Music of the Month: Christ Is Made the Sure Foundation

Jeffrey Blersch’s organ collection Christ Is Made the Sure Foundation features four variations on the tune WESTMINSTER ABBEY. The first masterfully incorporates a Purcell sonata for a regal feel, with the tune in the pedal. The next variation is a light tricinium, with a slow-moving cantus firmus in the left hand, continuous movement with ornamentation in the right hand, and a walking bass in the pedal. This is followed by a movement of lush harmonies utilizing strings with a flute solo in the pedal. The collection finishes with a gripping variation that shifts back and forth between a big, grand, almost menacing maestoso section and an energetic, dancing 6/8 that keeps shifting keys—full of surprises and fun to play.

Variation I

The first of the four variations features the theme from Henry Purcell’s (1659-95) third movement of his “Sonata for Trumpet and Strings” (Z.850) in the manuals, while the pedal line sounds the WESTMINSTER ABBEY cantus firmus.

Purcell was a prolific church musician and composer; he grew up less than a mile from Westminster Abbey in London and eventually became the organist there. He composed the hymn tune by that name which is most associated with the hymn “Christ Is Made the Sure Foundation.”

Blersch’s variation incorporates the Purcell sonata at a sprightly allegro tempo. Whereas the original sonata stars the trumpet in the treble clef as the solo instrument, this variation reimagines the composition with the hymn tune playing the solo act in the bass (pedal) line, preferably with a strong and distinct reed.

The manuals take care of both the “trumpet” and “strings” parts from the original sonata. The layering of the sonata and the hymn tune are a double-dipping of two stately, definitively English compositions.

Variation II

Blersch’s second movement is written in three-part texture. The right hand plays a delightful run of eighth notes throughout the variation, as the left hand sounds the melody in metrical half-note values and a walking pedal line rounds out the bottom of the tricinium.

This style of composition allows the organist to use three distinctly attractive registrations in the three different voices. The right hand is best suited with a “gap” registration (perhaps an 8' and a 2' flute together, intentionally omitting the 4' flute), which allows the continuous treble line to sparkle and bubble over top of the melody. For even more contrast, consider adding a light mutation to the 8' and 2' flutes.

Played by the left hand, the melody is written in half notes in 4/4 meter. An ideal juxtaposition to the right hand’s gap registration would be a light reed stop: a krummhorn, an oboe, or a clarinet. To cut some of the bite, a light principal or flute could be paired with the reed.

The gravity and heft of each organ’s pedal division will dictate a judicious choice of registration for the walking bass, but a balanced 16' and 8' flute or even 16' and 4' flute combination should work to present a third distinct voice for this variation. 

Variation III

The third variation is lush, restrained, and reflective. Using a combination of warm strings, the manuals thickly lather chords and harmonies underneath the pedal, which sounds the melody at a higher octave. That might sound flip-flopped, but again, contrast in registration is key: in order for the melody to be distinct, the pedal should be played at the 4' pitch in order to be heard overtop the manual’s 8' strings.

Strings are a prominent division in both English organ repertoire and English organs themselves. This variation of a classic English hymn tune pays respect to those lovely strings and gorgeous harmonies.

Variation IV

The fourth variation certainly has the feel of a fitting finale. It begins and ends with aggressive and energetic chords and sixteenth runs, and it takes plenty of surprising twists. The middle section features the melody in a jaunty and energized 6/8 and 9/8.

Throughout the movement, the momentum and tension gather and coalesce into a grand conclusion to both the variation and the partita as a whole, one worthy of the gravitas of such a beloved tune as WESTMINSTER ABBEY.

Bring the beauty of WESTMINSTER ABBEY to your congregation by ordering the collection by Jeffrey Blersch below.