Daniel Roth receives award

Anton Warde

Anton Warde (Cape Elizabeth, Maine) is an emeritus professor of German (Union College, Schenectady, New York) and a past associate of David E. Wallace Pipe Builders, Gotham, Maine. Since contributing his four-part series, “E. Power Biggs in Mozart Country” (June–September 2006), he has served The Diapason as an occasional reviewer of books in the German language.

Licht im Dunkel—Lumière dans les ténèbres [Light in darkness]: Festschrift Daniel Roth zum 75. Geburtstag, Birger Petersen, editor. Bonn: Dr. J. Butz Musikverlag, 2017, 432 pages, hardbound, in German with abstracts in English and French, numerous musical examples, stop lists, and a bonus CD. ISBN 978-3-928412-23-0. €34, available from http://butz-verlag.de.   

We may first think of Daniel Roth as one of today’s elite French organists. And that he most certainly is. But given his bi-cultural heritage as a son of Alsace, as well as his numerous professional links to German institutions, we should not be surprised that the festschrift published to honor him on the occasion of his seventy-fifth birthday comes from Germany.

For most of his adult life, Roth’s activity has been centered in Paris. After completing formal studies at the Paris Conservatory in the early 1960s, principally under Maurice Duruflé and Rolande Falcinelli, he served as Falcinelli’s substitute at the Basilica of Sacré-Cœur for ten years before succeeding her as titular organist in 1973. From 1974 to 1976, Roth took a hiatus from his duties there in order to assume the post of artist-in-residence at the National Shrine of the Immaculate Conception and professor for organ at the Catholic University of America in Washington, D.C. Upon his return to France, he remained at Sacré-Cœur until his appointment as organiste titulaire at Saint-Sulpice in 1985. He has now presided over the grand Cavaillé-Coll organ at Saint-Sulpice for more than three decades, burnishing its fame as one of the great “destination instruments” of the world.  

Along the way, Roth commuted to extended teaching positions in the French cities of Marseille and Strasbourg, as well as at conservatories in Saar-brücken (1988–1995) and Frankfurt am Main (1995–2007). Other German cities have provided the venue for the debut of each section of Roth’s triptych for large orchestra, Licht im Dunkel (2005–2009), the first of which was performed in Ludwigshafen by the Staatsphilharmonie Rheinland-Pfaltz under the baton of his elder son, François-Xavier Roth, an accomplished conductor based in Germany. More recently, Daniel Roth composed his Missa Beuronensis to serve as the centerpiece for a multi-day master course sponsored by ORGANpromotion at the Benedictine Abbey of Beuron on the Danube in September 2016. (A fine recording of this performance, with Roth at the organ, accompanies the book.) The indefatigable Michael Grüber of ORGANpromotion, located in Horb am Neckar, provided the impulse for composition of the Beuron Mass, as well as for the Roth festschrift itself.

In his foreword, editor Birger Petersen (professor of musical theory at the Johannes Gutenberg University in Mainz) notes that “it became clear early on that the book would end up forming concentric circles around the themes of St. Sulpice, Aristide Cavaillé-Coll, Albert Schweitzer, and the French organ tradition.” Within those fertile spheres we find not only ample attention to Daniel Roth, of course (in brief hommages written by George Baker, Daniel Maurer, Pascal Reber, Gregor Simon, and Jean-Paul Sorg, as well as Michael Grüber), but informative articles on the organ landscape of Alsace (Pierre Chevreau’s “Mulhouse, Albert Schweitzer und die elsässische Orgel von 1803 bis 1981”); on the two Cavaillé-Coll instruments of which Roth became the guardian and master (Yannick Merlin’s “Daniel Roth und die Orgeln von Sacré-Cœur und Saint-Sulpice” along with a short essay by Kurt Lueders on the problematic nature of the term flûte harmonique); on the composers César Frank (Christiane Strucken-Paland’s analysis and contextualization of Frank’s neglected early works for organ), Charles-Marie Widor (Fabian Kolb’s scholarly article on Widor’s push for the organ’s greater role in compositions for large orchestra), and Maurice Duruflé (Jörg Abbing on the influence of Vierne and Touremire on their student Duruflé, followed by Birger Petersen’s analysis of Duruflé’s influence, in turn, on polymodality in the compositions of his student Daniel Roth); and on the organist Marie Claire Alain, in Vincent Warnier’s study of the long friendship between Roth and Alain, his most influential post-conservatory mentor.

Albert Schweitzer, Roth’s revered Alsatian compatriot, six decades his senior, makes an appearance in nearly every essay, most notably in Gilles Cantagrel’s “In Saint-Sulpice mit Widor und Schweitzer,” concerning the unlikely teacher-student friendship between the two and in particular their reciprocal influence in appreciating the music of Bach; and in Wolfram Adolph’s thoughtful essay on Schweitzer’s concept of channeling spiritual unity with the cosmos in the meditative style of his Bach playing.

Like Schweitzer before him, Daniel Roth found his ears beguiled at an early age by the sonorities of the 1732 Andreas Silbermann organ at bucolic Ebersmünster in Alsace. In the words of Schweitzer: “I carry [the Silbermann sound] in my ear always; it leads me.” In the volume’s opening essay entitled “In the Style of a Panégyrique,” Peter Reifenberg cites Roth’s visit to Ebersmünster with his father at the age of twenty as decisive in motivating him—already a prize-winning Paris Conservatory student—to commit fully to the career of a professional organist. And Vincent Warnier suggests that it was at a joint appearance in Ebersmünster that Roth’s and Alain’s paths first crossed in the early 1960s. The young Roth, previously steeped in the music of Franck and other composers of his era, credits Alain, half a generation older than he, with introducing him properly to early music, teaching him the value of composers’ original scores, and equipping him with his fundamental approach to any piece of music: namely to analyze it closely from every angle in order to understand best what the composer would have wanted to hear in its performance.

Regardless of the organ he may be playing, Roth aims to deliver an interpretation that comes as close as possible to honoring its composer’s intent. In his own words as cited by Peter Reifenberg (in my translation), “[I want to place myself] completely in the service of the composer, constantly searching the composer’s universe to determine what . . . will sound correct and authentic [on the instrument at hand]” (p. 220).  

Indeed, it may be Roth’s wide-ranging insights on musical performance that many readers will find most fascinating. Examples appear throughout the volume, but chiefly in the three conversational sections that compose more than one third of the book: a 2017 interview conducted by Professor Jörg Abbing (pp. 213–225), Roth’s own lively 140-page discourse on agogic, rubato, accent, attack, registration, and much more, illustrated with many musical examples and references to specific organs (pp. 265–409), and finally in an engaging conversation with Pierre-François Dub-Attenti, one of Roth’s assistants at Saint-Sulpice (pp. 409–419). He is the young registrant we see seated at Roth’s left in most of the Saint Sulpice performances that are searchable on YouTube and viewable, as well, at http://www.stsulpice.com/. (It is Dub-Attenti we must thank for producing and posting those remarkable videos.)

In his own very readable German, Roth succinctly analyzes, for example, the differing routes of development taken by French organs and German organs, both classical and romantic; and he argues persuasively that the Cavaillé-Coll organ at Saint-Sulpice is not only the perfect organ for the music of Franck but also—as Schweitzer had maintained—for performance of Bach. The key for Bach, Roth explains, is to register a Plein Jeu and add a few discrete reed voices such as Basson or the small, bright Trompette from the Positif. As heard in Roth’s 2012 recording of Bach, re-released in 2017 and available for purchase at Amazon (or to stream in high quality as a complete album by searching within YouTube for “Daniel Roth Plays Bach”), the result is remarkably successful: we get the characteristic Cavaillé-Coll carpet of sound, rich in fundamentals, yet one that seems to match in voice-clarifying overtones the thrilling plenum of the large Gottfried Silbermann organ at Freiberg in Saxony. It helps, of course, that Cavaillé-Coll incorporated many classically French solo stops from the preceding 1780 Clicquot organ in his otherwise symphonic instrument for Saint Sulpice.

Too often, festschriften collect essays that barely relate to the accomplishments of the luminary being honored, or pieces that vary so widely in their focus that there would otherwise be little rationale for publishing (or re-publishing) them in the same volume. But this Festschrift comes as a most welcome treasury of interlocking themes. It will be of interest not only to students of the organ at any level of proficiency but to organ builders and enthusiasts who, incidentally, need not be advanced readers of German. Most of the language is straightforward and clear. The book should reasonably find a home in any library that serves an organ program, as it surely will in the personal libraries of many of the countless friends and admirers of Daniel Roth, who deserves to enjoy many more years of superb music making.

James Kibbie

James Kibbie is Chair of the Organ Department and University Organist at the University of Michigan.

Daniel Roth is widely acclaimed as a leading French organ recitalist, recording artist, improviser, teacher, and composer. He is titular organist of the Church of Saint-Sulpice in Paris, where his predecessors included Widor and Dupré, and he has held teaching positions at major institutions in France, Germany, and the United States. He has won prestigious competitions, including the Grand Prix de Chartres, and is a Chevalier de la Légion d’Honneur, an Officier de l’Ordre des Arts et des Lettres, and an Honorary Fellow of the Royal College of Organists. I spoke with him in Ann Arbor, Michigan, during his appointment as visiting artist in organ at the University of Michigan.

 

James Kibbie: Daniel, it’s been an honor to have you work with our students at the University of Michigan as visiting artist. What are your impressions of organ study in the United States?

Daniel Roth: I think there has always been a very high level in the States. Many teachers at different universities have a wonderful background by having had lessons in Europe with several great masters, then coming back to the States. Also, in the States you have organists who have studied musicology besides their training on the instrument. In Europe, we sometimes have teachers who are only wonderful players; there is not always a basis of research.

 

Wasn’t it Widor’s idea that musicians must also study history and other subjects? Organ students in American colleges and universities have other course requirements such as music theory, history, and general studies. Is it the same in France?

Today, and for a number of years, things are changing. We had in France the conservatoire system, and really in this system there are many interpreters who did not have much experience with musicological research. The conservatoire system is a system of music interpretation. It’s difficult to generalize because musicians are very different, but you found in the conservatoire system many organists who did not have this base of musicology.

 

Are the organ students in France today different than when you were a student?

Oh, yes. The two great conservatoires, Paris and Lyon, now have the university system. In my days you could do only an instrument in the conservatoire, no harmony, no music history. Music students arranged their studies as they wanted. When I was in the Paris Conservatoire in the 1960s, I did the classes of harmony with Maurice Duruflé, counterpoint and fugue with Marcel Bitsch, accompaniment with Henriette Puig-Roget, and organ and improvisation with Rolande Falcinelli. In 1960 there was a strict director of the conservatoire, and every student had to take a class in music history with Norbert Dufourcq. This was very new!

 

Does it hurt the students’ organ performance to require other studies?

It depends—some students are able to study many things together, others not. Achieving a high level in music performance needs a lot of time. It’s a matter of organization . . . 

 

Your improvisation at your recital this week was truly moving. This is so interesting to us in the United States. How do you teach your students to improvise?

I don’t anymore—I’m retired! [laughs]

 

Well then, how did you?

Of course, teaching improvisation is not an easy task. You must begin with much hope, and the student must be encouraged. Training in improvisation involves so many things together. You need much training in writing music. In the Paris Conservatoire harmony class, every week we had to realize a given bass and a given chant, counterpoint exercises, and a fugue. The best thing when you want to become a good improviser is to study the different major styles of music history, starting with Monteverdi and going up to our time, study the evolution of harmony, and improvise in the different styles. Counterpoint is very important in our field of organ, of course. 

 

Did you use Marcel Dupré’s Traité d’improvisation?

Yes, I used that even before coming to Paris. In Mulhouse, I started the little preparatory exercises for improvisation by Marcel Dupré with my organ teacher. Dupré’s exercises are very good to train beginning improvisation. He starts with harmonizing melodies and then quickly moves to improvising commentary to a melody. He eventually gets to a sonata movement. The theme (four measures) ends on the dominant, you improvise several commentaries modulating to the neighboring keys, a bridge on an element of the theme, the whole theme comes back, this builds the exposition, then comes the development on another element and the recapitulation.

 

When we had dinner at Jim and Mary Ann Wilkes’ home, you told a wonderful story of how you became an organist because of a film about Albert Schweitzer.

When I was a little boy, we went to church in a little village near Mulhouse in Alsace. There was a big organ, so I heard the organ, but until the age of 10, I was only interested in painting and drawing. It was my great passion. Then my father bought a piano. He wanted me to play the piano, but I had no great interest, I must say. I didn’t have a very kind teacher, you know, so piano was a little burden. But Albert Schweitzer was becoming well known, and I was born in Alsace, and Albert Schweitzer was also from Alsace. I was absolutely fascinated by his personality. Besides being a theologian and a medical doctor in Africa, he was also an organist, a specialist in Bach, and in organbuilding—it’s amazing. The movie “Il est minuit, docteur Schweitzer” (“It’s Midnight, Dr. Schweitzer”) came out when I was 11. The actor was a wonderful actor from Alsace, Pierre Fresney. In the middle of the movie you see Albert Schweitzer playing his piano in Lambaréné, which was a piano with a pedalboard attached, and in his mind he was in a great cathedral with a nice organ. As a little child, I was very much impressed by this. When I left this movie with my mother, I told her, “Maman, I absolutely want to become an organist.” I then got another piano teacher, a wonderful lady, and was practicing the organ for six hours a day.

 

How did you come to study with Rolande Falcinelli?

In my hometown of Mulhouse I had a teacher who was a great admirer of Dupré, and during these years I only heard great compliments for the Dupré school. When I came to Paris, I had lessons with Rolande Falcinelli, a student of Dupré, and she was wonderful with me. She organized all my studies and presented me to the teachers of counterpoint and harmony. She prepared me for the entrance exam for the conservatoire.

 

What was the entrance examination?

In those days in the organ class (it’s different now), we had to improvise a sonata andante on one theme as explained in the first volume of Dupré’s Traité d’improvisation. We had also to improvise the exposition, first divertissement, and relative key of a fugue, but with a countersubject, which you had to retain. This needs great training, which I didn’t have in Mulhouse. Also, all the organ pieces had to be played by memory, which had not been asked in the organ class in Mulhouse. 

 

So you were accepted into Rolande Falcinelli’s class at the conservatory?

Yes, I entered the organ class in 1961. In 1960, I had entered the class of Duruflé for harmony, and then in 1962 I started the counterpoint and fugue class. I stayed two years in the organ class with Rolande Falcinelli and got my First Prize in 1963. I was very happy to get her ideas, and still today I am very grateful to her because her teaching and improvisation were most perfect. She was an excellent teacher, and of course I learned everything about the Dupré tradition, Widor and so on. I am very grateful to Rolande Falcinelli for all I learned from her.

 

You also studied with Marie-Claire Alain?

In 1963, when I graduated from the organ class of the conservatoire, it was the time in Haarlem when the great movement for the real interpretation of old music started. You remember these three famous teachers, Anton Heiller, Luigi Tagliavini (who is still alive), and Marie-Claire Alain. At that time I felt the desire to go deeper into the interpretation of old music. With Rolande Falcinelli it was the Dupré tradition, you played the whole repertoire with the same touch, absolute legato or staccato (half-value). I felt the desire to learn more about the real interpretation of old music, so I went to have lessons with Marie-Claire Alain. She was a wonderful teacher. First of all, she was always very happy, very kind. Rolande Falcinelli was quite formal: “Mon petit, comment allez-vous?” You know Marie-Claire—with her, it was, “Ha-ha-ha, comment ça va, comment ça va?” 

I was extremely happy to study the completely new kind of interpretation with Marie-Claire. You have to research the composer, his instrument, his touch, not playing all the repertoire with the same touch. And then of course there’s the difference between the composers who want you to play the music straight and the composers who use rubato, like César Franck. Marie-Claire opened to me this world of research into the personality of each composer. Serve the composer, in the same way as Nikolaus Harnoncourt writes in his book, “The composer should be the highest authority.” I was fascinated by this and continued with it my whole life.

 

Your first church position was as the assistant to Mme. Falcinelli at Sacré-Cœur?

At Easter 1963, Rolande Falcinelli asked me to be her assistant at Sacré-Cœur Basilica because she was having great problems with the head priest there, a very difficult person. He did not like her way of playing, he didn’t like modern music at all. I often went to hear her, and she improvised in a wonderful way, but he didn’t like this in the liturgy. They agreed together she should have an assistant, and this is what I became on the Sunday after Easter, 1963. 

And then you became the titulaire of Sacré-Cœur?

At first, the head priest and Rolande Falcinelli agreed she would play one Sunday a month, and I would play the rest of the time. Finally in 1973, she told me, “Now I have had enough.” This probably was because Marcel Dupré had died in 1971, and he had the wish that Rolande Falcinelli would be his successor at Saint-Sulpice. The head priest of Saint-Sulpice formed a commission of organists to select the titulaire, he read them the letter of Dupré saying he wanted Rolande Falcinelli as his successor, and the commission voted. But at the end of this vote, the head priest took the ballots and said, “I am going to give these to the cardinal.” Then of course all the organists were unhappy—“What is the result of our vote?” After that, Jean-Jacques Grunenwald was named. Of course, Rolande Falcinelli was very bitter about this, and she told me, “I will quit now at Sacré-Cœur, and you will be my successor.” 

 

By this time, you had already won the Grand Prix de Chartres. In 1971, you won the grand prix for both interpretation and improvisation.

There were two of us. My good friend Yves Devernay and I both received the grand prix. The program was completely crazy, impossible, all by memory, and then we had to improvise a symphony. We shared the grand prix, and after he became one of the four organists at Notre-Dame. He was a wonderful person and a very good friend. He died in 1990.

 

How did it happen that you then went to Saint-Sulpice?

In 1974, I was invited to Washington, D.C., for two years to be the organist of the National Shrine and to teach at Catholic University. Then I came back to Sacré-Cœur, and we restored the organ because it was in very bad shape. In 1982, Jean-Jacques Grunenwald died, so the position at Saint-Sulpice was open. I was at Sacré-Cœur, I love this organ very much, and I did not think about changing, but I had several friends who pushed me, “You have to be a candidate at Saint-Sulpice. We are very worried about who will be there, and the organ,” and so on. Finally, I agreed to be a candidate. There were many candidates, and the exam for the post took a long time. This was in 1982. By 1984, when Pierre Cochereau died, there were still no rules about how to name an organist and still no organist in Saint-Sulpice. Finally, after the death of Cochereau, the cardinal redid the text on the nomination of organists in Paris. The cardinal wrote that the curé is the head of the parish, and he makes the final decision, but he has to get as consultants a commission of composers, organists, and liturgists. The text says that the curé may do this in two ways, either by organizing an official competition in interpretation and improvisation, or by an examination based on the curriculum vitae. The curé at Saint-Sulpice wanted to do it the second way, by curriculum vitae. I remember in February 1985, I was playing vespers at Sacré-Cœur, and my wife came and whispered in my ear, “You just have been named at Saint-Sulpice.” Oh, I lost the key!

 

Are the organs in the churches of Paris maintained by a city commission?

In France in 1905 there was separation of state and church. From this time on, all churches and their furniture belong to the towns. All cathedrals belong to the state. So when there is an organ restoration to be made, the town pays, or for a cathedral, the state, not the church. When the organ in a town is also an historic monument, then the state and the town divide the cost of restoration. For organ maintenance, it depends. In some places, it’s the town that pays for tuning. In other places, Saint-Sulpice for example, it’s the church.

I read an article in The Guardian newspaper that said the city commission does not have enough money to maintain the organs of Paris. Is it true?

Of course, as you know, there’s a financial crisis right now, a difficult time for the economy. There is a lack of money for restoration and for new organs, this is sure, but the maintenance in general is done.

 

What are your favorite organs?

Oh, I like in general all kinds of organs which are in a true aesthetic. I like very much historic organs all over the world. I am very fascinated by a North German organ, or an organ from Middle Germany or South Germany, or a typical Italian or Spanish organ. I like also new organs when they have a good aesthetic. I am sad when I see an historic organ that has been changed.

 

Yes, I think particularly of the many changes to César Franck’s organ at Sainte-Clotilde.

Yes, a catastrophe, and also Notre-Dame.

 

I wish the organ of Sainte-Clotilde could be restored to its original state.

I wish this also. The state commission for historic organs is interested in this, but in Paris it’s always politics, you know; the organs of Sainte-Clotilde and Notre-Dame have not been restored back to the original because of the organists. In Leipzig, for instance, you have the great organ of the Thomaskirche, by Sauer originally. It had been very much changed by the Orgelbewegung, taking out beautiful principals with nice scaling and putting in their place little mixtures and mutations. Years ago they organized the complete return to the original disposition of the organ. Or look at the Dom in Berlin, also a Sauer. After communism, they decided to restore that organ as it was originally, with pneumatic action and so on, beautifully poetic. 

 

Before we finish, we should talk a little about your children.

Yes! We have four children. The oldest is a girl, Anne-Marie, and she has completed fine arts school and is a specialist in mosaic. She lives now in Geneva and has done mosaics in schools and other places. Then we have three boys. The oldest boy is François-Xavier, and he has a wonderful career as a conductor. Then we have Vincent; he plays viola and is professor of viola at the Conservatoire of Metz in Lorraine. The last one, born in Washington, D.C. in 1976 (a bicentennial baby!) is not at all an artist. He is a professor of mathematics in Laval. And we have nine grandchildren from 4 to 17 years old, among them students in horn, trombone, flute, harpsichord, clarinet, percussion, and tuba. We are very proud!

 

Daniel, thank you so much. It’s been a delight visiting with you. 

David Spicer

David Spicer is Minister of Music at the First Church of Christ in Wethersfield, Connecticut. He also serves as House Organist for the Bushnell Memorial in Hartford, and is on the faculty at Central Connecticut State University in New Britain, Connecticut.

The second Albert Schweitzer Organ Festival/USA was held September 10–12 at the First Church of Christ in Wethersfield, Connecticut. The three-day event includes two concerts and a national competition for young organ students. Winners receive awards to further their music education.

 

Six finalists were chosen from taped auditions, four in the high school division, and two in the college division. High school finalists included Scott P. Myers, Landenburg, PA; Sarah R. Thrush, Mechanicsburg, PA; Jeffrey P. DeVault, Broomall, PA; and Stephen M. Scarlato, Ellington, CT. College finalists were Erik G. Meyer, Collingswood, NJ; and Joshua D. Dumbleton, Oklahoma City, OK. This year’s judges were John Weaver, Catherine Rodland, and Frederick Hohman.

 

The festival began on Friday morning with a tour of the Austin Organ Company in Hartford. That evening featured a multimedia presentation of “The Words of Albert Schweitzer and the Music of Bach,” by Thurston Moore. Slides were projected on the sanctuary walls while narrators related the life experiences and legacy of Albert Schweitzer. Bach works were interspersed throughout the production, played by Frederick Hohman, Catherine Rodland, and David Spicer. On Saturday the high school competition took place in the morning and the college division in the afternoon.

 

On Sunday, Sarah Thrush played the prelude and Stephen Scarlato played the offertory and postlude at the 8 am worship service. At the 9:15 service, Stephen Scarlato played the prelude and Joshua Dumbleton played the postlude. Sarah Thrush played the prelude at 11 am and Jeffrey DeVault the postlude. Frederick Hohman accompanied the choir at both the 9:15 and 11 services, while David Spicer played the service music.

 

On Sunday afternoon, Frederick Hohman interviewed the six finalists, Catherine Rodland, and David Spicer for an upcoming production of “Midnight Pipes.” At 4 pm the winners were presented in recital and all finalists received monetary awards and gifts. The Austin Grand Prize of $2000 (First Place, College Division) went to Erik Meyer.

 

Second place college division ($1000 from Financial Administrative Services) was given to Joshua Dumbleton. In the high school division, first place went to Scott Myers ($1000 sponsored by Equity Bank). Sarah Thrush and Jeffrey DeVault tied for second place ($500 sponsored by Anne and Walter Kelley; a second gift of $500 was provided by an anonymous donor). Third place went to Stephen Scarlato ($500 sponsored by Dutch Point Credit Union). The judges divided the college third prize ($500 from Foley-Baker) among the four high school finalists for their high level of musicianship.

 

The recital program opened with high school division winner Scott Myers: the hymn “St. Thomas;” Prelude and Fugue in G, Bach; Cantabile (Symphony No. 6), Widor; Aria, Hancock; Litanies, Alain; the hymn “Ar hyd y nos.” College division winner Erik Meyer played the following: the hymn “Slane”; Fantasy and Fugue in g, Bach; Choral No. 1 in E, Franck; two excerpts from Rubrics, Locklair; Homage to Frescobaldi, Langlais.

 

The first weekend after Labor Day was chosen as the date for this annual festival because it is near the death date of Albert Schweitzer, September 4. In addition to the prize sponsors, the festival also receives support from Bon Smith of Austin Organ Service Co., of Avon, CT, Fleet Bank, and the Hartford AGO Chapter.

Articles, Reports, and Reviews

Acoustics. See Bethards.

 

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

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

Art of the Fugue. See Kellner.

 

Bach. See Kellner.

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

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

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

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

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

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

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

Buxtehude. See Couch.

 

Calhoun. See Huestis.

Carillon News. See Swager.

Church Music. See West.

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

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

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

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

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

__________. Book Review. Oct 8-12

 

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

deTar, Vernon. See Wechsler.

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

Dzeda, Joseph. See Webster.

 

Editorial. Jan 2

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

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

 

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

French Organ Music Seminar. See McAfee.

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

 

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

German Organs. See Baggia.

 

Harpsichord News. See Palmer.

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

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

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

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

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

Harwood, Basil. See Hardwick.

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

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

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

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

__________. OrganNet Report. Sept 15

__________. Repair of reed resonators. Jun 13*

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

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

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

 

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

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

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

 

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

  Weinrich. Feb 13-17

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

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

Kimball. See Coleberd.

 

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

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

 

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

__________. Book review. Aug 8, 10

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

__________. New Organ Music. Jun 12, Jul 12

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

McFarlane, Karen.* Retirement. Dec 15

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

Music for Voices & Organ. See McCray.

 

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

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

New Handbell Music. See Nelson

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

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

 

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

OrganNet. See Huestis.

Orgelbüchlein. See Faulkner.

 

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

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

Pitman action. See Coleberd.

Prodigy. See Hartman.

Project 2000. See Huestis.

 

Rayfield, Robert. See Leppert-Largent.

Reeds. See Huestis.

Residence organ. See Jones.

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

 

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

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

Scott, John. See Van Oyen.

Simmons, Morgan. Book Review. Apr 6-7

Skinner. See Webster.

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

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

 

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

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

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

 

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

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

  12

Weinrich, Carl. See Keck.

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

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

Appointments

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Honors and Competitions

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

McFarlane, Karen,* honored upon retirement. Dec 15

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

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

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

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

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

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

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

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

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

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

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

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

Obituaries

Chevalier-Duruflé, Marie-Madeleine. Jan 8

Childs, Barney. Apr 4

Davis, Dwight J. May 4

Fauquet, Vivien Johnson. Jan 8

Ferris, William.* Jul 6

Groom, Lester H.* Jul 6

Hovhaness, Alan.* Sept 6

Pennells, Andrew.* Mar 4

Pettinga, Paul. Oct 6

Spelman, Leslie*. Aug 6.

Wheeler, Scott E. May 4

Whitehead, William. Dec 4

Organ Stoplists

Andover

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

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

 

Bedient

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

 

Buzard

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

 

Cook

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

 

Dobson

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

 

Fabry (Wicks)

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

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

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

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

 

Farmer (Pilcher restoration)

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

 

Glatter-Götz/Rosales

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

 

Goulding & Wood

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

 

Jaeckel

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

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

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

 

Kegg

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

 

Kney

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

 

Lauck

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

 

Lewis & Hitchcock

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

 

Murphy (Hook restoration)

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

 

Nichols & Simpson

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

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

 

Ott

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

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

 

Parkey

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

 

Pasi

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

 

Rench

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

 

Reuter

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

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

 

Reynolds (Kimball/Casavant restoration)

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

 

Ruggles

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

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

 

Rule (Hook & Hastings rebuild)

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

 

Swanson

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

 

Wicks

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

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

 

Wolff

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

 

David Spicer

What a treat to hear such wonderfully prepared young organists at the Albert Schweitzer Organ Festival in September! It speaks well of them developing their God-given talents, and of their excellent teachers. That, combined with wonderful organ music, set the stage for the sixteenth annual festival, held at First Church of Christ in Wethersfield, Connecticut. We are grateful to be able to encourage young organists with this competition. We had some wonderful applicants who sent in outstanding CDs, and we thank Charles Callahan for serving as the screening judge for these applications. Judges for this year’s festival were Diane Meredith Belcher, Cherry Rhodes, and David Hurd.

On Friday evening, September 6, the traditional opening concert was held. The service/choral portions were played by this writer: Andante Espressivo (Sonata in G Major, op. 28), Elgar; Psalm 150, Franck; Christ Is Made the Sure Foundation (Christ Church), Dirksen; Kyrie (from Messe Solennelle, op. 16), Vierne; He Comes to Us (text by Albert Schweitzer), Marshall; Go Ye Into All the World, Wetzler; Let Heaven Rejoice (Rock Harbor), (text by Hal M. Helms), tune by Alan MacMillan. 

At the Friday evening opening concert, each of the judges played selections of their own choosing on the Austin organ. A video camera, via closed-circuit television, projected a view of the organists in the balcony onto a screen downstairs. The selections: Salix (from Plymouth Suite), Whitlock; Prelude and Fugue in G Minor, op. 7, no. 3, Dupré, played by Diane Meredith Belcher; Variations sur un Noël bourguignon, Fleury; Toccata in B Minor, Gigout, played by Cherry Rhodes; Arioso and Finale, Hurd, played by David Hurd.

Saturday morning, from 9 a.m. to 12 noon, the high school division finalists played the required repertoire. At 2 p.m. the young professional division finalists were heard. All finalists were required to play the hymn tune St. Thomas (Williams).

The high school division finalists and the works they played were: 

Anna Pan—Bach, Prelude and Fugue in G Major, BWV 541; Widor, Andante Sostenuto (from Symphonie Gothique); Demessieux, Te Deum, op. 11; hymn tune, Ar Hyd Y Nos.

Bryan Dunnewald—Bach, Prelude and Fugue in D Major, BWV 532; Widor, Adagio (from Symphony No. 2, op. 13); Duruflé, Fugue (from Prélude et Fugue sur le nom d’Alain, op. 7); hymn tune, Ar Hyd Y Nos.

Alexander Pattavina—Bach, Fantasia and Fugue in C Minor, BWV 537; Hancock, Air for Organ; Widor, Meditation (from Symphony No. 1, op. 13); hymn tune, Ar Hyd Y Nos.

The Young Professional Division finalists and the works they played were: 

Alcée Chriss III—Bach, Trio Sonata No. II in C Minor, BWV 526; Franck, Choral No. 1 in E Major; Duruflé, Toccata (from Suite, op. 5); hymn tune, Slane.

Derek Remeš—Bach, Prelude and Fugue in G Major, BWV 541; Franck, Choral No. 3 in A Minor; Langlais, Féte; hymn tune, Diademata.

Patrick Kreeger—Bach, Toccata and Fugue in F Major, BWV 540; Franck, Choral No. 3 in A Minor; Vierne, Finale (from Symphony No. 5); hymn tune, Slane.

Later that evening, all finalists and judges had a chance for interaction and discussion over a delicious meal provided by Dana Spicer at Trinity Episcopal Church in Wethersfield.

On Sunday, September 8, the young professional finalists played portions of the 9 a.m. worship service. In addition, we thank Ezequiel Menéndez, who invited the finalists to play portions of the 11 a.m. Mass at the Cathedral of St. Joseph in Hartford. In Wethersfield at 1:30 p.m., a masterclass with the three judges was held. Many topics were covered, and awards were presented.

The judges’ decisions

High school division, first place, Bryan Dunnewald from Arvada, Colorado (Interlochen Center for the Arts), student of Thomas Bara; second place (tie): Anna Pan from Burlington, Connecticut, student of Joseph Ripka; and Alexander Pattavina from Stoughton, Massachusetts, student of Philip Jones.

Young professional division, first place, Alcée Chriss III from Oberlin, Ohio (Oberlin Conservatory), student of James David Christie; second place, Derek Remeš from Rochester, New York (Eastman School of Music), student of David Higgs; third place, Patrick Kreeger from New Haven, Connecticut (Yale University), previously a student of Alan Morrison at the Curtis Institute of Music, and currently studying with Martin Jean.

We are grateful to Robert Bausmith and Jill Peters-Gee, M.D., for giving the young professional division first prize of $3,500; the young professional division second prize of $1,500 came from several individuals in the First Church family and others; our thanks to Evelyn Lee and Betty Standish for the $2,000 award for first prize in the high school division, and to Marilyn Austin and family for the high school division second place prize of $1,000. Thanks go to John Gorton and Richard Pilch for providing $1,000 for the David Spicer Hymn Playing Award; $500 was given to high school division finalist Bryan Dunnewald and $500 to young professional division finalist Derek Remeš.  

Special thanks go to Bon Smith and Alex Belair of Austin Organ Service Company of Avon, Connecticut, who were on hand throughout the Saturday competition to offer assistance, should the organ have needed it. (It did not!) We are also grateful to Bon Smith for his gracious gift of maintenance for this festival. Alex Belair and Michael Tanguay of Austin Organ Service Company are the regular curators of this instrument. Thanks to Linda Henderson, festival coordinator and associate, for so ably performing the organizational work that made the festival run smoothly and efficiently.

Churches that allowed their instruments to be used for additional practice included Bethany Covenant Church, Berlin, Olga Ljungholm, minister of music; the Cathedral of St. Joseph, Hartford, Ezequiel Menéndez, director of music; Covenant Village of Cromwell, the Reverend Glen Halvorsen; First Church of Christ, Glastonbury, Angela Salcedo, director of music ministries; First Congregational Church, Southington, John Parsons, minister of music; and Trinity Episcopal Church, Wethersfield, Father Scott Lee, rector.

Our 2013 first-place winners, Bryan Dunnewald and Alcée Chriss III, will perform in recital on Sunday, March 23, 2014, at 4:00 p.m. at the First Church of Christ, Wethersfield, Connecticut.

Plans are underway for the 2014 Albert Schweitzer Organ Festival, including the opening concert of the festival on Friday evening, September 5 at 7:30 p.m. Information about the Albert Schweitzer Organ Festival and current requirements for the competition are available by telephone at 860/529-1575, ext. 209, by e-mail at [email protected], or by viewing the ASOF website: www.firstchurch.org/ASOF. 

David Spicer

David Spicer is Minister of Music and the Arts at First Church of Christ in Wethersfield, Connecticut, and co-founder of the Albert Schweitzer Organ Festival/USA. Undergraduate studies were at the Curtis Institute of Music in Philadelphia, where he studied organ with Dr. Alexander McCurdy. Graduate studies were at the Eastern Baptist Theological Seminary, also in Philadelphia.

The sixth annual Albert Schweitzer Organ Festival/USA was
held at the First Church of Christ in Wethersfield, Connecticut, September 5-7,
2003. The festival opened with a celebration concert on Friday evening,
September 5. David Spicer, Minister of Music and the Arts at First Church of
Christ and co-founder of the festival, served as organist/choirmaster for the
choral portions of the concert. The opening carillon selection was Bach's Liebster
Jesu, wir sind hier, one of Albert
Schweitzer's favorite chorale settings. The Campanella Handbell Choir, directed
by Linda Henderson, then played Paean of Praise
style='font-style:normal'> (based on Pasticcio
style='font-style:normal'>) by Jean Langlais, adapted and arranged by Sue
Mitchell-Wallace for handbells and organ. Following the handbell selection, all
in attendance were invited to sing "Christ is made the sure
foundation" (tune: Christ Church 
by Richard W. Dirksen). The Festival Choir sang the Kyrie from Louis
Vierne's Messe Solennelle.

Mr. Spicer introduced the three judges: Colin Andrews and
Janette Fishell from Greenville, North Carolina, and Frederick Hohman from
South Bend, Indiana. Next the two high school finalists were introduced:
Christopher Mark Houlihan from Somers, Connecticut, and Stephanie Y. Liem from
Haverford, Pennsylvania, followed by the three college/young professional
division finalists: David Enlow from New York City, Andrew Cornell Pester from
Dayton, Ohio, and Jin-Ah Yoo from Cedar Falls, Iowa. Then the three judges
performed: Frederick Hohman played his own composition, A Patriot's
Processional, Janette Fishell played Moto
Ostinato by Petr Eben, and Colin Andrews
played Concert Variations by
Joseph Bonnet.

After all the festival sponsors were acknowledged and
thanked, the choir sang He Comes to Us
by Jane Marshall (with text from The Quest for the Historical Jesus by Albert
Schweitzer) and the anthem Go Ye into All the World
style='font-style:normal'> by Robert Wetzler. The concert concluded with all
singing "Let Heaven Rejoice" (tune: Rock Harbor by Alan MacMillan and
text by Hal M. Helms).

On Saturday, September 6, the high school division
competition was held from 10 am to 12 noon, and the college/young professional
division competition from 2-5 pm. The judges made the following decisions: high
school division, first place, $1500, was awarded to Christopher Mark Houlihan,
a junior at Somers High School and a student of John Rose; second place, $500,
was awarded to Stephanie Y. Liem, a junior in high school attending the
Friends' Central School outside Philadelphia, and a student of Michael Stairs.
In the college/young professional division: first place, $3250, was awarded to
David Enlow, a student of John Weaver at the Julliard School in New York City
(this award includes a return concert at First Church of Christ on March 21,
2004 at 7 pm); second place, $1000, was awarded to Andrew Cornell Pester, a
student of Hans Davidsson at the Eastman School of Music in Rochester, New
York; third place, $500, was awarded to Jin-Ah Yoo, a student of Marilou
Kratzenstein and Melody Steed at the University of Northern Iowa in Cedar
Falls, Iowa.

Saturday evening the judges, finalists and invited guests
enjoyed a lavish meal prepared by Dana Spicer at Mainly Tea in Wethersfield. On
Sunday, September 7, the second and third place winners played during the 8,
9:15 and 11 am services of worship, and at 4 pm the two first place winners
were featured in recital. Awards were presented during this concert.

Special thanks to First Church of Christ hosting ASOF/USA
2003, Nancy Andersen, ASOF/USA manager; Karen Franzen, administrative
assistant; Betty Standish, chair of the music committee; David Gilbert for
photography, and to the following sponsors. College/young artist division,
first prize: The Austin Grand Prize Award, $2000, Austin Organs, Inc.,
Hartford; Jenny Fong Award, $300 (given in memory of King-Ao Tze); Helen L.
Reinfrank Award, $200; concert appearance, $750; second prize: The Betty
Standish and Evelyn Lee Award, $500 (given in memory of Richard M. K. Lee);
Dutch Point Credit Union Award, Wethersfield, CT, $500; third prize: Hartford
AGO Chapter, $500. High school division, first prize: Fleet Bank of Hartford
Award, $1500; second prize: Jason Solomonides Award, $500; Judges Award, Helen
L. Reinfrank Music Fund Award. The Albert Schweitzer Organ Festival/USA is
grateful to Bon Smith of Austin Organ Service Co. in Avon, Connecticut for the
gift of tuning and maintenance of the Austin Organ used in this festival.

The repertoire of this year's finalists included Bach: Trio
Sonata No. 5, BWV 529, Prelude
and Fugue in D Major, BWV 532, Prelude
and Fugue in f minor, BWV 534, Prelude
and Fugue in G Major, BWV 541, Fantasy
and Fugue in g minor, BWV 542; Franck:
Choral No. 1, Choral No. 2, Choral No. 3;
Widor: Andante Cantabile (Symphony No. 4), Allegro Cantabile (Symphony No. 5
style='font-style:normal'>); Dupré: Cortège et Litanie,
Prelude and Fugue in B; Barber: Variations
on "What Wondrous Love Is This?";
Sowerby: Toccata; Langlais:
Epilogue (Hommage à Frescobaldi).

Next year's Albert Schweitzer Organ Festival/USA will be
held September 10-12, 2004. The deadline for competition applications is June
1, 2004. Interested candidates may find information about ASOF/USA 2004 by
visiting our website: <[email protected]> and click on Seventh
Annual Albert Schweitzer Organ Festival/USA or call 860/529-1575 x209.