Today's postlude is modeled after the Little Eight Preludes and Fugues attributed to J.S. Bach but composed in a contemporary style. The creative touch of Woodman's pen is apparent throughout both movements through his judicious use of triplets, accents, and syncopated rhythms. The harmony movement is set in the Lydian mode (raised 4th scale degree)and is composed in Baroque concerto form where there is an alternation between a small groups of soloists and the orchestra. In this movement it is depicted by the change of manuals and dynamics. The counterpoint movement includes a fugal theme that Woodman eventually sets in augmentation in the pedal line. After a deceptive cadence, the composer constructs a stretto where the answer of the fugue begins before the subject is completed. The Baroque characteristic of the drive to the finish is easily heard throughout this work.
Sunday's Prelude: Arietta (Pachelbel) Sunday's Postlude: Harmony and Counterpoint in C (Woodman) Sunday's Musicians: Sanctuary Choir