Voluntary on 'Crimond'

The music of Everett Titcomb (1884-1968) occupies a unique niche in the catalogue of sacred organ and choral works by 20th-century Anglican composers in the United States. His compositional voice was clearly influenced by the Bostonian giants of his youth (Eugene Thayer, Dudley Buck, George Chadwick, Horatio Parker--who's mother once had Titcomb as a border) as well as his affinity for French music; yet at the same time his work is informed by his vast knowledge and understanding of plainchant and the polyphonic style of the 15th and 16th century Italians. An Anglo-Catholic who spent fifty years nearly to the day (1910-1960) as organist and choirmaster at Boston's Church of St. John the Evangelist in Bowdoin Street, his best organ works are based on plainchant tunes making them of more value to the Roman Catholic organist of the time than to the majority of Episcopalian ones and some of his best polyphony is in the form of Latin motets which while used at St. John's and other Anglo-Catholic parishes were perfectly at home sung at a Roman Mass.

Titcomb tends to be known for a handful of works--some of which are decidedly mediocre--which are quite popular with volunteer church choirs while his better work goes largely unplayed, unsung, and unheard.

"Voluntary on 'Crimond'" was published by H. W. Gray in 1967 as No. 936 in the "St. Cecilia Series". It is based upon the well-known (in the UK, but not in the US) hymn-tune composed by Jesse Seymour Irvine (1836-1877), and paired with the words, "The Lord's my Shepherd, I'll not want."

Titcomb's setting is quite nice. There is a calm flow to, effective modulations and nice harmonic colors. One thing I do recommend is that you do NOT follow Titcomb's registrations! It is true that the organ he played was far less grand than Salisbury, but in my opinion, playing it as "indicated" will detract from, rather than enhance the music.

The score is attached below, as well as a photo of Titcomb and the organ he played.