A Gospel Pair (Two Duets for Organ and Violin)

Furman University commissioned A Gospel Pair, a pair of contrasting settings of hymn tunes by William Bradbury, to celebrate the tenth anniversary of its 2004 Fisk organ.  Composer Graham Farrell was educated at Furman as well as Yale University and currently resides in Hudson, New York.  These compositions demonstrate a solid understanding of what is idiomatic to the violin as well as the organ.  There is a solid tonal center throughout, as would be expected with the given themes, but the harmonic language is influenced by jazz.  Dynamics and phrase markings are plentiful but, refreshingly, specific registrations are left to the discretion of the organist.

William Bradbury was an important nineteenth-century church musician and music educator who published many books of music, including hymn tunes.  While organist at the Baptist Tabernacle in New York, he offered singing classes for the young, and some of his hymn tunes remained popular for many years as Sunday School hymns.  The first of this Gospel Pair, “Bradbury,” uses what is perhaps his most popular hymn tune, usually paired with the text Savior, like a Shepherd lead us. The music begins with a gently unfurling violin melody (con sordino) that is later used as a counter-melody above the hymn tune.  After the violin has risen two octaves, the organ enters with a quiet descending accompaniment as the violin also returns to a lower register.  The organ takes up the opening melody by itself before introducting the hymn tune proper as the violin enters again with the opening theme at a fuller dynamic level.  Next, the violin and organ trade melodic material.  In this stanza, the harmonies become more complex and the final cadence is a surprise dissonance.  In the final section the violin repeats the introduction as soft chords in the organ gradually rise and disappear, leaving the violin singing alone.  This composition has a satisfying mirror structure.  The only possible criticism might be that every section is exactly the same length–the length of one stanza of a hymn.  It would make an attractive prelude or concert piece and is accessible yet musically interesting.

The second of the pair, “Solid Rock,” uses another Bradbury tune associated with the text “My hope is built on nothing less.”  A note by the composer says that the music is “a series of Variations over a repeated harmonic pattern.  Solos are traded back and forth as in jazz.”  The opening is reminiscent of fiddle music with rapid repeated notes and heavy accents.  The organ transfers this energy into rocking sixteenths and introduces the melody more blatantly with with complex extended tertian harmonies to support it.  Several of the variations are staccato and heavily accented.  One section of the violin part is even marked “rough.”  The central variation, though, is warm and lush.  The adventurous church musician might use this as a postlude, but it seems more suited for a concert.  Both of these pieces are fresh, have a clear structure, and are effectively scored for the combination of violin and organ.  This music is worth investigating if you have a good violinist to work with, but is not suitable for amateur musicians.  – Brian P. Harlow, AAM Journal, March 2018