Petite Suite Liturgique for Organ:

Dédicace "à Carson P. Cooman"

Composed July 2005

Première : October 13, 2005: Organ Workshop, Rochester Christian Reformed Church, Rochester, New York, USA; Carson Cooman, organ

1. Pange Lingua - Choral;

2. Ave Maris Stella - Meditation;

3. Vexilla Regis - Communion;

4. Victimae Paschali Laudes - Offertoire;

5 Ave Colenda Trinitas - Prélude non mesuré, Entrée;

6. O Filii - Alleluia;

7. Veni Creator - Sortie

Duration : ca. 18:00

Notes en français

Veni Creator, Pange Lingua, Ave Maris Stella, how can one dare, after Grigny, Duruflé, Dupré, Tournemire, compose, “à la française”, works on these themes? Well, it should simply be taken into consideration the fact that these composers never asked that the subject be closed. They perhaps, even wished, by their excellence, to motivate others to set these chants as well.

I wanted to use this “Petite Suite” to fill a need for a type of repertoire that Carson P. Cooman pointed out ot me. The Composer-organists have written and generally write virtuosic organ works, even if the inspiration is sacred, for a concert-going audience and for performers of this high level.

The church organist is not always an actively performing concert organist. He or she is nonetheless often an excellent musician. If the organist doesn’t improvise, his or her repertoire choices are often confined to the technically easy style of early organ music. Modern repertoire, which is often too virtuosic, is not within his or her technical powers.

I tried therefore, in these seven pieces, to provide an alternative for church organists to the too-often repeated works of the historical repertoire. These pieces which are an homage to the 20th Century French school of organ works are both easy stylistically and technically (especially the pedal part which was especially conceived with this in minds). They might also be, by reason of this simplicity, used as a means of an introduction towards improvisation, since the principle of using a Gregorian theme is a useful procedure in this type of playing.

These works are generally short, but numerous internal repeats may be added which are indicated by double bars in the score. The indicated registrations are preferable, but as always, the final choices are up to the taste of the performer. The only absolute need in performing these works is an organ with a minimum of at least two manuals. It goes without saying that the subtitles of these works in terms of liturgical use are only propositions.