Awards presented at AGO national convention in July

Part two of two

National Competition in Organ Improvisation

The ninth National Competition in Organ Improvisation was held at St. James Episcopal Cathedral in Chicago. Five semi-finalists were chosen from 19 preliminary round recordings. Judges for the preliminary round were Justin Bischof, Marianne Ploger, and Bruce Shultz. Five semi-finalists resulted from the recorded round: Steven Ball, Vincent Carr, John Karl Hirten, David J. Hughes, and Tom Trenney. Judges for the semi-final and final rounds were James Biery, Sophie-Véronique Cauchefer-Choplin, and Hans Davidsson. Richard Proulx composed original themes for the competition.
The three finalists chosen to compete in the final round on Monday evening, July 3, were Vincent Carr, John Karl Hirten, and Tom Trenney. The first prize of $2,000, provided by the Holtkamp Organ Company, was awarded to Tom Trenney, director of music and organist at First Presbyterian Church, Birmingham, Michigan. The second prize of $1,500, provided by Dobson Pipe Organ Builders, was awarded to Vincent Carr, a graduate organ student at Yale University’s Institute of Sacred Music where he studies with Martin Jean. An audience prize of $1,000 provided by David and Robin Arcus and McNeil Robinson was awarded to Tom Trenney.
A 30-page souvenir booklet, which included a history of the NCOI competition, competition criteria, semi-finalists’ biographies and photographs, judges for all rounds, specifications of the Austin/Skinner organ at St. James Cathedral, statements from the prize donors, and lists of NCOI committees, previous judges, and composers was made available to those attending the semi-final and/or final rounds. This booklet also included 14 pages of themes used in past competitions.

National Young Artists Competition in Organ Performance

On Sunday, July 2, three organists competed in the final round of the National Young Artists Competition in Organ Performance at St. Paul’s United Church of Christ: Robert Horton, Bálint Karosi, and Scott Montgomery. Each performed Bach’s Fantasy and Fugue in G Minor, BWV 542, Georg Böhm’s Vater unser im Himmelreich, and Max Reger’s Fantaisie and Fugue on “Wie schön leuchtet der Morgenstern,” op. 40, no. 1. Competitors were allowed to complete their program with a contemporary work of their choice. These were Cinq versets sur le “Victimae Paschali” by Thierry Escaich, performed by Horton; Two Portraits for Organ: I. György Ligeti, II. Béla Bartók by Bálint Karosi, performed by the composer; and Olivier Messiaen’s “Les deux murailles d’eau” and “Prière après la communion” from Le Livre de Saint Sacrement, performed by Montgomery.
First place (The Lilian Murtagh Memorial Prize: $2,000 cash award and career development assistance from Karen McFarlane Artists, Inc., and a CD recording for the Pro Organo recording label) went to Scott Montgomery, director of music and organist at Holy Cross Catholic Church in Champaign, Illinois, and a master’s student of Dana Robinson at the University of Illinois. Second place ($2,000 provided by John-Paul Buzard Pipe Organ Builders): Bálint Karosi, a native of Budapest, Hungary, and a student of James David Christie at the Oberlin Conservatory. Third place ($1,000 provided by the Noack Organ Co. Inc.): Robert Horton, assistant professor of music at Dordt College, Sioux Center, Iowa. Audience Choice prize: Scott Montgomery ($500 provided by Martin Ott Pipe Organ Company Inc.). The Reger Prize: Robert Horton ($500 provided by Jim Zinkhan and Heather Holowka).
Judges for the final round were Christa Rakich, Charles Tompkins, and Christopher Young.

Recitals

St. Ita’s RC Church was the site of the recital by Sophie-Véronique Cauchefer-Choplin on Wednesday, July 5. Cauchefer-Choplin is titular at St. Jean Baptiste de la Salle in Paris and co-titular at St. Sulpice, Paris. Her program included Suite pour Orgue, Bédard; Prelude (from Suite, op. 5), Duruflé; Mélodie Intérieure, Grunenwald; Résurrection (from Symphonie-Passion), Dupré; and an improvisation on a submitted theme (“Chicago”). The elegant French Gothic architecture of the church was the perfect setting for Cauchefer-Choplin’s elegant playing, and the Opus 2918 Wicks organ (1949–50), rebuilt in 2002–03 by H. A. Howell, provided the necessary color and brilliance for the program of French works. Passion and delicacy were evident in pleasing proportion throughout the program, and the improvisation on the tune “Chicago” demonstrated technical mastery and structural coherence, and brought the audience to its feet.

San Diego Civic Organist Carol Williams played an unusual program at St. Vincent de Paul Church on Thursday, July 6. Beginning with a virtuosic performance of the Liszt Prelude and Fugue on B.A.C.H., in a syncretic version by Jean Guillou, the artist then offered the Six Sketches on Children’s Hymns, op. 481, by Barrie Cabena, winner of the Holtkamp-AGO Award in Organ Composition, The Brothers Gershwin arranged by Howard Cable, and Toccata “Store Gud, vi lover deg” by Iver Kleive.
A veteran of numerous performances at the outdoor Spreckels Pavilion, as well as recitals worldwide, Williams was right at home with the eclectic program, playing with brilliance in the Liszt, tenderness in the Cabena, playfulness in the Gershwin, and sheer enjoyment in the Kleive toccata. The venerable 1901 Lyon & Healy organ has been under the care of Alfred J. Butler of New York City.

Wolfgang Seifen played an all-improvisation concert on the Opus 2207 Reuter organ (III/64) at Trinity United Methodist Church in Wilmette on Wednesday, July 5. The program consisted of an improvised Symphony in Six Movements based on submitted themes. Seifen amazed the audience with his phenomenal technique, even combining the submitted themes with patriotic tunes in honor of the recent holiday. Listeners praised his phenomenal technique, energy, and command of the organ, showing the wide variety of color in the recent installation. He was given an enthusiastic standing ovation.

The Morrison Duo, Jeannine Morrison, piano, and Alan Morrison, organ, played a recital at College Church Wheaton (Schantz Opus 2012, III/54), on Thursday, July 6. The program included Flying Fingers, Johnny Costa; Sinfonia, op. 42, Dupré; Newmark Variations and Mountain Music, Harold Stover; and Variations on a Theme by Paganini, Lutoslawski. One heard many comments on Mrs. Morrison’s flawless piano technique and the overall polished performance of the duo in what proved to be unfamiliar repertoire for most convention-goers.
—Jerome Butera

Part one of two

Edward Maki-Schramm is director of music at Central United Methodist Church in Detroit, Michigan. He received the MMus and DMA from the University of Michigan and BMus from the University of Cincinnati, College-Conservatory of Music. While a student he was the first place winner two years consecutively, 1994 and 1995, at the Jean and Broadus Staley Organ Competition in Organ Improvisation, sponsored by the American Center for Church Music. In 2005, Dr. Maki-Schramm was the organist for the Grammy Award-winning recording of William Bolcom’s Songs of Innocence and Experience. In September 2004, Maki-Schramm made his European debut playing a recital at the Schlosskirche in Altenburg, Germany (the church of Johann Ludwig Krebs). In 2003 he was the organist for the Detroit Annual Conference of the United Methodist Church and was the organist for Ann Arbor’s Annual New Music Festival featuring the music of composer-in-residence Richard Webster. He performed the commissioned work for the AGO Region V Convention in 1999, and in 1995 was a featured soloist of the OHS national convention. His recordings have been featured on Pipedreams. He is now beginning his sixth year as Dean of the Ann Arbor AGO Chapter. For information: .

Joy Schroeder, FAGO, teaches at the Flint Institute of Music and the Monroe County Community College. She worked in church positions for 36 years, and is now a substitute organist and choir director. In 1999, she was the convention coordinator for the Region V convention held in Ann Arbor, spent six years as the District Convener for Michigan, and is now the Education Coordinator for Region V and serves on the AGO National Committee on Seminary and Denominational Relations. She has a DMA from The University of Michigan in organ performance and a MM from Wayne State University in choral conducting.
 

In beginning a daunting task such as reviewing a national convention, I thought it best to canvas convention-goers for their reactions. Not surprisingly, everyone asked had an opinion not only about the convention but also how the review should appear—easier than filling out the questionnaire tucked into the mammoth, 400-page convention book or losing it in the largest convention bag of recent memory. I received all kinds of advice on not only content but also style: “Don’t let it be boring,” and “nothing too long.”
In deference to them, I offer this concise opinion of convention events: Peter Gomes, Janette Fishell, Stefan Engels, Rollo Dilworth, the Bach Week Festival Orchestra, St. Clement Choir and Sophie-Véronique Cauchefer-Choplin—fabulous. 7:00 a.m. bus rides, long evening concerts that cut time away from the exhibits, competition with fireworks, and the final concert—not so fabulous.
If you’ve made it this far, perhaps you’ll read a bit further for more details and highlights.

Chicago

Chicago—it was my kind of town. The love affair began the moment I arrived in the Loop. Organists from all over the world met in Chicago, July 2–6, to convene for the 48th time. And Chicago was an excellent choice of city. Visitors to Chicago experience a virtual explosion of cultural activity, civic pride and multicultural expression. The first thing that struck me was the greenery. There were parks everywhere—not just tennis courts and country clubs like Los Angeles—but real parks with ample areas of grass and 29 miles of Lake Michigan lakeshore in the heart of the Midwest. Organists sampled everything from stunning architecture and world-famous museums, churches and concert halls, to lakefront parks and vibrant ethnic neighborhoods.
The almost 3 million residents of Chicago and the city’s organists and enthusiasts were hosts to over 2,000 organists in some of the best weather for which one could have asked. Chicagoans were approachable and helpful. Temperatures were pleasant, which made making use of the buses a bit easier as attendees had the expected lines waiting their turn to board. So thank you, Windy City, for one spectacular week.
It is impossible to attend every event at a convention in a city such as this. The varied opportunities and scheduling options leave each attendee with a slightly different experience. All convention attendees had an early shock on Monday morning when they had to start boarding the buses at 7:00 a.m. I think no one but organists would be asked to board a bus for their first weekday session the day before a national holiday when most people are in a vacation frame of mind. The buses were prompt, and passengers quickly boarded for their transportation to Valparaiso, Indiana. At the annual meeting, attendees applauded G. Ronald Vanderwest, convention coordinator, and the convention committee’s decision to get the early day over early in the week. Little did we realize that we would be asked again on Thursday to board buses at 7:00 a.m. Some people simply gave up at that point and rejoined the convention midday.

Monday, Annual Meeting Rockefeller Chapel

The annual meeting at Rockefeller Chapel began the Monday afternoon sessions. We were greeted on the lawn by the sounds of the carillon and the impressive grounds of the chapel. After the official welcome by President Frederick Swann, organist Dan Miller played Mendelssohn’s Sonata No. 3 in A. The tuning of the instrument was so excellent that upon hearing it, I made a note to personally thank the organ technicians for their good work. After reading the back page of the program and hearing President Swann’s announcement that the historic Skinner organ was inoperable and we were listening to a Rodgers Model 957, I crossed out my note. We were duped by those enviable acoustics.
At the meeting, things went as smoothly as possible. These are the types of events where our president really shines. Fred Swann graciously and humorously guided us through what could have been an interminably long meeting. The need and pressure to keep the meeting on time is immense. President Swann asked Dan Miller to cut his playing of the Fanfare by John Cook. This is just the behavior we try to teach our clergy colleagues to avoid. In turn, Miller must have felt that pressure. It was disappointing to hear Miller’s carefully prepared pieces rushed and cut. The acoustic just did not allow a rushed performance of Bach’s Toccata, BWV 538.
Awards were given and noteworthy to mention among all the awards is membership. Memberships were up, especially in Singapore by 47.5%. A higher percentage of young people in attendance was noted several times at this convention. The future of our craft seems to be ensured for another generation.

Monday workshop

All afternoon sessions were marked by their variety and diversity, and Monday afternoon was no exception. The “Celebration of Black Saints in Hymns” given by Wallace M. Cheatham was an incredible excursion into the lives of Absalom Jones, Richard Allen, Martin Luther King, Jr., St. Monica, Augustine of Hippo, Simon of Cyrene, Cyprian of Carthage, and Philip the Evangelist. Dr. Cheatham’s enthusiasm for this treasury of hymnody was contagious. He possessed a thorough knowledge of and passion for his selected material and painted the picture and circumstances in which these saints were born. As Cheatham pointed out, they were not derived from theological differences but from the atrocities of our history. He was very generous in giving all attendees of the session a copy of all the hymns with permission to copy one of his works to distribute as widely as possible. After the afternoon sessions, convention-goers dispersed for dinner and either evening fireworks on the Navy Pier, the NCOI Finals, or other events of their choosing.

Tuesday
St. James Episcopal Cathedral

In contrast to Monday’s beginning, attendees had to walk to all of the Tuesday events. This was welcomed by most as a way of getting to know the Windy City and its people. With cool, sunny skies and the help of a city map, we all made our way to the various worship opportunities made available. The service at St. James Episcopal Cathedral was packed, and began with the prelude: The Joy of the Redeemed by Clarence Dickinson, well suited for the instrument. The voicing was typically Victorian, a bit tubby, but the use of color stops and full organ brought the full import of the piece to the fore. Guest organist Jonathan Oblander’s playing of Sowerby’s Prelude on “Deus tuorum militum” made judicious use of the chamade. And it was gratifying to hear Sowerby’s music at the prelude and his Toccata at the postlude because of Sowerby’s connection to Chicago. (For a complete discussion of this connection one simply had to attend Robert Parris’s afternoon session, “Leo Sowerby: A Chicago Legend.”) The service of Morning Prayer that followed the prelude was executed exceedingly well by the clergy and musicians of the cathedral, Bruce J. Barber, II, director. The Reverend Joy E. Rogers, homilist, spoke with passion leavened with humor. Her support and respect of church musicians and her feeling of a shared call was welcomed by all. The most memorable line of her homily was that she never told her music director “no.”
The recitals that followed the worship services were the type where a recitalist’s tires hit the road, so to speak. With the services beginning the day and the recitals starting shortly thereafter, a recitalist has little or no time to warm up to reduce any performance anxiety. And yet the two recitals that morning were among the most well played of the convention.

Holy Name Cathedral

Janette Fishell at Holy Name Cathedral was up to the task, and played a flawless recital. Fishell plays music about which she is passionate, and her choice of program, “Music That Moves,” allowed her to be just that. While one could argue her choices of interpretation of the two Bach trios on Allein Gott in der Höh sei Ehr—especially the added zymbelstern on the final cantus firmus entrance in the pedal, which I actually liked—one could only admire her sense of skill and bravura. It was wished, however, that the organ was up to the organist’s task. Out in the sanctuary near the altar, the sound did not carry, which was surprising. It seemed to be the fault of the building and not the organ. After all, the organ comprises 117 ranks! The building carried all the upperwork but not much foundation.

Fourth Presbyterian Church

The other stellar recital of the morning was that given by Stefan Engels at the Fourth Presbyterian Church. Here was the perfect marriage of organist and instrument. Engels’ thorough knowledge of the organ from his time as an assistant organist there allowed him a full expression of the extremely difficult and complex repertoire. In Karg-Elert’s Partita Retrospettiva III, op. 151, Engels made good and thoughtful use of the instrument, including the required harp and celesta, while managing extremely wide contrasting dynamic ranges that included an extended use of the antiphonal organ in the rear gallery. It was simply the right piece on the right organ played by the right person. The commissioned piece by Naji Hakim that followed was a pure delight. The Capriccio for Organ and Violin is a fine work. The crowd loved this piece and expressed their appreciation to Engels, violinist Yuan-Qing Yu, and finally the composer who was in attendance. The piece has a clear form, a carefree theme in an abridged sonata form that developed and kept a good balance between solo violin and accompaniment, and also allows the organ a few shining moments. The beginning, based loosely on a dominant seventh chord, set the expectation of things to come. The work leans toward romanticism with wit in the middle percussive section.
The program concluded with Max Reger’s little-known Fantasie über den Choral “Straf’ mich nicht in deinem Zorn,” op. 40/2. The work is typically dense, but in Engels’ capable hands it unfolded in a wave of tumultuous sound. It was again Engels’ experience with the instrument that allowed him to take full and convincing advantage of the piece’s contrasting sections of solo stops and organo pleno. It was nothing short of thrilling.

Tuesday workshop

The Tuesday afternoon sessions offered again a great variety. Rollo Dilworth undertook “Gospel Music and Spirituals for Your Choir.” His focus was on introducing the works of newer, lesser-known artists as well as the tried and true. Clearly apparent was this man’s talent as a leader and director. His charisma and skill brought out his desired results from the attendees as they sang the pieces so generously provided by the publishers. If your choir needs a kick in the pants, Dr. Dilworth is your man. He knows his repertoire, and he knows what to do with it.

Bach Week Festival Orchestra
The Cathedral Singers

One of the two concerts on Tuesday evening featured the Bach Week Festival Orchestra, Richard Webster conducting, and the Cathedral Singers, Richard Proulx conducting. Both groups made some spectacular music but the program was simply too long. In the very hot Holy Family Roman Catholic Church with its many statues and light bulbs tracing the antebellum architecture, many people suffered what one attendee called “fanny fatigue.” The first half of the concert, which consisted of two major Bach works and the Concerto in C Major of Mozart, would have sufficed as the entire concert. It lasted one hour and 20 minutes—and then a 20-minute intermission—and then another 45-minute program by the Cathedral Singers. Because the concert ran longer than expected, even by the performers and convention programmers, people complained that their shopping time was cut short. I was told the first half of the concert was cut for the repeat performance on Wednesday evening. To add to the discomfort of the concert, some very loud fireworks were set off near the church. One had the feeling that we were near Beirut.
Despite all of these obstacles, the musicians met the high mark for which their reputations are known. The Bach Week Festival Orchestra played with all the stylistic interpretation appropriate for the music: Orchestral Suite No. 3 and Brandenburg Concerto No. 5. David Schrader’s performance of the Mozart Concerto was played flawlessly, entirely from memory. His command of the harpsichord (not a piano!) was stellar. The Cathedral Singers, despite the distractions of the fireworks and heat, sang accurately and seemed at ease. The women sang in straight tone but the choir still had a full and warm sound.

Wednesday
St. Luke’s, Evanston

Wednesday morning was spent in Evanston, where Thomas Murray played at St. Luke’s Episcopal Church. The Skinner organ, Op. 327, a.k.a. “Lucille,” was in capable hands. She seemed best suited for the final work of the recital, Elgar’s Severn Suite transcribed by Murray. The crescendi and decrescendi were seamless, suave and his playing dry but poised. And he managed all of this with only five generals.

St. Clement Choir
First United Methodist Church, Evanston

The St. Clement Choir (of Chicago) sang at First United Methodist Church, Evanston. I enjoyed this choir the most, if only for their diversified, impressive and still useful repertoire. It was a refreshing change from the Cathedral Singers’ all-Latin program the night before. Randall Swanson, conductor, was energetic, clearly understood, connected and at all times sensitive to the music and text. The choir has 32 singers, eight of whom were sopranos who sang in a warm straight tone; the repertoire alternated between a cappella and accompanied works. Marie Rubis Bauer provided superb accompaniment—she followed every nuance given by Swanson. This was no small task as she had to see around that massive console. The choir displayed their artistic mettle in Colin Mawby’s Ave verum corpus. The contrasting, lush and expressive portions of the work were handled most ably by the choir, with muscle for the fortissimo sections and sensitivity and grace in the pianissimo sections.

Thursday workshop

The final event of particular note was the workshop given by
Sophie-Véronique Cauchefer-Choplin on Thursday afternoon, “Improvisation in the French Manner,” a packed event in St. James Cathedral. Cauchefer-Choplin outlined the French education system; since 1968 one could choose interpretation, improvisation or both. She then went on in her wonderful accent to outline the graduated steps of learning and teaching improvisation. The crowd ate every word. Other than her gift for improvisation, which she demonstrated, she was zealous to share her knowledge and passion for the art.

Final concert

The final concert held at Moody Memorial Church was, in a word, disappointing. I understood where the convention committee wanted to go with this event. As the celebratory culmination of a national convention, it missed the mark. The organ did not speak well in the room, and the acoustical tile on the ceiling didn’t help. To make matters worse, Mickey Thomas Terry’s memorized solo performance on the worst organ of the convention was not to the level one would have expected. It simply was not on par with the prior performances of the convention. With missed notes and inappropriate rushed sections, added to the boredom of the audience in a dimly lit sanctuary after a long week at the convention, we simply didn’t care at that point. Dupré’s Variations sur un Noël, op. 20, called the most life out of the Reuter organ, even though most of the movements were played under tempo.
The concert was salvaged by the Chicago Community Chorus. The second half of the concert began with an impressive procession by the chorus, an unauditioned chorus reflective of the diversity that is Chicago. The procession resulted in a crescendo as each choir member was added to the chancel. The choir’s sound is dark and robust, not unlike a good cabernet, with sopranos who have gusto and stamina for days. Their charismatic conductor, Keith Hampton, was entertaining to watch. His choice to include two movements of Mozart’s Mass in C Minor was a curious one. Although the chorus handled the work well, the pacing of the Gloria was a bit pedantic and unlike anything else in the program. Moreover, it seemed to prove their spirit as a community chorus as well as a possible symphony chorus. Where the chorus really shone was in the published works of their conductor and Moses Hogan. At only three years old, this chorus will be interesting to watch grow and prosper.
Dr. Hampton played the world premiere of the AGO Celebration Suite for Organ. This memorized performance proved him to be an able player and was refreshing to hear, especially after the first half of the concert. This commissioned piece by Sharon Willis was well proportioned, useful and improvisational in style. Of all the commissioned works for this convention, I highly recommend this work and the piece by Naji Hakim. Note to future convention committees: choose your performers carefully; they really do sell the piece.

Closing reception

The final reception was chaotic and unnecessarily so. The ballroom was packed with extremely long lines waiting for liquor and food; all the while Paul Bisaccia played the piano and was largely ignored by the crowd. He tried to play above the noise of the assembly to no avail. With long lines and a grumpy crowd, the convention ended in a whimper instead of a grand Amen. —Edward Maki-Schramm

The ChicAGO 2006 National Convention of the American Guild of Organists was hosted July 2–6 by the Chicago, Fox Valley and North Shore AGO chapters, with all three chapters planning and presenting events. Events were not only held in Chicago, but also in Valparaiso, Evanston, Lincoln Park, Naperville, and Wheaton. Some of these venues are a fair distance from downtown Chicago and the convention hotels.

Sunday, July 2

The gala opening concert took place at Chicago’s Orchestra Hall. The Metropolis Symphony Orchestra, under the direction of Julian Wachner, joined with organists Philippe Bélander, David Schrader, Maxine Thevenot, and Thierry Escaich for a program of newer compositions for organ solo and organ with orchestra: Triptych for Organ and Large Orchestra by Julian Wachner, Ha’llel-an organ solo by Shulamit Ran (a convention commission), Concerto for Organ and Strings by Richard Proulx (AGO 2006 Distinguished Composer), Sleepy Hollow—a tone poem for organ and orchestra by Aaron David Miller (also a convention commission), and Concerto pour Orgue et Orchestre by Thierry Escaich. In this memorable event—long memorable event—all music was performed with great skill by soloists and orchestra alike, and the crowning jewel was the 1998 Casavant organ, inspiring even those of us who had tickets in the very last row of the top balcony. Long after the concert was finished, musicians spoke of two works as standing apart and fresh from the rest, due to changes in medium—the Proulx work used only the strings of the orchestra—and due to a change in composition style—the Wachner work, which was written to be performed in St. Joseph’s Oratory in Montreal, with a 10-second reverberation.

Monday, July 3

Monday, July 3, conventioneers traveled to Valparaiso University for the opening worship service and a concert by James O’Donnell, then to Rockefeller Memorial Chapel for the AGO annual meeting. In the worship service, music of Bach (including the motet Lobet den Herrn, alle Heiden, BWV 230), Mendelssohn, Richard Proulx (a convention commission), and Richard Webster (another commission) was sung interspersed with hymns, readings and a sermon by Rev. Peter Gomes. Martin Jean, the Valparaiso University Bach Choir, Guild Chaplain Rev. Gregory Norton, the Dean of the Chapel Rev. Joseph Cunningham, and guild dignitaries were part of this service that used historical and new ideas.
After this, James O’Donnell gave a recital of music by Michael Berkeley, J. S. Bach, Augusta Read Thomas (convention commissions Angel Tears and Earth Prayers), Alain, Ad Wammes, and Patrick Gowers. The Schlicker organ was refurbished in 1996 by the Dobson Pipe Organ Builders and gained stops in several divisions to make an incredible instrument.

Monday workshops

The bus then returned to Chicago for the national meeting. Buses were late returning to the hotel, and so the workshops were late starting and sparsely attended. Workshops offered an eclectic mix of presentations of music, methods of interacting with other musicians, computer programming advice, and two recitals, one by Alexander Fiseisky and one by Chelsea Chen. Emphasis in the workshops seemed to be on music of various denominations and cultures: Gregorian chant, evangelical church music, Hispanic resources, handbells, and the celebration of black saints in hymns. This reviewer attended the dramatic skit “Interviewing for a Job” with role players Donna Wernz, James Thomashower, Edwina Beard, Barbara Gulick, Roy Roberts, and James Owen (who was the job applicant). Because the workshop started late not all parts of the skit could be acted, but general, confrontational, overly broad, and illegal questions received sample answers for those who might find themselves in similar situations.

Monday night featured a dinner and fireworks spectacular at Navy Pier, and the NCOI Finals. Unfortunately, it was impossible to attend both.

Tuesday, July 4

Tuesday was Chicago day, beginning with worship services at St. James Episcopal Cathedral, Fourth Presbyterian Church, and Holy Name Cathedral. Hearing the liturgical music of Albert Alain in the liturgy of the Memorial of St. Elizabeth of Portugal at Holy Name Cathedral made the service one of great beauty. The service featured organists Matthew Walsh, Ricardo Ramirez, and Sophie-Véronique Cauchefer-Choplin, and the Cathedral Gallery, Chamber and Women’s Schola of Holy Name choirs, with the Most Reverend Joseph N. Perry, Auxiliary Bishop of Chicago, participating.
Afternoon workshops were offered on music of Sowerby, the Netherlands, Wilhelm Middelschulte, Calvin Hampton, Colonial Mexico, organ methods, gospel and spirituals, the musician-pastor team, AGO chapter endeavors, the life of Russell Saunders, teaching organ, repertoire, and a composer’s forum. This reviewer attended the workshop on improvising hymns in jazz style, by longtime convention exhibitor Joe Utterback, who distributed examples of his improvisations on hymn tunes and performed at the piano.
Tuesday evening, half of the conventioneers went to the Bach Week Festival Orchestra concert—in the middle of what sounded like a war, but were fireworks just outside the church door—the other half to Trinity Church Wall Street’s concert.

Wednesday, July 5

On Wednesday morning, buses traveled to Evanston and got lost on return, so that we went many miles north, instead of south, and some were late for future events. Afternoon workshops covered organ restoration, music of Buxtehude, women composers, Canadian composers, handbells, Reger, psalms, African-American organ music, children’s choirs, anthems, counterpoint, assertiveness training, the new ELCA hymnal, teaching styles, reading sessions, and improvisation, plus there were two Rising Star recitals and the NYACOP winner’s recital.
On Wednesday evening, the choir of Trinity Church, Wall Street, gave a performance at St. Mary of the Angels Roman Catholic Church. After an introduction to the Marshall and Ogletree, Opus 1, Epiphany Series III/85 organ, which was situated in the front of the sanctuary, Owen Burdick, conductor and organist at Wall Street, played Bach’s Pièce d’Orgue, BWV 572, on a Werckmeister III tuning that had been set to sound “sweet” in G major. This was a startling experience for this reviewer, for it was truly “sweeter” and very different from the standard equal temperament tunings, or even Werckmeister in a C major home key; and it certainly could be argued to be an accurate historical event, for harpsichordists changed tunings frequently in the Baroque period. Only such a complex instrument of the 21st century as the Marshall & Ogletree instrument can now be programmed to apply these alternate tunings, and present such an alternate listening experience. The piece actually seemed more “major,” more “bright,” and was radically different from other hearings.
An audience rehearsal followed of hymns from A Song of David by William Albright, and after intermission, choir, conductor, organist Robert Ridgell, narrators, and audience performed this haunting, seemingly unending, highly repetitious, extremely melodious, and emotionally moving, even draining, 75-minute work.

Thursday, July 6

On Thursday, the buses left for Naperville, Wheaton, Lincoln Park or Fox Valley. My bus got lost in the city. Thierry Escaich’s concert at St. Pauls UCC (no, it doesn’t have an apostrophe, for it is a direct and proud translation from German) offered music of Tournemire, Messiaen, Escaich and Duruflé in the mezzo-forte to fortissimo range, with the improvisation on “Yankee Doodle” at the end serving to show the soft flutes and strings of the Aeolian-Skinner organ.
Going from a loud performance to the next, that of a nine-voice a cappella group in the reverberant St. Clement Church, made the ears twitter, for the tuning, vowels, selections, and blend of this group was excellent; this was a concert to remember, truly, forever. The group, Chicago a cappella, chose a varied repertoire, and actually started the concert twice, due to a mix-up in starting times, and buses arriving at different times from other venues. But they could have started 50 times—it was a magic moment.
Again, on Thursday, workshops were presented. Offerings included music of France, Karg-Elert, Hakim, Liszt, Hungary, Gerald Near, the Marilyn Mason library, Virgil Fox, AGO exam preparation, improvisation, fundraising, teaching, medical aspects of performance, computers, reading sessions, Indian pipe organs, worship questions, and regional conventions.
The closing concert was in a totally different style, with an African-American volunteer choir that has only been in existence for three years, and was a very enjoyable experience to finish the week.
Chicago is a stunning city. The convention was stunning with its near-perfection in music. Other than the endless bus rides, I would love to return and do it all again. Congratulations to the committees and all the hard workers for a fine convention!
—Joy Schroeder
 

Hymn Festival

The hymn festival was held at St. Raphael RC Church in Naperville. The organ is a Berghaus (III/60), completed in 2005, which incorporates portions of a previous Kimball. The venue was superb for a hymn festival, incorporating natural light from many windows and a clerestory. The theme of the festival, “Light from a Fire Within,” was enhanced by the marvelous, sparkling room. The quarry tile floor and lack of fabric and carpeting (minimal paraments and two small flags) created a resonant space for hymn singing. Aaron David Miller played the service with great expertise and was assisted by brass (Concordia University faculty), handbells (The Agape Ringers) and the Heritage Chorale. A good variety of tunes was provided, including “Splendor of God’s Brightest Glory” by Dr. Miller, “Ermuntre Dich,” “Delig Er Den Himmel Blaa,” “The Glory of Christ,” by K. Lee Scott, an Iona song, “Take, Oh, Take Me as I Am” and a rousing closing hymn, “When the Morning Stars Together” sung to the tune, Weisse Flaggen.
Commissioned pieces included an organ work, People Look East, by Emily Maxson Porter, and Lyric Piece for handbells by Carl Wiltse and Donald Allured. Choral anthems included Angelus and Take My Life by Dr. Miller. The readings continued the theme of “Light” throughout the festival.
Excellent hymn accompaniments, including alternate harmonizations and interludes, were provided, along with a cappella SATB stanza treatment and with nice, full accompaniments for female voices on selected hymn stanzas, instead of the usual and obligatory thin treble textures. This festival was so well done that its overall impact surely was “better than the sum of its parts.” A verse from Susan Palo Cherwien’s Music from Crossings best summarizes the event:

There is a noble sound of pipes and voice
That marries the mind and the heart
That transfigures the spirit.

House of Hope Choir with Glen Ellyn Children’s Chorus

The concert was a partnership between The Motet Choir of the House of Hope Presbyterian Church and the Glen Ellyn Children’s Chorus. The venue was Grace United Methodist Church, Naperville. The choirs were conducted by Thomas Lancaster and Emily Ellsworth. Nancy Lancaster served as the organist. The organ is a Reuter III/41 with a few digital 16' and 32' sounds. Solos were provided by Sandra Schoenecker, mezzo-soprano. The adult and children’s choirs each numbered around 35 singers. The children’s group included approximately five boys. Works presented included an organ piece by Stephen Paulus, As If the Whole Creation Cried, which is movement three from Triptych, and the choral works There Is No Rose by Stroope and Psalm-Cantata(2000) by Frank Ferko.
The Stroope selection was memorized by the children’s choir and contained a beautiful accompaniment for piano and oboe. This challenging piece was sung with clear diction and good expression.
The composer’s program notes for the Psalm-Cantata indicated that the work’s “performing forces” include a mixed chorus representing the past and present and a children’s chorus representing the future. Sections of the work alternated between the two choirs and combined singing. The organ accompaniment was very well played, and it provided nice color and relevance to the work, as a whole. The Psalm and hymn texts built in intensity from “Lord Who May Dwell” to “Praise God, Hallelujah!” The aural accompaniments to these texts were enhanced by visual elements consisting of bright red and black vests over white shirts worn by the children and by the organ grille/screen which was a flame motif beautifully executed in a reddish hardwood.
—W. James Owen
(Reprinted from The American Organist with permission.)
Continue to part 2

Larry Palmer is harpsichord editor of THE DIAPASON.

Expensive as national conventions of the American Guild of Organists have become, it was still a bargain to be in eastern Minnesota enjoying an extensive program of musical treasures from France, England, and Germany, without the financial challenges of elevated euros or precious pounds. Add the Twin Cities advantages of near-perfect cool summer weather, many events scheduled within walking distance of the central city hotels, and a well-organized charter bus transport package available for travel to sites farther away, for further incentives to participate in the morning-to-midnight musical marathon detailed in the lavish (and heavy) 252-page program book.
Each of the nearly 1800 registrants attending the AGO’s 49th biennial gathering (held June 22–28 in Minneapolis and St. Paul) will have unique impressions of the meeting, based not only on individual tastes, but also on which of the presentations were heard. Many recitals and all workshops were offered concurrently. This report describes what I chose to experience, in this, my 50th year of attending such national meetings. Comments about several events I did not attend are treated as “convention buzz.”

From France: Messiaen Plus
France was represented with quite a lot of music by Olivier Messiaen: it is, after all, the centennial year of his birth. The first organ recital heard on Monday, the first full day of the convention, was played by Stephen Tharp, who gave a masterful account of Messiaen’s Messe de la Pentecôte as the climax of his all-French program on the bright and forthright 2001 Lively-Fulcher organ in St. Olaf Catholic Church. Tharp’s brilliant playing recalled again the visceral shock of this music when first encountered at Oberlin, presented by Fenner Douglass as very recent music. Even now it is not possible to hear the most evocative and accessible movement of the cycle, the Communion Les Oiseaux et les Sources (The Birds and the Springs) without remembering Douglass’s trenchant, if acidic, review of a 1972 performance in a non-reverberant Dallas sanctuary: “The birds . . . called out weakly as they died on the branch, and the drops of water more resembled curds of old cottage cheese.”1
I suspect the late, lamented Professor Douglass would have been happier with Tharp’s account! This time the birds sang jubilantly and chirped ecstatically before flying off into the stratosphere, while the springs burbled gently as they descended to subterranean depths at the piece’s ending.
Following a riveting performance of the final movement from Widor’s Symphonie Romane and works by Jeanne Demessieux, the Mass served as a bracing reminder of just how much hearing a dose of Messiaen’s organ music helps to balance some of the pabulum so often served up as modern church music. But it does remain difficult listening, and oft times more fun to play than to hear. Tellingly, a perusal of the entire convention program revealed no other organ works by Messiaen listed for performance during the entire week! For National Young Artist Competition in Organ Performance [NYACOP] contestants, for the Rising Stars organists, as well as for more established recitalists, the French notes of choice were most often penned by Langlais, Dupré, or Naji Hakim.

. . . at Orchestra Hall
Kudos to the convention program committee for making certain that nearly everyone got some exposure to works by one of the 20th century’s most eminent masters when the entire convention attended the most discussed program at Orchestra Hall on Tuesday evening. All-Messiaen, the concert contained no organ music at all (not surprising, since there is no organ in this major symphonic space); live music was followed by a post-concert showing of Paul Festa’s mesmerizing 52-minute documentary film, Apparition of the Eternal Church.
For more than two hours the assembled church musicians and organists heard readings of three poems by the composer’s mother Cécile Sauvage and secular pieces by Messiaen, performed almost exclusively by women. These were all early works: Theme and Variations for violin and piano, 1932; voice (selections from Poèmes pour Mi, (1936); three of the Vingt Regards sur l’Enfant-Jésus for solo piano (1944); and, best of all, two of the eight movements from the composer’s chamber masterwork, Quartet for the End of Time (1940–41)—Abyss of the Birds for solo clarinet; and the final eight-minute transcendent Praise to the Immortality of Jesus, for violin and piano—performed with maximum expressivity and intensity by clarinetist Jennifer Gerth and violinist Stephanie Arado with Judy Lin, piano.
Programming the 35-minute closing piece, Festival of Beautiful Waters (1937) for a sextet of Ondes Martenots, provided a probable once-in-a-lifetime opportunity to hear this work expertly played by L’Ensemble d’Ondes Martenot de Montréal. The delicate electronic instruments, their sounds inspired by the changing frequencies of radio dials, produced tones somewhat like Benjamin Franklin’s eerie glass harmonicas (tuned water goblets). Capable of playing only single notes, the keyboard instruments have considerable dynamic and touch-sensitive possibilities. The audience dwindled markedly as the clock approached ten, and passed it: sad, because the short explanation and demonstration of the Ondes Martenots following the performance was both instructive and charming.
I missed the first part of the subsequent film showing while attending a posh Eastman Organ Department reception in the Orchestra Hall Green Room, an especially celebratory event since the first place NYACOP winner this year was current Eastman doctoral student Michael Unger. Something—perhaps as simple as not wishing to walk back alone to my hotel—led me to look in on the film in progress. I stood, totally engrossed, for the remaining third (arriving just as the late harpsichordist Albert Fuller described an early life-changing experience in the low C pipe of Washington Cathedral’s Skinner pipe organ. The unexpected sight and story grabbed my attention!).
A program book disclaimer read, “Please note that the film deals frankly with sex and violence in explicit language . . . However, DVDs are available for sale [at an Exhibition booth], should curiosity get the better of you afterwards.” The filmmaker, Paul Festa, writing of his creation, explained that Messiaen regarded one of four tragedies, or “dramas” of his life experience, to have been that “he was a religious composer writing, for the most part, for nonbelievers.” This film concerns “what . . . the nonbelievers see when they hear his music,” in this case the 1931 organ composition Apparition of the Eternal Church. The film shows responses to Messiaen’s creation by 31 individuals. They range from Yale professor Harold Bloom and filmmaker John Cameron Mitchell to fringe culture and drag figures, as well as Fuller and the composer Richard Felciano, a student of the French composer.2

. . . and in workshops
Messiaen’s music was the featured topic for a pedagogy track during the workshops, a new concept implemented to replace the pre-convention pedagogy workshops of previous years. Charles Tompkins filled in as master teacher for the indisposed Clyde Holloway. His “Windows on Lessons” featured students Brent te Velde (Trinity University), Tyrell Lundman (University of Montana, Missoula), Julie Howell, and Erin MacGowman Moore (both from the University of Iowa).
Youthful scholarship was represented in two juried papers, selected by the AGO Committee on Continuing Professional Education (COPE). I attended the presentation by Yale student Christopher White—“Creating a Narrative in Messiaen’s La Nativité du Seigneur”—in which he assigned certain extra-musical associations to various individual pitches and chords (an example: E=Jesus, E Major=Jesus on earth, as human) and made a convincing case for such an analysis of Messiaen’s nine-movement Christmas cycle. The University of Iowa’s David Crean followed with a complex discussion of “Messiaen’s Sixty-four Durations” (from the extraordinarily complex Livre d’Orgue, possibly the composer’s most abstract organ work).
Indiana University faculty member Christopher Young gave a workshop on “Understanding the Theory Behind the Art in Messiaen’s Organ Works.” However, it may have been the quiet mysticism of the Frenchman’s lush Communion motet O Sacrum Convivium, sung as the opening work at Thursday’s finale concert, that made the most friends for Messiaen’s elusive art.
A fully subscribed workshop (on a non-Messiaen topic) was musicologist John Near’s “The Essence of Widor’s Teaching: Interpretive Maxims.” I arrived slightly after the appointed starting time, learning later that I had missed a brief recorded example of Widor’s voice! Pithy exhortations from the composer—“Let’s learn to breathe,” “Derive tempo from the space in which you are performing,” and an oft-repeated “Slow down” (borne out by each subsequent lowering of the metronomic indications for the composer’s signature work, the Symphonie V Toccata) as well as his instruction to “Respect the work, not the performer”—all ring as true today as they did in the previous century! Dr. Near, currently working on a biography of Widor to complement his stellar editions of the composer’s organ symphonies, continues to do service to our profession by reminding us of the basic root values underpinning the French symphonic tradition. Nearly all the auditors stayed on to engage in further questions and comments.

A French recitalist
French organist Marie-Bernadette Duforcet Hakim’s opening de Grigny Ave Maris Stella was more effective than a jolt of double-strength espresso as a wake-up aid for her early-morning recital on the House of Hope’s large C. B. Fisk magnum opus. This organ’s Grands jeux, weighty, noble, and thrilling, provided a filling mass of sound in this Presbyterian Gothic edifice, which unfortunately lacks an extra five seconds of reverberation that would allow the loud and brilliant organ to bloom. That virtual coffee may have had an adverse effect on the recitalist, resulting in an overly brisk tempo for Franck’s Pièce Héroïque (after all the composer did mark it Allegro maestoso). Mme Hakim’s nuanced performance was stylistic, but any majesty was decidedly of the jet age. It seemed perverse, as well, to be hearing this beloved Romantic work on such unforgiving sounds, when directly before us stood the sanctuary’s other organ, an 1878 instrument by Merklin, created in exactly the same year and country as Franck’s composition.
Like most fine instruments, the Fisk took on the character of its player and served her especially well in her own composition Vent Oblique. After hearing an abundance of bright upperwork, it gave pleasant aural relief to encounter warm and lovely 8-foot sounds in the mid section of Jean Langlais’ Jésus, mon Sauveur béni, based on a hymn popular in his native Brittany. The program concluded with a set of well-crafted short variations on Pange lingua by husband Naji Hakim, and an improvisation that seemed to be based on the Ave Maris, but with an unexpected appearance, near the end, of the hymn tune Ein’ feste Burg as an offering, apparently, to the many Lutherans who call Minnesota their home.

English visitors
From St. Paul’s Cathedral, London, the choir of men and boys was in residence for three convention appearances, repeating a highly successful visit to the 1980 national meeting in the Twin Cities. Mark Williams, a former assistant sub-organist and director of music at the Cathedral School, stood in as the choir’s conductor, replacing an indisposed Andrew Carwood. Visually arresting in black cassocks, with bright red stoles and music folders, all seemed in good shape chorally (save for the occasional trumpeting tenor), and organist Tom Winpenny displayed his sensitive musicianship over and over again, both as soloist and impeccable choir accompanist.
The Monday evening concert took place in the Cathedral of St. Paul in St. Paul—the most apt of venues, a magnificent 1907 Wren-like domed structure blessed with ample reverberation. Major offerings of early English motets by Weelkes, Peter Phillips, Orlando Gibbons, and the Mass for Five Voices by William Byrd were interspersed with organ works: Fantasia in G by Byrd, and the Fantasia of Foure Parts from Parthenia by Orlando Gibbons. The cross relations in these Tudor pieces sounded forth pungently from the three-stop portative organ in the chancel.
Employing the cathedral’s gallery and chancel organs for maximum surround sound, the second part of the concert offered Judith Bingham’s Cloth’d in Holy Robes (2005), an entirely engrossing and striking setting of a poem by Edward Taylor, with spinning wheel-evoking accompaniment supporting both the opening lines and subsequent allegorical references to clothing in this beautiful text. Anthems by Gerald Hendrie (Ave Verum Corpus, sung by the men of the choir) and Stephen Paulus (Arise, My Love) were separated by Paulus’s challenging Toccata for Organ, given an absolutely flawless and viscerally exciting performance by young Mr. Winpenny, who then returned to his accompanying duties for Benjamin Britten’s cantata Rejoice in the Lamb, a performance made particularly memorable by the male treble soloists in the fourth and fifth sections “For I will consider my cat Geoffrey” and “For the Mouse is a creature of great personal valour.”
Is there anything more sublime in Britten’s choral output than the quiet “Hallelujah” that ends this memorable setting of Christopher Smart’s idiosyncratic poetry? It provided an inspired conclusion to an enchanting concert.
Back on the other side of the river, the choir sang both Matins and Evensong in the Minneapolis Basilica of St. Mary. The afternoon program on Tuesday gave us baroque music of John Blow (Cornet Voluntary in D Minor) and his prize pupil Henry Purcell (Hear My Prayer, the anthem Jehova Quam Multi Sunt Hostes Mei, and Evening Service in G Minor) with responses by Thomas Tomkins. The hymn, Bishop Thomas Ken’s 1695 text “All praise to Thee, my God, this night” was sung to the familiar Tallis’ Canon tune (for one retrospect of the Renaissance), the psalm to a 20th-century chant by Walford Davies, and the closing voluntary brought us back to the baroque with music by Purcell’s Danish contemporary, Dieterich Buxtehude, his oft-played Praeludium in G Minor, BuxWV 149, in a stylish, virtuoso performance by Winpenny. The basilica was overflowing with rapt conventioneers who had arrived by bus before our walking group made it to the church. Seated in a far rear pew that was probably in another zip code, it was difficult to hear much except a soothing, but beautiful, wash of reverberated sound.
Matins, early the next day, was quite another matter (conventioneers like to party till the wee hours, so there were only a third as many worshipping at this morning service). I found a pew with good sight lines only several rows back from the chancel; both sound and repertory were worth the early rising! A full program of British 20th-century cathedral music, from Herbert Howells’s Rhapsody in D-flat, complete with a seamless decrescendo at its conclusion; Edward Bairstow’s I Sat Down Under His Shadow, the ecstasy of Bernard Rose’s responses, one of William Walton’s most inspired canticle settings, Jubilate Deo for double chorus (who would not be joyful in the Lord with such music as this?), and the somewhat less inspired, but serviceable Te Deum in G of Ralph Vaughan Williams. Elgar’s The Spirit of the Lord was the anthem, its extended organ introduction beautifully rendered, and the service concluded with organist Winpenny’s brilliant traversal of Fernando Germani’s Toccata, opus 12. That evening the Londoners flew back to Britain, these three convention appearances their sole purpose for the trip across the Atlantic.

Otherworldly Holst
What a gem of an organist is Peter Sykes! Perhaps even better, what a fine musician, whatever instrument he plays or music he chooses to program!3 His own transcription of Gustav Holst’s orchestral suite The Planets was beautifully made and impeccably realized in a Wednesday recital at St. Mark’s Episcopal Cathedral. From the lowest rumblings of the opening movement (Mars, the Bringer of War), with growling reeds and a flawless quick crescendo, to the final Vox Humana above strings (a most satisfactory sound for evoking Holst’s wordless female chorus) as Neptune, the Mystic subsided in echoes of the spheres, Sykes missed nary a nuance with his clever use of organs fore and aft (perhaps most fittingly in Mercury, the Winged Messenger). The Welte/Möller/Gould and Sons organ was an apt partner (continuing this convention’s fine record for careful pairing of instruments and players), but then, how could one go wrong with an instrument possessing a Divine Inspiration stop?4

A welcome German recitalist and some Americans playing
German music
My second recital of the convention introduced an outstanding German artist new to me, Elke Voelker (whose U.S. connections include study with Wolfgang Rübsam at the University of Chicago). Ms. Voelker is the first to record the complete organ works of Sigfrid Karg-Elert. Her program in the Basilica of St. Mary utilized a good-sounding four-manual Wicks organ (1949), greatly enhanced by the spacious six-second reverberation of this domed, marble-interior building, America’s first basilica (according to pew cards in the church). Two major works by Karg-Elert, his Symphonic Chorale: Ach, bleib’ mit deiner Gnade and the monumental Passacaglia (55 Variations) and Fugue on BACH, opus 150, were flanked by Wagner’s Festival Music from Die Meistersinger and Bach’s celebrated Air from Suite in D, BWV 1068, both in arrangements by Karg-Elert: so, in essence an entire program of music by the German impressionist.
Elke Voelker made convincing music from these many notes, handling the organ with panache and ease, managing her own page turns, and giving us many thrilling moments. The opening Wagner brought chills to the spine at the pedal entrances in familiar music from the opera, and the addition of the Chamade Trumpet to the final chord was a capping effect. The Symphonic Chorale, one of the composer’s better-known works, is of a reasonable length and very appealing. As for the lengthy BACH work, I am pleased to have heard it, but would not seek to repeat the experience in the near future.
Further musical highlights of this “German theme” were provided by the sterling American artist Stewart Wayne Foster (winner of the first Dallas International Organ Competition). I have never heard Foster play poorly, and his concert for the convention (heard in its second iteration on Thursday) was another example of superb results made possible by his carefully calibrated articulation always employed in service to the musical line. Foster’s attention to each voice, including the bass, reflects his extensive background in harpsichord continuo playing.
Partnered with the 2004 Glatter-Götz/Rosales two-manual organ of 50 stops, Foster showed what a small number of keyboards could be made to accomplish with skillful use of a sequencer coupled to an ear for color and utilizing stops in various octaves. Karg-Elert again, this time three of his lovely Pastels from the Lake of Constance (not necessarily what one would expect to be played so idiomatically on a two-manual tracker instrument) were prefaced by an attention-gripping reading of Bach’s Prelude and Fugue in G Minor, BWV 535, and a rhythmically infectious treatment of Buxtehude’s baroque dance-based chorale fantasy on Wie schön leuchtet der Morgenstern, brightened with two appearances of the Zimbelstern, the second as counterpart to an improvised cadenza leading into the final cadence.
Three North American works, especially Rising Sun by Brian Sawyers, provided the “wow” factor for this program. It was good also to hear two of Samuel Adler’s Windsongs, and the winning work of the AGO organ composition competition, Canadian Rachel Laurin’s Prelude and Fugue in F Minor, with its reminiscence of the Dupré opus 7 work in the same key. Foster’s overall theme for the program, “Atmospheres: A Prayer for the Environment,” demonstrated his special affinity for unusual thematic programming. The organ, with both 16-foot flues and reeds on all divisions, and added 102⁄3 flue and 32-foot reed in the pedal, possessed a gravitas that was welcome in the favorable acoustic of Augustana Lutheran Church, St. Paul.
More German offerings were, of course, to be found in various convention programs. One could characterize Carla Edwards’s program as Germanic (Buxtehude, Bach), or German-inspired (Planyavsky’s lively Toccata alla Rumba, neatly dispatched on the recent two-manual Fisk organ in Shepherd of the Hills Lutheran Church, Shoreview; and Petr Eben’s astringent take on the ubiquitous Prelude, Fugue and Chaconne in C, his Hommage à Dietrich Buxtehude). A non-Teutonic exception was provided in Triptych of Fugues, an early work by Gerald Near. Though Minnesota-born, Near seems often to be curiously under-represented in programs featuring Minnesota composers. His three lovely contrapuntal movements were played here without the requisite suppleness of line needed for this composer’s idiosyncratic amalgam of lyricism with strict fugal form.
And, of course, the convention buzzed about Cameron Carpenter’s version of THE Toccata and Fugue in D Minor, an arrangement using selected added material from Romantic-era transcriptions by Busoni, Friedman, Godowsky, Grainger, Liszt, Tausig, Stokowski, and Sir Henry Wood, that turned the possibly-not-by-Bach work into a “ . . . sort of cumulative celebration flinging wide the gates of possibility.”5 I did not hear Mr. Carpenter’s program (there were simply too many concerts in one day), but his awesome technical prowess and showman’s style may mark a return to ”the good old days” of the Virgil Fox versus E. Power Biggs opposites in America’s concert life. Carpenter’s popularity seems a positive development if it signals a healthy resurgence of bankable diversity in organ playing. Anyone who can attract more people to organ concerts has my admiration and support. And having fun at a recital? What a great concept!

Final concert: Siegfried Matthus’s Te Deum (2005)
At 8:40 trumpets from the rear gallery sounded the opening fanfare to the ten-minute opening movement of Matthus’s monumental work, composed for the dedication of the reconstructed Frauenkirche in Dresden. One hour later the same trumpets signaled the start of the final movement (Amen), with most of the same music, though some appeared in different sequence. Most magical of all, the cathedral tower bells were used in the very last measures, gently dying away as the chorus quietly intoned over and over again Te Deum laudamus.
English visitors having departed, it was left to local singers to provide the choral forces for this great work. Magnum Chorum, the Minnesota Boychoir, the National Lutheran Choir, and VocalEssence Ensemble Singers and Chorus, each group garbed distinctively, comprised the voices assembled under the confident baton of conductor Philip Brunelle. There were six vocal soloists, plus John Scott (ex London St. Paul’s) playing the significant organ part, not the least of which was his fine rendition of the Bach Toccata in D Minor, above which composer Matthus had set a text from The Organ by Friedrich Wilhelm Zachariae, beginning “Listen to the rushing wind in the silently expecting organ which it is preparing for its sacred song.” Herr Matthus was in attendance for this highly successful first American performance. Ovations were lengthy, loud, and deserved.
The first third of this closing concert united the three European national strands together with a fascinating selection of choral music: the Messiaen motet mentioned earlier and an excerpt from Dupré’s early De Profundis; the curiously moving avant garde work by John Tavener (“Verses Written on an Ecstasy” from Ultimos Ritos) in which four soloists in the chancel, the Magnum Chorum behind us in the nave, with larger forces split on both sides of the transepts, provided a cruciform arrangement of choral forces. The singers mused in ever more significant phrase fragments based on an underlying taped performance of the Crucifixus from Bach’s B-Minor Mass, at first barely audible, but ultimately overwhelming by the end of this effective work. An intense rendition of Stephen Paulus’s modern choral masterpiece, the Pilgrims’ Hymn that concludes his church opera The Three Hermits, realized the exquisitely chosen harmonies that find the simplest of resolutions in the work’s octave unison Amens.
John Scott played a convincing first performance of an appealing organ work commissioned for the convention. Finnish composer Jaakko Mäntyjärvi took his inspiration from a poem by Emily Dickinson, And Hit a World, at Every Plunge. In program notes the composer mused, “. . . it is certainly not a comfortable piece. At some point I realized that I was . . . harking back to the very first time I heard an organ piece by Messiaen.” Organized as variations on an underlying twelve-tone row, the piece is “restless.” In a disarmingly honest description the composer noted that “the variations are very different in character and length, from funeral march to moto perpetuo. Although [the piece] aspires to a triumphant ending, it never quite seems to get there.” Indeed the work ended with three tonal chords, interrupted by cluster-crashes, leading to an ultimately quiet culmination. I found it engrossing, a work I would definitely want to hear again.6
Another convention choral commission, The Love of God by Aaron Jay Kernis, suffered from pitch problems in its first performance. The pre-Matthus part of the concert ended with an audience sing-along of Hubert Parry’s O Praise Ye the Lord (1894), cementing the English choral music arc of the week.

Organ concertos, American and “Jacobean”
Benson Great Hall of Bethel University was the site of this convention’s organ concerto program: four works for organ and instruments, conducted by Philip Brunelle, with organists Stephen Cleobury and James Diaz. A fine American eclectic three-manual 67-stop instrument by Blackinton Organ Company dominated the ample stage and was well balanced in this large, yet intimate-feeling, auditorium.
Ron Nelson’s Pebble Beach, commissioned for the 1984 AGO national convention in San Francisco, opened the program. Diaz’s sparkling playing was abetted by brass and percussion in this loud, lively curtain-raiser. Winner of the 2000 Dallas International Organ Competition, Diaz was also the brilliant soloist for Stephen Paulus’s Grand Concerto (Number 3), a Dallas Symphony commission first heard in 2004 (with the most recent Dallas Competition winner, Bradley Hunter Welch, as soloist).
Paulus is a composer who not only knows his craft, but one who has something to say with that facility. This major work has many impressive moments from its beginning with the organ and lower strings, through a second movement featuring the organ’s Harmonic Flute, then orchestral flute and strings, and finally the organ’s strings—a lovely blend of timbres. Building to a climax, the movement ends with a reference to the hymn Come, Come Ye Saints (a favorite of the composer’s father) and pizzicato lower strings. In the final movement (marked Jubilant) there is joy in virtuosity, especially in the rapid jumping between manuals, a lovely bit of lyricism when the high strings introduce the folk melody O Waly, Waly, and a knock-your-socks-off pedal cadenza. The audience loved this piece, the only one requiring a complete symphonic complement of instruments. Woodwinds and brass having joined the strings, the orchestra made its best showing of the day in this culminating performance. Cheering and ovations were deserved.
The other two concertos were in the capable hands of Stephen Cleobury, who had a rather thankless assignment in Calvin Hampton’s Concerto for Organ and Strings. Understandably, the program committee chose this work commissioned for the previous Twin Cities national meeting in 1980. Preparing at that time for my own concerto program in Orchestra Hall, I did not hear this work by a dear friend from undergraduate days at Oberlin, although subsequently I learned that Calvin himself did not regard the piece highly. Hearing it now I did not find the string writing particularly apt, and I am sad that this was the only piece to represent such a gifted American composer during this 2008 convention. The ending, at least, is memorable, with organ arpeggios providing a bit of filigree above orchestra strings, which were, unfortunately, not well tuned.
Cleobury’s second stint on the organ bench was as soloist in Judith Bingham’s convention commission, Jacob’s Ladder—Concerto for Organ and Strings. (In her notes for the program book, she wrote that her inspiration was derived from the first view of a photograph showing the laddered effect of the attractive organ façade.) Four brief movements bearing programmatic titles showed a fine correlation of component parts to produce an appealing ensemble work. Once again the upper strings were quite messy.
Hindsight is, of course, always more successful than foresight, but it did seem as if three ensemble works rather than four could have allowed more rehearsal time for each, and in a day jam-packed with musical events, would have been quite enough for the audiences as well.
Pipedreams Live (and program long)
We all owe much to Michael Barone for his continuing contributions to the public awareness of the pipe organ, its wide range of literature, and many diverse styles of instruments, as heard weekly in the successful Minnesota Public Radio series. The service he renders to the profession is unparalleled in today’s media. That said, it was fortunate that this Wednesday evening audience in Wooddale Church consisted almost exclusively of the already convinced. Anticipatory at the beginning, fatigued or comatose after a two-hour and fifteen minute program without intermission, many of us would have appreciated an earlier employment of the organ’s cancel button.
As for repertory, it was a program in which the oldest piece heard was Joseph Jongen’s 1935 Toccata, opus 104, the program opener, given a brilliant rendition by this year’s NYACOP winner Michael Unger. Then followed a steady stream of new and unfamiliar pieces played by first-rate players who slid on and off the bench either of the movable console or of the attached mechanical-action one of the large Visser-Rowland organ: Herndon Spillman, Calvin Taylor, Barone himself, splendid jazz player Barbara Dennerlein, Ken Cowan, Aaron David Miller, and Douglas Reed (who brought the marathon to an end with William Albright’s Tango Fantastico and Alla Marcia, aka The AGO Fight Song!).
Along the way, Jason Roberts, winner of the National Competition in Organ Improvisation, perhaps sensing the encroaching weariness, gave a brief example of his art in a French Classic idiom; well-loved Lutheran church musician Paul Manz was warmly applauded after the playing of his chorale-improvisation Now Thank We All Our God by Scott Montgomery; and Isabelle Demers, in the penultimate program slot, played with consummate musicianship a gentle and moving Prelude in E Minor by Gerald Bales and Paulus’s As if the whole creation cried.

AGO business/The business of music
The business meetings of the Guild during national conventions have been fun and musically rewarding during the six years of outgoing president Fred Swann’s administration. This time the afternoon event was held at Central Lutheran Church, where Marilyn Keiser gave first performances of a prize-winning work and a commissioned movement to be featured at the Organ Spectacular (officially scheduled for 19 October 2008) during this International Year of the Organ: Bernard Wayne Sanders’ Ornament of Grace for organ and solo melody instrument (published by Concordia Publishing House) and Stephen Paulus’s Blithely Breezing Along, a seven-minute solo organ piece (available from Paulus Publications).
An impressive number of exhibitors (102) displayed their wares in the exhibition spaces of the Minneapolis Hilton Hotel. From Nada-Chair back slings (for organists with “Bach Pain”) one could wander to composer Stephen Paulus’s booth, often manned by father and son Andrew; or stop by the AGO national headquarters table, where a newly released compact disc of Conversations and Lessons with David Craighead preserves some taped lessons with Judith Hancock as well as more recent responses to queries about various pedagogical topics as posed by an unidentified interviewer. (Buzz has it that the interlocutor is Richard Troeger.) The purchase of this disc also triggered the bonus gift of “A Grand Occasion,” an AGO cookbook from the past. This brought on extreme nostalgia for several familiar figures who contributed some favorite recipes: Robert Anderson [caramelized carrots], Howard (Buddy) Ross [Shrimp Howard], and L. Cameron Johnson [Philly-Miracle Whip Dip]!
Some random items of interest found in various publishers’ displays: the recently republished Distler organ works in an “Urtext” edition at Bärenreiter; a reminder via a special brochure from Breitkopf that 2009 will mark the 200th anniversary of Mendelssohn’s birth; Calvert Johnson’s valuable new edition of Frescobaldi’s Fiori musicali (with variant chromatic alterations from the Torino Manuscript) at Wayne Leupold; from ECS Publishing, free copies of their prize-winning anthem heard at the opening celebratory service, Stephen R. Fraser’s Rejoice, the Lord is King (SATB and organ), with its especially haunting, chromatic shift from a melodic F-sharp to F-natural between the second and third measures of the idiomatic and very effective organ accompaniment; from Oxford University Press, a special brochure on the music of Ralph Vaughan Williams, in commemoration of this year’s 50th anniversary of his death.
A pre-convention mailing had brought advance word of a special recording titled Real French Sounds to be had at the convention, the promotional gift from the Association of French Organ Builders. This two-compact disc set comprises an elegant set of performances by various French organists, including such well-known players as Olivier Latry, Daniel Roth, Thierry Escaich, and Pierre Pincemaille, playing fifteen historic instruments (restored by the firms Atelier Bertrand Cattiaux, Jean-Baptiste Gaupillat, Michel Jurine, Patrick Armand, Giroud Successeurs, Nicolas Toussaint, and Jean-Pascal Villard). It is, overall, a useful demonstration of some lovely organs.
American pipe organ builders were well represented here, as were makers of digital instruments. The Twin Cities provided good examples of outstanding organs from many of the exhibitors, as identified throughout this report. Happily, I acquired only one new trinket, a black stop knob key chain from the Wicks Organ Company. It joins useful previous white ones, giving my collection some needed diversity. A year’s worth of compact discs and DVDs were available for purchase, and all this commerce, especially that transacted during late night hours, was made more pleasant by an accessible cash bar.

Summary thoughts
I heard it expressed several times that “this was Philip Brunelle’s program.” The wide-ranging, often challenging exploration of new music (seventeen commissions and competition prize-winning works were listed on the Convention Evaluation Form), plus the programming of other recent works surely new to a majority of the convention goers, reflected both appetite and taste of the prodigious program chair, this year celebrating his 40th anniversary as organist-choirmaster of Plymouth Congregational Church in Minneapolis. Brunelle certainly generated a great deal of musical excitement, not only as planner, but also as conductor for the two major orchestral and choral/orchestral programs.
That the music of Stephen Paulus held such a prominent place at this convention was particularly gratifying. Currently AGO’s composer of the year, the Minnesotan is one of America’s finest, an artist who consistently produces challenging music for organ and for choral forces as part of his ongoing artistic efforts. He is also a genuinely kind person whose many interactions with convention-goers was much appreciated.
A personal regret was that there was not at least a tad more celebration of Hugo Distler’s centenary, which actually occurred on Tuesday, June 24, right in the midst of this gathering. One workshop, one choral composition (the motet Singet dem Herrn, heard on two days at one of four concurrent worship services presented on Monday and Thursday), and that was all. In Lutheran territory? (At least St. Paul’s Luther Seminary had presented a March symposium on the composer’s life and works!)
Appreciated amenities: possibly the easiest to see, least self-destructing name tags of any convention in my experience, and a many-pocketed, multi-zippered convention tote bag with an external water bottle holder, the whole a classy production that also ranks with the best ever: no expense spared here, and usable at home, too.
And, certainly not least, a smoothly functioning hospitality/information center at the hotel, staffed by Twin Cities AGO chapter volunteers. There one could find nibbles, coffee and water, transportation schedules, gay pride guides, and the occasional leftover workshop handouts, among which two of the more interesting were on Latin American Organ Literature from Cristina Garcia Banegas and Organ Music from Czech Composers from Anita Smisek.

And finally . . .
A tally of convention events from Saturday afternoon through Thursday evening gave these numbers: three open performance and improvisation competition rounds; four evening concerts plus two performances of the daytime concerto program; fifteen organ recitals, each performed twice, plus two carillon concerts and nine Rising Stars organ programs; sixty-six workshops including choral reading sessions; an opening evening church service, four individual daytime worship opportunities, each given twice, plus Evensong and Matins services. [For complete details, refer to the convention website <www.ago2008.org&gt;.]
My apologies to artists whose programs I was not able to attend. Many are friends, or friends of friends, or students of friends. It must be obvious that no one person, not even the proverbial little old one in tennis shoes, could cover as large and event-filled a gathering as this national convention. The time in the Twin Cities remained enjoyable primarily because I did not attempt to do everything.
Throughout the week there were many cherished meetings with people not encountered often enough, individuals who trigger memories of shared experiences, ones who make such professional gatherings personal. To mention a very few of them: Marjorie Jackson Rasche, FAGO, now of Galveston, TX, whom I met at my very first AGO regional convention 52 years ago when both of us were young Ohioans; Carl and Kathy Crozier, of happy Honolulu memories; professional colleagues Jim Christie, Susan Marchant, and Cal Johnson; and new acquaintance, Alexander Schreiner’s son John.
Of memorable chats while traveling on the buses two stood out in particular: one with West Point organist Craig Williams; and another with Patricia Scace from Maryland, who told of acquiring a John Challis instrument that turned out to be the first harpsichord I ever played.
And finally, the realization that as the Twin Cities 2008 national convention became part of AGO history on Friday June 28, there remained only 735 days until the July 4 opening of the 2010 meeting in our nation’s capital city. Start saving up for it now!

Marijim Thoene received a DMA in organ performance/church music from the University of Michigan in 1984. She is an active recitalist and director of music at St. John Lutheran Church in Dundee, Michigan. Her two CDs, Mystics and Spirits and Wind Song, are available through Raven Recordings. She is a frequent presenter at medieval conferences on the topic of the image of the pipe organ in medieval manuscripts.

Francine Maté has lived in Washington, D.C. for 26 years. She has been organist/choirmaster and director of the Bach Festival at Grace Episcopal Church in Georgetown, Washington, D.C. since 1998.

Thomas Marshall is instructor of organ and harpsichord at the College of William and Mary in
Williamsburg, Virginia, where he also serves as organist/associate director of music at Williamsburg
United Methodist Church. He holds degrees in organ/harpsichord performance from James Madison University and the University of Michigan. His teachers include Carol Teti, Richard McPherson, Marilyn Mason, and Edward Parmentier.

It was sad to see four days of music-
making in which each performer invested every fiber of his or her being into producing sounds that dazzled, soothed, and transported the listener come to an end; however, as the poet Kenneth Rexroth said, “It is impossible to live in a constant state of ecstasy!” Certainly the four days of the AGO national convention provided the listener with the opportunity to be swept up in ephemeral and fleeting beauty that can be recalled as sacred moments in time.
There were several pre-convention programs that set the stage for the opening program at the National Cathedral, two of which were the organ recitals on July 4 at Grace Episcopal Church in Georgetown by Thomas Marshall, who played the complete organ concertos of J. S. Bach, and at the Basilica of the National Shrine of the Immaculate Conception by Roland Maria Stangier of Essen, Germany.

July 4
Thomas Marshall
In his performance of J.S. Bach’s complete organ concerti, Thomas Marshall gave us a glimpse of a young Bach, a brilliant organ virtuoso and composer who filled his organ concerti with scintillating, pyrotechnical dances and lyrical melodies. This pre-convention event was part of the Seventeenth Bach Festival at Grace Episcopal Church in Georgetown, directed by Francine Maté, organist and choirmaster at Grace. Marshall made this music his own by adding eloquent ornaments, shaping and moving tempi. All of the concerti were played with a rhythmical vitality.
However, it was the seldom-heard Concerto in C Major, BWV 594, an arrangement of Vivaldi’s “Grosso Mogul” Concerto in D Major (op. 7, no. 5, RV 285a), which was the most riveting and tantalizing. Here the forces of the concerto form, tutti vs. soli, become a new genre for the organ—all of the movements are expanded to new dimensions and the dialogue between soli divisions are more intense. In the slow movement, Marshall added a few ornaments to the already ornamented coloratura melody and seamlessly bound the melody to the accompaniment. In the third movement, he reflected the contrasts between the formal and mannerly tutti section and the soli sections with registration that recalled full ensemble vs. gossamer strands of birdsong. Marshall’s formidable technique and sense of drama made the voices within this transparent texture shimmer. His CD, The Organ Concertos of Johann Sebastian Bach, is available through Arts Laureate, <A HREF="http://artslaureate.com">http://artslaureate.com</A&gt;.

July 5
Opening Convocation
On July 5 at 7:30 am, tour buses pulled away from the Marriott Wardman Park Hotel, carrying over 2,000 organists and organ music enthusiasts to the opening convocation at the National Cathedral, featuring the Washington National Cathedral Choir, Cathedral Voices, Michael McCarthy, director of music, Scott Dettra, organist, and the Washington Symphonic Brass with Phil Snedecor, music director. The prelude music was riveting in its grandeur and freshness: Ancient Airs and Dances, Suite No. 3 (Passacaglia and Air di Corte) by Ottorino Respighi; Symphony No. 3, op. 27 (I. Finale: Allegro) by Carl Nielsen, featuring the Washington Symphonic Brass and A. Scott Wood, conductor; and a commissioned work, Theme and Variation on “Le P’ing,” by Michael Bedford, winner of the 2010 AGO/Holtkamp award in organ composition. Bedford incorporated a variety of compositional styles in his poetic interpretation the text of Psalm 19:4b–5: bird song, elements of jazz, a fiery toccata, and floating arabesque figures. The television screens that focused on the performers, especially the feet and hands of Scott Dettra, gave a welcome immediacy to the performance.
The processional hymn, Lasst uns erfreuen, was sung with great gusto as the pageantry began. Eileen Guenther, president of the American Guild of Organists, commented that the convention was really international in scope, for it included performers, lecturers, and guests from many countries. Ronald Stolk, the AGO 2010 convention coordinator, thanked all of the many volunteers who gave generously of their time and worked tirelessly in planning the convention. The commissioned hymn, Great Voice of God (music by Mary Beth Bennett, words by Shirley Erena Murray), aptly expressed the text: “Great voice of God in all your good creation, make us your instruments of blessedness.” It was introduced by a brass ensemble and percussion, and the hymn verses were sung in alternatim with the instrumental ensemble.
The Reverend Dr. Thomas H. Troeger, AGO national chaplain, spoke of his own profound love of J. S. Bach, and said there are things technology cannot solve—the need for a discerning heart and a mind to be attuned to the spirit of the living God. He concluded saying: “Every time you make music you are calling people back to the better spirit—to beauty, wonder and joy.”
The commissioned anthem, Exultate iusti by Rihards Dubra, like Michael Bedford’s anthem, is an exemplar of text painting. Here the texts of Psalm 33:1–6, 8–12, 18, and 20–20 are exquisitely reflected in multiple resources and textures: an orchestra with solos for chimes, muted trumpets, a counter tenor, a children’s choir, full chorus, kettle drum, xylophone, and organ. This score is a great addition to the repertoire of sacred music.
The service closed with the joyous and triumphal hymn, As Newborn Stars Were Stirred to Song, introduced by a brass choir, with words by Carl P. Daw, Jr. and music by John Karl Hirten. The organ voluntary, Festival Fanfare by Kenneth Leighton, was deftly played by Scott Dettra. The energy and stamina of the cathedral organist is amazing, for later in the day he would play at the Bach Vespers as well as at the opening concert at the National Cathedral, where he played Samuel Barber’s Toccata Festiva, op. 36 and the demanding organ part in Paul Paray’s Mass for the 500th Anniversary of the Death of Joan of Arc.

Workshop, Dr. Leo Rozmaryn
The workshop “From Brain to Fingertips: Neuro-Muscular Control,” given by Dr. Leo Rozmaryn, addressed the physiological processes involved in organ playing and gave some helpful advice on how to avoid injuries. Dr. Rozmaryn, a surgeon, has worked in the field of what he calls “Music Medicine” for thirty years. He pointed out how the brain of a professional keyboard musician is different from a non-musician’s brain. A keyboard player has more gray matter: the “corpus callosum”—the division between the right and left parts of the brain—is much bigger than in a non-musician. He defined the debilitating injury of focal dystonia, saying that it is a neurological disorder originating in the brain that causes loss of coordination and motor control in the hand, and that some of the following has been effective in its management: retraining, i.e., changing one’s technique by way of the Dorothy Taubman method; instrument modification; botulinum injection; and physical therapy. He praised the work of Sandy Austin, a physical therapist at Arlington Hospital, for her success in working with injured musicians.
Dr. Rozmaryn began his second session by recommending Janet Horvath’s award-winning book, Playing Less Hurt, for musicians on how to avoid injuries. He admonished organists to pay attention to their bodies, saying that when injured musicians come to him, they tell him they don’t have time to eat a balanced diet, to exercise, or to get a good night’s sleep. He advises every organist to remember they are athletes. They should have music in one hand and a gym bag in the other. In music schools in Scandinavia, musicians do aerobics after 40 minutes of practice.
He discussed a number of injuries common to organists and possible treatment modalities. Some common ailments and possible treatment included low back and neck problems due to poor, static posture for long periods of time. He suggested taking frequent breaks and avoiding drooping shoulders. To avoid carpal tunnel syndrome, he advised keeping the wrist in neutral position and to never practice for longer than 30 minutes at a time. If surgical intervention is necessary, you should not use your hands for four weeks following surgery. He suggested Richard Norris’s book on the topic, Return to Play, and the website <A HREF="http://www.theorthocentermed.com">www.theorthocentermed.com</A&gt; for doctors and hand exercises. For cubital tunnel syndrome he suggested sleeping with arms outstretched, and for thoracic outlet syndrome he suggested arm rolls.

July 6
Hymn Festival
The cavernous National City Christian Church was packed with standing room only for the hymn festival, “We Believe in One God,” led by Bruce Neswick. The prelude included five demanding hymn arrangements played by the Virginia Bronze Handbell Ensemble, directed by Carol Martin, the National Brass Quintet, and percussionists Doug Wallace and Bill Richards. Especially memorable was ‘Twas in the Moon of Wintertime, arranged by Cynthia Carlson. Here the handbells were augmented with a marimba and tiny wind chimes. The spirited and energetic commissioned work, Doxology on Conditor Alme Siderum for handbells, brass quartet, and tympani arranged by Hart Morris, set the tone for the entire festival of hymns.
Bruce Neswick’s choice of hymns and organ descants reflected his keen awareness of the best of the repertoire: Christ is made the sure foundation, descant by Richard Wayne Dirksen; The stars declare his glory, descant by Richard Proulx; Of the Father’s love begotten, introduction by Gerre Hancock and descant by David Willcocks; and Lord, you give the great commission, introduction for brass and organ, solo organ, interlude for brass and organ, and descant by Bruce Neswick. The anthem, O risen Christ, still wounded by Bruce Neswick and commissioned by Christ Church Virginia, was performed by the Cantate Chamber Singers directed by Gisèle Becker, and is another great addition to sacred literature.
The final hymn, Lord, you give the great commission, sung exuberantly by over a thousand and joined by brass and soaring organ descant, was truly the most fervent prayer imaginable: “Lord, you bless with words assuring: ‘I am with you to the end.’ Faith and hope and love restoring, may we serve as you intend, and amid the cares that claim us, hold in mind eternity.” The concluding voluntary, Neswick’s improvised toccata, was stunning and a fitting Amen to the festival of readings and hymns of the liturgical year.

Jean-Baptiste Robin and Elizabeth Blakeslee
In the elegant and historical St. John’s of Lafayette Square, Jean-Baptiste Robin, organist of the Royal Chapel in Versailles Palace, and Elizabeth Blakeslee, harpist in the National Symphony Orchestra, performed music by Debussy, Jehan Alain, Robin, and a commissioned work by Rachel Laurin with assurance and remarkable virtuosity. The delicacy and transparency of Debussy’s Prélude à l’après-midi d’un faune transcribed for harp and organ by Robin were apparent in the dry acoustic at St. John’s. Robin performed Alain’s Trois Danses from memory and gave a meticulous rendering of the score, observing Alain’s fiendishly demanding tempi markings.
I wish Robin had written more about the “23 reflecting modes” that he created and alluded to in his program notes describing his own composition Cercles Réfléchissants (“Reflecting Circles”). The two movements he played from this work reflect his unique compositional vocabulary, which in turn hinted at mysterious shifting wind movements. In her commissioned work, Fantasia for Organ and Harp, op. 52, Rachel Laurin interwove the intimate color palettes of the harp and organ with remarkable dexterity, especially in the second movement when flutes 8′, 4′ and 2′ played in dialogue with the harp. The same balance was present in the third movement in a totally contrasting mood—triumphant chords on the organ vs. powerful chords and flourishes on the harp.

Ezequiel Menéndez
Historic Organs in Argentina
Ezequiel Menéndez gave an informative and intriguing lecture on “Historic Organs in Argentina: A Hidden Treasure” that reflected his many years of research and study on the subject. He began by stating that in Buenos Aires, within one square mile one can see organs from France, Germany, England, and Italy. During the Age of Enlightenment, Argentina was the richest country in the world, and people from all over Europe settled there and brought with them their culture, which included pipe organs from their own countries. The inventory of pipe organs in Argentina built by famous builders is impressive: there were 39 organs from Italy, one built in 1868 by Serassi for the Church of Monserrat; 101 organs from Germany; and a Cavaillé-Coll was shipped in 1885 to a Jesuit church in El Salvador and moved in 1912 to the Basilica Del Santissimo Sacramento in Buenos Aires.

July 7
Morning Prayer
Attending Morning Prayer in the large reverberant sanctuary of St. Patrick Roman Catholic Church was a beautiful way to start the day. The Psalms were sung in by the choir (the Countertop Ensemble, directed by Chris Dudley) in alternatim with the assembly. The masterful and thoughtful improvisations on the antiphons played by Ronald Stolk, director of music at St. Patrick, were a welcome contrast to the austerity of the reading of the lessons and the intoning of the Psalms and Canticles. I wished he had played more.

Worship Service for Children
The Worship Service for Children, featuring the Children’s Chorus of Washington directed by Joan Gregoryk, held in the 1860 Calvary Baptist Church, was choreographed with amazing precision. Following the organ voluntary composed and played by 22-year-old Justus Parrotta, the choir of young singers (30 girls and four boys) quietly processed down the two side aisles, and Dr. Gregoryk, without saying a word, motioned her choir to begin singing the canon Dona nobis pacem, then cued each section of the audience to join in singing the canon, which was an effective introit. A portion of the text was repeated as an antiphon throughout the singing of Psalm 85. The program—music from the Taizé Community, Mendelssohn, an African-American spiritual arranged by Moses Hogan, and Jewish song by Allan E. Naplan—was sung with enthusiasm and from memory. Dr. Gregoryk is obviously a strict taskmaster to present such a polished choir with excellent diction, good blend, and good pitch. She also communicates her joy in the music, which was mirrored in the faces of her singers. Parrotta’s spirited playing of the first movement of J.S. Bach’s Concerto in A Minor, BWV 593, was a perfect ending to this program.

Isabelle Demers
For me, Isabelle Demers’ memorized recital was one of the most memorable recitals of the convention. St. Patrick’s Roman Catholic Church was a perfect venue for her program: Prélude from First Symphony, op. 36 by Rachel Laurin; Three Psalm Preludes, op. 32, Set 1, No. 2, by Herbert Howells; Symphonic Chorale on “Jesu, meine Freude,” op. 87/2, Introduzione (inferno), Canzone, Fuga con Corale, by Karg-Elert; Organ Symphony No. 2, op. 20, by Louis Vierne; Scherzo and Toccata from First Symphony, op. 36 by Rachel Laurin. Demers made each work her own, investing herself in the music, from Howells’s quiet lyricism to Karg-Elert’s diabolical roar. Her brilliant technique served always to make the music soar. This gift was especially apparent in Rachel Laurin’s Toccata. The audience was dazzled by her magnificent performance.

July 8
Nathan Laube
Nathan Laube opened his recital at the National Presbyterian Church with his transcription of Johann Strauss’s Overture to Die Fledermaus. Laube’s deftness at registration was apparent as each section flowed seamlessly into another. He is a gifted dramatist, and succeeded in catching up the audience in the dance. After thunderous applause he announced that the day was his 22nd birthday, and we all promptly sang “Happy Birthday.” His performance of Joseph Jongen’s Sonata Eroïca pour Grand Orgue, op. 94, and Charles Tournemire’s L’Orgue Mystique, Cycle de Noël, Suite No. 7, op. 55, also showed him to be a master at registration as he moved smoothly from one section to another.
The tour de force of his concert was his performance of Maurice Duruflé’s Suite pour Orgue, op. 5. His playing was flawless, inspired, and for want of a better word, transporting. As an encore he played Chopin’s Etude in C-sharp Minor, op. 10, no. 4, and met with even more thunderous applause.

Isabelle Demers
Max Reger workshop
Isabelle Demers’ workshop on Max Reger’s Orgelbüchlein was held at St. Paul’s Episcopal Church, an elegant, isolated chapel in Rock Creek Parish, surrounded by a cemetery. Ms. Demers gave an overview of Reger’s chorale preludes, alluding to those suited for church services and those better suited for concerts. She discussed aspects of Reger’s life and how events shaped his compositional style, his quirkiness and spirituality. In her handout, she ranked each of the 52 preludes according to difficulty and listed the timing of each. It was enlightening to hear some of Reger’s chorale preludes played from memory by Ms. Demers in this reverberant space on the mechanical action organ II/27 built by Dobson.

Marijim Thoene received a DMA in organ performance/church music from the University of Michigan in 1984. She is an active recitalist and director of music at St. John Lutheran Church in Dundee, Michigan. Her two CDs, Mystics and Spirits and Wind Song, are available through Raven Recordings. She is a frequent presenter at medieval conferences on the topic of the image of the pipe organ in medieval manuscripts.

July 5
Jonathan Biggers
Jonathan Biggers, who holds the Edwin Link Endowed Professorship in Organ and Harpsichord at Binghamton University, began his program with Craig Phillips’s Fantasia on “Sine Nomine” (2007). This work was commissioned by the University of Iowa to honor Professor Delbert Disselhorst’s retirement, and is based on the tune by Ralph Vaughan Williams. Among the many interesting sections of the piece are octave “D” leaps in the fugue, which refer to Delbert Disselhorst. Dr. Biggers ended his performance of the work with a brilliantly played toccata.
The Passacaglia by Leo Sowerby (from the Symphony for Organ, 1930) is similar to Sowerby’s posthumous passacaglia, which was edited by Ronald Stalford. The earlier passacaglia from the symphony is less tight than the posthumous piece. Biggers’ interpretation, however, provided a convincing musical continuity in the multi-variation work.
National Presbyterian Church is a modern edifice that provided a stark contrast to the Gothic style of Washington National Cathedral, the site of the opening service just 1½ hours before Biggers’ recital. The present building was designed by Harold E. Wagoner, with the main sanctuary seating 1,260. The church’s cornerstone was laid by President Eisenhower on October 14, 1967; the first worship service at this site took place on September 7, 1969. The organ at National Presbyterian Church is an Aeolian-Skinner, Opus 1456, IV/115, installed in 1970. From 1987 to the present, the organ has been rebuilt and added to by the Di Gennaro-Hart Organ Company.
Biggers’ recital ended with the Reger Phantasie und Fuge d-moll, op. 135b. It was thrilling and brought the full house to a rousing standing ovation! Biggers repeated this program at 11:30 am on July 5.

Paul Jacobs
Next was a marvelous recital at St. Anne’s Catholic Church by Paul Jacobs, chairman of the organ department at Juilliard School of Music. St. Anne’s is a lovely church located a few blocks north of National Presbyterian Church. Jacobs’ recital was performed by memory, and was absolutely perfect. The 1999 Létourneau three-manual organ is in the rear gallery. I was sitting close to the gallery in the back of the church, and it was relatively easy for me to simply turn around and watch him. However, there was a giant screen in the front of the church, and by watching the big screen, Jacobs was magnified and in full view for the entire audience. The program included the Reger Sonata in D Minor, op. 60 (1901), Prelude in F Major (1912) by Nadia Boulanger, and the Franck Final, op. 21 (1866). Jacobs was treated to a rousing standing ovation at the end of his flawless performance.

Bach Vespers at St. Paul’s Lutheran Church
The Washington Bach Consort
The venue for the Bach Vespers at St. Paul’s Lutheran in Washington, D.C., was perhaps similar to what the setting might have been like in the Thomas-kirche during Bach’s tenure in Leipzig. St. Paul’s, like the Thomaskirche, has lovely stained glass. I thought the light illuminating through the stained glass on this day was very similar to the way the stained glass in the Thomaskirche looked the times I have been fortunate enough to be there.
J. Reilly Lewis, director of the Bach Consort, conducted the vespers service. Lewis has been a Bach icon on the East Coast for many years. His performances are always very musical, and his interpretation of Bach’s music is impeccable.
Scott Dettra was the organist for this service. He serves as organist and associate director of music at Washington National Cathedral, as well as assistant conductor and keyboard artist of Washington Bach Consort and the Cathedral Choral Society. Dettra was organist for the opening service at 8:30 am on Monday, organist for this service, and organist for the evening concert back at the National Cathedral. He is an outstanding musician, and his ability to seamlessly go from the cathedral organ to the Johan Deblieck continuo organ for his continuo part in the Bach cantata at St. Paul’s, up to the organ loft at St. Paul’s to play the St. Paul’s Schantz three-manual organ, and then to the cathedral again that evening, was more than remarkable.
The St. Michael’s Day Vespers service began with the organ prelude, Toccata in F, BWV 540/1 of Bach, played splendidly by Lewis. This was followed by the Bach Kyrie, BWV 233A, and the complete Cantata BWV 130, Herr Gott, dich loben alle wir. The Bach Consort, as always, sang with great exhilaration and musical conviction. All chorales in the service were sung in German by the congregation—the singing by the organists at this service was marvelous. The service also included a fine sermon, prepared especially for organists, by St. Paul’s pastor, The Reverend Dr. John Witvliet.

Opening Concert
Washington National Cathedral
The opening concert of the convention was performed at Washington National Cathedral by the Cathedral Choral Society and members of the National Gallery Orchestra conducted by J. Reilly Lewis. This program was a continuation of
J. Reilly Lewis’ 25th anniversary as conductor of the Cathedral Choral Society.
The program began with Scott Dettra performing the Toccata Festiva, op. 36 (1960) by Samuel Barber. Dettra performed this work with excitement and verve as if he had rested and prepared all day in order to wow this audience of 2,000-plus organists.
The second and major work on the program was Paul Paray’s Mass for the 500th Anniversary of the Death of Joan of Arc (1931). The acoustics of Washington National Cathedral provided the perfect venue for this monumental work. The lyricism of the Kyrie was quite beautiful, and the Cathedral Choral Society’s superbly blended voices filled the glorious space of the cathedral. Even though the cathedral was full to capacity in both the morning opening service and the concert that evening, one could hear a pin drop due to the intensity of listening that all organists possess, and which we exhibited on this day.

July 6
David Higgs
The United States Naval Academy
The recital by David Higgs was flawless, so very musical, and the audience of organists was so breathtakingly attentive, as was the case at all of the recitals and concerts at the convention. This organ was originally built by the Hutchins Organ Company in 1908, and rebuilt by the Möller Organ Company of Hagerstown, Maryland. Many renovations were made this past year, and the organ is currently 268 ranks with two consoles.
I typically would rather hear Bach played on a mechanical action instrument, but Higgs’s playing of the Passacaglia in C Minor, BWV 582, was a masterpiece of performance and pure musicality. His drive and care given to the monumental work was simply thrilling. The final piece on the programmed portion of the recital, Widor’s Symphony VI in G Minor, op. 42 “brought the house down” with the audience’s immediate standing ovation. How could there be more excitement to come? Ah, yes!! The encore, In a Persian Market by Albert Ketèlbey and arranged by Frank Matthews, just swept us off our feet, literally! “Persian Market” was not only “fun” music, but the magnificent organ at the Naval Academy Chapel has theatre organ stops. The polite, reserved and attentive organists of all the previous recitals and concerts, became “out of control” with enthusiasm for this piece! All the bells, drums, whistles, and stops were pulled out!
The United States Naval Academy Chapel holds 2,000 people, and of the 2,200 attendees at the convention, 2,000 of them attended Higgs’s recital. One of the many marks of great organization came at the end of the concert when the 2,000 organists were bused back to the Marriott in Washington after the concert. Kudos to Dr. Carol Guglielm for orchestrating this important, and most complicated transportation event—there were 35 buses waiting to pick up 2,000 organists after David Higgs’s program!

Pre- and post-convention events
Among the numerous pre-convention events was the first part of the 17th Annual Bach Festival at Grace Church, Georgetown, of which I am the director. My colleague and friend, Roland Stangier from Essen, Germany, performed in our Bach Festival on July 3, and 23 hours later performed a completely different program at the Basilica of the National Shrine of the Immaculate Conception. Professor Stangier’s recital in the Bach Festival was entitled “Bach and His European Colleagues.” Grace Church is home to an A. David Moore 1981 two-manual mechanical action instrument. Composers on Stangier’s program included Pablo Bruna (Spain), Samuel Scheidt (Germany), Andreas Kneller (North Germany), Gaspard Corrette (France), Giovanni Battista Pergolesi (Italy), Charles John Stanley (England), and J.S. Bach (Trio Sonata in D Minor). Professor Stangier, as his usual practice, ended the recital with an improvisation.
Stangier’s program was full of variety and nuance—he is a very energetic and musical performer. His performance of Bach’s trio sonata was full of ornamentation that I had never before considered. This made the work fresh and new, even though the works of Bach rarely need any new performance ideas.
I presented Professor Stangier with two themes on which to improvise that were from the concert I had performed at 3 pm in our festival that afternoon: 1) the “Nun komm der Heiden Heiland” chorale tune, and 2) the lilting flute melody from the famous “Sheep May Safely Graze.” Stangier wove these two themes into a tightly knit piece. I only wish we could have a score of his superb improvisation. However, in today’s world of the instant reproduction of just about anything, it is a nice thought to consider that an improvisation can simply be as ethereal as Washington, D.C.’s cherry blossoms.
Professor Stangier performed his basilica recital on the 172-rank, four-manual electro-pneumatic Möller organ. His program began with the four Schumann Sketches, opus 56, written in 1846. It has been in vogue for several years now for organists to write and perform their own transcriptions of orchestral works. Particularly popular is Gustav Holst’s The Planets, written in 1914. Stangier performed his transcription of “Venus, the Bringer of Peace” and “Jupiter, the Bringer of Jollity”—what beautiful transcriptions to showcase both the basilica’s organ and Stangier’s playing! And, not to be forgotten as well, the inside of the basilica is breathtakingly beautiful! Following the Holst transcriptions were the Fantasie and Fugue in C Minor by Alexander Winterberger (1834–1914) and the Grand Choeur by Zsolt Gardonyi (b. 1946). Stangier ended the program with another one of his dynamic improvisations. Tonight he was given the Ubi Caritas et amor Gregorian chant and an Irish folk-song as his improvisation themes.
Jeremy Filsell performed all of Vierne’s symphonies at St. Patrick’s Catholic Church in Washington D.C. on the church’s 1994 44-rank Lively-Fulcher organ. Although I was back at my job at the Library of Congress on Friday, July 9 and was unable to attend Dr. Filsell’s program, this was indeed a monumental endeavor. Word from colleagues who were able to attend was that Filsell, in his usual style, performed every movement of every symphony with great splendor.
Another notable post-convention event was a performance by Isabelle Demers of her own transcription of Tchaikovsky’s Romeo and Juliet at Capitol Hill Methodist Church on July 9. From friends I know who attended, it sounds as if I missed another splendid event.

Francine Maté has lived in Washington, D.C. for 26 years. She has been organist/choirmaster and director of the Bach Festival at Grace Episcopal Church in Georgetown, Washington, D.C. since 1998.

•
July 5
Kimberly Marshall
For her recital at St. Columba’s Episcopal Church on the first day of the convention, Kimberly Marshall played a well-selected program for a 1981 Flentrop organ, displaying the well-balanced specification. Her unique and outstanding knowledge of the remote corners of the literature for the organ produced a recital with great variety and interest. Dr. Marshall is a treasure among us all for her ability to combine brilliant performance with good scholarship in an intelligent and informative way. This was a delightful and perhaps surprising recital.

Jason Roberts and Michael Unger
For some with “first-day-bus-issues” sometimes associated with these very large AGO conventions, the change in order of both performers and pieces being played was confusing to latecomers to the recital at Chevy Chase Presbyterian Church. Jason Roberts, 2008 winner of the AGO National Competition in Organ Improvisation, and Michel Unger, 2008 winner of the AGO National Young Artists Competition in Organ Performance, together presented a program demonstrating the true art of improvising, whether from score or indeed on the spot. Organ performers are too quick to define “improvisation” at the organ as the art of totally extemporized composition, when much is added to the printed score by the performer who can sense the improvisatory nature that CAN be brought to all music.

July 6
Diane Meredith Belcher
The recital by Diane Meredith Belcher on the Létourneau organ (2000) at the Church of the Ascension and St. Agnes was performed with elegance, showing great attention to careful and tasteful phrase development throughout. Her inclusion of a voluntary by English composer William Russell (1777–1813) was refreshing. Her performance of all six fugues on the name B-A-C-H, op. 60, of Robert Schumann, gave the audience a clear impression of the compositional prowess of this composer, now enjoying the 200th anniversary of his birth. While this music may be a bit too “academic” for the average organ recital audience, this venue gave an “organists only” audience the opportunity to hear all of these pieces well knit together in a fine and exciting performance.

The Woodley Ensemble
The Woodley Ensemble, under the artistic direction of Frank Albinder, presented a fine and varied program of choral music from many lands, including Sweden, Russia, Scotland, Israel, Estonia, England, New Zealand, Indonesia, and, of course, the United States. The ever-growing number of choral ensembles, both amateur and professional, has also given rise to the composition of unusual and wonderful music for all to experience both as performer and listener alike. The featured work for this concert was by American composer Leo Nestor—a large-scale anthem for SATB chorus and organ. While mainly for concert use in its entirety, it would be useful to find some selections from this work excerpted for use during the Pentecost season in churches as well.

This AGO national convention did an outstanding job in making a variety of workshops and seminars available. The Washington, D.C. chapter is also to be commended in its presentation of both pre-convention and post-convention events. Of particular note was the stunning performance by Julie Vidrick Evans of all six organ trio sonatas by J. S. Bach. For most organists, the inclusion of one or two of these technical masterpieces is daunting, let alone ALL of them, performed in this instance with technical mastery. The seventeenth annual Bach Festival presented by Grace Episcopal Church brings fine performances of the works of Bach and other related composers to a steadily growing audience each summer after summer, under the direction of the church’s organist/choirmaster, Francine Maté. ■

Larry Palmer is harpsichord editor of THE DIAPASON. Joyce Johnson Robinson is associate editor of THE DIAPASON.i

LP in LA: The 47th National Convention of the American Guild of Organists July 4-9, 2004

More than 2000 organ enthusiasts spent an exhilarating week in the City of the Angels, enjoying a well-paced, well-organized schedule of high-quality musical events. Los Angeles weather, cool and sunny, was a joy after a month of unusually abundant rain in Texas.

In a sense, each person experienced a unique convention, since many of the morning programs were given two or three times in order to accommodate the number of attendees, and afternoon activities had been pre-selected from the more than 60 workshops and competition rounds offered. Evening events usually accommodated the entire convention, the exception being Tuesday's three concurrent services of worship. Perception and reception of particular events, thus, were influenced by the particular sequence in which they were experienced. For instance, Monday morning's "green group" progression of three recitals provided a satisfying order, while Wednesday's schedule did not. 

Rather than a chronological, day by day report, here are some high points from "my" convention choices.

The Walt Disney Concert Hall and the first public performances on its Glatter-Götz/Rosales organ

Architect Frank Gehry's landmark building, new home of the Los Angeles Philharmonic Orchestra, is a striking and beautiful creation, immediately taking its place among America's most exciting concert halls. This 274 million dollar project pays apt tribute to American film maker Walt Disney with its decidedly whimsical and non-traditional architecture, and Gehry's organ case satisfies Lillian Disney's request that the organ not suggest a church. The controlled chaos of the pipe façade is the visual focus of the concert room; it is, however, well integrated into the hall, largely due to the use of the same wood, Douglas fir, for pipes, wall, and ceiling.

The 109-rank, four-manual organ is equipped with two consoles. In traditional case placement, the mechanical-action one was utilized for Joseph Adam's solo performances of Reger's Fantasia on BACH, Vierne's Naïades (played fleetly with impressionistic bravura), and Danse and Finale from Naji Hakim's Hommage à Igor Stravinsky. A movable, electric-action console, placed in front of the orchestra to the left of conductor Alexander Mickelthwate, allowed proper soloists' positions for organists Cherry Rhodes, in the program-opening premiere of James Hopkins' Concierto de Los Angeles, and Robert Parris, for the rarely-heard Concerto I in C Major of Leo Sowerby.

Architect Gehry was in attendance; so was the acoustician Yasuhisa Toyota, and the organ builders. A pre-concert stroll through Melinda Taylor's stunning gardens allowed an opportunity to view Gehry's rose-shaped fountain created from 8,000 hand-broken pieces of blue and white Delft china--his "Rose for Lilly," in honor of Mrs. Disney.

Solo Organ Performances

Mary Preston at the Glatter-Götz organ opus 2 (1998) in Claremont United Church of Christ

Dallas Symphony resident organist Mary Preston played a perfectly constructed program on a splendid mechanical-action organ in a church with sympathetic acoustical environment. At her third performance of the morning Ms. Preston elicited spontaneous (and forbidden) applause with a compelling opening work, Jean Guillou's dazzling, difficult, and complex Toccata; left us spellbound with the magical gossamer conclusion of Duruflé's Scherzo; showed both charm and considerable comedic ability in George Akerley's A Sweet for Mother Goose (six movements for organ and narrator based on familiar nursery rhymes); and displayed an absolutely magisterial rhythmic control in Jongen's Sonata eroïca. Program notes by Laurie Shulman pointed out a musical connection between Jongen and Messiaen, an analogy strengthened by the happily chirping birds heard through open windows on the right side of the church.  Human auditors were equally ecstatic at this stellar performance.

Martin Jean at the Dobson organ in the Cathedral of Our Lady of the Angels

Yale University's Martin Jean gave a riveting performance of the complete Dupré Passion Symphony as conclusion to the second half of the first concert attended by the entire convention crowd. Spanish architect Rafael Moneo's massive cathedral, dedicated in 2002, seats 3,000 people in a spacious contemporary edifice of restrained elegance. The four-manual, 105-rank Dobson organ fills this space with noble and powerful sounds, as expected from its impressive 32-foot façade principals and dominating horizontal reeds. The organ performance was all the more appreciated coming as it did after a choral performance of works by Byron Adams, Morten Lauridsen, and C. Hubert H. Parry horribly amplified through the Cathedral's public address system. (Seated in the last row, we heard the choral sounds through crackling speakers positioned in the downward pointing, trumpet-shaped central posts of the chandeliers; any hope of a balance with the accompanying organ was thereby destroyed.)

Samuel Soria at the Cathedral of Our Lady of the Angels

Cathedral organist Samuel Soria played a prelude-recital before the Friday morning business meeting of the American Guild of Organists. Wanting to hear the Dobson organ from the best possible vantage point, we eschewed bus transport, walked the few blocks from the convention hotel to the cathedral, got there before the crowd, and chose an optimal seat in the left transept, diagonally across from the organ case. There the organ had splendid presence, character, and all the fullness one could want, qualities well illustrated in the playing of this talented young man. An appreciated tie-in to AGO history, his opening piece, Fanfare by past-president Alec Wyton, displayed the organ's horizontal reeds to fine advantage.  Atmospheric impressionism was equally well served in Herbert Howells' Psalm Prelude, set 2, number 1 ("De profundis clamavi ad te, Domine") with its steady crescendo from the softest stop to a mighty full organ climax, and the corollary retreat to near silence. But it was in Sowerby's fiendishly difficult middle movement from his Symphony in G ("Fast and Sinister"--listed in the program as "Faster") that Soria best displayed his formidable technique and sense of the work's architecture, giving a sensitive, secure reading of this quintuple-meter tour de force.

Christopher Lane at the NYACOP Finals in St. James Episcopal Church

One of three finalists to compete in the National Young Artists Competition in Organ Performance, Lane, a student at the Eastman School of Music, gave the only playing of the required Roger-Ducasse Pastorale to realize both its delicacy and forward sweep. With no lack of virtuosity in the culminating mid-section "storm" music, Lane also limned the delicate contrapuntal writing in this unique organ work from the French composer.  Judges Craig Cramer, Bruce Neswick, and Kathryn Pardee, deliberating at length, chose Yoon-Mi Lim (Bloomington) as first place winner. Dong-ill Shin (Boston) was the third contestant.  Additional required repertoire played by all three contestants included Deux Danses (Le miroir de Meduse and Le Cercle des Bacchantes) by California composer James Hopkins, and Bach's Toccata, Adagio and Fugue in C, BWV 654, the only organ work by the master included in the published convention program book. (This final competition round was heard by approximately one-tenth of the convention registrants.) One additional Bach piece, a chorale prelude from the Orgelbüchlein, Herr Christ, der ein'ge Gottes Sohn, BWV 601, was played simply and stylistically by Namhee Han, a guest organist who gave the pre-concert recital before ensemble amarcord's program at Wilshire United Methodist Church. Ms. Han holds the Ph.D. in applied linguistics and is currently studying for her MM in organ at UCLA.

Paul Jacobs at Westwood United Methodist Church

Young Mr. Jacobs, playing from memory, had no technical or musical limitations during his noontime playing of the monumental Reger Chorale-Fantasy on Hallelujah, Gott zu loben. It was refreshing to hear Handel's G-minor Organ Concerto (opus 4, no. 1) as a representative (albeit in transcription) of the conspicuously absent baroque organ repertoire. Jacobs' attractive program also included John Weaver's Toccata and the premiere of Margaret Vardell Sandresky's The Mystery of Faith. With four manuals and 153 pipe ranks, the Schantz organ could have recused the added 85 digital voices to the advantage of the whole.

Lynne Davis at First Congregational Church

American organist Lynne Davis has spent much of her distinguished career in France. For her pre-service recital before Evensong she played three works from the French organ repertoire: Vierne's Toccata in B-flat minor, opus 53/6, Marchand's Grand Dialogue in C, and Franck's mighty Choral in E Major on the immense composite organs of First Congregational Church, comprising five manuals, 339 ranks, and seven digital voices for a truly "surround sound" experience. It was playing of intensity with a distinctly personal approach; especially in the Franck, Ms. Davis presented a nuanced, individual, and ultimately satisfying reading of this Romantic masterwork. In the Marchand, the organ certainly provided commanding reeds for a classic French Grand Jeu, but seemed to be lacking a Cromhorne of sufficiently aggressive character to assure a proper balance for the accompanying voices.

Choral Performances

ensemble amarcord at Wilshire United Methodist Church

The five-man vocal ensemble, all former members of the St. Thomas Choir of Leipzig, filled several unique categories at this convention: they were the only Europeans engaged for the program, and they gave the only ensemble presentation of a work by J. S. Bach, a two-stanza chorale from the Kreuzstab Cantata, BWV 56, "Du, o schönes Weltgebäude." It received an especially eloquent performance, with words perfectly articulated, and the almost-painfully beautiful suspensions viscerally calibrated for maximum tension and release of the piquant harmonies. The particularly welcome program alternated early music (stark and athletic organum, supple Byrd motets, the familiar Tallis anthem If Ye Love Me, elegant in its noble simplicity) with 20th (and 21st) century choral works.  The concluding Gloria (2001) by Sidney Marquez Boquiren was performed with the singers in a circle.  Long-held dissonant chords built around an ostinato pitch, were sustained throughout with nearly-unbelievable breath control. Repeated text phrases swirled like incense to create an unforgettable shimmer of sound. From start to finish this was virtuoso music making, with not a microphone or speaker to mar the sound.

Dale Adelmann's setting of the Spiritual "Steal Away to Jesus"

Heard as the Introit for the Service of Evensong at First Congregational Church, this, and the equally exquisite singing of Herbert Howells' St. Paul's Service by the choirs of All Saints' and St. James' Episcopal Churches, conducted by Adelmann and James Buonemani, proved to be the full ensemble choral highlights of the convention for this listener. Of course, choirs need to be superb at these services to compare with the hymn singing of a thousand, or more, organists, most of them paying attention to punctuation, pitch, and proper vocal production. It makes for participatory experiences that remain in the memory.

New Music

David Conte: Prelude and Fugue (In Memoriam Nadia Boulanger) for Organ Solo. E. C. Schirmer No. 6216.

What a way to begin the first solo organ recital of a convention! A single pedal B-flat sang out gently. Then a theme, beginning with the opening intervals of Raison's (and J. S. Bach's) Passacaglia was spun into a 14-measure cantilena, after which the solemn five-minute Prelude built slowly, always above the continuing pedal point. The ensuing Fugue, its memorable subject carefully shaped by Ken Cowan at the recent Fisk organ in Bridges Hall of Music at Pomona College, fulfilled the promise of the Prelude, moving inexorably from duple to triple accompanimental figurations, and building to a full climax with pedal flourishes. A work worthy of Maurice Duruflé or Gabriel Fauré, and a fitting tribute, as well, to Boulanger, the great French teacher with whom Conte studied for three years early in his career.

George Akerley: A Sweet for Mother Goose for Organ and Narrator. Hinshaw Music, Inc. HPO3009

Winner of the 2004 Holtkamp-AGO award in organ composition, this charmer of a suite weds appropriately pictorial music with rhythmically notated texts for the narrator in a pleasure giving work that should find its way into many organ recital programs. (It is music for young persons of all ages.) "Little Bo-Peep" allows the organist to take off on an extended pedal cadenza, to be halted only by the irritated shout of the narrator. The head of a school instructs her charges on good behavior in "The Clock." There's Irish musical color aplenty in "The Cats of Kilkenny," and, after a recitation of the poetry, the organist plays a solo tone poem to illustrate the "Tale of Miss Muffet." Mathematical note groupings provide comment for "One, Two, Buckle My Shoe;" while the concluding movement ("The Fiddlers") provides chuckles of recognition with its ritornello based on the famous Widor Toccata. That it was so well presented by Mary Preston, with the ebullient Kathy Freeman as narrator, made for a memorable premiere indeed.

Denis Bédard: Duet Suite for Organ and Piano (Details: www.majoya.com)

Duo Majoya (Marnie Giesbrecht, organ; Joachim Segger, piano) gave a most unusual recital at Bel-Air Presbyterian Church. Two Canadian composers provided commissioned works for the Duo; each had some interesting musical ideas to communicate. The more accessible work was this Suite, comprising an Introduction, Fughetta, Menuetto, Romance, and Final, full of wit, good humor, and memorable melodies, many reminiscent of Poulenc's catchy and romantic voice. Three movements from Jeffrey McCune's Crossing to Byzantium, and his arrangement of Stravinsky's Danse infernale de roi Katschei from The Firebird, plus Joe Utterback's brief Images: A Jazz Set completed the program, which would have benefited from more textural variety, perhaps provided by a solo offering from each of these fine players. The Bel-Air organ, reconstituted from a Casavant instrument heavily damaged in the 1994 Northridge earthquake, now consists of 60 pipe ranks plus 91 digital voices, including both Cherubim and Seraphim hanging speakers: not a particularly happy marriage of sounds for this hilltop-sited church.

Other newly-commissioned and prize-winning works heard at convention events I attended included anthems by Byron Adams and Michael Bedford, works for instruments with organ by Mary Beth Bennett, Ian Krouse, and Erica Muhl, plus the Hopkins and Sandresky works mentioned previously, as well as an anthem by Williametta Spencer, premiered in the Ecumenical Protestant service, not on my schedule. 

Workshops

Organ Recordings from the Past, David McVey's self-effacing session on gems from the audio history of organ playing, was a model of effective, well thought-out presentation. All the requisite citations were listed in a spacious 8-page handout. The motto "Res ipsa locutor [The thing speaks for itself]" was borne out as McVey kept comment to a minimum in order to allow complete performances of works recorded by Widor (Andante sostenuto from his Gothic Symphony, committed to disc in 1932), Tournemire (Chorale-Improvisation on "Victimae paschali," 1930), Thalben-Ball (Wagner's Ride of the Valkyries, 1931), Sowerby (his Carillon, 1946), Schreiner (Vierne's Naïades, 1959), Biggs (Daquin's Noël grand jeu et duo at the 1936 Aeolian-Skinner organ of the Germanic Museum at Harvard), Fox (Bach's Passacaglia at Avery Fisher Hall, Lincoln Center, 1963), and Crozier (Dupré's Prelude and Fugue in G minor, opus 7/3, 1959).

Panel Discussion on the Disney Hall Organ, ably moderated by Jonathan Ambrosino, with organ builders Caspar von Glatter-Götz and Manuel Rosales, architect Craig Webb from Gehry Partners, and organ consultant Michael Barone.

An overflow crowd of 500 assembled to hear the whys and wherefores behind the inspiration and evolution of Gehry's unusual organ design for the new hall, and the challenges posed during the installation of the instrument. 

Extra-musical happenings

Television personality and actor David Hyde Pierce (of Frasier fame) brought along the necessary props: his organ shoes, a book of registrations copied down at some early lessons (numbers only, no stop names), a tattered copy of the Gleason Method. Pierce, who really did study organ with several noted teachers, took his audience through a quick course on ornamentation ("I don't care"), temperament, and various other organ-specific arcana. The huge crowd responded with almost-constant hilarity.

The Very Rev. Canon Mary June Nestler's sermon at Evensong moved with quiet humor from her own experiences as a voice student through some of the shared vicissitudes of the organist's profession (especially vis-à-vis relationships with the clergy) to a sound theological conclusion, and a prayer for peace.

Class Acts

Frederick Swann: organist and AGO president extraordinaire

Both for a very fine recital at the Crystal Cathedral, his "home base" during the years 1982-1998, and for his deft, unpretentious handling of the American Guild of Organists presidency, Swann deserves high accolades. Always in command of the music he played, never pompous or overbearing in his official actions, Fred serves as an exemplary leader for the national organization, and he represents the profession well with his high musical and personal standards.  Who would not love him for his one-sentence disposal of the listed "Presidential Remarks" at the national meeting? Kudos, as well, for his service as performances chair of the convention. The artists selected for the program were consistently top-notch.

The Convention Committee

To Dr. Robert Tall and his legions of hardy workers for the stellar planning and smooth organization of a first-rate convention, especially noted in the efficient and on time management of the necessary bus transportation. Mailing the convention program book (itself a work of art) more than a month before the actual event allowed attendees the opportunity for advance preparation and orientation. Bravi tutti!

Additional Observations

It was my first experience to see two hotel elevators (in the headquarters hotel, the Westin Bonaventure) marked with historic plaques, noting their use by actor (now Governor) Arnold Schwarzenegger in the 1993 movie The Terminator.

Crystal Cathedral organist Christopher Pardini's fine performances of The Joy of the Redeemed, composed by AGO founding member Clarence Dickinson, not only showcased the Aeolian-Skinner organ in the Cathedral's Arboretum, but served as an effective aural connection to an important figure in the Guild's history.

What a savvy idea to present this year's AGO President's Award to Craig Whitney, an assistant managing editor at The New York Times and author of the best selling book All the Stops. His enthusiastic and engaging writing about the world of organ music and its personalities has provided  some much needed popular awareness for the profession.

Peter Krasinski's masterful organ improvisation at the AGO annual meeting was based on the song "Chicago, Chicago," a theme selected and presented to him by improvisation committee chair Ann Labounsky. This served as a not-so-subliminal aural advertisement for the next national convention, to be held July 2-6, 2006.