1987 Gronlunds organ at Luela Cathedral in Norrbotten, Sweden

He heralded the Common Man, and the uncommon organist, too. With a Fanfare, a Preamble, a Passacaglia and a symphony composed in Paris for his teacher’s debut in New York City, we explore some characteristic yet surprisingly little-known organ works by one of America’s most famous composers.

Our songs are without words, colorful portraits painted with tones alone. This week, Paul Manz spins tuneful improvisations around familiar holiday melodies, and then Olivier Messiaen infuses mere chords and rhythms with an almost iconic presence. Shepherds and Magi, heavenly hosts and eternal purposes hover above a mother and child in Bethlehem, as we meditate upon the magic of the season and the mysteries of faith. Nine recitalists, from Germany, Britain, Sweden, the United States and France retell the story of The Nativity of the Lord in a unique expression for holiday reflection.

This week we’ll examine the styles of a teacher and his student. Horatio Parker was traditionally schooled in 19th century Germany. A true Romantic. His devilishly talented upstart student Charles Ives, on the other hand, thought nothing of having a choir sing a hymn in one key while he accompanied in another. Despite their differences, American music would not be what it is today without both of them. Parker created lovely works of fine craftmanship while Ives chartered new territory. Tradition becomes transition at the turn of the 19th century. Hear the contrasts between the old guard and one very enterprising student who brought a uniquely individual voice to 20th century American music. This week, it’s Parker and Ives.

…share in humoresques, scherzos, fantasies and other compositions done up with a sense of fun and surprise. Who says the organ must always be so serious. It’s not all solemn processionals. The king of instruments does have a sense of humor, too, as you’ll discover on our next Pipedreams program, where wry wit, sardonic satire, and a general joviality prevail. Bill Albright’s nifty narration provides a key element, as do songs by Stephen Sondheim and Henry Mancini, scherzos and fantasies played in Souvigny and San Francisco, and a humerous hornpipe played in Sydney Australia. That’s but part of the fun. We’ll also sample concert instruments in Dallas and Yokoyama, theatre organs in Kansas and Arizona, and one of the finest French antiques from the 18th century, still capable of a big smile. Curious chords prove that the Joke is On Us - humoresques for organ, this week on Pipedreams.

…can there ever be a surfeit of these characterful, complex and compelling treasures?