Hey everyone! I hope you’re all having a great summer so far! I certainly am; the weather has been excellent for cycling. I have been enjoying staying active, spending time pursuing my hobbies, and, of course, diligently continuing my organ practice.
I am often asked about the music I play, so I thought I would take the time to share some details about what you all hear during Sunday service. I hope you enjoy this little insight into the life of a church musician!
Last week, June 30th, I played an excerpt from my most recent major composition, which I titled The Call of Adventure: Tales of Incredible Journeys and Epic Quests (or Fantasy for Organ). I premiered this piece around this time last Summer in a solo recital right here at First Pres. Since it’s been a year since I first played it, I thought it was about time to revisit it.
The Call of Adventure was born from my lifelong love of fantasy fiction. I was a young child when The Lord of the Rings films were first released, which my parents exposed me to very early. Once I began reading novels, I latched onto The Hobbit and other fantasy stories. As a teen, I acquired a taste for Japanese fantasy, such as the films of Hayao Miyazaki, namely Princess Mononoke and Nausicaä of the Valley of the Wind, and eventually became enamored with the Final Fantasy series of video games. What captivated me the most about all of these works was a grand sense of adventure and exploration, which was often accompanied by a breathtaking score of music. In particular, Final Fantasy was a huge source of inspiration to me as I was just beginning to develop my skills as a musician. I can say, without a doubt, that the chiptunes of Nobuo Uematsu influenced me as much as the great fugues of Bach or the heartful melodies of Rachmaninoff.
As an adult, I retain my love of fantasy, and that imaginative style of art is the core of my identity as a musician. I wanted to pay tribute to those works which have influenced me so much, so I set out to write my own Fantasy for organ.
The Call of Adventure is structured much like the score to a film or game. In fact, I specifically wanted to emulate Final Fantasy. My goal was to depict an imaginary party of adventurers, setting out to vanquish a looming evil. The entire work is based on a single main theme, which is present throughout in several variations. It begins with a single flute, which I imagine as the “call of adventure” itself, joined by an oboe, representing the “answer.” It doesn’t take long for the “journey” to begin, and the music gradually picks up momentum. One section captures the sounds of a bustling town, then the next section depicts a fierce, unexpected battle. An aria, as if sung from the heart, ties the whole thing together. Of course, I had to end on a high note! As the adventure comes to an end, and the heroes return home, a trumpet fanfare triumphantly brings the piece to a close.
This was easily my largest and most ambitious composition yet, and I can’t wait to play it again sometime!
This coming Sunday, for the postlude, I’ll be playing the last movement from Florence Price’s Organ Sonata. I have been working on this sonata for a couple years now, and I’m very excited to share this movement with the congregation!
Florence Price (1887-1953) is notable for being one of the first black women in America to be recognized for her symphonic compositions and to have her music played by a major orchestra, but she was also a church organist! Her musical style is defined by a combination of her classical training and her upbringing as a black girl in the American south. Her Sonata for Organ is a remarkable example of her composition technique, combining the classical and cultural influences in the context of a symphonic organ work.
Price’s organ sonata is largely based on the first organ sonata of Alexandre Guilmant. Both are set in the key of D minor and share a nearly identical structure, which is most noticeable in the first movement (maybe I’ll play that movement for church sometime… but it’s highly technical and quite challenging!). However, despite the similarities, Price’s sonata is undoubtedly her own, and it is brimming with personality. This blending of styles and influences makes for a piece of music that is delightful to listen to, and very fun to play!
The final movement is a roaring, relentless toccata that maintains a high level of energy throughout. Nearly from beginning to end, an unbroken string of sixteenth notes maintains momentum as the main motif travels through all sorts of different keys. Around halfway through, there is a pedal solo which, for lack of better terminology, absolutely shreds. All of this leads to a glorious conclusion, but I won’t spoil that here!
I hope you look forward to hearing this piece on Sunday. It’s a favorite of mine, and I’ve worked hard to prepare it!
Thank you for taking the time to read my notes! I’m so proud to serve such a wonderful church and to be able to pursue my passion. I couldn’t be more grateful! I hope to share more with you all in the future.
Until then, I hope you enjoy the music this Sunday, and take care!
Autumn (she/her), Organist, Kalamazoo First Presbyterian Church