Bach Aria Soloists

Gail Archer

Gail Archer is an international concert organist, recording artist, choral conductor, and lecturer who draws attention to composer anniversaries or musical themes with her annual recital series. She was the first American woman to play the complete works of Olivier Messiaen for the centennial of the composer’s birth in 2008; Time Out New York recognized the Messiaen cycle as “Best of 2008” of classical music and opera. Her recordings include her September 2017 CD, A Russian Journey and The Muse’s Voice. Archer’s 2017 European tour took her to Germany, Italy, Great Britain, Russia, Ukraine, and Poland. She is the founder of Musforum, an international network for women organists, college organist at Vassar College, and director of the music program at Barnard College, Columbia University, where she conducts the Barnard-Columbia Chorus. Archer serves as director of the artist and young organ artist recitals at historic Central Synagogue, New York, New York.

Musforum (www.musforum.org), a network for women organists, held its second conference, Prairie Voices, in Omaha, Nebraska, June 8 and 9, 2017. Omaha was the conference site because it is the only American city in which a woman serves as music director at both the Catholic and Episcopal cathedrals, Marie Rubis Bauer (at St. Cecilia Catholic Cathedral) and Marty Wheeler Burnett (at Trinity Episcopal Cathedral), respectively. Women organists, composers, and conductors from across the United States were the featured artists­­—from age 12, Gianna Manhart, the youngest student at the St. Cecilia Institute, Omaha, to age 88, the remarkable Wilma Jensen, who was our keynote speaker. The events took place at St. Cecilia Catholic Cathedral, Dundee Presbyterian Church, and First United Methodist Church in Omaha. The conference was made possible, in part, by a generous grant from Barnard College, Columbia University, New York.

 

Thursday, June 8

The events began on Thursday morning, June 8, with a program of early Dutch and German music combined with contemporary music by women composers played by Rhonda Sider Edgington from Holland, Michigan. Edgington is the organist and assistant music director at Hope Church and a staff accompanist at Hope College in Holland, Michigan. The Pasi organ at St. Cecilia Cathedral is really two organs, a mean-tone instrument and a well-tempered instrument on which it is possible to play a program in ancient and modern temperaments. The program opened with the variation set by Jan Pieterszoon Sweelinck, Est-ce Mars, followed by Intabulation on Alleluja, laudem dicte Deo nostro by Heinrich Scheidemann and Praeludium in G Minor, BuxWV 150, by Dieterich Buxtehude. Edgington made these works come alive with her precise articulation and colorful registrations, which were heightened by the meantone tuning.

She then turned to living women composers for the remainder of the hour: Patricia Van Ness, Cecilia McDowall, Rachel Laurin, and Margaret Sandresky. The Laurin pieces, “Fugue on a Bird’s Song” and “Scherzetto,” were taken from the Twelve Short Pieces, op. 64 (2012). The light, vivacious gestures in both pieces reached to the highest range of the keyboard and delighted the audience with their humor and rhythmic verve. Sandresky’s “And David danced before the ark of the Lord,” from Five Sacred Dances (1998), drew a fiery and powerful performance from the recitalist.

Chamber music played by the women’s ensemble, I, the Siren—Darci Gamerl, oboe, and Stacie Haneline, piano—was featured in the late morning performance in the nave of St. Cecilia Cathedral. The musicians presented works by Bach, Mahler, Clara Schumann, Amy Beach, and Alyssa Morris. The splendid ensemble playing, sparkling dialogue, and nuanced phrasing were such a pleasure for the audience, as these Omaha-based musicians have collaborated for many years.

Our keynote address was provided by Wilma Jensen from Nashville, Tennessee. Jensen was the music director at St. George Episcopal Church in Nashville and taught organ at Oklahoma City University, Vanderbilt University, and Indiana University. Her lively and amusing address focused upon healthy keyboard technique. She emphasized, “Each finger swings freely from the knuckle to the key, while the thumb rotates to the key to play. The thumb does not lift to play. Separating the action of the thumb from that of the fingers is often one of the most difficult tasks for keyboardists.” She demonstrated at both the organ and the piano, as we were in a classroom at the St. Cecilia Institute adjacent to the cathedral, which has a fine small pipe organ and a piano. The organ was built in 2000 by Darron Wissinger of New Hampshire and revoiced by Hal Gober in 2009 for its installation at St. Cecilia. 

Jensen encouraged organists to practice wisely using a gradual method for tempo. “Once I know a passage thoroughly at a slow tempo, I take it a little faster, generally only two metronome numbers, so that the mind and hands hardly notice the change. At each playing I increase the speed by two metronome numbers until I reach a limit where I can still deliver the passage accurately but can’t exceed the speed. There I stop.” Jensen also drew attention to resources for ordinary touch of Baroque keyboard music and cited texts by Quentin Faulkner, J. S. Bach’s Keyboard Technique: A Historical Introduction, and Organ Technique Modern and Early by George Ritchie and George Stauffer, as well as texts by Jon Laukvik, John Brock, and Sandra Soderlund.

Musforum provided luncheon each day and a wine and cheese gathering on Thursday afternoon. These social occasions are as important as the musical events, as they give everyone a chance to get to know each other and discuss our work in a relaxed and informal setting. One of the problems for women who are organists is that we are separated by great distances and do not have regular opportunity for the conversations that we enjoyed at the conference. The conference schedule is deliberately arranged so that we all attend every event and we all have sufficient time to meet our colleagues.

Organist Elisa Bickers and the Bach Aria Soloists from Kansas City performed on Thursday afternoon in St. Cecilia Cathedral. Soprano Sarah Tannehill Anderson joined the violinists and organist in arias by Claudio Monteverdi, Si dolce è’l tormento, and G. F. Handel, Da Tempeste il legno infrante from the cantata Giulio Cesare in Egitto, HWV 17. Bickers performed the Variations on John Dowland’s ‘The Prince of Denmark’s Galliard’ by Samuel Scheidt and Toccata in F Major, BuxWV 156, by Dieterich Buxehude. The varied program also included chorale preludes, Herzlich tut mich verlangen by Pamela Decker and Wo Gott der Herr nicht bei uns halt by Cecilia McDowall. The concert concluded with Prayer by Olufela Sowande and Nun danket alle Gott by Egil Hovland. The rich variety of the repertoire was the hallmark of the programming, and this factor drew many people from the general Omaha community to all of the performances. 

The afternoon session concluded with a reading session: “Women Composers for Lent” presented by Stacie Lightner. Lightner serves as director of music at St. Martin’s Lutheran Church in Annapolis, Maryland. During the workshop, we sang a number of the choral works listed in the extensive 12-page resource guide, which included both choral music and organ literature appropriate for the liturgical season of Lent, all composed by women.

The St. Cecilia Cathedral Choir under the direction of Marie Rubis Bauer presented an inspiring evening concert, which included choral music by Omaha composers J. Michael McCabe, Marty Wheeler Burnett, and Marie Rubis Bauer. Music arranged by Alice Parker, Hark, I Hear the Harps Eternal and Be Thou My Vision, as well as the Messe pour deux voix egales, op. 167, by Cécile Chaminade were featured in the program. Rubis Bauer played Ave Maris Stella by Girolamo Cavazzoni as the prelude and “Dialogue sur les grandes Jeux” from Ave Maris Stella by Nicolas De Grigny as the postlude. Certainly one of the most inspiring moments was provided by 12-year old Gianna Manhart playing Galleries ancient by Dennis Janzer. The beautiful music from the Latin Office, “O Caecilia felix! O felix Caecilia!” began the concert, and the audience sang Magnificat on the Fifth Tone by Kevin C. Vogt at the conclusion.

 

Friday, June 9

Our Friday morning session at Dundee Presbyterian Church began with a fine organ recital by Chelsea Vaught, music director and organist at First Presbyterian Church in Fort Wayne, Indiana, followed by a lecture/recital by Catherine Rodland on the choir and organ traditions at St. Olaf College, Northfield, Minnesota. The morning concluded with three young women organists currently enrolled in graduate study, playing a joint recital, with half hour segments for each performer: Sarah Johnson at Boston University, Yumiko Tatsuta at Indiana University, and Shayla Van Hal at the University of Kansas. The afternoon session began with a lively lecture on the more than 500 hymn texts written by Rae E. Whitney, presented by Marty Wheeler Burnett, who researched these texts for her doctoral dissertation. We learned about Whitney’s fascinating life story and sang a number of the hymn settings of her poetry together. There was also a professional quartet of singers who performed additional musical works set to Whitney poetry. Burnett emphasized the importance of including women’s voices when planning music for worship.

The afternoon concluded with a duo organ performance by Melody Steel and Ann Marie Rigler. Steel played Sanctuary by Gwyneth Walker as a solo selection, and Rigler performed Psalm 151 by Emma Lou Diemer as a soloist. The duo organist repertoire was powerful and very exciting: Variations on Veni Creator Spiritus by David Briggs, Martyrs: Dialogues on a Scottish Psalm-tune, op. 73, by Kenneth Leighton, and Rhapsody for Organ Duo by Naji Hakim. 

The gala final recital took place on Friday evening at St. Cecilia Cathedral featuring Lynne Davis, Crista Miller, and myself, Gail Archer. A well-known specialist in French repertoire, Davis began with “Offertoire sur les Grand Jeux” from the Mass of the Convents by François Couperin, followed with Choral II in Si mineur by César Franck, and concluded with Te Deum by Jeanne Demessieux. My own program featured Ceremonies Suite by Jennifer Higdon, Prelude and Fugue by Alexander Shaversaschvili, and Power Dance by Joan Tower. Tower and I worked together on this piece on the organ at Vassar College for nearly a year, and it was a great pleasure to play the work at this event. Crista Miller concluded the concert with works by Fanny Mendelssohn, Prelude in G Major, Pamela Decker, “Ubi Caritas” from Retablos, Brenda Portman, Trio on St. Helena, and Naji Hakim, “Rags” from Esquisses Persanes.

All women, no matter what age or point in their professional career, are welcome in the Musforum network. Women organists are cordially invited to join us by sending me an email: [email protected], and I will add your name to the free listserve. Women need to move forward in the field on the basis of merit: their education, skill, and accomplishment. The world will be enriched by our musical gifts, and we will lift up hearts and minds by the beauty and powerful inspiration of our song.

Articles, Reports, and Reviews

by author (boldface) and subject

 

Albert Schweitzer Organ Festival/USA. See Spicer.

American Cathedral in Paris. See Ebrecht.

American Guild of Organists. See Palmer.

Andrews, Colin. New Recordings. July 10-11

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

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

__________. Gregorian Chant Review. May 8-10

 

Bach, J.S. See Crowell.

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

Becker, Arthur C. See Arias.

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

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

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

British Organ Music Seminar. See McAfee.

Bulgarian Organs. See Levi.

Butera, Jerome. In Memoriam Wesley Vos. July 2

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

 

Canadian Organists. See Hartman.

Carillon News. See Swager.

Cavaillé-Coll. See Zuiderveld.

Choral reviews. See McCray.

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

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

__________. New Organ Music. Dec 12

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

Continuo. See Crowell.

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

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

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

 

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

Distler, Hugo. See Palmer.

 

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

Editor's Notebook. Jan 2

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

 

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

Fisk Opus 116. See Palmer, Zuiderveld.

French Organ Music Seminar. See McAfee.

 

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

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

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

Gregorian Chant Review. See Arias

 

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

__________. New Recordings. Nov 12

Harpsichord News. See Palmer.

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

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

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

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

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

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

 

Jacobs, Paul. See Ferko.

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

Johnson, Jane. See Palmer.

 

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

 

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

Latin American organs. See Wyly.

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

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

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

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

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

 

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

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

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

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

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

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

Messiaen Marathon. See Ferko.

Music for Voices & Organ. See McCray.

 

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

New Handbell Music. See Nelson.

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

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

Nigerian music. See Sadoh.

Noehren, Robert. See Butera, et al.

 

Oaxaca. See Wyly.

Oberlin College. See Palmer, Zuiderveld.

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

Organ Design. See Bethards.

Organ Historical Society. See Wechsler.

Organ Pedagogy. See Kuhlman.

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

Organ Restoration. See Wyly.

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

 

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

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

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

__________. Hugo Distler SIXTY Years Later. Nov 22

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

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

Performance practice. See Crowell, Geffert.

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

Powell, Robert. See Overall.

 

Robertson, Leroy. See Pickering.

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

 

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

Sagar Organ. See Gault.

Schou, Larry. New Organ Music. Feb 14

Sewanee Church Music Conference. See Landrum.

SIFOS. See Lawrence.

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

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

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

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

Stevens. See Coleberd.

Summer Institute for French Organ Studies. See Lawrence.

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

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

 

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

Tech Lines. See Huestis.

 

University of Iowa. See Dickinson.

University of Michigan. See Taylor, Wagner.

 

Vos, Wesley. See Butera.

 

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

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

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

 

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

Appointments

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Honors and Competitions

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

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

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

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

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

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

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

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

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

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

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

Ensemble Amarcord,* wins German Music Competition. July 4

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Obituaries

Bales, Gerald Albert.* Dec 6

Banta, Lorene S. Feb 6

Bruun, Lewis C.* Dec 6

Goode, Jack C. May 6

Gotwals, Vernon Jr. June 6

Herz, Eric. Aug 6

Holzgraf, Lloyd.* Jan 6

Hume, Paul. Feb 6

Kelone, Earl V.* Sept 6

Lake, Frederick A. Sept 6

Lehnerer, Paul Francis. Aug 6

Lohmann, Heinz. Feb 6

Noehren, Robert.* Sept 8

Plummer, Ruth.* June 6

Radford, Jeffrey Paul. Nov 6

Rodgers, John. July 6

Schoenstein, Lawrence L.* May 6

Sherman, Elizabeth Birkshire Brothers. Oct 6

Vos, Wesley M.* July 6

Wick, Martin M.* Aug 6

Organ Stoplists

Austin

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

 

Berghaus

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

 

Bigelow

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

 

Buzard

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

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

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

 

Dobson

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

 

Edwards

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

 

Fabry

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

Fabry (Aeolian-Skinner)

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

 

Fenris

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

 

Fowler (Casavant)

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

 

Goulding & Wood

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

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

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

 

Harris and McDonough

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

 

Hendrickson

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

 

Jaeckel

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

 

Lauck

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

 

Lewis & Hitchcock

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

 

Lively-Fulcher

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

 

Marceau

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

 

Muller, J.W. (Schuelke)

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

 

Murphy

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

 

Nordlie

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

 

Quimby

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

 

Reuter

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

 

Rieger-Kloss

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

 

Schlueter

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

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

 

Schoenstein

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

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

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

 

Visser

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

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

 

Wicks

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

 

Zamberlan

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

Articles, Reports, and Reviews

by author (boldface) and
subject

 

Albert Schweitzer Organ Festival/USA. See Spicer.

American Cathedral in Paris. See Ebrecht.

American Guild of Organists. See Palmer.

Andrews, Colin. New Recordings. July 10-11

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

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

__________. Gregorian Chant Review. May 8-10

 

Bach, J.S. See Crowell.

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

Becker, Arthur C. See Arias.

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

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

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

British Organ Music Seminar. See McAfee.

Bulgarian Organs. See Levi.

Butera, Jerome. In Memoriam Wesley Vos. July 2

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

 

Canadian Organists. See Hartman.

Carillon News. See Swager.

Cavaillé-Coll. See Zuiderveld.

Choral reviews. See McCray.

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

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

__________. New Organ Music. Dec 12

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

Continuo. See Crowell.

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

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

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

 

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

Distler, Hugo. See Palmer.

 

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

Editor's Notebook. Jan 2

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

 

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

Fisk Opus 116. See Palmer, Zuiderveld.

French Organ Music Seminar. See McAfee.

 

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

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

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

Gregorian Chant Review. See Arias

 

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

__________. New Recordings. Nov 12

Harpsichord News. See Palmer.

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

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

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

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

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

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

 

Jacobs, Paul. See Ferko.

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

Johnson, Jane. See Palmer.

 

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

 

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

Latin American organs. See Wyly.

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

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

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

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

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

 

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

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

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

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

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

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

Messiaen Marathon. See Ferko.

Music for Voices & Organ. See McCray.

 

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

New Handbell Music. See Nelson.

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

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

Nigerian music. See Sadoh.

Noehren, Robert. See Butera, et al.

 

Oaxaca. See Wyly.

Oberlin College. See Palmer, Zuiderveld.

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

Organ Design. See Bethards.

Organ Historical Society. See Wechsler.

Organ Pedagogy. See Kuhlman.

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

Organ Restoration. See Wyly.

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

 

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

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

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

__________. Hugo Distler SIXTY Years Later. Nov 22

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

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

Performance practice. See Crowell, Geffert.

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

Powell, Robert. See Overall.

 

Robertson, Leroy. See Pickering.

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

 

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

Sagar Organ. See Gault.

Schou, Larry. New Organ Music. Feb 14

Sewanee Church Music Conference. See Landrum.

SIFOS. See Lawrence.

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

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

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

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

Stevens. See Coleberd.

Summer Institute for French Organ Studies. See Lawrence.

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

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

 

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

Tech Lines. See Huestis.

 

University of Iowa. See Dickinson.

University of Michigan. See Taylor, Wagner.

 

Vos, Wesley. See Butera.

 

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

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

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

 

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

Appointments

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Honors and Competitions

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

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

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

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

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

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

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

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

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

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

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

Ensemble Amarcord,* wins German Music Competition. July 4

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Obituaries

Bales, Gerald Albert.* Dec 6

Banta, Lorene S. Feb 6

Bruun, Lewis C.* Dec 6

Goode, Jack C. May 6

Gotwals, Vernon Jr. June 6

Herz, Eric. Aug 6

Holzgraf, Lloyd.* Jan 6

Hume, Paul. Feb 6

Kelone, Earl V.* Sept 6

Lake, Frederick A. Sept 6

Lehnerer, Paul Francis. Aug 6

Lohmann, Heinz. Feb 6

Noehren, Robert.* Sept 8

Plummer, Ruth.* June 6

Radford, Jeffrey Paul. Nov 6

Rodgers, John. July 6

Schoenstein, Lawrence L.* May 6

Sherman, Elizabeth Birkshire Brothers. Oct 6

Vos, Wesley M.* July 6

Wick, Martin M.* Aug 6

Organ Stoplists

Austin

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

 

Berghaus

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

 

Bigelow

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

 

Buzard

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

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

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

 

Dobson

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

 

Edwards

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

 

Fabry

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

Fabry (Aeolian-Skinner)

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

 

Fenris

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

 

Fowler (Casavant)

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

 

Goulding & Wood

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

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

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

 

Harris and McDonough

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

 

Hendrickson

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

 

Jaeckel

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

 

Lauck

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

 

Lewis & Hitchcock

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

 

Lively-Fulcher

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

 

Marceau

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

 

Muller, J.W. (Schuelke)

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

 

Murphy

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

 

Nordlie

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

 

Quimby

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

 

Reuter

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

 

Rieger-Kloss

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

 

Schlueter

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

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

 

Schoenstein

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

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

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

 

Visser

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

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

 

Wicks

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

 

Zamberlan

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

Marijim Thoene, Francine Maté, Thomas Marshall

Marijim Thoene received a DMA 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.

Francine Maté has lived in Washington, D.C. for 26 years. She has been organist/choirmaster and director of the Bach Festival at Grace Episcopal Church in Georgetown, Washington, D.C. since 1998.

Thomas Marshall is instructor of organ and harpsichord at the College of William and Mary in
Williamsburg, Virginia, where he also serves as organist/associate director of music at Williamsburg
United Methodist Church. He holds degrees in organ/harpsichord performance from James Madison University and the University of Michigan. His teachers include Carol Teti, Richard McPherson, Marilyn Mason, and Edward Parmentier.

It was sad to see four days of music-
making in which each performer invested every fiber of his or her being into producing sounds that dazzled, soothed, and transported the listener come to an end; however, as the poet Kenneth Rexroth said, “It is impossible to live in a constant state of ecstasy!” Certainly the four days of the AGO national convention provided the listener with the opportunity to be swept up in ephemeral and fleeting beauty that can be recalled as sacred moments in time.
There were several pre-convention programs that set the stage for the opening program at the National Cathedral, two of which were the organ recitals on July 4 at Grace Episcopal Church in Georgetown by Thomas Marshall, who played the complete organ concertos of J. S. Bach, and at the Basilica of the National Shrine of the Immaculate Conception by Roland Maria Stangier of Essen, Germany.

July 4
Thomas Marshall
In his performance of J.S. Bach’s complete organ concerti, Thomas Marshall gave us a glimpse of a young Bach, a brilliant organ virtuoso and composer who filled his organ concerti with scintillating, pyrotechnical dances and lyrical melodies. This pre-convention event was part of the Seventeenth Bach Festival at Grace Episcopal Church in Georgetown, directed by Francine Maté, organist and choirmaster at Grace. Marshall made this music his own by adding eloquent ornaments, shaping and moving tempi. All of the concerti were played with a rhythmical vitality.
However, it was the seldom-heard Concerto in C Major, BWV 594, an arrangement of Vivaldi’s “Grosso Mogul” Concerto in D Major (op. 7, no. 5, RV 285a), which was the most riveting and tantalizing. Here the forces of the concerto form, tutti vs. soli, become a new genre for the organ—all of the movements are expanded to new dimensions and the dialogue between soli divisions are more intense. In the slow movement, Marshall added a few ornaments to the already ornamented coloratura melody and seamlessly bound the melody to the accompaniment. In the third movement, he reflected the contrasts between the formal and mannerly tutti section and the soli sections with registration that recalled full ensemble vs. gossamer strands of birdsong. Marshall’s formidable technique and sense of drama made the voices within this transparent texture shimmer. His CD, The Organ Concertos of Johann Sebastian Bach, is available through Arts Laureate, <A HREF="http://artslaureate.com">http://artslaureate.com</A&gt;.

July 5
Opening Convocation
On July 5 at 7:30 am, tour buses pulled away from the Marriott Wardman Park Hotel, carrying over 2,000 organists and organ music enthusiasts to the opening convocation at the National Cathedral, featuring the Washington National Cathedral Choir, Cathedral Voices, Michael McCarthy, director of music, Scott Dettra, organist, and the Washington Symphonic Brass with Phil Snedecor, music director. The prelude music was riveting in its grandeur and freshness: Ancient Airs and Dances, Suite No. 3 (Passacaglia and Air di Corte) by Ottorino Respighi; Symphony No. 3, op. 27 (I. Finale: Allegro) by Carl Nielsen, featuring the Washington Symphonic Brass and A. Scott Wood, conductor; and a commissioned work, Theme and Variation on “Le P’ing,” by Michael Bedford, winner of the 2010 AGO/Holtkamp award in organ composition. Bedford incorporated a variety of compositional styles in his poetic interpretation the text of Psalm 19:4b–5: bird song, elements of jazz, a fiery toccata, and floating arabesque figures. The television screens that focused on the performers, especially the feet and hands of Scott Dettra, gave a welcome immediacy to the performance.
The processional hymn, Lasst uns erfreuen, was sung with great gusto as the pageantry began. Eileen Guenther, president of the American Guild of Organists, commented that the convention was really international in scope, for it included performers, lecturers, and guests from many countries. Ronald Stolk, the AGO 2010 convention coordinator, thanked all of the many volunteers who gave generously of their time and worked tirelessly in planning the convention. The commissioned hymn, Great Voice of God (music by Mary Beth Bennett, words by Shirley Erena Murray), aptly expressed the text: “Great voice of God in all your good creation, make us your instruments of blessedness.” It was introduced by a brass ensemble and percussion, and the hymn verses were sung in alternatim with the instrumental ensemble.
The Reverend Dr. Thomas H. Troeger, AGO national chaplain, spoke of his own profound love of J. S. Bach, and said there are things technology cannot solve—the need for a discerning heart and a mind to be attuned to the spirit of the living God. He concluded saying: “Every time you make music you are calling people back to the better spirit—to beauty, wonder and joy.”
The commissioned anthem, Exultate iusti by Rihards Dubra, like Michael Bedford’s anthem, is an exemplar of text painting. Here the texts of Psalm 33:1–6, 8–12, 18, and 20–20 are exquisitely reflected in multiple resources and textures: an orchestra with solos for chimes, muted trumpets, a counter tenor, a children’s choir, full chorus, kettle drum, xylophone, and organ. This score is a great addition to the repertoire of sacred music.
The service closed with the joyous and triumphal hymn, As Newborn Stars Were Stirred to Song, introduced by a brass choir, with words by Carl P. Daw, Jr. and music by John Karl Hirten. The organ voluntary, Festival Fanfare by Kenneth Leighton, was deftly played by Scott Dettra. The energy and stamina of the cathedral organist is amazing, for later in the day he would play at the Bach Vespers as well as at the opening concert at the National Cathedral, where he played Samuel Barber’s Toccata Festiva, op. 36 and the demanding organ part in Paul Paray’s Mass for the 500th Anniversary of the Death of Joan of Arc.

Workshop, Dr. Leo Rozmaryn
The workshop “From Brain to Fingertips: Neuro-Muscular Control,” given by Dr. Leo Rozmaryn, addressed the physiological processes involved in organ playing and gave some helpful advice on how to avoid injuries. Dr. Rozmaryn, a surgeon, has worked in the field of what he calls “Music Medicine” for thirty years. He pointed out how the brain of a professional keyboard musician is different from a non-musician’s brain. A keyboard player has more gray matter: the “corpus callosum”—the division between the right and left parts of the brain—is much bigger than in a non-musician. He defined the debilitating injury of focal dystonia, saying that it is a neurological disorder originating in the brain that causes loss of coordination and motor control in the hand, and that some of the following has been effective in its management: retraining, i.e., changing one’s technique by way of the Dorothy Taubman method; instrument modification; botulinum injection; and physical therapy. He praised the work of Sandy Austin, a physical therapist at Arlington Hospital, for her success in working with injured musicians.
Dr. Rozmaryn began his second session by recommending Janet Horvath’s award-winning book, Playing Less Hurt, for musicians on how to avoid injuries. He admonished organists to pay attention to their bodies, saying that when injured musicians come to him, they tell him they don’t have time to eat a balanced diet, to exercise, or to get a good night’s sleep. He advises every organist to remember they are athletes. They should have music in one hand and a gym bag in the other. In music schools in Scandinavia, musicians do aerobics after 40 minutes of practice.
He discussed a number of injuries common to organists and possible treatment modalities. Some common ailments and possible treatment included low back and neck problems due to poor, static posture for long periods of time. He suggested taking frequent breaks and avoiding drooping shoulders. To avoid carpal tunnel syndrome, he advised keeping the wrist in neutral position and to never practice for longer than 30 minutes at a time. If surgical intervention is necessary, you should not use your hands for four weeks following surgery. He suggested Richard Norris’s book on the topic, Return to Play, and the website <A HREF="http://www.theorthocentermed.com">www.theorthocentermed.com</A&gt; for doctors and hand exercises. For cubital tunnel syndrome he suggested sleeping with arms outstretched, and for thoracic outlet syndrome he suggested arm rolls.

July 6
Hymn Festival
The cavernous National City Christian Church was packed with standing room only for the hymn festival, “We Believe in One God,” led by Bruce Neswick. The prelude included five demanding hymn arrangements played by the Virginia Bronze Handbell Ensemble, directed by Carol Martin, the National Brass Quintet, and percussionists Doug Wallace and Bill Richards. Especially memorable was ‘Twas in the Moon of Wintertime, arranged by Cynthia Carlson. Here the handbells were augmented with a marimba and tiny wind chimes. The spirited and energetic commissioned work, Doxology on Conditor Alme Siderum for handbells, brass quartet, and tympani arranged by Hart Morris, set the tone for the entire festival of hymns.
Bruce Neswick’s choice of hymns and organ descants reflected his keen awareness of the best of the repertoire: Christ is made the sure foundation, descant by Richard Wayne Dirksen; The stars declare his glory, descant by Richard Proulx; Of the Father’s love begotten, introduction by Gerre Hancock and descant by David Willcocks; and Lord, you give the great commission, introduction for brass and organ, solo organ, interlude for brass and organ, and descant by Bruce Neswick. The anthem, O risen Christ, still wounded by Bruce Neswick and commissioned by Christ Church Virginia, was performed by the Cantate Chamber Singers directed by Gisèle Becker, and is another great addition to sacred literature.
The final hymn, Lord, you give the great commission, sung exuberantly by over a thousand and joined by brass and soaring organ descant, was truly the most fervent prayer imaginable: “Lord, you bless with words assuring: ‘I am with you to the end.’ Faith and hope and love restoring, may we serve as you intend, and amid the cares that claim us, hold in mind eternity.” The concluding voluntary, Neswick’s improvised toccata, was stunning and a fitting Amen to the festival of readings and hymns of the liturgical year.

Jean-Baptiste Robin and Elizabeth Blakeslee
In the elegant and historical St. John’s of Lafayette Square, Jean-Baptiste Robin, organist of the Royal Chapel in Versailles Palace, and Elizabeth Blakeslee, harpist in the National Symphony Orchestra, performed music by Debussy, Jehan Alain, Robin, and a commissioned work by Rachel Laurin with assurance and remarkable virtuosity. The delicacy and transparency of Debussy’s Prélude à l’après-midi d’un faune transcribed for harp and organ by Robin were apparent in the dry acoustic at St. John’s. Robin performed Alain’s Trois Danses from memory and gave a meticulous rendering of the score, observing Alain’s fiendishly demanding tempi markings.
I wish Robin had written more about the “23 reflecting modes” that he created and alluded to in his program notes describing his own composition Cercles Réfléchissants (“Reflecting Circles”). The two movements he played from this work reflect his unique compositional vocabulary, which in turn hinted at mysterious shifting wind movements. In her commissioned work, Fantasia for Organ and Harp, op. 52, Rachel Laurin interwove the intimate color palettes of the harp and organ with remarkable dexterity, especially in the second movement when flutes 8′, 4′ and 2′ played in dialogue with the harp. The same balance was present in the third movement in a totally contrasting mood—triumphant chords on the organ vs. powerful chords and flourishes on the harp.

Ezequiel Menéndez
Historic Organs in Argentina
Ezequiel Menéndez gave an informative and intriguing lecture on “Historic Organs in Argentina: A Hidden Treasure” that reflected his many years of research and study on the subject. He began by stating that in Buenos Aires, within one square mile one can see organs from France, Germany, England, and Italy. During the Age of Enlightenment, Argentina was the richest country in the world, and people from all over Europe settled there and brought with them their culture, which included pipe organs from their own countries. The inventory of pipe organs in Argentina built by famous builders is impressive: there were 39 organs from Italy, one built in 1868 by Serassi for the Church of Monserrat; 101 organs from Germany; and a Cavaillé-Coll was shipped in 1885 to a Jesuit church in El Salvador and moved in 1912 to the Basilica Del Santissimo Sacramento in Buenos Aires.

July 7
Morning Prayer
Attending Morning Prayer in the large reverberant sanctuary of St. Patrick Roman Catholic Church was a beautiful way to start the day. The Psalms were sung in by the choir (the Countertop Ensemble, directed by Chris Dudley) in alternatim with the assembly. The masterful and thoughtful improvisations on the antiphons played by Ronald Stolk, director of music at St. Patrick, were a welcome contrast to the austerity of the reading of the lessons and the intoning of the Psalms and Canticles. I wished he had played more.

Worship Service for Children
The Worship Service for Children, featuring the Children’s Chorus of Washington directed by Joan Gregoryk, held in the 1860 Calvary Baptist Church, was choreographed with amazing precision. Following the organ voluntary composed and played by 22-year-old Justus Parrotta, the choir of young singers (30 girls and four boys) quietly processed down the two side aisles, and Dr. Gregoryk, without saying a word, motioned her choir to begin singing the canon Dona nobis pacem, then cued each section of the audience to join in singing the canon, which was an effective introit. A portion of the text was repeated as an antiphon throughout the singing of Psalm 85. The program—music from the Taizé Community, Mendelssohn, an African-American spiritual arranged by Moses Hogan, and Jewish song by Allan E. Naplan—was sung with enthusiasm and from memory. Dr. Gregoryk is obviously a strict taskmaster to present such a polished choir with excellent diction, good blend, and good pitch. She also communicates her joy in the music, which was mirrored in the faces of her singers. Parrotta’s spirited playing of the first movement of J.S. Bach’s Concerto in A Minor, BWV 593, was a perfect ending to this program.

Isabelle Demers
For me, Isabelle Demers’ memorized recital was one of the most memorable recitals of the convention. St. Patrick’s Roman Catholic Church was a perfect venue for her program: Prélude from First Symphony, op. 36 by Rachel Laurin; Three Psalm Preludes, op. 32, Set 1, No. 2, by Herbert Howells; Symphonic Chorale on “Jesu, meine Freude,” op. 87/2, Introduzione (inferno), Canzone, Fuga con Corale, by Karg-Elert; Organ Symphony No. 2, op. 20, by Louis Vierne; Scherzo and Toccata from First Symphony, op. 36 by Rachel Laurin. Demers made each work her own, investing herself in the music, from Howells’s quiet lyricism to Karg-Elert’s diabolical roar. Her brilliant technique served always to make the music soar. This gift was especially apparent in Rachel Laurin’s Toccata. The audience was dazzled by her magnificent performance.

July 8
Nathan Laube
Nathan Laube opened his recital at the National Presbyterian Church with his transcription of Johann Strauss’s Overture to Die Fledermaus. Laube’s deftness at registration was apparent as each section flowed seamlessly into another. He is a gifted dramatist, and succeeded in catching up the audience in the dance. After thunderous applause he announced that the day was his 22nd birthday, and we all promptly sang “Happy Birthday.” His performance of Joseph Jongen’s Sonata Eroïca pour Grand Orgue, op. 94, and Charles Tournemire’s L’Orgue Mystique, Cycle de Noël, Suite No. 7, op. 55, also showed him to be a master at registration as he moved smoothly from one section to another.
The tour de force of his concert was his performance of Maurice Duruflé’s Suite pour Orgue, op. 5. His playing was flawless, inspired, and for want of a better word, transporting. As an encore he played Chopin’s Etude in C-sharp Minor, op. 10, no. 4, and met with even more thunderous applause.

Isabelle Demers
Max Reger workshop
Isabelle Demers’ workshop on Max Reger’s Orgelbüchlein was held at St. Paul’s Episcopal Church, an elegant, isolated chapel in Rock Creek Parish, surrounded by a cemetery. Ms. Demers gave an overview of Reger’s chorale preludes, alluding to those suited for church services and those better suited for concerts. She discussed aspects of Reger’s life and how events shaped his compositional style, his quirkiness and spirituality. In her handout, she ranked each of the 52 preludes according to difficulty and listed the timing of each. It was enlightening to hear some of Reger’s chorale preludes played from memory by Ms. Demers in this reverberant space on the mechanical action organ II/27 built by Dobson.

Marijim Thoene received a DMA 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.

July 5
Jonathan Biggers
Jonathan Biggers, who holds the Edwin Link Endowed Professorship in Organ and Harpsichord at Binghamton University, began his program with Craig Phillips’s Fantasia on “Sine Nomine” (2007). This work was commissioned by the University of Iowa to honor Professor Delbert Disselhorst’s retirement, and is based on the tune by Ralph Vaughan Williams. Among the many interesting sections of the piece are octave “D” leaps in the fugue, which refer to Delbert Disselhorst. Dr. Biggers ended his performance of the work with a brilliantly played toccata.
The Passacaglia by Leo Sowerby (from the Symphony for Organ, 1930) is similar to Sowerby’s posthumous passacaglia, which was edited by Ronald Stalford. The earlier passacaglia from the symphony is less tight than the posthumous piece. Biggers’ interpretation, however, provided a convincing musical continuity in the multi-variation work.
National Presbyterian Church is a modern edifice that provided a stark contrast to the Gothic style of Washington National Cathedral, the site of the opening service just 1½ hours before Biggers’ recital. The present building was designed by Harold E. Wagoner, with the main sanctuary seating 1,260. The church’s cornerstone was laid by President Eisenhower on October 14, 1967; the first worship service at this site took place on September 7, 1969. The organ at National Presbyterian Church is an Aeolian-Skinner, Opus 1456, IV/115, installed in 1970. From 1987 to the present, the organ has been rebuilt and added to by the Di Gennaro-Hart Organ Company.
Biggers’ recital ended with the Reger Phantasie und Fuge d-moll, op. 135b. It was thrilling and brought the full house to a rousing standing ovation! Biggers repeated this program at 11:30 am on July 5.

Paul Jacobs
Next was a marvelous recital at St. Anne’s Catholic Church by Paul Jacobs, chairman of the organ department at Juilliard School of Music. St. Anne’s is a lovely church located a few blocks north of National Presbyterian Church. Jacobs’ recital was performed by memory, and was absolutely perfect. The 1999 Létourneau three-manual organ is in the rear gallery. I was sitting close to the gallery in the back of the church, and it was relatively easy for me to simply turn around and watch him. However, there was a giant screen in the front of the church, and by watching the big screen, Jacobs was magnified and in full view for the entire audience. The program included the Reger Sonata in D Minor, op. 60 (1901), Prelude in F Major (1912) by Nadia Boulanger, and the Franck Final, op. 21 (1866). Jacobs was treated to a rousing standing ovation at the end of his flawless performance.

Bach Vespers at St. Paul’s Lutheran Church
The Washington Bach Consort
The venue for the Bach Vespers at St. Paul’s Lutheran in Washington, D.C., was perhaps similar to what the setting might have been like in the Thomas-kirche during Bach’s tenure in Leipzig. St. Paul’s, like the Thomaskirche, has lovely stained glass. I thought the light illuminating through the stained glass on this day was very similar to the way the stained glass in the Thomaskirche looked the times I have been fortunate enough to be there.
J. Reilly Lewis, director of the Bach Consort, conducted the vespers service. Lewis has been a Bach icon on the East Coast for many years. His performances are always very musical, and his interpretation of Bach’s music is impeccable.
Scott Dettra was the organist for this service. He serves as organist and associate director of music at Washington National Cathedral, as well as assistant conductor and keyboard artist of Washington Bach Consort and the Cathedral Choral Society. Dettra was organist for the opening service at 8:30 am on Monday, organist for this service, and organist for the evening concert back at the National Cathedral. He is an outstanding musician, and his ability to seamlessly go from the cathedral organ to the Johan Deblieck continuo organ for his continuo part in the Bach cantata at St. Paul’s, up to the organ loft at St. Paul’s to play the St. Paul’s Schantz three-manual organ, and then to the cathedral again that evening, was more than remarkable.
The St. Michael’s Day Vespers service began with the organ prelude, Toccata in F, BWV 540/1 of Bach, played splendidly by Lewis. This was followed by the Bach Kyrie, BWV 233A, and the complete Cantata BWV 130, Herr Gott, dich loben alle wir. The Bach Consort, as always, sang with great exhilaration and musical conviction. All chorales in the service were sung in German by the congregation—the singing by the organists at this service was marvelous. The service also included a fine sermon, prepared especially for organists, by St. Paul’s pastor, The Reverend Dr. John Witvliet.

Opening Concert
Washington National Cathedral
The opening concert of the convention was performed at Washington National Cathedral by the Cathedral Choral Society and members of the National Gallery Orchestra conducted by J. Reilly Lewis. This program was a continuation of
J. Reilly Lewis’ 25th anniversary as conductor of the Cathedral Choral Society.
The program began with Scott Dettra performing the Toccata Festiva, op. 36 (1960) by Samuel Barber. Dettra performed this work with excitement and verve as if he had rested and prepared all day in order to wow this audience of 2,000-plus organists.
The second and major work on the program was Paul Paray’s Mass for the 500th Anniversary of the Death of Joan of Arc (1931). The acoustics of Washington National Cathedral provided the perfect venue for this monumental work. The lyricism of the Kyrie was quite beautiful, and the Cathedral Choral Society’s superbly blended voices filled the glorious space of the cathedral. Even though the cathedral was full to capacity in both the morning opening service and the concert that evening, one could hear a pin drop due to the intensity of listening that all organists possess, and which we exhibited on this day.

July 6
David Higgs
The United States Naval Academy
The recital by David Higgs was flawless, so very musical, and the audience of organists was so breathtakingly attentive, as was the case at all of the recitals and concerts at the convention. This organ was originally built by the Hutchins Organ Company in 1908, and rebuilt by the Möller Organ Company of Hagerstown, Maryland. Many renovations were made this past year, and the organ is currently 268 ranks with two consoles.
I typically would rather hear Bach played on a mechanical action instrument, but Higgs’s playing of the Passacaglia in C Minor, BWV 582, was a masterpiece of performance and pure musicality. His drive and care given to the monumental work was simply thrilling. The final piece on the programmed portion of the recital, Widor’s Symphony VI in G Minor, op. 42 “brought the house down” with the audience’s immediate standing ovation. How could there be more excitement to come? Ah, yes!! The encore, In a Persian Market by Albert Ketèlbey and arranged by Frank Matthews, just swept us off our feet, literally! “Persian Market” was not only “fun” music, but the magnificent organ at the Naval Academy Chapel has theatre organ stops. The polite, reserved and attentive organists of all the previous recitals and concerts, became “out of control” with enthusiasm for this piece! All the bells, drums, whistles, and stops were pulled out!
The United States Naval Academy Chapel holds 2,000 people, and of the 2,200 attendees at the convention, 2,000 of them attended Higgs’s recital. One of the many marks of great organization came at the end of the concert when the 2,000 organists were bused back to the Marriott in Washington after the concert. Kudos to Dr. Carol Guglielm for orchestrating this important, and most complicated transportation event—there were 35 buses waiting to pick up 2,000 organists after David Higgs’s program!

Pre- and post-convention events
Among the numerous pre-convention events was the first part of the 17th Annual Bach Festival at Grace Church, Georgetown, of which I am the director. My colleague and friend, Roland Stangier from Essen, Germany, performed in our Bach Festival on July 3, and 23 hours later performed a completely different program at the Basilica of the National Shrine of the Immaculate Conception. Professor Stangier’s recital in the Bach Festival was entitled “Bach and His European Colleagues.” Grace Church is home to an A. David Moore 1981 two-manual mechanical action instrument. Composers on Stangier’s program included Pablo Bruna (Spain), Samuel Scheidt (Germany), Andreas Kneller (North Germany), Gaspard Corrette (France), Giovanni Battista Pergolesi (Italy), Charles John Stanley (England), and J.S. Bach (Trio Sonata in D Minor). Professor Stangier, as his usual practice, ended the recital with an improvisation.
Stangier’s program was full of variety and nuance—he is a very energetic and musical performer. His performance of Bach’s trio sonata was full of ornamentation that I had never before considered. This made the work fresh and new, even though the works of Bach rarely need any new performance ideas.
I presented Professor Stangier with two themes on which to improvise that were from the concert I had performed at 3 pm in our festival that afternoon: 1) the “Nun komm der Heiden Heiland” chorale tune, and 2) the lilting flute melody from the famous “Sheep May Safely Graze.” Stangier wove these two themes into a tightly knit piece. I only wish we could have a score of his superb improvisation. However, in today’s world of the instant reproduction of just about anything, it is a nice thought to consider that an improvisation can simply be as ethereal as Washington, D.C.’s cherry blossoms.
Professor Stangier performed his basilica recital on the 172-rank, four-manual electro-pneumatic Möller organ. His program began with the four Schumann Sketches, opus 56, written in 1846. It has been in vogue for several years now for organists to write and perform their own transcriptions of orchestral works. Particularly popular is Gustav Holst’s The Planets, written in 1914. Stangier performed his transcription of “Venus, the Bringer of Peace” and “Jupiter, the Bringer of Jollity”—what beautiful transcriptions to showcase both the basilica’s organ and Stangier’s playing! And, not to be forgotten as well, the inside of the basilica is breathtakingly beautiful! Following the Holst transcriptions were the Fantasie and Fugue in C Minor by Alexander Winterberger (1834–1914) and the Grand Choeur by Zsolt Gardonyi (b. 1946). Stangier ended the program with another one of his dynamic improvisations. Tonight he was given the Ubi Caritas et amor Gregorian chant and an Irish folk-song as his improvisation themes.
Jeremy Filsell performed all of Vierne’s symphonies at St. Patrick’s Catholic Church in Washington D.C. on the church’s 1994 44-rank Lively-Fulcher organ. Although I was back at my job at the Library of Congress on Friday, July 9 and was unable to attend Dr. Filsell’s program, this was indeed a monumental endeavor. Word from colleagues who were able to attend was that Filsell, in his usual style, performed every movement of every symphony with great splendor.
Another notable post-convention event was a performance by Isabelle Demers of her own transcription of Tchaikovsky’s Romeo and Juliet at Capitol Hill Methodist Church on July 9. From friends I know who attended, it sounds as if I missed another splendid event.

 

Francine Maté has lived in Washington, D.C. for 26 years. She has been organist/choirmaster and director of the Bach Festival at Grace Episcopal Church in Georgetown, Washington, D.C. since 1998.

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July 5
Kimberly Marshall
For her recital at St. Columba’s Episcopal Church on the first day of the convention, Kimberly Marshall played a well-selected program for a 1981 Flentrop organ, displaying the well-balanced specification. Her unique and outstanding knowledge of the remote corners of the literature for the organ produced a recital with great variety and interest. Dr. Marshall is a treasure among us all for her ability to combine brilliant performance with good scholarship in an intelligent and informative way. This was a delightful and perhaps surprising recital.

Jason Roberts and Michael Unger
For some with “first-day-bus-issues” sometimes associated with these very large AGO conventions, the change in order of both performers and pieces being played was confusing to latecomers to the recital at Chevy Chase Presbyterian Church. Jason Roberts, 2008 winner of the AGO National Competition in Organ Improvisation, and Michel Unger, 2008 winner of the AGO National Young Artists Competition in Organ Performance, together presented a program demonstrating the true art of improvising, whether from score or indeed on the spot. Organ performers are too quick to define “improvisation” at the organ as the art of totally extemporized composition, when much is added to the printed score by the performer who can sense the improvisatory nature that CAN be brought to all music.

July 6
Diane Meredith Belcher
The recital by Diane Meredith Belcher on the Létourneau organ (2000) at the Church of the Ascension and St. Agnes was performed with elegance, showing great attention to careful and tasteful phrase development throughout. Her inclusion of a voluntary by English composer William Russell (1777–1813) was refreshing. Her performance of all six fugues on the name B-A-C-H, op. 60, of Robert Schumann, gave the audience a clear impression of the compositional prowess of this composer, now enjoying the 200th anniversary of his birth. While this music may be a bit too “academic” for the average organ recital audience, this venue gave an “organists only” audience the opportunity to hear all of these pieces well knit together in a fine and exciting performance.

The Woodley Ensemble
The Woodley Ensemble, under the artistic direction of Frank Albinder, presented a fine and varied program of choral music from many lands, including Sweden, Russia, Scotland, Israel, Estonia, England, New Zealand, Indonesia, and, of course, the United States. The ever-growing number of choral ensembles, both amateur and professional, has also given rise to the composition of unusual and wonderful music for all to experience both as performer and listener alike. The featured work for this concert was by American composer Leo Nestor—a large-scale anthem for SATB chorus and organ. While mainly for concert use in its entirety, it would be useful to find some selections from this work excerpted for use during the Pentecost season in churches as well.

This AGO national convention did an outstanding job in making a variety of workshops and seminars available. The Washington, D.C. chapter is also to be commended in its presentation of both pre-convention and post-convention events. Of particular note was the stunning performance by Julie Vidrick Evans of all six organ trio sonatas by J. S. Bach. For most organists, the inclusion of one or two of these technical masterpieces is daunting, let alone ALL of them, performed in this instance with technical mastery. The seventeenth annual Bach Festival presented by Grace Episcopal Church brings fine performances of the works of Bach and other related composers to a steadily growing audience each summer after summer, under the direction of the church’s organist/choirmaster, Francine Maté. ■