Suite in E Major (complete)

Everett Titcomb (1884-1968) spent his entire career in the greater Boston Massachusetts area. He studied organ and composition with Samuel Whitney, organist and choirmaster of The Church of The Advent, Boston. Titcomb’s compositional inclinations lean strongly toward the music of High Church ritualism (Anglo-Catholic), and beginning in 1910 he was able to give full vent to them. That year he was appointed to The Church of St. John the Evangelist, Beacon Hill, the and The New England Conservatory of Music. He served St. John’s until he died in 1968.

The "Suite in E Major" is the "largest" work by Titcomb that I am aware of, and dedicated "To George Kerr, Sr." Published in 1955 by H.W. Gray, it is in four movements, the timings of each movement are given in the First Comment.

Prelude (Moderato) is a flowing movement with the melody passing between the hands. The dynamics, climax, and "spacing" are all well-managed, and the result is a beautiful one.

Scherzo (Vivace) is a delightful scamper, refined with elegance. The "theme" played on the Solo Clarinet, reminds me somewhat of the "Jupiter" theme by Gustav Holst. The effect is light and graceful.

Cantilena (Lento) features pulsing chords on the Swell strings, with the melody played upon the Solo Flute Harmonique (later coupled to the Great flutes). In the central section, the strings are coupled (16' 8' 4') to the flutes with the 32' in the pedal. The ending is hushed and satisfying.

Recessional (Andante maestoso) is based upon the Gregorian melody of "Ave maris stella," and is more "toccata, fanfare-like" then the tempo indication would imply. An exciting flourish brings us to the grand conclusion.

My performance is really nothing like Titcomb indicated. The organ he played was uninspiring, but his registrations are odd and unsatisfying, and I've virtually ignored them. All fancy ideas are mine, and I think enhance the outcome. The piece is rarely played, and on paper is just plain flat.