Alexander Schreiner at the Tabernacle Organ

Shovelhead you get television presenter Alexander Schreiner at the great tabernacle organ on historic Temple Square in Salt Lake City. Greetings everyone and welcome to the Salt Lake tabernacle. Here we have the beloved Dargan that so many people have heard either by way of radio or in person. And this is the calm console. Here we have the ivory and the wood and the nails and the screws on the wires. And there is no sound in this console at all. You'll have to look higher up to see the organ itself with its pipes some two hundred voices each capable of speaking sixty different tones nearly 12000 pipes in the organ. I shall play for you a program a few years now a

few because the composition that has one theme one melody one tune it maybe may be lively may maybe grand or it may be quiet in character. I shall play for you one that is lively the one in C Major by the Huta books to whom he was organist in Luebeck in northern Germany and there when the great BAAF was 15 years of age he went to visit him do you believe that is due to play his Sunday afternoon recital and visited him. Well books to whom he was impressed with a box. But now let's have the books due to the Major. It is like a jig Sometimes it's called the hube logic the the

the the the the the

the. And that was the major Hyuga logic of the books to Houda I've said that Bach visited books to do when he was a boy of fifteen but he saw Buxtehude again five years after that. And books to Houda said that he would like to retire and would be very pleased to have Bach take

his position as organist at this great church and back. Well that was one condition and that was that Bach take books to hurt his daughter and I marguerita looked at her and said he would think it over and went home and married instead his own cousin Mary Barbara Boxer but he remembered the books to a few. You remember it sounds like this then so he could write another fugue similar to that only somewhat larger and grander and it really turned out more like a master fugue. It was in the same key of C Major wasn't the same time of 12:08 time and it was in the character of a jig. And here's the subject the I remember there was only one theme and a fugue and all the voices give that theme a

fugue is a very democratic composition. You may hear the melody in the soprano you may hear it in the bass and you may hear it on the pedals. Now the Fugue in C Major by the great. They. Are. There

are there. Are. The.

Is there is there are as far

as her or or or or or is there. And that was the major refused by a few

of you may be noted for grandeur and I would like to play you one that is very grand. It is generally known as the St. Andrews view. It is a triple cube. And by that I mean that it has three themes. In reality there's three short with some ingenious combinations of three themes. By the by now the three themes are as follows. A fugue is in E-flat major. Here's the first one or the theme. And. The third are here and this is the E-flat major

by. Or or or or

is as or or or. Or or.

Or. Or are. Hours.

As. It is

it is. It. Now that was the thing that was huge in the key of E-flat major

by Johann Sebastian Bach borrowed cubes to contrast and preludes indiscriminately. However he felt on the day he was writing and he grew old every day rather and as time went by he decided to pare them off so that he had in his books of art and music and fugues and preludes and fugues. The difference is merely that a prelude to Kata is also a prelude but it is more brilliant and more lively. Usually I shall play for you the well-known famous Toccata and Fugue in Dean minor by Bob. I imagine he wrote that for concert purposes when he was asked to play new organs and to play the dedication and inaugural recitals on what he had to play and wanted to play something that was really vibrant that would really show the organ grinder its power and its dramatising

and its dramatic qualities is shown in this Toccata and Fugue. It is powerful and has energetic drives from the beginning to the end of the coda and Fugue in D-minor the great the. The or the. That.

Out the or the more things as

far as far as far as far as far as far

as far as far as

far as far as

far as and the end and

the. End. And could you hear the echoes died away from that grand and dramatic music that was the Toccata and Fugue in D Minor by the great

composer Johann Sebastian Bach the one who went to Luebeck in his young years to hear books to to play books do you know who wrote fugues and then Bach who wrote fugues himself. He may be sprightly they may be like a jig they may be grand and they are all really glorious. It has been a pleasure to be with you. Thank you. Alexander Schreiner the great tabernacle organ on historic temple square was produced for the National Educational Television and Radio Center by KQED University of Utah in Salt Lake City in cooperation with KSL television

executive producer Keith anger directed by Byron Openshaw technical supervisor H.W. Holshouser. This is the National Educational Television. National Educational Television presents Alexander

Schreiner the great tabernacle organ and historic temple square in Salt Lake City. Greetings everyone. It is a pleasure to welcome you to the Tabernacle and to have you here to hear the organ in the famous tabernacle. And I'm pleased I am pleased to be in your home by virtue of the magic of television. Our program will consist of the music of some romantic composers Felix Mendelssohn and Robert Schumann. They flourish something over a hundred years ago all around them 1840s and they are all very delightful music. Both were the amateur Argonauts both enjoyed playing the organ like many composers before them and many composers since then.

Mendelssohn wrote six sonatas for the organ of which I shall play for you. Now the first one in F minor. There are three movements that is three pieces. The first one Allegro mater. All means considered pretty lively and the second one adagio slow quiet calm and the third one is introduced by the rest of the team. And the main item is to multi-post finally. Mental son was not only a composer but an orchestra conductor present one and a pianist. But since he loved to play the organ he did not have enough pedal technique to do it as good justice as he would like to have done. That is rather a specialty in they are going to play the pedals. So he wrote the Sonata rather peculiar and clever

by whenever he had any difficulties sections and the pedal is so arranged that they could be played by the left hand and so he gave rest to the left hand if he were to be played in the pedals or if he played them himself he would play the pedal past and the left hand. Therefore you see my left hand I don't think you've noticed. The pedals are rather busy. The first movement has a beautiful core all which echoes thematic throughout. And the title of this Him melody this car all is what my God wills to be done all way. It shows a Mendelsohn's devoutness puts such thoughts into his art and sonata of course is not to be played to be played in church. What my God wills my hope is to that song now the Sonata in F Minor is on.

The other. End for the. The

the. Hour the

hour. For the. Good for

the hour. On.

On. June. 1

2. To 1. Hour

on air for an. Hour or hour.

Or two. Hours

or. For good for the. The the

the. The the the way. For the for

the for the for the for the. For the for the

the for the other for that was the Sonata number one in F Minor by Felix Mendelssohn. Now let us hear something by Robert Schumann who also enjoyed playing the organ and who doesn't. Everyone does. I'm sure they could. Might've had a pedal piano in his home that is a pedal piano is quite frequent in Europe. It is an upright

piano which has organ pedals attached to it at the bottom. And so you can play in a manner organ compositions on it. And Schumann wrote six pieces for the pedal piano. Which I shall play to now they're called cannons and they are pretty peculiar contrapuntal compositions in as much as it is somewhat similar to around like three blind mice. The theme is heard twice continuously running something like perpetual Eckel. Perhaps I might demonstrate this as it might say with the horn let us take Annie Laurie will begin the melody in one hand and then after a you will begin it all over again. On the other hand. Are

so but of course that melody isn't built for us that's canonic treatment the word kind on is a technical name it merely means that the composition is built according to musical contrapuntal law. There are such things as canonical law cannot canon law the Scriptures and there is canon law of counter-punch and usage. And so I shall play this composition in the canon in B minor first and then afterwards another one in B major. They are contrasting in feeling in character the B minor one is quite a delightful sprightly composition by Robert Schumann. You see the melody is first played in the right hand and then it is played shifted in the

left hand. The Bible says let not your right hand what your left hand do. And that is the case in musical canon especially one by Schumann and now the one in B minor in B major by Schumann this is more melodic and more calm and composed in character. In. An.

On. Air.

That was they can be major by a rapper. Now we have another moment or two on the organ. Perhaps I should improvise something. And most organists are ready to improvise at the drop of a hat. That is I shall take the theme out of my cuff and improvise on. And perhaps by that means you may be able to

see what the various departments of the Argan do. For instance I shall play something on the solo organ together with they bombard stops and then on the top my note is our antiphonal organ which is at the desk and section of the tabernacle here. Now there's no microphone near the antiphonal organ. I think it may be difficult to hear. I hope you will. But I will contrast that with the main organ and see what we can do. So let us go huh. And. The

and the. And with that let us pulse our program has been a pleasure to be with you. Thank you. Alexander Shriner at the great tabernacle Organon historic temple

square was produced by the National Educational Television and Radio Center by KQED University of Utah in Salt Lake City in cooperation with KSL television executive producer and are directed by Byron Openshaw technical supervisor H. W. Holshouser. This is National Educational Television.

National Educational Television presents Alexandra's Shriner the great tabernacle organ on historic temple square in Salt Lake City. Greetings everyone. And may I bid you welcome to the Tabernacle in Salt Lake City. I'm going to play you a program of French organ music.

Now the French have written some very wonderful music partly due to the splendid quality the high quality of the National Conservatory of Music in Paris where the greatest teachers of the land teach their young students and where the best students only are taught because they are selected by commerce by competition. Then in the field of organ excellence is produced in part because of these splendid organs that are available in all the large cathedral churches in France. Now the first number on my program will be by my grandfather are from. And shall I explain that grand father say. Frank had a student among his pupils the one who was organist at Notre Dame in Paris and this lady

had among his students one Alexander Shriner who has the honor of playing for you and so you see. That means that not physically but spiritually some way artistically. I can play in the honor of some relationship to say from. He was known among his friends as Potter seraphic who was seraphic father at the conservatory. He did only medium well understood in days and received at the end of his studies only a second prize. Whereas most students surely wish the first prize. But late in life he surpassed all his former students in eminence. He wrote one of the greatest symphonies for orchestra of one of the greatest violin sonatas and he wrote most of this. Much of the most sublime music for the organ from which I shall play his fantasy in a major. It is a long work

mostly in Grand manner and with devotional overtones. He was devout and his compositions reflect the sanctity of the organ loft as saying Clotilde Basilica in Paris where he was organist. The fantasy in a major. And in.

An. On. Line. Then.

Or are. You

do. Or or.

Or or or.

Or. Or in. Or. Are.

There. For and for. Good for.

Her. Or the. Hour

or or. That was the fantasy in a major as they are. Now continuing a program of French music

will be the meditation religions by Henry Moulay Henry really flourished about 50 years ago. He was a Parisian organist known mostly for his excellent compositions. Your old series of ten pieces concerning the basilica in March. What is the quality of this piece is naturally quiet and devotional. The title of it is meditation. Trilogy is a delightful flute melody is accompanied by gentle pastel colored harmonies. And now I shall proceed to get my stops and read. There.

Were. Or they. Do they are they.

In turn you on in.

There they're. On. Our

own. And this was the meditation trilogy by the French composer Henry Moulay. And now we come to Louisiana who was a student of Caesar. And also Charles Murray Vidor and was born at the time of the Franco-Prussian War in 1870 he was almost without sight. All of his life. And he was appointed to the organ bench and not to die in 9900

the previous year he had written his first organ symphony symphony. Ordinarily we speak of sonatas as for single instruments but the French composers wrote such large sonatas that they call them symphonies. They thought they were large forms and so I shall play for you the finale the finale of the first symphony by Louisiana. May I also mention that at Notre Dame there's a great long line of great musicians. Were there ever since the twelfth century when prettiness was the organist at Notre Dame and following Vienne death in 1937 and St. Martin whom I knew very well and was at his home many times followed him as organist and at the present time peer culture was a good friend to me. His organist at Notre Dame played this symphony for Vienna. I did all his others in 1925 and

26 and I take great pleasure in playing for you the finale from the first symphony of Vienna. Indeed Major. And on and her is

her or her

car is over and her eyes

were wide eyes and ears her eyes

her. And that was the finale from a first symphony. I live here and now only a few closing chords. As for her

father. Alexander Schreiner at the great tabernacle organ on historic temple square was produced by the National Educational Television Radio Center

by KQED University of Utah in Salt Lake City in cooperation with KSL television producer Keith and directed by Byron Openshaw technical supervisor h w Holshouser. This is National Educational Television