Becker: Organ Works - Volume 2 (Toccatas)
Expected to ship in 1-2 weeks.
Shipping Policy- Composer: René Becker (1882-1956)
- Editor: Damin Spritzer
- Instrumentation: Organ
Description
The registrations in Becker's organ music often conform to the practice represented in romantic music where a volume level is indicated, rather than a specific selection of stops. in America where multiple styles of organ building from all modern and historical periods are represented and even blended or combined, this generality is quite helpful and allows the performer to adapt the music to the instrument, rather than to be obligated to seek only a certain style of instrument. It also may speak to limitations imposed on Becker at his earliest church positions, where the instruments were smaller and the tonal resources less varied. Becker doubtless played many organs in addition to the instruments at his church positions, but those are the only ones that can be specifically linked to him that were likely influential on his composing, particularly during his early years of most active composing. Since nearly all the original manuscripts of his published works are no longer extant, it is not possible to know for certain if the published registrations are exclusively those written Becker or whether they were occasionally edited. However, for the few manuscripts of published works that are extant (Op. 16, Op. 43, and, Op. 70), the editors were true to his written specifications on the scores. However, there are also numerous examples of registrations that seem incomplete, such as citing registrations only for the Great and Swell, but in the middle of a work indicating that the player should move to the Choir manual, or that stops that were never drawn should be taken off at a certain point.
In many cases on scores both published and those still in manuscript, Becker calls for fairly general or non-specific registrations, such as "Swell: Full" and "Great: Full without Mixtures and Trumpet."1 or "Great: Full except 16'' and "Swell: Full."2 Additional examples are so commonplace as to be available on nearly any instrument, such as "Great: Full," Swell: Full," "Choir: Full,"3 or "Swell: Solo Stop,"4 or "Swell: Oboe."5
The solo stop he most often requests is an Oboe. Becker had an Oboe on the Kilgen organ at his conservatory, but the player should feel free to consider other solo voices when available since there are incidences where he suggests a Clarinette or even merely "Solo Stop" to support this. The accompanying stop most often specified is a Dulciana, which again he had on the early Kilgen. Since on other scores he asks only for a "Soft 8′," the player should seek for a balanced registration between the two voices rather than adhere strictly to his specifications.
Use of the swell pedal in Becker's music is less determined by his indications than by understanding of the common practice and techniques of the day, discussed in sources such as "Swell Pedal Technique" by Gordon Balch Nevin, dating from 1921. Becker's writing is extremely lyrical and melody-driven, and the primary use of the swell pedal is to aid in the expressiveness of phrasing. He writes, "Never use the swell entirely closed for more than a single note, and that note should be the final note of a phrase."6
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Digital Download
Digital, PDF version of the score.