ScottOpus Productions is pleased to introduce the following works of Kenneth R. Lindner Jr.:-
Ceremonial Music for Five Recorders was written for the Unitarian Universalist Church in Reno Nevada upon the opening of their new Church Hall. The dedication of the score is inscribed with the following:-
“For the dedication of the new Unitarian Universalist Fellowship Hall of Northern Nevada, September 27, 1987”
The work was first performed on September 27, 1987 at the dedication of the Fellowship Hall, and was commissioned by the Unitarian Universalist Church in Reno Nevada, three months previously by the Church Music Director.
The work is divided into three movements titled Prelude, Interlude and Postlude intended, as indicated by the composer, to be played prior to the service (as a Prelude), during the service (at the Offertory (?)), and finally after the service (as a Postlude). The Composer goes on to acknowledge that the Prelude and Postlude battled against “…audience noise, which the recorder’s limited volume could not overcome.” The most difficult movement to appreciate is the second movement which was heard completely. The composition was written for competent amateur musicians that attended the church and had got together to form a liturgical recorder ensemble. The composer himself played the bass recorder in the group. When composing the work, however, the composer had to keep in mind the ability of the musicians while at the same time making the work interesting to play. This formidable task (a problem for all liturgical composers) was handled by Mr. Lindner in an enlightened and effective way. His technique of composing phrases that are repeated at different times within each movement is very effective in both helping the performer as well as creating coherence for the listener. This technique is particularly effective in the Interlude where this repetition creates a passacaglia form. In addition to indicating that the movements are titled Prelude, Interlude and Postlude the composer provides sub-titles that indicate the form of each movement.
Movement I – Prelude - Fanfare.
This is stylistically very similar to the Fanfares of the Renaissance and Baroque periods and even contains a Choral-like theme that is superimposed upon the fanfare motif. If this work had been composed in 1687 and not 1987, it could indeed be a forerunner of the Choral Prelude form that was so prevalent in the middle and late baroque period. The composer should be congratulated on his efforts in this work.
Movement II – Interlude – Passacaglia.
This movement takes the listener from the Sixteenth Century to the Twentieth Century but only in the area of tonality – that is the inclusion in this movement of dissonances. The form of the movement, as indicated previously, is that of the Baroque Passacaglia. This is where a phrase is repeated continuously throughout the work with inventive variations written in counterpoint to it. In this case the passacaglia motif is primarily a descending chromatic scale (c – d flat) and then a quasi or implied melodic perfect cadence (G – C). This provides an implied 4 bar phrase structure. This format is changed at measure 25 for 4 measures but taken up again at measure 29. The Passacaglia format is continued until the end of the movement. The counterpoint around the Passacaglia is inventive and well thought out and executed. Phrases are coupled with the Passacaglia as well as forming accompaniment and countermelodies to the passacaglia. Without the dissonance this movement resembles the Ground Bass form of the early Renaissance rather than the Passacaglia of the later Baroque Period, however, with the inclusion of the atonal component this discussion is moot.
Movement III – Postlude – Hornpipe.
This movement is delightful! And the performing instruction of “spirited” should be adhered to absolutely. The departing congregation would have done well to sit a listen to this work. It would be interesting to see this movement re-scored for three trumpets, three trombones, timpani and percussion. This would maintain the “Old English Hornpipe” form and idiom while giving the work the presence it deserves.
A downloaded pdf copy of the score is available from the ScottOpus website. Please follow the links below to start the download. Please note that all of Mr. Lindner's works are under copyright and are only available on an individual basis and are not to be used for commercial purposes without prior permission. If you are interested in performing this work or organizing for a performance of this work, or obtaining multiple copies of this work please email ScottOpus Productions at kerryscott@scottopus.org.
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A downloaded Mp3 copy of a computer realized performance of this work is available from the ScottOpus website. Please follow the links below to start the download. Please note that all of Mr. Lindner's works are under copyright and are only available on an individual basis and are not to be used for commercial purposes without prior permission. It should be noted that the computer realizations of Mr. Lindner's works listed on this website were created during the 1990's and therefore do not enjoy the quality of contemporary technology. For this reason they should be considered as approximate indications of what the work sounds like rather than a full performance. If you are interested in performing this work or organizing for a performance of this work, or obtaining multiple copies of this work please email ScottOpus Productions at kerryscott@scottopus.org.
Written, with permission of the composer, by Kerry R. Scott for ScottOpus Production