Overture to Prophet Elias — Organ, Orchestra; Opus 12, by Philip Calder - Video
PUBLISHED:  May 30, 2016
DESCRIPTION:
Transcribed here for Organ Solo; performed by Philip Calder


This piece opens with a march-like d-minor theme marked “risoluto con moto,” with full chords and dotted rhythms, that is extended and developed in various ways before concluding quietly in measure 49. This section is intended to represent some character traits of Prophet Elias (also known as Elijah) in the Old Testament: his resoluteness and determination in the face of adversity, his ability to keep his gaze fixed on distant horizons, and his steadfast strength in confronting his opponents: the bad priests of Baal and the wicked queen Jezabel (also spelled as “Jezebel”). In measure 49 a new idea appears, marked “sostenuto, a modo di canto”; it is quiet and reflective, consisting of even, sparsely harmonized eighth notes moving stepwise with periodic pauses, and takes on a modal character. As this idea progresses, it passes from D minor to F major and then to D major. In measure 74 there is a return to D minor, and an increase in dynamics, but still with even eighth note figuration. This section depicts that part of Elias’s story in which he falls asleep in the desert after fleeing to escape the wrath of Jezabel. He awakens and is ministered to by an angel, who instructs him to travel a great distance and climb Mount Horeb, where he will see God. From this point on the music steadily builds to an amplified restatement of the opening march theme beginning with full orchestra in measure 90. The restatment builds in assertiveness and harmonic tension until measure 138, in which begins a greatly transformed D major version of the secondary idea, here marked “sostenuto e molto grandioso. This portrays the final scene in the earthly life of Prophet Elias, when he is swept up alive in a fiery chariot by a whirlwind and taken into heaven.
Since this version is a transcription, much instrumental color is lost; particularly to be regretted is the absence of brass instruments and timpani.

Inquiries concerning scores and performance rights can be addressed to: Eric Henry, ehenry (at) email.unc.edu
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