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EXULTATE ORGAN
MUSIC OF DANIEL E. GAWTHROP
MARY
MOZELLE at the Organ of the
PRINCETON UNIVERSITY CHAPEL
WORLD
PREMIERE RECORDINGS
$14.95 ~ MS1185
"This
is the world premiere CD dedicated to [Gawthrop's] music and it is largely
successful. The very familiar Welsh tune Hyfrydol is given the King’s
treatment in the animated and beautifully constructed five-movement Partita.
Another highlight is certainly the Jerusalem Symphony, its four movements
titled by quotes from the book of Isaiah that serve as the inspiration for
the tone of the individual pieces...other works are fairly short one
movement entities that have a unique and enclosed tonal message. I enjoyed
them all very much...a 1928 Skinner instrument that has been virtually
redone over the years, is a broad and robust instrument fully worthy of the
type of registrations that Gawthrop desires... Mary Mozelle does everything
humanly possible to take advantage of the space [in Princeton University
Chapel]...Gawthrop’s music is worth investigating, and this is now the
primary place to do so."
Steven Ritter, All Music Guide ~
September 2007
"[Gawthrop]
has produced a substantial body of work for the [organ]...Gawthrop's writing
for the organ is always effective...Its style is conservative and
eclectic...[Mary Mozelle's] performances leave nothing to be desired in
technical polish and control, while the recorded sound captures the warmth
and clarity of the instrument."
American Record Guide ~ July/August 2007
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An
all-Gawthrop disc may come as a surprise to the organ world, but listeners
should be prepared to fall in love with these wonderful works. Already
widely recognized as a choral music composer of the highest order, Daniel E.
Gawthrop is an accomplished composer of organ music as well. An organist
himself, and a great advocate for the instrument, Gawthrop knows how to make
the most out of the wide range of sounds the King of Instruments has to
offer. His compositional style is unique and often challenging, offering
colorful, memorable melodies with great rhythmic variety. There is a also a
joyful harmonic and melodic richness in his works. His widely varied
thematic material is carefully interwoven to create a memorable listening
experience. The composer and I worked closely throughout the course of this
project, and I am grateful for the support and interpretive guidance he has
provided.
This
is the first commercial recording devoted entirely to the organ music of
this significant American composer.
Mary
Mozelle November 2006
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A
versatile keyboard artist, Mary Mozelle performs regularly in solo
recitals and with orchestra. She has performed on the magnificent pipe
organs in the British cathedrals of Exeter and Chester as well as throughout
the United States, including New York City, Chicago, and Washington, D.C.
Ms. Mozelle has appeared with conductors Leonard Slatkin, Robert Shaw, and
Mstislav Rostropovich, among many others, and was featured as an organ
soloist in the 2000 Mozart Festival at The Kennedy Center under the baton of
Artistic Director Christopher Hogwood. Mary Mozelle is currently Associate
Organist at The National Presbyterian Church in Washington, D.C. where she
is regularly featured as a soloist in the Barham Organ Concert Series. She
studied at The University of Chicago, The Chicago Musical College, and West
Virginia University where she completed a Master of Music degree majoring in
both Organ and Harpsichord performance. Her teachers have included Clyde
English, Robert Reuter and Edward Mondello. In an effort to introduce the
pipe organ to a broader audience, Ms. Mozelle travels to many churches
throughout the United States to perform her special program "The
Sights and Sounds of the Pipe Organ". This unique program is
bringing her to the attention of an ever-widening circle of admirers
impressed by both the narrated performance and her musical artistry. Her
presentation of "Sights and Sounds" for the Smithsonian
Institution’s Resident Associate Program in May 2003 received rave reviews
from professional musicians and lay audience members alike and led to an
immediate invitation to present the program for the Northern Virginia
Chapter of the American Guild of Organists.
www.PipeOrganPro.com
MARY
MOZELLE HAS JUST BEEN INVITED TO JOIN THE PRESTIGIOUS CONCERT ARTIST
COOPERATIVE. FOR MORE INFORMATION, VISIT
www.concertartistcooperative.com
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Composer
Daniel E. Gawthrop was born in 1949 in Fort Wayne, Indiana. He has
been the recipient of over one hundred commissions to write original music.
His works have been published by Dunstan House, Warner Brothers (now Alfred
Publishing Co.), Theodore Presser, Sacred Music Press and others. Gawthrop
served for three years as Composer-in-Residence to the Fairfax
Symphony Orchestra (of Fairfax, Virginia, a suburb of Washington, D.C.) and
has been the recipient of four grants from The Barlow Endowment for Musical
Composition. He has been commissioned by dozens of institutions including
the American Choral Directors Association through their prestigious Raymond
Brock Memorial series, and has had works première in the Concert Hall of
the John F. Kennedy Center for the Performing Arts, the Salt Lake City
Mormon Tabernacle, and Washington National Cathedral. His choral pieces have
been performed and recorded by such eminent ensembles as The United States
Air Force Singing Sergeants, the Gregg Smith Singers, the Turtle Creek
Chorale, the Paul Hill Chorale, the American Boychoir, the Mormon Tabernacle
Choir, the Cathedral Choral Society (of Washington National Cathedral) and
literally hundreds of other groups in the U.S. and abroad.
In addition to his work as a composer, Gawthrop has been active as a
broadcaster, clinician and adjudicator, organist, conductor, teacher and
writer, including a period as music critic for The Washington Post. Gawthrop
is a Life Member of the American Choral Directors Association, a member of
Chorus America, a member of The American Guild of Organists, and a member of
Phi Mu Alpha Sinfonia, the music fraternity. Gawthrop currently serves on
the Board of Advisors of the Barlow Endowment for Music Composition at
Brigham Young University.
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Exultate
Sketchbook One
I. Incantation
II. Elegy
III. Passacaglia
Caprice
Nocturne
Toccata Brevis
Sketchbook Three
I. Prelude
II. Scherzando
III. Chorale
IV. Recessional
Partita on Hyfrydol
I. Chorale
II. Giocoso
III. Adagio
IV. Moderato
V. Finale
Chorale
O Jerusalem – A Symphony for Organ
I. Allegro
II. Largo
III. Giocoso
IV. Finale
The Princeton University Chapel
Organ has a colorful history. When it was
installed in 1928, it was heralded as revolutionary – especially the Contra
Fagotto stop in the Pedal division, which was the first of its kind, and was
created for this instrument. However, the acoustics of the new Chapel (which had
been artificially deadened by porous tiles) proved to be inhospitable to the
sound of the instrument. Just after its installation, a renewed interest in the
organs and music of the Baroque Period swept the musical world, effectively
putting the instrument out of style. In 1934 Carl Weinrich was appointed
Director of Music at the University Chapel. An organist of considerable talent
and a historian of great breadth, Weinrich was a proponent of the
"Neo-Baroque" movement. Throughout his time at Princeton he focused on
the music of Bach and, in the 1950’s, was able to engage the Aeolian-Skinner
Company to modify the 1928 instrument to play music from the Baroque period with
more clarity and authenticity. It was at this time that the Nave division was
added to support congregational singing, since the building’s acoustics still
proved to be problematic. In 1985 the porous tiles of the Chapel were sealed to
form a hard surface, vastly improving the acoustics for the organ. In 1991 the
N. P. Mander, Ltd. firm from London renovated the existing instrument by
maintaining the clarity that Weinrich strove for, yet returning the instrument
to its original orchestral character. Many new ranks (or sets) of pipes were
added, ranks that had been removed were replaced, and all existing ranks were
renovated. Today the instrument speaks into a room that is more conducive to its
sound, and it speaks with pipes both old and new – paying homage to its past,
yet engaging its future.
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