Sunday July 4th

TRINITY V Communion service.

U.S. Independence Day. Launch of the 2008 'Mascioni' organ in Santa Maria Assunta Church in Giubiasco, Switzerland.

PRELUDE I 1. From 10.40am. Prelude & Fugue no. 5 in D major, BWV 850, from The Well-tempered Clavier, Book 1 (The '48'

Preludes & Fugues, Book 1) by Johann Sebastian Bach (1685 - 1750). IAN on the Piano. 4 minutes. 2. From 10.45am. The opening movement from The Rite of Spring, by Igor Stravinsky (1882 - 1971), for Organ

(using the 1973 'Marcussen' organ in Sint-Laurenskerk, Rotterdam, Netherlands) & Piano, arranged specially for this service by Ian de Massini (1959 - ). 4 minutes

3. From 10.50am. Wherever I lay my hat (that’s my home), by Marvin Gaye (1939 - 1984). 4 minutes. 4. From 10.55am: The 1st movement from the Organ Trio Sonata no. 1 in Eb major, BWV 525, by J. S. Bach,

using, for the very first time, the A.D. 2008 ‘Mascioni’ organ in the Parish Church of Santa Maria Assunta, in Giubiasco, Switzerland. 4 MINUTES.

PRELUDE II The opening of the slow movement from Symphony no. 9, "From the New World", by Antonin Dvořák (1841 - 1904), for Organ (using the A.D. 1973 'Marcussen' organ in Sint-Laurenskerk, Rotterdam, Netherlands) and Accordion, arranged specially for this service by Ian de Massini.

REFLECTIVE MUSIC The traditional Gospel Song, This little light of mine, arranged specially for this service by Mark Dawes. Text: Oh, this little light of mine, I’m gonna let it shine. Let it shine, let it shine, let it shine.

COMMUNION Suite de Pièces (A suite of pieces), by Samuel Coleridge-Taylor (1875 - 1912), arranged specially for this service by Ian de Massini, scored for Organ (using the Rotterdam organ) and Accordion: i. Pastorale. ii. Cavatina. iii. Barcarolle.

POSTLUDE I Contemplation, from the Suite de Pièces, by Samuel Coleridge-Taylor, abridged and arranged for solo piano specially for this service by Ian de Massini.

POSTLUDE II The Stars & Stripes forever, by Charles Ives (1875 - 1954), arranged specially for this service by Ian de Massini, scored for a West End Organ (using the Rotterdam organ) and an East End Piano.

MUSIC NOTES by Ian de Massini Our Sunday service coincides with U.S.A.'s Independence Day, July 4th, so Mark, the choir, and I have taken this rare opportunity to delve into the catalogue of music from U.S.A. with which to embellish our act of worship on July 4th. The most obvious choice of music was to include something by aptly-named composer, John Philip Sousa, whose surname incorporates the acronym, U.S.A., no less! He's now known primarily for his American military marches; indeed, John Philip Sousa was often called "The March King". Accordingly, we'll round off our Sunday morning service with one of Sousa's best-known marches, The Stars & Stripes forever, sometimes referred to as The National March of the United States of America. There are fanciful stories that John Philip Sousa's father, in order to gain permanent residency in the U.S.A., deliberately changed his Spanish surname so as to incorporate the three letters, USA, but this stretches the truth too far, for his Portugese surname was the very commonly found surname of "de Sousa". As was common with North American Immigration Officers at the time, the American Immigration system liked to Americanise foreign names with as little change to the original surname as possible, so "de Sousa" simply became "Sousa". John Philip Sousa was the the third of ten offspring of João António de Sousa, a Portuguese immigrant to North America. His enlisted his son into the United States Marine Band as an apprentice, in 1868. Seven years later, Sousa left the band, and over the next five years he performed as a violinist, and learned to conduct. In 1880 he rejoined the Marine Band, and he served there for twelve years as their Musical Director, after which he organised his own band. From 1880 until his death, Sousa focused exclusively on conducting and writing music. Sousa aided in the development of a new type of Tuba that could be played by a marching band. He helped to re-design the Tuba so that to be easier to play than the concert tuba while standing or marching, as well as to carry the sound of the instrument above the heads of the band: this new, marching band instrument was aptly called the Sousaphone Upon the outbreak of World War I, Sousa was awarded a wartime

commission of lieutenant commander to lead the Naval Reserve Band in Illinois. He then returned to conduct the Sousa Band, until his death in 1932. In arranging Sousa's famous march, The Stars & Stripes forever, I wanted to experiment with using our new organ as a duet instrument with our piano. As you probably know, from watching our recent live-streamed services, or attending in person, the piano has been placed right next to the the new organ console, so that the two players are quite close to each. However, the sound-source of our new organ (i.e. the loud-speakers) is situated at least fifteen metres away from the player, high up on the liturgically-speaking West End Gallery (above the roof of our Emmanuel Room, in effect). There is therefore a very significant time-delay between the player depressing a note on the organ keyboard and them then hearing it. So, today, Mark and I are going to risk playing a duet together, using the organ and piano. It will entail Mark playing ahead of the sound that he can hear, and for me to depress the piano keys slightly later than Mark depresses the organ keys. Visually, that could be a major problem for us, so we've turned the piano 90 degrees, so that neither of us can then see the other player's hands! Other music from U.S.A. that embellishes our service coms from the pen of the Samuel Coleridge-Taylor. Of mixed races birth, Coleridge-Taylor achieved such success that he was referred to by white New York musicians as the "African Mahler". Today, Mark and I will play several of his works for organ and violin, the violin part of which I've adapted so that it fits my little accordion. Other North American music today includes Mark performing a song by the American singer, songwriter, and record producer, Marvin Gaye. Gaye helped to shape the sound of Motown in the 1960s, first as an in-house session player, and later as a solo artist with a string of hits, earning him the nicknames "Prince of Motown" and "Prince of Soul". The version of Marvin Gaye's song, Wherever I lay my hat (that’s my home) that Mark will be performing curiously includes, in its introduction, the opening, solo Bassoon theme from Igor Stravinsky's iconoclastic orchestral masterpiece, Le Sacre du Printmeps (The Rite of Spring), and so we will precede Mark's singing with a performance of that famous opening from Stravinsky's ground-breaking (in more senses than one!) ballet music. Finally, I bring to your attention that fact that, on Sunday, we will introduce you to the fifth of our eleven organs. This will be the small, but beautifully proportionally, two-manual instrument built in 2008 for the church of Santa Maria Assunta, in the village of Giubiasco, Switzerland. This stunningly sleek instrument was built specifically for the performance of Bach's. Music that required complete independence of its two keyboards, and of its Pedal section. Very few organs in the world have a Pedal section that can match the clarity and strength of its keyboards, but Bach's music written with a Trio texture (in which both the hands, and the feet, all play completely different melodic lines at the same time, and are all of equal importance) demands complete equality. So, on Sunday morning, I shall perform a movement from a Bach Organ Trio Sonata, using just one stop on the Pedals, bit which perfectly complements the two independent hands, in terms of clarity. And, do listen carefully to the last four bars of this piece of music, for I shall pull out and extra stop on this organ that turns a wheel of little bells (see the photo below) and adds a gentle trickle of tintinnabulation to the music's end!

Samual Coleridge-Taylor

The 2008 'Mascioni' Organ in Giubiasco, Switzerland