An Introduction to the Organ Works of Fredrik Sixten

A New Series of Organ Music Established by MorningStar Music Publishers

Marilyn Biery

Marilyn Biery, DMA, AAGO, is Associate Director of Music at the Cathedral of St. Paul in St. Paul, Minnesota. An ardent supporter of composers and performer of new music, she has collaborated with Libby Larsen, Stephen Paulus, David Evan Thomas, James Hopkins, Pamela Decker, and others. She is editor of the new Concert Organ Music Series at MorningStar Music. Biery earned Bachelor and Master of Music degrees in organ from Northwestern University, and her Doctorate from the University of Minnesota.

It was a frustrating two years of hopeful submissions and
disappointing rejections. Imagine--you are a performer and enthusiast of
new music and you have just been given the greatest gift: a piece of music
written and dedicated to you! You so emphatically believe this composition
should be shared with the world that you do everything you can to find the
piece a publisher, only to be told that it is “a wonderful piece that
won’t sell” or “beautifully written, but the sales it would generate
in today’s market wouldn’t offset the cost of printing it.”

In the spring of 1999, Jim (Biery) and I were given the gift
of an organ duet by one of our composer friends, David Evan Thomas of St. Paul.
Written in the Dust is a symphony for organ duet, written by a versatile composer
whose works have been performed by the Minnesota Orchestra and the Minnesota
Opera, who is Composer-in-Residence at the Schubert Club in St. Paul, and whose
undergraduate years of study at Northwestern University included organ lessons
with Robert Delcamp, currently University Organist at University of the South
in Sewanee, Tennessee. Written in the Dust is
a semi-programmatic work based on the scripture story from John 8: 3-11
about the woman who is caught in adultery, whose punishment was to be stoned
for her sin. Jim and I are convinced that Thomas’ duet is one of the
finest examples of literature written for the genre. We were so excited about Written
in the Dust that after the premiere, I
started sending it off to various publishers for consideration. I tried
publishers in the United States, England and France. All were very impressed
with the work; none agreed to publish it.

In the fall of 2001, I broached my frustration to Mark
Lawson, President of MorningStar Music Publishers. MorningStar was founded in
1987 by Rodney Schrank; in 1997 Mark Lawson became president and has continued
the MorningStar tradition of publishing quality music with particular emphasis
on choral, organ and handbell music. Not only did Lawson agree to publish it,
he suggested that we start a series of music that would fit into this category:
Concert Organ Series at MorningStar. The series would include pieces that were
not composed for worship (although some portions or movements could be used as
such), that would be primarily non-chorale based, more virtuosic, more
extended, and more developed than the music currently published by the houses
which promote (primarily sacred) organ music in the United States today. Lawson
says: “I would like this series to encourage composers to continue to
create concert works, and MorningStar will endeavor to make them available to
those interested in obtaining them.”

The reason that Lawson could suggest such a project without
as much concern for its potential to return the publisher’s investment is
that his investment is minimal. Technology today has made it practical for
composers to print their own publisher-ready scores using a computer program,
and therefore submit camera-ready copy. Some publishers use this system often,
others still have their own engraver convert the computer file so that it
matches their other printed scores. In the case of MorningStar, Lawson decided
to ask each Concert Organ Series composer to submit their score camera-ready,
and then MorningStar would print the copies as needed instead of committing to
a set number of printed copies.

What Lawson has done with the formation of this series is to
make a commitment to supporting composers who are writing for the organ as a
concert instrument, by advertising and making their works available through his
catalog of music for the church. Since the beginnings of the idea in 2001, the
catalog has grown to include music by Herb Bielawa, James Biery, Emma Lou
Diemer, Charles Hoag, James Hopkins, Robert Sirota, David Evan Thomas, and
others.

Emma Lou Diemer, 1995 AGO Composer of the Year, has had
numerous collections of organ pieces published.  In addition to her organ music, Diemer has written many
works for orchestra, chamber ensemble, solo voice, choir and electronic tape. She
has received an ASCAP award for publications and performances annually since
1962. Diemer says of the Concert Series: “This venture by MorningStar is
producing a treasury of new music that every concert organist will want to
delve into.”1

Herb Bielawa is a free-lance composer and pianist, married
to organist Sandra Soderlund. He has written music for instrumental ensembles,
piano, harpsichord, organ, choir, electronics, chamber opera, band and
orchestra. Bielawa recently remarked on the MorningStar series:
“MorningStar’s new series is certainly a beacon in a very dark sky.
Their bravery in embarking on this kind of project to support serious classical
music is truly laudable.”2

James Hopkins, Professor of Music Composition at the
University of Southern California, whose compositions have been performed by
the National Symphony, Denver Symphony, Los Angeles Philharmonic, Seattle
Symphony, Pacific Symphony, Fine Arts Quartet, the Western Arts Trio and the
Washington Choral Society, has received commissions from the National Endowment
for the Arts, Pasadena Chamber Orchestra and the American Guild of Organists.
Hopkins says: “I am very pleased that MorningStar provides an outlet for
music which, because of its technical demands, duration, or other elements will
necessarily not have a large commercial market. Nevertheless, this music, I
hope, merits serious attention by those whose abilities and performance venues
make these compositions entirely appropriate.”3

John Nuechterlein, President and Chief Executive Officer at
the American Composers Forum, based at the home office in St. Paul, is
supportive and enthusiastic about MorningStar’s new series: “Three
cheers to MorningStar for taking this giant leap forward. New work is critical
for the long-term health of the repertoire, and the Concert Organ Series will
offer a visible showcase for the best literature being written for organ
today.”4

Libby Larsen, American composer and tireless advocate for
contemporary music and musicians, says: “To challenge ourselves with the
compelling poetic voices of our time is really the only choice for serious
students and performers of the organ.”5

This new series deserves to thrive under the good will and
support of organists at all levels of experience and technical expertise. Organists
can support this project by collecting these scores either for performance or
for personal libraries of organ music. The list of pieces currently offered by
MorningStar on the Concert Series follows, with some description of each work.

MorningStar Concert Organ Series list of works

Organ Solo:

A Diet of Worms, Michael Horvit

Subtitled “An Entertainment for All Hallows Eve and
Other Cheery Occasions,” A Diet of Worms was written for the first annual
“Monster Concert” of the Houston Chapter of the American Guild of
Organists, held on Halloween night 1979. The title is a play on words, relating
to the two main themes employed in the work. The main body of the piece is a
passacaglia based on the children’s song “The worms crawl in, the
worms crawl out” (the tune from Paul Dukas’ The Sorcerer’s
Apprentice). The other important theme is the chant melody Dies Irae from the
pre-Vatican II Requiem Mass, which Hector Berlioz used as the “Witches
Sabbath” theme in his Symphonie fantastique. In the composer’s mind,
this made a connection to the medieval Church conclave, the Diet of Worms.

h2>Celestial Wind, Robert Sirota

In composing Celestial Wind, Sirota was inspired to write a
brilliant toccata based upon Acts 2:2-3:

And suddenly there came a sound from heaven of a rushing and
mighty wind, and it filled all the house where they were sitting.

And there appeared unto them cloven tongues like as of fire,
and it sat upon each of them.

Sirota’s aim was not merely to imitate the sound of
rushing wind and flames, but to also evoke the sense of awe and ecstasy that
must have been felt by Jesus’ disciples at this manifestation of the Holy
Spirit. (Example 1)

Cityscape, Morgan Simmons

Cityscape dates from 1992 and was composed for inclusion in
an organ recital of Chicago composers as part of the Fourth Presbyterian
Church’s annual Festival of the Arts. The theme of that year’s
festival was “Faces of the City.” This three-movement work, which
depicts facets of the city, is based on a three-note descending scale (C-B-A),
the opening notes of the popular song, “Chicago, Chicago, That
Toddlin’ Town.” Coincidentally, this same melodic sequence marks
the beginning of Old Hundredth, and a citation of that melody occurs in the
third movement. The Fourth Presbyterian Church is located on the part of North
Michigan Avenue which is known as “The Magnificent Mile.” Each of
its Sunday morning services begins with the singing of Old Hundredth, sung to
the text of the Doxology. The first performance of Cityscape was played by
David Schrader, to whom it is dedicated.

Overture to Coriolan, op. 62, Ludwig van Beethoven, arranged
for organ by James Biery

Beethoven composed nine symphonies, eleven overtures, a
violin concerto and five piano concertos, sixteen string quartets, nine piano
trios, ten violin sonatas and five cello sonatas, thirty large piano sonatas,
an oratorio, an opera, two Masses, and numerous smaller pieces, but only one
curious work for the pipe organ, an odd little Prelude which passes through all
the major keys. In 1824 Beethoven wrote to Freudenberg, an organist from
Breslau, “I, too, played the organ frequently in my youth, but my nerves
could not withstand the power of this gigantic instrument. I should place an
organist who is master of his instrument at the very head of all
virtuosi.”6 The opening unison C’s and exclamatory chords of the
Coriolan overture, each followed by some of the most resounding rests in all of
music literature, allow the magnificent King of Instruments to add its own
voice to Beethoven’s powerful music.

Deux Danses, James Hopkins

Hopkins’ Deux Danses for organ was composed in 1983
and was premiered by James Walker at the AGO Far-Western Regional convention in
June of that year. The titles for each of the dances were suggested by two
legends from Greek mythology. The title of the first dance, Mirror of Medusa,
refers to the tale of the Medusa. She was one of the three fearsome monsters
called Gorgons. Her body was covered with scales, her hair was a mass of
twisting snakes, and whoever looked at her turned into stone. In the legend,
Medusa was slain by the Greek hero Perseus, who used a shield of polished
bronze as a mirror with which to see her. The title of the second dance, The
Circle of Bacchants, refers to the followers of Bacchus, the God of Wine. The
Bacchants, being frenzied with wine, rushed through the wilderness
“uttering shrill cries and performing frightful deeds.” (Example 2)

Fantasy on Cortège et Litanie of Marcel Dupré,
James Hopkins

The Fantasy on Cortège et Litanie of Marcel
Dupré was composed in 1986 as a solo piece for concert organist Cherry
Rhodes and first performed by her in October, 1989, at Grace Cathedral, San
Francisco. Because of the very orchestral nature of the writing, the composer
decided in 1994 to recast the work in a second version for small orchestra. The
Fantasy is based on the two main themes of the well-known work Cortège
et Litanie of Dupré. Even though one or both of these themes is almost
always present in some form, there is in fact no direct quotation from the
original work. The harmonic style, while incorporating some fairly dissonant
combinations, nevertheless retains Dupré’s original E major tonal
framework. The first part of the Fantasy consists of several short sections
that evoke a vague, dream-like atmosphere. After a brief cadenza, the
rhythmically driving central portion of the work is heard. A short
recapitulation of earlier material and a final triumphant outburst bring the
Fantasy to a joyous conclusion. Hopkins’ Fantasy won first prize in an
international composition contest sponsored by the Los Angeles Chapter of the
AGO.

Five Pipe Organ Adventures, Herbert Bielawa

This set of relatively short organ pieces dates from 1993
and was written for specific groups of musicians: those who have recently
become interested in the pipe organ, those who have yet to discover it and
those who are intrigued by the pieces themselves. The Adventures were composed
with a capable keyboard player in mind, with minimal skill or experience
playing pedals. The pedal parts are fairly basic and undemanding. The number of
pedal notes in Adventures is limited, changing foot position occurs when manual
activity is minimal, and occasionally no pedal is required at all.

Four Biblical Settings, Emma Lou Diemer

This major work was commissioned by the Ventura, California
chapter of the AGO. The four movements feature a variety of styles, including
minimalism, rhythmic innovation, and subtle dissonances. It was premiered on
June 30, 1993 by Sandra Soderlund in Santa Barbara. The movements are based on
Psalm 90, Psalm 121, Isaiah 11:1 and Isaiah 35:1. The first movement is in a
minimalist style and is innovative in the way that the increments in
“volume” of the crescendo pedal are used not only for drama but to
define the phrase structure of the movement and to express the imagery in Psalm
90. The second movement (Psalm 121) has expressive, upward bending lines. The
third movement (Isaiah 11) weaves in the chorale “Jesu, meine
Freude.” The last movement (Isaiah 35) is characteristically joyful and
rhythmic in its use of various groupings of eighth-note patterns. (Example 3)

Metopes, James Hopkins

Commissioned by the Far West Regional Convention of the
American Guild of Organists, Metopes was composed in the summer of 1990 and
first performed by Cherry Rhodes in June 1991. The work consists of two
extended movements, Arachne’s Web and The Gift of Nessus. These are
connected by the brief “Interlude,” for pedals alone, which serves
to unite the two by motivic transformation. The title Metopes is the
architectural term that refers to the sculptured marble slabs between the
triglyphs of a frieze. These spaces were frequently decorated in low relief
with depictions of scenes from classical Greek mythology.

Arachne’s Web refers to the story of the maiden
Arachne, a mortal who was exceedingly skilled in the art of weaving. She
unwisely challenged the goddess Minerva to a contest. Minerva was greatly
displeased by Arachne’s obviously greater skill at weaving. To punish
Arachne for her impudence, Minerva transfigured Arachne into a spider that
hangs by its own thread. Musically, an almost constant stream of descending
thirds depicts the weaving while above it an ever more ornate melody is spun
out. An angry outburst terminates the melodic elaboration, and the movement
ends quietly with the opening material.

The Gift of Nessus relates to the story of the centaur Nessus
who attempted to run away with Dejanira, the wife of Hercules. Hercules heard
her cries and shot the centaur in the heart. The dying Centaur told Dejanira to
take a portion of his blood and keep it to be used later as a charm to preserve
the love of her husband. Dejanira did so and before long had occasion to use
it. In one of his conquests Hercules had taken prisoner a fair maiden, named
Iole, of whom Dejanira became jealous. When Hercules was about to offer
sacrifices to the gods in honor of his victory, he sent to his wife for a white
robe to use on the occasion. Dejanira, thinking it a good opportunity to try
her love-spell, steeped the garment in the blood of Nessus. As soon as the
garment became warm on the body of Hercules, the poison penetrated into all his
limbs and caused him the most intense agony. The garment stuck to his flesh and
as he wrenched it off, he tore away whole pieces of his body. This movement
begins in a low register as a slow dance with menacing sounds. As the music
gradually moves higher, the dance becomes more complex and animated. A quiet
middle portion that develops the material heard thus far provides a foil to the
dramatic and agonized final dance episode.

Of Things Hoped For, David Evan Thomas

“Faith is the substance of things hoped for, the
evidence of things not seen,” writes Paul in his letter to the Hebrews.
Thomas’ two-part work is based on the idea of faith; the experience of
writing a piece on such a subject enabled Thomas to express his own thoughts:
“Faith and I have an uneasy dialogue, since my own faith is so . . .
mercurial. But just as the act of writing a letter is the quickest way to draw
a friend close, the meditation of writing music often makes the ineffable
concrete. I found when all the notes were down that a reverent murmur had grown
into a crowning shout of praise. Paul’s words came to mind, and thus a
title.”

Of Things Hoped For begins with a modest arching phrase,
supported by a descending pedal line. The ensuing meditation develops a new
melismatic idea along with toccata elements, leading to a grand statement. A
dance follows, based on the melisma, which stretches and flips the material.
The little bass line from the opening reasserts itself as a soprano tune, first
in a quiet B-major episode, then--triumphantly and in D major--in the
trumpet. The two movements may be performed together, or may stand alone; they
would work well in a worship setting. Marilyn Biery commissioned Thomas to
write this work in honor of James Biery’s birthday in 2001; it was
premiered by James in May 2001, at the Cathedral of St. Paul in St. Paul,
Minnesota. (Example 4)

Organ Booklet, Herbert Bielawa

The movements in Bielawa’s Organ Booklet are
essentially etudes modeled upon the various “Organbooks” in
history. It was from Bach’s term Orgelbüchlein that he drew the
title for these organ etudes. Bielawa set himself the task of making use of the
classical major and minor triads and manipulating them in unusual ways. The
challenge was to create a fresh marriage of familiar triads with unfamiliar and
unexpected developmental procedures. Whereas the triads are from antiquity,
their combination is from the present.

Prologue, Reflection and Jubilation on York, James Biery

In Biery’s search for possible material on which to
base this commission for The Congregational Church of Green’s Farms,
Westport, Connecticut, he came across the hymn “O Lord, Almighty God, Thy
Works.” The history of the text coupled with the quirky angularity of the
melody proved irresistible. The hymn was one of several “hymns and
spiritual songs” found in the third edition (1651) of the Bay Psalm Book.
The Bay Psalm Book was published by the Congregationalist settlers in the
Massachusetts Bay Colony; in 1640 it was the first book published in English in
North America. “O Lord, Almighty God” was popularly known as
“The Song of Moses and the Lamb” and was sung at the first great
council of Congregational Churches in New England, the Cambridge Synod of 1648.
The hymn is sung to the tune York, which is one of the twelve Common Tunes from
the Scottish Psalter of 1615. At one time in England it was second only to Old
Hundredth in popularity.

Even though the Prologue, Reflection, and Jubilation is
based on the tune York, the entire melody is not heard until the third movement.
The Prologue is a tribute to one of Biery’s favorite 20th century
composers, Maurice Duruflé. The running figuration heard throughout is
built upon the first four notes of the hymn. The main theme, played on the
string stops, begins with the ascending triad of the opening phrase of the hymn
(transformed to the minor mode).

The first movement melts into the second, a serene
“Reflection.” Once again the melodic line begins with the first
four notes of York.

An improvisatory recitative passage leads into the final
“Jubilation.” This movement pays homage to Calvin Hampton, the
gifted and innovative New York composer who died in 1984 at the age of
forty-six. Again the rising triadic motive is prominent, now in the major key.
The hymntune is first heard in the pedal part, and then triumphantly in a final
grand statement. (Example 5)

Psalm 151, Emma Lou Diemer

Psalm 151 was commissioned by Joan DeVee Dixon in 1998 in
honor of Alvin Broyles. The piece moves restlessly with sixteenth-note
figuration, punctuated by melodic ideas that alternate between the hands. Psalm
151 builds to a dramatic close in which an A major chord emerges from the
contrasting sonorities and is sustained full organ to the end. (Psalm 151 is one
of the non-canonical psalms found in the Dead Sea Scrolls at Quamran.)

Scherzo, Emma Lou Diemer

Scherzo was written in 1996 in honor of Carolyn and David
Gell and for the dedication of the Schulmerich Carillon at Trinity Episcopal
Church in Santa Barbara. The piece is mostly for manuals, and sections of it
may be played with various bell sounds contrasting to light organ
registrations. It is in the style of a traditional scherzo, bouncy and bright
in character.

Six Chorale Preludes on Ton-y- Botel, Herbert Bielawa

In Giocoso, the tune is in the pedal for several measures
but turns into a fugal subject in partial imitation. In Cantilena the tune is
embedded inside the staccato “peppering” of the texture. Canone
Doppio is a double canon with fragments of the tune in the pedal. Cadenza is a
flourish for the pedals where the tune is laced into the rush of sixteenth
notes with a few commentaries on the manuals. Preghiera is a prayer in which
very delicate flakes of sound accompany the pedal, which presents the tune.
Maestoso is a grand finale with the tune appearing in the manuals and pedal
alternately. (Example 6)

T.S. Eliot Impressions, Dennis Bergin

T.S. Eliot Impressions (Set 1) was inspired by the four
“Ariel” poems of T.S. Eliot. The poems are entitled “Journey
of the Magi,” “A Song for Simeon,” “Animula,” and
“Marina.” Colorful organ registrations, late twentieth-century
musical language and references to other organ works and chant melodies are
employed in this musical representation of Eliot’s poetry. The poems
mark, in part, Eliot’s conversion experience to orthodox Christianity.
The spiritual theme of T.S. Eliot Impressions is that of a journey from
darkness to light and from despair to hope.

Organ duet, two players, one console:

Auld Lang Syne, Eugene Thayer, edited by Robert C. Mann

The organ works of Eugene Thayer are not widely known today.
Thayer (1838-1889) was a well-known and highly respected organ
recitalist, pedagogue, composer and church musician who held church positions
in Massachusetts and New York. Robert C. Mann has provided this edition of
Thayer’s duet on Auld Lang Syne, which Thayer transcribed for duet from
one of his solo compositions. Thayer used duets as teaching pieces: he would
play the secondo part and his student would play the primo part. Unfortunately,
this duet is printed with each performer having their own score, making it
necessary to have an organ with a wide music desk in order to fit both scores
on it.

Evensong, Charles Callahan

Both of the Callahan duets in the MorningStar Concert Series
were commissioned by Raymond and Elizabeth Chenault. Evensong was premiered in
May of 1987 at the Spoleto Festival in Charleston, South Carolina. It is based
on two evening hymns: Tallis’ Canon and Ar Hyd y Nos. Evensong is quiet in
nature and uncomplicated in texture.

Largo ma non tanto, J. S. Bach, transcribed for organ duet
by James Biery

Biery has transcribed the middle movement of the Bach
Concerto in D minor for Two Violins, BWV 1043, for organ duet. This duet
requires the secondo player to sit in the middle of the bench to play the
ripieno part (which uses pedals), and the primo player to sit off to the right
side in order to play the two solo parts (manuals only). (Example 7)

Ragtime, Charles Callahan

Ragtime was also premiered in 1987 at the Spoleto Festival
by the Chenaults. The title of this piece conveys the compositional style of
this lively and colorful duet.

Psalm Variations, James Hopkins

Psalm Variations was composed originally in the spring and
summer of 2000 for orchestra. The piece was reworked in the summer of 2002 for
organ duet, and is dedicated to Marilyn and James Biery.

Psalm Variations is based on the American folk melody
Resignation. This melody is most often associated with the text “My
Shepherd Will Supply My Need,” a metrical paraphrase of Psalm 23 by Isaac
Watts (1674-1748). Although Psalm Variations is not a religious piece,
the variations do follow the flow of the text.

Written in the Dust, David Evan Thomas

Written in the Dust by David Evan Thomas was inspired by an
address given at the First Unitarian Society of Minneapolis in November 1998 by
the Rev. Dr. Kendyl Gibbons, Minister of the Society. Gibbons’ address
focused on the biblical story from John about the woman, caught in adultery,
whose punishment was to be stoned for her sin (John 8: 3-11). Jesus said
to the crowd “Let anyone among you who is without sin be the first to
throw a stone at her,”  and
then he dismissed her, saying, “Go and sin no more.” The
semi-programmatic movements of Written in the Dust are entitled “Jesus,
the Woman and the Pharisees” (verses 3-6), “The Writing in
the Dust” (6-8), and “Go, and sin no more”
(9-11). Written in the Dust contains all the ingredients which make this
a masterful, virtuosic work for duet: a brilliant pedal cadenza, “pedal
fans” in the outer movements, motives which are started by one player and
finished by the other, ranges of motion for each player that cover the keyboards,
fast figuration, conversational passing back-and-forth of musical ideas, and
elegant, lyrical writing. All combined, they enable Written in the Dust to tell
a compelling musical story. It was premiered in October 1999 by Marilyn and
James Biery at the Cathedral of St. Paul in St. Paul, Minnesota. (Example 8)

Duet, two organs:

Chantasy, James Hopkins

Chantasy for two organs was a commission from Mount Angel
Abbey, St. Benedict, Oregon, in thanksgiving for the two recently installed
Martin Ott organs. It was premiered by Cherry Rhodes and Ladd Thomas on October
17, 1999 in the Abbey. Hopkins calls it a “chant fantasy” on the
Kyrie and Sanctus of the Missa Cum Jubilo. Much of the harmonic language of
Chantasy is reminiscent of the music of Maurice Duruflé. (Example 9)

Voluntary for Antiphonal Organs, James Biery

The Voluntary for Antiphonal Organs was composed for and
first performed at the 1988 National Convention of the Organ Historical Society
in San Francisco. The piece is constructed using the standard sonata form with
a brief slow introduction.

Organ with instrument:

Divertimento (string quartet), Charles Callahan

A light-hearted piece, with considerable contrapuntal
activity among the instruments and a mystic element of calmly soaring melody in
the quiet sections.

Easter Canticles (organ and violoncello), Robert Sirota

The three movements of Easter Canticles--Vigil,
Crucifixion, and Resurrection--are structured as a triptych after the
iconostasis7 of an Orthodox church. The three panels are meditations on scenes
from the Passion of Jesus Christ: his prayerful agony in the Garden of
Gethsemane, his crucifixion and resurrection. With the combination of cello and
organ, Sirota sought to capture the mysticism of these three moments of the
Passion. The first movement is agonized and restless, the second portrays the
crucifixion, even down to the hammering of the nails into Christ’s hands,
and the third depicts Christ’s light-suffused resurrection.

The Kraken, Charles Hoag

The Kraken is a work for organ pedals with the player also
playing a large tam-tam (or the player could also be joined by a
percussionist). It is based upon the poem by the same name by Alfred Lord
Tennyson (1809-1892). The Kraken is a mythical Norse sea monster. The
opening lines of the poem give the setting for the music, which starts on the
lowest possible pitches and works upward to a frenzy in both instruments:

Below the thunders of the upper deep,

Far, far beneath in the abysmal sea,

His ancient, dreamless, uninvaded sleep

The Kraken sleepeth . . .

Organ and Voice:

Canticle of the Sun (high voice), David Evan Thomas

Canticle of the Sun, a setting of the poem by St. Francis of
Assisi, was commissioned by the Twin Cities (Minnesota) AGO and first performed
by soprano Elizabeth Pauly and organist James Biery in 2000.

The parallel verses of St. Francis’s poem inspired from
Thomas a series of variations on what could be called a Theme of Praise, a
declamatory melodic idea that emphasizes fourths and fifths. After the initial
presentation of the theme (“All praise to you, my Lord”), the
speaker moves from extolling sun and moon to praising each of the four elements
of the medieval world (wind, water, earth, fire) taking in all of creation.
Because the text is concise--only a few key images per variation--it
remains for the organ to develop the material through figuration, texture and
registration, as well as to provide links between sections, each of which
explores a different tonality. A special place is reserved for the human art of
forgiveness. The vocal line here descends into its lowest register, accompanied
by the simplest organ texture, before rising up again in fountains of praise.

Concertos:

Concerto for Organ and Orchestra, Gerald Near

This concerto by Gerald Near was conceived in the grand
traditional manner. The movements follow the usual form for a concerto: Sonata-allegro,
Slow movement (in no particular form) and Rondo (Toccata). It is scored for
chamber orchestra in a desire to make the work more practical and accessible.
Gerald Near’s music is published by Aureole Publications and distributed
by MorningStar.           n

Boston, June 23–27

Jonathan B. Hall and Joyce Johnson Robinson

Jonathan B. Hall writes frequently for The American Organist, The Diapason, and The Tracker. He teaches music
theory and music criticism at New York University, and is music director of Central Presbyterian Church in Montclair, New Jersey. He serves on the American Guild of Organists’ Committee on Professional Certification. Hall is the author of Calvin Hampton, A Musician Without Borders  (Wayne Leupold Editions).

 

Joyce Johnson Robinson is editorial director of The Diapason.

The American Guild of Organists 2014 National Convention met in Boston, Massachusetts, June 23–27. The weather gods smiled favorably for the most part and the city was a delight. This was a walking convention, so it was possible to get sufficient exercise from transport on foot (and climbing stairs to use the metropolitan trains). The convention daily details (and program notes, written by the artists) were nicely packaged, with each day’s itinerary in a single booklet (all the booklets came packaged in a cardboard slipcase). Information on venues, organ specifications, and photos were presented alphabetically in a separate booklet (which one would have to remember to bring). Though we hoped to review all performances, we did not completely succeed—given the vast array of choices at our disposal, this ambition was unreasonable, but entirely understandable. 

 

Monday, June 23

James David Christie, 

Symphony Hall

Monday evening’s opening concert presented James David Christie along with the Boston Landmarks Orchestra, conducted by Christopher Wilkins, in a program of five works for organ and orchestra, at Symphony Hall in Boston. The 1949 Aeolian-Skinner organ, Opus 1134, was rebuilt by Foley-Baker in 2004, during which 32′ Diapason and Bourdon registers were added and the Bombarde division strengthened. The organ asserted itself wonderfully along with the orchestra; it added marvelous color and presence, and Christie used it to full advantage, presenting its range from whisper to roar, as both solo instrument and orchestral collaborator.

The program opened with Guilmant’s Première Symphonie, known to many of us as an organ-only sonata. It was enjoyable to begin the evening with a familiar work in a less-familiar guise, allowing us to hear well-known themes from the colors of different instruments. Christie’s deft use of the Swell pedal was noteworthy in the softer passages, and he withheld use of the Vox Humana until the end of the Pastorale. In the fiery finale, the organ’s upperwork was on display, along with great brass and percussion fanfares—quite a treat. 

Marie-Louise Langlais was then introduced from the audience; her husband Jean Langlais’ Thème, variations et final, op. 28 from 1937, was next on the program. It began in the low strings, with chordal punctuation from the upper strings, and a chantlike theme from the organ. The variation techniques included descending, sliding scales (which, admittedly, stringed instruments accomplish better than the organ does), fugal passages, and presentation of the theme by the pedal and brass. The work grew ever more fevered and exploited the powerful sound that an organ with an orchestra can produce.

After intermission, a medallion was presented to AGO President Eileen Guenther, by Vance Wolverton, marking the official induction of the AGO into the American Classical Music Hall of Fame. (Besides the AGO, other recent inductees include composer Aaron Jay Kernis, educator and choral conductor Weston Noble, pianist André Watts, and the Guarneri Quartet.) How positive for the AGO to receive such recognition from the wider musical world!

Boston-area native Daniel Pinkham’s 1995 Concerto No. 2 for Organ and Orchestra opened with an Overture Concertante, which featured much percussion and a good dose of spiky and angular themes that are a feature of Pinkham’s work. The lovely Adagietto was both lyrical and insistent, and the final Rondo alla burla included a crescendo with full organ and full orchestra, brass and percussion a-blazing. Next was Walter Piston’s 1943 Prelude and Allegro; the Prelude was hauntingly beautiful, melancholy yet sweet, in which Christie sensitively blended the organ with the string section of the orchestra, while the Allegro featured lively counterpoint. The concluding work was Samuel Barber’s Toccata Festiva from 1960; from the opening thunderclap of percussion to the lyrical and lovely themes to the pedal cadenza, Christie delivered the goods in this magical work. His playing was skillful and responsive and was enhanced by his elegant console demeanor.

Programs with multiple works for organ and orchestra (rather than merely a bit of Saint-Saëns) are rare; this was indeed a feast. 

 

Tuesday, June 24

Opening worship,

Cathedral of the Holy Cross

The convention’s opening interfaith worship service took place at the Cathedral of the Holy Cross. I arrived late (having stopped with some others to assist a conventioner who had fallen), and so missed the prelude (Carol Barnett’s March to Glory: ‘Draw me nearer,’ a convention commission, in its premiere performance), the opening hymn (with Richard Webster’s descant), and AGO Chaplain Don E. Saliers’s invocation. Colin Lynch, organist for the prelude and the service, played solidly throughout, in both hymns and the imaginatively registered anthems. 

Libby Larsen’s new hymn tune (another commission and premiere), for the text “Eternal Ruler of the ceaseless round,” was solid, simple to sing—all within an octave range—and yet still contained enough harmonic surprise to be fresh. Matthew Martin’s anthem, Jubilate Deo (also a commission and premiere) was a stirring setting of Psalm 100, and exhibited fine text painting. It was followed by the chant hymn The Great Forerunner of the Race (Ut queant laxis). 

Rev. Barbara Cawthorn Crafton spoke of how artists working in faith communities must deal with being competitive, and how to work to be the best you can be while still containing your ego. She also addressed the challenge of striving for higher quality—if a congregation will “allow access to their foundation, we can raise their ceiling.” Crafton also touched on an issue that resonates with many of us: “Tell me that what I gave my life for was not a mistake.”

Paul Halley’s anthem, Jesu, the very thought of thee, was simply stunning; based on the hymn tune St. Botolph, it offered both a bubbling-brook accompaniment (for flute stops) and a cappella writing. The majestic concluding hymn, Coe Fen (“How shall I sing that majesty?”), with alternate harmonization and setting by Richard Webster, stirred the soul. The postlude, Daniel Roth’s Fantasie sur l’hymne à Saint Jean Baptiste (a commissioned work for this service, based on Ut queant laxis), played by Leo Abbott, covered a range of emotions, textures, and sound; it ended quietly on a small tone cluster, and we departed to begin a big day.

 

Tuesday morning

Scott Dettra,

Trinity Church

Scott Dettra’s recital at Trinity Church was a filling meal of meaty compositions, ably presented on the Skinner and Aeolian-Skinner organs. Healey Willan’s Prelude and Fugue in C Minor, op. 146, was a seamless release of energy throughout. Évocation II, a 1996 work by Thierry Escaich, was a delightful, colorful composition. The piece opened with a pedal ostinato (of a single note in octaves); chords of many colors then spoke from various locations in the room, like birds in dialog amongst the trees. The work ended with a surprise chord at the end. Dettra’s use of the organ, in all its locations (and stamina in playing those ostinato pedal octaves), was masterful. 

Herbert Howells’s Psalm-Prelude, Set 1, op. 32, no. 2 (inspired by Psalm 37:11, “But the meek-spirited shall possess the earth”), was a quiet contemplation, sweet and comforting, that displayed the organ’s strings. In Seth Bingham’s Passacaglia in E Minor, op. 40, Dettra once again exploited the spatial elements of the organ’s divisions, as well as its colors, and offered the quietest of endings, with the audience holding its collective breath. The expressive Prière from Joseph Jongen’s Quatre pièces pour orgue, op. 37, was a contemplative whisper on the strings; the concluding work, Maurice Duruflé’s Prélude et Fugue sur le nom d’Alain (played faster than I have ever heard it, but with absolute control) was an exercise in rhythmic propulsion and a spirited conclusion to an excellent recital.

 

Tuesday evening

Christian Lane,

Memorial Church, Harvard

Christian Lane presented his recital at Harvard University’s Memorial Church twice in a row (with but a 25-minute break) on this warm Tuesday evening. He began on the 1930 Skinner organ, Opus 793, now comprising 45 ranks. Lane offered a swashbuckling opening with Leo Sowerby’s Comes Autumn Time, in which the themes were made wonderfully clear through the full texture. Ned Rorem’s Magnificat from Organbook II and “There is a Spirit That Delights to Do No Evil” from A Quaker Reader were sensitively played; the latter work’s final chord was topped with a single note on the chimes. 

The mid-section of the recital included trumpeter Chris Gekker, professor of trumpet at the University of Maryland School of Music, and soloist on more than 30 recordings. Gekker played from the back balcony, first on Alan Hovhaness’s Prayer of St. Gregory, op. 62b, a lovely dialogue between organ and trumpet, and then the solo work Solstice Prelude by Carson Cooman (here in its first performance), a graceful work whose melodic structure featured thirds (mostly), on the heels of Christian Lane’s muscular reading of Max Reger’s Introduktion und Passacaglia d-moll. 

The C. B. Fisk Opus 139 (2012) in the gallery was used for the remainder of the recital. Another convention-commissioned premiere by Carson Cooman, Solstice Sonata, now combined trumpet and organ. Take Flight featured rapid passagework by the organ topped by the trumpet, then each instrument echoed the other. The Dream of Peace offered a smooth trumpet line over thick and complex chords, while Glittering, Aglow ended the work with a frenetic and splashy 3+3+2 rhythm. 

Lane then presented Jehan Alain’s Variations sur un thème de Clément Jannequin, its modal melodies sounding well on the Fisk; it was for me a highlight of the recital. Lane concluded with Bach’s Passacaglia and Fugue in C Minor, BWV 582, in a seamless performance that changed colors throughout but never let its energy lapse—a fresh approach to a familiar piece and a wonderful ending to a rewarding recital. 

 

Wednesday, June 25

Rosalind Mohnsen,

St. Joseph Parish

St. Joseph Parish, Boston, is home to an 1883 Hook & Hastings organ, Opus 1168 of two manuals, which includes a 16′ Open Diapason on the Great and corpulent, mellow reeds. The room, with its beautiful stained-glass windows and generous acoustic, provided as much pleasure as did the organ and player.

Rosalind Mohnsen displayed the organ’s many colors in a creatively registered program of mostly shorter works, many of them unfamiliar to me and many by composers with a Massachusetts connection. Fanny Mendelssohn Hensel’s Prelude in F Major offered sweeping, singing  lines; Mohnsen displayed the rich flutes in Tournemire’s S. Joseph Sponsi B.V.M: Prélude à l’Introït, from the Easter cycle of L’orgue mystique, op. 56. I especially enjoyed hearing the beefy Pedal division get its due in Everett Titcomb’s Toccata on ‘Salve Regina.’ 

Mohnsen did a fine job with two smaller works of Max Reger: Benedictus from Zwölf Stücke für die Orgel, op. 59, with a marvelous fugal section and harmonic detours, and Scherzo, from Zwölf Stücke für die Orgel, op. 65, in which the Cromorne took a turn. 

The works of four Massachusetts composers came next—all either born in or otherwise identified with the Bay State, and all from the late-nineteenth and early-twentieth centuries: George Elbridge Whiting’s Melody (Homage to Grieg) from Twenty-Four Progressive Studies for the Pipe-Organ, which displayed the flutes and Oboe; George Whitefield Chadwick’s Postlude from Ten Progressive Pedal Studies; Frederick N. Shackley’s delightful Gavotte Pastorale, with its gapped registration; and Horatio Parker’s Fugue in C Minor from Four Compositions, which featured the massive pedal reed stop. (Parker, the Yale professor and Ives’ teacher, was born in Auburndale, Massachusetts.)

Next followed German works: Johann Kirnberger’s Herzlich thut mich verlangen, a lovely chorale setting featuring the oboe with tremolo; Sigfrid Karg-Elert’s Abstraction (alla Schönberg) from Dreiunddreissig Portraits, jumpy and dissonant, over a higher-pitched drone by the flutes; Johann Krebs’s Trio in F, recalling a trio sonata of his teacher Bach. 

Mohnsen ended with W. Eugene Thayer’s Sonata No. 3 in D Minor, featuring a sweet Andante, and a closing set of variations based on Austrian Hymn, the final variation containing a formidable pedal cadenza to introduce the tune’s last phrase. This was a full-bodied close to Mohnsen’s ably played and satisfying recital. 

 

Wednesday evening

Lutheran Vespers, 

Joan Lippincott & Boston Early Music Festival Chamber Ensemble

The service, held in the lively acoustic of the modern, brick-walled First Lutheran Church of Boston, was entitled “A Praetorius Organvespers for Pentecost.” It was led by Rev. Ingo Dutzmann, with organist Bálint Karosi, and the vocal ensemble Canto Armonico, conducted by Ulf Wellner and Cheryl Ryder; brass players were placed in the side gallery. The service was designed by Cheryl Ryder, Canto Armonico’s executive director. The opening pieces were all based on Come, Holy Ghost: the chant version of Veni Creator Spiritus in the Hieronymus Praetorius organ prelude, an antiphon by Franz Eler [from Cantica Sacrae, 1588], motet Komm, heiliger Geist by Michael Praetorius, and the lustily sung hymn Come, Holy Ghost (Enchiridion, 1524). Then followed choral psalmody (Psalms 113 and 104, the latter set by Schütz), readings and a responsory, the Magnificat (alternatim between chant and organ, with hymn interpolations by Michael Praetorius), and a Hieronymus Praetorius setting of Te Deum Laudamus. In the concluding organ postlude, Michael Praetorius’s Nun lob, meine seele, Bálint Karosi inspired awe with the work’s marvelous scalar passages and fiery finish, topped with a Zimbelstern.

All this made me wish that those who clamor for simplistic worship music had been present, to experience how soul-stirring traditional worship can be (even traditional from a century or two before the American Revolution!). It was so well performed and so satisfying to experience. Bravi (or wunderbar) and thanks to all.

Joan Lippincott then presented a program of three 18th-century concertos, accompanied by the Boston Early Music Chamber Ensemble, an eight-member string group led by concertmaster Robert Mealy, who stood near the keydesk for ease of interaction with the organist. The Richards, Fowkes & Co. organ spoke exuberantly into the room and put the nuances of Lippincott’s articulations and phrasing clearly on display. In Handel’s four-movement Concerto in B-flat Major, most enjoyable were the ornamented repeats (which included sweeping scales). The first movement of C. P. E. Bach’s Concerto in E-flat Major ended with a marvelous cadenza, and the second movement demonstrated the empfindsamer Stil with the melody played by flute and tremolo. Lippincott ended with a familiar friend, J. S. Bach’s Concerto in D Minor, wrapping up a satisfying evening of stylishly played works in a splendid acoustic.

—Joyce Johnson Robinson

 

Tuesday, June 24

Craig Cramer,

Old South Church 

I hurried back from the opening service to find a spot in Old South Church, to hear Craig Cramer’s recital. The organ, at its core Skinner’s Opus 308 from 1921 (originally installed in St. Paul, Minnesota), was reworked by Casavant and Hokans-Knapp, and later by Nelson Barden. The church previously housed Skinner’s Opus 231, installed in a still-earlier Hutchings case. (For the entire complicated story of the organs in this church, see the convention booklet. Better yet, visit www.oldsouth.org for an exhaustive account.) The organ’s most notable features include its rich String division, and its 32′ Bombarde (the organ’s thirty-twos are “dotted around the landscape,” as the convention book has it—notably lining the side balconies).

To this rich, intertexual organ landscape, Craig Cramer brought excellent technique and musicianship, as well as a highly original and well-chosen program. He began with a symphonic work by August Fauchard (1881–1957), titled Le mystère de Noël. This work is in the form of variations on the plainsong hymn “Jesu Redemptor Omnium.” Each variation is also a tone-poem on a verse of the hymn, or a sentence of scripture, or a scene from the Nativity. At times brilliant and at times simply competent and assured, the work was always executed with great perspicacity by Cramer, whose registrations were always exactly right, and whose sense of phrase, tempo, and rhythm were quintessentially French.

An interesting unpublished work followed, a tribute by Toni Zahnbrecher to his wife Beate. Titled Introduction, Scherzo under Fuge über B-E-A-T-E, its soggetto cavato is B-flat, E, A, D, and E. The closing material recalled the opening. Zahnbrecher is an organist and music director at St. Willibald’s Church in Munich. The next piece on the program, a Prelude and Fugue on ‘O Traurigkeit, O Herzeleid,’ by English composer Ethel Smyth (1841–1924), was perhaps the most conventional work on the program. Hard either to object to or wax enthusiastic over, it was nonetheless executed extremely well by the performer. I may not have been converted to the cause of Ethel Smyth, but I was certainly impressed with the quality of the performance.

The final piece on the program, Reger’s Second Sonata in D Minor, op. 60, was an exhilarating conclusion to an excellent recital. Cramer made the entire work accessible, communicating the music rather than simply presenting it. The recital ended on a most satisfying high note, as it were.

Overall, the only nit I found I could pick with this recital was a minor registrational one: I felt the 32′ Bombarde, “dotted around the landscape,” to be exciting once or twice, but eventually a little tiresome. The stop is enormous, Brobdingnagian, on pressures varying from 13″ to 20″; and of course de rigueur at an AGO convention! At least once, though, it detracted a little, with an effect like unto jackhammering. Cramer is an empathetic, gifted registrant, and an admirably conservative and well-grounded artist; surely he chose to use the stop because, well, it was there! And honestly, who wouldn’t? It’s an understandable decision; many an enthusiast in the audience was visibly excited by the high-pressure cannonade. I include this observation only in the interest of balance, and to make clear that my admiration for Cramer, while profound, is not facile. Kudos to Craig Cramer for presenting one of the highlights of the convention.

 

Wednesday evening

Evensong and John Scott recital,

Church of the Advent

The preludes began at about 7:12 for a 7:30 service. Organist and Choirmaster Mark Dwyer played the prelude, and all hymns and service music; Associate Organist-Choirmaster Ross Wood played the psalms, Mag and Nunc, and postlude. We first heard the C. Hubert H. Parry Fantasy and Fugue in G, op. 188. It was played extremely well: note-perfect, with excellent registrations and pacing. It was just the right piece to open a high Anglican evensong in honor of St. Botolph, patron saint of Boston. The David Lasky “Prelude on Picardy” was a meditative work that hewed fairly closely to the hymn tune; a nice contrast to the Parry. It was a commission for the convention, and this was its first performance. The choir sang beautifully; the Introit (by Byrd), the Preces (by Bernard Rose), and the psalms (67, by Bairstow, and 96, by Thalben-Ball) were executed with balance, blend, clarity of diction, and a tone at once straight and warmly vibrant. The hymns, needless to say, were “belted out” by a motivated congregation. The “Mag and Nunc”were from Howells’ Gloucester Service—composed, as the program book reminded us, for the Cathedral Church of the Most Holy and Undivided Trinity, Gloucester.

After Evensong—which surely thrilled every heart in the building, Anglican or not—John Scott gave an equally thrilling organ recital. He opened with Wild Bells, a piece composed in 1986 by Michael Berkeley. This piece, especially as it settled into its thrilling Vierne-ish body and conclusion, was a great opener. It was followed by the Stanford Fantasia and Toccata in D Minor, op. 57. Scott made this formidable work sound easy; right from its soft opening, the piece was infused with a certain lyricism, even amidst its moments of tumult. It was an even-keeled, gracious reading, and even at its most passionate, it was presented devoid of ego or excess showmanship. This was followed by the Frank Bridge Adagio, in a confident and convincing reading.

Next we had a premiere by a young American composer, Nico Muhly. His suite, Patterns, was another AGO commission, and this was also a premiere performance. I was delighted to discover this young composer, who is (like your reviewer) an English major turned musician. His own comments on Patterns are a joy to read, laced with vivid expressions. We have “clumsy cousins” in the pedal; a “perpetual motion machine on its highest setting”; “hiccoughs” and other colorful turns of phrase. Mr. Muhly should write an opera! His work, which offered fascinating rhythmic whirligigs, impressions of crickets (for this reviewer), and a somewhat more orthodox toccata to finish, was well received. In a word, nifty.

The final three pieces were the Fantasie-Chorale No.1 in D-flat from 1931, by Percy Whitlock; the Peter Fricker Pastorale (1959) and the Mathias Recessional, op. 96, no. 4 (1986). The Whitlock featured beautifully-managed registrations; I heard new sounds from the organ, always a thing I listen for in a recital. The use of expression was faultless; the piece grew elegantly, inexorably. The Fricker began on a spooky (for me) note, yielding to a quieter ending. And the Mathias was a perfect light finisher. Similar in style and spirit to his well-known Processional, the piece alternates a very lively solo line with a darker middle section with new material.

Overall, John Scott played a thoroughly professional and thoroughly enjoyable recital. It was an ideal blend of old and new, centered on English organ culture and yet reaching outward. This evening’s worship/concert pairing was as perfect as one could hope for.

 

Thursday, June 26

Jonathan Ryan,

Christ Church Cambridge

On Thursday morning, I gave a paper at the convention hotel. I hope that future conventions will continue to offer the option of participating this way; it offered a new, enriching, and very inclusive way to experience the AGO. Afterwards, I left immediately for Cambridge and Jonathan Ryan’s recital.

Christ Church is a small, wooden, eighteenth-century structure, with a low ceiling, many pillars, tall clear windows, and virtually no room for a pipe organ. In this somewhat cramped, though richly historic, venue (George Washington worshiped here on New Year’s Eve, 1775), Jonathan Ryan presented one of the convention’s finest recitals. The program was all the more remarkable for being delivered from memory, a remarkable feat in and of itself.

During the program, I found myself struggling, not with Ryan’s excellent playing, but with the relationship of the organ and acoustic. Part of the problem was that the room was packed, and that people kept arriving—a nice problem to have! But later, I learned more: there is almost no room for an organ, and no possibility of radical restructuring of the space. The Schoenstein organ succeeds in part through very high wind pressures (Ryan spoke to me afterwards, citing pressures of about twenty inches in some cases) and even the adoption of tone chutes. None of these expedients can fully conquer an acoustic that tends toward the dead side. As a result, some of the sonorities had to be accepted as the “best possible under the circumstances” variety. This is the fault of no one.

The recital began with the Dupré Symphonie-Passion. Tempo was excellent; playing was clean, accurate, and confident. The crescendo to full organ was seamless and seemed effortless. Toward the end of the first movement, the sense of a singing line was most palpably evident. I wished for more acoustic—even a more humid day!—to give more resonance to the well-timed pauses at the end; these deserved, in Longfellow’s words, “wild reverberations, as of thunder in the mountains.”

In the other movements, Ryan used the colors of the organ to good effect, and with unceasingly varied creativity. This was especially clear in the third movement, where the dynamic and timbral range was as wide as one could hope for. Throughout, there was a sense of clear, thorough mastery of the music, and a clear vision for its interpretation. 

Following the Dupré, we heard a Meditation (2005) composed by Ken Yukl, who is married to Pamela Decker. The piece centered on a sweet lyrical tune; my impression was of early American hymnody. There was a nice buildup in classic English manner, which yielded back to a quieter and dreamier mood. We then heard two of the Schumann opus 56, numbers 5 and 4. As the first began, I was struck, again, with a sense of fresh registration. Both of these were played with great skill; one never missed the canonical writing.

Ryan ended with the Sowerby Pageant. Several of Sowerby’s students in Chicago have told me that he loved the Franck Finale, op. 21, and played it often at St. James Cathedral, sometimes for private recitals. I was struck, at this performance of Pageant, by its spiritual kinship with the Finale. Ryan has spent time in Chicago and has internalized the best of what it offers. He made the ferocious difficulties of Pageant seem like minor issues. Jonathan Ryan is one of the brightest younger artists in the field today; his Cambridge recital augurs a long and distinguished career.

 

Thursday afternoon

Heinrich Christiansen,

King’s Chapel

After Jonathan Ryan’s recital in Cambridge, I got back into Boston for the program at King’s Chapel. This church, marked by Daniel Pinkham’s long tenure, lies a few blocks north of Boston Common and close by Paul Revere’s resting place. The organ is Fisk Opus 44 from 1964. The program was for organ and string quartet. 

This church, once the symbol of royal Anglicanism in colonial Boston, today occupies about the same position in its city as St. Paul’s Chapel does in Manhattan. Though smaller than its New York cousin, King’s Chapel boasts some wonderful archaic features, like box pews throughout the space. I thoroughly enjoyed occupying one of these and facing backwards, so I could watch the performance.

Heinrich Christiansen, who has been at King’s since 2000, presented a varied and intruiguing program of music old and new. For me, the pieces that opened and closed the concert were the most enjoyable. Christiansen began with the Pinkham Sonata No. 1 for Organ and Strings, from 1943. A short work, it impressed me almost as more of a chorale, in the French Romantic sense, than a sonata per se. The organ interfaced elegantly with the strings, and the sense of ensemble was generally quite fine throughout.

This was followed by a work by Robert Sirota, titled Apparitions; it was a commission for this convention, and we heard its first performance. Sirota used four hymn tunes, and throughout the work fanned out a range of string and organ techniques. There were glassy harmonics, pizzicati, and various aliquot-rich organ registrations interacting with varied textures and ranges in the quartet. The diversity of textures was intriguing, but didn’t gel into a coherent musical statement. Sirota’s work was followed by Naji Hakim’s Capriccio, originally a commission for the 2006 Chicago convention. This piece might have done with being edited for length, but was extremely well performed by both violin and organ. It was quite amusing and easy to follow throughout—a good palate cleanser in Hakim’s whimsical style. (This is a delightful facet of Hakim’s musical personality, and I enjoyed it a lot.)

Christiansen ended with a Soler piece, the Quintet No. 3 in G Major. Its five movements projected a gracious, Mozartean spirit and seemed perfectly suited to an eighteenth-century church on a rainy New England afternoon. It made the rush-hour subway trip back to the hotel—the only awkward bit of traveling in my entire week—very bearable indeed.

 

Thursday evening 

Unitarian Worship and Peter Sykes,

First Church in Boston

First Church was exactly that, founded by the first arrivals in Massachusetts Bay during the Great Migration, led by Governor Winthrop. From its humble beginnings in 1630, it grew in stature, eventually reclaiming the various congregations that split off from it. Cotton Mather was one of its pastors, as was the father of poet e. e. cummings. During the Unitarian controversy, it embraced the new doctrine.

Today, this nearly 400-year-old church boasts a building in modernist style from 1972 (there was a fire in 1968); its members are very active in the community and welcomed me with warmth. The event was not packed to standing room, as Jonathan Ryan’s recital had been. I regretted this, as the service and concert were certainly convention highlights, models of liturgical music and concert programing.

The prelude, or “gathering music,” was another convention premiere: Embertides by Hilary Tann. These were evocative and effective pieces, playing off the four times in the traditional liturgical calendar when Ember Days are observed. The etymology of “ember” is unclear; one theory is that the word is “ymbren,” which is Old English for “to remember.” Be that as it may, Tann’s pieces were very interesting, and worth investigating. The organ was a large Casavant, in a modern case, in the Werkprinzip fashion. 

The choral music at this service was beautifully done, much of it a cappella by a small and obviously very professional choir. The “chalice lighting” motet was by Karl Henning, Love Is the Spirit of This Church, and nothing in the text would preclude its use in other traditions as far as I could see. An anthem by Leo Collins set the original church covenant of First Church; historically interesting but too particular for wider use. The major choral offering was called Prayer of Hildegard, by Edward Thompson, and again was a commission for this convention. For this, the choir came down to the chancel, and was accompanied by marimba for its three movements. The choral writing, as well as the marimba writing, were really effective; the piece was very enjoyable to hear.

Perhaps most thrilling of all, though, was the postlude, from the Liturgical Suite for Organ, op. 69, by Larry Thomas Bell. This piece was commissioned about a decade ago by Carson Cooman and Richard Bunbury; it was quite exciting, a very worthy addition to our repertoire of toccatas!

The entire service was planned and executed with intelligence and care. This extended to the sermon, which was beautifully affirmative of the value of sacred music and musicians. Delivered by the Rev. Stephen Kendrick, it should be read and prized by all organists. 

This service was followed by a concert on harpsichord and virginals by Peter Sykes. One of his harpsichords, unfortunately, had been sent back to his studio in error; we were left with the Winkler harpsichord, in German style, and two virginals, an Italian and a Flemish. On this last instrument, called a muselaar, Sykes began. 

His first piece, the Preludium Toccata of Sweelinck (SwWV 297) was a beautiful choice. It was captivating, thanks to the performer’s sense of form and motivic saturation. Next, on the Italian virginal (with a brighter and lighter tone) was the Toccata Prima from the Libro Primo (1608) of Frescobaldi. Here, the performer offset the brightness of the instrument with an introspective performance.

The remaining works—the Toccata Seconda (FbWV 102) of Froberger, the Praeludium in G Minor (BuxWV 163) of Buxtehude, and the Toccata in D Major, BWV 912, of Bach—were played on the two-manual Winkler harpsichord, a fine all-purpose instrument. Of these, I was most deeply struck by the Bach. What a Janus figure he is! Looking back to the multipartite works of his forebears, he also looks ahead, in a curious and prophetic way, to late Beethoven. Throughout, Sykes played with a keen sense of structure and motive, and communicated this to the audience. His performance was a revelation and a joy. 

 

Friday, June 27

Morning Prayer,

Basilica of Our Lady of Perpetual Help

On Friday, the convention began with Morning Prayer in honor of the patroness of this historic basilica in the Mission Hill district. It was a short ride on the T, but quite a change of scenery, moving from the polish of the convention hotel to a much grittier urban district. The church is beautiful, with a distinctive white cupola. A peaceful park adjoins, and I was able to rest there a while, having arrived early as usual.

The service was part of the Divine Office of the Catholic Church: Morning Prayer or Lauds. The music was greatly enhanced by the choir of men and boys of St. Paul’s Harvard Square. This choir is truly remarkable, as it is the only Roman Catholic choir school in the United States. The men of the choir are, according to St. Paul’s website, drawn largely from area music schools. John Robinson was the conductor, Jonathan Wessler the organist.

The Introit was the Kyrie Eleison of Ivan Božičević, the winner of the 2014 AGO/ECS Publishing Award in Choral Composition. It wasn’t entirely clear why a Kyrie would be chosen as an introit (more precisely, as an opening motet, as the Office has no introits per se), but the beauty of the setting soon banished that question. Throughout, there was excellent balance of organ and voices, due equally to the quality of the writing and the choir’s training. The choir sang serenely, with integrity and strength, as the piece moved from a hauntingly quiet opening to an energetic Christe, featuring solo work in the organ, and then back to a quiet mood. The opening hymn, “Hail, Queen of Heaven, the Ocean Star,” came from a time before my own religious formation; I had never sung it before, and cannot understand why it isn’t a standard Catholic hymn.

The psalms were largely Anglican; we heard Psalm 63 (always the first psalm on solemnities) by Henry Purcell, and then a Benedicite by Francis Jackson. The Purcell brought many smiles when it broke into its coda of alleluias to the tune we now call Westminster Abbey. The Jackson was sung to the highest standards, with the choir only pushed to its limit on the very highest notes. The organ and choir were again fully integrated, and the organ sang with a full, authoritative tone, rich in reeds. The congregation joined in the third psalm, sung in Tone V; it was prefaced by a glorious incipit en taille. The morning canticle, the Benedictus (or Canticle of Zachary), was set energetically by Scott Perkins, and was another first performance, commissioned by the convention. After the final hymn (all seven verses of “Hail, Holy Queen”) the postlude—Toccata, fugue et hymne sur ‘Ave maris stella,’ op. 28 of Flor Peeters—made perfect musical and liturgical sense. Peeters’s true skill and vision as a sacred musician were fully on display and in context during this stirring performance. All the musicians acquitted themselves expertly.

The recital following, by Thierry Escaich, was at its most arresting when the performer was playing his own works. These he presented with subtlety, flexibility, and fire. The opening work, Brahms’s early Prelude and Fugue in G Minor (WoO 10), was also dashing and exciting. It was, however, risky to program the familiar Bach In dir ist Freude from Orgelbüchlein, as there were some sketchy moments in the performance which, I assume, were unmissable by much of the audience. I was perfectly pleased with all of Escaich’s own work; in particular, his own work on Christ ist erstanden, which he played with suppleness and noble joy. Some of Escaich’s registrations were unusual, at one point reaching an apex of high brilliance, which lingered long after he released the keys; he did not carry this to excess, so it worked well. The last chords of this massive work were stunning and took a long time to die away—as did the enthusiastic applause.

The Romance and Finale from Vierne’s Fourth Symphony were both executed clearly and well; the Finale at a very fast tempo, though with great accuracy. The program concluded with an exciting improvisation on two hymns, Protestant and Catholic: “O Zion, Haste” and the Irish tune Slane. This worked up to a quintessential French toccata. The audience wanted more, so Escaich obliged with a joyful encore, presto.

 

Friday evening

Stephen Tharp,

The Mother Church (First Church of Christ, Scientist)

The convention’s closing recital was head, shoulders, and torso above every other event of the week. I heard much excellent, even world-class organ playing throughout, but Stephen Tharp’s program was transcendentally superior. Stephen Tharp is the best organist in America; further debate is pointless.

I might have even said this at intermission, before Tharp closed the deal with the second half, the performance of a memorized transcription that will live in the history books. 

As a cool evening came on, the vast space slowly filled, including several tiers above the main floor. In front of the awe-inspiring gilded façade was a large screen, in order to project a view of the performer. The camera was situated by the left stop jamb, affording a good view of Mr. Tharp, including his feet.

The program (a Saint Cecilia recital, endowed by the late Marianne Webb) began with the Final of Naji Hakim’s Hommage à Stravinsky. This was a clever choice, bookending the program and foreshadowing the second half. I have heard this devilishly difficult piece played before, but never with such passion and authority. It was followed by an ideal lighter work, the Prelude in F Minor by Nadia Boulanger. The contrast was delightful, and the Boulanger piece, though modest, was not easy, and was not treated in anything other than a serious, professional manner. Great care was lavished on the singing lines in the piece, and they stood out from the accompaniment in three dimensions.

Then came the Persichetti Sonata for Organ (1960). Here, I felt there was a certain invitation to lyricism in the first movement, which the performer declined in favor of an energetic approach. However, the lyricism of the slow movement was brought out just right. The final movement was as fiery and virtuosic as one could hope for; Tharp burned the house down with that one. The cyclical elements of the sonata—such as the identical gesture that opened all three movements—cohered and made musical sense. 

Next came the Sowerby Fantasy for Flute Stops, from the Suite. Here, again, I felt that a slightly more relaxed sense of whimsy at the opening would have been nice. However, the middle section was interpreted with a really wonderful, well-shaped singing line, and the rapid tempo of the first theme came to grow on me. Tharp knows how to make the organ sing; that was never in doubt.

The first half closed with the Max Reger Choralfantasie: Straf mich nicht in deinem Zorn, op. 40, no. 2. There was much anxiety and churning energy in this piece, as well as a spirit of genuine religiosity. The performer balanced these exactly right. The quiet, hymnic moments were absolutely sincere and paced to perfection, and the dramatic finale was extremely exciting. Lightning-fast piston changes gave seamless crescendos. My notes for the conclusion read thunderously thrilling. Much, topped with more, topped with most. It was first-rate and then some; the best Reger you’re ever likely to hear.

I spent the intermission in a state of exhilaration (not typical for me!), while eagerly anticipating the great second half which still lay before us. For this, Tharp played his own transcription of the Rite of Spring. Just a century ago, this ballet was a succès de scandale at its premiere. Tonight, while a few might have been scandalized, discerning audience members recognized the presence of musical greatness. There was no score; Tharp had worked out and memorized his arrangement from the two-piano version that Stravinsky prepared for rehearsals. He sat at the console, spent a long moment in thought, then snapped into action.

The performance combined detailed fidelity to the score with idiomatic adaptations, and extended techniques as appropriate—ferocious slappings of the bottom octave, with high-pressure reeds drawn, for example. The lyricism—the frenetic busyness—the earth-bound rage—it was all there. If anything, there was a bias towards the passionate and intense side. Throughout the performance, Tharp maintained an intent, low-key composure, entirely focused on the music. There was no ego on display. He was clearly drained by the performance, and had clearly held nothing of himself back from it.

Never previously have I found myself standing before my hands could come together in applause. 

Stephen Tharp’s recital was a triumphant conclusion to a great convention. Kudos to him, and to the Boston Chapter for excellent and innovative planning, and to all the performers and presenters.

—Jonathan B. Hall

Godwin Sadoh

Godwin Sadoh is currently writing his doctoral dissertation on the organ works of Fela Sowande at Louisiana State University.
An earlier version of this article was originally published in the February issue of "The Organ."

Nigeria has been blessed with very few, but seasoned organist-composers
since the arrival of Christianity around 1842. The schools and churches built
by the missionaries had a great impact on the emergence of the Nigerian
"organ school." The incentive to become professional organists and
composers was further propelled and inspired through the private lessons given
to talented Nigerian church musicians at an early age. All the musicians in
question had their formative periods at the mission schools, in church choirs,
and under organ playing apprenticeships.

The genealogy of Nigerian organist-composers is confined to
four generations from around the 1880s to the present. These are professional
organists trained at various schools of music in Great Britain and America.
Interestingly, each generation has produced only one musician: Thomas Ekundayo
Phillips (1884-1969), Fela Sowande (1905-1987), Ayo Bankole (1935-1976), and
Godwin Sadoh (1965-).

First Generation

Thomas Ekundayo Phillips is the pioneer and grandfather of the Nigerian school of
organist-composers, and he paved the way for the younger generations that were
to come after him. Born in 1884, he attended the Church Missionary Society
(CMS) Grammar School in Lagos. He received his first organ lessons from his
uncle, the Reverend Johnson, and at the age of eighteen he was appointed
organist of St. Paul's Anglican Church, Breadfruit, Lagos. Phillips served at
St. Paul's for nine years. In 1911, he proceeded to the Trinity College of
Music, London, to study piano, organ and violin. Thus, he became the second Nigerian
(after Rev. Robert Coker who studied in Germany in 1871) to study music at a
professional level. After returning from England in 1914, he was appointed
Organist and Master of the Music at Christ Church, now Cathedral Church of
Christ, Lagos (the headquarters of the Nigerian Anglican Communion). Phillips
held this position until his retirement in 1962--a total time span of
forty-eight years of outstanding accomplishments.

In 1964, Phillips was awarded an honorary Doctorate of Music
degree by the University of Nigeria, Nsukka, for his contribution to the
development of church music in Nigeria. One of Phillips' most important
achievements was his training of many prominent modern Nigerian composers such
as Fela Sowande and Ayo Bankole. These were some of the leading and prolific
composers in Africa, and they constitute the next generation of professionally
trained organists.1

Ekundayo Phillips wrote only two major works for organ solo:
Passacaglia on an African Folksong, and Variations on an African Folksong.
These pieces are based on his postulations in his book, Yoruba Music, a
treatise on the compositional style of early Nigerian church music. In the
book, Phillips demonstrated various techniques in traditional Nigerian musical
processes that could be utilized to create new forms of church music which
indigenes could easily assimilate.2 His compositional style is simple and
conservative.

Second Generation

Fela Sowande
represents the second generation of Nigerian organist-composers. He can be
regarded as the father of the Nigerian "organ school." It was he who
propelled the musical genre to an unprecedented height through his extensive
compositions and publications for the King of Instruments. Up to the time of
writing this essay, no one else has written such a great number of works for
organ in Nigeria. Interestingly, Sowande composed for other media such as
orchestra and voice, but his works for organ outnumbered the rest.
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Sowande was born at Lagos, in 1905, into a musical family.
His father, Emmanuel Sowande, was a minister of the Gospel and one of the
pioneers of church music in Nigeria. Sowande received his first lessons in
music from his father. Another influence on his early musical training was
Thomas Ekundayo Phillips. Under the tutelage of Phillips, as a chorister at the
Cathedral Church of Christ, Lagos, Sowande was exposed to European sacred music
and indigenous church music. He received private lessons in organ from Phillips
while singing in the Cathedral Choir. Sowande asserts that Phillips' organ
playing, the choir training, and the organ lessons he received had a major
impact on his aspiration of becoming an organist-composer.

At age 27, Sowande decided to become a civil engineer and
went to London to study in 1935. After six months, he changed his mind and
decided to study music. He played jazz in London nightclubs to support himself.
Sowande enrolled as an external candidate at the University of London and
received private lessons in organ from George Oldroyd and George Cunningham. He
became a Fellow of the Royal College of Organists with credit in 1943--the
highest British qualification for organ playing. He happens to be the first
Nigerian and perhaps the first African to receive the prestigious British FRCO
diploma. Sowande was awarded the Harding Prize for organ playing, the Limpus
Prize for theoretical work and the Read Prize for the highest aggregate marks
in the fellowship examination. Sowande also obtained the Bachelor of Music
degree from the University of London and became a Fellow of the Trinity College
of Music.

Sowande had a rounded musical experience in England. He was
a solo pianist in a performance of Gershwin's Rhapsody in Blue in 1936, and was
appointed organist and choir director at the West London Mission of the
Methodist Church (1945 to 1952). It was during this period that he began
composing for organ. The influence of his participation in and exposure to
church music during his formative years could be seen in the abundance of works
written for organ. His organ compositions at this time included Kyrie,
Obangiji, K'a Mura, Jesu Olugbala, Go Down Moses, Joshua Fit the Battle of
Jericho, and Yoruba Lament.3 

These pieces are based on borrowed themes from Nigeria's
Yoruba culture and African-American spirituals. Indig-enous songs are employed
in Sowande's music for three reasons: 1) as a symbol and mark of national
identity; 2) to classify the works under the umbrella of modern Nigerian art
music; and 3) to arouse the interest of Nigerian/African audiences in
performing, studying and analyzing the music. Apart from rhythm, the indigenous
songs are the elements of Nigerian culture most audible to the audiences and
performers. Hearing those songs enabled them to categorize the works as
Nigerian musical heritage.

During the war, Sowande enlisted with the Royal Air Force,
but was released at the request of the Ministry of Information to go to the
Colonial Film Unit as a Musical Adviser of the British Ministry of Information
in London. He was designated to provide background music for a series of
educational films geared towards Africa. Sowande also presented several
lectures titled West African Music and the Possibilities of its Development for
the BBC's Africa Service. He collected a substantial amount of indigenous
folksongs during this period. The songs were later to be employed in creating
large works such as African Suite and the Folk Symphony. The Folk Symphony was
commissioned by the Nigerian government in 1960 to mark the nation's
independence. Although the work was not accepted, the New York Philharmonic
Orchestra in Carnegie Hall eventually premiered it in 1962.

In 1944, Sowande was invited to conduct the BBC Symphony
Orchestra in the performance of his tone poem Africana, a work for orchestra
based on a Nigerian melody. In 1952, his African Suite for strings and a
selection of his original compositions for organ were recorded by the Decca
Records Company (London Records, U.S.) under the title "The Negro in
Sacred Idiom." Sowande received two outstanding positions on his return to
Nigeria in 1953. He was appointed as the Musical Director to the Nigerian
Broadcasting Corporation in Lagos and as honorary organist at the Cathedral
Church of Christ, Lagos.

Among his numerous awards are Member of the British Empire
(MBE) from Queen Elizabeth II for distinguished services in the cause of music
(1956); the Member of the Federal Republic of Nigeria (MFN) in 1956; the
Traditional Chieftaincy award, the "Bagbile of Lagos" in recognition
of his research in Yoruba folklore (1968); and an honorary doctorate from the
University of Ife (now Obafemi Awolowo University) in 1972. Sowande also
received partial grants from the Ford and Rockefeller Foundations.4

Sowande first came to the United States in 1957, playing
organ recitals sponsored by the U. S. Department of State. He also toured as a
guest conductor of symphony orchestras and as a guest lecturer. He later came
back to take up permanent residency in 1968. His teaching career included
tenures at the University of Ibadan in Nigeria, Howard University in
Washington, D.C., the University of Pittsburgh, and Kent State University,
Ohio. Sowande died on Friday, March 13, 1987, at a nursing home in Ravenna,
Ohio.

Sowande composed sixteen major works for organ:

K'a Mura, 1945 (Chappell, London)

Obangiji, 1955 (Chappell, London)

Kyrie, 1955 (Chappell, London)

Yoruba Lament, 1955 (Chappell,

London)

Jesu Olugbala, 1955 (Chappell,

London)

Joshua Fit de Battle of Jericho, 1955 (Chappell, London)

Go Down Moses, 1955 (Chappell,

London)

Oyigiyigi, 1958 (Ricordi, New York)

Gloria, 1958 (Ricordi, New York)

Prayer (Oba A Ba Ke), 1958 (Ricordi, New York)

Sacred Idioms of the Negro

Pastourelle

K'a mo Rokoso

Plainsong

Fantasia in D

Festival March

Sowande's sixteen pieces for organ are all based on Yoruba
Christian or folksongs from Nigeria, with the exception of Joshua Fit de Battle
of Jericho, Go Down Moses and Bury Me Eas' or Wis' (from the Sacred Idioms of
the Negro) which are based on African-American spirituals. The structures of
these pieces range from simple three-part forms to continuous development
types, fugues, and theme and variations. To create contrast in the music he
uses bicinium, tricinium, homophony, and contrapuntal textures between the
pedal and manuals. Sowande has a predilection for a continuous tonal shifting
within a work. He sometimes begins a piece in one key and ends in another, such
as Go Down Moses which begins in F and closes in D major. He uses a wide
variety of tonal resources ranging from diatonicism, pentatonality and
chromaticism. The pedal part is generally simple and sparse, but explores
extremes of range. Pedalpoints are used to tonicize specific tonal centers and
to create climax.

Third Generation

Ayo Bankole alone
represents the third generation of Nigerian organist-composers. A prolific
composer, Bankole had the makings of a genius. He had a special skill for
composition and a talent for presenting his material in an eclectic and
personal way that made him stand as a master composer and performer in his own
right. Bankole continued from where Fela Sowande left off, a generation before
him.

Ayo Bankole was born on May 17, 1935, at Jos, in the plateau
State of Nigeria. He belongs to the Yoruba ethnic group. Bankole spent the
first five years of his life with his father, the late Mr. Theophilus Abiodun
Bankole (M.B.E.), who was then organist and choirmaster at St. Luke's Church,
Jos. During those early years in Jos, Bankole began to show great promise for
music, since he was from a musical family. The composer's biography was
exclusively obtained from Afolabi Alaja-Browne's M.A. thesis.5

In 1941, Bankole came down to Lagos with his father and
began living with his grandfather, the late Mr. Akinje George, who exposed him
to various types of musical styles. In 1945, at the age of 10, Bankole went to
school at the Baptist Academy, Lagos. He played piano and through his activity
in organizing small groups to perform, he began one aspect of his life-long
contributions to music--choral conducting. Bankole was appointed as a clerical
officer at the Nigerian Broadcasting Corporation in 1954. During this period,
he came in contact with notable Nigerian musicians such as Dr. Thomas Ekundayo
Phillips and Professor Fela Sowande. Bankole had great admiration for Fela
Sowande, and a few years later he was to come under his influence both as
organist and composer.

Between 1954 and 1957, Bankole was already very active as
organist in Lagos churches. For instance, he was assistant organist at the
Cathedral Church of Christ, Lagos, under the leadership of late Ekundayo
Phillips. It was about 1956 when he began composing his first major work,
Sonata No. 2 (The Passion), for piano.

In August 1957, Bankole left Lagos on a Federal Government
Scholarship to study music at the Guildhall School of Music and Drama in
London. He was enrolled in the graduate program (GGSM), a three-year teacher's
diploma, and studied piano, composition, organ, harmony, and counterpoint. Some
of his teachers included Alan Brown (organ), Harold Dexter (organ), and Guy
Eldridge (composition). During his time at the Guildhall School of Music,
Bankole was exposed to a variety of musical styles. His works from this period
show the influence of these various styles. He experimented, progressing from
works that were tonally simple, to works in which he explored diverse
twentieth-century compositional devices as exemplified in the Three Yoruba
Songs for voice and piano (1959) and the Toccata and Fugue for organ (1960). In
spite of the intensity of the program at Guildhall, Bankole found time to sit
for and obtain a series of professional diplomas: Associate of the Royal
College of Music (piano), Licentiate of the Trinity College (piano), Licentiate
of the Royal Academy of Music (Teacher's Diploma), Associate of the Royal College
of Organists, and the Graduate of the Guildhall School of Music and Drama
(GGSM).

In addition to his activities as organist-composer, Bankole
was able to organize and train a special mixed choir, comprising fellow
students, which gave performances of his compositions, many of them in the
Yoruba language and musical idiom. Members of his choir and the audiences were
captivated by the Nigerian melodies and rhythms. This type of creative
procedure led to the synthesis of Yoruba and Western musical elements in his
works. Some of the works in this category are Sonata No. 1, Christmas (1958),
Cantata No. 1 in Yoruba, Baba Se wa l'Omo Rere (Father, make us good children)
(1959), Sonata No. 2, Passion (1959), and the variations Op. 10, No. 1 (1959),
based on a Yoruba folktune, Ise Oluwa. 

After spending four years at the Guildhall School of Music,
Bankole moved to Claire College, Cambridge University, London, where he
obtained his first degree, the Bachelor of Arts in Music, at the end of 1964.
While at Cambridge as an organ scholar (1961-64), Bankole obtained the
prestigious Fellowship of the Royal College of Organists (FRCO), thus becoming
the second and the last Nigerian to receive this British highest diploma in
organ playing.

During Bankole's stay in England, he wrote music that he
himself could perform. A tremendous amount of music was composed for piano and
organ. He also wrote some choral and orchestral works that are technically
oriented towards European performers. The works of this period include Sonata
No. 4, English Winter Birds for piano, Variations Liturgical (theme and nine
variations for piano), Three Toccatas for organ, Fugal Dance for piano, Second
Organ Symphonia (with drums, trumpets and trombones), and a number of choral
works such as Art Thou Come (1964), Little Jesus, Gentle Jesus (1964), Canon
for Christmas (1964), and Four Yoruba Songs (1964). 

After completing his bachelor's degree at Cambridge
University in 1964, Bankole received a Rockefeller Foundation Fellowship to
study ethnomusicology at the University of California, Los Angeles. Works
produced at UCLA include Ethnophony and Jona. Jona is a cantata in Yoruba for
mixed media comprising a narrator, singers, a dancer and an unusual combination
of musical instruments, including the Indian tambura.

In 1966, Ayo Bankole returned to Nigeria, and was appointed
to the post of Senior Producer in Music at the Nigerian Broadcasting
Corporation (N.B.C.). He remained in this position until 1969, when he was appointed
Lecturer in Music, School of African and Asian Studies, University of Lagos.
His job as a senior producer at the N.B.C. brought him into contact with
various Nigerian musical genres. This contact was to become useful to him both
creatively as well as in his development as a scholar. Two works were written
as a result of his experiences at this time--Fun mi Ni'beji (Give me twins),
parts 1 and 2 for unaccompanied chorus (1967), and the opera Night of Miracles
for chorus, soloists, and Nigerian instruments (1969).

While at the radio station, Bankole had a series of
programs, which he designed to educate the Nigerian public and to present
indigenous African music to the world at large. Some of his works were
performed and recorded under a project initiated by Fela Sowande and jointly
sponsored by the Federal Ministry of Information, Lagos, and the Nigerian
Broadcasting Corporation. Some of the works from this period are Ore Ofe (The
Grace) for unaccompanied chorus (1967) and Adura fun Alafia (Prayer for Peace)
for voice and piano (1969).

In 1969, he was appointed  Lecturer in Music at the University of Lagos, where he
continued his research into Nigerian indigenous music and presented scholarly
papers. From 1970 onwards, as a result of his research efforts, Bankole began
to employ more traditional materials in his compositions. A work which marks
the beginning of this phase is the Cantata No. 4, Festac, completed in 1974 and
scored for soloists, chorus, organ and orchestral accompaniment consisting of woodwinds,
brass, and some Nigerian traditional instruments. Ona Ara is scored for
soloists, chorus, organ, and Yoruba musical instruments.

Between 1971 and 1974, Bankole spent a lot of time on
special assignments, both within and outside Nigeria. For instance, he was
External Examiner to the University of Nigeria, Nsukka, in 1971. Between 1971
and 1972, he was Visiting Lecturer at Ohio State University. In 1973, he
received a Federal Government Commission to compose the anthem for the Second
All-African Games. Between July and August 1974, he was director of a music
seminar, organized by the Rivers State Center for Arts and Culture, and in
April 1974, he was Nigerian Composer-Elect to the Fifth Congress of Soviet
Composers, held in Moscow.

From 1974, Bankole began studying diverse musical practices
of the various ethnic groups in Nigeria. The result of these studies gave birth
to three major projects: 1) Dictionary of Musical Instruments of Nigeria; 2)
The Music of the Rivers' People of Nigeria; and 3) a special study of the Edo
musical instruments.

At the University of Lagos, Bankole combined the roles of
music educator, composer, performer and musicologist. As a music educator, he
was especially concerned with promoting the cause of music at the grassroots. He
achieved this by training young talents, teaching them to read music and also
giving voice and piano lessons. Furthermore, he organized and trained several
choral groups. He composed regularly for these groups and exposed them to
various indigenous and foreign musical works. Among the groups he founded and
trained were The Choir of Angels, comprising students from three secondary
schools in the Lagos area; The Lagos University Musical Society; The Nigerian
National Musico-Cultural Society; and The Choir of the Healing Cross.

Although Bankole contributed immensely to the development of
modern art music in Nigeria, he did not live long to witness the fruits of his
efforts. For on November 6, 1976, at the age of forty-one, Ayo Bankole and his
wife, Toro Bankole, were killed in very tragic circumstances. Today he is still
greatly admired by Nigerian musicians for his magnificent contributions to
Nigerian music as a composer, music teacher, musicologist, organist, pianist,
conductor, and choral director--an extremely gifted man who was not able to
develop his God-given gifts to full potential. Bankole composed five major
works for organ solo:

Toccata and Fugue (1960), published by the University of Ife
Press, Ile-Ife, 1978

Three Toccatas, published under Operation Music One, 1967

Fugue, published under Operation Music One, 1967

Organ Symphonia Nos. 1 & 2, for organ, drums, trumpet
and trombone, unpublished, 1961-64

Fantasia (1961-64), unpublished.

Fourth Generation

Godwin Sadoh
represents the fourth and present generation of Nigerian organist-composers.
Interestingly, like his predecessors, he is the only one in this category, and
his musical training, contribution, experience and expertise are eclectic and
extremely diverse. He is a Nigerian ethnomusicologist, African musicologist,
teacher, composer, pianist, scholar, organist/choir director and an ordained
minister of the Gospel.

Sadoh was born on March 28, 1965, at Lagos, Nigeria, to a
middle-class family. Unlike his predecessors, he was not fortunate to have musicians
in his family. The only musical exposure he had during childhood was the
rendition of folksongs by his late mother and older sisters. His mother
enrolled him in one of the local church choirs, St. Paul's Anglican Church,
Idi-Oro, Lagos, in 1979. It was at this choir that Sadoh was first introduced
to European church music. 

Sadoh attended Eko Boys' High School, Lagos, from 1977 to
1982, where he received private lessons in music theory and piano from Mr.
Ebenezer Omole, the school's music teacher. Omole quickly noticed Sadoh's
talents and interests in music and got him appointed as one of his assistants
in conducting and accompanying the school's choir at the piano. It was Omole
who prepared him for the theory examinations of the Associated Board of the
Royal Schools of Music, London. When Omole was transferred to another
institution, the school's principal and the teaching staff unanimously
appointed Sadoh to the position of organist and choir director of Eko Boys'
High School in 1981 at the age of sixteen. During his tenure, he coordinated
musical activities for the school and directed a Festival of Nine Lessons and
Carols in December, 1981.

In 1980, Sadoh joined the renowned Cathedral Church of
Christ Choir, Lagos, to sing tenor under the leadership of Mr. Obayomi Phillips
(son and successor of Thomas Ekundayo Phillips), who was then the organist and
master of the music. Worthy of mention is the fact that all the Nigerian
organist-composers passed through the Cathedral Church of Christ, Lagos, and
were directly or indirectly trained by Ekundayo Phillips. Obayomi Phillips, who
gave Sadoh private organ lessons, was trained by his father, Ekundayo Phillips.
Obayomi Phillips took keen interest in Sadoh's talents and dedication to
advance his skills and aptitudes in music. Phillips soon appointed Sadoh as the
assisting organist to accompany the choir practices on Tuesdays and Thursdays
and to play for the 7:15 am communion services on Sundays. Phillips also gave
Sadoh private lessons in piano, organ and general musicianship (aural skills),
and he prepared Sadoh for all the piano examinations of the Associated Board of
the Royal Schools of Music, London, from grade 3 through grade 7.
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During his fourteen years at the Cathedral Church, Sadoh was
privileged to meet prominent Nigerian trained musicians such as Yinka Sowande,
substitute organist at Cathedral Church and brother of Fela Sowande; Mrs. Tolu
Obajimi, a graduate of the Guildhall School of Music, London, and music
teacher; Kehinde Okusanya, a concert pianist and Director of the Music
Department of Nigerian Broadcasting Corporation, Lagos; Professor Lazarus
Ekwueme, a Nigerian musicologist, singer, choral conductor, and Professor of
Music at the Department of Music, University of Lagos; Kayode Oni, a graduate
of Trinity College of Music, London, and one of the notable concert organists
in Lagos; and Christopher Oyesiku, a bass singer and choral conductor. Obayomi
Phillips gave Sadoh a personal scholarship from his own purse to study music at
the University of Ife (now Obafemi Awolowo University) from 1984 to 1988.
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Between 1982 and 1984, Sadoh founded and directed several
choral groups in Lagos. He accompanied and directed most of the groups by
himself at rehearsals and concerts. It was during this period that Sadoh
discovered his gifts in composition. Among his creative works at this early
stage are Oluwa Gbo Adura Mi (Lord Hear My Prayer) for tenor and piano, Oluwa
mi (My Lord) for two voices and piano, Ale ti le (Night has Fallen) for
baritone and piano, Gbo Ohun Awon Angeli (Hear the Voices of Angels) for SATB
and piano, and several other works. He wrote mainly vocal music during this
period.

In 1984, Sadoh was accepted to the Obafemi Awolowo
University, Ile-Ife, to study piano performance and composition. Between 1985
and 1986, he was appointed as the director of the Unife Joint Christian Mission
Choir (over 250 voices). He was formally introduced to traditional African
music at the Obafemi Awolowo University. It was there that he became more
conscious of his existence as an African musician and the component elements of
the music. Sadoh's interest in African music was invigorated through his
exposure to diverse musical cultures of the world. He took courses such as
music in African culture, survey of world music, black music in the Americas,
music in the Middle East and India. As time went on he acquired deeper
theoretical knowledge of African music. Sadoh's musical studies at Ile-Ife
paved the way for his growing interest in incorporating indigenous Nigerian
elements and the creative procedures in his musical compositions. Hence, he
began to employ distinct Nigerian rhythmic patterns, harmony, tonal
organization, and scale systems in his works. Sadoh's creative output during
this period includes Memoirs of Childhood for piano, Moonlight Dances for
piano, Akoi Wata Geri for SATB and piano, and Akoi Wata Geri for tenor and
piano. Sadoh completed his Bachelor of Arts degree with a Second Class
Upper-Division in 1988. He was retained to teach in the same Department of
Music from 1988 to 1994 as a result of his diligence and academic excellence.
While teaching at the Obafemi Awolowo University, he founded and directed two
major choral groups, the Ile-Ife Choral Society and the Ile-Ife Junior Choral
Society. With these two groups, he directed several public concerts of choral,
vocal solos, and instrumental music within and outside Ile-Ife. Sadoh also
played piano solo recitals on the university campus and other regions in
Nigeria.

In 1994, Sadoh was accepted to the graduate program in
ethnomusicology and African music at the University of Pittsburgh where he
obtained an M.A. degree in 1998. As a teaching assistant at the institution, he
taught several courses including world music, class voice, and class piano. During
this period, he was apointed as a guest/visiting lecturer at GoldenWest
College, California, in 1995, and at Thiel College from 1995 to 1998. Sadoh
studied organ with Dr. Robert Sutherland Lord at the University of Pittsburgh
for three years. While in Pittsburgh, he also served as organist and choir
director at St.  Stephen's
Episcopal Church, Wilkinsburg, from 1996 to 1998.

Sadoh continued his musical training in organ performance
and church music at the University of Nebraska-Lincoln from 1998 to 2000. His
teachers were Dr. George Ritchie and Dr. Quentin Faulkner. Sadoh was often
called upon to present several guest lectures on African and world music at the
School of Music, University of Nebraska. In fact, he created the curriculum of
the African music program and taught the course from 1998 to 2000. During his
two-year sojourn in Nebraska, he served as organist at Christ Lutheran Church,
Grace Lutheran Church, and as associate director of music ministries at the
First United Methodist Church. Sadoh obtained the M.Mus. degree in May of 2000
after playing two Master's organ recitals in one academic year--November 1999
and April 2000. He published his first scholarly article "Music at the
Anglican Youth Fellowship: An Intercultural Experience" in the HYMN
journal, in January 2001. This was a paper he wrote for twentieth-century
church music class, and it was Dr. Faulkner, the instructor, who encouraged him
to get the paper published.

In 2000, Sadoh was accepted to the Doctor of Musical Arts
degree program in organ performance and composition at the Louisiana State
University, Baton Rouge. With this admission, he became the first African to
study organ at doctoral level. He has been studying with Dr. Herndon Spillman
(organ) and Dr. Dinos Constantinides (composition). At LSU, he wrote mostly
instrumental and chamber works at the instigation of his composition teacher.
His major works at this time include Three Dances for piano, Three Pieces for
flute solo, Illusion for violin and piano, Potpourri for trombone, flute, oboe,
clarinet in B-flat, and string quartet, A Folk Dance for percussion ensemble of
four players, Yoruba Wedding Dance for brass quintet, Badagry for woodwind
quartet, A Suite of Nigerian Folksongs for string quartet, Tribute to Homeland
for chamber orchestra, Harmattan Overture for symphony orchestra and Nigerian
instruments, Summer Evening at Ile-Ife for wind quintet, and Three Wedding
Songs for soprano and piano. Sadoh wrote his first major works for organ in the
summer of 2002: 1) Folk Dance, 2) Ore Ofe Jesu, and 3) Nigerian Toccata.
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The Folk Dance was composed on August 13, 2002. The thematic
material was derived from a Nigerian folksong "Owo o, Omo o, ma m'omo se
ire" (money and children are both desired and I will embrace both and revere
them). It is divided into three sections. The first introduces the main theme
on the Great with an ostinato in the Pedal. The second section is the
development of the theme in D-flat, while the third section returns back to the
home key (F) and ushers in the principal theme triumphantly in the Pedal with
full organ. Nigerian Toccata was influenced by nineteenth and twentieth-century
French toccatas. Composed on August 14, 2002, it is a virtuoso piece that calls
for all the resources of the organ from the smallest pianissimo to the loudest
fortissimo. The four thematic materials are original. Structurally, it is in a
quasi-sonata allegro form without a development. The harmonic framework and
sonority are purely modern. The work is characterized by diatonicism,
chromaticism, pentatonicism and sequences. Ore Ofe Jesu (The grace of Jesus)
was composed on August 15, 2002. It is a quiet and meditative piece most
suitable for offertory, communion or any other contemplative aspect of a divine
service, and is in three sections. It opens with a prelude in duple meter and
moves into the second section in triple meter. This section is based on a
Yoruba church hymn "Idahun re l'a nreti" (We are waiting to receive
your answer). It closes quietly with the first four measures of the prelude.
These three pieces were published by Wayne Leupold Editions in April 2003 as
one major work titled Nigerian Suite No. 1 for organ solo.

In 2002, Sadoh wrote and published two articles: "A
Centennial Epitome of the Organs at the Cathedral Church of Christ, Lagos,
Nigeria," published in The Organ (London), and "The Creative Process
in Nigerian Hymn-Based Compositions," published in The Diapason (August,
pp. 15-17). Several scholarly articles by him are to be published in 2003.
"Creativity and Dance in Joshua Uzoigwe's Music," will be published
in ComposerUSA, "Organ Building in Nigeria" and "A History of
South Africa's Organ Builders" will be published in the Organ
Encyclopedia. In May 2003, Sadoh was nominated by members of the faculty at LSU
for membership in the Beta Lambda Chapter of Pi Kappa Lambda, for his academic
and musical accomplishments.

It is interesting to note that an organist-composer is born
in Nigeria every thirty years. Sowande was born in 1905, Bankole in 1935 and
Sadoh in 1965. Hypothetically, the composer-organist for the fifth generation
must have been born in 1995 somewhere in Nigeria.

Others

The following are organists only.

Kayode Oni studied
organ at the Trinity College of Music in London. He came back to Nigeria in the
1970s and was subsequently appointed Honorary Organist at the Cathedral Church
of Christ, Lagos. He was also organist and choir director in several Anglican
churches in Ogun and Lagos States. He taught several budding organists in
Lagos, including Deji Osun.

Deji Osun studied
organ privately with Kayode Oni for several years in Lagos. He sat for the
theory, piano, and organ examinations of the Associated Board of the Royal
Schools of Music, London, while studying with Kayode Oni. He served as organist
in various churches in Lagos and Ogun States before leaving for the Trinity
College of Music, London, to continue his studies in organ in early 1980s. He
has completed his training and currently resides in England.

Merriman Johnson was
the organist at the Tinubu Methodist Church, Lagos, for several years. He went
to study organ in one of the British schools of music in the early 1980s. He
has finished his training and is currently residing in England.

Carolyn Shuster Fournier

Carolyn Shuster Fournier expresses her gratitude to Pierre Cogen and to Ann Labounsky for providing material and advice for this article, to Marie-Christine Ugo-Lhôte for the loan of her father’s collection of the review L’Orgue, to Mifa Martin for having read through the text, and to the Ruth and Clarence Mader Memorial Scholarship Fund for its grant in 2006.
An international concert artist, Dr. Carolyn Shuster Fournier is titular of the Aristide Cavaillé-Coll choir organ at La Trinité Church in Paris, France. She has written several articles for The Diapason. In October 1983, she was privileged to perform Jean Langlais’ Double Fantasy for Two Organists with the composer, in his concerts during his last tour to England: at the Royal Festival Hall in London (on October 26), at the Salisbury Cathedral, and at the Christ Church Chapel in Oxford.

The Sainte-Clotilde Tradition1 is based on the lineage transmitted in a teacher/student relationship from Franck to Tournemire to Langlais.2 Especially beginning with Charles Tournemire, these organist/composers, as well as many of their substitutes (among others, Maurice Duruflé, André Fleury, and Daniel-Lesur), the choirmaster Maurice Emmanuel,3 and other titular organists at Sainte-Clotilde—notably Joseph Ermend Bonnal, Jean Langlais, and Pierre Cogen—had an intimate, spiritual understanding of the Gregorian chants used in the traditional Catholic liturgy. This was manifest in their deeply poetic and colorful interpretations, and in their use of Gregorian chants in their improvisations and compositions. They all served their art with humility. This article is dedicated to Pierre Cogen, a French organist-composer in the Sainte-Clotilde Tradition.

Pierre Cogen’s musical formation under Jean Langlais’ guidance

Pierre Cogen (see illustration 1) was born in Paris on October 2, 1931. From 1944 to 1951, he studied at the Petit Séminaire de Paris in Conflans.4 He sang in the Schola choir, directed by the Abbot Jean Revert.5 Such a framework provided Cogen with a musical training in the ancient, pure classical tradition—in a church choir school that sang Gregorian chants as well as the classical polyphonic choral repertory. At the age of 14, Cogen began to accompany this choir on the 12-stop Cavaillé-Coll organ6 in the school chapel. Each year, Jean Langlais was invited to give a concert on this instrument. When Cogen heard him improvise brilliantly on the Gregorian Sunday mid-Lent Introit, Laetare Jerusalem, he was moved so deeply that he immediately requested to become his student. At the age of 19, Cogen studied privately with him, taking lessons either on the two-manual harmonium with a pedalboard in Langlais’ home, on the Cavaillé-Coll organ in his class at the Paris Institute for the Blind, or on the chapel organ at Cogen’s school.
After graduating from this school in 1951, at the age of 20, Pierre Cogen studied for one year with Edouard Souberbielle at the César Franck School in Paris, during Langlais’ first tour to the United States. This distinguished and cultivated professor helped Cogen to solidify his technique. Cogen then continued to take private lessons with Langlais, studying organ interpretation (especially of the works associated with the Sainte-Clotilde Tradition), and also harmony, counterpoint, fugue, and improvisation (notably of the fugue). Cogen also studied harmony with Jean Lemaire and took preparatory courses for the exam that would qualify him to become a music professor with Eliane Chevalier (Marie-Madeleine Duruflé-Chevalier’s sister) and Raymond Weber. After obtaining his Certificat d’Aptitude as a music education professor, he taught in Paris, in public schools and at the private Alsatian School from 1961 to 1993. In the meantime, from 1952 to 1966, he directed a children’s choir, Les Petits Chanteurs de Championnet, which sang four-voice a cappella music from Palestrina to Langlais. It toured, notably to Germany in 1964 and 1965.
From 1952 to 1979, in exchange for numerous lessons, Cogen assisted Langlais’ wife Jeanne7 as a musical secretary, notating Langlais’ compositions onto paper and proofreading them for publication. In 1954, he helped Langlais prepare his edition of C. P. E. Bach’s Six Sonatas.8 When Langlais urgently composed his Salve Regina Mass for the Christmas Eve midnight mass at the Notre-Dame Cathedral in 1954, his wife notated the text during the day; each night, Cogen prepared the separate vocal scores. Among other compositions, he notated Langlais’ In Paradisum (Triptyque grégorien) in a hotel in Haarlem, during the International Improvisation Competition in 1978. In 1971, Pierre Cogen decided to complete his musical training, in both organ and improvisation, as well as in counterpoint and fugue. He therefore enrolled at the Schola Cantorum—in Langlais’ organ class from 1971 to 1973, then in Yvonne Desportes’ fugue class from 1974 to 1976—obtaining the Prix de Virtuosité in organ and improvisation in 1973, and Superior Diplomas in harmony, counterpoint and fugue in 1975–76. During the first term of 1973, when Langlais took a leave of absence for illness, Cogen took lessons with his substitute, André Fleury, studying his Prélude, Andante and Toccata, acquiring a more dreamlike interpretation of the Prélude and a more flamboyant spirit in the Toccata. Fleury insisted upon absolute precision and rigor in carrying out registration changes. Cogen greatly appreciated his honesty, his rectitude of character, and his constant friendship.9
In July 1975, Pierre Cogen participated in an improvisation academy in Nice with Pierre Cochereau, driving from Paris to Nice with the American organist George Baker. When Cogen improvised an “Elevation,” Cochereau immediately put him at ease, with his customary simplicity and warmth. Cogen recalls that they began with modulation exercises, all types of canons and toccata formulas, developing numerous forms: the sicilienne, various suite movements, and, of course, the fugue. Among the advice that Cogen retained:

Carry out your effects tactfully. Don’t say everything initially!
Interweave all of the elements, one upon another.
Don’t abuse the use of major and minor scales.
Establish the tonalities of your development.
Beware of your repeated chords, too many arpeggiated formulas.
How can you return to the principal tonality? And the 6/4 chord!10

In 1979, Pierre Cogen obtained, by competition, the Aptitude Certificate for Teaching Organ and Improvisation (C.A.) in the national French conservatories. In 1984, he created the organ class at the Maurice Ravel Conservatory in Levallois, near Paris, remaining there until his retirement in 1993.

Titular at the Sainte-Clotilde Basilica in Paris

Beginning in 1955, Cogen began to substitute for Langlais at the Sainte-Clotilde Basilica when his official assistant, Pierre Denis,11 was not available. The Grand Orgue gave solemnity to the church services, and prepared and prolonged the atmosphere of the liturgical chants during the masses, vespers, weddings and funerals. When Langlais asked him to substitute for him, Cogen played for three Sunday morning masses: the 9:30 a.m. high mass was in Latin and Gregorian chant; the two others, at 11 a.m. and noon, were low masses. At the high mass, Cogen played the Prelude, the Offertory, the Elevation, the Communion, and the Postlude. During the low masses, he played continuously while the celebrant recited his prayers in a “low” voice. During the church services, Cogen based his improvisations and his choice of repertory on the appropriate chants of the liturgical year. For the vesper services, after playing a processional entrance, he improvised fifteen verses, first for the repeated antiphons that follow each of the five psalms, then, in alternation with the choir, for the verses of the hymn and the Magnificat, and then again for the antiphon.
In 1972, Pierre Cogen played the organ regularly, becoming Langlais’ official assistant. During this period, he only played two Sunday morning masses, at 11 a.m. (preceded by a long prelude) and at noon. Although the vespers were no longer held, he still played for weddings and funerals. At the beginning of 1973, when Langlais fell ill, Cogen played for all of the services. When Langlais resumed his activities, he dedicated to Cogen the fourth of his Cinq Méditations sur l’Apocalypse: “Oh oui, viens, Seigneur viens, Seigneur Jésus.”12
On January 31, 1976, at Langlais’ request, Pierre Cogen was named as a co-titular organist at Saint-Clotilde. He still played for the same number of masses. Even more important, since he had unlimited access to the organ, he became well integrated into the Sainte-Clotilde Tradition, playing much of its related repertory. On the occasion of his nomination as co-titular organist, Langlais presented him with Léon Vallas’s biography of César Franck13 with the following inscription (see illustration 2).
From 1978 to 1985, in addition to the two morning masses, Cogen played for a traditional low mass in Latin every Sunday at 6:30 p.m. (except in the summer). On May 17, 1987, Cogen accompanied Langlais’ Messe Solennelle for four-part choir and two organs15 while Langlais played solo pieces during a televised Sunday morning mass that celebrated Langlais’ 80th birthday. In April 1988, when Langlais resigned at the age of 80 due to a bad heart condition, he was named “Honorary Organist at Sainte-Clotilde.”16 Cogen succeeded him as titular, and Jacques Taddei was also named as titular, joining the list of their illustrious predecessors:

1863–1890 César Franck17
1890–1898 Gabriel Pierné
1898–1939 Charles Tournemire
1942–1944 Joseph Ermend Bonnal
1945–1988 Jean Langlais
1976–1994 Pierre Cogen
1988–present Jacques Taddei

After his nomination, Cogen dedicated his Offrande to Langlais and premiered this work during the 11 a.m. Easter Mass at Sainte-Clotilde on April 3, 1988, the day he succeeded Langlais as titular. At the beginning of this piece, a beautiful pentatonic melody is harmonized with refined simplicity (see illustration 3). After Langlais’ death on May 8, 1991, Cogen and Taddei, with other instrumentalists and choirs, played for his funeral on May 30.
From 1988 to 1991, in addition to his service playing, Cogen organized organ concerts at Sainte-Clotilde every Friday after the noon mass. These concerts continued until the church was closed in 1992 for restoration work. When it reopened in 1993, Cogen and Taddei only played for the 11 a.m. mass, but a song rehearsal that immediately preceded the mass prevented them from playing a prelude. On June 21, 1994, Cogen retired at the age of 62, after 39 years of service to this parish (21 years as a substitute organist and 18 years as a titular). On April 2, he played there for the last time—for the Easter Vigil and the midnight Easter mass, ending it with the following postlude: Langlais’ Incantation pour un jour saint, which combines the Lumen Christi chant from the Easter Vigil and the Litanies, which had been sung by the congregation during the vigil to implore heavenly aid.

International concert organist and recording artist

As a concert organist, Cogen had the privilege of premiering several of Langlais’ pieces. On December 30, 1979, he inaugurated his Noëls avec Variations, Op. 204, at the Saint-Louis des Invalides Church in Paris. On November 18, 1985, he premiered Langlais’ Talitha Koum, Op. 225, at a second concert that celebrated Langlais’ 40 years of service as an organist at Sainte-Clotilde. On Sunday, December 13, 1987, at Sainte-Clotilde, Cogen premiered, with Claire Louchet, soprano, Langlais’ Antiennes à la Sainte Vierge, Op. 242, for one voice and organ.
On February 1, 1987, Pierre Cogen performed at the Madeleine Church in Paris, along with François-Henri Houbart and Georges Bessonnet, in a concert that celebrated Jean Langlais’ 80th birthday. On February 15, 1987, Langlais’ 80th birthday, he attended Cogen’s recital at the Notre-Dame Cathedral. Cogen performed Langlais’ Chant de joie, Rosa mystica, Triptyque, and Dans la lumière, an extract from L’Offrande à une âme. At Sainte-Clotilde, Cogen also performed in several memorable organ concerts: one was held in Tournemire’s honor on November 16, 1989. It is particularly moving to note that Cogen heard Langlais play for the last time during this concert—a moving rendition of the second of Tournemire’s Sei Fioretti, which had been dedicated to him 57 years earlier, in 1932!18
Also at Sainte-Clotilde, Cogen played in two concerts that celebrated the centenary of Cesar Franck’s death in 1990 and in several recitals that were held in Langlais’ memory in 1991. On Good Friday in 1989, 1990 and 1991, Cogen was privileged to perform at Sainte-Clotilde Tournemire’s Sept Chorals-Poèmes pour les Sept Paroles du Christ, Op. 67. Father Choné, the church priest, introduced each piece with a commentary of the Gospel.
Cogen also rendered homage to his two predecessors by recording their works on the Sainte-Clotilde Grand Orgue:
1. Langlais’ works (carried out in the composer’s presence): Incantation pour un jour saint, Ave Maria, Ave Maris Stella, Offrande à Marie, Suite medievale (a 33 rpm record published by Tempo FR 760310), 1976;
2. Langlais’ Première Symphonie, Suite folklorique, Triptyque by Cybélia (CY-867), 1986; 3. Tournemire’s Sept Chorals-Poèmes pour les Sept Paroles du Xrist en Croix, L’Orgue Mystique (the Assumption and the Epiphany Offices) (CD, Cybélia, CY-883), 1990. In 1997, he also recorded Langlais’ Suite médiévale, Suite brève, and Suite française on the organ at the Church of the Holy Spirit in Mannheim (CD, Aeolus, AE-10081).

Pierre Cogen’s organ works

After retiring from his post at Sainte-Clotilde in 1994, Pierre Cogen was able to devote more time to performing and to composing. His compositions were inspired by Tournemire’s poetic language and by Langlais’ colorful harmonies. The influence of the Sainte-Clotilde Tradition is also manifest in Cogen’s use of modal tonalities, Gregorian chants, and the imitation of bells. Several of Cogen’s organ works were commissioned, notably by the Austrian organist and composer Thomas Daniel Schlee, by two organists in Switzerland, Eva and Marco Brandazza, and by the Austrian organist Herbert Bolterauer. In the following list of Cogen’s works, the titles are given in French, along with information concerning their dedications, their premieres and their publication. A brief description of each piece provides the composer’s remarks concerning his works.

1. Deux Chorals, dedicated to his dear master Jean Langlais, composed as birthday presents for him; they were premiered privately, on Langlais’ house organ, on February 15, 1974 (the second choral) and in 1977 (the first choral): “Es ist ein Ros’ entsprungen,” 1977; “Herzlich tut mich verlangen,” 1974.
Published in Paris: Combre (C 5464), 1993 (6'30").
The association of these two chorals recalls two vital extremities, one’s birth and death, as Cogen explains.
The first choral, with its inherently intimate character, uses the famous Praetorius Christmas carol in a clear, contrapuntal style, with particularly soft registrations (Gambe and Voix Celeste, Bourdon 8', with a soft Pedal Flute). The melody, in long note values in the soprano, is accompanied by a discreet movement of eighth-notes in the inner voices, while syncopated rhythms in the bass line (played on the pedal) lull the upper voices.
Cogen was studying improvisation with Langlais when he composed the second choral. Langlais had insisted that the pedal part should not stagnate in the lower notes. His student followed his advice far beyond his master’s wishes, since the pedal sings entirely in the upper range on the following stops: Flute 4', Nasard 22⁄3', Larigot 11⁄3' and Piccolo 1' (registration that was dear to Messiaen in his Banquet céleste). The choral melody, resolutely sustained with homophonic writing, is confined to the manuals (Bourdon 8', Voix Humaine and tremolo on the Swell or, if this is not available, on 8' foundation stops that can sufficiently balance the opposing chant in the pedal). If the pedalboard does not contain a G3, it is possible to play the entire pedal part an octave lower on a registration based on 2' stops.

2. Nocturne sur un thème populaire Breton, 1976, dedicated to Michèle Vermesse, his future wife; premiered by Ann Labounsky in a concert at Sainte-Clotilde in Paris on May 21, 1979.
Published in Paris: Combre (C 5396), 1992 (7'30").
Recorded by Hans Leitner at the Passau Cathedral in 1995, in Klangfarben der grössten Kirchenorgel der Welt, CD 118, Symicon, Passau, and by Ulrich Karg at the Saint-Vith Church in Belgium, 1999, in Organs in Wallonie, a province of Liège, Blawète Records, Liège.
The theme of this nocturne is a Breton hymn proposed to Pierre Cogen as an improvisation theme to conclude a concert given at Douarnenez (in the southern Finistère) on August 17, 1975. This evening hymn affirms a faith as solid as the granite that is exposed to harsh atmospheric conditions; it is presented as such in the old Breton night legends (ankou, korrigans, etc.). Cogen tried to bring this atmosphere to life in this symphonic, three-part Andante: following the triple exposition of the theme, interspersed with mysterious bell tolls, a sombre and anguished central section develops certain fragments of the theme; then a re-exposition is calmer and more lyrical. This piece finishes with a reminder of the bell tolling: at the beginning and the end of this work, two chords are superposed in the lower keyboard range, solely on the Nasard 22⁄3' and the Tierce 13⁄5' stops.

3. Chorale “Erbarm dich mein, ô Herre Gott,” 1978, unpublished (5').
In an ecumenical approach, Pierre Cogen had planned on writing several suites that would combine Lutheran chorales with Gregorian themes. This is the only work that was completed. In a particularly slow tempo, the chorale theme passes successively from the lower to the upper ranges, from pianissimo to triple forte with dense polyphonic writing, whereas the Gregorian theme, Miserere mei, Deus, serves as a countrapuntal element.

4. Deux Hosannas sur des textes grégoriens: I. Hosanna in exsilio, 1980, to François Tricot; II. Hosanna Escalquensis, 1982, to Jeanne Langlais, in memoriam.
Published in Das neue Orgelalbum II, Vienna: Universal Edition (UE 17480), 1985 (7'30").
The first piece begins with an excerpt of the Sanctus from the Missa Orbis Factor. Then, a two-part development built around a group of four descending notes is followed by a recapitulation with a canon at the seventh and a brief coda. The fear-stricken character of the music alludes to the title of the piece: we are not in heaven (in excelsis), but in this world of banishment (in exsilio), to which the Salve Regina alludes.
In the second movement, the theme, a fragment of the Missa Cunctipotens Genitor Deus in the second mode, appears three times. A fugato, based on a fragment of the theme, introduces the development section. A large-scale rallentando leads to a mysterious carillon: that of the Escalquens Church (near Toulouse), where Jean and Jeanne Langlais are buried. This carillon is played very slowly (see illustration 4, page 28). The bell tolling and the thematic fragments are developed with a crescendo, leading to a brilliant, luminous presentation of the theme in a canon at the interval of a fifth.
5. Psalmodie, composed at Cernay la Ville on December 31, 1985, dedicated to his mother.
Published in Pedals Only, Vienna: Universal Edition (UE 18601), 1988 (5').
The author could have inscribed an epigraph under the title of the piece, citing the passage in the Gospel of St. Luke (chapter I, verse 39), following the text concerning the Annunciation: “Mary left hastily to visit her cousin Elizabeth in the mountains.” At the beginning of Psalmodie, a series of three groups of three quiet F-sharps on the Flute 4' stop recall the Sainte-Clotilde church bells when they toll for the Angelus.19 As Cogen explains, after this introduction comes a three-voice fugue, whose joyful subject is none other than that of the psalmody in the eighth mode, sometimes used to sing the Magnificat. After several expositions and divertimenti, the movement is accelerated while the subject is compressed through several canons (strettos), leading to the tutti, a radiant B-major chord. Two codas are proposed, with solo pedal or with the addition of the manuals.

6. Offrande, 1988 (initially composed in 1963 for an a cappella four-voice choir with the title Le Lotus d’Or), dedicated to his dear master Jean Langlais; premiered by Cogen during the 11 a.m. Easter Mass at Sainte-Clotilde on April 3, 1988, the day he succeeded Langlais as titular.
Published in Paris: Combre (Collection Horizon), 1990 (3').
Recorded by Andrew Cantrill, at St. Paul’s Cathedral in Wellington, New Zealand.
This is a unique piece: Cogen’s only work from the 1960s, when he was strongly influenced by early twentieth-century composers such as Debussy, Ravel, Stravinsky, Bartók, and Milhaud. It is based on a Birman folklore melody in the pentatonic mode and is structured according to its four original strophes. The melody initially appears in the soprano on the Swell Oboe 8', accompanied by the left hand on the Positive Salicional 8' and a soft 16' and 8' in the Pedal. In the second strophe, a trio, the melody appears in the left hand on the Positive Cromorne, while the alto is played by the right hand on the Swell Cornet, with a Grand Jeu de Tierce in the Pedal. In the slightly agitated third strophe, the melody in the soprano is sustained by the two voices in the alto, which develop in imitation before sounding together in parallel thirds. The work finishes peacefully on the Swell Gambe and Voix Celeste stops that accompany the melody on the Great Bourdon 8'. As Cogen indicates, the absence of the B and E notes in the pentatonic melody allowed him to truly modulate: while the first and the last strophes maintained their “white” key signature, the B-flat intervenes in the second strophe and joins the E-flat in the third one.

7. Fantaisie sur une Antienne for organ with four hands and pedal, 1988, finished at Cernay-la-Ville, near Paris, on November 4, 1989, dedicated to Claire and Thomas Daniel Schlee; premiered by Cogen and Schlee in a concert that celebrated 50th anniversary of Tournemire’s death, at Sainte-Clotilde on November 23, 1989, along with T. D. Schlee’s Prisme, also a work for four hands and pedal.
Published in Vienna: Universal Edition (UE 19550), 1988 (7').
Recorded by Eva and Marco Brandazza at the Schloss Church in Bad Mergentheim (Germany), in Ite, missa est, Organum Musikproduktion, Öhringen, 1996; and by Sylvie Poirier and Philip Crozier on the Casavant organ at the Très Saint Sacrement de Jésus Church in Montréal, Canada, in Historic Organs of Montreal, CD 1.
Pierre Cogen’s fantasy contains three main sections of polyphonic writing—Lento, Andante and Allegro—that alternate with freely expressive recitatives. The Lento section sounds like a funeral march on the soft 8' foundation stops, After progressing from the lower to the upper registers, a heavy pedal note imitates a bell-like toll on low C. The Andante presents a fugue whose vigorous rhythmical theme appears in the alto, then in the tenor and in the bass. In the final Allegro, a litany-like dialogue on the foundation stops with the mixtures, the composer presents the Gregorian antiphon on which this piece is based: the “Ego dormivi” from the Easter matins, which Tournemire used several times in his L’Orgue mystique, notably in his Paraphrase Carillon. Cogen’s work ends majestically on the full organ.

8. L’Epiphanie du Seigneur, 1991, in homage to the painter, Werner Hartmann, dedicated to Geneviève and Daniel Hartmann; premiered by Pierre Cogen on November 10, 1991, for the tenth anniversary of the death of this painter, at the Parish Catholic Church in Gerliswill-Emmenbrücke, near Lu-cerne, Switzerland. Unpublished (14')
Werner Hartmann’s series of large paintings (5.60m x 1.90m) of the Epiphany of the Savior, which inspired this piece, are located in the choir of the Catholic church, Pfarrkirche Gerliswill, in the Gerliswill-Emmenbrücke district of Lucerne. They depict the three miracles related in the Epiphany Gospel: the star followed by the Wise Men (who ride on horses instead of camels), the water changed into wine, and the descent of the Holy Spirit during Christ’s Baptism. While looking at these paintings, Cogen was struck by their link with the Gregorian antiphon in the first mode, the “Tribus miraculis” from the Magnificat of the Second Vespers of Epiphany. Since this work is based on this theme, it may be sung as an introduction.
According to Cogen, in the first movement, “The Star, the Three Wise Men and the Manger Scene,” mysterious and stark sonorities (due to the light discord on the Nazard stop) recall the night and the starlit sky. The central part of this movement recalls the Wise Men (who travel on horseback to follow the star that led them to the cradle). At the end, a slow descent leads to a lulling movement, a sweet evocation of the manger scene.
In the second movement, “The Wedding at Cana and the Baptism of Jesus,” light flutes sound a discreet carillon, while the rustic reed stops introduce a folk melody full of Mediterranean light. The development, initially calm, becomes more intense, leading up to a brief and turbulent agitato that represents the servants’ astonishment when the miracle takes place. Then, the melody is transformed into a Grand Plein Jeu—solemn and hieratic—the manifestation of the Divine Presence. This fragment finishes with the first notes of Ubi caritas et amor, Deus ibi est.
The Baptism of Jesus by John, a penance baptism, begins with low notes and rustic sonorities that depict the universe filled with minerals and the dry desert where John the Baptist carried out his mission. This long tension is resolved in less dissonant harmonies, the first fruits of the salvation announced by John the Baptist. The quotation of the Veni Creator recalls the descent of the Holy Spirit onto Jesus. The work concludes in a luminous atmosphere with the initial Gregorian theme—that of the antiphon Tribus miraculis.

9. L’Exaltation de la Sainte Croix, Diptyque for Organ, 1994, dedicated to Monseigneur Jean Revert, Honorary Choirmaster at the Notre-Dame Cathedral in Paris, for the 50th anniversary of his ordination to the priesthood; premiered by Pierre Cogen at the Notre-Dame Cathedral on Palm Sunday, on March 27, 1994. Unpublished (11')
According to Cogen, this work is a grand Gregorian paraphrase in the spirit of similar pieces by Tournemire and Langlais. The title refers to the Feast of the Holy Cross. The melodic material is taken from several liturgical antiphons and hymns from the Holy Week, in particular, the antiphons Ecce lignum Crucis, Crucem tuam adoramus, and the hymn Vexilla Regis. A Meditation on the Mystery of the Cross, an instrument of Christ’s torture but also a symbol of the Redemption, this work is in the form of a diptyque in two connecting parts:
I. After an introduction inviting one to the Adoration of the Cross, a somber procession intones the hymn Vexilla Regis in the lower ranges of the organ. This first part ends peacefully, in expectation of the Resurrection.
II. At the very beginning of the second part, the atmosphere changes. A theme of exaltation, Exaltavit illum, first in the upper range of the organ, gives birth to a fugato. Profiting from secondary episodes, the theme of the hymn Vexilla Regis winds its way into the low ranges before powerfully bursting forth. The work concludes with a fanfare, recalling its various themes.

10. Lucernaire for two organs, “Paravi lucernam Christo meo” (Ps. 131/132, v. 17), for the Christmas season or for a celebration of the Light, 1994, commissioned by Eva and Marco Brandazza and premiered by them on January 10, 1995, at the Jesuit Church in Lucerne, Switzerland (with Eva on the choir organ and Marco on the tribune organ). Unpublished (17')
Recorded by Eva and Marco Brandazza (see item 7 above).
Underneath the title, the composer placed a verse of the Psalm 131 (132): “I have prepared a lamp for my Christ.” According to Cogen, this expectation and coming of the Light, an idea that repeatedly occurs in the Christmas season liturgical texts, guided him during his preparations, from the antiphon O Oriens (for the winter solstice) and the Lumen ad revelationem gentium of the Feast of the Purification, until the hymn Jesu, Redemptor omnium and its verse. By referring to these texts that were sung during the vespers of the Christmas season, the composer thought of structuring his work in the manner of an evening service, notably the one that was formerly referred to as Lucernaire, because one lit lamps during this service. In addition, the composer did not neglect to bring out the similarity between the Latin word lucerna, the lamp, and the name of the city of Lucerne.

11. Cortège, 1996, in memory of Adrien Maciet, the organ builder; Herbert Bolterauer premiered it on November 8, 1996, at the Mariahilf in Graz, Austria.
Published in Paris: Combre (C 05909), in Enluminures. Dix Pièces pour orgue sur un thème donné, 1999 (5').
Herbert Bolterauer, the organist at the Mariahilf Church in Graz, Austria, had requested nine different composers to write a short piece on a theme by Alexandre Schrei. The title of this collection, Enluminures [Illuminations], refers to the way the composers, through the variety of their styles, were able to “illuminate” the various aspects of the thematic material. Since Cogen’s piece is a memorial one, he chose a writing style that is essentially contrapuntal, quasi-vocal. He begins his piece in a slow and grave tempo: Schrei’s theme initially appears when the pedal enters. The piece intensifies until its conclusion. According to the composer, each interpreter can choose either to maintain its restrained character throughout the work, or to increase the sonorities, leading to a maximum of sound at the end of the piece.

12. Psalm “De Profundis” for organ and brass, 1998, in memory of his father-in-law, Edouard Vermesse; Pierre Cogen premiered it on July 17, 1998, with the brass ensemble Hexagone and the solo trumpeter Pierre Dutot, at the Abbatial Church in Guîtres, France (in Gironde, near Bordeaux). Unpublished (8')
This piece develops the various aspects of Psalm 129 (130), from its initial distressful plea to its message of the Lord’s kindness and redemption expressed in verse seven. It uses various Gregorian melodies: the antiphons from the Requiem and the Christmas Vespers, the Offertory from the twenty-third Sunday after Whitsun, and the chorale Aus tiefer Not schrei’ ich zu dir (the Lutheran equivalent of the De profundis).

13. Introduction, Thème et Variations sur “Innsbrück, Ich muss dich lassen” (Variations on a song by Heinrich Isaac), 1999–2002, dedicated to Thomas Daniel Schlee; on July 8, 1999, Cogen premiered an excerpt of this work at the parish church in Igls-Innsbruck; he then premiered it in its entirety on June 18, 2002, at Saint-Sulpice in Paris, France.
Published in Paris: Combre (C 06460), 2006 (13').
In 1996, when Cogen gave a concert in Igls, in the immediate vicinity of Innsbruck, he was inspired to compose a work on Isaac’s tune known as Innsbrück. The association between its name and that of the river Inn inspired him to write an introduction followed by five variations on this theme. As in most variations, this work enables the performer to present the various tonal colors of the organ. An initial Andante introduction develops several motives of the theme, on the foundation stops and the Swell Trumpet 8¢; the theme is then presented un poco più vivo, on the 16', 8', and 4' foundation stops. After the addition of the manual mixtures and the Pedal Basson 16', Isaac’s theme is entirely presented on the full organ, with harmonies reminiscent of those of the fifteenth century, when the melody was originally composed. The following five variations present the various colors of the organ:
Variation 1: an Adagio presents the theme in the lowest part of the pedalboard, using the Swell Bourdon 8', Voix Humaine 8' and tremulant, with the Pedal Flutes 8' and 4' and, if possible, the mutation stops forming the Grand Jeu de Tierce;
Variation 2: an Andante, with the theme played by the left hand, in a light character, on the Gambe stops;
Variation 3: a lyrical movement that dislocates the theme, using dissonances and “harsh” sounding reed stops, such as the Great horizontal Trumpet 8' with the mixtures;
Variation 4: a Moderato movement on the Swell Gambe 8' and Voix Celeste, with a canon between the alto (played by the right hand) and the soprano (played on the Pedal Flute 4');
Variation 5: a vigorous Fugue, Allegro ma non troppo, that begins on the Swell 8', 4', and 2' foundation stops with the mixtures; a progressive crescendo leads to the triumphal return of Isaac’s song, in a “resolutely modern harmonization” (P. Cogen).
A coda concludes this work on the full organ, resounding an open fifth: D–A.

September 29–October 2, 2013

Marijim Thoene and Gale Kramer

Thanks to Gale Kramer for his review of the student recital on September 30.

Marijim Thoene, a student of Marilyn Mason, received a DMA in organ performance/church music from the University of Michigan in 1984. An active recitalist, her two CDs, Mystics and Spirits and Wind Song, are available through Raven Recordings. She is a frequent presenter at medieval conferences on the topic of the image of the pipe organ in medieval manuscripts.  

Gale Kramer, DMA, is organist emeritus of Metropolitan United Methodist Church in Detroit, Michigan, and a former assistant professor of organ at Wayne State University. A graduate of the University of Michigan, he is a regular reviewer and occasional contributor to The Diapason. His article, “Food References in the Short Chorales of Clavierübung III,” appeared in the April 1984 issue of The Diapason.

Marilyn Mason—legend in her own time, musician and teacher of international renown, torchbearer for composers, organ builders, and students, ground breaker, and pioneer—was honored in this year’s 53rd Conference on Organ Music. Mason has been consumed by a magnificent obsession, and has shared her mantra “eat, sleep, and practice” with hundreds of students at the University of Michigan. The Victorian writer Walter Pater encapsulated her life: “To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life.” 

The principal business of this annual conference was the celebration of Marilyn Mason’s 66 years at the helm of the organ department of the University of Michigan. Following this year of furlough she will say goodbye to the full-time employment that has occupied her since her organ teacher, Professor Palmer Christian, hired her on to the faculty of the School of Music. Over the course of the conference many of her attributes came to the fore: loyalty to the University of Michigan, excellence in performance all over the world, practical concern for scholarships and employment for her students, and perseverance in making things happen, not just once, but over many years. The organ conference itself embodies one of many events she saw a need for, initiated, and perpetuated over time, in this case for 53 years. Other long-term projects to which she devoted her energies include a large repertoire of commissioned organ works, and 56 Historical Organ Tours sponsored by the University of Michigan, which she initiated in order to enable students to experience the sound and touch of historic European instruments.

 

Sunday, September 29, 2013

The music of the first event of the conference, “A Grand Night for Singing,” featuring all of the choral groups at the University of Michigan—the Chamber Choir, the Orpheus Singers, Men’s Glee Club, and Women’s Glee Club, totaling 357 young singers—took place in Hill Auditorium and was filled with energy and beauty. The concert—the perfect way to begin a celebration of Marilyn Mason’s life’s work—was the first of the season, and also celebrated the one-hundredth anniversary of Hill Auditorium. The singers entered from the back of the auditorium and the audience of over a thousand fell silent as hundreds of singers walked briskly down the aisles and took their places on the risers. The repertoire ranged from secular to sacred: from scenes from Rossini’s The Barber of Seville to Sondheim’s A Little Night Music, from Baroque to contemporary, from a cappella to that accompanied by the Frieze Memorial Organ, Steinway, or Baroque ensemble. The level of performance of these choirs was truly remarkable, especially since they had been prepared in only nineteen days. Vocal blend, whether from a small ensemble or a choir of over three hundred, was rich, the range of dynamics was kaleidoscopic, attacks were precise, phrases were controlled, but most impressive was the power to communicate deep emotion that transported the audience. This was apparent especially in the University Choir’s performance of Stephen Paulus’s The Road Home, conducted by Eugene Rogers and featuring soprano soloist Shenika John Jordan. Ms. Jordan became an actress and transported us with her soaring voice.  

Several works were accompanied on the Frieze Memorial Organ and harpsichord played by Scott Van Ornum, former student of Professor Mason. In both Benjamin Britten’s Festival Te Deum and Ralph Vaughan Williams’ O clap your hands we heard a sampling of the vast color palette of the organ, from soft flutes to thundering reeds. Van Ornum deftly exploited the dramatic power of the organ to soothe, exhilarate, and transport. The hosts of the concert, Melody Racine and Jerry Blackstone, reveled in the music, especially in the grand finale, It’s a grand night for singing, during which they danced and sang. The audience was invited to join in singing with all the choirs directed by Blackstone, and accompanied by organist Scott Van Ornum and pianists Samantha Beresford and David Gilliland. 

In the evening, Andrew Herbruck played music by Leo Sowerby for his Master of Music recital at Hill Auditorium, offering an interesting survey of Sowerby’s forms and styles. Comes Autumn Time reflected Sowerby’s fascination with blues and his preference for solo reeds. It was a treat to hear movements two and three from the seldom-played Suite for Organ. In the second movement, Fantasy for Flute Stops, Herbruck played the repeated motif (which sounded much like a forerunner of Philip Glass) with amazing dexterity and control. The third movement, Air with Variations, showed Herbruck’s careful phrasing of the passages for solo clarinet. He played the Passacaglia from Symphony for Organ with a combination of restraint and gusto and made the performance electric.

Festival Musick (I. Fanfare, II. Chorale, and III. Toccata on “A.G.O.”)filled the second half of the recital and provided a glimpse into Sowerby’s ability to combine unusual timbres in dialogue with the organ. 

 

Monday, September 30, 2013

The conference opened with a program by pupils of James Kibbie: Andrew Lang (Praeambulum in E Major, LübWV 7, Lübeck), David Banas (Premier Livre d’orgue: Récit de Tierce en taille, Offertoire sur les grands jeux, de Grigny), Mary Zelinski (Prelude and Fugue in G Major, BWV 550, Bach), Paul Giessner (Organ Trio, no. 1, Lucas Grant), Elliot Krasny (his own Ascension, Descention), and Jenna Moon (Sonata IV in B-Flat Major, Mendelssohn). They brought out the best in the Marilyn Mason Organ, conceived by Charles Fisk and others in collaboration with Marilyn Mason in the years just before 1985.

Department Chair Kibbie introduced Dr. Karl Schrock, Visiting Faculty Member in Organ for the 2013–2014 academic year, and announced the appointment of Vincent Dubois and Daniel Roth as Visiting Artists, one in each of the two academic terms. They will each teach private lessons to all organ students and present a public masterclass and recital.

The afternoon session, featuring the students of Marilyn Mason, was held at the First Congregational Church, home of the 1985 Karl Wilhelm organ, Opus 97. When Marilyn Mason entered the church everyone spontaneously rose to their feet and clapped. She introduced Andrew Meagher, saying, “I admire Andrew a lot. He is the only student I have ever had who studied Schoenberg’s Variations on a Recitative with me and memorized it. I watched the score and he played it right!” (Schoenberg consulted with Mason during the writing of this work.) Meagher is a DMA graduate and played Bach’s Prelude and Fugue in A Minor, BWV 543, from memory. The other students are currently enrolled and played the following pieces with conviction and energy: Regan Chuhran, Prelude in F Minor, BWV 534; Renate McLaughlin, Le petit pêcheur rusé—Air and three variations from Air and Variations for Pedal Solo by Flor Peeters; Joshua Boyd, Jubilate, op. 67, no. 2, and Recessional, op. 96, no. 4, by William Mathias; Glenn Tucker, Trio Sonata No. 1 in E-flat Major, BWV 525 (played from memory); and Kipp Cortez, Fantasie and Fugue in G Minor, BWV 542.

The recital was immediately followed by Stephen Warner’s discussion of the history of the organs at First Congregational Church, with special emphasis on the current Karl Wilhelm organ. He gave some practical and useful advice on organ maintenance. 

Next we heard repertoire for organ and other instruments. Sipkje Pes-nichak, oboist, and Tim Huth, organist, performed Aria by Jehan Alain. We also heard music for organ and handbells directed by Michele Johns and performed by Joshua Boyd and ringers from St. Andrew’s Episcopal Church. 

The evening festivities began in the banquet hall of the Michigan League, packed with well-wishers whose lives have been profoundly touched by Marilyn Mason. She was congratulated and paid tribute to by David C. Munson, master of ceremonies and dean of engineering and computer science; Lester P. Monts, senior vice provost for academic affairs; and Arthur F. Thurnau, professor of music (ethnomusicology). The Reverend Dr. Robert K. Livingston, senior minister at the First Congregational Church in Ann Arbor where Marilyn Mason is organist, praised her, saying: “Her life is a model of a life lived with compassion and loving kindness, and dedication and desire to help mentor. She has followed the advice of Stephen King, ‘Make your life one long gift to others—the rest is smoke and mirrors.’ She has made a lasting difference to each one of us and the world.” Short reminiscences were given by some of her former students, including Michele Johns, adjunct professor of organ and church music. Carolyn Thibideau, dean of the Detroit AGO chapter, quoted Mason’s sayings: “A recital date always arrives” and “If you have a task that needs to be done, just do it and get it over with!” Tim Huth, dean of the Ann Arbor AGO chapter, said he thinks of the organ conference as “soul juice.” He thanked her for enriching his life, commenting that she helped found the Ann Arbor AGO chapter, which now offers scholarships in her name and has made her an honorary member. In thanking her, Tim quoted Meister Eckhart: “If the only prayer you say in life is thank you, that will suffice.” Mary Ida Yost, professor emerita of organ at Eastern Michigan University, recalled Mason’s raucous laughter, and jokes from her little black book. She remarked how Marilyn Mason is one of the most celebrated performers and teachers of the world. She is larger than life. She has changed the world of organ music for life. She is a living example of unending generosity, genuine respect, and kindness. Her greatest legacy is about the future and not the past—through former students of hers who play in churches and teach, generation through generation. 

She quoted Mason’s sayings: “Miss one day of practice and you notice, miss two and your friends notice, miss three and the whole world notices.” 

Closing remarks were offered by Christopher Kendall, Dean of the University of Michigan School of Music, Theatre, and Dance: 

Throughout her career she has shattered many glass ceilings. She was the first American woman to play a concert in Westminster Abbey, the first to play in Latin America and Egypt. She has concertized on five continents. On one sabbatical she consulted with Fisk on the building of the facsimile of a Gottfried Silbermann organ for the Blanche Anderson Moore Recital Hall. She has made definitive recordings, consulted with Arnold Schoenberg, commissioned seventy-five organ works, and mentored hundreds of talented students. Her studio will be named the Marilyn Mason Organ Studio.

We were serenaded with a carillon recital as we left the League for Hill Auditorium to hear a concert to be performed by former doctoral students of Marilyn Mason. The joyous music announced the celebration like a high feast day. Patrick Macoska played Menuet Champetre Refondu by Ronald Barnes, Triptich: Intermezzo-Fantasy, and Slavic Dance by John Pozdro, Happy in Eternity (passacaglia) by Ronald Barnes, and Evocation by John Courter. 

At Hill Auditorium, James Kibbie, professor of organ and co-chair of the organ department at the University of Michigan, began his remarks by saying, “Look around and you will see the legacy of Marilyn Mason.” He pointed out that she has brought the best students and helped place them in jobs; led organ tours throughout Europe; created the Organ Institute; built the Scholarship Endowment Fund; and found and unlocked her students’ potential. He noted that the greatest tribute of all is to hear great music performed by her students. “Her greatness was immediately recognized by Palmer Christian, her teacher at the U of M. Upon meeting her he announced that a ‘buzz bomb’ just arrived from Alva, Oklahoma.” 

The concert’s emcee was the witty and loquacious David Wagner, professor of organ at Madonna University and director of the classical music station in Detroit. He regaled us with his unforgettable and hilarious story of his first encounter with the University of Michigan Organ Conference. Sixteen-year-old David read about it in The Diapason, a gift given to him as a reward for a good lesson by his organ teacher in Detroit. David persuaded a pal to borrow his uncle’s Buick and drive around Ann Arbor until they found Hill Auditorium. He had no idea where it was, but was convinced they could find it. They did find it. When David got back to Detroit, the police were ready to arrest his pal for grand theft, because his pal had not told his uncle they were borrowing the car. Such is the lure of the organ conference! 

All of the performers without exception played brilliantly. Each selected masterworks calculated to mesmerize and enthrall. Shin-Ae Chun (2006), a native of Incheon, South Korea, also holds a bachelor’s degree in nursing science. She is an international concert artist, represented by Concert Artist Cooperative, and organist at the First Baptist Church in Ann Arbor. She played Miroir by Ad Wammes and Prelude and Fugue on B-A-C-H by Franz Liszt. Thomas Strode (1981), founder of the Ann Arbor Boy Choir in 1987, teacher of music at St. Paul Lutheran Middle School, is director of music at St. Paul Lutheran Church in Ann Arbor. He played Gaston Dethier’s Christmas (Variations on ‘Adeste Fideles’). Thomas Marshall (1975) has been a member of the music faculty at the College of William and Mary since 1981 and has played harpsichord in an early music ensemble at Williamsburg since 1977. He played Praeludium et Fuga in h, BWV 544 by J.S. Bach and a commissioned work for this concert, Dance of Celebration (“Mambo for Marilyn”) by Joe Utterback. Joseph Galema (1982) received his BM from Calvin College and his MM and DMA from the University of Michigan. He has been organist at the U.S. Air Force Academy since 1982. In 2008, he became an instructor in the Milan Academy in Denver. He is in Who’s Who in America and has toured throughout Europe and the Baltic states. He played Marcel Dupré’s Prelude and Fugue in B Major, op. 7, no. 1, and Allegro Deciso from Evocation, op. 37. 

Interspersed among the music were tributes offered by Professor Larry Schou of the University of South Dakota; Eileen Guenther, president of the AGO; and Professor Emeritus Gale Kramer of Wayne State University in Detroit. Larry Schou teaches organ and world music, and as dean of the School of Humanities oversees a faculty and staff of forty-seven. He recalled Marilyn Mason telling him to “Work hard. See life as others might not.” He remembered with fondness her workshops on Alain and Duruflé, and Almut Rössler’s performances and lectures on Messiaen. He thanked her for inviting his father and his colleague to her house for lunch, and for her work of sixty-six years. “Your performances, sense of humor, and prayers have helped so many people—they are to me a living legacy.”

Eileen Guenther’s letter was read. The president of the AGO expressed her congratulations to Mason, saying the lives she touched bear witness to her dedication to education. She thanked her for all she has done for the AGO.

Gale Kramer described Mason with words, varying in number of syllables from six to one, which poignantly captured her essence. 

Six syllables: “Marilyn Mason is indefatigable. Part of being indefatigable means doing something carefully many times without getting tired, whether practicing, repeating a joke, or commissioning an organ work. She has said a good teacher tells a student the same thing over and over in as many different ways as possible. Part of being indefatigable is coming back after a rest—on a pew, in the back of a bus—then climbing to the top of a spiral staircase.”

Five syllables: “Marilyn Mason is multifaceted, a performer, teacher, church musician, bon vivant, tour leader, raconteur, and friend.”

Four syllables: “Marilyn Mason is a visionary, evidenced in 53 organ conferences, 56 historic organ tours, and 70 commissioned works.”

Three syllables: “Marilyn Mason is practical. She realized it takes money to refurbish and maintain the Frieze Memorial Organ and to build and maintain the Fisk organ; it takes money to fund scholarships. And she is concerned that her students find jobs. At the breakfast table on her Historic Organ Tours, she would say, ‘Take some bread for a snack later on, you paid for it!’”

Two syllables: “Marilyn Mason is loyal to her students—that’s why we are here. And she is loyal to the University of Michigan. She belongs to a group of individuals who used their careers to bring esteem and glory to the university, not to people who used the university to further their own careers.” 

One syllable: smile. “We remember her smile, her exuberance.” 

At the end of the concert, Marilyn Mason was surrounded by students past and present whose lives have been profoundly touched by her teaching, joie de vivre, compassion, and kindness. 

 

Tuesday, October 1, 2013

We were privileged to hear Michael Barone of Pipedreams lecture on the topic “As Years Fly By.” It is always illuminating to hear Barone comment on recordings of organ music. He focused on composers whose birthdates can be celebrated in 2013. First on his list was Jean Titelouze (1563–1633) of the French Classical School. 

With the birthday of Johann Ludwig Krebs (1713–1780) we celebrate (maybe) The Little Preludes and Fugues. Barone suggested we check out other of Krebs’s works, including a Fugue in B-flat, which has been recorded by Irmtraud Krüger at Altenburg Cathedral. 

Barone also mentioned Charles-Valentin Alkan (1813–1888), whose set of virtuosic etudes for pedal piano has been recorded by Olivier Latry on Art of Pedal Piano: Alkan, Boëly, Brahms, Liszt, Schumann, issued in 2011. Kevin Bowyer, an English organist, has recorded the music of Alkan in Salisbury Cathedral. 

2013 marks the 150th birthdays of American composer Edgard Varèse (1883–1965), who studied with Widor at the Paris Conservatory, and Horatio Parker (1863–1919), several volumes of whose concert pieces, including the 21 Recital-Pieces, have been reissued. 

2013 also marks the hundredth anniversary of the births of Benjamin Britten (1913–1976), composer of War Requiem and only one organ piece, Prelude and Fugue on a Theme by Vittoria (1946), and Robert Elmore (1913–1985), much of whose music—reminiscent of Sigfrid Karg-Elert and Max Reger—is out of print. His Come to the Holy Mountain and Beneath the Cross of Jesus offer a richly emotional landscape, yet easily approachable. Norman McKenzie has recorded Elmore’s Sonata, written in 1975.

It was fitting that Michael Barone, one of the most informed critics of our time of organ repertoire and its discography, be invited to celebrate the accomplishments of Marilyn Mason. He began by saying: “Marilyn Mason has been with us through the ages. We are all her children, celebrators, and her debtors.” He pointed out that she has performed the music of contemporary composers: Searle Wright, Leo Sowerby, Robert Crandell, Virgil Thomson, Normand Lockwood, and Paul Creston (to name only a few) and has commissioned many to compose music for her. Mason was the first to record Arnold Schoenberg’s Variations on a Recitative and has recorded the freely composed works and partitas of Pachelbel on the Fisk organ. Barone played excerpts from her recordings, which included her program performed at the International Congress of Organists in London in 1957: the one solo piece, Concerto by English composer Matthew Camidge (1758–1844) as well as Sowerby’s Classic Concerto and Seth Bingham’s Connecticut Suite, both with orchestra. Barone concluded by playing her recording of a trumpet fanfare by José Lidon (1752–1827). He said: “To Marilyn Mason who has taken us around the world, and given us reason to practice, and given us an example for us all to follow.” With these words we all stood and clapped and cheered while Marilyn Mason gave us one of her unforgettable smiles.

James Hammann, DMA, former Mason student, concert artist, recording artist, scholar, former chair of the music department at the University of New Orleans, and former president of the Organ Historical Society, gave a presentation entitled “History of Farrand & Votey Organ with Videos, Recordings, and Commentary.” He prefaced his lecture saying that “This work was done for my DMA document and was encouraged by Marilyn Mason.” Hammann detailed the mechanical developments during the organ’s transition from mechanical action to electro-pneumatic, pointing out that the Detroit organ company of Farrand & Votey was the first to use intermanual couplers with tilting tablets. Farrand & Votey built Opus 700, now known to us as the Frieze Memorial Organ in Hill Auditorium, for the 1893 World’s Columbian Exposition in Chicago. It had 63 speaking stops and the same façade that it had when it was placed in University Hall in 1898. University Hall was torn down and replaced with Angell Hall and the organ was moved to Hill Auditorium in 1913. It was considered one of the largest and finest instruments in the country. Farrand & Votey built small organs as well as large; Detroit in the 1890s was an innovative organ-building center.

As we left Hill Auditorium we were treated to a carillon concert: Kipp Cortez, doctoral student of Marilyn Mason,  played Preludio V by Mathias Vanden Gheyn, Chorale Partita IV: ‘St. Anne’ by John Knox, two movements from Gregorian Triptych by John Courter, Image no. 2 by Emilien Allard, and Movement III from Serenade by Ronald Barnes. 

The final round of the Second Annual Organ Improvisation Competition was held at the First Presbyterian Church. Each contestant was given a theme to study for 30 minutes and was then required to improvise a three-movement suite no more than 15 minutes long. Judging criteria included thematic development, form, stylistic consistency, rhythmic interest, and use of the instrument. The judges were Michael Barone, James Hammann, and Christine Clewell. Each contestant played with virtuosic technique, and grasped instantly the possibilities of colors and timbres at their disposal. It was exciting to hear “new works” spun from their imaginations and to hear them played with such passion. It was no wonder the judges deliberated for almost 45 minutes.  

Devon Howard, private teacher and organist at First Presbyterian Church in Longmont, Colorado, and Douglas Murray, professor of English at Belmont University, Nashville, Tennessee, were runners-up. Aaron Tan, organ scholar at St. John’s Episcopal Church in Detroit, received third place. Alejandro D. Consolacion II, director of music and organist at Whitehouse United Methodist Church in Princeton, New Jersey, received second place. Richard Fitzgerald, associate director of music at the Basilica of the National Shrine of the Immaculate Conception in Washington, D.C., received first place.

Richard Fitzgerald received his undergraduate degree from Westminster and his MM and DMA from Peabody Conservatory in Baltimore; his dissertation was entitled “Method for Improvisation and Pedagogy.” He has studied improvisation with John Walker, Donald Sutherland, Mark Anderson, Ronald Stolk, Rachel Laurin, Jeffry Brillhart, and Peter Latona. 

Special thanks are due to Tom Granum, Director of Music Ministries at First Presbyterian Church for his gracious hospitality, and to Michele Johns, organizer of the competition, and her committee, Marcia Van Oyen, Gale Kramer, and Darlene Kuperus. 

As we approached Hill Auditorium for the final concert of the conference, we were welcomed by Joshua Boyd’s carillon recital: Summer Fanfares by Roy Hamlin Johnson, Music for Carillon, op. 107 by Lowell Liebermann, Reflections from the Tower by Emma Lou Diemer, and Easter Dawning by George Crumb. 

The closing recital was played by Tom Trenney who, from my vantage point, looked like a teen-ager. His recital was icing on the cake—played with intensity, gusto, sensitivity, and passion. One was dazzled by his flawless technique and the beautiful spirit that shone through each piece: Variations on America by Charles Ives, Scherzo, op. 2, by Maurice Duruflé, Air by Gerre Hancock, six movements from The King of Instruments by William Albright, Fugue in E-Flat Major, BWV 552 by J.S. Bach, Deuxième fantasie by Jehan Alain, and an improvisation on two submitted themes (Now Thank We All Our God and a newly created abstract theme). At the end of his performance Trenney was given thunderous applause and a standing ovation. 

After the first half of Tom Trenney’s recital, a surprise appearance by William Bolcom and Joan Morris paid tribute to Marilyn Mason with a lively and heartfelt performance of Black Max and (I’ll Be Loving You) Always.  

The 53rd Conference on Organ Music honoring Marilyn Mason’s sixty-six years of teaching was organized by Michele Johns. It offered performances and lectures of the highest quality that informed and inspired, and offered tribute to a beautiful life dedicated to performing, teaching and learning. Marilyn Mason’s energy, enthusiasm, sense of humor, and compassion are the qualities that have drawn hundreds of students to her from all over the world, and throughout the United States. 

The final photo is of Gordon Atkinson, a resident of Windsor, Australia, and an eminent composer and organist, who, of all of her former students, traveled the farthest to celebrate her lifetime achievement. He reminisced saying: 

I heard Marilyn Mason play at Westminster Abbey in 1957 for the International Congress of Organists. She played at the Abbey when it had only one general piston! The program was hailed as one of the great recitals of the Congress. Who would have guessed I would study with her for my master’s degree at the University of Michigan?

Marilyn Mason has been a Svengali, and an organistenmacher. Her countless students are literally everywhere there is a pipe organ to be played. Each person attending the conference was given a CD that included works from some of her performances with the Galliard Brass Ensemble, works played at the Basilica of the National Shrine of the Immaculate Conception, and Pipedreams premieres.  In this gift we have a reminder of her virtuosity and artistry. In conclusion we say thank you to Marilyn Mason for “burning with a hard, gem–like flame,” and for sharing your radiance with the world and us.

by Mickey Thomas Terry

Contrary to popular belief, there is a substantive body of African-American classical music. This music draws upon a wealth of influences which are not just limited to Negro spirituals and jazz. The same can be said for the organ literature of African-Americans. Of the 332 entries listed in Paula Harrell's 1992 dissertation "Organ Literature of Twentieth-Century Black Composers: An Annotated Bibliography," only 74 are based on spirituals.1 In fact, African-American organ literature draws upon a multitude of influences which include spirituals, melodies of African origin, general protestant hymnody, German Protestant chorales, plainchant, as well as original composer themes. A few organ compositions have even been inspired by musical themes, individuals, and historical events associated with the Civil Rights movement of the 1960s and 1970s.2

Regarding the composers, several have had extensive training
and expertise in the field of composition.  Many of these, at one time or another, have been the
recipients of prestigious music fellowships3 and/or composition awards.4

As is the case with a large segment of 20th-century organ
music, African-American organ literature has been influenced by neo-classical
as well as symphonic organ composition styles.  The composers who have written utilizing a neo-classical
idiom include, but are not limited to, such names as George Walker (b. 1922),
Ulysses Kay (1917-1995), and Mark Fax (1911-1974). In terms of symphonic
writing for the instrument, there is, for instance, the music of Thomas H. Kerr
(1915-1988), William B. Cooper (1920-1993), Eugene W. Hancock (1929-1994), and
Adolphus Hailstork (b. 1941). Some composers such as Noel Da Costa (b. 1929)
and David Hurd (b. 1950) display a diversity of stylistic influences in their
compositions.

Much of the literature for the instrument represents a
varied number of compositional forms such as sonata, fugue, rondo, theme and
variations, as well as free form. There is also a considerable body of
literature for organ and other instruments which encompasses everything from
concerti with orchestra to chamber music.5 Before embarking upon a discussion
of the literature and its composers, it is necessary to provide some background
into its history and to discuss the nature of a few deterrants to performance.

The accessibility of music scores is perhaps the central
problem regarding the performance of this music. The reason for this is because
the vast majority of this literature, with few exceptions, remains
unpublished.6 Much of it exists only in manuscript form, the legibility of
which could itself constitute a deterrent to performance. Most of the scores
may be obtained directly either from the composers or their estates. The fact
that a large segment of this music remains unpublished has no bearing on its
quality, for the quality of the music is equal to much of that which already
appears in print, and in several instances, exceeds it. The lamentable truth of
the matter is that bias and negative racial stereotyping of black intellectual
capacity have been at fault.7 In the past, music publishers generally displayed
little interest in publishing the classical works of African-Americans,
Hispanics, women, or anyone who was not traditionally considered to be a part
of the male-dominant social mainstream. Since that time, music publishers have
slowly, but surely, begun to express an interest in publishing the works of
women and a handful of minority composers;8 however, for many years, this was
not the case. Much of this music went virtually unnoticed and unperformed. This
was even true for Thomas Kerr's AGO prize-winning composition Arietta, the
latter of which was once published commercially, but is currently unavailable
in print.9 It is for this reason that a survey, however succinct, is not only
desirable, but necessary. Although it is not feasible in the scope of a single
article to provide a comprehensive survey of African-American organ literature,
it is nonetheless possible to provide a brief, informative overview of a select
opus belonging to an equally select cadre of composers from this group.

For the purpose of this article, the composers discussed are
divided into two general styles of organ composition: symphonic and
neo-classical. Brief composer biographical sketches accompany a selective opus
listing. For each composer, a few measures from one or more compositions have
been extracted which reflect the wide variety of thematic sources and stylistic
influences from which these pieces are derived. We will start with the symphonic
compositions of Thomas H. Kerr, Adolphus Hailstork, and William B. Cooper.

Thomas H. Kerr
(1915-1988) served on the music faculty of Howard University as Professor of
Piano from 1943 until his retirement in 1976. An alumnus of the Eastman School
of Music, Kerr graduated with highest honors and was later awarded an M.M.
degree from the same institution. Kerr became the recipient of a Rosenwald
Fellowship in Composition (1942) and was subsequently awarded First Prize in
the Composers and Authors of America Competition (1944). In addition to his
recital activity, he was presented twice as a concerto soloist with the
National Symphony. Kerr's contributions to musical literature have been in the
area of piano, voice, chorus, woodwind ensemble, and organ. Although primarily
trained as a pianist, Kerr became masterfully familiar with the organ and its
resources, thus enabling him to write most effectively for the instrument.

Here, two of Kerr's compositions have been selected. The
first example is the theme from the Concert Variations on a Merry Xmas Tune,
which is based on the Christmas carol "Good King Wenceslas." (Example
1)

Another popular Kerr composition,  Anguished American Easter-1968, is a brilliant set of theme
and variations based on the Easter spiritual "He 'rose." Written upon
hearing news of the death of Dr. Martin Luther King, Jr., Kerr completed the
original manuscript in 10 days. It is dedicated to Dr. King's memory. (Example
2)

Organ Compositions (Published Scores)

Arietta [1957]-[Now out-of-print]

(Unpublished Scores)-[selected]

Anguished American Easter-1968 (Dedicated to the Memory of
Dr. Martin Luther King, Jr.)

Concert Variations on a Merry Xmas Tune ("Good King
Wenceslas") [Revised 1969]

Thanksgiving-1969 (Somber Variations on Handel's "Thanks
Be to Thee")

Suite Sebastienne: (Theme and Cantus, Frolicking Flutes,
Miniature Antiphonal on a Pedal Point, Fugato and Toccata, Trio, Allegro
barbaro, Reverie, Toccata-Carillon) [Revised 1974]

Adolphus Hailstork
(b. 1941) received his degrees from Howard University (B.M. degree) under Mark
Fax, and at the Manhattan School of Music (B.M. and M.M. degrees) under
Vittorio Giannini and David Diamond. He later received a Doctorate of Music in
Composition from Michigan State University where he was a student of H. Owen
Reed. Hailstork pursued additional study with Nadia Boulanger at the American
Institute at Fountainebleau. Currently, he is serving as Professor of Music and
Composer-in-Residence at Norfolk State University in Norfolk, Virginia. Among
his composition awards are the Ernest Bloch Award for Choral Composition
(1972), the Belwin-Mills Max Winkler Award (1977), and First Prize in the
Virginia College Band Director's National Competition (1983). In addition to
organ works, Hailstork has written for chorus, voice, various chamber
ensembles, and band.

Hailstork's fiery Toccata on 'Veni Emmanuel' is based on the
Advent plainchant known in English as "O Come, O Come, Emmanuel."
(Example 3)

Organ Compositions (Published Scores)

Suite for Organ: (Prelude, Andantino, Scherzetto, Fugue)
[Hinshaw Music, Inc., Chapel Hill, NC, 1975]

 (Unpublished
Scores)

First Organ Book-Eight Short Pieces for Organ: (Who Gazes at
the Stars [1978], Toccata on "Veni Emmanuel"
style="mso-spacerun: yes">  [1983], Prelude and Postlude on
"Shalom Havayreem" [1983], Prelude on "We Shall
Overcome"  [1983], Prelude and
Scherzo on "Winchester New" 
[1983], Prelude and March in F [1983], Prelude on "Veni
Emmanuel"  [1983])

Prelude [1967]

Andante [1967]

William B. Cooper
(1920-1993). Born in Philadelphia, Cooper received his B.M. and M.M. degrees
from the Philadelphia College of Performing Arts and a Doctorate of Music from
Columbia Pacific University (California). In 1988, he was awarded a Doctorate
of Sacred Music (honoris causa) from Christ Theological Seminary in Yonkers,
New York. Cooper pursued additional music studies at the School of Sacred Music
of Union Theological Seminary (New York), the Manhattan School of Music, and
Trinity College of Music (London). He not only served on the music faculties of
Bennett College (Greensboro, North Carolina) and  Hampton University (Hampton, Virginia), but taught 26 years
in the New York City School System. Cooper also served as Minister of Music at
historic St. Philip's Episcopal Church (1953-1974) and St. Martin's Episcopal
Church (1974-1988) in Harlem. His musical output, which is considerable,
includes works for organ, voice, chorus, solo instruments, orchestra, and
ballet.

Here, three of Cooper's compositions are cited for their
thematic diversity. The first of these, Cooper's Meditation on 'Steal Away', is
based on the Negro spiritual bearing that name. (Example 4)

The theme of Cooper's Lulliloo-Ashanti Cry of Joy is African
in origin, being based on an Ashanti tribal melody. (Example 5)

Based on a melody from the shape-note hymnal Southern
Harmony is Cooper's Pastorale. (Example 6)

Organ Compositions (Unpublished Scores)-[selected]

Peaceful Warrior [1961]

In the Beginning-Creation [1962]

Diferencias con Quattro [1962]

Meditation on "Steal Away" [1964]

Poem II-To the Innocents [1967]

Rhapsody on the Name FELA SOWANDE [1968]

Pastorale No. III [1973]

Jesu, Joy of Our Desiring (Air) [1978]
style='mso-tab-count:1'>               

Toccata on "John Saw" (The Holy Number) [1978]

Concerto for Cello and Organ [1979]

Symphony No. II for Organ [197-?]

Lulliloo-Ashanti Cry of Joy [1981]

Spiritual Lullaby [1981]

Paraphrase on "Everytime I Feel the Spirit" [1985]

The African-American organ compositions which have been
selected for their neo-classical influence are by composers George Walker and
Mark Fax.

George Walker (b.
1922). A native of Washington, D.C., George Walker was a piano child prodigy.
He attended Oberlin Conservatory (B.M. degree), and later, the Curtis Institute
of Music (Philadelphia) where he received the Artist Diploma. He also pursued
study at the American Academy at Fountainebleau (1947) where he was a student
of Nadia Boulanger and Robert Casadesus. At the age of 23, he won the
Philadelphia Youth Auditions and played the Rachmaninoff Third Concerto with
Eugene Ormandy conducting the Philadelphia Orchestra. In 1956, Walker became
the first African-American to receive a Doctorate of Music at the Eastman
School of Music. For years, he concertized as a piano virtuoso under the
Columbia Concert Artists and National Concert Artists Management. Walker later
headed the Music Department at Rutgers University. He was also the recipient of
several prestigious awards and fellowships such as a Fulbright, Guggenheim, and
Rockefeller. With many compositions to his credit--works for piano, voice,
chorus, chamber ensembles and orchestra--the Three Pieces for Organ constitute
his only contributions to the instrument to date.

Originally conceived as a movement from a Protestant organ
service, Walker's Chorale Prelude on Jesu, wir sind hier (also known by the
title Herzliebster Jesu) is based on the German Protestant chorale. (Example 7)

Organ Compositions (Published Scores)

Three Pieces: (Elevation, Chorale Prelude on "Jesu, wir
sind hier,"  Invokation)
(M.M.B. Music, 1991)

Mark Fax (1911-1974)
was a native of Baltimore. He received his B.M. degree in Piano at Syracuse
University, graduating with highest honors. He was subsequently awarded a M.M.
degree in Composition from the Eastman School of Music where he was an Eastman
and a Rosenwald Fellow. Fax joined the faculty at Howard University in 1947
where he served as Professor of Composition. He later became Assistant to the
Dean of Fine Arts prior to his appointment as Acting Dean of Fine Arts. He was
later appointed as Director of the School of Music. Fax composed for many
musical media including piano, chorus, chamber ensemble, orchestra, and has
three operas to his credit.

In the example, Fax mixes elements of neo-classicism with
influences of the Black Church. The first movement of his Three Pieces for Organ
is based on a Negro spiritual. (Example 8)

Organ Compositions Unpublished Scores)-[selected]

The Pastor [1944]

Prelude and Chorale [1952]

Variations on Maryton [1960]

Three Pieces: (Free, Hauntingly [1963], Allegretto [1965],
Toccata [1966])

Three Organ Preludes: St. Martin [1964], Crusader's Hymn
(Offertory-Transposed to A Major), St. Anne [Fragment, 1964]

Two Chorale Preludes: Crusader's Hymn [1964], Kremser [1968]

Postlude on "I'll Never Turn Back" [1972]

Noel Da Costa (b.
1929) was born in Lagos, Nigeria. He later moved to Jamaica where he lived
until the age of 11, at which time he came to the United States. He received a
B.A. degree from Queens College (City University of New York) and was awarded a
M.A. degree from Columbia University. While still in graduate school at
Columbia, Da Costa became the recipient of the Seidl Fellowship in Music
Composition. He later studied with Luigi Dallapiccola in Florence under a
Fulbright Scholarship (1958-61). Currently, Da Costa holds the post of Associate
Professor of Music in the Mason Gross School of the Arts in Rutgers University
where he has taught since 1970. His musical output consists of a large variety
of compositions which include music for piano, solo instruments, chamber
ensemble, voice, chorus, orchestra, as well as five operas.

Exemplifying Da Costa's stylistic diversity are two
examples, the first of which is the theme from Da Costa's Variations on
'Maryton', based on the English hymntune known as "O Master, Let Me Walk
with Thee." (Example 9)

A second example of a composition based on a melody of
African origin is Da Costa's Chililo: Prelude for Organ after an East African
Lament, which is based on the Mozambique ceremony of lamentation. (Example 10)

Organ Compositions (Unpublished Scores)

Maryton (Hymntune and Variations) [1955]

Generata (for solo organ and string orchestra) [1958]

Chililo: Free Transcription for Organ [1970]

Chililo: Prelude for Organ after an East African Lament
[1971]

Triptich for Organ (Prelude, Processional, Postlude) [1973]

Spiritual Set for Organ (Invocation, Affirmation, Spiritual,
Praise) [1974, Publ. by Belwin-Mills (unavailable since 1986)]

Ukom Memory Songs (Organ and Percussion) [1981]