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ORGAN SYMPHONIES
All the movements
of my Organ Symphonies are written in such a way that, although they are
symphonic in construction, they can be successfully played on their own.
All these movements are titled and each one is independent and yet
simultaneously related to the others conceptually. The average duration of
a complete Organ Symphony is approximately thirty minutes and the score
can be purchased for £35, US $50 or €45. |
Click any title to hear
an extract of the piece |
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SYMPHONY NO 1
No. 1
SIGIL
This piece is a musical self-portrait. Its theme is
derived from my initials. An exciting coda.
No. 2
SOUND SENSES
Very ethereal in nature.
No. 3
BIRTHDAY CHANT
(Sound Cloud)
This takes a fragment of the plainsong Alleluia, set
for my birthday , and subjects it to certain compositional devices. A
powerful work.
No. 4
TEMPUS FUGIT
A musical allegory of time literally flying.
No.5
TRANSCENDING (YouTube)
The opening theme goes through a number of
transformations to portray a journey from one state of being to another. |
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SYMPHONY NO. 2
No. 1
ANTIPHON
(Vimeo)
As the title suggests, this piece is antiphonal in
nature with meditative and joyous passages.
No. 2
EUPHONIA
Beautiful sounds.
No. 3
MELODIC LANDSCAPES
Conjures up idyllic peace and nostalgia with an
attractive melody and rich harmony.
No. 4
HARMONIES OF PERCEPTION
An introverted but at the same time demonstrative
work. Melody accompanied by exquisite harmonic dissonances.
No. 5
PAEAN AND FUGUE
A festive and vibrant paean followed by fugal
statements of the theme, with an exciting coda. |
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SYMPHONY NO. 3
No. 1
SPACE WALK
This march is a light-hearted portrayal of an
astronaut floating around the earth.
No. 2
OUT OF SPACE
The title has two meanings - feeling crowded
or in another perception!
No. 3
CANONIC DIMENSIONS
A canon with cadences and a crescendo.
No. 4
INTERGALACTIC VOICES
The unimaginable voids of space? Very
atmospheric.
No. 5
SPACE DANCE
A cosmic
break-dance of grand proportions.
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SYMPHONY NO. 4
This symphony is dedicated to the memory of my
mother, Helen Mary Heyes
Listen to a complete performance of my
Organ Symphony No. 4 played by
Carson Cooman who is a composer and international concert organist from
Harvard. USA.
No.
1
ENCOMION
A celebration of my mother's life.
No. 2
PAST TIME
Two meanings to this title - looking back at life
and beyond time itself. A memorable melody.
No. 3
LAMENTATION
The theme is based on the letters of my mother's
name. A sad but compelling piece.
No. 4
PANACEA
Indeed a tonic!
No. 5
MARANATHA
An Aramaic word calling on Christ. The piece takes
the form of a joyous, rhythmical dance, full of activity. Exciting! |
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SYMPHONY NO. 5
No. 1 INTRADA
A gradual crescendo of complex harmonic canons.
No. 2
ANDANTE, LENTO
Sensual melodies interspersed with luscious
harmonies.
No. 3
SCHERZO
Truly playful with an unusual end.
No. 4
FINALE
A tour de force. Chords representing love, hate,
life and death are juxtaposed with brilliant toccata sections. The coda is
entitled, 'The March of Oblivion'. Must be heard.
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SYMPHONY NO. 6
Listen to a complete performance of my Organ Symphony No. 6 by Carson Cooman who is a composer and international concert organist from Harvard,
USA.
No. 1
RERUM OMNIUM FERE NODUS
This title is a quote from Cicero's writing on the
subject of the Pythagorean/Platonic cosmos and describes the number seven.
Literally translated, 'The Knot of Almost Everything'. What Cicero is
alluding to is 'The Key to the Universe'. This piece takes the form of
chords and refrains using a fragment of the first melody that I ever
notated.
No. 2
MIRABILE DICTU (Marvellous to
Behold)
A jubilant canon and majestic chordal passages
adorned with glorious modulations of key.
No. 3
PYTHAGOREAN DREAMS
(YouTube)
In ancient Greece the Pythagorean cult performed
music to induce peace and tranquillity. The work uses the Pythagorean
Scale which represents The Music of the Spheres. Very atmospheric music of
stunning beauty.
No.
4
HYPOSTASIS
The essence, real personal subsistence. A delightful
piece designed to give food for thought.
No. 5
REMEMBER ME
A brilliant toccata. The opening passage uses the
rhythmic intonation from Henry Purcell's 'Dido's Lament' (Remember Me) in
order to celebrate the tercentenary of the composer's death. |
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SYMPHONY NO. 7
No. 1
RHAPSODY
A montage of captivating melodies joined by
exuberant chordal progressions.
No. 2
MEDITATION
Slow, ravishing modal melodies, accompanied by
contemplative harmonies, combine to induce a sense of serenity.
No. 3
TIME PLAY (YouTube)
A stunning display of syncopated dance rhythms,
followed by canons of soaring intensity. Breath taking!
No. 4
SONIC VISIONS
Written to mark the new millennium. Rapid passages,
apocalyptic chords, arabesques of joy, inventive canons and chorales
combine to make a fearsome proclamation of the 21st century.
  
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SYMPHONY NO. 8
No.1
INTROIT (Vimeo)
A juxtaposition of fast and slow passages which end
with a fugal treatment of the plainsong subject.
No. 2
BEYOND
Two melodies, the first with its distinctive
character and the second, distant and mysterious, combine to produce and
evocative composition.
No. 3
ARCHIMEDES (YouTube)
The genius of Archimedes seemed to have no bounds.
He thought that his greatest contribution to geometry was his Ratio of a
Sphere to a Cylinder 2:3. It is said that he wanted this achievement
recorded on his tombstone. As a tribute, I have incorporated the Ratio in
this work. Eclectic music, both joyous and majestic.
No. 4
POEM
A feast of melodic invention and harmonic colour.
No. 5
TERPSICHORE
The title is derived from the Greek words terpein
(to enjoy) and choros (dance). After an ascending introduction, ostinato
chords accompanied by canonic augmentation and diminution unite to create
a dance. There then follows a section depicting Whirling Dervishes,
succeeded by a chordal passage. The music then further develops the
previous ideas and ends with a toccata coda. |
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SYMPHONY NO. 9
No.1
PASSACAGLIA
(YouTube)
Although one always remembers J S Bach's genius in this form, my work
with its 20 variations on this original theme bears little relation to his
passacaglia. In my manipulation of numerous melodic and harmonic devices I
have endeavoured to create a work of beauty and majesty.
No. 2
MINUET AND TRIO
A 21st century interpretation of and 18th century
form. The Minuet employs whole tone harmony which is contrasted by the
Trio's simple melodic canons.
No. 3
NIGHT
LIGHT
An evocation of the incredible. The vision of an
area of instant daylight surrounded by night. With modal melodies and
harmonic reverie it evokes the enigmatic.
No.
4 MAGIC OF THE MOMENT
This fusion of alluring melodies and harmonic
modulations conjures up a sense of spontaneity, accompanied by episodes in
a more reflective mood.
No. 5
KRATOS
(YouTube)
From the Greek meaning strength and power. An
impressive array of rhythmic drive, stark harmonies and striking melodic
fragments develop and culminate in an uncompromising show of splendour and
power. A musical portrayal of the different manifestations of the meaning
of Kratos. |
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SYMPHONY NO. 10
No. 1
OREMUS
(YouTube)
From Latin meaning ‘ Let us Pray.’
Breathtaking toccatas, rapid thematic passages and choral dialogues
combine to produce this transcendent supplication.
No. 2
ONTOGENIC VARIANTS
This piece opens with its attractive them in canon
with a pedal accompaniment, followed by two variations. There is then
further development of the three variants concluding on a soft chord of F
major.
No. 3
MEMORANDUM MYSTIQUE
Sumptuous harmonies accompany slow modal melodies,
exotic thematic material and arcane chord progressions collude in an
attempt to reveal the unknowable.
No. 4
ESCHATOLOGIC STUDY
(YouTube)
This title has two meanings.
1: A study on the last and final
2: A study in compositional techniques.
Idiomatically this work is eclectic. The spirit is awoken by a succession
of rhythmic ostinatos, melismatic energy, antiphonal chords and apocryphal
fanfares. An awesome finale to this Tenth Symphony.
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SYMPHONY NO. 11
Listen to a complete performance of my
Organ Symphony No. 11 played by
Carson Cooman who is a composer and international concert organist from
Harvard, USA.
No. 1 TREE LANGUAGE
An evocation of the impressive sight of a forest of
mature trees.
No. 2 CATACOUSTIC VISIONS
Mysterious music with its echo effects, hypnotic
theme, contrast of tempo and dynamics. This is a compelling composition.
No. 3 YOU SING THE UNKNOWN
Based on a single bird's song which caught my
attention.
No. 4 THE RING OF SPRING
A triumphant toccata depicting the vigour and energy
of Spring.
SYMPHONY NO. 12
No. 1
ECLIPSE
Written to celebrate the 1999 total eclipse of the
sun. The music evokes the powerful, primeval nature of this event.
No. 2 HEARD, SEEN AND TOUCHED
(YouTube)
A meditation on the First Letter of St John, chapter
1, verses 1 - 4.
No. 3 THOUGHT PATTERN NUMBER 1
Light hearted two part melodies and reflective chord
sequences, together create a sense of well-being.
No. 4 THOUGHT PATTERN NUMBER 2
A hypnotic rhythmic drive evokes overtones of
impending menace.
No. 5 HIS NAME IS MUSIC
Composed in 2000 to mark the 250th anniversary of
the death of J S Bach. This piece takes the form of a dance trio
concluding in a glorious hymn of joy. |
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SYMPHONY NO. 13
No. 1 PARCE DOMINE (Spare, O Lord)
(YouTube)
This work uses a fragment of this Lenten plainsong to mighty effect.
No. 2
REQUIEM AETERNAM
(YouTube)
A slow, mournful melody unfolds between the right hand and pedal.
No. 3
HANGING ON THE CROSS
A meditation on the awesome events leading to the death of Christ.
No. 4
INTERCESSION PRELUDE
(Plainsong from the Litany of the Saints) A choral
prelude with the theme in canon.
.No. 5
INTERCESSION LITANY
A powerful interpretation of the Litany.
  
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SYMPHONY NO. 14
Listen to a complete performance of my
Organ Symphony No. 14 played by
Carson Cooman who is a composer and international concert organist from
Harvard, USA.
No. 1
SONG OF THE ANNOINTED
A tuneful celebration of the Christ figure.
No. 2
CANTUS
Highly melodious with a gentle, rocking
accompaniment is an apt description of this serenely tranquil music.
No. 3
EPIGRAPH
A metaphorical inscription in sound. This two part
work could also be described as a musical citation.
No. 4
BENEDICTION
Two part canons and exquisite chord sequences in
close harmony embrace the spiritual.
No. 5
PNEUMA
This breath of a soul is sumptuously rich in
harmonic and melodic invention.
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SYMPHONY NO. 15
No. 1
IMPRESSIONS OF AUSTRALIA
(YouTube)
My trip to Australia in 2007 inspired me to write
this eclectic music. A striking melody which emulates the rhythmic
intonation of the word Australia dominates throughout. Together with
energetic passages and joyous chords they celebrate an amazing continent.
No. 2
MIND MUSIC
The memorable melody which permeates the whole work
is the result of an idée fixe that I experienced on numerous occasions.
No. 3
QUONDAM
A strident evocation of the past.
No. 4
BEFORE THE CLOSE (YouTube)
This simple melody, together with
characteristic harmony, manifests my penultimate symphonic work.
No. 5
FANTASY FINITO
The last movement of the last Symphony, a
magnificent swansong.
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This photo was
taken after completing the recording of my Organ Symphony No. 16 on the
organ of St. Joseph‘s Highgate, London. I recorded all my organ symphonies
on this organ from 1990 to 2017
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SYMPHONY NO.
16
(YouTube)
No.1
MAGNA CARTA
I composed this Work to commemorate the 800th
anniversary of the charter of rights of the same name which was signed by
King John of England in Runnymede on June 15, 1215. This legal document
stands today as an important and seminal influence on the developments in
political liberty over the centuries. It was described by the renowned
English jurist Lord Denning as “the greatest constitutional document of
all times—the foundation of the freedom of the individual against the
arbitrary authority of the despot.” In keeping with this inspiration this
music is bold and thoroughly “grounded” in feeling. The opening intonation
(with its interval of the open 4th) evokes music of the early gothic era.
The piece develops with an integration of toccata‐like ideas in irregular,
energetic rhythms and broader, majestic passages accompanied by chromatic
episodes reflecting the discourse between the barons and the King.
No.2
SAMADHI
The ancient Sanskrit word “Samadhi” literally means
“direct together”. In other words, human consciousness becomes one with
cosmic consciousness. To represent this state of being the Piece uses a
repeated short modal chant accompanied by melodic refrains.
No.3
MANNA
Although the word ‘manna’ is used in the book of
Exodus to mean ‘food from heaven’ the word literally comes from the
Greek/Aramaic word meaning ‘what is this’. This composition is comprised
of short fragmentary bursts of joy accompanied by meditative sections
accompanied by fugal trios of rhythmic augmentation and diminution. The
whole work is dominated by a 4 note theme which is subjected to various
dynamic and harmonic combinations. This music asks more question then it
gives answers hence the title “What is this?”
No.4
SHABDA
(SoundCloud)
This ancient Sanskrit word literally means ‘speech
sound’. Shabda is a hymn, sacred song, it is also a spiritual musical
sound that can be heard during yogic meditation and is believed to have a
spiritually transformative power. In order to portray this state of being
the Piece opens with a melodic melisma followed by a canon between the
manuals with rhythmic augmentation in the pedal. There are also short
passages of calming chord progressions and all these ideas are further
developed throughout the Work. In this composition I have endeavoured to
communicate a state of well-being, to be at one with the vibrations of the
universe.
No.5
MANASAPUTRA
This is an ancient Sanskrit word which literally
means “mind-born son” or "mind-son" In Hinduism, the god Brahma created
ten sons from his mind. This fascinating idea is conceptually similar to
the Christian belief in the Incarnation. This finale to my 16th Organ
Symphony is exuberantly joyous with a succession of rhythmic chord
progressions, toccata sections in dotted rhythms and chordal ostinatos. A
drawing together of the religious beliefs of East and West. |
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SYMPHONY NO. 17
No.1
SUPPLICATION CATACLYSMIC
(SoundCloud)
This invocation opens with fortissimo chords
separated by long rests designed to be enhanced by the acoustic ambience
of a cathedral. There then follows rapid improvisatory passages
accompanied by more meditative quasi plainsong interludes. The Coda
concludes on mighty calamitous chord.
No.2
EIRENICON
(SoundCloud)
This movement was commissioned by the English/Greek
organist Eleni Keventsidou. The word Eirenicon comes from the ancient
Greek word meaning a proposal made as a means of achieving peace. This
plea for peace opens with a modal melody firstly in a two part canon then
re-occurs throughout the Work. This is followed by passages derived from
‘dona nobis pacem’ (give us peace) from the plainsong Agnus Dei.
No.3
ANTAHKARANA
(YouTube)
This is an ancient Sanskrit word which literally
means a path or bridge between higher and lower mind. To portray this
concept the Work opens with a thunderous statement of the theme followed
by a variety of harmonic and melodic manifestations of this idea.
No.4
HYMN TO THE HEROIC
This piece takes the form of a 21st-century choral
prelude dedicated to the genuine heroes of this world. It opens with bold
florid refrains concluding on a strident chord which are repeated
throughout the Work. In juxtaposition to these episodes there are two
original themes which are treated to various types of counterpoint.
No.5
PERSONA
Over the centuries artists have painted
self-portraits and in this work I have endeavoured to do the same but with
music. This extended piece is based on three ideas one which is florid and
forceful, the second which is light hearted in the form of a
quasi-scherzo and the third which is based on my name. ‘B’ flat = (in
German notation ‘B’), ‘B’= (in German notation ‘H’), ‘E’, F sharp = ‘Y’,
‘E’, ‘C’ =( phonetic sound ‘S’) all resulting in B. HEYES. A powerful
conclusion to my 17th Organ Symphony.
  
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SYMPHONY NO.
18
Listen to the World Premiere of my
Organ Symphony No. 18 performed by Carson Cooman, the composer and international concert organist from Harvard, USA.
This was first published on YouTube
on Monday 25th January 2021. The video is preceded by a discussion between
myself and Carson giving insights into the composition of this
symphony. |
No.1
COSMIC CALLS
This is an evocation of the immensity of outer space,
the inconceivable vastness of superclusters of galaxies and the unimaginable
voids between them. After the opening of the work with its distinctive
descending perfect 4ths there then followers a powerful manifestation of the
theme in the pedal. The middle section takes the form of a succession of
antiphonal episodes together with the Theme in canon between the manuals and
the pedal with an ostinato accompaniment. The Theme then returns in the
pedal concluded by a dramatic cadence.
No.2
CONTRA PLAGAM
In the 9th century A.D. the eminent Irish scholar and
cleric Sedulius Scottus wrote a poem entitled “Contra Plagam” (Against the
plague). The poem urges God to spare the people from plague. The parallels
between this 9th century poem and the present Covid 19 Pandemic are obvious
to see.
In order to depict this Poem I used a specific mode melodically and
harmonically in various ways. There are quasi choral passages and repeated
refrains of supplication. Throughout the music a ‘Plague Theme’ appears four
times becoming gradually louder. This piece is in essence mournful but at
the same time it possesses a glint of optimism.
No.3 MAN
IS THE DREAM OF A SHADOW
The title of this movement comes from a quote from
Pythian VIII by Pindar who is counted as one of the nine poets of ancient
Greece. The only works of his to have survived complete are a series of odes
written to celebrate the victors in athletic games.
“Creatures of a day. What is someone? What is no one? Man is the dream of a
shadow.”
Written around 446 BC this is probably Pindar’s last work, he would have
been an old man by now, and he sees that both successes and misfortunes are
transient and ephemeral. Joy is insubstantial, the dream of a shadow. Man is
the creature of a day, nothing more than a fleeting dream.
To portray this concept the Work uses reflective interrelated melodies
together with their inversions which are continually subjected to a variety
of harmonisations and counterpoint.
No.4
SOLEMN END
Perhaps I’m asking a question by creating the ambiguity of having a piece
referring to the end in the middle of the Symphony?
This movement uses a melody which is accompanied with a variety of
harmonisations and is interjected with a fanfare progression. The coda is
comprised of a two part fugato and ends with the final statement of the
fanfare.
No.5
FOLK SONG
This movement is based on a melody that I wrote in 1978 for an original
traditional folk song about a maiden mourning the loss of her lover who she
last saw before he went to war. The music progresses as the story unfolds
and is interspersed with chordal episodes expressing sadness and longing.
No.6 THE
SOUNDS THAT THE VOYAGERS SAW
The twin Voyager 1 and 2 spacecraft are exploring where nothing from Earth
has flown before. Continuing on their more-than-40-year journey since their
1977 launches, they each are much farther away from Earth and the sun than
Pluto. In August 2012, Voyager 1 made the historic entry into interstellar
space, the region between stars, filled with material ejected by the death
of nearby stars millions of years ago. Voyager 2 entered interstellar space
on November 5, 2018 and scientists hope to learn more about this region.
Both spacecraft are still sending scientific information about their
surroundings through the Deep Space Network, or DSN.
The primary mission was the exploration of Jupiter and Saturn. After making
a string of discoveries there — such as active volcanoes on Jupiter's moon
Io and intricacies of Saturn's rings — the mission was extended. Voyager 2
went on to explore Uranus and Neptune, and is still the only spacecraft to
have visited those outer planets. The adventurers' current mission, the
Voyager Interstellar Mission (VIM), will explore the outermost edge of the
Sun's domain and beyond.
I well remember being amazed when I first saw the Voyager’s photos of the
outer planets and their moons in the 1980s. When writing this music I
endeavoured to create a sonic picture of what it would be like to actually
be with one of these Voyager space probes; using mysterious melodies in 3
canonic trio sequences each time starting in a different voice. Atmospheric
descending chords separate the canons each time concluded by an enigmatic
bird call.
No.7
REVELATION RAPTURES
There are a number of forms of revelation from the spiritual to the
conceptual from the profound to the ephemeral. In this final movement of the
Symphony I have aspired to encapsulate the euphoria of such an experience.
The Work opens with an exotic dance which includes rhythmic sections
expressing ecstatic joy. In addition there is the first statement of a short
anagogic theme. There follows further development of all this previous
material. The second half is a rhythmic toccata which starts with the
introduction of two stately and powerful fortissimo themes. The first is in
unison between the pedals and manuals and the second in the pedals in
octaves accompanied by strident chords. All these ideas are then developed
again ending with the return of the anagogic theme played fortissimo in
octaves in the pedal with dramatic chords followed by a mighty cadence.
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SYMPHONY NO. 19
Listen to the World Premiere of my
Organ Symphony No. 19
performed by Carson Cooman, the composer and international concert organist
from Harvard, USA. This was first published on
YouTube
on Wednesday 21st April 2021
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No. 1
THEOTOKOS
The title refers to Mary, Mother of God (Greek: Μήτηρ
(τοῦ) Θεοῦ) or Mother of Incarnate God. The Council of Ephesus in AD 431
decreed that Mary is the Theotokos because her son Jesus is both God and
man: one divine person with two natures (divine and human) intimately and
hypostatically united.
This hymn of joy and mystery is based on the plainsong Ave Maria. With a
series of 6 note modes constructed from this plainsong which are
interspersed with four powerful chordal manifestations of the theme.
No.
2 CONTEMPLATIONS
Many religions teach that contemplation is a kind of
inner vision or seeing, transcendent of the intellect, facilitated by means
of practices such as prayer and meditation. It was an important part of the
Philosophy of Plato too. He thought that through contemplation the soul may
ascend to knowledge of divine Forms. Plotinus as a neo Platonic philosopher
also expressed contemplation as the most critical of components for one to
reach henosis (a Classical Greek word for mystical "oneness", "union" or
"unity"). To Him the highest contemplation was to experience the vision of
God. Plotinus explained: "The point of action is contemplation, it is
therefore the end of action" and "Such is the life of the divinity and of
divine and blessed men: detachments from all things here below, scorn of all
earthly pleasures, the flight of the lone to the Alone."
The piece takes the form of a series of descending chordal passages each
time appearing in a different Greek mode (Mixolydian, Lydian, Phrygian,
Dorian, Etc). In addition there are two episodes of antiphonal sustained
atonal chords played on two different soft registrations which have a
rhythmic sequence 4 and 5 beats.
No.
3 TECHTONICS
The word techtonics comes from the Latin techonicus
and the Ancient Greek τεκτονικός (tektonikos) 'pertaining to building’
It’s frequently used in relation to the structure of the earth's crust and
the large-scale processes which take place within it."the movements of the
tectonic plates" Although, fundamentally I use the Word in this piece to
describe the way the music is constructed. I employ a succession of musical
ideas with contrasting dynamics and tempi that are interwoven in order to
create a collage of different sounds. These ideas vary from rhythmically
jagged to reflective and mysterious.
No.
4 IMAGES
The word image can have a multifarious number of
meanings from the visual to the mental and spiritual. Imagination best
describes the direction of this work with its passages of symmetrical
harmony with intervals that contract accompanied by modal melodies and
chords based around a sustained perfect fourth. Each time the symmetrical
harmony appears it becomes louder and more affirmative representing the
concept of reaching an ultimate image.
No.
5 THEOSIS
The term theosis has two meanings, “the condition or
the state of deity” and “the deification of man.” It is a transformative
process whose aim is likeness to or union with God as taught by the Eastern
Church.
The Work opens with the ascending theme in octaves followed a vigorous
toccata with rhythmic drive. This is succeeded by a canonic modal chorales
together with another theme using ascending chords. A different
manifestations of the opening ascending theme and toccata return concluding
with a powerful chorale. |
SYMPHONY NO. 20
Listen to a complete performance of my
Organ Symphony No. 20 by Carson Cooman who is a composer and international concert organist from Harvard,
USA.
No. 1
UTTERANCES
In essence the thrust of this movement is a succession
of potent musical statements.
It opens the Symphony with a progression of repeated magisterial chords.
This is followed by a sequence of short dance like episodes interspersed
with an eclectic mixture of puissant chords and sections of a more
reflective nature. The coda takes the form of a short recapitulation of the
opening material accompanied by a fortissimo theme in octaves between the
manuals and pedal.
No. 2 MODUS
OPERANDI
The title of this movement relates to the way in which
it was composed. It is a prime example of some of compositional methods that
I often use.
An original melody is developed three times: initially with 3 part harmony
with the melody in the treble; secondly with 3 part harmony with the melody
in the tenor and finally, 4 part harmony accompanies the melody in the
treble. Each melodic section is separated by a second subject which
possesses a differnt character to the main theme.
No. 3 SUPERSYMMETRY
Supersymmetry is the correspondence between the
subatomic particles fermions and the bosons of identical mass the is
postulated to have existed during the opening moments of the big bang and
that relates gravity to the other forces of nature.
This movement takes the form of two-part canons between the manuals and
pedal which are interspersed with mysterious sounding chords constructed
using a system of symmetrical harmony.
No. 4 PATHS
OF WISDOM
One could argue that wisdom in the world today is
frequently lacking and often seems to be at a premium. Judeo - Christian
13th century documents like: “The Tree of Life” or “The 32 Paths of Wisdom”
together with the 4th century Sanskrit work “The Tree of Wisdom” still speak
to us with an element of profundity.
This movement is comprised of the juxtapositions of two contrasting ideas:
the first being enigmatic and chromatic in nature and the second has a more
visceral melody. The first idea is stated 4 times, each time with different
harmonic and thematic inversions and appears at the start and at the
conclusion. The second idea is heard three times; firstly with a short
opening fugato in 3 parts, secondly in 4 part harmony and finally in 5 part
harmony.
No. 5
OXRHYNCHUS FRAGMENTIZATION
This movement is based on the Oxyrhynchus Hymn which
was named after the place in which it was found and is the earliest known
manuscript of a Christian hymn to contain both lyrics and musical notation.
It was written down around the end of the 3rd. century A.D. and is in praise
of the Holy Trinity. The Oxyrhynchus papyri is now kept at the Sackler
Library, Oxford.
It closes the Symphony with a series of short contrasting episodes based on
fragments of the Melody. Opening with powerful ascending chords, progressing
through a succession of eclectic musical ideas and ending softly on a common
chord of G major.
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SYMPHONY NO. 21
Listen to Bernard Heyes giving the world premiere performance of
Organ
Symphony No. 21
No. 1 ANCIENT CREEDS
This
opening movement is based on fragments of the “Hurrian Hymn” which comes
from a collection of music inscribed in cuneiform on clay tablets excavated
from the ancient Amorite city of Ugarit, headland in northern Syria, which
date to approximately 1400 BC. It’s nearly completeand is known as Hurrian
cult hymn or A Zaluzi to the Gods, and is the oldest surviving substantially
complete work of notated music in the world.
After the opening chord progression there is a short lively toccata. The
middle section is comprised of chorals together with passages of
contemplative modal harmony. The opening material reappears with variations
followed by a final statement of the Harrian Hymn
concluded by a powerful cadence.
NO. 2 CHACONNE PALINGENESIS
The
word palingenesis means rebirth or recreation from the Greek Palin, meaning
'again', and genesis, meaning 'birth'. This music uses a 12 bar theme which
is comprised of 2 x 8 bar phrases which I wrote in 1978 hence the reference
to rebirth. The theme is repeated 10 times. In the first variation the two
sections appear simultaneously in the right hand and pedal. There then
follows a juxtaposition of two-part and chordal variations of the theme. The
piece ends with a slow meditative manifestation of the melody.
NO. 3 MARTIAN HORIZONS
The
two latest robotic explorers to land on Mars, Curiosity and Perseverance
have sent back the most amazing images of the Martian landscape. These
incredible vistas have inspired me to write this music. This movement starts
with a haunting solo melody which recurs throughout the piece. There then
follows a series of chord sequences and a second enigmatic melody in the
right hand later in the pedal on a 4’ reed with 16’ foundations on the
manuals.
The coda is in the form of a slow descending progression of chords.
NO. 4 EUDAIMONIA
This
word from the Greek: εὐδαιμονία [eu̯dai̯moníaː]; literally translated means
a state or condition of 'good spirit', and which is commonly translated as
'happiness’ or 'welfare’.
In the works of Aristotle, eudaimonia was the term for the highest human
good in the Greek tradition. This celebration of joyfulness opens with a
theme which is characterised with its use of the ascending interval of the
Perfect 4th. There then follows a succession of two vigorous toccata
sections interspersed with a melody which is accompanied by a variety of
modal harmonies. The opening theme then reappears followed by toccata
sections together with the modal melodic sections punctuated with a short
ethereal passage. The Coda takes the form of an extended version of the
opening theme concluded by a final cadence.
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