Sunday 10 September 2023 at 8:00 PM
Eccles Organ Festival Recital
S. Andrew Lloyd
University of Texas at San Antonio, TX (USA)
Eccles Organ Festival Recital
S. Andrew Lloyd
University of Texas at San Antonio, TX (USA)
Program
Louis Marchand (1669-1732)
Livre posthume (1740)
I. Plein jeu
Girolamo Frescobaldi (1583-1643)
Missa della Domenica, from Fiori Musicali (1635)
Toccata
Kyrie
Christe
Kyrie
Canzon dopo l’Epistola (3 sections)
Toccata Cromaticha per l’Elevatione
S. Andrew Lloyd (b. 1979)
and on the third day (2019)
Johann Sebastian Bach (1685-1750)
Allein Gott in der Höh sei Ehr, BWV 664 (1710-1714)
Marcel Dupré (1886-1971)
Deux Esquisses Op. 41 (1945)
II. si bémol mineur
Olivier Messiaen (1908-1992)
Messe de la Pentecôte (1951)
IV. Communion (Les oiseaux et les sources)
Marcel Dupré
Le Chemin de la croix Op. 29 (1931)
III. Jésus tombe sous le poids de sa Croix
Charles-Marie Widor (1844-1937)
Symphonie Gothique (1895)
II. Andante sostenuto
Johann Sebastian Bach
The Well-Tempered Clavier Book I (1722)
X. Prelude and Fugue in e minor BWV 855
(transcribed by S. Andrew Lloyd)
S. Andrew Lloyd
The Three Gardens (2009)
III. Resurrection
S. Andrew Lloyd
Il est né le divin enfant (2011)
Louis Marchand (1669-1732)
Livre posthume (1740)
I. Plein jeu
Girolamo Frescobaldi (1583-1643)
Missa della Domenica, from Fiori Musicali (1635)
Toccata
Kyrie
Christe
Kyrie
Canzon dopo l’Epistola (3 sections)
Toccata Cromaticha per l’Elevatione
S. Andrew Lloyd (b. 1979)
and on the third day (2019)
Johann Sebastian Bach (1685-1750)
Allein Gott in der Höh sei Ehr, BWV 664 (1710-1714)
Marcel Dupré (1886-1971)
Deux Esquisses Op. 41 (1945)
II. si bémol mineur
Olivier Messiaen (1908-1992)
Messe de la Pentecôte (1951)
IV. Communion (Les oiseaux et les sources)
Marcel Dupré
Le Chemin de la croix Op. 29 (1931)
III. Jésus tombe sous le poids de sa Croix
Charles-Marie Widor (1844-1937)
Symphonie Gothique (1895)
II. Andante sostenuto
Johann Sebastian Bach
The Well-Tempered Clavier Book I (1722)
X. Prelude and Fugue in e minor BWV 855
(transcribed by S. Andrew Lloyd)
S. Andrew Lloyd
The Three Gardens (2009)
III. Resurrection
S. Andrew Lloyd
Il est né le divin enfant (2011)
The Performer
S. Andrew Lloyd, whose music has been described as “monumental, hair-raising, and leaving you agape in awe” (Classical Music Sentinel), is a concert organist and composer, and the Bess Hieronymus Endowed Fellow and Assistant Professor of Organ and Composition at the University of Texas at San Antonio, as well as the 2019/2020 Marlin K. Jensen Artist in Residence at the University of Utah, having previously worked at the University of North Texas.
As a recipient of a Barlow Endowment commission and winner of the first Ariel Bybee Endowment Commission Competition for a collection of art songs to be written for and premiered by soprano Rachel Willis-Sørensen at Carnegie Hall, Lloyd’s compositions have been performed all over the world including the Cathédrale de Notre Dame de Paris, the National Cathedral in Washington DC, Riverside Church New York, Trinity Church and Methuen Hall Boston, the Salt Lake Tabernacle, Moscow Catholic Cathedral in Russia, venues in South Africa, Switzerland, and Taiwan, and the 2016 and 2018 National AGO Conventions in Houston and Kansas City respectively.
A recording of Lloyd’s monumental art mass, Christus was released in 2017 on the Neumark label, and featured on Pipedreams public radio in December of 2018.
Originally from Spokane, WA, Lloyd (b. 1979) earned degrees from the University of North Texas (DMA) the University of Kansas (MM), and Brigham Young University (BM). He studied with the notable composers and organists Forrest Pierce, Jon Nelson, Andrew May, James Worlton, James Higdon, Jesse Eschbach, Douglas Bush, Janet Ahrend, and Barbara Lloyd.
S. Andrew Lloyd, whose music has been described as “monumental, hair-raising, and leaving you agape in awe” (Classical Music Sentinel), is a concert organist and composer, and the Bess Hieronymus Endowed Fellow and Assistant Professor of Organ and Composition at the University of Texas at San Antonio, as well as the 2019/2020 Marlin K. Jensen Artist in Residence at the University of Utah, having previously worked at the University of North Texas.
As a recipient of a Barlow Endowment commission and winner of the first Ariel Bybee Endowment Commission Competition for a collection of art songs to be written for and premiered by soprano Rachel Willis-Sørensen at Carnegie Hall, Lloyd’s compositions have been performed all over the world including the Cathédrale de Notre Dame de Paris, the National Cathedral in Washington DC, Riverside Church New York, Trinity Church and Methuen Hall Boston, the Salt Lake Tabernacle, Moscow Catholic Cathedral in Russia, venues in South Africa, Switzerland, and Taiwan, and the 2016 and 2018 National AGO Conventions in Houston and Kansas City respectively.
A recording of Lloyd’s monumental art mass, Christus was released in 2017 on the Neumark label, and featured on Pipedreams public radio in December of 2018.
Originally from Spokane, WA, Lloyd (b. 1979) earned degrees from the University of North Texas (DMA) the University of Kansas (MM), and Brigham Young University (BM). He studied with the notable composers and organists Forrest Pierce, Jon Nelson, Andrew May, James Worlton, James Higdon, Jesse Eschbach, Douglas Bush, Janet Ahrend, and Barbara Lloyd.
Program Notes
(by Dr. S. Andrew Lloyd)
This program was arranged in two halves, the first ending with Dupré’s virtuosic Esquisse in B-flat minor, and the second half beginning with Dupré’s Jésus tombe sous le poids de sa Croix (Jesus falls the first time under the weight of the cross) separated by Olivier Messiaen’s delightful communion from his Messe de la Pentecôte. The first half is deeply inspired by the Catholic Mass featuring selections from Frescobaldi’s Missa della Domenica, the German “Gloria:” Allein Gott in Der Höh sei Ehr, and Messiaen’s communion. The second half of the program opens with a piece painting a picture of Christ walking to the Cross, and ends with the resurrection and ultimately the birth of Jesus Christ.
Plein Jeu
Published in 1740 after Louis Marchand’s death, Livre posthume is believed to be a re-publication of a 1700 edition that no longer exists. Marchand’s Grand Plein Jeu features double reeds in the pedal, which is quite rare for this genre, and strikingly glorious.
Missa della Domenica
Along with Sweelinck, Girolamo Frescobaldi is widely considered the father of keyboard music. His Fiori Musicali from 1635 is a collection of three masses, and a model of the highest approaches to keyboard writing that would inspire generations to come including Johann Sebastian Bach who’s own keyboard mass, Clavierübung III, may have found inspiration.
and on the third day
Written in 2019, and on the third day, depicts the juxtaposition of the third day of creation with the third day after the Crucifixion, all amid the backdrop of the Veni Creator Spiritus chant. While originally a violin and organ piece, and on the third day was transcribed for solo organ, but one can hear the violin lines moving throughout the fabric of the piece. The ending evokes the quiet imagery on earth when life first appeared.
Allein Gott in der Höh sei Ehr BWV 664
This trio is one of three chorale preludes of this tune found in Bach’s Leipzig collection of chorale preludes written while he was in Weimar, but compiled while he lived in Leipzig. Bach has written more settings of the Allein Gott chorale than any other chorale tune. One can hear the chorale melody in the pedal at the end of this prelude.
Esquisse no. 2 in B-flat minor
Marcel Dupré originally conceived of writing twelve transcendental studies for his star pupil Jeanne Demessieux. Of these twelve studies, only three were published, the two esquisses Op. 41, and the posthumously published esquisse in C major. It is believed that some of the other studies ended up as movements in some of his other works like Offrande à la Vierge. This particular sketch is one of Dupré most virtuosic compositions and is a fiery exploration of octaves in both the manuals and pedal.
Communion (Les oiseaux et les sources)
Written in 1951, Oliver Messiaen’s Messe de la Pentecôte models the low mass and the communion movement is accompanied by the Benedicite text: O ye Waters that be above the firmament, bless ye the Lord; O all ye Fowls of the air, bless ye the Lord. One can hear the bird songs and the sprinkling water from the fountain. The piece ends with an expansion towards the extremes of the organ where the highest notes and the lowest notes are heard evoking the expanse of the infinite.
Jésus tombe sous le poids de sa Croix
This is the third movement in Marcel Dupré’s Chemin de la croix and is translated as Jesus falls the first time under the weight of the cross. This movement is the first of three marches, illustrating the three falls. An insistent motif of descending paired notes depicts the weary steps of Jesus, while a theme of suffering soars above. The march intensifies to a heart-rending climax, then slowly recedes, ending with a glimmer of hope in the rising theme of redemption.
Andante sostenuto
Charles-Marie Widor’s Symphonie Gothique was written in 1895 and was one of the first French organ works from this time period to feature plainchant for its melodic material as noted in the use of Puer natus est in the third and fourth movements. While plainchant is not the inspiration for the second movement, andante sostenuto, the movement nonetheless exhibits a sacred character and an orchestral intimacy as predicated by the soaring gorgeous flute melodies, and the rich textures in the accompaniment.
Prelude and Fugue in e minor, BWV 855
This eclectic prelude and fugue was written in 1722 and originally intended for the harpsichord. This piece was transcribed for the organ in the style of Antonio Vivaldi, who was a huge influence for much of Johann Sebastian Bach’s music. The organ truly captures some of the surprise elements in this fantastic work.
Resurrection, from The Three Gardens
Composed in 2009, The Three Gardens is S. Andrew Lloyd’s first monumental organ work and depicts the events that happened in the Garden of Eden, Gethsemane, and Resurrection. This particular toccata-like movement opens with a gentle quotation from the hymn I Believe in Christ, painting a picture of Mary alone in the garden before Christ’s appearance. This hymn tune appears juxtaposed with the Victimae Paschali Laudes chant throughout the work. This composition was originally paired with Charles Tournemire’s Improvisation sur le “Victimae paschali” at the premiere, hence the light quotations from Tournemire’s monumental work.
Il est né le divin enfant
This piece is a quasi-fantasy on the French carol, opening with a quiet lyricism and roaring to an expansive ending including a five-voice canon on the opening theme. Originally written as an organ duet for four hands, the piece was later transcribed for solo organ.
(by Dr. S. Andrew Lloyd)
This program was arranged in two halves, the first ending with Dupré’s virtuosic Esquisse in B-flat minor, and the second half beginning with Dupré’s Jésus tombe sous le poids de sa Croix (Jesus falls the first time under the weight of the cross) separated by Olivier Messiaen’s delightful communion from his Messe de la Pentecôte. The first half is deeply inspired by the Catholic Mass featuring selections from Frescobaldi’s Missa della Domenica, the German “Gloria:” Allein Gott in Der Höh sei Ehr, and Messiaen’s communion. The second half of the program opens with a piece painting a picture of Christ walking to the Cross, and ends with the resurrection and ultimately the birth of Jesus Christ.
Plein Jeu
Published in 1740 after Louis Marchand’s death, Livre posthume is believed to be a re-publication of a 1700 edition that no longer exists. Marchand’s Grand Plein Jeu features double reeds in the pedal, which is quite rare for this genre, and strikingly glorious.
Missa della Domenica
Along with Sweelinck, Girolamo Frescobaldi is widely considered the father of keyboard music. His Fiori Musicali from 1635 is a collection of three masses, and a model of the highest approaches to keyboard writing that would inspire generations to come including Johann Sebastian Bach who’s own keyboard mass, Clavierübung III, may have found inspiration.
and on the third day
Written in 2019, and on the third day, depicts the juxtaposition of the third day of creation with the third day after the Crucifixion, all amid the backdrop of the Veni Creator Spiritus chant. While originally a violin and organ piece, and on the third day was transcribed for solo organ, but one can hear the violin lines moving throughout the fabric of the piece. The ending evokes the quiet imagery on earth when life first appeared.
Allein Gott in der Höh sei Ehr BWV 664
This trio is one of three chorale preludes of this tune found in Bach’s Leipzig collection of chorale preludes written while he was in Weimar, but compiled while he lived in Leipzig. Bach has written more settings of the Allein Gott chorale than any other chorale tune. One can hear the chorale melody in the pedal at the end of this prelude.
Esquisse no. 2 in B-flat minor
Marcel Dupré originally conceived of writing twelve transcendental studies for his star pupil Jeanne Demessieux. Of these twelve studies, only three were published, the two esquisses Op. 41, and the posthumously published esquisse in C major. It is believed that some of the other studies ended up as movements in some of his other works like Offrande à la Vierge. This particular sketch is one of Dupré most virtuosic compositions and is a fiery exploration of octaves in both the manuals and pedal.
Communion (Les oiseaux et les sources)
Written in 1951, Oliver Messiaen’s Messe de la Pentecôte models the low mass and the communion movement is accompanied by the Benedicite text: O ye Waters that be above the firmament, bless ye the Lord; O all ye Fowls of the air, bless ye the Lord. One can hear the bird songs and the sprinkling water from the fountain. The piece ends with an expansion towards the extremes of the organ where the highest notes and the lowest notes are heard evoking the expanse of the infinite.
Jésus tombe sous le poids de sa Croix
This is the third movement in Marcel Dupré’s Chemin de la croix and is translated as Jesus falls the first time under the weight of the cross. This movement is the first of three marches, illustrating the three falls. An insistent motif of descending paired notes depicts the weary steps of Jesus, while a theme of suffering soars above. The march intensifies to a heart-rending climax, then slowly recedes, ending with a glimmer of hope in the rising theme of redemption.
Andante sostenuto
Charles-Marie Widor’s Symphonie Gothique was written in 1895 and was one of the first French organ works from this time period to feature plainchant for its melodic material as noted in the use of Puer natus est in the third and fourth movements. While plainchant is not the inspiration for the second movement, andante sostenuto, the movement nonetheless exhibits a sacred character and an orchestral intimacy as predicated by the soaring gorgeous flute melodies, and the rich textures in the accompaniment.
Prelude and Fugue in e minor, BWV 855
This eclectic prelude and fugue was written in 1722 and originally intended for the harpsichord. This piece was transcribed for the organ in the style of Antonio Vivaldi, who was a huge influence for much of Johann Sebastian Bach’s music. The organ truly captures some of the surprise elements in this fantastic work.
Resurrection, from The Three Gardens
Composed in 2009, The Three Gardens is S. Andrew Lloyd’s first monumental organ work and depicts the events that happened in the Garden of Eden, Gethsemane, and Resurrection. This particular toccata-like movement opens with a gentle quotation from the hymn I Believe in Christ, painting a picture of Mary alone in the garden before Christ’s appearance. This hymn tune appears juxtaposed with the Victimae Paschali Laudes chant throughout the work. This composition was originally paired with Charles Tournemire’s Improvisation sur le “Victimae paschali” at the premiere, hence the light quotations from Tournemire’s monumental work.
Il est né le divin enfant
This piece is a quasi-fantasy on the French carol, opening with a quiet lyricism and roaring to an expansive ending including a five-voice canon on the opening theme. Originally written as an organ duet for four hands, the piece was later transcribed for solo organ.