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Piet Post — Triptych (1966) for organ
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Piet Post (1919–1979) — Triptych (1966) for organ
1) Praise God from Whom All Blessings Flow; 2) Blessed Jesus, at Thy Word; 3) Now Thank We All Our God
Carson Cooman, organ
While various works were sub-published in the USA, “Triptych” (1966) was Piet Post’s only work composed for the American publication market and was written at the request of Augsburg Fortress of Minneapolis. Three hymn tunes very popular in American hymnals (though all from European sources) are treated in Post’s characteristic style with bright modal harmonies.
Piet Post (1919–1979) was a Dutch composer and organist. He studied at the Amsterdam Conservatory with Jacob Bijster and Anthon van der Horst. Post held a number of positions as organist and conductor, notably as the principal organist at the Grote Kerk in Leeuwarden and conductor of the Leeuwarden Bach Society. He also taught at the Gemeentelijk Muziekinstituut. Post wrote organ, choral, vocal, and instrumental music. Post classified his own compositional style as “moderately modern, though not experimental.”
1) Praise God from Whom All Blessings Flow; 2) Blessed Jesus, at Thy Word; 3) Now Thank We All Our God
Carson Cooman, organ
While various works were sub-published in the USA, “Triptych” (1966) was Piet Post’s only work composed for the American publication market and was written at the request of Augsburg Fortress of Minneapolis. Three hymn tunes very popular in American hymnals (though all from European sources) are treated in Post’s characteristic style with bright modal harmonies.
Piet Post (1919–1979) was a Dutch composer and organist. He studied at the Amsterdam Conservatory with Jacob Bijster and Anthon van der Horst. Post held a number of positions as organist and conductor, notably as the principal organist at the Grote Kerk in Leeuwarden and conductor of the Leeuwarden Bach Society. He also taught at the Gemeentelijk Muziekinstituut. Post wrote organ, choral, vocal, and instrumental music. Post classified his own compositional style as “moderately modern, though not experimental.”