Illinois College Organ Symposium

Marijim Thoene received a D.M.A. 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 from Raven Recordings. She is a frequent presenter at medieval conferences on the topic of the image of the pipe organ in medieval manuscripts.
Lisa Byers received master’s degrees in music education and organ performance from the University of Michigan, and a J.D. from the University of Toledo, Ohio. She is retired from teaching music in the Jefferson Public Schools in Monroe, Michigan, as well as from her position as organist/choir director at St. Peter’s Episcopal Church in Tecumseh, Michigan. She subs as organist in the Monroe area.
Photo credit: Bela Fehe

The University of Michigan 49th Conference on Organ Music was dedicated to the memory of Robert Glasgow, brilliant organist and much loved professor of organ at the University of Michigan. The conference was truly a celebration of his life as a scholar, performer, and teacher. His raison d’être was music—organ music of soaring melodies and transcendent harmonies. He shared his passion with his students and has left a legacy that can be kept alive through generations of students who instill in their students his ideas.
During the conference, a wide variety of lectures were presented that reflected years of research, along with performances of four centuries of organ music. The conference was international in scope, with lecturers and performers from Germany, Italy, Hungary, Canada as well as the U.S. The themes of the conference focused on the influences of J. S. Bach and Mendelssohn’s role in arousing public interest in Bach’s music.

Sunday opening events
The initial event was an afternoon “Festival of Hymns” presented by the UM School of Music, Theatre, and Dance and the American Guild of Organists Ann Arbor chapter. Led by organist-director Michael Burkhardt, it featured the Eastern Michigan University Brass Ensemble, the Detroit Handbell Ensemble, and the Ann Arbor Area Chorus. Special care was taken to choose, coordinate, and connect music by Bach, Mendelssohn, and Charles Wesley. Many hymn verses and arrangement variations kept the presentation musically interesting and enjoyable. Dr. Burkhardt was masterful in his organ solos, accompaniments, improvisations, conducting, and composing. His leadership from the console was met with great enthusiasm from the appreciative, participating audience. (Review by Lisa Byers)
Sunday evening’s organ recital program featured music of Spain and France performed by musicians from the University of Michigan’s Historic Organ Tour 56 to Catalonia and France. Janice Feher opened with an excerpt from a Soler sonata. Gale Kramer performed the “Allegro Vivace” from Widor’s Symphony V, followed by Joanne V. Clark’s rendering of the “Adagio” from Widor’s Symphony VI. Mary Morse sang the versets of a Dandrieu Magnificat for which Christine Chun performed the alternate versets. Timothy Huth played a section from Tournemire’s In Festo Pentecostes, and Paul Merritt closed the program with the Dubois Toccata. The various composition styles, registrations, and favorable interpretations performed excellently and sensitively on the Hill Auditorium organ were well received and greatly acknowledged by the audience. (Review by Lisa Byers)

Monday, October 5
Jason Branham, a doctoral student of Marilyn Mason, set the stage for celebrating not only Mendelssohn’s two hundredth birthday but also his profound influence in bringing the forgotten music of J. S. Bach to the attention of Berlin and consequently to Western society. Branham’s program was a reprise of Mendelssohn’s Bach recital presented at St. Thomas-Kirche in Leipzig in 1840, performed to raise money to erect a monument to Bach in Leipzig: Fugue in E-flat, BWV 552; Schmücke dich, o liebe Seele, BWV 654; Prelude and Fugue in A Minor, BWV 543; Passacaglia and Fugue in C Minor, BWV 582; Pastoral in F Major, BWV 590; and Toccata and Fugue in D Minor, BWV 565. Branham’s performance was exciting and earned him thunderous applause.
Christoph Wolff, Professor of Musicology at Harvard, eminent Bach scholar, and author of Johann Sebastian Bach: The Learned Musician, gave four illuminating lectures during the conference. In his first lecture, “J. S. Bach the Organist—Recent Research,” he presented arguments supporting Bach’s authorship of the D-minor Toccata and Fugue, BWV 565, dated 1703. Peter Williams, who questioned Bach’s authorship in the 1980s, maintained that such a piece could not have been composed by Bach before 1730. Wolff presented convincing arguments based on an analysis of both the oldest manuscripts and the music itself. He also drew a connection to the discovery in 2008 of Bach’s Wo Gott der Herr nicht bei uns hält, BWV 1128, in the library of Halle University. The work is a large free fantasia dated ca. 1705, with compositional features shared by the Toccata and Fugue in D Minor. Wolff maintained that Bach, whose organ technique was formidable at an early age, composed the D-minor Toccata and Fugue to dazzle his audience with improvisatory passages borrowed from pieces like Buxtehude’s D-minor Toccata. Wolff concluded that this work was written as a showpiece for Bach himself and not intended to be circulated and copied by his pupils; hence only one copy exists, in the hand of Johannes Ringk, dated 1730.
Michael Barone’s handout listing Mendelssohn recordings was a testimony to his impressive knowledge of recorded organ music. Of the many Mendelssohn pieces he played, the most compelling was a 1973 recording of Mendelssohn’s Piano Concerto No. 1 in G Minor, op. 25, played by Robert B. Pitman, piano, and George Lamphere, organ, at the Methuen Music Hall (Pipedreams CD-1002; live performance). The playing was stunning in its youthful exuberance and virtuosity.
Professor Wolff showed images of historical organs and churches connected to Bach, many of which unfortunately no longer exist, in his lecture “Silbermann and Others—The World of Bach Organs.” The most riveting information regarding performance practice of the organ in Bach cantatas came from a view of the original Mülhausen balcony. The balcony was large enough to accommodate strings, woodwinds, brass, and choir; kettle drums were fixed onto the railings overlooking the audience. The choir stood below the instruments. The large organ was used—not a little Positiv. A performance incorporating this practice is on John Eliot Gardner’s recording, Bach Cantata Pilgrimage, using the Altenburg organ in Cantata 146.
James Kibbie, Professor of Organ at the University of Michigan, announced that his recordings of the complete organ works of Bach, performed on historical instruments in Germany, can be found at the website <blockmrecords.org>. The project is supported by a gift from Dr. Barbara Sloat in honor of her late husband J. Barry Sloat. Additional details are available at <www.blockmrecords.org/bach&gt;.
Istvan Ruppert is Dean and Professor of Organ in the Department of Music of the Szechenyi University in Gyor, Hungary, and is also an organ professor at the Ferenc Liszt Academy of Music. His program included music by Mendelssohn, Karg-Elert, Max Reger, Liszt, and three Hungarian composers. He has formidable technique and played with great energy and abandon. It was refreshing to hear intriguing and unknown compositions by Frigyes Hidas, Zsolt Gárdonyi, and Istvan Koloss. The humor in Gárdonyi’s Mozart Changes was appreciated. Ruppert is a real enthusiast in sharing music by Hungarian composers by graciously offering to send scores to those who wished to have them.

October 6
Prof. Wolff pointed out in his lecture “Bach’s Organ Music—From 1750 to Felix Mendelssohn Bartholdy” that Bach’s Clavier Übung III offered a textbook of organ playing. Wolff lamented that Mendelssohn’s inclusion of historical music by Bach, Handel, Mozart, and Haydn into the Gewandhaus concerts had unfortunate consequences in our concert programs today. While only five percent of his concerts were devoted to “historical composers,” the remaining works were by contemporary composers, himself, Liszt, Schumann, and Schubert. Today our programs are mainly old music, with five percent devoted to new music.
Susanne Diederich received a PhD from Tübingen University. Her dissertation, “Original instructions of registration for French organ music in the 17th and 18th centuries: Relations between organ building and organ music during the time of Louis XIV,” represents some of the ground-breaking research on French Classical organs; it was published by Bärenreiter in 1975. In her lecture, “The Classical French Organ, Its Music and the French Influence on Bach’s Organ Composition,” Diederich pointed out that the French Classical organ was complete by 1665, and Guillaume Nivers’ First Organ Book of 1665 contained the first description of all the stops. Her handout was especially informative in showing how Bach’s table of ornaments in his Klavierbüchlein für Wilhelm
Friedemann reflected his assimilation of ornament tables by Raison, 1688, Boyvin, 1689, and Couperin, 1690. Robert Luther, organist emeritus of Zion Lutheran Church in Anoka, Minnesota, played movements from Guilain’s Second Suite, and Christopher Urbiel, doctoral student of Marilyn Mason, played movements from de Grigny’s Veni Creator, Marchand’s Livre d’orgue Book I, and Bach’s Fantaisie, BWV 542, to illustrate features Bach borrowed from the French Classical repertoire.
Seth Nelson received his DMA in organ performance from the University of Michigan in 2003; he is organist at the First Baptist Church in San Antonio, Texas, and accompanist for the San Antonio Choral Society and the Trinity University Choir. His lecture/recital, “Music of the Calvinist Reformation: Introducing John Calvin’s Theology of Music,” included an explanation of why Calvin did not approve of the use of the organ in services. The reasons were many: the Old Testament mentioned its use, thus it is not appropriate to use an old instrument in the new age; it is wrong to imitate the Roman Church; it is an unnecessary aid; it is too distracting; it is against Paul’s teaching, “Praise should be in all one tongue.” The highlight of the program was hearing Seth Nelson’s spirited playing of Paul Manz’s introduction to Calvin’s setting of Psalm 42 and Michael Burkhardt’s introduction and interlude to Calvin’s setting of Psalm 134.
The evening concert featured Mendelssohn’s six organ sonatas played by James Hammann, chair of the music department of the University of New Orleans. It was a rare treat to hear these technically demanding pieces all played at one sitting. Dr. Hammann’s years of investment in this music is apparent. His recording of Mendelssohn’s organ works on the 1785 Stumm organ in St. Ulrich’s Church in Neckargemünd is available on the Raven label.

October 7
Tuesday morning began with the annually anticipated narrated photographic summary of European organs presented by Janice and Bela Feher. This year featured the UM Historic Organ Tour 56 to Northern Spain and France. The PowerPoint presentation included at least 600 photographs of organs in 35 religious locations and the Grenzing organ factory in Barcelona. The organs dated from 1522 to 1890 and included builders Dom Bedos, François-Henry, Louis-Alexandre, Clicquot, Cavaillé family, Cavaillé-Coll, Moucherel, and Scherrer. The photos showed views of cases, consoles, mechanical works, stained glass windows, altar pieces, sacred art, and other enhancements. The Fehers provided a written list with detailed information for each picture. Their first book, with Marilyn Mason, is available by mail order from <Blurb.com>. (Review by Lisa Byers)
Stephen Morris is a lecturer in music at Baylor University, Waco, Texas; organist-choirmaster and director of music ministries at the Episcopal Church of the Holy Spirit in Houston, Texas; and maintains a studio as a teacher of singing, largely concentrating on early adolescent female voices. His presentation, “Acclaim, Slander, and Renaissance: An Historical Perspective on Mendelssohn,” incorporated visual images and music. Among the lesser-known facts is that Mendelssohn was admired and befriended by Queen Victoria and Prince Albert. They chose Mendelssohn’s March from “A Midsummer Night’s Dream” for their daughter’s wedding. It became a favorite for productions of Shakespeare throughout Europe. However, due to anti-Semitism fueled by Richard Wagner, Mendelssohn’s March was banned by Nazi Germany, and ten other composers were commissioned to replace it. Ironically, the Nazis preferred Bach above all composers, yet they never would have known about him without Mendelssohn. Morris noted that there is a great wealth of information on Mendelssohn research at <www.
themendelssohnproject.org>.
Professor Wolff concluded his Bach-Mendelssohn lectures with a fascinating presentation, “The Pre-History of Mendelssohn’s Performances of the St. Matthew Passion.” He described Sarah Itzig Levy, Mendelssohn’s maternal great aunt and a famous harpsichordist, as the moving force who began the revival of
J.S. Bach’s music. She introduced family members and friends to many of Bach’s works. She studied with W.F. Bach and commissioned C.P.E. Bach to write what turned out to be his last concerto: one for harpsichord, fortepiano, and orchestra. She regularly performed in weekly gatherings in her salon as soloist with an orchestra from 1774–1784. In 1823 Mendelssohn was given a copy of Bach’s St. Matthew Passion by his grandmother, Bella Salomon, Sara Levy’s sister. It took Mendelssohn five years to persuade his teacher, Carl Friedrich Zelter, to have the Singakademie of Berlin perform it. The 19-year-old Mendelssohn conducted Bach’s St. Matthew Passion to a packed audience that included the Prussian king. This performance enthralled the audience and thus began J. S. Bach’s reentry into the hearts of German people and to the world at large. Mendelssohn continued conducting performances of the St. Matthew Passion when he became director of the Gewandhaus in Leipzig in 1834, at the age of twenty-six. He re-orchestrated it, shortened some pieces, omitted some arias, and introduced the practice of having the chorale Wenn ich einmal soll scheiden sung a cappella. That score and the performing parts are now in the Bodleian Library.
Eugenio Fagiani, resident organist at St. Michael the Archangel Catholic Church in Bergamo, played a recital at Hill Auditorium featuring Italian composers Filippo Capocci, Oreste Ravanello, Marco Enrico Bossi, and four of his own compositions. His playing was impeccable, and his compositions reflect the influence of one of his teachers, Naji Hakim, in style and use of exotic sounds and feisty, driving rhythms. His Victimae Paschali Laudes, op. 96, has a wide variety of striking timbres, ranging from a clarinet plus mutation stops to a big-band sound. His creativity as a composer was undeniable in his Festive Prelude, op. 99b, composed for this conference. Here the pedal occasionally sounded like percussive drums. The work sizzled with energy and ended in a fiery toccata. Fagiani played “Joke,” another of his compositions, as an encore. The audience enjoyed his quotations from J. S. Bach and John Lennon. More can be learned about this impressive composer/organist at his website:
<www.eugeniomariafagiani.com&gt;.
Michele Johns, Adjunct Professor of Organ at the University of Michigan, presented an interesting lecture on the changes of taste reflected in hymnals from four denominations over the past forty years. She noted that the texts have become more gender inclusive, hymns in foreign languages are included (“What a Friend We Have in Jesus” appears in four languages in the Presbyterian Hymnal), and there is greater variety in styles from “pantyhose music”—one size fits all—to Taizé folk melodies; she proved her point that in today’s hymnals there is “Something Old, Something New.”
One of the most exciting recitals of the conference was played by Aaron Tan, a student of Marilyn Mason and a graduate student in the School of Engineering at the University of Michigan, organist/choirmaster at the First Presbyterian Church in Ypsilanti, and director of the Ypsilanti Pipe Organ Festival. His memorized recital shimmered with grace and energy: Alleluyas by Simon Preston; Prelude and Fugue in G Minor, op. 7, no. 3, by Marcel Dupré; Sicilienne from Suite, op. 5, by Maurice Duruflé; Prelude and Fugue in A Minor, BWV 543, by J. S. Bach; Moto ostinato from Sunday Music by Petr Eben; Naïades and Final from Symphony No. 6 by Louis Vierne. The audience gave him a standing ovation.
The concluding recital was played in Hill Auditorium in memory of Robert Glasgow by some of his former students. The program was a beautiful tribute to his life—a life devoted to the study, performance and teaching of organ music, especially the music of Franck, Mendelssohn, Vierne, Widor, Schumann, Liszt, and Brahms. The performers brought with them some of his spirit, some of his light, some of his joy in creating something that puts us in another dimension. His attention to the minutest detail of the score, his total commitment to breathing life into each phrase was mirrored in these performers:
Mark Toews, director of music, Lawrence Park Community Church, Toronto, past president, Royal Canadian College of Organists, Variations de Concert, op. 1 by Joseph Bonnet; Ronald Krebs, vice president, Reuter Organ Company, O Welt, ich muss dich lassen, op. 122, no. 11, Fugue in A-flat Minor, WoO8, by Johannes Brahms; David Palmer, Professor Emeritus, School of Music, University of Windsor, organist and choir director, All Saints’ Church, Windsor, Ontario, L’Apparition du Christ ressuscité a Marie-Madeleine by Olivier Messiaen; Joanne Vollendorf Clark, Chair of the Music Department, Marygrove College, Detroit, minister of music, Hartford Memorial Baptist Church, Detroit, Pastorale, op. 26, by Alexandre Guilmant; Charles Miller, minister of music and organist, National City Christian Church, Washington, D.C., Pièce héroïque by César Franck; Joseph Jackson, organist, First Presbyterian Church, Royal Oak, Michigan, “Air with Variations” from Suite for Organ by Leo Sowerby; and Jeremy David Tarrant, organist and choirmaster, the Cathedral Church of St. Paul, Detroit, Andantino, op. 51, no. 2, and Carillon de Westminster, op. 54, no. 6, by Louis Vierne.
Professor Marilyn Mason made the 49th Conference on Organ Music at the University of Michigan a reality. She invested countless hours of planning and organizing into making it happen, because she has an insatiable thirst for learning and thinks “we all need to learn.” She has brought brilliant scholars and performers together for 49 years to teach and inspire us. The list includes such figures as Almut Rössler, Umberto Pineschi, Martin Haselböck, Todd Wilson, Janette Fishell, Madame Duruflé, Catherine Crozier, Guy Bovet, Peter Williams, Lady Susi Jeans, Wilma Jensen, Gordon Atkinson, and Marie-Claire Alain (to name only a few). We thank her for such priceless gifts.

Catharine Crozier played a recital and conducted a masterclass on April 23 and 24 at Illinois College in Jacksonville, Illinois. The Friday evening program represented the 20th anniversary recital on The Hart Sesquicentennial Organ and was presented as The Ruth M. Bellatti Memorial Organ Recital. Ms. Crozier performed Partita on the Chorale, "Was Gott tut das ist wohlgetan," Pachelbel; Fugue in E-flat, S. 552b, Bach; Prelude and Fugue on BACH, Liszt; Suite Mediévale, Langlais; A Prophecy, Pinkham; Fantasy for Flute Stops and Toccata, Sowerby.

On Saturday, Crozier led a masterclass attended by some 40 persons. Eleven participants played a variety of repertoire, including works of Bach, Franck, Langlais, Locklair, Preston, and Rorem. Four players are students of Rudolf Zuiderveld at Illinois College; the others are studying organ with Delbert Disselhorst at the University of Iowa and with Jay Peterson at MacMurray College.

During the class, Crozier supportively challenged each player to improve some aspect of his/her performance. Over all else, she stressed musicality and intense effort to communicate with the listener. Her class was laced with such comments as: "You need to sound like you mean business--I didn't hear that," "The notes are all there--now let's work on what the music is saying," "You are doing all the right things, but you need to increase your tempo," "I think you are playing each note instead of playing the line." In response to a question about listening to one's own playing, she suggested the need to cultivate a level of detachment from self sufficient to truly hear what is being communicated.

It was a great pleasure for the participants to have heard and been taught by this wonderful artist whose musical career spans more than six decades. Together with her late husband, Harold Gleason, she has set a high standard for American organ playing.

Marcia Van Oyen earned master’s and doctoral degrees in organ and church music at the University of Michigan, where she studied organ with Robert Glasgow. She is associate director of music/organist at Plymouth First United Methodist Church in Plymouth, Michigan. She is on the steering committee for the 2006 national AGO convention and serves on two national AGO committees. More information is available online at .

Organ conferences centered on repertoire, performance practice, and history rather than purely practical matters are few and far between. Outside of the American Guild of Organists conventions and pedagogy conferences, or single-topic workshops given by other entities, the annual University of Michigan Organ Conference stands out for its breadth and depth. The conference’s three days, packed with presentations by local, national and international experts, offer a terrific opportunity to delve into academic topics and re-engage with the details of the organ and its history. In addition, the conference is a bonus for Michigan students, exposing them to topics, lecturers and performances beyond the tutelage of the excellent Michigan faculty.
The annual organ conference is the brainchild of Dr. Marilyn Mason. When asked how long she has been involved with the conference, she replied:
Yes, I have been responsible for all of them!! I began the first conference in 1961 because my manager, Lillian Murtagh, had written that Anton Heiller would be coming to the USA. Right then I said we wanted him in October, and we signed him for the first Conference on Organ Music. Through the years I have had assistance from both James Kibbie and Michele Johns, but I have been responsible (with a conference committee) for the program and presenters.
All of the conference events this year, except for one lecture and one concert, were held at Hill Auditorium, home of the Frieze Memorial Organ. Having survived several tonal re-workings, water damage two decades ago, and gloriously emerging following an extensive renovation of the auditorium completed in late 2004, the organ is in fine shape. In expert hands and played with clarity, this instrument is quite versatile. The deepened color scheme of the auditorium and the organ’s newly gold front pipes lend an aura of warmth and ambiance previously lacking, and in this environment the organ’s smoky-sounding strings, full-bodied principals, and high-pressure reeds shine. Conference lectures took place in a pleasant, light-filled meeting room on the mezzanine level of the facility, allowing easy access to the auditorium downstairs and the array of colorful restaurants in Ann Arbor’s downtown area. Anticipation was in the air as the first lecturer, Christoph Wolff, the world’s foremost Bach scholar, took the podium.
Christoph Wolff, born and educated in Germany, is Adams University Professor at Harvard University. He has published widely on the history of music from the 15th to the 20th centuries; recent books include Bach: Essays on His Life and Music, The New Bach Reader, and Johann Sebastian Bach: The Learned Musician. Wolff is simultaneously erudite and engaging, bringing the listener into his research process, sharing how he has arrived at connections and conclusions. He is an articulate speaker, and conference attendees were privileged to hear him present four lectures on J. S. Bach and his music.

Bach lectures by Christoph Wolff

Wolff’s first lecture, “J. S. Bach and His Circle,” offered insight into the societal and musical influences surrounding the great master. The circle, as defined by Wolff, consisted of musicians of the Bach family, influential musicians outside the family, students of Bach, and patrons of Bach. The historical depth of his musical family is unique to Bach. The combination of profundity and expressivity in the music his relatives composed is fundamental to understanding Bach’s work. The young Bach was immersed in this music, full of innovative practices.
One of the prominent musicians influencing the young J. S. Bach was family friend Johann Pachelbel, who trained keyboardists with a mixed repertoire of Italian, French and German music. Central Germany was a colorful cultural scene, with many small political entities, and this was reflected in its music. German composers took the best of what existed from eclectic sources and combined it in a new way, creating a cosmopolitan style. Pachelbel was an important transmitter of this mixed style.
As a teacher, Bach allowed his students to develop along their own path, according to their own tastes and pace, and nurtured their best individual qualities. His students worked with him all day every day, and those with professional ambitions became his assistants.
The query “Did Bach write concertos for organ and orchestra?” provided the motivation for Wolff’s second lecture. His conclusion is that the bulk of Bach’s harpsichord concertos originated as organ concertos that were later reworked into cantata movements. He guided listeners along the trail that led to this thesis. Some of the signposts along the trail included these facts: The bulk of the orchestral repertoire is from the Leipzig period. The Brandenburg Concerti, though dedicated in 1721, are actually pre-Cöthen and have a relationship to the Weimar cantatas; these works could not have been written in Cöthen for political reasons. Idiomatic writing in the E-major harpsichord concerto and its keys, range, and style point to organ performance. Wolff plans to present an edition of concertos using the right hand parts Bach typically wrote out (he improvised the left hand) and the full harpsichord part.
Wolff’s third lecture was “Bach and the Silbermann Connection.” Johann Sebastian Bach and organbuilder Gottfried Silbermann met in 1724 when Bach played a concert in Dresden on the new organ at the church of St. Sofia. Bach was a technical expert, able to converse at Silbermann’s level, and frequently examined the structure, mechanics, and acoustics of new organs. Another important meeting occurred in 1736 when Bach played the dedication of a new Silbermann organ at the Frauenkirche. When Silbermann was experimenting with building a fortepiano, he called on Bach to examine the prototype. The two were also known to have examined a new organ in Naumburg in 1746, the largest instrument built by Hildebrandt.
Wolff’s final lecture was on the Clavierübung Part III. Both Kuhnau and Lübeck had published volumes titled “Clavierübung” to train performers and composers, and Bach selected this title in order to accommodate several volumes of his work. At the St. Thomas School and Leipzig University, Bach was surrounded by colleagues who were publishing. Bach was at a disadvantage because he had no academic degree, but needed to establish that he had the credentials to teach. He wanted to publish a series that would show he was a very experienced, innovative, scholarly musician, highly qualified to serve as music director and cantor at St. Thomas. In 1723, Bach added a title page to the Orgelbüchlein (composed in Weimar), doing the same for the Inventions and Sinfonias and the Well-Tempered Clavier in order to document his teaching method.
While Part IV of the Clavierübung, the Goldberg Variations, portrayed Bach as a keyboard master, it was Part III that identified him as an organist, confirming his public reputation. Such a collection of organ music was unprecedented, including works at the upper limits of organ technique, testing Bach’s ability as a composer as well. At the time, there were probably only twelve organists with the ability to play the large chorales in the collection, so as a marketing strategy, Bach added the smaller chorales and duets, which could be played on the harpsichord or clavichord. In addition, the pieces are a musical catechism to be studied daily, using teachings of the Lutheran faith and hymns of the Mass. The title page of the Part III includes the phrase “for the recreation and education of the soul,” and is the only volume of the four that refers to education. In addition, it is the most comprehensively thought out and profound of all Bach’s collections, standing at the threshold of Bach’s late works.
The Clavierübung was a systematically developed project, composed in the second half of the 1730s, and published in 1739. Part III is an ideal organ concert as Bach would have conceived it, beginning with a prelude, ending with a fugue, with chorales in between; he may have played the large pieces for the dedication of the Silbermann organ in the Frauenkirche in Dresden in 1736. On the heels of Wolff’s lecture on Part III, doctoral students of Marilyn Mason (David Saunders, Andrew Meagher, Marcia Heirman, Kirsten Hellman, Monica Sparzak, and Kim Manz) played the complete work on the Fisk organ in Blanche Anderson Moore Hall at the School of Music. Wolff gave a brief description and guide for listening to each piece.
Typically, the chorales or the prelude and fugue are excerpted for concert use, but hearing the collection as a whole brings to light Bach’s carefully planned compositional architecture and enhances the beauty of the works. By the time the final fugue is played, no introduction or explanatory note is necessary—the work is heard as a natural conclusion to what has come before. Hearing the pieces in one sitting is demanding for the listener, weighty stuff even for the organ crowd, but it is a very satisfying experience.
Dr. Mason’s students played the demanding pieces very ably, handling the sensitive action of the Fisk organ well. This organ is an important historical teaching tool, and its tonal palette and unequal temperament provided the requisite colors to elucidate Bach’s works.

The Global Bach Community

Following the Bach concert, conference attendees were invited to join a lunch-time discussion with leaders of the Global Bach Community: president Samuel Swansen, vice president Marilyn Mason, secretary Toni Vogel Carey, and advisory board member Christoph Wolff. The community was founded in 2000 with the following mission: to recognize and foster the common spirit that exists universally among lovers of Bach’s music, to facilitate Bach-centered projects worldwide—artistic, educational, social and spiritual, to help the Bach community flourish, in part through the ability to raise funds not normally available to individual Bach organizations. In cooperation with The Bach Festival of Philadelphia’s website, the Global Bach Community has emerged as the central resource for Bach organizations worldwide (www.bach-net.org).

Lectures—Innig, Hamilton, and Barone

Rudolf Innig has concertized throughout the world and made numerous recordings for radio broadcast as well as commercial sale, including the complete works of Messiaen. His organ teachers include Gaston Litaize and Michael Schneider. He won the competition of the Conservatories of the Federal Republic of Germany in the organ category in 1975. His current project is recording the complete organ works of Rheinberger on 12 CDs, and he lectured on this music. The soft-spoken Innig confessed his initial skepticism about recording Rheinberger, but having become fond of Rheinberger’s music, then told the audience, “I want not only to inform, but to convince.” Compared to his contemporaries Mendelssohn, Brahms, and Liszt, Rheinberger’s life and education at the Munich conservatory were unremarkable. He wrote music simply to express joy, his style was provincial rather than cosmopolitan, and his music is not innovative. Innig asserted that Rheinberger’s music has receded into history due to these factors. By the time he began to write organ sonatas late in life, Rheinberger had already composed numerous symphonies, operas and songs. It is in the organ sonatas that he truly developed his personal style, composing at least one large organ work per year 1875–1894. Innig hopes to garner attention for these works with his recording series.
Stephen Hamilton is minister of music at the historic Church of the Holy Trinity (Episcopal) in New York City and has recorded Marcel Dupré’s La Chemin de la Croix to great acclaim. He studied with Marie-Claire Alain, had the opportunity to play L’Ascension for Messiaen, and has an extensive collection of correspondence between Marcel Dupré and both Arthur Poister and Robert Shepfer. During his lecture, “The French Connection,” he shared anecdotes, recounting his experiences with various teachers, including Russell Saunders (who taught the fourth-grade Hamilton), as well as personal reflections. The bulk of his presentation dealt with the life of Marcel Dupré and his value as a pedagogue. He distributed a complete listing of Dupré’s organ works, encouraging the performance of the extensive oeuvre beyond the six or seven typically played works.
Michael Barone, host of the radio program “Pipedreams,” and self-proclaimed master of playing CDs rather than playing the organ, is clearly more comfortable when fiddling with the knobs and controls of hi-fi equipment rather than giving a formal lecture. He has the self-confidence and sense to let the music speak for itself, rather than interrupting or pre-empting it with unnecessary chatter. He reminded the audience that the art of recording the pipe organ is relatively new, coming into its own after the invention of electricity in the 1920s. His presentation was an enjoyable musical survey of playing styles entitled, “They Did It That Way?!”
Drawing from his vast library of recordings, Barone made his point by juxtaposing Widor’s performance of his Toccata at age 80 with a lightning-fast rendition played by G. D. Cunningham, Dupré’s whirlwind take on his own G-minor Prelude and Fugue in his youth and a much older Dupré playing one of the Preludes and Fugues from Opus 36. He offered a “kaleidoscope of interpretive possibilities” by playing several contrasting renditions of Bach’s first Trio Sonata and injected some levity with an outlandish performance of Bach’s D-minor Toccata. Most interesting was a performance of Franck’s B-minor Choral played on the piano by Vladimir Viardo of the University of North Texas. (If you play or are fond of this piece, this is a must-have recording, available from .)
Every so often, Barone would punctuate the music with a subtly humorous facial expression and a cryptic comment—vintage Barone. At the end of the session, he offered this thought, demonstrating his own openness to and fascination with the variety present in the pipe organ world: “There is never any one way any more than there is any one player.” He closed with one more recording: the Toccata from Boëllmann’s Suite Gothique played by an accordion band. “It’s the ultimate in flexible wind,” Barone quipped.

Organ concerts—Hamilton, Disselhorst and Innig

Three artists presented evening concerts in Hill Auditorium: Stephen Hamilton, Delbert Disselhorst, and Rudolph Innig. Hamilton’s selection of repertoire, labeled “Alain and His Circle,” included L’Ascension by Messiaen, the Te Deum by Langlais, Trois Mouvements pour orgue et flute by Jehan Alain, and Prelude and Fugue in B major by Dupré. Hamilton’s playing is fluid and virtuosic, and he knows how to coax the loveliest sounds from the Hill organ. He is expressive with his physical movement at the console, even “conducting” with a free arm at times. His performance of the sustained prayer in L’Ascension didn’t seem static, but felt alive, moving forward. He attributes this feeling of forward motion to a year spent accompanying for Robert Shaw: subdivide always. Flautist Donald Fischel joined Hamilton for Alain’s Trois Mouvements for organ and flute, a work that deserves to be heard far more often. Particularly in the second and third movements, the organ and flute blend seamlessly with beautiful effect. The Dupré B-major began brilliantly, but spun out of control due to a glitch with the piston sequencer. Despite an accelerated tempo, Hamilton held the piece together to finish with success. Hamilton returned for an encore—Alain’s Litanies—played with a frantic, exciting, if blurry, rush of virtuosity.
Delbert Disselhorst, professor of organ at the University of Iowa and graduate of Michigan, is an organ conference regular, performing every few years. His memorized program was ambitious, opening with the Prelude and Fugue in G minor by Brahms, negotiated with seamless manual changes, perfectly under control. Following the chorale prelude and fugue on Meine Seele by Bach, he launched into another tour de force, a Passacaglia by Swiss composer Otto Barblan. This Brahmsian work includes rhythms reminiscent of the Bach C-minor Passacaglia dressed in weighty, dense harmonic clothing. After intermission, Disselhorst offered a solid rendition of Mendelssohn’s Sonata III, followed by Bach’s Sonata III, played with an unfussy neutral touch. The Theme with Variations by Johann Friedrich Ludwig Thiele, a virtuosic torrent of notes, closed the program with moto perpetuo pedal and a cadenza for the manuals. Disselhorst delivered an heroic performance with a pleasing variety of texture and drama in the repertoire selected.
Rudolph Innig has clearly developed a passion for Rheinberger’s organ music. He approached the console and took command immediately with expressive, dramatic playing. His program consisted of three sonatas, including the F major, op. 20, the last sonata Rheinberger composed (1899). This sonata is subtitled “Zur Friedensfeier”—for the ceremony of peace, and celebrates the confidence in Germany at the time that a world war in the near future would be avoided. Rheinberger’s sonata forms are irregular, but the movements are often related to one another with common themes and intervals. Sequential writing, as in the D-minor Sonata, op. 148, often lends shape to the movements. The works are rhythmically energetic, akin to Mendelssohn but with denser writing, although they are not dissonant or highly chromatic. Innig’s registration consisted of foundation stops with reeds at various volume levels for the most part.
Following Innig’s concert, university carilloneur Stephen Ball and his students hosted a candlelit reception in Burton Tower, home of the Baird memorial carillon. Guests had the opportunity to view the massive bells and try out the carillon’s keyboards. Recently, Michigan has recently become home to a second carillon, located in a modernistic tower on the north campus.

Student recitals

Three doctoral recitals by students of Marilyn Mason afforded the performers a larger audience than they otherwise would have had and a nice opportunity to play for professional colleagues. Seth Nelson played the complete Widor First Symphony, whose fifth movement is the famous “Marche Pontificale.” Performing gargantuan works such as this from memory happens only in the rarefied atmosphere of intense study and focus, a feat always eliciting admiration from an audience. Doctoral candidates Shin-Ae Chun and Alan Knight also performed dissertation recitals, Ms. Chun particularly shining in her rendition of the Liszt Prelude and Fugue on B-A-C-H. Joseph Balistreri, Michael Stefanek, Elizabeth Claar, Matthew Bogart, students of James Kibbie, played a concert at Hill Auditorium on Tuesday afternoon, each giving a commendable performance.

Church music at the conference

For a number of years, the conference has opened with a worship service or hymn festival, and has included a lecture or two on a worship-related topic. The inclusion of church music elements in an otherwise scholarly conference acknowledges the importance of service-playing skills for organists, gives a good opportunity for the local AGO chapter to participate, and provides another event to which the public can be invited. This year, the Ann Arbor AGO chapter organized a choral festival, dedicated to the late Donald Williams, and Herman Taylor gave a lecture entitled “The Joys and Sorrows of Contemporary Church Music.”
At the choral festival, Ann Arbor AGO Dean Edward Maki-Schramm gave opening remarks, pointing out that this effort relies upon the copious hours of dedication and practice of many volunteers. He illustrated his point by attempting to tabulate the cumulative number of practice hours for all involved in the service, which featured a choir comprising volunteer singers from the AGO board members’ churches. The choir sang two anthems by Vaughan Williams and Mendelssohn tentatively, but seemed to relax and enjoy singing Moses Hogan’s Music Down in My Soul. Dr. Schramm confidently accompanied the choir, and David Hufford played the prelude, a solo within the service, and a solid performance of the Toccata from Duruflé’s Suite for the postlude.
The festival service included the singing of several hymns as well, capably led by Dr. Schramm at the console, among them Sing a New Song to God, with its athletic but very singable tune composed by Kevin Bylsma. Unfortunately, for all its charms, Hill Auditorium is not conducive to worship, and is deadly for congregational singing, especially when the “congregation” is spread out among the padded seats. Future planners of the conference’s worship event would do well to choose one of the nearby churches as the venue rather than the 4000-seat auditorium.
One highlight of the choral festival was the homily given by the Reverend JoAnn Kennedy Slater, J.D., Ann Arbor AGO chaplain. “Music,” she said, “is one of the more visceral, organic thresholds to God. Because of God’s incredible trust and vulnerability we each then have a share in that divinity and that joy and wonder; and music is one way to create and sustain such a sacred space in our bodies, mind, and souls, in the sacred spaces of our places of worship as well as in the secular world of music as entertainment.” Her remarks were heartfelt and sincere, descriptive rather than didactic, displaying an understanding of the ephemeral art of music.
On a more practical note, Herman Taylor presented a lecture/demonstration he dubbed “The Joys and Sorrows of Contemporary Church Music.” Having retired from teaching at Eastern Illinois University, he now serves as organist at Immaculate Conception Catholic Church in Charleston, Illinois. He earned his master’s and doctoral degrees at Michigan, and is a presenter or performer at the conference every few years.
For Taylor, the sorrow is that contemporary (read: pop style) church music in its raw state is overly simplistic, devoid of through-composition, modified strophic forms, or creative harmonization. Recognizing quality in many of the “contemporary” melodies and texts, however, Taylor finds joy in enhancing the songs with more sophisticated harmony. He realizes that many composers of contemporary songs simply lack the musical training to harmonize their melodies with any complexity. He has contacted them about modifying and elaborating on the harmony of their songs, receiving positive responses. Taylor’s harmonic alterations are subtle but do add richness to the songs, which he invited the audience to sing while he demonstrated his techniques. His wife, Vivian Hicks Taylor, served as cantor. Dr. Taylor also addressed “gospelizing” hymns, a practice that includes adding rhythm and passing tones to create a Gospel feel.

A tribute to Robert Glasgow

Professor Robert Glasgow has formally retired from teaching, and as a tribute, nine of his former students played a concert at Hill Auditorium. Thomas Bara, Monte Thomas, Charles Kennedy, Christopher Lees, Ronald Krebs, Joel Hastings, Deborah Friauff, Douglas Reed, and Jeremy David Tarrant demonstrated the Glasgow legacy with excellent performances of a wide variety of repertoire. Tom Bara’s taut, compelling rendition of Mendelssohn’s Allegro, Chorale and Fugue was particularly noteworthy, and Charles Kennedy played the Brahms Chorale and Fugue on “O Traurigkeit” with understated elegance. Joel Hastings played Vierne’s Naïades to perfection, the fountain of notes bubbling effortlessly and unaffectedly, and Jeremy David Tarrant negotiated the mammoth Prelude, Andante and Toccata by Fleury with ease. Douglas Reed lent a touch of humor to the program by choosing to play two movements from De Spiritum by William Albright, a work requiring two assistants. Following the program, guests mingled at a reception on the stage, offering their greetings and congratulations to Dr. Glasgow. One was struck by the legacy Glasgow leaves in the form of his many fine students. He taught as much by the example of his own playing as he ever did with words. Observing his quiet and elegant technique, coupled with masterful and expressive interpretations, was a year’s worth of lessons in itself.
Marilyn Mason’s considerable energy, enthusiasm, and extensive connections in the organ world make the Michigan organ conference a high quality event, serving both current Michigan students and dozens of attendees from out of town. She has done yeoman service by offering a conference brimming with serious academic content over a wide a range of topics, sustaining her efforts for nearly half a century to present a valuable, educational opportunity each autumn. Kudos to you, Dr. Mason.
 

125 years of music at Michigan
1880–2005

Organists loom large in the establishment of the School of Music, perhaps none more prominently than classics scholar Henry Simmons Frieze. Music, though his avocation, was his passion. Known for his deep religious faith and keyboard skill, Frieze had supported himself as a church organist and music director prior to launching his academic career. It was Frieze, then professor and acting university president, who instigated the formation of a Messiah Club involving four Ann Arbor churches in 1879, formalizing a collaboration that had been active since 1860. The Club was soon reorganized as the Choral Union.
The following year, the University Musical Society was founded, bringing together the Choral Union and the student orchestra, with Leipzig-trained Calvin B. Cady as director. At Frieze’s suggestion, Cady was also hired as instructor of music in the College of Literature, Science and the Arts. Cady started the Ann Arbor School of Music, precursor of the Michigan School of Music, in 1880 with four teachers. Cady taught piano, organ, harmony and composition.
Following half a century of European artists holding sway in the realm of serious music-making in the United States, after about 1850 Americans began to establish their own institutions for musical training. In 1862, Harvard University appointed an instructor of music, and within the next two decades a number of colleges and universities had followed suit, including Michigan. Conservatories also began to be established in the East, Peabody in Baltimore the first of these.
Cady’s successor, Albert A. Stanley, a composer and organist from Providence, Rhode Island, also had studied at the Leipzig Conservatory and gave frequent organ recitals to establish his authority as a performer. In 1888, he was hired as professor in the university as well as director of the Ann Arbor School of Music, with 248 students enrolled. By 1889 the Ann Arbor School of Music was floundering, and Stanley resigned as director.
In 1892, the Ann Arbor School of Music was reorganized as the University School of Music, with Albert Stanley as director. Lacking a decent instrument, the University Musical Society acquired the Columbian Exposition organ in 1893, an instrument built by Farrand & Votey of Detroit for the occasion. This organ had been heard by thousands in Chicago during 1893, and its installation in University Hall in Ann Arbor sparked interest in organ playing. Stanley played the dedication concert before a packed house, including the governor of Michigan. The organ was designated the Frieze Memorial Organ in tribute to Henry Simmons Frieze, who had died in 1889. In 1913, the organ was moved to the newly constructed Hill Auditorium, which has been its home ever since.
When the time came to appoint a new director for the School of Music, Archibald T. Davison of Harvard and Gustav Holst were considered, but it was organist Earl V. Moore who was appointed professor of music in the University, director of the Choral Union, and musical director of the School of Music in 1923. Moore had come to the university in 1908, completing his B.A. in 1912. He was appointed head of the organ department in 1913, and became university organist in 1914. Moore was made Dean of the School of Music in 1946, a post he held for thirty-seven years. The present School of Music building, designed by Eero Saarinen and built in 1964, was named the Earl V. Moore building in 1975. Palmer Christian had succeeded Moore as university organist in 1924, holding the position until 1947, and he in turn has been succeeded by only two others: Robert Noehren (1949–1976) and Marilyn Mason (1976–).
Several noteworthy facts offer insight into the development of the Michigan School of Music. In 1929, the School of Music was accepted into the University of Michigan, giving faculty members academic rank in the university. The master’s degree was also created at this time. In 1940, the School of Music was made an autonomous unit of the University of Michigan, with professors on salary rather than relying on student fees, and in 1941 the School of Music began to provide summer programs at Interlochen. In 1945, the school offered a Ph.D. in musicology and music education, and less than a decade later in 1953 the D.M.A. in composition and performance was created to certify teachers for new college positions.
The Michigan School of Music, one of the oldest and largest such schools in the country, celebrates its 125th anniversary this academic year. Musicology professor Mark Clague cites the following hallmarks of the music school’s history: excellence in performance and scholarship, entrepreneurial spirit, service to the university and community, balance of openness and tradition, and sensitivity to race and gender. A fine example of these hallmarks is William Bolcom’s epic Songs of Innocence and Experience, which has received three Grammy awards, including Best Classical Album. In the vein of entrepreneurial spirit, the School of Music has recently launched Block M Records, giving Michigan students and faculty the opportunity to record, produce and distribute original material without having to go through an outside company. This venture affords students hands-on experience with recording and production, and allows University-based musicians to receive greater benefit from recording sales. All recordings are distributed via the Internet at , which is a particular boon for avant-garde artists seeking an audience.

Dr. Gordon Atkinson is a Past President of the Royal Canadian College of Organists. His latest composition, Soliloquy No. 2, was premiered by Dr. Barrie Cabena at St. James’ Cathedral, Toronto, on September 24, 2004, with other pieces from an album written in memory of Gerald Bales, a former organist and director of music at St. Mark’s Cathedral, Minneapolis.

The University of Michigan School of Music held its 44th Conference on Organ Music October 3-6, 2004, under the direction of Dr. Marilyn Mason, Chairman of the Organ Department. This year’s conference featured the organ music of France, focusing primarily on the later 19th to mid-20th centuries, and offered the 12 major organ works of Franck and all ten organ symphonies of Widor. Hill Auditorium was the perfect venue, having recently undergone a total refurbishing throughout, with considerable work being done on the organ, on which this music can be faithfully realized with fidelity to the composers’ intentions.

Sunday

Dr. James Kibbie, organ professor at Michigan, opened the conference on Sunday afternoon performing Trois Pièces by César Franck and Symphonie VI en sol mineur, Op. 32/2, by Charles-Marie Widor. In his usual manner, Kibbie performed flawlessly without score and with ultimate grace and ease, fulfilling the demands of this repertoire. He knows the Hill Auditorium organ intimately so that Widor’s intentions were faithfully realized.

Sunday evening’s recital featured the Widor Symphonie VIII en si majeur, Op. 42, no. 4. This six-movement work was shared by organ students of Michigan Professor Robert Glasgow: Susan De Kam performing the first three movements and Elizabeth Claar the last three. Both performers acquitted themselves admirably.

Monday

Monday’s events began with Seth Nelson, a doctoral student of Dr. Mason, performing the Widor Symphonie I, en ut mineur, Op. 13. Mr. Nelson was able to realize all the intricacies of this composition with a solid technique and full utilization of the organ’s considerable resources. It was refreshing for performers to have at their disposal an instrument that could realize everything indicated by the composer without compromise.

Dr. John Near, Professor of Music and College Organist at Principia College, is perhaps the leading authority on Widor, as is reflected in his 1984 doctoral dissertation, “The Life and Work of Charles-Marie Widor,” and his many publications, including a ten-volume annotated edition of the Widor organ symphonies. His presentation was replete with all manner of interesting and fascinating details about metronomic and tempo markings, touches and rubato. This kind of detail gave valuable insights into 19th-century French organ music in general and Widor in particular.

We were feted in the early afternoon by Dr. Marilyn Mason and two of her students, Shin-Ae Chun and James Wagner, performing Trois Chorals by Franck. These well-known compositions received scrupulous attention to every detail in terms of phrasing, registration and style. There was not a hint of the sameness one might expect from Professor Mason and her young charges. Instead, each placed her/his own stamp of individuality on each chorale in a convincing way.

Later in the afternoon Dr. Carolyn Shuster Fournier performed a recital of well-known works, which included Berceuse and Final (Symphony I) by Vierne; Prélude, Fugue et Variation by Franck, and Guilmant’s Grand Choeur in re majeur, among others. Dr. Fournier performs with a decidedly tasteful flair, élan, and elegance that demand her listeners’ attention. Her intimate knowledge and understanding of the music was immediately transmitted to the audience as her playing ranged from a barely audible whisper to thunderous outbursts. Hers was a thoroughly enjoyable recital and musical experience.

Due to time constraints, Mr. James Wagner, doctoral candidate in church music/organ performance, gave an abbreviated, but very fine lecture on “A foretaste of things to come,” which focused on César Franck’s Grande Pièce Symphonique, Op. 17. He had compiled a thoroughly detailed handout that included a quite useful bibliography. We even had the opportunity to sing a number of the nine themes to which Mr. Wagner had creatively assigned appropriately descriptive and colorful names.

To close the day, Jean-Pierre Lecaudey, an organist of international repute who performs at major festivals in Europe and North America, performed with absolute aplomb the Widor Symphonie Gothique, Op. 70; Prélude and Fugue on the Name of Alain, Op. 7, by Maurice Duruflé; and the Grand Pièce Symphonique, Op. 17, by César Franck. One very impressed conferee described his playing as “effortless, elegant, with great ease, with fidelity to the music, and with wonderful style.” Fine praise, indeed.

All performers are to be highly praised and roundly applauded for consistently fine performances despite severely restricted practice time. Organ technicians stood at the ready at all times to touch-up here and there, and a marvelous spirit of cooperation, tolerance and understanding was the order of the day among all concerned. The end result was a conference absolutely second to none!

--Herman D. Taylor

Professor Emeritus of Music

Eastern Illinois University,

Charleston, Illinois

Director of Music and Organist

Church of the Immaculate Conception,

 Mattoon, Illinois

Tuesday

On Tuesday, October 5, students of Marilyn Mason played Widor’s Symphony VII. Luke Davis, Abigail Woods, Christine Chun, Kirsten Hellman and David Saunders all demonstrated  knowledge of the required style in the movements played.

In his lecture, “Franck’s Grand Pièce Symphonique,” Jean-Pierre Lecaudey, St. Rémy Cathedral, France, provided in fine detail his examination of the structure. The excellent handout showed the four movements of the work with its classic and traditional harmonic form, illustrating Franck’s genius in his use of themes in this creation of a real symphony.

John Near’s lecture, “Charles-Marie Widor: his relation to the French Symphonic organ and Aristide Cavaillé-Coll, ‘the poet-architect of sounds’,” showed the strong relationship between Widor and Cavaillé-Coll that began when Widor’s father was organist at St. François de Salle in Lyon, with its fine Cavaillé-Coll instrument. In his memoirs Widor wrote, “I was born in an organ pipe.” He proceeded to study with Lemmens and Fétis. Cavaillé-Coll sponsored the 25 year-old Widor’s candidacy as organist at St. Sulpice, which resulted in Widor’s 60-year tenure. The symphonic organ, a veritable orchestra with its divided chests, different wind pressures, mechanical action with Barker levers and vast dynamic range was a stimulus to Widor’s writing.

Carolyn Shuster Fournier, organist of the choir organ at La Trinité Church, Paris, in her lecture on Cavaillé-Coll’s secular organs, drew attention to instruments installed in royal palaces, residences, theaters, and concert halls. Cavaillé-Coll wrote letters about organs in order to promote better, high quality music. Among his largest non-church instruments were those at Albert Hall, Sheffield, England with three enclosed divisions, destroyed by fire, and the Trocadero in Paris, to which was added, at a later date, a 10-stop non-expressive solo division. Alexandre Guilmant was titulaire at the Trocadero; 15 concerts were played at the opening celebrations. (James Kibbie replicated one of these programs at the Sunday afternoon recital.) Large choral societies were formed to sing in these halls, and major works were performed, including Bach’s Magnificat, Handel’s Messiah and Israel in Egypt.

Michele Johns performed Widor’s Symphony V, the Allegro Vivace’s heroic opening statement and succeeding variations well-defined. Contrast of color and mood was achieved between the Adagio and the well-known Toccata.

The evening concert was held at the skillfully restored Blessed Sacrament Cathedral in Detroit with its fine acoustics. Olivier Latry of Notre Dame Cathedral, Paris, played Vierne’s Symphony III on the 1925 Casavant in the rear choir loft. In his considered and telling performance, the architecture of the symphony was clearly shown, the last three movements--Intermezzo, Adagio and Final--exquisitely drawn. Norah  Duncan IV directed the  Archdiocesan Chorus and Wayne State University Concert Choir in Vierne’s Messe Solennelle for chorus and two organs, with Olivier Latry playing the rear instrument, and Shari Flore playing the 2003 Austin at the front of the cathedral. From the rear organ’s arresting opening chords of the Kyrie eleison, the choirs’  dramatic dynamics and fine shading throughout, and the choir organist’s significant part contributed to a performance of great beauty. M. Latry playing the Austin displayed his enormous improvisational skills in his treatment of Veni, Creator Spiritus.

Wednesday

On Wednesday, October 6, back in Ann Arbor, Widor’s Symphony III was played by James Kibbie’s students. Alan Knight, David Schout, Matthew Bogart, Isaac Brunson and Thomas Kean all showed familiarity with the movements chosen.

In John Near’s authentically stylish playing of Widor’s Symphony X (Romane), the last movement is perhaps the most colorful harmonically in all of Widor’s music. In Near’s lecture he stated that Widor was a constant reviser of his writing, going back to refine and show further thought in many compositions.

At the 2003 conference Joseph Daniel played movements from Widor’s Symphony IV. This year he played the complete work in which the Fugue’s flowing lines and the Scherzo’s delicate rhythmic pulse were well maintained.

Dr. Mason introduced the university’s organ technician Jerry Adams and his associate Gordon Mendenhall and thanked them for returning the Hill Auditorium organ to playing condition after three years’ silence during the renovation of the auditorium.

Prior to a seminar in which Marilyn Mason, Robert Glasgow, James Kibbie, Michele Johns and John Near took part, Dr. Mason asked the audience to stand, remembering Searle Wright (in whose memory the conference was dedicated), Margaret White, a regular conferee, and  Bill Jones. From the discussion, many points were brought forward: Widor played in recital independent movements of the symphonies; the spiritual and serene quality of the Romane was emphasized; the composer’s favorites were Symphony V and the Gothique; and he thought Symphony VIII would be his last in order that he might concentrate on writing theater and ballet music. He arranged the first and last movements of Symphony VI for orchestra and organ, and the first movement of Symphony II went through many revisions.

At a late afternoon reception held at the home of Marilyn Mason and her husband William Steinhoff, players, lecturers and conferees enjoyed fine weather and fine food.

In the evening Franck’s Fantaisie in C, Op. 16, Pastorale, Op. 19, Prière, Op. 20 and Final, Op. 21 were played by Charles Kennedy, David Saunders, Joseph Daniel, and Susan DeKam. Jason Alden played Widor’s Symphony II with great style and assurance bringing this conference to a fine conclusion.

To hear all ten Widor symphonies  and Franck’s twelve pieces in four days is a once-in-a-lifetime experience, and thanks must be given to the Organ Department at the University of Michigan, Dr. Marilyn Mason, chair, Dr. Robert Glasgow, Dr. James Kibbie, Dr. Michele Johns, the lecturers, performers and  students of the department. Famed for its acoustics, the refurbished Hill Auditorium, now in glorious blues, greens, red and gilt, added to this unique event; “ . . . like being inside a Fabergé egg,” said one enthusiast.

--Gordon Atkinson

Larry Palmer, Harpsichord Contributing Editor of The Diapason, is the current President of the Southeastern Historical Keyboard Society.

Musical research came to vibrant life in a Friday evening interactive program presented by the Southeastern and Midwestern Historical Keyboard Societies at Stetson University’s Elizabeth Hall. Michigan instrument maker David Sutherland (Ann Arbor) introduced his just-completed fortepiano based on a design by Giovanni Ferrini, an associate and successor to piano inventor Cristofori of Florence. Small details from the Dresden pianos of Gottfried Silbermann indicate an acquaintance with Ferrini’s Florentine piano. Sutherland proposes that instruments of this particular style may have provided the pianos that ultimately gained the approval of J. S. Bach: thus, the genesis of the idea for including early piano in the group of keyboard instruments suitable for Bach’s ensemble music.

Enid Sutherland played the opening of Bach’s Sonata in G for viola da gamba and obbligato keyboard instrument, partnered successively by three possible period instruments: a large Germanic harpsichord after Gräbner (built by John Phillips, played by Wayne Foster); a lautenwerk (by Willard Martin, played by Charlotte Mattax); and the Sutherland-Ferrini piano (played by Gregory Crowell). With each the music worked in subtly differing ways. The harpsichord was loudest; the lautenwerk offered a complementary gut-strung sonority; the piano provided increased possibilities for dynamic gradation. Each was suitable and viable. No absolute favorite emerged, but an intriguing possibility was illustrated and, perhaps, provided some explanation for the many parallel triads and thick repeated chords found in the written-out keyboard parts of certain slow movements in Bach’s accompanied instrumental sonatas.

Another opportunity to hear how effective the early piano could be in solo works of Bach came on Saturday afternoon when the ever-illuminating pianist Andrew Willis (Greensboro, NC) played a mesmerizing program comprising Prelude and Fugue in F (WTC II), Partita in A minor, and the first Contrapunctus from The Art of Fugue. Reminding listeners just how different a modern Steinway piano is from its ancestors, the following program, presented by Marcellene Hawk-Mayhall (Youngstown, OH), featured compositions based on the B-A-C-H motive [B=B-flat, H=B-natural in German musical notation]. Beginning where Willis had ended, Mayhall played the unfinished Contrapunctus 14 from The Art of Fugue on the fortepiano, continuing on the modern piano with unfamiliar works by Rimsky-Korsakov, Roussel, Casella, Poulenc, Malipiero, Honegger, and Liszt (the composer’s piano version of his Prelude and Fugue on BACH).

The same Liszt work, in its more familiar organ version, served as brilliant conclusion to the meeting’s opening concert, played by Stetson University organist Boyd Jones. Opening with works by Buxtehude and Hindemith (the BACH-related Sonate II), Jones offered Bach’s ornamented chorale prelude Allein Gott in der Höh sei Ehr and the “Dorian” Toccata and Fugue--all selected to limn both the theme of the conference and to showcase Stetson’s historic von Beckerath pipe organ, one of the first large new mechanical-action instruments in America, installed in 1961 on the initiative of [now] emeritus professor of organ Paul Jenkins, and recently spruced up with a handsome new case designed by architect Charles Nazarian, as well as a refurbished action and new console.

A wide range of paper topics kept the interest level high during well-paced daily sessions. Joyce Lindorff (Philadelphia, PA) reported on her recent discoveries of baroque keyboard instruments and music in China during the 17th and 18th centuries, concluding with the reading of a just-translated Vatican Archive letter from missionary/composer Theodorico Pedrini (died 1746)! Ed Kottick (Iowa City, IA) outlined the current state of knowledge about Bach’s harpsichords (“none”) but detailed 18th-century German instruments possibly familiar to the great composer. Two perfectly-timed discussions of possible Bach organ registrations engaged Gregory Crowell (Grand Rapids, MI): “Crazy for France: French Influences on Bach”; and Elaine Dykstra (Austin, TX): “The Range of Possible Organ Registrations in Bach”--each lecturer urging further investigation into the registrational practices of Bach’s contemporaries as a route to a richer palette of tonal possibilities. Sarah Martin (Atlanta, GA) gave an overview of Bach’s number symbolism in his Clavierübung, Part III.

Lee Lovallo (Sacramento, CA) surveyed a broad swath of Sicily’s history in documenting several surviving organs there. David Chung (Hong Kong) gave a thorough comparison of two versions of Bach’s Toccata in D Major, BWV 912, and played the later version stunningly. Midway on Saturday afternoon Larry Palmer (Dallas, TX) spoke on the deeply felt Bach-related art works created by Miami artist Elena Presser. Interspersed among these verbal and visual presentations were short programs of music. Elaine Funaro (Durham, NC) showcased “20th-Century Inventions for Harpsichord” (by composers Stephen Yates, Ruth Schonthal, Miklos Maros, Alexei Haieff, Virgil Thomson, and Béla Bartók). Judith Conrad (Abington, MA) led the group through multiple treatments of the Phrygian cadence in her clavichord recital “What should we, poor sinners, do?”--works by Scheidt, Pachelbel and Bach’s Partite BWV 770 on the eponymous chorale. Dana Ragsdale (Hattiesburg, MS) was joined by baroque violinist Stephen Redfield in a brilliant program of concerted works by Biber, Muffat, and Schmelzer, plus an alternative reading of Bach’s Sonata in G, BWV 1019, in which the solo harpsichord Corrente from Partita VI replaced the unique solo movement usually heard in this often-revised sonata.

Young Israeli-born Michael Tsalka (Philadelphia, PA) played three of Bach’s concerto transcriptions from original works of Telemann and Vivaldi in an engaging early-morning harpsichord program. Charlotte Mattax demonstrated Bach’s affection for the lautenwerk by programming his Prelude, Fugue and Allegro, BWV 998, Suite in E minor, BWV 996, and concluded with her thrilling traversal of the masterful Sonata in D minor, BWV 964. SEHKS founding president George Lucktenberg (Waleska, GA) demonstrated just how effectively a triangular spinet and Bach’s Little Preludes might serve as basic teaching tools for young players. Max Yount (Beloit, WI) beguiled the group with his expressive playing of music by three Bs: Bach and Böhm on the Beckerath organ.

In addition to the instruments already mentioned, harpsichords by Richard Kingston, Douglas Maple, and Robert Greenberg (brought to the meeting by Carl Fudge) were available for playing and viewing by the 80 attendees.

Stetson alumnus S. Wayne Foster, playing with rhythmic drive and musical verve, gave the closing recital on Saturday evening. Continuing the theme of varying keyboards in his program, Foster began with two organ works by Buxtehude (assisted by Boyd Jones playing the pedal lines on the extended-range manual) using the magnificent nine-foot Phillips harpsichord, on loan for the conference from Foster’s church, First (Scots) Presbyterian, in Charleston, SC. For the remainder of the well-crafted program he played Bach: two organ works, Concerto in A minor (after Vivaldi) and Prelude and Fugue in B minor, BWV 544 on the harpsichord; and the (harpsichord) Toccata in D minor, BWV 913 on the organ, offering, in this lengthy work, sufficient color changes to make palatable the hyperbolic sequential writing favored by the young composer. Fine readings of the (organ) Concerto in D minor, BWV 596, and the (harpsichord) Ouverture in the French Style, BWV 831 on their composer-stipulated instruments completed the evening’s elegant music making.

Stetson University provided gracious staff assistance, beautiful, venerable venues for lectures and concerts, and rooms, both accessible and pleasant, for dining and receptions. Given that this conference was organized from scratch in less than a year’s time it was a remarkably cohesive and successful one. The meeting occurred earlier than usual because the following week was “Bike Week,” a huge rally of thousands of Harley-Davidson riders who take over the entire area surrounding Florida’s Daytona Beach. SEHKS and MHKS programs included several extra-musical sounds on Saturday as engines were revved up for the weekend! Harpsichordist/author Frances Bedford quipped that the conference should have been called “The Two-Wheel Inventions!” Not a bad idea, but the broader Bach theme allowed recent scholarship to be shared, friendships and professional relationships to be buttressed once again, the business of the societies to be accomplished, and, most importantly, great music to be experienced and enjoyed together.

For further information on the Ferrini piano, see David Sutherland’s “Silbermann, Bach, and the Florentine Piano” in the most recent volume (21) of Early Keyboard Journal, published by SEHKS and MHKS [available from Oliver Finney, Journal Business Manager, 1704 E. 975 Road, Lawrence, KS 66049-9157; [email protected]]. 

Joyce Lindorff’s article “Missionaries, Keyboards and Musical Exchange in the Ming and Qing Courts” was published in Early Music XXXII/3, August 2004, pp. 403-414.

PART ONE OF TWO

For its forty-ninth annual convention, the Organ Historical Society met in Buffalo, the land of Bills and Wings, with headquarters at the Adam’s Mark Hotel, close to the waterfront marina. Nearly four hundred people were in attendance. The Organ Handbook, which included a daily schedule and information on the events and performers as well as historical background on the churches visited and instruments featured, was dedicated to the memory of Farny Wurlitzer, Herman Schlicker and Robert Noehren, all of whom contributed significantly to the history of organ building in Buffalo. There were examples of instruments from all three builders heard during the week.

Wednesday

The events began with an optional tour to Niagara Falls and a buffet lunch at the new Seneca-Niagara Casino in downtown Niagara Falls, New York. There was ample time for those who wished to try their luck at the casino and perhaps recoup some of their convention expenses.

Fred Swann played the opening recital that evening on the reconstructed 3-manual Johnson & Son, Opus 797 of 1893 in the vast and beautifully appointed St. Stanislaus R.C. Church. After a welcome by the pastor (who is also auxiliary bishop of the diocese), Swann played the following program: Sonata 8 (op. 132), “Introduction and Passacaglia,” Rheinberger; Woodland Flute Call, Dillon; Fantasia in A, Franck; the hymn “Holy God, we praise thy name” (sung lustily by all) to the tune, Grosser Gott; By the Waters of Babylon, Huston; Petite Suite, Bales; the Symphonic Chorale, “Ach bleib bei deiner Gnade,” Karg-Elert; Meditation, Duruflé; and Fantasia and Fugue in G, Parry. Swann’s own delightful transcription of an Allegro of Corelli served as an encore. His expert programming and playing displayed the dignified and powerful sounds of the organ as well as the more delicate ensembles and solo colors—all enhanced by an acoustical environment favored by the church’s high vaulted ceiling and a octagonal dome at the crossing. After a well-deserved and enthusiastic standing ovation, the audience, which happily included many parishioners, went across the street to the parish hall for a reception. As people left the church, the tower bells pealed their joyful sounds. This event was certainly an apt beginning for a week of convivial celebration.

Thursday

The convention’s first full day began at the hotel with a lecture by Donald Ingram, who presented an enlightening and often humorous recollection of his association with Herman Schlicker (1902-1974) and the Schlicker Organ Company. The presentation dealt primarily with an overview of Schlicker’s tonal and mechanical innovations. At its height, the firm employed a work force of approximately forty-seven persons.

A short bus trip brought us to the sumptuous Delaware Avenue Baptist Church located in an area noted for the monumental beauty of many of its residences. The church building is a feast for the eyes with its Richardsonian design and attention to decorative detail. A particularly ornate baptistery set off by six marble columns with Ionic capitals and featuring a symbolic shell design immediately draws one’s eye to its inset location behind a coffered arch. Floating above in the curve of the domed church are representations of ten winged figures illustrating the text from Psalm 91: “He shall give His angels charge over thee.” On a balcony over the baptistery and thus completing a central focal point in the large auditorium is the 3-manual Johnson & Son, Opus 827 of 1895 (with later reworkings by both Viner and Schlicker) on which James Hammann played fourteen examples from Dudley Buck’s Studies in Pedal Phrasing (op. 28), followed by the hymn, “All glory be to God on high” sung to the tune  Allein Gott in der Höh. Hammann can always be relied upon to supply an unusual program well-suited to the organ at hand.

The fourteen Studies selected for this program displayed three important characteristics:

(1) the fact that these technical studies can be lovely little pieces in themselves thanks to Buck’s musical and melodic creativity;

(2) the various colors, solo stops and ensembles of a fine instrument can be featured effectively;

(3) in the hands of a fine artist such as James Hammann and his registrational sensitivity coupled with his flexibly shaped phrasing, music can be made out of what are basically pedal studies over which Buck wove attractive counter melodies. Hammann also provided a handout showing the registration for each study.

The 1896 Hutchings organ, Op. 465, at Lafayette Avenue Presbyterian Church offered an interesting contrast to the approximately contemporary Johnson (1895) just heard. Whereas the Johnson was originally supplied with mechanical action, the Hutchings had an early version of electro-pneumatic key and stop action and may have been the first organ in Buffalo to have had this “modern” action. Later additions and modifications were made by Wurlitzer, Viner and Schlicker (console). After remarks by both the interim pastor and the former music director, Derek Nickels played the following program: Sonata 5 in D (op. 65, no. 5, 1845), Mendelssohn; “Harmonies du Soir” from Trois Impressions (op. 73, 1911), Karg-Elert; “Scherzetto” from 24 Pièces en style libre (op. 31, 1913), Vierne; Elegy (1916), Brewer; the hymn, “Guide me O thou Great Jehovah,” sung by the entire assembly to the tune, Cwm Rhondda; and the “Finale and Fugue” from Sonata 7 in F (op. 127, 1881), Rheinberger. Even though the acoustically treated barrel vault plus the substantial grille work (added later in front of the original Hutchings case) prevented clear projection of the organ’s sound, the usual firm and distinguished basic Hutchings tone emerged quite well under Dr. Nickels’ expert playing. He wisely chose a very effective group of pieces to display the instrument’s colors and its highly expressive enclosed divisions.

A short bus trip brought us to the former First Church of Christ, Scientist, recently purchased by David and Marsha Karpeles of Santa Barbara, California. After renovation, it will become yet another venue for their extensive collection of original documents and manuscripts. We were served a box lunch as we sat in the pews and listened to a demonstration of the ex-church’s 1913 3-manual Möller, Op. 1500, rebuilt by Möller in 1956. David Blazer’s short and eclectic program included the Prelude from Duruflé’s Suite; a transcription of the theme from “The Young and The Restless,” and Bach’s Schmücke dich and Prelude in C Minor (BWV 546). The loud, somewhat boomy and opaque sound of the Möller successfully covered up munching and paper-rattling sounds produced by the hungry conventioneers. Blazer deserves our plaudits for putting up with what must have been a less than congenial performance situation on a difficult instrument.

The First Presbyterian Church, across from Kleinhans Hall, home of the Buffalo Philharmonic Orchestra, was the next stop for two demonstrations. The first was by Timothy Smith who presented a short program on the fine 1957 Schlicker in Hindman Chapel. The well-balanced 2-manual organ contains some pipework from the chapel’s previous ten-stop Roosevelt organ installed in 1889 as that firm’s Op. 426. Since we arrived at First Presbyterian early enough, many people chose to wander around and enjoy the richly decorated interior of the church including its Tiffany windows. Incumbent organist David Bond played the following program on the church’s landmark 4-manual Noehren organ of 1969-1970: the hymn, “Ye watchers and ye holy ones,” sung to Lasst uns erfreuen; Prelude in C (BWV 547), Bach; Noël Etranger, Daquin; “Humoresque” from L’organo primitivo, Yon; and Chorale No. 1 en mi majeur, Franck. The organ, situated in the rear gallery with its often-pictured suspended Positiv, was one of Noehren’s largest instruments and said to be his favorite of all the ones that came out of his atelier. It features broadly intense principal choruses, commanding chorus reeds, wide-scaled flutes and piquant and colorful baroque-style solo reeds. A bit of whimsy is reflected in the inclusion of a stop control (knob only) for 4/5’ Chivas Regal, evidently intended for eventual subtle Celtic blending characteristics. Bond performed brilliantly, showing that the instrument has ample broad support for a room full of OHS hymn singers and featured the delightful baroque color reeds against a plenum in the Daquin, the lovely Great Rohrfloete (with just enough chiff) in the Yon, and the massively voiced Great 8’ Principal at the beginning of the Franck. Since the console is located in close proximity to the pipes, the organist undoubtedly has to take into account problems of perceived balance and make adjustments for proper perceptions in the room. The organ has benefited from a recent thorough cleaning, re-regulation and some re-voicing by the Niagara Organ Works who thoughtfully provided complimentary copies of a newly produced CD in which one could hear another recital program and also a “before-and-after” example of some reed work.

Later that afternoon, Scot Huntington, organ builder and restorer as well as OHS Vice-President, presented the following program in Nativity of The Blessed Virgin Mary R.C. Church: Organ Motet, Tallis; Prelude in C, Thayer; Minuet in A, Smart; Maria Zart, Schlick; Violin Sonata #5, Bach (with Allison Alcorn-Oppedahl, violin); and Allegro maestoso, Roseingrave. The lovely instrument, apparently originally built by Hall and Labaugh in 1853 and moved to Buffalo later in the nineteenth century, stands proudly in the rear gallery of the lofty sandstone Gothic church. The church interior has been tastefully restored and is in a fine acoustical and visual setting for the seldom-used organ. Even though it needs a thorough restoration, Paul Marchesano, Joe McCabe and Kevin Gilchrist together with Scot Huntington provided many hours to give the instrument enough of a voice so that many of its colorful and delicate tones were able to sing through the vaults and accompany the violin to give a tantalizing taste of what a future restoration might produce.

The evening event was a demonstration and concert of appropriate music played with verve and enthusiasm by Scott Foppiano on the large and restored 1925-1926 Wurlitzer (Op. 1206) in Shea’s Buffalo Center for the Performing Arts. The vast and ornate auditorium was originally Shea’s Buffalo Theatre, one of the nation’s premier entertainment palaces built for the presentation of both stage shows and motion pictures. Foppiano demonstrated many of the organ’s solo and ensemble effects, both with and without the characteristic generously pulsating tremolos. In addition to playing music usually associated with this outstanding example of theatre organ building, he accompanied the showing of the 1922 silent film, “The Cops,” starring the hilarious and athletic Buster Keaton.

Friday

The morning began with Jonathan Ambrosino’s lecture on Robert Hope-Jones, the infamous, quirky, often misguided and personally haunted genius of the organ building world. The theme of his illustrated talk was centered on Hope-Jones’s ideas on “radical change.” Included were appropriate remarks on the ups and downs of the often stormy relationship between himself and the Wurlitzer firm, then located in nearby North Tonawanda, New York. As usual, Ambrosino, well-known for his combination of articulate delivery and depth of scholarship, seasoned with affectionate good humor, did not disappoint the conventioneers who filled the room with resounding applause.

There followed a short walk to St. Anthony of Padua R.C. Church for a short recital presented by Donald Fellows on a more-or-less “stock” model Hook & Hastings 2-manual tracker, Op. 1429 of 1889. The instrument had been moved to St. Anthony’s from Plymouth Methodist Church in 1911. The interior of this elegant and beautifully maintained church had been restored in 1991 and reflected the subtle care taken to emphasize the many architectural features of this Italianate Classic room. A high coffered ceiling and hard surfaces in the building helped to supply an ideal acoustical ambiance for the following program: Prelude and Fugue in d (op. 37, no. 3), Mendelssohn; “Stèle pour un enfant défunt” from Triptyque, Vierne; the hymn, “If now, thou seekest miracles,” sung to the tune Si quarus miracula; “Adoro te devote”—Prelude with Four Variations, Near; and Te Deum, Reger. The pieces were well-played and displayed the firm and distinguished tone of the Hook, which, in spite of some minor tuning problems, acquitted itself well.

Following a catered lunch at St. Francis Xavier R.C. Church, organist Tom Trenney presented the following short memorized recital on the church’s very early example of the work of Herman Schlicker: the hymn, “I sing the mighty power of God,” sung to the tune Forest Green; Bishop’s Promenade, Coke-Jephcott; Variations on “The Last Rose of Summer,” Buck; and “Prelude,” “Scherzo” and “Toccata” forming a three-movement improvisation on submitted themes. The 2-manual, largely enclosed organ of 1933, located in the rear gallery of the high and tastefully decorated room, does not sound as one’s “mind’s ear” might expect of a Schlicker. It has a warmth and breadth of tone more typical of that of a previous generation. The instrument is provided with two consoles, one in the gallery and one on the floor of the nave. It was from this floor console that Trenney played his program. The submitted themes, which Trenney had not seen prior to the performance, were Jerusalem (the wonderful Parry tune), “Come thou fount of every blessing” (Nettleton), and the inevitable Harry Warren show tune, “Shuffle off to Buffalo” (it had to happen sometime during the week!). Trenney achieved the unbelievable task of combining these disparate melodic concoctions into an entertaining and surprisingly unified musical offering. Here is a fine young artist who combines technical security and fire with a fine and sensitive lyric awareness.

Because of limited seating for the next two events, the conventioneers were split into two groups, which then exchanged places and thus heard a repeat of the program. This report will follow the order given in the official Handbook.

Stephen Roberts gave a short demonstration on the Church of the Ascension (Episcopal)’s 3-manual Kimball, K.P.O. 7129 of 1934, which is undergoing restoration. Since much of the organ is currently unplayable, Roberts chose pieces that would work on what is available. His program opened with the lusty singing of The Royal Telephone (“Central’s never busy, Always on the line”) followed by Four Versets on Ave Maris Stella (op. 18, nos. 6-9), Dupré; Vision, Rheinberger; and Variations on “America,” Ives. Roberts, with the aid of a student console assistant, was able to give us more than a few hints of what will eventually be the resurrection of a really fine Kimball.

After a refreshing reception in Ascension’s Parish Hall, the group walked the short distance to Holmes Chapel in Westminster Presbyterian Church for a  demonstration played by Lorenz Maycher on what he calls his favorite instrument, the beautifully balanced 2-manual Aeolian-Skinner, Op. 1136 of 1951. The organ features a floating Positiv division, which is hung on the rear wall of the chapel, thus creating a stunning visual effect as well as a source for antiphonal effects, and, when desired, an enveloping sound for singing support. His program: How Brightly Shines the Morning Star, Telemann; Fugue in d (“Fiddle”), Bach; the hymn, “Holy, holy holy! Lord God Almighty,” sung with plenty of support from the organ to the tune Nicaea; Whimsical Variations (1950), Sowerby, and Fugue in C (op. 36, no. 3), Dupré. As usual, this young artist played with a total “no nonsense” command of the instrument, allowing his technical control to serve the organ and its music.

The previously split groups then met in the main church for Felix Hell’s full recital on the 4-manual Aeolian-Skinner, Op. 1249 of 1959 located in the rear gallery. His program: Fantasy and Fugue on B-A-C-H; Reger; Chorale No. 2 in b (1890), Franck; the hymn, “Praise to the Lord,” sung in a good, broad “Anglican” tempo to the tune Lobe den Herren; and Fantasy and Fugue on “Ad nos ad salutarem undam,” Liszt. For an encore, he played the last movement from Trio Sonata 1, Bach. Hell has the distinction of being the youngest person (at age 18) to graduate with a Bachelor of Music degree from the Curtis Institute of Music. Last  fall (at age 19), he began graduate work at the Peabody Conservatory where he studies with Donald Sutherland. The charming and totally unaffected young virtuoso possesses an impressive technique, and it will be revealing to observe his increasing musical sensitivity as his career develops.

Central Park United Methodist Church was the site for a relaxing catered dinner followed by ample time for a post-prandial stroll in the lovely neighborhood. The handsome limestone church houses the Ward Memorial Organ, a 4-manual Skinner, Op. 356 of 1922-1923. The instrument’s layout is somewhat unusual in that the console and part of the Pedal division as well as the Swell and Choir are located in a transept, while the Great, Solo and the Pedal reed are in the central ceiling of the nave and over the crossing. These latter elements are concealed (very effectively) by a grille cloth colored to blend into the ceiling. This is certainly a clever arrangement, but one can only imagine the tuning and balance problems such an installation can create.

The artist for the recital was Thomas Murray who presented the following program, which he interspersed with highly appreciated and helpful comments: Introduction and Passacaglia in d  (1899), Reger; Fantaisie in D-flat (op. 101, 1895), Saint-Saëns; a group featuring “Four Americans:” Hommage to Perotin (1956), Roberts; Novelette (1908), Parker; Reverie (1962), Still; and Ride on, King Jesus, Greenlee; followed by Notturno (1942) and Impetuoso (1933), Wiedermann. After intermission, we all sang “Battle Hymn of the Republic” to the tune Vision; the program concluded with Rhapsody (op. 17, no. 3, 1919), Howells; Overture to Ruy Blas (1839), Mendelssohn (arr. Lemare); and three movements from the Byzantine Sketches (1920): “Rosace,” “Noël,” and “Toccata: Tu es petra,” Mulet. Murray received a richly deserved standing ovation for his expert playing and was able to bring out the best from this somewhat unusually designed and very fundamental-toned organ. The controversial John A. Bell was the consultant for this particular project and may have been largely responsible for some of its odd tonal characteristics. One cannot help comparing this instrument with the earlier Skinner of 1922 (Op. 327) in St. Luke’s, Evanston, played by Murray at the Chicago OHS Convention in 2002. The Evanston installation, even allowing for the vastly different architectural and acoustical setting, gives the impression of being a much more cohesive and “modern” instrument.

Saturday

The day’s events began with a lecture by organ builder Charles Kegg on the topic “Pipe Organ Restoration,” subtitled “more than you really wanted to know.” His basic tenet is that a true restoration is “ . . . bringing back what was lost.” Much of his talk dealt with specific problems involved in the continuing restoration of the 1934 Kimball heard in the Church of the Ascension the day before. He emphasized the fact that the Kimball’s original materials and design were of very high quality indeed. Among the points he raised were the fact that water damage in organ chambers is sometimes due to inherent building design flaws and that “ . . . falling plaster is not our friend.”

The first recital of the day was held on the landmark 1954 Schlicker in Trinity Episcopal Church with Stephen Schnurr presenting the following program: Fantasia super Komm, Heiliger Geist (BWV 651), Bach; Toccata in d (BuxWV 155), Buxtehude; Balletto del granduca, Sweelinck (attrib.); Concerto del Sigr. Meck, Walther; the hymn, “Lord, enthroned in heavenly splendor,” sung to the tune Bryn Calfaria; and Variations de Concert (op. 1), Bonnet. The organ, situated in the rear gallery, features a tight and well-balanced plenum together with perky small ensembles and colorful solo registers. As usual, the multi-talented Schnurr demonstrated his sure technique and subtle musical sense.

Will Headlee played the final recital of the morning on a thoroughly grand and somewhat altered Kimball of 1903 located in the high rear gallery of the equally grand St. Louis R.C. Church. This was one of several highlight programs with the organ, organist and restored church creating an overall magnificent experience. Headlee thoughtfully provided a sheet of written commentary done up in his usual entertaining style and gave information on both the music and his registrations. His program: two of the Trois Préludes et Fugues (op. 7, 1918), B Major and F Minor, Dupré; Air for Organ (1963), Hancock; from the Partita on “Sei gegrüsset, Jesu gütig” (BWV 768), Bach (Choral, Variations, I, VII and XI); Introduktion und Passacaglia in d (1899), Reger; and the rousing hymn, “Round the Lord in glory seated,” sung to the tune Rustington. Following Headlee’s superb performance, which was justifiably acknowledged with a standing ovation, the departing audience of parishioners and conventioneers was treated to the celebratory ringing of a bell located in a beautiful and lofty tower, which, together with the tower of the First Presbyterian Church, can be seen from many points in the city of Buffalo.

The next locale was Holy Trinity Lutheran Church (located diagonally across the street from the historic Anchor Bar, home of the original “Buffalo Wings”). After a catered lunch we took part in a hymn festival with the redoubtable James Bigham in charge. The main church houses the largest organ in western New York, the 5-manual Margaret L. Wendt Memorial Organ of some 152 ranks, originally a 1949 Möller (Op. 7852) with many changes and additions made by others over the years. Charles Kegg, who rebuilt both the massive console in the chancel as well as the one in the gallery and who was also responsible for most of the recent tonal work, explained some of the features of this remarkable instrument’s layout. Its divisions emanate from a variety of locations in the attractive room, and it is amazing that all of the spread-out portions of the organ worked cohesively and were in fine tune. To say that the instrument has room-filling potential would be an understatement as we were to find out later during the program. Bigham, widely known for his creative improvised hymn accompaniments, expertly played one division against another during the singing of the hymns, effectively demonstrating both large and small ensembles and colorful solo effects. Unfortunately, the creative muse overcame a sense of balance and soon proved how loud an organ can go to swallow up the sound of a room full of singers, several of whom were seen quietly replacing the hymnals in the racks or, in at least in one case, frantically waving a white handkerchief signifying sonic surrender. As a giddy postlude to this event, several people on the buses transporting conventioneers to the next recital pointed out the location of St. Mary’s School for the Deaf just a few blocks away.

The final event of the afternoon took place at the Jordan River Missionary Baptist Church with Randy Bourne playing the following program: “Wedding March” from A Midsummer Night’s Dream, Mendelssohn; “Adagio sostenuto” from Moonlight Sonata (op. 27, no. 2), Beethoven; “Air (on the G-string)” from Orchestral Suite No. 3 in D (BWV 1068); “Little” Prelude and Fugue in G Minor (BWV 557), Bach; Song on an Old Negro Melody, Deep River (1917), Burleigh; and the hymn, “I’ve just come from the fountain,” the African-American spiritual, which was done up “in the style” by the room full of singers. The organ, a Votteler-Holtkamp-Sparling, Op. 1343 of 1919 and obviously in great need of a total restoration, created multiple challenges for Bourne who lovingly struggled to make the organ sound as well as it could. It is a rare example of a small original and unaltered essentially 8-foot instrument by this important midwest builder. A curious feature of the console is its use of color-coded stop tabs. Congratulations are due to the church for not replacing the organ and to Randy Bourne for his considerable efforts to elicit sounds from it.

St. Paul’s Cathedral (Episcopal), just a short walk from the headquarters hotel, was the locale for the evening events—a choral evensong and an organ recital. The evensong featured the Men and Girls of the Cathedral Choirs under the direction of its recently appointed organist-choirmaster, Andrew Cantrill, with Andrew Scanlon, assistant organist-choirmaster, providing the accompaniments. After a short interval, Scanlon played the following program of three sonatas: Sonata No. 3 in A (op. 65, no. 3), Mendelssohn; Sonata II (1937), Hindemith; and Sonata Eroïca (op. 94, 1930), Jongen. The organ is an interesting one in that the chancel portion was built by Schlicker in the 1950s with more recent rebuilding by Ralph Richards and Bruce Fowkes. The gallery division’s magnificent case, originally by Hope-Jones, houses the remains of a 1908 Hope-Jones unit as the Solo. Over the years, further work was done by Wurlitzer to the gallery and chancel divisions, both of which had been of Hope-Jones design. It is a rarity to find vintage Hope-Jones pipes and unit chests existing together with Wurlitzer and Schlicker and later tonal and mechanical material all available in a single effective instrument.