Sewanee Church Music Conference 2009

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. 

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. She currently serves as secretary of the Sewanee Church Music Conference board of directors.

In its sixtieth year, the Sewanee Church Music Conference continues to offer a well-planned week of choral rehearsals, organ repertoire and anthem reading sessions, worship—and fun social events! Regular attendees know to reserve the second week of July for their annual pilgrimage to the ‘holy mountain’ in East Tennessee, home of the gathering since its founding in 1951. This year’s faculty presented a triple encore: Malcolm Archer, Peter Conte, and Bishop Joe Burnett.
One of the strengths of this conference is the sensitivity of its leadership to the needs and requests of participants as revealed in an annual survey, and the attention to detail shown by the board of directors. Choral repertoire for the two major liturgies—Friday Evensong and Sunday Eucharist—is carefully selected to provide teachable opportunities during the week, but also quality literature accessible to most choirs back home. This emphasis on quality as well as usefulness is apparent in the commissioned works. This year’s anthem, penned by Malcolm Archer himself, was premiered during the Sunday Eucharist at All Saints Chapel, University of the South at Sewanee. Using a text from Colossians, Archer’s setting of “We Give Thanks to God” was an excellent example of new music sought by this conference.
On the organ bench, Peter Conte displayed his phenomenal improvisational skills and fondness for transcriptions. Opening a solo recital with his arrangement of Arthur Sullivan’s overture to the Yeomen of the Guard, even more of his touch was shown in selections from Elgar’s Enigma Variations. The silent film The Kid allowed Conte ample opportunity to explore the tonal possibilities of the chapel’s Casavant—all to the delight of his audience.
Archer and Conte were a superb team leading the 150 singers through daily rehearsals of anthems by Stanford, Stainer, and Holst for Evensong and Eucharist, demonstrating techniques and sharing their expertise along the way. As chaplain, Bishop Burnett offered a profound look at the “liturgical logics of Rubrics,” using titles known to many organists via Dan Locklair’s suite. One of the strong points of the week is the integration of musical and liturgical issues. Bishop Burnett’s thoughtful words resonated deeply with his listeners.
The week also featured Marty Wheeler Burnett and Mark Schweizer in anthem reading sessions, Bradley Almquist in choral voice training techniques, and Susan Rupert in the ever-popular “Episcopal Basics.” Lois Fyfe’s music display was open around the clock for browsing. Numerous opportunities for interaction with the faculty exist—a strength of this conference. Rehearsals, lectures, worship, and fellowship were complemented by delicious meals prepared by the competent and friendly staff of the DuBose Conference Center. The annual formal banquet gave all a chance to dress up—then let their hair down at the hilarious “Frolic”!
Next year’s conference will include Dale Adelmann and Todd Wilson, with the Reverend Barbara Cawthorne Crafton as chaplain. For more information: www.sewaneeconf.com■

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.

This year’s conference, directed by Keith Shafer, immediately followed the national AGO convention just up the road in Nashville. What a fine experience it was for those fortunate to attend both, with their wide range of performances and learning opportunities. At Sewanee, however, the emphasis is on music within worship, taught through actual “doing.” Daily choral rehearsals provide a teaching laboratory, as well as preparing repertoire for the Friday Evensong and the Sunday Eucharist that concludes the week. 

Huw Lewis and Bruce Neswick, long-time favorites of this conference, returned as music faculty. Dr. Lewis, organist at Hope College in Holland, Michigan, is director of music at St. John’s Church in Detroit. Mr. Neswick, well known in AGO and AAM circles from past cathedral positions, is associate professor of organ and sacred music at the Jacobs School of Music, Indiana University. Both masters on the bench and the podium, they showed seamless teamwork and sterling professionalism. They shared the bench at the Tuesday evening recital, now named in memory of long-time conference leader Gerre Hancock. In homage to his teacher, Neswick performed his works (Air, Variations on tunes Ora Labora and Palm Springs), ending his half of the concert with an improvisation. Lewis balanced the program with skillful renderings of works from past masters: Bach (Fugue in E-flat Major), Brahms (Chorale Prelude and Fugue on “O Sorrow Deep”), and Franck (Chorale in A Minor). Both in recital and later in the worship services, the resources of the large Casavant organ in All Saints Chapel at the University of the South were fully explored. 

In the nearby Chapel of the Apostles, a newer two-manual Casavant instrument was used for a masterclass led jointly by Neswick and Lewis. Ten performers, representing a range of ages and backgrounds, received individualized coaching and guidance. Special mention is made of those present who represented the next generation—two in their teens and eight of college age or under thirty. Board member Alvin Blount coordinated this event; he also led a reading session of organ repertoire based on hymntunes useful for worship. Other workshops on hymn-playing techniques and improvisation were offered by Neswick on this smaller instrument, a nice gesture towards those present who may not be blessed with four manuals and en chamade on Sunday mornings.

Other sessions offered throughout the week included handbells, Episcopal basics, computer notation systems, and reading sessions. Bradley Almquist presented excellent workshops on “Conducting Skills” and “Music Theory for the Singer.”

Huw Lewis’s choral skills were fully evident in the daily rehearsals, demonstrating various techniques and a few ‘tricks of the trade’. To illustrate the importance of posture and how to efficiently communicate this to singers, Lewis shared a simple system that came to be named “Position 1, 2, 3.” It gave attendees a useful technique to take home—and provided much humorous fodder at the Annual Frolic later!

The daily Eucharists in the Dubose Conference Center’s chapel gave Neswick more opportunity to incorporate creative service-playing and improvisations.

To complement the rehearsals, workshops and performances, Lois Fyfe Music brought its excellent display of choral and organ music, along with related items. In spite of this conference following a very busy week at the Nashville AGO convention, Elizabeth Smith cheerfully shared her expert advice as browsers delighted in a shopping spree.

Repertoire for Evensong included the Magnificat and Nunc Dimittis in B-flat by Henry Smart and Preces and Responses by Robert Lehman. The anthem was Bairstow’s gorgeous setting of The King of Love, using the beloved St. Columba melody. Anglican chants by Walmisley and S. S. Wesley added variety to the many verses of Psalm 18 appointed for the evening. Under his sensitive guidance, with superb accompaniment by Neswick, Lewis enabled the beauty of Anglican chant to meld 145 voices into true sung prayer. A prelude improvisation on Mighty Savior was offered by Neswick to undergird the solemn procession of 145 vested singers, then seamlessly flowed into the hymn itself.

The liturgical and musical climax of the week was the Sunday Eucharist. Neswick’s preludes were on tunes to be sung: Nettleton by Hancock, Leoni by Seth Bingham and Richard Proulx. Hancock’s Houston Mass (also sung at daily Eucharist) was used.

This year’s commissioned anthem— Hymn of Praise by Gary Davison—used a text from Revelations and the Psalms. Its shifting meters and dynamic contrasts were well performed by the singers under Lewis’s precise musical direction; Neswick had the very challenging accompaniment, punctuated by dramatic silences, well in hand.

Deeply appreciated by this writer, Neswick demonstrated throughout both liturgies the role of the organist in connecting the parts of the liturgy. When silence was needed, it was there—when a musical thread could serve the flow, he wove it with sensitivity and art. His free accompaniment to In Babilone (“Hail, Thou Once-Despised Jesus”) was classic, with twists of key and registration, but never straying from its purpose to lead and support congregational song. Later at Communion, he used motifs from the anthem to come. He sensitively bound the flow of worship, leading into Davison’s lovely setting of My Soul Shall Be Alway, followed by Nettleton (“Come, Thou Fount”). All followed his musical cues to bring the hymn to a gentle close. “Praise to the Living God” (Leoni) closed the liturgy, then continued as seed for a final improvisation: a postlude of flourishes, calm mid-section, then fugal ending—a marvelous musical coda to a wonderful week. 

Father Matthew Moretz served as the conference chaplain. A member of the clergy of St. Bartholomew’s Church, New York City, Fr. Moretz is an advocate of Internet resources as a means of evangelization; he spoke to the conferees about ways he thought they might enhance their ministries through electronic media.

This year’s gala banquet honored two long-time board members. Keith Shafer is stepping down as conference co-director. Janet Perkins, registrar for many years, provided a friendly face and concerned ear to all who have been part of the Sewanee ‘family’. Gifts were bestowed along with much applause to show appreciation for their dedicated service. 

The sense of community at the conference is further supported by delicious culinary offerings issuing from the kitchen at the Dubose Center under Kim Agee, director, advised by board member Nancy Whitmer, hostess extraordinaire. In spite of a packed schedule, no one loses weight during their week on the ‘holy mountain’. 

The faculty for 2013 will be Richard Webster (Trinity Church, Boston) and Maxine Thevenot (St. John’s Cathedral, Albuquerque). The Reverend Barbara Cawthorn Crafton, who served as chaplain in 2011, will again share her spiritual gifts.

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, Tennessee.

Church musicians from 27 states and the Virgin Islands gathered on the mountain at DuBose Conference Center in Monteagle, Tennessee, for the 56th annual Sewanee Church Music Conference July 10–16. Robert Delcamp, Professor of Music, University Organist and Choirmaster of the University of the South, planned and directed the conference. Heading the faculty were Jeffrey Smith, Canon Director of Music of Grace Cathedral, San Francisco; Peter Richard Conte, Grand Court Organist of the Wanamaker Organ at Lord & Taylor, Philadelphia and organist-choirmaster of St. Clement’s Church, Philadelphia; and The Rt. Rev. Joe G. Burnett, Bishop of Nebraska and conference chaplain.
The conference opened with evening prayer led by Bishop Burnett, who was also the officiant for the daily Eucharists with psalms. Peter Richard Conte and Jeffrey Smith were organists for the services that used Rites I and II with various settings of the canticles and different types of chant for the psalms. These different types of chanting the psalms and issues concerning their performance were the focus of two classes held by Dr. Smith. He also presented two sessions offering practical suggestions for founding, reinvigorating and polishing children’s choirs. Bishop Burnett shed light on three profound reforms that are at the heart of the 1979 Prayer Book. And Mr. Conte took a fresh look at creative hymn playing by drawing inspiration from the poetry of hymns. He also held a crash course for beginners in improvisation for service playing and presented two classes devoted to accompanying.
Adjunct faculty led a variety of classes and reading sessions. Wendy Klopfenstein, principal violinist with the Mobile Opera Orchestra, the Mobile Symphony and the Pensacola Symphony, discussed the process of hiring strings to augment one’s music program. The discussion included how to deal with a contractor, conducting strings vs. choral conducting, payment, rehearsal times and length, and other considerations. Ms. Klopfenstein also gave a presentation on working with small churches. Susan Rupert, vocal professor at The University of the South and The School of Theology, led classes in vocal techniques for choir directors and Episcopal basics for those new to the Episcopal Church.
Reading sessions enriched the conference program. These were led by Jane Gamble, Canon Organist-Choirmaster of St. Mary’s Episcopal Cathedral, Memphis; John Spain, organist at St. Anne Episcopal Church in the Cincinnati suburb of West Chester; and Jennifer Stammers, soprano soloist, composer, music teacher and choir director at Trinity Episcopal Church, Atchison, Kansas. Mark Schweizer, composer, bass soloist and editor of St. James Music Press, presented recently published choral works, and Thomas Pavlechko, cantor, composer in residence and organist-choir director at St. Martin’s Evangelical Lutheran Church, Austin, Texas, showed two hymn collections published by the new publishing company, E-Libris Publishers, based in Memphis.
A highlight of the week was the organ recital played by Conte in All Saints’ Chapel of the University of the South. The program featured many of Conte’s transcriptions—Bernstein’s Overture to “Candide,” Kreisler’s Variations on a Theme by Corelli, Cortège et Litanie transcribed from Dupré’s orchestral score, William Bolcom’s Graceful Ghost Rag, Brahms’s Variations on a Theme of Haydn, ending with a transcription of Rossini’s Overture to “The Barber of Seville.” Conte provided a rare treat later in the week when he accompanied the showing of the silent film The Kid, featuring Charlie Chaplin.
The 130 conferees formed the choir for two services in All Saints’ Chapel. Evensong featured George Dyson’s Magnificat and Nunc dimittis in D preceded by Barry Smith’s African Versicles and Responses. Psalm 139 was set to an Anglican chant by Thomas A. Walmisle, and the anthem was Edward Bairstow’s monumental Blessed City, Heavenly Salem. The service was framed by two voluntaries—Choral by Jongen and Franck’s Pièce Héroïque.
In the Festival University Service on Sunday morning Jeffrey Smith’s Mass in C provided the settings of texts for the Holy Eucharist. Psalm 85 was sung to an Anglican chant by Herbert Howells. The offertory anthem was Charles Wood’s O Thou sweetest Source of gladness, and during Communion the commissioned anthem, Jesu, the very thought of Thee by David Briggs, was sung. The organ prelude to the service was the Allegro maestoso from Sonata in G by Elgar. The postlude was “Marche Pontificale” from Symphony No. 1 by Widor, played by Conte and followed by the ringing of the bells of the Leonidas Polk Memorial Carillon.
Participating in both services were Jeffrey Smith, conductor; Peter Richard Conte, organist; and The Rt. Rev. Joe G. Burnett. Bishop of Nebraska.