Below are the program notes for the 2025 Album I just released called All-Grounded. This solo organ album is my debut and is primarily a fundraiser for First Presbyterian Church in York where the album was recorded. The title is a play on words referencing the musical technique all the pieces share, called a ground bass. More information is in the notes. See the performance page for information on how to order your own copy of the album.
Introduction
Welcome to All-Grounded! This special album is a studio recording of the first recital that I ever gave at the First Presbyterian Church of York, PA. The title “All-Grounded” is a playful reference to the musical technique that all of these songs share. It is called a ground bass. This is a melodic bass line, that remains largely unchanged throughout the piece while the piece develops above and around it. This creates a unique expression of musical composition, both thematically and musically. Below are more in-depth program notes about each piece and the album itself.
All About Passacaglias, Canons, Chaconnes and Ciaconas
A canon is a simple melodic piece whose counterpoint is created by having different voices enter singing the same line at different times. Harmony is created by this special type of musical layering, and ultimately when multiple voices are working together we get a wonderful musical tapestry. More details on Tallis’ specific treatment of his canon are noted further below. Passacaglias, Chaconnes and Ciaconas are all variations of the same basic piece, which utilizes a ground bass and development around it. Passacaglias and Chaconnes are both through-composed variation style pieces, often times in a triple meter to pay homage to their dance origins in Spain. Passacaglias are generally in minor, and chaconnes take on the major tonality, but the structure (usually starting with the introduction of the ground bass on its own before the piece develops), are similar. A ciacona is an earlier Italian variant of the chaconne, and tended toward simpler textures, but still possesses the same compositional magic and wonder as with the passacaglias and chaconnes.
Passacaglia in d minor, BuxWV 161 Dietrich Buxtehude (1637-1707)
Dieterich Buxtehude was a Danish organist and composer who spent most of his time in Germany. Amongst his many appointments as organist, he spent the later part of his career at the Marienkirche in Lubeck. His influence as an organist and composer had a great influence on the German composers to follow, most notably J.S. Bach. It is legend that as a young man, Johann Sebastian once travelled a significant distance on foot to hear Buxtehude play. Most of Buxtehude’s works were left unpublished during his lifetime, but careful curation of his major works into a collection has given us access to his greatest works.
His Passacaglia in d minor is regarded as one of his most important works, and has a clear influence on the great Passacaglia in c minor by J.S. Bach later noted in the program. In fact, it was Johann Sebastian’s eldest brother Johann Christoph Bach who compiled the only known source material that includes this piece. In addition to four distinct sections, exploring a total of three key areas, Buxtehude demonstrates his signature and life-long interest in numerology in its construction.
Canon in D major, P. 61 and Ciacona in f minor P. 64 Johann Pachelbel (1653-1706)
Johann Pachelbel is perhaps best known for writing one of the most famous pieces in all of Western Music, the Canon in D. He initially began his studies as an organist, but became largely self-taught after poor finances forced him to drop out of school. He then held several posts throughout northern Germany. He was the elder cousin of the great Johann Sebastian Bach, and when Bach’s parents died when he was young, he went to live with Pachelbel and Pachelbel was the one to give him his initial organ training. Pachelbel’s output was immense for an organist with so many limited avenues. His ouevre included preludes, fugues, toccatas, ciaconas, and numerous chorale preludes. While other German composers sometimes featured an aggressive bombastic side, Pachelbel’s music is sweet, sometimes quiet and very pleasant to the player and the listener.
Pachelbel’s Canon is one of the most recognized pieces of Western music today, holding a place alongside Bach’s Toccata and Fugue and d minor and Beethoven’s Fifth Symphony. Most of Pachelbel’s music went out of style for a time, but was rediscovered around the turn of the 20th Century. This is an accompanied canon, emanating from the bass. While not strictly a ground bass in the sense of the other pieces on this album, it contains the same qualities and treatment as a passacaglia ground bass. Originally written for strings and continuo (and accompanied by a gigue that wasn’t rediscovered until later), it has been arranged for just about every ensemble imaginable, and the iconic canon line (the descending alternating fifths) is one of the most recognized musical lines and has found its way into other forms of pop music. It has since also insinuated itself into the wedding music canon and is one of the most sought after processionals.
The Ciacona in f minor (or Chaconne as it’s sometimes referred; these terms are somewhat interchangeable) is one of only six surviving chaconnes that Pachelbel wrote for the organ. Unlike other ground bass pieces on this program where the bass introduces the theme before it evolves above, Pachelbel chooses to deliver a quiet simple beginning and then the piece begins to evolve. The 22 variations develop in terms of texture and dynamic, but unlike other pieces that is more of a perpetual build, Pachelbel builds, recedes, builds again and then ends where the piece began.
Passacaglia in c minor BWV 582 Johann Sebastian Bach (1685-1750)
Johann Sebastian Bach is one of the few composers in all Western music that needs no introduction even to the non-music lover. Bach and the organ are synonymous with one another, and hardly anyone doesn’t recognize the opening notes of the Toccata and Fugue in d minor. Bach’s musical output was nothing short of extraordinary, both for the organ, and choral and instrumental music. He advanced the frontier on contrapuntal music composition, sonata and other musical forms, and left a mark as one of the greatest composers ever. His music unfortunately fell out of favor for some time after his death, but Felix Mendelssohn resurrected his music in the early 19th century, and his place amongst the long line of German music writers was further established. He is also famous for having a staggering 21 children, 3 of which became professional musicians themselves.
Bach’s Passacaglia (and the accompanying fugue which is not present on this album) is an enigma wrapped in a mystery. Clearly influenced by the German writers before him, the Passacaglia opens with the theme in the pedals, followed by 21 variations. Notably, the ground bass isn’t always featured in the pedal or even the bass. It sometimes migrates to the high treble, but yet remains present in development. Few pieces have resulted in scholarly intrigue, attempting to interpret the symbolic nature of the compositional style, something Bach was known for. There is vigorous debate whether the accompanying Fugue, which combines the ground bass and a fugal counter-theme together, whether this is a mighty 22nd variation or a piece unto itself. Perhaps in some cases, it’s both at the same time.
Introduction and Passacaglia in d minor WoO IV/6 Max Reger (1873-1916)
Max Reger is a controversial figure, but as a musician/composer and person. Known for his aggressive harmonic temperaments, as well as a fiery personality, he spent most of his life in poor health and tragically passed away at 43. During his lifetime he was known for his organ and piano prowess, as well as a composer. He pushed the limits on tonal harmony, often utilizing extreme chromaticism, creating unstable sounds and settings, as well as pushing the limits on the organist. But for his eccentricities, he also held Bach in high regard and paid homage to fugal structure and design at the core of the music. In many ways, he managed to bring together the chaos of Liszt and the structure of Bach.
This work opens with a big introduction, that establishes Reger’s compositional personality. It challenges the player from the start with pedal octaves and high chromatic chords. After the fiery introduction, he introduces the ground bass in the pedal, before developing across over 15 variations. It grows perpetually in sound and texture, and ends with a small coda that is reminiscent of the introduction.
Chaconne from Suite for Military Band in E-flat Op. 28/No. 1 Gustav Holst (1874-1934)
One of the best things about the pipe organ is its possibilities as a transcription instrument. This means, it has the facility, both because of the number of keyboards and pedals, as well as the vast array of stops and sounds, to imitate music originally written for other instruments, including large ensembles such as bands and orchestras. The goal for the transcriptionist (person who rearranges works for one instrument or group for another) is not merely to imitate the sounds in the original, but also to create a soundscape all of its own based upon the offerings of the particular organ at hand.
Gustav Holst is one of the most famous English composers in Western history. He is best known for orchestra pieces such as the Planets, choral offerings such as the hymn tunes Cranham and Personet Hodie, and numerous single choral offerings. He is also known for writing two suites for military band that continue to be cornerstones of the repertoire today. His First Suite just so happens to open with a magnificent Chaconne, and for this album, it made sense to offer a transcription of this work. One of the few pieces on this album in the major key, this chaconne opens with the ground bass in the tubas, and the ground bass line travels all throughout the ensemble. The organ is able to imitate the brass and winds, while also showing off the various sounds only the organ can provide.
Improvisation on Tallis’ Canon Thomas Tallis/arr. Daniel Brownell
Outside of Pachelbel’s Canon, the canon by English Renaissance composer Thomas Tallis might be the most famous. Unlike the accompanied canon Pachelbel presents, Tallis’ canon is a traditional structure, having a single melodic line that four (or more) groups of singers or instrumentalists begin in different places. Thus harmonies are created because groups are singing different parts of the melodic line at the same time. It has been arranged for ensembles and other groups, and is also present as a core hymn in most hymnals.
Credits and Acknowledegements
I’d like to acknowledge the First Presbyterian Church of York, PA for its partnership in the making of this album. Not only did they supply the building, organ, utilities and time for recording, they have taken the time and energy over the years to curate and maintain a wonderful organ in its main sanctuary that I have the honor and privilege to play on each week. This is why, at least initially, all the proceeds go back to them, as they continue to support a vibrant music ministry at FPC and maintain the organs.
I’d like to acknowledge Cindy Fields, who was the photographer who helped develop the album artwork, which was originally used for the recital back in 2023. Find Cindy on Facebook for all your photo needs.
Lastly, I’d like to acknowledge all my teachers, music supporters and friends whose love and support during my career have given me the ability to record this album. I especially want to acknowledge my wife Amy, who endured many lonely nights while I was out practicing and preparing for this album and who is my biggest fan.
About the Organ and Church
First Presbyterian Church of York, Pennsylvania stands in the heart of the city of York, PA. It has been a prominent figure at the corner of Market and Queen Streets for over 200 years. Originally founded through a land sale from William Penn, it has grown and prospered in its current space. In addition to offering worship, and vigorous Christian life, they are known for their support of the community, especially the Northeast Neighborhood of York. The music program has thrived there for decades, both its traditional music program of organ, choral and handbell music as well as contemporary music. The Annual Abendmusik Music Series brings great music to FPC every year, and in 2023, Dan Brownell established and launched the East Market Organ Series which is a sub-set series specifically dedicated to showcasing the church’s mighty organs. FPC’s mighty sanctuary pipe organ was installed in its current form in 2006 by Matt Baldwin of the Susquehanna Organ Company. It is a digital/acoustic organ hybrid, utilizing components of its predecessor Moller instrument, synced with top-notch Allen digital components and a handsome console. Additionally, the organ features an antiphonal echo division in the ceiling of the back nave, which was generously given by John Adams and his family. In addition to their sanctuary instrument, First Presbyterian also has an Allen Renaissance digital organ in its chapel, which complements the intimate nature of the room splendidly.
About the Organist
Daniel A. Brownell is the Director of Music Ministries and Worship at First Presbyterian Church in York, PA. Originally from South-Central Connecticut, Dan is a versatile professional musician who has quite literally done it all. He has nearly 15 years of professional experience as a church music director and organist, over 10 years as a licensed professional music educator, and years of experience as a performance artist, music composer and arranger. In recent years, he has become adept with some acoustic engineering, video editing and live-streaming tech. He is also an adjunct professor of music at Messiah University where he leads the Handbell Ensemble. Dan is an active performer, and will be heard in December at Carlisle Community Messiah, as well as numerous performances in the Spring including an all-French organ concert in April in York. He also performs 2-3 times a month in the lobby of the Yorktowne Hotel. He holds degrees from Ithaca College, and the University of Hartford, Hartt School of Music.