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Mountain Sketches, Op. 32, Nos. 1, 2, & 3

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Furtwängler & Hammer Imperial Cathedral Königslutter - A Kingly Instrument for a Royal Worship Space

Furtwängler & Hammer, No. 286 - A Masterpiece Saved!!!The grand organ in the Kaiserdom,&nb...

Uploaded by: Agnus_Dei (08/29/15)
Composer: Clokey, Joseph Waddell
Sample Producer: Milan Digital Audio
Sample Set: Salisbury Cathedral Father Willis
Software: Hauptwerk
Genre: Modern / Romantic / Impressionistic
Joseph Waddell Clokey (August 28, 1890, New Albany, Indiana – September 14, 1960, Covina, California) was a student of Edgar Stillman Kelley. His compositions are numerous and wide-ranging.

"Mountain Sketches" were issued by H.W. Gray (separately) as part of the famous "St. Cecilia Series". Published in 1924, they are very "modern" for their time. Highly colorful, they "force" the performer to be "creative" in the manner of performance.

"Jagged Peaks in Starlight" is much quieter than I thought it would be. Here we hear the influence of Karg-Elert to a tremendous degree. Some of the registrations that Clokey calls for (Flute celeste, etc.) are really only found on American organs, but I think you'll find what I used to be successful and pleasing. The solo reed at the top of page 2 is the Cor Anglais 16' of the Solo, played an octave higher. The tremulant has 2 "bad" notes but I used it. At the very end you hear the Vox Humana without tremulant in the highest ranges of the keyboard. The last pedal note is the 32' alone.

"Wind in the Pine Trees" is the most "romantic" of the set. Clokey calls for a French horn in the left hand, but the Flute harmonique of the Solo produces a similar effect, since the range is quite low. The Vox Humana and strings feature prominently in this movement, and the Solo Clarinet has a nice passage.

"Canyon Walls" is the only loud movement of the set, and it ends with absolute full organ. Massive chords give the effect of solid height, before a rather "funky" section, with a swing to it, leads to a cadenza and pedal clusters at the bottom of the range. The "massive" chords of the opening return, now played on the swell strings. Rather than follow Clokey's directions exactly, I made the last page one continual crescendo, which is really cool!

The score is attached below.
Performance: Live
Recorded in: Stereo
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