The last post introduced the Prelude of Sonata No. 1 and is its musical pair, the second movement, Chorale. I mentioned that the Prelude was somewhat inspired by Duruflé’s Prelude, Chorale and Variations on Veni Creator. I prelude (pun intended) this about the chorale as to talk about the one of the main inspirations for this movement, Franck’s Three Chorales.
There is no doubt that Cesar Franck’s Chorale in A minor is a staple of the organ repertoire. It is a rich fantasy like piece that derives its form from itself, organically growing from one section to another. I sought to do that with this movement – to let it naturally grow into each of its parts. Consequently, it is in an arch form and it was the first movement to be completed out of the four. Go listen to the link of the Franck at about 5’25” – hopefully you will hear the connection with this Sonata around 1’12”. Like the first movement and Duruflé, this is my little homage to Franck.
After the Prelude ends with sol-la-fi-sol in the pedals, it is stated immediately again in the Chorale. That little motif is the building block for the whole movement. The only little secret I’ll reveal is at the end: the registration for the beginning and ending chorale is flute, viole, and celeste. The box closes just before the coda and then opens to a mf and taking out the flute. It gives the impression of less while giving you room to get even quieter. It is a great trick my undergraduate professor taught me and I have never forgotten it. The Sonata No. 1 can be purchased here at Selah Publishing.