Partners for Sacred Places announces initiative to preserve historic organs in Philadelphia

The Diapason staff

Matthew Buller

Matthew Buller is a native of Lake Charles, Louisiana, and a candidate for the Artist Diploma at Oberlin Conservatory of Music, Oberlin, Ohio, where he studies with Arvid Gast. He earned his Bachelor of Music and Master of Music degrees from Oberlin in May 2017, where he had the privilege of studying with organists such as Nathan Laube, Liuwe Tamminga, Jean-Baptiste Robin, and Marie-Louise Langlais, in addition to his regular studies with James David Christie and Jonathan Moyer. He also studied harpsichord under Webb Wiggins and fortepiano under David Breitman. Since 2017, Matthew has been director of music and organist at Holy Family Catholic Church in Parma, Ohio. As a performer, he has performed extensively around the United States, in Montreal, Québec, and in Paris, France. He also performed on the 2015 Danenburg Honors Recital, in addition to performing on the Songsun Lee Memorial Concert in Vero Beach, Florida, in 2016.

An interesting fact: I am a collector of old organ scores and old hymnals.

Proudest achievement: A major scholarship to study at Oberlin Conservatory and many opportunities in the world of church music.

Career aspirations and goals: I hope to be a director of music in a major cathedral and to perform large choral, orchestral, and organ Masses in their original context, namely during the Catholic Mass.

Katie Burk

Originally from Lawrence, Kansas, Katie Burk is an organist, conductor, vocalist, and composer pursuing the Doctor of Music degree in organ performance at Indiana University, where she is a student of Christopher Young. An active organ recitalist and choral clinician, she currently serves as music intern at Trinity Episcopal Church in Bloomington, Indiana, under the direction of Marilyn Keiser, where she directs and accompanies both youth and adult choral ensembles and coordinates the Evenings at Trinity music and liturgy series. Additionally, she teaches undergraduate aural skills courses at the IU Jacobs School of Music. She holds the Master of Music degree in organ from IU and Bachelor of Music degrees in organ and music education summa cum laude from Saint Olaf College, Northfield, Minnesota, where she sang in the Saint Olaf Choir and studied organ with Catherine Rodland, conducting with Anton Armstrong and Christopher Aspaas, and voice with Karen Wilkerson. This summer, Katie will be a faculty member at both the Royal School of Church Music in America’s King’s College Training Course in Wilkes-Barre, Pennsylvania, and the Presbyterian Association of Musicians Conference on Worship and Music at Montreat, North Carolina.

An interesting fact: I am an identical twin; my sister Maggie is a choral conductor and composer (who moonlights as an organist!) about to start her doctorate at the University of Michigan!

Proudest achievement: Though it’s still a little way off, I predict that once I finish everything up, I will be very happy to have earned a doctorate in organ (an instrument I didn’t play until college!). For the moment, however, I’m excited that my choral compositions are being performed in venues such as the National Cathedral in Washington, D.C., and Saint Mark’s Church in Philadelphia!

Career aspirations and goals: Whether I find myself in academia or working as a church musician (or both), I’d like my job to be multifaceted. I’ve always enjoyed a wide variety of musical activities—playing the organ, conducting, singing, teaching, composing—and I hope to be in a setting where I can continue to pursue all of my interests!

Jared Cook

Jared D. Cook is a native of Houston, Texas, where he began his formal organ study at age seventeen with Stephen Morris. He is currently a junior organ performance and French major at Baylor University, where he studies with Isabelle Demers. In the 2018 William C. Hall Pipe Organ Competition, he was awarded first place in the undergraduate division, as well as the prize for outstanding hymn playing. During his sophomore year, he was selected as the organ division winner in the 2018 Baylor School of Music Semper Pro Musica Competition. An active recitalist, Jared has performed recitals at the Cathedral of Saint John the Divine, New York City, Saint Bartholomew’s Episcopal Church, New York City, Christ Church Cathedral, Houston, among others.

Jared has served as organ scholar at Holy Spirit Episcopal Church in Houston and as principal organist at Saint Paul’s Episcopal Church, Waco, Texas, where his responsibilities included accompanying the Chancel Choir and playing for services. Currently, he is serving as organ scholar at Preston Hollow Presbyterian Church, Dallas, Texas.

An interesting fact: I speak three languages (English, Spanish, and French) and enjoy traveling frequently!

Proudest achievement: I’m the proudest of making the organ accessible to non-organists. I enjoy showcasing the colors and abilities of the instrument, and helping people develop an appreciation for the organ.

Career aspirations and goals: I’d like to inspire people as a concert organist, pedagogue, and church musician. It is my goal to continue making the organ an accessible instrument and to give back to the community through music. I want to help educate others about the organ and help them develop a passion for the “King of Instruments.”

Carolyn Craig

Carolyn Craig of Knoxville, Tennessee, is the 2018–2019 organ scholar at Truro Cathedral in Truro, England, where her duties include playing for at least three Evensongs per week and training the youngest boy choristers daily. She will begin a Master of Music in organ performance in 2019. Carolyn graduated summa cum laude from Indiana University in 2018, where she held the Wells Scholarship and was one of five graduating seniors to receive the Elvis J. Stahr Award for leadership and academic excellence. Carolyn graduated with a Bachelor of Music in organ performance in the studio of Christopher Young with minors in conducting and German. While at Indiana University, Carolyn was organ scholar at Trinity Episcopal Church with Marilyn Keiser.

Carolyn began her keyboard studies as a pianist and performed in Carnegie Hall at age 14 as a winner of the American Protégé International Talent Competition. At the age of seventeen, Carolyn won the Region IV Quimby Competition for Young Organists and performed a Rising Star recital for the 2014 American Guild of Organists national convention in Boston, Massachusetts. She has since been heard on Pipedreams and in recital domestically and abroad, in venues such as St. Paul’s Cathedral, London, England.

An interesting fact: I love to sing. I study voice privately whenever I have the chance, currently with Margaret Kingsley, professor emerita of the Royal College of Music, and studied privately at Indiana University and, as a high school student, at the University of Tennessee. At Indiana University, I sang in Dominick DiOrio’s new music choir NOTUS, in the early music group CONCENTUS, for many colleagues’ composition premieres, and in the student-led chamber choir Burgundian Consort (Hannah McGinty, director). I have also done some musical theater and enjoy singing a cappella with the Choral Scholars of Truro Cathedral.

Proudest achievement: I’m proudest when my teaching is successful—when I see my organ students playing their first postlude, when the youngest boy choristers I train have their first solos, when theory concepts and sight singing click, and when community choirs get German vowels right.

Career aspirations and goals: I would like to be the choir director and organist at a church where vibrant children’s choir and adult choir programs provide a foundation for faith formation and contribute to a sense of community and where the standard for choral and organ music is excellence. Additionally, I would like to concertize as an organist and would like to perform as a collaborative pianist and professional choral soprano. I would also like to continue teaching organ lessons.

Bryan Dunnewald

Conductor and organist Bryan Dunnewald of Arvada, Colorado, has performed in numerous venues across the country, from the Washington National Cathedral to the Mormon Tabernacle. From 2015 to 2018, he served as organ scholar at Saint Mark’s Church, an Anglo-Catholic parish in Philadelphia, Pennsylvania, and as assistant organist at Macy’s (formerly Wanamaker’s) department store, giving frequent concerts on the largest organ in the world. Bryan enjoys collaborating with ensembles large and small and has performed with the Philadelphia Orchestra, the Colorado Symphony, the Curtis Symphony Orchestra, and numerous chamber ensembles as an organist and harpsichordist. As a conductor, Bryan has led a variety of ensembles, from orchestras at Curtis to choirs in Denver. He is an active composer and recently conducted the premiere of his Missa Brevis: Saint Mark with Saint Mark’s Parish Choir. Bryan currently lives in New York City where he pursues a master’s degree in orchestral conducting with David Hayes at the Mannes School of Music. He is a graduate of the Curtis Institute of Music and Interlochen Arts Academy, earning over the course of his studies the highest honors in music, academics, citizenship, and character. Bryan’s teachers and mentors include Alan Morrison, Robert McCormick, Jonathan Coopersmith, Leon Schelhase, Thomas Bara, Steve Larson, Martha Sandford-Heyns, and Joseph Galema. In the summer of 2018, he worked at Schoenstein & Co., developing his love of organbuilding as an apprentice to Jack Bethards.

An interesting fact: I love architecture and public transit. I have a very real dream to drive a bus one day.

Proudest achievement: My proudest professional moments are those in which I create something great with others. These achievements can be in- or outside of music. Some recent examples include conducting the premiere of my Missa Brevis at Saint Mark’s, working for years with administrators at Curtis to make positive changes to the orchestra program, conducting my friends at my graduation recital in a performance of one of my very favorite pieces, Poulenc’s Le Bal Masqué, and voicing my very first rank of pipes (with some success!) at Schoenstein.

Career aspirations and goals: I want a career in which I build something special. There are many disciplines that make me feel fulfilled, so I look for a career with variety, one where those disciplines complement each other. Being a leader and fostering an environment of healthy, serious artistry are important to me. Outside that I expect to have a career that involves, in some form, playing, conducting (orchestras and choirs), working with others, organbuilding, and bus driving (likely in retirement).

Website: www.bryandunnewald.com.

Daniel Ficarri

A native of Pittsburgh, Pennsylvania, Daniel Ficarri is a graduate student at The Juilliard School, studying with organist Paul Jacobs. Ficarri is recognized as a performer of both new music and standard classical repertoire—The New York Times listed his performance of John Cage’s Souvenir under the “Week’s 8 Best Classical Music Moments,” and WQXR broadcast his live all-Bach performance as part of their “Bach Organ Marathon.” He has performed around the country and at New York City’s Cathedral of Saint John the Divine, Saint Thomas Church, and Trinity Church Wall Street. His orchestral performances have included engagements with the Florida Orchestra and the Juilliard Orchestra in Carnegie Hall and Alice Tully Hall. Ficarri has also composed extensively for the organ—his Exultation was commissioned by Choir & Organ magazine for the dedication of the Miller-Scott Organ at Saint Thomas Church. An active church musician, Ficarri is currently organ scholar at Church of Saint Paul the Apostle in Manhattan, where he founded the organ concert series “Sacred Sounds at Saint Paul’s.” Previously, he served as organ scholar at Hitchcock Presbyterian Church in Scarsdale, New York. For more information, and to purchase sheet music, visit www.danielficarri.com.

An interesting fact: I began my musical training as a violinist and studied privately for ten years. Though I no longer study the violin, I still have a great love of music for strings and orchestra and enjoy transcribing these works for organ.

Proudest achievement: I find the greatest satisfaction in composing my own works for the organ. My favorite of these compositions is Exultation, a fanfare. Composing allows me to push the limits of the instrument while sharing my unique voice.

Career aspirations and goals: I hope that my work is able to bring awareness to the potential of the organ and the enduring relevance of its music. Whether through performing, composing, or serving in churches, I hope that I am able to educate and inspire others to take interest in the voices of history’s great artists. The organ and its repertoire are greatly misunderstood—by the musically ignorant in society and also by the most advanced classical musicians. My greatest aspiration is to enlighten others, and in doing so, enrich their lives in some way.

Julian Goods

Raised in Chicago, Illinois, Julian J. Goods is a senior at the University of Michigan pursuing a Bachelor of Music degree in choral music education. He has a primary focus in voice and secondary focuses in pipe organ and conducting. Over the last few years, Goods has worked closely with the choral conducting and music education faculty to help find ways in which he can become a successful and effective teacher in schools with primarily African American student populations. In the fall, he will be starting a Master of Music degree in choral conducting at the University of Michigan. Goods serves as the music director for the Michigan Gospel Chorale and organist at both Hartford Memorial Baptist Church and Tabernacle Missionary Baptist Church in Detroit. He is a member of the American Guild of Organists, American Choral Directors Association, and the National Association of Negro Musicians where he serves on the Collegiate Board and as the recording secretary for the Central Region.

An interesting fact: I am a proud Eagle Scout.

Proudest achievement: My proudest achievement is every time an ensemble or someone I work with experiences a success.

It would be very easy for me to say that my proudest achievement would be any of the awards, honors, or recognitions that I have collected over the years; however, there is one achievement that I am especially proud of. My proudest achievement is the work that I do as a student teacher within the Detroit Public Schools System. As a student teacher I have the opportunity to spend time engaging with and cultivating young minds. On a daily basis, I am able to sow into these young minds and work to provide them with the resources they need. I am the most proud when I am able to see these bright individuals take those resources and utilize them to work toward a successful future. I am a giver to my very core, and watching my students take what I give them and produce success is truly my proudest achievement to date.

Career aspirations and goals: My ultimate goal is to one day serve as the director of choral activities at a university/college where my focus would be to build a choir that will continue the strong tradition of Western European Classical music while constantly displaying the diverse repertoire of choral music from around the world.

Conner Kunz

Conner Kunz was born in Delta, Utah, to Mark and Beverly Kunz and has always had a fascination with music, the pipe organ, and large mechanical devices. He graduated from Delta High School and currently studies business management at Utah Valley University and also works with Bigelow & Co. organbuilders as a part-time craftsman. His main areas of interest in the organ world include the mechanical creation of the organ, as well as voicing and tuning of pipes, and he hopes to continue to broaden his skills in those areas.

An interesting fact: Before I was employed at Bigelow & Co. I was a high-end furniture maker.

Proudest achievement: My furniture can be seen internationally in the temples of The Church of Jesus Christ of Latter Day Saints.

Career aspirations and goals: I hope to be able to take on the career of pipe organ building and more fully develop my capabilities in both the design and production of these beautiful instruments.

Colin MacKnight

Colin MacKnight is a third year C. V. Starr Doctoral Fellow at The Juilliard School, where he also completed his bachelor’s and master’s degrees. He studies with Paul Jacobs, Grammy award winner and chair of the organ department, and is working on his dissertation entitled “Ex Uno Plures: A Proposed Completion of Bach’s Art of Fugue.” Colin also serves as associate organist and choirmaster at Cathedral of the Incarnation on Long Island. Before Incarnation, Colin was assistant organist and music theory teacher at Saint Thomas Church, Fifth Avenue.

Colin’s first prizes and scholarships include the 2017 West Chester University International Organ Competition, 2016 Albert Schweitzer Organ Competition, 2016 Arthur Poister Scholarship Competition, M. Louise Miller Scholarship from the Greater Bridgeport Chapter of the American Guild of Organists, the 2013 Rodgers North American Classical Organ Competition, and the Ruth and Paul Manz Organ Scholarship. He also won the New York City and Northeast regional AGO competitions. In addition, Colin received the Clarence Snyder Third Prize in the 2016 Longwood Gardens International Organ Competition and is a Fellow of the American Guild of Organists.

An interesting fact: I was an extremely reckless and accident-prone kid. I went to the emergency room so often that I had my favorite hospital and the staff there knew me, and my mom says that my raison d'être was self-destruction. One of my more memorable injuries was when I concussed myself by diving into a bathtub with no water.

Proudest achievement: Most recently, acquiring two free leather couches and smuggling them into the Juilliard organ rooms.

Career aspirations and goals: I’m mainly interested in doing church music, concertizing, and perhaps doing some teaching. I particularly enjoy the variety of musical activities that are involved in church music: repertoire, improvisation, conducting, service playing, etc.

Website: colinmacknight.com.

Thomas Mellan

Born in Lyon, France, Thomas Mellan won first place in the Musical Merit Foundation’s national competition in 2016. In 2011, he recorded for the official documentary of the Walt Disney Concert Hall organ. He performed as a Rising Star in the American Guild of Organists’ West Region Convention and the Spreckels Centennial International Festival in 2015. As Young Artist of the Year, he played in the 23rd International Festival of St. Eustache in Paris, France. In 2018, his European tour included a residency at the Organ Hall in Lviv, where he gave the Ukrainian premiere of Messiaen’s Livre d’Orgue.

His compositions include orchestral, chamber, and solo works, which have been performed in France, America, Canada, and Ukraine. Mellan was the Outstanding Graduate of the undergraduate class of 2017 at the University of Southern California, Thornton School of Music, graduating with a double major in organ and composition.

An interesting fact: I pick hikes spontaneously and based on the elevation gain. If it’s below 700 meters (+- 3,000 feet), then it’s too pleasant!

Proudest achievement: Pushing organ technique to new possibilities, by playing and designing études (Chopin, Dupré, Liszt, my own), modern music (Xenakis and Barraqué, for instance, push keyboard technique and expression to new boundaries), and new works of my own, such as my Ballade de l’impossible.

Playing three concerts on three consecutive nights in Lviv, Ukraine, each with individual programs last summer.

Career aspirations and goals: Touring internationally as an organist with programs of music that I believe in (sometimes, but not always, organ repertoire: Ferneyhough, Bach, Louis Couperin, Schoenberg, Liszt, Xenakis, Reger, Webern, to name just a tiny bunch); teaching at a university or conservatoire; composing pieces that I feel need to be written (at the moment my backlog of commissions includes an organ concerto, violin inventions, and a percussion solo); touring as a harpsichordist (Couperin, Froberger!) and pianist (Boulez! Bartok!).

Alexander Meszler

Alexander Meszler is a Doctor of Musical Arts degree student in organ of Kimberly Marshall at Arizona State University. He currently lives in Versailles, France, on a Fulbright award where he investigates secularism and the organ and studies with Jean-Baptiste Robin. Meszler completed his master’s degree in organ performance and music theory at the University of Kansas where he studied organ with Michael Bauer and James Higdon and his bachelor’s degree in organ with Kola Owolabi while at Syracuse University.

Alexander has been a finalist in several performance competitions and, in 2016, he won second prize at the Westchester University Organ Competition. A strong advocate of music by living composers, he currently serves as a member of the American Guild of Organists’ Committee on New Music. He has collaborated with composers Huw Morgan, Hon Ki Cheung, and George Katehis on the premieres of their organ works.

In 2017, he was awarded a grant from the Arizona Center for Renaissance and Medieval Studies for a project titled, “Crossroads for the Organ in the Twenty-First Century: A Precedent for Secularism in the First Decades of Sixteenth-Century Print Culture.” He has presented papers and lecture-recitals at conferences including the Rocky Mountain chapter of the American Musicological Society, the Westfield Center for Historical Keyboard Studies, and the Historical Keyboard Society of North America. He is making his first significant interdisciplinary contribution this June at the European Association for the Study of Religions’ annual conference.

An interesting fact: I started my undergraduate career as a trombone major. Having taken some organ late in high school with Stephen Best in Utica, New York, I was warmly welcomed as a secondary student into the organ studio at Syracuse University. I found myself in the organ practice room for hours at a time—much, much more time than I spent practicing the trombone. The moment I knew I needed to approach Kola Owolabi, my organ teacher at the time, about the possibility of switching majors was when my trombone professor, Bill Harris, complimented my trombone playing in a rather distinctive way. He said, “You know, you play the trombone extremely well for an organ major.” Not an insult at all, he knew where my heart was. I am extremely thankful for both mentors!

Proudest achievement: I’m proud of a collaborative project that I initiated and organized with my mentor, Kimberly Marshall. Inspired by other artist-activists, we explored the negative environmental effects of a United States-Mexico border wall. We incorporated the art and music of many others including commissioning two new works funded by the Foundation for Contemporary Arts in New York City. One resulting work was for two organs and fixed-media electronics by Huw Morgan, which incorporated sounds of the wall itself from musician-activist Glenn Weyant. Another highlight for me was working with a leading scientist in the field, Michael Schoon, to write an accurate, yet moving script that accompanied the program. The result, if nothing else, was that new audiences were exposed both to the organ and the science behind this important and timely issue.

Career aspirations and goals: While there is no doubt that we live in uncertain times for the organ, I remain optimistic about the future. I want to find a place that will support my continuing research on secularism and the organ, but no matter where life takes me, I will share my love for the organ through teaching, research, and concertizing. I am and will always be on the lookout for ways to keep the organ exciting and relevant.

Website: alexandermeszler.com.

Collin Miller

Collin Miller is a native of Lafayette, Louisiana, and is a junior organ performance major at the Indiana University Jacobs School of Music where he is a student of Janette Fishell. He began playing piano at the age of five, receiving initial training from Rosa Lynne Miller and then studying with Susanna Garcia. In his freshman year of high school, Collin began taking organ lessons with Tom Neil and has since held church positions as pianist and organist at Northwood Methodist Church and the Episcopal Church of the Ascension in Lafayette. He was the winner of the 2017 American Guild of Organists Southwest Regional Competition for Young Organists and is a recipient of the Barbara and David Jacobs Scholarship.

An interesting fact: My primary interest outside of music is film, particularly the work of Béla Tarr, Federico Fellini, and the films of the French New Wave.

Proudest achievement: I am most proud of a few performances of lesser-known music I have given, including programming the Sonata on the 94th Psalm of Julius Reubke alongside the composer’s other more underplayed masterpiece, the Piano Sonata in B-flat Minor, as well as more recently performing the “Toccata” from the Second Organ Symphony of Kaikhosru Shapurji Sorabji, one of the most technically demanding sections of this massive work.

Career aspirations and goals: I aspire to become an organ professor at a university while continuing to advocate for and perform some of the neglected works of the repertoire, including eventually the three organ symphonies of Sorabji.

Ryan Mueller

Ryan Mueller holds a lifelong fascination of music, history, and all things mechanically inclined. A native of Milwaukee, Wisconsin, he credits the region’s landscape of instruments as inspiration for his love of pipe organs. Ryan began piano studies in third grade with Susan Eichstadt and began organ as a freshmen in high school with John Reim. Frequently called upon as a recitalist, lecturer, and writer, he recently founded Cream City Preservation, Inc., a non-profit organization dedicated to the advocacy of historic instruments, buildings, and artifacts. Ryan has served in various local American Guild of Organists and American Theatre Organ Society chapters and is also an active member of the Organ Historical Society, AGO’s Young Organist division, Association of Lutheran Church Musicians, and National Trust for Historic Preservation. He was a recipient of an OHS E. Power Biggs Fellowship in 2014 and was a scholar at the 2017 American Institute of Organbuilders convention. Ryan currently resides in Ogden, Iowa, working for Dobson Pipe Organ Builders Ltd., of Lake City, Iowa. While he takes part in a wide variety of service work and shop activities, Ryan’s primary responsibilities at Dobson revolve around the tonal department. Outside of the organ scene, he thoroughly enjoys restoring classic cars, photography, cycling, and spending time with his fiancée Emily, to whom he will be married this June.

An interesting fact: One thing not too many people know about me is that I have a real fascination of fire trucks. (I was one of those little boys who wanted to be a firefighter when I grew up.) Growing up, we lived right across the street from a fire station, and so till this day I am usually able to identify, by the sound of the siren, whether it is a ladder truck, engine, ambulance, or police car, etc., coming down the street.

Proudest achievement: Being a part of our new instrument at Saint Thomas Church Fifth Avenue is perhaps one of my bigger career accomplishments. Even though the project conceptualized many years before I began at Dobson, I was fortunate to be a part of the in-shop work, installation, and on-site voicing. Being but a small part of the team that brought Opus 93 to life and spending many months in Manhattan was a life changing experience. To me, there is no greater satisfaction than knowing that the fruits of your labor are going to stand, be used, and be heard by generations of people from around the world to the glory of God.

Career goals and aspirations: Though I am currently content with where I am at in my career, someday I would like to be the tonal director of a large firm and perhaps own my own company. Outside of career-oriented goals, I currently have two books in the works which I am hoping to complete in the next year or two.

Kevin Neel

Kevin Neel enjoys a versatile career as organist, collaborative pianist, conductor, singer, and arts administrator. He has been heard at the organ in numerous venues including Symphony Hall, Old South Church, Emmanuel Church, Old West Church, all in Boston, Massachusetts, as well as in the southeast. In December 2016 he co-founded The Brookline Consort, a choral ensemble for which he serves as co-artistic director, baritone, and primary accompanist, a group whose mission is to tell stories through diverse, thoughtful programming performed at the highest level. As a singer, he has sung with the Marsh Chapel Choir, Emmanuel Music, Cantata Singers, and VOICES 21C. He is organist and chapel choir director at Emmanuel Church, Boston, and serves as executive director for Coro Allegro and organist for Saint Clement Eucharistic Shrine. He holds degrees from Boston University in choral conducting and Indiana University in organ performance and is originally from the Charlotte, North Carolina, area.

An interesting fact: I trained in classical ballet.

Proudest achievement: Co-founding my own choral ensemble and serving as a singer, pianist, organist, and administrator for the ensemble.

Career aspirations and goals: I am excited to be able to work at the intersection of the choral and the organ worlds, both in and out of sacred music. I aspire to use my skills at the organ and as a choral musician to further the collaborative approach to music making. I’m drawn to collegiate music making, especially in university chapels, as it represents the intersection of the highest caliber music with inspired preaching and collegial youthfulness. I’m looking forward to an upcoming concert in October 2019 where I’m performing Duruflé’s Requiem (organ-only) and Kodaly’s Missa Brevis. And later that month, turning 30!

Website: www.kevinwneel.com.

Jessica Park

Jessica Park is a native of Saint Paul, Minnesota, and is the chapel organist and assistant liturgical musician at the Chapel of Saint Thomas Aquinas of the University of Saint Thomas, Saint Paul, Minnesota, where she is the principal musician of the chapel and director of the Schola Cantorum. She received the Doctor of Musical Arts degree in organ performance from the University of Minnesota—Twin Cities, where she studied with Dean Billmeyer. Jessica received the Master of Music degree in Historical Performance and Bachelor of Music degree in Organ Performance at Oberlin Conservatory of Music, Oberlin, Ohio, where she studied organ with James David Christie, Jonathan Moyer, Olivier Latry, and Marie-Louise Langlais, and harpsichord and continuo with Webb Wiggins. She received first prize at the 2013 American Guild of Organists/Quimby Competition for Young Organists (Region VI) and performed as a “Rising Star” at the 2014 American Guild of Organists national convention in Boston, Massachusetts. She was the featured organist for the inaugural 2014 Twin Cities Early Music Festival and was also a performer at the 2017 Organ Historical Society Convention held in Minneapolis. Her performances have been broadcast on American Public Media’s Pipedreams.

An interesting fact: I run my own photography business as a specialist in portrait photography, and I like to paint on canvases and hang them around my place. I have not mastered the Bob Ross style yet, but I hope I can someday.

Proudest achievement: I am proud of my master’s degree harpsichord recital in 2014. I loved the music I was playing, and I remember being fully focused and enjoying the music. After the recital, I listened to the recording and was actually very pleased with my playing (which is rare)! It really was one of my happiest moments as a student, and I still love the harpsichord.

Career aspirations and goals: I would like to continue performing as a recitalist, playing in the church, and in the future, I would like to teach organ and harpsichord.

Jordan Prescott

Heralded by The Baltimore Sun as a “rising organ star,” Jordan Prescott has established himself as one of the leading organists, church musicians, and directors of his generation. A native of Greenville, North Carolina, Jordan holds the Bachelor of Music degree in organ and sacred music from East Carolina University, Greenville, North Carolina. While at East Carolina, Jordan spent two years as organ scholar of Duke University Chapel in Durham, North Carolina. He is now pursuing a Master of Music degree in organ performance at the Peabody Conservatory where he studies with John Walker. Jordan formerly studied with Andrew Scanlon and Christopher Jacobson. In 2018, Jordan won first prize in the 16th International Organ Competition at West Chester University. He was a 2015 E. Power Biggs Fellow with the Organ Historical Society and currently serves as the Mid-Atlantic Chair for the American Guild of Organists Young Organists. Jordan has research set for future publication in The American Organist, and his performances have been featured on WBJC radio. Jordan is in his seventh season as associate musical director of The Lost Colony, America’s longest-running outdoor drama. Under his direction, The Lost Colony Choir has risen to critical acclaim and was featured as part of the Sing Across America campaign honoring the centennial of the National Parks Service.

An interesting fact: I am a distance runner and currently training for the Baltimore Marathon.

Proudest achievement: I am proudest of the collegial relationships that I have with other organists and my colleagues in the broader music profession and grateful for the network of support and collaboration that we have created.

Career aspirations and goals: I hope to follow in the footsteps of my teachers in developing a career that includes church music, teaching, and performing—in that order. Church music allows me to actively practice my faith and glorify God in thanksgiving for the gifts he has given me as well as enhance the spiritual and liturgical lives of the parishioners I am called to serve. Through teaching I will pass on the knowledge, passion, and kindness given to me by the mentors in my own life. Lastly, performing affords me the opportunity to share the music that I connect with and to do my part in the preservation of the incredible repertoire to which we have all been entrusted.

Website: www.jordanprescott.com.

Alexandria Smith

Alexandria Smith is a pipe organ technician currently employed at John-Paul Buzard Pipe Organ Builders. She has passionately trained as a musician since a young age, beginning with piano before starting oboe. Her journey as an instrument technician began while she was a freshman in college.

In spring 2017 through winter 2018, Alexandria studied organ with Joby Bell and was awarded the Wallace Organ Scholarship. Alexandria received the E. Power Biggs Fellowship of the Organ Historical Society in 2018, deepening her love of historic organs. She will graduate from Appalachian State University with a Bachelors in Music Industry degree: merchandising and manufacturing, with a minor in general business in May 2019. Alexandria spent two summers as an intern at Buzard before beginning full-time work in January 2019. She finds maintaining instruments and keeping the builders’ original style as alive as possible extremely rewarding. Her work lies mostly in late nineteenth- and twentieth-century organs.

An interesting fact: My primary instrument in college was oboe, English horn, and Baroque oboe.

Proudest achievement: Joining the service department at Buzard Organs. It is a well-rounded team, and everyone has so much knowledge to share and pass on, and I get to work on so many rewarding projects.

Career aspirations and goals: To manage a pipe organ company and to continue to grow my knowledge as much as possible on the instrument.

Emily Solomon

Emily Solomon is currently pursuing a Doctor of Musical Arts degree in sacred music from the University of Michigan, Ann Arbor. Her prior degrees include dual Master of Music degrees in early keyboard instruments and sacred music from the University of Michigan and a Master of Arts in music research from Western Michigan University with a thesis on Johann Walter’s Geistliches Gesangbüchlein. Emily is the executive director for the Academy of Early Music in Ann Arbor and cantor of Zion Evangelical Lutheran Church of Detroit, Michigan. She is also a continuing visiting artist in harpsichord at Western Michigan University. In May 2018, Emily was invited to perform on the Nordic Historical Keyboard Festival in Kuopio, Finland. She toured Germany, Poland, and the Czech Republic as the organist for the Concordia University Ann Arbor choir in May 2017. A proud Michigan native, Emily is a Certified Tourism Ambassador™ for Washtenaw County and serves on the board of the Soo Locks Visitors Association in the Upper Peninsula.

An interesting fact: I love Great Lakes freighters! I’m frequently involved with maritime activity in the Upper Peninsula and have been a long-time member of the American Society for Marine Artists.

Proudest achievement: When I began organ lessons at the age of 19, I had no idea that I would go on to earn advanced degrees in this field. I’m both proud of and humbled by what I have been able to accomplish in the last nine years.

Career aspirations and goals: I hope to continue my work in church music, performing arts management, and early music while also becoming an effective and influential pedagogue.

Website: www.emilysolomon.com.

Mitchell Stecker

Mitchell Stecker is director of chapel music and carillonneur at The Citadel, Charleston, South Carolina. He is an alumnus of the University of Florida (Bachelor of Music and Bachelor of Arts in linguistics, 2014), studying principally with Laura Ellis. In 2015, Mitchell spent six months at the Royal Carillon School (Mechelen, Belgium) before returning to UF to pursue the Master of Music (musicology), which he will receive in May of this year. Prior to his current role, Mitchell served as carillon fellow to Geert D’hollander at Bok Tower Gardens, Lake Wales, Florida, from 2017 to 2018.

Mitchell is also an active composer, with titles published by the Guild of Carillonneurs in North America and American Carillon Musical Editions, and with several commissions in progress. His scholarly interests include shape-note music, campanological topics, and the music of Peter Benoit and the Flemish Romantic. He is an active member of the GCNA, serving as the guild’s corresponding secretary since 2017; in 2016, he was awarded the guild’s Barnes Scholarship to study Roy Hamlin Johnson’s monumental Carillon Book for the Liturgical Year and its relation to Bach’s Orgelbüchlein. In his free time, Mitchell is an avid fasola singer, enjoys studying languages, and is passionate about good food and drink.

An interesting fact: In 2011, I took part in the “largest carillon recital in history.” Designed to commemorate the seventy-fifth congress of the Guild of Carillonneurs in North America, a novelty concert program was presented in which seventy-five individual performers all shared an hour-long recital program.

Proudest achievement: As a freshman at the University of Florida, I originally declared a major in engineering, with no intention of studying music. I had the occasion to re-evaluate my purpose and realized that my calling was elsewhere. The simple fact of being a church musician is a great source of pride for me. I find the work of leading God’s people in praise to be tremendously fulfilling and am proud that such a significant responsibility falls to me.

Career aspirations and goals: I hope to serve as a church musician in whatever capacity I am best suited for, for as long as I can. Additionally, I aspire to continue to grow as a scholar and eventually seek a doctoral degree in musicology. Avocationally, I am in the midst of compiling several new compilations of fasola music and hope to see these offerings find a place within the shape-note singing community.

Grant Wareham

A Dayton, Ohio, native, Grant Wareham began organ studies with Jerry Taylor in 2007. He earned his Bachelor of Music degree at Rice University’s Shepherd School of Music, Houston, Texas, where he studied with Ken Cowan, graduating cum laude and with distinction in research and creative work. While at Rice, Grant served as Moseley Memorial Organ Scholar and assistant organist at Saint Thomas Episcopal Church, Houston, and as associate organist at Palmer Memorial Episcopal Church, Houston, where he worked with music director Brady Knapp and artist-in-residence and organist Ken Cowan.

Winner of both the First and Audience prizes at the 2017 Albert Schweitzer Organ Competition in Hartford, Connecticut, Grant was also a featured performer at the 62nd annual convention of the Organ Historical Society in Saint Paul, Minnesota. This June, he will compete in the 2019 Longwood International Organ Competition at Longwood Gardens in Kennett Square, Pennsylvania.

Grant is currently pursuing his Master of Music degree at the Yale University Institute of Sacred Music and School of Music, New Haven, Connecticut, where he studies organ with Thomas Murray. He also serves as organ scholar at Christ Church, New Haven, one of America’s renowned Anglo-Catholic parishes, where he works alongside choirmaster Nathaniel Adam and organist and artist-in-residence Thomas Murray.

An interesting fact: I am an avid distance runner and completed two half-marathons in 2018.

Proudest achievement: Winning the first and audience prizes at the 2017 Schweitzer Competition, then playing the Fauré Requiem three days later with the University of Saint Thomas Singers under the direction of Brady Knapp.

Career aspirations and goals: I firmly believe in a very strong future for the organ, and every organist who feels this way has a duty to train and nurture successive generations in
the art of organ playing. Therefore, I want to teach at the collegiate level to pass on the incredible legacies that all of my teachers have given to me. I greatly enjoy serving in churches as a source of professional and personal fulfillment and would love be employed at a church with a vibrant music tradition. I also love learning new instruments and hope to have an active performing career.

Joyce Johnson Robinson

Joyce Johnson Robinson is a past editor of The Diapason.

Greg Zelek, named one of The Diapason’s 20 under 30 Class of 2016 (see The Diapason, May 2016, page 31), was the first organist to be awarded Juilliard’s Kovner Fellowship (a merit-based scholarship award that covers the full estimated cost of study at The Juilliard School). Zelek received bachelor’s and master’s degrees and an Artist Diploma from Juilliard, studying with Paul Jacobs. Since September 2017, Zelek has been in Madison, Wisconsin, serving as the Madison Symphony Orchestra’s principal organist and the Elaine and Nicholas Mischler Curator of the Overture Concert Organ, a three-manual, seventy-two-rank Klais instrument that is entirely movable in one large chamber. Prior to holding this position, Zelek has served as organist and music director at several churches in Florida and New York, and spent summers in Spain. He has logged numerous performances with symphonies in Florida, New Jersey, New York, and Wisconsin, and has presented recitals throughout the United States.

Zelek is certainly reaching the career aspirations mentioned in his 20 under 30 essay: “to broaden the audience for the organ, popularizing an instrument that is often misunderstood even by other classical musicians” and to present it “in atypical performances and collaborating with other artists.” He has made significant strides toward these goals, notwithstanding the challenges posed by a virus pandemic in 2020 and 2021. We talked with Greg Zelek to find out the details.

Describe in brief what your position with the Madison Symphony Orchestra entails.

I am the principal organist of the Madison Symphony Orchestra (MSO) and hold the endowed position of the Elaine and Nicholas Mischler Curator of the Overture Concert Organ. I perform with the symphony whenever there is an organ part in a symphonic work and have also been the soloist for organ concertos. As the curator of the Overture Concert Organ, I perform in and plan our organ series (as well as a summer concert series) by selecting and hiring guest artists, organize events for the Friends of the Overture Concert Organ (FOCO), who help support all organ programming, and handle scheduling of organ maintenance. I succeeded Sam Hutchison, who retired in 2017, and am forever grateful to him for the organ program in Madison that he helped shape.

What special things have you done in your position that were new?

As I always do at my live performances, I try to make the event an all-around experience that not only showcases the instrument and repertoire, but also entertains the audience with personal interaction throughout the concert. I began forming relationships with many music aficionados in Madison, and this has allowed for growth of the program and greater enthusiasm for the organ and our performances.

At the annual Free Community Carol Sing, a December holiday event for which you played, the attendance reached a new level in 2019. It had never previously been necessary to open the top levels of the theater to accommodate the crowd. What’s the secret to your success?

The Carol Sing is an incredible tradition that attracts around 1,500 people from all ages to sing Christmas carols accompanied by the organ. I really appreciate everyone in our audience, and I think this mutual admiration from both those in attendance and the performer makes concerts and events much more memorable and entertaining for everyone.

I always open and close the Carol Sing with solo organ works that demonstrate the full scope of our instrument, and I think it’s a great opportunity to share repertoire with children and their parents who otherwise might have never heard the organ before. When everyone in the family can leave with a smile on their face after a concert, you know they’ll be returning (and bringing some family friends).

When the Covid pandemic struck in March of 2020, how did things change for you?

It was difficult to see what exactly we would be doing at the start of the 2020–2021 season, since so much was up in the air immediately following the start of the pandemic. One advantage of playing the pipe organ is that you can perform an entire program without anyone else on stage (which was essential with the social-distancing guidelines in place). I planned two virtual concerts in the fall with the hope that this might give our audience members something to look forward to since there was nothing going on at the start of the new season.

As soon as we began advertising our two virtual streams (I performed the first, and my former organ teacher at Juilliard, Paul Jacobs, performed the second), we had over 1,600 households register and watch the events. While these virtual events are not an equal substitute for our live concerts, they provided the advantage of being able to share music from Overture Hall with a wider community beyond just Madison.

I planned one final virtual event in the spring to close the season with my friend and trumpet player, Ansel Norris, who I had the opportunity to perform with in Naples, Florida, back in March 2020. That Naples performance turned out to be my last live concert before the pandemic, and it seemed appropriate to close our virtual season alongside Ansel, who coincidentally is originally from Madison. It was wonderful to see the majority of the households that registered for these three concerts return to their seats for live concerts at Overture Hall for the 2021–2022 organ season.

What else did you do during the 2020–2021 Covid year?

Apart from the Madison Symphony Virtual Organ Series events, I performed alongside the Madison Symphony’s Maestro, John DeMain, in a virtual Christmas concert that showcased the Klais’s versatility for both solo and accompanied works that was viewed by over 6,000 households. I also had the opportunity to perform at some other venues throughout the pandemic.

I performed my first live concert in over a year with the Jacksonville Symphony Orchestra in a concert for organ and brass ensemble in January 2021. This was my fourth year performing in the event, and it was surreal to play in front of a socially distanced but live audience after so many months away. I also recorded a virtual concert from Longwood Gardens with my friend and fellow Juilliard alum, cellist Thomas Mesa. I then returned to perform Rheinberger’s Second Organ Concerto with the Jacksonville Symphony before another live audience at the end of March 2021.

Things have now opened up. What items are added to your calendar?

We have a very exciting upcoming 2022–2023 organ season at Overture Hall, with performances by guest artists, as well as myself. The Jacksonville Symphony has also invited me back to again be the artist-in-residence for their organ program that is in its second year that showcases their Bryan Concert Organ (a Casavant instrument in Jacoby Hall). Many of the canceled events from the start of the pandemic for which I was booked were rescheduled for both this past 2021–2022 season and this upcoming Fall.

Let’s return to your student years. You grew up in Miami and began piano lessons at age seven. How were you attracted to the organ?

I attended Epiphany Catholic School in Miami, Florida, where they built an entirely new church structure around a magnificent Ruffatti instrument during my time as a student there. Tom Schuster was hired to be the organist, and I began taking piano lessons with him. I then went on to attend New World School of the Arts High School as a pianist, studying with Ciro Fodere. As I moved into high school, I wanted some cash to be able to take my girlfriend out to dinner and the movies, and Tom had said that I could get a church job that paid if I started studying the organ. When you’re a kid, $5,000 a year seems like a million dollars, so I began taking organ lessons with Tom, and here I am, however many years later, doing it professionally!

And you even had a summer job in Spain.

Each summer, we would visit family for a month in a tiny town called Ramales de la Victoria, which is nestled in the mountains of the north of Spain. I would play the Sunday Mass there, which not only helped me grow in appreciation of the music, but also of a very different culture. It also helped me keep up my Spanish that I grew up speaking as a kid, and that I’m still fluent in today.

Your college and graduate work has all been done at Juilliard. What led you to decide to remain at Juilliard for all of your training?

My former organ teacher, Paul Jacobs, is the reason that I chose Juilliard, and there was no reason to go anywhere else once I was there! Paul’s unique vision of the profession made me believe that I might be able to venture outside of the traditional path for organists and do things a little differently. Through his extensive experience with orchestras around the world and his vigorous dedication to making the organ an integral part of the classical music scene, I was motivated to work intensely, set high standards for musical excellence, and develop my own individual style of concertizing. Paul’s passion and work ethic is a constant inspiration to me, and I feel a responsibility to pass on my own passion with anyone and everyone who attends an organ performance.

Was it difficult to adjust to New York City?

I recall Paul Jacobs not allowing me to talk as much as I wanted to in my first couple of lessons, and so I was forced to play (and thus reveal that I was probably less prepared than I should have been). It quickly became clear that I wasn’t going to be able to talk my way out of lessons, and so I really started working and honing my craft. As soon as I realized what it took to learn and internalize music and started memorizing my music for our weekly organ class performances throughout the semester, New York was a dream environment for an aspiring musician. The level of talent in NYC is so high, and it really inspired me to look beyond my life as a student and try to imagine what might be possible in this challenging but very rewarding profession. I then went on to get my master’s and Artist Diploma from Juilliard as well.

Attendance at Madison’s organ programs has increased greatly during your tenure—tripling. How do you account for that?

There is nothing more contagious than enthusiasm, and I hope that I exude enthusiasm whenever I perform. I hear so many organists talk about how they go about selecting music for their concerts (“always include something your audience wants to hear, but make sure you play something that they need to hear”), and I have a very different take on this idea. I generally perform the music that I want to share and feel the responsibility of convincing the audience that they should want to hear it too.

The more I have gotten to know the audience in Madison, the more I feel that they trust me to play the best music and to bring in the top guest artists. There is constant pressure to perform at the highest level, and this is inspiring to me. I also hope that I’m a fairly relatable person. I tend to talk about how my parents don’t know anything about classical music, how my mom thought that giving me a sip of her Manhattan would help calm me before an organ competition, and how my dad may be asleep halfway through my concert. And these types of stories (all true, by the way) tend to make audiences feel comfortable and more attentive to the beautiful music that I have the privilege of performing.

When I first arrived in 2017, we had 224 FOCO households (Friends of the Overture Concert Organ), and this past pandemic year we had over 550. My last organ concert at Overture Hall this past May 2022 had over 1,400 audience members, and I’m proud that we’ve been able to create excitement around our instrument and program in Madison. The Madison community at large is most appreciative and supportive of the arts, and they have welcomed me with open arms. I have made some extremely close relationships in a short period of time, and this is a testament to how gracious and loving the people of Madison really are.

How’s the Klais?

There is something unique about playing a concert hall instrument, and the immediacy of sound is both electrifying and thrilling. Everyone in Madison is so proud to have a world-class organ in our César Pelli-designed concert hall, especially considering that there are many cities larger in size than Madison, such as New York City, that don’t. The instrument was built by Klais in 2004 and gifted to the MSO by Pleasant T. Rowland (a Madison native and the founder of the American Girl books and brand). With over 4,000 pipes and 63 stops, there are countless sounds to choose from, and it really brings all different styles of music to life.

The MSO website (madisonsymphony.org) mentions “Pop-up Events.” Can you tell us about these?

When I first arrived, the Madison Symphony Orchestra League asked if I would play for a Party of Note, where they sell a certain number of tickets to an event that supports the MSO’s Education and Community Engagement Programs. This event was the first to sell out, and we now do two of them a year. It has been a great opportunity to play for some new organ enthusiasts, and it also gives me the chance to meet and perform for audience members who attend the symphony but have never gone to an organ event.

What sorts of programs have you done with children?

We have had a number of elementary and middle school classes take a field trip to Overture Hall for me to explain the organ and have them sit down and play the instrument themselves. It is wonderful to see the unique personalities of each student shine through the instrument, with some choosing the loudest sounds on the instrument, and others wanting to play on the softer and more delicate stops.

Prior to the pandemic, I had the students select the different organ sounds for a Bach fugue, and then I performed it using the stops they had selected. The children were excited by both the colors that could be drawn from the organ and the physical aspect of playing this instrument. I was also recently featured in the MSO’s LinkUp Program, which is a music education offering created by Carnegie Hall’s Weill Music Institute. It was virtual this year, and they showcased the pipe organ in our hall, which I think is a wonderful way to introduce this incredible instrument to our youth.

You are bilingual. Have you been able to utilize that in your work?

It was my Cuban grandfather on my mother’s side that imparted to me the musical gene. He is the reason that I am a musician today, and he also inspired me to arrange works like Malagueña, by the Cuban composer, Ernesto Lecuona. It’s been wonderful to speak Spanish with supporters at receptions, and my Cuban heritage has given me an insight into a different culture. This has allowed me to relate to a wider variety of people, which has been helpful in making friends for our organ program.

Donors generously contributed $30,740.54 to name the Solo division of the Overture Concert Organ in honor of you for your twenty-eighth birthday. That’s quite an honor!

This was a complete surprise to me, and I was shocked in gratitude when they presented me with this honor at a donor event on the day of my birthday. It was done to commemorate my “golden birthday,” which was something that I had never heard of prior to this moment. (Editor’s note: A golden birthday occurs in the year you turn the same age as your birthday—so, turning twenty-eight on October 28, 2019.)

You’ve done some of your own arrangements. (I particularly enjoyed your Clair de Lune.) Do you arrange with the Klais in mind, or were these written prior to Madison?

That particular arrangement was completed prior to my arrival in Madison. I’m grateful to hear that you enjoyed it, because I think some of these reimagined pieces work really well on our Klais. I have, however, recently commissioned an organ and cello sonata from Daniel Ficarri, a classmate from Juilliard, written for our Klais and to be performed with cellist Thomas Mesa in the 2022–2023 season.

Are there any recordings on the horizon?

I will soon be recording my first organ CD as the MSO’s organist and plan on releasing it at my concert in September 2022. I will be performing the works on the CD at the opening of the 2022–2023 season concert and will have a sort of “CD Release” party for the event.

Do you have any special goals or plans for the future?

I think it is imperative that I constantly think of new ways to keep our program fresh and exciting, and presenting a variety of performers and repertoire is fundamental to keeping an audience engaged. It’s a challenge to retain audience members year after year and continue to attract new ones if the program itself doesn’t evolve over time, and so I am always learning new repertoire to perform and thinking of creative ways to program the organ alongside other musicians. It also helps to always have a new joke or two to share with those who attend . . . .

Thank you very much, Greg!

Greg Zelek’s website: gregzelek.com

MSO website: madisonsymphony.org

Brian Swager

Brian Swager, DM, is an organist, carillonneur, and harpist in San Francisco, California. He is director of music at Immanuel Lutheran Church in San Jose. He serves as contributing editor for carillon topics to The Diapason.

The Whitechapel Bell Foundry in London, England, is a cultural heritage asset of international significance. However, it is at grave risk of being renovated into a “bell-themed” boutique hotel and café rather than being retained as a fully working bell foundry on the site that was developed for this purpose in the 1740s. If this is allowed to happen, the bell founding skills on this historic site in the East End of London will be lost to the nation forever, bringing an end to a continuous history of bell casting covering the last 450 years. This is a matter of national and international importance.

For the last few years I have read reports of the imminent closure of the firm. However, a Public Inquiry called by the Secretary of State has been scheduled for October 2020, offering real hope of saving the foundry. The UK Historic Building Preservation Trust—whose founding patron was HRH The Prince of Wales and is now called Re-Form Heritage—launched a joint appeal with the Factum Foundation for Digital Technology in Conservation to save the foundry. The many objectors, of which there were nearly 26,000, believe strongly that the site of the Whitechapel Bell Foundry should be a place of pilgrimage, preserving this important heritage. I contacted Adam Lowe, director of the Factum Foundation, who has supplied much of the information for this article. 

Whitechapel bells hold an enviable place in English history. The first recorded bells to have been cast in London were made in Whitechapel in the thirteenth century; bells have been made by the foundry since 1570, and on the current site on the corner of Whitechapel Road and Plumber’s Row since the 1740s. The Whitechapel Bell Foundry adopted its current name in 1968, but the same purpose-built foundry has been occupied by generations of bell makers—Phelps and Lester, Lester and Pack, Pack and Chapman, Chapman and Mears, Mears and Stainbank, Alfred Lawson, and since 1904 several generations of the Hughes family—with knowledge passing from one generation to the next, each of them forming a part of this extraordinary history.

Located in the Borough of Tower Hamlets in the heart of London, the renowned foundry is Britain’s oldest single-purpose industrial building. The bells cast here are the voices of nations: they mark the world’s celebrations and sorrows, representing principles of emancipation, freedom of expression, and justice. Both Big Ben and the Liberty Bell were cast on this site. 

In June 2017, the historic Whitechapel Foundry was sold to a developer, and the use of these Grade 2* buildings for the making of bells ceased. Grade 2* is a classification of a UK building that is “particularly important . . . of more than special interest.” Although the foundry had been listed for its historic connection to the East End’s industrial past and despite campaigns in the national press and emotional public outcry, it was shut down by the owners who wanted to take advantage of the enormous increase in its financial value by selling it for conversion into a hotel.

Raycliff, an American venture capitalist firm, purchased the foundry. Raycliff Whitechapel LLP has submitted a planning application that seeks to secure a change of use and development of the site as a 100-bed hotel, private members’ club, restaurant, bar, café, and shop, with desk-sharing workspaces for hire. The on-site foundry outlined in the Raycliff Whitechapel proposal has been reduced dramatically, and all that remains is a token activity—a small display workshop and studio for casting or finishing handbells within a restaurant and café.

In November 2019, the Tower Hamlets Development Committee approved the developer’s planning application. In December of last year, in response to public pressure, the Secretary of State, Robert Jenrick, issued a holding declaration preventing Tower Hamlets Council from proceeding and granting planning permission. The planning application has now been “called in,” and a public inquiry will be held on October 6, 2020, lasting for about one week. This gives the opportunity for a fair and proper hearing with legal representation.

A foundry of worldwide stature

The foundry in Whitechapel has supplied a striking array of bells to churches around the globe as well as a number of significant and well-known installations. In addition to the Liberty Bell and Big Ben, the foundry has produced several other bells of national significance. Near the White House, in the Old Post Office and Clock Tower in Washington, D.C., is a ring of ten pealing bells, used for change ringing, called “The Bells of Congress.” Cast by Whitechapel in 1976, the bells range in weight from 581 to 2,953 pounds. Another Whitechapel ring of ten bells hangs in the tower of the Washington National Cathedral. Cast by Mears & Stainbank in 1962, the bells range from 608 to 3,588 pounds.

Commissioned and cast for the 2012 London Olympic Games, the Olympic Bell is the largest harmonically-tuned bell in the world. It was designed by Whitechapel, but due to its excessive size (22.91 tons, 10.95 feet in diameter), it was cast at the Royal Eijsbouts foundry in the Netherlands. It bears an inscription taken from Shakespeare’s play The Tempest: “Be not afeard; the isle is full of noises.”

In celebration of the 1976 United States Bicentennial, the people of Britain gifted the people of this country with a 12,446-pound Bicentennial Bell cast by Whitechapel. It was dedicated by Her Majesty Queen Elizabeth II who shared her gratitude to America’s Founding Fathers for teaching the British “to respect the right of others to govern themselves in their own way.”

Various chimes and rings made in Whitechapel were sent to places near and far beyond England’s borders including Wales, Scotland, Zimbabwe, South Africa, India, Trinidad, Malawi, Sudan, and Jamaica. No less than twenty-three sets of Whitechapel bells made their way to Canada, forty-four to Australia, four to New Zealand, and at least sixty-two sets to the United States. Several of their chimes were later enlarged to carillons. Fifty-eight of the seventy-four bells in the Laura Spelman Rockefeller Memorial Carillon in the Riverside Church in New York City were recast or replaced by Whitechapel in 2003. It is no wonder that their website proclaimed: “the world’s most famous bell foundry.”

The business owner Alan Hughes cited financial difficulties with maintenance of the building in the current economic climate. “The future of bell making is bright” maintains Adam Lowe of the Factum Foundation. He notes that churches are no longer the main commissioners of bells, yet the market is diversifying, and new opportunities exist around the world. Likewise, technological advances must be applied that would bring the foundry into the twenty-first century.  

A viable future for the foundry

Re-Form Heritage and the Factum Foundation have led the opposition to the redevelopment plans. Together with the local community, former employees of the bell foundry, the Victoria and Albert Museum, B-Made (Bartlett Manufacturing & Design Exchange—a multidisciplinary center that aims to foster the next generation of thinkers, designers, and makers), University College London, the East London Mosque, artists, and others, they are proposing a viable future answering local and international needs: a working foundry specializing in the production of bells and works of art, together with a 3-D and acoustic archive and research center that will conduct bell recording, undertake research into historic casting methods, and develop machine learning predictive software to assist in the preservation of bells around the country and beyond.

There is a clear need for such services. Maintaining and re-making bells for churches is a relatively contained market in Europe and North America, but it serves an important social and preservation function. By contrast, there is a significant market for commemorative bells of all sizes and for bell-related artist projects. Internationally, Russia, Africa, and South America have been identified as expanding markets for church bells, while China and India have a large and growing demand for bells and gongs.

Technology has the potential to revitalize bell making in Whitechapel. Three-dimensional recording, digital modeling, machine learning analysis, and the use of software to predict and control shrinkage, flow, thickness, and shape are all part of this future. The new foundry will also be eco-friendly, filtering emissions and recycling heat. As has been demonstrated by Peter Scully, there are no issues with casting bells safely in London in a workshop that meets health and safety and the most challenging sustainability legislation: in December 2019, Scully and assistants at B-Made cast three bells in front of a group of journalists and supporters using ceramic shell investment molding and a new efficient electric kiln; the result was an unmitigated success.

Historical research leading to technological advances

The scene of bell making in Andrei Tarkovsky’s masterpiece film Andrei Rublev depicts a human skill that has been passed down in Europe, almost unchanged, from generation to generation since the Middle Ages. In China its history is much longer, going back to around 2000 BCE. There is a profound need to document this history and to preserve and archive the achievements of this proud technological tradition within the UK and beyond. To this end, the partnership between Re-Form Heritage and the Factum Foundation will conduct extensive research into historic bronze casting technologies and will establish an archive focused on the history of bell founding, to include acoustic recordings and high-resolution 3-D models in addition to more traditional modes of documentation. This research and the accompanying archive will form a key resource as the revitalized bell foundry works on the preservation, monitoring, and analysis of historic bells.

Historical documentation will also inform research into the production of new bells. In February 2020, an early seventeenth-century church bell from near Salamanca, Spain, was 3-D recorded by a team of experts from Factum Foundation. The technique used was photogrammetry, which involves taking multiple photos of an object (often hundreds or even thousands) that can then be converted into a 3-D digital model using software. The Salamanca recording and others like it will form the basis of an archive of photogrammetric recordings of different bells, facilitating a study of the relationship between the composition of bell metal, shape, and sound. Building on this information, it will soon be possible for bell making to enter a new phase, in which mathematical modeling and new methods of precision fabrication are combined with the knowledge and experience of traditional bell founders.

Following the 3-D recording of the bell, a research project is now underway to carry out data processing using MagmaSoft, an advanced software that can predict flow and shrinkage. Once the analysis has been carried out, the data will be distorted. A 3-D print will be made so that after molding and casting, the bell will be the exact shape and size of the original bell. The casting is being done at Pangolin Foundry in Gloucestershire using a mix of bell metal with a high tin content. Arthur Prior is undertaking the digital analysis of the data in Nuremberg, and Nigel Taylor is advising on the production of the alloy, the temperature of the casting, and the speed of cooling. It is hoped that the new version of the Salamanca bell will sound similar to the original, even before fine tuning.

A further digitization project that has shown the possibilities of digital recording of bells is the scanning of the so-called “Cellini Bell.” This 13-centimeter-high silver bell was made ca. 1550 by the Nuremberg goldsmith Wenzel Jamnitzer, although for a long time it was attributed to the Italian Renaissance master Benvenuto Cellini. Once an important item in Horace Walpole’s collection at Strawberry Hill House, it now forms part of the Rothschild Bequest at the British Museum. The bell is covered with intricate relief-work that includes flowers, lizards, and insects, many of which were cast directly from life.

The Cellini Bell was recorded by Factum Foundation using close-range photogrammetry, a task that posed particular challenges specific to this complex object. The level of detail on the bell meant that it required many photographs, taken with a great degree of precision, and in order to accurately record the partially reflective surface of the silver, it was necessary to conduct the recording twice, once using the standard lenses employed by Factum for photogrammetry of this sort, and once employing cross-polarization to reduce the glare from the object. The two models were then combined, resulting in a 3-D model with 91.5 million polygons. This was then 3-D printed and silver plated, resulting in an exact facsimile that is now on permanent display at Strawberry Hill House.

It was during the process of recording the Cellini Bell in 2018, while Factum Foundation was also working to save the bell foundry at Whitechapel, that the role of machine-learning software and new casting technologies for the production of bells became apparent. This was then put to the test in December 2019 at B-Made in Here East, a media complex located in the Olympic Park in East London, not far from the Whitechapel Bell Foundry.

The proposed Elizabeth bell

Many of the great moments in England’s history since 1570 have been celebrated by the tolling of bells founded at Whitechapel. The coalition proposes that the nation should now celebrate the reign of Elizabeth II, their longest serving monarch, with the founding of a bell. Once the London bell foundry has been established as a trust and has reacquired the foundry at Whitechapel, the first commission the trust hopes to carry out is the founding of the Elizabeth Bell, a new quarter bell for the Elizabeth Tower at the Palace of Westminster, of which Big Ben is the great bell. The bell will be funded by public donations and will require the support of the royal family and the government.

A viable future

The coalition proposal is supported by the local community, the East London Mosque, politicians at local and national levels, the Victoria and Albert Museum, and the Bartlett School of Architecture; by heritage bodies including the Society for the Protection of Ancient Buildings (SPAB), Spitalfields Trust, and SAVE Britain’s Heritage; by the blog Spitalfields Life (which has published extensively on the history of the foundry and on this campaign), by architectural historian Dan Cruickshank, former Royal Academy Chief Executive Charles Saumarez Smith, academics, makers, musicians, and artists including Michael Nyman, Antony Gormley, Anish Kapoor, and Grayson Perry. While this is a local issue it has global implications, and there have been offers of support from China, Australia, and the United States. Mainstream and social media have shown a huge interest, and articles have appeared in Financial Times, The Daily Mail, Evening Standard, The Guardian, and The Economist, among other publications.

Speaking of his enthusiasm for the Re-Form/Factum proposals, former Tory leadership candidate and mayoral candidate Rory Stewart said: 

All of this, in one of the most interesting parts of our city . . . . An imaginative planner—in fact anyone with any imagination seeing the possibilities here—could not possibly turn this down. This is a challenge of courage, it’s a challenge of joyful imagination.

About Factum Foundation

Factum Foundation for Digital Technology in Conservation is a not-for-profit organization founded in Madrid to document, monitor, study, recreate, and disseminate the world’s cultural heritage. It works alongside its sister company, Factum Arte, a multi-disciplinary workshop dedicated to digital mediation and physical transformation in contemporary art, and the materialization of diverse types of object. Activities include building digital archives for preservation and further study, creating and organizing touring exhibitions, setting up training centers to enable colleagues across the world to record their own cultural heritage, and producing exact facsimiles as part of a new approach to conservation, restoration, and display. Factum Arte works with foundries in Spain, England, and Greece, casting many alloys and developing innovative connections between digital input and physical output.

Call to action

For those interested in supporting this initiative, Adam Lowe suggests a number of ways to be of assistance.

Visit and share the Save the Whitechapel Bell Foundry website with others: savethewhitechapelbellfoundry.com. Here you can sign a petition to register support. By clicking on “Donate,” one will be redirected to Re-Form’s website where it is possible to make a donation in any amount, if desired.

Further information is available on “Spitalfield’s life,” the blog devoted to life in the East End: spitalfieldslife.com

Visit Factum Foundation’s online page and see the development of the fight to keep the site as a working bell foundry: factumfoundation.org/ind/180/the-resurrection-of-the-whitechapel-bell-foundry.

We are also looking for people in historic and preservation societies who are interested in learning how new technology can help create an archive of various types of information that will help revitalize interest in bells, their production, and their digital and physical restoration. Support is needed to build a network that will allow these noble objects to be valued and appreciated. Write to: [email protected].

The Diapason Staff

The Diapason’s fifth “20 Under 30” selections came from a large field of nominations. The nominees were evaluated based on information provided in the nominations; we selected only from those who had been nominated. We looked for evidence of such things as career advancement, technical skills, and creativity and innovation; we considered a nominee’s awards and competition prizes, publications and compositions, and significant positions in the mix. Our selections were not limited to organists but reflect the breadth of our editorial scope, which includes the organ, harpsichord and clavichord, carillon, church music, and organ and harpsichord building. Here we present the winners’ backgrounds and accomplishments, and then have them tell us something interesting about themselves and their achievements, goals, and aspirations.

Nominations will again open for 20 Under 30 in December 2022 for our Class of 2023. Please carefully consider those you may know that deserve this honor and begin to take notes for your nomination. We can only honor those who are nominated.

The Associated Pipe Organ Builders of America (APOBA) is graciously providing a one-year subscription to our 20 Under 30 Class of 2021.

Amos Burch

Amos Burch was born in central Illinois, homeschooled, and from a young age studied piano. Throughout high school, he spent summers in his grandfather’s workshop, learning woodworking from him, an excellent furniture maker. Around this same time Amos developed a love for concert music, especially Bach’s keyboard works and cantatas. In 2010, he attended a recital at the Indiana Landmarks Center, Indianapolis, featuring a historic Sanborn organ, recently renewed by Goulding & Wood. At age 16, it did not cross his mind that he would join that same company nearly a decade later.

In 2013 he moved to Phoenix and studied guitar building and repair at the Roberto-Venn School of Luthiery. After graduating, Amos moved back to Indianapolis and worked as a guitar repair specialist and also built instruments in his free time. Later moving on to a job as a custom cabinetmaker, he worked first in Cincinnati and finally at Kline Cabinetmakers in Greenfield, Indiana. After a few years there, he rediscovered Goulding & Wood and applied for a job immediately. He was hired in 2019, and his career search was complete. A love of the keyboard and woodworking finally married, as he became a pipe organ builder. He is continually motivated to push his skills and expand his knowledge of both woodworking and pipe organs by the experienced crew at Goulding & Wood.

An interesting fact: Besides music and woodworking, my greatest interest is art, particularly Japanese and American tattoo art. I enjoy collecting paintings and prints from artists across the world, and my apartment looks a bit like a museum because of it.

Proudest achievement: My proudest accomplishment to date is being a member of the Goulding & Wood team, and more specifically, having a part in building and installing our Opus 52 organ for Saint John’s Cathedral in Knoxville Tennessee. I had to continually remind myself that it was reality and not a dream to be working on such a beautiful instrument.

Career aspirations and goals: It is my goal to continue to absorb as much knowledge and experience as possible in the organ shop. Woodworking is my passion, and I can’t think of a more than incredible application of the craft than to be a pipe organ builder.

Daniel Chang

Daniel Chang is a Doctor of Musical Arts degree candidate at the Eastman School of Music, Rochester, New York, in the studio of David Higgs. He began his music studies at the San Francisco Conservatory of Music’s Preparatory Department where he studied composition with Michael Kaulkin and piano with June Choi Oh. He continued his education at the San Francisco Conservatory for a Bachelor of Musical Arts degree in composition, studying composition with David Conte and piano with Alla Gladysheva. Daniel served as organ scholar at Saint Dominic’s Catholic Church in San Francisco under Simon Berry. At Eastman, where he has earned his Master of Music degree, Daniel was awarded the Gerald Barnes Prize in 2017 and the Cochran Prize in 2020 for excellence in organ performance. Daniel was awarded third prize in the 2018 National Young Artists’ Competition in Organ Performance (NYACOP), sponsored by the American Guild of Organists, and was a semi-finalist in the 2020 NYACOP. Daniel is director of music at Saint John’s Episcopal Church in Canandaigua, New York.

An interesting fact: As a teenager I had to learn the Ballade in G Minor by Chopin by ear because my reading skills were so bad.

Proudest achievement: I am proudest of being the first person in my family to pursue a doctorate.

Career aspirations and goals: Career-wise I would like to teach, play for the church, compose, and perform. A personal goal of mine is to reach a point in my career where I can teach students that cannot afford lessons for free.

Daniel Colaner

A sixteen-year-old native of Akron, Ohio, Daniel Colaner captured international media attention at the age of twelve with his same-day performances on piano at Carnegie Hall and on organ at Saint Patrick’s Cathedral in New York City. Since then, his talents have been showcased on ABC World News Tonight, Good Morning America, The Harry (Connick Jr.) Show, and the BBC World Service Newsday. As a recipient of the Jack Kent Cooke Young Artist Award, Daniel was featured on the NPR radio show From the Top (Show #377), performing “Jupiter” from Gustav Holst’s The Planets. He is a 2021 National YoungArts Winner in organ/classical music and was the first prize and audience prize winner in the Sursa American Organ Competition (high school division) in 2019.

Earlier this year, Daniel premiered Variations on Doxology, a new work for organ and orchestra, with the American Pops Orchestra. His performance will be featured in One Voice: The Songs We Share, which will air nationally on PBS. Daniel studies organ with David Higgs of the Eastman School of Music and piano with Sean Schulze at the Cleveland Institute of Music, where he is a scholarship student in the pre-college program and an avid chamber musician. He currently serves as organ scholar at Cleveland’s Trinity Episcopal Cathedral under Todd Wilson.

An interesting fact: First exposed to music as cognitive therapy after being diagnosed with stage IV cancer as an infant.

Proudest achievement: Promoting the organ and the study of classical music on television and radio, in addition to helping to raise thousands of dollars for music education and music therapy for a variety of non-profit organizations.

Career aspirations and goals: A versatile career as a solo and collaborative musician who engages and enlightens audiences of all ages.

Website: www.danielcolaner.com.

Michael Delfín

Praised for “beautiful performances of great warmth” (Classical Voice of North Carolina), Michael Delfín is a versatile performer of historical keyboard instruments and the modern piano. Michael is the recipient of the 2018 Historical Keyboard Society of North America Bechtel/Clinkscale Scholarship and 2017 Catacoustic Consort Early Music Grant. He has performed for the Historical Keyboard Society of North America and the Central California Baroque Festival and has given lectures on historical performance topics for Early Music America, HKSNA, and the Case Western Reserve University Music Department. He is artistic director of Seven Hills Baroque in Cincinnati and has taught figured bass and improvisation at the University of Cincinnati College-Conservatory of Music. Michael has attended the American Bach Soloists Academy and the University of Michigan Early Keyboard Institute and performed in masterclasses for Richard Egarr, Joseph Gascho, Corey Jamason, Edward Parmentier, and Pamela Ruiter-Feenstra.

Michael is now pursuing doctoral studies in both piano and harpsichord at the University of Cincinnati College-Conservatory of Music. He previously studied piano at CCM, San Francisco Conservatory, and Peabody Conservatory, as well as history at Johns Hopkins University. His mentors include Awadagin Pratt, Yoshikazu Nagai, Boris Slutsky, Michael Unger, and Carol Oaks.

An interesting fact: I enjoy cooking the Latin American food of my family’s heritage.

Proudest achievement: My wife’s hand.

Career aspirations and goals: I look forward to blending historical and modern performance as a solo and collaborative performer, Baroque ensemble director, and college educator.

Website: www.michaeldelfin.com.

Samuel Gaskin

Samuel Gaskin completed graduate studies in organ performance from the University of North Texas (Master of Music, 2018) with Dr. Jesse Eschbach. Samuel has studied with notable organist-improvisers such as Thierry Escaich, Baptiste-Florian Marle-Ouvrard, Franz Danksagmüller, and Thomas Ospital. As a performer, he is interested in music of all kinds, playing jazz piano in ensembles throughout his graduate school studies and harpsichord with the San Antonio Symphony under the baton of Jeannette Sorell (Apollo’s Fire). He is also active as a collaborative pianist with both instrumentalists and vocalists. In 2013, Samuel was a finalist in the Mikael Tariverdiev International Organ Competition held in Kaliningrad, Russia, and in 2016 he won first prize in the University of Michigan International Organ Improvisation Competition. Samuel began composition studies with William James Ross, S. Andrew Lloyd, and finally Ethan Wickman. Transcribing served as an important purpose to furthering his interest in composition, first focused on improvised works for organ, then on jazz improvisations, including tracks from the album Equilibrium by Ben Monder (guitar) and Kristjan Randalu (piano), for future publication by the Terentyev Music Publishing Company. He is interested in exploring the sometimes-contradictory relationship between improvisation and composition.

An interesting fact: I once delivered pizza to Tony Parker (the former point guard for the NBA’s San Antonio Spurs).

Proudest achievement: Carving my own niche as a musician. Leaving behind formal organ studies during my undergraduate studies led me to have a greater appreciation of the instrument. It also allowed me to experience playing in non-classical genres on the keyboard and gain appreciation for musical skills like the nuances of groove, arranging parts, and learning by ear. Later, this also led me to have a better appreciation of the nuances of legato and rubato within a musical phrase at the organ.

Career aspirations and goals: I would like to continue to develop as a collaborative musician. There is a lot of fascinating music out there, and some of the best involves playing with other musicians. Learning how to communicate and relate to other musicians is something I find personally satisfying, and besides, I think instrumental/timbral variety within a program generally resonates with listeners. I would also like to continue incorporating new music and improvisation into programs.

Instagram: samuelgskn391.

Josiah Hamill

Josiah Hamill is an organist, violinist, pianist, and church musician who is reputed for bringing passion, musicality, and virtuosity to every performance. Among other recent awards and recognitions, he won first place and the audience prize at the 2019 Sursa American Organ Competition. He was named one of twelve finalists in the 2020 Musikfest Internationale Orgelwoche Nürnberg, the final round of which was unfortunately canceled due to Covid-19. Additionally, he was runner-up in the American Guild of Organists Regional Competition for Young Organists and a finalist in the Poister Scholarship Competition in Organ Playing.

He is a rising third-year Doctor of Music degree student in organ performance at Indiana University, studying with Christopher Young. As the recipient of the prestigious Robert Baker Award, Josiah received his Master of Music degree from Yale School of Music, as well as the Certificate in Church Music Studies from the Yale Institute of Sacred Music, under the tutelage of Martin Jean. He received his Bachelor of Music degree with dual concentrations in organ and violin, graduating summa cum laude with distinctions from Lamont School of Music at the University of Denver, where he studied organ under Joseph Galema. He was Lamont’s Presser Scholar and is a lifelong member of Pi Kappa Lambda.

An interesting fact: In addition to my organ career, I also have an extensive string and symphonic background, which significantly influences my approach to the magnificence of the organ and its repertoire. One of my favorite engagements was performing the entire Tchaikovsky Violin Concerto with the Arapahoe Philharmonic Orchestra, and I have been privileged to meet and work with such illustrious musicians as Yo-Yo Ma, Midori Goto, Vadim Gluzman, and Glenn Dicterow, among others.

Proudest achievement: While every music performance and achievement has a special place in my heart, I would have to say that my proudest achievement is the Students’ Choice for Best Colloquium Presentation, which is awarded annually by the student body of the Yale Institute of Sacred Music via ballots. This was bestowed upon fellow student Laura Worden and me for our colloquium presentation, “Religious and Musical Culture in the Manzanar Incarceration Camps.” This highlighted the impact of music and religion on the Japanese American incarceration experience at Manzanar Relocation Center during World War II. My grandfather, Bruce Kaji, was an American citizen incarcerated in Manzanar before becoming a war hero, peacemaker, and community leader while living an exemplary life. He is my hero, and this presentation and academic award seemed to be a perfect posthumous homage to him and his legacy.

Career aspirations and goals: My biggest aspiration is to have a successful and active career as a concert organist, hopefully under management. Especially given the dearth of live performances due to the pandemic, I have continued to discover that my true passion is in performance. I aspire to create memorable performances for audiences of all walks of life, whether as a solo performer, collaborative musician, or church musician. It is my hope that the temporary lull in live concerts will only strengthen audience interest and participation as life continues to return to normalcy.

Website: www.josiahhamill.com.

Thomas Heidenreich

Thomas Heidenreich is a third-year Doctor of Musical Arts degree student at the University of Cincinnati’s College-Conservatory of Music studying with Dr. Michael Unger. He was organist for the world-premiere recording of Swedish composer Frederik Sixten’s St. John Passion, which will be released in 2022 by Ablaze Records. A Cincinnati native, Thomas began his musical studies at age five taking piano lessons at the CCM Preparatory Department.

From 2017–2018 he was the Association of Anglican Musicians (AAM) Gerre Hancock Organ Fellow at Trinity Episcopal Cathedral in Columbia, South Carolina. He performed at the 2019 AAM national conference in Boston. Previously, he studied with Alan Morrison at Westminster Choir College in Princeton, New Jersey, completing his Master of Music (2017) and Bachelor of Music (2016) degrees in organ performance. At Westminster, he was the 2016 winner of the Joan Lippincott Competition for Excellence in Organ Performance and a two-time Andrew J. Rider Scholar, an award recognizing the top students academically in each class. In Princeton, he served as organ scholar at Trinity Episcopal Church and, for three years, as co-director of music for The Episcopal Church at Princeton.

An interesting fact: I have played the organ in services at both Westminster Abbey and Saint Paul’s Cathedral in London. Also, when in tenth grade after only having studied the organ for a few years, I played the 2000 Gerald Woehl “Bach” organ at the Thomaskirche in Leipzig.

Proudest achievement: I am very proud of the role I played in developing the musical quality of, and depth of community in, the Lux Choir, which sings at the Episcopal Church at Princeton. Through a combination of supportive clergy, dedicated musicians, and God’s help, the choir is a great asset in worship and a strong personal blessing to all those involved and has continued to flourish in recent years.

Career aspirations and goals: I hope to pursue a career of service to the church through my work as an organist, accompanist, and choir director. I am particularly passionate about working with and/or developing an intergenerational music program that provides opportunities for children through adults to participate in choral singing at the highest levels. I know the power of the organ and its ability to move people to worship, and I want to share this with people in any church to which I am called to serve.

Alex Johnson

The campus tour guide didn’t even know the name of the instrument. All he said was that students could learn to play the bells. Alex Johnson was hooked immediately. He registered for the class his first year, fell in love, and registered every semester thereafter. This was at the University of Rochester, where Alex not only played heaps of carillon music, but also majored in physics, completed research in linguistics, learned to play gamelan and mbira, and also how to swing dance. With the world’s most prestigious competition in his sights, Alex then studied at Bok Tower Gardens as a Carillon Fellow. That contest, held every five years in Mechelen, Belgium, is the International Queen Fabiola Carillon Competition: in 2019, Alex won. He then spent a year studying at the Royal Carillon School “Jef Denyn” in the same city on a fellowship from the Belgian American Educational Foundation. In his travels, Alex has performed dozens of carillon recitals across the United States, Canada, and Europe. Alex is currently exploring yet another career option by substitute teaching kids of all ages, from kindergarten to calculus.

Interesting fact: Alex serves on the Franco Composition Committee of the Guild of Carillonneurs in North America.

Proudest accomplishment: Alex’s proudest accomplishment is winning the Queen Fabiola Competition, in which he not only won first prize overall, but also first prize for improvisation and the prize for best performance of a contemporary Belgian work.

Career aspirations and goals: Alex is considering graduate studies in music composition, carillon positions, and returning to the content of his bachelor’s career to teach high school math or physics.

James Kealey

James Kealey is associate director of music/organist at Third Presbyterian Church in Rochester, New York. There, James oversees and coordinates children’s music ministries, assists in the running of youth music, and accompanies the Chancel Choir as well as sharing service playing duties with Peter DuBois, director of music/organist. James will begin a part-time Doctor of Musical Arts degree at the Eastman School of Music in the fall of 2021.

A recent graduate of the Eastman School of Music, James obtained the Master of Music degree from the studio of Professor David Higgs. While a student, James was also music minister at Church of the Ascension, where he oversaw the senior choir and began both a youth choir and a yearly arts festival. A native Brit, James has held positions at Chester, Blackburn, Wells, and Sheffield cathedrals before moving stateside.

James has performed most recently at Westminster Abbey, England; Cathedral of Saint John the Divine, New York City; and Hereford Cathedral. Future recitals include Cathedral of Saint Philip, Atlanta, Georgia; Church of the Covenant, Cleveland, Ohio; and the Organ Historical Society convention in 2022. James was recently placed as a semifinalist in the American Guild of Organists NYACOP Competition. He is the current sub-dean for the Rochester AGO Chapter and works with several committees within the Organ Historical Society.

An interesting fact: I would like to gain my private pilot license in the coming years, although the winters in Rochester may make that a little more tricky!

Proudest achievement: I am proudest of achieving a place to study at Eastman School of Music, which has given me many opportunities and much guidance to fulfill my desire to work as a musician in the United States.

Career aspirations and goals: I hope to have a multifaceted career. Alongside my passion for church music ministry and choral music, I hope to work as a recitalist and educator in the future.

Noah Klein

Noah Klein is finishing his fourth year at the Jacobs School of Music at Indiana University, Bloomington, pursuing an organ performance degree under Dr. Janette Fishell. While at school, he is the musical intern for Tabernacle Presbyterian Church in Indianapolis, Indiana. Back home in Northfield, Minnesota, Noah plays for local churches in the area as well as for organ recital series throughout southern Minnesota. He was the winner of the Great Lakes Regional RYCO at the 2019 regional American Guild of Organists convention in Grand Rapids, Michigan. Noah also had the opportunity during the summer of 2019 to play at Trinity Church Wall Street in New York City as part of their “First Friday” series, which features undergraduate and graduate organ students from leading music conservatories across the United States and Canada. This fall he will begin his Master of Music degree at the Yale School of Music/Institute of Sacred Music.

An interesting fact: During my year abroad in South Korea after high school, I gave an impromptu organ recital in a coffee shop on a bamboo pipe organ.

Proudest achievement: The achievement I’m most proud of is winning the Great Lakes Regional RYCO because it was one of the first big competitions I’ve won, and it proved to me that all my hard work and dedication has paid off as well as encouraging me to pursue more competitions.

Career aspirations and goals: I hope to continue performing recitals and sharing my passion for the organ and its music both in the United States and abroad. Also, I hope to continue working with sacred music as an organist and music director.

Zoe (Kai Wai) Lei

An emerging Hong Kong organist, Zoe Lei is an advocate for new organ music and frequently plays twentieth- and twenty-first-century repertoires. She is currently pursuing her Doctor of Musical Arts degree in sacred music (organ) at the University of Michigan, where she studies the organ with James Kibbie, carillon with Tiffany Ng, and harpsichord and continuo with Joseph Gascho. Prior to that, she attained her master’s and bachelor’s degrees in music at the University of Toronto and Hong Kong Baptist University, respectively, and has been awarded various scholarships in Michigan, Canada, and Hong Kong.

Currently based in the United States, Zoe has performed as a recitalist in various venues and concert series in Hong Kong, Toronto, and Michigan. She has also collaborated with the Baroque Ensemble at the University of Michigan, the Contemporary Ensemble at the University of Toronto, and the Tafelmusik Baroque Summer Institute Orchestra. She is looking forward to working with Aero Quartet and IZR Organ Trio, the latter of which was set up by Zoe along with her friends Ryan Chan and Ivan Leung. This summer, the IZR Organ Trio will give recitals in Hong Kong. In addition to organ performances, Zoe now gives carillon recitals every other Thursday at the Burton Memorial Tower in Ann Arbor.

An interesting fact: When I am not practicing the organ, carillon, or harpsichord, I enjoy hanging out with friends, traveling, and doing calligraphy.

Proudest achievement: I gave my organ debut in the Hong Kong Cultural Centre’s Concert Hall in 2017, which has one of the largest pipe organs in Asia. After that, I received an interview invitation from Radio Television in Hong Kong. I always feel humbled and honored by this fantastic opportunity that was provided by my organ teacher, Miss Kin Yu Wong.

Career aspirations and goals: I will work harder in the coming years, and I am passionate about contributing more to the organ, carillon, and sacred music fields. I am currently preparing for different organ competitions, and organ and carillon recitals in the summer while doing a carillon arrangement of BWV 543i. My goal is to travel to different places to give organ and carillon concerts, especially more places in Asia, in order to promote these instruments to Asian audiences in a creative and culturally diverse way. I also hope to build a carillon in Hong Kong and introduce the carillon repertoire to Hongkongers.

Website: www.zoelei.com.

Jackson Merrill

Jackson Merrill is a graduate student of James Kibbie in organ performance at the University of Michigan. At Michigan, he was awarded the Marilyn Mason Scholarship, the Patricia Barret Ludlow Memorial Scholarship in Organ, and the Chris Schroeder Graduate Fellowship. Merrill presently works with Huw Lewis at Saint John’s Church, Detroit. Merrill came to Michigan from Hartford, Connecticut, where he was organist and director of music ministries at Trinity Church. In addition to this work, he was the choral director of Trinity Academy in Hartford and sang in various choirs at Yale University. Merrill holds the Bachelor of Music degree from Jacksonville University where he was awarded such honors as the Harvey Scholl Prize in Piano and the Excellence in Performance Award. He was also the 2016 College of Fine Arts Student of the Year. While in northeast Florida, Merrill performed occasionally with the Jacksonville Symphony Orchestra.

An interesting fact: I am originally from northeast Florida. The city of Saint Augustine is in northeast Florida, and there are wonderful organs in historic churches there along with many important monuments. The first pipe organ I ever played was the incredible Casavant organ at the Cathedral-Basilica of Saint Augustine, built in 2003. Saint Augustine is the oldest continuously inhabited European-established settlement in the contiguous United States.

Proudest achievement: I am most proud of my work for three years with the outstanding young musicians of The Choir School of Hartford at Trinity Church, Hartford, Connecticut.

Career aspirations and goals: My goal is to use my time studying with James Kibbie to become a more comprehensive organist and performer. After graduate school, I hope to continue with my work in music ministry. I have developed a specialization for urban music ministry, and I particularly love working with young singers.

YouTube channel: youtube.com/channel/UCCC2-sMGEWCq65asbD8mZCw/videos.

John J. Mitchell

John Joseph “JJ” Mitchell has a passion for organ and sacred music pedagogy. He is pursuing a Doctor of Musical Arts degree in organ performance from the University of Houston (UH) on a graduate tuition fellowship. He is the organist of Christ the Servant Lutheran Church in Houston, Texas, serves as an organist of Saint Philip Presbyterian Church, also in Houston, and is a graduate teaching assistant in the music history department at UH. He holds degrees from Westminster Choir College and the University of Notre Dame; he also studied at the Conservatoire à Rayonnement Régional de Toulouse, France. JJ has served as organist on the music staff of churches such as Christ Church Cathedral, Houston, Texas; Cathedral of Saint Thomas More, Arlington, Virginia; and the Basilica of the Sacred Heart, South Bend, Indiana. He has performed in these churches as well as at Boston Symphony Hall, the DeBartolo Performing Arts Center, and various other venues in the United States, Canada, France, and England. He is the winner of the Nanovic Grant for European Study for Professional Development and was a finalist for the Frank Huntington Beebe Grant. He has been featured on the Sounds from the Spires SiriusXM Radio program and has contributed to Vox Humana organ journal.

An interesting fact: I drive a manual transmission car as an enthusiast of Formula 1.

Proudest achievement: I have achieved some wonderful things in my life thus far, but overcoming performance anxiety and finding consistent calmness in my playing has been undoubtedly my best achievement.

Career goals and aspirations: My ideal career is to be a director of music at a cathedral where I will teach sacred music to the next generation. I also am considering work in academic positions as well.

Curtis Pavey

Curtis Pavey, originally from Highlands Ranch, Colorado, enjoys a diverse musical career as a harpsichordist, pianist, and educator. As a harpsichordist, he has performed in prestigious settings including the Oregon Bach Festival as a participant of the Berwick Academy. Peter Jacobi of the Herald Times praised Curtis as “an artist of considerable finish and even more promise” after his solo recital debut at the Bloomington Early Music Festival. His recent submission to the Jurow International Harpsichord Competition advanced him to the semifinals for the upcoming 2021 competition. Besides his performing activities, Curtis is passionate about pedagogy and has presented lectures on Baroque music and ornamentation at national conferences. In addition, he maintains a private music studio at Willis Music Kenwood in Cincinnati, Ohio. Currently completing doctoral studies at the University of Cincinnati, Curtis studies harpsichord with Dr. Michael Unger and piano with Professor James Tocco while maintaining a graduate assistantship in the secondary piano department. Curtis graduated from the master’s degree program at Indiana University’s Jacobs School of Music where majored in early music, harpsichord and piano performance. He worked with Professors Elisabeth Wright, Edward Auer, and Evelyne Brancart.

An interesting fact: I enjoy cooking and baking when I am not practicing, teaching, or studying.

Proudest achievement: I am almost done with my doctorate—I will be proudest of achieving this once it is finally complete!

Career aspirations and goals: My dream career allows me to balance my passion for teaching and performing at both the harpsichord and the piano. I hope to attain a professorship where I can teach applied lessons and courses in harpsichord, performance practice, and piano. In the future, I would like to establish my own early music ensemble. Ultimately, I hope to make a difference in my community and beyond through my teaching and performing activities.

Website: www.curtispavey.com.

Solena Rizzato

A native of Chicago, Illinois, Solena Rizzato is a shop technician at the Red River Pipe Organ Company in Norman, Oklahoma, interim organist at Wesley United Methodist Church of Oklahoma City, and a non-degree-seeking graduate student at Oklahoma City University, where they study with Dr. Melissa Plamann. Prior to their studies at OCU, Solena graduated in May of 2020 from the University of Oklahoma where they earned dual Bachelor’s degrees in organ performance and viola performance, as well as the organ technology emphasis and a history minor. In the summer of 2019, Solena pursued an internship with Messrs. Czelusniak et Dugal, Inc., of Northampton, Massachusetts, working on the restoration and maintenance of pipe organs in the New England area. As an organist, Solena began their formal studies at the age of eighteen with Dr. Adam Pajan at the University of Oklahoma, having come to the instrument with over thirteen years of experience as a violist. Because of this, Solena enjoys transcribing orchestral works for the organ. Their recent transcriptions include movements of Dvorák’s 8th Symphony, Tchaikovsky’s 6th Symphony, Stravinsky’s Firebird Suite (1919), and Gershwin’s An American in Paris. Solena’s next move will take them out of Oklahoma, where they will begin pursuing their Master of Music degree in organ performance. Solena continues to remain active as a professional violist as well, and enjoys cooking, weightlifting, and long-distance running.

An interesting fact: Prior to my studies in music, I spent several years in the culinary industry, training to be a professional chef.

Proudest achievement: This year, I successfully went through the process of applying for Master of Music degree programs in organ performance. Due to my late start as a keyboardist, this felt like a far-away dream. I am definitely most proud to represent Oklahoma City and am so thankful to all of my friends and mentors that supported me through this process.

Career aspirations and goals: Beginning at the end of last year, I had the opportunity to serve in more of a leadership role at Red River Pipe Organ Co. This experience, combined with my own experience as an adult learner of a new instrument, confirmed that I definitely want to be in a teaching role in some capacity! If I can help even one person along in their own journey, I will have considered that the highest level of success possible.

Jennifer Shin

Jennifer Shin is pursuing a Doctor of Musical Arts degree at the Eastman School of Music in the studio of David Higgs, after having completed her Master of Music degree at Eastman in 2020. She received her Bachelor of Music degree magna cum laude at the University of Michigan, where she studied with Kola Owolabi and James Kibbie. During her time in Michigan, she held the position of organ scholar at Christ Church Cranbrook in Bloomfield Hills, Michigan, and participated in the University of Michigan’s University Choir and Early Music Choir both as accompanist and singer.

Most recently, she was chosen as a semi-finalist in the 2020 National Young Artists Competition in Organ Performance hosted by the American Guild of Organists. Other competition awards include first place in the AGO/Quimby Regional Competition for Young Organists for the Seattle chapter (2015) and the San Diego chapter (2013), second place in the Regional AGO/Quimby RCYO (Region IX) in 2013, and first place in the national Rodgers Organ Competition in 2012. In 2016, she was awarded an E. Power Biggs Fellowship to attend the Organ Historical Society convention in Philadelphia. She has participated in masterclasses and coachings with Alan Morrison, James David Christie, Diane Belcher, Ann Elise Smoot, Daniel Roth, and Vincent Dubois, among others.

An interesting fact: I enjoy cooking and making desserts.

Proudest achievement: Something I am proudest of achieving this past year is starting a small studio of private piano students! Hopefully this will grow and expand into organ students soon.

Career aspirations and goals: In addition to concertizing as a solo organist, I would like to continue making music in collaboration with other musicians such as accompanying a choir or playing with other instrumentalists/singers, whether it is in a liturgical or a concert setting. I also would like to continue expanding teaching experiences to include a wider level of students from beginners to collegiate level, while, of course, playing for and directing a church music program.

Augustine Kweku Sobeng

Augustine Sobeng is a native of Shama in the Western Region of Ghana and is currently a master’s degree student in organ performance at Setnor School of Music, Syracuse University, studying with Annie Laver and Alexander Meszler. He studied medical laboratory technology as an undergraduate at Kwame Nkrumah University of Science and Technology (KNUST) in Kumasi, Ghana. Influenced by family background and musical exposure, his expressive tendencies found outlet especially in organ and choral music. He served as a conductor of the school choir in Prempeh College and organist/choirmaster for the University Choir-KNUST.

Throughout and after his undergraduate study, he worked and trained with the Harmonious Chorale-Ghana, where he was a part of several large concerts every year for seven years, serving as principal organist. Although he did not receive any formal musical education, he put himself through music theory and practical exams with the Associated Board of the Royal Schools of Music (ABRSM), earning a diploma certificate in the 2018 organ practical exam. That same year he was awarded the best keyboardist in Ghana, and the following year, received admission with a Visual and Performing Arts Fellow Scholarship to study for his Master of Music. He was a participant in the masterclass of Christa Rakich during the 2019 conference of the Organ Historical Society at the Oberlin Conservatory of Music.

An interesting fact: I have a twin brother who looks nothing like me.

Proudest achievement: Two of my proudest moments were when I won the VPA fellow scholarship for the masters’ program at Syracuse University, and when I won the best keyboardist of Ghana award in 2018.

Career aspirations and goals: Aside from becoming an astute organist of international repute, it is my goal to help raise the standard of organ playing in Ghana. In line with my ambition to institutionalize a good standard of organ music and organ playing, I aspire to establish organ faculties in the music schools of some of the country’s universities. The goal is to carve out a path toward professionalism for young organ enthusiasts in Ghana.

Facebook official page: Stine_Sobeng.

Raphael Attila Vogl

German organist Raphael Attila Vogl has taken part in various competitions, winning second prize at the “Jugend musiziert,” and in 2015 was awarded the Promotion Prize 2014 as the youngest prize winner of the Kulturkreis Freyung-Grafenau. He has also received prizes in the International Mendelssohn Organ Competition in Switzerland, the International Tariverdiev Competition in Russia, and at the Boulder Bach Festival’s World Bach Competition. Raphael studied at the Hochschule für Katholische Kirchenmusik und Musikpädagogik in Regensburg, Germany, including organ and church music with Stefan Baier and Markus Rupprecht. While studying at Hochschule, Raphael spent one year at the Franz-Liszt Academy in Budapest, Hungary, where he studied with Laszlo Fassang, and graduated from the Hochschule in 2018. Raphael made his debut at Alice Tully Hall when he performed the New York premiere of Sophia Gubaidulina’s The Rider on the White Horse at the Focus Festival at Lincoln Center in January 2020. Raphael Attila Vogl graduated from The Juilliard School of New York City in May 2020, where he studied for his master’s degree in organ performance with Paul Jacobs.

An interesting fact: I am half Hungarian and half German. I am proud to have access to both cultures, and I enjoy their differences such as in history, food, music, architecture, mentality, and traditions.

Proudest achievement: Playing recitals on the biggest cathedral organ in the world in Passau, Germany, with more than 1,300 people in the audience. That is an amazing feeling to bring joy and music into that magnificent Baroque space with that incredible and unique instrument.

Career aspirations and goals: My goal would be to become a successful concert organist performing my own transcriptions for the organ. Besides the wonderful existing literature for the organ, there are gorgeous pieces for orchestra or piano that can bring a symphonic organ much closer to the audience by a spectacular and exciting performance. I am also interested in teaching students and sharing my knowledge about the organ.

Website: raphael-vogl.de.

Destin Wernicke

Destin Wernicke grew up in Green Bay, Wisconsin, where he started playing piano and drums at an early age. He continued studying both instruments through high school and then decided to pursue music at the University of North Texas. During his jazz percussion bachelor’s degree, Destin was the drummer for the Grammy-nominated One O’Clock Lab Band and had the opportunity to work with accomplished artists such as Maria Schneider, Gary Smulyan, and Regina Carter. He also played with One O’Clock at the 2020 Jack Rudin Jazz Championship and recorded the recently released album Lab 2020. Destin is now continuing his studies at UNT by working on a graduate Artist Certificate in organ performance, studying with Dr. Jesse Eschbach.

Destin has served as the organist for Saint Barnabas Episcopal Church in Denton for the past two years, leading congregational singing along with a small but dedicated choir. In March 2020, he won first prize in the undergraduate division of the William C. Hall Pipe Organ Competition in San Antonio, earning a cash prize and the opportunity to play a recital at Saint Mark the Evangelist Catholic Church.

An interesting fact: I am also a photographer! In 2016, the Natural History Museum in London displayed a photo I took of a Galapagos sea lion in the Wildlife Photographer of the Year gallery, and I earned an honorable mention in the competition.

Proudest achievement: My proudest achievement so far is playing my first organ recital at UNT while an undergraduate jazz percussion major. I played a varied program of works by Clérambault, Bach, and Jean Guillou.

Career aspirations and goals: Over the past year, I have been preparing a program including Jeanne Demessieux’s Six Etudes, which I will perform at the Marcel Dupré conference held in North Texas this October. Following the conference, I plan to take this program to audiences across the country, playing concerts in Texas, the Midwest, and New York. Long-term, I am hoping to continue working as a church organist and keep learning challenging, seldom-played repertoire that I can perform and compete with at a high level.

Collin Whitfield

Hailed by Mason Bates as “a fine citizen musician,” Collin Whitfield is an award-winning composer, pianist, and organist based in Michigan. He has been the recipient of the James Highsmith Award for new orchestral music, first prize in the American Choral Directors Association Choral Composition Competition through Central Michigan University, and first prize in the Biennial Art Song Composition Competition at the San Francisco Conservatory. His music has been praised by librettist Nicholas Giardini as “beautiful, rapturous, and unabashedly romantic, without any of the failings that so often accompany these qualities.”

Collin Whitfield is an active recitalist and frequently collaborates with his wife, soprano Erin Whitfield. He was awarded the 2017–2018 Tacoma American Guild of Organists Scholarship and the 2020 Kent S. Dennis Memorial Scholarship. Since 2018, Collin has served as director of music ministries at First Presbyterian Church of Saginaw, Michigan, where he directs the chancel choir, guides the concert series, and accompanies the congregation on their 70-rank Casavant Frères, Limitée, Opus 3660 organ. Collin Whitfield holds a Master of Music degree in organ performance from Central Michigan University and a Bachelor of Music degree in composition from the San Francisco Conservatory of Music. His primary teachers have included Mason Bates, David Conte, Steven Egler, and Paul Tegels.

An interesting fact: I like to go on long hikes and long drives, especially exploring beautiful sites in Northern Michigan and the Upper Peninsula.

Proudest achievement: Winning the James Highsmith Competition at San Francisco Conservatory of Music and the unique opportunity to hear an orchestra perform my music.

Career aspirations and goals: I plan to pursue a doctorate in music and hope to teach collegiately in the future. I also want to continue my church music work, remain active as a recitalist, and expand my presence as a composer.

Website: collinwhitfield.com.

The Diapason staff

The Diapason’s sixth “20 Under 30” selections came from a large field of nominations. The nominees were evaluated based on information provided in the nominations; we selected only from those who had been nominated. We looked for evidence of such things as career advancement, technical skills, and creativity and innovation; we considered a nominee’s awards and competition prizes, publications and compositions, and significant positions in the mix. Our selections were not limited to organists but reflect the breadth of our editorial scope, which includes the organ, harpsichord and clavichord, carillon, church music, and organ and harpsichord building. Here we present the winners’ backgrounds and accomplishments, and then have them tell us something interesting about themselves and their achievements, goals, and aspirations.

Nominations will again open for 20 Under 30 in December 2024 for our Class of 2025. Please carefully consider those you may know that deserve this honor and begin to take notes for your nomination. We can only honor those who are nominated.

The Associated Pipe Organ Builders of America (APOBA) is graciously providing a one-year subscription to our 20 Under 30 Class of 2023.

Theodore Cheng

Theodore Cheng is a Hong Kong-born organist and composer with a diverse range of interests and projects that extends well beyond the realm of music. Theodore is currently pursuing a Doctor of Musical Arts degree in organ performance at The Juilliard School, studying with Paul Jacobs under full funding as a C. V. Starr Doctoral Fellow. Prior to arriving at Juilliard, he attained a Master of Music degree at the Yale Institute of Sacred Music, studying organ with Craig Cramer. Theodore is a prizewinner at the 2022 Albert Schweitzer Organ Festival Young Professional Competition and the 2022 Fort Wayne National Organ Playing Competition, and he has performed across three continents, specializing in pre-Baroque and contemporary repertoire. As a composer, his choral and organ works have been performed by choirs and ensembles in the United States and in Hong Kong.

An interesting fact: I enjoy visiting art museums, and I occasionally sing Gregorian chant in a schola. I also like to cook and have long endeavored to make the perfect French omelette, a goal that has so far eluded me.

Proudest achievement: Through my performances and collaborative projects, in which I endeavor to present a highly varied palette of styles from the Renaissance to the modern day, I feature commissions and my own compositions. I savor the meaningful connections a sincere and heartfelt performance could make between audiences and music that may be familiar or completely new to them.

Career aspirations and goals: I aspire to teach organ, music theory, and music history at the tertiary level and serving as an organ teaching consultant for emerging organ audiences and communities in southeast Asia. A simultaneous aim would be to work as an advocate for new organ music, especially of east Asian composers. I also look forward to spending more time exploring historical organ improvisation and writing choral music.

Website: www.theodorecheng-organist.com.

Asriel Davis

Asriel Davis is a Master of Music degree candidate at Syracuse University studying with Annie Laver. Growing up in Atlanta, Georgia, he quickly fell in love with music, playing piano and organ from the age of six. He began to show much promise in both instruments by his teen years, accompanying his high school choir and playing all around the metro Atlanta area.

He went on to study under Wayne Bucknor at Oakwood University, where he earned his bachelor’s degree in piano performance. With a love for sacred music, Asriel has worked and played for many churches around the nation. He recently worked under James Abbington as organist and pianist at Friendship Baptist Church in Atlanta. He currently serves as organist for Grace Baptist Church in Mount Vernon, New York.

Having accompanied world-renowned groups such as The Aeolians of Oakwood University and the Jason Max Ferdinand Singers under the direction of Jason Max Ferdinand, he has shown he is equally suitable for performing solo or accompanying vocalists and choirs. With these groups, Asriel has traveled the nation and around the world playing organs and accompanying. He has played in Europe, South Africa, the Bahamas, and elsewhere. His skill set is vast and varied, ranging from Baroque to modern-era music. Asriel is quickly making a name for himself across genres with his exceptional talent and versatility. With his dedication, he continues to make waves in the music world. Whether performing solo or collaborating with other musicians, his passion for music is undeniable, and his future is bright.

An interesting fact: I love working on cars with my Dad in my free time.

Proudest achievement: I am simply most proud of how far I’ve come on my musical journey.

Career aspirations and goals: I plan to work in the church and teach. I will also work with professional choirs, singing and playing. Another goal is to become a commercial voice actor.

Nathan Elsbernd

Nathan Elsbernd is a church musician who supports community-centered music. He devoted the early part of his career to subbing at various North and Northeast Iowa churches in order to build a broad base of experience. His research focuses on community, hospitality, and their intersections with hymnody. Nathan enjoys interrogating the theology behind the music and texts.

Nathan serves as the first Luther College Church Music Fellow and choir and bell director at Decorah Lutheran Church. While serving as the church music fellow, he has promoted and coordinated the involvement of music students to expand the reach of bi-weekly chapel services. Nathan also works for the Luther College music department as a collaborative pianist, teaches organ lessons through the Luther College Community Music School, and sings in the Nordic Choir. During his time at Luther, he studied with Gregory Peterson and Alexander Meszler. Nathan will receive his Bachelor of Arts degree from Luther College in May 2023 as a music major and religion minor.  

An interesting fact: This summer I will be fighting forest fires in Northeast California. 

Proudest achievement: I’m proud of my efforts to help various aging organs sing for their respective congregations that struggle to find organists.  

Career aspirations and goals: I hope to continue researching the intersection between church communities and music and plan to apply the insights learned to the programs at my future church position. I want to collaborate with clergy to help develop new hymns and liturgy settings that are grounded in an inclusive theology for today’s world. I believe that the organ has the potential for great vitality in the future and plan to spend my life promoting easier accessibility to organs and mentoring and teaching young organists.

Dominic Fiacco

Praised for the “remarkable sensitivity in his interpretations” and his “technical mastery” (American Guild of Organists Eastern New York Chapter newsletter), eighteen-year-old Dominic Fiacco has been playing organ since the age of eight. Fiacco studies with Stephen Best, lecturer in music at Hamilton College and organist at First Presbyterian Church in Utica, New York. In May 2018 he performed at the Cathedral Church of Saint John the Divine in New York City. The following year he played at the Cadet Chapel at West Point, New York, home to the world’s third largest organ. He has also attended several summer intensives in Philadelphia, where he studied with Alan Morrison, who teaches at the Curtis Institute of Music, and with Peter Richard Conte, organist at the Wanamaker Organ in Macy’s, the second largest organ in the world.

Fiacco also studies piano with Sar-Shalom Strong, lecturer at Hamilton College. He has won multiple prizes in several piano competitions and has also performed several times on the Society for New Music’s Rising Stars programs on organ and piano.

The oldest of seven siblings, Fiacco is a homeschooled high school senior who has been accepted to multiple conservatories. He is pursuing a career in
organ performance.

An interesting fact: I like to go on solitary walks in the hills surrounding my rural village, sometimes hiking for a couple of hours at a time. The occasional snowmobiler may ride by, and I may pass through an Amish farm, but otherwise I’m alone. I occasionally stop to take photos of the landscape. Sunsets are especially stunning when viewed from the top of a snow-covered hill.

Proudest achievement: I am grateful to have performed on several major organs, such as the organ at the Cathedral Church of Saint John the Divine in New York City and the Wanamaker Organ in Philadelphia. It’s an honor to have played the Wanamaker, with its rich variety of sounds and unique setting. It was awe-inspiring to set hands on the legendary instrument that Marcel Dupré, Virgil Fox, and so many others have admired. I especially like its many rows of string and harp stops.

Career aspirations and goals:  I aspire to land a church job, since I have a strong interest in the liturgy, especially sacred music. I also intend to teach at some point. However, my main goal is to become a concert organist. Performers really have the ability to inspire people. I enjoy making emotional connections with audiences. It’s fascinating how a piece they may have never heard before, such as César Franck’s Prelude, Choral, and Fugue for piano, can resonate with them so much that they begin crying. I’d like to spend my life inspiring thoughts and emotions in people.

Anna Gugliotta

Anna Gugliotta is an organist, pianist, and teacher based in Central New Jersey. She graduated summa cum laude from Rutgers University in 2022 where she earned a Bachelor of Music degree in organ performance studying with Renée Anne Louprette. She was awarded the Elizabeth Wyckoff Durham Award from Rutgers University for excellence in music performance. Upon her graduation, Ms. Gugliotta was appointed full-time director of sacred music at the Parish of Saint Thomas More in Manalapan, New Jersey, where she is principal organist and directs the adult, youth, and handbell choirs. In addition, she also has a passion for teaching and maintains a private piano and organ studio.

Anna Gugliotta participated in the University of Michigan Organ Conference (2019), the Church Music Association of America Sacred Music Colloquium in Philadelphia (2019), and the Catholic Sacred Music Project (2021 in Philadelphia, and 2022 in Menlo Park, California). She was awarded second place in the RCYO competition (Regions I and II) in 2020. Ms. Gugliotta has performed in organ masterclasses with Alcée Chriss, David Higgs, and Stephen Tharp.

An interesting fact: I enjoy doing different craft projects, the latest of which is paint-by-diamond kits. Similar to paint-by-number pictures, a special tool is used to pick up small, plastic “diamonds” and place them on color-coded spaces. It can sometimes be tedious, but I find it to be pretty relaxing, and I like how the final products turn out!

Proudest achievement: One thing that I am most proud of achieving is starting a youth choir at my current church job. Having primarily a keyboard background, it was a completely new experience for me to plan, advertise, form, and rehearse this new ensemble, but it has been a really exciting project! Planning for this choir began last summer, and then the ensemble was formed the following September. I currently have ten children that attend weekly rehearsals and sing at Masses twice each month, plus an additional 15–20 children that joined for Christmas and Easter. The children have successfully sung a variety of music (Gregorian chant, traditional hymns, and contemporary pieces) and especially enjoy singing in Latin! Several of the children are also learning how to serve as a cantor during Mass, and it has been very rewarding to see these children not only excited to learn about music, but also to learn more about their Catholic faith.

Career aspirations and goals: I’m not exactly sure what my future will look like, but I definitely see myself continuing to work in sacred music. I’ve felt like that was my calling since middle school, and I truly enjoy working as a church musician because it combines sharing my personal faith with musical collaboration!

Amelie Held

Known for her red organ shoes, organist Amelie Held quickly became an internationally acclaimed artist. She recently debuted at some of Germany’s major cathedrals and concert halls, such as the Konzerthaus Dortmund, the Philharmonie Essen, and the international Speyer cathedral recital series. Her solo concert activities include performances in the world’s most important music centers, such as Milan, Paris, Zurich, London, Boston, New York, and Saint Petersburg (Mariinsky Concert Hall).

Raised in Munich, Germany, in a non-musician family, Amelie released her debut album in 2019 at the young age of twenty-two. She has won several prizes at international organ competitions and was one of the youngest finalists of the prestigious French Concours International de Chartres (2018). She has a broad repertoire, both as a soloist and with orchestra and chamber ensemble, ranging from early music to contemporary compositions as well as her own transcriptions.

Currently living in New York City, she is pursuing her Artist Diploma studies at The Juilliard School with Paul Jacobs. In addition to music, Amelie is passionate about literature and speaks four languages. In her free time, she indulges in dancing, working out, or riding motorcycles.

An interesting fact: I have a Bachelor of Arts degree in violin.

Proudest achievement: I am proud of having followed my passions and dreams of becoming a professional musician, even though it was never an easy path to pursue, especially coming from an entirely non-musical background.

Career aspirations and goals: Simply put, I want to make the organ more popular again and get rid of the many stereotypes that we organists are being confronted with! I hope to free the instrument from its dusted image and make it more accessible to the audience! I want to pass my passion and knowledge about this instrument on to everyone who thinks the organ is boring—and everyone else as well, obviously.

Amelie’s website: www.amelieheld.com; Instagram: amelieheld_org.

Katherine Jolliff

Katherine Jolliff is an organist from Indianapolis, Indiana. She began piano studies at the age of five and started learning the organ in her freshman year of high school with Marco Petricic (University of Indianapolis). After completing her first two years of high school, she finished her studies at Interlochen Arts Academy, Interlochen, Michigan. She majored in piano performance and organ performance and studied organ with Thomas Bara. Graduating with honors and the Fine Arts Award in Organ Performance, Katherine is currently attending Eastman School of Music, Rochester, New York, as an organ performance major studying under David Higgs.

In addition to being declared a winner at an AGO/Quimby Regional Competition for Young Organists, she has also won first prize in the East Carolina University Young Artists Competition in organ performance (including the Bach Interpretation Prize and the Hymn Playing Award) as well as first place in the 2021 M. Louise Miller and Paul E. Knox Scholarship Competition. Most recently, she won first place in the Immanuel Lutheran Church Organ Scholar Competition in Evanston, Illinois, and the Taylor Organ Competition in Atlanta, Georgia.

An interesting fact: When I’m not practicing, I’m frequently hanging around (quite literally!) in the local circus school practicing aerial silks and other aerial apparatuses. I’m currently teaching both kids and adults who are just starting out on their aerial journeys.

Proudest achievement: I think what I am proudest of varies day to day. While I am of course proud of the competitions and recitals I have done, I find those achievements pale in comparison to the small choices and risks that I do and make daily. I’m proud of myself years ago, who chose to take a risk by trying an instrument that I wasn’t necessarily going to be good at. Despite setbacks and general insecurity, I decided to pursue something that I love with my whole being.

Career aspirations and goals: The end goal of my musical journey is to lead a life that helps inspire other people, both in music as well as in life. I plan to do this through a combination of teaching and performing as well as being a good role model as a musician and as a person.

Alex Jones

Alex Jones is currently a candidate for the Doctor of Musical Arts degree at the University of Houston, Texas, where he studies with Daryl Robinson and holds a graduate teaching fellowship. He is a graduate of the Eastman School of Music in Rochester, New York, holding a Master of Music degree in organ performance and literature. He earned a bachelor’s degree in organ performance from the Royal Birmingham Conservatoire, UK.

Before emigrating to the United States, Alex was a recipient of numerous awards including the Birmingham Symphony Hall Organ Scholarship and the Manchester Cathedral Organ Scholarship. Since emigrating, he has gone on to win several major awards including third prize at the 2022 Elizabeth B. Stephens International Organ Competition in Atlanta, George; second prize at the 2017 West Chester University International Organ Competition; third prize of the 2018 Royal College of Organists National Competition; and first prize of the 2017 American Theatre Organ Society’s (ATOS) “Young Artist” Competition. 

He is very active as both a classical concert organist and theatre organist, having performed in major venues across Europe and the United States, including as a featured artist at several ATOS conventions, and is currently serving as organist and choirmaster at Trinity Episcopal Church in Houston, Texas.

An interesting fact: I am a keen amateur sailor, and I love the game of snooker, which is a popular British sport. It’s similar to pool but played on a larger table and is more strategy based.

Proudest achievement: I would say my proudest achievement so far is winning the third prize at the Elizabeth B. Stephens International Organ Competition in Atlanta last year. This was my first really major international competition, and I was not expecting to have been selected as one of the six out of seventy-two candidates for the audition round, let alone to have come away with a prize.

Career aspirations and goals: My aspirations and goals for the future are to become a permanent resident of the United States and to continue my work as a performer, both as a classical and theatre organist, as a church musician, a teacher, and as an organ designer and consultant.

Instagram handle: aj_organist.

Caitlyn Koester

Caitlyn Koester is a harpsichordist and music director active in the early music communities of the Bay Area and New York City. Her international duo, AKOYA, releases its first album of Graupner’s complete sonatas for violin and harpsichord under the ATMA Classique label in fall 2023. Caitlyn holds degrees from the University of Michigan, San Francisco Conservatory, and The Juilliard School, and is on collegiate and pre-college faculty at San Francisco Conservatory of Music. Recent engagements include vocal coach and continuo of I Cantori di Carmel’s Vocal Academy and performances of Bach’s Christmas Oratorio around Northern California, and chamber music with musicians of Severall Friends in Santa Fe and Musica Angelica in Los Angeles.

An interesting fact: I have a two-year-old Great Pyrenees mix named Polyphony!

Proudest achievement: A lot of my proudest achievements are non-musical, but one of my proudest musical achievements thus far is being given the opportunity to teach theory and history classes at San Francisco Conservatory of Music. Teaching has always been a vital part of my musical life, and the students at both the pre-college and collegiate level in the SFCM community are extremely talented, positive, and collaborative. It is a joy and an honor to be in my second year teaching at SFCM.

Career aspirations and goals: Teaching and performing have always been equally important parts of my life. I believe that they can maintain a mutually beneficial relationship in a musician’s life, informing and influencing each other with each new concert or class taught, and I hope to further both parts of my career. This winter I have taken DMA auditions in order to continue learning and developing both parts of my musical career, and upon receiving admissions results this spring I will be enrolling in a doctoral program for fall 2023.

Websites: caitlynkoester.com, akoyaduo.com.

Carson Landry

Carson Landry is one of the few students in the world currently pursuing a master’s degree in carillon, studying at the University of Michigan with Tiffany Ng and Pamela Ruiter-Feenstra. Previously, he earned a diploma from the Royal Carillon School in Mechelen, Belgium, while on a Fulbright scholarship, and a Bachelor of Arts degree in music studies from Principia College in Elsah, Illinois. His focus is on playing an active role as a musician in movements for social good, diversifying the carillon repertoire through commissioning and performing works by historically underrepresented composers, and improvising, particularly to fulfill audience requests for popular music by diverse artists. 

The Guild of Carillonneurs in North America (GCNA) awarded him and Grace Ann Lee its Student Composer/Performer Pair Grant, and he serves the GCNA on the Professionalism, Diversity, Equity, and Inclusion Committee and as a typesetter for music publications. A native of Orlando, Florida, Carson has held fellowships at Bok Tower Gardens in Lake Wales, Florida, and at the Thomas Rees Memorial Carillon in Springfield, Illinois, and has given concerts in the United States, Belgium, the Netherlands, and Lithuania.

An interesting fact: I’m an avid Trekkie!

Proudest achievement: Peaking a 14,000-foot-tall mountain despite not being athletic in the least.

Career aspirations and goals: I’m pursuing a full-time career in carillon performance.

Social links: https://linktr.ee/carilloncarson.

John Miller

John Miller received his training in pipe organ building through a 3-1⁄2-year apprenticeship under Germany’s dual education system for the trades. He received practical training at Johannes Klais Orgelbau in Bonn and education in organbuilding theory at the Oscar-Walcker-Schule in Ludwigsburg. John earned his journeyman certification in pipe organ building through the Industrie- und Handelskammer Bonn in February 2019 after examination.

In March 2019, John returned to his hometown of Milwaukee and started his own business. Along with maintaining around 100 pipe organs across the state, John’s workshop specializes in the restoration of self-playing mechanical organs (such as organ clocks, orchestrions, and street organs)—with a special emphasis on those operated by pinned cylinders. John is an organ advocate seeking to introduce new audiences to the organ through creative installations of pipe organs and automated mechanical music instruments.

An interesting fact: I am an urban beekeeper and am interested in sustainable homesteading.

Proudest achievement: I passed my journeyman’s exam, got married, and started the organ business all in the same year—then kept the business, still in its infancy, open and growing through the pandemic the following year!

Career aspirations and goals: Several monumental orchestrions were either destroyed in the World Wars or are currently in a state where conservation is more important than functional restoration. I would like to build copies (or close copies) of these instruments so they can inspire audiences once again.

Website: www.MillerOrganClock.com.

Victoria Shorokhova

Originally from Russia, Victoria Shorokhova graduated from the Saint Petersburg Conservatory with diplomas in piano in 2016, studying with Vladimir Shakin, and in organ in 2017, studying with Daniel Zaretsky. In 2019, she earned a master’s degree at Saint Petersburg State University, majoring in historical performance on keyboard instruments (organ, harpsichord, and carillon). In 2022, she received a Master of Music degree in organ performance at Georgia State University, studying with Jens Korndörfer, serving as a music intern at First Presbyterian Church of Atlanta during her studies. Starting in January of this year Victoria has been pursuing a Doctor of Musical Arts degree in organ performance at the University of Houston, studying with Daryl Robinson and holding an organ scholar position at Saint Luke’s United Methodist Church.

Victoria is a laureate of numerous international organ competitions, including the XXVI International Competition of Sacred Music in Rumia, Poland (2014, second prize), and the II International Braudo Organ Competition in Saint Petersburg (2019, first prize and special prize). She has participated in organ academies at Alkmaar, the Netherlands (2013), Graz, Austria (2014), Kotka, Finland (2015), and masterclasses with Ludger Lohmann, Arvid Gast (Germany), Gunther Rost, Johann Trummer (Austria), Iain Quinn (United States), Lorenzo Ghielmi (Italy), and Isabelle Demers (Canada). Victoria actively concertizes in Russia and the United States; her recent performances include venues such as Saint Patrick’s Cathedral and Saint Thomas Church in New York City and the Cathedral of St. Mary of the Assumption in San Francisco.

An interesting fact: When I was 16, I created a rock band in about three weeks. We only had one gig, performing some covers on the Beatles’ songs, and I was the lead vocal. Funny, I lost interest to being in a band after this event, and have rarely played guitar since then.

Proudest achievement: I was born in a small settlement in Russia, where the biggest dream would be moving to the regional capital. I couldn’t imagine myself relocating halfway across the planet to continue my education and career development, and I’m proud to be where I am right now. It took a lot of persistence and courage to get to this point, and I will continue working. However, achieving all this wouldn’t be possible without support of my family and many good people that I meet here in the States (and a sparkle of pure luck).

Career aspirations and goals: I love being involved in music making whether it’s playing organ, or piano, or singing in a choir. My major goals are sharing the gift of music as a church musician and a concert performer, and teaching.

Nicholas Stigall

Nicholas Stigall, 22, is a senior majoring in organ performance at the Jacobs School of Music at Indiana University, Bloomington, where he is a recipient of the Barbara and David Jacobs Scholarship and studies with Janette Fishell. A native of Knoxville, Tennessee, he began organ lessons with Edie Johnson at the age of fifteen. Nicholas has been the recipient of many awards in organ performance competitions, including first prize in the 2019 RCYO Southeast Region and second prize in the 2022 Arthur Poister Competition. A passionate church musician, Nicholas currently serves as music intern at Trinity Episcopal Church, Bloomington, Indiana, where he formerly served for three years as undergraduate organ scholar under Marilyn Keiser. He is currently dean of the Bloomington Chapter of the AGO. Additionally, Nicholas was the organ scholar at the Chautauqua Institution for the 2022 season under the direction of Joshua Stafford. Throughout the nine-week season, he assisted in the service music for seven weekly choral services and also played three solo recitals. Nicholas looks forward to returning to Chautauqua again as organ scholar for the 2023 season.

In his free time, Nicholas enjoys exercising and drinking tea.

An interesting fact: I used to be a competitive gymnast and was on the Junior National Team.

Proudest achievement: I am probably proudest of winning the Southeast RCYO in 2019 while still a high school student.

Career aspirations and goals: I have always been equally passionate about performing organ literature and doing sacred music. I aspire to have a career in church music, while concertizing on the side and maybe teaching organ at the university level.

Joel Stoppenhagen

Joel Stoppenhagen is a native of rural Ossian, Indiana. His organ instruction began at age 11, his first teachers being Richard Brinkley and Randall Wurschmidt. In high school, Joel attended Lutheran Summer Music at Valparaiso University for two summers, where he studied with Chad Fothergill. During the summer of 2022 he served on the worship staff of the same program.

In December 2023, following a semester abroad at Westfield House seminary in Cambridge, Joel will graduate from Valparaiso University with a Bachelor of Music Education degree. During his time at Valparaiso University, he took lessons with Sunghee Kim and Stephen Schnurr and held several leadership roles in the university’s AGO chapter. He also worked in the university archives cataloging the works of the late Philip Gehring, longtime university organist, and in his work uncovered a transcription of a Langlais improvisation on “Of the Father’s Love Begotten,” which was later published in CrossAccent, the journal of the Association of Lutheran Church Musicians. His other publications include organ music reviews for The Diapason and a score preface (co-authored with Katharina Uhde and Ryan Gee) for the publisher Musikproduktion Höflich. At the 2022 Association of Lutheran Church Musicians regional conference in Valparaiso, Joel gave a plenary address on the topic of youth and traditional church music and was a panelist for a discussion on the subject. He currently serves as director of music at Saint Paul Lutheran Church, Chesterton, Indiana.

An interesting fact: I grew up on an historic family farm established in 1895. My father and uncle raise beef cattle and all of the typical Indiana crops. I grew up being fascinated with antique farm machinery and equipment—and I still am!

Proudest achievement: I am most proud of my improvisation skills, which I’ve been honing my whole musical career. While I still have much to learn, I am certainly pleased with what I am able to invent.

Career aspirations and goals: Following graduation from Valparaiso University, I plan to pursue a graduate degree in sacred music or organ performance. It is then my intent to work at a Lutheran church, fulfilling my vocation as Kantor. My sole aspiration is to continue to serve Christ’s church through the noble art of music.

Alexander Straus-Fausto

Working on his master’s degree in organ performance at the Yale Institute of Sacred Music, New Haven, Connecticut, Alexander Straus-Fausto, from Kitchener, Ontario, is thrilled to be studying under the direction of Martin Jean and playing on Yale’s Newberry Memorial Organ. He completed his Bachelor of Music degree at McGill University Schulich School of Music and his secondary school studies at Michigan’s Interlochen Arts Academy. While still a teenager, Straus-Fausto undertook a Canada Council-funded summer 2019 concert tour of the UK, playing in historic churches and cathedrals. He has further expanded the organ’s reach by creating more than fifty original transcriptions of major orchestral works, reflecting his passion for the symphonic organ as a virtually unlimited medium for artistic expression. This summer he will be one of ten finalists at the Longwood Gardens International Organ Competition, Kennett Square, Pennsylvania. He has performed at venues such as Washington National Cathedral, Maison Symphonique, Trinity Church Wall Street, and Woolsey Hall. Alex credits his organ teachers, Martin Jean, Hans-Ola Ericsson, Alcée Chriss, Jonathan Oldengarm, Isabelle Demers, Christian Lane, Thomas Bara, Peter Nikiforuk, and Joe Carere.

An interesting fact: I love mountain biking and roller coasters! Like music, they are about movement and excitement.

Proudest achievement: At this point, I am proudest of studying at Yale. I also would not trade the experience of having attended Interlochen Arts Academy for anything in the world.

Career aspirations and goals: My aspiration is to be an organist in a large church in a big city with a great music program, while performing and recording.

Website: alexanderstrausfausto.com.

Andrew Van Varick

Andrew Van Varick is a doctoral student in organ performance and literature at the Eastman School of Music in Rochester, New York, under the instruction of David Higgs. Previously, he received his Master of Music degree at Eastman, and he holds a Bachelor of Music degree from Montclair State University, where he studied organ with Vincent Carr and John Miller, piano with Mark Pakman, and harpsichord with Hsuan-Wen Chen.

Andrew has played in coachings and masterclasses with Raúl Prieto Ramírez, Bálint Karosi, Michel Bouvard, Wilma Jensen, Simon Johnson, Ezequiel Menendez, Chelsea Chen, and Alan Morrison. As a recitalist, he has performed on the “Young Organ Artist” series at Central Synagogue in New York City, on the “Wednesdays at Noon” series at the Cathedral Basilica of the Sacred Heart in Newark, New Jersey, and for the Greensburg, Pennsylvania, chapter of the American Guild of Organists. In 2022, he was a semifinalist in the AGO National Young Artist Competition in Organ Performance, and this September will be competing in the Ninth International Organ Competition Musashino-Tokyo. Currently, Andrew serves as director of music and organist at the Central Presbyterian Church in Geneseo, New York.

An interesting fact: I also work part time at the reference desk of the Sibley Music Library at Eastman, where I frequently assist scholars, musicians, and musical enthusiasts from around the world. It’s a fun gig!

Proudest achievement: To date, my proudest accomplishment was completing my master’s degree.

Career aspirations and goals: My hope is to pursue a career as a full-time organist and director of music. Additionally, I would love to teach organ and give recitals.

Website: andrewvanvarick.com.

Abraham Wallace

Abraham Wallace graduated from the University of Oklahoma in 2018 with degrees in music (piano) and geophysics. He began seriously playing the pipe organ near the end of his undergraduate years and decided to pursue the study of the instrument more in depth upon graduation. He completed a Master of Music degree in organ performance from the Yale Institute of Sacred Music. While at Yale, Abe served as organ scholar at Saint Paul’s Episcopal Church on the Green, Norwalk, Connecticut, and as director of music for Trinity Lutheran Church, Milford, Connecticut. He is currently pursuing a doctoral degree in sacred music at the University of Michigan, studying organ with Peter Sykes.

Some musical highlights from the last few years include commissioning and performing an organ suite by Ethan Haman as a part of the 2021 American Guild of Organists Student Commissioning Project, curating a virtual evensong service in the height of the covid pandemic, and playing harpsichord in continuo ensembles for various early music projects in both Michigan and Ohio. Wallace is currently the organ scholar at Saint John’s Episcopal Church in Detroit, Michigan, under the direction of Huw Lewis. In his spare time, he enjoys baking bread and making coffee.

An interesting fact: I know how to juggle! And I learned from my mother, who worked very briefly as a clown for hire before starting a family. After having kids, she hung up the proverbial red nose, but kept the costumes. Growing up, our entire family would dress up as clowns for Halloween.

Proudest achievement: My colleagues and I produced a virtual evensong in 2021. We crafted the liturgy, composed all of the music, and recorded everything by ourselves in our spare time. The liturgical and musical fruits of our labor were augmented by the work of a very talented projection designer. While that project was one highlight, more than anything I just feel incredibly lucky to (then and now) be able to make music with so many talented friends and colleagues.

Career aspirations and goals: I have fallen in love with church music and am really hoping to make a full-time career out of the pursuit. Ideally, I would like to hold the position of organist/choirmaster at a church in the United States.

Lynnli Wang

Based in New York City, Lynnli Wang is a talented carillonist, award-winning teacher, and fierce diversity and inclusion advocate. She currently plays at The Riverside Church, which houses a seventy-four-bell carillon, weighing more than 100 tons. Previously, she held the Indiana University’s Jacobs School of Music (IU JSOM) carillon associate instructor position, where she built and taught a vibrant carillon studio, dedicated two newly renovated carillons, performed weekly recitals, collaborated with student composers, commissioned a trio of new works by female composers, and authored her second children’s book on carillons. In recognition of her dedication to making the carillon accessible and exciting to performers, listeners, and composers alike, Lynnli was awarded the IU New Music Performance Award, the IU Lieber Memorial Teaching Award, and the Midwestern Association of Graduate Schools Teaching Award. 

Lynnli’s carillon journey began at Yale University in 2011, where she completed her undergraduate studies in literature. She passed the Guild of Carillonneurs in North America (GCNA) carillonneur exam in 2014; since then, she has concertized regularly across the United States. To advance the art of carillon, Lynnli serves on the board of the GCNA and various committees, including the Emerging Artist Grant, which provides funding for education, research, and performance opportunities to new carillonists.

An interesting fact: Lynnli’s love of big instruments extends outside carillons to include organs as well. In 2022, she completed her Master of Music degree in organ performance from IU JSOM, where she studied with Janette Fishell.

Proudest achievement: As the performer of a public instrument that can be heard from miles around, Lynnli loves to collaborate with fellow artists to ensure the carillon is an inclusive and welcoming space for all. She regularly mentors student composers, commissions works from underrepresented artists, premieres new pieces (including mixed ensemble works such as carillon plus handbells), organizes joint events with local organizations, hosts panels on inclusive programming, and more. One such collaboration with CBS premiered on prime-time national TV where millions saw Lynnli performing the March Madness theme song on the Indiana University Metz Bicentennial Grand Carillon!

Career aspirations and goals: Lynnli aims to build the next generation of carillon lovers by continuing to perform, teach, commission, and collaborate with artists and creatives across different fields. If you ever have an idea for the bells, don’t hesitate to reach out!

Alden Wright

Alden Wright is a student at Eastman School of Music in Rochester, New York, where he is currently pursuing a Master of Music degree in organ performance with Nathan Laube. As a performer and national young competitor, Alden holds several distinctions, including being named winner of the 2019 Arthur Poister National Competition in Organ Playing and the Pogorzelski-Yankee Memorial Scholarship for undergraduate studies. Alden has performed in many student and solo recitals throughout the United States and England and has participated in masterclasses with many of the world’s top performers.

Alden holds a Bachelor of Music degree from Eastman as well as the prestigious Performer’s Certificate, having graduated with highest distinction in May 2020. Alden most recently served as organ scholar at Truro Cathedral in Cornwall, England, under director of music Christopher Gray from 2021 to 2022. He is currently serving as assistant director of music at Christ Church, Pittsford, New York

An interesting fact: Outside of music, I have a love of cooking and baking.

Proudest achievement: Being awarded the Performer’s Certificate from Eastman in my undergrad.

Career aspirations and goals: I would like to pursue professional and academic routes, hopefully having an opportunity to do both teaching and church music with a bit of performing.

Jonghee Yoon

Jonghee Yoon will begin study with Nathan Laube at Eastman School of Music, Rochester, New York, in fall 2023 for an artist diploma. She is pursuing her master’s degree in sacred music and organ performance under David Arcus and Colin Andrews at East Carolina University and is an organ scholar at Saint Paul’s Episcopal Church in Greenville, North Carolina. Jonghee graduated with a bachelor’s degree from Ewha Woman’s University, Seoul, studying with Min-Jung Gaang. An active musician, she is a multi-instrumentalist, conducting and playing organ, harpsichord, and violin. She has performed in many parts of the United States, as well as South Korea, the Netherlands, Hungary, Denmark, and Spain.

Jonghee won the Raleigh Symphony Orchestra’s Rising Stars 2022 competition and performed as a soloist with them. She played for the independent movie Cofradia and has been a music director in several musical theatrical productions, including Les Miserables, Lou Andreas-Salomé, and Corpus Delicti. Jonghee played continuo with Saint Peter’s Bach Collegium and solo organ with Gödi Baroque Ensemble in Hungary. She has also worked with organbuilders at C. B. Fisk, Inc., in Gloucester, Massachusetts, where she participated in making, designing, installing, and tuning pipes.

An interesting fact: There are multiple interesting facts that you might not know about me. My first musical instrument was violin, and I have been playing violin for at least thirteen years. Moreover, I am bilingual. I speak English and Korean fluently, and I also know the basics of various languages such as French, German, Japanese, and Hungarian. These are a couple of sports that I am most passionate about, surfing in summer and skiing or snowboarding in winter. Furthermore, I am an animal lover. And I also like to volunteer. In Korea, I used to volunteer to help children at Dream Purun school, Hanmaum Rural Children Center in Jelloa-do, Jangsung Women’s High School in Gangwon, and Deung Chon High School for students with special needs.

Proudest achievement: My proudest achievement was being accepted into Ewha Women’s University. I put a lot of effort into applying for this school, and I was so happy as it was my dream to be enrolled there. During my time in Ewha, there were many challenges that I overcame. My colleague and I organized and performed in concerts. I also volunteered at various institutions, directed French music musicals and German language plays, mentored juniors, and received awards for my thesis among the entire students of Ewha University. Furthermore, I received a scholarship and had an opportunity to learn from Fisk, an overseas organ company. In addition to this, I have done various activities, and I have learned and achieved many great things after entering Ewha.

Career aspirations and goals: I have a large ambition, and I aspire to do my best to achieve my goals. There are multiple goals that I have set for myself. My current goals are to become a music director in a church and a concert organist. I would love to work and collaborate with other musicians in ensembles or orchestras. It is my desire to make the organ instrument known to more people by working in various fields. I enjoy improvisation, and I want to learn more about organ repertoire and also compose organ pieces. Furthermore, I want to become music director for musicals, and I want to compose music for musicals and movies with organ.

Samuel Russell

Samuel Russell is the library and archival collections manager at Bok Tower Gardens in Lake Wales, Florida. He oversees the Anton Brees Carillon Library and the Chao Research Center, which houses the archives of the Bok Tower Gardens Foundation and its predecessor, The American Foundation. The Chao Research Center is also home to many artifacts related to the founder: Edward W. Bok.

This interview took place February 19, 2022, at the Blue Palmetto Café on the campus of Bok Tower Gardens, Lake Wales, Florida. Pamela Ruiter-Feenstra was studying with Geert D’hollander and playing four concerts at Bok Tower during the week of February 14–19, 2022. I conducted this interview before Pamela had a meeting with Geert. The conversation ended a little early as we heard the bells chiming in the background, which reminded us that it was time for her meeting.

I have Pamela Ruiter-Feenstra with me today. She is a carillonist in Ann Arbor, Michigan.

I play mid-day recitals at the University of Michigan.

And you are also on faculty there?

Not right now. I was the visiting carillonist at the University of Michigan during the 2019–2020 academic year, when Tiffany Ng was on a fellowship leave.

How long have you been playing the carillon?

Eight years. I first started playing the piano when I was a child. Then I added the organ when I was about twelve. As an undergraduate, I majored first in piano and then organ and choral music education, and then went on to pursue a Master of Fine Arts and doctoral degrees in organ with secondary music theory, conducting, and sacred music fields.

Were you aware of the carillon during your childhood?

No, I didn’t live near a carillon in my childhood. It was only when we moved to Ann Arbor and I took the organ professor position at Eastern Michigan University that I started hearing the bells. I was so enchanted by their time keeping capabilities, but also by their role as messengers—that they could speak to the moment of any given day.

The history of letting people know if there was a special event going on, or pirates were coming, or whatever the news was.

Exactly. I had a sabbatical in Ostfriesland, Germany, to study and play historic instruments there. The oldest organ in that area was from 1457 in Rysum, and the church had a bell that was tuned to a low E, the same low E as the pitch on the organ. In his Fundamentum Organisandi (1452), Conrad Paumann composed E drones with figuration above the repeated Es. The pastor of the Rysum church at that time loved the bell. Every time I’d go to practice, she’d say to me, “Shall we play? Can we do the bell and organ piece?” For that E drone in the Paumann piece, she would keep pulling the bell to ring repeatedly in rhythm, and I’d play the Paumann figuration above it. We had so much fun playing that fifteenth-century “duet.” She called it the “Echt Rysumer Hit,” or the true hit from Rysum. A fifteenth-century piece was their town hit!

But then we had to stop because Rysum is in a rural area and the farmers were plowing their fields. They could hear the bells miles away, kilometers away, and for centuries they used the bells to signal when someone died. They would ring the bell the number of times that corresponded with the age of the newly deceased person. The farmers would stop their tractors and start counting: eighty-two, eighty-three . . ., “Oh, it must not be Berta.” Eighty-four, eighty-five . . ., “I wonder if it’s Henk.” Eighty-six . . . . While the pastor and I were playing, they’d hear the bell over and over, and they got stirred up wondering, “Who in our community died?” So that is why we had to stop.

That is fascinating. It definitely means something to that culture and how the bells were translating a message, or sharing the message of something. Did you find it an easy transition from the piano and organ to picking up playing the carillon?

Well, knowing the keyboard layout and playing with my feet translated from the organ, but as for the dimensions, it was a whole new haptic awareness, because it’s like playing on a keyboard built for a giant instead of using a five-finger technique.

I also play the harpsichord and clavichord. The clavichord taught me a lot about arm weight and getting the most beautiful tone. And even though the clavichord is the quietest keyboard instrument, I found the technique of playing it the most helpful in teaching myself how to play the carillon. When I first learned to play the clavichord, I would just sit at the keyboard for hours and think, how do I get the best sound?

Okay, that note bloomed a little, but could it bloom more? And that note sounded choked. Why?

It’s important to ask these questions. I’m an improviser, which helps to let my ears guide first. I find that I can bring out the soul of the instrument better if I initially improvise on it rather than reading music because then my eyes can take over.

That is a very interesting word choice: can you go more into it? Finding the soul of the instrument.

I discovered this when playing historic organs and then harpsichords and clavichords. Each instrument is different, just as each carillon is different. There are some schools of thought where people impose a technique, usually the same technique, on every instrument they play. Even if they’re Steinway artists, Steinways differ from one piano to the next. I find that the finest, the most sensitive and expressive musicians seek to pull out the sound that the instrument most wants to make. So you pay attention to where the most resonance can be found. Is it in the bass or tenor? Is it in the treble? And what does that tell me about what repertoire I choose? Or about what kind of weight I’m distributing here or there? And what parts must be softer so that the melody comes out? What effects communicate well?

When you’re playing and listening to the instrument in real time, how do you become one with the instrument as you’re playing it so that there is that intimate connection?

It is again improvisation. If I am struggling with a passage or hearing something that doesn’t sound optimal to me, then I’ll take that passage and I’ll create an improvisation that is similar to it to figure out. When I take my eyes out of the equation, it opens up the ears. The instrument will speak. It will, it will . . .

Tell you what it wants to play?

It really does, by the quality of the sound. How much color comes, how much bloom? Does it sound forced? Does it sound weak?

What are your favorite types of things to play on the carillon?

I love Geert D’hollander’s music and how he plays the carillon so sensitively. I’m also strongly committed to presenting works from underrepresented composers and cultures and to broaden our repertoire and audience to be diverse and inclusive.

Let’s talk about both of those aspects. First, are you referring to Geert’s original compositions?

His original compositions. He is such a fabulous composer, and each piece is different. His works never sound like cookie-cutter replicas of each other. There is always something fresh in them and yet something historically grounded where you can tell how much music he’s listened to and how much he has studied. Every time I see he has published something else I want to get it and play it because it is just magnificent. And having the opportunity to coach with him here at Bok Tower is just such a dream. It is thanks to the Emerging Artists grant I received from the Guild of Carillonneurs in North America (GCNA) to come here.

The Emerging Artists grant is new and for people who have passed the carillonneur exam in the past three years. It is a wonderful opportunity. It is not like you’re done studying when you pass the GCNA certification exam. I consider that a new beginning, and I think it is really brilliant of the GCNA to offer the award to encourage people to go deeper and to get to the next level of expressive playing or understanding repertoire.

And because I am a composer and Geert is a composer we are talking about compositional techniques, too. I’m sharing my compositions with him, and he is giving me some great feedback on it, saying, “This is lovely, but this—maybe it’s in G minor too long,” or that kind of thing. And then I’ll say to him, “That is exactly what I was thinking. Let’s talk about that.” Then he shows me some of his new compositions that haven’t been published yet, and we talk about them.

I wrote two books on Bach and the Art of Improvisation. Geert improvises, too. So today we are going to have a session about carillon improvisation in the style of Bach, because he recently was commissioned to take some of Bach’s cello or gamba suites, unaccompanied, and arrange them for carillon, but with a twist. He is giving a kind of modern commentary on them, but you can still hear Bach in them. I create improvisation blueprints from Bach preludes and use the same unaccompanied gamba suites for the organ and the harpsichord, and I have written about this in my books. So today we are going to take my books and then the music of Matthias Vanden Gheyn, the well-known Baroque carillon composer whose three-hundredth anniversary we celebrated last year, and we are going to talk about how this might come full circle so that we can develop an improvisational method for the carillon. A carillon student, Carson Landry, will join us.

This opportunity is hugely stimulating. What a beautiful setting to be here in the Bok Tower Gardens and have access to the carillon all day long—into the evening. That is very rare. Most towers have very limited playing time, but here, the playing time is not restricted, and Geert is accessible, kind, and generous with his time, and we are having a blast.

I’d like to delve into your history as a composer and learn more about your style.

Because I’ve studied and performed a lot of early music, I’ve composed in a Baroque or even earlier Renaissance style as well for some of my organ works. But then I started getting commissions for organ. One of the commissions was from a brilliant young organist, Wyatt Smith, who wanted six pieces for a liturgical cycle entitled Liturgy LIVE! He wanted each piece to have a world influence. I started digging into ethnomusicology and finding music from all over the world and figuring out what aspects I could combine. Wyatt also wanted German chorales from the seasons to be featured with that world music. It was an interesting pairing.

Can you tell me more about what that means?

My daughter is from Ethiopia, so I took some Ethiopian rhythms and combined them with a chorale, for instance. I paired a Yoruban lament from Nigeria with the Advent chorale Nun komm, der heiden Heiland. I featured a French Romantic toccata with the Pentecost chorale Komm, heiliger Geist. Each piece had a different character and musical features from around the globe.

What else inspires you in your writing?

When I came to the carillon, I became acutely aware that this is a public instrument. In Ann Arbor we have students from around the world. So, I’d come out of the tower and hear all sorts of world languages and see people from around the world and then I would think, I’ve just played all this music by dead European men. Right? That is not the demographic here. Even though there are some people from European descent, that doesn’t represent everyone—it excludes a lot of people.

How does this public instrument connect with people from around the world? And imagine how much wonderful music the carillon has been missing when so many cultures haven’t been represented! Then I started thinking that my compositional direction must be to lift up the voices that have been missing from classical keyboard music. I interviewed people from the African American, Muslim, and Arab communities, a Jewish Holocaust survivor, and then several people from the Latin community. I asked them about their experience with prejudice. They were incredibly generous in telling their stories. They said they were really glad that somebody finally asked. They wanted to talk and then they gave me permission to write pieces about their stories. It was cathartic for them in that they felt silenced when they were experiencing discrimination, but through this music, they had a voice. And now there was a way to claim agency in a situation where they’d had no agency.

You’re taking feelings from what people tell you and then putting that into the feeling of the music.

The feelings are there definitely, and that’s extremely important to me to get into the right affect for the piece, and the character and style of music. But I’m actually telling a story as well. So the piece I’ll play at Bok Tower today, Earth Blood Reprise, is about a woman, Jackie Doneghy, who grew up in Oberlin, Ohio, and studied with top piano professors when she was in middle school and high school. When she auditioned for a conservatory (not Oberlin), she was heckled because the head of the department didn’t want to allow an African American person into the conservatory. As a result, she dropped the piano and never came back. Her story is implanted into Earth Blood Reprise. I include quotes from Lift Every Voice and Sing, Beethoven’s Moonlight Sonata, and spirituals.

How do you take the story and then put it into music notation?

I’ve also been getting into storytelling with journalists. I collaborate with international journalists from the Knight-Wallace fellowship program at the University of Michigan. I compose music on stories that they have not been able to report on. The stories are under-reported and some of the journalists have been censored. These journalists and filmmakers and I founded Collaborative Investigative Composing (CIC) to tell these stories via music and document them in music scores and film.

The process is a little different for each CIC, depending on how much the storyteller wants to get involved in the music notation. I’ve worked with Jet Schouten, a Dutch journalist who took twenty years of piano lessons. Jet wanted to play the notes on the carillon that she wanted in a CIC composition, while I notated the music. Venezuelan journalist Marielba Núñez played themes and effects on the carillon while she verbally told me the stories of Venezuelans who are fleeing the authoritarian government and humanitarian crisis. I took Marielba’s themes and developed them more to fit with her stories. At that point, I play what I notated and ask the storytellers whether the music tells their story effectively or whether something is missing.

Marielba is also a poet, and she has a keen ear for form, structure, and balance. She’s not a musician, but she could describe in literary terms the changes she suggested.

When Jackie gave up the piano due to the audition trauma she endured, she became a singer instead. She asked for some spirituals to be included along with Lift Every Voice and Sing, and then I added the Moonlight Sonata, because that is one of the pieces she played on the piano. Including the Beethoven was a way for Jackie to reclaim it in her own voice, not in the disparaging voice. So there are layers there. A general audience may not know the story there unless there are program notes or if a performer has a chance to talk with them. This means, of course, it is also really important that the music can stand alone, which it absolutely does.

People will ask me questions about it afterwards, and they’ll say, “That is such an intriguing piece. Tell me about it.” And then we have a chance to talk about it after the concert.

As an example, on Saturday (February 19, 2022) at Bok Tower, I performed Earth Blood Reprise along with some pieces from The Music of March: A Civil Rights Carillon Collection edited by Tiffany Ng, some spirituals, including Go Down, Moses and Sometimes I Feel Like A Motherless Child, which I arranged in Global Rings, and Joey Brink’s arrangement of Lift Every Voice and Sing. After the concert, an African American man approached me and he said, “Thank you for including music for us. I like the sound of the bells, but I never thought I’d hear something that directly speaks to our experience. It makes such a difference.” He then told me that as he walked around the gardens listening, he met several other African Americans, and each one of them would smile and nod, or wink, or show a thumbs up that indicated that they, too, felt included by the carillon that day. He asked about Earth Blood Reprise and wanted to hear more of the story. At the same time, he said that the piece spoke to him before knowing the story. Hearing the story served to deepen his experience.

How it is different composing for the carillon in comparison to the piano, the organ, or even the harpsichord. What is unique about the carillon specifically?

Fewer notes can be played at once on the carillon compared to other keyboard instruments. I think of composing for the carillon often as a Schenkerian reduction that happens before the bigger or more expanded piece is actually written. Writing for the carillon must be sparse. I think about the strong minor third partials and not having dense chords especially in the tenor-bass range because then the resonances cancel each other out as they vibrate for so long. If there are two voices close together in thirds, for instance, they really need to be in the treble. But those are technical details.

I mentioned my work with journalist Marielba Núñez to tell stories via music about the humanitarian crisis due to an authoritarian government in Venezuela. Journalist Eileen Truax and filmmaker Diego Sedano reported on the untenable conditions people fled from in Mexico and the issues they face due to unjust U.S. immigration policies. I’m starting to write an oratorio based on those stories. A former TV news anchor and filmmaker from Belarus joined in a CIC piece that demonstrates how an authoritarian head of state forces the media to tell lies to the people. One journalist, Tracie Mauriello, reported on school shootings in the U.S.: gun violence. Another journalist, Ana Avila, reports on misogyny and gender violence in Mexico. Dutch journalist Jet Schouten and I collaborated in a pandemic response, Healing Bells, which was premiered simultaneously by carillonists in fourteen countries. Healing Bells contains an arrangement of Plyve Kacha, a Ukrainian lament.

I return to your question about how we collaborate. When I meet with a journalist in person, I can take them to a carillon, just as happened with Marielba and Jet Schouten. Then I actually ask them to play the feeling of their story on the carillon while they’re telling the story to me a second time around. First, we just sit like this across a table and talk. And then, the second time, even if they haven’t had music lessons before and I might say, play just the black keys and then everything you play will sound good. I get them started with pentatonic modes, so that they can stay focused on the affect of the story. Inevitably they come up with a really interesting theme. And then I build on their theme and use that as a unifying theme throughout their piece.

You say it is people who don’t know music. But everyone kind of intuits that these are the low keys and these are the high keys. For the carillon it’s playing with your fists. You strike the keys, and you might depict your frustration by playing on low keys or reflect your high points on the high keys, and then you might play in the middle of the keyboard. It is an interesting way to get them to express their internal story in an alternative way.

It is so important to the journalists to be able to tell these stories first of all, and with censorship for some of them, these are stories they haven’t been able to tell. And secondly, they feel really strongly that it is important—as an archivist, you’ll appreciate this—to preserve these stories. Otherwise, those stories are erased. They have been erased now in the present, but if they’re also erased in the future then these atrocities from authoritarian governments resulting in humanitarian crises will never come to light.

You said you work with the Knight-Wallace Fellows, and they’re at the University of Michigan?

Yes.

Is that relationship between the two entities—the carillon and the Knight-Wallace Fellows—something formally recognized by the university?

Lynette Clemetson, the director of the Wallace House, approaches me from year to year to ask whether I would present for the fellows. University of Michigan Carillon Professor Tiffany Ng has fully supported this, which has greatly helped to facilitate our CIC initiatives. From carillon presentations, the fellows themselves find out about our CIC way of telling stories. Then they are free to just approach me and say, “I’d love to do something. Can you collaborate?” It starts out rather informally and grows from there.

We at CIC are applying for grants. We really need some funding to create some short and full-length documentaries about our work so that these stories get preserved in music scores and film to reach wider audiences. We’d like to tour to a number of sites to integrate with communities who connect personally with the stories and places where no one knows about these stories and then to culminate with CIC performances. I usually compose a CIC first for carillon. Now, I’m developing CIC works for organ, chamber ensembles, orchestra, choir, soloists, etc. Our CIC team feels passionate about what we’re doing because it meets a need. It is cross-disciplinary, collaborative, and is dealing with a lot of social-justice issues. We’re going to find a way to continue.

To continue telling the stories that people need to share.

Yes, exactly.

Thank you for your time and for sharing what you’ve learned and your methodologies with me. I appreciate it.

Thanks so much for your invitation, Sam, it is really kind.

Bok Tower Gardens library website: boktowergardens.org/library/

Pamela Ruiter-Feenstra’s website: pamelaruiterfeenstra.com