Andrew Scanlon recording

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.

Frank Rippl holds a BMus degree from Lawrence University in Appleton, Wisconsin, where he was a student of Miriam Clapp Duncan and Wolfgang Rübsam, and an MA degree from the University of Denver. He has been organist/choirmaster at All Saints Episcopal Church in Appleton since 1971, is co-founder of the Appleton Boychoir, and coordinator of the Lunchtime Organ Recital Series.

Pittsburgh is a very attractive American city, situated between the Allegheny and Monongahela rivers, which meet to form the Ohio River at the tip of a Manhattan-like triangle of land that is the downtown. Home to 151 high-rise buildings, two inclined railways, and a staggering 446 bridges, it is more than ketchup and paint, and I recommend a visit. You will fall in love with the city, its museums, vistas, churches, and the organs!

Monday evening, June 21, 2010
The convention began with an evening concert preceded by a wandering bus ride o’er the hills of Pittsburgh through the campus of Carnegie Mellon and the magnificent architecture of the University of Pittsburgh. Soon we arrived at Calvary Episcopal Church, a huge building designed in 1904 by Boston architect Ralph Adams Cram. One of the great Gothic Revival churches in America, its 208-foot-long interior seats 1,000 people. The present organ, a huge 4-manual Lawrence Phelps Casavant, Opus 2729, dates from 1963, with modifications and enlargements in 1991, 2004, and 2010.

The recitalist was Peter Guy from Australia, who began with the hymn How shall I sing that majesty to the tune Coe Fen, which I hope will make its way into hymnals soon. The concert began with Duruflé’s Prelude, Adagio, and Chorale Variations on “Veni Creator.” Flutes bubbled about the church as soft solo reeds soloed beneath. The Adagio was announced with a somber Trumpet, then that gorgeous string passage. The variations were played with grace, tenderness, and power. The console was moved into the crossing, and those of us sitting in the transept could not help but notice that, good Aussie boy that he is, Guy played in his stocking feet!
Bach’s Fantasia and Fugue in C Minor, BWV 537, came next. The organ’s principals were warm and expansive as he used the swell shades to good effect, although the registrations did get a little muddy. Guy then played a piece by Australian composer Keith Noake (1915–1968): Introduction, Pastorale, and Fugue on Leoni—a good demonstration of some solo stops. In the Pastorale we heard the clarinet against the Swell strings. The Fugue was announced with, I believe, the powerful Trompette Royale on the Great. A majestic ending brought the piece to a close.
A charming Cantilène by Salomé was next, with a solo on the oboe and a sort of oom-pah accompaniment on a Choir flute and soft pedal. Guy closed with Gothic Toccata, by another Australian composer, Graeme Koehne (b. 1956). Its C-minor tonality had loads of fire and color—a virtuoso performance! A standing ovation demanded an encore: Angelic Whispers by W. R. Knox, from the 1930s.

Tuesday, June 22
The day began in pouring rain as we made our way to Bellevue, Pennsylvania, and the Roman Catholic Church of the Assumption of the Blessed Virgin Mary on the Beautiful River. The Romanesque church features a splendid fresco of Mary ascending into heaven surrounded by saints, apostles, and angels. The acoustics were wonderful for the 1964 3-manual Casavant of about 41 ranks.

The recitalist was Ann Labounsky, who began with Langlais’ famous Hymne d’actions de grâce “Te Deum”. It was marvelously played with great expansiveness. We then sang the hymn Holy God, we praise Thy name (Grosser Gott)— all seven verses. The Pittsburgh area was in the midst of a heat wave, and the humidity and heat made for some colorful tuning issues in the many non-air-conditioned churches we would enter during the convention. This one was no exception. The reeds complained, but Ms. Labounsky soldiered on, took charge, set a good tempo and led us well.
She ended with Six More Pieces for Organ, op. 133, by Pennsylvania composer Joseph Willcox Jenkins (b. 1928). We would hear his fine music several times during the week. I. Sonatina showed the principal choruses. II. Arioso used the strings and a soft solo reed. III. Ludus Angelorum used an Alleluia chant from the Roman Missal. The clear and focused registrations at mf level were well chosen. IV. Ochone used the Great 8′ Principal as a solo over soft foundation stops. A plaintive bagpipe-like cry was heard, then the solo principal returned with an answering phrase by a solo reed. V. Dona Nobis Pacem began with the flutes. Soon we heard the Cornet on the Choir. This organ is very much of its time, but the voicing is very refined. VI. Toccata (“This Service Ends, Let Yours Begin”) brought the piece to an end. Very enjoyable music, beautifully played, and on a fine mid-20th-century organ!
The second stop of the day was at St. John’s Evangelical Lutheran Church in Perrysville for a recital by the church’s own organist, Charlotte Roederer. The organ is a 2-manual, 7-rank, tubular-pneumatic Estey, Opus 1558 (1917). An unusual feature is the Swell 8′ Oboe, which is reedless. Roederer began with Variations on Tallis’s Canon by Franklin D. Ashdown (b. 1942), which provided a good demonstration of the tiny instrument’s resources. Each of the three Great stops (all are at 8′ pitch) has twelve Haskell basses. The tone of this fine little organ, rich and full, was more than able to accompany a church full of OHSers. Those old boys building organs at the turn of the 20th century knew what they were doing.
Then came a beautiful little Prelude, op. 19, no. 1, by John Knowles Paine, which Roederer played with careful attention to phrasing and elasticity. Dudley Buck’s Concert Variations on “The Star-Spangled Banner,” op. 23, followed, beginning on the gentle Swell Salicional. The hymn was Praise to the Lord, the Almighty (Lobe den Herren). We sang the first verse in German, as we were in the home of this German congregation. Roederer led us skillfully.
We then went to Hartwood Acres County Park, site of a large Cotswold-style limestone mansion, which houses a 2-manual Aeolian player organ, Opus 1091 (1909), now under restoration. There was a fun circus-like self-playing instrument on the grounds that entertained us during our meal.

The first stop of the afternoon for my group was Nativity Lutheran Church, Allison Park, to hear James Heustis Cook demonstrate the church’s M. P. Möller Opus 10656-T (1970). That “T” stands for tracker! This organ proved to be a surprise favorite of the convention! With 2 manuals and pedal and 18 ranks, it was beautifully voiced, a joint venture between Möller and G. F. Steinmeyer & Co. of Germany. Page 143 of this convention’s Atlas tells of a political brouhaha that raged around a pastor of this church who barricaded himself within its walls, a labor dispute, and some of the organ’s pipes. It is quite the story.
We heard a marvelous concert on this wonderful little organ. The chairs had been turned around so that we faced the organ. Cook began with Bach’s Fantasia in C, BWV 570, played expressively on a nicely voiced 8′ Principal. Next was a setting of Ein’ feste Burg ist unser Gott, by Johann Nikolaus Hanff (1615–1711), which featured a solo on the Trumpet stop. We then returned to Bach for Nun freut euch, lieben Christen g’mein, BWV 734, very well played with a fine, clear flute on the Great, and the Swell 4′ Krummhorn coupled to the pedal.
J. G. Walther’s Lobe den Herren, den mächtigen König der Ehren used the organ’s very fine principal chorus. We then sang the hymn to that tune. It was appropriately played and the organ was more than adequate to the task of accompanying a church full of OHSers. The “Let the Amen” was hair-raising!
There followed Two Pieces for a Musical Clock by Franz Joseph Haydn: Marche and Presto. The “cute” factor was very much in play—I liked the 4′ Koppel Flute. Next was a favorite of mine: Hermann Schroeder’s setting of Schönster Herr Jesu; Cook played it with tenderness and grace. In the Scherzo from Vierne’s Second Symphony, Cook’s nimble fingers flew over the keys. Music for a Sunday Morning by Allen Orton Gibbs (1910–1996) followed, beginning with energetic mf sounds for Prelude (Psalm 122:1); Offertory (Prayer) had contrasting A and B sections; Postlude (Psalm 117) was a rollicking dance-like piece.
Cook closed with two movements from Dan Locklair’s Rubrics: “. . . and thanksgivings may follow” used the 7-bell Zimbelstern, mounted in front of the 8′ Principal façade pipes; it seemed to dance along with the jazzy rhythms of this wonderful music. “The Peace may be exchanged” brought this outstanding recital to a gentle end.

We were then divided into two groups. Somehow there was a scheduling snafu (these things happen), and my group arrived at St. Benedict the Moor Roman Catholic Church in Pittsburgh an hour early, so we enjoyed some down time. We admired the many beautiful African touches that adorned the grand old building. The organ in the balcony was a 2-manual Derrick & Felgemaker, Opus 95 from 1872; I counted 22 stops. Moved to St. Benedict’s in 1958, by 1990 it fell into disuse. The Harmony Society, directed by John Cawkins, restored the instrument. It is used only occasionally. OHS’s Steven Schnurr presented the congregation with an OHS Citation of Merit.
Kevin Birch began with Flötenkonzert, op. 55, by Johann C.H. Rinck. I. Allegro Maestoso: the Great Principal chorus played in dialogue with a very pleasant-sounding Swell Stopped Diapason. II. Adagio used the lovely Melodia. III. Rondo (Allegretto) alternated between full Great and Swell 8′ and 4′ flutes. Full organ with reeds brought this attractive music to a close. Next was Liszt: Consolation in D-flat, which used more of the foundation stops—then came Ave Maris Stella. The gentle and sweet little Keraulophon had to compete with the church’s fans; the fans won. (It was quite warm and humid.) The hymn Hail, Holy Queen enthroned above (Salve Regina Coelitum) is a sentimental favorite of mine, taking me back to my ‘younger and more vulnerable years’. A Beethoven Scherzo followed. It sounded like a glockenspiel—utterly charming.
In the Intermezzo from Rheinberger’s Sonata IV, op. 98, the lovely melody sang out on the Swell’s Bassoon/Oboe. This is a fantastic organ, and yet the choir sits at the opposite end of the church in front of the old altar surrounded by a piano, an electronic instrument, and a drum set.
Birch closed his program with Fantasie-Sonate No. 2 by Samuel de Lange Sr. (1811–1884). I. Maestoso used full plenum with reeds in music reminiscent of Guilmant. II. Andante provided another visit with the beautiful flutes of this organ. III. Allegro con fuoco brought back big forte sound alternating with a smaller sound on the Swell, and a fugue. A superb demonstration recital on a superb organ!
A delicious dinner was served on board a riverboat, The Gateway Clipper, as we cruised up and down the wonderful rivers, enjoying the skyline, the lights, and the magnificent sunset. Those of us with cameras had a great time!

Wednesday, June 23
Calvary United Methodist Church in Pittsburgh was our first stop. The 3-manual, 32-stop Farrand & Votey, Opus 734 (1895), was given an OHS Citation of Merit. The church is very beautiful with huge Louis Comfort Tiffany windows. James Hammann’s recital featured music by Horatio Parker. Parker’s Sonata in E-flat Minor, op. 65, was an excellent demonstration piece with its changes in tone color and dynamics. The Doppel Flute and Swell Cornopean were prominently featured in the first movement. The second movement, Andante, was a dialogue with the flutes, Clarinet, and Vox Humana. Hammann is no stranger to instruments like this, and he used its resources very well. The Allegretto began with a humorous conversation between the flutes and the clarinet. I could see many smiles around the room. The Doppel Flute dominated the chat. The sonata closed with a fugue, which built to full organ as it proceeded at a modest pace. The Charles Wesley hymn Forth in Thy Name, O Lord with the tune Pixham by Horatio Parker (from The Hymnal 1940) closed the program. It was well led, and sung with enthusiasm. Pity it did not reappear in the 1982 Hymnal.
Our bus caravan drove northwest of Pittsburgh through forested hills and valleys to the city of Beaver, and Holy Trinity Lutheran Church, a mid-1950s building in the style of a New England meeting house. The one-manual and pedal eight-stop Felgemaker organ, Opus 665 (1898), has survived a series of moves and fires that causes one to salute its durability. Dana Hull and John Cawkins supervised its revitalization. Today it stands in the rear gallery. Richard Konzen presented an eclectic program of music from Gabrieli to Distler. He began with a lively Praeludium in C by Johann Christoph Kellner, in which flutes were soon joined by the Open Diapason 8′ and the Fifteenth. Gabrieli’s Ricercar arioso IV featured the Open Diapason in fine style, with well-articulated and elegant playing. Next came Dreissig Spielstücke für die Kleinorgel by Hugo Distler:
1. Schnelle was announced with 8′ and 2′. In 2. Schnelle, the warm Melodia took over. 3. Gehende began on the Dulciana; he then added the 4′ flute for a bit before returning to the beautiful Dulciana.
4. Flincke was a jolly little canonic thing on flutes 8′ and 4′ with the Fifteenth.
Next came that great hymn, All my hope on God is founded, with its tune Michael by Herbert Howells. Konzen followed with a great favorite by Pietro Yon: Humoresque ‘L’Organo Primitivo’. He closed with Bach’s Prelude and Fugue in D Minor, BWV 539, which worked quite well on this organ—Felgemakers are amazing instruments. This was a very well-played program.

The afternoon began at First Presbyterian Church in New Brighton, with a recital by Andrew Scanlon on the church’s fine 2-manual, 17-register Hook & Hastings Opus 2548 from 1928, which stands at the front of the church. Scanlon began with three of Six Pieces by Joseph Willcox Jenkins (b. 1928). Deo Gracias showed the usual Hook powerful presence—the forte sound was arresting. Arioso used the organ’s soft sounds—the oboe and strings, etc. were lovely. Rondeau alternated between the 8′ and 2′ flutes and other quiet effects.
Next was Bach’s Fantasia and Fugue in C Minor, BWV 537. Scanlon played it in the style of the 1920s, with shades and such. He used simple, clear registrations—each musical line was carefully delineated. The marvelous fugue moved at a good clip, with only a small use of the shades—good Bach playing. He then played a piece new to me: Fideles from Four Extemporizations by Percy Whitlock—very calm and soothing music. I loved the strings on this organ. There was a small chime at the end.
The hymn was God moves in a mysterious way (London New). The organ was a trifle too heavy in places, but otherwise it was well done. Scanlon closed with Langlais’ Three Characteristic Pieces. Pastorale-Prelude featured the Oboe and some of the organ’s softest sounds. Interlude used the fine Swell Dolce Cornet III. Bells featured many of the stronger sounds, building to a grand “peak” of sorts. A fine demonstration of a great organ!
We then went to St. John’s United Evangelical Protestant Church in Zelienople to hear organist Gregory Crowell and cellist Pablo Mahave-Veglia, with the church’s sweet little Joseph Harvey organ from 1838. Harvey was a Pittsburgh organbuilder. This one-manual (no pedal) organ has four stops and stands in the rear gallery. Crowell began with Voluntary (Adagio) by Charles Zeuner, played on what sounded like the Stopped Diapason, followed by Festival Voluntary from Cutler & Johnson’s American Church Voluntaries (1856). From Sanahin by Hovhaness, he played VII. Apparition in the Sky (Bird-like) on the 4′ Principal.
Some Mendelssohn followed: Andante religioso from Sonata in B-flat, op. 65, no. 4; Adagio non troppo from Lied ohne Worte, op. 30. The hymn was I would be true (Aspiration); the tune was new to me. We were instructed to sing the last verse pp so that we might hear the cello obbligato, which used material from Mendelssohn’s Song without Words. It was lovely. A Fugue in D Minor (1778) by Wilhelm Friedemann Bach followed, and the concert ended with a fine reading of Vivaldi’s Sonata VI for Cello and Continuo in B-flat Major, RV 46.
The next recital was one I had looked forward to for a long time. Paul Matthew Weber played the 1969 Flentrop organ (2 manuals, 22 stops) at Center Presbyterian Church in Slippery Rock. I was his first organ teacher, and was proud to see him become a Biggs Fellow to the New Haven convention. He would go on to study at Lawrence University and then at Yale, where he earned his DMA. I shall try to be impartial in this review. Actually, that will not be a problem, as his recital was brilliant. The heat that afternoon was oppressive and the organ fought back, but none of us minded. Weber began with the Offertoire sur les grands jeux from François Couperin’s Parish Mass. The reeds were as unhappy with the heat and humidity as we were, but we paid no attention to their complaining—Paul’s wonderful sense of the French Baroque style carried the day.
Next was Sweelinck’s variations on Mein junges Leben hat ein End. Weber began with the Hoofdwerk Prestant 8′, then the Brostwerk 4′ Koppelfluit, then flutes 8′ and 4′, and led us on a fine tour of this very good organ. His playing was clear and controlled, with imaginative choices of color. Brahms’s Herzlich tut mich erfreuen, op. 122, no. 4, featured a dialogue between the Hoofdwerk principals 8′ and 4′, and the Brostwerk flutes 8′ and 4′. We then sang Weber’s setting of that hymn, which he led with great strength. He closed with Buxtehude’s Toccata in G Minor, BuxWV 163, played with a wonderful sense of drive and energy. Immaculate technique and musical line propelled this rousing music to an ebullient conclusion. Well done!
The evening concert took place at Grove City College’s Harbison Chapel on its 4-manual Kimball organ, Opus 7102 from 1931, which stands in chambers on either side of the chancel. The organ had fallen into disrepair, but has been beautifully restored by the Thompson-Allen Company. The console was updated by Nelson Barden & Associates; with solid-state switching and combinations, it is now more practical for teaching. With the air hot and humid, the doors and windows were left open, which allowed fireflies to enter the chapel, adding an enchanting touch to the evening.
It is always a joy to hear Thomas Murray, a regular at OHS conventions. He began with Rhapsody on a Breton Theme, op. 7, by Saint-Saëns. Murray is a master of the orchestral style. His flawless use of expression shades and tone color is the stuff of legend. This piece was a delight. He then played one-time Yale faculty member Paul Hindemith’s Sonata II. Clean registration with contrasting statements highlighted this performance. I loved the growl of the lowest notes of the Swell 16′ Bassoon. Widor’s Symphonie II followed. Murray opened the first movement (Praeludium Circulare) with the huge First Open Diapason 8′ forcing its way into the long room. Other 8′ opens followed. Pastorale playfully danced before us on the beautiful Oboe, which provided whimsy and bliss. He moved the Andante right along—mostly mf, he built it quite smoothly to a good ff and back. Quieter sounds finished the piece, with the French Horn playing the theme. The Finale showed plenty of dash in the hands and feet—it was a splendid performance!
After the intermission, Michael Barone presented Prof. Murray with the OHS Distinguished Service Award for 2010, a richly deserved honor. We leapt to our feet to applaud this great musician!
The second half offered transcriptions by Edwin H. Lemare: Im Garten from Rustic Wedding Symphony, op. 26, by Karl Goldmark (1830–1915). The strings, Vox Humana, and French Horn were heard doing what they do best. Murray did what he does best: bring the most out of this music and organs of this type, making the music sparkle and glow. The next transcription was Scherzo, op. 70, no. 3, by Heinrich Hofmann (1842–1902), a delightful confection; at the end, we even heard the harp.
We then heard a 2008 work by Dan Locklair: Glory and Peace—A Suite of Seven Reflections, commissioned by the Association of Anglican Musicians. Murray gave the premiere performance at Walt Disney Concert Hall in Los Angeles. The movements are inspired by the great George Herbert hymn King of Glory, King of Peace. I. King of Glory, King of Peace (Prelude) used the Tuba Mirabilis in a steadily moving section rising to a ff then backing down to strings and a 32′. II. “. . . seven whole days . . .” (Pavane) used foundation stops. III. “. . . I will praise Thee . . .” (Galliard) is a dance with harp and a faint trace of “America”. IV. “. . . I will love Thee . . .” (Aria) used the Swell Trumpet singing with warmth over some flutes. V. “. . . with my utmost heart . . .” (Scherzo) had playful flute sounds occasionally interrupted by a single chime, which he employed with wit and grace; the harp got the last word. VI. “. . . I will sing Thee . . .” (Trio) was more charm and fun. VII. “. . . e’en eternity’s too short to extol Thee” (Finale) had big full sounds—a joyous romp! A great piece, a great organ, and a great organist! And to add to the magic of the evening, fireflies gracefully led the way back to our buses.

Thursday, June 24
After a lovely climb through more of Pittsburgh’s beautiful neighborhoods, we arrived at the spectacular Gothic Revival Episcopal Church of St. Andrew, Pittsburgh’s second oldest Episcopal church, formed in 1837. Their present building dates from 1906 and features a chancel window, “Christ Blessing Little Children,” by Tiffany Studios. The organ is a 4-manual Skinner, Opus 202 (1913). Beginning in 1992, organist/choirmaster Peter Luley began rebuilding and expanding the organ in the Skinner style. We had two performers that morning: Donald Wilkins and Charles Huddleston Heaton.

Donald Wilkins performed music by Pittsburgh composers. First was a sturdy Postludium Circulaire by Henry Gaul (1881–1945), followed by Western Pennsylvania Suite (1958) by Ruel Lahmer (b. 1912). I. Dunlap’s Creek moved along gently on softer foundation stops. II. Fading Flowers was quiet. We heard the melancholy nature of Skinner’s solo stops, including Oboe and French Horn. III. Bellevernon was somehow reminiscent of Aaron Copland, and built itself to IV. The Spacious Firmament, which brought this nice piece to an end.
Gloria Te Deum by Nancy Galbraith (b. 1951) is in the style of a French toccata. Next was Joseph Willcox Jenkins’ Cantique Joyeux from Trois Cadeaux, op. 206 (2005), which featured the brilliant Fanfare Trumpet above the west doors. It calmed itself down to a pp and then made its way back.
We then switched organists. Charles Huddleston Heaton began with Dupré’s Prelude and Fugue in G Minor, op. 7, no. 3; he played it very well, but I could have done without the fanfare trumpets at the end of the fugue. Prelude on Christmas Carol by Morgan Simmons (b. 1929) followed. It is a gorgeous setting of that wonderful carol tune by Walford Davies sung to O Little Town of Bethlehem—worth getting! Fanfare-Improvisation on Azmon came next and led into the hymn O for a thousand tongues to sing.
The next stop was St. James Roman Catholic Church in Wilkinsburg, which greeted us with a peal of its bells—something we used to do all the time at OHS conventions, but have for some reason or another abandoned. Bring it back, please! Will Headlee performed on the church’s large Möller organ, Opus 9628 (1962), in a program entitled “Homage to Ernest White (1901–1980).” The music came from White’s collection Graveyard Gems (St. Mary’s Press, 1954). The organ is interesting for, among other things, its Swell division divided on either side of the altar. Headlee began with Allegro pomposo by Thomas Roseingrave, which marched along nicely. Adagio by Josef Hector Fiocco featured a mini-Cornet sound that was clear and light. Thomas Arne’s Flute Solo showed off the fine Positiv Koppel Flute 4′.
Then came two pieces by Pachelbel: Prelude in D Minor and Ciacona in D Minor. One was aware of the top-heavy sounds of this era of organbuilding. Headlee gave his usual fine performance, with loads of freedom and clearly articulated fast runs. Next, the Gigout Scherzo in E Major from Dix pièces. It put me in mind of an old all-French Biggs LP I owned back in college, which was recorded at St. George’s Episcopal Church in NYC on a Möller of similar vintage.
We then heard Clérambault’s Basse et dessus de trompette from Livre d’orgue on the Great Trompet. After a bit, he added the Harmonics III, giving the Trompet a different character. Brahms’s O Welt, ich muß dich lassen, op. post. 122, no. 3, used the pretty strings, followed by Messiaen’s Dieu parmi nous. The piece worked surprisingly well on this organ. But, oh, those high-pitched mixtures! The hymn Lift high the cross (Crucifer) ended this fine program.

The next recital of the morning was at St. Therese of Lisieux Roman Catholic Church in Munhall, with Stephen Schnurr, who gives an astonishing amount of his time and talent to the OHS. The organ was a 1960 2-manual, 33-rank Casavant designed by Lawrence Phelps. The main part of the organ is in the front of the church in a chamber to the right of the altar. There is a floating nave division at the far end of the long nave, to help support congregational singing. Dr. Schnurr opened with Bruhns’s Präludium in G Major. He played it very well, gradually unveiling the resources of the organ. The only reed stop in the sanctuary divisions is an 8′ Krumhorn on the Swell. The trumpets are in the Bombarde division back in the nave. Next was a setting of Nun freu’ dich, liebe Christen mein’, S. 21, by R. E. Bach, who flourished in the 1740s. It sounded a great deal like JSB’s setting, which elicited a chuckle or two from us.
Next, A Gigue for the Tuba Stop (2004) by Donald Stuart Wright (b. 1940), a pleasant piece, played amicably. The hymn was Lord, you give the great commission (Abbot’s Leigh). This rather gentle neo-baroque organ didn’t stand a chance trying to accompany the OHS in spite of Schnurr’s best efforts. Then, a lovely setting by Edwin H. Lemare of My Old Kentucky Home (Stephen Foster). Unfortunately our bus drivers took it upon themselves to start their engines and move about the parking lot, ruining Stephen’s charming performance and the recording of same. This problem would continue throughout this convention, and was a source of annoyance for all of us. Schnurr closed with Petr Eben’s Moto ostinato from Musica Dominicalis (1958), which worked quite well on this style of organ.
We had lunch and the annual meeting at the Pleasant Hills Community Presbyterian Church, followed by a recital on the church’s fine Holtkamp organ (1970, 2 manuals and 23 stops). The organ stands in the front of the church behind the altar. James M. Stark, co-chair of this convention, was chairman of the committee that produced this organ. Our recitalist was George Bozeman, who has played multiple times for the OHS and who always manages to insert a bit of whimsy along with solid choices of literature. He began with a piece perfectly suited to this quintessential Chick Holtkamp organ: Hindemith’s Sonata I (1937). This organ is a warm-sounding neo-baroque instrument, and Bozeman used it wisely. I especially enjoyed movement II, Sehr langsam, in which the Cromorne sang its sad song from the swell box—a beautiful tone, used very expressively. The full plenum thrilled but did not dominate. This was an excellent organ for this music.
Next came a bit of humor: Bozeman’s own transcription of A Day in Venice, op. 25, by Ethelbert Nevin (1862–1901). It began with: Alba (Dawn), which led into Gondolieri (Gondoliers), with its 12/8 rhythm taking us down some pretty canal. Canzone Amorosa (Venetian Love Song) used the 8′ Principal in the tenor range, with strings and flutes accompanying. Buona Notte (Good Night) brought it to a close with dark, thick chords giving way to lighter strings and plucks on the Great 8′ Gedackt. Who knew a 1970 Holtkamp organ could be a romantic instrument? George Bozeman did! Well done!
The hymn was A stable lamp is lighted (Andujar). Bozeman closed this well-prepared and carefully thought-out program with Bach’s Prelude and Fugue in E Major, BWV 877, from The Well-Tempered Clavier, Book Two. In the prelude, he demonstrated each of the delicious sounding 8′ and 4′ flutes of this organ. For the fugue he used reeds and foundations—solid, well-defined.
After dinner at the Sheraton Station Square Hotel, we went to the evening event at one of Pittsburgh’s most opulent churches, East Liberty Presbyterian Church, for a recital by Paul Jacobs. This is no ordinary Presbyterian church. It is a huge, vast building in Gothic style built in 1930 to plans by Boston architect Ralph Adams Cram, who was given an unlimited sum of money to spend by the donors, B.B. Mellon and his wife, Jennie King Mellon. Our Atlas quoted architectural historian Walter C. Kidney: “Though building with Presbyterian money . . . [Cram] so designed the chancel that on half an hour’s notice [it] could be set up for a Catholic or Anglican High Mass.” Indeed, carvings and statues were on display all over the building. And the 4-manual, 140-rank organ—the largest we heard at the convention—was to die for. Originally an Aeolian-Skinner, in 2004 Goulding & Wood was awarded the contract to rebuild the organ and reverse changes made in the 1970s. In addition, the acoustics were improved.
Paul Jacobs began with Mendelssohn’s Sonata in F Minor, op. 65, no. 1. The Allegro moderato e serioso was grand and spacious. The peaceful Adagio was restful and quiet. The Andante–Recitativo showed the soft solo and chorus reeds. Jacobs added more and more reeds. His pacing was perfect as the sounds grew grander from this massive organ with seemingly limitless resources. It was, by turns, thrilling and terrifying.
We then sang the hymn The church’s one foundation (Aurelia). The organ seemed a little loud from where I sat. Next, a piece not in the program: Prelude in F Minor by Nadia Boulanger, which showed the strings and foundation stops. He gradually added upperwork before bringing it down to 8′ flutes. Jacobs then moved into Franck’s Finale in B-flat, op. 21. He took the beginning at a dazzlingly fast tempo. I don’t approve of his registrations in Franck, but he sells the music. Who am I to tell Paul Jacobs how to play the organ? I confess that I did like the Flauto Mirabilis used as a solo stop.
During the intermission many of us stepped up to the console to have a closer look. It stood in the center of the chancel. The pipes were high up in chambers on both sides. We were amused to find a drawknob labeled “Console Fan”. When drawn, cool air blows onto the player. Not a bad idea!
After intermission, Jacobs acknowledged the presence of all three of his organ teachers: George Rau, John Weaver, and Thomas Murray. He also introduced his 92-year-old grandmother, and urged all of us to encourage our friends and relatives to attend arts events.
We then heard this remarkable young musician play Liszt’s Fantasy and Fugue on “Ad nos, ad salutarem undam.” Jacobs used the huge variety of tone color at his disposal. It was a grand tour that was at times poignant and at times exhilarating. Young and old, we were all agog over this man’s talent and profound musicianship. We leapt to our feet and cheered. He had given his all to this great music, this great organ, and to all of us. For an encore he played a Bach Fugue in C Minor.
Apart from Jacobs’ playing, what impressed me most was his willingness to meet with all the young people who were present and who clamored to sit on the bench and have their pictures taken with him, this glittering star of the organ world. The Biggs Fellows were thrilled at the gracious generosity of his spirit. He seemed not to have any other concern in the world but to spend time with them—a lesson for all of us!

Friday, June 25
Friday morning began with a drive to the Verona United Methodist Church for a recital by Carol Britt on the church’s 2-manual, 12-rank Wirsching organ (1915). The organ sits in a balcony directly above the altar: the console faces some Tiffany-style windows, with the pipes on either side. A lovely “Coronation” tapestry hangs down to the altar.

We began by singing When morning gilds the skies (Laudes Domini). Britt opened her program with Four Compositions (3. At Twilight, and 4. The Swan) by Charles Albert Stebbins (1874–1958): movement 3 featured the sweet little Oboe; in the fourth movement, the gentle Salicional moved gracefully. Next came Variations on “Les Beaux Mots” by John David Peterson (b. 1946), which had a bit of a French Baroque tambourin style. Then we heard Lemare’s transcription and paraphrase of Stephen Foster’s Massa’s in the Cold, Cold Ground, with the organ’s only reed, the Swell Oboe 8′, playing in the tenor register. The piece ended on the Swell Stopped Diapason with the occasional chime. Britt closed with Mendelssohn’s Sonata III. Such wonderful music, beautifully played, and a very good demonstration of the organ.
All Saints Roman Catholic Church in Etna was our next destination. This Lombard Romanesque (basilica style) church was built in 1915 to plans by John Theodore Comes of Pittsburgh. Six towering granite columns line each of the side aisles. The organ came from the Organ Clearing House, acquired by the church’s organist and OHS member J. R. Daniels (also a co-chair of this convention): an 1895 Hook & Hastings, Opus 1687, of 2 manuals and approximately 23 ranks. Patrick Murphy restored the instrument, completing it in December 1995. It stands in the rear gallery, and the acoustics favored the organ quite well.
Russell Weismann began with Mendelssohn’s Prelude and Fugue in C Minor, op. 37, no. 1, which he played very well, with just the right blend of clarity, drive, and grace. Next was Folk Tune (no. 2 from Five Short Pieces), by Percy Whitlock. The Salicional accompanied flutes on the Great, then the Oboe in the tenor range. The sounds were warm and filled the room. The hymn, Father, Lord of all creation, was sung to the tune Geneva, and included an imaginative reharmonization. Weismann closed with Dudley Buck’s Concert Variations on the Star Spangled Banner. We had the surprise of a Zimbelstern in about the third variation. I’ve never heard anyone else do that. It worked very well. He played with expression and artistry!
We then split into three groups. My group went to First Unitarian Church in Pittsburgh to hear its Wirsching organ built in Salem, Ohio in 1904: 2 manuals and about 21 ranks. The organ was donated by Andrew Carnegie, and Clarence Eddy played the dedication recital. The building is quite handsome, with splendid beams. The organ is at the front, situated in a gallery with an arched recess. Recitalist Mark W. Frazier began with the hymn Sing praise to God who reigns above (Mit Freuden Zart). We were only a third of our usual size, but Frazier played as though the entire convention was singing in this smallish church—needless to say, he drowned us out. The first piece was the Passacaglia, no. 11 from Rheinberger’s Zwölf Charackterstücke, op. 156 (1888). He carried it along quite well.
Next up were Two Chorale Preludes by Roland Leich (1911–1995). Mein Herz, gedenk’, was Jesus thut used a charming 4′ flute. The program listed three movements including a pastorale; the reeds were used well. Die ganze Welt brought it to a close. Frazier then played Légende (2010), which was written especially for this concert by Luke Mayernik (b. 1981). It was full of dark mysterious colors on the Oboe and foundation stops. The middle section called for a Cornet-like sound. The final part took us back to the beginning, and ended on the strings—a good demonstration piece.
We then heard Frazier’s own composition, The Whimsical Frustretude (1995), a happy bit of music with a tongue-in-cheek setting including bits of “Woody Woodpecker”—I liked it a lot! The last piece was Toccata on “Litaniae Sanctorum” (2009) by Robert Farrell (b. 1945)—an exciting work nicely played. Frazier provided well-written and much appreciated program notes, as there was a lot of new music on this fine concert.
There was a symposium on “An Organ in 18th-century Western Pennsylvania: Joseph Downer’s ca. 1788 Chamber Organ”—an organ that only exists in pieces. A distinguished panel of organ historians discussed this instrument. Slides were shown of what remains of the organ, along with what these experts could piece together of the instrument’s history.

My group then went to Pittsburgh’s Temple Rodef Shalom, a large building dating from 1907. The W. W. Kimball Company built the 54-rank, 4-manual organ. Sadly, the instrument is in poor condition and awaits proper restoration. Recitalist Donald Fellows, organist at St. Paul Roman Catholic Cathedral, told us that many of the stops were unusable or had several silent notes. He put on a fine concert nonetheless. The organ stands in a front balcony, which rises above the Bima and the Aron Kodesh. Two menorahs are mounted near the railing, and there are ornamental en-chamade pipes all across the façade. Inside the case is a stop called, appropriately, Tuba Shophar, not playable just now.
Fellows began with Grand Chorus from Twelve Pieces by Theodore Dubois, in which we heard what there was of the Tutti. Next was Balletto del Granduca by Sweelinck, with five of its variations; all were played with great skill and style. I liked the soft flutes and Swell reeds. Then, music by Ernst Bloch: V. Un poco animato from Six Preludes, which presented more of the softer stops. Then A Partita on Laudate Dominum by Richard Proulx—nice individual sounds like the Swell 4′ flute and a beautiful Oboe. We then sang the hymn Sing praise to the Lord (Laudate Dominum), which sounded grand beneath the dome of this great worship space.
The final banquet took place in the palatial spaces of the Carnegie Music Hall, an extraordinary building in Italianate style. The Grand Foyer, added in 1907, was set up for our banquet: a gilded hall with a 50-foot ceiling lined by green marble columns from five countries. We, however, entered the Music Hall first: a lovely jewel-box of a space with red seating for 1,950 people and two balconies. On stage was the huge console of the 126-rank organ. Originally a Farrand & Votey (1895), the organ was rebuilt by
E. M. Skinner in 1917. Aeolian-Skinner did further rebuilding in 1933 and in 1950, adding percussions.
James Stark, in his fine lecture complete with PowerPoint illustrations, told us that the organ had been silent for 20 years. You can imagine our surprise when J. R. Daniels sat down at the console—he played a Fanfare by Michael McCabe that led us into the singing of Eternal Father Strong to Save (Melita). Emotions ran strong throughout that beautiful and historic room. It was one of those “only at OHS” moments. The older folk headed for the beautiful banquet area while the young folk had a field day with this huge and very grand instrument. They soon joined us, happy and smiling at their good fortune! We can only hope that this historic and noble instrument can be blessed with the thorough restoration it so richly deserves. The banquet was fantastic. We felt like royalty!
And then came what was for many of us one of those unforgettable OHS recitals: Wolfgang Rübsam in recital on the huge 4-manual Beckerath organ with its 32′ facade (1962) at St. Paul Cathedral. Our fine Atlas told us that it is “the first mechanical-action organ to be installed in a North American cathedral in the 20th century.” We have the late cathedral organist, Paul Koch, to thank for acquiring this fine organ. It inspired countless organs in the years that followed. It has been restored quite elegantly by Taylor & Boody, who began work on it in 2008. An OHS Historic Citation of Merit was presented by Stephen Schnurr.
Herr Rübsam’s concert was a dandy. He opened with two movements from Vierne’s Symphony No. II in E Minor, op. 20. The Allegro sent volleys of sound through the majestic arches of this great and reverberant building. Rübsam’s famed strength and sense of rhythm plumbed the depths of this fantastic music. As always, he was in complete control of music, instrument, and building. The Chorale movement began on the glorious 16′ foundation stops. It picked up speed and energy, giving us bigger reed sound, contrasting sections of loud and soft, building to a huge ending—it was thrilling.
Next came Franck’s Fantasie in A. It was marvelous hearing him turn this very German organ, with its faint neo-Baroque accents, into a French instrument, which says a great deal about Prof. Rübsam and about Rudolf von Beckerath. With the fine restoration by Taylor & Boody, the organ sounds better than ever.
Then came some Rheinberger (for my money, nobody plays this composer better than Wolf Rübsam): Sonata No. 5 in F-sharp Minor, op. 111. I. Grave-Allegro moderato: the music rumbled through this great cathedral; one was nearly overcome by its sheer force. II. Adagio non troppo used one of the gorgeous principals for a solo in its tenor range. III. Finale (Allegro maestoso) began with a shockingly big sound. He made it roll and roar—utterly fantastic. Can you tell that I enjoyed this recital? His performance served the music first, not himself. It ended in a blaze of glory.
Then Rübsam did something he does as well as anyone on the planet: improvise. This was entitled Polyphonic Improvisation on Rendez à Dieu. There were five pieces, each in the style of a different composer. They were utterly convincing. You would have sworn that he had discovered a never-before-heard chorale prelude from the Clavier-Übung, or that Clérambault had written a third suite. It was a tour de force of the highest magnitude. 1. Chorale was played on the warm 8′ Principal, a beautiful harmonization. 2. Bicinium followed, the evening’s first use of the Cornets in the manner of a French Baroque “Duo” with 16′ in the left hand. 3. Cantus Firmus Soprano had the melody on a strong RH Cornet while the LH accompanied on an 8′ Principal, with Pedal 16′ and 8′ in the manner of a Bach chorale prelude. It was magnificent! 4. Aria: Cantus Firmus Alto was a quiet little thing on what were, I believe, flutes 8′ and 4′. 5. Organo Pleno, c.f. Tenor, and what an organo pleno it was. Then we sang the hymn New hymns of celebration (Rendez à Dieu). Rübsam never used the same harmonization twice in playing this tune. Brilliant! His leadership was extraordinary.
Next, Bach’s Pièce d’Orgue, BWV 572. I’m especially fond of the Gravement section, as it was played at our wedding when my wife came down the aisle. Rübsam made this great music lift us to higher realms as it moved through the great spaces of the building. The Lentement was like a huge peal of bells.
Rübsam closed this extraordinary recital with two movements from Widor’s Symphonie III in E Minor. The Adagio was a welcome relief from the much louder music that preceded it. The 32′ purred under strings and a solo flute, for a lovely effect. Finale pierced the quiet spell cast by the Adagio and he was off—incredible and brilliant playing. I was reminded of notes I took after hearing him play at the Dallas AGO convention in 1994 on the Fisk organ at SMU. His playing transported us to a place where we could see into another realm greater than our own, but being ordinary mortals, we had to turn back and wait our time. It was an awe-inspiring evening!

Saturday, June 26
This was an extra day for the convention, so the group was smaller, but we had a full and interesting time. We began in the charming town of West Newton (est. in 1731) at the First United Methodist Church to hear its 1905 Austin organ (tubular pneumatic), with 2 manuals and 11 ranks. Three young men played: Joseph Tuttle, Dimitri Sampas, and Adam Gruber. Sadly, the room’s acoustic is quite dead, but the organ held its own and has many beautiful sounds. Gruber went first with a Rheinberger trio, but the organ decided to add a bit of its own in the form of a cipher on what sounded like a 16′ Gedackt in the pedal. In spite of that, he played with good attention to the independent lines. He then played a Passacaglia by his teacher, Dennis Northway (who does a superb job shepherding the young Biggs Fellows at these conventions). The piece has many humorous elements: twitters and trills. Sampas played an Offertory by Boëllmann, and the Mendelssohn Prelude and Fugue in G. The Boëllmann was played on the 8′ Open Diapason—a big, bold sound—alternating with the Swell Geigen 8′. He moved the Mendelssohn along nicely, and kept the many strands of the fugue in order. Tuttle proved to be quite a skilled improviser. He used a hymn composed by a founder of this church. We heard more of this organ’s sounds—the strings and flutes were attractive. The improvisation was well conceived and well played!
Our next destination was back in Pittsburgh: Holy Rosary Roman Catholic/St. Charles Lwanga Parish, occupying a very handsome Ralph Adams Cram Gothic building from 1930. The first organ was a 2-manual, 48-register 1901 Hook & Hastings from their previous church. Presently, there is a 1956 3-manual Casavant, Opus 2311, located in a front side gallery. The church finds itself nowadays in an African-American neighborhood, so there are beautiful African sacred art objects decorating the building. Recitalist Jonathan Ryan began with a spirited performance of Bach’s Prelude and Fugue in D Major, BWV 532 at breakneck speed—he took off like a rocket! The prelude ended mp. The fugue continued at the same tempo, but with full plenum. The organ is very typical of Casavants of this period: a warm, clear tone. The closing section brought things to ff and full pedal. Sadly, there was a cipher.
Next was a charming French noël: Où s’en vont ces gais bergers? by Claude Balbastre. The organ was well suited to this literature. I wish he hadn’t used the shades on the softer parts, as they rendered them nearly inaudible because fans were running (but were finally turned off; churches need to be instructed on using fans during organ conventions). I wish more performers would use these marvelous noëls; they are great demonstration pieces. His playing was excellent. Next, in Pastorale and Toccata (1991) by David Conte, the generous acoustic of this tall stone space enhanced the Great Hohlflöte 8′ with the Swell strings in a pensive section. A livelier section followed, with a return to the flutes. Ryan played it with great movement and feeling. The Toccata started with somewhat dissonant chords. He controlled all the elements very well.
The hymn was My song is love unknown to the tune by John Ireland, Love Unknown. Then came something completely different: George Shearing’s I Love Thee, Lord. He closed with The World Awaiting the Savior from Dupré’s Passion Symphony, op. 23. Alas, the cipher returned; a pity, as it ruined the recording of an otherwise fine performance.
We then went to Trinity Lutheran Church, on the north side of Pittsburgh, whose present building dates from 1960. The organ stands in the back of the smallish church: a charming Jardine from 1863 that had quite a history of moves here and there; 2 manuals and an 18-note pedalboard, and 11 stops. The case was honey colored, and the façade pipes were painted a deep maroon. Christopher J. Howerter began with Opening Voluntary by James Cox Beckel (1811–1880), which featured a broad, warm sound. For Trumpet Air, by James Bremner (d. 1780), the blower was turned off and the organ was pumped by hand. The blower came back on for The Sufferings of the Queen of France, op. 23 by Jan Ladislav Dussek (1760–1812). This was programmatic music “expressing the feelings of the unfortunate Marie Antoinette, during her imprisonment, trial . . .” Scherzo, from Grand Sonata in E-flat by Dudley Buck, was nicely played and showed the organ well. The hymn followed: Rejoice, the Lord Is King! (Jubilate). He ended with Postlude in C by Walter H. Lewis (fl. 1890s). This was a real period piece, sounding like something a community band would play on a Sunday afternoon concert in a park. It sounded great on this organ, bringing out all its personality. We then had a hymn sing of some early Western Pennsylvania hymns.
After dinner, the final concert of the convention was held at Eastminster Presbyterian Church. The organ was a 4-manual, 1955 Aeolian-Skinner, Opus 1266 with six divisions, situated at the front of the church. The Steinway Model D was courtesy of Trombino Piano Gallerie. Performers were Neal Stahurski, organ, and Yeeha Chiu, piano. Stahurski began the evening with an arrangement of Simple Gifts by Charles Callahan that was grand and spacious and would please most any congregation. Chiu then played two pieces by Chopin: Polonaise in C-sharp Minor, op. 26, no. 1, and Waltz in C-sharp Minor, op. 64, no. 2. She is a fine player and showed good attention to musical detail and line.
Stahurski returned to play a Gerald Near arrangement of the Largo from Bach’s Concerto for Two Violins in D Minor, which featured piano and organ. I especially liked the beautiful Oboe stop, which sounded delightful alongside a solo flute in this very familiar music. We then heard the organ alone in a three-movement Suite by Jehan Alain. I. Introduction et Variations used flutes and soft foundation stops in dialogue; the variations explored other sounds in the organ. II. Scherzo began on a flute stretching into the octatonic-scale harmonies Alain loved so much. Then the quicker notes took over and he leapt about on the Swell reeds, and played with great flourish! III. Chorale began with widely spaced chords. Stahurski controlled it all very well, leading to a full sound, then backing away. A crashing big chord brought to a close.
A piano piece followed that was not listed, and I did not catch the name. Then Duo Concertant for piano and organ by Naji Hakim; they played the second movement, Andante. It is very clever, bouncy music that used the piano and organ sonorities quite well. The organ registrations were snappy and charming. Both piano and organ sounded surprisingly well in the heavily cushioned and carpeted room. We then heard piano and organ in an arrangement by David Schwoebel of It is well with my soul. If your church sings this hymn, they will enjoy this grand setting. Pure Technicolor! We then sang Eternal Father, Strong to Save. Stahurski played it very well; his last verse was ablaze with light and color.
The concert ended with Dupré’s Variations on two themes for piano and organ, op. 35, which used a host of colors from the instruments. Challenging music for both artists: the organ sounding like an orchestra in both a leading and subordinate role, the piano, likewise. This was a brilliant end to the concert and to the convention.

Overall, it was a good convention. The hotel, food, transportation, venues, instruments, and artists were first rate. The 186-page Atlas was filled with fascinating essays, information, and fine photography; the program booklet was well laid out—I liked the performers’ bios and photographs at the back of the book, saving more space for specifications and programs; and the hymnlets were large and easy to read. My hat is off to the fine committee who put the convention together and made it run smoothly.
For future conventions, I would suggest that there be consistency in the listing of something as simple as number of stops and ranks. That is not always apparent. Also, OHS convention speakers should wait until everyone is seated before making announcements, use a microphone, and talk slowly, especially in reverberant rooms. Buses should not move about during concerts when church windows are open, thus ruining recordings and performances. Finally, I’d like us to go back to the practice of ringing the churches’ bells before the concerts start. It is another introduction to a musical and often historical sound the building can make.
I look forward to this summer when the OHS will be in Washington, D.C. It should be another fine event! OHS conventions are always a great bargain, with world-class instruments and performers, outstanding scholarship, and great food. Everything is done for you. See you in D.C.! ■

Photos by Len Levasseur

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.