In these pieces organists may use the full range of colours available on the instruments at their disposal in ways that I hope will bring enjoyable satisfaction to both them and listeners. Although not specified in the score there are opportunities to use the smoothest flutes, most velvety strings and spicy mutations, also the grandest of principle choruses and blazing reeds. The symbols I and II should be understood to indicate places where a solo or dominant part should be played against a less prominent texture, not necessarily literally a first and second manual.
This is the second time I have used the idea of four elements to suggest a basis for four character pieces. In 2001 I wrote a virtuoso suite for percussion and organ with identical titles. That piece remains unperformed and unpublished. On looking again at the older piece (something I did only when these solo pieces were finished) I was interested to see that my depiction of the elements was somewhat different.
A recent visit to Chichester cathedral (in Sussex, England) brought me in front of the brilliantly coloured tapestry which hangs behind the high altar. It was designed by John Piper. The tapestry’s main theme is the Holy Trinity but it also depicts the four evangelists and the four elements. I think it likely that the impact of seeing this striking tapestry is what inspired this suite of organ pieces.
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