William Bolcom has been noted for his eclecticism so often that he may well be remembered as the exemplar of polystylistic American classical music, and proof of his extreme variability can be found in this 2012 Naxos release. The Complete Gospel Preludes is a collection in four books of organ pieces based on familiar Protestant hymns, though that merely describes the organization and source material for Bolcom's music. No one should expect standard, four-part harmonizations or conventional variations on hymn tunes: even ...
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William Bolcom has been noted for his eclecticism so often that he may well be remembered as the exemplar of polystylistic American classical music, and proof of his extreme variability can be found in this 2012 Naxos release. The Complete Gospel Preludes is a collection in four books of organ pieces based on familiar Protestant hymns, though that merely describes the organization and source material for Bolcom's music. No one should expect standard, four-part harmonizations or conventional variations on hymn tunes: even though the melodies are more or less recognizable, depending on how fragmented they are, they are frequently interrupted with bluesy filigree, free dissonant counterpoint, or violent atonal gestures that keep everyone guessing, not only about the artistic direction of the pieces but also the significance of Bolcom's references. Whether alluding to Debussy's La cathédrale engloutie, adapting the canonic techniques of Bach, nodding to Fats Waller, or tapping the wealth of traditional...
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The American composer William Bolcom (b. 1938) works in an eclectic style. His music combines elements of ragtime, cabaret, jazz, theater, and, occasionally, atonality. From 1973 -- 2008, Bolcom taught composition at the University of Michigan. His music has been widely honored. He has received the Pulitzer Prize and was named "Composer of the Year" in 2007 by Musical America.
In 1979, the Dallas chapter of the American Guild of Organists commissioned Bolcom to write organ music. The scope of the commission expanded and the result was four books, each of which consisted of the composer's arrangement of three gospel preludes. The resulting complete set of twelve is included in this "American Classics" CD on Naxos. Gregory Hand, a young and talented organist at the University of Iowa performs the set with vigor and sensitivity to the varied nuances of the music. Hand also prepared the liner notes briefly describing each prelude. Hand performs on the Organ of the University of Chicago Rockefeller Memorial Chapel in Chicago, and detailed specifications for this large instrument are included in the notes.
The gospel hymns Bolcom sets will be familiar to most listeners. With careful listening, the theme of each hymn comes through in Bolcom's preludes. But the settings themselves are highly unusual, varied, eccentric, and often dissonant. They run the gamut of the composer's many voices, and often many different styles are joined together in a single work. The settings are not intended simply to be unusual; rather Bolcom tries to get the listener to understand these hymns in a fresh way.
I will mention a few examples based upon my listening and Hand's notes. The setting of the familiar "Rock of Ages" begins with gurgling, dissonant rumbles in the organ's low register. Bolcom quotes Debussy's piano prelude, "La Cathedrale Engloutie" before the "Rock of Ages" tune emerges from the mists. Following the presentation of the familiar melody, the work recedes again into dissonance.
Hand describes Bolcom's setting of "Shall we Gather at the River" as "by far the most bizarre (and fun) setting of the Gospel Preludes." Again making use of water imagery, the tune is suggested in phrases through the early parts of the Prelude. It then emerges in a strong, loud march-like setting, before Bolcom cuts the tune off, a note before it concludes, to return literally to the water.
Bolcom offers a poignant setting of "Sometimes I feel like a Motherless Child" which he dedicates to the memory of Marvin Gaye. The work opens with angry sharp chords followed by a poignant statement of the theme to a jazzy, upbeat accompaniment. The music then turns dissonant and harsh, as an appropriate response to Gaye's murder. The final Prelude I want to mention is "Nearer my God to Thee" which opens with a long, confusing passage before breaking into a triumphal statement of the theme replete with carillon bells.
This music reminded me of Charles Ives in its variety and audacity and in Bolcom's attempt to quote and expand American musical themes to create a new idiom. I thought the pieces usually worked and they were always interesting. The CD will appeal to admirers of Bolcom and to listeners who want to explore contemporary music for organ.
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