Jesse Eschbach to play opening concert on the 60-stop Wolff instrument at University of North Texas

Marijim Thoene received a D.M.A. in Organ Performance/Church Music from the University of Michigan in 1984. She is an active recitalist and director of music at St. John Lutheran Church in Dundee, Michigan. Her two CDs, Mystics and Spirits and Wind Song are available through Raven Recordings. She is a frequent presenter at medieval conferences on the topic of the image of the pipe organ in medieval manuscripts. Lisa Byers received master’s degrees in music education and organ performance from the University of Michigan, and a J.D. from the University of Toledo, Ohio. She is retired from teaching music in the Jefferson Public Schools in Monroe, Michigan, as well as from her position as organist/choir director at St. Peter’s Episcopal Church in Tecumseh, Michigan. She currently subs as organist in the Monroe area.

This year’s gathering marked the fiftieth anniversary of the University of Michigan Conference on Organ Music, directed by its creator, Marilyn Mason. Organists from France, Germany, Poland, and the U.S. performed on the Aeolian-Skinner on the stage of Hill Auditorium. The shimmering golden pipes of this organ made this year’s theme especially appropriate: “Pure Gold: Music of Poland, France and Germany.” The conference was dedicated to the memories of Erven Thoma, a Michigan DMA graduate in church music, and William Steinhoff, Professor Emeritus of English at U-M and husband of Marilyn Mason.

Sunday, October 3
Frédéric Blanc, 43-year-old native of Angoulême, opened the conference with a program of all-French music. He introduced his program by saying that Fauré, Ravel, and Debussy are never far away in nineteenth and twentieth-century French organ music. Their influence was undeniable in the works Blanc performed, a mix of well-known and loved repertoire—Franck, Choral in A Minor and Cantabile; Vierne, Carillon de Westminster and Méditation Improvisée (reconstructed by Duruflé), repertoire that is occasionally heard—Prelude in E-flat Minor (from Suite, op. 5) by Duruflé and Allegro (from Symphony VI) by Widor, and repertoire that is rarely heard—Introduction et Aria by Jean-Jacques Gruenwald, Toccata (from Le Tombeau de Titelouze, on Placare Christe Servulis) by Dupré, and Prelude (from the suite Pélleas et Mélisande) by Debussy, transcribed by Duruflé.
Blanc’s technique is formidable and his choice of registration was both poetic and daring; however, his playing became more impassioned and inspired in his improvisation—a Triptych Symphony based on three submitted themes: Jesu, Joy of Man’s Desiring, Hail to the Chief, and Somewhere Over the Rainbow. His imagination and creativity were dazzling as he altered rhythms and keys of the submitted themes, seamlessly moved from dark and somber to warm and brilliant colors, from pensive to ebullient moods, and ending with a bombastic pedal toccata. He delighted in making the instrument hum, growl, and break forth in glorious trumpeting.

Monday, October 4
On Monday afternoon Frederic Blanc gave a lecture entitled “A Mind’s Eye.” He spoke informally of how his life as a musician has been shaped and influenced by unique circumstances, his teachers, and his views on improvisation. While he was a student at the Bordeaux Conservatory, Xavier Durasse heard him play and persuaded him to come to Toulouse, where he was then asked to be organist at St. Sernin. There he had all his nights to play the organ, and there he met Jean-Louis Florentz, André Fleury, and Madame Duruflé. When she heard him improvise, she said, “I will take you to Paris and I will make you work very hard.” He told how he was not prepared to play Dupré’s Variations on a Noël, one of the required pieces for the Chartres competition, and she told him he had to be able to play it from memory in fifteen days or she would never see him again. She was delighted when he came back in fifteen days and played it from memory. Blanc said that the most important thing he learned from her was that “each piece has its own way to be played, you must express yourself, your sensitivity must flow through the music.”
Blanc’s candid answers to questions about his own improvisation left me feeling that here is a man whose life is charmed, who is fully conscious of the rare gift he has been given, and is fully committed to nurturing it. When asked who taught him how to improvise, he answered: “I wasn’t. I listened to Madame Duruflé, Pierre Cochereau, Jean Langlais, and to recordings of Tournemire. Nobody can give you the gift. If you are not given the gift you will never be able to improvise a symphony . . . I heard Cochereau at Notre Dame and it was like magic, like being pierced by a sword, raised to heaven. He was at one with the organ.”
When asked about the state of organ building in France today, Blanc lamented that there are no organs in concert halls, and the organist cannot be seen in the lofts in churches. He commented that Cavaillé-Coll was a builder who turned toward the future and restored his own organs for new music, especially those organs in Notre Dame and Sacré Coeur.
Blanc’s final dictum concerning how to play French organ music: “After historicism, it must be the music and what you have inside.”
Charles Echols, Professor Emeritus of St. Cloud State University, lectured on “Observations on American Organ Music 1900–1950,” covering a large variety of topics: the movement of American composers to create “American” music; changes in musical style and organ building between 1930–1950; approaches to researching organ music by American composers; and an introduction to the organ music of René Louis Becker, whose scores have been given to the University of Michigan by his family, who were present at the lecture.
On Monday evening Martin Bambauer, 40-year-old organist and choirmaster at the Konstantin Basilika in Trier, played Dupré’s Poème héroïque, op. 33; Tournemire’s Triple Choral, op. 41; Liszt’s Eglogue (from Années de Pèlerinage), transcribed for organ by Bambauer; Karg-Elert’s Partita Retrospettiva, op. 151; Iain Farrington’s Fiesta!, plus his own improvisation. He played with great precision and refinement. His performance of Tournemire’s Triple Choral, op. 41 was an Ann Arbor premiere. Farrington’s four-movement work, Fiesta!, was a bit of fresh air, conjuring up all sorts of secular venues, from a stripper’s stage to a cocktail lounge.

Tuesday, October 5
On Tuesday, Martin Bambauer began his lecture, “Tournemire’s Triple Choral,” by saying that it was Tournemire’s first major organ work, and he had learned it in a week (!) and played it for the fourth time in public yesterday, and that it was not a very popular piece. Truly, I would have thought he had been playing the piece for years. This early work of Tournemire is introspective and cerebral, and at the same time hints at the other-worldliness that would characterize his later work. Bambauer mentioned that in 1896 the Liber Usualis became Tournemire’s constant companion, and when he became Franck’s successor at the Basilica of St. Clotilde in 1898 he only improvised on chant in the services. He thought sacred music was the only music worthy of the name, and when Langlais questioned him, asking what about the music of Debussy, Ravel, and Stravinsky, he said it didn’t matter! Bambauer recommended listening to Tournemire’s eight symphonies, among them Search for the Holy Grail and Apocalypse of St. John. Tournemire was drawn to the mysterious and supernatural, apparent not only in his music, but in his biography of Franck in 1931, and the naming of his two cottages “Tristan” and “Isolde”—his Opus 53 bears those names.
Bambauer pointed out that Tournemire was recognized as a great improviser, and Vierne described him as being “impulsive, enthusiastic, erratic, and a born improviser.” Tournemire’s Five Improvisations, recorded in 1930 at St. Clotilde and transcribed by his student, Duruflé, are his most popular works. His L’Orgue Mystique, fifty-one liturgical sets of five pieces each, was composed between 1927–1932 and is the Catholic counterpart to Bach’s Orgelbüchlein. Bambauer explained that the first edition of L’Orgue Mystique was dedicated to César Franck and states in the preface that the performer is free to choose the registration; however, in the second edition Duruflé includes registration and manual changes.
Bambauer’s insightful analysis of Tournemire’s Triple Choral not only focused on his compositional techniques—use of imitation, paraphrase, and inversion—but how and when Tournemire used the same harmonic vocabulary as Franck. Bambauer illustrated the meticulous craftsmanship in this early work of Tournemire based on his newly created chorals entitled “The Father,” “The Son,” and “The Holy Spirit,” and discussed how the prose with which Tournemire prefaced each choral was mirrored in the music. Tournemire’s prose offers a poignant testimony of his profound faith and allows the listener to participate in Tournemire’s personal vision.
Bambauer commented that the highlight of the piece occurs at the end as the three chorals softly merge together. Bambauer treated us to another performance of Tournemire’s Triple Choral and “the knowing made all the difference.”
Tuesday evening James Kibbie, Professor of Organ at U-M, presented a stunning memorized recital. He has a special affinity for the music of Marcel Dupré, Jehan Alain, Dan Locklair, and Jirí Ropek. He played Dupré’s Prelude and Fugue in B Major, op. 7, no. 1, with conviction and assurance. The pleasure of hearing Alain’s rarely played Two Preludes was heightened by being able to read the texts that accompany them. Kibbie’s sensitive interpretation made the images of the text take on a life of their own.
Dan Locklair’s Voyage was another kind of tone poem, providing a journey to fantasy lands filled with sounds of the ebb and flow of tides, jazz, bird song, chimes, and billowing waves evoked by hand glissandi. Kibbie managed to weave together these disparate elements into a fabulous and entertaining voyage.
It was a pleasure to hear Kibbie speak of his meeting Jirí Ropek when he won the Prague Organ Competition in 1979 and of his continuing friendship with this celebrated organist/composer who suffered greatly during the Communist oppression. Kibbie related conversations he had had with Ropek that offered insight into his music. Of the three Ropek pieces on the program, Kibbie said that the Toccata and Fugue (dedicated to Kibbie) was the most complex and dissonant, and mirrored in the work is Ropek’s philosophy: “Life is not only one melody, but many and dissonances, but in general I’m quite melodious. No frightening the audience.” To hear this account made Ropek’s Toccata and Fugue, filled with haunting and aggressive motives, a kind of musical autobiography. Kibbie also explained the compositional process of Ropek’s Fantasy on Mozart’s Theme. In 1775 Mozart improvised a work in a monastery, and only the first 57 measures were written down. Ropek was asked to play it and he added a cadenza. He worked on it over the years and finally he attached his own music to Mozart’s original piece. It was one of the last things he wrote before he died and is dedicated to the students of James Kibbie at the University of Michigan. It was published in 2009.
Kibbie mentioned that he had just played Ropek’s Variations on “Victimae Paschali Laudes” in Prague the week before and made a recording for the radio at the Basilica of St. James where Ropek was organist for 35 years. This beautiful work has become a signature piece for Kibbie.

Wednesday, October 6
Five recitals were performed on Wednesday, an intense day of listening.
The first recital of the day was played by Andrew Lang on the Létourneau organ in the School of Public Health. Lang is a student of James Kibbie and commutes from Chapel Hill, North Carolina. His program was well suited for the room and instrument: “The Primitives” and “Those Americans” (from Five Dances for Organ) by Calvin Hampton; Dies sind die heiligen zehen Gebot, BWV 678, Fughetta super Dies sind die heiligen zehen Gebot, BWV 679, and Prelude and Fugue in B Minor, BWV 544, by Bach. Lang played with verve and energy; the contrapuntal lines were electric with clarity and precision.
The day’s second recital was played at Hill Auditorium by Józef Kotowicz, who received his doctoral degree in 2001 from the Music Academy in Warsaw. He is active, playing recitals in music festivals throughout Europe, producing a radio program devoted to organs of northeast Poland, recording on the organ in the Cathedral Basilica (Bialystok), and teaching and serving as organist at St. Adalbertus Church. Two of the most interesting pieces of his ambitious program were works by Mieczyslaw Surzynski (1886–1924), Improvisation on the Polish Sacred Song “Swiety Boze,” and Stefan Lindblad (b. 1958), Espanordica. Kotowicz explained to me that “Swiety Boze” is a very popular hymn in Poland and is sung often during funeral services. A translation of the first line reads: “Holy God, Holy [and] Mighty, Holy [and] Immortal, have mercy on us.” The hymn has inspired many composers.
After hearing the performance of Surzynski’s Improvisation, it is easily understood why he is the most revered Polish composer of organ music. The work began with a statement of the hymn, and six dramatic variations followed, with variations one and five being the most riveting. In variation one, thundering chords are played in the manuals while the cantus firmus is heard in the pedals. In variation five, a fiery toccata is in the manuals while the cantus firmus thunders in the pedals.
Kotowicz’s performance of Lindblad’s Espanordica was electrifying. Each of the three movements—Rhapsodia, Nocturno, and Litanies—is built on Spanish dance motifs. Kotowicz told me that Stefan Lindblad lives in Göteborg, Sweden. Lindblad has composed two large works for organ, Hommages and Espanordica, which Kotowicz has performed in Ann Arbor. Both of these pieces have never been printed and he is the only Polish organist who has the scores. He also commented, “It’s interesting that Lindblad is almost completely unknown in Sweden, so I feel like his promoter. I know him personally because I often play in Sweden.”
In honor of Chopin’s 200th birth year, Arthur Greene, Professor of Piano at U-M, performed an all-Chopin recital. It was truly a gift to hear such great artistry.
His program provided a rich and tantalizing view of Chopin’s brilliant oeuvre. Greene drew sounds out of the piano like a magician—singing, soaring, langorous melodies, and thunderous, tumultuous chords. Greene is a master in knowing how to use his body in eliciting such sounds, and in controlling the exact timing of each key and creating suspense through poignant pauses. The audience was captivated by the huge gamut of emotions, from laughter to dark despair, that were portrayed in Greene’s memorized recital. In his hands each piece became a sort of microcosm of its own, glowing with its own unique beauty. His program included three short Mazurkas (op. 67, no. 3; op. 24, no. 3; op. 24, no. 4), the well-known Nocturne in E-flat Major, op. 9, no. 2, Écossaise, op. 72, and four Ballades (op. 23, op. 38, op. 47, and op. 52).
The 4 o’clock recital featured graduate students of James Kibbie and Marilyn Mason. Each performer played with such artistry, conviction, and joy. Their discipline and dedication to their art was obvious. Those performing from Kibbie’s studio included Joseph Balistreri (In Organ, Chordis et Choro by Naji Hakim); Susan De Kam (Partita sopra “Nun freut euch” by Lionel Rogg), and Richard Newman (Final from Symphony No. 5, op. 47, by Louis Vierne). Mason’s students included Timothy Tikker (Pièce Héroïque by César Franck) and Louis Canter (Adagio, Fugue from The 94th Psalm by Julius Reubke).
The final concert of the conference was played by Charles Echols. His entire program was devoted to the music of René Louis Becker (1882–1956). In his notes, Professor Echols described Becker’s career as a musician in the Midwest, and commented that among the many churches Becker served as organist were Blessed Sacrament Cathedral in Detroit and St. Alphonsus Church in Dearborn, Michigan. Echols also indicated those pieces that have been published and those that are in manuscript form. Echols’s playing was flawless, and he is to be thanked for advancing this composer’s work, which recalls the music of Mendelssohn.
Professor Marilyn Mason has been responsible for the organ conference at the University of Michigan, a “happening” in Ann Arbor for 50 years. When I asked her what inspired her to begin this incredible conference she told me: “I began the conference for our students; my then manager, Lillian Murtagh, urged me to sponsor Anton Heiller, who had never played in Ann Arbor. Further, I realized since the students could not have a European experience there, we could provide it for them here: especially to hear organists who had not played in Ann Arbor. Some firsts in Ann Arbor were the Duruflés, Mlle Alain, Anton Heiller, and many more. This contact also provided a window of opportunity for the students, many of whom went on to study with the Europeans after having met them here.” This gathering together of world-class performers and teachers continues to nurture and inspire. We are indebted to Marilyn Mason for literally bringing the world to us.

•

These articles represent the ten sessions that I reviewed (each session is designated by roman numerals I–X).
I. Sunday, October 3, 4 pm, A Grand Night for Singing, Hill Auditorium
This inaugural event was a multi-choir extravaganza led by conductor and artistic director Professor Jerry Blackstone. He was assisted by other U of M faculty conductors, vocalists and instrumentalists. Six U of M student auditioned groups participated, with approximately 650 students. Composers ranged from Monteverdi to Sondheim, fourteen in all, and many various ensembles, representing a variety of musical genres. Each of the sixteen presentations, including choirs, solos, opera, theater, and musicals, was greatly appreciated by the audience, which rendered a standing ovation.

II. Monday, October 4, 10:30 am, dissertation recital by Jason Branham, at Moore Hall, the School of Music, on the Marilyn Mason Organ built by Fisk
Branham’s recital featured Buxtehude’s Praeludium in E Major, BuxWV 141, Bach’s Liebster Jesu, wir sind heir, BWV 731, and Trio Sonata No. 5 in C Major, BWV 529, Clerambault’s Suite du deuxième ton, and Mendelssohn’s Sonata No. 4 in B-flat Major, op. 65. Branham performed with an understanding of musical forms, in a sensitive and confident manner. The variety of works presented allowed him to demonstrate well many registration possibilities of this unique instrument. This performance was acknowledged with great applause.

III. Monday, October 4, 4 pm, dissertation recital by Christopher Reynolds at Hill Auditorium
Cantabile by Franck, Passion, op. 145, No. 4 by Reger, Prelude on Picardy by Near, Meditation on Sacramentum Unitatis by Sowerby, Elegy in B-flat by Thalben-Ball, Praeludium in g, BuxWV 149 by Buxtehude, from Zehn Charakteristische Tonstücke, op. 86, Prologus tragicus by Karg-Elert, and Concert Variations on The Star-Spangled Banner, op. 23 by Buck. Reynolds appropriately approached and performed well the pieces that required a reflective and meditative interpretation. His registrations, musical sensitivity, and facility made his selections interesting for the listeners who aptly responded with approval.

IV. Tuesday, October 5, 9:30 am, Organs of France
IX. Wednesday, October 6, 9:30 am, Organs of Bach Country
X. Wednesday, October 6, 10:30 am, Organs of the Austro-Hungarian Empire
Janice and Bela Feher presented three narrated photographic summaries of the European pipe organs visited and played on University of Michigan Historic Organ Tours, 2005–2009.
Organs of France were viewed via a PowerPoint presentation of pipe organs from various regions of France. The Fehers showed examples of French Baroque, Classic, Romantic, and Symphonic organs, and they highlighted sites and instruments associated with important organists and composers. Instruments included organs built by Dom Bedos, François-Henry, Louis-Alexandre, and Robert Clicquot; Jean-Pierre Cavaillé (grandfather), Dominique (father) and Aristide Cavaillé-Coll (son); and Moucherel. The photographs of the organs were enhanced by illustrations of their settings; highlights of the organs included historical cases, consoles, and principal internal components.
Organs of Bach Country traced the life of Bach, with photographs of the places where he grew up, the churches where he worked, and the organs he designed and played, along with additional photographic documentation of the organs of Andreas and Gottfried Silbermann, and Arp Schnitger.
Organs of the Austro-Hungarian Empire included pipe organs of Hungary (Budapest, Esztergom, Tihany, Zirc), Austria (Vienna, Melk, St. Florian, and Salzburg), and the Czech Republic (Prague). Historic and modern organs were presented from a variety of churches, cathedrals, abbeys, and concert halls. The photographs showed churches and organs associated with Mozart, Bruckner, Haydn, and Liszt. The photographs and information about these organs and their sites will be available in the near future from the University of Michigan Organ Department website.
The photographs described above and information are contained in several books available through <blurb.com>. The Fehers, along with Marilyn Mason, have produced a photo book about historical organs of Germany and Demark related to Bach and Buxtehude, entitled Sacred Spaces of Germany and Denmark. Their second book on the organs of Hungary, Austria, and the Czech Republic is entitled Sacred Spaces of the Austro-Hungarian Empire. They are beginning to work on another book about the organs of France and Northern Spain. All books may be previewed and ordered from <blurb.com>.

V. Tuesday, October 5, 10:30 am, lecture by Christopher Urbiel, “The History of the Frieze Memorial Organ at Hill Auditorium, The University of Michigan”
Urbiel’s interesting history of this grand organ housed in Hill Auditorium began with the early instrument at Festival Hall at the World’s Columbian Exposition in Chicago, Farrand & Votey organ, 1876 and 1893. Albert Stanley purchased the instrument for $15,000 during U of M President Angel’s tenure. It was placed in University Hall and named for Professor Frieze, founder of the University Musical Society and Choral Union, in 1894. In 1912 it was moved from University Hall. The organ has been changed, modified, and “rebuilt” through the years: Hutchings (1913), Moore, Palmer Christian, E.M. Skinner (1928), G. Donald Harrison, Noehren/Aeolian-Skinner (1955), Koontz (1980), renovated in 1900s, and rededicated to Frieze in 1994. Urbiel was very detailed and thorough in his presentation on the Hill Organ, a large unique instrument, and the audience showed great appreciation for his informative and delightful lecture and pictures.

VI. Tuesday, October 5, 11:30 am, lecture by Michael Barone, “Louis Vierne (1870–1937): The ‘Other’ Music (songs, piano pieces, chamber and orchestral works).”
Michael Barone presented the audience with a detailed listing (seven pages), containing comments, performers’ names, disc identification, and other information of Vierne’s “other” music as described in his lecture title. He discussed Vierne’s life and provided insight into the interpretation of his music based on the tragedies and pain Vierne suffered in the losses of his brother and son, coupled with the difficulties Vierne endured in his career, health, and home life. Barone provided more than 20 recorded excerpts, with verbal descriptions and information in an entertaining and interesting manner. Near the end of the seven-page compilation, Barone listed a disc summary of Vierne’s non-organ repertoire. The audience appreciated Barone’s thorough work, sense of humor, and sensitive presentation.

VII. Tuesday, October 5, 1:30 pm, lecture/demonstration by Michele Johns, “Organ ‘Plus’”
Dr. Johns began her lecture/demonstration by sharing some down-to-earth tips when deciding to use the organ with other instruments in services and concerts. She discussed conducting from the organ, getting funding, how to pay performers, ways to obtain band and orchestra members, vocalists, planning rehearsals, and rehearsing. Her program featured three pieces written for organ, two trumpets and two trombones, which she conducted from the organ. In celebration of this 50th annual University of Michigan Conference on Organ Music and in honor of the Organ Department, an arrangement of “Angels We Have Heard on High” for congregation, brass quartet, tympani and organ was premiered. This was a welcomed and enjoyed opportunity for the conferees to participate in this rousing and exciting setting written by Scott M. Hyslop. Dr. Johns received thanks for her expertise.

VIII. Tuesday, October 5, 2:30 pm, lecture by Steven Ball, “Music of René Becker”
Dr. Ball gave a brief history of René Becker, son of Edouard, who was an organist at Chartres Cathedral. Born in 1882, Becker and his four siblings trained at Strasbourg’s Conservatory of Music. In 1904, Becker moved from France to St. Louis and taught piano, organ, and composition at the Becker Conservatory of Music, which he formed with his brothers. He later taught at St. Louis University and Kendride Seminary. In 1912, Becker and his wife moved to Belleville, Illinois, where he became organist at St. Peter and Paul Cathedral. It was at this time that son Julius was born, the only living child of René. Julius, a retired banker, presently lives in Birmingham, Michigan.
René Becker became the first organist of the newly built Blessed Sacrament Cathedral in Detroit in 1930; an AGO member, he helped to establish the Catholic Organists Guild, and with his son founded the Palestrina Institute. Becker retired in 1952 at the age of 70 from St. Alphonsus Church in Detroit. He left over 160 compositions for organ when he died in 1956. Dr. Ball shared some pictures of René Becker and introduced Becker’s son Julius and his family to the conferees. It was a delight to see Julius Becker (keeper of some of Becker’s compositions) in person. Steven Ball received a four-year grant to record René Becker’s compositions. 

Marijim Thoene received a D.M.A. in organ performance/church music from the University of Michigan in 1984. She is an active recitalist and director of music at St. John Lutheran Church in Dundee, Michigan. Her two CDs, Mystics and Spirits and Wind Song, are available from Raven Recordings. She is a frequent presenter at medieval conferences on the topic of the image of the pipe organ in medieval manuscripts.
Lisa Byers received master’s degrees in music education and organ performance from the University of Michigan, and a J.D. from the University of Toledo, Ohio. She is retired from teaching music in the Jefferson Public Schools in Monroe, Michigan, as well as from her position as organist/choir director at St. Peter’s Episcopal Church in Tecumseh, Michigan. She subs as organist in the Monroe area.
Photo credit: Bela Fehe

The University of Michigan 49th Conference on Organ Music was dedicated to the memory of Robert Glasgow, brilliant organist and much loved professor of organ at the University of Michigan. The conference was truly a celebration of his life as a scholar, performer, and teacher. His raison d’être was music—organ music of soaring melodies and transcendent harmonies. He shared his passion with his students and has left a legacy that can be kept alive through generations of students who instill in their students his ideas.
During the conference, a wide variety of lectures were presented that reflected years of research, along with performances of four centuries of organ music. The conference was international in scope, with lecturers and performers from Germany, Italy, Hungary, Canada as well as the U.S. The themes of the conference focused on the influences of J. S. Bach and Mendelssohn’s role in arousing public interest in Bach’s music.

Sunday opening events
The initial event was an afternoon “Festival of Hymns” presented by the UM School of Music, Theatre, and Dance and the American Guild of Organists Ann Arbor chapter. Led by organist-director Michael Burkhardt, it featured the Eastern Michigan University Brass Ensemble, the Detroit Handbell Ensemble, and the Ann Arbor Area Chorus. Special care was taken to choose, coordinate, and connect music by Bach, Mendelssohn, and Charles Wesley. Many hymn verses and arrangement variations kept the presentation musically interesting and enjoyable. Dr. Burkhardt was masterful in his organ solos, accompaniments, improvisations, conducting, and composing. His leadership from the console was met with great enthusiasm from the appreciative, participating audience. (Review by Lisa Byers)
Sunday evening’s organ recital program featured music of Spain and France performed by musicians from the University of Michigan’s Historic Organ Tour 56 to Catalonia and France. Janice Feher opened with an excerpt from a Soler sonata. Gale Kramer performed the “Allegro Vivace” from Widor’s Symphony V, followed by Joanne V. Clark’s rendering of the “Adagio” from Widor’s Symphony VI. Mary Morse sang the versets of a Dandrieu Magnificat for which Christine Chun performed the alternate versets. Timothy Huth played a section from Tournemire’s In Festo Pentecostes, and Paul Merritt closed the program with the Dubois Toccata. The various composition styles, registrations, and favorable interpretations performed excellently and sensitively on the Hill Auditorium organ were well received and greatly acknowledged by the audience. (Review by Lisa Byers)

Monday, October 5
Jason Branham, a doctoral student of Marilyn Mason, set the stage for celebrating not only Mendelssohn’s two hundredth birthday but also his profound influence in bringing the forgotten music of J. S. Bach to the attention of Berlin and consequently to Western society. Branham’s program was a reprise of Mendelssohn’s Bach recital presented at St. Thomas-Kirche in Leipzig in 1840, performed to raise money to erect a monument to Bach in Leipzig: Fugue in E-flat, BWV 552; Schmücke dich, o liebe Seele, BWV 654; Prelude and Fugue in A Minor, BWV 543; Passacaglia and Fugue in C Minor, BWV 582; Pastoral in F Major, BWV 590; and Toccata and Fugue in D Minor, BWV 565. Branham’s performance was exciting and earned him thunderous applause.
Christoph Wolff, Professor of Musicology at Harvard, eminent Bach scholar, and author of Johann Sebastian Bach: The Learned Musician, gave four illuminating lectures during the conference. In his first lecture, “J. S. Bach the Organist—Recent Research,” he presented arguments supporting Bach’s authorship of the D-minor Toccata and Fugue, BWV 565, dated 1703. Peter Williams, who questioned Bach’s authorship in the 1980s, maintained that such a piece could not have been composed by Bach before 1730. Wolff presented convincing arguments based on an analysis of both the oldest manuscripts and the music itself. He also drew a connection to the discovery in 2008 of Bach’s Wo Gott der Herr nicht bei uns hält, BWV 1128, in the library of Halle University. The work is a large free fantasia dated ca. 1705, with compositional features shared by the Toccata and Fugue in D Minor. Wolff maintained that Bach, whose organ technique was formidable at an early age, composed the D-minor Toccata and Fugue to dazzle his audience with improvisatory passages borrowed from pieces like Buxtehude’s D-minor Toccata. Wolff concluded that this work was written as a showpiece for Bach himself and not intended to be circulated and copied by his pupils; hence only one copy exists, in the hand of Johannes Ringk, dated 1730.
Michael Barone’s handout listing Mendelssohn recordings was a testimony to his impressive knowledge of recorded organ music. Of the many Mendelssohn pieces he played, the most compelling was a 1973 recording of Mendelssohn’s Piano Concerto No. 1 in G Minor, op. 25, played by Robert B. Pitman, piano, and George Lamphere, organ, at the Methuen Music Hall (Pipedreams CD-1002; live performance). The playing was stunning in its youthful exuberance and virtuosity.
Professor Wolff showed images of historical organs and churches connected to Bach, many of which unfortunately no longer exist, in his lecture “Silbermann and Others—The World of Bach Organs.” The most riveting information regarding performance practice of the organ in Bach cantatas came from a view of the original Mülhausen balcony. The balcony was large enough to accommodate strings, woodwinds, brass, and choir; kettle drums were fixed onto the railings overlooking the audience. The choir stood below the instruments. The large organ was used—not a little Positiv. A performance incorporating this practice is on John Eliot Gardner’s recording, Bach Cantata Pilgrimage, using the Altenburg organ in Cantata 146.
James Kibbie, Professor of Organ at the University of Michigan, announced that his recordings of the complete organ works of Bach, performed on historical instruments in Germany, can be found at the website <blockmrecords.org>. The project is supported by a gift from Dr. Barbara Sloat in honor of her late husband J. Barry Sloat. Additional details are available at <www.blockmrecords.org/bach&gt;.
Istvan Ruppert is Dean and Professor of Organ in the Department of Music of the Szechenyi University in Gyor, Hungary, and is also an organ professor at the Ferenc Liszt Academy of Music. His program included music by Mendelssohn, Karg-Elert, Max Reger, Liszt, and three Hungarian composers. He has formidable technique and played with great energy and abandon. It was refreshing to hear intriguing and unknown compositions by Frigyes Hidas, Zsolt Gárdonyi, and Istvan Koloss. The humor in Gárdonyi’s Mozart Changes was appreciated. Ruppert is a real enthusiast in sharing music by Hungarian composers by graciously offering to send scores to those who wished to have them.

October 6
Prof. Wolff pointed out in his lecture “Bach’s Organ Music—From 1750 to Felix Mendelssohn Bartholdy” that Bach’s Clavier Übung III offered a textbook of organ playing. Wolff lamented that Mendelssohn’s inclusion of historical music by Bach, Handel, Mozart, and Haydn into the Gewandhaus concerts had unfortunate consequences in our concert programs today. While only five percent of his concerts were devoted to “historical composers,” the remaining works were by contemporary composers, himself, Liszt, Schumann, and Schubert. Today our programs are mainly old music, with five percent devoted to new music.
Susanne Diederich received a PhD from Tübingen University. Her dissertation, “Original instructions of registration for French organ music in the 17th and 18th centuries: Relations between organ building and organ music during the time of Louis XIV,” represents some of the ground-breaking research on French Classical organs; it was published by Bärenreiter in 1975. In her lecture, “The Classical French Organ, Its Music and the French Influence on Bach’s Organ Composition,” Diederich pointed out that the French Classical organ was complete by 1665, and Guillaume Nivers’ First Organ Book of 1665 contained the first description of all the stops. Her handout was especially informative in showing how Bach’s table of ornaments in his Klavierbüchlein für Wilhelm
Friedemann reflected his assimilation of ornament tables by Raison, 1688, Boyvin, 1689, and Couperin, 1690. Robert Luther, organist emeritus of Zion Lutheran Church in Anoka, Minnesota, played movements from Guilain’s Second Suite, and Christopher Urbiel, doctoral student of Marilyn Mason, played movements from de Grigny’s Veni Creator, Marchand’s Livre d’orgue Book I, and Bach’s Fantaisie, BWV 542, to illustrate features Bach borrowed from the French Classical repertoire.
Seth Nelson received his DMA in organ performance from the University of Michigan in 2003; he is organist at the First Baptist Church in San Antonio, Texas, and accompanist for the San Antonio Choral Society and the Trinity University Choir. His lecture/recital, “Music of the Calvinist Reformation: Introducing John Calvin’s Theology of Music,” included an explanation of why Calvin did not approve of the use of the organ in services. The reasons were many: the Old Testament mentioned its use, thus it is not appropriate to use an old instrument in the new age; it is wrong to imitate the Roman Church; it is an unnecessary aid; it is too distracting; it is against Paul’s teaching, “Praise should be in all one tongue.” The highlight of the program was hearing Seth Nelson’s spirited playing of Paul Manz’s introduction to Calvin’s setting of Psalm 42 and Michael Burkhardt’s introduction and interlude to Calvin’s setting of Psalm 134.
The evening concert featured Mendelssohn’s six organ sonatas played by James Hammann, chair of the music department of the University of New Orleans. It was a rare treat to hear these technically demanding pieces all played at one sitting. Dr. Hammann’s years of investment in this music is apparent. His recording of Mendelssohn’s organ works on the 1785 Stumm organ in St. Ulrich’s Church in Neckargemünd is available on the Raven label.

October 7
Tuesday morning began with the annually anticipated narrated photographic summary of European organs presented by Janice and Bela Feher. This year featured the UM Historic Organ Tour 56 to Northern Spain and France. The PowerPoint presentation included at least 600 photographs of organs in 35 religious locations and the Grenzing organ factory in Barcelona. The organs dated from 1522 to 1890 and included builders Dom Bedos, François-Henry, Louis-Alexandre, Clicquot, Cavaillé family, Cavaillé-Coll, Moucherel, and Scherrer. The photos showed views of cases, consoles, mechanical works, stained glass windows, altar pieces, sacred art, and other enhancements. The Fehers provided a written list with detailed information for each picture. Their first book, with Marilyn Mason, is available by mail order from <Blurb.com>. (Review by Lisa Byers)
Stephen Morris is a lecturer in music at Baylor University, Waco, Texas; organist-choirmaster and director of music ministries at the Episcopal Church of the Holy Spirit in Houston, Texas; and maintains a studio as a teacher of singing, largely concentrating on early adolescent female voices. His presentation, “Acclaim, Slander, and Renaissance: An Historical Perspective on Mendelssohn,” incorporated visual images and music. Among the lesser-known facts is that Mendelssohn was admired and befriended by Queen Victoria and Prince Albert. They chose Mendelssohn’s March from “A Midsummer Night’s Dream” for their daughter’s wedding. It became a favorite for productions of Shakespeare throughout Europe. However, due to anti-Semitism fueled by Richard Wagner, Mendelssohn’s March was banned by Nazi Germany, and ten other composers were commissioned to replace it. Ironically, the Nazis preferred Bach above all composers, yet they never would have known about him without Mendelssohn. Morris noted that there is a great wealth of information on Mendelssohn research at <www.
themendelssohnproject.org>.
Professor Wolff concluded his Bach-Mendelssohn lectures with a fascinating presentation, “The Pre-History of Mendelssohn’s Performances of the St. Matthew Passion.” He described Sarah Itzig Levy, Mendelssohn’s maternal great aunt and a famous harpsichordist, as the moving force who began the revival of
J.S. Bach’s music. She introduced family members and friends to many of Bach’s works. She studied with W.F. Bach and commissioned C.P.E. Bach to write what turned out to be his last concerto: one for harpsichord, fortepiano, and orchestra. She regularly performed in weekly gatherings in her salon as soloist with an orchestra from 1774–1784. In 1823 Mendelssohn was given a copy of Bach’s St. Matthew Passion by his grandmother, Bella Salomon, Sara Levy’s sister. It took Mendelssohn five years to persuade his teacher, Carl Friedrich Zelter, to have the Singakademie of Berlin perform it. The 19-year-old Mendelssohn conducted Bach’s St. Matthew Passion to a packed audience that included the Prussian king. This performance enthralled the audience and thus began J. S. Bach’s reentry into the hearts of German people and to the world at large. Mendelssohn continued conducting performances of the St. Matthew Passion when he became director of the Gewandhaus in Leipzig in 1834, at the age of twenty-six. He re-orchestrated it, shortened some pieces, omitted some arias, and introduced the practice of having the chorale Wenn ich einmal soll scheiden sung a cappella. That score and the performing parts are now in the Bodleian Library.
Eugenio Fagiani, resident organist at St. Michael the Archangel Catholic Church in Bergamo, played a recital at Hill Auditorium featuring Italian composers Filippo Capocci, Oreste Ravanello, Marco Enrico Bossi, and four of his own compositions. His playing was impeccable, and his compositions reflect the influence of one of his teachers, Naji Hakim, in style and use of exotic sounds and feisty, driving rhythms. His Victimae Paschali Laudes, op. 96, has a wide variety of striking timbres, ranging from a clarinet plus mutation stops to a big-band sound. His creativity as a composer was undeniable in his Festive Prelude, op. 99b, composed for this conference. Here the pedal occasionally sounded like percussive drums. The work sizzled with energy and ended in a fiery toccata. Fagiani played “Joke,” another of his compositions, as an encore. The audience enjoyed his quotations from J. S. Bach and John Lennon. More can be learned about this impressive composer/organist at his website:
<www.eugeniomariafagiani.com&gt;.
Michele Johns, Adjunct Professor of Organ at the University of Michigan, presented an interesting lecture on the changes of taste reflected in hymnals from four denominations over the past forty years. She noted that the texts have become more gender inclusive, hymns in foreign languages are included (“What a Friend We Have in Jesus” appears in four languages in the Presbyterian Hymnal), and there is greater variety in styles from “pantyhose music”—one size fits all—to Taizé folk melodies; she proved her point that in today’s hymnals there is “Something Old, Something New.”
One of the most exciting recitals of the conference was played by Aaron Tan, a student of Marilyn Mason and a graduate student in the School of Engineering at the University of Michigan, organist/choirmaster at the First Presbyterian Church in Ypsilanti, and director of the Ypsilanti Pipe Organ Festival. His memorized recital shimmered with grace and energy: Alleluyas by Simon Preston; Prelude and Fugue in G Minor, op. 7, no. 3, by Marcel Dupré; Sicilienne from Suite, op. 5, by Maurice Duruflé; Prelude and Fugue in A Minor, BWV 543, by J. S. Bach; Moto ostinato from Sunday Music by Petr Eben; Naïades and Final from Symphony No. 6 by Louis Vierne. The audience gave him a standing ovation.
The concluding recital was played in Hill Auditorium in memory of Robert Glasgow by some of his former students. The program was a beautiful tribute to his life—a life devoted to the study, performance and teaching of organ music, especially the music of Franck, Mendelssohn, Vierne, Widor, Schumann, Liszt, and Brahms. The performers brought with them some of his spirit, some of his light, some of his joy in creating something that puts us in another dimension. His attention to the minutest detail of the score, his total commitment to breathing life into each phrase was mirrored in these performers:
Mark Toews, director of music, Lawrence Park Community Church, Toronto, past president, Royal Canadian College of Organists, Variations de Concert, op. 1 by Joseph Bonnet; Ronald Krebs, vice president, Reuter Organ Company, O Welt, ich muss dich lassen, op. 122, no. 11, Fugue in A-flat Minor, WoO8, by Johannes Brahms; David Palmer, Professor Emeritus, School of Music, University of Windsor, organist and choir director, All Saints’ Church, Windsor, Ontario, L’Apparition du Christ ressuscité a Marie-Madeleine by Olivier Messiaen; Joanne Vollendorf Clark, Chair of the Music Department, Marygrove College, Detroit, minister of music, Hartford Memorial Baptist Church, Detroit, Pastorale, op. 26, by Alexandre Guilmant; Charles Miller, minister of music and organist, National City Christian Church, Washington, D.C., Pièce héroïque by César Franck; Joseph Jackson, organist, First Presbyterian Church, Royal Oak, Michigan, “Air with Variations” from Suite for Organ by Leo Sowerby; and Jeremy David Tarrant, organist and choirmaster, the Cathedral Church of St. Paul, Detroit, Andantino, op. 51, no. 2, and Carillon de Westminster, op. 54, no. 6, by Louis Vierne.
Professor Marilyn Mason made the 49th Conference on Organ Music at the University of Michigan a reality. She invested countless hours of planning and organizing into making it happen, because she has an insatiable thirst for learning and thinks “we all need to learn.” She has brought brilliant scholars and performers together for 49 years to teach and inspire us. The list includes such figures as Almut Rössler, Umberto Pineschi, Martin Haselböck, Todd Wilson, Janette Fishell, Madame Duruflé, Catherine Crozier, Guy Bovet, Peter Williams, Lady Susi Jeans, Wilma Jensen, Gordon Atkinson, and Marie-Claire Alain (to name only a few). We thank her for such priceless gifts.

Diana L. Akers is adjunct professor of organ at Florida Atlantic University, Boca Raton, Florida. She has studied privately with Marie-Louise Langlais and is presently pursuing a Ph.D. in Comparative Studies in Fine and Performing Arts with a primary emphasis on the 20th-century French organ school of composition. To heighten awareness of the pipe organ, she has created and maintains <www.Organiste.net&gt;, a website/calendar and e-mail notification service for organ, music, and arts events.

The 29th International Organ and Church Music Institute was presented June 15–17 by the University of Michigan School of Music, Theatre & Dance and directed by Marilyn Mason, University Organist and Chair of the Organ Department. The institute was devoted to the study of music by César Franck and Olivier Messiaen, Gregorian, Anglican and responsorial chant, Martin Luther’s musical thinking, hymn improvisation, and pipe organs around the world. Sessions were presented by Gordon Atkinson, Ralph Kneeream, Andrew Mead, Helmut Schick, Erven Thoma, and Steven Hoffman. A concert of works for violin and organ opened the institute, and two organ recitals, one of works by César Franck and one of works by Olivier Messiaen, were presented the following two evenings.

Opening concert
The opening concert was part of the Ann Arbor Summer Festival Classical Music Series and was held at Blanche Anderson Moore Hall. Pierre Darchambeau, violin, and Marilyn Mason, organ, performed works for violin and organ by Handel, Bach, Ysaÿe, Mozart, and Rheinberger. The “Marilyn Mason Organ,” Fisk opus 87, is modeled after the medium-sized organs of Gottfried Silbermann and most closely resembles the Silbermann organ in the Georgenkirche in Rötha, Germany (www.milandigitalaudio.com/silbermannstgeorge.htm).
Two early works of J. S. Bach were heard: Partita, “O Gott, du Frommer Gott,” BWV 767, and Pedal-Exercitium, BWV 598, along with Mozart’s Andante für eine Walze in eine Kleine Orgel, KV 616. The Fisk organ, with its one-fifth-comma modified meantone temperament, was the perfect instrument for the performance of this charming piece. Belgian violinist Pierre Darchambeau displayed brilliant technique and musicianship in the performance of the demanding Sonata No. 3 in D Minor, op. 27, no. 3, for violin alone, by Eugene Ysaÿe (1858–1931). Josef Rheinberger (1839–1901) composed several pieces for violin and organ, including the Suite in C Major, op. 166, which concluded the program. Working together as one, the two soloists achieved a finely tuned balance between the instruments, which inspired the audience to call for an encore, the Arioso by J. S. Bach.

Chant
Gordon Atkinson, visiting scholar from Victoria, Australia, conducted two sessions on chant. Born in Melbourne, he spent much of his life in England and North America. He attended the Royal College of Music in London, and was organist at St. John the Baptist in Kensington, where two of his predecessors were Healey Willan and William Harris. Past president of the Royal Canadian College of Organists, Atkinson has composed a number of Mass settings, choral and organ works, including Celebration, commissioned by Marilyn Mason. It appears on a CD played by Marijim Thoene at St. Joseph Abbey, St. Benedict, Louisiana. Dr. Atkinson’s experience as composer, music director, university instructor, and organist provided the group with meaningful, musical and proper methods of singing Gregorian, Anglican and responsorial chant. He provided diverse musical samples, including his own compositions, and opportunities were given to lead as soloist and cantor and to sing with and direct the group. The session concluded with a rendition of the hymn of praise, Atkinson, O God of Light.
Dr. Atkinson later offered a rare and entertaining presentation of “Australia’s Organ Heritage.” Tracing the history of the pipe organ in Australia, he discussed the organ builders who were German emigrants—Daniel Lemke, Carl Krüger, and Johann Wolff. Significant imports came from E. F. Walcker and others, followed by von Beckerath, Jürgen Ahrend, and others. Slides of various organs were displayed, along with recordings of a range of music, from the Gigout Toccata to Waltzing Matilda.

Organ history
Two lectures on pipe organs, “Ancient Organs through Freiburg” and “Poitiers through Contemporary Organ Building,” were presented by organ historians Helmut Schick and Erven Thoma. The historical development of the instrument was documented through ancient diagrams and writings. Mechanical developments were explained and related to performance and compositional development. Audio soundtracks were matched with photos of actual instruments so that one could hear the difference in voicing and organ specifications. Photos showcased the beauty and artwork of the organ cases.

Franck
“Organ Music of Franck (1822–1890), Photographs, Documents, Texts, Scores, Live and Recorded Performances,” was presented by Ralph Kneeream. Preceding the lecture, Dr. Kneeream shared personal memories and photographs of composers such as the Duruflés, Dupré, and Tournemire, and the 19th-century organ builder Aristide Cavaillé-Coll.
Beginning with the history of Sainte Clotilde, the life and works of César Franck were presented through the interpretations of Charles Tournemire and Maurice Duruflé. Dr. Kneeream stated that Cavaillé-Coll changed the French classical organ by reducing the number of flutes and mutations and by adding stops such as harmonic flutes. He was the first to place the Grand Orgue as the lowest manual instead of the Positif, and he included couplers so that the entire organ could be played from the Grand Orgue.
An expert on the life of Charles Tournemire, Kneeream translated and edited Tournemire’s book César Franck (1930). For performance and registration information, he referred the institute attendees to this volume, citing such quotations as “modulate, modulate, modulate” and the recommendation to “play the room” by allowing endings to naturally decay instead of by counting.
Dr. Kneeream noted that Arbiter Records has recently (May 2008) reissued the original Tournemire recordings of the works of Franck on the Ste. Clotilde organ (1930–31). Kneeream wrote the liner notes and recommended that attendees listen to this CD for performance interpretation and to hear the authentic sounds of the Franck organ, before the Tournemire alteration of the organ in 1933 (www.arbiterrecords.com).
According to Kneeream, within the Ste. Clotilde tradition one can hear the lineage of the great organ composers. For example, in Franck’s Choral en la mineur one can hear the influence of Bach’s Prelude in A Minor, BWV 543. The key link among French composers such as Franck, Tournemire and Olivier Messiaen is mysticism.

Franck masterclass and recital
Masterclass performances were given by U of M students Christopher Reynolds, Jason Branham, and Aaron Tan. Institute attendees were later treated to an all-Franck recital by graduate students of Marilyn Mason on the Frieze Memorial Organ in Hill Auditorium (www.umich.edu/~urel/hill/organ.html): Pièce Héroïque, Jason Branham; Cantabile, Christopher Reynolds; Choral in E Major, Paul Haebig; Choral in B Minor, Andrew Meagher; and Choral in A Minor, Aaron Tan.

Messiaen
Professor Andrew Mead, former chair of the music theory department, presented two sessions on Messiaen: “Visions of Glory: An Introduction to Olivier Messiaen’s Works for Organ” and “Olivier Messiaen’s Works for Organ.”
Somewhat demystifying the music of Messiaen, Mead explained that precedents for several of Messiaen’s compositional ideas and colors can be found in the works of composers such as Bach and Berlioz. Trio texture dominates many of Messiaen’s works. For contrast, as in Baroque literature, three very different registrations are used for each of the three voices and, similar to a cantus firmus in chorale preludes, 4-foot registrations are sometimes used for the melody. Like the trios found in the Bach F-Major Toccata, BWV 540, many times all possible combinations of voices are presented. This concept of using all possible combinations was also used in rhythmic and pitch variations. Another Messiaen technique was to contrast a low fundamental with high registration. Preceding Messiaen in French music, Berlioz contrasted six trombones with three flutes in his Requiem.
Dr. Mead explained many of the techniques that contribute to the sense of infinity or timelessness in the music of Messiaen. His music is not about development, but rather about return and reflection. One should look for recurrent motivic spans, both identical and similar, and techniques such as stretching and contraction and non-retrogradable rhythms. Mead also explained many of the pitch techniques and sources that Messiaen used in his compositions. Modes of limited transposition and chords of the dominant are all explained in Messiaen’s book, The Technique of My Musical Language. Chords of the resonance, based on the overtone series, parallel motion in the modes and in transposed scales, and combinations of scales all contribute to the sense of timelessness in this music, which moves slowly with contrasting, ever-changing colors and rhythm.

Martin Luther
Pulling together all aspects of the institute, Steven Hoffman’s lecture and demonstration, “Next to Theology . . . Music: Luther’s Musical Thinking and Hymn Improvisation,” combined chant, textual meaning, improvisation from organ literature, and inspirational organ playing. Theology first and music second was the focus of Luther’s musical thinking. Choosing several hymns from the Lutheran hymnal, Dr. Hoffman examined the texts first, then the musical sources, and then creatively improvised introductions that portrayed the meaning of the texts. One of his most dramatic improvisations was from Messiaen’s L’Apparition de l’Église Éternelle introducing the hymn, “Let All Mortal Flesh Keep Silence.” Citing Luther’s quotation, “Next to theology, God’s greatest gift is music,” Hoffman demonstrated how the gifts of the human voice, text, and musical skill and knowledge all can be used to celebrate the glory of God. The lecture then concluded with the uplifting, rhythmic version of “A Mighty Fortress Is Our God” (Ein Feste Burg), text by Martin Luther.

Messiaen recital
Topping the final day was an all-Messiaen recital on the Frieze Memorial Organ in Hill Auditorium. Graduate students Christopher Reynolds, Jason Branham, Andrew Meagher, Christopher Urbiel, Richard Newman, and Paul Haebig performed Le Banquet Céleste, Apparition de l’Église Éternelle, “Alléluias sereins” (L’Ascension), “Adoro te” (Livre du Saint Sacrement), “Les Mains de l’abîme” (Livre d’Orgue), and “Joie et clarté des corps glorieux” (Les Corps Glorieux). Dr. Mason performed Verset pour la fête de la Dédicace, a later work of chant and birdsong, and Dr. Mead performed three movements from Messe de la Pentecôte.
The recital was a brilliant ending to three days of a well-conceived interdisciplinary study of the pipe organ and church music. If there were one recurrent theme throughout the various sessions of the institute, it would be a sense of élan, or a call from the soul, and mysticism. In this music, reaching toward the beyond is essential for the composers, the organbuilders, the performers, and the listeners.

Diana L. Akers is adjunct professor of organ at Florida Atlantic University, Boca Raton, Florida. She has studied privately with Marie-Louise Langlais and is presently pursuing a Ph.D. in Comparative Studies in Fine and Performing Arts with a primary emphasis on the 20th-century French organ school of composition. To heighten awareness of the pipe organ, she has created and maintains , a website/calendar and e-mail notification service for organ, music, and arts events.

The 29th International Organ and Church Music Institute was presented June 15–17 by the University of Michigan School of Music, Theatre & Dance and directed by Marilyn Mason, University Organist and Chair of the Organ Department. The institute was devoted to the study of music by César Franck and Olivier Messiaen, Gregorian, Anglican and responsorial chant, Martin Luther’s musical thinking, hymn improvisation, and pipe organs around the world. Sessions were presented by Gordon Atkinson, Ralph Kneeream, Andrew Mead, Helmut Schick, Erven Thoma, and Steven Hoffman. A concert of works for violin and organ opened the institute, and two organ recitals, one of works by César Franck and one of works by Olivier Messiaen, were presented the following two evenings.

Opening concert
The opening concert was part of the Ann Arbor Summer Festival Classical Music Series and was held at Blanche Anderson Moore Hall. Pierre Darchambeau, violin, and Marilyn Mason, organ, performed works for violin and organ by Handel, Bach, Ysaÿe, Mozart, and Rheinberger. The “Marilyn Mason Organ,” Fisk opus 87, is modeled after the medium-sized organs of Gottfried Silbermann and most closely resembles the Silbermann organ in the Georgenkirche in Rötha, Germany (www.milandigitalaudio.com/silbermannstgeorge.htm).
Two early works of J. S. Bach were heard: Partita, “O Gott, du Frommer Gott,” BWV 767, and Pedal-Exercitium, BWV 598, along with Mozart’s Andante für eine Walze in eine Kleine Orgel, KV 616. The Fisk organ, with its one-fifth-comma modified meantone temperament, was the perfect instrument for the performance of this charming piece. Belgian violinist Pierre Darchambeau displayed brilliant technique and musicianship in the performance of the demanding Sonata No. 3 in D Minor, op. 27, no. 3, for violin alone, by Eugene Ysaÿe (1858–1931). Josef Rheinberger (1839–1901) composed several pieces for violin and organ, including the Suite in C Major, op. 166, which concluded the program. Working together as one, the two soloists achieved a finely tuned balance between the instruments, which inspired the audience to call for an encore, the Arioso by J. S. Bach.

Chant
Gordon Atkinson, visiting scholar from Victoria, Australia, conducted two sessions on chant. Born in Melbourne, he spent much of his life in England and North America. He attended the Royal College of Music in London, and was organist at St. John the Baptist in Kensington, where two of his predecessors were Healey Willan and William Harris. Past president of the Royal Canadian College of Organists, Atkinson has composed a number of Mass settings, choral and organ works, including Celebration, commissioned by Marilyn Mason. It appears on a CD played by Marijim Thoene at St. Joseph Abbey, St. Benedict, Louisiana. Dr. Atkinson’s experience as composer, music director, university instructor, and organist provided the group with meaningful, musical and proper methods of singing Gregorian, Anglican and responsorial chant. He provided diverse musical samples, including his own compositions, and opportunities were given to lead as soloist and cantor and to sing with and direct the group. The session concluded with a rendition of the hymn of praise, Atkinson, O God of Light.
Dr. Atkinson later offered a rare and entertaining presentation of “Australia’s Organ Heritage.” Tracing the history of the pipe organ in Australia, he discussed the organ builders who were German emigrants—Daniel Lemke, Carl Krüger, and Johann Wolff. Significant imports came from E. F. Walcker and others, followed by von Beckerath, Jürgen Ahrend, and others. Slides of various organs were displayed, along with recordings of a range of music, from the Gigout Toccata to Waltzing Matilda.

Organ history
Two lectures on pipe organs, “Ancient Organs through Freiburg” and “Poitiers through Contemporary Organ Building,” were presented by organ historians Helmut Schick and Erven Thoma. The historical development of the instrument was documented through ancient diagrams and writings. Mechanical developments were explained and related to performance and compositional development. Audio soundtracks were matched with photos of actual instruments so that one could hear the difference in voicing and organ specifications. Photos showcased the beauty and artwork of the organ cases.

Franck
“Organ Music of Franck (1822–1890), Photographs, Documents, Texts, Scores, Live and Recorded Performances,” was presented by Ralph Kneeream. Preceding the lecture, Dr. Kneeream shared personal memories and photographs of composers such as the Duruflés, Dupré, and Tournemire, and the 19th-century organ builder Aristide Cavaillé-Coll.
Beginning with the history of Sainte Clotilde, the life and works of César Franck were presented through the interpretations of Charles Tournemire and Maurice Duruflé. Dr. Kneeream stated that Cavaillé-Coll changed the French classical organ by reducing the number of flutes and mutations and by adding stops such as harmonic flutes. He was the first to place the Grand Orgue as the lowest manual instead of the Positif, and he included couplers so that the entire organ could be played from the Grand Orgue.
An expert on the life of Charles Tournemire, Kneeream translated and edited Tournemire’s book César Franck (1930). For performance and registration information, he referred the institute attendees to this volume, citing such quotations as “modulate, modulate, modulate” and the recommendation to “play the room” by allowing endings to naturally decay instead of by counting.
Dr. Kneeream noted that Arbiter Records has recently (May 2008) reissued the original Tournemire recordings of the works of Franck on the Ste. Clotilde organ (1930–31). Kneeream wrote the liner notes and recommended that attendees listen to this CD for performance interpretation and to hear the authentic sounds of the Franck organ, before the Tournemire alteration of the organ in 1933 (www.arbiterrecords.com).
According to Kneeream, within the Ste. Clotilde tradition one can hear the lineage of the great organ composers. For example, in Franck’s Choral en la mineur one can hear the influence of Bach’s Prelude in A Minor, BWV 543. The key link among French composers such as Franck, Tournemire and Olivier Messiaen is mysticism.

Franck masterclass and recital
Masterclass performances were given by U of M students Christopher Reynolds, Jason Branham, and Aaron Tan. Institute attendees were later treated to an all-Franck recital by graduate students of Marilyn Mason on the Frieze Memorial Organ in Hill Auditorium (www.umich.edu/~urel/hill/organ.html): Pièce Héroïque, Jason Branham; Cantabile, Christopher Reynolds; Choral in E Major, Paul Haebig; Choral in B Minor, Andrew Meagher; and Choral in A Minor, Aaron Tan.

Messiaen
Professor Andrew Mead, former chair of the music theory department, presented two sessions on Messiaen: “Visions of Glory: An Introduction to Olivier Messiaen’s Works for Organ” and “Olivier Messiaen’s Works for Organ.”
Somewhat demystifying the music of Messiaen, Mead explained that precedents for several of Messiaen’s compositional ideas and colors can be found in the works of composers such as Bach and Berlioz. Trio texture dominates many of Messiaen’s works. For contrast, as in Baroque literature, three very different registrations are used for each of the three voices and, similar to a cantus firmus in chorale preludes, 4-foot registrations are sometimes used for the melody. Like the trios found in the Bach F-Major Toccata, BWV 540, many times all possible combinations of voices are presented. This concept of using all possible combinations was also used in rhythmic and pitch variations. Another Messiaen technique was to contrast a low fundamental with high registration. Preceding Messiaen in French music, Berlioz contrasted six trombones with three flutes in his Requiem.
Dr. Mead explained many of the techniques that contribute to the sense of infinity or timelessness in the music of Messiaen. His music is not about development, but rather about return and reflection. One should look for recurrent motivic spans, both identical and similar, and techniques such as stretching and contraction and non-retrogradable rhythms. Mead also explained many of the pitch techniques and sources that Messiaen used in his compositions. Modes of limited transposition and chords of the dominant are all explained in Messiaen’s book, The Technique of My Musical Language. Chords of the resonance, based on the overtone series, parallel motion in the modes and in transposed scales, and combinations of scales all contribute to the sense of timelessness in this music, which moves slowly with contrasting, ever-changing colors and rhythm.

Martin Luther
Pulling together all aspects of the institute, Steven Hoffman’s lecture and demonstration, “Next to Theology . . . Music: Luther’s Musical Thinking and Hymn Improvisation,” combined chant, textual meaning, improvisation from organ literature, and inspirational organ playing. Theology first and music second was the focus of Luther’s musical thinking. Choosing several hymns from the Lutheran hymnal, Dr. Hoffman examined the texts first, then the musical sources, and then creatively improvised introductions that portrayed the meaning of the texts. One of his most dramatic improvisations was from Messiaen’s L’Apparition de l’Église Éternelle introducing the hymn, “Let All Mortal Flesh Keep Silence.” Citing Luther’s quotation, “Next to theology, God’s greatest gift is music,” Hoffman demonstrated how the gifts of the human voice, text, and musical skill and knowledge all can be used to celebrate the glory of God. The lecture then concluded with the uplifting, rhythmic version of “A Mighty Fortress Is Our God” (Ein Feste Burg), text by Martin Luther.

Messiaen recital
Topping the final day was an all-Messiaen recital on the Frieze Memorial Organ in Hill Auditorium. Graduate students Christopher Reynolds, Jason Branham, Andrew Meagher, Christopher Urbiel, Richard Newman, and Paul Haebig performed Le Banquet Céleste, Apparition de l’Église Éternelle, “Alléluias sereins” (L’Ascension), “Adoro te” (Livre du Saint Sacrement), “Les Mains de l’abîme” (Livre d’Orgue), and “Joie et clarté des corps glorieux” (Les Corps Glorieux). Dr. Mason performed Verset pour la fête de la Dédicace, a later work of chant and birdsong, and Dr. Mead performed three movements from Messe de la Pentecôte.
The recital was a brilliant ending to three days of a well-conceived interdisciplinary study of the pipe organ and church music. If there were one recurrent theme throughout the various sessions of the institute, it would be a sense of élan, or a call from the soul, and mysticism. In this music, reaching toward the beyond is essential for the composers, the organbuilders, the performers, and the listeners. ■

Organist, conductor, and composer Massimo Nosetti died November 12, 2013, of cancer. He was 53. Born in Alessandria, Italy, he was titular organist of the Cathedral of St. John the Baptist and the Sanctuary of St. Rita in Turin. He taught organ and composition at the conservatory in Cuneo, and led numerous masterclasses in romantic and post-romantic organ literature, especially in Japan, Korea, and the U.S. He conducted both orchestral and choral groups, including Cantus Firmus, the choral group he founded. Nosetti was also a composer, primarily of organ and choral works. A member of the diocesan sacred music commission, Nosetti was active in the Associazione Italiana Santa Cecilia, of which he served as vice president from 1999–2004.

Robert “Bob” Sinclair died August 18, 2013, at the age of 69. Born and raised in Winnsboro, South Carolina, he graduated from Mars Hill College, North Carolina, with a bachelor’s degree in music. He also attended Virginia Commonwealth University and Westminster Choir College, pursuing choral studies. In 1975, he became organist and director of music and fine arts for Greene Memorial United Methodist Church, Roanoke, Virginia, and cofounded the Southwest Virginia Opera Society, later known as Opera Roanoke. He also served as organist and director of music at Unity of Roanoke Valley, St. Thomas Anglican Church, and Williamson Road Church of the Brethren. He served various leadership roles for the Roanoke Chapter of the American Guild of Organists and the Thursday Morning Music Club. Robert “Bob” Sinclair  is survived by his sister, his former wife, three children, a daughter-in-law, and four grandchildren.

As we go to press we have learned of the passing of Marianne Webb, 77, of Carbondale, Illinois, on December 7, 2013 in Marion, Illinois. Webb had a lengthy and distinguished career as a recitalist and professor of music at Southern Illinois University, Carbondale. The February issue of The Diapason will contain more detailed information.

Hellmuth Wolff, Canadian organ builder, died November 20, 2013, after a brief illness. He was 76 years old. Born September 3, 1937, in Zurich, Switzerland, he apprenticed with Metzler & Söhne of Dietikon, Switzerland, before working for Rieger Orgelbau of Schwarzach, Austria, and C. B. Fisk of Gloucester, Massachusetts. In 1963, he immigrated to Canada to work with Casavant Frères, Limitée, designing organs for their new mechanical action division. After working with Karl Wilhelm, he established his own firm in 1968 in Laval, Québec. The firm’s website (www.orgelwolff.com) lists 50 opus numbers of instruments of all sizes, with installations throughout Canada, the United States, and in Switzerland. Hellmuth Wolff is survived by his wife Claudette, son Martin, and daughter Maya and her family.