JEFF McLELLAND AND THE CAPITAL BRASS AT COVENANT PRESBYTERIAN CHURCH,
PERFORMING A COMMISSIONED WORK BY JAMES SCLATER, JUNE 13, 2001

The response of the convention participants to James Sclater's "Images of
Southern Religion" was immediate and enthusiastic. The work, commissioned
by the convention and scored for organ and brass quintet, showcased
Sclater's imaginative, creative impulses and triggered memories of
revivals, church meetings, and other religious activities that are an
important part of the collective memory of the southern experience.
Sclater's images filled the spaces of Covenant Presbyterian Church in a
stunning, exhilarating, and, at times, thoughtful manner.

For this premiere performance organist Jeff McLelland teamed with Jackson's
Capital Brass (Robert Cheesman and Wayne Linehan, trumpets; Mimi Draut
Linehan, horn; Ken Lyon, trombone; Tex Chapman, tuba; and Sherwood
Berthold, percussion) to create a musical tapestry which presented six
vibrant images relating to southern religion. Each image became a
contrasting movement of a larger suite.  The movements are entitled: I.
Gathering of the Saints and Sinners, II. Invoking the Image of an Angry
God, III. Fire and Brimstone Tent Preacher, IV. Love Offering, V. Handling
Snakes (Scherzo Diabolique), and VI.Call and Response.

'Gathering of the Saints and Sinners' begins with a quasi fanfare in the
organ built on thirds, which are interrupted by occasional perfect fourths.
These recall the most often heard harmonization of hymn melodies that
southern churches enjoyed. When an alto or tenor was asked to harmonize
with the soprano melody, thirds such as these or sixths usually resulted.
Supporting these thirds are major/minor triads that eventually become
complete major/minor seventh chords - Sclater apparently likes the
ambiguity created when both the major and minor third of triads sound
simultaneously or in close proximity. When the brass appears, it becomes
quite apparent that the "sinners" have arrived, playing in a style
reminiscent of New Orleans funeral processions - they even stumble as they
begin. The organ and brass ensemble become ensnarled in an almost jarring
harmonic counterpoint of thirds and sixths, all of this nourished by a
three note chromatic figure in the organ pedals - sometimes upward,
sometimes downward. "Draw me nearer" and "Consecrate me, Lord" came to my
mind as I heard this section. As the movement progresses two more
"harmonizations/variations" are presented. A sense of ambivalence seems to
permeate this image. The lilting dotted rhythm gives some feeling of
comfort in the midst of the potential tension created by this movement. The
balance between organ and brass ensemble, not always a given in such
performances, was usually quite good.

As in the first movement, the second begins with a statement by the organ
alone, and, like the initial figure in the first movement, it has a
fanfare-like quality. An extremely chromatic, almost complete tone row, is
heard forte in the pedals, and the pedal part dominates the opening
measures. This pedal part provides a link from the first movement to the
second as the chromatic figure found in the pedals in the initial movement
is expanded into a much larger pedal passage in the first measures and is
developed throughout the movement. Sclater alternates the upward and
downward motion of the chromatic passages creating a sense of hesitancy, as
well as angularity, in the act of invoking the "angry God." Perhaps those
"saints and sinners" are coming uneasily before the Old Testament God of
fire and brimstone, the type of deity that was, and continues to be, so
much a part of southern religious heritage. Before the horn solo, an eerie,
undulating figure, in perfect fourths, is heard on the organ (This figure
will be heard later in the brass ensemble.). The horn solo outlines perfect
fourths, each a half-step apart. The fourths give way to a descending minor
second, the classic sighing figure. From these basic ideas Sclater weaves
the second image of the musical tapestry. The economy of the musical
materials is quite remarkable. Each section of the movement is shaped
dramatically both dynamically and through the interplay of instruments as
various parts of the basic ideas are worked out. McLelland effectively
brings all of the elements, fourths, half-steps, and the chromatic passage,
together in the final organ statement.

In the third movement Sclater offers us a macabre scherzo-like march to
remind us of the effect of the tent preacher. The insistent rhythmic and
harmonic accents portray strong gestures made by these preachers, while the
angular pedal solo helps us recall their rapid vocal inflections. One
moment of humor occurs when the opening phrase to Bach's "Toccata in d
Minor" is quoted. Every person knows the melodrama, quite often fear,
associated with this passage. Another moment of levity transpires at the
end, as an expended preacher audibly sighs from exhaustion (sighs from the
brass). McLelland has to be praised for his pedal work, as does Capital
Brass for keeping this movement so securely under control.

The luscious, sweet "Love Offering" comes from the organ alone. It reminds
me of a Bach chorale prelude with lots of chromatic passing tones - those
passing tones that found their way into so many piano accompaniments to
hymns in southern churches. In spite of Sclater's complex harmonic scheme,
this offering is quite calm in large part due to the easy "gospel" rhythms
of the compound meter. So many unschooled church musicians played in
compound meter even when simple meter was required.

A slithering motive in the trombone begins the fifth movement, 'Handling
the Serpents.' The organ then begins a nervous chromatic figure that
alternates perfect fifths and perfect fourths. This motive continues almost
throughout the movement. That's the test of faith for these handlers -
there is always the possibility that one can be bitten. Toward the end of
the first section we hear the rattle of the rattlesnake. A hymn tune that
could have come from 'The Sacred Harp' hymnal, played by the brass and
almost completely pentatonic, provides a contrasting middle section. One
almost envisions a Salvation Army marching band playing this hymn. Is
anyone bitten? The tambourine accents (rattlesnake) suggest a venomous
strike, as do forte accents in the brass. We do not know - there is no
panic. This scherzo diabolique ends with the same slithering motive in
which it began.  Kudos to all performers in keeping this movement
rhythmically controlled. Since the organ does not provide accents in the
normal sense, all performers have to rely on an overall and intense feeling
of rhythmic and harmonic shape to keep the forces together.

'Call and Response' brings the entire suite to a rousing conclusion. One
imagines that he hears snippets of hymn tunes amid all the bounding energy
found in this joyful, celebratory movement. Is it "alleluia" at the end of
Lasst uns erfreuen or portions of Lobe den Herren, or both or neither, that
is/are embedded in Sclater's energetic finale? Perfect fourths abound,
creating a striding, open texture - one that beckons. Organ and brass
ensemble keep exciting momentum as they alternate calling and responding.
This is the least chromatic of the movements, as the fourths finally
conquer the chromatic figure that had dominated earlier movements.

McLelland and Capital Brass have to be commended highly for holding
together such a difficult piece. Sclater's work, while excellent idiomatic
writing for the instruments, creates many potential pitfalls, which the
performers overcame wonderfully. The performance was exciting and
insightful, never dull or pedantic. The entire work provides much contrast,
yet Sclater's creative ability to sustain and develop within a limited
economy of musical materials makes the work an organic whole. Hopefully,
future performances of this work by many artists will be forthcoming.

                                                           - Timothy Coker

James Sclater's commission was provided by the Hiatt-Ingram Fund of the
Greater Jackson Foundation, and Jeff McLelland and the Capital Brass were
sponsored by Covenant Presbyterian CHurch.




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