• LAZARUS ODER DIE FEIER DER AUFERSTEHUNG (Lazarus/The Celebration of Resurrection), D 689, is an unfinished 1820 oratorio by Franz Schubert on a libretto by August Hermann Niemeyer. Intended to be in three acts, only act 1 with twenty-one numbers, and eight numbers from act 2 are extant. Composed: February 1820 Composer: Franz Schubert Lyricist: August Hermann Niemeyer Language: German Listen to the whole performance 1+ hour, or any that suits your circumstance.
• Meditation on SLANE Slane is the title of the hymn tune upon which this work is based. Slane has been set to various hymnal texts, e.g., Be Thou My Vision and Lord of All Hopefulness. (composed by Richard c. 2012)
• (Prof. Frederick Marvin Memorial Concert, Sept. 2017, Setnor School of Music, Syracuse University, )
• In Dulci Jubilo ’Twas the season!! Here’s a transcription I have arranged, based on Robert Pearsall’s famous setting, followed by a “miscellaneous” version by J.S. Bach. Of course it will sound better with a real brass quartet!
• Jesu Meine Freude JS Bach BWV 610. I recorded pedal part to practice with. Here’s what it sounds like all together.
• Komm, Heiliger Geist, JS Bach BWV 651. (Come Holy Ghost) - I am practicing the first of the so-called Leipzig chorales. I re-made this recording so that I could practice the manual parts with the pedal (since I don't have a MIDI pedal keyboard). Pedal harpsichords were used in Bach's time, mainly as practice instruments, as an alternative to the organ. Busy churches often needed extra practice instruments, and I imagine the church organ in winter was really a cold space! This is a fantasia over one verse of the chorale tune, heard in the pedal part. Bach is reported to have remarked when asked about playing the organ, “There's nothing remarkable about it. All one has to do is hit the right keys at the right time and the instrument plays itself.” Easy for him to say!
John O'Brien (Jack, or Obie) was Liz's uncle, and he was a well known jazz pianist starting in the early days of the genre (early 1920s). Jack continued to play for several decades. He befriended the Harlam stride pianist Willie "the Lion" Smith, from whom he learned much about jazz piano style. I am indebted for Jack's love, and for all the music knowledge that he passed on to me, some of which I have passed on to my students in various ways.
A few recordings Jack made in Germany in the late 1920s: