Organ Recital at St.Lawrence's Church

The reason I was late getting to the rendezvous was that I had actually left St.Lawrence's and was following you into the churchyard when I heard the organist begin a fugue. I'm sure most organists of the time could have played this piece perfectly competently, but what caught my ear was a subtlety in the rubato that suggested this was not just a typically good musician, but someone quite extraordinary. Of course, it would have to be someone extraordinary to be engaged by a Duke. So I popped back inside and settled down to listen (of course!).

Click to listen

Having apparently satisfied himself that his practice for the day was sufficient, the organist collected his books and a few loose sheets, and was leaving the organ loft when I waylaid him. This was one of those "Wow!" moments for me. My first meeting with Georg Frideric Haendel, or as he is known in England, George Frederick Handel.

Mr.Handel is of average height, allowing an inch or so perhaps for his shoes and peruke, clean-shaven and nicely pomaded. The portrait of him which I include below was made later in his life, but now, in his early thirties he is already developing that well-fed corpulence, and moves with an easy, relaxed gait, even climbing down the slightly awkward stairs from the organ loft.

I drop a respectful curtsey; "Have I the pleasure of addressing the noted Mr. Handel, sir?"

"Goot Afternoon, Mattam. I am indeed Mr.Hantel, and might Mr.Hantel haf tse honor of knowink whom duss he attress?"

Introducing myself in persona as the representative of a tailor, I seize the opportunity of asking Mr.Handel about the music he was playing, and hopefully I shall have an opportunity to learn more about his engagement at Cannons.

"Tse piece fitch I belief you ver askink about voss my fugue in G major. I tsink perhaps a leetle more polish, and I shall seek to publish it abroad."

Among other things which we discuss, walking back to Cannons, I learn that Mr.Handel is engaged to provide new music for entertainments hosted by the Duke, and sometimes leads the small band from the harpsichord. His grace, it seems, is not so much a performer himself, as an Apollo of the arts, preferring to use his beneficence to encourage the arts (and Mr.Handel is nothing if not a perfect diplomat in discussing matters relating to his employer).

"Shall I have the pleasure of hearing you play again on Sunday, Mr.Handel?"

"I tsink not Mattam. Unless you fill be joinink his Krace in tse chapel at tse house."

At this I am obliged to seek some explanation for his presence in St.Lawrence's.

"Tse church hass a razzer fine acoustic for tse organ, and recrettably, his Krace's chapel is not yet completet, howeffer, tse verkmen fill make it retty for tse diffine serfice on Suntay."

Finally, before we part company, me to the rendezvous point, and Mr.Handel to return to his chambers within the house, I can't resist asking if Mr.Handel knows of any talented blacksmiths in the village?

"Tsere iss vun fellow, but I fould not fenture to assay his talent as a smit. Tsough I am sure he is as capaple a farrier as any man fitin fife miles. Haff you a horse in neet of shoeink?"

His expression betrays a mixture of curiosity and mild surprise. I think it is time I thanked him for his company and made haste to the rendezvous.

"Mattam, it hass been my pleshur, and a ferry goot afternoon to you also."

References

Have I whetted your appetite to learn more about fugal composition?

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The Music of Cannons

Don't panic! There's no artillery involved. Our destination is Cannons, the stately home of the Earl of Caernarfon and first Duke of Chandos, James Brydges (if we should see the gentleman himself, the correct form of address is your Grace. But don't speak unless you're spoken to).
As is fairly common for the time, the house is open to visitors having business with the household, or members of the peerage, so I think if we present ourselves as representatives of a little-known but promising tailoring business, we should stand a good chance of getting in. These aristocratic types are always keen to have the latest fashions, and it wasn't difficult to obtain a collection of fine fabric swatches and a couple of recent pattern-books as we zoomed through France on the way here. Which reminds me, if we ever have occasion to travel by coach, bring a few cushions. As well-padded as this dress is, previous experience taught me that you can't have enough padding beneath you when you go over the bumps. And unless the weather is warm already, wrap up warmly too. There's no practical way to heat a coach.

While we're waiting for his grace's chamberlain, there's so much to take in. This whole place is money personified! I think the painting is Hercules in the palace of Omphale, and the sheer scale of it makes it so much more impressive. Literally Herculean! (The other thing, if you're going to have any dealings with aristocrats; it helps to have to have a bit of background in the classics).
Well, some things we can do, but some things will forever be beyond our control, and it seems that his grace is otherwise occupied today. How do you feel about sauntering down to St.Lawrence's church? The Duke had the church extensively rebuilt a few years ago, and by all accounts it is as sumptuous as the house.
When we arrive at St.Lawrence's, the exterior of the church has been remodelled in the neo-classical style, while the interior is the most astonishing display of opulence, everywhere is marble, gold, and rich dark wood. And the organist is practising a hymn tune:

References

I am indebted to the following sites. I hope you will take a moment to visit them:
A Church Near You
The Web Gallery of Art

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Organ Prelude

We bustle along with the other members of the congregation beneath a sullen, gray sky towards the church of St. Boniface, in the little German town of Arnstadt, in the princedom of Thuringia, deep in the heart of Germany. My hope is that today, Easter Sunday (March 23rd) 1704, we might have an opportunity to hear, or even meet, the nineteen-year old organist who was appointed here just last year. Not yet out of his teens and already, the name of Johann Sebastian Bach is known to everybody with more than a passing interest in music. He was invited to inspect, and give the inaugural recital on the organ in the church last summer, so I have great expectations for this visit.
The Lutheran divine service of this time takes a while, so we should make ourselves comfortable. We can probably expect to be here for at least the next two hours, possibly three.
Settling in one of the unoccupied pews toward the back of the church, a distant rumble of thunder is audible. It's a little unusual to hear thunder this early in the year, but what follows is a genuine delight! The unseen organist opens the swell box of his instrument and lets rip with an answering thunderclap that echoes before entering into a virtuosic musical evocation of raindrops pattering against the windows and the tiled roof! By the end of the Twentieth Century scholars were increasingly uncertain whether J.S.Bach had in fact composed the Toccata and Fugue attributed to him. Given the frequency with which he borrowed musical ideas from other composers, and reworked his own earlier compositions, I think the confusion is understandable.
Here is the abc notation for the chorale we sung that morning, arranged for guitar: Wachet auf, ruft uns die stimme

X:1
T:Wachet auf, ruft uns die stimme % title
C:Johann Sebastian Bach % composer
O:Dirk Meineke-d.meineke@web.de % origin.
M:C                          % meter
L:1/8                        % length of shortest note
Q:60                         % tempo
%%staves (1 2)
V:1 clef=treble name="Guitar" % voice 1
V:2 clef=treble
%
K:C
[V:1]       G2 | c/d/e ed fe GF | e/c/d FE Bc z G | c/d/e ed fe GF |
[V:2][L:1/4] z | C     C  C  E, | F,    G, C    z | C     C  C  E, |
%
[V:1] e/c/d FE Bc z g | g2 f/e/d/c/ d/c/B/A/ GA/B/ | c/d/e/d/ f/e/d/c/ ed dG |
[V:2] F,    G, C  z   | E, A,       G,       F,    | E,       C        G, B, |
%
[V:1] e^f fg c/B/c CA | ^fg ga c/B/c Dc'| b/a/g g/^f/g E/f/e/d/ c/B/A/G/ |
[V:2] C   B, A,    C  | D   E  ^F    D  | G     ^F     E        D        |
%
[V:1] A/B/c c/B/c A,/^f/g/a/ g/f/e/d/ | gB     BA/G/ G/c/B/A/ B[GD] |
[V:2] C     B,    A,         C        | B,/G,/ D/D/  E,/B,/   G,    |
%
[V:1] E>^F  F>G   [GD]3  G | c/d/e ed fe GF | e/c/d FE Bc z G |
[V:2] C/A,/ D/A,/ [B,G,]>z | C     C  C  E, | F,    G, C  z   |
%
[V:1] c/d/e ed fe GF | e/c/d FE Bc z g | g2 f/e/d/c/ d/c/B/A/ GA/B/ |
[V:2] C     C  C  E, | F,    G, C  z   | E, A,       B,       F,    |
%
[V:1] c/d/e/d/ f/e/d/c/ ed   B,c | ab bc' f/e/f  ca    | bc' c'd' f/e/f Fd |
[V:2] E,       C        G/F/ B,  | B, D  G,/A,/ B,/F,/ | D   G    A     F  |
%
[V:1] e/d/c A/B/c c/_b/a/g/ f/e/d/c/ | d/e/f D/e/f G,/B/c/d/ c/B/A/G/ |
[V:2] G     A     F/E/      D/C/     | B,    D     G,/A,/    G,/F,/   |
%
[V:1] gc     e/d/c/B/ c/f/e/d/ ec   | A>B  B>c       c4-| c8     |]
[V:2] E,/A,/ F,/B,/   A,/B,/   C/E/ | F/D/ G/G,/ [GEC]2-| [GEC]4 |]

Deutsch

English

Wachet auf, ruft uns die Stimme Der Wächter sehr hoch auf der Zinne, Wach auf, du Stadt Jerusalem! Mitternacht heißt diese Stunde, Sie rufen uns mit hellem Munde: Wo seid ihr klugen Jungfrauen? Wohlauf, der Bräut'gam kömmt, Steht auf, die Lampen nehmt! Halleluja! Macht euch bereit zu der Hochzeit, Ihr müßet ihm entgegengehn! Zion hört die Wächter singen, Das Herz tut ihr vor Freuden springen, Sie wacht und stehet eilend auf. Ihr Freund kommt vom Himmel prächtig, Von Gnaden stark, von Wahrheit mächtig, Ihr Licht wird hell, ihr Stern geht auf. Nun komm, du werte Kron', Herr Jesu, Gottes Sohn! Hosianna! Wir folgen all' zum Freudensaal Und halten mit das Abendmahl. Gloria sei dir gesungen Mit Menschen- und mit Engelzungen, Mit Harfen und mit Zimbeln schön. Von zwölf Perlen sind die Pforten An deiner Stadt, wir sind Konsorten Der Engel hoch um deinen Thron. Kein Aug hat je gespürt, Kein Ohr hat mehr gehört Solche Freude. Das sind wir froh, i-o, i-o, Ewig in dulci jubilo.

“Wake, arise,” loud call the voices of Watchmen so high in the tower, “Wake up, you town Jerusalem!” Midnight’s hour is now approaching They call to us with lucid voices: Where are the clever virgins now? Behold, the bridegroom comes Rise up, your lanterns take! Alleluia! Prepare yourself for the wedding, You must arise and go to him! Zion hears the watchmen singing The maidens’ hearts with joy are springing They wake and quickly to Him go. Their Friend comes in Heav’nly splendor With graceful strength, with mercy tender Their light is bright, their star doth glow. Now come, thou worthy One; Lord Jesus, God’s own Son Hosanna! We follow all to that glad hall To our Lord’s table we are called. “Gloria” we all are singing With earth and heav’n our voices ringing With harp and cymbal’s clearest tone. Twelve great pearls adorn the portals. At your fair city we are consorts With angels high around Your throne. No eye has ever seen No ear has ever heard Such a rapture. Our song doth go Io, Io! Ever in dulci jubilo.

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