A comparison of the closing bars of Bach’s Fantasia in G major and Piece d’Orgue
third sections played with a simulated plein-jeu registration and the middle with a simulated grand-jeu.
Detail from an image by Steve Simpson
In this score, as in my work Le Jardin Sec for string quartet, there is an extended notation for staccato devised to provide a clearer visual indication of a possible articulation scheme. This can be found in the introductory notes of the study score. As in Bach’s music for organ there are also no dynamic indications or instructions for registration. However, it is hoped that any registration scheme might reflect something of the sound of the French Baroque organ. Thus, Section 1 is for a single manual (with Pedal) played on the
Positif. Section 2 is cast for two manuals (with Pedal): where the pedals do not play on the Petit Plein Jeu (Positif); where the pedal does play on the Grand Plein Jeu (Grand Orgue). Section 3 may be played on the Positif or Grand Orgue.
Study score [pdf]
Reference Recording [mp3]
Annotations of the Symbolic Composer code of the second section of Piece d’Orgue are made available as an introduction to the techniques surrounding the algorithmic control of musical activity via the timesheet and the use of I-Function processing and Scoresheet notations. These approaches to scoring and processing material for a composition originated in Piece d’Orgue and form the core generative technique employed in the Six Concertos for orchestra (Instrumentarium Novum 2003-present)
Annotated code [pdf]