and here and there (2025)
Dedicated to Katia Farn
Programme Note
The music is inspired by a deeply personal engagement with the organ, from fairground to cathedral, drawing on distortions, memories, fantasies and inventions shaped by my experiences as a listener of organ music. Additionally, it reflects moments of direct interaction with the instrument—brief, exploratory encounters with the manuals and pedals of small church organs. These attempts to forge a physical connection with the organ’s unique agency have inevitably left their mark, shaping the music’s character through a lens that is both idiosyncratic, reverent, and sometimes rhythmically and polyphonically demanding.
Circa 8’30” duration.
About Score to Audio Video
I’m posting score to audio videos of all my organ pieces as I publish them. Although lacking human warmth, colouristic diversity and depth, the MIDI organ sound I have at my disposal (pipe organ, one colour, no doubling) are kinder to the composer (and instrument) than many other MIDI sounds. I believe that listening to one of these videos does give a fair idea of the potential for the piece if given the full treatment by a consummate artist employing the idiosyncrasies and range of their instrument, and may provoke a deeper exploration of the music.
General Performance Note
Overview and Intentions
These organ compositions explore layered timbres and dynamic contrasts, drawing inspiration from my background in painting to create vivid and subtle colourations. Some scores are crafted to challenge the organist through the intricate interplay of voices and textures, transitioning between sparse doublings and expansive octave ranges. Other pieces are more straightforward in their approach. In all cases, I aim to evoke a sonic landscape that evolves through distinct timbral shifts and expressive dynamics, leveraging the organ’s rich palette.
Notation and Structure
Where contextually appropriate, and contingent upon the player’s interpretation, each staff may represent a distinct timbral colour (or not), reflecting layered sounds. Where staves represent distinct timbral colours, chords notated on a single staff should produce a unified timbre, while chords spanning multiple staves blend contrasting colours to create a cohesive texture. The notation prioritises clarity in sound layering. Interpret the alignment of voices to enhance the interplay of chords and textures in your performance.
Registration
Suggested registrations, in addition to the notated registrations, may or may not be provided as a starting point for interpretation. Where provided, these are not prescriptive; I encourage you to select registrations that realise varied, intense, or—where appropriate —subtle colourations, tailoring them to your organ and interpretative approach to the piece.
I am interested in exploring just intonation for certain voices to introduce subtle pitch deviations from equal temperament, creating microtonal colouristic effects. Experiment with these possibilities where feasible, adapting them to the instrument’s capabilities. If tremulants are used, their effect should be subtle, producing gentle oscillations of sound rather than aggressive vibrato.
Dynamics and Swell
Dynamics are notated to guide musical expression and should be interpreted to maximise their impact. Use the swell pedal, where indicated, to shape dynamic transitions, ensuring both technical feasibility and musical coherence.
Adjust dynamics as needed to suit the organ’s response and the performance context, enhancing the intended contrasts.
Performance and Collaboration
The final sound of this piece emerges from the collaboration between the composition and your interpretative choices. Your approach to timbre, dynamics, and registratiom will shape its character, and I encourage you to annotate your score to reflect your rendition. I hope this work inspires and challenges you, as it did me in its creation.