Dear Diary, 1954–1956

Articles, Reports, and Reviews

by author (boldface) and subject

 

Albert Schweitzer Organ Festival/USA. See Spicer.

American Cathedral in Paris. See Ebrecht.

American Guild of Organists. See Palmer.

Andrews, Colin. New Recordings. July 10-11

Apple, Warren. New Organ Music. Mar 13, Apr 12-13, Nov 15, Dec 12-13

Arias, Enrique Alberto. Arthur C. Becker: Sonus Epulantis. Jan 15-17*+

__________. Gregorian Chant Review. May 8-10

 

Bach, J.S. See Crowell.

Basilica of the National Shrine of the Immaculate Conception. See Latona.

Becker, Arthur C. See Arias.

Bethards, Jack. Frederick A. Lake obituary. Sept 6

__________. Organ Design and the Kraft Music Hall. Oct 18-21*†#

Book Reviews. See Collins, Hartman, Marigold, Ogasapian, Speller.

British Organ Music Seminar. See McAfee.

Bulgarian Organs. See Levi.

Butera, Jerome. In Memoriam Wesley Vos. July 2

Butera, Jerome, William Osborne, J. Bunker Clark, Haig Mardirosian, and Ronald E. Dean. Robert Noehren: In Memoriam December 16, 1910-August 4, 2002. Oct 14-17

 

Canadian Organists. See Hartman.

Carillon News. See Swager.

Cavaillé-Coll. See Zuiderveld.

Choral reviews. See McCray.

Coleberd, R.E. Stevens of Marietta: A Forgotten Builder in a Bygone Era. June 18-21*†#

Collins, John. Book Reviews. Feb 8, 10, Nov 11-12

__________. New Organ Music. Dec 12

__________. New Recordings. Mar 11-12, July 11, Oct 10, 12

Continuo. See Crowell.

Crowell, Gregory. New Organ Music. Mar 13, Nov 14

__________. New Recordings. Apr 10, May 12, June 12, Nov 13, Dec 10, 12

__________. Registration and Sonority in J.S. Bach's Continuo Practice. Feb 19-21*†

 

Dickinson, William. University of Iowa Institute for Sacred Music 2002. Aug 20-21*

Distler, Hugo. See Palmer.

 

Ebrecht, Ronald. Lenten series at the American Cathedral in Paris, 1949 and 1950. Dec 20-21*†

Editor's Notebook. Jan 2

Ellis, Laura. New Organ Music. Aug 13, Sept 14, Oct 13

 

Ferko, Frank. An Extraordinary Musical Odyssey: Paul Jacobs' Messiaen Marathon. Apr 14-15*

Fisk Opus 116. See Palmer, Zuiderveld.

French Organ Music Seminar. See McAfee.

 

Gault, Robert. 1878 Sagar Organ, Central Presbyterian Church, Eugene, Oregon. June 16-17*†

Geffert, Johannes. Toe or Heel? Evidence of Baroque Practices. July 15-17+

Gell, David A. New Organ Music. Jan 12, Feb 14, Aug 13-14, Sept 14, Oct 12-13

Gregorian Chant Review. See Arias

 

Hardwick, Peter. New Organ Music. Apr 12, May 13, June 12-13, July 12-13, Aug 12-13, Nov 14-15, Dec 12

__________. New Recordings. Nov 12

Harpsichord News. See Palmer.

Hartman, James B. Book Reviews. Feb 10, Apr 8, June 8, 10, Aug 8, 10, Sept 12, Oct 10, Nov 10-11, Dec 8, 10

__________. Families of Professional Organists in Canada. May 14-15

__________. Seven Outstanding Canadian Organists of the Past. Sept 15-17

Holland, Jon. New Recordings. Nov 13-14, Dec 10

Huestis, Herbert L. Tech Lines. June 15#, Aug 14, Dec 22*

Hughes, Sarah Mahler. New Organ Music. Feb 13-14, June 14, July 13

 

Jacobs, Paul. See Ferko.

Johnson, Brent. Martin M. Wick obituary, Aug. 6*

Johnson, Jane. See Palmer.

 

Kuhlman, William. Organ Teaching in the Small Liberal Arts College. Dec 17-19*

 

Landrum, Mary Fisher. Sewanee Church Music Conference. Dec 22*

Latin American organs. See Wyly.

Latona, Peter, Robert Grogan, and Geraldine M. Rohling. The Basilica of the National Shrine of the Immaculate Conception Upper Church Organ Renovation Project, Goulding & Wood, Inc. Mar 21-23*†

Lawrence, Arthur. 2001 Summer Institute for French Organ Studies. Oct 22-25*†

Leaver, S. Christopher. Augustana Arts - Reuter Undergraduate Organ Competition. June 14*

Letters to the Editor. Feb 2, Apr 2, May 2, June 2, July 2, Aug 2, Sept 2, Nov 2

Levi, Sabin, and Hristo Buzhev. Organs in Bulgaria. Sept 18-21*†

 

Marigold, W.G. New Recordings. Jan 10, 12, Feb 12-13, Mar 12-13, Apr 10, 12, May 11-12, June 10, 12, Aug 10-12, Sept 12, 14, Nov 12

__________. Book Reviews. May 10-11, June 10, July 10-11, Dec 10

McAfee, Kay. British Organ Music Seminar. Feb 16-18*

__________. French Organ Music Seminar 2001: Paris Week, July 2-9, 2001. Mar 18-20*

__________. French Organ Music Seminar 2001: Alsace Week, July 10-14, 2001. Apr 18-19*

McCray, James. Music for Voices & Organ. Jan 8, Feb 8, Mar 8-10, Apr 7-8, May 8, June 8, July 8-10, Aug 7-8, Sept 10, 12, Oct 8, 10, Nov 8, 10, Dec 8

Messiaen Marathon. See Ferko.

Music for Voices & Organ. See McCray.

 

Nelson, Lee. New Handbell Music. Jan 14, Mar 13, May 12-13, Aug 14, Nov 15

New Handbell Music. See Nelson.

New Organ Music. See Apple, Collins, Crowell, Ellis, Gell, Hardwick, Hughes, Robinson, Schou, Smith.

New Recordings. See Andrews, Collins, Crowell, Hardwick, Holland, Marigold, Speller.

Nigerian music. See Sadoh.

Noehren, Robert. See Butera, et al.

 

Oaxaca. See Wyly.

Oberlin College. See Palmer, Zuiderveld.

Ogasapian, John. Book Reviews. Feb 10, 12, Mar 10-11

Organ Design. See Bethards.

Organ Historical Society. See Wechsler.

Organ Pedagogy. See Kuhlman.

Organ Recitals. Jan 25-26, Feb 28-29, Mar 28, Apr 28-29, May 27-29, June 28, July 24-25, Aug 28-29, Sept 32-33, Oct 32-33, Nov 28-29, Dec 28-29

Organ Restoration. See Wyly.

Overall, Jason. An Interview with Robert Powell. Nov 18-21*

 

Palmer, Larry. Drawings by Jane Johnson: A Retrospective and an Appreciation. Aug 18-19*

__________. Fan-fare: AGO in Philadelphia, July 1-6, 2002. Sept 22-25*

__________. Harpsichord News. Mar 6, 8, Apr 6, June 6-8

__________. Hugo Distler SIXTY Years Later. Nov 22

__________. Jurow Harpsichord Competition, SEKHS, MHKS in Bethlehem. July 14*

__________. Oberlin College opens its new Fisk Organ, Opus 116. Jan 18-19*†

Performance practice. See Crowell, Geffert.

Pickering, David C. The Organ Works of Leroy Robertson (1896-1971). Dec 14-16*+†

Powell, Robert. See Overall.

 

Robertson, Leroy. See Pickering.

Robinson, Joyce. New Organ Music. Jan 12, Oct 12, Dec 12

 

Sadoh, Godwin. The Creative Process in Nigerian Hymn-Based Compositions. Aug 15-17+

Sagar Organ. See Gault.

Schou, Larry. New Organ Music. Feb 14

Sewanee Church Music Conference. See Landrum.

SIFOS. See Lawrence.

Smith, Domecq. New Organ Music. Jan 12, 14, June 13-14, July 12

Speller, John L. Book Reviews. Jan 8, 10

__________. New Recordings. Feb 12, Apr 8, 10, May 11, Aug 12, Nov 12-13

Spicer, David. Albert Schweitzer Organ Festival/USA. Feb 14-15*

Stevens. See Coleberd.

Summer Institute for French Organ Studies. See Lawrence.

Swager, Brian. Carillon News. Jan 6, 8,* Feb 6, 7,* Mar 6,* July 8,* Sept 8, 10, Oct 6-8, Nov 6, 8, Dec 6-7*

__________. 2002 Summer Carillon Concert Calendar. June 24-25

 

Taylor, Herman D., and Williams, Donald W. The University of Michigan 41st Conference on Organ and Church Music. Mar 14*

Tech Lines. See Huestis.

 

University of Iowa. See Dickinson.

University of Michigan. See Taylor, Wagner.

 

Vos, Wesley. See Butera.

 

Wagner, James. University of Michigan 22nd International Organ and Church Music Institute. Jan 14*

Wechsler, Malcolm. Organ Historical Society 46th Annual Convention. May 16-22*

Wyly, James. The Oaxaca Congress 2001: "The Restoration of Organs in Latin America." Mar 15-17*

 

Zuiderveld, Rudolf. Cavaillé-Coll in Oberlin: June 12-15, Oberlin College. Nov 16-17*

Appointments

Ball, Steven,* to Plymouth Congregational Church, Lansing, MI. Nov 3

Basch, Peter J., to St. Ann's Church, Hoboken, NJ. Feb 3

Beck, Janice,* to St. John's Episcopal Church, Detroit, MI. Mar 3

Britanyak, Tom, to authorized service director, Wicks Organ Company, Highland, IL. July 3

Brown, Thomas,* to University Presbyterian Church, Chapel Hill, NC. Nov 3

Budzynski, Eric James,* to the Parish Church of St. Luke, Evanston, IL. Jan 3

Charneski, Jason,* to First Church of Christ (Center Church), Hartford, CT. Apr 3

Christie, James David,* to professor of organ, Oberlin College Conservatory of Music, Oberlin, OH. Aug 3

Coldwell, Maria, to executive director, Early Music America. Dec 3

Cowan, Ken,* to St. Bartholomew's Church, New York, NY. June 3

Decker, Pamela,* to associate professor, University of Arizona, Tucson, AZ. Apr 3

Dexter, Jeffrey D.,* to vice-president, tonal director, Schantz Organ Company, Orrville, OH. Mar 3

Forbes, James A., Jr., to AGO chaplain for 2002-2004. Oct 3

Gastier, Eric J., to vice-president, design and engineering, Schantz Organ Company, Orrville, OH. Mar 3

Giesbrecht, Marnie,* to Professor of Music, University of Alberta, Edmonton, Alberta, Canada. Dec 3

Hamner, William,* to tonal department, Wicks Organ Company, Highland, IL. July 3

Kemper, Margaret,* to Kenilworth Union Church, Kenilworth, IL. Mar 3

Lee, Daewon (David),* to Korea area sales manager, Wicks Organ Company, Highland, IL. Oct 3

Leister, Jason, to assistant to executive director of the AGO. Jan 3

Malinka, Melanie,* to director of music, The Madeline Choir School, Cathedral of the Madeleine, Salt Lake City, UT. Feb 3

Mangel, Curt,* to Curator of the Wanamaker Organ, Philadelphia, PA. Sept 3

Mann, Timothy H.,* to vice-president, marketing, Schantz Organ Company, Orrville, OH. Mar 3

Miller, Charles,* to Asylum Hill Congregational Church, Hartford, CT. Mar 3

Montgomery, Krista, to director of sales and marketing, Shawnee Press, Inc., Delaware Water Gap, PA. Dec 3

Morrison, Alan,* to head of the organ department, The Curtis Institute of Music, Philadelphia, PA. Aug 3

Moser, Rich,* to Ohio and Pennsylvania area sales manager, Wicks Organ Company, Highland, IL. Oct 3

Perlow, Kenneth R., to interim director of Early Music America. Jan 3

Porter, William,* to faculty, Eastman School of Music. June 3

Potts, Nigel,* to St. Peter's-by-the-Sea Episcopal Church, Bay Shore, NY. Nov 3

Rakich, Christa,* to New England Conservatory, Boston, MA. May 3

Ridgell, Robert P.,* to Philadelphia Cathedral, Philadelphia, PA. June 3

Robinson, Joyce Johnson,* to associate editor, The Diapason. Nov 4

Rowley, Naomi, to First United Methodist Church, Appleton, WI. Feb 3

Scanlon, Andrew,* to Fellow in Church Music, Christ & St. Stephen's Church (Episcopal), New York, NY. Oct 3

Schantz, John, to chairman of the board and manager, service department, Schantz Organ Company, Orrville, OH. Mar 3

Schantz, Victor B.,* to president, Schantz Organ Company, Orrville, OH. Mar 3

Shorney, John L.,* to president, Hope Publishing, Company, Carol Stream, IL. Feb 3

Sievert, Jack,* to executive vice-president, Schantz Organ Company, Orrville, OH. Mar 3

Stowe, Linda Morgan,* to School Organist/Director of Chapel Music, St. Paul's School, Concord, NH. Oct 3

Suter, Erik Wm.,* to Washington National Cathedral, Washington, DC. Nov 4

Swist, James, to area sales director, Wicks Organ Company, Highland, IL. Aug 3

Sykes, Peter,* to New England Conservatory, Boston, MA. May 3

Tadlock, Cherry, to Music Editor for Piano and Choral Music, Carl Fischer. Oct 3

Thoene, Marijim,* to St. Paul's Episcopal Church, New Orleans, LA. Jan 3

Trenney, Tom,* to First Presbyterian Church, Birmingham, MI. June 3

Tucker, Dale,* to First Wayne Street United Methodist Church, Fort Wayne, IN. Feb 3

Urban, Christopher,* to First Presbyterian Church, Arlington Heights, IL. Apr 3

Unsworth, Andrew,* to Cathedral of the Madeleine, Salt Lake City, UT. Feb 3

Honors and Competitions

Abrahamson, Dan,* retires from the Reuter Organ Company. Mar 3

Apkalna, Iveta, wins 2002 Royal Bank Calgary Competition Bach prize. Nov  3

Ashdown, Franklin D.,* receives ASCAP awards. Sept 3

Baglivi, Anthony, receives 2002 AGO President's Award. Oct 3

Benedum, Richard, retires from Dayton Bach Society. Feb 3

Blair, Nancy Jane,* honored at retirement from Briarlake Baptist Church, Atlanta, GA. Oct 3

Bolcom, William, and Joan Morris, receive MTNA Achievement Award. June 3

Brunelle, Philip, honored with Minnesota "Sally Award." Mar 3

Carrasco, Laura A.,* receives Mader Fund organ music research grant. June 3

Driskill-Smith, Clive,* wins 2002 Royal Bank Calgary Competition concerto gold medal and Duruflé prize. Nov 3

Dubois, Vincent,* wins 2002 Royal Bank Calgary Competition recital gold medal. Nov 3

Ensemble Amarcord,* wins German Music Competition. July 4

Fassang, László,* wins 2002 Royal Bank Calgary Competition improvisation gold medal. Nov 3

Fedak, Alfred,* awarded prize by John Ness Beck Foundation for composition. Apr  3

Gardiner, Rev. Robert, wins Macalester-Plymouth United Church hymn writing contest. May 3

Harbach, Barbara,* awarded honorary degree at Wilmington College, Wilmington, OH. July 3

Harmon, Thomas, retires from UCLA and First United Methodist Church, Santa Monica, CA. Sept 4

Hocdé, Emmanuel,* wins 2002 Grand Prix de Chartres, J.S. Bach performance prize, and Prize of the Audience. Dec 3

Jordan, Alice Yost, inducted into the Iowa Women's Hall of Fame. Oct 4

Khvoshchinsky, Sergey, wins Plymouth Music Series and the American Composers Forum Christmas carol contest. Jan 3

Kilstofte, Mark,* wins 2002 Choral Ventures program. Sept 4

King, Robert Burns,* honored at fortieth anniversary as organist-choirmaster, First Presbyterian Church, Burlington, NC. Nov 4

Muncaster, Clive, wins Plymouth Music Series and the American Composers Forum Christmas carol contest. Jan 3

Oldengarm, Jonathan, wins 2002 Royal Bank Calgary Competition RCCO prize and encore prize. Nov 3

Olson, Timothy, wins first prize in AGO National Young Artists Competition. Oct 3

Pearson, Kate, wins Bowling Green State University organ competition. May 4

Porter, Emily Maxson, wins Holtkamp-AGO Award in Organ Composition. Feb 3-4

Reuter Organ Company receives Kansas Chamber of Commerce & Industry Excellence in Manufacturing award, Nov 3, and award from Kansas Department of Commerce & Housing. Dec 4

Rose, John,* honored for 25 years service as college organist by Trinity College, Hartford, CT. July 4

Schalk, Carl, to receive AGO Distinguished Composer Award. May 4

Sitton, Michael,* wins first place in Cantate "Signature Anthem" competition. Dec 3

Stringham, Phyllis,* honored at retirement from Carroll College, Waukesha, WI. Dec 4

Sullivan, Daniel,* awarded first place in Gruenstein Memorial Organ Competition. Oct 2-3

Swann, Frederick,* honored as Performer of the Year by New York City AGO chapter. Dec 4

Thornock, Neil, wins second prize in 2002 Carillon Composition Competition. Sept 3

Trapp, Lynn, receives 2002 Spirit and Truth Award from University of Notre Dame. Oct 4

Trotter, Thomas,* receives Royal Philharmonic Society's Instrumentalist Award. Aug 6

Truckenbrod, Phillip Agency,* celebrates 35th year of operation. Sept 6

Unger, Johannes,* wins St. Albans International Organ Competition. Jan 4

Wallace, Edward A.,* honored at retirement by the Church of St. Michael and St. George, St. Louis, MO. Jan 4

Warland, Dale,* receives Chorus America's Louis Botto award. Aug 6

Wikman, Thomas,* receives honorary degree from the University of Illinois at Chicago, Chicago, IL, July 4.

Obituaries

Bales, Gerald Albert.* Dec 6

Banta, Lorene S. Feb 6

Bruun, Lewis C.* Dec 6

Goode, Jack C. May 6

Gotwals, Vernon Jr. June 6

Herz, Eric. Aug 6

Holzgraf, Lloyd.* Jan 6

Hume, Paul. Feb 6

Kelone, Earl V.* Sept 6

Lake, Frederick A. Sept 6

Lehnerer, Paul Francis. Aug 6

Lohmann, Heinz. Feb 6

Noehren, Robert.* Sept 8

Plummer, Ruth.* June 6

Radford, Jeffrey Paul. Nov 6

Rodgers, John. July 6

Schoenstein, Lawrence L.* May 6

Sherman, Elizabeth Birkshire Brothers. Oct 6

Vos, Wesley M.* July 6

Wick, Martin M.* Aug 6

Organ Stoplists

Austin

Christ Church Cathedral, Hartford, CT. Antiphonal 2/7,* July 1, 18

 

Berghaus

St. John's Ev. Lutheran Church, Chicago, IL. 2/34,* Feb 24

 

Bigelow

All Souls' Episcopal Church, Oklahoma City, OK. 2/22,* July 18

 

Buzard

North Shore United Methodist, Glencoe, IL. 2/17,* Nov 24

St. Andrew's Episcopal Church, Denver, CO. 2/17,* June 1, 22

St. David's Episcopal Church, Glenview, IL. 2/29,* Dec 1, 23

 

Dobson

United Lutheran Church, Red Wing, MN. 2/20,* May 1, 23

 

Edwards

Episcopal Church of the Nativity, Fort Oglethorpe, GA. 2/16,* Aug 1, 22-23

 

Fabry

St. Mary's Catholic Church, Spring Lake, MI. 2/21,* Feb 23

Fabry (Aeolian-Skinner)

Marytown Kolbe Shrine, Libertyville, IL. 3/29,* Mar 24

 

Fenris

Ascension Lutheran Church, Albert Lea, MN. 2/12,* Aug 23

 

Fowler (Casavant)

St. Mary Cathedral, Lansing, MI. 3/50,* Sept 27

 

Goulding & Wood

The Basilica of the National Shrine of the Immaculate Conception, Washington, DC. 4/210,* Mar 1, 21-23

St. John's Episcopal Church, Crawfordsville, IN. 2/9,* Sept 27

Meridian Street United Methodist Church, Indianapolis, IN. 2/14,* June 23

 

Harris and McDonough

St. Augustine By-the-Sea Episcopal Church, Santa Monica, CA. 3/38,* Oct 28

 

Hendrickson

Church of St. Peter, St. Peter, MN. 3/40,* Nov 1, 23

 

Jaeckel

Christ Lutheran Church, Superior, WI. 2/10,* Apr 22

 

Lauck

St. Peter's Cathedral, Marquette, MI. 3/33,* Aug 24

 

Lewis & Hitchcock

First Presbyterian Church, Cumberland, MD. 3/30,* Apr 22-23

 

Lively-Fulcher

St. Olaf Catholic Church, Minneapolis, MN. 3/67,* Oct 27

 

Marceau

Chapel Hill Presbyterian Church, Gig Harbor, WA. 3/58,* Feb 1, 22-23

 

Muller, J.W. (Schuelke)

St. Mary's Catholic Church, Columbus, OH. 2/38,* July 19

 

Murphy

Falkner Swamp Reformed Church, Gilbertsville, PA. 2/14,* Jan 22

 

Nordlie

St. Barnabas Lutheran Church, Plymouth, MN. 2/19,* May 24

 

Quimby

SkyRose Chapel, Rose Hills Memorial Park, Whittier, CA. 4/65,* Oct 1, 26

 

Reuter

Trinity United Methodist Church, Wilmette, IL. 3/63,* Jan 1, 20-21

 

Rieger-Kloss

First Congregational Church, Beloit, WI. 4/65,* Sept 1, 26

 

Schlueter

Lumpkin United Methodist Church, Lumpkin, GA. 2/9,* Dec 24

Stella Maris Catholic Church, Sullivan's Island, SC. 2/23,* Nov 24

 

Schoenstein

Bishop Spencer Place, Kansas City, MO. 2/6,* June 23

Covenant Presbyterian Church, Madison, WI. 3/46,* Sept 28

First Church of Christ, Scientist, Belvedere, CA. 2/11, Dec 24

 

Visser

Concordia University, Austin, TX. 2/22,* Apr 23

St. Luke's Episcopal Church, Alexandria, VA. 2/31,* May 24

 

Wicks

Christ Church, Episcopal, Plano, TX. 3/22,* Apr 1, 20-21

 

Zamberlan

St. Andrew's Episcopal Church, Greencastle, IN. 2/23,* Aug 24-25

Articles, Reports, and Reviews

by author (boldface) and
subject

 

Albert Schweitzer Organ Festival/USA. See Spicer.

American Cathedral in Paris. See Ebrecht.

American Guild of Organists. See Palmer.

Andrews, Colin. New Recordings. July 10-11

Apple, Warren. New Organ Music. Mar 13, Apr 12-13, Nov 15,
Dec 12-13

Arias, Enrique Alberto. Arthur C. Becker: Sonus Epulantis.
Jan 15-17*+

__________. Gregorian Chant Review. May 8-10

 

Bach, J.S. See Crowell.

Basilica of the National Shrine of the Immaculate
Conception. See Latona.

Becker, Arthur C. See Arias.

Bethards, Jack. Frederick A. Lake obituary. Sept 6

__________. Organ Design and the Kraft Music Hall. Oct
18-21*†#

Book Reviews. See Collins, Hartman, Marigold, Ogasapian,
Speller.

British Organ Music Seminar. See McAfee.

Bulgarian Organs. See Levi.

Butera, Jerome. In Memoriam Wesley Vos. July 2

Butera, Jerome, William Osborne, J. Bunker Clark, Haig
Mardirosian, and Ronald E. Dean. Robert Noehren: In Memoriam December 16,
1910-August 4, 2002. Oct 14-17

 

Canadian Organists. See Hartman.

Carillon News. See Swager.

Cavaillé-Coll. See Zuiderveld.

Choral reviews. See McCray.

Coleberd, R.E. Stevens of Marietta: A Forgotten Builder in a
Bygone Era. June 18-21*†#

Collins, John. Book Reviews. Feb 8, 10, Nov 11-12

__________. New Organ Music. Dec 12

__________. New Recordings. Mar 11-12, July 11, Oct 10, 12

Continuo. See Crowell.

Crowell, Gregory. New Organ Music. Mar 13, Nov 14

__________. New Recordings. Apr 10, May 12, June 12, Nov 13,
Dec 10, 12

__________. Registration and Sonority in J.S. Bach's
Continuo Practice. Feb 19-21*†

 

Dickinson, William. University of Iowa Institute for Sacred
Music 2002. Aug 20-21*

Distler, Hugo. See Palmer.

 

Ebrecht, Ronald. Lenten series at the American Cathedral in
Paris, 1949 and 1950. Dec 20-21*†

Editor's Notebook. Jan 2

Ellis, Laura. New Organ Music. Aug 13, Sept 14, Oct 13

 

Ferko, Frank. An Extraordinary Musical Odyssey: Paul Jacobs'
Messiaen Marathon. Apr 14-15*

Fisk Opus 116. See Palmer, Zuiderveld.

French Organ Music Seminar. See McAfee.

 

Gault, Robert. 1878 Sagar Organ, Central Presbyterian
Church, Eugene, Oregon. June 16-17*†

Geffert, Johannes. Toe or Heel? Evidence of Baroque
Practices. July 15-17+

Gell, David A. New Organ Music. Jan 12, Feb 14, Aug 13-14,
Sept 14, Oct 12-13

Gregorian Chant Review. See Arias

 

Hardwick, Peter. New Organ Music. Apr 12, May 13, June
12-13, July 12-13, Aug 12-13, Nov 14-15, Dec 12

__________. New Recordings. Nov 12

Harpsichord News. See Palmer.

Hartman, James B. Book Reviews. Feb 10, Apr 8, June 8, 10,
Aug 8, 10, Sept 12, Oct 10, Nov 10-11, Dec 8, 10

__________. Families of Professional Organists in Canada.
May 14-15

__________. Seven Outstanding Canadian Organists of the
Past. Sept 15-17

Holland, Jon. New Recordings. Nov 13-14, Dec 10

Huestis, Herbert L. Tech Lines. June 15#, Aug 14, Dec 22*

Hughes, Sarah Mahler. New Organ Music. Feb 13-14, June 14,
July 13

 

Jacobs, Paul. See Ferko.

Johnson, Brent. Martin M. Wick obituary, Aug. 6*

Johnson, Jane. See Palmer.

 

Kuhlman, William. Organ Teaching in the Small Liberal Arts
College. Dec 17-19*

 

Landrum, Mary Fisher. Sewanee Church Music Conference. Dec
22*

Latin American organs. See Wyly.

Latona, Peter, Robert Grogan, and Geraldine M. Rohling. The Basilica
of the National Shrine of the Immaculate Conception Upper Church Organ
Renovation Project, Goulding & Wood, Inc. Mar 21-23*†

Lawrence, Arthur. 2001 Summer Institute for French Organ
Studies. Oct 22-25*†

Leaver, S. Christopher. Augustana Arts - Reuter
Undergraduate Organ Competition. June 14*

Letters to the Editor. Feb 2, Apr 2, May 2, June 2, July 2,
Aug 2, Sept 2, Nov 2

Levi, Sabin, and Hristo Buzhev. Organs in Bulgaria. Sept
18-21*†

 

Marigold, W.G. New Recordings. Jan 10, 12, Feb 12-13, Mar
12-13, Apr 10, 12, May 11-12, June 10, 12, Aug 10-12, Sept 12, 14, Nov 12

__________. Book Reviews. May 10-11, June 10, July 10-11,
Dec 10

McAfee, Kay. British Organ Music Seminar. Feb 16-18*

__________. French Organ Music Seminar 2001: Paris Week,
July 2-9, 2001. Mar 18-20*

__________. French Organ Music Seminar 2001: Alsace Week,
July 10-14, 2001. Apr 18-19*

McCray, James. Music for Voices & Organ. Jan 8, Feb 8,
Mar 8-10, Apr 7-8, May 8, June 8, July 8-10, Aug 7-8, Sept 10, 12, Oct 8, 10,
Nov 8, 10, Dec 8

Messiaen Marathon. See Ferko.

Music for Voices & Organ. See McCray.

 

Nelson, Lee. New Handbell Music. Jan 14, Mar 13, May 12-13,
Aug 14, Nov 15

New Handbell Music. See Nelson.

New Organ Music. See Apple, Collins, Crowell, Ellis, Gell, Hardwick,
Hughes, Robinson, Schou, Smith.

New Recordings. See Andrews, Collins, Crowell, Hardwick,
Holland, Marigold, Speller.

Nigerian music. See Sadoh.

Noehren, Robert. See Butera, et al.

 

Oaxaca. See Wyly.

Oberlin College. See Palmer, Zuiderveld.

Ogasapian, John. Book Reviews. Feb 10, 12, Mar 10-11

Organ Design. See Bethards.

Organ Historical Society. See Wechsler.

Organ Pedagogy. See Kuhlman.

Organ Recitals. Jan 25-26, Feb 28-29, Mar 28, Apr 28-29, May
27-29, June 28, July 24-25, Aug 28-29, Sept 32-33, Oct 32-33, Nov 28-29, Dec
28-29

Organ Restoration. See Wyly.

Overall, Jason. An Interview with Robert Powell. Nov 18-21*

 

Palmer, Larry. Drawings by Jane Johnson: A Retrospective and
an Appreciation. Aug 18-19*

__________. Fan-fare: AGO in Philadelphia, July 1-6, 2002.
Sept 22-25*

__________. Harpsichord News. Mar 6, 8, Apr 6, June 6-8

__________. Hugo Distler SIXTY Years Later. Nov 22

__________. Jurow Harpsichord Competition, SEKHS, MHKS in
Bethlehem. July 14*

__________. Oberlin College opens its new Fisk Organ, Opus
116. Jan 18-19*†

Performance practice. See Crowell, Geffert.

Pickering, David C. The Organ Works of Leroy Robertson
(1896-1971). Dec 14-16*+†

Powell, Robert. See Overall.

 

Robertson, Leroy. See Pickering.

Robinson, Joyce. New Organ Music. Jan 12, Oct 12, Dec 12

 

Sadoh, Godwin. The Creative Process in Nigerian Hymn-Based
Compositions. Aug 15-17+

Sagar Organ. See Gault.

Schou, Larry. New Organ Music. Feb 14

Sewanee Church Music Conference. See Landrum.

SIFOS. See Lawrence.

Smith, Domecq. New Organ Music. Jan 12, 14, June 13-14, July
12

Speller, John L. Book Reviews. Jan 8, 10

__________. New Recordings. Feb 12, Apr 8, 10, May 11, Aug
12, Nov 12-13

Spicer, David. Albert Schweitzer Organ Festival/USA. Feb
14-15*

Stevens. See Coleberd.

Summer Institute for French Organ Studies. See Lawrence.

Swager, Brian. Carillon News. Jan 6, 8,* Feb 6, 7,* Mar 6,*
July 8,* Sept 8, 10, Oct 6-8, Nov 6, 8, Dec 6-7*

__________. 2002 Summer Carillon Concert Calendar. June
24-25

 

Taylor, Herman D., and Williams, Donald W. The University of
Michigan 41st Conference on Organ and Church Music. Mar 14*

Tech Lines. See Huestis.

 

University of Iowa. See Dickinson.

University of Michigan. See Taylor, Wagner.

 

Vos, Wesley. See Butera.

 

Wagner, James. University of Michigan 22nd International
Organ and Church Music Institute. Jan 14*

Wechsler, Malcolm. Organ Historical Society 46th Annual
Convention. May 16-22*

Wyly, James. The Oaxaca Congress 2001: "The Restoration
of Organs in Latin America." Mar 15-17*

 

Zuiderveld, Rudolf. Cavaillé-Coll in Oberlin: June
12-15, Oberlin College. Nov 16-17*

Appointments

Ball, Steven,* to Plymouth Congregational Church, Lansing,
MI. Nov 3

Basch, Peter J., to St. Ann's Church, Hoboken, NJ. Feb 3

Beck, Janice,* to St. John's Episcopal Church, Detroit, MI.
Mar 3

Britanyak, Tom, to authorized service director, Wicks Organ
Company, Highland, IL. July 3

Brown, Thomas,* to University Presbyterian Church, Chapel
Hill, NC. Nov 3

Budzynski, Eric James,* to the Parish Church of St. Luke,
Evanston, IL. Jan 3

Charneski, Jason,* to First Church of Christ (Center
Church), Hartford, CT. Apr 3

Christie, James David,* to professor of organ, Oberlin
College Conservatory of Music, Oberlin, OH. Aug 3

Coldwell, Maria, to executive director, Early Music America.
Dec 3

Cowan, Ken,* to St. Bartholomew's Church, New York, NY. June
3

Decker, Pamela,* to associate professor, University of
Arizona, Tucson, AZ. Apr 3

Dexter, Jeffrey D.,* to vice-president, tonal director,
Schantz Organ Company, Orrville, OH. Mar 3

Forbes, James A., Jr., to AGO chaplain for 2002-2004. Oct 3

Gastier, Eric J., to vice-president, design and engineering,
Schantz Organ Company, Orrville, OH. Mar 3

Giesbrecht, Marnie,* to Professor of Music, University of
Alberta, Edmonton, Alberta, Canada. Dec 3

Hamner, William,* to tonal department, Wicks Organ Company,
Highland, IL. July 3

Kemper, Margaret,* to Kenilworth Union Church, Kenilworth,
IL. Mar 3

Lee, Daewon (David),* to Korea area sales manager, Wicks Organ
Company, Highland, IL. Oct 3

Leister, Jason, to assistant to executive director of the
AGO. Jan 3

Malinka, Melanie,* to director of music, The Madeline Choir
School, Cathedral of the Madeleine, Salt Lake City, UT. Feb 3

Mangel, Curt,* to Curator of the Wanamaker Organ,
Philadelphia, PA. Sept 3

Mann, Timothy H.,* to vice-president, marketing, Schantz
Organ Company, Orrville, OH. Mar 3

Miller, Charles,* to Asylum Hill Congregational Church,
Hartford, CT. Mar 3

Montgomery, Krista, to director of sales and marketing,
Shawnee Press, Inc., Delaware Water Gap, PA. Dec 3

Morrison, Alan,* to head of the organ department, The Curtis
Institute of Music, Philadelphia, PA. Aug 3

Moser, Rich,* to Ohio and Pennsylvania area sales manager,
Wicks Organ Company, Highland, IL. Oct 3

Perlow, Kenneth R., to interim director of Early Music
America. Jan 3

Porter, William,* to faculty, Eastman School of Music. June
3

Potts, Nigel,* to St. Peter's-by-the-Sea Episcopal Church,
Bay Shore, NY. Nov 3

Rakich, Christa,* to New England Conservatory, Boston, MA.
May 3

Ridgell, Robert P.,* to Philadelphia Cathedral,
Philadelphia, PA. June 3

Robinson, Joyce Johnson,* to associate editor, The Diapason.
Nov 4

Rowley, Naomi, to First United Methodist Church, Appleton,
WI. Feb 3

Scanlon, Andrew,* to Fellow in Church Music, Christ &
St. Stephen's Church (Episcopal), New York, NY. Oct 3

Schantz, John, to chairman of the board and manager, service
department, Schantz Organ Company, Orrville, OH. Mar 3

Schantz, Victor B.,* to president, Schantz Organ Company,
Orrville, OH. Mar 3

Shorney, John L.,* to president, Hope Publishing, Company,
Carol Stream, IL. Feb 3

Sievert, Jack,* to executive vice-president, Schantz Organ
Company, Orrville, OH. Mar 3

Stowe, Linda Morgan,* to School Organist/Director of Chapel
Music, St. Paul's School, Concord, NH. Oct 3

Suter, Erik Wm.,* to Washington National Cathedral,
Washington, DC. Nov 4

Swist, James, to area sales director, Wicks Organ Company,
Highland, IL. Aug 3

Sykes, Peter,* to New England Conservatory, Boston, MA. May
3

Tadlock, Cherry, to Music Editor for Piano and Choral Music,
Carl Fischer. Oct 3

Thoene, Marijim,* to St. Paul's Episcopal Church, New
Orleans, LA. Jan 3

Trenney, Tom,* to First Presbyterian Church, Birmingham, MI.
June 3

Tucker, Dale,* to First Wayne Street United Methodist
Church, Fort Wayne, IN. Feb 3

Urban, Christopher,* to First Presbyterian Church, Arlington
Heights, IL. Apr 3

Unsworth, Andrew,* to Cathedral of the Madeleine, Salt Lake
City, UT. Feb 3

Honors and Competitions

Abrahamson, Dan,* retires from the Reuter Organ Company. Mar
3

Apkalna, Iveta, wins 2002 Royal Bank Calgary Competition
Bach prize. Nov  3

Ashdown, Franklin D.,* receives ASCAP awards. Sept 3

Baglivi, Anthony, receives 2002 AGO President's Award. Oct 3

Benedum, Richard, retires from Dayton Bach Society. Feb 3

Blair, Nancy Jane,* honored at retirement from Briarlake
Baptist Church, Atlanta, GA. Oct 3

Bolcom, William, and Joan Morris, receive MTNA Achievement
Award. June 3

Brunelle, Philip, honored with Minnesota "Sally
Award." Mar 3

Carrasco, Laura A.,* receives Mader Fund organ music
research grant. June 3

Driskill-Smith, Clive,* wins 2002 Royal Bank Calgary
Competition concerto gold medal and Duruflé prize. Nov 3

Dubois, Vincent,* wins 2002 Royal Bank Calgary Competition
recital gold medal. Nov 3

Ensemble Amarcord,* wins German Music Competition. July 4

Fassang, László,* wins 2002 Royal Bank Calgary
Competition improvisation gold medal. Nov 3

Fedak, Alfred,* awarded prize by John Ness Beck Foundation
for composition. Apr  3

Gardiner, Rev. Robert, wins Macalester-Plymouth United
Church hymn writing contest. May 3

Harbach, Barbara,* awarded honorary degree at Wilmington
College, Wilmington, OH. July 3

Harmon, Thomas, retires from UCLA and First United Methodist
Church, Santa Monica, CA. Sept 4

Hocdé, Emmanuel,* wins 2002 Grand Prix de Chartres,
J.S. Bach performance prize, and Prize of the Audience. Dec 3

Jordan, Alice Yost, inducted into the Iowa Women's Hall of
Fame. Oct 4

Khvoshchinsky, Sergey, wins Plymouth Music Series and the
American Composers Forum Christmas carol contest. Jan 3

Kilstofte, Mark,* wins 2002 Choral Ventures program. Sept 4

King, Robert Burns,* honored at fortieth anniversary as
organist-choirmaster, First Presbyterian Church, Burlington, NC. Nov 4

Muncaster, Clive, wins Plymouth Music Series and the
American Composers Forum Christmas carol contest. Jan 3

Oldengarm, Jonathan, wins 2002 Royal Bank Calgary
Competition RCCO prize and encore prize. Nov 3

Olson, Timothy, wins first prize in AGO National Young
Artists Competition. Oct 3

Pearson, Kate, wins Bowling Green State University organ
competition. May 4

Porter, Emily Maxson, wins Holtkamp-AGO Award in Organ
Composition. Feb 3-4

Reuter Organ Company receives Kansas Chamber of Commerce
& Industry Excellence in Manufacturing award, Nov 3, and award from Kansas
Department of Commerce & Housing. Dec 4

Rose, John,* honored for 25 years service as college
organist by Trinity College, Hartford, CT. July 4

Schalk, Carl, to receive AGO Distinguished Composer Award.
May 4

Sitton, Michael,* wins first place in Cantate
"Signature Anthem" competition. Dec 3

Stringham, Phyllis,* honored at retirement from Carroll
College, Waukesha, WI. Dec 4

Sullivan, Daniel,* awarded first place in Gruenstein
Memorial Organ Competition. Oct 2-3

Swann, Frederick,* honored as Performer of the Year by New
York City AGO chapter. Dec 4

Thornock, Neil, wins second prize in 2002 Carillon
Composition Competition. Sept 3

Trapp, Lynn, receives 2002 Spirit and Truth Award from
University of Notre Dame. Oct 4

Trotter, Thomas,* receives Royal Philharmonic Society's
Instrumentalist Award. Aug 6

Truckenbrod, Phillip Agency,* celebrates 35th year of
operation. Sept 6

Unger, Johannes,* wins St. Albans International Organ
Competition. Jan 4

Wallace, Edward A.,* honored at retirement by the Church of
St. Michael and St. George, St. Louis, MO. Jan 4

Warland, Dale,* receives Chorus America's Louis Botto award.
Aug 6

Wikman, Thomas,* receives honorary degree from the
University of Illinois at Chicago, Chicago, IL, July 4.

Obituaries

Bales, Gerald Albert.* Dec 6

Banta, Lorene S. Feb 6

Bruun, Lewis C.* Dec 6

Goode, Jack C. May 6

Gotwals, Vernon Jr. June 6

Herz, Eric. Aug 6

Holzgraf, Lloyd.* Jan 6

Hume, Paul. Feb 6

Kelone, Earl V.* Sept 6

Lake, Frederick A. Sept 6

Lehnerer, Paul Francis. Aug 6

Lohmann, Heinz. Feb 6

Noehren, Robert.* Sept 8

Plummer, Ruth.* June 6

Radford, Jeffrey Paul. Nov 6

Rodgers, John. July 6

Schoenstein, Lawrence L.* May 6

Sherman, Elizabeth Birkshire Brothers. Oct 6

Vos, Wesley M.* July 6

Wick, Martin M.* Aug 6

Organ Stoplists

Austin

Christ Church Cathedral, Hartford, CT. Antiphonal 2/7,* July
1, 18

 

Berghaus

St. John's Ev. Lutheran Church, Chicago, IL. 2/34,* Feb 24

 

Bigelow

All Souls' Episcopal Church, Oklahoma City, OK. 2/22,* July
18

 

Buzard

North Shore United Methodist, Glencoe, IL. 2/17,* Nov 24

St. Andrew's Episcopal Church, Denver, CO. 2/17,* June 1, 22

St. David's Episcopal Church, Glenview, IL. 2/29,* Dec 1, 23

 

Dobson

United Lutheran Church, Red Wing, MN. 2/20,* May 1, 23

 

Edwards

Episcopal Church of the Nativity, Fort Oglethorpe, GA.
2/16,* Aug 1, 22-23

 

Fabry

St. Mary's Catholic Church, Spring Lake, MI. 2/21,* Feb 23

Fabry (Aeolian-Skinner)

Marytown Kolbe Shrine, Libertyville, IL. 3/29,* Mar 24

 

Fenris

Ascension Lutheran Church, Albert Lea, MN. 2/12,* Aug 23

 

Fowler (Casavant)

St. Mary Cathedral, Lansing, MI. 3/50,* Sept 27

 

Goulding & Wood

The Basilica of the National Shrine of the Immaculate Conception,
Washington, DC. 4/210,* Mar 1, 21-23

St. John's Episcopal Church, Crawfordsville, IN. 2/9,* Sept
27

Meridian Street United Methodist Church, Indianapolis, IN.
2/14,* June 23

 

Harris and McDonough

St. Augustine By-the-Sea Episcopal Church, Santa Monica, CA.
3/38,* Oct 28

 

Hendrickson

Church of St. Peter, St. Peter, MN. 3/40,* Nov 1, 23

 

Jaeckel

Christ Lutheran Church, Superior, WI. 2/10,* Apr 22

 

Lauck

St. Peter's Cathedral, Marquette, MI. 3/33,* Aug 24

 

Lewis & Hitchcock

First Presbyterian Church, Cumberland, MD. 3/30,* Apr 22-23

 

Lively-Fulcher

St. Olaf Catholic Church, Minneapolis, MN. 3/67,* Oct 27

 

Marceau

Chapel Hill Presbyterian Church, Gig Harbor, WA. 3/58,* Feb
1, 22-23

 

Muller, J.W. (Schuelke)

St. Mary's Catholic Church, Columbus, OH. 2/38,* July 19

 

Murphy

Falkner Swamp Reformed Church, Gilbertsville, PA. 2/14,* Jan
22

 

Nordlie

St. Barnabas Lutheran Church, Plymouth, MN. 2/19,* May 24

 

Quimby

SkyRose Chapel, Rose Hills Memorial Park, Whittier, CA.
4/65,* Oct 1, 26

 

Reuter

Trinity United Methodist Church, Wilmette, IL. 3/63,* Jan 1,
20-21

 

Rieger-Kloss

First Congregational Church, Beloit, WI. 4/65,* Sept 1, 26

 

Schlueter

Lumpkin United Methodist Church, Lumpkin, GA. 2/9,* Dec 24

Stella Maris Catholic Church, Sullivan's Island, SC. 2/23,*
Nov 24

 

Schoenstein

Bishop Spencer Place, Kansas City, MO. 2/6,* June 23

Covenant Presbyterian Church, Madison, WI. 3/46,* Sept 28

First Church of Christ, Scientist, Belvedere, CA. 2/11, Dec
24

 

Visser

Concordia University, Austin, TX. 2/22,* Apr 23

St. Luke's Episcopal Church, Alexandria, VA. 2/31,* May 24

 

Wicks

Christ Church, Episcopal, Plano, TX. 3/22,* Apr 1, 20-21

 

Zamberlan

St. Andrew's Episcopal Church, Greencastle, IN. 2/23,* Aug
24-25

Alain, Jehan. See Dzuris.

 

Apple, Warren. New Organ Music. Mar 11, May 13, July 13, Aug 12, Oct 11-12, Dec 12-13

Art of Fugue. See Kellner.

 

Bach. See Kellner, Shay.

Baggia, Aldo J. In the footsteps of Gottfried Silbermann. Aug 13-14†*

Beck, Charles. The Trials, Tribulations and Joys of an Organist on Tour. July 16-19*

Binford, Jeff. New Organ Music. July 13

____________.  New Recordings. May 10, 12, June 10, 12

Book Reviews. See Hartman, Huestis, Marigold, Simmons.

Brown, David Burton. 80th Birthday Tribute----Heinz Wunderlich. Apr 18*

Buzard, John-Paul. Reminiscences of Henry Willis 4. Part 1. Sept 14-15*             

    Part 2. Oct 16-18

 

Canadian Organbuilding. See Hartman.

Carillon Calendar. June 6-7

Carillon Music. See Swager.

Carillon News. See Swager.

Choral Music. See McCray, Smith.

Coleberd, R.E. The Economics of Pipe Organ Building. It's Time To Tell the     Story. Jan 14-17 #

Collins, Paul. The north German organ school of the Baroque: "diligent fantasy makers." + Nov 14-17

Conferences, Conventions, Workshops, Festivals

    Albert Schweitzer Organ Festival/USA, by David Spicer.* Nov 13

    Catharine Crozier at Illinois College, by David W. Shane. July 8*

    East Carolina Religious Arts Festival, by Keith Nash. May 8, 10

    Improvisation Symposium----Eastern Michigan University, by Susan Craig.   June 7

    SEHKS Conclave in London, by Lilian P. Pruett.* Nov 17-18

    The 43rd Annual Convention of the Organ Historical Society. Denver, June     

        21-27, 1998, by Malcolm Wechsler. Feb 19-23*

    The Organ in the New Millennium: Pacific Lutheran University, April 8-12,          

        by Herbert Huestis. July 14-15*

    21st Annual Organ Conference--University of Nebraska-Lincoln, by Marcia Van Oyen. Apr 16-18

    University of Michigan Historic Organ Tour XXXVIII, by Marian Archibald. 

        Feb 14*

    University of Michigan 1998 Organ Conference, by Pamela Ruiter-Feenstra.

       Mar 18*

 

Dean, Ronald E. New Recordings. Dec 11

Duncan, Miriam Clapp. See Hughes.

Durman, Bernard. New Recordings. Jan 8, 10, Feb 10, 12

Dzuris, Linda. Six French organs and the registration indications in L'Oeuvre d'orgue de Jehan Alain. June 16-18† #

 

Economics of Pipe Organ Building. See Coleberd.

Editor's Notebook. Mar 2, Apr 2, May 2, Dec 2

Ellis, Laura. New Organ Music. Jan 12,  Feb 12,  May 12-13, Dec 12

 

Gasparini, Francesco. See Sloane.

 

Handbell Music. See Nelson.

Harpsichord News. See Palmer.

Hartman, James B. Book Reviews. Jan 8, Apr 10, June 8, 10, July 10-11,  Aug 10-11,  Sept 11-12, Dec 10-11

_________________. Canadian Organbuilding, Part 1. May 16-18. Part 2, June 14-15

Holland, Jon. New Organ Music. Nov 12

Holt, Earl. New Organ Music. Jan 10-12

_________.  New Recordings. Apr 12,  Oct 8, 10

Horning, Joseph. See Neenan, Rosales.

Huestis, Herbert L. Book Review. Nov 11

_________________. From European Training to American Organ Building: Following the Career of Martin Pasi. Mar 14-15*

_________________. New Recordings. Apr 12

_________________. Project 2000 makes Y2K deadline. June 12

Hughes, Sarah Mahler. An Interview with Miriam Clapp Duncan. Oct 14-15 *

_____________________. New Organ Music. Apr 12, May 13, July 13, Aug 12, Sept 12-13

_____________________. New Recordings. Mar 10-11, Sept 10-11

 

Kellner, Herbert Anton. How Bach encoded his name into Die Kunst der Fuge together with his tuning. May 14-15+

 

Letters to the Editor. Feb 2, Mar 12-13, Apr 2, June 2, July 2, Aug 6, Sept 2, Oct 2

List, Ken W. Lawrence I. Phelps 1922-1999: A Tribute. June 13

Looking Back: Diapason Retrospective. Dec 14-15

Lowry, David. New Recordings. June 10, Oct 10-11

 

Marigold, W.G. Book Reviews. Mar 10

______________. New Recordings. Jan 10, Feb 12,  May 12,  June 12, July 12-13, Aug 11-12, Sept 11, Nov 10-11

McCray, James. Music for Voices & Organ. Jan 6, Feb 8, 10,  Mar 8, 10,  Apr 8, 10, May 10, June 8, July 11-12,  Aug 8, Sept 8, 10, Oct 7-8, Nov 6, 8, Dec 8, 10

Millennium. See Huestis.

Music for Voices & Organ. See McCray.

 

Neenan, Thomas. Joseph Horning--In Memoriam. Feb 4, 6*

Neighbarger, Randy L. New Recordings. Dec 11-12

Nelson, Leon. New Handbell Music. Jan 12, May 13, Sept 13, Oct 13, Nov 12, Dec 13

New Carillon Music. See Swager.

New Choral Music. See Smith.

New Organ Music. See Apple, Binford, Ellis, Holland, Holt, Hughes, Rigler, Schou.

New Recordings. See Binford, Dean, Durman,  Holt, Huestis, Hughes, Lowry, Marigold,  Neighbarger, Wyly.

North German Organ Music. See Collins.

 

Organ Design. See Van Oyen.

Organ Recitals. Jan 22-23,  Feb 28-29, Mar 23-25, Apr 23-25, May 23-24, June 23-24, July 15, 23-24, Aug 19-20, Sept 13, 24, Oct 23-24, Nov 23-24, Dec 27-28

 

Palmer, Larry. Harpsichord News. May 8, July 10, Aug 7-8, Dec 8

Pasi, Martin. See Huestis.

Phelps, Lawrence. See List.

Project 2000. See Huestis.

 

Rigler, Ann Marie. New Organ Music. Oct 12-13, Nov 11-12, Dec 13

Rosales, Manuel J. Joseph Horning--In Memoriam. Feb 4*

 

Schoenberg, Arnold. See Swedlund.

Schou, Larry. New Organ Music. May 13, Oct 13

Schübler Chorales. See Shay.

Shay, Edmund. The Schübler Chorales & The Numbers Game. Sept 16-17+

Silbermann. See Baggia.

Simmons, Morgan. Book Review. Feb 10

Sloan, Carl. Francesco Gasparini's Twenty-One Keys: Do they reflect the use of meantone? Jan 13-14#

Smith, Rollin. New Choral Music. Sept 10

Spong, Jon. Firmin Swinnen: An American Legend. Dec 16-17*

Swager. Brian. Carillon News. Jan 6, Feb 6-8,* Mar 8, Apr 7-8,*  May 6, 8,* July 8, 10,* Aug 6-7,* Sept 6, 8, Nov 6,* Dec 7-8

_____________. New Carillon Music. Oct 6-7

Swedlund, Ronald J. A Performer's Guide to Schoenberg's Opus 40. Part 1. Mar 16-18. Part 2, Apr 14-15

Swinnen, Firmin. See Spong.

 

Tuning. See Sloane.

 

Van Oyen, Marcia. The Post-Modern Fusion Style. Harbinger of 21st Century Directions. Dec 18-21*

 

Willis, Henry Willis 4. See Buzard.

Wunderlich, Heinz. See Brown.

Wyly, James. New Recordings. Nov 8, 10

 

Y2K. See Huestis.

Appointments

Arnold, Jeffrey,* to Heritage Congregational, Madison, WI. Sept 3

Austin, Kimberlee J.,* to President of Austin Organ Company. May 3

Bara, Thomas,* to Assistant Organist,   St. Thomas Church, New York City. July 3

Bohlert, Thomas,* to Operations Manager, Truckenbrod Concert Artists. Nov 3

Brown, David Burton,* to Idlewild Presbyterian, Memphis, TN. Apr 3

Brugh, Lorraine,* to Valparaiso University, Valparaiso, IN. Dec 3

Buchanan, Bruce Q.,* to Vice President & Tonal Director of Austin Organ Company. May 3

Cleveland, Douglas,* to Northwestern University, Evanston, IL. Oct 3

Craighead, David, to Eastman School of Music, Rochester, NY. Sept 3

Dodson, Robert K., to Oberlin College Conservatory, Oberlin, OH. Oct 3

Engels, Stefan,* to Westminster Choir College, Princeton, NJ.  Sept 3

Farr, Stephen,* to Guildford Cathedral, England. July 3

Faucher, Robert,* to Curator, Kotzschmar Memorial Organ, Portland, ME. June 3

Foster, Stewart Wayne,* to Associate Organist/Artist in Residence, First (Scots) Presbyterian, Charleston, SC. July 3

Freese, Faythe,* to Concordia University, Austin, TX. Apr 3

Gyllsdorff, Gregory*, to Trinity-by-the-Cove Episcopal, Naples, FL. Dec 3

Hackett, Andrew,* to Organ Scholar, University of St Thomas, St Paul, MN. Nov 3

Hubbell, Brent,* to First United Methodist, Marion, VA. July 3

Johansen, Amy,* to University of Sydney, Sydney, Australia. Feb 3

Lawrie, David, to St John's Episcopal, Huntingdon, MD. Oct 3

Leaver, S. Christopher,* to Director

   of Public Relations, Reuter Organ

   Company, Lawrence, KS. Aug 3

Mellichamp, James F.,* to Dean of

   School of Arts & Sciences, Piedmont

   College, Demorest, GA. Feb 3

Miller, Dan,* to Rodgers Instruments LLC. Dec 3

Morlock, John W.,* to tonal director,  Andover Organ Company. Mar 3

Newton, Robert C.,* to tonal director,  Andover Organ Company. Mar 3

O'Donnell, James,* to Westminster Abbey, London, England. Aug 3

Page, Daniel Bennett, to St Stephen's Parish, Pittsfield, MA. Oct 3

Pardee, Katharine, to Eastman School of Music, Rochester, NY. Sept 3

Perry, Chad,* to Rodgers Instruments LLC. Dec 3

Peterson, Gregory,* to President of Association of Lutheran Church Musicians. Oct 3

Preston, Simon, re-appointed Artistic Director of The Royal Bank Calgary Festival. Aug 3

Quinn, Iain,* to Trinity Episcopal, Hartford, CT. Apr 3

Robinson, Dana, to University of Illinois at Urbana-Champaign. Oct 3

Sedun-Ulyanovsky, Natasha,* to Gloria Dei Lutheran, Forestville, CT. Nov 3

Tate, Ken, to First Presbyterian, Mankato, MN. May 3

Teardo, Frederick,* to Schweitzer Scholar, First Church of Christ, Wethersfield, CT. Apr 3

Teel, Christopher B.,* to Organ Scholar, Truro Cathedral, Cornwall, England. Aug 3

Thallander, Mark,* to Glendale Presbyterian, Glendale, CA. June 3

Triplett, Robert,* to University of Iowa, Iowa City, IA. Sept 3

Visser, Larry, to LaGrave Avenue Christian Reformed, Grand Rapids, MI. Nov 3

Vozzella, Thomas R.,* to St Paul's Episcopal, Franklin, TN. Nov 3

Wagner, David,* to Madonna University, Livonia, MI. Mar 3

Zachacz, Thomas,* to Union Church, Pocantico Hills, NY. Feb 3

Honors and Competitions

Alain, Marie-Claire,* receives AGO Lifetime Achievement Award. Nov 3

Bastien, James & Jane, receive MTNA Achievement Award. Oct 3

Batastini, Robert J., named Music Director Emeritus, St. Joseph Roman Catholic, Downers Grove, IL. July 3

Beck, Janice,* receives Alumni Achievement in Music Arts Award. June 3-4

Belcher, Diane Meredith,* receives Outstanding Keyboard Performance award. May 3

Boyter, Mabel Stewart, awarded honorary DMA. May 3

Bratt, C. Griffith,* honored at retirement. June 4

Broome, David A.J.,* honored at Austin Organs. Feb 3

Bruch, Delores,* honored on retirement at Univ of Iowa. Dec 3

Craighead, David,* plays 75th birthday recital. Mar 3-4.

Crozier, Catharine,* plays 85th birthday recital. Mar 3-4

Deák, Lázló, wins prize in interpretation, Marchal Competition, Biarritz, France. June 3

Dunn, Wallace M. honored by Wichita AGO Chapter. Jan 3

Everhart, Ian,* wins Vernon deTar Scholarship Competition. Aug 4

Fahrer, Nicole, wins 25th annual Bowling Green Organ Competition. May 3

Gillock, Jon,* named Performer of the Year. Sept 3

Gran, Sarah,* wins first prize in 1999 Ottumwa Organ Competition. July 3

Hancock, Gerre,* receives honorary DMA from University of the South, Sewanee, TN. July 4; receives New York City AGO recognition. Aug 4

Hines, Lurley Whitty, celebrates 86 years as organist at Pollocksville Baptist Church. Mar 4

Joseph, Jeremy, wins second prize in Dublin Competition. Dec 3

Kwak, Tong-Soon,* elected President of the Korean Association of Organists. June 4

Kotylo, Andrew J.,* wins Arthur Poister Competition. June 3

Leach, Richard, wins Macalester-Plymouth Hymn Writing Contest. May 3

Locklair, Dan, awarded North Carolina Arts Council Artist Fellowship. Nov 4

Lord, Robert Sutherland,* named Professor of Music Emeritus, University of Pittsburgh, PA. July 4

Marks, Christopher,* wins Arthur Poister Competition. Jan 2

Martin, Béatrice, wins Bruges harpsichord competition. Mar 3

Oldengarm, Jonathan, wins third prize in Dublin Competition. Dec 3

O'Neill, Shane Douglas, wins first prize in Dublin Competition. Dec 3

Rigot, Vincent, wins first prize in improvisation, Marchal Competition, Biarritz, France. July 3

Steigler, Lou R.,* honored on 40th anniversary. Apr 4

Thurman, Frederick, awarded DMA degree. Sept 4

Travers, Aaron J., wins AGO/ECS Publishing Award. Aug 4

Weir, Gillian,* receives Albert Schweitzer medal. Feb 4

Wetzler, Robert, granted ASCAP award. Sept 4

Obituaries

Brooks, Gordon, W. Apr 6

Brown, Rayner.* Oct 6

De Tar, Vernon. Dec 6

Farris, Michael.*May 6

Guerra, Laeta Wentworth. Jan 4

Hansen, Edward. Feb 4

Heaps, Porter Warrington. July 6

Hofrichter, Joseph. Oct 6

Holmes, James. Mar 6

Horning, Joseph.* Feb 4

Israel, Michael.* Dec 6

Kean, Patricia "June". Apr 6

Martin, Madeleine Sue Henderson  Seid, Mar 6     

Matthews, Thomas. July 6

Phelps, Lawrence I.* Apr 6

Rayfield, Robert.* Dec 6-7

Shaw, Robert. Mar 6

Steed, Graham. July 8

Strahle, Arthur.* Sept 4

Worth, Ted Alan. Apr 7

Young, Gordon.* Mar 6

Organ Stoplists

Andover

     First Congregational, Rutland, MA. 2/19 tracker,* May 20

     Lutheran Theological Seminary, Gettysburg, PA. 1/4 tracker,* July 19

     Trinity Lutheran, Reading, PA. 1/4 tracker, July 19

     Northfield Mount Hermon School, Northfield, MA. 2/38,* Sept 19

 

Austin

     St Andrew's Roman Catholic, Columbus, OH. 3/48,* Sept 20

 

Bedient

     Madonna Rehabilitation Hospital Chapel, Lincoln, NE. 2/5 tracker,* Apr 20

     St. Vincent de Paul Parish, Omaha, NE. 2/23 tracker,* Aug 16

 

Berghaus

     St. Raphael the Archangel,  Naperville, IL. 3/58,* Oct 1, 18

 

Bono

     Feild Residence, Fork Union, VA. 1/5 tracker,* Oct 19

 

Buzard

     St George's Episcopal, Belleville, IL. 2/32,* Apr 1, 19

     Glenview Community Church, Glenview, IL. 3/69,* Dec 1, 22 

 

Cook

     Port Madison Lutheran, Bainbridge Island, WA. 2/22 tracker, * Mar 20.

 

Dobson

     Eastminster Presbyterian, East Lansing, MI. 2/19 tracker,* Sept 20

     Wartburg College, Waverly, IA. 2/32 tracker,* Nov 20

 

Fisk

     St. James's Episcopal, Richmond, VA. 3/62 tracker,* May 1, 19

 

Fritts

     Pacific Lutheran University, Tacoma, WA.  3/80 tracker,* June 1, 19

 

Geddes

     Immanual Lutheran, Pflugerville, TX. 2/16,* June 20

 

Glück

    Congregation EmanuEl, New York, NY. 3/53,* Dec 23

 

Harrison & Harrison

     St. James Episcopal, Hendersonville, NC. 3/48,* Dec 24

 

Harrold

     Kay/MacBird Residence, Brentwood, CA. 2/26 tracker,* July 1, 20

    

Hendrickson

     Wayzata Community Church, Wayzata, MN. 4/70 tracker,* Jan 1, 17-18

 

Hochhalter

     First United Methodist, Eugene, OR. 3/43,* Oct 19

 

Hradetzky

     St Christopher's by-the-River, Gates Mills, OH. 2/18 tracker,* July 20

 

J.C. Taylor (Hinners)

Immanuel Lutheran, Tigerton, WI. 1/6,* Jan 4

 

Jaeckel

Trinity Ev Lutheran, Richmond, VA. 2/22 tracker,* Aug 1, 15

 

Lewis & Hitchcock

Christ Episcopal, Gordonsville, VA. 2/15,* Apr 18

 

Muller

Trinity Episcopal Cathedral, Little Rock, AR. 4/82,* Nov 1, 19

 

Noack

The Old Dutch Church of Sleepy Hollow, Sleepy Hollow, NY.  2/19 tracker,* June 20

Christ Church Episcopal, Hudson, OH. 2/24 tracker,* Oct 20

 

Orgues Létourneau

First Baptist, Kalamazoo, MI. 3/57 tracker,* Feb 1, 23-24

St Ann's Catholic Church, Washington, DC. 3/61,* Aug 16

 

Parkey

St. Dunstan's Episcopal, Atlanta, GA. 2/6, May 20

 

Pasi

West Vancouver United Church, West Vancouver, British Columbia. 2/38 tracker,* Mar 1, 19

 

Rench

Bethany Ev Lutheran, Kenosha, WI. 2/22,* May 20

 

Reuter

St Therese Parish, Deephaven, MN. 3/51,* Sept 1, 18

 

Swanson

 Calvary Lutheran, Bellevue, WA. 2/15,* Nov 20

Lorenz Maycher

Lorenz Maycher has recently been appointed director of music at First-Trinity Presbyterian Church, Laurel, Mississippi, and is producer of the compact disc series, “The Aeolian-Skinner Legacy,” found at . His interviews with Thomas Richner, William Teague, and Nora Williams have been published in The Diapason.

Among his many admiring colleagues, Albert Russell is considered not only a prince of the organists’ realm, but as a gentleman’s gentleman. These attributes are rare enough in this day, but they are uniquely combined with great humility, affability and graciousness.
Those of us who have been fortunate enough to know him for years know also of his dry wit and wonderful good taste. His recently released Aeolian-Skinner Legacy recording [See p. 20–Ed.] enables his outstanding musicianship to be shared with a new following of fans, all of whom will be delighted that he has generously given this fascinating interview.
—Charles Callahan
Orwell, Vermont
July 2007

Lorenz Maycher: Tell me about your early years, and how you got interested in the organ.
Albert Russell: I was born in Marlin, Texas, which is near Waco. Later, we moved to Stamford, near Abilene, out in the Panhandle. I was interested in the organ from early childhood and used to go to choir practice with my mother and drive the organist crazy, reaching up and playing the keys while they rehearsed. I started piano lessons at the age of six, and organ at twelve, taking lessons on a two-manual Estey at the Methodist Church, where the highest pitch was 4′. My teacher would put on the sub-coupler and say she was “searching for depth.” She gave me mostly transcriptions. Rachmaninoff Prelude in G Minor, Caprice Viennois of Fritz Kreisler, and Dreams of Hugh McAmis were some of my pieces. I went to my first lesson wearing tennis shoes, but she got rid of those. Her students were not allowed to use the tremolo while we were practicing, because she was afraid it would break and she wouldn’t be able to use it on Sunday. She kept a clothespin on the tremolo stop so we wouldn’t use it. There was a ceiling fan above the console in the choir loft where birds would build nests that would fall into the choir loft. Dick Bouchett was one of her students, and later we were good friends.
I left Stamford when I graduated high school and went to study with Robert Markham at Baylor, where I had a full scholarship. Baylor had a good music department, and Markham had built the organ in the main auditorium there; it was installed beneath the stage and had some theatre organ stops in it. He was organist at First Baptist in Waco, where he played a large Pilcher. He was very good to me and brought me back after I had left Baylor to accompany Messiah. I was also chapel organist at Baylor, and was organist at First Lutheran Church in Waco, and, later, First Methodist Church in Marlin.
Then I was in the Air Force, stationed in Bryan, Texas, and was fortunate to get to play in the civilian churches. I would play the chapel service using a field pump organ at first and then we got a Hammond, which made me feel like I was playing a five-manual Skinner. After the service I would then go into town and play at First Presbyterian. When I got out of the Air Force, I went to the University of Texas in Austin, and auditioned for and got the job at University Methodist Church, which was a nice position. Archie Jones, who taught in the music department at the university, was the choir director. It was great fun to try to play the organ loudly enough to support a congregation of 1200 Methodists singing “the good ole hymns!” I would have been an organ major, had we not been required to play from memory. I can memorize, but have never felt I played as well from memory. I don’t make music as well—too busy worrying about the notes. Gerre Hancock, Joyce Jones, and Kathleen Thomerson were some of my classmates at UT. Gerre played at University Baptist Church. The organ at UT was the first Aeolian-Skinner I had any contact with, and it was such an eye opener. I studied organ with John Boe and Earl Copes and learned from both of them. Earl Copes now lives in Sarasota, Florida and is still playing recitals. We are still in contact.
The summer of 1953, I came to Washington, D.C. I had heard William Watkins play a recital at Baylor and vowed then that I’d like to study with him. And sure enough, I did in the summer of 1953. He was so wonderful to me, and got me jobs playing the organ all over town. When I got to Washington, I had $50 in my pocket, so had to get a job in a hurry.

LM: You came to Washington just to study with him?
AR: Yes. Studying with him that summer was such a great experience that I decided to come back to Washington in January 1954 to work with him some more at the Washington Musical Institute, where I completed my bachelor’s degree.
I had gone to a fortune-teller in San Antonio, and she had said I would find a job not related to music in Washington within three days of my arrival. Sure enough, the third day I was hired as a flunky in the office of Senator Prescott Bush, the grandfather of the current president. And again, thanks to Bill Watkins, I was busy playing in churches all over town. He opened up a whole new world for me and presented me in recitals at his own church, New York Avenue Presbyterian. I got to know many of the Washington musicians through him and vowed then that, if I were ever offered a job, I would move here. And, sure enough, here I am.
In the fall of ’54, I enrolled in the master’s program at Union Theological Seminary in New York, studying organ with Hugh Porter. He taught his lessons on the E. M. Skinner at the Academy of Arts and Letters. That first year I had a little church job in Cloister, New Jersey, and took the bus out there. The second year, I played at West End Collegiate Church on an old Roosevelt that had been redone by Austin. Donald McDonald had been there, and he turned over the reins to me. We had eight professionals for the choir. It was a fun job.
That year, I decided to study organ with Searle Wright just to get a different perspective on things. I got to play a number of noonday recitals at St. Paul’s Chapel at Columbia, where he taught his lessons. Searle’s accompaniments of oratorios at St. Paul’s were superb. He would always laugh and say if he didn’t have such good acoustics, he’d be fired. He didn’t have time to practice a lot, but he always played wonderfully.
I learned about being a good musician from Searle. He always taught such interesting repertoire, like Robert Russell Bennett’s Trio, where all three voices are in different keys. I chided him about that piece for years afterwards for giving me something so difficult. It is a good piece, but is disconcerting!

LM: Every time I run across a recital program of yours, the repertoire is completely different. How did you acquire such a large and varied repertoire, with so much new and challenging music?
AR: I am a fast reader, so can learn quickly. I’ve always had a craving to learn new music, and enjoyed going to Patelson’s to buy music that other organists did not know or weren’t playing. Searle was awfully good about introducing me to music that was not being played a lot.
I also studied composition with Searle. He was never a morning person, and that class was at 9:00 a.m. He was ALWAYS late and just did not want to be there at all! He said I always wrote music that sounded like Delius, which I took as a compliment.
Through Searle, I got to know John Huston quite well, and Robert Crandell, who was at First Presbyterian in Brooklyn. John Huston was at St. Ann’s in Brooklyn with that wonderful Skinner that Virgil’s teacher put in. Charlotte Garden loved that organ. Through the faculty at Union, I made many connections in New York City, and as a result, got to play one of the opening recitals on the new Aeolian-Skinner at St. Thomas in 1956. It was an absolutely thrilling organ. Ed Wallace was the assistant at that time. George Faxon, Henry Hokans, and Clarence Watters were three of the other recitalists on the inaugural series.
During my second year at Union, I was chapel organist and got to accompany the choir’s Christmas concert, with Ifor Jones conducting. I once made the mistake of giving him a pitch with the celestes on. Well, I never did that again!

LM: Was Ifor Jones just a terror?
AR: He could be very hard on people in choral conducting class, and some were reduced to tears. He would say, “You should be a butcher, rather than a musician.” But it certainly separated the men from the boys. He would never allow anyone to conduct a straight four-beat pattern, which he thought was square, but insisted on a flowing, musical pattern. I think I learned as much from him, musically, as anybody.
However, years later, George Faxon and I often combined choirs. Once, we were rehearsing the In Ecclesiis of Gabrieli at Trinity, Boston. I was conducting and George was at the organ. Roger Voisin, the first trumpet in the Boston Symphony, was also playing. He said, “George, I cannot follow Mr. Russell. Would you please conduct?” So, we traded places. It was not funny at the time, but is now that I look back on it. I had always used Ifor Jones’s flowing style of conducting and, of course, orchestral people never knew where I was.
At Union, I also learned an awful lot from Robert Shaw’s mentor, Julius Herford. We all laughed at him at the time for what we thought was his overly romantic interpretation of Bach. Actually, he was making music. We were too young to appreciate that.
Charlotte Garden taught oratorio accompaniment. She was a terrific teacher and organist—and was fun. She was so tiny that she looked like a peanut sitting at that huge Möller console at her church, Crescent Avenue Presbyterian Church in Plainfield, New Jersey. She and Virgil were always vying for who could play the large Reger works the fastest.
I studied improvisation with Harold Friedell, and got to play one of the Lenten recitals at St. Bartholomew’s. He was also good to me and had a wonderfully dry wit. He taught at the church, and I would think of what I was going to improvise on while on the subway on the way to the church. As you know, his music is very modal. He improvised in the same style and taught this style for improvisation in service playing. Thank goodness we did not have to improvise fugues or strict form, because I would not have been good at it. Friedell’s service playing was smooth, and he used the organ beautifully—including the dome organ and all those goodies up there.
I remember Virgil came to the Lenten recital I played at St. Bart’s. I did the “Sicilienne” from the Duruflé Suite, and used the dome Vox Humana—shouldn’t have been using it, but Virgil thought it was the highlight. Bobby Hebble and Ted Worth were there with Virgil—we were good friends. I had gotten to know Virgil through a friend of mine who was a tenor in the choir at Riverside. He thought I should play for Virgil once. So I did, and that is how I got started substituting for him whenever he was away, and playing oratorio accompaniments, which was a good experience for me. Dick Weagly conducted the choir and he was a good musician.

LM: When you played for Virgil Fox, what were his comments?
AR: He said, “I like the way you pull stops.” That’s all I remember. But, I learned so much from him just by observing. I had first heard him in recital at Highland Park Presbyterian Church in Dallas in 1948. It was electrifying. I also heard Marcel Dupré that same year at McFarlin Auditorium at Southern Methodist University. I’ll never forget Dupré’s recital. It was the first time I heard the Widor Toccata. The Hillgreen-Lane organ was in such poor condition that they had to work on it for a solid week to get it ready for the recital.

LM: Did Virgil Fox practice for hours on end?
AR: Yes, at night. I practiced at night, too. Also, at Riverside, I had to do anything I could to make money, so I ran the elevator, sang in the afternoon choir for oratorios, and ran the switchboard. I probably got $5 for singing, but did learn a lot of repertoire. Virgil loved ice cream, so a lot of the time after practice, we would get in his convertible and go downtown to Rumplemyers on Central Park South. He was not a drinker, so we would have ice cream instead.

LM: Was his playing always prepared?
AR: Sometimes he simply did not have the time to practice, and would come in fresh from a solo recital tour to accompany an oratorio. But his monumental talent always carried him through in great style. Dick Weagly would complain that the organ was too loud, and he and Virgil had many altercations about this. One thing I always admired about Virgil was he stood up for what he believed in, and never changed, whether others thought he was right or wrong. William Watkins was the same way. I got to travel with Virgil some and we had wonderful conversations. He had a lot of personal depth and was a very kind person to many people.

LM: You must have heard some great recitals at Riverside.
AR: Yes. Charlotte Garden, Claire Coci and Searle were some outstanding ones. I remember Claire Coci broke the crescendo pedal.
The summer of ’56, I played for Virgil while he was away. Then, after graduating from Union, I went to Hartford to be organist-choirmaster at Asylum Hill Congregational Church. Soon afterwards, I also got the jobs teaching at Hartt College and as university organist at Wesleyan University.

LM: What was Asylum Hill like when you arrived?
AR: It was very disappointing. I arrived there in August, and people did not go to church in the summer because they were at the shore. There was no air conditioning, so people would not go to church even if they were in town.
We had the services in the chapel, so I had my debut there on a concert Hammond with not many people present. They had gotten rid of the all-professional choir and only had four paid singers. So, in September I really had to start from scratch with volunteers. Later on, we went to eight paid people and started the oratorio choir, which got up to about sixty people. We did all the major works, which I conducted and played. People came from as far away as Boston, Worcester, and Springfield to sing in the choir.
The organ was an old E. M. Skinner, with a very beautiful case, up in the gallery. The Swell reeds were terribly loud, completely obliterating the choir. I was told when I went there to not even think about mentioning a new organ, as the E. M. had just been restored (they had taken out the Swell Mixture and replaced it with a flute celeste). It did have some nice sounds, but soon began ciphering, and finally ciphered on the Tuba on a Sunday morning, which got things going nicely for a new organ.
We formed an organ committee and took them to visit Symphony Hall, Boston, and several other good Aeolian-Skinners. We listened to other builders, but Aeolian-Skinner was by far the preference.

LM: Did Joseph Whiteford design the new organ?
AR: Yes. We drew up the stoplist together. I had met Joe through Virgil, and then later met Paul Callaway through Joe. Both were so good to me, and that started my association with Aeolian-Skinner.

LM: I know a lot of organists who look down their noses at Joseph Whiteford’s instruments, but don’t you think they were beautiful?
AR: Absolutely. Some of Joe’s organs from the early ’60s are among the best instruments Aeolian-Skinner ever built. Philharmonic Hall in New York, for example, was certainly one of the finest. I always enjoyed hearing Joe talk about organs, because he did it from a musician’s viewpoint. Joe had wonderful ears and good taste, but was also a good musician. For my money, that is the reason his organs turned out so well—because they were musical. We spent many hours together at the piano, talking about music and listening to singers. He was exposed to a lot of good musicians, too, and was friends with Samuel Barber, Gian Carlo Menotti, Thomas Schippers, and Earl Wild.
Donald Gillett was also a great artist, and I fully back his work. Both Joe and Gillett did use smaller scales and higher-pitched mixtures than Harrison, but it was beautiful work. You have to remember that we all grew up with organs that sounded like black smoke, where the highest pitch on the entire organ was a 4′ flute. Their organs were a reaction to those. They craved clarity and brilliance, and their organs were suave, beautiful creations.

LM: What were Joseph Whiteford’s goals when he designed the Asylum Hill organ?
AR: One thing he said was, “Let’s build an organ where you can use a lot of it all the time, and not have to save it for Easter Sunday.” It filled the church, but was not a bombastic instrument. I loved it and it played the literature beautifully. In the Ruckpositv, he took the old E. M. English Horn and made a Regal out of it, which was very effective. I used that in the slow movement of the Handel G Minor Suite in the Aeolian-Skinner “King of Instruments” series.
For the opening concert, we did a program for organ and orchestra with the Hartt College orchestra, and did the Seth Bingham Concerto for Organ and Brass, the Poulenc Concerto, and the Handel Sixth—no solo organ repertoire. For the second concert, we did the Duruflé Requiem and I played the Suite.

LM: You made two recordings on the Asylum Hill organ for Aeolian-Skinner.
AR: Yes, the organ solo LP at Asylum Hill included the Healey Willan Introduction, Passacaglia and Fugue. We sent the recording to Willan, and he liked some things, and some he didn’t. He thought the organ was too thin for this piece (not having three diapasons on the Great!). The recording also included the organ at Philharmonic Hall in New York City, which I believe was the first recording made on the new organ. Joe Whiteford had been talking to me for a while about recording those two organs, and then he mentioned having the choir do the Duruflé Requiem.
We did the Philharmonic Hall recording first. When we got there, I was supposed to have practice time, but there was something going on in the hall. I had played enough Aeolian-Skinners that I knew what to expect, so I just looked over the organ and set some pistons. When the hall finally emptied, I was able to try out my combinations. We could not start recording until the subway had stopped, which was around midnight, so, I had from 11:00 to midnight to set up the organ and practice. That was it. I practiced and recorded in the same night! When we finally got started recording, we went well into the night. I would stop every hour and take a shower. Joe was present for the session, and the recording engineer for the New York Philharmonic recorded it.
When we made the recordings in Hartford, John Kellner from Aeolian-Skinner did the recording. He was awfully good. We did the Duruflé in a separate session, and as far as I know, it was the first commercial recording of it made in the United States. We sent it to Duruflé, and like Willan, there were things he liked and things he did not like. I hear things now in the recording that I cannot stand—some things that are non-legato that should have been legato, and the choir did not do its best singing—completely my own fault. Ultimately, I did get to coach this with Duruflé when the Asylum Hill choir sang the Requiem at St Paul’s Chapel in New York in about 1964. Duruflé conducted and Madame Duruflé played.

LM: Did you enjoy life in Connecticut?
AR: Living in New York had prepared me for the rough winters. I had always been told that New Englanders were cold people. But I found them to be some of the most wonderful people I’ve ever met. From day one, it was a happy experience, and introduced me to many people who have become lifelong friends—Barry Wood, at First Baptist, Worcester; Hank Hokans, at All Saints, Worcester; Dick Westenberg. We all played in each other’s churches often. Dick was kind enough to invite the Asylum Hill choir to join his at Central Presbyterian in New York for a concert. George Faxon I got to know through Joe Whiteford, and that was a long, long collaboration. We combined choirs often at Trinity, Boston, and I played for his Evensongs when he was away. Later, when I moved to Washington, he had me come up and accompany the Brahms Requiem during Lent, and the next night I played a Lenten recital. That was a busy time, because I practiced there the week of, got back to Washington Saturday night to play for church Sunday morning, then went back to play the Brahms that night and the recital the next day. The organ at Trinity, Boston was splendid for accompanying. The whole front organ was enclosed, and the console was of George’s special design—low, so you could see over it. That was one of the happiest musical relationships and friendships, with George and Nancy Faxon, I have ever had. We had the best times together and I always stayed at their house. Many late night sessions were spent in their wonderful kitchen over glasses that always seemed empty.

LM: In Hartford, was Asylum Hill the only thriving music program in town?
AR: No. Sumter Brawley did wonderful things with orchestra and chorus, like the B Minor Mass. He was at Trinity Church right around the corner. Can you believe he has now retired and is living in this very building here in Washington? He still conducts marvelous concerts, having done one just recently at the Cosmos Club.

LM: Tell me something about your teaching career.
AR: Hartt College was my first teaching job. I had a lot of good students, and it was a learning experience for me, too. I did the organ and church music courses. Later the college joined the University of Hartford as the music department. We got an Austin in the concert hall. John Holtz, also on the faculty, took over the organ department when I moved to Washington. He was a marvelous teacher—brilliant—a much better teacher than I. He really lit a fire under his students. I was always better at coaching graduate students, rather than starting beginners, which just did not interest me.

LM: Did you start the contemporary organ series at Hartt?
AR: No. John Holtz did, and it really put Hartt on the map. John asked me to review the concerts one summer, and I was so unlikely to do it because I’ve never been a fan of extremely contemporary music. But I had to admit that after a week of listening, it was almost like hearing an old friend.
I was also university organist at Wesleyan. On Sunday nights, I’d go down there to play for chapel then teach the next day. There was a new Schlicker in the chapel. That was an interesting experience, again accompanying oratorios, although most of the time we used instruments with the organ. The Smith College choir would come down and join us. Iva Dee Hyatt was their conductor. She was fabulous.

LM: Were you working seven days a week?
AR: Yes, and I did up until my later years in Washington.

LM: Are you a workaholic?
AR: No. I simply needed the money, and, if I wasn’t teaching, needed to practice for recitals. Here in Washington, even on my day off, I would spend it practicing over at National Presbyterian, rather than going downtown.

LM: When did you come under management?
AR: I got to know Roberta Bailey very well at Riverside, when she was managing Virgil. He was her first client. Then she took on Karl Richter, Hank Hokans, Pierre Cochereau, and Anthony Newman. She and I were friends, and she knew I was already doing quite a bit of recital work, so she invited me to join her. She got me a lot of dates for which I was very grateful.

LM: When did you move to Washington?
AR: 1966. I had been in Hartford ten years. One day I received a letter from the rector at St. John’s, Lafayette Square, asking me if I would be interested in the job. Paul Callaway and George Faxon had recommended me to him. At the time, I had not been thinking of leaving Hartford. But I had always liked Washington a great deal, so was interested. On my way to play a recital in the Midwest, I stopped off here in the middle of a big snowstorm to audition. I was hired in the spring of 1966, and remember weeping bitterly my last Sunday at Asylum Hill, and I cried all the way to Washington. John Harper was the rector who hired me at St. John’s, and was there for my entire tenure as organist. He left me to do my work and was always totally supportive.
Coming here was one of the best things that ever happened to me. Phil Steinhaus was my predecessor. He had been here for two years before leaving to work in Boston at Aeolian-Skinner and the Advent. The organ at St. John’s was a late E. M. Skinner and Son, although Aeolian-Skinner had redone the Great. The choir was a small, professional group of 13, which I had always wanted. The organ was just a mess, and it didn’t take long to convince the rector we needed a new one, which we got in 1969.
I had become interested in Gress-Miles, and thought, in that situation, with the organ stuck in a hole, that an aggressive instrument was the best way to go. There was not enough room to enclose two divisions, which was unfortunate. We had wanted to put the organ in the gallery, but, because St. John’s is a historic structure, we were not allowed to change the room in any way. So, we had to plunk it back in the hole. I worked with Ed Gress on the design of the organ, and he was wonderful. He was a theatre organist, but also knew the classical literature very well and knew its demands. We both drew up individual stoplists, then collaborated on the final one.

LM: How was it for accompanying?
AR: It did as well as it could do under the circumstances, with only one enclosed division. But, if we had gotten a milder organ, it wouldn’t have been successful. The former Skinner there just didn’t get out at all. Paul Hume reviewed the opening recital of the Gress-Miles, and one of the first things he commented on was how much better the new organ got out. I played a solo recital for the opening, and Bob Noehren played another. He was a great mentor of mine. We had met through John Holtz in Hartford. We also did the Duruflé Requiem and the opus 5 Suite on a program. Paul Callaway played the other one—there were four inaugural concerts.

LM: Was the reverberation system in place at St. John’s when you arrived there?
AR: Yes. The church had one of Aeolian-Skinner’s reverberation systems, which allowed one to make music in that practice room situation. The system was very convincing, particularly in the middle of the nave. If you were by the speakers, under the balcony, it was less convincing, although it helped tremendously with hymn singing. There were fifteen speakers, each with delayed sound, and each with its own timing. It was a heck of a lot better than not having it. Christ Church, Cambridge was, I believe, their first one. Joe Whiteford set one up at Christ Church Cathedral, Houston for the 1958 AGO convention. I played the Mozart K. 608 Fantasy, first without, then with, reverberation, and Joe gave a lecture.
At St. John’s, we had several Sunday mornings a year that were all music, so we would do an oratorio. We had excellent singers in the choir, especially after the Kennedy Center opened, which attracted even better singers to town. One time we were doing the Mozart Requiem, and, soon after we began, the alto doing the quartets became ill and had to leave. So, I looked at one of the other altos. She nodded, and sang the quartets without a flaw. Another time we were doing Messiah, and I played the introduction to “And the Glory,” and when it was time for the altos to enter on the opening C-sharp not one alto peeped. So I played it again and, this time, it worked. Explain it.
We hosted several regional conventions in Washington, and the choir either sang programs or services for these. We had the AGO national convention in 1982. I was program chairman for that, and we did the Duruflé Requiem the opening night of the convention to a full house. I’ll never forget the choir processing in to Hyfrydol. Later, they told me, “We just stopped singing so we could hear that enormous, thrilling sound coming from all the organists in the congregation.” You couldn’t put on enough organ. I conducted and played the Requiem, and Donald Sutherland played the Widor Fifth Symphony before the service.

LM: Did you play for a lot of dignitaries at St. John’s?
AR: Yes. Before every presidential inauguration we had an early service. And, every president worshiped there. Once in a while the rector would say, “Let Helen play the last hymn, and you can come out and meet the president.” He was very nice about that. The only ones who were there regularly were the Fords. It sounds glamorous to say the president was there, but security was such an issue that it made life difficult. The Secret Service men would put dogs in the organ chambers. There was one Sunday where we had a bomb scare while the choir was practicing, so we had to finish the rehearsal out on the sidewalk, using a pitch pipe.

LM: You did quite a bit of teaching in Washington, too, didn’t you?
AR: Yes. I got Peabody at the same time as St. John’s, because Phil Steinhaus had been at both, and just turned the reins over to me. Arthur Howes was teaching there at the time. I taught all day on Mondays for $10 an hour. The concert hall had an Aeolian-Skinner, but I taught on a Walcker practice organ with a mixture that could be heard all the way to Washington. I needed my martinis after eight hours of that.
Leo Sowerby also asked me to teach at the College of Musicians. I taught people who came to the college just for organ lessons and who were not college students themselves (there were only eight college students, whom I did not teach). I called my students the “out-patient department,” and they had their lessons at St. John’s. In fact, I met my future assistant at St. John’s teaching her there—Helen Penn. I got to know Leo quite well and learned a great deal from him. I was particularly fortunate to coach Forsaken of Man with him when we did it at St. John’s. He lived on Wisconsin Avenue across from the National Cathedral. We watched the 1968 fires on 14th Street from his apartment. I remember a party where Leo sang “I can’t give you anything but love, baby,” accompanied by Garnell Copeland, organist at Church of The Epiphany. It was something. Speaking of Garnell, I judged the Ft. Wayne competition one year and thought I recognized Garnell Copeland’s style of playing, and sure enough, it was he. We flew back to DC together.
Preston Rockholt was my boss at the College of Musicians. He and Paul Callaway were the organ teachers there. Paul was so much fun. He was tiny, but was a musical giant. He always parked his big Buick convertible car by sound!
I also taught organ at American University and Catholic University. I never enjoyed teaching as much as playing recitals or doing church work. Perhaps I was a good teacher for some people, but I knew I wasn’t for others. Maybe all teachers feel that way. The lovely thing is, some of my former students keep in touch, and we have become good friends over the years.
In the early ’80s, I noticed I had a problem with my right hand. I thought it was carpal tunnel syndrome—something that could be fixed. I would warm up every morning by playing Hanon on the piano for 30 minutes before going to the organ, and noticed it there first. Then, at the organ, I noticed it on the Widor Toccata. One finger, on my right hand, would just lock. So, I went to every doctor in town and in Baltimore, and was not diagnosed. Leon Fleisher had had the same problem, and had been diagnosed at Mass. General, so that’s where I went, to the doctor who had diagnosed him. Sure enough, I had the same thing—focal dystonia—a neurological problem that cannot be cured. I decided to give up the church. I know St. John’s did not understand why I left, and why I have continued to play elsewhere since I left in 1985. But, I had to follow my conscience. I did not want tourists coming from all over the world to a church where the organist could not play major literature. Of course, people were asking right and left for the Widor Toccata for weddings, which was out of the question.

LM: Has your hand problem improved now, twenty years later?
AR: No. It is worse. I have tried everything and have had injections, but they did not work.

LM: Do you play at all now?
AR: Yes. I have done a lot of playing. I have just had to learn which pieces to stay away from—no Widor—and to use bizarre fingering. Fortunately, I have received a number of invitations to play the Duruflé Requiem, which I am still able to do because the most difficult part of the work is in the left hand. Also, I have switched the right hand part in the “Introit” to the left hand. I played it most recently at St. Paul’s, K Street, where I’ve played it several times for Jeffrey Smith, and at National Presbyterian Church. I was fortunate to get to perform it frequently early in my career, too. I also do little recitals for a group of people here in my building and am playing a program for them just this next week at National Presbyterian Church, where I am fortunate enough to practice each week. My good friend, Bill Neil, is the organist there and he is so kind to give me the time. These little demo recitals are very informal—we talk about the organ and I play for them. We just have a good time, like family.
I cannot imagine being more fortunate than I have been all through my school years, career, and now in retirement to have had the teachers, colleagues, friends and bosses who have given me an enormous amount of support and affection.What else is there that matters in life?

 

Articles, Reports, and Reviews

Acoustics. See Bethards.

 

Apple, Warren. New Organ Music. Jan 12-13, Sept 13-14, Oct 14, Nov 10

__________. New Recordings. July 12, Aug 10, Oct 12-13, Dec 10, 12

Art of the Fugue. See Kellner.

 

Bach. See Kellner.

Baggia, Aldo J. New Recordings. Apr 8, 10, May 12, Oct 12, Nov 8-9, Dec 8, 10

__________. Monumental Organs in Monumental Churches: The Brick Gothic Phenomenon in Northern Germany. Aug. 18-21*

Bernthal, John. Teaching Organ Students on the Renovated Reddel Memorial   Organ. Feb 19

Bethards, Jack M. Reverberation: serving sound or serving music? An heretical view of acoustics.# Nov 14-15

Bohnert, David. New Organ Music. Aug. 10-12

Book Reviews. See Dean, Hartman, Marigold, Simmons.

Brugh, Lorraine S. The Reddel Memorial Organ. Jan 18

Buxtehude. See Couch.

 

Calhoun. See Huestis.

Carillon News. See Swager.

Church Music. See West.

Clark, J. Bunker. Creative Continuo: or Examples of Enlivening a Figured Bass on the Harpsichord. Apr 15-17+

Coleberd, R. E. August Gern and the Origins of the Pitman Action. Jun 16-18#

__________. Three Kimball Pipe Organs in Missouri. *† Sept 16-21

Cornils, Ray. Summer Institute for French Organ Studies. Jun 14-15

Couch, Leon W. III. Musical Rhetoric in Three Praeludia of Dietrich Buxte-   hude. Mar 14-18+#

__________. Book Review. Oct 8-12

 

Dean, Ronald E. Book Reviews. Sept. 10-11.

deTar, Vernon. See Wechsler.

Durman, Bernard. New Recordings. Mar 8-9, Apr 8, May 12-14, June 11-12, Sept 12-13, Nov 6, 8

Dzeda, Joseph. See Webster.

 

Editorial. Jan 2

Eifrig, William F. (Reddel Memorial Organ) The Process of Restoration and   Enlargement. Feb 18-19

Ellis, Laura. New Organ Music. Jan 13-14, Mar 10-11, May 14

 

Faulkner, Quentin. Deceptive Pivot Points in J.S. Bach's Orgelbüchlein: similar passages that lead in different directions. Dec 16+

French Organ Music Seminar. See McAfee.

Friesen, Michael. (Reddel Memorial Organ) A Brief History of the Organ. Jan 19-20

 

Gehring, Philip. The Reddel Memorial Organ at Valparaiso University: The   First 30 Years. Feb 18

German Organs. See Baggia.

 

Harpsichord News. See Palmer.

Hardwick, Peter. The Organ Works of Basil Harwood. May 18-21*+

__________. New Organ Music. Aug 12, Sept 13-14, Oct 13-14, Nov 10-12, Dec 12-14

__________. New Recordings. Nov 9-10, Dec 10

Hartman, James. Book Reviews. Feb 8, Mar 8, Apr 8, 10, May 8-12, Jun 8-10, Nov 6, Dec 7-8

__________. Prodigy Organists of the Past. Dec 20-21

Harwood, Basil. See Hardwick.

Hohman, Frederick. A student reviews his mentor: David Craighead inaugural recital. Apr 18-19

Holland, Jon. New Organ Music. Mar 9-10,

Huestis, Herbert. Project 2000: The Diapason Index enters Y2K. Jan 14, Feb 12, Apr 10.

__________. How to flip reeds to check for tuning stability. May 22*

__________. OrganNet Report. Sept 15

__________. Repair of reed resonators. Jun 13*

__________, and Calhoun, David. Twin Perspectives on AGO Seattle 2000, Part 1. Oct 15-17*

__________. AGO Seattle 2000: Part 2. Nov 16-18*

Hughes, Sarah Mahler. New Recordings Jun 10-11.

 

Jean, Martin. (Reddel Memorial Organ) Behind the Scenes of the Organ Renovation. Feb 18

__________. Göteborg International Organ Academy 2000. Apr 12-14*

Jones, Peter. Residence Organ: The Isle of Man. Oct 18-21 *†#

 

Keck, Ray M. Playing for Apollo. The Technical and Aesthetic Legacy of Carl

  Weinrich. Feb 13-17

Kellner, Herbert Anton. Johann Sebastian Bach and Die Kunst der Fuga.                           Mar 13*+#

__________. Die Kunst der Fuga: J. S. Bach's Prefatory Message and Implications. May 15-17 *+#

Kimball. See Coleberd.

 

Leppert-Largent, Anna M. Robert Rayfield: In Memoriam. Mar 12*

Letters to the Editor. Jan 2, Mar 2, Apr 2, May 2, Jun 2, Aug 2, Oct 6, Nov 2-3, Dec 4

 

Marigold, W. G. New Recordings. May 14, June 11, Jul 10-12, Aug 8-10, Sept 11-12, Oct 12, Nov 8, Dec 8

__________. Book review. Aug 8, 10

McAfee, Kay. French Organ Music Seminar July 5-17, 1999. Jan 15-17*

__________. New Organ Music. Jun 12, Jul 12

McCray, James. Music for Voices & Organ. Jan 11-12, Feb 10, Mar 11, Apr 6, May 6, 8, Jun 8, Jul 8, 10, Aug 8, Sept 8, Oct 6-8, Dec 14

McFarlane, Karen.* Retirement. Dec 15

Morton, Jerry D. OHS Convention 2000. Jul 14-15*

Music for Voices & Organ. See McCray.

 

Neighbarger, Randy. New Recordings. Jan 12, Feb 10

Nelson, Leon. New Handbell Music. Aug 12, Sept 14, Oct 14, Nov 12, Dec 14

New Handbell Music. See Nelson

New Organ Music. See Apple, Bohnert, Ellis, Hardwick, Holland, McAfee, Rigler, Schou.

New Recordings. See Apple, Baggia, Durman, Hardwick, Hughes, Marigold, Neighbarger.

 

Organ Recitals. Jan 26-27, Feb 24-25, Mar 24-25, Apr 24-25, May 27-29, Jun 24, Jul 27-28, Aug 27-28, Sept 28, Oct 27-28, Nov 23-24, Dec 27-28

OrganNet. See Huestis.

Orgelbüchlein. See Faulkner.

 

Palmer, Larry. Harpsichord News. Mar 6, May 6, Jun 6-7,  Jul 8,* Aug 7-8,* Sept 8, Dec 8

Panning, John A. (Reddel Memorial Organ) The Organ Builder's Perspective.   Jan 18-19

Pitman action. See Coleberd.

Prodigy. See Hartman.

Project 2000. See Huestis.

 

Rayfield, Robert. See Leppert-Largent.

Reeds. See Huestis.

Residence organ. See Jones.

Rigler, Ann Marie. New Organ Music. May 14, June 12, Aug 10, 12

 

Schmidt, Dennis. University of Michigan Historic Organ Tour XL. Apr 11*

Schou, Larry. New Organ Music. Jan 13, Oct 13, Nov 12

Scott, John. See Van Oyen.

Simmons, Morgan. Book Review. Apr 6-7

Skinner. See Webster.

Spicer, David. Esma Beth Anderson Clark—What a Teacher! Nov 13*

Swager, Brian. Carillon News. Jan 8, 10,11* Feb 6-8,* Jun 6, Jul 6, 8, Dec 6*

 

(Valparaiso University) The Fred and Ella Reddel Memorial Organ at Valparaiso   

  University. Part 1, Jan 18-20.*† Part 2, Feb 18-19.* See also Bernthal, Brugh, Eifrig, Friesen, Gehring, Jean, Panning

Van Oyen, Marcia. An Interview with John Scott. Jul 16-18*

 

Webster, Richard, and Joseph Dzeda. Ernest M. Skinner Opus 327: St. Luke's Episcopal Church, Evanston, Illinois. Jul 19-21*

Wechsler, Malcolm. Vernon deTar Memorial Service, November 14, 1999. Feb                   

  12

Weinrich, Carl. See Keck.

West, Martin. 20th Century Church Music in Germany: An Overview. Aug. 14-17.*

Williams, Carol. Concert Tour: Europe 2000. *† Dec 17-19

Appointments

Allen, Patrick,* to Grace Church, New York, NY. Mar 3

Andrews, Colin,* to East Carolina University, Greenville, NC. Jul 3

Bates, Carol Henry, to Editor, Early Keyboard Journal. Dec 3

Brown, James Russell,* to Vice President of Administration, Music Institute of Chicago, IL. Jun 3

Bush, John Emory,* to St. Matthew's Episcopal Cathedral, Dallas, TX. Dec 3

Butera, Jerome,* to St. Mary's Episcopal, Park Ridge, IL. Sept 3

Cockburn, Neil,* to the Mount Royal College Conservatory Calgary Organ Academy, Calgary, Canada. Sept 3

Davidsson, Hans,* to the Eastman School of Music, Rochester, NY. Sept 3

Fiore, George Halverson, to Associate Conductor for Choral Activities, Seattle Symphony, Seattle, WA. Oct 3

Gandre, James, to Dean of the College of the Performing Arts, Roosevelt University, Chicago. Dec 3

Gooding, David,* to Old Stone Church, Cleveland, OH. Sept 3

Hargraves, Ian,* to design and engineering team, Retuer Organ Company. Oct 3

Hokans, Henry, to St. George's Episcopal, Durham, NH. Apr 3

Jackson, Roger, to Chairman of the Board, Calgary International Organ     Foundation. Jan 3

Janzer, Dennis,* to Coral Gables Congregational, Coral Gables, FL. Dec 3

Johnson, Erica, to Organ Scholar at The Memorial Church, Harvard Univ. Jan 4

Johnson, Jeffrey C., to Grace Church, New York, NY. Oct 3

Johnson, Kyle,* to Missouri Valley College, Marshall, MO. Aug 3

Jones, Robert, to St Luke's Anglican, Ottawa, Ontario, Canada. Mar 3

Kaltenbach, Janet, to General Manager, the American Boychoir. Aug 3

Kinnaugh, Norm, to drafting/engineering department, Reuter Organ Company. Mar 3

Lindley, Simon, to President-elect, RCO, England. Jan 2

Lowry, Douglas, to the College-Conservatory of Music, University of Cincinnati, Cincinnati, OH. Sept 3

Miller, Aaron David,* to Fourth Presbyterian, Chicago, IL. Jan 3

Mills, Ralph, to First United Meth-odist, Charlottesville, VA. Aug 3.

Oberlin, Marta, to Sales Manager, Shawnee Press. Apr 3

Pape, Uwe, to principal consultant, St. Mary's Church, Berlin, Germany. Mar 4

Rakich, Christa,* to the Church of the Immaculate Conception, Boston, MA. Aug 3

Richerby, Neil,* to Managing Director, J.W. Walker, Suffolk, England. Jun 3

Roberts, Stephen,* to St Peter RC,   Danbury, CT. Jan 3

Sambach, Cj,* to Holmdel Community United Church of Christ, Holmdel, NJ. Jun 3

Schroeder, Carl E.,* to Zion Lutheran, Harrisburg, PA. May 3

Stinson, Russell,* to Lyon College,   Batesville, AR. Jan 3

Tarrant, Jeremy David,* to the Cathedral Church of St. Paul, Detroit, MI. Jul 3

thor-Straten-Mohr, Patricia, to Director of Publications, Shawnee Press. Apr 3

Trapp, Lynn Michael, to Principal Artistic Director, The Marianne Webb & David N. Bateman Distinguished Organ Recital Series. Apr 3

Wilkinson, Cathryn, to Concordia University, River Forest, IL. Nov 3

Williams, Keith,* to Director of Organ Service & Tuning, Buzard Pipe Organ   Builders. Feb 3

Zager, Daniel,* to librarian, Eastman School of Music's Sibley Music Library. Oct 4

Zwilling, Mark,* to Cathedral of Hope, Dallas, TX. Jan 3

Honors and Competitions

Arcus, David,* awarded Holtkamp-AGO Award in Organ Composition. Apr 3

Biggers, Jonathan,* received Alumni Arts Award. Apr 3

Bischof, Justin,* awarded first prize in National Competition in Organ Improvisation. Oct 3

Boerema, Hayo,* awarded first prize, improvisation. Mar 3

Bringle, Mary Louise, named winner of Hymn Writing Contest. May 3

Burks, Charles,* wins Gruenstein Memorial Organ Competition. Aug 6

Chenault, Elizabeth and Raymond, * honored for 25 years as Organists and Choirmasters. Jul 3

Cho, Jin Sun,* wins Arthur Poister Competition. Jul 2

Choi, Ji-Yoen, awarded first prize in National Young Artists Competition in Organ Performance. Oct 3

Deák, Lázló,* awarded second prize, improvisation, and concerto prize. Mar 3

Farmer, Kristin Gronning, receives OHS Distinguished Service Award. Feb 3

Foss, Lukas, received Gold Medal for Music from American Academy of Arts and Letters. Oct 4

Glasgow, Robert,* honored with 75th birthday recital. May 2

Heaton, Charles Huddleston, included in 18th edition of Who's Who in the World. Nov 4

Holmes, Brian, receives award in Plymouth Music Series Christmas Carol Contest. Dec 2

Jarnot, Camilla, receives Margaret Power Biggs Research Grant. Aug 3-4

Kim, Sung Joo,* wins second prize in Gruenstein Memorial Organ Competition. Aug 6

Lane, Christian, wins organ performance competition at Albert Schweitzer Organ Festival. Dec 3

Lovett School Chamber Choir, Raymond Chenault,* director, wins National Grand Championship in MusicFest Orlando 2000 Choral Competition. Sept. 3

Lindner, Tobias, wins first prize, Bruges Organ Competition. Dec 2

McFarlane, Karen,* honored upon retirement. Dec 15

McManis, Charles W., honored with 87th birthday recital. Aug 4.

Myers, Scott,* wins Vernon deTar Scholarship Competition. Oct. 3

Noehren, Robert,* celebrates 90th birthday. Dec 3

Parker, Alice, receives AGO Distinguished Composer Award. Oct 4

Peek, Betty & Richard,* honored at retirement. Feb 4

Porter, Emily Maxon, receives award in Plymouth Music Series Christmas Carol Contest. Dec 2

Roth, Daniel,* awarded the Prix Florent Schmitt. Jan 4

Schreiber, Lawrence P.,* named minister of music emeritus, National City Christian Church, Washington, DC. Aug 4

Stein, Yoav, receives MTNA Collegiate Artist Organ Award. Jul 3

Toth, Keith S.,* received Golden Ear Award. Mar 4

Wetzler, Robert P., granted A.S.C.A.P. composer award. Aug 4

Yoon, Sujin,* wins third prize and audience prize at Gruenstein Memorial Organ Competition. Aug 6

Obituaries

Chevalier-Duruflé, Marie-Madeleine. Jan 8

Childs, Barney. Apr 4

Davis, Dwight J. May 4

Fauquet, Vivien Johnson. Jan 8

Ferris, William.* Jul 6

Groom, Lester H.* Jul 6

Hovhaness, Alan.* Sept 6

Pennells, Andrew.* Mar 4

Pettinga, Paul. Oct 6

Spelman, Leslie*. Aug 6.

Wheeler, Scott E. May 4

Whitehead, William. Dec 4

Organ Stoplists

Andover

University of North Carolina, Greensboro, NC. 3/47,* May 1, 23

(Hook) Cheney Hall, Manchester, CT. 2/16,* Dec 23

 

Bedient

Sharon United Methodist, Charlotte, NC. 2/28, tracker,* Jul 24

 

Buzard

Our Savior's Lutheran, Rockford, IL. 2/30,* Dec 1, 22

 

Cook

Our Saviour's Lutheran, Bremerton, WA. 2/21,* Nov 1, 19

 

Dobson

Valparaiso University, Valparaiso, IN. 4/102,* Jan 1, 18-20

 

Fabry (Wicks)

St John's Episcopal, Sturgis, MI. 3/31,* Jan 22

First Presbyterian, Harvard, IL. 2/15,* Feb 20

United Methodist , Hinckley, IL. 2/13,* Oct 23

(Moller rebuild) Evangelical United Methodist, Racine, WI. 3/37,* Nov 20

 

Farmer (Pilcher restoration)

Galloway Memorial Episcopal, Elkin, NC. 1/7 tracker,* Jan 22

 

Glatter-Götz/Rosales

Claremont United Church of Christ, Claremont, CA. 3/77 tracker,* Mar 20

 

Goulding & Wood

St. Paul's Episcopal, Wilmington, NC. 9-rank antiphonal division added,* Sept 24.

 

Jaeckel

Redeemer Lutheran, Rice Lake, WI. 1/4 tracker,* Aug 24

Sturgeon Bay Moravian Church, Sturgeon Bay, WI. 2/23 tracker,* Sept 24

First Congregational United Church of Christ, Sarasota, FL. 2/28 tracker,* Oct 23

 

Kegg

St. Paul's Episcopal, Canton, OH. 4/49,* Sept 23

 

Kney

Residence of Dr. Andrew John, Oklahoma City, OK. 2/18 tracker,* Jul 24

 

Lauck

Pillar Christian Reformed Church, Holland, MI. 3/31, electric. Dec 24

 

Lewis & Hitchcock

Residence of Dr. Carl Schwartz, Silver Spring, MD. 2/3 tracker,* Jul 23

 

Murphy (Hook restoration)

Episcopal Church of the Epiphany, Agora, CA. 2/20 tracker,* Sept 1, 22.

 

Nichols & Simpson

Pulaski Heights United Methodist, Little Rock, AR. 4/73,* May 24

Hendrix College, Conway, AR. 2/34,* Mar 20

 

Ott

Mount Angel Abbey, St. Benedict, OR. 2/15 tracker* and 3/44 tracker,* Jul 1, 22-23

Trinity Lutheran, Lansdale, PA. 3/70,* Dec 24

 

Parkey

Milford Hills United Methodist, Salisbury, NC. 2/17,* Jan 21

 

Pasi

St. Augustine Catholic Church, Spokane, WA. 2/33 tracker,* Feb 1, 20

 

Rench

Trinity United Methodist, Racine, WI. 2/19,* Mar 1, 19

 

Reuter

Second Congregational, Grand Rapids, MI. 3/49,* Apr 1, 18

University Presbyterian, Seattle, WA. 4/93,* Oct 1, 22

 

Reynolds (Kimball/Casavant restoration)

Zion Evangelical UCC, Indianapolis, IN. 4/63,* Jun 20

 

Ruggles

Susquehanna University, Selinsgrove, PA. 2/6 tracker,* Apr 20

Randolph Church, Randolph, NH. 2/13 tracker,* Aug 24

 

Rule (Hook & Hastings rebuild)

Covenant Baptist, Houston, TX. 2/9,* Aug 24

 

Swanson

Michigan Lutheran Seminary, Saginaw, MI. 2/20,* Nov 20

 

Wicks

Aspen Community United Methodist, Aspen, CO. 2/30,* Oct 24

First Baptist, Ocala, FL. 4/74,* Aug. 1, 22-23

 

Wolff

University of Northern Iowa, Cedar Falls, IA. 2/37 tracker,* Jun 1, 19

 

Steven Egler

*Moniker assigned to Fred Swann in the printed program for the AGO 2008 Distinguished Performer Award.

 

Frederick Swann is one of the most well-known organists of the 20th and early 21st centuries. In this conversation, which is really a mini-biography, he reveals much behind-the-scenes information about his numerous high-profile positions, his relationship with the Murtagh/McFarlane Artist Management, and his early musical experiences, along with observations about the organ and church music today. He is an extremely humble man who has met his many challenges and professional opportunities with modesty and dignity. 

Swann’s honors and achievements in recent years include: 2002, International Performer of the Year by the New York City Chapter of the American Guild of Organists; 2004, inaugural recital on the organ in the Walt Disney Concert Hall, Los Angeles; 2008, AGO Endowment Fund Distinguished Performer Award; 2009, Paul Creston Award by St. Malachy’s Chapel, New York City. In November 2014, he will be honored by the East Texas Pipe Organ Festival.

He has performed inaugural recitals on symphony-hall organs at Orchestra Hall (Chicago), Davies Hall (San Francisco), and Renée and Henry Segerstrom Concert Hall (Costa Mesa).

Frederick Swann is currently the consultant for the Ruffatti organ restoration project at the renamed Christ Cathedral, formerly the Crystal Cathedral, where he was director of music and organist (1982–1998). Christ Cathedral is scheduled to reopen in 2016. (See The Diapason, June 2014, pp. 26–28.)

This interview was conducted on May 8, 2014, in Saginaw, Michigan, as Swann was preparing for his May 9 inaugural recital on Scott Smith and Company Opus 3, a project renovating Skinner Organ Company Opus 751. Thanks go to Kenneth Wuepper of Saginaw, Michigan, the recording technician for the interview; the First Congregational Church, Saginaw, Michigan; and to Fred Swann himself for allowing us to interview him, for his assistance with editing, and for providing the photos that accompany this piece.

 

Steven Egler: Please tell us about your early years and your family. 

Frederick Swann: I am the son of a minister, and there were six children—three boys and three girls. I was number five, and there was a big space between me and the four older ones. 

From the very beginning, I was fascinated by the piano, and I would frequently bang on it at age 3 or 4. My parents were not particularly happy about that, so they locked the piano. Of course, any three-year-old can figure out how to get into a piano if he really wants to, and I did! 

When I was five, they decided that I could have piano lessons from May Carper, the organist of a church near my father’s church in Winchester, Virginia. One day I arrived early for a lesson and couldn’t find her. But I heard the organ going, and finally I found her at the organ console. I was hypnotized watching things popping in and out, lights were flashing, her hands and feet were flying, and I thought, “Oh my! That looks like fun. I’ve got to do that!” 

I asked her if I could play, but my legs were so short they wouldn’t reach the pedals. I kept after her, so she bribed me: if I had a good piano lesson, she would let me “bang” on the organ for five minutes before I went home. Then when my legs got longer—when I was about eight—she started showing me things about the organ and that you had to play it differently—not like a piano. They were really not organ lessons, because I just was continuing on the piano, but she still told me a lot about the organ. It was very good that she did because the organist in my father’s church, Braddock Street Methodist Church, suddenly died, and I became the organist of the church—there was no one else to play. It must have been simply awful, but that’s how I got started at age ten, and I’ve just kept on. I was a lucky kid since I didn’t have to decide what I was going to do when I grew up: I just started playing and kept doing it. 

 

Can you recall what those early church services were like and being thrust onto the bench?

Mostly I just played the hymns. The choir director, Madeline Riley, was somewhat of an organist herself, but the console was not located where she could play and direct. I would play the hymns, and she would show me how to play simple accompaniments.

I would practice during the week, and then my Saturday routine was that I always went to the horse opera theater—cowboy Western—for ten cents. On my way home, I’d go by the church and make sure that I had everything ready for the next morning.

I don’t remember too much about the services, except that it was an old Möller organ and setting the pistons made a lot of noise. I would love to “play with” setting the pistons, and the choir director would always come around to slap my hands because they could hear the noise out in the church. 

My biggest excitement came one Easter morning. There were certain stops that I was not allowed to use, and one was a great big Open Diapason in the Great. The church, however, was full and they were really singing, so she came by and pulled out the Open Diapason. I was just thrilled to death! I thought, “This is heaven,” since I had not been allowed to make that much noise before. 

That went on for a couple years, and then we moved down valley to Staunton in 1943. There I started studying with the organist of Trinity Episcopal Church, Dr. Carl Broman, singing in the choir, and getting a lot of very good musical education at the same time. He was a very fine musician.

 

You mentioned moving as a PK (preacher’s kid). Was that frequent as a child?

Not so much. I left home to go to school when I wasn’t quite 16, and we had only lived in three places. I was born in Lewisburg, West Virginia, but only lived there six weeks. We then moved to Clifton Forge, Virginia, where my father, Theodore M. Swann, pastored the Methodist church. Six years later, we moved to Winchester and the Braddock Street Methodist Church for six years (1937–1943). Then we moved down the Shenandoah Valley to Staunton, where my father became a district superintendent and later a bishop. We didn’t have a home church as such because he was always traveling to other churches. This is the main reason I was allowed to attend Trinity Episcopal Church in Staunton where I was confirmed at age 13. I just loved it—the liturgy and the great music.

 

What attracted you to Northwestern University?

To tell you the truth, my childhood was not the happiest, and at that point in my life, the farthest place away that I had heard of was Chicago. With my Methodist background and it being a Methodist school, I won a scholarship and went there.

 

You studied with Thomas Matthews (1915–1999) who is known particularly for his choral anthems. How was he as a teacher? 

He was a fine teacher, and a very quiet but very fun man. He was inspiring as a teacher and was willing to let me try anything. He gave me very good ideas.

Most of my lessons were at St. Luke’s Episcopal Church, Evanston, on the fantastic E.M. Skinner organ. By my senior year, I’d started to do a lot of accompanying. Matthews was also the director of the Chicago Bach Choir that, for some reason, met in Evanston at St. Luke’s Church.

In 1952, we did the second United States performance of the Duruflé Requiem. The first had been performed slightly earlier at Calvary Church in New York City. At last count, I’ve played that marvelous work 91 times during my career. I played it many years later at Riverside Church with Duruflé himself conducting. 

Tom [Matthews] was a great improviser, so I learned a lot about improvisation and colorful use of the organ, both in organ literature and in adapting piano/orchestral scores to the organ.

I also studied with John Christensen, who was the organist at the First Methodist Church in Evanston, and was his assistant organist during my four years in college. During my senior year, I also became organist and choir director at First Baptist Church upon the retirement of William Harrison Barnes (1892–1980). Dr. Barnes was the author of The Contemporary American Organ (1930) and well known as an organ consultant.

 

You said that the Barnes family “adopted” you?

When I arrived on the scene at Northwestern University, they heard me play and thought that I was advanced for my age. They also had recently lost a son, and for some reason, I reminded them of him and they decided to take me into the family. They were also responsible for my introduction to Virgil Fox (1912–1980) and took me on my first trip to New York City. On Sunday, they took me to the choir loft of St. Patrick’s Cathedral to meet the organist, their close friend Charles Courboin (1884–1973). During the sermon at the Mass, Dr. Courboin said to me, “Why don’t you play the postlude?” Of course, I had never played in a room like that or on an organ of that size, but I knew the Langlais Te Deum from memory, so I managed to get through it with the crescendo pedal and a general piston or two. Later, I became very good friends with Dr. Courboin, and, in fact, I studied the complete organ works of Franck with him. This was a great privilege, for he was widely regarded as an expert on the works of Franck. He was a very fun-loving and wonderful man. He and his wife were both so good to me, and he never charged me a penny for all of those lessons!

 

You attended Union Theological Seminary. With whom did you study?

My primary teacher was Hugh Porter (1897–1960), who was the director of the School of Sacred Music at the seminary. The best thing, however, particularly at that time, was just being in New York. Those days were often referred to as the “glory days” because of the great names in church music who were at the other churches in town. On Sunday afternoons, you could hear Evensong at St. Thomas or St. Bartholomew’s. Plus, there were many choral programs and other concerts all of the time, so you learned as much being exposed to music itself in New York as you did with actual classroom or lesson study. 

 

What advice do you have for young people these days who see themselves being organists as their primary calling, attend university, and expect to be prepared for the big, wide world?

I usually remind my students that they really have to love playing the organ and really have to love what they are doing. 

As far as becoming a concert organist, one has to realize that the field is very full. There are dozens and dozens of organists under management, many of whom play very few recitals because there are so many organists available. 

If you think that you want to be a church organist, if this is something you feel you just have to do, go ahead and do it. But realize that there are not that many full-time church jobs where you are going to be able to make a living. So, learn the organ, play it as well as you can, find a church to play in, but be aware that you may also need other sources of income, maybe teaching or perhaps even something in the business world.

One of my current university students at Redlands is also studying to become a dentist, and he is one of the most talented students I’ve ever had. I believe that he could have a career in the concert field and in church work, but he’s preparing to have some other source of income. 

It’s not that there aren’t jobs available: they’re just not jobs at which you can make a living.

 

I’d like to discuss the sizes of the various organs you have played. One source cites First Congregational Church, Christ Cathedral (formerly Crystal Cathedral), and Riverside Church respectively as the third, fifth, and fifteenth largest organs in the world. You have presided over each one of these instruments. 

Theoretically, the First Congregational Church in Los Angeles, where I was for three years after I retired from the Crystal Cathedral, contains the world’s largest church organ. There’s very little difference in the size of First Congregational and the organ at the Cathedral of St. Stephen in Passau, Germany, but interestingly, in a book that I picked up the last time I played there, it lists the largest organs in the world; they even put First Congregational’s organ before theirs! 

Actually, the Wanamaker organ (now Macy’s) in Philadelphia is the world’s largest operating organ. (The Atlantic City, New Jersey, Boardwalk Hall—formerly the Atlantic City Convention Center—organ is bigger, but most of it doesn’t play at this point.) 

Many people are obsessed with size, yet size is not everything. I have played many small and modest-sized instruments that were extremely beautiful and satisfying.

 

Please tell us about New York and the various pre-Riverside positions that you held. 

When I was in school at Union, I had a fieldwork position, the West Center Church in Bronxville, New York, but at that time I had already agreed to substitute for Virgil Fox whenever he was away, which was quite a bit.

My job in Bronxville was with the understanding that I had to be at Riverside when necessary. I was the official substitute organist (at Riverside) for a couple of years. When I graduated, Clarence Dickinson (1873–1969), whom I knew very well, had a heart attack—he was the organist and choirmaster at the Brick Church—and they asked me if I would fill in for him for nearly two years. At the same time, I became Harold Friedell’s (1905–1958) assistant at St. Bartholomew’s Church. I’d play in the morning at the Brick Church at 92nd Street and run down Park Avenue to play 4 o’clock Evensong at St. Bartholomew’s. There was a church in between called Park Avenue Christian Church, and they performed their oratorios at 2 o’clock on Sunday afternoon. Sometimes I would stop there and accompany an oratorio between playing services at Brick Church and St. Bart’s. 

Some Sundays, I also played Riverside! I would finish at St. Bart’s, jump off the bench (Harold [Friedell] would finish the service), run downstairs and out the door where there was a car waiting to whisk me to Riverside. Somebody else would have played the opening hymn, and I’d jump on the bench and play the oratorio. It was crazy and I don’t how I did it, except that when you’re young, you do all kinds of foolish things and don’t think anything about it.

 

Of course, I assume that you knew the organs and had rehearsed with the choirs.

Yes, plus the enormous amount of preparation for all the other music involved. 

 

And those were with just organ accompaniments and no orchestra?

Yes. Fortunately, the organs were all big, beautiful instruments with every color in the world, and it was a wonderful experience. After a while, I played almost every oratorio in the standard repertory. At Riverside we even did the United States premieres of a couple of works—Stabat Mater (1925–1926) of Szymanowsky (1882–1937) and the Hodie (1954) of Vaughan Williams (1872–1958). It was a wonderful experience, both to learn the music and also to learn how to adapt the scores quickly to the organ.

 

Were you ever overwhelmed playing those large instruments?

No, but there were many challenges and satisfaction in being able to find solutions. 

I can remember Maurice and Marie-Madeleine Chevalier-Duruflé, who were very good friends, when they played their first recital in America at the Riverside Church. They had come for the 1964 AGO national convention in Philadelphia the week before, but Maurice had hurt his back and couldn’t perform, so Marie-Madeleine played the recital. 

I’m telling you this because I’m thinking about big organs and how they affect people. When the Duruflés entered the Riverside chancel and saw the console, Maurice put his hand on his head and said, “Oh, mon Dieu!” Marie-Madeleine said, “Ooooooo,” rubbing her hands. She just couldn’t wait to get at it. I don’t think that I ever said “Ooooo” and rubbed my hands, but I was always so thrilled by the color possibilities of an organ such as the Riverside organ.

When I first played at Riverside in 1952, the organ was not the Aeolian-Skinner. It was the original 1931 Hook & Hastings controlled by the Aeolian-Skinner console that had been recently installed. When they began putting in the new organ in 1953, they had to keep the organ going every Sunday for services, oratorios, and everything else. I can remember one time when there were two Greats—the old Great was on one side of the chancel, and the new Great was on the other. I had to flip a switch depending on which Great I was using. It was a real headache and I didn’t get that much time at the organ, but here again when you’re young, you think, “Oh well. I’ll work it out.” It was a challenge.

 

You mention color and large instruments. I’ve heard you play many times, both in person and on recordings, and I can say that you are an organ symphonist in how you approach your music-making. Obviously, all of these instruments that you have experienced have been an incredible influence upon you.

Absolutely. On any instrument, I explore every stop in the organ, and of course, with a large organ, it is important to find orchestral colors for the oratorio accompaniments. I always feel that if there’s a stop there, it’s supposed be used and you can usually find a way to do it. 

 

Please tell us about your time at Riverside Church in New York City. 

In the fall of 1952, I started substituting for Virgil Fox, and in 1957 the staff at the church changed quite a bit. Virgil’s career began to blossom, and thus, he was there very rarely, so they decided they would hire an organist. I was hired as organist, not as assistant organist, at the church. From then until his association with the church dissolved completely in 1965, he very rarely played—probably a handful of times a year, but his name was kept because he was famous. 

I was actually in the Army when I was appointed organist. I was not going to be released for another six months, so Richard Peek, who was studying in New York at the time, filled in for me as organist for the next several months. Then in January 1958, I started playing full-time.

 

Did you ever work directly with Virgil Fox? 

Maybe a few times, but very rarely. He was a real character in addition, of course, to being an incredible musician and technician. Amazing! 

 

So William H. Barnes introduced you to Virgil Fox. Was he responsible for getting you in the door at Riverside? 

Absolutely. Virgil was born in Illinois and got his career start in Illinois—that’s where he met the Barneses. As a result, I knew Virgil before that first trip to New York. 

 

Please tell us about the choir program at Riverside, which was well known and directed by Richard Weagley (1909–1989). 

He was a great musician and wonderful to work with. He retired in 1967, when the program had been reduced from an oratorio every Sunday to just eight or nine a season. There was less work, so they asked me if I would be director of music and organist, which meant that I was the primary organist but was responsible mainly for the choir. Then I was given an assistant organist, and I had some great ones: Marilyn Keiser, John Walker, and Robert MacDonald, to name a few. They were wonderful people, and we’ve remained lifelong friends. I had the whole show, basically, until I left January 1, 1983, to move to California.

 

One of the first recordings I heard of you was with the marvelous soprano Louise Natale (1918–1992). 

Louise was a fabulous soprano. She had sung with Robert Shaw and was one of his main soloists for many years, and we were so fortunate to have her at Riverside. I encouraged her to sing [Jaromir] Weinberger’s (1896–1967) cantata, The Way to Emmaus (1940), and she did it magnificently with that organ to accompany her. 

We started doing it on Easter afternoon, and we did it for 25 consecutive Easters! After all of the loud music and the “Alleluias” all morning and then to come at 5 o’clock with the sun streaming across the Hudson through the beautiful windows and to end the Easter Day quietly was a very moving experience for a lot of people, and eventually the church was filled. 

 

Did you position the console so that you were able to conduct the choir from the console? 

The console was not movable and worked just fine as far as services were concerned, but for the oratorios I would have to go out front and conduct while one of my assistants played. I think the only time I played and had somebody else conduct was when we performed Elgar’s The Dream of Gerontius. The accompaniment was so complicated and so wonderful that I wanted to hear it using all of that organ. So we engaged as conductor Dr. Harvey Smith from Arizona (now deceased). Of course, I had trained the choir before he arrived.

 

Could you explain why there was overlapping time before you left Riverside and when you began your position at the Crystal Cathedral? 

When the Crystal Cathedral had just been built and the organ installed, there were many festivities to open the organ. Pierre Cochereau came to play with orchestra, and a week later I played the first solo recital on the organ. Additionally, they asked me, as long I was there, to play the Sunday morning service. I played the morning service, and afterwards, Dr. and Mrs. Schuller wanted to meet with me. They asked me if I would become the organist of the church. I told them that they had a very fine organist, Richard Unfried, who was a friend of mine, and that the job did not exist. I said that I knew they were without a director of music and asked them if they’d like to discuss that. They said, “No,” that they only wanted me to play the organ. I indicated that I was not interested, since they already had a fine organist. 

So I went home to New York, and four days later, there at my office door at Riverside Church stood Robert Schuller. He said, “I just want you to know that Arvella and I have come light years since our discussion last Sunday, and we’d like to offer you the position of director of music and organist. Would you please fly out to meet with us next Monday to make arrangements.” He then turned around and left! 

I flew out to California with no intention whatsoever of moving, but I had already fallen under the magic spell of that fantastic cathedral and the organ, and as is sometimes said, “They made me an offer that I couldn’t refuse.” 

The arrangement that we finally made was that I would spend one week a month in California—working with the choir, etc.—and the other three weeks a month in New York. That’s what I did the first six months and then moved full-time to California in January 1983. 

I played the last service at Riverside at midnight, December 31, 1982, and then January 2, 1983, I flew to Toronto to play a recital in Roy Thomson Hall, and then flew immediately to California to meet the moving van, set up housekeeping, and get started with the new position. 

People would always ask me if I missed New York, and I’d tell them that I didn’t have time to miss New York! The music program was very large (at the Crystal Cathedral) with several hundred people in the program. I had to learn the organ and get the choir going, so I didn’t have time to think—to miss New York.

 

What was it like working with Robert Schuller (b. 1926)? 

It was wonderful. What you see on television with him is what you get. Both he and Mrs. Schuller, Arvella de Haan (1929–2014), treated me beautifully all the years that I was there, and we became very good friends. 

Dr. Schuller wasn’t around that much since he was always out speaking and raising money. Mrs. Schuller was in charge of worship and the music.

It took us a while to learn which buttons to push with each other, but we eventually became very good friends. She was an organist herself and told me I could do Palestrina and Hubert Parry’s I was glad anytime that I wanted, but I would have to do “the other things that we do,” too. But they wanted me specifically to bring that type of music—the “big Eastern church music.” They wanted me to provide music they felt would be commensurate with the new cathedral building, a great organ, and a fine choir. Thus, I was able to stretch them in doing a lot of that music, but they also stretched me into various other forms of music. 

There was an enormous variety of music. We could have a country-Western singer, a Metropolitan Opera star, an English cathedral anthem, and a Bach prelude and fugue, all of these and more in one service, but the best thing was that whatever we did was done with the best taste, and to the best of everyone’s ability.

Johnnie Carl, a fantastic musician, was in charge of the instrumental program and contemporary music. It was a learning experience for all of us, and I thoroughly enjoyed my 16-plus years there. The people made it: the choir especially. 

 

And you just happened to be on television every week, too!

Yes, eventually I got over being nervous about cameras peering over my shoulder, and occasionally I’d look up and see a cameraman standing on top of the organ console getting ready to shoot something! It was all very enjoyable, and many stories can be told about that!

 

That’s almost a book.

Oh, easily! One of those stories is about Alicia the tiger that was born at the cathedral. Her mother was one of the 60 animals used in the “Glory of Easter” production. I knew her mother, and her mother’s trainer. After Alicia was about a week old I went to the animal compound and played with her mother a bit, and the trainer gradually moved Alicia closer. Her mother didn’t object, so I picked up Alicia (she weighed only 35 pounds) and scratched her stomach and played with her every day for two weeks after that. Tigers (tame ones, anyway) are somewhat like elephants—they can bond with you, remember you, and when you see them after being away for months they’ll come right over and nuzzle you like a kitten—with the trainer nearby, of course.

It used to scare my staff to death when she’d come to my office and come right over and want to play. She was from an animal training facility that provided animals for movies, and had a reputation for being the most-tame “cat” in the business. She’s retired now. Organists all over the world were fascinated, and wherever I traveled—Jean Guillou’s apartment in Paris, or one in Berlin—there was one of the photos framed.

 

After the Crystal Cathedral, you went to the First Congregational Church, Los Angeles, for three years (1998–2001).

Right. When the Crystal Cathedral organ went in, their nose went out of joint at First Congregational Church because, up to that point, they had the largest organ in the area, so they set about to make it bigger and better than the Crystal Cathedral organ. About the time that the organ was finished, their organist Lloyd Holtzgraf retired, and they said, “Okay, we’ve got the bigger organ. Now we want the big organist from the other place.”

As Rev. Schuller had done earlier, the Congregationalists made me an offer I couldn’t refuse. At the heart of it was simply the fact that I was really worn out from all that I’d had to do at the Crystal Cathedral. I was playing the organ less and less and doing administrative work and conducting more. So I thought it would be rewarding to play the organ for awhile. I went to First Congregational Church with the understanding that I would only stay three years and retire on my 70th birthday, which I did right to the day in 2001.

That was a wonderful time there, too. Thomas Somerville, a great Bach scholar, was the director of music, and we did wonderful music. The congregation just loved that organ and would remain motionless and utterly quiet during preludes and postludes. It was a great place to make music—a smart move, and I’m so glad that I did it.

 

And since 2001, you have been organ artist in residence at St. Margaret’s Episcopal Church in Palm Desert, California. 

When it came time to retire, I decided not to move back east—I’d already shoveled enough snow! I had many friends in Palm Springs and had visited there a lot and decided to retire there. I’d even purchased a home three years earlier and was able to rent it out until I needed it.

When I moved to Palm Springs, John Wright had come from Memphis to St. Margaret’s Church as organist and choirmaster. I had opened a new organ in his church in San Antonio, Texas, years before. He invited me to practice at St. Margaret’s whenever I wanted, as long as I played a recital during the year. I said, “Okay.” I was still out on the road finishing up several recitals that I had on the books. This went on for a couple years, and he said, “Why don’t you play for church once in a while.” I said, “Oh no. I’ve done that and I’m tired.” But he kept after me and I finally agreed. In recent years, I have been playing at least two Sundays a month and sometimes more often than that, plus all of the festival services. John is then able to concentrate on conducting the choir—a very good choir—and the organ is a large four-manual Quimby. Friends who visit are always amazed to find, out in the middle of the desert, a big choir, big church, big organ. I think they thought that we beat on bamboo! But, it’s been very enjoyable, and it is a wonderful congregation. I can walk in and play and walk out, and I don’t have to attend staff meetings. After a lifetime of doing that, I’m happy just to be able to play the organ.

 

That takes us to another leg of your journey: your performing career and association with the Murtagh and now Karen McFarlane artist management. As far back as I can I remember, I can see your smiling face on the back page of magazines (The Diapason and The American Organist). When did you start with the management?

Soon after I went to Riverside—I can’t remember the exact date. I was with the management for over 40 years.

Lilian Murtagh was the assistant to Bernard LaBerge, the famous manager of organists and other musicians in this country. After LaBerge’s death in 1952, she continued as head of the organ division (under what had become Colbert-LaBerge). She then purchased the organ division in 1962 and continued until her death in 1976 when Karen McFarlane became president. Murtagh was a dear, dear lady and so very good as a manager. 

It was great to get to know all of the famous organists who were with the management: it was a wonderful relationship. 

Lilian had gotten to know my secretary at Riverside, Karen McFarlane, and after Lilian became ill and realized that she didn’t have long to live, she asked Karen to consider taking over the management. Thus Karen McFarlane became the manager from 1976–2000.

 

So you and Karen McFarlane go way back.

We go way, way back! She had done some playing for me and was my secretary at Riverside. Then she became my concert manager. She’s like a sister and is a very dear friend.

When I retired I intended to finish recitals that I already had on the books, but I really didn’t intend to play anymore, so I asked them to please take my picture off the back page. I’ve curtailed my performing to maybe two or three concerts a year, mainly because the travel is becoming more difficult.

 

Do you have any more recordings in the works? 

No, I did my last one in 2010 (Gothic Records) on the magnificent Casavant organ, Opus 1230, in the Memorial Chapel at the University of Redlands. Recording is very nerve-wracking at my age. I can still play adequately as long as a microphone has not been turned on. When that happens, I become the Florence Foster Jenkins of the organ!

Going back to the LP days, I think that there’s a total of about 30 recordings. A lot are from Mirrosonic, Vista, Decca, and, of course, Gothic. It’s not an enormous number—many people record a lot more—and some of those are organ and some are with choir.

Some things I’ve recorded more than once, and I don’t really apologize for that. Marie-Claire Alain was once asked why she recorded three sets of the complete Bach works; she answered, “Because my ideas change or I learn.” It’s the same with all of us, and I would hate to think that we were not constantly changing.

 

Please tell us about your varied teaching experiences, the positions you’ve held, and your students. 

I’ve had a whole bunch. The first formal teaching that I did was at the Guilmant Organ School (1899–ca. 1970) in New York. It was established in the early 20th century by William Carl, who was the organist at First Presbyterian Church, New York City. He had been a student of Guilmant. I came to it late, actually just the last three years of its life, and I had about eight to ten students. Then I began teaching organ and accompanying the choir at Teachers College, Columbia University. I also did some private teaching at Union Seminary where I was also the fieldwork supervisor; I would go out to students’ churches, take notes, and make suggestions. 

In 1973, I became head of the organ department at the Manhattan School of Music. At that time, it was housed in the old Juilliard School buildings across the street from the Riverside Church, which was very convenient. I held that position for eight years during the 1970s until I left New York for California. 

When I first went to California, there was absolutely no time for teaching. But after I finally “retired,” playing almost no recitals and just playing at St. Margaret’s, in 2007 I became the university organist and artist teacher of organ for the University of Redlands, just an hour west toward Los Angeles. 

The Casavant organ there, originally installed in 1927, was completely restored in 2002 at the same time that the building was being retrofitted for earthquakes. It’s a marvelous organ, totally enclosed—even the three 32-foot stops. It’s a thrilling sound, even with the orchestra and choir and soloists. Just a short while ago, we were able to fill up all of the blank knobs on the console and add another 20 ranks.

I have very good students there. 

 

What about the composer in you?

Oh, I’m not a composer! 

 

You wrote a wonderful Trumpet Tune.

I don’t know how wonderful it is, but people seem to enjoy it. One man has even made a handbell arrangement of it that is published. There are a few other organ pieces, too.

The other compositions are mainly anthems, and they were all written when I was at the Crystal Cathedral, because I couldn’t find what I wanted to fit with the service of the day or they were not the right length. They all had to be written in major keys, had to be loud, and had to end with the sopranos on high C, so there isn’t a great deal of variety. But the publishers wanted them: because I was the organist at the Crystal Cathedral, and they thought they would sell! I don’t know if they ever did or not—a few of them did, I guess—but I make no claims to being a composer, whatsoever. 

There are several hymn arrangements and preludes that are also published. In particular, Toccata on “O God, Our Help, In Ages Past” is fun to watch— it made good television. It has lots of work jumping manuals, which idea I got from Petr Eben’s Moto Ostinato. I played it for him once and he burst out laughing. I said, “Well, it was your idea!”

 

Please reflect upon your time as President of the American Guild of Organists (2002–2008), which is when I first got to know you. 

I was amazed that I got elected, and I’m sure the only reason was because of television and concerts. A lot of people don’t know most of the people who are ever nominated for office, so they usually vote for the ones who are best known. I enjoyed it very much. We had a wonderful group of people on the National Council—you were there—everybody worked well together and with the administration of the Guild. It was a very happy time and I feel that we accomplished a lot of things. In addition to the POEs (Pipe Organ Encounters), there were many highlights of my years there. I will be forever grateful for the opportunity to serve the Guild in that way.

 

What do you see as the function, the purpose, and even the future of the AGO?

I think that the Guild is very much alive. It is still very influential—it’s the largest and oldest organization (founded in 1896) of its kind for musicians and for instruments in this country. 

The only other musical organization that is older is the Royal College of Organists in London, which in 2014 is celebrating its 150th anniversary. They used to wield an enormous amount of power, and even had a big office building. The organ and organist had been well thought of in halls and cathedrals, but a recent article in the New York Times said that they have fallen on bad times and there are not as many jobs. They are now focusing on reinventing themselves by reaching out more to the general public. I don’t how they will do it, but they are determined. 

Generally speaking, I believe that the Guild is on firmer ground now than it’s ever been. I’m very optimistic about the future of the AGO and about the organ in general. There are many naysayers who think that the organ is dying and that there are too few people interested in becoming organists. This is simply not true.

Some of the major organ builders no longer exist, but there still are organs being built—some of them very large and expensive—as well as smaller organs. Along with all of the recordings that exist, I feel very optimistic about future of the organ, and I don’t believe it’s going to die anytime soon.

 

What do you like to do in your free time?

I don’t have a lot of free time, although I try to walk one to two miles daily—I am not in shape to do any great physical activity, but I do enjoy walking. I live in a two-story condominium, just so I can have the exercise of going up and down steps many times a day. I like reading, going out to eat, and I love being with friends.

There are many retired organists where I live in Palm Springs, many of whom I have known for years. It’s fun having a very nice social life, too. 

 

Very little grass grows under your feet. 

No. I learned several years ago—and I practice it religiously—that when you get into your ninth decade, you do not want to sit and stare at the wall. The day may come when I have to do that, but until it does, I’ll keep as physically and mentally active as I possibly can. I do crossword puzzles and everything I can to stay active. 

 

Do you practice everyday? 

I’m embarrassed to say that I do not. I should, but I practiced a lot in recent weeks to prepare for the recital here. 

 

Here is where humility must be brushed aside for the sake of honesty. You have everything on your résumé: you are without a doubt the most well-known and most visible organist of our day . . . 

. . . fading fast, as there are some real barn-burners coming along nowadays who are really going to go right to the top and who are creating a lot of stir in the organ world. I’m thankful for them because we need to keep the organ world alive . . . 

 

What do you see being your important contribution(s) to our profession? 

Regardless of what some people might think, I’m really modest and somewhat shy. I have been given wonderful opportunities in my career, such as having been blessed to serve in church positions most organists can only dream about. I’ve played close to 3,000 recitals in various places around the world, including a lot of daily recitals in churches, as well as being on television for over 16 years.

With the combination of things like that and teaching, I feel that I’ve helped to contribute to keeping the organ alive. I don’t believe that I’ve done any one thing in particular that I could cite as being outstanding. Rather, I’m grateful to have been given so many opportunities. I’ve tried to make the most of those opportunities for the advancement of the organ and its music. I’m more embarrassed than pleased when people compliment me.

 

At this point in your life and career what occurs to you as the most pleasurable reward resulting from your more than 70-year career?

That’s easy! In addition to being grateful for all the music making I’ve been fortunate to do, it’s the satisfaction of knowing that I’ve been able to bring joy and encouragement to others. One thing that has surprised me in recent years, and keeps happening more and more, is hearing from colleagues in the profession that my service playing or a recital or teaching, often on a very specific occasion, was a life-changing event for them in their career path. I am so very grateful for these expressions! More important, it makes me aware that all of us should take time to consider the influence we may unconsciously be having on others. 

 

Good advice for all. Thank you, Fred. You are the gem of our ocean!