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Slane, Prelude for Organ. 'At the close of the day'

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Uploaded by: Erzahler (01/22/19)
Composer: Willan, Healey
Sample Producer: Milan Digital Audio
Sample Set: Salisbury Cathedral Father Willis
Software: Hauptwerk
Genre: Mid 20th century
Description:
Slane, Chorale Prelude 1967 his last work
https://healeywillan.com/catalog/the-healey-willan-catalog/category/organ-music
(JAMES) HEALEY WILLAN Oct. 12th 1880 to Feb.16 1968.
Full biography here; https://healeywillan.com/biography
Born in Balham, England, Willan was a chorister at St Saviour's Eastbourne then served as organist-choirmaster at several British Churches and gained a reputation as an authority on plainchant in the vernacular (ie, English rather than Latin).
At the age of 33 in 1913 Willan moved to Canada to be head of theory at Toronto Conservatory of Music. He soon became organist-choirmaster at St Paul's Anglican Church, Bloor St. then on 12 October 1921 and began an association with St Mary Magdalene Toronto that was to last till his death.
With music for the organ Willan was thoroughly at home and made a significant and lasting contribution. One work stands out: the monumental "Introduction, Passacaglia and Fugue" of 1916. It represents the culmination of Willan's first period of organ composition, which started ca 1906 with a Fantasia on 'Ad coenam agni.' The Preludes and Fugues in C minor and B minor and the "Epilogue" are the other major works from this period and they combine an innate Englishness (with a Stanfordian flavour) and a European chromaticism that can be found in Reger and Karg-Elert.
After a lull, in 1950 he returned seriously to organ composition in a pruned back and contrapuntal style.
1950-60: Six Chorale Preludes Sets I and II, Five Preludes on Plainchant Melodies, and Ten Hymn Preludes Sets I, II, and III are the major collections also A Fugal Trilogy, Five Pieces for Organ, and Andante, Fugue and Chorale. An exception is the Passacaglia and Fugue No. 2, in which he permits himself a more expansive utterance, with a fugue that is arguably his best essay in the form.
Performance: Live
Recorded in: Stereo
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