Postlude in d minor for Organ Op. 22
Organ - Advanced Intermediate - Digital Download
Composed by Steven Monrotus. Contemporary Classical, General Worship, Repertoire, Technique Training, Recital. Score. 13 pages. Published by Steven Monrotus (S0.429367).
Item Number: S0.429367
This work was composed for an organ with 2 manuals and 32-note pedalboard minimum. It would make for not only effective recital and lesson material but a place could be easily found for it in worship where, as its name implies, it could serve to close a service where a very big sound with a touch of modal flavor is desired. This piece is a bold, stand alone 4 voice fugue written in quadruple counterpoint with 3 countersubjects maintained throughout. The pedal part is written for a pedalboard of 32 notes (C to G) in order that the high F# in the final chord is playable by the right foot. This music is also playable on an organ with 30 pedals (C to F) however, by playing high D in the pedals on the final chord and moving the low D in the left hand up to F#, which retains the same harmony. In an organ with only 27 pedals (C to D) the final chord would be adjusted the same way, and the high E in the pedals on the penultimate chord would simply be omitted. In this work a short rest is inserted into the middle of a long subject, with the second half of the subject being a sequence. It's of interest that the rhythmic outline of the first half of this subject is built from a figure appearing in the coda of the Op. 11 c minor double Fugue composed earlier. This Postlude begins on scale degree 5, and a tonal answer is supplied in the dominant beginning on scale degree 1. The exposition is remarkable in that all 3 types of melodic motion (similar, oblique, contrary) are found. As the pedal line continues, a bridge section built upon another sequence links the exposition with the subsequent entry in the relative key (F Major). All subsequent entries following the exposition are separated by episodes of equal length during which the outer voices (soprano and bass) are silent. As all 3 countersubjects take turns entering in the bass, the music passes through all nearly related keys. A stretto section near the end undergoes a crescendo over a dominant pedal point and comes to a complete stop on a big Bb Major chord. During the ensuing coda a short descending bass line leads to 2 big 7th chords (the first of which has a flatted 5th) in 6 voices on the 4th scale degree. The box is then closed quickly during a pause. A rapid series of running modal notes in D Dorian using the full Swell follows, leading with a gradual crescendo to a high held note in the right hand with the box wide open. Then, with the addition of another level of sound in the pedal, the first half of the subject is given out in the bass against detached block chords in spread harmony for both hands. The final tonic chord closes this music with a full cadence in 9 voices employing a Picardy 3rd double pedal and an added 2nd in the right hand. In this work the stretch for the hands is kept at an octave or less. Registration suggestions along with fingering, hand division, and pedalling indications have been included with this score. Length: 117 measures. Duration: 4:10. Composers Bio page: OrganBench.com .
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