The Sewanee Church Music Conference 2006

Mary Fisher Landrum, a native of Indiana, Pennsylvania, is a graduate of Vassar College and did graduate work at the Eastman School of Music as a student of Harold Gleason. She has served as college organist and a member of the music faculty at Austin College, Sherman, Texas; Sullins College, Milligan College, and King College in Bristol, Tennessee. For a third of a century she was organist/choir director at Emmanuel Episcopal Church in Bristol, Tennessee.

Church musicians from 24 states and the Virgin Islands participated in the 55th annual Sewanee Church Music Conference July 12–18 at Dubose Conference Center in Monteagle, Tennessee. Robert Delcamp, professor of music, University of the South, planned and directed the conference.
Heading the faculty were Bruce Neswick, organist and choirmaster of the Cathedral of St. Philip, Atlanta; Harold Pysher, associate to the rector for music and liturgy at The Church of Bethesda-by-the-Sea, Palm Beach, Florida; and the Rev. James F. Turrell, assistant professor of liturgics and the history of liturgics at the School of Theology, University of the South, Sewanee.
In a variety of workshops Dr. Neswick covered plainchant and Anglican chant techniques while Dr. Pysher demonstrated hymn playing as well as anthem and psalm accompaniment. Keith Shafer, director and organist at St. Paul’s Episcopal Church in Augusta, Georgia, discussed Episcopal basics that were especially helpful for those who are new in the Episcopal Church. Shafer also presented new psalm settings. Mark Schweizer of St. James Press, Shafer, and Neswick led anthem-reading sessions. Neswick also demonstrated choir training and audition techniques with choristers from the Blair Children’s Chorus of Vanderbilt University and choristers from St. George’s Episcopal Church in Nashville.
Dr. Turrell led the daily services using Rites I and II and various musical settings of liturgy. Pysher and Neswick accompanied the services on the organ. Turrell also presented a series of lectures on such topics as “Singing a New Song: Church Music & the Renewal of Liturgy” and “The Seven Deadly Liturgical Sins (and what a church musician can do about them.)”
Two organ recitals were highlights of the week. Pysher and Neswick performed on both, the first being played on the recently enlarged Casavant in All Saints’ Chapel at the University of the South. The second recital was held in the Chapel of the Apostles at the School of Theology in Sewanee. Its focus was on hymns, sung by the audience and each followed by a solo work, an improvisation, or an organ duet based on the hymn.
The 153 conferees formed the choir for two services in All Saints’ Chapel. Evensong used George Dyson’s Magnificat and Nunc Dimittis. The anthem, “Christ, mighty Savior,” by Craig Phillips was commissioned for this conference and sung during Evensong. Another commissioned work was Michael Burkhardt’s set of organ variations on the hymntune “Hanover.”
In the university service on Sunday morning Schubert’s Mass in C provided the settings of texts for the Holy Eucharist. The anthem at the Offertory, “Intende voci orationis,” was also composed by Schubert. All these settings had orchestral accompaniment.
Bruce Neswick composed the setting of the psalm. The service was framed by Widor’s Andante sostenuto from the Gothic Symphony and Guilmant’s Allegro vivace from Sonata No. 2 played by Pysher. Pysher was the organist for the service, and Neswick directed the choir. The service concluded with the ringing of the bells of the Leonidas Polk Memorial Carillon.

Mary Fisher Landrum, a native of Indiana, Pennsylvania, is a graduate of Vassar College and did graduate work at the Eastman School of Music as a student of Harold Gleason. She has served as college organist and a member of the music faculty at Austin College, Sherman, Texas; Sullins College, Milligan College, and King College in Bristol, Tennessee. For a third of a century she was organist/choir director at Emmanuel Episcopal Church in Bristol, Virginia.

Church musicians from 32 states, the Virgin Islands, and Barbados gathered on the mountain at DuBose Conference Center in Monteagle, Tennessee, for the 57th annual Sewanee Church Music Conference July 9–15. Keith Shafer, director of music and organist of St. Paul’s Church in Augusta, Georgia, planned and directed the conference. Heading the faculty were Gerre Hancock and Judith Hancock, now on the faculty of the University of Texas in Austin. Serving as conference chaplain was Dennis R. Maynard, priest, rector, preacher and writer from Rancho Mirage, California.
The first day of the conference began with registration and ended with Evening Prayer, led by Dr. Maynard, who was also the officiant for the daily morning eucharists. The Hancocks were organists for the services that used Rites I and II with various musical settings of the liturgies. The psalms were set to Anglican chant, a topic that was discussed with plainchant by Gerre Hancock in one of his classes.
In other classes he demonstrated “Leading the Hymns with Conviction and Verve,” “Improvisation for the Timid and Meek of Heart,” and “An Anthem from Start to Finish.” Judith Hancock held a class on organ repertoire and a class on “The Choral and Organ Works of William Mathias.” Both Hancocks collaborated in two sessions on “Conducting the Choir,” and led organ masterclasses featuring music of Jean Langlais, Nicholas Bruhns and Dieterich Buxtehude, played on the Casavant in the Chapel of the Apostles on the Sewanee campus by organists attending the conference.
Dr. Maynard gave a series of lectures that touched the nerve of current Episcopalian issues such as, “Do you really think that you’re an Anglican?” and “How can we respond to the Biblical Fundamentalist?”, “Are the Schismatics the Faithful Remnant or Contemporary Pharisees?” and “Where’s the forgiveness in the Church?”
Adjunct faculty led a variety of classes. Larry Marchese of Sibelius Software talked about music publishing software. Susan Rupert, vocal professor at the University of the South and School of Theology, presented Episcopal basics for those new to the Episcopal Church.
Reading sessions enriched the conference program. These were led by Mark Schweizer, editor of the St. James Music Press; Celia Tolar-Bane, director of music and organist of St. John’s Episcopal Church in Columbia, South Carolina; Donald E. Dupee, Jr., director of music and organist of St. Thaddeus Church, Aiken, South Carolina; and Robert Delcamp, Professor of Music, University Organist and Chair of the Music Department of the University of the South in Sewanee, Tennessee.
A highlight of the week was the organ recital played by Judith and Gerre Hancock in All Saints’ Chapel of the University of the South. Judith Hancock opened the program with the Praeludium in A-Moll, Bux WV 153 by Dieterich Buxtehude, and also played Guilmant’s Sonata in C Minor. The charming Duett for Organ (1812) by Samuel Wesley was played by both Judith and Gerre Hancock. The program was rounded out with Gerre Hancock’s stunning improvisation on the submitted theme, “Rosedale” by Leo Sowerby.
The 150 conferees formed the choir for two services in All Saints’ Chapel. Evensong used Sowerby’s Magnificat in D and Nunc dimittis in D, preceded by his Eternal Light for the introit. Eternal Light also began the service as Gerre Hancock improvised on it during the procession. The preces, responses, Lord’s Prayer and collects were sung by the choir to settings by Gerre Hancock. The Phos Hilaron was sung to Charles E. Wood’s Hail, gladdening light. Psalm 37 was set to Anglican chant by E. F. Day and George Thalben-Ball. The anthem was Psalm 122 by Sowerby. The voluntary concluding the service was played by Gerre Hancock, who improvised on “St. Clement,” the tune of the last hymn.
In the festival eucharist university service in All Saints’ Chapel on Sunday morning, Craig Phillips’s Festival Eucharist provided the settings of texts from the liturgy. Psalm 25 was sung to an Anglican chant by George Thalben-Ball. The offertory anthem was Gerre Hancock’s Christ Our Passover. Richard Shephard’s motet, O Thou Before the World Began, and Roland E. Martin’s anthem, Love on My Heart, were sung at the communion. Both were composed for the 57th Sewanee church music conference, as was Triptych on “At the Name of Jesus” (King’s Weston) by William Bates. Triptych was played by Gerre Hancock as a prelude to the service. He also played the concluding voluntary, an extensive and elaborate improvisation on “Ora Labora,” which was the last hymn of the service. Participating in both services were Gerre Hancock, Judith Hancock and Dennis Maynard.

Jane Scharding Smedley has served as organist-choirmaster at St. Peter Roman Catholic Church in Memphis, Tennessee since 1980. She earned bachelor’s (Rhodes College) and master’s (Wittenberg University) degrees in sacred music, and holds the Colleague and Choirmaster certificates from the American Guild of Organists. Her teachers included David Ramsey, Tony Lee Garner, Frederick Jackisch, and Richard White. An attendee at the Sewanee Church Music Conference since 1979, she currently serves as secretary of the board of directors.

Since 1951, the Sewanee Church Music Conference has offered a rich musical and spiritual experience to musicians who serve primarily in Episcopal churches. Each July, approximately 150 organists, choirmasters, and choristers make their way to the DuBose Conference Center in Monteagle, Tennessee, to refresh their skills, learn new insights, and renew friendships with colleagues. A family-reunion atmosphere pervades the weeklong gathering, where first-time attendees are warmly welcomed by those who return every year to the “holy mountain.”

Reverend James Turrell, from the School of Theology at the University of the South in nearby Sewanee, Tennessee, was conference chaplain. The parable of the steward who brings forth both old and new from the storeroom inspired his explorations of the liturgical renewal, inculturation of the liturgy, and the valuable role of musicians in bringing forth both old and new treasures from the storeroom of the Episcopal heritage.

Tom Foster and Janette Fishell served as the music faculty and were a superb team. They alternated as conductors and organists for the two major liturgies of the conference: Friday Evensong and Sunday Eucharist, both sung in All Saints’ Chapel on the Sewanee campus. Along with Reverend Turrell, they provided leadership at the carefully planned daily Eucharists, an important part of the week for many.
Foster, well known for his work at All Saints’, Beverly Hills, until retirement in 2003, last appeared at the conference in 1984. He has served as interim musician in various Episcopal parishes and is now Parish Musician at the Church of the Epiphany in Seattle. Janette Fishell, Professor of Organ at the Jacobs School of Music at Indiana University, was making her first appearance at the conference. Dr. Fishell performed in recital on the Casavant in All Saints’ Chapel, taking us on a musical tour of Prague, London, and Paris, through pieces by Petr Eben, Herbert Howells, and Widor.

Through choral rehearsals, workshops on psalmody, practice techniques, service playing, and an organ masterclass, Foster and Fishell brought forth both new approaches and affirmed older methods from their vast musical backgrounds. Worship repertoire included anthems by Richard Shepherd, Craig Phillips, Malcolm Boyle, and Phillip Wilby. Richard Webster’s Mass in Lydian Mode was sung in the daily liturgies as well as on Sunday. The Magnificat and Nunc Dimittis at Evensong were from David Hogan’s St. Alban’s Service. An a cappella setting of Psalm 23 by former SCMC faculty Jeffrey Smith was particularly lovely. This year’s commissioned work for organ, Fanfare and Variations on “Merton” by James Biery, was premiered by Dr. Fishell.

Choral reading sessions were presented by Elizabeth Smith (Lois Fyfe Music) and Jane Scharding Smedley (St. Peter Roman Catholic Church, Memphis). A detailed yet practical session on handbell techniques and repertoire was led by Richard Moore (St. Edward’s Episcopal, Lawrenceville, Georgia). Susan Rupert (University of the South) offered sessions on “Episcopal Basics.” Keith Shafer (St. Paul’s Episcopal, Augusta, Georgia) shared organ repertoire based on hymn tunes. Music displays were provided by Lois Fyfe Music, St. James Music Press, Church Music Services, and Calvin Taylor.

The Conference Board of Directors places high importance on each year’s offerings meeting the needs of those in attendance. Surveys are taken to guide the content of future programs and choice of faculty.
Delicious meals and comfortable accommodations are found at the DuBose Conference Center in scenic surroundings. Many comment favorably on the reasonable registration fee for a week filled with musical, educational and social events. The Sewanee Conference looks forward to its 60th anniversary in 2010, which will feature returning faculty Malcolm Archer (Winchester College, UK) and Peter Richard Conte (Wanamaker Organist, Philadelphia). Reverend Dr. Joe Burnett, Bishop of Nebraska, will return as chaplain. For more information on the Sewanee Church Music Conference, contact Dr. Robert Delcamp: [email protected] or Keith Shafer: [email protected].

Photo credit: John Whitmer, Birmingham, Alabama © 2009

The 52nd annual Sewanee Church Music Conference was held July 15-21 at DuBose Conference Center in Mont-eagle, Tennessee and at the University of the South in Sewanee. Filled to capacity, the conference attracted 159 organists, choir directors, and choristers from 23 states. Dr. Robert Delcamp, Professor of Music at the University of the South, planned and directed the conference. Malcolm Archer, Organist and Master of the Choristers at Wells Cathedral, and Peter Richard Conte, Grand Court Organist of the Wanamaker Organ in Philadelphia and also Organist and Choirmaster of St. Clement's Episcopal Church, headed the conference faculty. The Rev. Dr. Joe Burnett, Professor of Pastoral Theology, School of Theology, University of the South, led the daily services and in a series of lectures explored tensions arising in parishes and added possible solutions for impossible people.

Malcolm Archer presented aspects of the English choral tradition as well as giving practical advice on putting together a service very quickly. James Brinson led several sessions on the Episcopal Church for musicians who are new to the church. Keith Shafer had two sessions on chanting the psalms. Anthem-reading sessions were conducted by Archer, Jason Abel, and Donald Dupee, Jr. Also, an impressive display and reading session were directed by Mark Schweizer of St. James Music Press.

Peter Conte held a variety of workshops devoted to playing the organ. Besides the masterclasses, there were sessions on hymn playing, anthem accompaniment, and improvisation. David Davies, a young Welshman currently the Assistant Organist and Choirmaster at the Cathedral of St. Philip in Atlanta, played a stunning organ recital in All Saints' Chapel. The program included works by Bach, Gigout, Mozart, Cocker, Howells, and Vierne and ended with an overwhelming improvisation for an encore.

All Saints' Chapel provided the setting for the major services of the week. The Choral Evensong on Thursday evening used Dyson's Magnificat and Nunc Dimittis in D and Parry's monumental anthem, Blest Pair of Sirens. At the Sunday service, Schubert's German Mass was sung to the liturgy. Music composed by Archer and commissioned by the conference was premiered--the organ voluntary Variations on King's Lynn and the anthem Bread of the World. The centerpiece anthem was O How Glorious Is the Kingdom by Harwood. Brass and percussion added festive flair to this anthem and to hymns throughout the service. Archer was the conductor, Conte was the organist, and all conferees formed the massive choir for both services.

--Mary Fisher Landrum

New faculty members, choral reading sessions, fellowship and more at this year's conference

The 63rd annual Sewanee Church Music Conference, directed by Robert Delcamp, president of the board and university organist at the University of the South, welcomed three ‘first-timers’ as music faculty this year: Richard Webster, Maxine Thévenot, and Edmund Connolly. The Reverend Barbara Cawthorne Crafton returned as chaplain, to the great delight of those privileged to hear her in 2011. Webster is director of music and organist at Trinity Church, Copley Square, Boston. Thévenot and Connelly, in addition to their extensive performing and re-cording careers, serve as organist-choir director and assistant organist-choir director, respectively, at the Cathedral of St. John’s in Albuquerque. Reverend Crafton, author, counselor, and spiritual director, has served several churches. She heads the Geranium Farm, an institute for the promotion of spiritual growth.

The scope of the conference allows for many essentials: learning, worship, fellowship, spiritual enrichment, and the proverbial “re-charging of batteries.” This year’s gathering accomplished all this and more. In the first rehearsal, Webster took the 138 singers through all the music to give them a taste of what was in store, while getting acquainted with the ensemble at his disposal.

On Tuesday evening, the annual Gerre Hancock Concert was presented by Thévenot and Connolly in All Saints Chapel. Thévenot played Marcel Dupré’s Placare Christe Servulis from Le Tombeau de Titelouze, op. 38, Sweelinck’s variations on Ballo del Granduca, and selections by Bruhns, Hampton, Messiaen, McNeil Robinson (Homage to Messiaen), and Phillip Moore. The inclusion of Gerre Hancock’s Air was most fitting, as many of those present personally knew of his long-time relationship with the conference. Thévenot showed sensitive accompanying skills on three songs by Hugo Wolf offered by Connolly; Vaughan Williams’s beloved “The Call” was a perfect match for his expressive baritone voice. Thévenot concluded with Vierne’s Carillon—the pulse of the piece could have set the carillon in the Shapard Tower above tolling.  

Choral reading sessions were spaced throughout the week: Richard Webster, Alvin Blount, and Peggy Lyden shared proven winners from their own church programs, with anthem packets provided by Elizabeth Smith of Lois Fyfe Music. A highlight of the conference is the presence of this store on campus all week for browsing, professional advice, and conviviality of shoppers. Mark Schweizer of St. James Press previewed its latest collection, and Maxine Thévenot presented organ music from her native Canada.

Long-time attendee Richard Moore offered two workshops on the use of computer programs especially geared towards the work of church musicians. To judge from the overflow crowd he drew, this was obviously filling a need for many.

The popular and invaluable “Episcopal Basics” class offered by School of Theology faculty member Susan Rupert now includes “Singing the Altar Book” and “Liturgical Planning”—pertinent topics whether one is serving a small parish or a cathedral.

While the primary focus of the music faculty is the rehearsal and performance of literature at the two main liturgies, each offered sessions on various topics. Thévenot gave a thorough and excellent overview of hymn-playing skills, demonstrating such with attendees Bill Bane, Parks Greene, and Richard Mangiagli. In her organ masterclass, coordinated by Alvin Blount, players Tim Hall, Bill Bane, Jeffrey Ford, and Stanley Workman, Jr. were each allotted 30 minutes; this allowed in-depth observations by the clinician that could be beneficial to all. She shared background tidbits to illustrate reasons for approaching a piece in a certain way. 

Edmund Connolly’s well-received classes on vocal techniques were further integrated into the group rehearsals: at Webster’s invitation, Connelly oversaw warm-ups and made suggestions for dealing with specific issues throughout the week. Such displays of teamwork were noted positively by colleagues.

Choristers from St. George’s Episcopal Church in Nashville assisted Webster in his presentation entitled “The Joy of Doing REAL Music with Children.” The topic of composing and arranging drew about 35 who read through submissions conducted by attendees Mark Janus, Stephen Schalchin, Brennan Szafron, Stephen Casurella, and Kirby Colson. Webster facilitated feedback from the observers, with each composer receiving positive and insightful suggestions on their work. A workshop on choral conducting offered Eric Vinciguerra, Jennifer Stammers, Susan Yoe, and Mark Janus (all expertly accompanied by Dory Light) the chance to show their interpretation of Howells’s Like As the Hart. In addition to Webster’s comments, others made positive and useful observations, further showcasing the collegial aspect of this conference.  

Each year one looks to bring back some pearls of wisdom to share with one’s choir: a vocal warm-up, a conducting gesture for the clean release of a final ‘s,’ a catchy phrase to drive home a point—even a good joke! Webster’s rehearsals contained many such gems, generously and respectfully shared. Later in the week, on a more personal note, he told his story of being present at the Boston Marathon when the bombings occurred, only two months previously (see The Diapason, October 2013, pp. 20–21).

The Reverend Barbara Crafton was back as chaplain—truly by popular demand! Besides deeply spiritual insights, her talents in theater and music, among others, showed forth in her profound messages—choices of words, their delivery, timing, pacing, punctuated with delightful humor. Daily morning homilies were scripture-based, with everyday examples woven throughout. Glimpses of personal stories and musical knowledge obviously resonated with her listeners, including her image of the choir as a model for the world in its blend, ensemble, unity, harmony. In addition to using her voice as a preacher, she very capably served as Precentor at Evensong. Her presence at daily choral rehearsals was further evidence of her appreciation of the conference’s focus on liturgy. It was notable that, unlike some years, attendance at morning Mass did not decrease as the week went on! The titles of her four lectures alone enticed listeners to come and hear: The Music of the Spheres; A Tree Falls in the Forest; Nude Descending Staircase; The Also-Life.

The Missa Dorica by Webster was sung at daily Eucharists, with the Durham Mass by Daniel Gawthrop used once. Organ selections provided by Dr. Thévenot on the Rodgers organ in the small Dubose Chapel ranged from Buxtehude and Bach to Boëllmann, Langlais, and Messiaen. 

This year’s commissioned organ work—Variations on ‘Ubi Caritas’ by French-Canadian composer Denis Bédard—served as the prelude one morning, with the chant later sung at the Offertory. The work consists of three statements of the chant in contrasting styles and lasts six minutes—a useful and accessible setting. Thévenot also played it during Communion at the Sunday Eucharist in All Saints Chapel.

A carillon concert by John Bordley and the Reverend Raymond Gotko beckoned worshipers to Friday’s Evensong. Both retired college professors, each took up the field of campanology as a second career in recent years. 

Canticles by Edwardian composer Charles Wood (Collegium Regale in F) were complemented by Webster’s Anglican chant for Psalm 85 and his Preces and Responses in Mixolydian Mode (nicknamed “Web in Mix” by his own singers). The musical centerpiece of the liturgy was S. S. Wesley’s major work Ascribe Unto the Lord, an amalgamation of Psalm 96 and 115 written in 1851. Webster crafted descants for Bromley and St. Clement. His drilling of the singers on diction, precise rhythms, and tuning was rewarded. Thévenot concluded the service with Victor Togni’s exuberant Alleluia! (Five Liturgical Improvisations).

The use of modal tonality in Webster’s Missa Dorica brings a fresh element to music written with a congregation also in mind. As done in many places this year, Benjamin Britten’s centenary was acknowledged; his Festival Te Deum served as the Offertory anthem. Jennifer Stammers’s soprano soared over the chorus into one of the most beautiful endings in modern choral repertoire. George Herbert’s text “The Call” was heard this time in a sweet and accessible SATB setting by Harold Friedell. This further showed the range of difficulty presented each year in choral choices. Some, like the Britten, provide a venue for clinicians to teach techniques, while letting singers experience repertoire most could not otherwise perform. John Whitmer’s professional recordings of the liturgies not only serve archival purposes, but allow the musical experiences shared by the attendees to be heard by a much wider audience.

Special note is made of the various tasks—many behind the scenes—shared by attendees: John Hobbs and the Reverend Thomas Williams at the altar, Frolic producer Jennifer Stammers, among others. Bill Bane now joins the board of directors who oversee the planning and execution of the conference. Kim Terry Agee, director of the Dubose Center, announced her retirement after 25 years. Her presence will be greatly missed.

Faculty for the 2014 conference (July 14–20) will be Todd Wilson and Peter Conte, with Bishop J. Neil Alexander as chaplain. It was announced that Todd Wilson will become the conference director beginning in 2015, the 65th anniversary of the conference. Information can be found at www.sewaneeconference.org. 

Two leaders in the organ world served as faculty for the 64th Sewanee Church Music Conference: Todd Wilson and Peter Conte. Wilson is director of music and worship at Trinity Episcopal Cathedral in Cleveland, Ohio, as well as head of the organ department at the Cleveland Institute of Music. In addition to his position as organist-choirmaster at St. Clement’s in Philadelphia, Conte is marking his 25th year as Wanamaker Grand Court Organist. Both have received numerous awards during their careers. Gifted in both organ and choral fields, they shared playing and conducting duties at the gathering of 122 musicians drawn from 29 states. Notable among the attendees were a number of young adults, including two scholarship recipients: David Heinze (student of Huw Lewis at Hope College) and Garrett Law (studying with Wilson). Dr. Robert Delcamp, organist and choirmaster at the University of the South at Sewanee and president of the board, served as conference director. 

Tuesday evening’s organ recital in All Saints Chapel, named in memory of Gerre Hancock, capitalized on a special interest shared by this faculty: accompaniment of silent films. Wilson led off with Hancock’s Variations on ‘Coronation’ (commissioned for the Sewanee Conference in 2000), followed by variations with a French flavor—Marcel Dupré’s Variations on a Noël. (This melody later provided musical fodder for the Saturday evening Frolic, with clever lyrics by Joanne Cobb Brown.) Edwin Lemare’s Fantasy on ‘Carmen’ concluded the more ‘serious’ offerings before Wilson launched into his soundtrack for a Laurel and Hardy short. Peter Conte then took the bench and utilized possibly every pipe in the Casavant to accompany Charlie Chaplin’s classic, The Kid.

Masterclasses were offered for both organists and choral conductors. The Casavant organs in All Saints and the Chapel of the Apostles lent themselves to selections ranging from Bach to Vierne. Performers and listeners alike benefitted from the astute advice and guidance of Wilson and Conte. Board member Alvin Blount coordinated organists David Heinze, Chip Mays, Garrett Law, David Spring, Kirstin Smith, Parks Greene, Brian du Fresne, and Elvia Hammett Parson. Assistant director Kevin Simons coordinated the conductors: Kathy Will, Christin Barnhardt, Jennifer Stammers, Stan Workman, Dallas Bono, Josh Sumter, Liz Farr, and John Hawn, with Christopher Wallace accompanying.

The preparation and offering of music at the Friday Evensong and the Sunday Eucharist in All Saints Chapel is the highpoint of each conference. The hymn Give Thanks for Music-making Art by Brian Wren (tune and descant by Todd Wilson) began Evensong. With each stanza ending “to lead the people’s song,” it was most appropriate. Edward Bairstow’s monumental Lord, Thou Hast Been Our Refuge gave the choristers a nice challenge, which they delivered under Conte’s direction, supported by Wilson’s fine playing. Canticles by Charles Wood in E-flat Major were bracketed by Preces and Responses by Richard Lloyd, composed for Hereford Cathedral.

On Sunday, anthems included Thomas Aquinas’s text O Saving Victim in a new setting by Zachary Wadsworth. Also pairing older words with contemporary music was Valediction by David Conte. This beautiful text by the 16th-century English poet Philip Sidney began with unison lines expressively and cleanly rendered by the massed choir under Wilson’s precise direction, with Conte at the console. Building in both choral and keyboard intensity to the end, this work is within the reach of many choirs—with a skilled organist! 

The conference chaplain was the Right Reverend J. Neil Alexander, Dean of the School of Theology at Sewanee and retired Bishop of Atlanta. He also holds degrees in music, apparent in his homilies and lectures; humorous quips enlivened the historical and liturgical tidbits. The careful intertwining of liturgy, music, and theology is one of the aspirations of this conference; this year’s presenters achieved it without question. 

Besides providing packets for several reading sessions, Elizabeth Smith brought a generous supply of organ and choral repertoire and music-related books from Lois Fyfe Music, giving attendees an opportunity for consulting and shopping. 

Todd Wilson will return as conference director in 2015. Faculty will be Bob Simpson, Christ Church Cathedral, Houston, and Kevin Kwan, Christ and St. Luke’s, Norfolk, Virginia. The Reverend Canon David B. Lowry, former dean of Christ Church Cathedral, New Orleans, will be chaplain. On-line registration will begin in February 2015 at www.sewaneeconference.org. 

All photos: Jane Scharding Smedley.