In Paradisum - organ - Alfred V. Fedak

Reviews
"The more your reviewer sees of Fedak's compositions, the more impressed he is with the high quality of his writing. These four pieces published by Selah support that impression. Each one is in a different style and runs the gamut of fairly easy (Divinum Mysterium) to difficult (Veni Creator Spiritus, which is a toccata). The most original and lovely is 'In Paradisum' with double pedaling against strings, with the melody on an 8' flute in the right hand. All four settings are worth your attention." --The American Organist, January 2003

"I don't have much opportunity to play for funerals or memorial services here at Trinity University, but I'm always looking for new material for those types of occasions when they arise. This lush setting of the well-known plainsong melody is first presented quietly, and then builds to a climax before dying away. It is moderate in difficulty due to the double-pedal part of the accompaniment and then becomes the second voice of canon against the cantus firmus in the right hand." -Cross Accent, Spring 2002

"Based on the plainsong chant from the Roman Catholic Requiem Mass, this prelude is a charming setting and a wonderful addition to an organist's collection of music for funeral or memorial services. The first section presents the cantus firmus against an ostinato in the left hand and pedal in imitation of bells. This leads directly into a contrapuntal development of the theme that dissolves into a quiet closing. The piece will be accessible to most organists, but the double pedal in the first section will require some careful preparation; combination action (or registrants) are required for an effective ending of this evocative piece. Moderate diffculty. Highly recommended." --Cross Accent, January 1997

"Though I am not familiar with many of Fedak's organ pieces, this piece is the most poetic and introspective piece of his that I recall seeing. It begins with a soliloquy on a flute stop, followed by the main part of the piece, a beautiful, quiet, slow-paced statement of the chant. After a louder, quasi-imitative section, there is a gradual reduction and slowing (with the last few bars perhaps borrowing a page from Messiaen, whose "Communion" from the Mese de la Pentecote ends in a somewhat similar texture), ending with the solo flute stop at the top of the keyboard. As is often the case, describing the piece in words makes it sound more complicated than it really is! None of it is difficult in either form or playing technique. A major new piece specifically for funerals and memorial services (or perhaps on Good Friday), which should be widely played." --AAM Journal, February 1997