Harvard University, Cambridge, Massachusetts, presents its 100th annual carol service December 13 and 14 at the Memorial Church, with the Harvard University Choir; Edward E. Jones, director; Christian Lane, organist.
For information: www.memorialchurch.harvard.edu.
Janice Feher is organist in residence at First Presbyterian Church, San Diego. She holds a BM from Michigan State University and an MM from the University of Michigan, and she is a Colleague of the AGO. Her teachers included Corliss Arnold, Leslie Spelman, Donald Sutherland, Robert Noehren, and Marilyn Mason. She and her husband, Bela Feher, published two photobooks as part of an ongoing project on pipe organs of Europe—Sacred Spaces of Germany and Denmark (with Marilyn Mason) and Sacred Spaces of the Austro-Hungarian Empire (available from Blurb.com
Robert Noehren impressed me with
his concern that organists should spend more time listening to music. I think he would have approved of the Leslie Peart organ tour of 2010 that included organ concerts, an evening at the BBC Proms, and choral services. We heard some impressive sacred and secular music in Scotland and England, as well as sharing memorable meals of representative local cuisine.
The 2010 Scotland and England organ tour—July 13–26—began with a welcome luncheon at the Ramada Mt. Royal Hotel in Edinburgh. This hotel is located on Princes Street, above shopping and restaurants, and it provided a great base for visiting the varied organs of Edinburgh. We began by playing the 1989 Collins organ at the Greyfriars Church, followed by the fine Willis organ at the Episcopal Cathedral. That evening we enjoyed a generous amount of time playing on the wonderful 1992 St. Giles Cathedral organ, built by Rieger Orgelbau of Austria.
The next day, Scottish rain and chill failed to dampen our spirits as we explored Queen Elizabeth’s yacht, Royal Brittannia. We were treated to lunch at St. Mary’s Metropolitan Catholic Cathedral, where concert organist Simon Nieminski is music director. Afterward, we played the large 2007 Copley organ in the church.
Next we visited historic St. Cuthbert Church, which has a large organ by Robert Hope-Jones, dating from 1899. The 93-register organ was extensively reconstructed in 1997–98 by J.W. Walker & Sons Ltd. of Brandon, Suffolk. We found an unexpected treat in the Freemasons’ Hall of Edinburgh, where there is a 1913 vintage Bridley & Foster pipe organ that has been preserved in original condition by Forth Pipe Organs of Edinburgh. The day concluded with a memorable organ recital at St. Giles, played by the cathedral’s director of music, Michael Harris.
An early arrival before the public at the Kelvingrove Museum in Glasgow gave us time to see and play the historic Lewis organ from the 1901 International Exhibition. Later, we joined the public for the lunchtime concert played by our fellow tour members, Bob MacDonald and Dene Barnard.
Notable experiences in northern England included visiting Keswick in the beautiful Lake District, where we stayed at the Country House Hotel and cruised on Lake Windermere—England’s largest lake. We were warmly welcomed at St. Bees Priory, which has a historic 1899 organ built by “Father” Willis that is essentially untouched. It was the last major instrument he personally supervised. The original programmable pistons (the first in England) are still in place.
On Sunday we enjoyed the sung Eucharist accompanied by the historic Willis organ at Durham Cathedral. After playing the organ at Ripon Cathedral, we traveled to York Minster for Evensong in the large Gothic cathedral.
The highlight of the next day was touring Castle Howard, the location for Brideshead Revisited, where we played the organ in the castle’s beautiful chapel.
Our host in Liverpool was concert artist Ian Tracey, who helped us discover the impressive Willis organs of Liverpool. “Father” Henry Willis founded his pipe organ firm in 1845 in Liverpool. He contributed much to the science and art of organbuilding, and he was regarded as the leading English organbuilder of the Victorian era. Willis organs were placed in town halls and churches throughout the UK. Many remain today, including the 121-rank 1855 “Father” Willis organ in St. George’s Hall, Liverpool. Ian Tracey, Liverpool’s city organist, has great enthusiasm and concern for the maintenance of this historic organ.
A second great Willis organ is located in the Liverpool Anglican Cathedral, where Ian Tracey is cathedral organist. It was the largest musical instrument ever conceived when dedicated in 1926. Today it is the largest organ in the UK, even larger than Royal Albert Hall, with recent additions. It is playable from two matching five-manual consoles.
We toured the Willis organ factory, where we were impressed with the quality of their current instruments and the historic Rolls-Royce that David Wyld, the new owner of the company, had driven to work that day. Our Liverpool adventures were capped by an evening visit to the dramatic Metropolitan Cathedral of Christ the King, where a 1967 Walker organ is installed.
The last few days flew by with visits to play many organs, including those at Coventry Cathedral; Rugby School, where the game of rugby originated; Worcester Cathedral, with its wonderful 2008 organ by Kenneth Tickell; and the military academy, Sandhurst.
On our way to London, we realized we had visited a total of 28 instruments in England and Scotland!
A special memory of our London visit was the sung Eucharist at St. Paul’s Cathedral, where we had reserved seats under the dome for Mozart’s Mass in C Minor with orchestra, organ, and soloists. The service concluded with the Fantasia in F Minor on the organ. Sunday afternoon Evensong at Westminster Abbey was followed by an organ recital by Christian Lane, assistant university organist at Harvard.
We flew home from London well rested, with great memories and new friends, and thankful for exposure to such wonderful and diverse organs.
If you are interested in seeing the highlights of our UK organ tour, visit gallery.me.com/janbela#100052 for a 24-minute slideshow. (Note: Grid allows manual control of timing; slideshow is automatic. Locations are identified above or below the pictures.)
The twenty-third annual England Choral, Castle, and Organ Tour will be July 12–25, with four days in London, three at the Southern Cathedrals Festival at Winchester Cathedral, and many other organs and castles along the south shore of England. For more information, go to www.organtours.com, or contact Leslie Peart at [email protected], phone 217/546-2562.
James Raymond Garner (1951– 2006) died on October 31, 2006 of heart failure while at home on his ship, the Sea Wave. An accomplished concert organist, organbuilder and church musician, he was also at various times a computer retailer, Dixieland jazz musician, and sea captain. His initial organ study was with Karl Bonawitz in Newport Beach, California. Bonawitz was a student of Pietro Yon and an organist at many famous theaters during the silent movie era. Garner also studied with Justin Colyer, a former student of Virgil Fox, and he quickly developed an expressive and flamboyant style of playing reminiscent of Fox.
Garner majored in organ performance at the University of Redlands, studying with Raymond Boese, and earned the bachelor of music degree in 1974. Following graduation, he established an organ building, restoration and maintenance firm, Raymond Garner & Co., which existed in various forms throughout his life. He was responsible for the construction and preservation of nine or more instruments, including a handheld portativ organ for the National Cathedral in Washington, D.C. Ray’s “Magnum Opus” was a three-manual Levi U. Stuart mechanical action organ, which he resurrected from a Masonic hall in Sydney, Ohio, and placed in St. John’s Episcopal Church in San Bernardino, California, following three years of restoration.
Following his installation of two restored organs in churches in Kalispell, Montana, Ray relocated there in 1982. An active musical force in Northwest Montana, he was a founding member of the Glacier Symphony and Chorale, and in the early years of that organization could be found variously playing bassoon, tuba, percussion, singing tenor or conducting. He was also a Dixieland jazz musician, and played both piano and sousaphone in several ensembles, performing in many jazz festivals throughout the West. In 1993 he and Karla West co-founded the Glacier Jazz Stampede, a festival that attracts dozens of Dixieland groups from across the country each year. Ray was a virtuosic ragtime pianist, and specialized in the repertoire of Jelly Roll Morton.
In 1994 Ray moved to Denver to take the position of organist at the First Church of Christ, Scientist. He later also took the post of organist at the Cathedral of the Immaculate Conception in Denver, eventually becoming associate director of music. He was the logistics director of the Denver national AGO convention in 1998.
In 2000 Ray became assistant director of music at St. Mary’s Cathedral in San Francisco, later moving on to St. Catherine of Siena R.C. Church in Martinez, St. Sebastian the Martyr R.C. Church in Greenbrae, and eventually to his final position, music director at St. Perpetua R.C. Church in Lafayette, California. Ray was a member in the Third Degree of The Knights of Columbus (Council No. 7683, Lafayette, California), where he was affectionately dubbed with the title, “Odemeister.” Early in 2006 he determined to purchase the historic tugboat “Sea Wave,” berthed in Seattle. After arduous labor, he sailed it to Point Richmond, California, where it is now docked. While in Seattle, he was spotted by a production company, which led to his (and Sea Wave’s) appearance in a Chevrolet commercial. At this point he became a member of the Screen Actor’s Guild.
Ray will be remembered as a vibrant, exciting performer who specialized in the French Romantic composers and who was also a talented improviser. He is survived by his mother Genevieve, wife Patrice, former wife Shauneen, and children Sydney, Adrienne, and Morgan. A Mass of Resurrection and memorial was held on November 11, 2006 at St. Perpetua Church.
—David Hatt
Daniel Pinkham—composer, organist, harpsichordist, conductor, and longtime music director at Boston’s King’s Chapel—died December 18, 2006, at the age of 83. A prolific composer, his output included symphonies, concertos, organ works, and especially music for chorus. His Christmas Cantata is a staple of the choral repertoire.
Daniel Pinkham was born in Lynn, Massachusetts on June 5, 1923. He studied organ and harmony at Phillips Academy, Andover, with Carl F. Pfatteicher; then at Harvard (A.B. 1942; M.A. 1944) with A. Tillman Merritt, Walter Piston, Archibald T. Davison and Aaron Copland. He also studied harpsichord with Putnam Aldrich and Wanda Landowska, and organ with E. Power Biggs. At Tanglewood he studied composition with Arthur Honegger and Samuel Barber, and subsequently with Nadia Boulanger.
In 1946 he was appointed to the faculty of the Boston Conservatory of Music. In 1953 and 1954, he also taught at Simmons College and Boston University. After serving as visiting lecturer at Harvard University in 1957–58, he joined the faculty of New England Conservatory, where he remained until his death. At NEC, Pinkham taught harmony and music history in addition to composition.
He composed music well into his later years. The evening before Pinkham’s death, Edward E. Jones led the Harvard University Choir in the world premiere of Pinkham’s A Cradle Hymn at Memorial Church in Cambridge. Pinkham’s extensive catalog can be found at
Pinkham’s scholarship and work were recognized with a Fulbright Fellowship in 1950 and a Ford Foundation Fellowship in 1962. He received honorary degrees from NEC as well as from Nebraska Wesleyan University, Adrian College, Westminster Choir College, Ithaca College, and the Boston Conservatory. In 1990, Pinkham was named Composer of the Year by the American Guild of Organists. In 1996 Daniel Pinkham received the Alfred Nash Patterson Foundation Lifetime Achievement Award for contributions to the Choral Arts.
Jon Spong died in Iowa City, Iowa, November 11, 2006. Born in Des Moines, Iowa, in 1933, he received his bachelor and master of music degrees from Drake University, where he was an organ student of Frank B. Jordan, and a voice student of Andrew White. He received an honorary Doctor of Humane Letters from Grand View College, Des Moines, in 1990.
Spong held combined organist/choirmaster positions in many churches in Des Moines, Iowa City, and at Philadelphia’s First Baptist Church. He also taught at Drake University, Washington State University, Angelo State University, University of Missouri-Kansas City, the University of Cincinnati College Conservatory of Music, and Luther College in Decorah, Iowa.
From 1964 to 1999 Jon Spong was the primary accompanist for Sherrill Milnes, baritone with leading opera houses in the United States and Europe. With Milnes, he recorded on RCA, VAI-Audio, and New World labels, and with Todd Thomas, operatic baritone from Philadelphia, on Diadem Records. Spong had coached at the Vocal Arts Academy in Philadelphia and conducted masterclasses with the Cedar Rapids Opera Theatre. He performed many times at the White House and played at the Lincoln Memorial Prayer Service as part of President Carter’s inaugural celebration.
He was a noted composer, with numerous published organ solos and anthems of sacred music from several publishers, including Cantate Music Press, MorningStar Music Publishers and Lorenz Publishing Company. He played the premiere performance of Myron Roberts’ Nova, and played the first performance of several compositions by Alice Jordan. He gave numerous church organ dedicatory programs, as well as recitals for state, regional and national conventions of the American Guild of Organists.
A memorial celebration for Jon Spong was held December 1 at the Iowa City Senior Center, Iowa City, Iowa. Memorials are to be made to the Cedar Rapids Opera Theatre, 1120 Second Avenue S.E., Cedar Rapids, IA 52403.
—Robert Speed
Kenneth Edward Williams died on August 22, 2006, in Venice, Florida, at the age of 78. After serving in the U.S. Army, he earned degrees from Boston University and Union Theological Seminary, and was a certified church musician and commissioned church worker in the United Presbyterian Church U.S.A. He served as organist for churches in Boston, New York City, Indianapolis, Atlanta, and Wilmington, Delaware; Milburn, New Jersey; and Bartlesville, Oklahoma. He also held the position of music director at Princeton Theological Seminary for two years. A longtime AGO member, he served as dean of the Sarasota chapter 1994–97. He and his wife Lynelle directed the 1989 Montreat Conference on Worship and Music and served on the faculty of the conference for several years.
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
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
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
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
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
Sean Vogt attended Central College, Pella, Iowa, where he was a winner of Central’s Concerto/Aria competition, and named a Cox-Snow distinguished scholar. He also studied in London, serving as assistant organist/choirmaster at St. Cuthbert’s Church in Woodgreen. He holds master’s and doctoral degrees in choral conducting from the Meadows School of the Arts at Southern Methodist University and Michigan State respectively. While at Michigan State, he was the director of the 100-voice Men’s Glee Club, assistant conductor of the MSU Chorale, artistic director and conductor of the Steiner Chorale—a semi-professional choir based in Lansing—and was music director at St. Jude’s Catholic Church. He was also one of the featured conductors at the Oregon Bach Festival. In addition to degrees in choral conducting, Vogt worked on a doctorate in organ at the University of Iowa, holds a diploma in organ from the Haarlem Internationale Zomeracademie voor Organisten (The Netherlands) and a master’s degree in organ from SMU. He has given solo recitals at the National Cathedral (Washington, D.C.), St. Philip’s Cathedral (Atlanta), and Fourth Presbyterian Church (Chicago), and has performed for the American Guild of Organists’ education video series. Dr. Vogt has served on the faculty for the Leadership Program for Musicians serving small congregations, and as the American Choral Directors Association’s Repertoire and Standards Chair for Music and Worship for the state of Iowa. He is currently Department Chair and Director of Choral Activities at Mount Marty College in Yankton, South Dakota.
Gloria in excelsis deo, et in terra
pax hominibus (“Glory to God in the highest and on earth peace to all people”), Luke 2:14, was likely the first carol ever heard, sung by the angels over the fields of Bethlehem. It would be more than a millennium before the next documented account of carol singing. In this case, it happened in Greccio, Italy, where St. Francis made the first Christmas crèche (crib) in 1223, in response to the Manichaeism1 of the eleventh and twelfth centuries—recreating the stable, even obtaining an ox and ass. People from around the village began to gather around St. Francis’s biblical re-creation. As a result, the people “poured out their hearts in praises to God; and the friars sang new canticles…”2
The dawn of the Protestant Reformation brought carol singing—amongst a myriad of other activities—to an abrupt halt. The Reformation during the sixteenth and seventeenth centuries resulted in a fragmented church. The Lutherans viewed the feast of Christmas as a popish abuse. Since the Calvinist movement was quite popular, Christmas was consequently unpopular in England. Christmas Day was abolished by Parliament from 1644–1660; The Book of Common Prayer had no seasonal hymns. It was not until the Supplement to the New Version of the Psalms (1700) that interest in carols was rekindled. Only one Christmas hymn was included in the supplement: “While shepherds watched.”
A brief history of the carol
Interestingly, Christmas thrived more in secular society than it did in the church during this time. One of the first examples of music printing in England is an anthology from c.1530 that contained, among other things, carols by Ashwell, Cowper, Gwynneth, and Richard Pygott.3 Carols were primarily used in the home and private chapel. It wasn’t until later that they became a part of the parish church. This is likely why carols from plays (the ‘Coventry’ carol, being one example) and carols for domestic use appear to be in constant use. Two domestic carols from Poor Robin’s Almanac (1700) are as follows:
Now that the time has come wherein
Our Saviour Christ was born,
The larder’s full of beef and pork,
The garner’s filled with corn.4
And we do hope before we part
To taste some of your beer,
Your beer, your beer, your Christmas beer,
That seems to be so strong;
And we do wish that Christmas-tide
Was twenty times as long!5
For England, the eighteenth century was the “Golden Age of Hymnody” under Isaac Watts and the Wesleys. Hymns gained popularity over metrical psalms. The reason for the hymn’s popularity was that the congregation could finally have a participating role in the worship service. Carols became increasingly hymn-like to fit the current trend.
By the nineteenth century, thanks to the efforts of the Methodists a century earlier, carols began finding their way into many ecumenical books like Hymns Ancient and Modern (1861), the first universally accepted hymn book of the Anglican Church.6 A renewed interest in the past, coupled with the Oxford Movement,7 provided the opportunity for John Mason Neale, an Anglo-Catholic cleric, to promote the ancient texts and music found in the Piae Cantiones (1582). The Victorian revival of the carol produced numerous new books, some devoted solely to the carol: Some Ancient Christmas Carols (1822), Carols for Christmas-tide (1853–54), and Christmas Carols New and Old (1871) being just a few examples.
From the Piae Cantiones, which itself contained medieval carols, to the Victorian carol books, twentieth-century composers could now build on the carol tradition that dated back hundreds of years. John Mason Neale, in his preface to Carols for Christmas-tide, described the method that twentieth-century English composers would also follow:
It is impossible at one stretch to produce a quantity of new carols, of which words and music shall alike be original. They must be the gradual accumulation of centuries; the offerings of different epochs, of different countries, of different minds, to the same treasury of the Church.8
The notion of carol singing was heightened significantly with the service of Nine Lessons and Carols. Originating at Truro Cathedral, Cornwall, on Christmas Eve (1880), the service retells in scripture and song the Redemption story of Christ—moving from the mystery and wonder of Advent to the miracle and joy of Christ’s birth. The service was modified and introduced by Eric Milner-White, the newly appointed Dean of King’s College, Cambridge, in 1918. It is this modified service that has been adopted by scores of parishes in England and abroad. Since its initial broadcast in 1928, the service of Nine Lessons and Carols has been heard by millions of people all over the world. An order for the service can be found in the back of Oxford’s 100 Carols for Choirs. A look at this book also reveals a multitude of English composers who have made carol arrangements. Among the more well known are Holst, Britten, and Rutter.
Gustav Holst
It was the simplest of compositions by Gustav Holst (1874–1934) that would become one of his best-known: In the Bleak Midwinter (1905). Holst arranged the text by Christina Rosetti (1830–1894) while staying at a cottage9 in the Cotswold village of Cranham; it is also the reason why the tune is entitled Cranham. Just one year later, having gained significant popularity, his carol arrangement appeared in the English Hymnal (1906).
In the Bleak Midwinter is simplistic in that it is set like a standard four-part hymn: regular meter (4/4), homorhythmic, and functionally tonal harmonic motion. The choice of F major links Holst with the past, since F major was a common key in the Renaissance and Baroque eras for themes of a pastoral nature.
One way of preserving several items of importance is to collect them. Choir partbooks and the multiple compilations of carol books have accomplished the art of preservation. Holst did something similar, but on a smaller scale, when he wrote Christmas Day, a choral fantasy on old carols with accompaniment for orchestra or organ.
Dedicated to the music students of Morley College, the work is a compilation of four well-known Christmas carols: “Good Christian Men Rejoice,” “God Rest You Merry Gentlemen,” “Come, Ye Lofty, Come, Ye Lowly,” and “The First Noel.” With the exception of two simultaneous carols occurring at the same time, the rest of the work is homorhythmic throughout.
Much like Vaughan Williams’ Fantasia on Christmas Carols, this work by Holst opens with a soloist who sets the ambiance as if about to tell a story around a fire. The carols provide the form of the composition. Ascribing numbers to the carols—1) Good Christian Men Rejoice, 2) God Rest You Merry Gentlemen, 3) Come, Ye Lofty, Come, Ye Lowly, 4) The First Noel—the form is 1, 2, 1, 3 and 4, 1, 2 and 4, and 1. True to rondo form, “Good Christian Men Rejoice” always appears in the tonic key, E-flat major. The simultaneous occurrence of two carols also provides unique contrast to the homorhythmic sections. The orchestral accompaniment is equally accessible, having many of the same attributes of the chorus parts, making it appropriate for amateur ensembles.
Like many English composers, Holst was influenced by folksong. In regard to carol settings and collecting them, it was his Four Old English Carols (1907), for mixed voices and piano, that embraced the “tender austerity”10 inherent in the songs of the English countryside. Although inspired by folksong, these tunes were of Holst’s own creation. A Babe Is Born, Now Let Us Sing, Jesu, Thou the Virgin-Born, and The Saviour of the World Is Born make up this mini-collection.
The medieval text Jesu, Thou the Virgin-Born, the third carol from Four Old English Carols, was infused with plainsong and simple polyphony (largely homorhythmic). The use of both plainsong and polyphony in this particular work is not surprising, given the fact that Holst had been spending time copying Victoria and di Lasso motets for St. Paul’s Girls’ School.
As evidenced above, Holst seemed drawn to set multiple carols within one work. This mini-collection of carols is equally true in his Three Carols for unison chorus and ‘ad lib.’ orchestra. Holst was clearly thinking of the symbiotic relationship between music and people with this work. There are scarce examples of a significant choral work with orchestra that includes a unison chorus and an orchestra that can be made up of as many or few instruments as available (‘ad lib.’) and still be a viable work of art. “Holst was a conductor who allowed all genuine amateurs to play in his orchestra ‘if humanly possible’.”11 The three carols include the following: Christmas Song: On This Day, I Saw Three Ships, and Masters in This Hall.
There is one carol by Holst that does not exist in a set: Lullay my Liking for unaccompanied chorus. Like other carols, the text is medieval. Changing meters help accommodate natural text stress. With the exception of the chorus’s fourth verse, the other verses are sung as a solo, and the choir answers with the refrain “Lullay my liking, my dear Son…” This piece is also very accessible for an amateur chorus, as the refrain remains unchanged throughout the work.
Benjamin Britten
It was during the 1942 wartime months of March and April that Britten (1913–1976) wrote, while on board the ship that was taking him from America back home to England, A Ceremony of Carols.12 Scored for treble voices—three parts to be exact—and harp, the work is powerful in its simplicity.
One aspect of simplicity is the accompaniment of a single instrument, the harp. One of the first instruments mentioned in the Bible, the harp has been the symbol of the psalmists, the heavenly host of angels, and serenity. Britten was planning on a harp concerto around this time; harp manuals were just a few of the books he had on his nautical voyage. However, despite the pleasurable sonorities from the harp that audiences have enjoyed for decades, this was not the case initially. “The use of the harp as an accompanying instrument in this context was considered radical at the time of the première.”13
The simplicity is also instantly audible from the first and last movement. Plainsong settings form the musical pillars to the eleven movements. Here, Britten chose Hodie Christus natus est from the Christmas Eve Vespers to serve as a musical processional and recessional. The processional and recessional are both in A major, a key Bach often used for its Trinitarian symbolism in the key signature.
With such careful musical architecture, it is not surprising that the middle movement be solely devoted to the harp. In true pastoral fashion, the rhythm is a compound (12/8) meter. More interesting is the choice of key. Where the traditional pastoral key would be F major, Britten chooses the equidistant enharmonic equivalent, the tri-tone (C-flat major). The piece ends on the dominant F-flat, minus the third—a common medieval device.
A final aspect of simplicity is the choice of voices and the way they are set. The sound of a child’s voice, and their presence on stage, can create a sense of innocence and purity synonymous with simplicity. Musically, Britten was always careful when he wrote for children. Although the music often sounds complex, Britten generally used the technique of canon as a way to produce polyphony. What better way to produce the feeling of timelessness than with canon—where a melody could continue ad infinitum if need be? The most oft-performed extracted movement is This Little Babe, a perfect example of Britten’s canonic writing for children’s voices.
John Rutter
Perhaps the most frequently performed carol arrangements are those of John Rutter. Born in London in 1945, Rutter is arguably the most prolific and published composer of carols in the twentieth century, not only in England but also around the world. In Oxford’s 100 Carols for Choirs, nearly thirty carols are by him. There are simply far too many carols by Rutter to discuss here. However, some examples show his connection to the past while writing in a modern romantic language.
“Joy to the World” is one of the most common carols in the Western hemisphere. Rutter could not have chosen a carol with more links to England’s past than this one. The text is by Isaac Watts (1674–1748) and the original tune by Lowell Mason (1792–1872). Rutter modeled the accompaniment for the carol from the orchestral writing of Handel. Complete with descant, the Handelian orchestration to Lowell Mason’s tune on John Wesley’s text is one of Oxford University Press’s most rented carols during the Christmas season.
Rutter wrote several other carols for chorus with orchestra or organ: Wexford Carol, Jesus Child, Donkey Carol, Angel’s Carol, Nativity Carol, Star Carol, Candlelight Carol, Shepherd’s Pipe Carol, and others. It is arrangements like Candlelight Carol, which can be classified as both a carol and an anthem, that have made Rutter a wealthy man. They contain the qualities necessary for any carol—a verse followed by a refrain, or burden.
In addition, the melodies and their respective accompaniments tend to be very sweet-sounding and melodious. It is this latter trait that has brought Rutter fame and fortune. In this music one can hear the influence of Fauré-like orchestration, Vaughan Williams-inspired melodies, and the often-used flattened seventh that is so common in popular music.
Many of the above-listed carols are Rutter originals. As in Shepherd’s Pipe Carol, for example, both the music and the text are by Rutter. The same is true of Jesus Child, Donkey Carol, Angel’s Carol, Nativity Carol, Star Carol, and Candlelight Carol. Of the composers discussed thus far, none wrote as many original texts and tunes as Rutter. His contributions to the carol genre alone have brought significant attention to the choral world.
Herbert Howells
No discussion of the English carol would seem complete without mentioning A Spotless Rose by Herbert Howells (1892–1983). Herbert Howells wrote the piece,
After idly watching some shunting from the window of a cottage…in Gloucester which overlooked the Midland Railway. In an upstairs room I looked out on iron railings and the main Bristol-Gloucester railway line, with shunting trucks bumping and banging. I wrote it for and dedicated it to my Mother—it always moves me when I hear it, just as if it were written by someone else.14
With its parallel thirds and fourths, the piece evokes a sort of impressionistic quality. The irregular meters (3/4, 7/8, 5/4, 5/8, etc.) give the piece a fluidity of plainsong-like phrases not found in other carols. The fourteenth-century text also provides a subtly respectful timelessness to the piece. A Spotless Rose is mostly in four parts except at cadences where it breaks into five or, in the case of the final cadence, six parts. It is this final cadence that was much beloved by Vaughan Williams and Patrick Hadley. Since the work’s creation (1919), Howells received a postcard every Christmas thereafter from Patrick Hadley that contained the cadence and these words, “Oh Herbert! That cadence!”15
Summary
Holst, Britten, and Rutter represent the carol in their own unique way. Each had a distinct musical vocabulary that can be heard in their music. Some used the traditional approach of setting plainsong to their own time. Others, especially Rutter, have set melodies that are distinctly their own. Nearly every composer, it would seem, has taken a traditional carol and adapted a “modern” accompaniment to the otherwise traditional melody.
In terms of texts, it would be difficult to find an English composer who never set an already established text. From these examples, it is clear that the medieval carol is among the more popular. Rutter, although there are others not listed here, chose to write melodies and accompaniments to his own texts.
Carols functioned as a social outlet, as Poor Robin’s Almanac illustrates. Interestingly enough, although mention is made of Jesus, plenty is also made of food and drink. Like folksong, carols were for the people. It is for this reason that they continued to exist outside church walls.
Carols were also devotional. For those who had their own private chapel, one could find them being sung there. In the parish church, it would take the efforts of the Victorians to regiment them as part of the liturgical service. It would not be until 1918 that the entire world would be affected by the Nine Lessons and Carols service at King’s College, Cambridge, which is perhaps the most influential reason for the popularity of the carol today.
Besides being both social and devotional, carols have served as sparkling gems in choral concerts. Carols are “art music.” Like many things throughout history, it is the way in which something is used that gives it definition. It does not seem out of place when a carol is sung in a secular location or by a secular ensemble. They exist for the betterment of music as a whole. Therefore, in this case the carol would be more closely linked with the social classification. As a result, the carol is one of those enigmatic genres that exist both liturgically and secularly—neither side taking issue with the other.
The main reason why the carol can dually exist is its simplicity. There is nothing to muddy the waters and create controversy, even when the subject matter is based on religious/biblical themes. Composers throughout the twentieth century in England managed to evoke their own voice while remaining true to the inherent simplistic quality of the carol.
Holst’s simplicity came as a result of the element crucial to the carol: the people. He wrote for them. Simple melodies, textures, and accompaniments meant that nearly every amateur could be an integral part of the carol tradition. Through simplicity of text, voicing, and accompaniment, Britten created his own form of simplicity. Rutter’s simplicity is in the way the music sounds. It is so very easy to listen to (the same cannot necessarily be said about singing or playing them!).
Following the Victorian rediscovery (and regimentation) of the English carol dating from the Middle Ages, the carol tradition in England remained strong and thrived under several great composers: Holst, Britten, and Rutter among the more well-known. Through their carols, they presented the carol through use of traditional qualities (plainsong, medieval texts, and the like) while infusing their own musical language, aligning themselves in the great carol tradition. With the carol’s multiple characteristics, it was and remains an enigmatic genre that is social, devotional, and art music, separately and all in one. With the inception of what is perhaps the greatest advocate of the carol, the Service of Nine Lessons and Carols, English composers have provided the means for the carol genre to thrive, all over the world, for centuries and millennia to come. ■
