at home and abroad and whose music is
considered by many to be on a par with that of outstanding com-
posers Of past generations. The listeners were not disappointed.
From the first theme of the beginning movement to the last note
Of the finale there was an emotional strength and power pf
expression in the music that few composers ever achieve.

This is a stirring piece which needs to be performed in a
setting which provides equal opportunity for the solo instru-
ment and the ensemble. St. Paul's accoustics [pie] seemed to
encourage the brass players to overplay, so that the organ
tone was frequently smothered. There were also problems of
togetherness. However, the work provided a fine climax
to a memorable evening.

Listening to music composed by this wonderful man over
a period of fifty years, one was struck by the freshness of
the music in relation to each period, the growing com-
plexity of the later years--none of it ”music for music's
sake,” speaking only to the cultivated musician. It all
seemed to be music that sang, always well structured, and
imparting the composer's warmth, humanness, and joy of
living. we are all in his debt.

The concerto is scored for organ, three trumpets in B-flat,
three trombones, and snare drum. The organ part, although not so
difficult as that of the Elmore concerto, nor so easy as that Of the
Lockwood concerto, is fairly demanding without being flamboyant or

showy. The manual parts utilize a wide variety of organistic idioms,

 

1"Miss Mason Plays Bingham Wbrk," The Diapason, August 1, 195b, p. 2.
Vernon de Tar, “Seth Bingham Birthday Concert," The Diapason,
June, 1972, p. 10.

112

some fairly difficult, such as toccata figurations in which sonorities
are rapidly alternated between the parts for the two hands, and some
moderately easy, such as slow, sustained passages. The pedal part,
which usually serves a harmonic function, is particularly undemanding.

The use of brass instruments in varied textures is especially
effective. All sixteen of the different possible combinations of the
brass instruments appear in the concerto, including writing for solo
instruments, trumpet choir, trombone choir, mixed groups of trumpets
and trombones, and all six instruments together. Nearly the entire
dynamic and pitch range of the instruments is exploited. The parts
for the brass instruments also function in a variety Of ways: they
carry the melody, provide harmonic accompaniment to themes, and inter-
ject two- or three-chord punctuations Of statements in the organ part.
On a whole, the brass instruments and the organ interact in a truly
concertato style; the important thematic material is shared nearly
equally between them.

The part for snare drum, which appears only in the first and
third.movements, mainly reinforces rhythmic patterns of the other
instrumental parts. Only rarely does it have a pattern significantly
independent (e. g., in.mm. 11h-120).

The first movement of the concerto, the tonality of which is
F'major, is cast in sonata-allegro form. The outline of the form of

the movement is shown below:

A3

Exposition . . . . . .
First-theme area.
Transition. . . .
Second-theme area

Development. . . . . . . . . . .

Recapitulation . . . .
First-theme area.
Transition. . . .
Second-theme area

CO“ 0 O O O O O O O O O O O O O

The first-theme area consists of

. . . . . . . . mm. 1-81
mm. 1-36

m. 37"hh

mm. h5-81

oeoeeeeeMe82‘120
eeeeeeeeMo121-185
mm. 121-155
mm. 155-162
mm. 163-185

eooeeeoeMe186’205

three melodic statements, the

first two of which are highly similar to each other. The first state-

ment, Theme 1‘, proceeds in a rhythmically and melodically straight-

forward manner and contains only one note foreign to F major (Example 28).

Example 28--Bingham, Concerto, first movement, mm. 1-9.

 

 

 

The accompaniment forms several vertical perfect-fifth sonorities

with the melody, imparting a distinctive color to the Opening measures

of the concerto. Emphasizing the quintal quality of the passage even

more are the parallel perfect fifths which occur in mm. 3-h. Another

particularly colorful aspect of the harmonic progression, one which

is frequently exploited throughout the entire concerto, is the mediant

relationship that exists between the g minor and E-flat major chords

in mm. 6-7. This relationship occurs again between the d minor and

B-flat major chords of m. 12.

The second melodic idea, Theme I2, is presented in the first

14).;

/
trumpet part in mm. 13-2h. It consists, on the whole, of a restatement
of Theme I1 with an interpolation of a two-stage sequence in the middle
measures. The two augmented triads outlined in the sequence, along with
the altered notes they encompass, impart a distinct color to the melodic
line. The highly chromatic hannonies that accompany the second state-
ment, being characterized by numerous altered notes, many of which

move by semitone, also provide a striking effect. The statement begins
in f minor and ends in C major.

The third melodic statement, Theme I3, is presented in the first
trombone part in mm. 25-35. It contrasts intervalically and rhythmically
with Themes I1 and 12, especially in the inclusion of more altered
tones and greater rhythmic variety, particularly through syncopation.

The harmonies that accompany the third statement are likewise extremely
varied and include some quartal structures and some tertian structures

(Example 29).

Example 29--Bingham, Concerto, first movement, mm. 25-31.

 

AS

The sixth through eighth chords of the passage shown in Example 29,
which center around E major, create with the pedal point A, over which
they occur, one of Bingham's "bi-tonalisms." The descending contour
of the third statement, together with the ascending contour of the
second statement, yields a melodic arch form. The first-theme area
closes in the tonality of E.major with a plagal cadence.

The transition between the first- and second-theme areas, which
occurs in mm. 37-hh, is marked by the introduction of Motive A, a seven-
note pattern Of equal eighths that intervalically resembles the third
through seventh notes Of Theme I1. In Example 30 the patterns common
to the two ideas are circled. Motive A is treated sequentially, and-

each statement of it is punctuated by tertian sonorities in the brass

parts.

Example 30--Bingham, Concerto, first movement, mm. 37-38.

I . \ L
_ - l \

'\
tIIL U 1

 

T

 

 

 

 

 

 

"F

 

rd

 

 

 

 

V.

 

 

 

' I]

 

The second-theme area, which centers in b minor, divides into
three distinct segments. The first and third segments share melodic
material, and the second functions as a short digression which separates
them. In the first of these segments (mm. h5-60), the melody is presented
in the first trumpet. The melody consists of three well-balanced
phrases, the lengths of which are four, four, and eight measures. Almost

completely diatonic, the phrases are characterized by a lyric nature,

h6

limited range, and straightforward rhythmic patterns. All the phrases
begin with the same three-note rhythmic pattern (AJ. J‘ I A ).
They are accompanied by two or three other brass instruments and the
organ. The parts for the brass instruments consist, mainly, of tertian
sonorities. The organ part consists Of a pizzicato treatment of even
quarters in the left hand and Of intermittent interjections of patterns
based on Motive A in the right hand. These interjections cover the
seams between melodic phrases.

The second of the three segments of the second-theme area, mm. 59-65,
is a transition-like passage, which separates the two main statements
of the second theme. This passage begins in mm. 59-60 with two repeti-
tions Of Motive A in the organ, which accompany the final note of the
previous segment. The third, fourth, and fifth notes of Motive A are
then treated sequentially (Example 31). The three-note pattern ascends
stepwise for an octave. The repetition of the pattern against the
heat, which is maintained in the parts for the pedals and the brass
instruments, creates a rhythmically interesting passage in which the

tonic accents shift in relation to the beat.

Example 31--Bingham, Concerto, first movement, mm. 59-61.

 

L L l
[49+th 9 “0'1"“! q

The third segment Of the second-theme area restates, with some
alteration, the material of the first segment. Variation in the

restatement does not occur in the melody itself, which returns unaltered

h?

except for one slight rhythmic change, but in the harmonies which
accompany and the instrumentation which colors the melody. The
harmonies of the third segment, although retaining an emphasis on
tertian structures, are almost entirely rewritten.

In the first and third segments, the use of nonharmonic tones
provides extensive color. In the first, however, the nonharmonic
tones form particularly harsh intervals with other members Of the
harmony--frequently minor seconds or major sevenths--and Often do not
resolve in either a clear-cut or conventional manner. In the third
segment, the dissonant tones are absorbed into the harmonies, resulting
in ninth, eleventh, or thirteenth chords. Also contributing to the
less piquant sound of these harmonies are spacing Of the structures and
resolution of the nonharmonic tones, which function generally as tradi-
tional passing or neighboring tones. That the harmonies are usually
more clearly defined in the third segment is also partly a consequence
of the long, sustained notes in the pedal part. Unifying both segments
is constant quarter-note movement, which is found in the left hand in
the first segment and is shared between middle voices in the third.

A brief two-measure passage, which is based on the Opening notes
of the first theme, leads into the development section. The development
section, mm. 81-119, treats only material from the first-theme area.

It divides into four distinct areas as follows: mm. 81-90, mm. 90-97,
mm. 98-113, and mm. 11h-119.

In the first area Theme I1 is treated in two phases. In the first
phase, mm. 81-85, which consist Of a two-stage sequence, the first
seven notes Of Theme I1 are treated. The theme is found in the highest

voice in the manuals. In the second phase, the fourth through eighth

h8

notes of Theme I1 appear in the first and third trumpets (mm. 8h-86),
and the final seven notes of Theme 12 appear in the manuals (m. 87).
The initial four notes of the statement Of Theme 12 are imitated first
in the left hand and then in the first trombone, both at the third.

The second area of the development section is a quasi-transitional
passage. It consists of triplets in the right hand, punctuated by
chords in the left. The derivation of the triplet patterns from
Themes I1 and I2, through intervalic expansion and contraction and
melodic inversion, becomes clear from their relationship to the
triplet patterns of the next area. The triplets provide a smooth
transition into the next area of the development section, in which
they are used to accompany two statements of Theme 1‘. The triplet
pattern in mm. 98-102 is derived from a rhythmically altered and trans-
posed form of either the first six notes of Theme I1 or their inversion.
The two ideas are shown in Example 32, along with mm. 92-96 of the
previous area. The patterns in the example share the same contours,

although intervalic relationships within them Change.

Example 32-Bingham, Concerto, first movement.

a) Theme I1 (in even quarters) b) Inversion Of Theme I1

 

C) m. 98.99.

 

a

d) M“. 92-911.

"‘3 ”‘3 r--'>-1r-—'3--w "‘3‘—\1-"‘W

           

h9

The triplet patterns of the third area accompany two statements
of Theme I1, both Of which are in inversion. The first statement is
made in the first trumpet part in mm. 98-105, and the second in the
organ part in mm. 106-113. The key signature or the first statement,
however, consists of three sharps, whereas that Of the second statement
contains no sharps or flats. The harmonies that accompany the first
statement are generally minor in quality; those that accompany the
second statement are predominantly major.

In the fourth area of the development section (mm. 11h-119),
material from the last half of Theme 12 is treated in inversion. This
material is found principally in the first trumpet part, although because
the first four chords of the section are parallel triads, the theme
is initially found in all three trumpet parts. The sonorities of this
segment consist nearly entirely Of triads. The growing intensity of
this segment, a result of the entrance Of the trombones in mm. 115-116
and of increasingly higher dynamic levels, prepares for the recapitu-
lation, which begins in m. 120.

The material of the recapitulation, for the most part, corresponds
closely to that of the exposition, and occurs in nearly the same order.
In the recapitulation of the first-theme area, only the material of

2 3

Themes I1 and I is treated; Theme I does not return. Each of these

two themes receives two statements, one in the organ and one in the
brass instruments. The statement of Theme I1, which occurs in the
highest voice Of the organ part in mm. 120-131, is presented in a form
that is nearly unaltered from its original shape. The harmonies which

accompany it, however, are slightly recast. Changes in the organ part

include the addition of a pedal part, the alteration of some harmonies,

50

and the use Of six-, seven-, and eight-note chords. Creating additional
excitement are brief brass fanfares, which punctuate the organ statements.

A brief statement of Theme I1 by the first trumpet (mm. 131-13h)
is accompanied by triadic sonorities played by the other brass instruments.
This statement begins in g minor and ends in f minor, the tonality in
which the next statement begins.

The next statement of Theme 12, which closely resembles the state-
ment in the first trumpet part in mm. 13-2h, occurs in the organ part
in.mm. 135-1h6. In this statement the melody appears in the highest
voice of large chords in the organ. The trombones, in mm. 136-139,
exactly restate the material of the organ part of mm. 1h-17. In
mm. 139-1h3, the first and second trombones form a canon with the melody
of the organ. The canon occurs one measure apart at the third. This
segment, like mm. 13-2h in the exposition, begins in f minor and ends
in C major.

An inversion of the first part of Theme 12 is presented by the
first trumpet, while the other brass instruments accompany it with
triads, seventh chords, and ninth chords. The passage, cast in a homo-
phonic texture, is also largely homorhythmic.

Material from the transition returns in mm. 15h-162 in a trans-
posed (up a tritone) and slightly recast form. The transposition
counteracts the change in tonal centers from f minor to b minor, which
occurs in the exposition, and prepares for the return Of second-theme
material in f minor. The main alteration that the transition material
undergoes, other than that of tonal shift, consists of new instrumentation.
The organ presents material previously found in the brass instruments,

the trumpet choir plays what was previously played by the trombone choir,

51

and the part for snare drum is omitted.

The recapitulation of the second-theme area, mm. 163-185, consists
of a single, complete statement of the second subject. The return Of
the second subject is treated in two segments, the first of which
lasts from m. 163 to m. 170. In this segment the trombone choir pre-
sents the theme in a fashion similar to the one in which it was pre-
sented by the two trumpets and one trombone in mm. h5-52 Of the expo-
sition. The organ treatment-with a pizzicato-like bass part--in these
two passages is also similar. In the second segment Of the return of
the second theme (mm. 171-178), the theme is doubled in the first.
trumpet and in the highest voice of the organ.

The passage from m. 179 to m. 182, characterized by cross rhythms
that result from.shifted accents, is similar to the one from m. 61 to
m. 6b in the exposition. The former passage, instead of leading into
a restatement of the second theme, as the latter passage did, leads
into the coda.

The coda (mm. 185-20h) is based almost entirely on material from
the first-theme area. In mm. 185-19h four instances Of imitation
occur, in which the material of the organ part is immediately imitated
in at least one of the brass instruments. Imitation occurs at varying
intervals (the fifth, fourth, and third) and at varying distances (two,
four, and three beats). The first two imitations are based on a triplet
form of Theme I1 (similar to the pattern presented in m. 98) and the
last two on the first part Of Theme I1 in varied rhythmic patterns.

The highly colorful nature Of the organ part in mm. 192-19h results
from the chromatic mediant relationship that exists between the chords

(A, c, and A-flat) that harmonize the first theme.

52

In mm. 195-196 the brass instruments play the last half of
Theme I1 in triplets. From m. 197 to the end of the movement, the
organ presents the Opening five notes of Theme I1 three times-in a
two-stage sequence in the manuals and finally in the pedals. Against
these three statements the brass instruments state segments of the

first theme in octaves. The movement ends on a fortississimo F-major

 

chord, which is played by all the instruments.

.The second movement of the Bingham concerto, written in "Homage
to Franck," manifests many traits that characterize Franck's music.
waever, as Lorene Banta wrote in review of an all-Bingham concert,
“The second movement, entitled 'Slow' (Homage to Franck), while perhaps
Franckian in spirit, is entirely of the present day; it was meditative,
expressive, with lovely melancholy themes and harmonic invention,
and with Brass instruments introduced most graciously and played
artistically."3

The second movement is cast in a well-proportioned A B A B form,

the formal divisions of which are shown below:

 

Section Measures Length of Section
Introduction mm. 205-207 3 measures
A mm. 208-236 29 measures
B mm. 236-26h 29 measures
A mm. 265-286 22 measures
B mm. 287-310 2h measures
Coda mm. 311-318 8 measures

The first Section A consists of two statements of Theme A (see
Example 33). The first statement appears in mm. 208-220 in the first

trombone. Theme A manifests many characteristics that are associated

 

3Lorene Banta, review of an all-Bingham concert, The American
Organist, August, 1965, p. 12.

53

with Cesar Franck's music. The long, cantabile sweep is the sum of
several (three) short phrases. Each of the first two phrases contains
a pivot note (the first, A, and the second, B) around which the rest

Of the notes undulate. The second phrase begins as a sequence of the
first one, and, despite several melodic alterations, retains the
overall arch-shaped contour of the first phrase. The second and third
phrases contain modulations between keys which are a third apart--a
relationship common in Franck's music--the former from e to c minor and
the latter from f to a minor. The range of the first two phrases is a
minor sixth, and the melodic movement within them is by second or third.
Not until the third phrase does a leap as large as a perfect fourth

occur. Unifying the phrases to an even greater extent is Motive A,

the rhythmic pattern (J J3 I J ) that begins each phrase.

Example 33--Bingham, Concerto, second movement, mm. 208-220.

/_*\

   
 

 

 

In mm. 220-236, Theme A is restated by the organ. The first eight
measures are presented in unaltered form, except for one pitch. The
last portion Of the theme, however, is transposed up a tritone, presented
in a slightly varied from, and extended five measures.

Section B of the second movement, mm. 236-26h, like Section A,

Opens with a long, cantabile melody. The melody, Theme B, is presented

5A

in the highest voice of the trombone choir. Running counter to Theme B
are parallel thirds and sixths in the organ part. Motive A, which
appears three times in the melody, provides motivic unity between the
material Of this and the previous section. After a brief three-measure
interlude, the final three measures of Theme B are restated once by the
first trumpet (mm. 255-257) and yet a second time by the organ

(mm. 258-260).

This final restatement continues and serves as a link to the return
Of Section A. The link is characterized by a descending melodic contour
in the right hand and a countermelody, which pivots around F-sharp and
utilizes MOtive A, in the left hand. The link modulates from f-sharp
minor to a minor, the tonal level of the return of Section A.

The return of material from Section A, which begins in m. 265, is
treated canonically. The lead voice, which is presented in the first
trumpet, restates exactly the trombone melody Of mm. 208-220, except
for the final two notes. The second voice, presented in the first
trombone, enters one measure after the first voice and imitates it at
the octave. The canonic imitation between the first trumpet and the
first trombone continues until m. 283, where it is abandoned at the
climax of this section in favor of unison treatment with the two voices.
The final four measures of the melody are completed in the first trumpet
part.

Throughout the entire section, the organ provides harmonic support
for the canon with a nearly constant flow of eighths. The section
begins with a four-part texture in the organ part, a texture which
increases to five, six, and even seven parts (with melodic doubling)

from m. 279 to m. 28h, before it decreases to the original scheme of

55

four voices. The harmonies supplied by the organ, although similar to
those Of the previous statement of Theme A, are by no means exact with

them. Two passages that accompany the same melody are shown in

Ebtample 3h .

Example 3h--Bingham, Concerto, second movement.

 

b) Mn. 273-277 .

 

The restatement of material from Section B occurs in mm. 286-310.
What was originally stated by the brass choir now appears in the organ
part. Theme B, which returns in mm. 286-299 in the organ, is transposed
up a perfect fourth. The melody begins in the highest voice of four-
note chords in the organ, the first two notes of which are in triple

diminution. In m. 29h the melody shifts to the left hand and becomes

56

the highest voice of three-note chords. The right hand provides an
accompaniment to it, which is based extensively on parallel thirds.
Against this statement, the top two trumpets present short, sporadic
interjections that are based on MOtive A in thirds.

In mm. 301-310 the material Of mm. 25h-263 returns. The top three
brass parts return nearly exactly, although transposed up a step and
a half; the highest trombone doubles the melody; and the organ part,
also transposed, presents material which is almost the same as that
stated in the previous Section B. In m. 305 the first trumpet and
first trombone have the melody, which was originally played by the left
hand in.m. 258. This second phrase Of the melody begins with a change
of mode in the accompaniment, from A major to a minor, in the same
fashion that the first statement began with a change of mode from
F-sharp major to f-sharp minor. The right hand retains nearly the same
harmonies, whereas the left hand presents a running eighth-note pattern
counter to it.

The coda, mm. 311-318, is based on imitative treatment of Mbtive A.
An F-sharp major chord is built out Of successive entries Of the three
trumpets. Above this sonority is played a c-sharp minor chord in the
organ, which uses the rhythmic pattern of MOtive A. The F-sharp chord
progresses to an A-major chord (a chromatic mediant relationship),
while the organ holds the c-sharp minor chord. The final chord of
the movement is a c-sharp/A chord, which, because Of Spacing and regis-
tration, sounds like an A major-major seventh chord.

The most interesting and colorful element of the movement is
harmony. The movement, which is definitely tonal, centers on the

tonality of A. Three of the four sections begin and end in A.

57

(The only exception is the return of Section B in mm. 286-300, which
centers on d.) What occurs between the beginnings and endings of the
sections, however, is not always so easy to define. Tonalities are
frequently obscured by altered nonharmonic tones, secondary dominants,
such highly colorful chords as augmented sixths and chromatic mediants,
fleeting tonicizations, and nonfunctional chord progressions. Several
passages that contain some typical harmonic progressions are shown

in Examples 35-39 .

Example 35--Bingham, Concerto, second movement, mm. 212-217.

    

a? r

In Example 35, the harmonies that occur in the first ten beats
progress in a fairly straightforward manner; color results chiefly
from the use Of altered passing tones and minor dominants. On beats
eleven and twelve, however, the direction of the progression becomes
rather ambiguous. During the eleventh beat, the fifth of the sonority,
which is an f-minor chord enharmonically spelled, falls a semitone, and
in so doing creates an incomplete diminished seventh chord (or a complete
diminished triad). The seventh of this chord also falls a semitone,
and the resultant sonority is an (incomplete) major-minor seventh chord
built on E. This chord, which could readily be used to return to a minor,
instead resolves rather unexpectedly to a D-flat major chord in first

inversion. The D-flat chord, in turn, resolves to an f-minor chord, which

58

becomes the tonic of the new tonality. The E-major chord has, enhar-
monically, a chromatic mediant relationship with the D-flat major chord
which follows it. This relationship is frequently exploited throughout

the rest Of the movement. Other passages in which it occurs are shown

in Example 36.

Example 36--Bingham, Concerto, second movement.

a) M. 229. b) m. 263-26h c)'M. 289 d) Mm. 296-297

 

In Example 37 is presented the restatement of the passage which
occurs shortly after that shown in Example 35. The melody of the
statement stands unaltered, except for octave transposition, although

the harmonies that accompany it have been substantially rewritten.

Example 37--Bingham, Concerto, second movement, mm. 22h-229.

 

59

This passage contains three augmented sixth chords (chords number
five, nine, and twelve). Such chords, like chromatic mediants, occur
Often in the movement and impart a degree of tonal ambiguity to the
harmony. They are frequently approached with chromatic movement in
one of the voices, and they Often appear in inversion and resolve

irregularly. Other instances Of German sixth chords (G6) are shown

in Example 38 .

Example 38--Bingham, Concerto, second movement.

a) Mm. 235-236. b) Mm. 285-286.

 

a: 6‘ it" A 6v- C‘ 5‘ ‘3‘)

One other harmonic procedure that imparts color to the movement is
change of mode between the end Of one phrase and the beginning of the

next. Two instances of this practice are shown in Example 39.

60

Example 39--Bingham, Concerto, second movement.

a) Mm. 223-22h. b) Mm. 257-258.

m?

 

The final movement of the Bingham concerto, although like a
scherzo in nature, is cast in sonata-allegro form. The movement, which
is designated "lively and lilting" and presented in an almost rollicking
six-eight meter, has the following formal outline:

Exposition . . . . . . . . . . . . . mm. 319-hhh

First-theme area. I : : Z : : I . mm. 319-378
Transition. . . . . . . . . . . . mm. 379-382
Second-theme area . . . . . . . . mm. 383-hhh

. . . . mm. hhh-h83
. . . . . . mm. h8h-577

Development. . . . . .

Recapitulation . . . .

unnameum.332333.3m.wmns
Transition. . . . . . . . . . . . mm. 5h5-5h9
Second-theme area . . . . . . . . mm. 550-577

Coda . . . . . . . . . . . . . . . . . . . . . . . mm. 578-635

The exposition of the first-theme area consists of the presentation
of five different themes, several of which are closely related. The
initial occurrence of these themes in the exposition is shown in

Example to.

61

Example h0--Bingham, Concerto, third movement.

a) Theme I1, mm. 319-321.

    

1, I_ 1.1 l. 1:;
Hahn. 9 Moth". B

b) Theme 12, mm. 323-327.

3 .. 1.‘

   
 

c) Theme 13, mm. 33h-336.

 

d) Theme 1h, mm. 338-3h2.

 

 

Moth» C.
e) Theme Is, mm. 356-359.

 

62

Theme I1, which is characterized by a gigue rhythm, is presented
in the second trumpet part at the outset of the movement and is imitated
at the fifth in the first trumpet two measures later. Theme I1 divides
into two parts, MOtive A and Motive B, both of which play an important
role later in the movement.

Theme 12, which consists Of constant staccato eighths, first appears
in mm. 323-327 in the organ part. The first statement is metrically
reinforced by single notes in the lower staff for the manuals. The
theme is immediately restated a perfect fifth higher, and the pattern
which forms the last part of it is extended for several measures. The
second statement of Theme 12 is accompanied by two- and three-note
sonorities in the left hand, by sustained notes in the pedal, and by
two-note sonorities in the first and second trumpets. Two Of the

harmonic structures in m. 331 form French sixths (see Example h1).

Example h1--Bingham, Concerto, third movement, m. 331.

 

In mm. 33h-335 two new ideas are presented: Theme 13 and MOtive C.

3

Theme I , a continuous staccato eighth-note pattern, is presented in all

three trumpets simultaneously in a series of parallel root-position

3 is immediately

triads. Transposed down a perfect fourth, Theme I
restated by the trombone choir and again accompanied by MOtive C in

the organ part. In mm. 338-3h2 variants of these staccato-chord passages

63

are presented above an expanded version of MOtive C, which, because Of
its length, is designated Theme Ih. Theme I14 is presented in octaves
in the first and third trumpets.

In mm. 3&7-350 Theme 12 is presented in the highest notes of
the organ part. It is accompanied by three-note chords in the trombones.
In mm. 350-352 Theme I1 is brought back and is treated in canonic
imitation between the first and third trumpets. Theme I1 is restated
at the same pitch level by the trombones in unison in mm. 352-35h, and
then by the organ, transposed up a step, in mm. 35h-355. The statement
by the trumpets and trombones in mm. 352-35h is accompanied by Theme Ih

in the organ.

In mm. 356-359 Theme I5

is introduced in octaves in four Of the
brass instruments. Although possessing similarities to several of the
other themes, Theme Is, because of the rhythmic variety and lyric
qualities that it manifests, seems to have a distinctly different nature
from those of the other themes.

5

Theme I provides the material for the rest of the exposition of

the first-theme area. After the initial statement Theme Is

is immedi-
ately restated in octaves at a different tonal level (transposed down

a sixth). Both statements are punctuated by multi-note chords-tertian
sonorities with occasional added fourths--in the organ. In mm. 36h-367

a variant of Theme I5 is presented in the first trumpet, while the organ
has sustained chords. This passage leads into a freely lmitative section
(mm. 367-375), which is based on Theme IS. In this section a descending
5

scale pattern, which is used to complete Theme I , is introduced. In
mm. 372-375 Theme I5 is presented in inversion in the first trombone

part.

6h

Measures 379-382 constitute a brief transition into the second-
theme area. The organ part is based on a toccata figuration in which
intervals are alternated between the hands. Most of the sonorities
are perfect fourths. The trumpets have Open-fifth or octave sonorities
which punctuate the organ figurations on off-beats.

The second-theme area consists of two statements of a six-phrase
chorale-like passage, the first one presented by the brass choir and
the second, by the organ. The material of the second-theme area highly
contrasts with that of the first-theme area in the: vocal nature of
the individual lines and the choral nature of the passage as a whole;
homophonic texture and nearly homorhythmic movement Of the passage;
single, unvarying texture of the complete statement; frequent use Of
duplets; and constant legato articulation.

The vocal nature of the second-theme area results largely from the
use Of clear-cut phrases, each of which is characterized by limited
range and predominantly conjunct movement. The rhythmic movement within
the melodic line is, for the most part, by dotted quarter note; long
note values occur at the end of each phrase. The first phrase of the
second-theme area and the immediate restatement, as the second phrase,
are shown in Example AZ. The third phrase, which is intervalically

similar to Motive B, is shown in Example h3.

Example h2--Bingham, Concerto, third movement, mm. 383-391.

 

65

Example h3--Bingham, Concerto, third movement.

a) Third phrase, mm. 391-39h.

 

b) MOtive B

 

The first six-phrase statement of the second-theme area begins in
a minor, modulates! through the closely-related keys of C major and
G major, and ends in A major. For the most part, the harmonies are
functional tertian sonorities, especially triads and seventh chords.
ApprOximately one-third Of the passage is harmonized by seventh chords.

A harmonic reduction of the first phrase is shown in Ekample M4.

Example hip-Bingham, Concerto, third movement, mm. 383-387.

 

66

The harmonic progression of the fifth phrase is especially colorful
because it involves four consecutive major chords. Two of these chords,
the D-major and F-major triads, although separated by a third chord,
create a striking effect because of the chromatic mediant relationship.

The harmonies of the passage are shown in Example h5.

Example h5--Bingham, Concerto, third movement, mm. 399-h0h.

 

In mm. h11-h12 a brief interlude, which is based on Theme IS,

separates the two statements in the second-theme area. The second
statement occurs at a tonal level a perfect fourth higher than that of
the original statement. The material of this statement is presented

in the organ at a much higher dynamic level, £2532 and fortissimo,

in six- and seven-note chords. The second theme appears in the highest
voice of these chords. The harmonies which accompany the statement,
although occasionally slightly varied, are nearly the same as those

which accompanied the first statement. The duplet, however, which

occurs in nearly every beat in the organ, becomes an important device
which unifies and distinguishes this section. Covering the seams between
phrases is material which is drawn from the first-theme area and presented

in the brass instruments. This linking material in mm. h16-h18 is based

67

1

on Theme I ; in mm. h22-h2h on Theme I2; in mm. h31-h3h on Theme IS;

and in.mm. h37-h39 on Theme 13.

In.mm. hhS-hh6 three imitative statements, which are based on the
Opening three notes Of Theme 12, lead into the development section.
The development section, mm. h1h-h83, is based entirely on material
from the first-theme area and falls into four segments: mm. hh7-h50,
mm. h51-h6h, mm. h65-h80, and mm. h80-h83.

The first of these segments employs imitation between the first
trumpet, organ, and second trumpet. The imitation, based on Theme 12,
is treated freely at the second and third.

The second segment of the development section consists of three

successive statements of material from the first-theme area: Theme I1

5

in the first and second trombones, Theme I

5

in augmentation in the
first trumpet, and Theme I in octaves in the two trombones. Accompa-
nying these statements, in the organ, is a broken-chord figuration

based on the pattern shown in Example h6. The figuration consists of

a conjunct three-note pattern in the left hand, the notes Of which
alternate with two-note sonorities in the right hand. Each beat usually
comprises a tertian sonority. For the duration Of the second segment,

although it is not indicated, the meter for the brass instruments is

changed from.six-eight to three-fOur.

Example h6-Bingham, Concerto, third movement, mm. h51-h52.

 

68

At the beginning of the third segment of the development section,
the meter returns to six-eight. This segment, like the first one,
treats material from the first-theme area in an imitative fashion.

5

In mm. h65-h68 material based on Theme I is treated imitatively in

the organ part. This passage is followed by material based on Theme I1
and presented by the second trumpet. A brief six-note descending scale
passage, reminiscent of the material presented in m. 368, leads into
another section based on the imitative treatment of Theme IS. This
passage is followed by a statement of material Of Theme I1 in.mm. h77-h80.
Theme I1 is imitated at the fifth in inversion. The six-note scale
pattern returns in the organ and is imitated in the first trumpet.

The pattern is extended into a twelve-note scale which leads into the
recapitulation.

‘ In the recapitulation, the material of the first-theme area returns
in considerably varied form. Some of the material returns at a new
tonal level, some in inversion or in rearranged order, and some with
new or varied accompaniments. Theme I1, which is unaccompanied in the
exposition, returns in the recapitulation accompanied by the organ with
short, syncopated countermelody over a pedal point F. The first state-
ment of Theme 12, also presented unaccompanied in the exposition, is
doubled by the first trumpet. The second phrase, however, is presented
in almost the same form that it was in the exposition. The cadence in
m. 501 (on ”A") is at the same tonal level as the one in ms 33b.

The material of mm. 501-509, which resembles that of mm. 33h-3h2,
returns at varying tonal levels, which differ from the original ones.
The material Of mm. 501-502 is transposed up a perfect fifth, that of

mm. 503-50h up a perfect fourth, and that of mm. 505-508 up a minor

69

third. The second statement of Theme 12’4 appears in inversion. The
material is re-instrumented, however, and is presented in the first

and second trumpet parts. The organ accompanies it with an inversion

of Theme I1 .

Material based on Theme 13 is treated imitatively in mm. 513-516
in the organ and is accompanied by an inversion of Motive A in the
brass instrmments. In mm. 517-521 the first phrase of the second theme
appears in the pedal. It is accompanied in the manual parts with a
motive based on the beginning of Theme Is. In mm. 521-52h the third
phrase of the second theme returns, and in.mm. 525-529 the fourth phrase,
in inversion, returns. The accompaniment of the statement of the fourth
phrase consists of double thirds. The melodic movement in thirds is
based on a six-note scale pattern. Theme I11 is treated in imitation
between the trumpets and trombones (at the octave in mm. 530-532),
between all the trumpets and organ (mm. 535-537), and among various
instruments (mm. 5h0-5h2).

The toccata figuration which characterizes the transition returns
again in the organ in m. 5&5. In.mm. 5h5-5h9 this figuration accom-
panies a statement of the first and third phrases of the second-theme
area in diminution. This passage anticipates the return of the second-
theme, which occurs in.mm. 550-577.

In the recapitulation of the second-theme area, which centers in
f minor, the phrases return in the original order. Each phrase is
first stated by three trumpets and the third trombone in octaves and

then repeated canonically two measures later by the first and second

trombones. The intervals of the canon vary from phrase to phrase.

7O

Accompanying each of the phrases is a toccata figuration on an organ
manual and sustained notes in the pedal.

The passage from m. 578 to the end of the concerto constitutes a
coda. In it are united all the materials of the movement. In mm. 580-590
the first, third, and fourth phrases of the second theme are presented
in diminution in the first trumpet, while the other brass instruments
provide harmonic background. The first and third phrases are separated
by an unaccompanied melody in the organ, which resembles the Opening
four notes of Theme IS. In mm. 592-596 Theme 13 returns in the organ
as the highest voice of crashing fortississimo chords. The pedal
accompanies it with duplets, a treatment reminiscent of the one received
by the pedal in mm. h13-hhh. Against the crashing chords and duplets
runs a countermelody, which is based on a variant of Theme IS.

In mm. 597-606 an augmented version of Theme 12 is presented in
the first and second trombones and in the left hand. The right hand has
off-beat chords, which, along with the left hand and pedal, form seventh
and ninth chords. In m. 597 the meter shifts to triple meter and remains
that, except in mm. 625-630, to the end of the movement.

A short interlude (mm. 606-612), which is based on Motive B, leads
into the final segment of the concerto. In mm. 613-615 the pedal pre-
sents Motive B in augmentation. This passage is immediately restated
in the first trumpet up a fifth. In mm. 616-621 Theme 12 is presented
in the pedals, again in augmentation, and accompanied by the toccata
figurations of previous passages. In mm. 621-62h Theme I1 is presented
in augmentation in the trombones against Theme 12 in the highest voice

of three-part chords in the trumpet choir. Theme I1 appears in the first

71

and second trumpets in mm. 625-628. At the same time, the first and
second trombones have a theme that is a combination of the opening
notes of Theme Ib and the closing notes of Theme IS, and the organ has
sequential treatment of Theme IS. In mm. 631-633 the upper four brass

instruments have the closing notes of Motive B. The concerto closes

on an F-major chord, played by all instruments.

CHAPTER IV

CONCERTO FOR ORGAN AND BRASSES BY NORMAND LOCKWOOD

Nbrmand Lockwood, whose eclectic style of composition was exten-
sively influenced by his studies abroad with several famous musicians,
began his musical training in the United States. Lockwood, who was
born in New Ybrk City on March 19, 1906, attended the University of
Michigan from 1921 to 192k. He then travelled to France, where he
studied with Nadia Boulanger from 1926 to 1928 and in 1932. The period
from 1929 to 1932 he spent studying orchestration under Ottorino Respighi
in Rome, where he was awarded the Prix de Home by the American Academy
there. From 1932, when he returned to the United States, until 19h2,
when he received a Guggenheim Fellowship to study in EurOpe, Lockwood
taught at Oberlin College. When he returned from.his European studies
in 19h5, he was appointed to the music faculty at Columbia University
and at the School of Sacred Music of Union Theological Seminary. Since
1953 he has held numerous appointments, some of which were Chairman of
Trinity Department of Music, San Antonio, Texas, and member of the
faculty at the University of Wyoming, the University of Hawaii, and the
University of Denver.

Lockwood's eclecticism encompasses a wide range of styles, including
those based on harmonic practices of the Common Practice Period (in
the anthem Joyful, Joyful, We Adore Thee) and the compositional techniques
of the dodecaphonic schools (in the large choral work, Prairie, mm. 62-75).
It includes highly chromatic writing (in the second movement of the

Concerto for Organ and Brasses) and strictly diatonic writing (in Twenty-
72

73

third Psalm); the use of quartal sonorities (I Will Give Thanks with
All My Heart, mm. 18-2h) and polychords (“Abide with Us," the fifth
section of Choreographic Cantata); and the employment of traditional
scales (Jesus, 0 Precious Name) and synthetic scales (“Sound the

Cymbal,” the first section of Choreographic Cantata).

 

But perhaps one of the most distinctive aspects of Lockwood's
music results not so much from the materials themselves, as from the
way in which they are manipulated to yield lean, transparent textures-
largely a product of the linear emphasis and frequent melodic doublings,
especially at the octave, which characterize much of his music. George
Lynn, composer and conductor, in an article entitled "Normand Lockwood
and Choral Music,” describes Lockwood's use of texture in his compositions:

This textural search is evident in an early little “bicinium”
for sopranos and altos, Song of an Old Fisherman, written in the.
late Thirties. The composer employs the syllable "La" in place
of words, using it in careful slurring to avoid breaking up the
music and to point up the rocking of the boat. Throughout there
is a procedure of juxtaposing 3/h and 2/h and imposing one on the
other to give a.most natural flow rather than any sense of metered
beats. In this we find an indication of the kind of textural search
that has been, is and will be his bent-to give the auditor clarity
of program.through sublimation of texture and subordination of other
compositional principles.1

Lockwood's use of instruments, like his use of texture, is frequently
fresh and imaginative--perhaps because Lockwood, himself, is not a per-
fOrming musician. As Lynn states in the same article:

NOrmand Lockwood is not a ”performing" musician. His instru-

ment is the one for which he is writing at the moment. He chooses
to exploit the expressive capacities of the given instrument and

not its technical limitations. More often than not this approach
gives the instrument a fresh excursion rather than just one more

 

1George Lynn, "Normand Lockwood and Choral Music," American
Composers Alliance, VI (1957), 3.

7h

virtuosic aridity to contend with. The absence of technical per-
forming ability on the part of the composer does not preclude lack
of information and might preclude an idiomatic enslavement.2

Although Lockwood has composed for a wide variety of musical media,
most of his works are either chamber, choral, or vocal music. He
has composed one opera, The Scarecrow, several orchestral works, many
chamber works and choral selections, but only a few works involving the
organ--the chief of which is the Concerto for Organ and Brasses, scored
for organ, two trumpets in B-flat, and two trombones.

The concerto, commissioned for the tenth anniversary of the organ
concert broadcasting of E. Power Biggs, was first published in 1953.
Its nature seems to be highly affected by the performance philosophy
which underlies most of his compositions--that music should be very
practical and readily playable. As John McDowell states:

He (Lockwood) has no sympathy for the composer whose works

must be withdrawn from performance because of difficulties re-
quiring inordinate rehearsal time. In the case of an orchestral
piece, whether it is being played by a school group or the Boston
Symphony, the rehearsal time will be very limited and the composer
should do everything possible (particularly in matters of notation)
to cut difficulties to the minimum. Otherwise the result can only
be a bad performance or no performance at all. A refusal to face
the realistic facts of concert or recording studio is tantamount
to expecting a solo flute to be heard on middle 0 when accompanied
by a large brass ensemble. He feels that a pgece must be written
so that it will "sound" at the first reading.

That Lockwood does not seek to write virtuoso music accounts for

two rather unexpected characteristics of the concerto: the moderate

difficulty of the individual instrumental parts, especially the organ,

 

gLynn, p. 3.

John McDowell, "A Note on Some Facets of Normand Lockwood's
Music," American Composers Alliance, VI (1957), 8.

75

and the facility with which they can combine successfully. The
relatively undemanding nature of the organ part is, in large part, a
consequence of the lean texture of the music, rather uncomplicated
interactions between manuals and pedals, and moderate tempi. In the
entire concerto, only two rhythmic complexities are used: polyrhythm
(four notes against three) in mm. 228-229 and mm. 313-31h and polymeter
(which results from an ostinato pattern that does not coincide with

the beat) in mm. 63-69.

Eschewing the flamboyant and protean temperament of the Elmore
concerto, the Lockwood concerto maintains a relatively even and con-
sistent nature throughout large sections of each movement. The whole
concerto contains only four time signatures and calls for few tempo
alterations. The registration and manual changes, broadly indicated
in the score, imply a realization similar to the Baroque tradition
of terraced dynamics and infrequent registration changes. The dynamics,
ranging from.pp to ff, for the most part lie on the louder side,
especially 3: and £1}

The fairly high tessitura of all the instrumental parts, particu-
larly that of the organ, imparts a degree of brilliance to the concerto.
For example, in nearly one-half of the first movement, in the entire
second movement, and in the last part of the third.movement, the lower
staff of the manual part employs the treble clef.

Because the Lockwood concerto is scored for only two trumpets and
two trombones, in addition to the organ, the number of different possible
combinations of brass instruments totals only nine, significantly fewer
than the sixteen combinations possible in the Elmore and Bingham concerti.

But attenuating the instrumental color even more is the almost exclusive

76

use of the brass in one of three ways: 1) singly, as solo instruments

(e. g., mm. 127-138); 2) in pairs with octave doublings (e. g.,

mm. 23-30 and 56-8h); and 3) in a four-part texture, which is either

chordal (e. g., mm. 8-11 and 35h-363) or imitative (e. g., mm. 15-18,

238-2h0, and 295-300). The brass parts, which rarely engage in either

motivic exchanges or statement-response interplays with the organ part,

are usually treated as an independent unit. In fact, except for short,

imitative sections, the brass instruments seldom play independently from

each other; the only extensive passage for solo instruments occurs in

the second movement. Most frequently the brass instruments double

the melody in octaves, while the organ assumes an accompanimental role.
The Lockwood concerto differs significantly from the concerti of

Eamore and Bingham in three respects besides instrumental usage:

1) extensive use of a synthetic scale of alternate whole and half

steps (in the first and last movements); 2) contrapuntal conception

and consequent linear emphasis; and 3) use of form. The Concerto for

Organ and Brasses can aptly be called the "concerto of the minor third."

Based on a synthetic scale of alternate whole and half steps, called

the symmetrical scale by Vincent Persichettih and the Second Mode of

Limited Transpositions by Olivier Messiaen,S the outer two movements

of this three-movement work utilize the interval of a minor third (or

augmented second) or its two constituent parts-the whole and half step--

nearly exclusively. (The middle movement derives the bulk of its

material from the chromatic scale.)

 

hVincent Persichetti, Twentieth-Century Harmony (New York, 1961),

pohh
sOlivier Messiaen, The Technique of My Musical Language (Paris,
1956), pp. 59-60.

77

The symmetrical scale, which divides into four intervalically-
identical groups of three notes each, can exist at only three different
tonal levels. All other transpositions yield only enharmonic dupli-

cations of one of these forms (see Example h7).

Ekample h7-The symmetrical scale.

a) Symmetrical Scale

 

.9

b) First transposition

 

c) Second transposition

 

The melodic movement of all the voices in all three movements of
the concerto is predominantly conjunct, except in those passages that
are specifically based either on octave displacement of the final note
of a.mordent-like figuration (see Example h8) or on the subject of the

third movement.

Ekemple h8--Lockwood, Concerto, first movement, m. 57.

 

78

Harmonic structures which can be built from a single transposition
of the synthetic scale include chords that are secundal, tertian, quartal,

and quintal; added-note chords; and polychords (see Example h9).

Example h9-Harmonic structures.

b

 

The harmonic structures of the Lockwood concerto, for the most
part, exploit the tertian aspects of the scale--sometimes with enharmonic
spellings-to form: triads, particularly diminished and.minor; seventh
chords, particularly full diminished and diminished-majoré; ninth
chords, particularly diminished-diminished-minor; added-note chords;

and polychords. One passage which includes such chords is presented
in Example 50.

Example 50--Lockwood, Concerto, first movement, mm. 8-11.

10.3”: 6": Sqwu \a\3\~|

 

 

6The diminished-major seventh chord is not generally recognized as

one of the seven standard seventh chords, because it is not completely
tertian. This term, however, seems to describe very accurately the
aural impression created by some of the chords in the concerto-
especially because of their spacing-and thus will be employed as

a designation for them (e. g., chord number nine of Example 50).

79

O

In chords number seven and eight of Example 50, a tritone (plus
one octave) separates the two minor thirds which together from fully
diminished seventh chords. This focus on the tritone relationship
between elements of harmonic structures is frequently apparent in the
first movement of the concerto. This relationship also appears in
mm. 26-27 (see Example 51 in chords number two, three, and four) and
in mm. 69-8h between the two components of a polychord (see Example 52).
In mm. 229-238 of the third movement it occurs between two voices (see

Example 53).

Ekample 51--Lockwood, Concerto, first movement, mm. 26-27.

 

Example 52--Lockwood, Concerto, first movement, mm. 69-70.

h

 

80

Example 53-Lockwood, Concerto, third movement, mm. 229-232.

M

    

In chord number fourteen of Example 50, the added-note character
of the structure (doubly inflected third) predominates. The technique
of splitting one member of a triad is also used in the first chord of
Example 51, the second chord of Example 52, and in those chords marked

by a star in Example 5h.

Example 5h--Lockwood, Concerto, third movement, mm. 278-28h.

 

Occasionally the quartal potentialities of the scale are exploited.
The passage shown in Example 55 is based entirely on a single vertical
structure, which appears on consecutive degrees of the ascending scale.
This structure, a mirror sonority, consists of a perfect fourth, an
augmented fourth, and another perfect fourth (two perfect fourths,

the lower tones of which are a major seventh apart).

81

Example 55--Lockwood, Concerto, third movement, mm. 323-328.

/ 53

 

The first movement of the concerto is cast in three-part form
(A B A) and is based almost entirely on four musical ideas: 1) the
Scale Theme, 2) Motive A, 3) the Main Theme, and h) the Counter Theme.
Undoubtedly the most important of these building blocks is the synthetic
scale itself, which, because of its permeation of the composition as a
separate, distinguishable entity and because of its length, is designated
the Scale Theme. This theme, which is presented initially in the

pedals in mm. 1-8, assumes myriad shapes, some of which become highly

stylized (see Example 56).

Example 56--Lockwood, Concerto, first movement.

a) Mm. 1-h.

 

b) Mm. 50.51.

 

7

c) Mm. 63-6h.

 

82

Motive A, the figure which opens the movement in the manuals,
resembles a mordent. Like the Scale Theme, it is manipulated exten-
sively. Motive A, accompanied by an ornamented form of the scale in
the pedals, is gradually augmented and rhythmically varied in each of

five restatements which occur in the first seven measures (see Example 57).

Example 57--Lockwood, Concerto, first movement, mm. 1-8.

 

Between measures 15 and 19 Motive A is treated imitatively.
Successive entries of it appear in diminution in the brass parts and in
augmentation in the organ part. Altogether it appears twenty-two times--
four in the organ, nine in the trumpets, and nine in the trombones

(see Example 58).

83

Example 58--Lockwood, Concerto, first movement, mm. 15-19.

 

 

The next important idea to be introduced (in mm. 8-11) is the

melody of the chorale-like statement, which is termed "Main Theme"
because of the significant role it plays in the evolution of the move-
ment. The Main Theme is characterized by a definite minor flavor,
completely conjunct motion, a small compass (augmented fourth), and

a simple rhythmic pattern, except for the occasional fanfares on its
opening notes. Some of the various shapes which this melody assumes

are shown in Example 59.

8h

Example 59--Lockwood, Concerto, first movement.

 
  

mm.“'1‘é"

 
 
  

 

MC“. 13. 4°.

 

A) H50“. 5". 5‘. ' A 1 '

    

 

 

 

 

 

 

 

 

 

o ' l

) mn.LO‘ ‘10 ' ' ’ I
e n A I A - c1 u 1 l
1 I 1 "i I TL Y .
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The Counter Theme is first presented in mm. h5-h9. This idea,

although manifesting rhythmic characteristics of Motive A (especially

in mm. h5-h7) and melodic similarities to the Scale Theme (in mm. h7—h9),
assumes an importance all its own (see Example 60). It is initially
presented in the organ part as contrasting material--an episode

between statements of the Main Theme. Through most of the remainder

of the movement, however, it functions as accompanimental material for

85

the Main Theme, and hence is designated "Counter Theme." Elimination
of octave displacements within the first part of the Counter Theme
would reveal a pronounced emphasis on the interval of the minor third.
This displacement, however, is the germinal idea from which the figure

of m. 57 develops (see Example 61).

Example 60--Lockwood, Concerto, first movement, mm. h5-h9.

 

 

 

 

##poco re",
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Example 61--Lockwood, Concerto, first movement, m. 57.

 

 

 

 

 

 

 

This figure, in turn, is the basis for an ostinato which lasts
from m. 63 to m. 69 and recurs sporadically from m. 91 to m. 102

(see Example 62).

Example 62--Lockwood, Concerto, first movement, mm. 63-6h.

 

86

From these four distinct, yet closely related, musical ideas is
derived the thematic material of the entire movement. The most impor-
tant aspect of the movement is not the motives themselves, however,
but the way in which they are manipulated, combined, and juxtaposed to
yield an intricate, complex, contrapuntal texture. In many instances,
such as those shown in Examples 58 and 63, the vertical sonorities
are merely an incidental result of the coincidence of contrapuntal

lines.

Example 63--Lockwood, Concerto, first movement, mm. 108-109.

 

87

Such devices as imitation (mm. 15-18), canonic imitation (mm. 8&-
87), canonic imitation in diminution (mm. 106-111), ostinato, and pedal
point abound. Mbst of the non-canonic imitation occurs at the interval
of the second; the canonic imitation usually occurs at the octave.
Because of the central role which these devices play in the unfolding
of the movement, they will be discussed in greater detail later.

The first movement divides into sections having a large A B A
relationship, a relationship which is determined not only by the use
of themes, but perhaps more directly by the employment of transpositions

of the symmetrical scale. The sections divide as follows:

 

Section Measure Length Transposition of Scale
A 1-3h 33 mm. First (on C)
B 3h-8h 50 mm. Second (on D-flat); also
' Third (on D) and First (on C)
A 8h-11h 30 mm. First (on C)

Table 3 illustrates the use of the various transpositions of the

scale in the first movement.

Table 3-Transpositions of the symmetrical scale.

First Transposition (on C) .....
Second Transposition (on D-flat) ----
Third Transposition (on D) xxxxx

Measure
1 S 10 15 20 25 30 35 ho us 50
Brass .......................................xxxxxxxxxxxxxxxxxxxx

Manuals .......................................xxxxxxxxxxxxxxxxxxxx
Pedals .......................................xxxxxxxxxxxxxxxxxxxx

51 55 6O 65 70 75 80 85 90 95 100
Brass xxxxxxxxxxxxxxxxxxxxxxxxxxx........--....................
Manuals xxxxxxxxxxxxx—— xx........................
Pedals xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx ........

 

 

101 105 110 11h
Brass --................
Manuals ....................
Pedals ....................

88

The unfolding of the first movement centers around statements
of the Main Theme, which appear in transposed and slightly varied forms.
The changed forms are presented at first in alternation with counter
material and then in conjunction with it. Based on this format,
Section A (mm. 1-3h) opens with the presentation of Motive A in the
manuals and of the Scale Theme in the pedals. In mm. 8-12 the Main
Theme, which centers on C, is presented by the brass instruments in a
chorale-like texture (see Example 50). A digression (mm. 12-19), which,
like the introduction to the movement, treats Motive A imitatively,
precedes a second statement of the Main Theme in mm. 19-22. This
second statement, presented in the organ part, centers on A. It is
immediately restated at this tonal level by the brass instruments in
octaves, accompanied by the organ with about the same harmonies. A
second phrase is presented in the brass and is accompanied by Mbtive A
in the pedals and by an ornamented version of the rising scale pattern
in the manuals. The appearance of the scale pattern above Motive A
produces a rather free type of invertible counterpoint with the material
of the introduction. This section closes with a final statement of the
Main Theme in the manuals and of Motive A in the pedals. ‘The initial
statement of the Main Theme stresses C_through repetition; the second
statement (and its immediate restatement), A; the end of the third,
F-sharp (in the pedals); and the final one, E-flat. These four emphasized
tones outline a fully diminished seventh chord, which underscores the
importance of the minor third in this work.

Section B (mm. 3h-8h) has a format similar to that of Section A.
Section B consists of the introduction of new material and of its

subsequent combination with the Main Theme. In addition, this section

89

includes a short transition (mm. 8h-88), which leads into the final
section.

The opening measures of Section B divide into two segments:
mm. 3h-h5 and mm. h5-56. The first segment, despite its quasi-rhapsodic,
transitional nature, is of great importance in.marking the first use of
the second transposition of the symmetrical scale and in presenting
the Scale Theme with a distinctive articulation, one which assumes a

central role in the remainder of this section (see Example 6h).

Example 6h--Lockwood, Concerto, first movement, mm. 3h-39.

 

 

The second transposition, heralded by a brief brass fanfare, is
pointed up by a radical change of texture and by the nearly constant
sounding of B-flat, a note foreign to the first transposition. The
descending pattern, shown bracketed in Example 6h, is stated six times.

With each statement of the pattern, the initial note of the previous

9O

pattern is omitted. Consequently the pattern decreases in length from
eight to three notes. The distinct emphasis on B-flat, the note which
ends each statement, continues until the beginning of the second segment
in m. h5.

The second segment (mm. h5-56) comprises a five-measure melody
(mm. h5-h9) and a restatement of it (mm. 50-56), which is rhythmically
altered and transposed down a whole tone. From this melody is drawn
the pattern of m. 5b, which serves as an ostinato throughout most of

the remainder of this section. Examples 65a and 65b show the transposed

restatement of the Counter Theme and the ostinato pattern derived from it.

Emample 65--Lockwood, Concerto, first movement.

a) Mm. 50-5h.

 

 

 

 

 

In m. 57 a new accompanimental figure is presented in the manuals
as a mordent-like pattern, except for octave displacement of the final
note. This pattern, which is derived directly from the last two notes
of m. h5 and the first note of m. h6, is three sixteenths in duration.
When played against the even eighth-note pattern of the pedal part, it

creates a brief polymetric passage. Initially the pattern is alternated

91

with the Scale Theme of the previous section. Later it is expanded
and developed into one part of a triple ostinato complex, which lasts

from m. 63 to m. 69 (see Example 66).

Example 66--Lockwood, Concerto, first movement, mm. 6h-65.

 

The three components of this ostinato are the figuration of the
right hand, the left hand, and the pedal. ‘The duration of the first
two figurations is five and one-fourth beats; that of the third one,
eight beats. For this total ostinato complex to begin on the same beat
that the initial statement did requires seventeen statements; for it
to begin on the beat requires only five, the number of repetitions it
has._ Punctuating the end of this section, in mm. 69-70, are the two
chords shown in Example 52. These two chords--the first a G/D-flat
polychord (enharmonically spelled) and the second an added-note chord
(E major with a split third)--are two of the most complex sonorities of
the entire work.

The next four measures (mm. 70-7h), which consist of a fanfare
based on the Scale Theme, together with their restatement in mm. 80-8h,

frame a statement of the Main Theme in the brass parts. Section B

92

closes very similarly to the way in which it began, with a somewhat
rhapsodic segment (mm. 8h-88). This segment, characterized by canonic
imitation at the octave in the manuals, functions as a transition into
the third section of the movement.

The final section of the movement (mm. 8h-11h), for the most part
a restatement of mm. 19-3h of the initial Section A, marks the return
of the first transposition of the symmetrical scale. Throughout this
section, variants of Motive A and the Scale Theme accompany the Main
Theme. The ostinato pattern of the previous section separates theme
statements. The closing measures of the movement deal with imitative
scale passages, both in augmentation and in diminution, at three
different pitch levels in the organ part. The movement ends on an
octave C.

The second movement of the concerto, a passacaglia, consists of
seven and one-half complete statements of the subject. The subject,
which is never presented by itself, is in a slow triple meter. It is
made of a six-stage sequence with two measures in each stage; the final

stage is displaced at the octave (see Example 67).

Example 67--Lockwood, Concerto, second movement, mm. 115-126.

 

 

 

 

The chromatic melody, which appears at the outset of the movement
in the right hand, is of nearly equal prominence with the subject

throughout the movement, except in mm. h9-60. The rhythm of its first

93

measure (LI-:3) is of paramount importance within the melody.
This pattern is present in one of the two manual parts in each of the
first twelve measures of the movement, except in mm. 10 and 12, and
appears extensively in all but two of the variations.

Many sonorities similar to those used in the first movement
(with a minor third emphasis) also occur in the second movement,
although additional sonorities are achieved as a result of the expanded
color of the chromatic scale. Example 68 shows the sonorities which
occur on strong beats in three of the variations. Those chords which
are starred do not occur naturally within a single transposition of the

symmetrical scale .

Example 68-Lockwood, Concerto, second movement.

a) hm. 115-126.

)5

 

b) mm. 139-150.

 

c) Mm. 187-198.

 

9h

In the first variation of the second movement, the chromatic
melody descends by semitone from E-flat to G and then, after an upward
leap, from D to G, with only two nonsemitone intervals. The texture
is that of a trio, with a single voice in each part for the hands and
pedals.

In the second statement (mm. 127-138) the trumpets, in a type of
melodic sharing, pass the chromatic melody almost imperceptibly between
them. The accompaniment consists solely of two double pedal points,
one of which (F-sharp and E-flat) is five measures long, and the other
(F and D), seven measures long. Each double pedal point retains the
minor third (or augmented second) interval intrinsic to the work.

The third statement consists of a repetition of the chromatic
melody, which is once again distributed between the two trumpets; the
rest of the brass instruments sustain chords beneath it. Only the
pedals of the organ, which have the passacaglia theme, are used in this
variation or the next.

The fourth statement (mm. 151-162) utilizes the rhythmic motive of
the chromatic melody in augmentation and retains the basic outline of
the initial melody. The melody is alternated between two trombones
in the same way that the second statement was shared between two trumpets.
The melody divides into four-, four-, two-, and two-measure segments.

The next statement displays the greatest variation from the
initial melody, for it retains an elaborated version of only the first
measure of the melody (see Example 69). This variation consists of a
canon at the distance of one measure between the two upper voices of the

organ part at the interval of a unison. The canon, which lasts the whole

variation, is based on the alternation of two transpositions of the
synthetic scale, the first and the third. Of all the variations, it is
the most active rhythmically and utilizes exclusively the upper register
of the organ. Its strongly contrasting nature imparts a degree of formal
organization to the overall unfolding of the movement--a large A B A

form determined by the presence or absence of the chromatic melody.
Example 69-Lockwood, Concerto, second movement, mm. 163-16h.

(nor hurried) I

    

P

The chromatic melody (transposed down a diminished fifth from its
original level) returns in the organ part in the next variation. All
(four brass instruments accompany it, with the highest part descending
in semdtones from E-flat to G, much as the melody of the first statement
did. The movement by semitone within each of the brass parts on subse-

quent half beats is especially interesting (see Example 70).

Example 70--Lockwood, Concerto, second movement, mm. 175-179.

 

96

In the final complete variation (mm. 187-198) the chromatic
melody begins in the second trumpet and transfers to the first trumpet
in the third measure. The melody retains its initial form, except for
a few slight alterations near its beginning and ending. The other
three brass instruments, in providing harmonic support for the melody,
play pairs of chords, between which only one or two notes change.

The organ part consists of a line which descends chromatically from
E-flat to A in the manuals, each note lasting two measures, while the
passacaglia subject continues in the pedals.

The partial statement which ends the movement occurs beneath a
pedal point Ebmajor chord in the manuals and a pedal point B in the
first trumpet. The first two measures of the chromatic melody are
presented in the second trumpet accompanied by sustained chords in the
other brasses. The movement closes with an E-major chord in the organ
and an open-fifth (E and B) sonority in the brass.

The final movement of this concerto, like that of the Elmore
concerto, draws extensively from material of the first movement, some
of which returns exactly. This movement falls into two distinct sections--
Section A, mm. 208-3h1, and Section B, mm. 3h2-38h. The two sections
superficially manifest little relationship with each other. Heat of the
third movement, like the first movement, is based on the symmetrical
scale. Unlike the first movement, however, the third.movement shifts
transpositions of the scale with much greater frequency and, in some
cases (notably the chorale-like passages in mm. 35h-363 and.mm. 37h-38h),
abandons the use of it in the three lowest voices altogether. The table
below illustrates the use of the various transpositions of the symmetrical

scale in the third movement (see Table h).

97

Table h--Transpositions of the symmetrical scale.

First Transposition (on C) .....

Second Transposition (on D-flat) -----

Third Transposition (on D) xxxxx

Simultaneous use of several transpositions ooooo

Trumpets
Trombones

Upper Staff (Manuals)
Lower Staff (Manuals)

Pedal

Trumpets
Trombones
Upper Staff
Lower Staff
Pedal

Trumpets
Trombones
Upper Staff
Lower Staff
Pedal

Trumpets
Trombones
Upper Staff
Lower Staff
Pedal

Trumpets
Trombones
Upper Staff
Lower Staff
Pedal

Trumpets
Trombones
Upper Staff
Lower Staff
Pedal

Measure

208 212 217 222 227 232 237

XXXXXXXXXXXXXX

238 2&2 2h? 252 257 262 267
.....xxxxxx —

 

 

 

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............xxxxxxxxxxxxxxxxx

268 272 277 282 287 292 297
xxxxxxxxxxxx --- ----------- -......
m -----..- -------.- o o o o o o

m--OOXX--Wo o o .-.-...-- o o o e o
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xxxxxxxxxxx (Pedal point D-

 

 

298 302 307 312 317 322 327

 

 

........ oooooooooooooo

........ oooooooooooooo

................... xxxxxxxxxx

...................— — xxx
)xxxxxx

 

328 332 337 3h2 3&7 352 357

 

 

 

oooooooooooooooooooo (Free
oooooooooooooooooooo (Free
xxxxxxxx......xxxxxx ...............
xxxxxxxxxxxxxxxxxxxx...................
m ‘A 000000000000...
358 362 367 372 377 382 38h
use of scales 9
use of scales )

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....000...O....moooooooooooooooooooo

 

98

The structure of the first of these two large sections centers
around entries of subjects and answers at various tonal levels. The
subject, stated initially in octaves in the organ part of mm. 208-21h
(see Example 71), is formed of stepwise movement alternated with larger
leaps in the same direction. These notes form a wedge-like figure
when placed upon a graph, which is shown beneath Example 71. After
the two sides of the wedge converge at its vertex, in this case
representing F, a tritone away from the initial note of each side, the
graph rises steadily and reflects the rising conjunct movement of the

subject.

Dcample 71--Lockwood, Concerto, third movement, mm. 208-21h.

......

 

After the initial statement of the subject and a subsequent
fantasia-like passage (mm. 216-230), Section A unfolds in fugal fashion.
An exposition composed of two entries of the subject and two of the
answer (alternately on B and F-sharp) occurs in mm. 231-258. From
m. 258 to the end of Section A entries of the subject alternate with

brief episodes, which use material derived from the subject. In

99

mm. 302-316 the Opening fantasy is restated; the first half of it is
unaltered, but the last half is transposed up a semitone. An entry
of the subject, which occurs a semitone higher than the corresponding
statement of it in mm. 231-237, begins in m. 317. Section A closes

with a final entrance of the subject on D—flat. Entries are listed in

 

 

 

Table 5.
Table 5-Subject entrances in the third.movement.

Measure Number Initial Note of Entry Instrument

1. 208 (Subject) B Organ (Manuals)
2. 231 (Subject) B Brass

3. 238 (Answer) F-sharp Organ (Manuals)
h. 2&5 (Subject) B Organ (Pedals)
5. 252 (Answer) F-sharp Brass

6. 26h E Organ (Pedals)
7. 276 (Stretto) G Organ (Manuals)
8. 278 G Organ (Manuals)
9. 278 (False entry) C Organ (Pedals)
10. 28h 0 Organ (Manuals)
11. 286 F-sharp Organ (Manuals)
12. 317 C Trombone

13. 329 D-flat Organ (Pedals)

The subject also divides into motives which are used to accompany
it. Motive A, an inversion of the last seven notes of the subject, is
the syncopated, descending scale pattern which first appears in mm. 2h1-
Zhh, where it is combined with its unsyncopated inversion. These three

stages in the development of Motive A are shown in Example 72.

Example 72--Lockwood, Concerto, third movement.

a) hm. 213-215.

 

100

Example 72 (cont'd.)

b) Mm. 218-221.

 

c) Mm. 2h1-2hh.

mam

 

The two scale patterns of Example 72c (in the upper and lower staffs)
appear in convergent motion, which, when graphed, yields a wedge-like
outline similar to that of the subject.

Motive B, on the other hand, is a turn-like figure that is inter-
valically the retrograde inversion of the initial four notes of the
subject (with octave displacement of the third and fourth notes). It
first appears in mm. 238-2&0 (see Example 73) and is nonually treated
sequentially and imitatively, but occasionally in augmentation or

inversion.

Example 73--Lockwood, Concerto, third movement, Motive B.

mm 9-i\\. (ca . he”: mm... M. learner) 62H¢§v s 5:31.123
1" K- I I]
V I r 1 11

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1 I

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mu

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101

Nearly all the material of Section A that is not introduced in
an earlier movement of the concerto is directly based on one of these
three ideas. Motive B and Motive A, which usually accompany the first
three and the last four measures of the subject, respectively, form
invertible counterpoint (at the ninth) with the four entrances of the
subject in mm. 237-259. Of particular interest is the subject state-
ment which begins in m. 26h. Although it is pitched a whole step
lower than the one which begins in m. 238, this statement retains the
accompaniment at the same tonal level. Transposition of the subject
down a ninth results in invertible counterpoint at the same interval

(see Example 7h).

Example 7h-Lockwood, Concerto, third movement.

a.) m 0 238-2143 0

 

b) mm. 26h-269.

 

102

With the entrance of the Main Theme of the first movement in
m. 269, Motive A in its previous stylized form is abandoned, and Motive B
assumes a more prominent role. In mm. 286-291 a variant of Motive A
accompanies the subject. In mm. 291-302 a combination of the inver-
sion of Mbtives A and B yields a new figure, the evolution of which
is shown in Example 75. The four-note pattern of mm. 286-291 returns

in a sequential, imitative complex which involves all the brass.

Example 75--Lockwood, Concerto, mm. 292-293.

a) Motive B b) Inversion of Motive B

 

c) Motive A (rhythmically varied)

 

d) Motive A (inversion)

 

e) Mm. 292-293

 

 

103

This imitative complex leads into the second of the two fantasia-
like areas, which are characterized by rhythmic variety and tempo
alterations. Both of these sections (mm. 216-230 and mm. 302-316),
for organ alone, fall into three segments. The first segment consists
of Mbtive A in the left hand and an ornamented version of the scale in
the right hand, both over a pedal point D; the second segment, of brief
triplet flourishes punctuated by four-note chords (diminished-major
sevenths) in the left hand; and the third segment, of scale passages
in the manuals, with three against four. The fantasy ends with an
ascending scale in parallel tritones.

Dividing Section A of the final movement into two nearly equal
parts (mm. 208-268 and.mm. 285-3h1) is the quotation of material from
the first movement in.mm. 269-28h. The statement of the Main Theme,
which is in octaves in the brass parts, at first, and in a chorale-like
texture, second, is paired with corresponding passages from the first

movement in Ebcample 76 .

Example 76--Lockwood, Concerto, material common to first and
third.movements.

mm. ifiq-QW‘ égrfi$3\. b b

 

"When - so c (Br-«8:3 .

    
   
 

.Mm. T12-‘J-Qq (IRUQPS'IOA o‘c MM.§-\\\ .

 

10h

Many contrapuntal devices are employed in Section A, including
sequences, which usually progress by step and have no more than three
stages; imitation, at many different intervals; canonic imitation;
stretto; augmentation; diminution; and pedal point, passages of which
last from three to twenty-two measures. Several sequential passages
manifest particular contrapuntal complexity; In mm. 271-276 Mbtive B
is used imitatively, sequentially, and in augmentation in all three
voices of the organ part, and in mm. 295-300 a two-stage sequence is
imitated canonically among all four brass instruments.

The final section of the movement is cast in an A A B A form.

It comprises the statement of a chorale-like melody and three restate-
ments, the second of which is altered. Accompanying the melody of this
section and evolving from Motives A and B are triplet patterns, which
consist basically of conjunct motion with frequent changes of direction.
These patterns are treated first strictly in canon (mm. 3h2-3h8) at

the unison, four measures apart, then rather freely (mm. 3h9-35h) at
the tritone, and finally at the major third, one beat apart. In m. 358
the opening triplet pattern appears in the pedal part. This passage
(mm. 358-36h) is followed by one that is loosely imitative. It is
based on various shapes of the triplet pattern, which is passed succes-
sively between the manuals and pedals. In m. 373 the pattern ceases
and a trill-like figuration, which employs even eighths, ensues. This
figuration is used until m. 379 when the triplet figuration resumes.

It is not these running figurations, however, but chorale-like
Amelodies, which are characterized by a slow triple meter, mostly con-
junct motion, and a limited range, that determine the form of this last

section of the movement. The similarity between the first melodic

.Jo

In

rr

105

statement (in mm. 35h-363) and material from the first movement is shown

in Example 77 .

Example 77-Lockwood, Concerto, third movement, mm. 3h2-353.

 

 

 

A

O . .

e a .9 A D nbg. E .9. e 9 e A a fi 9 .9 e
F'U I L I" f I r r r r I I I Y r L I I I TI
I03 I L I I I I I I P r I I I I I I I MI
It;‘ I 1 g l L 1 1 I I l I r Y 1 I I u
I L I I J I I I I I er

 

 

 

The melody of mm. 3h2-353 consists of Motive A (from the first

movement) joined to the last two measures of the Main Theme of the
first movement (mm. 10-11). This melody, first presented in the
pedals, is restated in mm. 35h-363 in the first trumpet part as the
highest voice of a four-part chordal texture. The melody is harmonized,
for the most part, in a quasi-eighteenth-century style. The triplet
organ accompaniment, however, creates many semitone clashes with
chord tones and, in so doing, obscures the consonance of the chorale
statement.

The third statement of the melody begins in a single trombone
part and ends with all four brass instruments utilizing extensive
octave doublings. The first half of the third statement consists of the
transposition of the first melody (mm. 3h2-3h6) to a scale degree that
imparts a different order of half and whole steps to the melody. This
transposition results in the slight alteration of several of the
intervals. The second half of the melody is a retrograde of the first

half.

106

After the presentation of the somewhat contrasting material in
mm. 36h-373, the initial chorale-like statement returns. The long-
short order of its note values is reversed, however, throughout the
first half. The original rhythmic order returns in the final half of

the statement. The movement ends on a C-major chord with an added

major second in the organ part.

CHAPTER V

SUMMARY

The Elmore concerto, a cyclic work, is highly unified, colorful,
and technically demanding. Most of the thematic material of the con-
certo is derived from the second movement, a through-composed chorale
prelude that is based on the music generally associated with the
Latin hymn "Veni, Creator Spiritus." The first movement is cast in
sonata-allegro form; the third is a passacaglia. The harmonies of
these two movements are based on the juxtaposition of tertian and
quartal structures.

The Lockwood concerto, the least technically difficult of the
three, is scored for the smallest ensemble--two trombones and two
trumpets. The first and third movements are based on the symmetrical
scale, a synthetic scale of alternated whole and half steps. Most of

the harmonic structures exploit tertian aspects of the scale and form

triads, particularly diminished and minor; seventh chords, particularly

fully diminished; ninth chords, particularly diminished and diminished-

minor; added-note chords; and polychords. The contrapuntal aspect of

the work, however, seems to be most important, for the unfolding of the

movement centers around the interaction of themes and.motives and

abounds with such devices as imitation, sequence, canon, and stretto.

The first movement is an A B A form; the second, a passacaglia; and the

third, a large bi-partite form. The first part of the third movement
is a fugue; the second part of it is cast in an A A B A form.
The Bingham concerto is formally, melodically, and rhythmically

107

108

the most conventional of the three. The three movements are presented
in the traditional fast-slow-fast order. The first and third move-
ments are cast in sonata-allegro form and the second in an A B A B

form. The harmonies of the work, though tonal, are not always func-
tional. The concerto extensively uses tertian sonorities, especially
seventh and ninth chords, and a few such colorful sonorities as quartal,
quintal, and added-note chords. It also frequently employs contrapuntal
devices, including sequence, imitation, and canon. This work exploits
the resources of the organ very idiomatically and is the only one which
specifies registrations precisely.

The author hopes that the analysis of these three concerti will
afford the reader a clearer understanding of the musical elements which
constitute them and of the compositional techniques which were employed
by the composers. Through this understanding one may be able to per-
form more intelligently the works of these composers, whose contribution

to organ literature has been extremely important.

BIBLIOGRAPHY

BIBLIOGRAPHY

Books

Apel, Willi, ed. Harvard Dictionary of Music. Cambridge, Mass.:
Harvard University Press, 196k. \

Arnold, Corliss Richard. Organ Literature: A Comprehensive Survey.
Metuchen: The Scarecrow Press, 1973.

Chants of the Church. Edited and compiled by the Monks of Solesmes.
Tournai (Belgium): Desclee, 1962.

Grout, Donald Jay. A History of Western Music. New Ybrk:
‘W. W} Norton, 1960.

Grove's Dictionaryfiof Music and Musicians. Fifth Edition, Vbl. II.
Edited by Eric Blom. London: The MacMillan Press, 1977.

Harder, Paul O. Harmonic Materials in Tonal Music: A Programed Course.
Boston: Allyn and Bacon, 1973.

MacPherson, Stewart. Form in Music. London: Joseph Williams, n. d.

Messiaen, Olivier. Technique de Mon Langage Musical. Paris: Leduc,
‘19hh. The Technique of My Musical Language. Translated into
English by John Satterfield. Paris: Leduc, 1956.

Persichetti, Vincent. Twentieth-Century Harmony. New York:'W.'W. Norton,
1961.

Sadie, Stanley. Handel Concertos. London: British Broadcasting
Corporation, 1972.

Veinus, Abraham. The Concerto. New York: Dover Publications, 19h8.

Articles

Banta, Lorene. (Review of an all-Bingham concert), The American
Organist, XLVIII (1965), p. 12.

Basch, Peter J. "Seth Daniels Bingham: A Tribute," Music, VI (1972),
p. 32.

109

110

Bennett, Elsie M. "Normand Lockwood: A Composer Who Listens,"
Music Journal, XXVII (1969), p. 90.

Bingham, Seth. "Estelle Borhek Johnston Memorial Music Festival,"
The American Organist, XLVII (196k), pp. 8-9.

. "Glimpses Over the French Horizon," The American Organist,
XLV (1962), p. 16.

. "firgan Personalities," The American Organist, XLVI (1963),
p. 1 .

. “Recent Trends in Church Music," Journal of Church Music,
III (1961), pp. 6-7.

Blodgett, walter. "Concerning Seth Bingham," Music, VI (1972),
p. 33.

de Tar, Vernon. "Seth Bingham Birthday Concert," The Diapason,
LXIII (1972), p. 10.

Dendy, James S. "New Issues for the Choir," The Diapason, XLV (195h),
p. 16.

Elmore, Robert. “A Good Church Organist Is a Rarity," Music Journal,
XXVI (1968), p. 27.

Lynn, George. "Normand Lockwood and Choral Music," American Composers
Alliance, VI (1957), PP. 3-6.

McDowell, John. "A Note on Some Facets of Normand Lockwood's Music,"
American Composers Alliance, VI (1957), pp. 7-10.

"Miss Mason Plays Bingham work," The Diapason, XLV (195k), p. 2.

"New Scores and Instruments Shown At 22nd Convention of Organists,"
Musical America, LXXIV (195A), p. 12.

"On Cover . . . Noted Composer," The Southwestern Musician, XIX (1953),
pp. 2-3.

Owen, Barbara. (Review of recital by Robert Elmore), The American
Organist, XLIII (1960), p. 2h.

"Robert Elmore Back in Recital Activity with Church Wbrk," The Diapason,
XLIV (1953), p. 6.

"Robert Elmore Honored," The American Organist, XLIX (1966), p. 23.

"Seth Bingham's Writings in the Diapason Listed," The Diapason, LXIII
(1972), p. 6.

111

wetzler, Robert P. "Contemporary Composers: Robert Elmore," Journal
of Church Music, XII (1970), p. 22.

Music: Editions
Bingham, Seth. Baroques. New York: Galaxy Music Corporation, 19hh.
. Concerto for Brass and Organ. New York: H. W. Gray, 195k.

. Gabriel, from the Heav'n Descending. Minneapolis: Schmitt,
Hall and McCreary, 19h5.

. The Good Shepherd. New York: Galaxy Music Corporation, 1966.
. He Is Risen. New York: H. W. Gray, 1962.

. O Come and Mburn. New York: Galaxy Music Corporation, 19h5.
. Pastoral Psalms. New Ybrk: Carl Fischer, 1938.

. Perfect Through Sufferipg. New Ybrk: Peters, 1971.

. Roulade. New Ybrk: H. W. Gray, 1920.

. Sonata of Prayer and Praise. New York: H. W. Gray, 1959.

. Thirty-six Hymn and Carol Canons in Free Style. New York:
H. W. Gray, 1952. 1

. Toccata on Leonie. New Ybrk: J. Fischer, 19h0.
. Twelve Hymn Preludes. New York: H. W. Gray, 19h2.

. Ut queant laxis: Hymn to St. John the Baptist. New Ybrk:
Peters, 1962.

. Variation Studies. New York: M. Witmark, 1951.
Elmore, Robert. All Ye Servants of the Lord. New York: Galaxy, 19th.
. Bread of Heaven. waco: Sacred Songs, 1968.
. Come, Heavy Souls. New Ybrk: Harold Flammer, 1961.
. Come, My Soul. New York: Galaxy Music Corporation, 1950.

. Come to Calvary's Holy Mountain. New Ybrk: Harold Flammer, 1967.

 

. Concerto for Brass, Organ and Percussion. New York: H. W. Gray,

1969.

112
. Contemporary Chorale-Preludes for Organ. Dayton:
The Sacred Music Press, 1966.
. Donkey Dance. New York: H. W. Gray, 19h1.
. Fanfare for Easter. New York: Harold Flammer, 1961.
. Festival Toccata. Delaware Water Gap: Harold Flammer, 1972.
. God of Ages. Delaware water Gap: Harold Flammer, 1969.
. Hail,,Alpha and Omega. Dayton: The Sacred Music Press, 1969.

. He Who would Valiant Be. New York: Galaxy Music Corporation,
19M.

. The Living Christ. Dayton: The Sacred Music Press, 1967.
. Lord Jesus, Think on Me. New Ybrk: H. W. Gray, 19h9.

. Meditation on Veni Emmanuel. Glen Rock: J. Fischer, 1963.
. My;Soul, Awake! ‘Waco: Sacred Songs, 1968. .

. ghe Old Man Who Lived In the Wbod. New York: Harold Flammer,
196 . .

. Psalm of Redemption. Glen Rock: J. Fischer, 1961.
. Rhythmic Suite. ‘Waco: Sacred Songs, 195k.
. See, My Soul. ‘Waco: Sacred Songs, 1967.

. Three Meditative Moments. Delaware Water Gap: Harold
Flammer, 1958.

. Three Psalms. New York: Harold Flammer, 196k.
. Two Choral Preludes. Philadelphia: Elkan-Vogel, 19h2.
. Venite Adoremus. New Ybrk: J. Fischer, 1951.

. {gs Give Thee But Thine Own. Dayton: The Sacred Music Press,
196 .

Lockwood, Normand. As a Hart. San Antonio: Southern Music, 1956.

. Choreographic Cantata. Minneapolis: Augsburg Publishing
House, 1970.

. Concerto for Organ and Brasses. New York: Associated Music
Publishers, 1953.

113
. I Will Give Thanks with All My Heart. Minneapolis: Augsburg
Publishing House, 1966.
. Jesus, 0 Precious Name. San Antonio: Southern Music, 1955.
. ngful, Joyful we Adore Thee. New York: Mercury Music, 1956.
. Let Nothing Disturb Thee. San Antonio: Southern Music, 1955.
. Letter to Mbther. San Antonio: Southern Music, 1956.

. Processional Voluntary. waterloo (Canada): Waterloo Music
Company, 1973-

. Remember Now Thy Creator. Minneapolis: Augsburg Publishing
House, 1965:

. Shout for Joy. Delaware water Gap: Shawnee Press, 1952.
. This Moment. Cincinnati: westwood Press, 1971.

. ‘We Plow the Fields. San Antonio: Southern Music, 1956.