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that she elaborates and ornaments around that song, but in also the ways that she tastefully
imitates other composers giving homage to them. The fugue of this piece is like wonderful
rager, a long fugue subject with lots of chromaticism, and the advantage with two players is that
you can get just as thick a contrapunnel masterpiece as with rager, but you've got four hands and four feet to use to play it.
ließlich, වවවවිසවේ coaches, වවවවවවව වවවවවවවවවවවවවව, වවවවඃාා කැක්ලාවිවවවහවිවවස් පින් මචාන්ිුවවවවවවවවවව඄හවවවවවවවවවවඃාවවවව඀වඃ්ැවවවවවඃඊව�
And even Psalm 47 was originally commissioned and premiered by a Canadian duo that's called Duo Majoia.
And Majoia comes from the parts of first names of the couple who comprise the duo.
It's Marni Keysbrecht and Joachim Seger.
They have done wonderful things supporting contemporary composers commissioning constantly,
either pieces for piano and organ or organ duo.
And in this case, he was probably 2011 or 12 that the piece was commissioned.
They wanted a really substantial work as a centerpiece of a program they were playing,
I believe, at the Windspeer Center in Edmonton, Alberta.
And that organ in the hall is a laturna organ.
Big instrument, probably 100 ranks or more.
And so they wanted something that explored the full resources of the organ.
And that's what Rachelle gave them.
It's a piece that keeps both players intertwined at all points.
