University of Iowa Institute for Sacred Music 2006

William Dickinson is past Dean of the River Valley Chapter AGO.

For this year's conference, entitled "Let All the World . . . ," Delbert Disselhorst (head of the U of I organ department) and his committee engaged three presenters who are distinguished in their respective fields of endeavor: Martin Jean, associate professor of organ at the Yale School of Music and Institute of Sacred Music; Paul Westermeyer, professor of church music at Luther Seminary in St. Paul, Minnesota, director of music for the seminary, and director of the Master of Sacred Music program at St. Olaf College; and Carlton R. Young, currently visiting professor of church music at Tainan Presbyterian College and Seminary in Tainan, Taiwan; Dr. Young is emeritus professor of church music at Emory University's Candler School of Theology.

Thursday

The conference opened on Thursday afternoon with the first part of Paul Westermeyer's lectures entitled "Congregational Song as Global and Particular." Westermeyer advanced his thesis that congregational song is global--that "the church takes flesh in many different times and sings in the idioms of many different times and places." As he pointed out, any one hymnal has many examples of congregational songs that are both multicultural and global. Westermeyer further stated that congregational song is catholic (small c) in that the message emanates from all people and from all time periods. Congregational song is alien because God is the source of the message and that message will not touch everyone in the same universal manner. Dr. Westermeyer used chant as a perfect example of congregational song that is at once global, catholic and alien. Chant can be sung by anyone (global), stands above indigenous congregational folk song (catholic) and does not integrate with folk songs of any given people (alien). Finally, congregational song is about texts. The text must have meaning and must reflect the fact that congregational song is truly global. The text of congregational song will be called into question if it in any way infers that it is better than that of another culture.

Carlton Young completed the Thursday afternoon session with the first of his two-part presentation "Congregational Song in Global Perspectives," which covered the development of Christian global song from apostolic times (Palestinian-Hellenistic missional settings) to twentieth-century mission hymns. Dr. Young noted that "song became an important means of passing on the religious and social ethos and identity of one generation to another and for restating them in new languages and cultures." He traced the development of Christian evangelical hymns from Western (Roman) and Eastern (Orthodox) Christianity through the monastic period (Bernard of Clairvaux, Hildegard of Bingen, etc.) to the Roman Catholic Church's missionary effort, all of which he termed Global Phase One. Global Phase Two was the development of Christian evangelical song from the 16th-century Protestant Reformantion to Anglo-American evangelical hymns. Two important compilations during this period were The Whole Book of Psalms (London 1562) and John Wesley's A Collection of Psalms and Hymns 1737, which many hymnologists, according to Young, consider the first missionary hymnal. Dr. Young then discussed the consequences of both the "First Great Awakening" (1730 to 1750) and the "Second Great Awakening" (from around 1787 to the current times, at least in the South, in the minds of some commentators) and the resultant effects of the Euro-Anglo U.S. missionaries bringing the worship-song of their respective traditions, and linking these repertories to the development of Native American and African-American indigenous religious song. Young discussed the camp meeting movement that developed in the Second Great Awakening and how, in Reconstruction times, the Baptists moved away from the camp meeting format while the Methodists took it to new heights. Young then gave a short introduction to twentieth-century mission hymns, the discussion of which would be further developed in the second part of his presentation on Friday afternoon.

Following a dinner sponsored by the River Valley Chapter AGO on Thursday evening, conference participants attended a worship service at the First United Methodist Church in Iowa City. Martin Jean was organist and Paul Westermeyer gave the meditation. The cantor for this service was Dennis Ungs of the River Valley Chapter. The highlight of the service was the premiere of a hymn commissioned especially for this conference. The hymn, with text by Thomas H. Troeger ("Let the Truth Shine in Our Speaking") and music by Carlton R. Young, is named RAHN in memory of Frederick T. Rahn, Sr., whose family fund, the Frederick T. Rahn Memorial Fund, has been very supportive of the University of Iowa organ department for over 30 years (see sidebar).

Friday

Martin Jean opened the Friday morning session with his lecture "The Church at Sea: Navigating the Signs." The theme of Dr. Jean's presentation was that the canon of church music is expanding and that there is less time for the so-called "high art" (classical) tradition. Jean noted that in the reality of today's contemporary society, the debate continues as to just how classical church music can successfully continue to function. And, if the notion is that high-art, or classical, music has less relevance to today's more contemporary style of worship, then what is to become of the heritage of hundreds of years of classical church music?

The church, Jean feels, is no longer as homogeneous as it once was. Churches today are often made up of congregants with many different denominational backgrounds. And, often, today's congregations are made up of people who have not been long-time active members of the Christian faith. Therefore, today's church musicians are being forced to move beyond old assumptions of just what constitutes "proper" church music because so many of today's congregations are not wedded to a particular style of liturgy or liturgical music. To illustrate his point, Jean first played a videotape of a very large Assembly of God congregation in Georgia which uses a contemporary form of worship service and the so-called "praise" style of congregational song. Jean felt that this tape demonstrated how this style of music allowed the people to step into the mood of the service instantly. For his second example of an alternative style church worship service music, he discussed the use of the bluegrass religious music being used by a church in Minnesota. While admitting that the use of bluegrass music is somewhat unusual, he found the music to be incredibly beautiful and to be a type of church music that has to evaluated in more than a musicological vein--more than just notes on a page.

Jean concluded this lecture with the following pointers for church musicians who are being faced with changes in their church's changing style of worship and liturgical music: realize that the church today is made up of congregants from many different cultural backgrounds; listen to what is taking place in a particular situation, and don't dictate; bring your talents humbly and look for God in all types of music; develop a cooperative dialog with your pastor and then begin to educate the congregation through a number of venues such as adult forums, choir rehearsals, sermons and bulletin announcements.

The Friday morning session concluded with a recital by U of I undergraduate and graduate organ students. The recital began in the Krapf Organ Studio on the 1986 Taylor and Boody organ featuring performers Timothy Duhr, David Vanden Berg, and Hanna Lee. The concluding half of the student recital was held in Clapp Recital Hall on the 1971 Casavant organ with Sean Vogt, Eunjin Choi, Anna Eriksson, and Linda Hakken. Hakken was joined by baritone Stephen Swanson, percussionist Chris Foster and Tim Duhr, electronics, in Richard Felciano's Glossolalia (Psalm 150).

Paul Westermeyer opened the Friday afternoon session of the conference with the second part of his theme, "Congregational Song as Global and Particular." That congregational song is particular means that "the church takes flesh in a specific time and place and sings in the idiom of a specific time and place." Dr. Westermeyer began by citing three hymnals from German groups in the U.S. that relate to their time and place in spite of their presumed postures and perceived characters. For instance, the 1941 Hymnal was accused of being entirely German, but in reality was not. The service music was Anglican chant and though most of the hymn tunes were of German origin, 287 of the hymns were of Anglo-American heritage. Westermeyer pointed out that what the church actually uses may not be what is perceived to be in the hymnal. Perceptions don't make for the real world as we sing in the idiom of a given time and place even if we don't realize it.

Congregational song has a blurring reality to it as the text must be in our language or we would not be able to sing it. The distinction between what is global and what is particular is that the two mix with each other--some places are more in flux while others are more stable. There is always a moving stream--not a fixed point. There is a duration to the time of congregational song and the particularity of the song is indigenous. Indigenous song is a result of itice. Westermeyer noted that performance practice for each congregation is made up of the individual language of that congregation. He also feels that it should come as no surprise that i (incarnational) and that the church takes place among real people in a real time and place.

The particularity of congregational song protects the church from becoming a i. There is a temptation for the church to become a museum, but if, in fact, the church is a constantly moving stream, then it must sometimes cleanse itself. Dr. Westermeyer concluded with these three points: these are complimentary, not contradictory, realities; congregational song is intrinsic rather than extrinsic; congregational song cannot be forced, but is learned from the inside out. Finally, he noted that congregational song is inherently musical (to be human is to sing) and that it is authentic, not derivative.

Carlton Young concluded the Friday session with part two of his lecture "Congregational Song in Global Perspectives." Young called this session "Global Song Three" and began by discussing contextualization as it relates to the indigenous congregational songs of Africa, the Caribbean and Latin America and Asia. Young explained the term contextualization as the process whereby concepts, words and symbols from one cultural setting are received, embodied and expressed in the concepts, words, and symbols of a different cultural setting. In examining the African congregational song, Young noted three distinct characteristics of it as being the orality, communal nature and the sensuality inherent in it. According to Young, the hymns used by the African churches were developed by the Dutch Reformed, British Methodist, Anglican, the Church of Scotland and the Lutherans. The 1960s and 70s saw ethnomusicologists and their African students encouraging the use of indigenous music in African-style liturgies. Dr. Young then cited a number of examples of recent African Christian congregational songs and had the participants sing a stanza or two of each.

Christian worship music in the Latin American and Caribbean countries and islands goes back to the time of Columbus in the Caribbean islands and to the 16th and 17th century Roman Catholic missionary efforts in South and Central America and Mexico. The music of the islands features reggae and calypso rhythms. Young noted that it has only been in recent times that these songs have been collected, recorded and published, including Sing a New Song (1981) and Caribbean Praise (1999). The alabados (songs of praise) are the typical indigenous folk-hymns in Central and South America. Young stated that Protestant hymn writers have recently begun to compose hymns of liberation and hope and that popular dance rhythms, including the samba and tango, have been used in hymn tunes. He feels that Pablo Sosa (b. 1933) is one of the most influential composers of Latin American Protestant church music. Sosa is editor of the six-volume Cancionero Abierto (Open Songster) of 1974-90. Again, the conference participants were encouraged to sing a number of examples of Latin American and Caribbean folk hymns.

In the case of Pan Asian Hymnody, Young feels that the contexturalization of Asian Christian song is counter-cultural, in and out of the church. The E.A.C.C. Hymnal (1964) was the first attempt at compiling a collection of significant contextualized Christian song and, for the first time, featured a selection of pan-Asian religious song in one volume. Dr. Young noted that the successor to the E.A.C.C. Hymnal is the collection of pan-Asian Christian songs entitled Sound the Bamboo (1990) which includes a greatly expanded repertory and instructions for performance practices.

Young concluded his presentation with the following points for consideration: church musicians should offer Christ not only in Western-style music, but also in diverse tonalities, rhythms, scales and styles of the various cultures of the global family of God; the training of music ministers for service in this country and around the world should include the history, worship practices and music of non-Christian religions; finally, graduates of schools of music and of seminaries that prepare ministers of music should be "bi-musical"--they must be required to demonstrate that they can teach songs in a second language, understand and be able to perform blues and gospel songs and can arrange and teach congregational song in three styles: Latin American and Caribbean, Asian gamelan and African-American gospel. Young also suggests that these graduates be required to complete an onsite mission assignment in a non-Western culture.

Every Institute for Sacred Music Conference has included an organ recital in Clapp Recital Hall (Marilyn Keiser in 2000 and Gerre Hancock in 2001), and Martin Jean's concert on Friday featured a varied and eclectic program.

Saturday

The conference concluded on Saturday morning with Martin Jean's final presentation "Revisiting the Basics of Liturgical Accompaniment" and a panel discussion by all three presenters. Dr. Jean began by stating that as church musicians we must bring a humble approach to hymn playing. The church musician needs to keep in mind that the earliest congregational song was unaccompanied. The earliest reports of accompanied congregational hymn singing were in North Germany around 1630 or so. In England and Holland accompanied congregational song began in the 18th century. Jean quoted Nancy White (in "Philosophy of the Hymn"): "Briefly, the hymn is an idea-emotion, born of Christian experience, through the media of poetry and music; and in turn, transmitted through the media of poetry and music, it nourishes Christian experience."

Jean then presented what he feels to be eight principles of good liturgical music: it is doxological, profoundly scriptural, liturgical, participatory, traditional, eclectic, creative and, above all, aspires to excellence in concept and execution. The question as to what constitutes the ideal instrument for accompaniment (type of organ) is best answered by the fact that we as church musicians must use what we have at our disposal to the best of our ability. Jean noted that the early North German organs had very bright mixtures and heavy and loud pedal stops to counter the very loud congregational singing.

Jean outlined a number of techniques to use for better hymn playing. First, it is key to listen to just how the congregation sings hymns. Congregations can become easily fatigued and the organ can help by allowing a little extra breathing space between stanzas. He recommends using varied types of accompaniments such as no pedal, use of a solo line in the treble, tenor or bass parts, the use of varied registrations and the use of canons and alterations of voices for each stanza. He also advocates adopting a style of playing in which articulation is applied to the particular time in which the hymn was written.

The majority of the time given to the concluding panel discussion centered on what constitutes good and bad liturgical music. For instance, in answer to the question of what makes a text banal, Paul Westermeyer answered that beauty is not necessarily a universal given--there is such as thing as craft. He felt that the universal church will not tolerate banal texts or music over time. Martin Jean felt that there is a tendency for classically trained musicians to adopt somewhat of an arrogant attitude when it comes to alternative styles of liturgical music such as praise music--and if there is something to be said against popular praise texts and music, it should be done with humility. Martin Jean also felt that standards have been lowered to achieve higher congregant numbers for Sunday services, but, he would rather err on the side of being open to changes in the styles of liturgical music. Westermeyer feels that the either/or of folk vs. "high art" is a false dichotomy. Like the global and the particular, they are complementary, not contradictory, as the church has demonstrated by its practice of alternation: all is for all, though not all do all as is true of any healthy body. Carlton Young felt that the more that we try to suppress pop culture-related church music, the harder it will be to stop its use. He again stressed that the training of church musicians must include a strong emphasis on congregational song.

Once again, congratulations to Delbert Disselhorst and Brett Wolgast of the University of Iowa School of Music faculty and to T. Andrew Hicks and Robert Triplett of the River Valley Chapter AGO for their combined efforts in producing another very fine and enlightening Institute for Sacred Music Conference.

--William Dickinson

Godwin Sadoh is a Nigerian organist-composer, church musician, pianist, choral conductor, and ethnomusicologist. He is the author of several books, including The Organ Works of Fela Sowande: Cultural Perspectives (2007), Intercultural Dimensions in Ayo Bankole’s Music (2007), and Joshua Uzoigwe: Memoirs of a Nigerian Composer-Ethnomusicologist (2007). Sadoh is presently Professor of Music at Talladega College, Alabama.

The arrival of the Christian faith in Nigeria around the mid-19th century introduced not only the Gospel of Jesus Christ, but also church music to one of the most populous African countries. At the turn of the 20th century, indigenous church musicians began to develop a repertoire of music for worship. The music included church hymns, chants for singing Psalms, versicles and responses, and choral anthems, as well as organ pieces. The pioneers of church music composition endeavored to write music that would be close to the cultural roots of the congregations through the incorporation of traditional music resources. Foremost among the first generation of composers was Thomas King Ekundayo Phillips (1884–1969), popularly referred to among Nigerian musicologists as the “father of Nigerian church music,” for his immense contributions to the development, growth, and stabilization of Christian music.

Short biography of Thomas Ekundayo Phillips

Thomas King Ekundayo Phillips was born in 1884 and he attended the Church Missionary Society Grammar School (CMS), Lagos. Phillips received his first organ lesson from his uncle, Johnson, who was an Anglican priest. At the age of eighteen he was appointed organist of St. Paul’s Anglican Church, Breadfruit, Lagos, and served in this capacity for nine years. In 1911 he proceeded to the Trinity College of Music, London, to study piano, organ, and violin, becoming the second Nigerian to receive professional training in music abroad and the first Nigerian to formally study organ in a school of music (Robert Coker was the first Nigerian to study European music abroad in Germany in 1871).1
Upon his return to Nigeria in 1914, Phillips was appointed to the position of organist and master of the music at the Cathedral Church of Christ, Lagos.2 Phillips’ tenure marked a great transition and a period unparalled in the history of Nigerian church music. His accomplishments far outshone those of all his predecessors at the church. He led the Cathedral Choir to great heights within a short period of time, since the choir was established to be a model for other churches. The choir sets the musical standard for choral performance in the country. In this way, Phillips succeeded in revolutionizing church music in Lagos and in Nigeria as a whole.
Phillips embarked on a massive campaign to educate Nigerian congregations in the latest repertoire. First, he concentrated on an intensive training of his choir on sight reading, vocal production and blend, and modern techniques of chanting the Psalms. Second, Phillips established a musical journal of which he was the editor-in-chief. He used the journal to disseminate cogent information about sacred music to the Yoruba congregations in southwest Nigeria, including its role in worship and its relationship to the culture of the people. Third, Phillips wrote a treatise on the compositional devices of early Nigerian church music entitled Yoruba Music.3 In this monumental book, Phillips described methods that composers could use to create new forms of music that employ Nigerian indigenous music resources—such as melodies, scale, and rhythms—to which congregations could relate. Nigerian congregations tend to embrace and appreciate hymns, anthems, and instrumental works based on indigenous popular melodies and rhythms. According to Bode Omojola, Phillips’ views in his Yoruba Music are summed up in three salient points: 1) Yoruba music is often based on the pentatonic scale; 2) harmony rarely exists in Yoruba music; and 3) Yoruba music, like all other musical traditions, is undergoing an evolutionary process.4 Phillips’ book represents the first musicological research and documentation of African traditional music by a professionally trained native. His postulations and research findings were circulated among church musicians through public presentations such as lectures, conferences, and symposia. His Passacaglia on an African Folk Song for Organ and Variations on an African Folk Song for Organ are representative works based on the ideas from his Yoruba Music. Fourth, Phillips founded the Conference of Church Organists and other musical organizations such as the Association of Diocesan Organists, which was a forum for church musicians to interact and exchange ideas on various aspects of sacred music from congregational singing to choral training to organ playing.
Phillips frequently gave lectures, addresses, and demonstrations for the improvement of musical taste and development in the church. He wrote numerous articles on harmonium and organ playing as well as on the maintenance of these instruments. At his instigation, some of the sermons at the Cathedral Church of Christ during this period were directed towards enlightening the congregation on devotional and reverential singing. The historical background of some of the hymns was also incorporated into the sermons. All these efforts led to a tremendous growth in the musical standard of the choir and the congregation in Lagos State and other parts of the country. The Cathedral Choir rendered settings of canticles, responses, anthems, hymns, and diverse choral works by famous European and indigenous Nigerian composers.
When the church was to be elevated to cathedral status in 1923,5 the congregation decided to buy a bigger pipe organ. Phillips embarked on several concert tours at home as well as in London to seek funds for the instrument, and he was able to raise over half of the budgeted amount. Works performed by the choir during these tours included Felix Mendelssohn’s Elijah, John Stainer’s Daughter of Jairus, and the Yoruba songs composed by Phillips. The money was used to purchase a three-manual pipe organ built by Abbot & Smith Co. in 1932.6 In 1964 Phillips was awarded an honorary Doctor of Music degree by the University of Nigeria, Nsukka, for his contributions to the development of church music in Nigeria. Phillips also trained most of the prominent and internationally famous Nigerian musicians, such as Fela Sowande (organist-composer, 1905–1987), Ayo Bankole (organist-composer, 1935–1976), his son, Charles Oluwole Obayomi Phillips (organist and choir director, 1919–2007), and Christopher Oyesiku (singer, choral conductor, and broadcaster, 1925–).7 Thomas Ekundayo Phillips directed the music ministry at the Cathedral Church of Christ for 48 years (Trinity Sunday 1914 to Trinity Sunday 1962). He was succeeded by his son, Charles Oluwole Obayomi Phillips, who served as organist and master of the music from Trinity Sunday 1962 to Trinity Sunday 1992.8

Issues in Nigerian hymn composition

The art of hymn composition in Nigeria is confronted with several related problems. The first issue to be tackled by a hymn writer is that of ethnic diversity—who is your audience or which of the ethnic groups is your primary target? Nigeria as a nation is made up of three major ethnic groups: Yoruba in the southwest, Igbo in the southeast, and Hausa to the north. In addition to this powerful tripartite caucus, there is a large body of minority groups including the Edo, Urhobo, Isoko, Ishekiri, Kwale, Efik, Tiv, Ijaw, Ibibio, and Fulani. All these groups speak different languages and hundreds of dialects. When you move from one small town to another, you might neither be able to understand nor speak the language there, even though you are a Nigerian.
For illustration, I am a Nigerian born to a Yoruba mother, but my father is from Edo State in the midwest region of the country.9 As a result of being raised in Lagos, I am very fluent in the Yoruba language; however, I can neither speak nor understand the local dialect of my father’s ethnicity. Each time I go to Edo State, I communicate in English, a language common to all or most Nigerians.
It follows, then, that a hymn composer in Nigeria must always have a targeted congregation in mind when writing a new song for worship. If the composer wants his/her songs to be sung in the southwest region, the hymn must be in Yoruba. And if the primary congregation is situated in the southeast, the hymn must be in Igbo. Alternately, a wise composer who wishes to reach a larger body of Christ that cuts across ethnic barriers, would write the hymns in English. With this approach, all the ethnic groups within the nation may be able to understand the message of the hymns.
Ironically, this procedure may even create a greater problem because there are some churches that have adamantly adhered to conducting services in their indigenous language and would not accommodate songs in any other language. Among these churches, there are some educated people who could communicate well in English, and there are also those who cannot read nor write the English language.
For instance, there are several Igbo Anglican (Episcopal) churches in Lagos, a Yoruba community. The Igbo Anglican churches were founded by Igbo priests who were confronted with fierce oppositions in convincing ministers in Yoruba churches to create English services to accommodate non-Yoruba speaking natives. The Igbo priests made this move to prevent further loss of Igbo Anglicans to other denominations.10
The only places where English hymns thrive are the newly founded evangelical churches, chapels on college and university campuses, and a few denominational churches such as the Cathedral Church of Christ, Lagos, where services are conducted mainly in English. These congregations have a larger population compared to small parish churches because they are pan-ethnic and globally intercultural in their modes of worship. In most of the evangelical churches, you will find Igbo and Yoruba as well as other minority ethnic groups worshiping together. On college and university campuses, English is the official language of instruction; accordingly, services are conducted in English at all worship centers including student fellowship meetings.
The second problem a hymn writer may have to grapple with is the translation of hymn texts. This may be in the form of translating English hymns to any of the indigenous languages or the translation of a particular local dialect to another within the country. In the first situation, the composer may find it difficult to translate certain English words that do not exist in Nigerian culture. For instance, we do not have snow, winter, hail, or ginger bread in the Nigerian cultural experience. Therefore, the hymn composer will experience difficulty in translating these words into an indigenous language and choosing descriptive words that can best convey the exact meaning to Nigerian congregations. In another instance, when words are translated from one language to the other, there may be too many syllables to be inserted into a single note, or there may be too many words within a phrase that would not fit into the melodic phrase.
The hymn writer is then confronted with the problem of choice: which words are more important to retain and which are less important, to be deleted. A Yoruba Christian song, Kokoro Ayo lowo Mi, when literally translated into English becomes “The Key of Joy in My Hands.” There are several problems with this translation. The Yoruba text has eight syllables and melodic notes to go with it, while the English translation has only seven syllables. The composer will have to create an additional English word to complete the sentence or she/he may try to force two notes into a single syllable of the text. The other problem with this translation is that of positioning the important English words under the strong accents such as the first or third beats of each measure. In other instances, after creating a literal translation of the hymn text, the composer still has to rearrange the words.
The third obstacle to be addressed in composing hymns in Nigeria is the issue of melodic choice. The composer will need to choose between pre-existing tunes such as folk songs, traditional songs that belong to specific cults, popular dance tunes, or original melodies. Folk songs are generally acceptable because their texts deal with simple social life experiences, whereas traditional songs that are devoted to specific deities or divinities may be difficult to persuade Nigerian congregations to sing. The church members were taught by the early foreign missionaries to believe that such cultic songs belong to the devil, and, because of this, they should refrain from incorporating them into Christian worship. These songs are well known to the people; engaging in the singing of those songs may bring back to their consciousness the images of traditional gods and goddesses that they have disowned for the true God of the Christian faith.
Popular band songs on the other hand are perceived to be too “worldly” and mundane for true worship in the church. The argument here is that juxtaposing such melodies with sacred texts may bring back memories of “worldly” experiences that do not bring glory to God and Jesus Christ. In Nigeria, there has been a long controversy and debate on the issue of employing popular band tunes played at night clubs to accompany sacred texts. The Christian community has vehemently opposed this practice at every seminar, symposium, and conference. An alternative available to the composer is to write original melodies that align with new text or pre-existing words.
The fourth major problem confronting a hymn composer in Nigeria is melodic construction. After overcoming the issues of ethnic and language diversity, translation barrier as well as choice of melody, the hymn writer will still have to contend with the issue of tonal aspects of indigenous languages. Because all languages and regional dialects have tonal inflections, the composer must be mindful of the melodic shape of each note assigned to every syllable. Any discrepancies between the melodic contours and indigenous language can adversely dislocate the intended meaning to be conveyed to the congregation.
Most Nigerian dialects normally have three to four tonal inflections. Yoruba language has three main tone patterns on its words: the low, middle, and high tones. Consequently, if the tonal inflection of a word is high, the melodic contour must correspond to it by rising; if the inflection is low or middle on the word, the melodic contour has to move in that direction. In other words, the melodic shape of words in Nigeria has to run parallel with the rising and falling pitches of the local dialects.
Among the Yoruba, the word Ade means crown, and its tonal inflections are middle and high. Hence, the appropriate notes for the two syllables can be re–mi, mi–so, la–do, or so–la. If the hymn writer chooses a melody in the opposite direction, the meaning of the text will change and it will not make sense to the Yoruba congregation. By choosing different tonal pitches, this word can mean ade (crown), ade (to cover), ade (to tighten), or Ade (the name of a person from a royal lineage). The composer of indigenous Nigerian church hymns will have to take into account this problem in order to write meaningful and logical songs for Nigerian congregations.
The fifth problem a Nigerian hymn writer faces is that of harmonic organization. Nigerian traditional music has a concept of polyphony. Indigenous harmonic usages can be observed in both traditional vocal songs and instrumental music. While there is a predilection for thirds, fourths, fifths, and parallel harmonies in the musical repertoire of traditional music, one can also hear the clashing of seconds in tone clusters among the Ijesha and Ekiti from southwest Nigeria. Interestingly, the concept of harmony is more pronounced in the southern regions of Nigeria, such as the Yoruba, Igbo, Edo, Ijaw, Efik, etc. The northern Hausa-Fulani sings mostly in unison or what Kwabena Nketia calls “polarity,”11 which is a very strong influence from the Arabic culture. The reason for this might be twofold: 1) the southerners have a long history of harmonic singing in their traditional culture, in particular, the Igbo and Midwestern regions; and 2) the church music introduced by the early missionaries from America and England was restricted mainly to the south. Consequently, the foreign hymns in four-part harmony simply reinforced the concept of polyphony among the southern peoples. As one may recall, the colonial policy encouraged the northern Muslims to continue in their Islamic faith, while the southerners fully embraced the newly found Christian faith.12
The final problem confronting hymn composition and congregational singing in Nigeria is that of instrumental accompaniment. During the early stages of Christian worship in Nigeria, especially in the 19th century, congregational hymns were accompanied mainly with organ, harmonium, or piano in most churches. Unfortunately, native worshipers could not easily relate to nor embrace singing songs without movement. They were used to dancing, hand clapping, and all manner of bodily movements in their traditional culture. The singing of European or indigenous hymns with the exclusion of the dance experience created a major hindrance and stumbling block to congregational singing. This impasse created schisms and eventually led to the fragmentation of the early church in Nigeria into various factions and denominations. From this fragmentation evolved indigenous independent churches such as the Aladura (Prayer) Church in early 20th century, where traditional musical instruments were fully utilized to accompany congregational singing of hymns.
In Nigeria today, traditional musical instruments are employed in accompanying congregational singing at various indigenous churches and established traditional churches such as Anglican, Baptist, Catholic, Lutheran, Presbyterian, and Methodist. Even European or American hymns are accompanied with indigenous drums, iron bells, sekere (shaking idiophone), and hand clapping. The only exception to this practice is to be found at the Cathedral Church of Christ, Lagos, where hymns are still accompanied only with the pipe organ and piano. The Cathedral Church is the only church in the country that strictly kept intact the European worship traditions in post-colonial Nigeria. The worship experience in the church is comparable to any of the British cathedrals such as St. Paul’s or Westminster Abbey. In addition to instrumental accompaniment, services have been conducted exclusively in English, from the inception of the Cathedral Church of Christ in 1867 to the present. The only occasions when other types of musical instruments and indigenous language is tolerated are during special services dedicated to the youth of the church or during diocesan events. Even in these specialized services, Western musical instruments such as trap drum set, electric guitar, and electric keyboard are mostly used in accompanying contemporary praise choruses from America and Nigeria. These instruments are used to play music that the youth of the church would like to hear and sing. The Standing Committee of the Cathedral Church approved the use of foreign instruments in order to keep their youth in the church and perhaps attract more young men and women to their congregation. Prior to this era, which began in late 1990s, the Cathedral Church was losing a lot of their young people to the newly founded contemporary churches where those instruments were being used to accompany modern praise choruses.
Therefore, a hymn writer in Nigeria needs to recognize the important issue of movement in worship. The composer is compelled to write songs that can align with percussion instruments and inevitably move the congregation to dance. In Nigeria, dance is visualized as an act of worship to God. We may ask at this juncture: how did Thomas Ekundayo Phillips solve the aforementioned problems in the hymns he wrote, and how did the congregations react to his compositions?

Selected indigenous hymns
Thomas Ekundayo Phillips wrote several songs of worship for the Cathedral Church of Christ, Lagos, and other smaller parish congregations. His hymns are in both English and Yoruba languages. Although services were conducted mainly in English at the Cathedral Church, Phillips’ compositions in Yoruba language were permitted for rendition during special occasions such as choir concerts, synod services, diocesan events, and ordination of a bishop or archbishop in the church. Such events attracted people from various backgrounds, both the well-educated and the less-educated. As the church was located in a Yoruba state, the majority of the guests from other parishes were Yoruba; therefore, they felt more at home singing songs in their own language. Phillips’ music represents the first generation of Nigerian composers. Works in this era are quite simple, short, and tonal.
Phillips’ Versicles and Responses (Awon Adura Kukuru ati Idahun Won)13 was specifically written for worship in the smaller Yoruba parish churches in southwest Nigeria. It is a canticle of prayer sung in morning and evening worship. The performance technique of the song is the African “call and response,” with simple organ accompaniment. The priest (Alufa) sings the solo while the congregation (Ijo) responds in unison. The organist plays the first note of the opening solo and the priest sings his line a cappella, but the organ accompanies the congregational response. Since the Versicles and Responses is in Yoruba language, it cannot be sung at worship in other regions of the country. The melody is original and in five-note pentatonic scale (do–re–mi–so–la), which is commonly found in Yoruba folk songs. The vocal compass of the song is nearly an octave, making it easy for the members of the congregation to sing without straining their voices. While the melodic line employs a pentatonic scale, the organ accompaniment uses a free diatonic harmony with occasional tonicization of the dominant. The melodic contour mirrors the tonal patterns of the Yoruba text throughout the music. The translation of the first page of the Responses is as follows:

Priest: Oluwa, Iwo si wa l’e te (Lord open our lips)
Congregation: Enu wa yio si ma fi iyin Re han (Our mouths shall sing forth Thy praise)
Priest: Olorun, sise ki o gba wa la (Lord make haste to save us).
Example 1 shows the first page of Phillips’ Versicles and Responses.
Phillips wrote a very short Yoruba Vesper hymn for the closing of evening service, entitled Baba a f’ara Wa (Father, we surrender ourselves). This hymn is usually sung at the end of evening worship before the recessional hymn is sung. The organist plays the first chord as written in the score, then the congregation sings the entire song as quietly as possible. Apart from one sub-dominant note, the melody is in five-note pentatonic scale (do–re–mi–so–la), and its range is a seventh. The melodic shape of the hymn strictly mirrors the tonal inflections of the Yoruba text, and it is an original hymn. Consequently, by observing the compositional rules, Phillips was able to retain the intended meaning of the Yoruba words. The congregation sings in unison, but the organ accompanies with conventional four-part harmony and closes with a plagal cadence. The song is a prayer for God’s protection at night. Below is a translation of the Yoruba text:

Baba a f’ara wa
Si iso re l’ale yi
Dabobo wa ko pawa mo
Titi ‘le o fi mo, Amin.

Father we surrender ourselves
Under your care tonight
Protect and keep us safe
Until tomorrow morning, Amen.

See Example 2 for Phillips’ Vesper Hymn.
Yoruba Magnificat in C (The Song of Mary) is another evening hymn composed by Ekundayo Phillips. The text of this hymn is derived from Luke 1:46–55 in the King James Bible. It is a Yoruba hymn-anthem for four-part choir, congregation, and organ accompaniment. The hymn is commonly sung during a synodical or any other diocesan service that involves the Cathedral Church of Christ and other parishes in the community. Compositional technique combines monophony, polyphony, and contrapuntal devices. Structurally, the hymn-anthem is in three-parts: A) the congregation sings with organ accompaniment in C major; B) alternation of solo passages with full chorus in the key of G major; and A) full chorus with organ. Phillips maintains strict observance of parallel motion between the melodic shape and the Yoruba text. The original melody mirrors the contours of the inflection of the words. As regards tonality, Phillips uses the conventional diatonic scale for the melody, while the organ has more notes. Harmonically, there is a preponderance of thirds, fourths, fifths, sixths, and unison in the vocal lines. In addition, he uses all types of dynamics—mf, f, ff, cresc., dim., as well as rallentando, allargando, etc. Example 3 shows an excerpt from the Yoruba Magnificat in C.
Phillips wrote several Antiphons to Psalms with organ accompaniment. These short songs are all in Yoruba language and they are meant to be sung in unison before, during, and at the end of the Psalms. The melodies use tetratonic and pentatonic scales, and they are generally within the range of an octave. The melodic contours strictly imitate the inflections of the Yoruba words. The organ accompaniment is simple and often closes with either a plagal or perfect authentic cadence. The composer gives clear instructions on performance technique and at which points the antiphons are to be sung in the Psalms. Example 4 shows the opening page of the Antiphons to Psalms.
From Glory to Glory is a four-verse English hymn by Ekundayo Phillips, written in four-part harmony with short organ interludes inserted between all the verses except the final. This hymn is frequently sung at evening services and festive occasions at the Cathedral Church of Christ. In this hymn, Phillips keeps the melodic construction simple and the harmonization diatonic. He is not compelled to observe the Nigerian indigenous creative principles because of the English text. In fact, the harmony briefly tonicizes C in the third and fourth measures. However, the singing alternates between monophonic and polyphonic phrases. Phillips’ Yoruba hymns were well received and are still popular today in most Anglican churches in southwest Nigeria, especially Lagos. In fact, the current Cathedral Church of Christ Choir recorded some of Phillips’ hymns and anthems in 2006 to celebrate his musical legacy. From Glory to Glory is shown in Example 5.

Conclusion
Thomas Ekundayo Phillips indeed is the father of Nigerian church hymn composition. He laid a solid foundation for the composition of indigenous hymns through his numerous compositions and his book, Yoruba Music. He continually strove to encapsulate the theoretical framework of Yoruba traditional music in his compositions for the Christian church in Nigeria. In the area of tonality, he uses the popular five-note pentatonic scale, occasionally deviating from this method in songs such as From Glory to Glory, which is in English. Therefore, it would not be wrong to admit that Phillips adheres strictly to pentatonality in his Yoruba hymns, but uses the diatonic scale freely in composing English hymns. Phillips solved some of the problems in composing indigenous hymns by writing original texts and melodies. This procedure enabled him to successfully juxtapose the two entities in which the melodic contours consistently mirror the tonal patterns of Yoruba text in order to convey the intended meaning to his Yoruba congregations.
A large number of Phillips’ compositions are in Yoruba language, meaning that his targeted audience was the Yoruba congregations in southwest Nigeria. This corroborates the prevalent ethnic diversity among the Christian congregations in post-colonial Nigeria. Subsequent generations of composers rely on his research from well-documented field work on Yoruba music found in his book and his compositions. However, some modern Nigerian composers are making efforts to alleviate the issue of ethnic conflicts by writing songs in diverse indigenous languages as well as borrowing folk and popular songs from various ethnic groups in the country in their works. My new hymn book, E Korin S’Oluwa,14 is a major contribution towards uniting the vast ethnic groups in Nigeria. The indigenous texts are in Yoruba, Igbo, as well as English language, and pre-existing songs are borrowed from all the major ethnic groups in the country. I am but one of a growing number of Nigerians who have been touched by Thomas King Ekundayo Phillips, and so his efforts to build the musical life of the Nigerian church continue after his death.

Other articles of interest:

History of the organs of the Cathedral Church of Christ, Lagos, Nigeria

Centennial of the Cathedral Church of Christ Choir, Lagos, Nigeria

Fela Sowande: Nigerian Musician Legend

Thomas Ekundayo Phillips: Nigerian composer

Thomas King Ekundayo Phillips

Part one of two

Edward Maki-Schramm is director of music at Central United Methodist Church in Detroit, Michigan. He received the MMus and DMA from the University of Michigan and BMus from the University of Cincinnati, College-Conservatory of Music. While a student he was the first place winner two years consecutively, 1994 and 1995, at the Jean and Broadus Staley Organ Competition in Organ Improvisation, sponsored by the American Center for Church Music. In 2005, Dr. Maki-Schramm was the organist for the Grammy Award-winning recording of William Bolcom’s Songs of Innocence and Experience. In September 2004, Maki-Schramm made his European debut playing a recital at the Schlosskirche in Altenburg, Germany (the church of Johann Ludwig Krebs). In 2003 he was the organist for the Detroit Annual Conference of the United Methodist Church and was the organist for Ann Arbor’s Annual New Music Festival featuring the music of composer-in-residence Richard Webster. He performed the commissioned work for the AGO Region V Convention in 1999, and in 1995 was a featured soloist of the OHS national convention. His recordings have been featured on Pipedreams. He is now beginning his sixth year as Dean of the Ann Arbor AGO Chapter. For information: .

Joy Schroeder, FAGO, teaches at the Flint Institute of Music and the Monroe County Community College. She worked in church positions for 36 years, and is now a substitute organist and choir director. In 1999, she was the convention coordinator for the Region V convention held in Ann Arbor, spent six years as the District Convener for Michigan, and is now the Education Coordinator for Region V and serves on the AGO National Committee on Seminary and Denominational Relations. She has a DMA from The University of Michigan in organ performance and a MM from Wayne State University in choral conducting.
 

In beginning a daunting task such as reviewing a national convention, I thought it best to canvas convention-goers for their reactions. Not surprisingly, everyone asked had an opinion not only about the convention but also how the review should appear—easier than filling out the questionnaire tucked into the mammoth, 400-page convention book or losing it in the largest convention bag of recent memory. I received all kinds of advice on not only content but also style: “Don’t let it be boring,” and “nothing too long.”
In deference to them, I offer this concise opinion of convention events: Peter Gomes, Janette Fishell, Stefan Engels, Rollo Dilworth, the Bach Week Festival Orchestra, St. Clement Choir and Sophie-Véronique Cauchefer-Choplin—fabulous. 7:00 a.m. bus rides, long evening concerts that cut time away from the exhibits, competition with fireworks, and the final concert—not so fabulous.
If you’ve made it this far, perhaps you’ll read a bit further for more details and highlights.

Chicago

Chicago—it was my kind of town. The love affair began the moment I arrived in the Loop. Organists from all over the world met in Chicago, July 2–6, to convene for the 48th time. And Chicago was an excellent choice of city. Visitors to Chicago experience a virtual explosion of cultural activity, civic pride and multicultural expression. The first thing that struck me was the greenery. There were parks everywhere—not just tennis courts and country clubs like Los Angeles—but real parks with ample areas of grass and 29 miles of Lake Michigan lakeshore in the heart of the Midwest. Organists sampled everything from stunning architecture and world-famous museums, churches and concert halls, to lakefront parks and vibrant ethnic neighborhoods.
The almost 3 million residents of Chicago and the city’s organists and enthusiasts were hosts to over 2,000 organists in some of the best weather for which one could have asked. Chicagoans were approachable and helpful. Temperatures were pleasant, which made making use of the buses a bit easier as attendees had the expected lines waiting their turn to board. So thank you, Windy City, for one spectacular week.
It is impossible to attend every event at a convention in a city such as this. The varied opportunities and scheduling options leave each attendee with a slightly different experience. All convention attendees had an early shock on Monday morning when they had to start boarding the buses at 7:00 a.m. I think no one but organists would be asked to board a bus for their first weekday session the day before a national holiday when most people are in a vacation frame of mind. The buses were prompt, and passengers quickly boarded for their transportation to Valparaiso, Indiana. At the annual meeting, attendees applauded G. Ronald Vanderwest, convention coordinator, and the convention committee’s decision to get the early day over early in the week. Little did we realize that we would be asked again on Thursday to board buses at 7:00 a.m. Some people simply gave up at that point and rejoined the convention midday.

Monday, Annual Meeting Rockefeller Chapel

The annual meeting at Rockefeller Chapel began the Monday afternoon sessions. We were greeted on the lawn by the sounds of the carillon and the impressive grounds of the chapel. After the official welcome by President Frederick Swann, organist Dan Miller played Mendelssohn’s Sonata No. 3 in A. The tuning of the instrument was so excellent that upon hearing it, I made a note to personally thank the organ technicians for their good work. After reading the back page of the program and hearing President Swann’s announcement that the historic Skinner organ was inoperable and we were listening to a Rodgers Model 957, I crossed out my note. We were duped by those enviable acoustics.
At the meeting, things went as smoothly as possible. These are the types of events where our president really shines. Fred Swann graciously and humorously guided us through what could have been an interminably long meeting. The need and pressure to keep the meeting on time is immense. President Swann asked Dan Miller to cut his playing of the Fanfare by John Cook. This is just the behavior we try to teach our clergy colleagues to avoid. In turn, Miller must have felt that pressure. It was disappointing to hear Miller’s carefully prepared pieces rushed and cut. The acoustic just did not allow a rushed performance of Bach’s Toccata, BWV 538.
Awards were given and noteworthy to mention among all the awards is membership. Memberships were up, especially in Singapore by 47.5%. A higher percentage of young people in attendance was noted several times at this convention. The future of our craft seems to be ensured for another generation.

Monday workshop

All afternoon sessions were marked by their variety and diversity, and Monday afternoon was no exception. The “Celebration of Black Saints in Hymns” given by Wallace M. Cheatham was an incredible excursion into the lives of Absalom Jones, Richard Allen, Martin Luther King, Jr., St. Monica, Augustine of Hippo, Simon of Cyrene, Cyprian of Carthage, and Philip the Evangelist. Dr. Cheatham’s enthusiasm for this treasury of hymnody was contagious. He possessed a thorough knowledge of and passion for his selected material and painted the picture and circumstances in which these saints were born. As Cheatham pointed out, they were not derived from theological differences but from the atrocities of our history. He was very generous in giving all attendees of the session a copy of all the hymns with permission to copy one of his works to distribute as widely as possible. After the afternoon sessions, convention-goers dispersed for dinner and either evening fireworks on the Navy Pier, the NCOI Finals, or other events of their choosing.

Tuesday
St. James Episcopal Cathedral

In contrast to Monday’s beginning, attendees had to walk to all of the Tuesday events. This was welcomed by most as a way of getting to know the Windy City and its people. With cool, sunny skies and the help of a city map, we all made our way to the various worship opportunities made available. The service at St. James Episcopal Cathedral was packed, and began with the prelude: The Joy of the Redeemed by Clarence Dickinson, well suited for the instrument. The voicing was typically Victorian, a bit tubby, but the use of color stops and full organ brought the full import of the piece to the fore. Guest organist Jonathan Oblander’s playing of Sowerby’s Prelude on “Deus tuorum militum” made judicious use of the chamade. And it was gratifying to hear Sowerby’s music at the prelude and his Toccata at the postlude because of Sowerby’s connection to Chicago. (For a complete discussion of this connection one simply had to attend Robert Parris’s afternoon session, “Leo Sowerby: A Chicago Legend.”) The service of Morning Prayer that followed the prelude was executed exceedingly well by the clergy and musicians of the cathedral, Bruce J. Barber, II, director. The Reverend Joy E. Rogers, homilist, spoke with passion leavened with humor. Her support and respect of church musicians and her feeling of a shared call was welcomed by all. The most memorable line of her homily was that she never told her music director “no.”
The recitals that followed the worship services were the type where a recitalist’s tires hit the road, so to speak. With the services beginning the day and the recitals starting shortly thereafter, a recitalist has little or no time to warm up to reduce any performance anxiety. And yet the two recitals that morning were among the most well played of the convention.

Holy Name Cathedral

Janette Fishell at Holy Name Cathedral was up to the task, and played a flawless recital. Fishell plays music about which she is passionate, and her choice of program, “Music That Moves,” allowed her to be just that. While one could argue her choices of interpretation of the two Bach trios on Allein Gott in der Höh sei Ehr—especially the added zymbelstern on the final cantus firmus entrance in the pedal, which I actually liked—one could only admire her sense of skill and bravura. It was wished, however, that the organ was up to the organist’s task. Out in the sanctuary near the altar, the sound did not carry, which was surprising. It seemed to be the fault of the building and not the organ. After all, the organ comprises 117 ranks! The building carried all the upperwork but not much foundation.

Fourth Presbyterian Church

The other stellar recital of the morning was that given by Stefan Engels at the Fourth Presbyterian Church. Here was the perfect marriage of organist and instrument. Engels’ thorough knowledge of the organ from his time as an assistant organist there allowed him a full expression of the extremely difficult and complex repertoire. In Karg-Elert’s Partita Retrospettiva III, op. 151, Engels made good and thoughtful use of the instrument, including the required harp and celesta, while managing extremely wide contrasting dynamic ranges that included an extended use of the antiphonal organ in the rear gallery. It was simply the right piece on the right organ played by the right person. The commissioned piece by Naji Hakim that followed was a pure delight. The Capriccio for Organ and Violin is a fine work. The crowd loved this piece and expressed their appreciation to Engels, violinist Yuan-Qing Yu, and finally the composer who was in attendance. The piece has a clear form, a carefree theme in an abridged sonata form that developed and kept a good balance between solo violin and accompaniment, and also allows the organ a few shining moments. The beginning, based loosely on a dominant seventh chord, set the expectation of things to come. The work leans toward romanticism with wit in the middle percussive section.
The program concluded with Max Reger’s little-known Fantasie über den Choral “Straf’ mich nicht in deinem Zorn,” op. 40/2. The work is typically dense, but in Engels’ capable hands it unfolded in a wave of tumultuous sound. It was again Engels’ experience with the instrument that allowed him to take full and convincing advantage of the piece’s contrasting sections of solo stops and organo pleno. It was nothing short of thrilling.

Tuesday workshop

The Tuesday afternoon sessions offered again a great variety. Rollo Dilworth undertook “Gospel Music and Spirituals for Your Choir.” His focus was on introducing the works of newer, lesser-known artists as well as the tried and true. Clearly apparent was this man’s talent as a leader and director. His charisma and skill brought out his desired results from the attendees as they sang the pieces so generously provided by the publishers. If your choir needs a kick in the pants, Dr. Dilworth is your man. He knows his repertoire, and he knows what to do with it.

Bach Week Festival Orchestra
The Cathedral Singers

One of the two concerts on Tuesday evening featured the Bach Week Festival Orchestra, Richard Webster conducting, and the Cathedral Singers, Richard Proulx conducting. Both groups made some spectacular music but the program was simply too long. In the very hot Holy Family Roman Catholic Church with its many statues and light bulbs tracing the antebellum architecture, many people suffered what one attendee called “fanny fatigue.” The first half of the concert, which consisted of two major Bach works and the Concerto in C Major of Mozart, would have sufficed as the entire concert. It lasted one hour and 20 minutes—and then a 20-minute intermission—and then another 45-minute program by the Cathedral Singers. Because the concert ran longer than expected, even by the performers and convention programmers, people complained that their shopping time was cut short. I was told the first half of the concert was cut for the repeat performance on Wednesday evening. To add to the discomfort of the concert, some very loud fireworks were set off near the church. One had the feeling that we were near Beirut.
Despite all of these obstacles, the musicians met the high mark for which their reputations are known. The Bach Week Festival Orchestra played with all the stylistic interpretation appropriate for the music: Orchestral Suite No. 3 and Brandenburg Concerto No. 5. David Schrader’s performance of the Mozart Concerto was played flawlessly, entirely from memory. His command of the harpsichord (not a piano!) was stellar. The Cathedral Singers, despite the distractions of the fireworks and heat, sang accurately and seemed at ease. The women sang in straight tone but the choir still had a full and warm sound.

Wednesday
St. Luke’s, Evanston

Wednesday morning was spent in Evanston, where Thomas Murray played at St. Luke’s Episcopal Church. The Skinner organ, Op. 327, a.k.a. “Lucille,” was in capable hands. She seemed best suited for the final work of the recital, Elgar’s Severn Suite transcribed by Murray. The crescendi and decrescendi were seamless, suave and his playing dry but poised. And he managed all of this with only five generals.

St. Clement Choir
First United Methodist Church, Evanston

The St. Clement Choir (of Chicago) sang at First United Methodist Church, Evanston. I enjoyed this choir the most, if only for their diversified, impressive and still useful repertoire. It was a refreshing change from the Cathedral Singers’ all-Latin program the night before. Randall Swanson, conductor, was energetic, clearly understood, connected and at all times sensitive to the music and text. The choir has 32 singers, eight of whom were sopranos who sang in a warm straight tone; the repertoire alternated between a cappella and accompanied works. Marie Rubis Bauer provided superb accompaniment—she followed every nuance given by Swanson. This was no small task as she had to see around that massive console. The choir displayed their artistic mettle in Colin Mawby’s Ave verum corpus. The contrasting, lush and expressive portions of the work were handled most ably by the choir, with muscle for the fortissimo sections and sensitivity and grace in the pianissimo sections.

Thursday workshop

The final event of particular note was the workshop given by
Sophie-Véronique Cauchefer-Choplin on Thursday afternoon, “Improvisation in the French Manner,” a packed event in St. James Cathedral. Cauchefer-Choplin outlined the French education system; since 1968 one could choose interpretation, improvisation or both. She then went on in her wonderful accent to outline the graduated steps of learning and teaching improvisation. The crowd ate every word. Other than her gift for improvisation, which she demonstrated, she was zealous to share her knowledge and passion for the art.

Final concert

The final concert held at Moody Memorial Church was, in a word, disappointing. I understood where the convention committee wanted to go with this event. As the celebratory culmination of a national convention, it missed the mark. The organ did not speak well in the room, and the acoustical tile on the ceiling didn’t help. To make matters worse, Mickey Thomas Terry’s memorized solo performance on the worst organ of the convention was not to the level one would have expected. It simply was not on par with the prior performances of the convention. With missed notes and inappropriate rushed sections, added to the boredom of the audience in a dimly lit sanctuary after a long week at the convention, we simply didn’t care at that point. Dupré’s Variations sur un Noël, op. 20, called the most life out of the Reuter organ, even though most of the movements were played under tempo.
The concert was salvaged by the Chicago Community Chorus. The second half of the concert began with an impressive procession by the chorus, an unauditioned chorus reflective of the diversity that is Chicago. The procession resulted in a crescendo as each choir member was added to the chancel. The choir’s sound is dark and robust, not unlike a good cabernet, with sopranos who have gusto and stamina for days. Their charismatic conductor, Keith Hampton, was entertaining to watch. His choice to include two movements of Mozart’s Mass in C Minor was a curious one. Although the chorus handled the work well, the pacing of the Gloria was a bit pedantic and unlike anything else in the program. Moreover, it seemed to prove their spirit as a community chorus as well as a possible symphony chorus. Where the chorus really shone was in the published works of their conductor and Moses Hogan. At only three years old, this chorus will be interesting to watch grow and prosper.
Dr. Hampton played the world premiere of the AGO Celebration Suite for Organ. This memorized performance proved him to be an able player and was refreshing to hear, especially after the first half of the concert. This commissioned piece by Sharon Willis was well proportioned, useful and improvisational in style. Of all the commissioned works for this convention, I highly recommend this work and the piece by Naji Hakim. Note to future convention committees: choose your performers carefully; they really do sell the piece.

Closing reception

The final reception was chaotic and unnecessarily so. The ballroom was packed with extremely long lines waiting for liquor and food; all the while Paul Bisaccia played the piano and was largely ignored by the crowd. He tried to play above the noise of the assembly to no avail. With long lines and a grumpy crowd, the convention ended in a whimper instead of a grand Amen. —Edward Maki-Schramm

The ChicAGO 2006 National Convention of the American Guild of Organists was hosted July 2–6 by the Chicago, Fox Valley and North Shore AGO chapters, with all three chapters planning and presenting events. Events were not only held in Chicago, but also in Valparaiso, Evanston, Lincoln Park, Naperville, and Wheaton. Some of these venues are a fair distance from downtown Chicago and the convention hotels.

Sunday, July 2

The gala opening concert took place at Chicago’s Orchestra Hall. The Metropolis Symphony Orchestra, under the direction of Julian Wachner, joined with organists Philippe Bélander, David Schrader, Maxine Thevenot, and Thierry Escaich for a program of newer compositions for organ solo and organ with orchestra: Triptych for Organ and Large Orchestra by Julian Wachner, Ha’llel-an organ solo by Shulamit Ran (a convention commission), Concerto for Organ and Strings by Richard Proulx (AGO 2006 Distinguished Composer), Sleepy Hollow—a tone poem for organ and orchestra by Aaron David Miller (also a convention commission), and Concerto pour Orgue et Orchestre by Thierry Escaich. In this memorable event—long memorable event—all music was performed with great skill by soloists and orchestra alike, and the crowning jewel was the 1998 Casavant organ, inspiring even those of us who had tickets in the very last row of the top balcony. Long after the concert was finished, musicians spoke of two works as standing apart and fresh from the rest, due to changes in medium—the Proulx work used only the strings of the orchestra—and due to a change in composition style—the Wachner work, which was written to be performed in St. Joseph’s Oratory in Montreal, with a 10-second reverberation.

Monday, July 3

Monday, July 3, conventioneers traveled to Valparaiso University for the opening worship service and a concert by James O’Donnell, then to Rockefeller Memorial Chapel for the AGO annual meeting. In the worship service, music of Bach (including the motet Lobet den Herrn, alle Heiden, BWV 230), Mendelssohn, Richard Proulx (a convention commission), and Richard Webster (another commission) was sung interspersed with hymns, readings and a sermon by Rev. Peter Gomes. Martin Jean, the Valparaiso University Bach Choir, Guild Chaplain Rev. Gregory Norton, the Dean of the Chapel Rev. Joseph Cunningham, and guild dignitaries were part of this service that used historical and new ideas.
After this, James O’Donnell gave a recital of music by Michael Berkeley, J. S. Bach, Augusta Read Thomas (convention commissions Angel Tears and Earth Prayers), Alain, Ad Wammes, and Patrick Gowers. The Schlicker organ was refurbished in 1996 by the Dobson Pipe Organ Builders and gained stops in several divisions to make an incredible instrument.

Monday workshops

The bus then returned to Chicago for the national meeting. Buses were late returning to the hotel, and so the workshops were late starting and sparsely attended. Workshops offered an eclectic mix of presentations of music, methods of interacting with other musicians, computer programming advice, and two recitals, one by Alexander Fiseisky and one by Chelsea Chen. Emphasis in the workshops seemed to be on music of various denominations and cultures: Gregorian chant, evangelical church music, Hispanic resources, handbells, and the celebration of black saints in hymns. This reviewer attended the dramatic skit “Interviewing for a Job” with role players Donna Wernz, James Thomashower, Edwina Beard, Barbara Gulick, Roy Roberts, and James Owen (who was the job applicant). Because the workshop started late not all parts of the skit could be acted, but general, confrontational, overly broad, and illegal questions received sample answers for those who might find themselves in similar situations.

Monday night featured a dinner and fireworks spectacular at Navy Pier, and the NCOI Finals. Unfortunately, it was impossible to attend both.

Tuesday, July 4

Tuesday was Chicago day, beginning with worship services at St. James Episcopal Cathedral, Fourth Presbyterian Church, and Holy Name Cathedral. Hearing the liturgical music of Albert Alain in the liturgy of the Memorial of St. Elizabeth of Portugal at Holy Name Cathedral made the service one of great beauty. The service featured organists Matthew Walsh, Ricardo Ramirez, and Sophie-Véronique Cauchefer-Choplin, and the Cathedral Gallery, Chamber and Women’s Schola of Holy Name choirs, with the Most Reverend Joseph N. Perry, Auxiliary Bishop of Chicago, participating.
Afternoon workshops were offered on music of Sowerby, the Netherlands, Wilhelm Middelschulte, Calvin Hampton, Colonial Mexico, organ methods, gospel and spirituals, the musician-pastor team, AGO chapter endeavors, the life of Russell Saunders, teaching organ, repertoire, and a composer’s forum. This reviewer attended the workshop on improvising hymns in jazz style, by longtime convention exhibitor Joe Utterback, who distributed examples of his improvisations on hymn tunes and performed at the piano.
Tuesday evening, half of the conventioneers went to the Bach Week Festival Orchestra concert—in the middle of what sounded like a war, but were fireworks just outside the church door—the other half to Trinity Church Wall Street’s concert.

Wednesday, July 5

On Wednesday morning, buses traveled to Evanston and got lost on return, so that we went many miles north, instead of south, and some were late for future events. Afternoon workshops covered organ restoration, music of Buxtehude, women composers, Canadian composers, handbells, Reger, psalms, African-American organ music, children’s choirs, anthems, counterpoint, assertiveness training, the new ELCA hymnal, teaching styles, reading sessions, and improvisation, plus there were two Rising Star recitals and the NYACOP winner’s recital.
On Wednesday evening, the choir of Trinity Church, Wall Street, gave a performance at St. Mary of the Angels Roman Catholic Church. After an introduction to the Marshall and Ogletree, Opus 1, Epiphany Series III/85 organ, which was situated in the front of the sanctuary, Owen Burdick, conductor and organist at Wall Street, played Bach’s Pièce d’Orgue, BWV 572, on a Werckmeister III tuning that had been set to sound “sweet” in G major. This was a startling experience for this reviewer, for it was truly “sweeter” and very different from the standard equal temperament tunings, or even Werckmeister in a C major home key; and it certainly could be argued to be an accurate historical event, for harpsichordists changed tunings frequently in the Baroque period. Only such a complex instrument of the 21st century as the Marshall & Ogletree instrument can now be programmed to apply these alternate tunings, and present such an alternate listening experience. The piece actually seemed more “major,” more “bright,” and was radically different from other hearings.
An audience rehearsal followed of hymns from A Song of David by William Albright, and after intermission, choir, conductor, organist Robert Ridgell, narrators, and audience performed this haunting, seemingly unending, highly repetitious, extremely melodious, and emotionally moving, even draining, 75-minute work.

Thursday, July 6

On Thursday, the buses left for Naperville, Wheaton, Lincoln Park or Fox Valley. My bus got lost in the city. Thierry Escaich’s concert at St. Pauls UCC (no, it doesn’t have an apostrophe, for it is a direct and proud translation from German) offered music of Tournemire, Messiaen, Escaich and Duruflé in the mezzo-forte to fortissimo range, with the improvisation on “Yankee Doodle” at the end serving to show the soft flutes and strings of the Aeolian-Skinner organ.
Going from a loud performance to the next, that of a nine-voice a cappella group in the reverberant St. Clement Church, made the ears twitter, for the tuning, vowels, selections, and blend of this group was excellent; this was a concert to remember, truly, forever. The group, Chicago a cappella, chose a varied repertoire, and actually started the concert twice, due to a mix-up in starting times, and buses arriving at different times from other venues. But they could have started 50 times—it was a magic moment.
Again, on Thursday, workshops were presented. Offerings included music of France, Karg-Elert, Hakim, Liszt, Hungary, Gerald Near, the Marilyn Mason library, Virgil Fox, AGO exam preparation, improvisation, fundraising, teaching, medical aspects of performance, computers, reading sessions, Indian pipe organs, worship questions, and regional conventions.
The closing concert was in a totally different style, with an African-American volunteer choir that has only been in existence for three years, and was a very enjoyable experience to finish the week.
Chicago is a stunning city. The convention was stunning with its near-perfection in music. Other than the endless bus rides, I would love to return and do it all again. Congratulations to the committees and all the hard workers for a fine convention!
—Joy Schroeder
 

Hymn Festival

The hymn festival was held at St. Raphael RC Church in Naperville. The organ is a Berghaus (III/60), completed in 2005, which incorporates portions of a previous Kimball. The venue was superb for a hymn festival, incorporating natural light from many windows and a clerestory. The theme of the festival, “Light from a Fire Within,” was enhanced by the marvelous, sparkling room. The quarry tile floor and lack of fabric and carpeting (minimal paraments and two small flags) created a resonant space for hymn singing. Aaron David Miller played the service with great expertise and was assisted by brass (Concordia University faculty), handbells (The Agape Ringers) and the Heritage Chorale. A good variety of tunes was provided, including “Splendor of God’s Brightest Glory” by Dr. Miller, “Ermuntre Dich,” “Delig Er Den Himmel Blaa,” “The Glory of Christ,” by K. Lee Scott, an Iona song, “Take, Oh, Take Me as I Am” and a rousing closing hymn, “When the Morning Stars Together” sung to the tune, Weisse Flaggen.
Commissioned pieces included an organ work, People Look East, by Emily Maxson Porter, and Lyric Piece for handbells by Carl Wiltse and Donald Allured. Choral anthems included Angelus and Take My Life by Dr. Miller. The readings continued the theme of “Light” throughout the festival.
Excellent hymn accompaniments, including alternate harmonizations and interludes, were provided, along with a cappella SATB stanza treatment and with nice, full accompaniments for female voices on selected hymn stanzas, instead of the usual and obligatory thin treble textures. This festival was so well done that its overall impact surely was “better than the sum of its parts.” A verse from Susan Palo Cherwien’s Music from Crossings best summarizes the event:

There is a noble sound of pipes and voice
That marries the mind and the heart
That transfigures the spirit.

House of Hope Choir with Glen Ellyn Children’s Chorus

The concert was a partnership between The Motet Choir of the House of Hope Presbyterian Church and the Glen Ellyn Children’s Chorus. The venue was Grace United Methodist Church, Naperville. The choirs were conducted by Thomas Lancaster and Emily Ellsworth. Nancy Lancaster served as the organist. The organ is a Reuter III/41 with a few digital 16' and 32' sounds. Solos were provided by Sandra Schoenecker, mezzo-soprano. The adult and children’s choirs each numbered around 35 singers. The children’s group included approximately five boys. Works presented included an organ piece by Stephen Paulus, As If the Whole Creation Cried, which is movement three from Triptych, and the choral works There Is No Rose by Stroope and Psalm-Cantata(2000) by Frank Ferko.
The Stroope selection was memorized by the children’s choir and contained a beautiful accompaniment for piano and oboe. This challenging piece was sung with clear diction and good expression.
The composer’s program notes for the Psalm-Cantata indicated that the work’s “performing forces” include a mixed chorus representing the past and present and a children’s chorus representing the future. Sections of the work alternated between the two choirs and combined singing. The organ accompaniment was very well played, and it provided nice color and relevance to the work, as a whole. The Psalm and hymn texts built in intensity from “Lord Who May Dwell” to “Praise God, Hallelujah!” The aural accompaniments to these texts were enhanced by visual elements consisting of bright red and black vests over white shirts worn by the children and by the organ grille/screen which was a flame motif beautifully executed in a reddish hardwood.
—W. James Owen
(Reprinted from The American Organist with permission.)
Continue to part 2

First Congregational Church, Los Angeles, January 12-16, 2001

"Despite the nay-sayers, the organ is very much alive and we're going to keep it that way." With that hopeful remark, Fred Swann opened the third annual Organ Alive! conference at First Congregational Church of Los Angeles. Swann started this conference when he assumed the position of organist at the church three years ago, in response to a request from the church leaders for more prominence for the organ. The previous year's conference in January 2000 had been a retrospective of the organ in the 20th century. This year focused on the future of the organ and young emerging talents who will help keep the organ profession vital, hence the subtitle, "The Organ in the 21st century--Quo vadis?"

First Congregational Church of Los Angeles, founded in 1867, is the oldest Protestant church in continuous service in Los Angeles. It is built in gothic style of reinforced concrete, with a square tower rising to a height of 157 feet. The church is a large multi-storied facility--157,000 square feet--with fellowship

/dining hall, chapel, meeting rooms, parlors, and lovely courtyards, providing a very pleasant atmosphere and ample space for the conference events. Thanks to Swann's planning and music administrator Kathie Freeman's organizational wizardry, the conference was well-planned and organized. An army of volunteers from the church gave up their weekend to serve as ushers, set tables, provide refreshments, drive the shuttle bus, give directions, and see that visitors were comfortable. 175 people from 21 states and three  foreign countries were registered for the conference (the original registration limit was 120, they increased it to 175 and still had to turn 63 people away).

After formally opening the conference, Fred Swann asked everyone to stand and launched into a "name that tune" game. He played very brief excerpts from organ literature, starting with the opening of the Bach D-minor Toccata and getting progressively more difficult. When you couldn't identify one, you had to sit down. There were prizes for the winners--great fun for all. The organ in Shatto chapel--34 stops, including seven digital voices installed by Robert Walker--proved able to suggest the characteristic sounds to help us identify the pieces from hearing only a few notes.

The Great Organs

"Like Zephyrus, Eurus, Boreas and Notus, the four winds of classical antiquity, the quartet of organs at historic First Congregational Church are awesome to contemplate, even when calm in the stillness of their vaulted home. From the gossamer evanescence of their lightest stops to the redwood-strength and majesty of their full fury unleashed, they are positively mind-altering in power and heart-stopping in passion." (--Peter Rutenberg, in the program notes for Double Organ and Chorus concert)

While some readers might be put off by the poetic effusion of Rutenberg's description, the great organs at First Congregational are magnificent indeed. Few places in the world can boast of the musical resources available in these organs. The color, contrast, and spatial distribution of the pipes make the sanctuary a very exciting place to hear organ music.

The original 58-rank organ was built in 1932 by Ernest M. Skinner, with William H. Barnes serving as consultant. The organ was greatly enlarged in 1969, but the Skinner hallmark sounds--rich diapasons, lush strings--were unaltered. A large new instrument was built in the rear gallery by the Schlicker Organ Company in 1969, adding great versatility to the church's musical resources with its 17th-century North German character. Schlicker also constructed an Italian-style continuo organ located above the south choir.  In 1984, a state trumpet was added to the chancel organ. In 1990, the church began a renovation and renewal project with three phases: replacement of the consoles with two new consoles built by Möller, new windchests and mechanical repairs for the chancel organ, and, thanks to a substantial gift, the installation of 100 additional ranks to the organs. The two new consoles are the largest drawknob consoles ever built in North America (the movable chancel console was completed shortly before the Möller company closed). All of the organs can be played from either or both of the twin five-manual consoles, one in the chancel, the other in the rear gallery. Richard F. Muench, longtime curator of the organs at First Church, undertook the second and third parts of the work until his death in 1992. William Zeiller, present organ curator, continued the project. The present renovations to the Great Organs will make them collectively one of the largest musical instruments ever built, and one of the largest and most complete organs in any church in the world. When the restoration work in progress is completed, the Great Organs will consist of more than 346 ranks, 265 stops, 233 voices, and 20,000 pipes.

Sunday morning worship

I was eager to attend the Sunday service at 11:00 am, looking forward to observing a master service player in action. I tend to dislike services put together solely to demonstrate repertoire, etc., for conference attendees (though enjoyable, they always have an ersatz feel), so I was glad to be attending a regular Sunday service at First Congregational. Upon entering the narthex, I was greeted by ushers in morning coats, and took my place to listen to Swann's extended prelude--Chorale from Symphony II, Vierne;  Choralfantasy "How Brightly Shines the Morning Star", Buxtehude; Came Three Holy Kings, Glière; and The Children of God, Messiaen. People listened in silence. Attendance was sparse, but those there exhibited enthusiasm. I looked and listened with admiration as Swann played the hymns from memory and skillfully accompanied the conference choir and the First Congregational choir.

Concerts and recitals

Sunday afternoon featured a concert given by the Los Angeles Master Chorale. The program included Kodály's Missa Brevis, Laudes Organi, and Vierne's Messe Solennelle, with organists Fred Swann and Philip Allen Smith. As concert time approached, the sanctuary was filled to capacity--people were standing in the aisles. The 60-voice Los Angeles Master Chorale, under the direction of Paul Salamunovich, is marvelous. Their sound is a seamless and rich straight tone, the altos and basses particularly strong, never outshone by the tenors and sopranos. Fred Swann knew when to keep the organ just behind the choir, and when to let it be at least equal, skillfully using the Skinner organ sounds to blend wonderfully with the voices. Kodály's festive "Laudes Organi" was premiered by Swann at the national AGO convention in Atlanta in 1966.

The Vierne "Messe Solennelle" was handled skillfully by Philip Allen Smith at the gallery organ and Swann at the chancel console. It was a treat to hear this work in an environment that shares important characteristics with the one for which it was conceived. Parry's "I Was Glad" was a thrilling close to an outstanding concert, rewarded with thunderous, extended applause.

The evening before the conference officially began, participants were invited to attend a keyboard tribute to Fred Bock at the First Presbyterian Church of Bel Air. The concert featured organists and pianists playing repertoire from two collections--"Encore, Encore" and "Bock's Best Friends," both published by Fred Bock Music Company--honoring the memory of Fred Bock, composer, music publisher, and former organist of First Presbyterian of Hollywood.

The organ at First Presbyterian of Bel Air was built by Robert Tall & Associates, blending 60 ranks of pipes salvaged from the previous Casavant organ (destroyed in the Northridge earthquake in 1994) with Rodgers digital voices to create an instrument with 151 ranks and 118 speaking stops. Although the organ's range of sounds is impressive, tuning and blend problems were evident. John West, artist in residence at First Presbyterian of Bel Air, demonstrated his expertise in effectively and tastefully handling the instrument's non-organ sound MIDI voices, while Fred Swann handled the instrument's traditional sounds with elegance in absentia (performing via MIDI playback, having been called to a rehearsal), in his own arrangement of "Great Is Thy Faithfulness." A fabulous Steinway concert grand was given equal time on the program, as pianists Jan Sanborn, Dwight Elrich, Mark Hayes, William Phemister, Michele Murray and Dick Bolks performed some lovely hymn-tune settings, several of which were arranged by the performers. These works are published in the collection "Bock's Best Friends" (Fred Bock Music, catalog number BG0967).

In keeping with the conference theme, two young artists were featured in recitals--Felix Hell and Svetlana Fiakhretdinova. The programs were well attended, the audience nearly filling the main floor of the 1000-seat sanctuary.

Felix Hell, 15-year-old organ prodigy, exudes a natural musicality and a palpable eagerness to perform. Dwarfed by the monster five-manual console, from the first notes of his performance he took command. His Bach, Buxtehude and Mendelssohn were elegantly expressive: he lingered over cadential harmonies and exuberantly freed the fantasy sections. His Bach D-major Prelude and Fugue was heroic. The fiendish Schlafes Brüder, his signature piece, sizzled, Felix negotiating its fistfuls of notes with aplomb. Felix hasn't quite grown into the expansive legato style of the Franck B-minor Choral, which also suffered from ineffective registration (though limited practice time while on tour might have been a factor). The Adagio from Widor's fifth sounded hurried, but he romped through the famous Toccata with ease. His encore was the Final from Vierne's Symphony I, and the second encore a repeat of "Schlafes Bruder."

Svetlana Fiakhretdinova, native of Moscow, Russia, was a regional winner in the AGO Young Artists Competition and is a student of John Weaver at the Curtis Institute. She played her program from memory, opening with Guillou's Toccata, demonstrating a very quiet technique. Her Vierne Adagio showed a good sense of the long lines in French music, and the stops of the Skinner organ sang warmly. Her Bach Trio Sonata, though rhythmically supple, was hindered by memory lapses, but she hit her stride with the Duruflé Suite. The Prelude flowed well and rumbled satisfyingly, the Sicilienne bubbled along gracefully at an impressive tempo, and the Toccata was electrifying yet solidly under control.

Noon organ concerts were offered on Saturday, Monday, and Tuesday by Robert Plimpton, Melody Steed, and Sean O'Neal, performers from the Los Angeles area.

Conference workshops

The conference workshops focused on two main topics--performance and organbuilding. Sessions on improvisation, repertoire, MIDI, the role of the accompanist, and organ maintenance made up the performance-related offerings of the conference.

The Los Angeles AGO Chapter, a sponsor of the Saturday events of the conference, had requested that the conference include workshops on improvisation. Two such workshops were held on Saturday afternoon: "Improvisation for the Advanced" led by Bruce Neswick, and "Improvisation for the Challenged" led by Fred Swann. Since I had heard Bruce Neswick speak before, I attended Fred Swann's session. He distributed a handout--"Basic Improvisation Suggestions for the Doodling/Noodling Challenged," which was full of great advice and guidelines, all demonstrated by Swann. The talk was interspersed with anecdotes from his experiences at Riverside Church and the Crystal Cathedral. Mark Thallender, associate organist at the Crystal Cathedral, was coaxed to the bench to demonstrate as well. These workshops were followed by an improvisation recital by Bruce Neswick.

Craig Phillips

If you haven't played anything written by Craig Phillips, call your music supplier. His works have a modern sound with somewhat modal harmony, are rhythmically interesting, and are very appealing to the listener. His oeuvre consists of organ solo and choral works as well as a smattering of works for organ with instruments and various instrumental ensembles. Craig Phillips serves as music associate at All Saints' Episcopal Church in Beverly Hills. He's a fine organist and demonstrated several works based on hymn tunes, including Torah Song, a well-crafted piece based on a tune from the Hymnal 1982. His yet unpublished Pastorale for Bassoon and Organ was lovely, and beautifully played by a bassoonist from his church. He commented that organ repertoire is inextricably linked to the development of the instrument, tied to the church, and for utilitarian purposes, with many works associated with specific instruments and churches. His influences are Buxtehude, Mendelssohn, Franck, Widor and Messiaen, and he views his work as part of a well-established continuum.

Thomas Somerville

Thomas Somerville, director of music at First Congregational, gave a workshop titled "What a Choral Director Expects of an Organist." Far from being a dry, didactic "how-to" session, Somerville's workshop was inspiring and well-planned. His affable nature and obvious respect for his colleagues communicated as much as his outline and remarks. He stressed the importance of communication--about the music and about working together. He distributed a sample of the detailed music schedule he prepares, relating how he discusses accompaniments and plans with Fred Swann and other staff members.

Somerville defines our purpose as church musicians as follows: "to point to, and glorify God as the author of goodness, the creator of beauty, the giver of artistic sensibility and talent, and focus of adoration and praise." He shared five points towards achieving our purpose as musicians in the church: choose music that embodies our purpose, prepare to perform the music to the best of our ability, commit to a musical partnership with all who will rehearse and perform the music with us, maintain an attitude of respect for all who will hear the music, do this with joy insofar as possible. Fred Swann concurrently gave a workshop on designing recital programs. A lively discussion had arisen at the end of Somerville's lecture, and Swann, having finished his workshop, poked his head in the door to tease Somerville about going a few minutes over time.

Robert Noehren

Having been an avid reader of his work and played his instruments, I was thrilled to have the opportunity to hear Robert Noehren speak after dinner on Saturday evening. This elder statesman of the organ world offered a new perspective on listening to music, noting that when you're ninety years old, you definitely live one day at a time. He asked himself two questions: "Do I listen to music simply for the pleasure of it?" "Have I missed that in my profession?" He realized he had been guilty of not truly listening to music. He believes you can't truly listen to music and do anything else, so now he sets aside time each day just to listen--behaving like an amateur, listening with curiosity. This practice has brought music to him in a refreshing new way and has virtually changed his outlook on music. Each morning he looks forward to his listening time.

He detailed some of the repertoire he listens to, and some of his experiences as performer and organbuilder, and made a parallel with food. He wants to make eating an art, to take great pleasure in it. In closing, he recommended choosing only music that you like, playing everything beautifully, and taking pleasure in doing things as well as you can. Live your life with a sense of artistic purpose. Sound advice for a world of people rushing around, often too busy to savor the substance of life. (See the text of Noehren's lecture in this issue, pages 15-16.)

Organbuilding workshops

Organbuilding workshops featured presentations by several prominent personalities from the organ world. John Wilson, organ curator at the Crystal Cathedral, gave a workshop on organ maintenance, offering advice on how the organist can help organ technicians, and what the organist should not do. He shared some anecdotes about the challenges of keeping the Crystal Cathedral organ in tune. Meanwhile, Robert Tall of Robert Tall & Associates, Inc.--a company that builds pipe and digital organs--gave a workshop, "The Magic of MIDI," demonstrating with equipment brought in for the workshop.

Manuel Rosales

Anticipation was in the air as Manuel Rosales took the podium on Monday afternoon, the audience eager to hear what this outspoken organbuilder had to say. Rosales feels it unwise to try to predict the organ's future, but prefers to look back and synthesize the ideas of the past to create something new. He seeks an organ design that allows a vast range of music to be played, not necessarily authentically, but convincingly, allowing performers to bring out the best in their own playing. In the 20th century, much of what the 19th century developed was discarded; the 21st century is now reversing that. He calls this idea the "universal" organ, citing examples from his opus list, pointing out the "restoration of the 8¢ principal in each division," something not common in tracker organs built in the second half of the 20th century.

Two of his latest projects are of particular interest--the organs for Disney Hall and the Catholic Cathedral, both in Los Angeles. The Cathedral organ will be housed in a new building, with a sanctuary seating 3500. The instrument will be built by Lynn Dobson (with electric action and a movable console), with Rosales as the consultant, overseeing the voicing of the instrument. He described the Disney Hall organ as a further development of his "universal organ" ideas. (See the article, "A Brief History of the Walt Disney Concert Hall Organ Project," by Manuel Rosales, in the July issue, pp. 12-13.) For this project, he will be collaborating with Glatter-Götz Orgelbau, a firm he has worked successfully with on two other organs. G-G is building the pipes and other components, while Rosales is overseeing the voicing. The organ's tonal design (4M, 72 stops, 107 ranks) is a traditional three-manual concept, but very grand. He described the organ's 4th manual division, the Llamarada, as "Spanish on steroids," including the Llamada (Spanish for bugle call) and Trompeta de Los Angeles, stops that are "spicy as a chili pepper." The organ will be mainly tracker action, but the big bass pipes and the Llamarada division will be on electric action, a necessity, Rosales says, in large tracker instruments. In fact, the entire organ will have redundant electric action, and a second, movable console will be provided to help the organist hear and be seen. The organ's façade was greatly influenced by the architect Frank Gehry (designer of the concert hall complex), and has been the subject of much discussion. About the design, Rosales commented, "It's something you'll never forget and people will have an opinion about it. However, its unusual design will incite people's curiosity and they'll want to hear it!"

Jeff Dexter

Jeff Dexter is tonal director of Schantz Organ Company, probably the youngest person in such a position in American organbuilding, and an organist himself. Dexter's lecture, "A Look Beyond the Stoplist," dealt with unraveling the intricacies of creating a stoplist and what goes into making it a reality. Dexter excels at presenting technical information in easily digestible form, with a personable style. His purpose was to illuminate what the stoplist reveals: the musical intent of the builder, particular musical goals, desires of the client, and a link to the past. He outlined the building blocks of tonal design: scaling (historical practice and empirical knowledge) and pipe construction (materials appropriate for desired sound), and reliable mechanism so the vision can succeed. He described tonal finishing as the ultimate realization of the tonal design, molding the sound and polishing it.

Panel discussion

Given the framework questions and the organbuilders involved, the panel discussion promised to be interesting. The discussion questions included: Is the pipe organ doomed? What are the trends? What can we do to keep it alive? What "style" will dominate? Fred Swann opened the session by saying, "There's an audience for every type of organ. The main criterion is can you make music on it?" He had invited four organbuilders representing four schools of thought to be on the panel: Gene Bedient--tracker; Jack Bethards--Romantic/symphonic, electro-pneumatic; Jeff Dexter of Schantz--tried and true middle of the road; Robert Walker--digital sounds. Each builder was invited to make an opening statement about his own work and point of view. Excerpts follow.

Gene Bedient: We at Bedient believe first and foremost in creating beautiful, acoustical sounds made by organ pipes. I'm constantly struck these days by the amount of knowledge there is in the organbuilding world--knowledge of types of sounds, of different national styles. My interest is in how we combine those exceptional sounds--and that does not mean only sounds from 16th-century Italy, but everything I've learned abroad and in this country from the early history of the organ through the present. American culture is diverse and has many facets, but the pipe organ is not inherent in our culture like it is in some cultures. It's important that we as organists, organbuilders and organ-lovers engender enthusiasm in the pipe organ among the rest of society.

Jack Bethards, Schoenstein: Our tonal philosophy is based on the romantic or symphonic tradition and it's our goal to try to carry forward this tradition into the modern age by increasing the musical expressiveness of the pipe organ through two main means--increasing its dynamic range and the range of tonal colors. This type of instrument has a solid place in the church because it is so suited to the role of accompaniment and playing a wide variety of repertoire--things that all churches want and need. It is a very musically flexible style.

I see an extremely bright future for the pipe organ in terms of quality and variety. I give a lot of credit for this to sources that may seem surprising. First,  the electronic organ. The electronic organ has now progressed to the point where pipe organ builders do not have to try to satisfy every need, every budget. It leaves pipe organ builders free to concentrate on highly specialized work for discriminating clients who really love the pipe organ. In a way, that is a real blessing. Second is the tracker organ revival. The organ reform movements have been a great boon to the whole organbuilding world in two ways. One, bringing back the idea of thorough research into organbuilding, developing knowledge of what went on before. Another, the interest in fine hand-craftsmanship. Now what we are seeing is a variety of organbuilders working in all sorts of fields, but most of them working for high quality in both mechanical and musical matters.

What about the quantity of organs being built? This is another story, and I'm very concerned about it. The real problem is the music that's being played on the organ. I would classify the music by type and quality. There is music that is organistic and music that is not organistic. What I see creeping into the church is music that is primarily based on rhythm with vanilla harmonic structure. This is a serious problem for those of us who love the great choral and organ tradition. We're being inundated with cheaply-constructed, terrible pop music. I'm concerned that we're not doing enough both as builders and players and as educators to fight this trend of cheapness. We must not back down on standards. We're not in a relativistic world. There are good things and bad things and we need to stand up and fight for the good.

Jeff Dexter, tonal director, Schantz: It was said of our firm by a very distinguished colleague of mine that the Schantz organ company has the distinct quality of building ordinary church organs. While I'm not sure that this colleague meant that as a compliment, we take that as a very, very high compliment. We unapologetically build church organs; 95% of our business is associated with building church organs. I would wholeheartedly echo the sentiments of Mr. Bethards about the quality of church music and how important that is, and how important it is that organbuilders, organists, choirmasters, and leaders of church music make sure that the quality of the music is the absolute best. We need to get young people involved in this art form. We have to be tireless in our advocacy of getting young students involved and interested in what we do and what we build.

One of the things that we're going to see in the early part of the 21st century is something that really has been evolving over the past several decades--an actual American organbuilding school, much like we think of Germanic or French or Spanish schools. I think we're going to see more and more coalescing of that which is "American," just as Willis sounds English or Cavaillé-Coll sounds French.

As organbuilders, whatever discipline we find ourselves in, I believe there is room for everybody at this table in terms of American organbuilding. There are some basic tenets that we could all agree to. First, we have to have organs that are accessible in a variety of ways. They have to be easy to play in the sense that they must be approachable. They must not put off people. They must be flexible in their ability to perform a wide variety of literature, and above all, they must be musical. If they're not musical, we've failed on a very basic level.

Robert Walker, Walker Technical Company: I look at things abstractly because I'm centered in the pipe organ business but I'm not really in it. I love the sound of a pipe organ more than anything--nothing is like it. What we're doing is imitation. It's very good and getting better, but not the same. What makes the pipe organ live for hundreds of years? The pipe organ appeals to the senses more than any other instrument. You feel it, you can feel the 32¢ sounds. The overall grandeur of the organ is going to last. You can create various moods with an organ.

One of the worst aspects of reproducing pipe sounds by digital means is that speakers project in a conical fashion, which is fine for reeds but is terrible for flues. A flue pipe is a spherical radiator. One of the reasons electronic reproduction has not been successful is its speaking system. The one thing we really love at our company is to have an enclosure because we can aim speakers in different directions at different surfaces to get all reflective sound; 80-90% of pipe organ sound is reflective energy. And it's the reflective energy that fills the building as opposed to being directed at it. The pipe organ moves the building whereas speakers move the air. So in order for us to reproduce what a pipe is doing, we need a chamber to really be able to move the chamber in addition to the air.

Walker's last comment sparked some questions regarding organs with cases or unencased and straight vs. concave radiating pedal boards. Further discussion dealt with what the aspects of an American sound are and the fight against pop-style church music. The most interesting exchanges dealt with the marriage of digital voices and pipes. The builders were asked to give their thoughts on the matter.

Walker: Digital sounds can be effective if a quality perspective is taken. All aspects must be considered--how do the sound families match? How will they be tuned? How will maintenance be undertaken and synchronized with pipe maintenance? It requires a great deal of custom work.

Bedient:  "This is one situation where divorce is justified." (great laughter from the audience)

Dexter: Schantz uses digital voices for 32¢ pedal stops and percussion sounds, but no manual stops are digital. Schantz was a founding member of the Associated Pipe Organ Builders of America, which has strict guidelines. Schantz never uses a digital sound to substitute for a real rank of pipes. Their philosophy is if it won't fit, don't do it in digital.

Bethards: Schoenstein uses digital percussion sounds and no others. "We are PIPE ORGAN builders." His concerns about the marriage were related to service and maintenance, and the need to find qualified people who can do both. Also, digital sounds tempt people to make additions to organs that shouldn't have additions. Instruments that have unity and balance can be thrown off by being able to add anything. It's a slippery slope.

At this point, Fred Swann quickly raised his hand and said, "Guilty as charged! I've had digital stops added here." But Swann knows how those sounds should be integrated with the instrument, and how to use them effectively, key concepts to grasp when traversing the "slippery slope" of the world of digital sounds.

Thank you, Fred Swann

The future of the Organ Alive! conference is uncertain due to Swann's retirement in May. In fact, the entire First Congregational music staff--Swann, Thomas Somerville and music administrator Kathie Freeman--retired at the same time. Martin Neary will assume the position of director of music at First Congregational. It is hoped that  he will be able to continue to share the great organs and ample facilities of the church as Fred Swann has with the Organ Alive! conferences.

During the conference, many peopled shared anecdotes about Fred Swann, and reminiscences of performances and of his kindnesses. I was amused by the way he often pipes in with a quip of some sort. My favorite was: "More souls have been saved by two notes on the chimes than by all the mixtures in captivity." He often uses humor to get a point across and is self-effacing. He has served the field of church music for sixty years with his excellent musicianship and inviting manner.

Expressing his appreciation for the presence of the many conference attendees, Fred Swann graciously said, "I can't thank you enough if I thank you every time I see you." No Fred, WE can't thank YOU enough if we thank you every time we see you.

Marcia Van Oyen is Director of Music Ministry at First United Methodist Church, Plymouth, Michigan, and continues to serve as Director for the National AGO Committee for Membership Development and Chapter Support. She received her master’s and doctoral degrees at the University of Michigan, where she studied organ with Robert Glasgow.

The 46th University of Michigan Conference on Organ Music took place October 1–4, 2006. The event focused on music of Germany, France and the USA, featuring performances by Marie-Claire Alain, Michigan faculty members Marilyn Mason, James Kibbie, and Michele Johns, and a slate of lectures on a variety of topics. The majority of events took place at Hill Auditorium, home of the 4-manual, 124-rank Frieze Memorial Organ.

Children’s choir festival

The conference opened with a children’s choir festival organized by the Ann Arbor Chapter of the American Guild of Organists. Thomas Strode, AGO board member and director of the Ann Arbor Boy Choir, gathered over 85 children from six area churches and schools to sing together. Approximately half the program featured music sung by the combined choir directed by Strode; several groups sang individually as well, including the Messias Temple Youth Choir, whose inspired performance brought the audience to its feet. Charles Kennedy skillfully accompanied the choir, and played three Sketches and a Canon by Schumann. The audience of several hundred comprised largely families with young children, and I was glad to see them exposed to the sounds of both well-trained children’s voices and the pipe organ. Given the disposition of the audience, the stage was perfectly set to engage the multi-generational crowd with organ repertoire or a demonstration designed for such a purpose. Tom Strode did give some impromptu remarks about the organ, which seemed to pique the interest of the adults seated near me, but the program would have had greater impact had it included one of the many light-hearted, educational organ demonstration pieces of recent vintage. Based on the interest of more choirs in participating, the Ann Arbor AGO plans to continue this event in the future. I encourage them to make the most of the opportunity to educate young people about the pipe organ.

Michigan faculty performances

Sunday evening, Marilyn Mason and flautist Donald Fishel gave the Ann Arbor premiere of Breath of the Spirit—Pentecost for flute, organ, and narrators, composed by Michigan graduate Gregory Hamilton, based on poetry by Kenneth Gaertner. The pattern of the work was inspired by Dupré’s La Chemin de la Croix, with the ten sections of the work musically interpreting and commenting upon the poetry. In her opening remarks, Marilyn Mason noted that this concert was one of the first events to take place following the official renaming of the music school. In collegial spirit, she appropriately included two members of the theatre department as narrators in this performance presented by the School of Music, Theatre and Dance.
Here is a brief synopsis of the work, with a few noteworthy quotes from the poetry:
1. Overture—organ alone, featuring big solo trumpet melody.
2. Annunciation—the organ and flute trade motifs, suggesting a dialogue between Mary and the Angel Gabriel, the rounded sounds of the Hill organ blending beautifully with the flute.
3. Children in Praise—children caught up in the excitement and wonder of the quiet Rabbi Jesus healing a crippled man and a man with a withered hand. The flute introduces a sprightly theme, which is echoed by the organ, spiced with mild dissonance.
4. Herod—the poem speculates on Herod’s thoughts about John contrasted with those about his lover Herodias. He is simultaneously upset and intrigued by John, comforted and attracted to Herodias. Unaccompanied flute plays long passages in the low register contrasted with passages in the instrument’s uppermost register.
5. Mary Dancing—the story of Jesus changing water into wine at the wedding in Cana and the dancing at the wedding. For solo flute, nearly moto perpetuo.
6. Judas—for organ solo, beginning with a crashing chord and descending pedal solos, then a decrescendo to a sighing Bach-like fugue section. The movement ends with more clashing dissonance alternating with a funereal fugue. “Mankind’s future is mankind’s sin.”
7. Mary Magdalene/Doubting Thomas—the extended poem is followed by long flowing melodies portraying gentle happiness.
8. Poverty Shared—illustrates the experience of a poor man listening to Jesus preach. It begins seething with tension, then eases and flows into comforting, surging waves of lovely harmonies. The poetry preceding the movement offers these paradoxical thoughts: “Listening to the Rabbi preach, shedding the shroud of poverty, words flew into the ears of his poverty’s corpse. Had not his curse always been his salvation?” The initial tension returns to close the movement.
9. Desert Grief—Jesus appearing to Mary, resurrected. An oboe solo on organ alternates with the flute melody, perhaps indicating an undulating, leaping soul—“the burned sins of the world fell in gray ashes.”
10. Pentecost—recaps the overture, framing the work. Several strong poetic phrases wrap up the ideas in earlier poems: “delusions were ashes,” “truth cut through the oppression of their past,” “died and could not die again.”
Mason and Fishel proved themselves well-synchronized partners performing Breath of the Spirit, deftly navigating the work’s changing rhythmic landscape. For an extended work, it is easy to grasp and enjoyable on first hearing. Its accessible, attractive music would no doubt be enhanced by a church setting to give it a sacred context. The work will be published in the near future, perhaps with some of the movements simplified to promote more performance, especially in a liturgical setting.

James Kibbie: Leipzig Chorales

James Kibbie played all of Bach’s Leipzig Chorales in two sessions, the first on the Fisk organ at Blanche Anderson Moore Hall at the School of Music, and the second on the Wilhelm organ at First Congregational Church of Ann Arbor. Kibbie takes a natural approach to these chorales—his playing is unfussy and elegant. He works with the organ’s natural articulation, adding his own subtle touches, all in keeping with the musical flow and not distracting from the overall effect. His pacing of the chorales is cohesive and appropriate, each tempo and transition carefully considered, and the registrations are apt, tastefully chosen for color and not solely dramatic effect.
The audience sang each chorale tune before Kibbie played Bach’s settings, having been provided with a booklet including the chorales. The booklet also contained comprehensive notes written by Larry Visser in 1992 when he performed the Leipzig Chorales as part of his doctoral studies at Michigan.
James Kibbie is on sabbatical leave during winter term to begin a three-year project to record the complete organ works of J. S. Bach on historic organs in Germany. During 2007, he will record approximately one third of the Bach organ works, including the Leipzig Chorales on the Silbermann organ of Dresden Cathedral and the Kirnberger Chorales on the Silbermann organs in Rötha.

Michele Johns and Kristen Johns

Michele Johns and her daughter Kristen performed a delightful concert of music for horn and organ on Monday afternoon. Kristen Johns has recently earned a DMA in horn performance, and has compiled a list of over 100 pieces originally composed for horn and organ as part of her research. The program included a selection of works composed in the last third of the 20th-century, opening with the fanfare-filled Celebration for Horn and Organ by Randall Faust. Next, Craig Phillips’ tuneful Serenade for Horn and Organ was filled with the composer’s signature harmonies, while Dutch composer Jan Koetsier’s Choral-Fantasie on Gib dich zufrieden un sei stille reminds one of Mendelssohn or Rheinberger. Daniel Pinkham’s The Salutation of Gabriel was commissioned by Joan Lippincott in honor of Karen McFarlane’s retirement. It is a programmatic work in three continuous sections—Gabriel delivers the message, Mary replies, Gabriel departs. Pinkham effectively portrays both the excitement and weightiness of the message, going so far as to instruct the performer to walk off-stage before playing the closing notes of the piece to signify Gabriel departing. Arnatt’s Variations on Divinum Mysterium is a beautifully composed work, keeping the familiar chant tune prominent most of the time. Works by Paul Basler and Gunther Marks rounded out this enjoyable mother/daughter collaboration.

Student performances

Students of Marilyn Mason and James Kibbie performed in several concerts during the conference. Monday morning, doctoral candidate Seth Nelson gave an excellent lecture-recital on Mozart’s flute clock pieces. The temperament of the Fisk organ brought out the character and color of these pieces, particularly the F-minor Fantasy. Doctoral students Marcia Heirman, Andrew Meagher, Alan Knight, Christine Chun, Susan De Kam, and master’s student Thomas Kean performed works ranging from Messiaen to Brahms to Vierne on Monday afternoon. Undergraduate Joseph Balistreri, master’s student Paul Haebig, doctoral student Michael Stefanek, and returning DMA graduates Shin-Ae Chun and Seth Nelson played works by Le Bègue, Langlais, Franck, Sowerby, Bolcom, and Dupré on Wednesday afternoon. Following the organ program, Christine Chun performed her first dissertation recital as pianist of the Michigan Trio, performing chamber works with cellist Amar Basu and violinist Jane Yu. David Saunders gave his second doctoral recital on Wednesday evening, playing music of DeGrigny, Guilain, Franck and Grandjany. Carillonneur Steven Ball gave a short carillon concert prior to the evening event.

Mozart lecture

Music theory professor Ellwood Derr gave an outstanding lecture on Mozart on Tuesday morning. He began by offering a Native American saying, “It is good for the living to perform ceremonies for the dead,” and invited his audience to actively participate in the lecture. Comparing Mozart to Michelangelo and Shakespeare, Derr asserted that Mozart is a magician, a freak due to his unusually high level of skill and his ability to innately and directly communicate with his audience, whether or not they are educated. His corpus of works, which Derr believes to be technically perfect, is so vast it is nearly impossible to listen to it all.
Derr has done research that identifies more than 80 Mozart works that borrow material from J. C. Bach, whom Mozart greatly admired. He recognizes three ways in which existing material can be incorporated into new works: reuse of thematic material, a technique so widely used as to be in common domain; unadorned borrowing for effect; and material retrieved from memory, the most common method of borrowing. He discussed examples from the Great Mass in C minor and the Requiem. In connection with remarks on the high quality of Mozart’s unfinished works, he played a selection from a recent recording of a gorgeous unfinished aria from Davide Penitente. Following the conference, Derr was slated to give this lecture and two additional lectures as part of a series of events celebrating Mozart, his era and his influence.

Classical French music

Monday afternoon, Susanne Diederich and Jean Randall offered a session on the Classical French organ and its music. Using the Frieze organ in Hill Auditorium, Randall demonstrated at the console and Diederich spoke. The main points of the lecture were the importance of stylistic specialties in giving character to French classic music, and that this period represents a rare confluence of instrument, music, style, and performance practice all working together. This era is unique in history; organ builders and organists worked closely together, and the organ was participating in the general development of music. Following this lecture, Stephanie Nofar gave a lecture-recital, “The Other France: Tribute to Unknown Masters.”

Maurice Clerc recital

Maurice Clerc played a recital featuring several transcriptions at Hill Auditorium on Monday evening. Having played at several previous conferences, Clerc seemed at home at the console and utilized the organ’s resources to great effect, preferring full registrations such as he can create at his home church, Notre-Dame in Paris. He began the program with his own bombastic transcription from Verdi’s Don Carlos, and moved on to Franck’s Pièce Héroïque, playing it with a very legato touch. He captured the excitement of the piece effectively, adding an arpeggiated fanfare before the closing chords. His transcription of a suite of character pieces by Fauré provided enjoyable listening, enlivened by colorful registrations. He followed with the Suite Medievale by Langlais, and closed the program with his transcription of a scherzo improvised by Pierre Cochereau in 1974.

Clerc: The art of transcription

On Tuesday afternoon, Maurice Clerc gave a lecture on preparing transcriptions. He cited transcription practices in the 18th century—Bach’s Schübler Chorales, Rameau’s arrangements of his own operas, and Balbastre’s transcriptions of his own works. After being abandoned for a time, transcription again became popular in the latter half of the 19th-century. Liszt arranged favorite orchestral and choral works for organ, and is known to have played the Kyrie from Mozart’s Requiem and transcriptions of classics for Widor. Karg-Elert made arrangements of Wagner’s works, using every possible technique available on the organ. Organ performance was very popular at the time, giving people the opportunity to hear great orchestral works performed on the instrument, since they would have had little or no opportunity to hear the likes of Wagner otherwise. Many composers did not write for the organ at all, deterred by having secular works performed in a sacred space, since most organs are located in churches.
Transcriptions allow us to play works by composers who didn’t write for the organ. The body of organ repertoire can be increased, and allow us to study a composer’s techniques. In addition, Clerc believes organists make transcriptions for their own enjoyment, giving the examples of David Briggs and Daniel Roth, as well as Jean Guillou, who made transcriptions when it wasn’t considered a legitimate art. Clerc discussed two types of transcriptions: adaptations of existing works to the language of the organ, and notations of improvisations. Both Dupré’s and Tournemire’s improvisations have been notated, allowing us to observe their improvisation styles. Clerc has transcribed works of Pierre Coche-reau, whom he describes as “having sparkling musicality, and endowed with staggering speed and an innate ability to use the whole organ from soft to loud.” Transcribing these improvisations captures a moment in time and preserves the uniqueness of the improviser’s art.

Michael Barone

Michael Barone opened his session with this statement: “We think we know everything, but if we don’t know history, we’re destined to repeat it.” His goal was to give a survey of how performers have approached French music over the years. Tinkering patiently with recalcitrant hi-fi equipment, he began with the first recording of early French music, a disc recorded by André Marchal on a Gonzales/Beckerath at Attignon in 1936, wondering “Can we play this music any better today?” Barone created a pastiche of Franck’s Pièce Héroïque, alternating passages played in 1929 by Marcel Dupré and in 1962 by E. Power Biggs, and offered a composite of several recordings of Gigout playing his own B-minor Toccata. He offered 15 examples of the opening section of Franck’s B-minor Choral, noting the balance shift between the manuals and the pedal among the various recordings.
Barone’s open-minded approach allows his audiences to be exposed to many performers and performances that might be ruled out in narrower definitions of what is worthwhile. He chooses recordings of instruments or performances that he deems so beguiling or interesting that they deserve a hearing, and to his credit is not bound by fashionable definitions of authenticity or correctness. He encouraged the audience to spend time listening to how our predecessors performed, noting that any organist worth his or her salt “speaks French.” Known for closing his sessions with a memorable aural example, Barone did not disappoint. He closed with a recording of Messiaen’s La Nativité by a Russian accordion player.

Marie-Claire Alain

When Marie-Claire Alain stepped onto the platform to perform her concert Tuesday evening, she was greeted by an extended ovation from the capacity audience of conference attendees, church members, and locals. She had given a masterclass on the music of Jehan Alain that afternoon, and the evening’s event only seemed to bring forth more energy in her. She began with a set of guitar pieces by Campion transcribed for organ, which showed off the colors of the instrument, followed by two settings of Schmücke dich by Bach. She took the familiar BWV 654 at a lively pace, and deftly negotiated handfuls of notes in BWV 759. Closing a set of three Bach works, the C-major prelude and fugue, BWV 547, sparkled in her hands. This work too often suffers from plodding and heavy rendition, but Marie Claire moved it along under perfect control, clearly feeling very comfortable with the piece and the instrument.
The second half included Dupré’s Virgo Mater, op. 40, which is dedicated in memory of Jehan Alain, followed by three pieces by her father, Albert Alain. Though written in the 20th century, these pieces hark back to earlier styles, and are particularly akin to the works of Vierne and Widor. The contrast between Albert’s music and Jehan’s is interesting, the former steeped in French tradition, and the latter unbound by tradition. The younger Alain’s Deux Danses and Suite bring this point home. Marie-Claire had played well all evening, but her performance really caught fire performing her brother’s works. Following a long standing ovation and her 85-minute program, she tossed off a riveting performance of “Litanies” as an encore as if it was the first piece of the evening.
Brandon Spence: multi-cultural worship
Brandon Spence, a Michigan graduate, is director of music at St. Andrew’s Cathedral in Grand Rapids, Michigan. This parish is home to people who speak English, Spanish, and Polish, as well as some who neither speak English nor are able to read. Spence approaches his task by asking two questions: who is present in worship? What are your musical resources? How do we make the music relevant? He cleverly illustrated with the movie “Guess Who’s Coming to Dinner?” asserting that there is a parallel between preparing a meal according to the needs of diverse guests and preparing music for worship. For Spence, the main issues are inclusiveness, enculturation, and fidelity to tradition. Worship should be inclusive, inviting, and engaging. Worship works best when people can feel that they belong and feel invited. With the assistance of a cantor from St. Andrew’s, he demonstrated using settings of Psalm 34 in different styles ranging from the Basilican Psalter to jazz and gospel in order to reach the various sectors of his diverse congregation.

Conclusion

The varied events of the 46th annual organ conference once again combined to provide current students and attendees with an excellent opportunity to delve into the riches of pipe organ repertoire and performance. Many thanks to Marilyn Mason and her colleagues who organize this valuable conference each year.

The fall organ conference, held September 13–16, 2015, at the Indiana University Jacobs School of Music (JSoM), was a mix of the practical, the academic, and the experiential. This year’s conference addressed the necessary changes occurring in both church music and liturgy. These ideas were woven throughout the three-day conference, which featured numerous distinguished presenters and spirited roundtables.

Sunday, September 13 

The attendees were treated to an inspiring concert by JSoM’s Historical Performance Institute, featuring medieval music and poetry—some spiritual, some profane. The performers used texts by Julian of Norwich, from Carmina Burana, and music of the period associated with these texts. The singers/readers semi-staged the concert, with subtle changes in accents to their basic black attire and dramatic movements that enhanced the understanding of the texts.

Monday, September 14 

The Reverend Barbara Brown Taylor, Butman Professor of Religion and Philosophy at Piedmont College and New York Times best-selling author, gave both an opening convocation address and a keynote presentation, “What, in God’s Name, Are You Doing?” Challenging the widespread understanding of worship music as a mere accompaniment or enhancement of the spoken ritual, she spoke of music’s “mystical language of unsaying” and focused on the “spectacularly non-verbal” power of music to elicit awareness of the unfathomable, the un-nameable essence of God. 

Citing resonating connections between humans, the planets, and the stars, Taylor highlighted the need for musicians to care “for the sound by which creation came into being,” and spoke of our work as “keepers of the keys” [pun intended] in terms of locking and unlocking the mysteries of “placeless places.” She also reminded us of the theological significance of creating and listening with [not to] music in community, “letting the music work its way around and through the different sized holes in each one of us.” She assured us that there is not a contest between word and music, but that “there is a time for saying and a time for unsaying.” Recalling an anthem text, she pointed to the often-greater importance of feeling over knowing: “I don’t know you, but I like you.” 

A spirited panel discussion, “Where Do We Go From Here? The Possibilities Are Ours To Create!” featured Carla Edwards, professor of organ at DePauw University; Rev. Taylor; Tamara Gieselman, university chaplain at the University of Evansville; Marilyn Keiser, Chancellor’s Professor Emerita of Music at JSoM; and Douglas Reed, adjunct professor of organ at JSoM. The discussion picked up the themes presented in the keynote, with an emphasis on the acute need for clergy and musicians to work in concert to create a meaningful worship experience. The afternoon ended with an advance screening of the soon-to-be-released documentary Sacred Sound: A Documentary on the Royal School of Church Music in America, presented by its producer, Robin Arcus.

The evening session, “A Calling to Music and the Arts,” was a festival of both familiar and new hymns and poetry that underscored the text of those hymns. Robert Nicholls (director of music, First Presbyterian Church, Evansville, Indiana), a prize-winning improviser and noted choir director, led a choir composed of current organ majors and conference attendees in robust singing of hymns, which were skillfully accompanied by varied improvisations. All church musicians know the excitement of singing hymns with colleagues, and this was such an event, made even more exciting by the beautiful C. B. Fisk organ in Auer Hall.

Tuesday, September 15

The day focused on the practical aspects of our profession. James Mellichamp, president of Piedmont College, gave an inspirational lecture on issues musicians face in the current religious climate, “Your Vocation Lies Elsewhere: Reflections of an Organist Turned College President.” Mellichamp used his personal narrative to show how he was able to pivot his career by realizing that church music was the first step to his current position within academia. 

This was followed by Mary Ann Hart’s (professor of voice at the JSoM) insightful, funny, entertaining, and useful demonstration of easy ways to train volunteer choir members. The audience knew that something special was going to happen when she passed out soda straws and plastic coffee stirrers prior to beginning her demonstration! The morning ended with Marilyn Keiser’s one-hour presentation showcasing a wide array of new organ literature suitable for worship that included preludes, postludes, incidental music, and new harmonizations for hymns. 

Mitchell Rorick (associate director of music, Trinity English Lutheran Church, Fort Wayne, Indiana) began the afternoon with his presentation “Enlivening Worship without (Many) Pyrotechnics.” This practical demonstration showed how traditional instruments used non-traditionally, non-traditional instruments used traditionally, and other art forms can enhance worship. One of the more interesting resources was the development of a steel band, which, like all of the creative resources and ideas he presented, can be an intergenerational activity. After a rehearsal with members of Trinity Episcopal Church, Bloomington Choir, and conference participants, the afternoon ended with a lovely and moving Evensong directed by Marilyn Keiser.

The day ended with a banquet and the presentation of four Oswald Gleason Ragatz Distinguished Alumni Awards, to Carla Edwards (DM, 1997), Yun Kyong Kim (MM, 1996; DM, 2010; faculty, St. Claire Community and organist/choirmaster, Christ Episcopal Church, Dayton, Ohio), Yoon-mi Lim (DM, 2010; associate professor and Albert L. Travis Chair of Organ, Southwestern Baptist Theological Seminary, Fort Worth, Texas), and James Mellichamp (DM, 1982). The audience was then treated to a recital on the C. B. Fisk organ, Opus 91, in the Alumni Hall of the Indiana Memorial Union by Drs. Kim and Lim. Dr. Kim gave a spirited performance of Bach’s Prelude and Fugue in E Minor (BWV 548) and works by Frank Bridge, Jean Guillou, and Maurice Duruflé. Dr. Lim introduced the audience to some lesser-known works by Marcel Paponaud, Guy Bovet, Alexandre Boëly, and Iain Farrington that were very sensitive and well suited to the nature
of Opus 91. 

Wednesday, September 16

The conference closed with a panel discussion, led by the Indiana Organists United (IOU) board of directors, to map the future of the Fall Organ Conference. The discussion was led by Patrick Pope (organist and director of music, Episcopal Church of the Holy Communion, Charlotte, North Carolina), IOU president, and Edie Johnson Overall (organist and music associate, Church Street United Methodist Church, Knoxville, Tennessee), IOU president-elect. Those who attended the conference made many excellent suggestions, which the IOU board considered and acted upon at its afternoon meeting.