Dorothy Young Riess world premiere

Mickey Thomas Terry, a native of Greenville, North Carolina, holds degrees from East Carolina University in Greenville, and a Ph.D. in Late Medieval and Early Modern European History from Georgetown University in Washington, DC. Dr. Terry's principal organ teachers have been Clarence Watters, Charles Callahan, and Ronald Stolk (Improvisation). He is currently the organist and minister of music of St. Rita's Catholic Church in Alexandria, Virginia. Dr. Terry has concertized throughout the United States and has been broadcast several times on Pipedreams. Dr. Terry has recently been a featured artist at Washington's John F. Kennedy Center for the Performing Arts and organ recitalist at the Piccolo-Spoleto Music Festival in Charleston, South Carolina. In July, 1996, he presented a lecture-recital in St. Paul's Chapel at Columbia University as part of the African-American Organ Music workshop of the AGO National Convention in New York. He will be a featured recitalist at the 1998 AGO national convention in Denver. Dr. Terry has taught on the faculty of Georgetown University and has written several articles for both The American Organist Magazine and The Diapason. He serves on the Advisory board for the ECS/AGO African-American Organ Music Series published by E.C. Schirmer Music Company of Boston. Dr. Terry appears on the Albany Records label compact disc George Walker--A Portrait, playing the organ works of Pulitzer Prize-winning composer George Walker.

In a previous article, "African-American Organ Literature--A Selective Overview,"  seven composers and their works were featured (The Diapason, April, 1996, pp. 14-17). They included George Walker, Noel Da Costa, David Hurd, Adolphus Hailstork, Thomas H. Kerr, William B. Cooper, and Mark Fax. Through a series of musical examples provided, it was shown that in addition to Negro spirituals and jazz, African-American organ literature is based on several diverse musical sources which include plain chant, German Protestant chorales, general Protestant hymnody, themes of African origin, and original composer themes.1

Also mentioned was the fact that several composers from this school are alumni of major musical institutions. A number of them have been recipients of prestigious composition prizes and academic fellowships.2 Among them is George Walker who, in April 1996, became the first black to receive the Pulitzer Prize for music. This award was for his composition Lilacs for Soprano and Orchestra, commissioned and premiered by the Boston Symphony.

Although attitudes towards black composers are gradually changing, the path of the African-American composer has not been an easy one, and it is still fraught with difficulty.3 Historically, racial bias and negative stereotyping have played a deleterious role in coloring perceptions of and attitudes towards African-American composers. In the U.S., such attitudes have long been documented. One of the earliest setof published writings which reflects this attitude is Thomas Jefferson's Notes on Virginia (c. 1784). In this work, the author relates his general perceptions regarding blacks.4 Added to the problem of historical perception was the existence of the now defunct Jim Crow (i.e., segregation) system which deterred blacks from being woven into the fabric of American society. The combination of both factors has greatly contributed to the current dearth of published musical materials from this school of composers. Furthermore, during the pre-integration era, the extant system of laws, racial codes, and negative perceptions prohibited African-Americans, in most cases from matriculating in traditionally white institutions of higher education. At that time, the academic pedigrees and scholastic achievements of blacks were given little or no regard.5 George Walker's experiences, as related to and documented by several newspaper and journal interviews, constitute a case in point.

Prior to receiving the distinction of being a Pulitzer Prize winner, Walker had the distinction of being the first black graduate of the Curtis Institute (Artist Diploma, 1945) and, subsequently, becoming the first black to receive a Doctoral degree from the Eastman School of Music (D.M.A. in Piano, 1956). At the time, this was really quite a notable accomplishment because many institutions including the prestigious Peabody Conservatory did not admit blacks for a long time.6 Although the achievements of Walker and others continued to be increasingly evident, many such institutions remained closed, nonetheless, to blacks; teaching posts in such institutions were simply out of the question.

Since winning the Pulitzer, Walker's interviews, such as that published in the Philadelphia Inquirer (Oct. 31, 1996), have occasionally indicated long-standing difficulties and disappointments experienced not only as a composer, but as a virtuoso pianist and teacher.7 Unfortunate as these experiences may have been, they are neither unique nor isolated; several black composers have shared similar misfortunes. One of the greatest misfortunes from that period to the present has been the absence of sufficient recognition for their contribution to the classical literature; part of this article's raison d'être is the writer's attempt to help alter that situation.

As mentioned in the previous article, it is not feasible to present a comprehensive survey in the scope of a single article; as such, the writer has, once again, provided a select sampling of talents who have made substantive and qualitative contributions to the literature for the instrument. The various cited examples are intended to demonstrate not only a diversity of composition styles, but thematic influences which may be found among this body of music. For the purposes of this article, the organ compositions cited are stylistically divided into two general categories: neo-classical and symphonic. Among the neo-classical works cited are compositions by Ulysses Kay, Roger Dickerson, and Charles Coleman. The more symphonically conceived works are represented by Olly Wilson, William Grant Still, Eugene W. Hancock, Charlene Moore Cooper, Mark A. Miller, and Jeffrey Mumford. The neo-classical works are presented first, followed by the symphonic compositions.

ULYSSES KAY (1917-1995) received a B.M. degree from the University of Arizona. Kay also studied with Howard Hanson at the Eastman School of Music (M.M. in Composition) and with Paul Hindemith both at the Berkshire Music Center (1941) and Yale University. He also studied with Otto Luening at Columbia University. Kay served as visiting professor at both Boston University and the University of Los Angeles (UCLA). From 1968, he served as Professor of Music at Herbert H. Lehman College (CUNY) until his retirement in 1988. While there, he was appointed as Distinguished Professor (1972). Kay was the recipient of several prestigious awards and fellowships. Twice, he won the Prix de Rome as well as winning the Gershwin Memorial Award (1947). Among the fellowships awarded were: Ditson (1946), Rosenwald (1947), Fulbright (1950), and Guggenheim (1964). In addition to organ works, Kay wrote two operas as well as music for chorus, orchestra, ballet, chamber ensemble, and piano. Commissioned and premiered by Marilyn Mason, Kay's Suite No. 1 for Organ (1958) exhibits the influence of  neo-classicism. For the purposes of this article, excerpts from the second and last movements of this work are cited. (See Examples 1 and 2.)

Organ Compositions (Published Scores):

Two Meditations for Organ (H.W. Gray, 1951) [out-of-print]

Suite No. 1 for Organ [Prelude, Pastorale, Finale (1958)] (Carl Fischer Facsimile Edition, 1986)

ROGER DICKERSON (b. 1934) received his B.A. (Music Education) Degree from Dillard University in New Orleans and M.M. Degree (Composition) from Indiana University. He received a Fulbright to study at the Akademie für Musik und Darstellende Kunst in Vienna (1959-62). Dickerson was also the recipient of a John Hay Whitney Fellowship and received the Louis Armstrong Award (1981). In 1975, he founded the Creative Artists Alliance. He also received an honorary doctorate from the People's Republic of China.  In 1978, he was the subject of a public television documentary film "New Orleans Concerto." Currently, Dickerson serves as Music Coordinator and Choir Director at Southern University as well as Lecturer in Music at Dillard University in New Orleans. He has written for piano, voice, chorus, orchestra, band, and chamber ensemble. The following composition is, at the time of this article's completion, his only contribution for solo organ. Conceived in a neo-classical idiom, it is based on a German Protestant Chorale Das neugeborne Kindelein ("The Newborn Little Child"). (See Example 3.)

Organ Compositions (Published Scores):

Chorale Prelude: Das neugeborne Kindelein (1956) [E.C. Schirmer Music Co., 1996]

CHARLES D. COLEMAN (1926-1991) was a native of Detroit. He received his B.M. and M.M. Degrees from Wayne State University in Detroit. Among his teachers were Virgil Fox, Mildred Clumas, and Robert Cato. In 1955, Mr. Coleman founded the Charles Coleman House of Music, formerly known as Northwestern School of Music, Dance, and Drama. In addition to teaching in the Detroit Public Schools, he served as Director of Music for Tabernacle Baptist Church in Detroit. Coleman was also an Associate of the American Guild of Organists (AAGO). His compositions include works written essentially for chorus, organ, and piano. Conceived in a neo-classical idiom, the sonata is dedicated to Dr. Eugene W. Hancock. The Passacaglia constitutes the sonata's first movement. (See Example 4.)

Organ Compositions (Published Scores):

Impromptu for Pedals Alone (1961; Northwestern School of Music Press, 1977) [out-of-print]

Sonata No. 1 [Passacaglia, Adagio, Allegro]8 (Northwestern School of Music Press, 1979) [out-of-print]

OLLY WILSON (b. 1937) received a B.M. Degree from Washington University (St. Louis), an M.M. Degree from the University of Illinois (Urbana), and a Ph.D. from the University of Iowa. In addition to being a recipient of a Fulbright Fellowship (1971 and 1977) and a Guggenheim (1972),Wilson was the recipient of a First Prize in the International Electronic Music Competition (1968) and the Dartmouth Arts Council Prize (1968).  In 1974, he received an award for outstanding achievement in music composition from the American Academy of Arts and Letters and the National Institute of Arts and Letters. Among his academic positions, he has served on the faculties of Florida A & M University and Oberlin Conservatory.  He is currently Music Department chair at the University of California at Berkeley. Wilson has written for various musical media including: organ, piano, voice, chorus, chamber ensemble, and orchestra. Commissioned for the 1979 Hartt College of Music International Contemporary Organ Music Festival, Expansions was premiered by Donald Sutherland. (See Example 5.)

Organ Compositions (Published Scores):

Expansions (1979)

Moe Fragments (1987)

WILLIAM GRANT STILL (1895-

1979) During his lifetime, he was frequently referred to as the "Dean" of African-American Composers. He studied at Wilberforce University (Ohio) and at Oberlin Conservatory. Still also studied privately with George Chadwick and Edgar Varèse. He was the recipient of many honors and fellowships, including a Guggenheim (1933).  Among his distinctions, William Grant Still was the first black to compose a symphony, to conduct a major U.S. symphony, and to have a composition performed by a major U.S. symphony.  He wrote for almost every musical medium including piano, voice, chorus, chamber music, opera, ballet, and orchestra.  Reverie is one of two original organ compositions written by the composer.  It was commissioned by the Long Beach, Los Angeles, and Pasadena & Valley Districts of the AGO in celebration of the 1962 American Guild of Organists National Convention. (See Example 6.)

Organ Compositions (Published Scores):

Reverie [AGO Prelude Book (published by Los Angeles area American Guild of Organists chapters, 1962)]

Elegy (Avant Music Co., 1963)

EUGENE W. HANCOCK (1929-1994) was a native of Detroit, as was his friend and colleague Charles Coleman. Hancock received a B.M. Degree from the University of Detroit, a M.M. Degree from the University of Michigan [Ann Arbor], and a Doctorate of Sacred Music from the School of Sacred Music at Union Theological Seminary in New York. Among his organ teachers were Marilyn Mason, Vernon deTar, and Alec Wyton. Hancock studied composition with Seth Bingham. He served as Assistant Organist/Choirmaster of the Cathedral of St. John the Divine (1963-66), and later as Organist/Choirmaster of St. Philip's Episcopal Church (1975-82) and of West End Presbyterian Church (1982-90) in New York. In 1970, Hancock was appointed as Professor of Music at Borough of Manhattan Community College (CUNY), a position he held until his death. Among his professional affiliations, Hancock was an Associate of the American Guild of Organists (AAGO). With several choral publications to his credit, he has contributed much to the genre of sacred music. In his recital work, Hancock had been particularly noted for performing and promoting the works of African-American organ composers. Fantasy is a virtuosic work written for and premiered by Herman D. Taylor in 1985 at the Black American Music Symposium held in Ann Arbor, Michigan. (See Example 7.)

Organ Compositions (Published Scores):

An Organ Book of Spirituals [Sometimes I Feel Like a Motherless Child; We are Climbing Jacob's Ladder; My Lord, What a Morning; Joshua fought the Battle of Jericho; Were You There When They Crucified My Lord; I'm Troubled; Fix Me, Jesus; Swing Low, Sweet Chariot; Go Tell It on the Mountain] (Lorenz Publishing, 1966) [out-of-print]

The Wrath of God (Selah Press, 1993)

(Unpublished Scores)

Suite in Three Movements for Organ, String Quartet, Oboe, Xylophone, and Bass Drum [Variation, Aria, Toccata] (1966)

Fantasy for Organ (1985)

CHARLENE MOORE COOPER (b. 1938) is a native of Baltimore. She received a B.M. Degree (Flute/Music Education) from Oberlin Conservatory. She is currently a Ph.D. candidate in Counseling Psychology at Catholic University in Washington, DC. Cooper has taught music in both the Baltimore and District of Columbia Public Schools. She has also taught liturgy courses at the Howard University School of Divinity. She is also Director for the Municipal Opera of Baltimore, the NAACP Community Choir (DC), the Best Friends Jazz Choir (DC Metro area), and Director of Music for John Wesley A.M.E. Zion Church in Washington. In addition to writing for the organ, Cooper has written for piano, voice, chorus, chamber ensemble, and orchestra. A Solitary Prayer was originally conceived as a musical tribute to the composer's deceased mother. (See Example 8.)

Organ Compositions (Published Scores)

A Joyful Noise for Trumpet and Organ (1993)

Alleluia (1995)

A Solitary Prayer (1995)

Festal Postlude (1995)

Christmas Morn for Oboe and Organ (1995)

Meditation (1996)

Gloria in Excelsis Deo (1997)

Joy in the Morning (1997)

Resurrection (1997)

JEFFREY MUMFORD (b. 1955) is a native of Washington, D.C. He received his B.A. Degree (Art/Painting) from the University of California at Irvine and his M.A. Degree (Composition) at the University of California at San Diego. Mumford has won First Prize in the Aspen Music Festival (1979) and the National Black Arts Festival-Atlanta Symphony Composition Competition (1994). Also the recipient of several prestigious commissions, he was awarded a commission by the National Symphony in commemoration of the 25th Anniversary of the Kennedy Center. In 1995, he was also the recipient of a Guggenheim in composition. Most recently, Mumford has been awarded a grant from Meet the Composer/Arts Endowment Commissioning Music/ USA to compose a piece for the CORE Ensemble. His compositions consist of music for voice, piano, chorus, solo instrument, chamber ensemble, and orchestra. Mumford's Fanfare for November, so far his only organ composition, was written to be the recessional music for own wedding ceremony in November, 1985. (See Example 9.)

Organ Compositions (Published Scores)

Fanfare for November (1985)

MARK A. MILLER (b. 1967), a native of Burlington, Vermont,  received a B.A. (Organ Performance/Composition) from Yale University and an M.M. (Organ Performance) from Juilliard.  In 1989, he won First Prize in the National Association of Negro Musicians National Organ Competition. He is currently Director of Music for the Drew University Theological School (Madison, NJ) and Director of Music for Chatham United Methodist Church (Chatham, NJ). Miller is also an organist for the Nightwatch Program at the Cathedral of St. John the Divine in New York City. In addition to organ music, he has written for voice, chorus, and handbells. Reverie constitutes the second movement of Miller's Verses. (See Example 10.)

Organ Compositions (Published Scores)

Fantasias for Pentecost (1983)

Jubilate (1984)

Toccata on the Mountain (1994

Verses: [Prelude and Fugue, Reverie, Toccata] (1996)

Epilogue

In Jefferson's Notes on Virginia, the author writes: "Whether they [blacks] will be equal to the composition of a more extensive run of melody, or of complicated harmony, is yet to be proved." Should one be in quest of proof today, it is necessary to look no further than the compositions represented in this and the previous article. Some of these composers have attained a certain measure of renown; others are less renown, but there are several unmentioned here who are also very fine, even if unknown but to a small handful of devoted supporters and disciples. Given the findings, it is rather safe to say that African-American classical organ music exists sufficiently both in quality and quantity. No longer is there need for queries and proof, but rather concerts and recitals, recordings and publication, and most of all, a fervent commitment by the performer.                      

Notes

                        1.                  Mickey Thomas Terry, "African-American Organ Literature, A Selective Overview," The Diapason (April, 1996): 14.

                        2.                  Mickey Thomas Terry, "African-American  Classical Organ Music: A Case of Neglect," The American Organist Magazine (March, 1997): 60n.

                        3.                  This reference provides information concerning the historical perspective of the black composer, Ibid: 56-61.

                        4.                  Therein, Jefferson briefly assesses the musical capabilities of blacks: "In music they are more generally gifted than the whites with accurate ears for tune and time, and they have been found capable of imagining a small catch. Whether they will be equal to the composition of a more extensive run of melody, or of complicated harmony, is yet to be proved." Thomas Jefferson, Notes on Virginia, ed. William Peden (New York: W.W. Norton and Co., 1982), 140.

                        5.                  Terry, "African-American Classical Organ Music," TAO, 59n.

                        6.                  The first black to be admitted to Peabody Conservatory was Paul Archibald Brent (1907-1997) of Baltimore. Brent, an honors graduate, received a teaching certificate in piano (1953). He subsequently received a B.M. Degree from Morgan State University in Baltimore. When interviewed, Anne Garside, Peabody's Information Director, provided the following information regarding the situation: "The director [conservatory] at the time was Reginald Stewart who very much wanted to abolish the color bar because not only had Peabody faculty been teaching African-American students for years under the table, [but] some of these black students were among the best musicians in the city . . . " The Baltimore Sun, Mar. 21, 1997, 5B.

                        7.                  Philadelphia Inquirer (Oct. 31, 1996), E6.

                        8.                  This sonata is comprised of three movements, none of which has been titled by the composer. The movements listed here are more or less described either by their form or tempo markings. In the case of the second movement, there is neither a title nor tempo marking indicated; consequently, the title indicated is provided by the writer to describe a suggested tempo.

David Spicer began as Minister of Music and the Arts at First Church of Christ in Wethersfield, Connecticut, in 1986. In 1996 he and Harold Robles founded the Albert Schweitzer Organ Festival. Spicer is a graduate of the Curtis Institute of Music, where he studied with Alexander McCurdy, and is a graduate of the Eastern Baptist Theological Seminary.

It hardly seems possible that ten years have gone by since we began the Albert Schweitzer Organ Festival! We have experienced outstanding applicants who reflected superb teaching, wonderful adjudicators, and a high level of music making. Beautiful New England weather gave an idyllic setting for the festival. On Friday evening, September 7, our traditional opening concert was held. The service/choral portions were played by the writer:
Prelude: Benedictus (op. 59, no. 9), Max Reger (played at the first festival)
Psalm 150, César Franck
Hymn: Christ Is Made the Sure Foundation (Tune: Christ Church, Richard W. Dirksen)
Kyrie (from Messe Solennelle, op. 16), Louis Vierne
He Comes to Us (with text by Albert Schweitzer), Jane Marshall
Go Ye into All the World, Robert Wetzler
Hymn: Let Heaven Rejoice (text by Hal M. Helms) (tune: Rock Harbor by Alan MacMillan)
The three judges were each invited to play a selection of their own choosing. The artists’ playing from the balcony was projected onto a screen downstairs in the historic Meetinghouse. Frederick Hohman played Comes Autumn Time by Sowerby. Diane Meredith Belcher played her transcription of the Largo ma non tanto (from the Concerto for Two Violins, BWV 1043) by Bach, and the Toccata in B-flat minor (from Pièces de fantaisie, op. 53, no. 6) by Vierne. Paul Jacobs then played the Fugue (from Fantasy and Fugue on B-A-C-H, op. 46) by Max Reger.
Paul Jacobs returned as a judge to the competition in which he had won first prize ten years ago! At that competition, his mother and grandmother flew from Pennsylvania to be present at his winner’s recital. They both returned again this time, to be present as Paul served as a judge.
Saturday morning the three High School Division finalists played the required repertoire. At 2:00 pm the Young Professional Division finalists were heard. The combined repertoire of these six finalists included: hymn tunes St. Thomas (Williams), Coronation, Ein’ Feste Burg, Diademata, and Veni Creator; J. S. Bach, Prelude and Fugue in G Major, BWV 541; Prelude and Fugue in C, BWV 531; Fantasia and Fugue in G minor, BWV 542; Trio Sonata No. 1, BWV 525, and Trio Sonata No. 6, BWV 530; Charles-Marie Widor, Adagio (Symphony No. 3), Adagio (Symphony No. 5), and Cantabile (Symphony No. 6); Simon Preston, Fantasia, The Christmas Light; Jehan Alain, Litanies; Dan Locklair: “The people respond, Amen!” (Rubrics); and Franck: Chorals nos. 1, 2, and 3.
Immediately after the competition, all finalists and judges had a chance for interaction and discussion over a delicious meal provided by Dana Spicer at her restaurant, Mainly Tea, directly across the street from the Meetinghouse. On Sunday, September 9, all finalists played portions of the 8:00, 9:15, and 11:00 am worship services. At 1:30 pm, a masterclass with the three judges was held. Many important topics were covered, and awards were presented.
The judges’ decisions
High School Division: first place, Benton Blasingame from Collinsville, Illinois, former student of Dr. John Romeri and currently studying with Thomas Bara at the Interlochen Arts Camp; second place, Wesley Hall from Spencer, Massachusetts, student of Patricia Snyder and currently studying with William Ness; third place, Chelsea Barton from Mechanicsburg, Pennsylvania, student of Dr. Shelly Moorman-Stahlman, a professor at Lebanon Valley College.
Young Professional Division: first place, Ahreum Han from New Haven, Connecticut, student of Ken Cowan at Westminster Choir College, of Alan Morrison at the Curtis Institute of Music, and currently at Yale with Thomas Murray; second place, Christopher J. Howerter, SPC, from Emmaus, Pennsylvania, student of Stephen Williams, Michael Krentz, and currently with James David Christie at Oberlin College Conservatory of Music; third place, John Alexander from Greensboro, North Carolina, student of Robert Burns King at the University of North Carolina at Greensboro.
We are very grateful to Paul Fejko for serving as the screening judge for initial recorded examples of these organists and other applicants. We are also grateful to Ahlborn-Galanti Organs for the $2000 award for first prize in the High School Division, and to the Austin family, who provided the second prize of $1000 in loving memory of Donald B. Austin. The Young Professional Division first prize of $3500 was shared by J.H. & C.S. Odell Pipe Organ Builders, which provided $1500; the Helen L. Reinfrank Music Fund, which provided $1000; and Dr. Marilyn Mason, who also gave $1000. The Reinfrank Fund also made possible the $500 Creative Hymn Playing Award, while the Music Committee of First Church of Christ contributed the $500 Improvisational Hymn Playing Award, both of which went to Benton Blasingame. Bank of America provided the Judges’ Award, totaling $1500. Other prizes and gifts toward the festival—including the High School Division third prize of $500 and the Young Professional Division third prize of $750—came from Austin Organs, Inc., Connecticut River Community Bank, Patrick J. Murphy and Associates, and several individuals in the First Church family.
Special thanks go to Gordon Auchincloss, who was on hand throughout the Saturday competition to offer assistance should the organ need it, and to Bon Smith of Austin Organ Service Company of Avon, Connecticut, who graciously gave the gift of tuning for this festival. Austin Organ Service Company is the regular curator of this instrument, serviced by Alex Belair and Michael Tanguay. Thanks to Betty Standish, Music Committee Chair; Leslie Vliet, ASOF Chair; Dave Gilbert, administrative assistant; and Laurie Allen, 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 include Trinity Episcopal Church, Wethersfield, Bruce Henley, organist-choirmaster; St. John’s Episcopal Church, West Hartford, Ralph Valentine, organist-choirmaster; St. James’ Episcopal Church, also in West Hartford, Jason Roberts, organist-choirmaster; and First Church of Christ, Glastonbury, Angela Salcedo, director of music ministries.
We are pleased to announce that the 2008 Albert Schweitzer Organ Festival will have the following judges for the competition: Gerre Hancock, Marilyn Mason, and Frederick Hohman. Plans are underway to feature these organists in the opening concert of the festival on Friday, September 5, at 7:30 pm. The ASOF Committee is hoping to invite six qualified young organists to compete in the two divisions on Saturday, September 6.
The 2007 first-place winners, Ahreum Han and Benton Blasingame, will perform in recital on Sunday, June 8, 2008, at 7:00 pm at the First Church of Christ, Wethersfield, Connecticut.

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&gt;.
Photos by Scott Jensen

David Spicer began as Minister of Music and the Arts at First Church of Christ in Wethersfield, Connecticut, in 1986. In 1996 he and Harold Robles founded the Albert Schweitzer Organ Festival. Spicer is a graduate of the Curtis Institute of Music, where he studied with Alexander McCurdy, and is a graduate of the Eastern Baptist Theological Seminary.

It hardly seems possible that twelve years have gone by since we began the Albert Schweitzer Organ Festival! We have experienced outstanding applicants, who reflected wonderful, superb teaching, outstanding adjudicators, and a remarkable and consistently high level of music making.
Beautiful New England weather gave an idyllic setting for the festival. On Friday evening, September 10, our traditional opening concert was held. The service/choral portions were played by the writer:

Prelude: Benedictus, op. 59, no. 9, Max Reger (played also at the first annual festival)
Psalm 150, César Franck
Hymn: Christ Is Made the Sure Foundation (tune: Christ Church), Richard W. Dirksen
Kyrie (from Messe Solennelle, op. 16), Louis Vierne
He Comes to Us (text by Albert Schweitzer), Jane Marshall
Go Ye into All the World, Robert Wetzler
Hymn: Let Heaven Rejoice (tune: Rock Harbor) (text by Hal M. Helms), Alan MacMillan

The three judges were each invited to play a selection of their own choosing. The artists’ playing from the balcony was projected onto a screen downstairs in the historic Meetinghouse. Frederick Hohman played his arrangement of Arioso (Suite No. 3 in D) by J. S. Bach. Wilma Jensen played Méditation à Ste. Clothilde by Philip James. John Weaver then played Chorale Prelude on Ellers followed by Fantasy on Sine Nomine, both his own compositions.
Saturday morning, from 9 to noon, the three high school division finalists played the required repertoire. At 2 pm the young professional division finalists were heard. The combined repertoire of these six finalists included hymn tunes: St. Thomas (Williams), Coronation, Ein’ Feste Burg, Diademata, Slane, and Veni Creator; Bach: Fantasia and Fugue in G Minor, BWV 542, Prelude and Fugue in A Minor, BWV 543, Prelude and Fugue in D Minor, BWV 539, Trio Sonata No. 1 in E-flat Major, BWV 525, and Trio Sonata No. 5 in C Major, BWV 529; Widor: Cantabile (from Symphony No. 6 in G Minor), Andante Cantabile (from Symphony No. 4 in F), and Andante Sostenuto (from Symphonie Gothique); Franck: Choral No. 2 in B Minor and Choral No. 3 in A Minor; Eben: Moto Ostinato (from Sunday Music); Jongen: Sonata Eroïca, op. 94; Jehan Alain: Aria; Duruflé: Scherzo, op. 2; Messiaen: Dieu parmi nous (Nativité du Seigneur, IX).
Immediately afterwards, all finalists and judges had a chance for interaction and discussion over a delicious meal provided by Dana Spicer at Mainly Tea, directly across the street from the Meetinghouse.
On Sunday, September 12, all finalists played portions of the 8, 9:15, and 11 am worship services. At 1:30 pm, a masterclass with the three judges was held. Many important topics were covered, and awards were presented.

The judges’ decisions
High School Division: first place, Bryan Anderson from Stockbridge, Georgia, a student of Sarah L. Martin; second place, Deniz Uz from Longwood, Florida, a student of Terry Yount and currently with Thomas Bara at the Interlochen Arts Academy; third place, Clarence Chaisson from South Lancaster, Massachusetts, a student of Christa Rakich.
Young Professional Division: first place, Adam Pajan from New Haven, Connecticut, formerly a student of Charles Boyd Tompkins at Furman University in Greenville, South Carolina and currently with Martin Jean at Yale University; second place, Clayton Roberts from Houston, Texas, a student of Robert Bates at the University of Houston; third place: Jonathan Hehn from South Bend, Indiana, a student of Craig Cramer at the University of Notre Dame.
We are very grateful to Charles Callahan for serving as the screening judge for initial recorded examples of these organists and other applicants.
We are also grateful to Leigh and Betty Standish for the $2000 award for first prize in the high school division. The young professional division first prize of $3500 was given by Robert Bausmith and Jill Peters-Gee, M.D. Thanks go to John Gorton and Richard Pilch for providing $750 for the David Spicer Hymn Playing Award, which was awarded to high school division finalist Bryan Anderson. Other prizes and gifts toward the festival—including the high school division second prize of $1000 and the young professional division second prize of $1500—came from Austin Organs, Inc., Marilyn Austin & the Austin family, and several individuals in the First Church family. We also thank Dr. Paul Bender for his gift to this festival.
Special thanks go to Bon Smith of Austin Organ Service Company of Avon, Connecticut, who was on hand throughout the Saturday competition to offer assistance, should the organ need it, as well as his gracious gift of tuning and maintenance for this festival. Austin Organ Service Company is the regular curator of this instrument, serviced by Alex Belair and Michael Tanguay.
Our thanks to William Dean, music committee chair; Andrea Volpe, ASOF chair; and Linda Henderson, assistant, 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 include Trinity Episcopal Church, Wethersfield, Bruce Henley, organist-choirmaster; St. John’s Episcopal Church, West Hartford, Ralph Valentine, organist-choirmaster; St. James’ Episcopal Church, also in West Hartford, Jason Roberts, organist-choirmaster; First Church of Christ, Glastonbury, Angela Salcedo, director of music ministries; Cathedral of St. Joseph, Hartford, Ezequiel Menéndez, music director; and Bethany Covenant Church, Berlin, Olga Ljungholm, minister of music.
The 2009 first-place winners, Bryan Anderson and Adam Pajan, will perform in recital on Sunday, June 13, 2010, at 7 pm at the First Church of Christ, Wethersfield, Connecticut.
The 2010 Albert Schweitzer Organ Festival will have the following judges for the competition: Joyce Jones, Charles Callahan, and Frederick Hohman. Plans are underway to feature these organists in the opening concert of the festival on Friday evening, September 10, at 7:30 pm. The ASOF committee is hoping to invite six qualified young organists to compete in the two divisions on Saturday, September 11. 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.