The name Arthur C. Becker was familiar to the readers of THE DIAPASON in the period of the 1930s to the 60s because of his many articles and frequent notices of his activities. In addition to his accomplishments as an organist and college administrator, Dr. Becker was an able composer who composed much organ and liturgical music for St. Vincent de Paul Church in Chicago, where he was organist and music director from 1918 to 1973. That he was so long associated with this church gave him ample opportunity to create music not only to demonstrate his own virtuosity as an organist but also to support the services of the church.
Background
Arthur C. Becker (1895-1976) was the founding dean of DePaul University's School of Music and served as organist and choirmaster at St. Vincent de Paul Church from 1918 to 1973. Born in Louisville, Kentucky on September 20, 1895, Becker soon evidenced talent for playing the organ. After holding a number of positions in the Louisville area, Becker moved to Chicago in 1918, where he received a Bachelor of Music and later a Master of Music degree from the Sherwood Conservatory. Among his teachers were Wilhelm Middleschulte and Gaston Dethier in organ and Josef Lhevinne in piano. In 1918 Becker organized DePaul University's School of Music and began his position at St. Vincent de Paul Church. In 1922 Becker went to Paris to study organ with Charles-Marie Widor and Marcel Dupré, and composition with Albert Roussel. In 1942 he received an honorary Doctor of Music degree from The Chicago Musical College. Because of his distinguished service, Becker became an affiliate of the Vincentian order in 1964 and was awarded the Via Sapientiae, DePaul University's highest honor, in 1966. He died in 1976, one of the most respected members of the Chicago musical community and the leading Catholic church musician of the city.
In general, Becker's music is conservative, with the strong influence of the French school of the late Romantic period much in evidence. His organ study in France and his composition studies with Albert Roussel fostered a love for the French repertory. In addition, Becker's own manner of organ performance was decidedly in the French tradition.
Sonus Epulantis
The purpose of the present article is to consider the Sonus Epulantis for organ, one of his finest compositions. What I assume to be an earlier work, Prelude to a Sacred Drama (no date), is the basis for Sonus Epulantis. The differences between the two are few: Prelude to a Sacred Drama begins with slightly fuller harmonies, and there are some differences in dynamic indications. Other than these slight details, the two compositions are the same, though the manuscript style for Sonus Epulantis is smaller and neater.
At this time little is known about the date and the reason for composing this work. My impression, as we shall see, is that it is a late work. The title is both curious and enigmatic. The literal translation is "the sounds of one rejoicing." The key to the title's meaning is found within the work itself. There is a musical quotation from the opening of the Gregorian sequence for Easter, Victimae Paschali. The opening lines of the sequence read:
Victimae paschali laudes immolent Christiani. Agnus redemit oves: Christus innocens Patri reconciliavit peccatores.
May Christians bring praise as the sacrificial offering to the Paschal Victim. The Lamb redeems the sheep. Innocent Christ reconciles sinners to the Father.
I interpret the title to relate to this sequence, for the "sounds of one rejoicing" are in truth the sounds of rejoicing at the Paschal feast. Easter, after all, celebrates the resurrection of Christ and the birth of spring. This is, therefore, the most joyful season of the liturgical year; thus Becker's Sonus is actually an Easter work, one that relates the Latin text of the sequence to the title. As far as I know, the title is Becker's own--it neither seems to be quotation or the title of some hymn.
There are two melodic ideas that dominate Sonus: the Gregorian quotation (Example 1), and another short melody that likewise seems to be derived from the Gregorian repertory (Example 2). Thus far I have not been able to identify the Gregorian chant, but I suspect this haunting melody is Becker's own. Does not this melody relate to the work's title? But for a composition that is supposed to be joyful, Sonus is strangely subdued. Again I interpret, but my impression is that Sonus reflects a deeply felt joy, one that is suffused with tranquility and introspection.
Structural features
Let us turn to the work itself. In general, Sonus is marked by linear counterpoint that creates friction between the lines and quartal harmonies. (Example 3) Peculiar harmonic inflections are also common. (Example 4) The general structure results from the cantus firmus treatment of the two melodic ideas mentioned above. Becker's own melodic idea is presented as an ostinato and becomes the most striking feature of the work. (Example 2)
The work opens with a sustained D in the bass. Quartal harmonies with dissonance are here featured, creating a prelude from mm. 1 to 30. An Allegro maestoso begins at m. 31. Here the ostinato is introduced, with fragmentation and variation. Increasingly chromatic harmonies and active rhythms provide intensity. The texture clears and there is a return to D as the tonal center. At m. 76 the opening of the Victimae paschali is quoted and then treated as a cantus firmus against active figuration. At m. 93 the ostinato is presented against the opening of the Victimae Paschali. A change to 6/4 meter and D major appears at m. 108, introducing a free variant of the sequence and veiled references to the ostinato. At m. 121, D minor returns with active rhythm and a combination of the two melodic fragments. At m. 139, the Adagio tempo returns with the final appearance of the ostinato pattern used as the cadence.
Stylistic features
There are a number of features of Sonus Epulantis that imply it is a later work of Becker's. The harmonies are frequently dissonant. The enigmatic title and the haunting melody used as the ostinato are also unusual. Was this work composed for some special Easter occasion? I rather suspect that it was, for it could well have been featured as an interlude during one of those grand Easter services that Becker was so famous for. Although Sonus Epulantis is carefully composed, it reflects Becker's mastery as an improviser. Each section leads into the next, creating contrast and climaxes but always referring to the two thematic ideas.
The score includes registration suggestions and manual designations and is intended for a large romantic organ of three manuals and pedal. The registrations include both general and specific instructions. For example, the work opens with the registration: Sw: Soft Strings, Gt: Foundations, Ch: Dulciana, Ped: 16¢ and 8¢, and the dynamic is piano. Within the first 15 measures the music crescendos to fortissimo, presuming the use of the crescendo pedal or carefully worked out general and divisional piston changes. Five measures later, the score indicates piano. Later instructions include such indications as "Gt and Sw Full" and "Gt Diapasons to Full Sw," along with crescendo to full organ. The middle section indicates Sw: Diapason and Ch: Clarinet; and later Sw: Solo Stop (Trompette) and Ch: Soft Flutes; later still Sw: Flutes and Strings 8¢, 4¢. Another crescendo in measures 117 to 128 builds to full organ, achieved with the crescendo pedal or numerous piston changes. After a climax on V2 of iv, the piece ends quietly on the Swell Voix Celeste and the Great soft Flute. Performance requirements include a thorough control of legato touch, octaves in the manuals and pedal, brilliant 16-note figuration, and numerous manual and registration changes. Two enclosed divisions are intended.
Summary
Unfortunately, Becker's music has fallen into oblivion. A concert of his music on the 125th anniversary of St. Vincent de Paul church on November 5, 2000 revealed a composer with a solid technique and profound commitment to religious expression. Of all the compositions on this program, Sonus Epulantis was the most expressive and most beautiful. It reflects the emotions of a man who had lived a long life in church music and wished to express the spiritual satisfaction that life had given him. Its transcendence suggests it was one of the last compositions Becker wrote and that it was a kind of opus ultimum--a final statement of his life and purpose.
Becker bibliography
"Who's Who Among American Organists," The Diapason, October, 1925, p. 10.
"Arthur Becker appointed director of the chorus of the Illinois Club for Catholic Women," The Diapason, July, 1930, p. 46.
"Catholic Church Music: Three New Masses of Interest," The Diapason, August, 1932, p. 23.
Arthur C. Becker, 1/4 page display ad, Concert Management McNab & Gressing, The Diapason, September, 1933, p. 7.
"Arthur C. Becker broadcasts recitals in university course," The Diapason, April, 1936, p. 20.
"Arthur C. Becker, A.A.G.O., dean of the school of music of DePaul University, Chicago, and organist and choirmaster of St. Vincent's Church, completed his thirty-third broadcast of organ music from station WGN . . .," The Diapason, July, 1938, p. 17.
"Becker and School to Mark Anniversary: serves a quarter century," The Diapason, April, 1943, p. 7.
"Dr. Arthur C. Becker on April 5 observed his 36th anniversary as organist and choirmaster of the Catholic Church of St. Vincent de Paul," The Diapason, May, 1954, p. 6.
"Dr. Arthur C. Becker, dean of DePaul University's school of music, is shown at the console of the three-manual Moller organ donated anonymously to the school," The Diapason, April, 1957, p. 1.
"Arthur C. Becker celebrates 40th anniversary," The Diapason, April, 1958, p. 6.
"Dr. Arthur C. Becker will retire as dean of the school of music at DePaul University, Chicago, after 48 years as its head," The Diapason, March, 1966, p. 26.
"Arthur C. Becker celebrates 50 years at St. Vincent de Paul Church," The Diapason, May, 1968, p. 2.
"Arthur C. Becker will observe his 52nd anniversary as organist and choirmaster of St. Vincent de Paul Church," The Diapason, April, 1970, p. 8.
"Nunc Dimittis," The Diapason, April, 1976, p. 11.
Arthur C. Becker Work List
Organ
Brünnhilde's Awakening and Finale from Siegfried-Richard Wagner, arranged for organ by Arthur C. Becker, February 12, 1933.
Four Antiphons of the Blessed Virgin Mary Choral-Paraphrased for Organ (1948?). Alma Redemptoris Mater, Ave Regina Caelorum, Regina Coeli, Salve Regina. Published by McLaughlin & Reilly Co., Boston, M&R Co. #1590-20, copyright MCMXLVIII.
Miniature Suite for Organ (August 4, 1962), dedication: "To René Dosogne." I Con Moto, II Moderato, III Moderato, IV Con Moto. Unpublished manuscript.
Music for Low Mass (no date), Suite for Organ. Introit-Effusum est, Offertory-In virtute tua, Elevation-Benedictus-Mass XI, Communion-Religio munda, Post-lude-Alleluia. Unpublished manuscript.
Prelude to a Sacred Drama (no date). Unpublished manuscript. Note: This piece reworked into "Sonus Epulantis" listed below.
Retrospection (February 11, 1969). Unpublished manuscript.
Scherzando (August 22, 1966). Unpublished manuscript.
Second Sonata for Organ (no date), dedication: "To my friend and colleague Herman Pedtke." I Larghetto, II Lively, III Andante, IV Moderato. Unpublished manuscript.
Sonus Epulantis for Organ (no date). Unpublished manuscript.
Three Sketches for Organ (June 25, 1969). I Andante, II Andante, III Allegro Maestoso. Unpublished manuscript.
There was also a First Sonata for Organ written in the 1920s. The manuscript for this has been lost. Two of the movements had been arranged for brass sextet. Paean for brass sextet [New York] Remick Music Corp., ©1938. Library of Congress Call # M657.B4 P3. Romance for brass sextet [New York] Remick Music Corp., ©1938. Library of Congress Call # M657.B4 R6.
Organ and Piano
Concert Overture (April 16, 1941). Unpublished manuscript. Probably written for performance with his wife Barbara S. Becker.
Choral
Published Works
Alleluia-Choral Part for the Toccata from Organ Symphony No. 5 by C.M. Widor. Published by McLaughlin & Reilly Co., Boston, copyright MCMLV.
Ave Maria (early 1930s?), a cappella, Latin. Published by McLaughlin & Reilly Co., Boston, copyright MCMXXXV, "In the Caecilia (June, 1935)."
Creator of the Stars of Night, Sacred Chorus for Mixed Voices, S.S.A.A.T.T.B.B. a cappella, Published by Hall & McCreary Co., Chicago, copyright 1940.
Mass in Honor of St. Vincent de Paul, "Dedicated to my sister Lucile," SSAATTBB and organ, Latin, Boston, McLaughlin & Reilly Co., ©1937. There are also string parts (in manuscript) for this Mass-V1, V2, Vla, VC, DB.
Mass in Honor of the Holy Name, SATB Voices and Organ, Latin, dedication: "To Msgr. Charles N. Meter, S.T.D., Mus.D., and the Cardinal's Cathedral Choisters, Chicago, Ill." Published by McLaughlin & Reilly Co., Boston, copyright MCMLIX.
Mass "Lord God, Heavenly King," English Mass for Congregation and Choir of Four Mixed Voices with Organ. Published by Gregorian Institute of America, Toledo, Ohio, copyright 1966.
Mass of the Sacred Heart, SATB Voices and Organ with Congregation ad lib. Published by Gregorian Institute of America, Toledo, Ohio, copyright 1966.
One Is Holy, SATB a cappella. Published by McLaughlin & Reilly Co., Boston, copyright MCMLXIX.
Arrangements
Bless the Lord, O My Soul, Mikhail Ippolitov-Ivanov (1859-1935), arranged for S.A.T.B. by Arthur C. Becker. A cappella. Published by GIA Publications, Chicago, copyright 1970.
Come Holy Spirit, Orlando Gibbons, arranged for SATB Voices with Organ. Published by GIA Publications, Chicago, copyright 1970.
The Lord Bless You, J.S. Bach, arranged by Arthur C. Becker. Text: "From the concluding prayer of a Commissioning Service. Freely Translated by A.C.B." S.A.T.B. a cappella. Published by GIA Publications, Chicago, copyright 1970.
Unpublished Works
Adore Te Devote (no date), for soprano, alto, tenor, bass and organ, Latin.
Ave Maria (no date), SATB a cappella, Latin. (This is different from the published Ave Maria listed above.)
Blessed Be God The Father (October 11, 1969), for mixed voices, 2 trumpets, 2 trombones and organ, English.
Cantate Domino-Come, let us sing to the Lord (no date), SATB and organ, English.
Domine Deus (April, 1958), "To St. Vincent Choir," SATB with organ, Latin.
Have Mercy On Me (May 2, 1967), SATB with organ, English.
I Will Delight in Your Commands (February 4, 1970), SATB and organ, English.
Mass in Honor of St. Barbara (no date), for mixed choir, congregation and organ, "In Memory of my Beloved Wife, Barbara."
Mass (Untitled) (May 20, 1970), "To St. Vincent de Paul Church Choir," SATB with organ, English.
Missa Brevis (no date), SATB, organ (ad libitum), Latin.
O Lord, I Am Not Worthy (May 8, 1966), SATB a cappella, English.
Our Father (December 28, 1965), SATB a cappella, English.
Panis Angelicus (no date), SATB, organ, Latin.
Rejoice unto the Lord (July 17, 1966), "Respectfully Dedicated to Rev. Charles E. Cannon, C.M., Pastor of St. Vincent de Paul Church, Chicago Illinois," SATB with organ, English.
Yours Is Princely Power (January 4, 1969), Scriptural Response Christmas Midnight Mass, SATB with organ, English.
Arrangements
Agnus Dei, Kalinnikoff, arranged with Latin words by Arthur C. Becker, soprano solo, alto solo, S.S.A.A.
Hymn-Accept Almighty Father, four part chorus of mixed voices.
Hymn-At That First Eucharist, arranged for solo, mixed choir and congregation.
Hymn-Crown Him with Many Crowns.
Hymn-For All The Saints, R. Vaughan Williams.
Hymn-Forty Days and Forty Nights, arranged for 4 voices and organ.
Missa Plebs Dei, David Kraehenbuehl, arranged for 4 voices.
Missa Regina Pacis, Albert J. Dooner, English arrangement of Latin mass.
Send Forth Thy Light, Balakirev (?), alto solo, SATB solos and mixed choir with organ.
Miscellaneous
DePaul University "Fight Song," Published by DePaul University Press, 64 East Lake Street, circa early 1930s.