Upon the Cross of Calvary

This piece opens with a lyrical melody in 3/4 time, derived from an inverted (upside down) copy of the hymn tune. That occupies about the first third of the piece, after which the cantus firmus enters in the bass voice (pedal), rhythmically altered and accompanied by a modified v…

It is important to register the two manuals, coupled, with the Great sounding just one dynamic level above the Swell. That serves two purposes: (1) to give some prominence to the new (inverted) melody and (2) to facilitate some dynamic variation in the accompaniment of the *cantu…