Whitney Eugene Thayer Video
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West Point Organist Craig Williams plays Fuga a 5 Voci - Maestoso, from W. Eugene Thayer's Grosse Sonata for Organ No. 2 in c minor, Opus 5. The fugue is built upon the opening phrase of the song "My Country 'Tis of Thee" and brings in the other phrases of the song as it develops, closing with the final phrases played in harmony. The sonata was published in 1862 and dedicated to then Lieutenant General Ulysses S. Grant. This was recorded during a practice session for a recital at First Presbyterian Church, Ilion, NY - Casavant Opus 3854.
Eugene Thayer Hutchinson Dyer Ulysses 2003 2012
The "Fugue on 'My Country 'Tis of Thee" from "Sonata #2" (Dedicated to General Ulysses S. Grant) by W. Eugene Thayer. Performed on July 1, 2012 by John Hutchinson on the 2003 Randall Dyer and Associates III/40 organ at the Cumming First United Methodist Church, Cumming GA as part of the 9th annual "God Bless America: Choral and Organ Fireworks" concert.
John Knowles Paine Amy Beach Arthur Foote Edward Macdowell George Chadwick Horatio Parker Joseph Silverstein Eugene Thayer Charles Ives Boston Symphony Orchestra 1839 1867 1876 1889 1906
John Knowles Paine (January 9, 1839 – April 25, 1906) was the first American-born composer to achieve fame for large-scale orchestral music. The senior member of a group of other composers collectively known as the Boston Six, Paine was one of those responsible for the first significant body of concert music by composers from the United States. The other five were Amy Beach, Arthur Foote, Edward MacDowell, George Chadwick, and Horatio Parker. Please support my channel: (http•••) Violin Sonata in B minor, Op. 24 (1876 or earlier) 1. Allegro appassionato (0:00) 2. Larghetto e teneramente (6:07) 3. Allegro vivace (11:21) Joseph Silverstein, violin and Virginia Eskin, piano Paine's well received 1867 Berlin premiere of Mass in D would give Paine a reputation that helped him to shape the musical infrastructure of the United States. His pioneering courses in music appreciation and music theory made the curriculum of Department of Music at Harvard a model for American Departments of Music. His service as a director of The New England Conservatory of Music (and the lectures he gave there) establish his place at the root of an instruction chain that leads (through Eugene Thayer) from George Chadwick to Horatio Parker to Charles Ives. He was the first guest conductor of the Boston Symphony Orchestra in the final concerts of its first season, and his works were audience favorites. Paine is noted for beginning American's symphonic tradition. He is also known for writing America's first oratorio (St. Peter), the Centennial Hymn that (with orchestra) opened the 1876 Centennial Exposition in Philadelphia, was a founder of American Guild of Organists, and co-editor of "Famous Composers and their Works". In 1889, Paine made one of the first musical recordings on wax cylinder with Theo Wangemann, who was experimenting with sound recording on the newly invented phonograph.
Whitney Eugene Thayer Carl August Haupt Gigout Lemmens Buxtehude Bruhns Dudley Buck Tchaikovsky Bach Boston Music Hall 1792 1800 1838 1863 1889 1914
Whitney Eugene Thayer (December 11, 1838, Mendon, Massachusetts / June 27, 1889, Burlington, Vermont) was an American organist and composer. Thayer gave his first concert just after the installation of the new organ in the Boston Music Hall in 1863. He advanced to study organ and counterpoint in Berlin with Carl August Haupt. After returning from Berlin he worked in Boston and later in New York City as an organist. He was also a touring virtuoso, organ teacher, and music writer. Apart from a festive cantata and a mass, he composed numerous works for organ, art songs, and vocal quartets. NOTE the very elegant, virtuosic, & simply said: very incredibly DIFFICULT Pedal parts! They flow in eigth notes! Such fluid use of Pedals had not been ever so common, really, until the 1800's school of Romantic-Era Organists, such as Gigout, or Lemmens, who began developing such advanced Schools of Pedal Technique - where they practiced Pedal Technique Heavily, with Pedal Scales & Exercises Excessive (or plentiful at least) & they were not at all, as most organists had been throughout history before them, terrified/petrified of the concept of playing with the Pedals - at least, playing exceedingly fast & virtuosic-ally. Many German Organists before the 1800's had indeed dabbled in that - for example, the boisterous, puming, & blasting/booming Pedal solos of Buxtehude & Lubeck or Bruhns,but yet however, they mostly had the fast parts in the Pedal only in the form of solos. Which meant that they could clearly focus more in on them & the technique. Rather than having to, as Thayer must have in this piece, focus on both Manuals' difficult parts AND the flowing Pedal Bass-Accompaniment Part. Phew! What a relief it must have been to finally finish having played the piece excellently & to heart's content! This same type of virtuosic 1800's Pedal Technique is also quite seen in the composition of/by another famous American Organist Contemporary of Thayer, namely that being, DUDLEY BUCK. Who, in his Variations on the Star Spangled Banner includes some very risque & boisterous pedal parts in the Singing of the American National Anthem. Thayer himself also composed variations on the Star Spangled Banner, as did many contemporary & famous Pianists/Organists of his day. It was a very Patriotic Epoch & Imperialistic one as well. While Wagner represented the Germanic Romanticism of Nationalism, & Tchaikovsky the Russian Nationalisms, the likes of Thayer represented the Bright & Liveliest of Nationalisms of the Age - the Democracy-Invigorated American Nationalism of the Age. Thus calling for the need of heavy Pedals. Indeed, perhaps very few other than Bach before had developed a Method of such advanced Pedaling. Remember that it was the hope of systematizing the type of advanced Pedal Technique which Bach possessed which propelled these 19th century Organists to new methods of creating Pedal Studies. The Hymn Tune is called "Sicilian Mariners Hymn" or perhaps sometimes "Sicily" & it derived from the old story that said that the Mariners, each day before & after they went out to sea - to fish & perform other Marine-ish tasks, would sing this tune. Here. read this concise explanatory background: "SICILIAN MARINERS is traditionally used for the Roman Catholic Marian hymn "O Sanctissima." According to tradition, Sicilian seamen ended each day on their ships by singing this hymn in unison. The tune probably traveled from Italy to Germany to England, where The European Magazine and London Review first published it in 1792. The tune was associated with the German Christmas carol "O du Frohliche, O du Selige." The tune also appears to have had an influence on the African American song "We Shall Overcome." / Psalter Hymnal Handbook" The tune name Sicilian Mariners has been around long enough to evoke some jokes as well. In a 1914 literary publication out of Britain's Isle of Man appears a story about a young boy born to parents in Marsala on the Mediterranean coast. Shipped home to London at the age of nine, the boy was greeted with, '"Well, so you have arrived at last; and how are the Sicilian Mariners?' This little joke was lost upon the boy who simply answered, 'Very well, thank you,' but felt puzzled if not humiliated, for he did not then know what he soon afterwards found out from the church hymnbook, that there is a well-known tune bearing the name of 'Sicilian Mariners.'" LATIN LYRICS TO THE PIECE: O sanctissima, o piissima dulcis virgo Maria mater amata, intemerata ora, ora pro nobis. Tota pulchra es, o Maria et macula non est in te mater amata, intemerata ora, ora pro nobis. Sicut lilium inter spinas sic Maria inter filias mater amata, intemerata ora, ora pro nobis. In miseria, in angustia ora virgo pro nobis. Pro nobis ora in mortis hora ora, ora pro nobis. Tu solatium et refugium virgo mater Maria quidquid optamus per te speramus, ora, ora pro nobis
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