Furman University conference

Nunc Dimittis

Stephen Cleobury, former director of music at King’s College, Cambridge, died November 22 in York, UK, his home since he retired in September, after a long illness. He was born in Bromley, in Kent County in southeast England, on December 31, 1948.

His musical career began as a boy soprano at Worcester Cathedral. He attended St. John’s College, Cambridge, as an organ scholar, studying organ and choral music with David Willcocks and George Guest. His first post was as sub-organist at Westminster Abbey. In 1976, he conducted a new work, The Lion of Suffolk by Malcolm Williamson, at a memorial service for Benjamin Britten, and he continued to emphasize contemporary music in his programming. He also worked at the Northampton Grammar School and St. Matthew’s Church in Northampton in the 1970s.

In 1979, Cleobury was promoted to master of music at Westminster Cathedral. He moved to King’s College as music director in 1982, a position he would hold for 37 years that involved conducting the school’s centuries-old choir. He became director of the Cambridge University Musical Society in 1983. Cleobury also served as director of the BBC Singers from 1995 to 2007, and continued to be associated with the group as conductor laureate.

During his long tenure, Cleobury extended the King’s Choir reach by developing its activities in broadcasting, recording, and touring. He founded the tradition of an annual commissioned carol for Christmas Eve, which since 1984 has made a substantial contribution to contemporary choral repertoire, the works premiered at Lessons and Carols. He introduced the annual festival, Easter at King’s, from which the BBC regularly broadcasts, and, in its wake, a series of performances throughout the year, Concerts at King’s. In December 2018, he conducted the choir in the 100th anniversary of A Festival of Nine Lessons and Carols, broadcast live from King’s around the world. Six months later he was knighted for services to choral music.

He led the Choir of King’s College in recordings for a wide variety of labels, as organist as well as choir director, on the choir’s own label in the 2010s. For that label he released a recording of Herbert Howells’s An English Mass in 2019. That year he announced his retirement from his King’s College post.

See the interview with Stephen Cleobury by Lorraine Brugh in the June 2018 issue of The Diapason, pages 20–23: https://www.thediapason.com/sites/diapason/files/June18FullIssuePDF.pdf.

photo credit: King’s College Cambridge/Ben Ealovega

 

Lorraine S. Brugh

Lorraine Brugh is currently resident director of Valparaiso University’s Study Centre in Cambridge, England. She is professor of music and the Frederick J. Kruse Organ Fellow at Valparaiso University, Valparaiso, Indiana.

The interview took place January 31, 2018, in Girton, Cambridge, and preceded a luncheon Mr. Rutter attended, given by Lady Rachel Willcocks, the widow of Sir David Willcocks, at her home in Cambridge. Mr. Rutter also had a publishing deadline that day and had already been at work several hours when he arrived at 10:30 a.m. Mr. Rutter began the interview by explaining the luncheon he would later attend.

John Rutter: This is one of the things that Rachel Willcocks does, bless her heart, since Sir David’s death three years ago. She’s really been born again, as she was his principal caretaker. Did you ever meet him?

Lorraine Brugh: No, I never did.

JR: Oh, what a shame! Many Americans did, as you know, as he loved his trips to America working at summer schools, colleges, universities, and churches. He made quite an impression over the years. It was inspiring that he was active in music until his ninetieth year.

He died peacefully in his sleep and was greatly celebrated by his college, by his many former students, protégés, and admirers. After that she started a new life. She would now be 91 or 92. She is an active member of her garden club, her book club, and is out there. Every so often she hosts luncheons for various of her old friends.

She brings together people who perhaps don’t all know each other, but they all know her. My wife Joanne and I were invited but she can’t do it. She’s ringing a quarter peal. She’s a bell ringer, a change ringer. They’re counting on her; it’s been booked for a while, but I will be meeting Rachel. We do that every few months.

LB: There will be others who join you?

JR: There will. But who they’ll be I’ll find out when I get there. It’s usually about four or five others. It’s nice that she’s still having an active social life. Her daughter, Sarah, who lives in London, comes up to assist her. That’s what’s on the agenda for lunch. She is a dear lady, and, of course, I owe a huge debt to David Willcocks.

LB: That’s actually my first question. I know he gave you the opportunity to edit 100 Carols for Choirs together.

JR: That came later, of course. Our first collaboration was on Carols for Choirs 2, the orange book, that volume 2 of the series that throughout the English-speaking world became pretty standard.

That all came about because I had decided I wanted to study music at Cambridge while I was still in high school. I applied, not to King’s College, where David was a renowned choir director and a member of the university music faculty. I thought at King’s I might just get swallowed up, because it is a college with such a strong musical reputation.

What I did, which I never regretted, is I applied at Clare College, which is their next-door neighbor right along the banks of the Cam. Of course, that didn’t prevent me from going to choral Evensong at King’s College, which I did, and at St. John’s.

Back in those days, the two choirs that counted were King’s and St. John’s, the two that have boy sopranos. That all changed later when the first men’s colleges became mixed, but that’s ahead in the story.

I really met and got to know David Willcocks in my second year as an undergraduate when he took what they used to rather quaintly call “Harmony and Counterpoint” class, all rather academic and old-fashioned in its way. I was one of a class of seven or eight that he took every week. At the end of one of these classes, he took me aside and said, “Mr. Rutter, I understand that you’ve been composing. I hear that you have written some Christmas carols.” I thought “Oh my goodness, me, I’m in trouble.”

He was known really as Mr. Christmas. He transformed our musical celebration of Christmas with the Festival of Nine Lessons and Carols as he ran it at King’s College, with his own wonderful descants of some of the standard Christmas hymns, and his radiant arrangements of some of the traditional carols. He was very strongly associated with the celebration of Christmas in peoples’ minds.

I think he might have been a bit annoyed that here was this young upstart who was also presuming to write and arrange Christmas carols himself. That was the exact opposite. What he actually wanted to do was to see what I was up to, and to give me encouragement, which was incredibly generous of him. What he said was, “Look, would you bring a selection of your compositions to my rooms at King’s College at 9 o’clock on Monday morning, and I’d like to look through them?”

So, very nervously, with a sheaf of music under my arm, I went to his elegant rooms at the top of the Gibbs building in King’s College, and without a word he looked through the pile, and at the end of it, said, “Would you be interested in these being published?” Now that’s an offer you don’t refuse when you are a young student.

LB: So, there was more than The Shepherd’s Pipe Carol in there?

JR: Yes, there was. There was my very first Christmas carol, The Nativity Carol, and various arrangements of traditional carols of one sort and another. The next thing I knew he took the manuscripts down to Oxford University Press where he was for many years the editorial advisor for their choral music. Their sacred choral music was really chosen by David Willcocks. It was quite an honor that he was taking my work down to discuss it with the senior editor there.

That was the pattern of his Mondays. He spent the morning doing correspondence and administration at King’s, then he would take the train down to London to spend the afternoon at the editorial offices of Oxford University Press. Then in the evening he would take his weekly rehearsal of the Bach Choir, which was his London choir, a large amateur chorus over 200 voices that was and is of great renown.

Amazingly, I received an offer of publication in the mail the next Wednesday, which was pretty fast work really. Later they refused to believe it at Oxford University Press (OUP) because they say they never move that quickly. We have the dates to prove it, so they actually did.

More than that they said, “Would you be interested in an annual retainer?” which gave them first refusal of anything I might write. The sum was £25 per year, which, even then, would not fry many eggs. It was a gesture. From that day to this, OUP has been my main publisher. So it is thanks to David Willcocks that I made the massive leap from being an aspiring composer to a published composer. That mattered a lot more then than it does now.

Now with website, internet, and sound bites, composers have lots more ways of reaching their audience than they had then. Music notation software allows one to put music on paper so it looks like a printed copy. That also wasn’t possible then. We still worked like medieval monks with pen and ink. Of course, the whole revolution didn’t come until really twenty-five years after that. So I was very fortunate to have a publisher working on my behalf. That’s the story of how my work as a composer began, and how it started to spread worldwide through OUP.

David Willcocks, really having put my leg on the first rung of the ladder, then continued to encourage and support me through the rest of his life. This is mirrored in similar generosity to quite a lot of others who passed through his hands, or came to his notice in one way or another: performers, conductors, other composers, organists, singers. There were many who would say that one of the great influences, mentors, and supporters they had was David Willcocks. He was a great man.

LB: Did he consciously see it as his role to nurture and generate new generations of students and other young musicians?

JR: Yes, I’m sure that he did. He saw his role as a leader, an exemplar. King’s College Cambridge was a role model for choirs around the world. They set standards, higher than had been general in the years before that, which everyone was expected to match if they could, or aspire to.

It wasn’t so much for himself as it was what he wanted to do for his college, for its choir, and for musicians the world over. That’s really what I mean by generosity: his gifts were always put to the service of others. You can’t really say anything better of someone than that.

LB: Your work does a lot of the same thing. (Next I showed him the December 2017 issue of The Diapason. The issue contained the article on Francis Jackson’s centenary.) Do you know the journal?

JR: Yes, I do, although I think when I last saw it wasn’t in such lovely full color. It was a little more austere-looking.

There’s Francis Jackson! He continues to play at a small local church. His dean at York Minster, Viv Faull (the Very Reverend Vivienne Faull, current dean of York Minster), was at one time chaplain of Clare College, and so I remember her from those years. Jackson was very loyal to York Minster. Interestingly, he and David Willcocks were often mistaken for each other because they looked rather alike. Sometimes they were congratulated for the other’s work.

LB: I imagine they were pretty gracious about that.

JR: I think they were.

(I mention my interview with Stephen Cleobury for The Diapason, June 2018, pages 20–23.)

JR: Stephen’s reign at King’s has been even longer than David Willcocks’s. David was the organist/director of music at King’s for seventeen years, I believe. He took office late in 1957 when Boris Ord, his predecessor, became ill and needed help. He had something like a motor-neuron disease. It was a degenerative condition, and first his foot began to slip off the pedal notes. David, who had been organ scholar at King’s, was summoned to assist. When it was clear Ord wasn’t going to recover, Willcocks was given the title director of music and Ord had an emeritus role. David continued until 1974 when he went to the Royal College of Music. Philip Ledger followed for a period of seven years and did a fine job. Stephen Cleobury took over in 1982 and will retire in 2019.

We have had two long reigns with a shorter one in the middle. Now his retirement has been announced, and the advertisement has been placed for the job, which will generate hot competition. A lot of interest will attach to it, and many will apply, I imagine.1

LB: What kind of direction do you believe King’s will go, or would you like to see the direction be?

JR: What has changed is that King’s is no longer in the field by themselves. When David Willcocks took over in 1957 there were only two choirs that the world had heard of in the city of Cambridge. King’s was one of them, St. John’s was the other. They were twin peaks; I would never hold up one over the other. King’s has possibly enjoyed the greater renown because it is traditionally broadcast from the BBC at Christmas time that has gone around the world.

St. John’s does not sing during the immediate period around Christmas, so King’s has slightly had the edge. What a new director now has to accept is that King’s is not alone. There are other peaks in the Cambridge choral world. This is a city of choirs.

Once the men’s colleges began to admit women, and, in the case of Girton, the women’s college began to admit men, the choirs became mixed, made up of very gifted and eager undergraduates who wanted to sing at a high level, and have had the example of King’s and St. John’s to inspire them.

Of course, those mixed choirs are more in line with what is happening in the real world, as men and boys choirs are often becoming difficult to recruit. Adult mixed choirs are becoming pretty standard. My own choir, Clare College, Trinity College Choir, Gonville and Caius, Christ College, Jesus College (they actually have two choirs, as they have both a boys and a girls choir), St. Catherine’s, a lot of choirs are vying for excellence.

What has to continue to happen at Kings, as has already begun successfully, is to accommodate to the thought that they don’t have the field to themselves, and they must remain distinctive. For the foreseeable future I think they will retain a boy’s and men’s choir. They do have a mixed choir that sings on Mondays. They need to maintain their tradition.

They have spread themselves quite widely in the scope of their activities, and that will have to continue. They now have their own record label and webcasts that bring their work day by day to a wide audience.

They give a lot more concerts, recitals, and do a lot more tours than they used to. Whoever runs it will have to have a clear sense of the identity of the choir and its tradition, while being able to successfully swim in a much more crowded pool. In some ways it’s a harder job than it was back in the days of David Willcocks at King’s and George Guest at St. John’s, because it was kind of lonesome up there, and now it isn’t.

When they look back and write the history of what’s happening in choral music in Britain, it will be seen that there was something of a golden age at Oxford and Cambridge, and other universities, where many have seen the value of the fine choir tradition and want to copy it. So Royal Holloway College, London University, and King’s College, London, all now have fine choirs.

One thing about a choir is that it’s useful for drawing attention to the college, because the students tapping away at their laptops doing their degree work isn’t very newsworthy. On the other hand, a choir that gives a recital and wows the audience spreads the awareness of the college, helps with recruitment. There’s no question of that. That’s something that’s been understood for a long time in the United States, where, for example, the St. Olaf Choir has always had a big annual tour. This is something we’re rapidly getting used to here in the UK.

Cambridge has always been an international university, and now it has to compete on a global stage with others. There are Asian students who are so committed and dedicated and they have a choice. They could go to a university in this country or they could go to an American university or Australian one, or wherever they feel there is a center of excellence in their chosen field. Choirs will continue to have an important role in waving the flag for their colleges and universities. That will continue to be an important part of what King’s College does.

LB: Some colleges struggle to get enough resources in the budget to be able to tour.

JR: In the end you may find that you attract more funding than you spend. It’s necessary to spend money in order to recoup the costs. The great thing about a choir is that it is transportable. You can’t send the Clare College cricket team on a United States tour. What would they do when they get there? Whom would they play?

That’s something the new director of King’s College will have to be aware of. You always have to fight your corner in a college that isn’t just about music. There are people who are highly expert in many fields of academic endeavor and question music’s place in the academy.

We have to persuade others over and over again that music is important, and why liturgical music that forms part of the music in the chapel is important. This is not so hard to explain to atheists, but it is to people from a different religious tradition. What’s the point of all this elaborate worship in a university setting?

I heard a senior tutor say, “We’re a degree factory.” The response to that is to ask why we should be the same as every other university. If the college or university has a unique tradition, if the choir is built into the fabric and statutes of the institution that go back centuries, then we should be cherishing and nurturing that.

That’s a point, oddly, that is better understood in the United States than here. I’ve talked to people who are attracting tourists to this country and some British planners have said, “We’re not a museum. We’re a vibrant country that’s doing all sorts of new things, pushing back new frontiers in science and technology.” An American in the meeting said, “What people want is your history.” In a sense it is part of what we should be nurturing.

The atom was split here in Cambridge, new bits of the universe have been discovered. Yet, when we have something rather special and lovely that goes back for centuries, we shouldn’t apologize for what went on, we should celebrate it.

LB: For American choral music, the British choral music tradition is still of great interest and curiosity. Are there other mentors than David Willcocks who influenced you?

JR: I have to go back further than my university days. I was fortunate to attend a boys school where music was a very important part of the curriculum. It was in north London, Highgate School, which had a Christian foundation, dating from 1565. It has a plain red brick chapel up Highgate Hill. At the highest point in London, there it is.

That is where I spent my early years under the really inspirational guidance of Edward Chapman. He had been an organ scholar at Pembroke College, Cambridge, in the 1920s, and was a student of Charles Wood. If you’ve ever sung “Ding Dong Merrily on High,” the chances are you’ve probably sung his harmonization. He was a choral and liturgical musician. He was director of music here at Gonville and Caius College. He was a conservative craftsman of great skill who was rather strict and stern with his students, of whom Edward Chapman was one.

I am the grandson of Charles Wood through music because a lot of his ideas and teachings were passed down to me through Chapman. Oddly, of course, Wood wrote and arranged Christmas carols and compiled collections of them, and I’ve done the same. I can’t explain that connection really. The great thing was that I was encouraged to think that composition was normal, which for a teenage boy is quite unusual. In our school it was OK to write music. We were encouraged to write music for our school orchestra or other instrumental ensembles or the chapel choir occasionally.

One of my slightly older classmates was John Tavener, later Sir John Tavener. He was clearly destined for fame and fortune. We still miss him. He died in 2013, just short of his seventieth birthday, which was very sad.

LB: Did he die rather suddenly? Didn’t he compose until the end?

JR: He had an unusual condition called Marfan syndrome, a congenital malfunction of the body’s connective tissues. Marfan’s people generally grow rather tall and can be double-jointed, which can help if you are a keyboard player, I suppose. Indeed John was a fine pianist and organist. It tends to go with a general malformation of the heart and requires heart surgery, which now has an established technique and outcome. At the time when John and his brother, who also had the disease, had the operation the surgery was pioneering. It did give them thirty years of life they wouldn’t have had. Nevertheless, his health was always precarious.

I remember him mostly as a high school friend. We would show each other our newly written compositions, and I was recruited, among his other colleagues and friends, to take part in whatever was his latest compositional epic. I generally worked on a smaller scale than he did and was rather in awe of him.

There were other musicians there among my contemporaries. I remember in a very different field young David Cullen, who became Andrew Lloyd Webber’s orchestrator and assistant, who worked in the shadows, but whose skill and musicianship were relied on by this renowned musical theater composer. He was at Highgate at the same time, as well as Howard Shelley, the pianist, who has had a fine international career.

There was a whole bunch of us who knew that music was important in our lives. I was not the most obvious among them, really, because I had no outstanding performing talent. I’m afraid your readers wouldn’t enjoy my organ playing.

LB: So I shouldn’t ask about it?

No, well, it ceased at age 18. I felt I owed it to myself to study an instrument to a reasonable standard, and I studied the organ up through the standard exams.

As I worked through the eight levels we have here in the UK, the music gets harder and the scales get faster and more intricate. I managed to put myself through grade 8 on the organ and afterwards, when I got my certificate I thought, “Right, I’m giving up,” because I knew my musical gift, if I had one, was for composing and conducting, not for playing. I can rehearse and accompany music, but I never want to play in public.

Yet, well, oddly, a page of orchestral score paper always felt like home territory to me. I always felt very comfortable with what amounts to the cookery of orchestral writing. The recipe is put together from different ingredients. You have to know what goes with what. If you put too much spice in it masks the flavor of something else.

When writing for orchestra, if one puts too much brass in, it will cover up what is going on in the woodwinds and strings, etc. That was something I learned from the great masters as, in the end, every musician does. I was encouraged to write for all sorts of resources back in high school.

We had an annual musical competition with an instrumental ensemble class. The more instruments you included, the more points you got. So if we had within our house, which was a sub-group of the school, a tuba player who could only play about four notes, you would put him in. So that gave me a taste of instrumental writing, where one had to adapt to the resources you have. None of that music survives, fortunately.

LB: What an environment to live in!

JR: Yes, it really was. Our headmaster always thought I should be an academic. He knew enough of the musical profession to know it was full of pitfalls, disappointments, setbacks, heartbreak, and he was not sure that I would have whatever it took to succeed. Nor was I sure, but I boldly applied to Cambridge, slightly under false pretenses, because I said I wanted to study modern languages, French and German. As soon as I came up for the interviews, I confessed to the senior tutor of Clare, “Well, look, I really want to do music.” And he said, “All right.”

So I was allowed to follow my true vocation. Nobody stopped me, and no one has stopped me ever since. I’m still doing today what I was doing as that little child in my parent’s apartment when I first discovered the out-of-tune upright piano.

There’s a story I’ve told many times, but it’s true. At the age of five or six, as an only child, I spent a lot of time by myself, and I would doodle away in a world of my own, singing along in my little treble voice, and just making up music. In a way, that’s what I’m still doing, all these years later, except, with a bit of luck I get paid for it. And I can write it down, which I couldn’t do then. I only learned to read and write music once I got to school.

LB: Do you think that being able to compose a tune is a gift?

JR: I would always describe myself as 50% composer and 50% songwriter. Really they’re not the same skill. I’ve always been drawn to melody among those twentieth-century composers where I found it. That often meant songwriters. I owe a huge debt to the classic American songwriters, which I would call the golden age of American musical theater, roughly stretching from Jerome Kern to Stephen Sondheim. The thing I learned from them, which I also learned from the song writing of Schubert, Schumann, and others, is that a tune is a great carrier for the sense of a text. It’s like a vector for conveying the text, like shooting an arrow into the heart of the listener.

I would never renounce melody. Of course in twentieth-century concert music and opera, one doesn’t normally go out humming the tunes. The composers of that sort of music are developing music in other ways, discovering new sound worlds, new structures, new interrelationships between music and other worlds of the arts. A lot of contemporary music is inspired by dance, visual arts, poetry, etc. One doesn’t go to it expecting the same thing as attending West Side Story. Although my training is 100% classical, I’ve been influenced by music theater and perhaps, to a smaller extent, pop music.

I have this problem that probably goes with age, but pop music stopped for me somewhere after the Beatles, which is a long time ago. “Here, There, and Everywhere” is a lovely song.

I’m not sure that any one pop musician today has any standing like they did. The world of pop music and media was not so fragmented as today. There were not so many radio and television stations, not as many record labels. If you did attain prominence, it is probably greater than anything you could attain now.

The Beatles were so multi-talented. They were very good: great melodists, inventive poets. Their music retains great freshness. I think that’s where melody fits in to what I do. I’ve allowed myself to be influenced by the fields outside of classical music, but it’s contained within the framework of my classical training, I think.

LB: The Beatles created a new sound world as well. When we studied classical music in the 1970s we came home to our dorm and listened to the Beatles. We didn’t see it as a problem or incongruity to put those musics next to each other.

JR: I don’t think it need be a problem. I must say I’m not too enamored with rock music in church. I think it’s too one-dimensional. I think there is a subtlety about the great tradition of church music, and a depth that is more nourishing. I think so much rock music is loud, and all in 4/4, and thus there isn’t the same potential for responding sensitively to what is probably the greatest body of texts we have. Anybody who is going to set words to music is sooner or later going to come upon religious texts. They have the great quality of vision and poetry. We have the great fortune in this country, and I’m fortunate to be a member of the last generation to experience the King James Bible and the Prayer Book of 1662 on a daily basis. These words are majestic English, written by Shakespeare’s contemporaries, when they knew how to turn a good phrase.

It was ousted about the time I went to university, first the New English Bible, then other translations. We absolutely need the new translations, and I use them, but when I’m looking for words to set, I find there is more resonance in the historic English of the King James Bible or the old Prayer Book. Somehow it seems to invite music in a way I don’t find in contemporary religious writing. This is not to say that we shouldn’t persevere with it. I remember the dean of St. Paul’s (London) once said to me, “Yes, the contemporary translations of the Bible are not all that fantastic. The only way they’ll get better, though, is if we keep persevering with them.”

LB: There are good reasons for changing and updating English language.

JR: Oh, yes. With inclusiveness, and those things, which they weren’t worrying about in the 1600s. At the same time, it’s good to have a sense of historical imagination, so that when we hear William Byrd setting the words, “Prevent us, O Lord,” we know that he didn’t mean “stop us, O Lord,” but “go before us, O Lord.” If we just eradicate that from our religious language, we lose a sense of how flexible and ever-changing language can be.

Or again, “when man goeth forth to his labor,” it refers to the German “Mensch.” “Mann” in German means a human being, where man in English means a male. In English the same word, unfortunately, serves for both. We need to be aware that a little mental switch goes on and we say, “ah, this is Mensch, this refers to the whole human race.” It would be a shame if we lost that completely, though I do see where it is important the people understand the words as they are meant today. However, young people also need to read old poetry and experience old literature. Otherwise they won’t be enriched by this changing landscape of the English language, which has been such a wonderfully flexible instrument through the changes of many centuries, and continues to evolve.

LB: I recently heard a Mass by Jonathan Dove sung at the Bath Abbey. Do you know it?

JR: Yes, I do, and I know Jonathan Dove quite well, a fine composer. Their director of music Huw Williams has not been there very long. He had been at St. Paul’s Cathedral, as one of the three organists there. He then moved to be the director of music at the Chapel Royal at St. James’s Palace in London, and then moved within the last year to Bath Abbey, where they have a glorious acoustic—a stone fan-vaulted roof very much modeled on King’s College. The sound floats around in a particularly beautiful way, I think.

LB: I saw you had done a Singing Day the previous weekend at Bath Abbey. Can you say a bit about what those Singing Days are all about?

JR: That Singing Day was one of about twelve to twenty I do every year. Its purpose is to bring people together to enjoy singing for a day without the pressure of a concert or worship service at the end. I really got the idea from the reading sessions that I was asked to be a part of in the United States, often put on by publishers or universities, denominational summer retreats, where people are handed a pile of music at the door and they sing through it. Generally, the purpose is to acquaint those people with the publishers’ music that they might want to use in their own situation. I couldn’t help realizing that they were getting pleasure out of just being together, singing, and not having to worry about polishing the music to perfection.

So I wondered if that idea could be brought into Britain, where it’s not necessarily all about promoting music as such, but just giving people a chance to sing together. It’s aimed at anybody who wants to come. I accept these engagements if I am free, and if the hosts agree to my simple condition that all are welcome. I have ample opportunity to work with professionals. It’s nice to embrace the whole domain of people who sing for fun. A lot of the people who come do belong to civic or church choirs. It might be a small choir, though, without a sufficient balance of parts. So to be part of a choir of 450, which was the maximum we could fit into Bath Abbey, was rather inspiring because it’s different. I do get people who say they are too shy to audition for a choir. I like it if people bring along youngsters to be introduced, painlessly I hope, to all sorts of choral music. Of course there are those who sight read but are a bit rusty, and it improves their skills just like a muscle that needs exercise. So there are a number of functions.

I try to throw in tips for vocal technique. Particularly the men who come to these events may not have sung recently, or even at all since being a child. They come back to it not knowing how to use their voice properly. A few simple things will often put them back on the track, to be able to control their breath, and make a reasonable sound. So there is some teaching purpose, but really the idea is to spend time singing through a bunch of music. I choose about a 50/50 mix of classical or contemporary composers, perhaps not known to them, and my own works. If I didn’t include some of my own work, people would think it’s a bit strange. So, more than anything else, what I find striking about these events is how people feel they must tell me what pleasure it’s given them at the end of the day. It’s almost a physical thing, really, to just say, “I feel so good.” Of course you might get something similar with a good yoga class or Pilates, but singing can have the same beneficial effect on us—body and soul.

LB: And now, as we know more scientifically about brain theory, we can show that it’s true.

JR: Of course, exactly. Sometimes people have to discover, or rediscover that for themselves. These Singing Days form an enjoyable part of my life, and I hope that they spread a love of singing, or reinforce it among those that have dropped out of choral singing, or put new heart into those who struggle with their little church choir week by week, and need something to power them up a bit.

I have to say that my days of traveling abroad to various universities and churches have come to an end, voluntarily. I decided I had to prioritize my time. I like to be in other places, but I resent the time I spend traveling to and from them. I know it’s quick and easy in comparison to the days before jet travel, but it’s still quite tiring. I value increasingly the time I spend at home recording and composing.

LB: I’d like to hear a bit about what you are thinking about for the future. I saw the recent piece Visions you wrote as a violin concerto with boys choir for the Yehudi Menuhin competition. It seemed like a new area for you.

JR: Yes, I never thought I’d end up writing so much choral music, because I simply compose music. I think we delude ourselves if we imagine we are in control of our lives. I don’t think I ever did, or do, have a grand master plan for my life in music. If I ever had it, it hasn’t turned out the way I thought it would. So many of the paths we take are the result of chance meetings or events we hadn’t predicted. If I hadn’t met David Willcocks, and if he hadn’t been interested in my work, I might never have shown my music to a publisher, and perhaps I might have thought I should teach at a university. If people out there in the world of choral music hadn’t gotten hold of some of my early music and requested more of it, there wouldn’t be as much as there is. More than three-quarters of my total output is choral. I don’t fight that too hard, because, when all is said and done, I love choirs. I grew up singing in them. I feel some sense of coming home to my roots when I write choral music. I love poetry; I love words. Music allied to words is rather special to me.

Sometimes, though, it is nice to go beyond words. That is one of the reasons I thought it would be an interesting challenge to write a work that centers on virtuosic violin writing. It is a twenty-minute work for the winner of the Yehudi Menuhin competition in 2016 and was requested to have a part written for the boys choir of the Temple Church (London), where the concert would be held.

Visions is either the only violin concerto with a part for sopranos or it is the only work for soprano voices that has a violin part quite this elaborate. It’s a hybrid piece, but one which sprang out of the circumstances. I receive many invitations to write things, but the reason I said yes to this one was that it was different and drew inspiration from the history of the Temple Church itself, which, as Dan Brown’s readers will know, has links with the Crusades.

The Knights Templars came back with their plunder from the Holy Land, and given that they thought they had been rather naughty, they should spend it on something worthy. So they founded hospitals, churches, and schools. The round part of the Temple Church was built with money they probably supplied, and it’s modeled on the Church of the Holy Sepulchre in Jerusalem. So it was the London base for one of the Crusades. It’s a little hard to speak of this now in a time when the Crusades have become quite politically incorrect. Nonetheless, there is something inspiring about seeing the tombs of the knights, especially when it’s dark in the round part of the church. The rest of the church was bombed flat in World War II, but the round part was sturdy and withstood; the nave did not.

LB: I’ve visited the Round Church in Cambridge, built in a similar way and time, and find the acoustics are splendid.

JR: The Round Church is very similar. In Cambridge it is sadly no longer used as a church. It is sort of a visitor’s center. Of course Cambridge is ludicrously over-churched, and always was. I don’t think that all of those church buildings that crowd around here were ever full, even when everybody went to church. It was like a style accessory; we’ve got to have one. There’s been quite a lot of imagination applied to find a role for them all in the twenty-first century.

LB: The first time I walked into Michaelhouse, a coffee house in a church with choir stalls, an altar, and stained glass windows, I was quite startled. For an American, it felt strange to me.

JR: Michaelhouse Centre is owned by Great St. Mary’s, our university church, which has a thriving congregation. They’ve always had Michaelhouse there, and they scratched their heads a bit to decide what to do with it. I don’t think it’s been used for worship for many years now. It’s not really needed for that purpose, as the university church is just a one-minute walk away. It’s a little bit of a shock, I’m sure.

LB: Do you have the amateur musician in mind when you compose?

JR: If you write for an opera company or orchestra, you’re writing for professionals. If you write for choirs, you are generally writing for amateurs or students. That’s who make up the majority of the world’s choirs. There are a small number of professional European and British choirs, sometimes associated with broadcasting, and certainly university and cathedral choirs that attain a professional level.

The term “professional singer” means something different in the UK than in the United States. Those singers called professional here earn their living solely by singing in professional choirs or vocal ensembles like Tenebrae, Ora, The Sixteen, to name a few. The same pool of singers will populate those groups. There are something like 200 professional small group singers in London. They accept invitations to be in a tour or recording for a group. There is a lot of fruitful interchange.

Many of those singers are from the Oxbridge (Oxford and Cambridge) chapel choirs, and they want to earn their living as singers but they don’t necessarily want to be soloists. They are really on a level that is unrealistic for other choirs to match. The best of our collegiate choirs are on a similar level. They can perform music of similar challenge and complexity, not available to your average parish choir or local choral society. As a choral composer you have to know for whom you are writing. I’ve just been writing the liner notes for Trinity College Choir’s CD of Owain Park’s music, which is terrific—it creates a sound world opening up before your ears, but don’t expect it to be replicated by your local church choir anytime soon.

I don’t write primarily for the apex of the choral spectrum. Rather, I’ve been writing mostly for choirs somewhere in the middle. One has to be mindful of the liturgical context. The surprise to me is that some pieces I’ve written like All Things Bright and Beautiful and For the Beauty of the Earth, the little ditties, which were crafted with the needs and tradition of the American choirs who commissioned them, have begun to filter back over here. I remember thinking, I will never hear For the Beauty of the Earth sung by an English cathedral choir. Just yesterday I looked at the YouTube video of it being sung by Winchester Cathedral choristers, and indeed the Queen Mother wanted it sung at her 100th birthday celebration service, which it was. I could have never predicted that. What’s happened is that the Church of England has moved its own goalposts a bit, and there has been a loosening up and embracing of a more relaxed, informal kind of church music.

I’ve been generally aiming at a choir in a specific location. It’s always a surprise when a piece gets performed somewhere quite different. I wrote my Requiem within the Anglican Catholic tradition, and it gets done a lot in Japan, where there really isn’t a strong Christian tradition. One never knows where music will reach, and that’s one of the amazing things about it. I always try to write for the performers who will be involved in the first performance. I feel a strong obligation to whoever is doing the piece first. I don’t usually think long past that.

LB: Isn’t it interesting that when you write for a particular context, it often finds a new home in a quite unrelated place?

JR: I almost never write for a general purpose, and I don’t accept commissions anymore, as I want to use my time for my own projects at my own pace. Things like Visions could have never happened if I had been overwhelmed with commissions. This was what I thought was a brilliant idea that was presented to me, and I was glad I had the time to do it.

I still seem to be as busy as ever. The nice thing about being a composer is that no one forces you to retire. You carry on until there is no longer any demand for your services, and of course, composers sometimes carry on even when there is no demand. I hope that day won’t come. It’s nice to be wanted.

LB: What do you still want to do and write?

JR: Oh, everything I haven’t ever done. I don’t want to repeat myself. That’s why I’m a bit shy of doing more choral pieces, particularly if they are attached to a particular celebration, a centenary or a conductor’s anniversary. I’ve done all that. I look for the things I’ve never done before, and I must be realistic. John Williams isn’t going to phone me and say, “I really don’t want to write the next Star Wars score, will you do it for me?” That’s not going to happen.

LB: Would you like that kind of invitation?

JR: Oh, yes, I’d love it. Nor is the Metropolitan Opera going to say, “How about a big new opera for 2020?” It’s happened to my young composer friend, Nico Muhly. His new opera, Marnie, has been premiered in London. It has also been performed by the Met who actually commissioned it. That happens to someone of his generation, but not to somebody of my generation whose track record is in another field altogether.

Then again, if Cameron Mackintosh, the great theatrical man who backed many a musical, were to say “How about a big Broadway musical?” I wouldn’t say no if I had the right idea and the right collaborator to do the book and lyrics. Those are things I’ve never done before, so if they came my way, I would love them.

But, I should be very grateful for the opportunities that have come my way, the people I’ve met, the kind musicians I’ve worked with, the fine texts I’ve been privileged to set to music. It’s been a rich and varied career so far. I’ll be honest with you: I don’t usually plan much beyond a week, because you never know what may happen that may change all your plans. It’s always a challenge to keep up with the commitments that I have undertaken, which sometimes take longer than I’d planned, or those additional ones that come along that I can’t anticipate.

I was amused last year when Helmut Kohl, the former German chancellor, died. He was very much the architect of the European Union, and my Requiem was to be used in part at his funeral service in the cathedral in Münster. There was an orchestra already booked when they discovered that his vast bulk and the coffin were so huge, and the pallbearers so many, they weren’t going to be able to squeeze past the orchestra, which was off to one side of the chancel steps. They needed to cut the orchestra right down—twelve players had to go.

They asked if I could rescore the Requiem movement for the reduced forces that would be at their disposal. I think I got the email on Friday, and they needed the parts on Tuesday. So I dropped what I was doing. It was a flagship event, televised all around Europe, and I couldn’t let them down. I hadn’t anticipated that, nor had they.

LB: Did you conduct it?

JR: No, I watched it on television. They did get the coffin past, but only just.

LB: You were holding your breath?

JR: We all were. They were big strong pallbearers.

LB: Do you have guidance or encouragement to American church musicians?

JR: Well, you know, hang in there. I think it’s always the first thing to notice that church music has the complication of not just writing for a concert hall where you’re pretty much in charge. You’re part of a team, which is not primarily about music, but is about worship. One must be sensitive about that. I have been told that one of the most common problems by far is professional-personal relationships between clergy and musicians. It always needs patience and tact and understanding on both sides. When it is achieved, then something rather beautiful can happen.

The problems can be in both directions. Sometimes it’s the musician who wants to introduce change, and it’s the clergy or the congregation who resist. Sometimes it’s the reverse, and it’s the clergy or congregation who want music that’s more pop oriented, and it’s the musician who digs in his/her heels and says, “I don’t want to do that.” How do you meet in the middle? I don’t know.

It can make things difficult. One must be a first-class musician and a first-class diplomat, and to be aware of the winds of change that blow, being able to distinguish between temporary fads that everyone will soon forget, and the changes now that are here for good. It’s impossible really to be a successful prophet 100% of the time, but a sense of discrimination, in an altogether good sense, is probably useful. For example, if there is pressure to scratch singing the psalms in the way you are used to, and the new idea is to do them with three chords to a guitar, one must say, “Hold on one minute. This seems to be catching on and isn’t going to last.”

On the other hand, when there has been a general move to make church music more this or more that, then you must consider whether to go with it or risk being written off as someone who is irrelevant. You should always have as your guiding light the music that is in your heart of hearts. Always be true to that.

Notes

1. On May 23, 2018, the Provost and Fellows of King’s College, Cambridge, announced the appointment of Daniel Hyde as director of music at King’s, to take office on October 1, 2019. Hyde currently serves as organist and director of music at St. Thomas Episcopal Church, Fifth Avenue, New York, New York.

The Diapason staff

Matthew Buller

Matthew Buller is a native of Lake Charles, Louisiana, and a candidate for the Artist Diploma at Oberlin Conservatory of Music, Oberlin, Ohio, where he studies with Arvid Gast. He earned his Bachelor of Music and Master of Music degrees from Oberlin in May 2017, where he had the privilege of studying with organists such as Nathan Laube, Liuwe Tamminga, Jean-Baptiste Robin, and Marie-Louise Langlais, in addition to his regular studies with James David Christie and Jonathan Moyer. He also studied harpsichord under Webb Wiggins and fortepiano under David Breitman. Since 2017, Matthew has been director of music and organist at Holy Family Catholic Church in Parma, Ohio. As a performer, he has performed extensively around the United States, in Montreal, Québec, and in Paris, France. He also performed on the 2015 Danenburg Honors Recital, in addition to performing on the Songsun Lee Memorial Concert in Vero Beach, Florida, in 2016.

An interesting fact: I am a collector of old organ scores and old hymnals.

Proudest achievement: A major scholarship to study at Oberlin Conservatory and many opportunities in the world of church music.

Career aspirations and goals: I hope to be a director of music in a major cathedral and to perform large choral, orchestral, and organ Masses in their original context, namely during the Catholic Mass.

Katie Burk

Originally from Lawrence, Kansas, Katie Burk is an organist, conductor, vocalist, and composer pursuing the Doctor of Music degree in organ performance at Indiana University, where she is a student of Christopher Young. An active organ recitalist and choral clinician, she currently serves as music intern at Trinity Episcopal Church in Bloomington, Indiana, under the direction of Marilyn Keiser, where she directs and accompanies both youth and adult choral ensembles and coordinates the Evenings at Trinity music and liturgy series. Additionally, she teaches undergraduate aural skills courses at the IU Jacobs School of Music. She holds the Master of Music degree in organ from IU and Bachelor of Music degrees in organ and music education summa cum laude from Saint Olaf College, Northfield, Minnesota, where she sang in the Saint Olaf Choir and studied organ with Catherine Rodland, conducting with Anton Armstrong and Christopher Aspaas, and voice with Karen Wilkerson. This summer, Katie will be a faculty member at both the Royal School of Church Music in America’s King’s College Training Course in Wilkes-Barre, Pennsylvania, and the Presbyterian Association of Musicians Conference on Worship and Music at Montreat, North Carolina.

An interesting fact: I am an identical twin; my sister Maggie is a choral conductor and composer (who moonlights as an organist!) about to start her doctorate at the University of Michigan!

Proudest achievement: Though it’s still a little way off, I predict that once I finish everything up, I will be very happy to have earned a doctorate in organ (an instrument I didn’t play until college!). For the moment, however, I’m excited that my choral compositions are being performed in venues such as the National Cathedral in Washington, D.C., and Saint Mark’s Church in Philadelphia!

Career aspirations and goals: Whether I find myself in academia or working as a church musician (or both), I’d like my job to be multifaceted. I’ve always enjoyed a wide variety of musical activities—playing the organ, conducting, singing, teaching, composing—and I hope to be in a setting where I can continue to pursue all of my interests!

Jared Cook

Jared D. Cook is a native of Houston, Texas, where he began his formal organ study at age seventeen with Stephen Morris. He is currently a junior organ performance and French major at Baylor University, where he studies with Isabelle Demers. In the 2018 William C. Hall Pipe Organ Competition, he was awarded first place in the undergraduate division, as well as the prize for outstanding hymn playing. During his sophomore year, he was selected as the organ division winner in the 2018 Baylor School of Music Semper Pro Musica Competition. An active recitalist, Jared has performed recitals at the Cathedral of Saint John the Divine, New York City, Saint Bartholomew’s Episcopal Church, New York City, Christ Church Cathedral, Houston, among others.

Jared has served as organ scholar at Holy Spirit Episcopal Church in Houston and as principal organist at Saint Paul’s Episcopal Church, Waco, Texas, where his responsibilities included accompanying the Chancel Choir and playing for services. Currently, he is serving as organ scholar at Preston Hollow Presbyterian Church, Dallas, Texas.

An interesting fact: I speak three languages (English, Spanish, and French) and enjoy traveling frequently!

Proudest achievement: I’m the proudest of making the organ accessible to non-organists. I enjoy showcasing the colors and abilities of the instrument, and helping people develop an appreciation for the organ.

Career aspirations and goals: I’d like to inspire people as a concert organist, pedagogue, and church musician. It is my goal to continue making the organ an accessible instrument and to give back to the community through music. I want to help educate others about the organ and help them develop a passion for the “King of Instruments.”

Carolyn Craig

Carolyn Craig of Knoxville, Tennessee, is the 2018–2019 organ scholar at Truro Cathedral in Truro, England, where her duties include playing for at least three Evensongs per week and training the youngest boy choristers daily. She will begin a Master of Music in organ performance in 2019. Carolyn graduated summa cum laude from Indiana University in 2018, where she held the Wells Scholarship and was one of five graduating seniors to receive the Elvis J. Stahr Award for leadership and academic excellence. Carolyn graduated with a Bachelor of Music in organ performance in the studio of Christopher Young with minors in conducting and German. While at Indiana University, Carolyn was organ scholar at Trinity Episcopal Church with Marilyn Keiser.

Carolyn began her keyboard studies as a pianist and performed in Carnegie Hall at age 14 as a winner of the American Protégé International Talent Competition. At the age of seventeen, Carolyn won the Region IV Quimby Competition for Young Organists and performed a Rising Star recital for the 2014 American Guild of Organists national convention in Boston, Massachusetts. She has since been heard on Pipedreams and in recital domestically and abroad, in venues such as St. Paul’s Cathedral, London, England.

An interesting fact: I love to sing. I study voice privately whenever I have the chance, currently with Margaret Kingsley, professor emerita of the Royal College of Music, and studied privately at Indiana University and, as a high school student, at the University of Tennessee. At Indiana University, I sang in Dominick DiOrio’s new music choir NOTUS, in the early music group CONCENTUS, for many colleagues’ composition premieres, and in the student-led chamber choir Burgundian Consort (Hannah McGinty, director). I have also done some musical theater and enjoy singing a cappella with the Choral Scholars of Truro Cathedral.

Proudest achievement: I’m proudest when my teaching is successful—when I see my organ students playing their first postlude, when the youngest boy choristers I train have their first solos, when theory concepts and sight singing click, and when community choirs get German vowels right.

Career aspirations and goals: I would like to be the choir director and organist at a church where vibrant children’s choir and adult choir programs provide a foundation for faith formation and contribute to a sense of community and where the standard for choral and organ music is excellence. Additionally, I would like to concertize as an organist and would like to perform as a collaborative pianist and professional choral soprano. I would also like to continue teaching organ lessons.

Bryan Dunnewald

Conductor and organist Bryan Dunnewald of Arvada, Colorado, has performed in numerous venues across the country, from the Washington National Cathedral to the Mormon Tabernacle. From 2015 to 2018, he served as organ scholar at Saint Mark’s Church, an Anglo-Catholic parish in Philadelphia, Pennsylvania, and as assistant organist at Macy’s (formerly Wanamaker’s) department store, giving frequent concerts on the largest organ in the world. Bryan enjoys collaborating with ensembles large and small and has performed with the Philadelphia Orchestra, the Colorado Symphony, the Curtis Symphony Orchestra, and numerous chamber ensembles as an organist and harpsichordist. As a conductor, Bryan has led a variety of ensembles, from orchestras at Curtis to choirs in Denver. He is an active composer and recently conducted the premiere of his Missa Brevis: Saint Mark with Saint Mark’s Parish Choir. Bryan currently lives in New York City where he pursues a master’s degree in orchestral conducting with David Hayes at the Mannes School of Music. He is a graduate of the Curtis Institute of Music and Interlochen Arts Academy, earning over the course of his studies the highest honors in music, academics, citizenship, and character. Bryan’s teachers and mentors include Alan Morrison, Robert McCormick, Jonathan Coopersmith, Leon Schelhase, Thomas Bara, Steve Larson, Martha Sandford-Heyns, and Joseph Galema. In the summer of 2018, he worked at Schoenstein & Co., developing his love of organbuilding as an apprentice to Jack Bethards.

An interesting fact: I love architecture and public transit. I have a very real dream to drive a bus one day.

Proudest achievement: My proudest professional moments are those in which I create something great with others. These achievements can be in- or outside of music. Some recent examples include conducting the premiere of my Missa Brevis at Saint Mark’s, working for years with administrators at Curtis to make positive changes to the orchestra program, conducting my friends at my graduation recital in a performance of one of my very favorite pieces, Poulenc’s Le Bal Masqué, and voicing my very first rank of pipes (with some success!) at Schoenstein.

Career aspirations and goals: I want a career in which I build something special. There are many disciplines that make me feel fulfilled, so I look for a career with variety, one where those disciplines complement each other. Being a leader and fostering an environment of healthy, serious artistry are important to me. Outside that I expect to have a career that involves, in some form, playing, conducting (orchestras and choirs), working with others, organbuilding, and bus driving (likely in retirement).

Website: www.bryandunnewald.com.

Daniel Ficarri

A native of Pittsburgh, Pennsylvania, Daniel Ficarri is a graduate student at The Juilliard School, studying with organist Paul Jacobs. Ficarri is recognized as a performer of both new music and standard classical repertoire—The New York Times listed his performance of John Cage’s Souvenir under the “Week’s 8 Best Classical Music Moments,” and WQXR broadcast his live all-Bach performance as part of their “Bach Organ Marathon.” He has performed around the country and at New York City’s Cathedral of Saint John the Divine, Saint Thomas Church, and Trinity Church Wall Street. His orchestral performances have included engagements with the Florida Orchestra and the Juilliard Orchestra in Carnegie Hall and Alice Tully Hall. Ficarri has also composed extensively for the organ—his Exultation was commissioned by Choir & Organ magazine for the dedication of the Miller-Scott Organ at Saint Thomas Church. An active church musician, Ficarri is currently organ scholar at Church of Saint Paul the Apostle in Manhattan, where he founded the organ concert series “Sacred Sounds at Saint Paul’s.” Previously, he served as organ scholar at Hitchcock Presbyterian Church in Scarsdale, New York. For more information, and to purchase sheet music, visit www.danielficarri.com.

An interesting fact: I began my musical training as a violinist and studied privately for ten years. Though I no longer study the violin, I still have a great love of music for strings and orchestra and enjoy transcribing these works for organ.

Proudest achievement: I find the greatest satisfaction in composing my own works for the organ. My favorite of these compositions is Exultation, a fanfare. Composing allows me to push the limits of the instrument while sharing my unique voice.

Career aspirations and goals: I hope that my work is able to bring awareness to the potential of the organ and the enduring relevance of its music. Whether through performing, composing, or serving in churches, I hope that I am able to educate and inspire others to take interest in the voices of history’s great artists. The organ and its repertoire are greatly misunderstood—by the musically ignorant in society and also by the most advanced classical musicians. My greatest aspiration is to enlighten others, and in doing so, enrich their lives in some way.

Julian Goods

Raised in Chicago, Illinois, Julian J. Goods is a senior at the University of Michigan pursuing a Bachelor of Music degree in choral music education. He has a primary focus in voice and secondary focuses in pipe organ and conducting. Over the last few years, Goods has worked closely with the choral conducting and music education faculty to help find ways in which he can become a successful and effective teacher in schools with primarily African American student populations. In the fall, he will be starting a Master of Music degree in choral conducting at the University of Michigan. Goods serves as the music director for the Michigan Gospel Chorale and organist at both Hartford Memorial Baptist Church and Tabernacle Missionary Baptist Church in Detroit. He is a member of the American Guild of Organists, American Choral Directors Association, and the National Association of Negro Musicians where he serves on the Collegiate Board and as the recording secretary for the Central Region.

An interesting fact: I am a proud Eagle Scout.

Proudest achievement: My proudest achievement is every time an ensemble or someone I work with experiences a success.

It would be very easy for me to say that my proudest achievement would be any of the awards, honors, or recognitions that I have collected over the years; however, there is one achievement that I am especially proud of. My proudest achievement is the work that I do as a student teacher within the Detroit Public Schools System. As a student teacher I have the opportunity to spend time engaging with and cultivating young minds. On a daily basis, I am able to sow into these young minds and work to provide them with the resources they need. I am the most proud when I am able to see these bright individuals take those resources and utilize them to work toward a successful future. I am a giver to my very core, and watching my students take what I give them and produce success is truly my proudest achievement to date.

Career aspirations and goals: My ultimate goal is to one day serve as the director of choral activities at a university/college where my focus would be to build a choir that will continue the strong tradition of Western European Classical music while constantly displaying the diverse repertoire of choral music from around the world.

Conner Kunz

Conner Kunz was born in Delta, Utah, to Mark and Beverly Kunz and has always had a fascination with music, the pipe organ, and large mechanical devices. He graduated from Delta High School and currently studies business management at Utah Valley University and also works with Bigelow & Co. organbuilders as a part-time craftsman. His main areas of interest in the organ world include the mechanical creation of the organ, as well as voicing and tuning of pipes, and he hopes to continue to broaden his skills in those areas.

An interesting fact: Before I was employed at Bigelow & Co. I was a high-end furniture maker.

Proudest achievement: My furniture can be seen internationally in the temples of The Church of Jesus Christ of Latter Day Saints.

Career aspirations and goals: I hope to be able to take on the career of pipe organ building and more fully develop my capabilities in both the design and production of these beautiful instruments.

Colin MacKnight

Colin MacKnight is a third year C. V. Starr Doctoral Fellow at The Juilliard School, where he also completed his bachelor’s and master’s degrees. He studies with Paul Jacobs, Grammy award winner and chair of the organ department, and is working on his dissertation entitled “Ex Uno Plures: A Proposed Completion of Bach’s Art of Fugue.” Colin also serves as associate organist and choirmaster at Cathedral of the Incarnation on Long Island. Before Incarnation, Colin was assistant organist and music theory teacher at Saint Thomas Church, Fifth Avenue.

Colin’s first prizes and scholarships include the 2017 West Chester University International Organ Competition, 2016 Albert Schweitzer Organ Competition, 2016 Arthur Poister Scholarship Competition, M. Louise Miller Scholarship from the Greater Bridgeport Chapter of the American Guild of Organists, the 2013 Rodgers North American Classical Organ Competition, and the Ruth and Paul Manz Organ Scholarship. He also won the New York City and Northeast regional AGO competitions. In addition, Colin received the Clarence Snyder Third Prize in the 2016 Longwood Gardens International Organ Competition and is a Fellow of the American Guild of Organists.

An interesting fact: I was an extremely reckless and accident-prone kid. I went to the emergency room so often that I had my favorite hospital and the staff there knew me, and my mom says that my raison d'être was self-destruction. One of my more memorable injuries was when I concussed myself by diving into a bathtub with no water.

Proudest achievement: Most recently, acquiring two free leather couches and smuggling them into the Juilliard organ rooms.

Career aspirations and goals: I’m mainly interested in doing church music, concertizing, and perhaps doing some teaching. I particularly enjoy the variety of musical activities that are involved in church music: repertoire, improvisation, conducting, service playing, etc.

Website: colinmacknight.com.

Thomas Mellan

Born in Lyon, France, Thomas Mellan won first place in the Musical Merit Foundation’s national competition in 2016. In 2011, he recorded for the official documentary of the Walt Disney Concert Hall organ. He performed as a Rising Star in the American Guild of Organists’ West Region Convention and the Spreckels Centennial International Festival in 2015. As Young Artist of the Year, he played in the 23rd International Festival of St. Eustache in Paris, France. In 2018, his European tour included a residency at the Organ Hall in Lviv, where he gave the Ukrainian premiere of Messiaen’s Livre d’Orgue.

His compositions include orchestral, chamber, and solo works, which have been performed in France, America, Canada, and Ukraine. Mellan was the Outstanding Graduate of the undergraduate class of 2017 at the University of Southern California, Thornton School of Music, graduating with a double major in organ and composition.

An interesting fact: I pick hikes spontaneously and based on the elevation gain. If it’s below 700 meters (+- 3,000 feet), then it’s too pleasant!

Proudest achievement: Pushing organ technique to new possibilities, by playing and designing études (Chopin, Dupré, Liszt, my own), modern music (Xenakis and Barraqué, for instance, push keyboard technique and expression to new boundaries), and new works of my own, such as my Ballade de l’impossible.

Playing three concerts on three consecutive nights in Lviv, Ukraine, each with individual programs last summer.

Career aspirations and goals: Touring internationally as an organist with programs of music that I believe in (sometimes, but not always, organ repertoire: Ferneyhough, Bach, Louis Couperin, Schoenberg, Liszt, Xenakis, Reger, Webern, to name just a tiny bunch); teaching at a university or conservatoire; composing pieces that I feel need to be written (at the moment my backlog of commissions includes an organ concerto, violin inventions, and a percussion solo); touring as a harpsichordist (Couperin, Froberger!) and pianist (Boulez! Bartok!).

Alexander Meszler

Alexander Meszler is a Doctor of Musical Arts degree student in organ of Kimberly Marshall at Arizona State University. He currently lives in Versailles, France, on a Fulbright award where he investigates secularism and the organ and studies with Jean-Baptiste Robin. Meszler completed his master’s degree in organ performance and music theory at the University of Kansas where he studied organ with Michael Bauer and James Higdon and his bachelor’s degree in organ with Kola Owolabi while at Syracuse University.

Alexander has been a finalist in several performance competitions and, in 2016, he won second prize at the Westchester University Organ Competition. A strong advocate of music by living composers, he currently serves as a member of the American Guild of Organists’ Committee on New Music. He has collaborated with composers Huw Morgan, Hon Ki Cheung, and George Katehis on the premieres of their organ works.

In 2017, he was awarded a grant from the Arizona Center for Renaissance and Medieval Studies for a project titled, “Crossroads for the Organ in the Twenty-First Century: A Precedent for Secularism in the First Decades of Sixteenth-Century Print Culture.” He has presented papers and lecture-recitals at conferences including the Rocky Mountain chapter of the American Musicological Society, the Westfield Center for Historical Keyboard Studies, and the Historical Keyboard Society of North America. He is making his first significant interdisciplinary contribution this June at the European Association for the Study of Religions’ annual conference.

An interesting fact: I started my undergraduate career as a trombone major. Having taken some organ late in high school with Stephen Best in Utica, New York, I was warmly welcomed as a secondary student into the organ studio at Syracuse University. I found myself in the organ practice room for hours at a time—much, much more time than I spent practicing the trombone. The moment I knew I needed to approach Kola Owolabi, my organ teacher at the time, about the possibility of switching majors was when my trombone professor, Bill Harris, complimented my trombone playing in a rather distinctive way. He said, “You know, you play the trombone extremely well for an organ major.” Not an insult at all, he knew where my heart was. I am extremely thankful for both mentors!

Proudest achievement: I’m proud of a collaborative project that I initiated and organized with my mentor, Kimberly Marshall. Inspired by other artist-activists, we explored the negative environmental effects of a United States-Mexico border wall. We incorporated the art and music of many others including commissioning two new works funded by the Foundation for Contemporary Arts in New York City. One resulting work was for two organs and fixed-media electronics by Huw Morgan, which incorporated sounds of the wall itself from musician-activist Glenn Weyant. Another highlight for me was working with a leading scientist in the field, Michael Schoon, to write an accurate, yet moving script that accompanied the program. The result, if nothing else, was that new audiences were exposed both to the organ and the science behind this important and timely issue.

Career aspirations and goals: While there is no doubt that we live in uncertain times for the organ, I remain optimistic about the future. I want to find a place that will support my continuing research on secularism and the organ, but no matter where life takes me, I will share my love for the organ through teaching, research, and concertizing. I am and will always be on the lookout for ways to keep the organ exciting and relevant.

Website: alexandermeszler.com.

Collin Miller

Collin Miller is a native of Lafayette, Louisiana, and is a junior organ performance major at the Indiana University Jacobs School of Music where he is a student of Janette Fishell. He began playing piano at the age of five, receiving initial training from Rosa Lynne Miller and then studying with Susanna Garcia. In his freshman year of high school, Collin began taking organ lessons with Tom Neil and has since held church positions as pianist and organist at Northwood Methodist Church and the Episcopal Church of the Ascension in Lafayette. He was the winner of the 2017 American Guild of Organists Southwest Regional Competition for Young Organists and is a recipient of the Barbara and David Jacobs Scholarship.

An interesting fact: My primary interest outside of music is film, particularly the work of Béla Tarr, Federico Fellini, and the films of the French New Wave.

Proudest achievement: I am most proud of a few performances of lesser-known music I have given, including programming the Sonata on the 94th Psalm of Julius Reubke alongside the composer’s other more underplayed masterpiece, the Piano Sonata in B-flat Minor, as well as more recently performing the “Toccata” from the Second Organ Symphony of Kaikhosru Shapurji Sorabji, one of the most technically demanding sections of this massive work.

Career aspirations and goals: I aspire to become an organ professor at a university while continuing to advocate for and perform some of the neglected works of the repertoire, including eventually the three organ symphonies of Sorabji.

Ryan Mueller

Ryan Mueller holds a lifelong fascination of music, history, and all things mechanically inclined. A native of Milwaukee, Wisconsin, he credits the region’s landscape of instruments as inspiration for his love of pipe organs. Ryan began piano studies in third grade with Susan Eichstadt and began organ as a freshmen in high school with John Reim. Frequently called upon as a recitalist, lecturer, and writer, he recently founded Cream City Preservation, Inc., a non-profit organization dedicated to the advocacy of historic instruments, buildings, and artifacts. Ryan has served in various local American Guild of Organists and American Theatre Organ Society chapters and is also an active member of the Organ Historical Society, AGO’s Young Organist division, Association of Lutheran Church Musicians, and National Trust for Historic Preservation. He was a recipient of an OHS E. Power Biggs Fellowship in 2014 and was a scholar at the 2017 American Institute of Organbuilders convention. Ryan currently resides in Ogden, Iowa, working for Dobson Pipe Organ Builders Ltd., of Lake City, Iowa. While he takes part in a wide variety of service work and shop activities, Ryan’s primary responsibilities at Dobson revolve around the tonal department. Outside of the organ scene, he thoroughly enjoys restoring classic cars, photography, cycling, and spending time with his fiancée Emily, to whom he will be married this June.

An interesting fact: One thing not too many people know about me is that I have a real fascination of fire trucks. (I was one of those little boys who wanted to be a firefighter when I grew up.) Growing up, we lived right across the street from a fire station, and so till this day I am usually able to identify, by the sound of the siren, whether it is a ladder truck, engine, ambulance, or police car, etc., coming down the street.

Proudest achievement: Being a part of our new instrument at Saint Thomas Church Fifth Avenue is perhaps one of my bigger career accomplishments. Even though the project conceptualized many years before I began at Dobson, I was fortunate to be a part of the in-shop work, installation, and on-site voicing. Being but a small part of the team that brought Opus 93 to life and spending many months in Manhattan was a life changing experience. To me, there is no greater satisfaction than knowing that the fruits of your labor are going to stand, be used, and be heard by generations of people from around the world to the glory of God.

Career goals and aspirations: Though I am currently content with where I am at in my career, someday I would like to be the tonal director of a large firm and perhaps own my own company. Outside of career-oriented goals, I currently have two books in the works which I am hoping to complete in the next year or two.

Kevin Neel

Kevin Neel enjoys a versatile career as organist, collaborative pianist, conductor, singer, and arts administrator. He has been heard at the organ in numerous venues including Symphony Hall, Old South Church, Emmanuel Church, Old West Church, all in Boston, Massachusetts, as well as in the southeast. In December 2016 he co-founded The Brookline Consort, a choral ensemble for which he serves as co-artistic director, baritone, and primary accompanist, a group whose mission is to tell stories through diverse, thoughtful programming performed at the highest level. As a singer, he has sung with the Marsh Chapel Choir, Emmanuel Music, Cantata Singers, and VOICES 21C. He is organist and chapel choir director at Emmanuel Church, Boston, and serves as executive director for Coro Allegro and organist for Saint Clement Eucharistic Shrine. He holds degrees from Boston University in choral conducting and Indiana University in organ performance and is originally from the Charlotte, North Carolina, area.

An interesting fact: I trained in classical ballet.

Proudest achievement: Co-founding my own choral ensemble and serving as a singer, pianist, organist, and administrator for the ensemble.

Career aspirations and goals: I am excited to be able to work at the intersection of the choral and the organ worlds, both in and out of sacred music. I aspire to use my skills at the organ and as a choral musician to further the collaborative approach to music making. I’m drawn to collegiate music making, especially in university chapels, as it represents the intersection of the highest caliber music with inspired preaching and collegial youthfulness. I’m looking forward to an upcoming concert in October 2019 where I’m performing Duruflé’s Requiem (organ-only) and Kodaly’s Missa Brevis. And later that month, turning 30!

Website: www.kevinwneel.com.

Jessica Park

Jessica Park is a native of Saint Paul, Minnesota, and is the chapel organist and assistant liturgical musician at the Chapel of Saint Thomas Aquinas of the University of Saint Thomas, Saint Paul, Minnesota, where she is the principal musician of the chapel and director of the Schola Cantorum. She received the Doctor of Musical Arts degree in organ performance from the University of Minnesota—Twin Cities, where she studied with Dean Billmeyer. Jessica received the Master of Music degree in Historical Performance and Bachelor of Music degree in Organ Performance at Oberlin Conservatory of Music, Oberlin, Ohio, where she studied organ with James David Christie, Jonathan Moyer, Olivier Latry, and Marie-Louise Langlais, and harpsichord and continuo with Webb Wiggins. She received first prize at the 2013 American Guild of Organists/Quimby Competition for Young Organists (Region VI) and performed as a “Rising Star” at the 2014 American Guild of Organists national convention in Boston, Massachusetts. She was the featured organist for the inaugural 2014 Twin Cities Early Music Festival and was also a performer at the 2017 Organ Historical Society Convention held in Minneapolis. Her performances have been broadcast on American Public Media’s Pipedreams.

An interesting fact: I run my own photography business as a specialist in portrait photography, and I like to paint on canvases and hang them around my place. I have not mastered the Bob Ross style yet, but I hope I can someday.

Proudest achievement: I am proud of my master’s degree harpsichord recital in 2014. I loved the music I was playing, and I remember being fully focused and enjoying the music. After the recital, I listened to the recording and was actually very pleased with my playing (which is rare)! It really was one of my happiest moments as a student, and I still love the harpsichord.

Career aspirations and goals: I would like to continue performing as a recitalist, playing in the church, and in the future, I would like to teach organ and harpsichord.

Jordan Prescott

Heralded by The Baltimore Sun as a “rising organ star,” Jordan Prescott has established himself as one of the leading organists, church musicians, and directors of his generation. A native of Greenville, North Carolina, Jordan holds the Bachelor of Music degree in organ and sacred music from East Carolina University, Greenville, North Carolina. While at East Carolina, Jordan spent two years as organ scholar of Duke University Chapel in Durham, North Carolina. He is now pursuing a Master of Music degree in organ performance at the Peabody Conservatory where he studies with John Walker. Jordan formerly studied with Andrew Scanlon and Christopher Jacobson. In 2018, Jordan won first prize in the 16th International Organ Competition at West Chester University. He was a 2015 E. Power Biggs Fellow with the Organ Historical Society and currently serves as the Mid-Atlantic Chair for the American Guild of Organists Young Organists. Jordan has research set for future publication in The American Organist, and his performances have been featured on WBJC radio. Jordan is in his seventh season as associate musical director of The Lost Colony, America’s longest-running outdoor drama. Under his direction, The Lost Colony Choir has risen to critical acclaim and was featured as part of the Sing Across America campaign honoring the centennial of the National Parks Service.

An interesting fact: I am a distance runner and currently training for the Baltimore Marathon.

Proudest achievement: I am proudest of the collegial relationships that I have with other organists and my colleagues in the broader music profession and grateful for the network of support and collaboration that we have created.

Career aspirations and goals: I hope to follow in the footsteps of my teachers in developing a career that includes church music, teaching, and performing—in that order. Church music allows me to actively practice my faith and glorify God in thanksgiving for the gifts he has given me as well as enhance the spiritual and liturgical lives of the parishioners I am called to serve. Through teaching I will pass on the knowledge, passion, and kindness given to me by the mentors in my own life. Lastly, performing affords me the opportunity to share the music that I connect with and to do my part in the preservation of the incredible repertoire to which we have all been entrusted.

Website: www.jordanprescott.com.

Alexandria Smith

Alexandria Smith is a pipe organ technician currently employed at John-Paul Buzard Pipe Organ Builders. She has passionately trained as a musician since a young age, beginning with piano before starting oboe. Her journey as an instrument technician began while she was a freshman in college.

In spring 2017 through winter 2018, Alexandria studied organ with Joby Bell and was awarded the Wallace Organ Scholarship. Alexandria received the E. Power Biggs Fellowship of the Organ Historical Society in 2018, deepening her love of historic organs. She will graduate from Appalachian State University with a Bachelors in Music Industry degree: merchandising and manufacturing, with a minor in general business in May 2019. Alexandria spent two summers as an intern at Buzard before beginning full-time work in January 2019. She finds maintaining instruments and keeping the builders’ original style as alive as possible extremely rewarding. Her work lies mostly in late nineteenth- and twentieth-century organs.

An interesting fact: My primary instrument in college was oboe, English horn, and Baroque oboe.

Proudest achievement: Joining the service department at Buzard Organs. It is a well-rounded team, and everyone has so much knowledge to share and pass on, and I get to work on so many rewarding projects.

Career aspirations and goals: To manage a pipe organ company and to continue to grow my knowledge as much as possible on the instrument.

Emily Solomon

Emily Solomon is currently pursuing a Doctor of Musical Arts degree in sacred music from the University of Michigan, Ann Arbor. Her prior degrees include dual Master of Music degrees in early keyboard instruments and sacred music from the University of Michigan and a Master of Arts in music research from Western Michigan University with a thesis on Johann Walter’s Geistliches Gesangbüchlein. Emily is the executive director for the Academy of Early Music in Ann Arbor and cantor of Zion Evangelical Lutheran Church of Detroit, Michigan. She is also a continuing visiting artist in harpsichord at Western Michigan University. In May 2018, Emily was invited to perform on the Nordic Historical Keyboard Festival in Kuopio, Finland. She toured Germany, Poland, and the Czech Republic as the organist for the Concordia University Ann Arbor choir in May 2017. A proud Michigan native, Emily is a Certified Tourism Ambassador™ for Washtenaw County and serves on the board of the Soo Locks Visitors Association in the Upper Peninsula.

An interesting fact: I love Great Lakes freighters! I’m frequently involved with maritime activity in the Upper Peninsula and have been a long-time member of the American Society for Marine Artists.

Proudest achievement: When I began organ lessons at the age of 19, I had no idea that I would go on to earn advanced degrees in this field. I’m both proud of and humbled by what I have been able to accomplish in the last nine years.

Career aspirations and goals: I hope to continue my work in church music, performing arts management, and early music while also becoming an effective and influential pedagogue.

Website: www.emilysolomon.com.

Mitchell Stecker

Mitchell Stecker is director of chapel music and carillonneur at The Citadel, Charleston, South Carolina. He is an alumnus of the University of Florida (Bachelor of Music and Bachelor of Arts in linguistics, 2014), studying principally with Laura Ellis. In 2015, Mitchell spent six months at the Royal Carillon School (Mechelen, Belgium) before returning to UF to pursue the Master of Music (musicology), which he will receive in May of this year. Prior to his current role, Mitchell served as carillon fellow to Geert D’hollander at Bok Tower Gardens, Lake Wales, Florida, from 2017 to 2018.

Mitchell is also an active composer, with titles published by the Guild of Carillonneurs in North America and American Carillon Musical Editions, and with several commissions in progress. His scholarly interests include shape-note music, campanological topics, and the music of Peter Benoit and the Flemish Romantic. He is an active member of the GCNA, serving as the guild’s corresponding secretary since 2017; in 2016, he was awarded the guild’s Barnes Scholarship to study Roy Hamlin Johnson’s monumental Carillon Book for the Liturgical Year and its relation to Bach’s Orgelbüchlein. In his free time, Mitchell is an avid fasola singer, enjoys studying languages, and is passionate about good food and drink.

An interesting fact: In 2011, I took part in the “largest carillon recital in history.” Designed to commemorate the seventy-fifth congress of the Guild of Carillonneurs in North America, a novelty concert program was presented in which seventy-five individual performers all shared an hour-long recital program.

Proudest achievement: As a freshman at the University of Florida, I originally declared a major in engineering, with no intention of studying music. I had the occasion to re-evaluate my purpose and realized that my calling was elsewhere. The simple fact of being a church musician is a great source of pride for me. I find the work of leading God’s people in praise to be tremendously fulfilling and am proud that such a significant responsibility falls to me.

Career aspirations and goals: I hope to serve as a church musician in whatever capacity I am best suited for, for as long as I can. Additionally, I aspire to continue to grow as a scholar and eventually seek a doctoral degree in musicology. Avocationally, I am in the midst of compiling several new compilations of fasola music and hope to see these offerings find a place within the shape-note singing community.

Grant Wareham

A Dayton, Ohio, native, Grant Wareham began organ studies with Jerry Taylor in 2007. He earned his Bachelor of Music degree at Rice University’s Shepherd School of Music, Houston, Texas, where he studied with Ken Cowan, graduating cum laude and with distinction in research and creative work. While at Rice, Grant served as Moseley Memorial Organ Scholar and assistant organist at Saint Thomas Episcopal Church, Houston, and as associate organist at Palmer Memorial Episcopal Church, Houston, where he worked with music director Brady Knapp and artist-in-residence and organist Ken Cowan.

Winner of both the First and Audience prizes at the 2017 Albert Schweitzer Organ Competition in Hartford, Connecticut, Grant was also a featured performer at the 62nd annual convention of the Organ Historical Society in Saint Paul, Minnesota. This June, he will compete in the 2019 Longwood International Organ Competition at Longwood Gardens in Kennett Square, Pennsylvania.

Grant is currently pursuing his Master of Music degree at the Yale University Institute of Sacred Music and School of Music, New Haven, Connecticut, where he studies organ with Thomas Murray. He also serves as organ scholar at Christ Church, New Haven, one of America’s renowned Anglo-Catholic parishes, where he works alongside choirmaster Nathaniel Adam and organist and artist-in-residence Thomas Murray.

An interesting fact: I am an avid distance runner and completed two half-marathons in 2018.

Proudest achievement: Winning the first and audience prizes at the 2017 Schweitzer Competition, then playing the Fauré Requiem three days later with the University of Saint Thomas Singers under the direction of Brady Knapp.

Career aspirations and goals: I firmly believe in a very strong future for the organ, and every organist who feels this way has a duty to train and nurture successive generations in
the art of organ playing. Therefore, I want to teach at the collegiate level to pass on the incredible legacies that all of my teachers have given to me. I greatly enjoy serving in churches as a source of professional and personal fulfillment and would love be employed at a church with a vibrant music tradition. I also love learning new instruments and hope to have an active performing career.