Organ Music by Dan Locklair
ST JOHN'S SUITE (Four Chorale Preludes) (2007) [M–D] These four works by Dan Locklair are the pick of the exuberant American's writing for the organ this century. Born in 1949 and trained from an early age as an organist, Locklair has been a hugely prolific composer since the mid 1970s, writing with distinction for orchestra, chamber ensembles, choirs, for the stage, and for solo voices and instruments. He has long been highly regarded by the American musical establishment (the American Guild of Organists appointed him as composer of the year in 1996), and a regular portfolio of commissions is testament to an enduring popularity amongst the musical public. Locklair established himself as a composer of note in the early 1980s with an exploration of unusual sound-worlds and instrument combinations. The results were both highly effective and startling: Music of Quince (1981 for flute, clarinet, violin and piano) and '...The Moon Commands...' (1985 for flute, soprano, percussion and piano) are both well worth hearing, as is the excellent and dramatic Constellations (1980), a concerto for organ and percussion that is rhythmically charged and harmonically most adventurous. In later years, as we see in the current group of organ works, Locklair has moved away from the experimental towards a more accessible language, more firmly rooted in a conventional tonal, triadic language. Individual taste will decide the merits of this change; however Locklair has lost none of his flair for colour and orchestration, and it is this that should be at the front of the performer's mind when approaching these new works. Broadly, the movements fall into two types: rhythmically vital, toccata music and slow, ecstatic writing. Colour is particularly important in the latter: registration suggestions are included but performers should be encouraged to explore and find the richest possible tones to allow the music to speak with greatest expression. A strong technique and good sense of rhythm will be required to negotiate the faster movements, which often feature a juxtaposition of regular insistent figures with syncopated additive patterns. Generally (and unsurprisingly, given Locklair's training as an organist) the music lies well under the fingers and feet, and even the ferocious looking pedal solo in the second of The Casavant Diptych, though technically demanding, is achievable. My pick of this handsomely presented crop is the Aeolian Sonata whose three contrasting movements are a fine showcase for Locklair's talents. The first, 'Aus tiefer Not', is granitic and relentless, and offers more chromatic writing than is usual (I was reminded of Howells's early Psalm Preludes); 'Shalom (Peace)' is a pretty and largely tonal elegy in the manner of Langlais's Chant de Paix; and 'Laudate Dominum' is an exuberant toccata that manages to show both drama and charm. As a whole, the sonata lasts about twelve minutes; each movement would make a good voluntary. Any of these works, though, is well worth exploring and will reward listeners and performers alike. Huw Morg
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