Composer Clarence Mader (Cherry Rhodes and Jacob Benda, editors)
Released 7/2026
Use Recital
Difficulty Moderately diff.
Catalog no. 160-885
Price $12 (U.S.)

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Description
Cherry Rhodes (who has performed Afternoon of a Toad around the world for decades) and Jacob Benda prepared this new edition of the recital work. The title is intended as a humorous reference to Debussy’s famous Prelude to the Afternoon of a Faun. Mader's work is an impressionistic piece in the mid-20th century manner--full of color changes and a light, scherzando character that leads to a grand conclusion. Moderately difficult.

From editor Cherry Rhodes
To the player of this delightful composition:

Afternoon of a Toad was written sometime before 1949. Not typical of the usual serious nature of his compositions, this work is a compilation of short vignettes employing different secular styles of music used in the twentieth century including swing bass, rag, and jazz with riffs and flourishes. Additional sections reminiscent of Debussy and Stravinsky are woven together by Mader in his own distinctive style. Each of these sections offers opportunities for interpretation with lilting freedom. A French-style toccata brings the work to its dramatic close.

Why was Mader compelled to write this piece? He remarked to his friends that there were many compositions written about animals such as The Carnival of the Animals, Peter and the Wolf, The Flight of the Bumblebee, and that the toad was woefully neglected! In his humorous way, he penned the title referencing Debussy’s Afternoon of a Faun.

There are no dynamic, registration, or tempi markings in Mader’s manuscript. Therefore, one has carte blanche for many options that will change from instrument to instrument. Registration ideas printed in the score are merely one of myriad possibilities. Although these registrations are conceived for an organ of three or four manuals, they can be adapted very successfully to a two-manual instrument. The absence of a tempo marking for this piece offers the opportunity for some sections to have their own tempi.

Only one manual indication was written on Mader’s manuscript: in measure 90, left hand chords are to be played on the Solo (large reed). Often, from my experience, it has been more effective to keep these chords on the Great and then, at measure 92, to add solo reed(s) coupled to the Great while cascading down with this dramatic sound. In addition to fingerings, notes and slurs in brackets are options provided by this editor.

For over forty years, I have performed this work in concert halls, cathedrals, and churches throughout many countries to enthusiastic listeners. It is such a pleasure to share it with you and your audiences through this publication. May the player of this witty work have much enjoyment accompanying the Toad during his many adventures!
–Cherry Rhodes

--Cherry Rhodes