Richard Wayne Dirksen Centenary

brass

Welcome Happy Morning

Audio & Video. This nine-minute mini-cantata sets the complete Fortunatas text with organ, brass & timpani and would make a great addition to an Easter concert. Score+audio presentation is here, but it awaits a definitive recording.

Welcome all wonders

Audio & Video. Written in 1957, the same year as Daniel Pinkham’s Christmas Cantata, the two pieces share vivid brass writing and intense rhythmic energy alternating with lyric beauty.  This exists in many forms: Organ and brass, full orchestra, winds only…there’s even an arrangement for SSAA choir.

Chanticleer

Audio & Video. Dirksen’s notated half-note=96 is unplayable – he’s merely saying NOT TOO SLOW.  But the circumstances of its composition actually dictate the tempo: the performance should be exactly 2′ 30″!  Also – don’t miss the Choral Arts Society’s orchestral version here as well.

Hilariter

Audio & Video. For Easter Day.  The B section is one of Dirksen’s longest and most effective build-ups to a shattering climax. It’s also a dandy timpani solo. Now back in print by Jubilate Music Group!

Te Deum “Grosse Pointe”

Full score & video. The earlier of his two settings starts with brilliant Dirksen fanfares and the traditional plainsong but also contains a sweeping Great Procession for the Apostles, Prophets & Martyrs.  It ends very dark with a Requiem quote and solemn gong.  His 1996 Te Deum “Lexington” is smoothly through-composed and much sunnier.

Communion Service in E major – Rite I

Full scores & videos. By 1960 Dirksen had participated in Easter services at the Cathedral for 15 years and knew the forces intimately.  This grand Mass features exceptionally brilliant writing for the brass and timpani, ground-breaking mixed meters (13/8 notoriously raised the choir’s eyebrows), and in the Agnus Dei some of his spookiest writing for the organ.  It’s also noteworthy that two movements of a Mass in E major end on F# (Kyrie, Benedictus).  That uncanny whole-tone lift comes a shock each time but prefigures the Gloria’s triumphant final modal cadence from D to E. He also orchestrated it for double wind quartet after the Stravinsky Mass.