Sewanee Church Music Conference, July 13-19, 2015

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.

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.

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. 

Noel Morse Beck has spent many years serving as organist and director of children, youth, and adult choirs in Presbyterian, Methodist, and Episcopal churches in the Muscle Shoals area of northwest Alabama. Through this experience, she has learned the inspiration and practical value of continuing education at events such as the Sacred Music Intensive Workshop, in order to develop and maintain excellence in music programs of small-to-medium size congregations. She had the good fortune of spending a year studying privately with Janette Fishell. Currently, Noel Beck is organist and choir director at Trinity Episcopal Church in Florence, Alabama.

Church musicians representing all regions of the United States, the Bahamas, and Canada gathered on the campus of Indiana University in Bloomington for this year’s Sacred Music Intensive Workshop, June 5–9. There were more than 40 participants; the number was limited by design, so that each could receive personal attention, and all could develop camaraderie through learning and sharing ideas in both planned and informal settings. Some attendees had participated in prior years’ workshops; others experienced this inspiring and delightful event for the first time. All were attracted by the opportunity to study with the outstanding organ and choral faculty of the Jacobs School of Music.

This annual event was created by Janette Fishell, organ department chair, and Walter Huff, choral arts professor, both seasoned church musicians. Participants were allowed to design their own schedules throughout the week, choosing from lessons and lectures pertaining to organ, choral music, voice, and carillon. 

Experienced organists were given the opportunity to have two or more private lessons with Janette Fishell, Christopher Young, and Marilyn Keiser. Beginning organists studied with doctoral student Yukima Tatsuta. All of these master teachers were most generous with their time, making this feature a very popular part of the week’s activities. Available for practice and lessons were the C. B. Fisk, Inc., organs in Auer Hall and Alumni Hall, as well as numerous organs in the practice rooms of the Music Building. 

There was an outstanding opening concert, presented by the organ faculty. The program included works by Johann Sebastian Bach, William Albright, Dan Locklair, Louis Vierne, Gabriel Pierné, Henri Mulet, Benjamin Britten, Hisaishi/Wasaki, and César Franck. 

For those whose special interest was choral music, there were daily presentations by Walter Huff organized around the central theme: “Are we creating the ideal rehearsal/performance environment for our choristers?” Lecture and discussion sessions covered such topics as getting started rehearsing a new anthem; creating the optimum sound (pitch, tone, vowels); transforming a hymn into an anthem; effective choral warm-ups; implementing the Robert Shaw’s Count-Sing rehearsal technique; preparation of Handel’s Messiah, including the “Hallelujah Chorus.” There were also conducting practicums, a conducting masterclass, and choral reading sessions. Voice classes were offered, taught by IU graduate student Rachel Mikol.

All participants were invited to participate in Huff’s daily two-hour choir rehearsals, culminating in a closing concert on Friday evening. The program included the soaring lines of A Hymn to St. Cecilia, with music by Herbert Howells and text by Ursula Vaughan Williams; Earlene Rentz’s exuberant setting of On Jordan’s Stormy Banks; Stephen Paulus’s intimate The Road Home; a lyrical Jesus Christ, the Apple Tree by K. Lee Scott; Howells’s “Nunc Dimittis” (from the Collegium Regale service); and John Rutter’s Let all mortal flesh keep silence, which begins mysteriously and ends with majestic Alleluias. Participating organists were invited to accompany the anthems and the two congregational hymns. The closing concert also included organ selections performed by several of the week’s attendees, including works by Helmut Walcha, Dan Locklair, Raymond H. Haan, and Jehan Alain. One participant played his own composition. 

The intensive week also included presentations by the organ faculty. Christopher Young offered a lecture/demonstration dealing with styles of registration for the church organist. Janette Fishell, who cleverly titled her presentation “Achilles Heels and All Thumbs? Mastering technical problems and finding musical answers,” invited attendees to bring organ repertoire trouble spots, and demonstrated how to improve technique to solve challenging problems. Marilyn Keiser presented a most useful list of organ repertoire selections appropriate for both service and concert playing. There was also an informative presentation about understanding and maintaining the health of the pipe organ, presented by Patrick Fischer, Jacobs School of Music organ curator. 

Amy Hamburg Mead offered participants the opportunity to learn to play the school carillon. At week’s end, participants gave a charming noonday concert of hymn arrangements and other selections played on the carillon, enjoyed in the open air of the school amphitheater and the surrounding area. 

There were daily sessions on topics such as: Body/Mind/Spirit, focusing on maintaining the musician’s inner physical and spiritual health, including yoga practice, led by Beth Lazarus; and spiritual insights, led by Reverend Andy Cort. 

Lois Fyfe Music, of Nashville, Tennessee, provided an excellent “pop-up shop,” including organ music and resources useful to church musicians. The music shop also conducted a most useful anthem reading session.

The university campus provided great natural and architectural beauty. The city of Bloomington offered delectable eateries—from coffee and sandwich shops only a few steps from the music building, to restaurants and fine dining within a short walking distance, featuring farm-to-table, continental, Mid-Eastern, and Asian menus. Participants had a varied choice of housing: college dormitory, local hotels, and inns.

This was truly an excellent way to spend a week of continuing education. Many of those attending plan to make it an annual event.

Brian F. Gurley is director of music and organist at the Cathedral of the Immaculate Conception in Albany, New York. He currently serves as membership chair of the Conference of Roman Catholic Cathedral Musicians.

The Conference of Roman Catholic Cathedral Musicians (CRCCM) met in Kalamazoo, Michigan, January 8–11 for its thirty-fifth annual gathering. Thomas Fielding, director of liturgy and music at Saint Augustine Cathedral, designed and directed the gathering with help from Francis Zajac, director of liturgy and music emeritus at the cathedral; the support staff of the cathedral; and the CRCCM steering committee: Michael Batcho, director of music, Cathedral of Saint John the Evangelist, Milwaukee, Wisconsin; Teri Larson, director of music and arts, Basilica of Saint Mary, Minneapolis, Minnesota; Ezequiel Menendez, director of music and organist, Cathedral of Saint Joseph, Hartford, Connecticut; Joseph Balistreri, coordinator of music ministries, Archdiocese of Detroit, and director of music, Cathedral of the Most Blessed Sacrament, Detroit, Michigan; Crista Miller, director of music and organist, Co-Cathedral of the Sacred Heart, Houston, Texas; and Christoph Tietze, director of music and organist, Cathedral of Saint Mary of the Assumption, San Francisco, California; with Gerald Muller, Leo Nestor, and James Savage, advising.

Monday, January 8

Conference participants gathered at Saint Augustine Cathedral for Vespers.  Reverend Thomas McNally, Vice Rector of the Cathedral, celebrated Vespers, and liturgical music was provided by Thomas Fielding and the Cathedral Choir. Choral music included Unto Us is Born a Son, arranged by David Willcocks; Christmas Lullaby by John Rutter; Tollite hostias by Camille Saint-Saëns; Awake and Arise and Hail the New Morn by Fielding; O Virgin Theotokos, Rejoice by Roman Hurko; Transeamus usque Bethlehem by Josef Ignatz Schnabel; Gesu Bambino by Pietro Yon; and Magnificat by Giuseppe Pitoni. Francis Zajac welcomed all conference participants and gave a thorough history of the cathedral, including its various renovation projects.

Saint Augustine Cathedral was dedicated in 1951. It was designed in the Gothic Revival style by Ralph Adams Cram of Boston and originally served as a parish church in the Diocese of Lansing. In 1970, Pope Paul VI created the Diocese of Kalamazoo from portions of the Dioceses of Lansing and Grand Rapids, at which time Saint Augustine Church was consecrated the diocesan cathedral of Kalamazoo. The cathedral is home to a three-manual, forty-two-rank Nichols and Simpson organ of 2002.

Following dinner in the cathedral hall, all of the participants introduced themselves. New members and first-time conference participants for 2018 included: Adam Brakel, director of music, Saint James Cathedral, Orlando, Florida; Bruce Croteau, director of liturgy, Saint James Cathedral, Orlando; Felipe Delsart, director of the polyphonic choir and adjunct organist, Metropolitan Cathedral, Buenos Aires, Argentina; Terri Dunn, conductor at Saint Michael’s Choir School, Toronto, Ontario, Canada; James Grzadzinski, director of music and organist, Cathedral of Saint Raymond Nonnatus, Joliet, Illinois; Mark Loria, principal organist, Cathedral Basilica of Saints Peter and Paul, Philadelphia, Pennsylvania; Bruce Ludwick, director of music and organist, Cathedral of Saint Paul, Birmingham, Alabama; Matthew Meloche, director of sacred music, Cathedral of Saints Simon and Jude, Phoenix, Arizona; Andrew Motyka, director of archdiocesan and cathedral liturgical music, Archdiocese of Indianapolis, Indiana; Charles Nolen, director of music and liturgy, Cathedral of Saint Andrew in Grand Rapids, Michigan; Richard Siegel, assistant organist, Cathedral of Saint Raymond Nonnatus, Joliet, Illinois; and Richard Skirpan, Cathedral of Saint Patrick, Harrisburg, Pennsylvania.

Tuesday, January 9

On Tuesday morning, conference participants gathered for Morning Prayer at the cathedral. Prelude music was performed by David Jonies, associate director of music, Holy Name Cathedral, Chicago, Illinois. Jonies played Sonata No. 2 in D Minor, opus 60, movements 2 and 3, by Max Reger. Thomas Fielding played all service music for Morning Prayer, as well as Procession by William Mathias for postlude.

Following Morning Prayer, Reverend Bradley A. Zamora, director of liturgy and instructor in the Department of Liturgy and Music, Mundelein Seminary, Mundelein, Illinois, delivered a keynote address on the spirituality of the cathedral musician. Fr. Zamora exhorted conference participants to maintain active prayer lives, since cathedral musicians are to be disciples. He also reminded his audience of the distinction between “working for Mass” and “attending Mass” and described his own spiritual enrichment whenever he attends Mass “as a parishioner” in the assembly.

Prior to his appointment at Mendelein Seminary, Fr. Zamora served as associate pastor and director of liturgy at Holy Name Cathedral in Chicago. Formerly a parish music director, he maintains active membership in the National Associations of Pastoral Musicians, the Federation of Diocesan Liturgical Commissions, and the Patron of the Arts in Vatican Museums.

Following the keynote address, conference participants turned to the first of two CRCCM business meetings. Christoph Tietze, chair of the steering committee, led the business meeting and described the nomination and election processes for new members of the steering committee. Scott Eakins, treasurer, presented the financial status of the organization. Brian Gurley, membership chair, discussed the ongoing efforts to involve new cathedral musicians in CRCCM, and Marc Cerisier proposed technological options for much needed modernization and automation of membership initiations and renewals.

After lunch, conference participants then gathered at the Waldo Library Rare Book Room of Western Michigan University in Kalamazoo. Elizabeth C. Teviotdale, assistant director of the WMU Medieval Institute, delivered a lecture, “The Illustration of the Music of Christian Worship in the Middle Ages and Renaissance.” Teviotdale presented a fascinating array of illuminated chant manuscripts and offered possible theological, liturgical, and musical interpretations of the illuminations as paired with their antiphons and feasts. She also called attention to a trend in manuscript illuminations, in which they became less detailed and less obviously religious in nature. This trend probably resulted from an increase in the number of illuminations carried out by lay tradesmen and women rather than religious monks and nuns. Following the lecture, conference participants were able to view selected illuminated manuscripts in the Medieval Institute Library.

Elizabeth Teviotdale received her Ph.D. in art history from the University of North Carolina at Chapel Hill, and her main research interests are early medieval Christian liturgical manuscripts and their illumination, as well as the history of collecting.

Conference participants returned to the Radisson Hotel for a composers reading session. The reading session is a forum in which conference participants have the opportunity to sing through new compositions from their colleagues.

Conference participants then moved to Saint Augustine Cathedral in the evening for a choral concert performed by the choir, Audivi. Works included Advent Responsory by Richard Marlow; Steh Auf by Christoph Demantius; The Holly and the Ivy, arranged by Reginald Jacques; Lo, how a Rose e’er blooming, arranged by Michael Praetorius; Ave Maria by Robert Parsons; Tota pulchra es à 12 by Heironymous Praetorius; Gloria and Sanctus from Mass for Double Choir by Frank Martin; Once in Royal David’s City, arranged by Arthur Henry Mann; Sanctus from Missa Et ecce terræ motus by Antoine Brumel; Away in a manger, arranged by David Willcocks; A Spotless Rose by Herbert Howells; In the Bleak Midwinter by Gustav Holst; Magnificat by Arvo Pärt; Good Christian friends, rejoice, arranged by Charles Winifred Douglas; Hymne à la Vierge by Pierre Villette; and Silent Night, arranged by Malcolm Sargent. Audivi is a professional vocal ensemble founded in 2013 and based in Detroit. The ensemble specializes in lesser-known Renaissance choral music, but also performs choral music from all eras (www.audivi.net). For this performance, Audivi was under the direction of guest conductor Kimberly Dunn Adams, assistant professor of music and director of choral activities at Western Michigan University in Kalamazoo. The concert was presented as part of the Sacred Music at the Cathedral concert series of Saint Augustine Cathedral.

Wednesday, January 10

On Wednesday morning, conference participants traveled to South Bend, Indiana, for a day trip to the University of Notre Dame. Once on campus, Paul Thornock conducted an open choral rehearsal in the Gail L. Walton Rehearsal Room of the Coleman-Morse Building. The rehearsal repertoire included Sicut cervus and Sitivit anima mea by Giovanni Pierluigi da Palestrina; Come, let’s rejoice by John Amner; and Abendlied by Josef Rheinberger.

Following the open rehearsal and lunch on campus, conference participants gathered in the newly constructed O’Neill Hall for a lecture given by Peter Jeffery, who discussed chant and psalmody in the reformed [post-Conciliar Roman Rite] liturgy. Jeffery spoke about the relationship between Gregorian psalm tones and various vernacular adaptations (e.g., Anglican chant, Gelineau and Guimont psalm tones, and Meinrad psalm tones). He proposed the increased usage of psalmody in Christian sacramental preparation. For example, psalm refrains—set to music and relevant to any of the Sacraments—could be taught to children and adults. Upon completion of their formation, the candidates and assembly together could sing the psalm refrains as acclamations within the celebration of the particular sacrament.

Peter Jeffery holds the Michael P. Grace Chair in Medieval Studies and is professor of musicology and ethnomusicology at the University of Notre Dame.  He earned his Ph.D. in music history from Princeton University and received a “Genius Award” Fellowship from the John D. and Catherine T. MacArthur Foundation (1987–1992).

O’Neill Hall is the new home of the University of Notre Dame’s Department of Music, the Sacred Music Program, the Music Library, and new recital and rehearsal spaces. It is part of Notre Dame’s Campus Crossroads Project.

Following the lecture, conference participants enjoyed free time to explore Notre Dame’s campus, as well as open bench time on two of the university’s three Paul Fritts organs (Opus 24 of 2004, a two-manual, thirty-four-stop instrument in the DeBartolo Performing Arts Center, and Opus 37 of 2016, a four-manual, seventy-stop instrument in the Basilica of the Sacred Heart).

Following dinner, participants returned to the Basilica of the Sacred Heart for an organ concert given by Craig J. Cramer. Repertoire included Toccata in D minor, BuxWV 155, by Dieterich Buxtehude; Partita sopre diverse: Sei gegrüßet Jesu gütig, BWV 768, by Johann Sebastian Bach; Batalha de 6. Tom by Anonymous (seventeenth century); three Noëls by Jean-François Dandrieu; and Le Mystère de Noël by August Fauchard.

Craig Cramer is professor of organ at the University of Notre Dame. He received the Doctor of Musical Arts degree and the Performer’s Certificate from the University of Rochester’s Eastman School of Music. The concert was given in memory of Gail L. Walton, director of music and organist emeritus of the Basilica of the Sacred Heart and initiator of the Basilica organ project.

Thursday, January 11

Conference participants gathered for Morning Prayer at the cathedral. Prelude music was performed by Chris Stroh, principal organist at the Basilica of Saint Mary in Minneapolis, Minnesota. Stroh played the Prelude and Fugue in C Major, BWV 547, by Bach. Thomas Fielding played all service music, as well as Dialogue sur les grands jeux by Louis Clérambault for postlude.

After Morning Prayer, conference participants returned to the hotel for an update from the United States Conference of Catholic Bishops (USCCB) given by Reverend Andrew V. Menke, executive director of the USCCB Secretariat for Divine Worship. Fr. Menke described the work of the Secretariat, which includes primarily the preparation of liturgical books and the review of publications containing excerpts from liturgical books. He also elaborated on current projects, namely an updated Rite of Exorcism, excerpts of the Roman Missal (also referred to as the Book of the Chair, as it contains collects and Mass texts not prayed from the altar), the nearly completed edition of a Spanish-language Roman Missal for the United States, a new translation of the Rite of Dedication of a Church and an Altar, a new translation of the Rite of Blessing and Consecration of the Oils and Chrism, a Formulary for Saint Kateri Tekakwitha, a Spanish-language Book of Blessings, a new translation of the Rite of Baptism of Children (with an option for celebration during Mass), the new translation of the Liturgy of the Hours, a review of hymnody from the International Committee for English in the Liturgy (ICEL), a new translation of the Order of Christian Initiation of Adults (OCIA), and a new translation of the Rites of Ordination.

The morning sessions continued with the second business meeting, during which nominations to the steering committee were submitted for the upcoming election.

After lunch, Marc Cerisier delivered a presentation, “Technology for the Modern Cathedral Musician.” He highlighted the value of consistent music engraving and attractive service leaflets as visual aids to liturgical prayer. Cerisier then discussed types of software available for desktop publishing and music notation, and he demonstrated ways to prepare scores for display on tablet screens, as well as MIDI functionality for capturing organ registrations, recording, and playback.

Following the presentation, conference participants enjoyed free time to explore Kalamazoo and later gathered at Saint Augustine Cathedral for Mass. Most Reverend Paul J. Bradley, Bishop of Kalamazoo, was the celebrant and homilist. Choral music was provided by the Cathedral Choir, and repertoire included Kyrie from Missa L’hora passa by Lodovico da Viadana; Soul of Christ by Lance A. Massey (director of music at Saint Augustine Cathedral from 1984 to 1988); and Cantate Domino by Giuseppe Pitoni. Thomas Fielding played all the service music, as well as Prelude and Fugue in E-flat Major, BWV 552, by Bach, for the prelude; and Sonata Eroïca, opus 94, by Joseph Jongen, for the postlude.

After Mass, conference participants enjoyed an elegant closing banquet at which time appreciation was extended to Thomas Fielding, Francis Zajac, the Cathedral’s administrative staff, sponsors, and the CRCCM steering committee for organizing such a successful and enjoyable gathering.

The 2019 meeting of the CRCCM will take place in Seattle, Washington, in conjunction with the Cathedral Ministries Conference. It will be hosted by Saint James Cathedral.

Lorraine Brugh is currently resident director of Valparaiso University’s Study Centre in Cambridge, England. She is professor of music and the Frederick J. Kruse Organ Fellow at Valparaiso University, Valparaiso, Indiana.

We settled into our seats after waiting in a long line to get into the Quire at York Minster. Extra chairs lined the floor in front of the choir stalls, and an usher directed us to sit there. Candles were already lit in the stalls where the choir would be positioned, and Evensong was ready to begin. Absorbing the beauty of the edifice, I focused my sight across the Quire to others who had gathered for the service. In the back row sat a very elderly man, surrounded by seats with placards reading “Reserved for Family.”

I knew that two days before, October 2, was the centenary of York Minster’s organist emeritus, Francis Jackson. Michael Barone’s Pipedreams show for October 2 featured Jackson’s music and included a recent interview with Jackson. Jackson is alive and well, living in a village not far from York. It was a treat to worship at the Minster so close to his birthday. Looking at the service folder I was pleased to see that the Choral Evensong would be sung in celebration of the 100th birthday of Dr. Francis Jackson, CBE, and would be attended by members of the Royal College of Organists. Jackson had been the organization’s president from 1972 until 1974.

Never had I imagined that I would be looking Francis Jackson in the eye, but there he was before me. A tiny man, only his head and shoulders were visible above the choir stalls. The choir sang the opening prayers in the aisle just outside the Quire, then we all stood as the choir processed in and took their places. They sang “O Lord, open thou our lips; And our mouth shall shew forth thy praise. O God, make speed to save us; O Lord, make haste to help us.” It was a setting by Francis Jackson, simple, responsorial.  

Dr. Jackson closed his eyes during much of the service, clearly drinking in the music. The choir sang a Magnificat and Nunc Dimittis by Edward Bairstow, Jackson’s predecessor at the Minster as well as his first organ teacher. Robert Sharpe, the Minster’s current director of music, led the choir with precision and grace. The Minster choir program prides itself in having both a girls choir and a boys choir for trebles. Their website notes that York Minster was one of first cathedrals in the UK to introduce girl choristers alongside the boys. The girls and boys share the singing of the eight sung services each week equally, joining forces for major events such as the great Christmas and Easter festivities. On this occasion, the girl choristers and adults were singing. Their sound was ethereal and ably supported by the men.

Dr. Jackson was drinking in more than the music, however. Next we all spoke the Apostles’ Creed and Dr. Jackson made a sign of the cross on his chest as we came to its final lines, “the communion of saints; the forgiveness of sins; the resurrection of the body; and the life everlasting.” He was still finding expression for his faith in the same place where he was first a chorister 89 years earlier.  

In Anglican Evensong the choral anthem is placed just before the final prayers at the end of the service. Expecting a joyful anthem written by Francis Jackson on this festive day, I was surprised by the choice, Remember for Good, with text compiled by Eric Milner-White and music by Francis Jackson. Jackson and Milner-White served the Minster together for 17 years, from Jackson’s arrival in 1946 until Milner-White’s death in 1963. The words are engraved in a prominent display at the Minster and commemorate those who served in the Royal Air Force in World War II:

Remember for good, O Father, those whose names we commemorate before thee: to whom we render honour and give thanks in thy holy house. They went through the air and space without fear, and the shining stars marked their shining deeds. They counted not their lives dear unto themselves but laid them down for their friends.

O Christ, O Lord of Lords, prince of the armies of heaven, write their names in thy book of immortality. And give to them that on earth were faithful unto death, thy crown of life in the paradise of God.

The music was dark, reflective, yet filled with hope and beauty. It was a deeply moving moment in the room and a fitting tribute that reached beyond the composer’s composition. Jackson again drank it in with eyes closed.

We stood as the choir recessed, then sang the Aisle Prayers outside the Quire. We were seated to enjoy Jackson’s Diversion for Mixtures, finally the joyous ending I believe we were all expecting.

The festivity continued with a reception in his honor. Many from the Royal College of Organists were present, as well as the dean of the cathedral, the Very Reverend Dr. Vivienne Faull. She regaled the crowd with stories of Dr. Jackson’s active life as a gardener and a parish organist! He still serves a small parish near his home in East Acklam, which is also served by a retired bishop. She noted that the parish is well cared for!

Dr. Faull then invited Dr. Jackson to the podium. Without any assistance, either mechanical or human, he approached the platform. A slight gasp came from the group as he had trouble making the small stair, and the dean assisted him up. He then spoke, softly and humbly, about the wonderful life he has had, most of it circling around the Minster. He hadn’t done anything special to be able to live this long, he said; it just happened. He told us that where we were now standing, in the north transept, was his favorite place to hear the organ.

Many of the choristers had stayed through this part of the reception. In front of me were three girls who had sung that night. (Their job was to pass out potato chips at the reception.) At least one couldn’t have been older than six. I wondered what they were thinking as we older ones marveled at this man and these words of humility and grace. Perhaps one of them will be the next organist at the Minster. That would certainly be a fitting legacy for Francis Jackson, his life and work.

Francis Jackson was born October 2, 1917, in Malton, North Yorkshire, England. At age eleven, he became a chorister at York Minister, with Edward Bairstow as organist-choirmaster. He continued studies with Bairstow after he left the choir. He earned the Fellowship of the Royal College of Organists in 1937, having been honored with the Limpus prize. He graduated from Durham University with a Bachelor of Music degree.

In October 1940, Jackson joined the Army and was sent into action in North Africa, Egypt, and Italy. After World War II, he became assistant organist of York Minster, as Bairstow had become ill. Jackson functioned as acting organist in this period. In October 1946, after Bairstow’s death, Jackson was appointed organist and master of the music for the Minster. He earned his Doctor of Music degree from Durham University in 1957.

In addition to his duties at the Minster, Jackson maintained an international recital career beyond his 95th birthday. He has made numerous recordings of solo organ works as well as choral music with the Minster choir. As a composer, he has over 150 published works to his credit, both sacred and secular repertoire, work that has continued beyond his retirement.

Having served as president of the Royal College of Organists (1972–1974) and having been made an Officer of the Most Excellent Order of the British Empire (1978), Jackson retired from York Minster in 1982. In 2007, he was made a Commander of the Order of the British Empire. Numerous other awards and honors have been bestowed on Jackson, as well. In 2013, he published his autobiography, Music for a Long While.