Ann Arbor Summer Festival International Organ Series

<p>Renate McLaughlin grew up in Germany and finished university
studies in Michigan. As a teenager, she was entrusted with keys to two
churches, and she practiced organ several hours each day. Early decisions led
to a career as a mathematician, and she has taught in the Mathematics
Department of the University of Michigan-Flint since 1968, where she was
promoted to full professor in 1975. She has also taught at the Technical
University in Berlin and at the University in Salzburg. For the past eight
years, she served as Provost of the University of Michigan-Flint. In
anticipation of her retirement this summer, Dr. McLaughlin has been studying
organ with G. Donald Kaye in Flint.</p>

In many cities and on many campuses, classical
music--especially organ music--is hard to find during the summer
months. Not so at the University of Michigan. Only some of the many recitals
are mentioned here.

On June 19, a splendid recital featuring music of Bach,
Mozart, and living American composers could be heard in the Blanche Anderson
Moore Hall of the University of Michigan School of Music. The recital began
with a performance by Marilyn Mason of J. S. Bach’s partita, O Gott,
du frommer Gott, BWV 767. The variations
effectively showcased the capabilities of the Marilyn Mason Organ by C. B.
Fisk. Next was a piece by Alice Jordan (b. 1916), written in 2004 to honor the
life of Elizabeth Wilson. The American Suite
style='font-style:normal'> is a succession of pieces based on American
melodies, written for violin and keyboard; this was the first performance of
the entire suite, performed by Marilyn Mason (piano) and Tapani Yrjola
(violin). Mozart’s Exsultate, jubilate
style='font-style:normal'> (op. 157) featured soprano Brenda Wimberly,
accompanied by Marilyn Mason at the organ. The final selection for the
afternoon was a collection of spirituals written by Calvin Taylor (b. 1948),
commissioned by and dedicated to Marilyn Mason. For each of the spirituals (Steal
Away; This Little Light of Mine; Were You There; Swing Low, Sweet Chariot
style='font-style:normal'>), Ms. Wimberly sang unaccompanied and was followed
by the organ arrangement, played by Dr. Mason. The enthusiastic audience
applauded enough for two encores: a repeat of Exsultate, jubilate
style='font-style:normal'>, and a solo performance of the spiritual, Give
Me Jesus.

Pamela Ruiter-Feenstra gave an organ recital on June 26,
consisting of Dutch, French, and Italian psalms and improvisations. Three of
the five segments of the recital were based on Genevan psalms, which originated
in the 16th century. First, Genevan Psalm 98 (Sing, sing a new song to the
Lord God) was treated in the Dutch style,
beginning with a rearrangement of a 1566 harmonization by Claude Goudimel and
followed by four additional verses of improvised variations. The second cycle
of improvisations featured the Italian toccata based on psalm tone cadences,
featuring Mode I. Ms. Ruiter-Feenstra observed that Italian organists playing
on original old instruments will play toccatas very freely. Toccatas served as
an introduction to something else, and the long notes provided other
instruments the opportunity to tune! The selection consisted of several
toccatas, each followed by an improvisation. Genevan Psalm 42 (As the
deer in search of water) was treated in a
style similar to what Pachelbel would have done. The bass melody had mostly
equal note values, and the lines moved much faster. Sample titles of the
improvisations were gigue, arpeggios, and ornamented treble. The third segment
was a French classical improvisation on Te Deum Laudamus
style='font-style:normal'>. The audience was furnished with the score of the
underlying chant. Ms. Ruiter-Feenstra performed this piece in the style of
Couperin’s Mass for the Parishes, in alternatim format. The audience had the pleasure of hearing
Ruiter-Feenstra as cantor between the organ improvisations on the segments of
this chant. The recital concluded with Ruiter-Feenstra’s setting of
Genevan Psalm 65 (Praise is your right, O God, in Zion . . . Yes, all
creation sings). The first verse was the
1566 Goudimel harmonization, followed by three verses by the performer. The
audience expressed its appreciation with a standing ovation.

On June 27, the first day of the two-day 26th International
Organ and Church Music Institute, the audience filled Dr. Marilyn Mason’s
teaching studio. The day began with a session on “Introduction to
Improvisation,” conducted by Dr. Horst Buchholz from the University of
Denver. Volunteers from the audience performed the improvisation exercises.
Next, in preparation for his evening recital, Dr. James Hammann talked about
the life and music of Felix Mendelssohn and his family. In the afternoon,
Barbara Owen spoke about the music of Brahms, especially the eleven chorale
preludes, and the audience became part of a masterclass on the chorale
preludes. The afternoon concluded with a presentation by Dr. Wayne Wyrembelski
on the first three published organ works by Olivier Messiaen (Celestial
Banquet, Diptych, Vision of the Eternal Church).
In the evening, Dr. Hammann performed all six organ sonatas by Felix
Mendelssohn-Bartholdy on the recently restored organ in Hill Auditorium to a
standing ovation.

The second day of the Institute began in the Blanche
Anderson Moore Hall with the entire morning devoted to “Improvising
Chorale Partitas and Dance Suites.” In this session, Dr. Pamela
Ruiter-Feenstra from Eastern Michigan University shared excerpts from her
forthcoming book entitled, Bach and Improvisation: Learning the Language
(Göteborg, Sweden: GOArt).

The afternoon sessions took place in Hill Auditorium. First,
James Hammann played and discussed Dudley Buck’s “Studies in Pedal
Phrasing,” and then conducted a masterclass on the Mendelssohn organ
sonatas. Horst Buchholz then had members of the audience improvise and
harmonize melodies for use in church services. The afternoon ended with Dr.
James Wagner sharing his insights into similarities between Gershwin’s Rhapsody
in Blue and Franck’s Grande
Pièce Symphonique (hint: the
similarities are frequent half cadences). The complete work was beautifully
performed by Seth Nelson.

The evening featured a recital by Horst Buchholz. The first
half of the program consisted of organ transcriptions, and the second half was
music by American composers. The final piece was to be an improvisation on a
theme submitted by Marilyn Mason. To everyone’s delight, Dr. Mason
submitted the German national anthem, and Dr. Buchholz’s improvisation
more than did justice to the theme!

23rd International Organ and Church Music Institute

The 23rd International Organ and Church Music Institute was held at the University of Michigan in Ann Arbor June 23-25. The institute began with a recital of music for violin and organ presented by U-M alums Tapani Yrjölä and Michele Johns, who also taught an improvisation class in addition to performing and organ teaching. The recital included Finnish music for violin and organ by Toivo Kuula and Franz Linnavuori, in addition to works by Bach, Buxtehude, and Vivaldi.

Marilyn Mason conducted an excellent masterclass on the Bach Neumeister Chorales, providing insight into these recently-discovered works. James Kibbie provided a thorough examination of the Bach Clavierübung, part III, in his masterclass. Robert Glasgow presented a very informative session on the interpretation of the organ works of César Franck.

One of the highlights of the festival was a recital by doctoral student William Jean Randall of Baroque music from France and Germany, which included a setting of the Titelouze Magnificat primi toni and the Marchand Te Deum, complete with plainchant sung in alternatim by Chris Meerdink. The last day of the institute included a three-hour masterclass on organ construction and design by Helmut Schick, which was then followed by a closing recital by students of Dr. Mason and Dr. Kibbie, featuring works by Bach, Buxtehude, and Lübeck.

--John C. Bostron

Organist, St. Stephen's Episcopal Church, Boise, Idaho

Organ Faculty, Boise State University

42nd Annual Conference on Organ Music

The University of Michigan's 42nd annual Conference on Organ Music  took place October 6-9, 2002, entitled "The European Connection," and featured the music of Germany, France, and the United States. Hill Auditorium, one of the usual venues for recitals and other events, is being renovated and was not available during this conference; however, Ann Arbor and the surrounding areas are replete with a wonderful variety of fine pipe organs.

The gala opening concert was held in the new sanctuary of Our Lady of Good Counsel Church, Plymouth, Michigan, and featured the new Casavant organ of 31 stops (42 ranks) on three manuals and pedal. The church sanctuary is spacious and the organ speaks effectively. It is an instrument with a rich palette of colors,  accommodates literature from all the periods, and is in a fine acoustical environment. Featured performers for the gala concert were guest organists from the Ann Arbor Chapter, American Guild of Organists, Donald Williams and Edward Maki-Schramm; from the Detroit Chapter, Scott van Ornum and Tom Trenney; from the Toledo Chapter, Brian Rotz and Barbara Dulmage. They performed works by Bach, Clérambault, Dudley Buck, Franck, and Duruflé.

Monday morning's activities were held in the Blanche Anderson Moore Hall of the University of Michigan, which houses the Marilyn Mason Organ, built by C.B. Fisk, which most closely resembles the instrument built by Silbermann for the Georgenkirche in Rotha, Germany. Master's degree student, Kirsten Hellman, performed music of France and Germany which included works by Lübeck, Couperin, and J.S. Bach. She was ably assisted by cantor David Troiano in the Gloria section of the Couperin Messe pour les Convents. Ms. Hellman was very well received as she played comfortably and flawlessly, concluding her program with the Bach Trio Sonata No. 1 and Prelude and Fugue in D Major, BWV 532.

Robert Clark, former Michigan organ faculty member and now Professor Emeritus, Arizona State University, lectured in the morning on the Hildebrandt organ of the Wenzelskirche in Naumburg, and performed the Bach Clavier-übung, Part III, in the afternoon.

The afternoon and evening activities on Monday were held at the First Congregational Church, which houses a fine Wilhelm organ. Graduate students Abigail Woods, Michael Frisch, and Elizabeth Claar, representing the studios of Professors Robert Glasgow, James Kibbie, and Marilyn Mason, gave brief remarks about the composers and music they were about to play, including compositions by Bach and Dupré.

Marilyn Mason blithely stated, as she introduced Susanne Diederich, distinguished German musicologist, that "some Germans love French music, and here is one!" This was an explanation for those wondering why Dr. Diederich was about to present a lecture titled, "Relations Between the Organs and the Music in the Classical French Tradition." Diederich gave lucid explanations of many aspects of French organ music, and her detailed handout provided a wealth of information on instruments, registration, and stoplists. Robert Luther, organist at Zion Lutheran Church in Anoka, Minnesota, played musical examples by Jean Adam Guilain.

Professor Clark's earlier lecture was based on his travels in East Germany and addressed the transitions of the Hildebrandt organ in 1933, 1978, and the restoration of 2000. We were treated with recordings of the present instrument along with a fine, scholarly and illuminating presentation. Mr. Clark played the Clavierübung, Part III, in memory of Robert Noehren, former Michigan organ professor and university organist who died on August 4, 2002. The playing was solid and sure, and the Wilhelm organ was the perfect instrument for this glorious music.

The concluding program for the day was all Bach, performed by Irene Greulich, organist at the Wenzel Church in Naumburg, Germany, since 1971, and included six compositions from the "Leipzig Eighteen," and a prelude and fugue along with the famed Toccata and Fugue in d minor, BWV 565. Her registrations were at times unexpected and effective, particularly in the chorale prelude Komm, heiliger Geist, Herre Gott.

Tuesday morning's activities were held at the First Presbyterian Church, Ann Arbor, with its recently installed Schoenstein organ of three manuals, 33 voices, and 42 ranks, on electric-pneumatic action. This instrument is described as enchambered with great and pedal unenclosed, and swell and choir enclosed. To the eyes and ears of this writer it is a successful instrument on which one is capable of leading church services, accompanying choral and instrumental groups, and performing organ literature of all periods.

Graduate students Luke Davis, Alan Knight, and Paula Seo, all of whom are directors of music at churches in the area, started out the day by presenting a well-performed program of organ music by Mendelssohn, George Thalben-Ball, and John Weaver. Again, the three players represented the three teaching studios of the Michigan organ faculty.

Marilyn Mason opened her lecture, "A Lifetime of New Music," commenting on and performing Prelude (pour Madame) by Gregory Hamilton and Miniature by Jean Langlais. Both compositions were played with verve, assurance, and absolute aplomb. Many of those present yearned for more of her playing; however, we were contented with cogent comments she made prior to each succeeding student performance. Doctoral students from her studio were Shin Ae Chun, Wm. Jean Randall, and David Saunders, performing commissioned works by John Ness Beck, Charles Callahan, Normand Lockwood, and Gordon Young. All of these organ students acquitted themselves splendidly. The brochure detailing the organ works commissioned by Mason through the years numbered over eighty, all of which she has performed. How many present-day organists can perform over eighty works by composers born in the 20th century?

Michael Gailit, distinguished Austrian organist at St. Augustine's Church in Vienna and a member of the faculty at the Vienna Conservatory of Music, presented a recital, "Mendelssohn and the Organ: The Background," which comprised works of Bach, Mozart, Mendelssohn, and Franz Schmidt. The entire program was cleanly played, always with tasteful, appropriate registrations and sometimes at breathtaking tempos.

Later in the afternoon, at St. Francis Catholic Church, where there is a three-manual Létourneau organ, Mr. Gailit presented an illuminating and often humorous lecture on his recital theme cited above. We were given a fairly exhaustive handout which included a number of composers and organs of the time, along with a graph which detailed the dates of Mendelssohn's organ compositions, publishers, and other useful information.

Irene Greulich, who performed on Monday night, lectured on the Bach Leipzig Chorales, BWV 651, 658, 659, 662, and 668. She discussed the plan for three settings of three chorales and spoke of the various usages of the settings. She was marvelously and amusingly assisted by Susanne Diederich, who also had lectured the day before, since Ms. Greulich was not always able to easily express herself in English. That, along with the consistent idea of "mystery" were sources of great fun and genuine interest.

One can, perhaps, tire of more and more brass groups endeavoring to play the great organ literature of the 17th and 18th centuries. However, the afternoon performance of the ensemble Today's Brass Quintet was refreshing, adding organ and tympani on this particular day. In their own words, "TBQ programs its original arrangements from a full spectrum of styles, ranging from the sparkling Baroque masterpieces of Bach and Pachelbel to the toe-tapping pleasures of Sousa, Gershwin and Ellington." On this occasion we heard some light fare, but in the main, we were feted with solid brass arrangements solidly played, including chorale preludes and an arrangement from Art of Fugue. Janelle O'Malley, organist at St. Francis, very competently joined the quintet on several compositions.

The long day ended splendidly with a performance of very challenging literature performed by Michigan organ professor James Kibbie. Beginning with the Bach Passacaglia in C minor, Professor Kibbie played compositions by Alain, Dan Locklair, Widor (Finale from Symphony VI in G minor), and Two Incantations for Trombone and Organ by Petr Eben. David Lee Jackson, trombonist, matched the organ in dynamics, expressiveness, and tone color. The Eben was a highlight of the recital. Kibbie plays with grace and ease, and one hears a maturity of expression and a total comfort with literature of all periods.

--Herman D. Taylor

Professor Emeritus

Eastern Illinois University

Charleston, Illinois

On Wednesday, October 9, the last day of the conference, conferees were treated to programs on two magnificent E. M. Skinner organs in Detroit. The morning program was held at the beautiful Jefferson Avenue Presbyterian Church, which houses a 68-rank Skinner organ. A program of music by Duruflé, Franck, Messiaen and Willan was performed by U of M doctoral students Gregory Hand, James Wagner, and Brennan Szafron, who used the registration possibilities available on the Skinner organ to the fullest.

The conference moved to the Masonic Temple for the afternoon program. After lunch at The Grill at the Temple, conferees gathered in the auditorium to hear the second Skinner organ. Dorothy Holden, internationally renowned E. M. Skinner expert and author of The Life and Work of E. M. Skinner, gave a very informative lecture on the development of the E. M. Skinner organ, illustrated by bits of music recorded on various notable Skinner organs around the country.

Next on the program was Robert Glasgow, U of M Professor of Music. Lecturing from the organ bench, Dr. Glasgow presented a masterclass on the performance of the Fantaisie in A by César Franck. For reference during the class, conferees were given a copy of the music with suggested annotations for performance by Dr. Glasgow.

The program--and the conference--concluded with the third dissertation recital of doctoral student Wm. Jean Randall. Mr. Randall played music of Dupré and selections from L'Orgue Mystique by Tournemire. Mr. Randall's performance of the Tournemire brilliantly demonstrated what an understanding of the previous scholarly talks on the Skinner organ and performance of late 19th-century French music can produce. It was a fitting conclusion to a rich and varied conference. Following the conclusion of the recital, conferees were invited to play the organ and tour the organ chambers.           

--Kathy Woodbury

Organist, First Church of Christ, Scientist, Norwood, Massachusetts

The University of Michigan

Joseph Daniel is graduate student instructor of carillon, assistant university carillonneur, and a doctoral candidate in organ at the University of Michigan. In addition he is organist-choirmaster at St. Andrew’s Episcopal Church, Livonia, Michigan.

The 25th International Organ and Church Music Institute, June 20-22, officially began Monday morning with a welcome by Dr. Marilyn Mason, chair of the organ department at the University of Michigan. The fifteen participants enjoyed a brief laugh remembering past institutes before beginning the day. The theme of this year’s institute was the music of French organists Charles Tournemire, Marcel Dupré and Maurice Duruflé.

Timothy Tikker presented two lecture/demonstrations on Charles Tournemire. Mr. Tikker’s first presentation included a survey of Tournemire’s organ output with him playing the Suite for the Feast of the Presentation from L’Orgue Mystique. The second presentation discussed performance practice of Tournemire. Tikker brought in many CDs, including a recording of Tournemire playing his improvisations, to demonstrate his ideas.

Dr. Michele Johns, Adjunct Professor of Church Music, led two workshops on hymn playing. Discussion included ideas for renewing congregational singing, as well as how to incorporate world music into church services while maintaining the integrity of the music. As a bonus, Dr. Tapani Yrjola, distinguished Finnish violinist and guest, joined Dr. Johns in two Baroque works (Bach and Veracini) for violin and organ.

Discussion on the lives and music of Dupré and Duruflé was led by Dr. Ralph Kneeream, noted scholar on both men. His presentations included wonderful multimedia slides (assisted by Dr. James Wilkes) and numerous--and entertaining--anecdotes. Both presentations traced the lives of the composers and their compositional output.

The sessions on Anglican chant were led by Dr. Gordon Atkinson, a University of Michigan alumnus. The sessions involved full participation from all participants. Plainchant, responsorial and Anglican double chants were taught to everyone. Participants volunteered to cantor for the various Psalm settings during the time.

The evenings featured graduate students of the organ department playing on the Marilyn Mason organ (C. B. Fisk) in the Blanche Anderson Moore Hall. Abigail Woods played a program of Baroque music including chorales from each of J. S. Bach’s major collection. Miss Woods was assisted by Mrs. Ginger Thorne Herrmann, cantor. David Troiano played a program of early music focusing on the early practice of alternatim. Mr. Troiano, a doctoral student in church music, is an accomplished singer, so he delighted the audience by being his own cantor.

The Sunday afternoon recitals included Mr. Tikker and his wife, Dr. Deborah Friauff, playing music spanning the centuries on the Fisk organ. That evening, Steven Strite played his Master of Music recital. Mr. Strite was joined by a string ensemble from his church to perform one of the Handel concertos.

Diana L. Akers is adjunct professor of organ at Florida Atlantic University, Boca Raton, Florida. She has studied privately with Marie-Louise Langlais and is presently pursuing a Ph.D. in Comparative Studies in Fine and Performing Arts with a primary emphasis on the 20th-century French organ school of composition. To heighten awareness of the pipe organ, she has created and maintains <www.Organiste.net&gt;, a website/calendar and e-mail notification service for organ, music, and arts events.

The 29th International Organ and Church Music Institute was presented June 15–17 by the University of Michigan School of Music, Theatre & Dance and directed by Marilyn Mason, University Organist and Chair of the Organ Department. The institute was devoted to the study of music by César Franck and Olivier Messiaen, Gregorian, Anglican and responsorial chant, Martin Luther’s musical thinking, hymn improvisation, and pipe organs around the world. Sessions were presented by Gordon Atkinson, Ralph Kneeream, Andrew Mead, Helmut Schick, Erven Thoma, and Steven Hoffman. A concert of works for violin and organ opened the institute, and two organ recitals, one of works by César Franck and one of works by Olivier Messiaen, were presented the following two evenings.

Opening concert
The opening concert was part of the Ann Arbor Summer Festival Classical Music Series and was held at Blanche Anderson Moore Hall. Pierre Darchambeau, violin, and Marilyn Mason, organ, performed works for violin and organ by Handel, Bach, Ysaÿe, Mozart, and Rheinberger. The “Marilyn Mason Organ,” Fisk opus 87, is modeled after the medium-sized organs of Gottfried Silbermann and most closely resembles the Silbermann organ in the Georgenkirche in Rötha, Germany (www.milandigitalaudio.com/silbermannstgeorge.htm).
Two early works of J. S. Bach were heard: Partita, “O Gott, du Frommer Gott,” BWV 767, and Pedal-Exercitium, BWV 598, along with Mozart’s Andante für eine Walze in eine Kleine Orgel, KV 616. The Fisk organ, with its one-fifth-comma modified meantone temperament, was the perfect instrument for the performance of this charming piece. Belgian violinist Pierre Darchambeau displayed brilliant technique and musicianship in the performance of the demanding Sonata No. 3 in D Minor, op. 27, no. 3, for violin alone, by Eugene Ysaÿe (1858–1931). Josef Rheinberger (1839–1901) composed several pieces for violin and organ, including the Suite in C Major, op. 166, which concluded the program. Working together as one, the two soloists achieved a finely tuned balance between the instruments, which inspired the audience to call for an encore, the Arioso by J. S. Bach.

Chant
Gordon Atkinson, visiting scholar from Victoria, Australia, conducted two sessions on chant. Born in Melbourne, he spent much of his life in England and North America. He attended the Royal College of Music in London, and was organist at St. John the Baptist in Kensington, where two of his predecessors were Healey Willan and William Harris. Past president of the Royal Canadian College of Organists, Atkinson has composed a number of Mass settings, choral and organ works, including Celebration, commissioned by Marilyn Mason. It appears on a CD played by Marijim Thoene at St. Joseph Abbey, St. Benedict, Louisiana. Dr. Atkinson’s experience as composer, music director, university instructor, and organist provided the group with meaningful, musical and proper methods of singing Gregorian, Anglican and responsorial chant. He provided diverse musical samples, including his own compositions, and opportunities were given to lead as soloist and cantor and to sing with and direct the group. The session concluded with a rendition of the hymn of praise, Atkinson, O God of Light.
Dr. Atkinson later offered a rare and entertaining presentation of “Australia’s Organ Heritage.” Tracing the history of the pipe organ in Australia, he discussed the organ builders who were German emigrants—Daniel Lemke, Carl Krüger, and Johann Wolff. Significant imports came from E. F. Walcker and others, followed by von Beckerath, Jürgen Ahrend, and others. Slides of various organs were displayed, along with recordings of a range of music, from the Gigout Toccata to Waltzing Matilda.

Organ history
Two lectures on pipe organs, “Ancient Organs through Freiburg” and “Poitiers through Contemporary Organ Building,” were presented by organ historians Helmut Schick and Erven Thoma. The historical development of the instrument was documented through ancient diagrams and writings. Mechanical developments were explained and related to performance and compositional development. Audio soundtracks were matched with photos of actual instruments so that one could hear the difference in voicing and organ specifications. Photos showcased the beauty and artwork of the organ cases.

Franck
“Organ Music of Franck (1822–1890), Photographs, Documents, Texts, Scores, Live and Recorded Performances,” was presented by Ralph Kneeream. Preceding the lecture, Dr. Kneeream shared personal memories and photographs of composers such as the Duruflés, Dupré, and Tournemire, and the 19th-century organ builder Aristide Cavaillé-Coll.
Beginning with the history of Sainte Clotilde, the life and works of César Franck were presented through the interpretations of Charles Tournemire and Maurice Duruflé. Dr. Kneeream stated that Cavaillé-Coll changed the French classical organ by reducing the number of flutes and mutations and by adding stops such as harmonic flutes. He was the first to place the Grand Orgue as the lowest manual instead of the Positif, and he included couplers so that the entire organ could be played from the Grand Orgue.
An expert on the life of Charles Tournemire, Kneeream translated and edited Tournemire’s book César Franck (1930). For performance and registration information, he referred the institute attendees to this volume, citing such quotations as “modulate, modulate, modulate” and the recommendation to “play the room” by allowing endings to naturally decay instead of by counting.
Dr. Kneeream noted that Arbiter Records has recently (May 2008) reissued the original Tournemire recordings of the works of Franck on the Ste. Clotilde organ (1930–31). Kneeream wrote the liner notes and recommended that attendees listen to this CD for performance interpretation and to hear the authentic sounds of the Franck organ, before the Tournemire alteration of the organ in 1933 (www.arbiterrecords.com).
According to Kneeream, within the Ste. Clotilde tradition one can hear the lineage of the great organ composers. For example, in Franck’s Choral en la mineur one can hear the influence of Bach’s Prelude in A Minor, BWV 543. The key link among French composers such as Franck, Tournemire and Olivier Messiaen is mysticism.

Franck masterclass and recital
Masterclass performances were given by U of M students Christopher Reynolds, Jason Branham, and Aaron Tan. Institute attendees were later treated to an all-Franck recital by graduate students of Marilyn Mason on the Frieze Memorial Organ in Hill Auditorium (www.umich.edu/~urel/hill/organ.html): Pièce Héroïque, Jason Branham; Cantabile, Christopher Reynolds; Choral in E Major, Paul Haebig; Choral in B Minor, Andrew Meagher; and Choral in A Minor, Aaron Tan.

Messiaen
Professor Andrew Mead, former chair of the music theory department, presented two sessions on Messiaen: “Visions of Glory: An Introduction to Olivier Messiaen’s Works for Organ” and “Olivier Messiaen’s Works for Organ.”
Somewhat demystifying the music of Messiaen, Mead explained that precedents for several of Messiaen’s compositional ideas and colors can be found in the works of composers such as Bach and Berlioz. Trio texture dominates many of Messiaen’s works. For contrast, as in Baroque literature, three very different registrations are used for each of the three voices and, similar to a cantus firmus in chorale preludes, 4-foot registrations are sometimes used for the melody. Like the trios found in the Bach F-Major Toccata, BWV 540, many times all possible combinations of voices are presented. This concept of using all possible combinations was also used in rhythmic and pitch variations. Another Messiaen technique was to contrast a low fundamental with high registration. Preceding Messiaen in French music, Berlioz contrasted six trombones with three flutes in his Requiem.
Dr. Mead explained many of the techniques that contribute to the sense of infinity or timelessness in the music of Messiaen. His music is not about development, but rather about return and reflection. One should look for recurrent motivic spans, both identical and similar, and techniques such as stretching and contraction and non-retrogradable rhythms. Mead also explained many of the pitch techniques and sources that Messiaen used in his compositions. Modes of limited transposition and chords of the dominant are all explained in Messiaen’s book, The Technique of My Musical Language. Chords of the resonance, based on the overtone series, parallel motion in the modes and in transposed scales, and combinations of scales all contribute to the sense of timelessness in this music, which moves slowly with contrasting, ever-changing colors and rhythm.

Martin Luther
Pulling together all aspects of the institute, Steven Hoffman’s lecture and demonstration, “Next to Theology . . . Music: Luther’s Musical Thinking and Hymn Improvisation,” combined chant, textual meaning, improvisation from organ literature, and inspirational organ playing. Theology first and music second was the focus of Luther’s musical thinking. Choosing several hymns from the Lutheran hymnal, Dr. Hoffman examined the texts first, then the musical sources, and then creatively improvised introductions that portrayed the meaning of the texts. One of his most dramatic improvisations was from Messiaen’s L’Apparition de l’Église Éternelle introducing the hymn, “Let All Mortal Flesh Keep Silence.” Citing Luther’s quotation, “Next to theology, God’s greatest gift is music,” Hoffman demonstrated how the gifts of the human voice, text, and musical skill and knowledge all can be used to celebrate the glory of God. The lecture then concluded with the uplifting, rhythmic version of “A Mighty Fortress Is Our God” (Ein Feste Burg), text by Martin Luther.

Messiaen recital
Topping the final day was an all-Messiaen recital on the Frieze Memorial Organ in Hill Auditorium. Graduate students Christopher Reynolds, Jason Branham, Andrew Meagher, Christopher Urbiel, Richard Newman, and Paul Haebig performed Le Banquet Céleste, Apparition de l’Église Éternelle, “Alléluias sereins” (L’Ascension), “Adoro te” (Livre du Saint Sacrement), “Les Mains de l’abîme” (Livre d’Orgue), and “Joie et clarté des corps glorieux” (Les Corps Glorieux). Dr. Mason performed Verset pour la fête de la Dédicace, a later work of chant and birdsong, and Dr. Mead performed three movements from Messe de la Pentecôte.
The recital was a brilliant ending to three days of a well-conceived interdisciplinary study of the pipe organ and church music. If there were one recurrent theme throughout the various sessions of the institute, it would be a sense of élan, or a call from the soul, and mysticism. In this music, reaching toward the beyond is essential for the composers, the organbuilders, the performers, and the listeners.

Diana L. Akers is adjunct professor of organ at Florida Atlantic University, Boca Raton, Florida. She has studied privately with Marie-Louise Langlais and is presently pursuing a Ph.D. in Comparative Studies in Fine and Performing Arts with a primary emphasis on the 20th-century French organ school of composition. To heighten awareness of the pipe organ, she has created and maintains , a website/calendar and e-mail notification service for organ, music, and arts events.

The 29th International Organ and Church Music Institute was presented June 15–17 by the University of Michigan School of Music, Theatre & Dance and directed by Marilyn Mason, University Organist and Chair of the Organ Department. The institute was devoted to the study of music by César Franck and Olivier Messiaen, Gregorian, Anglican and responsorial chant, Martin Luther’s musical thinking, hymn improvisation, and pipe organs around the world. Sessions were presented by Gordon Atkinson, Ralph Kneeream, Andrew Mead, Helmut Schick, Erven Thoma, and Steven Hoffman. A concert of works for violin and organ opened the institute, and two organ recitals, one of works by César Franck and one of works by Olivier Messiaen, were presented the following two evenings.

Opening concert
The opening concert was part of the Ann Arbor Summer Festival Classical Music Series and was held at Blanche Anderson Moore Hall. Pierre Darchambeau, violin, and Marilyn Mason, organ, performed works for violin and organ by Handel, Bach, Ysaÿe, Mozart, and Rheinberger. The “Marilyn Mason Organ,” Fisk opus 87, is modeled after the medium-sized organs of Gottfried Silbermann and most closely resembles the Silbermann organ in the Georgenkirche in Rötha, Germany (www.milandigitalaudio.com/silbermannstgeorge.htm).
Two early works of J. S. Bach were heard: Partita, “O Gott, du Frommer Gott,” BWV 767, and Pedal-Exercitium, BWV 598, along with Mozart’s Andante für eine Walze in eine Kleine Orgel, KV 616. The Fisk organ, with its one-fifth-comma modified meantone temperament, was the perfect instrument for the performance of this charming piece. Belgian violinist Pierre Darchambeau displayed brilliant technique and musicianship in the performance of the demanding Sonata No. 3 in D Minor, op. 27, no. 3, for violin alone, by Eugene Ysaÿe (1858–1931). Josef Rheinberger (1839–1901) composed several pieces for violin and organ, including the Suite in C Major, op. 166, which concluded the program. Working together as one, the two soloists achieved a finely tuned balance between the instruments, which inspired the audience to call for an encore, the Arioso by J. S. Bach.

Chant
Gordon Atkinson, visiting scholar from Victoria, Australia, conducted two sessions on chant. Born in Melbourne, he spent much of his life in England and North America. He attended the Royal College of Music in London, and was organist at St. John the Baptist in Kensington, where two of his predecessors were Healey Willan and William Harris. Past president of the Royal Canadian College of Organists, Atkinson has composed a number of Mass settings, choral and organ works, including Celebration, commissioned by Marilyn Mason. It appears on a CD played by Marijim Thoene at St. Joseph Abbey, St. Benedict, Louisiana. Dr. Atkinson’s experience as composer, music director, university instructor, and organist provided the group with meaningful, musical and proper methods of singing Gregorian, Anglican and responsorial chant. He provided diverse musical samples, including his own compositions, and opportunities were given to lead as soloist and cantor and to sing with and direct the group. The session concluded with a rendition of the hymn of praise, Atkinson, O God of Light.
Dr. Atkinson later offered a rare and entertaining presentation of “Australia’s Organ Heritage.” Tracing the history of the pipe organ in Australia, he discussed the organ builders who were German emigrants—Daniel Lemke, Carl Krüger, and Johann Wolff. Significant imports came from E. F. Walcker and others, followed by von Beckerath, Jürgen Ahrend, and others. Slides of various organs were displayed, along with recordings of a range of music, from the Gigout Toccata to Waltzing Matilda.

Organ history
Two lectures on pipe organs, “Ancient Organs through Freiburg” and “Poitiers through Contemporary Organ Building,” were presented by organ historians Helmut Schick and Erven Thoma. The historical development of the instrument was documented through ancient diagrams and writings. Mechanical developments were explained and related to performance and compositional development. Audio soundtracks were matched with photos of actual instruments so that one could hear the difference in voicing and organ specifications. Photos showcased the beauty and artwork of the organ cases.

Franck
“Organ Music of Franck (1822–1890), Photographs, Documents, Texts, Scores, Live and Recorded Performances,” was presented by Ralph Kneeream. Preceding the lecture, Dr. Kneeream shared personal memories and photographs of composers such as the Duruflés, Dupré, and Tournemire, and the 19th-century organ builder Aristide Cavaillé-Coll.
Beginning with the history of Sainte Clotilde, the life and works of César Franck were presented through the interpretations of Charles Tournemire and Maurice Duruflé. Dr. Kneeream stated that Cavaillé-Coll changed the French classical organ by reducing the number of flutes and mutations and by adding stops such as harmonic flutes. He was the first to place the Grand Orgue as the lowest manual instead of the Positif, and he included couplers so that the entire organ could be played from the Grand Orgue.
An expert on the life of Charles Tournemire, Kneeream translated and edited Tournemire’s book César Franck (1930). For performance and registration information, he referred the institute attendees to this volume, citing such quotations as “modulate, modulate, modulate” and the recommendation to “play the room” by allowing endings to naturally decay instead of by counting.
Dr. Kneeream noted that Arbiter Records has recently (May 2008) reissued the original Tournemire recordings of the works of Franck on the Ste. Clotilde organ (1930–31). Kneeream wrote the liner notes and recommended that attendees listen to this CD for performance interpretation and to hear the authentic sounds of the Franck organ, before the Tournemire alteration of the organ in 1933 (www.arbiterrecords.com).
According to Kneeream, within the Ste. Clotilde tradition one can hear the lineage of the great organ composers. For example, in Franck’s Choral en la mineur one can hear the influence of Bach’s Prelude in A Minor, BWV 543. The key link among French composers such as Franck, Tournemire and Olivier Messiaen is mysticism.

Franck masterclass and recital
Masterclass performances were given by U of M students Christopher Reynolds, Jason Branham, and Aaron Tan. Institute attendees were later treated to an all-Franck recital by graduate students of Marilyn Mason on the Frieze Memorial Organ in Hill Auditorium (www.umich.edu/~urel/hill/organ.html): Pièce Héroïque, Jason Branham; Cantabile, Christopher Reynolds; Choral in E Major, Paul Haebig; Choral in B Minor, Andrew Meagher; and Choral in A Minor, Aaron Tan.

Messiaen
Professor Andrew Mead, former chair of the music theory department, presented two sessions on Messiaen: “Visions of Glory: An Introduction to Olivier Messiaen’s Works for Organ” and “Olivier Messiaen’s Works for Organ.”
Somewhat demystifying the music of Messiaen, Mead explained that precedents for several of Messiaen’s compositional ideas and colors can be found in the works of composers such as Bach and Berlioz. Trio texture dominates many of Messiaen’s works. For contrast, as in Baroque literature, three very different registrations are used for each of the three voices and, similar to a cantus firmus in chorale preludes, 4-foot registrations are sometimes used for the melody. Like the trios found in the Bach F-Major Toccata, BWV 540, many times all possible combinations of voices are presented. This concept of using all possible combinations was also used in rhythmic and pitch variations. Another Messiaen technique was to contrast a low fundamental with high registration. Preceding Messiaen in French music, Berlioz contrasted six trombones with three flutes in his Requiem.
Dr. Mead explained many of the techniques that contribute to the sense of infinity or timelessness in the music of Messiaen. His music is not about development, but rather about return and reflection. One should look for recurrent motivic spans, both identical and similar, and techniques such as stretching and contraction and non-retrogradable rhythms. Mead also explained many of the pitch techniques and sources that Messiaen used in his compositions. Modes of limited transposition and chords of the dominant are all explained in Messiaen’s book, The Technique of My Musical Language. Chords of the resonance, based on the overtone series, parallel motion in the modes and in transposed scales, and combinations of scales all contribute to the sense of timelessness in this music, which moves slowly with contrasting, ever-changing colors and rhythm.

Martin Luther
Pulling together all aspects of the institute, Steven Hoffman’s lecture and demonstration, “Next to Theology . . . Music: Luther’s Musical Thinking and Hymn Improvisation,” combined chant, textual meaning, improvisation from organ literature, and inspirational organ playing. Theology first and music second was the focus of Luther’s musical thinking. Choosing several hymns from the Lutheran hymnal, Dr. Hoffman examined the texts first, then the musical sources, and then creatively improvised introductions that portrayed the meaning of the texts. One of his most dramatic improvisations was from Messiaen’s L’Apparition de l’Église Éternelle introducing the hymn, “Let All Mortal Flesh Keep Silence.” Citing Luther’s quotation, “Next to theology, God’s greatest gift is music,” Hoffman demonstrated how the gifts of the human voice, text, and musical skill and knowledge all can be used to celebrate the glory of God. The lecture then concluded with the uplifting, rhythmic version of “A Mighty Fortress Is Our God” (Ein Feste Burg), text by Martin Luther.

Messiaen recital
Topping the final day was an all-Messiaen recital on the Frieze Memorial Organ in Hill Auditorium. Graduate students Christopher Reynolds, Jason Branham, Andrew Meagher, Christopher Urbiel, Richard Newman, and Paul Haebig performed Le Banquet Céleste, Apparition de l’Église Éternelle, “Alléluias sereins” (L’Ascension), “Adoro te” (Livre du Saint Sacrement), “Les Mains de l’abîme” (Livre d’Orgue), and “Joie et clarté des corps glorieux” (Les Corps Glorieux). Dr. Mason performed Verset pour la fête de la Dédicace, a later work of chant and birdsong, and Dr. Mead performed three movements from Messe de la Pentecôte.
The recital was a brilliant ending to three days of a well-conceived interdisciplinary study of the pipe organ and church music. If there were one recurrent theme throughout the various sessions of the institute, it would be a sense of élan, or a call from the soul, and mysticism. In this music, reaching toward the beyond is essential for the composers, the organbuilders, the performers, and the listeners. ■

Jeffrey Patry is director of music and organist at Sacred Heart Church in Robbinsdale, Minnesota. A graduate of St. Olaf College, he studied organ and church music with Douglas Cleveland and John Ferguson. Kraig Windschitl is principal organist at Mount Olivet Lutheran Church in Minneapolis, Minnesota. A graduate of St. John’s University and Indiana University, he studied organ and church music with Kim Kasling, Larry Smith, and Marilyn Keiser. Photo credit: Jayne Latva

The 28th annual International Organ and Church Music Institute took place June 24–26, hosted by the School of Music, Theatre, and Dance at the University of Michigan, Ann Arbor. Under the direction of Marilyn Mason, university organist and organ department chair, this year’s conference focused on the music of Dietrich Buxtehude (1637–1707) as well as liturgical music, in a variety of workshops, lectures, and recitals.
For the opening of the institute, a recital featuring organist/harpsichordist Michele Johns, professor of church music at the University of Michigan; baroque violinist Tapani Yrjölä, chair of the string department at Joensuu Conservatory, Finland; and tenor David Troiano took place in the Blanche Anderson Moore Hall, which houses the 35-rank “Marilyn Mason” organ by Fisk. Composers represented were Buxtehude, Corelli, and J. S. Bach, including the Ciaccona in c minor, performed in celebration of the 300-year anniversary of Buxtehude’s death.
The same evening, Kim Kasling, professor of organ and liturgical music studies at St. John’s University, Collegeville, Minnesota, and organist emeritus at the Cathedral Basilica of St. Mary, Minneapolis, performed a recital of Böhm, Buxtehude, Alain, and Reger on the Frieze Memorial Organ in Hill Auditorium. This grand organ was built and rebuilt by Farrand & Votey, Hutchings, E. M. Skinner, and Aeolian-Skinner—truly a marvel in both sight and sound! A highlight of the recital was the Ann Arbor premiere of the Reger Fantasie and Fugue in d minor, op. 135b, in the original uncut score. This monumental work called for the full resources of both organ and organist, a stunning, bravura match rewarded with repeated applause and shouts of “Bravo!”
The following morning began with Dr. Kasling’s presentation on “Buxtehude, Böhm, and Muffat—Common Ground.” Kasling explored and demonstrated stylus phantasticus, Italian and French styles germane to all three composers. A specific work performed was Muffat’s Toccata Duodecima et Ultima, a real delight, heard in the reverberant Blanche Anderson Moore Hall on the Marilyn Mason organ built by Fisk.
Throughout the institute, break-out sessions were presented by Johan Van Parys, director of worship and the sacred arts at the Cathedral Basilica of St. Mary in Minneapolis. Topics covered worship as a ritual behavior, as a sensual experience, and as a conscious, pre-conscious, and post-conscious experience.
Margarete Thomsen, liturgical consultant as well as former music director and organist at Good Shepherd Lutheran Church, Redford, Michigan, presented “Buxtehude and the Chaconne.” The evolution of the chaconne and passacaglia was discussed using examples such as the Passacaglia in d minor, the Ciaccona in e minor, and the Ciaccona in c minor. Dr. Thomsen brought the session to a close with the performance of the Prelude, Fugue, and Ciaccona in C Major.
“Organs—Ancient through Contemporary” was led by Erven Thoma, music director and organist for Martin Luther Chapel, East Lansing, Michigan, and Helmut Schick, organ historian and curator in southern Michigan. Beautiful slides and superb recordings were enjoyed by an enthusiastic audience. Examples included the Jörg Ebert organ at the Hofkirche, Innsbruck, Austria, which dates back to 1558; François-Henri Clicquot of 1790 at the Cathedral of St. Pierre Poitiers in Vienne, France; and most recently the M. P. Möller/ Goulding & Wood at the Basilica of the National Shrine, Washington, DC, heard in a stunning recording of the third dance from Alain’s Trois Danses, performed by Marilyn Mason.
Later that evening at Hill Auditorium, DMA candidate Luke Davis performed the music of Johannes Brahms—the Eleven Choral Preludes, op. 122, as well as the Sonata in E-flat for clarinet and piano, op. 120, no. 2, with Ryan Lohr, clarinet. As a unique touch to the program, Davis intoned each chorale from the organ bench.
On the final day, Marijim Thoene, a University of Michigan alumna, presented “The Influence of Frescobaldi and Froberger on Buxtehude.” Harmonic structure and rhythmic motifs were analyzed in Frescobaldi’s Cento Partite sopra Passacaglia and Froberger’s Canzona No. 6, in relation to Buxtehude’s Ciaccona in c minor. Dr. Thoene performed the Buxtehude Ciaccona on the Marilyn Mason organ, and the Froberger Canzona No. 6 on the Willard Martin harpsichord.
Later that afternoon, Marilyn Mason graciously invited all institute participants to an open console at Hill Auditorium. Given the massive size of the instrument, Dr. Mason willingly assisted those at the organ.
That evening, DMA candidate Marcia Heirman performed a program of Franck, Schroeder, Saint-Saëns, Reger, Messiaen, and Vierne. A welcome conclusion to the institute was this varied program, especially Franck’s Choral in b minor, a perfect work for such a renowned instrument.
Thanks to Dr. Marilyn Mason and the University of Michigan for a most informative, invigorating, and pleasurable Organ and Church Music Institute. We look forward to the 29th institute next June.n