The Stylistic Variance and Underlying Unity in Selected Organ Works by Clarence Mader
Clarence Mader (1904-1971) is not a commonplace name heard within most academic institutions or concert halls at this point in music history. During his lifetime, however, he was regarded as a musician of the highest caliber. His expertise was not limited to a singular musical facet but included several. Mader spent the majority of his professional career in California as organist, composer, teacher and organ consultant. Chapter Two will outline the various influences that shaped Mader as a composer during the 20th century in America, as well as identify the common threads that permeate his music. A former pupil of Lynnwood Farnam, Mader served for 37 years (1929-1966) as organist at Immanuel Presbyterian Church on Wilshire Boulevard in Los Angeles, California. In 1955 he joined the music faculty at Occidental College and served as the head of the organ department until 1968. As one of the leading American organists of his generation he was in frequent demand as teacher, recitalist, lecturer and organ consultant. His compositional output is one of great variety. He possessed a keen understanding of compositional practices of the past, and was on the vanguard concerning musical trends of the time. He produced works belonging to several musical mediums including organ solo, piano solo, chamber ensembles, organ/orchestra, piano/other instruments, accompanied and unaccompanied choir, solo voice and opera. Music was not the only art form that Mader used as a vehicle of expression. During the twilight of his life he produced a plethora of poetry and visual art. He produced over 40 paintings and more than 70 unpublished poems. He was a true ‘renaissance man.’
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