Gail Archer to play on Wesley M. Vos Memorial Recital Series

Wesley M. Vos 1940-2002

Wesley M. Vos, associate editor of The Diapason since 1967, died on May 9 at his home in Crystal Lake, Illinois. He was 61. Dr. Vos also was professor of music at DePaul University and served as organist for several area churches. He died of complications from liver disease; in 1991, he had undergone three liver transplants, the first two of which were rejected, and the third of which prolonged his life by 11 years.

Dr. Vos was born on November 16, 1940 in Sully, Iowa. His parents, William and Marjorie Vos, were farmers and workers in a window manufacturing plant in the small town of Pella, Iowa. Vos's grandmother was the one who insisted that he have piano lessons, and he was found to have a natural talent. By the time he was a teenager, he was giving piano lessons to other children in town and playing the organ for church services.

After graduating with a BA (double major, music and art) from Central College in Pella, he went on to receive master's and doctoral degrees in musicology from Washington University in St. Louis. His organ study had been with Laurence Grooters and Howard Kelsey, and summer study with Anton Heiller.

Wesley Vos began working for The Diapason in 1967 under editor Frank Cunkle, and he shared responsibilites for both the editorial and advertising departments. He also worked at the American College Bureau, then taught briefly at McHenry County College. In 1971, he was named associate dean for the school of music at DePaul University, where he had been teaching part-time. He served as academic advisor to the university's music students for about a decade, and then taught music history and theory for another 20 years. His area of expertise was early music, and he played the harpsichord in addition to the piano and organ.

Vos was a member of two local churches--the First Congregational Church of Crystal Lake and St. Paul United Church of Christ in Palatine. He held organist positions at First Unitarian Church, St. Louis; St. John's Episcopal Church, Franklin, Pennsylvania; Delmar Baptist Church, St. Louis; the Community Church of Barrington, Illinois; St. Mary's Church, Woodstock, Illinois; First United Methodist Church, Crystal Lake, Illinois; and most recently, St. Paul's United Church of Christ, Palatine, Illinois. He also had sung as a member of the professional choirs at the Church of Saints Michael & George, St. Louis, and the Church of the Ascension, Chicago. Vos performed with the Chicago Master Singers as well, taught private music lessons, and worked with many vocalists and instrumentalists as a coach-accompanist.

Wesley Vos is survived by his wife, Marie Ann Heiberg Vos, whom he married in 1968, and their two sons, Robert and Thomas; a son, Jaime Vos, from his first marriage, daughter-in-law Victoria Brasser-Vos, and two grandchildren, Parker and Anastasia Brasser-Vos; and  two siblings, Robert G. Vos of Seattle and Marla Hardin of Pella, Iowa.

A memorial service was held on May 18 at the First Congregational Church, Crystal Lake. [The organ at that church, by Buzard Organ Builders, was featured on the cover of the March, 1997 issue of The Diapason.] The Chicago Master Singers and the Vestry Choir of the First Congregational Church both sang during the service.

Memorial gifts in his name may be made to the Regional Organ Bank of Illinois (660 N. Industrial Dr., Elmhurst, IL 60126) or to the McHenry County Music Center (31 E. Crystal Lake Ave., Crystal Lake, IL 60014).

(See "In Memoriam" on page 2 of this issue.)

Friend, colleague, and mentor--Wesley Vos, associate editor of The Diapason since 1967--died on May 9 at the age of 61, from complications of liver disease. An obituary appears on page 6 of this issue, recounting some of the professional and personal events of his life--his birth and death dates, education, career history, etc. While these details provide a glimpse of a very full, though far too short, life, they fail to convey the depth and breadth of the man we knew and loved.

Wesley was quite a remarkable man--a man of profound faith, dedication, perseverance, and accomplishments. A much wider picture of his life was provided at the memorial service, May 18, at the family's church, First Congregational of Crystal Lake. Members of the Vos family (his wife, sons, daughter-in-law, brother, sister, grandchildren) spoke eloquently and lovingly of this man of courage, compassion, and vision. They painted a beautiful picture of a devoted husband, father, grandfather and brother. The presentations were thematically arranged according to the seasons of his life. A visual representation appeared on the chancel wall in the form of four paintings that Wesley had done, entitled "The Seasons." These paintings had adorned the walls of Wesley's office at DePaul University and were moved to the church for the memorial service. They were also reproduced on the bulletin cover for the service.

Music for the service was provided by the very fine and large Vestry Choir of the church under the direction of Eva Wedel, minister of music, and organist Barbara Thorsen. For a number of years, when he wasn't "on the bench" as a professional organist, Wesley sang in his church choir. In addition, The Chicago Master Singers, under the direction of Alan Heatherington, sang several motets, and the two choirs combined for "E'en so, Lord Jesus, quickly come," by Paul Manz, and "How lovely is Thy dwelling place" from the Brahms Requiem. I was honored to accompany the Brahms and also play the postlude, Bach's "In dir ist Freude," which had been the postlude at the wedding of Wesley and Marie Ann.

The last several years had not been easy for Wes. His third transplanted liver from 1991 had extended his life, but it too began to fail. During the year 2000, Wes suffered a number of serious infections and spent much of that summer in the hospital. In October of 2000, he relunctantly went on medical leave from The Diapason, DePaul University, and his organist position at St. Paul's UCC in Palatine. Over the next year and a half he waited on the national liver transplant list and spent much time in and out of the University of Chicago Hospital, trying various anitbiotics and other treatments. Late in the fall of 2001, the hospital liver team told Wesley that they could no longer consider him a viable candidate for a transplant. Wesley then pursued alternative treatment at Northwestern Memorial Hospital and held out hope for a new liver. In mid-March of this year, that hospital told him that a transplant was just too risky. Wes returned home, where he spent his last weeks surrounded by loving family and friends.

Throughout this time, Wesley never lost hope or indulged in self-pity. Rather, he cherished each day, living it as fully as possible, and keeping alive the hope for a transplant and a return to his full schedule of activities.

Wesley Vos was largely responsible for my joining the staff of The Diapason. I had known Wes since 1971, and when I began teaching organ at DePaul in 1974, he was always willing to listen to the concerns of a young teacher and offer advice and encouragement. When the post of editor of The Diapason became open in 1983, Wes suggested that I apply for the position and championed my application to the owners of the magazine. Despite my lack of experience in journalism or publishing, Wesley was certain that a knowledge of the organ and church music field was the most important qualification, and that the mechanics of publishing the journal could be learned by doing. His patient and thorough mentoring during my early years with The Diapason, along with his extensive knowledge of the magazine and the organ field, were the only things that kept the journal going. No matter how big a mess I would make of things, or how many crises arose, Wes would always calmly assess the situation, analyze what needed to be done, and map out a solution.

Wesley Vos was passionately devoted to The Diapason, and jealously guarded its scholarly and professional standards against any commercial pressures. His knowledge of the magazine and his recall of published articles and news over the years was quite incredible. He was especially demanding in evaluating submitted articles, was quick to sift out puffery or self-aggrandizement, and had no patience for the superficial or pseudo-scholarly.

During the memorial service, Wesley was described as a life-long teacher. Indeed, he excelled in the classroom and was admired, respected and loved by the DePaul community. He was an inspiring teacher, and reveled in giving students the means to learn and achieve on their own. He brought that patience and insight as a teacher to mentoring me at The Diapason. I am forever grateful for his wisdom, generous spirit, and friendship.

We mourn the loss of a friend and colleague, honor the memory of this remarkable human being, and are indeed richer for having known him. The memorial service closed with a poem that Wesley had written earlier this year. We reprint that poem below.

--Jerome Butera

"Evening Prayer"

O Lord, as the

gift of daylight fades,

the shadows of evening

fall gently around us.

May the fire of

your love burn ever

brighter in our hearts.

May our sleep be

restful, and may we

waken refreshed with renewed

energy and a sense

of your divine purpose.

--Wesley Vos, January 2, 2002

100 years and counting
One can only wonder if The Diapason’s founder, Siegfried E. Gruenstein, envisioned the day his magazine would turn 100. The fiftieth anniversary issue, December 1959, noted:

Siegfried E. Gruenstein, a rare combination of competent organist and professional newspaper man, founded The Diapason in 1909 against the advice of his elders among organists, builders and well-wishers. That it grew and prospered under his forty-eight years guidance was due wholly to his skill, his impartiality and his taste.
Mr. Gruenstein listened to all of the advice offered, and did not follow any of it. He persisted in going ahead, and the initial issue, all of eight pages, made its appearance. A few leaders in the organ profession offered encouragement (Clarence Eddy, William C. Carl, Peter Lutkin, and Harrison Wild). Others gave the paper three to six months to live. At the end of the first year, the record showed a net profit of $15, a paid circulation of 200, and accumulated assets of a desk, a file cabinet, a wastebasket, and much goodwill. We have reproduced the first issue as part of this 100th anniversary celebration (see pages 23–30).
When The Diapason was launched, electro-pneumatic action was new, and tubular-pneumatic and tracker-action organs were still being built. The electric fan blower was still new and water motors were being made, while the human blower was not extinct. The Diapason has documented the trends in organbuilding over the last hundred years, from the orchestral/symphonic organ to the American Classic organ, the clarified ensemble, the Organ Reform movement, historically informed organ building, historic replicas, and a rediscovery of Ernest Skinner, Cavaillé-Coll, and Henry Willis.
The Diapason has served as a mirror of the organ culture in this country, documenting the work of builders, players, teachers, and composers. To read through the issues of The Diapason from 1909 to the present is to read the history of organ building, performance, pedagogy and composition in the United States for the last century. What have we learned from the last 100 years? Perhaps that the organ can exist in many forms, can be beautiful and expressive in many different ways, and inspire and uplift us in its numerous incarnations.
Dare we imagine the world of the pipe organ 100 years from now? What will the next 50 years, the next 25 years, or even the next decade bring? If the past is any indication, the pipe organ will continue to be built, played, and enjoyed, perhaps in ways we cannot envision. There will always be a need and a market for the quality, beauty, and artistic expression that the organ represents. Keep reading as The Diapason embarks on its next hundred years.

A word of thanks
That The Diapason has not only survived but flourished over this first century is due to its many faithful subscribers and advertisers, especially during the current challenging times. The Diapason continues because of the generosity and dedication of its authors and reviewers. Among our many contributing editors who regularly provide columns and reviews, our harpsichord editor Larry Palmer is celebrating his 40th year of writing for The Diapason. James McCray has been writing his reviews of new choral music since 1976. Leon Nelson has written reviews of organ music and handbell music since 1982. Brian Swager has served as carillon editor since 1991. More recently, Gavin Black continues to write “On Teaching” and John Bishop presents “In the wind” every month. And many more writers provide reviews of books, recordings and organ music each month.
Here in Arlington Heights, Illinois, associate editor Joyce Robinson proofs and edits every item, in addition to compiling the calendar and organ recitals, managing classified ads, scanning all the images, and maintaining our website content and electronic newsletter. And I must honor the memory of Wesley Vos, who served as associate editor from 1967–2001 and was largely responsible for bringing me onboard and serving as my mentor.
It has been an honor to serve as editor and publisher for more than 25 years. Every day I feel fortunate to guide this magazine, blessed to work with authors, advertisers, and subscribers who love the The Diapason as I do. I hope you enjoy this 100th anniversary celebration. In addition to images of the past on the cover and the reproduction of volume one, number one, this issue includes reflections on The Diapason and the last hundred years.

Diapason history
December 1919 – founded by Siegfried E. Gruenstein (1877–1957), who served as editor and publisher through December 1957
1919 – official journal of the National Association of Organists
1929 – official journal of the Hymn Society of America
1933 – official journal of the Canadian College of Organists
1935 – official journal of the combined National Association of Organists and the American Guild of Organists
Frank Cunkle – editor, February 1958–September 1970
Robert Schuneman – editor, October 1970–August 1976
Arthur Lawrence – editor, September 1976– March 1982
David McCain – managing editor, April 1982–August 1983
Jerome Butera – editor and publisher, September 1983 to present

Longtime Diapason subscribers
As part of The Diapason’s 100th anniversary celebration, I have noted, in my “Editor’s Notebook” column, our longtime subscribers—those who have subscribed for more than 50 years. The longest subscription is that of Malcolm Benson: 70 years! We salute these subscribers for their many years of faithful support. Our most up-to-date list includes the following:

Fred Becker, Crystal Lake, Illinois, 1959
Bruce P. Bengtson, Wyomissing, Pennsylvania, 1958
Malcolm D. Benson, San Bernardino, California, 1939
Gordon Betenbaugh, Lynchburg, Virginia, 1957
Byron L. Blackmore, Sun City West, Arizona, 1958
Gene Boucher, Annandale, Virginia, 1957
George Bozeman, Deerfield, New Hampshire, 1951
John M. Bullard, Spartanburg, South Carolina, 1953
Merrill N. Davis III, Rochester, Minnesota, 1955
Douglas L. DeForeest, Santa Rosa, California, 1955
Harry J. Ebert, Pittsburgh, Pennsylvania, 1946
Joseph Elliffe, Spring Hill, Florida, 1956
Robert Finster, Canyon Lake, Texas, 1954
Henry Glass, St. Louis, Missouri, 1957
Antone Godding, Oklahoma City, Oklahoma, 1952
Will Headlee, Syracuse, New York, 1944
Charles Huddleston Heaton, Pittsburgh, Pennsylvania, 1947
Victor E. Hill, Williamstown, Massachusetts, 1953
Harry H. Huber, Salina, Kansas, 1943
Lance Johnson, Fargo, North Dakota, 1959
Richard Kichline, Alliance, Ohio, 1953
Christopher King, Danbury, Connecticut, 1952
Bertram Y. Kinzey, Jr., Blacksburg, Virginia, 1945
Allen Langord, Poinciana, Florida, 1950
Arthur P. Lawrence, Lancaster, Pennsylvania, 1953
Michael Loris, Barre, Vermont, 1956
William (Bill) Mollema, Scotts, Michigan, 1957
William H. Murray, Fort Smith, Arkansas, 1959
Mark Nemmers, Dubuque, Iowa, 1954
Barbara Owen, Newburyport, Massachusetts, 1951
David Peters, St. John’s, Newfoundland, Canada, 1954
Patrick J. Rafferty, San Pedro, California, 1950
Thomas Schaettle, Springfield, Illinois, 1949
Robert A. Schilling, Indianapolis, Indiana, 1949
Ronald T. Severin, Orange, California, 1956
Richard A. Smid, Yaphank, New York, 1955
Francis M. Stone, Indianapolis, Indiana, 1953
Frederick Swann, Palm Springs, California, 1946
Rodney Trueblood, Elizabeth City, North Carolina, 1944
Charles J. Updegraph, South Orange, New Jersey, 1953
John Weaver, West Glover, Vermont, 1947
Robert Webber, Phoenix, Arizona, 1947
Harry Wells, Pullman, Washington, 1954
The Rev. Bruce McK. Williams, Albuquerque, New Mexico, 1946
Charles Woodward, Wilmington, North Carolina, 1953
—Jerome Butera
Editor and Publisher
The Diapason

The United Church of Christ Musicians Association presented its tenth national conference at Elmhurst College (a UCC four-year college) in Elmhurst, Illinois, on July 12–15, 2015. The conference provided choral concerts, an organ recital, a handbell concert, creative worship services, workshops, exhibits, and time for conversation with colleagues. There was a good representation of age groups, a balance of women and men for the conference choir, and attendees from many denominations, although most registrants serve UCC churches. This conference reached many types of musicians: the experienced choir director and/or organist, the beginner keyboardist, the handbell novice, the beginner children’s choir director, and the choir tour director. 

The conference, whose theme was “Crossroads: Connecting Music, Faith, Worship, and Community,” emphasized inspiration, collaboration, and fellowship when musicians are in community with one another, and it identified unique gifts that can be woven into a tapestry of beauty and grace. Chaired by Michele Hecht, director of music at First Congregational Church in Glen Ellyn, Illinois, the local committee comprised members who serve UCC churches in Illinois: Michael Surratt, First Church, Oak Park; Larry Dieffenbach, The Little Home Church from the Wayside, Wayne; Megan Murray, The Congregational Church, Arlington Heights; Ann Tucker, First Congregational Church of Crystal Lake; and Jim Winfield, Union Church of Hinsdale. Also on the committee were Jackie McCarthy and Sharon Wussow, both of Glen Ellyn. 

Sunday, July 12

The conference began with an informal choral reading session provided by UCCMA board members Diana Cohen (Plymouth, Massachusetts), Flora Major (Norwalk, Connecticut), Jim Larrabee (Omaha, Nebraska), and Peter Stickney (Newfield, Maine). The varied repertoire included anthems for the entire church year and works for choirs ranging from the very small to large. After dinner, the Chicago Community Chorus, directed by Keith Hampton, presented a concert. It began with classical works, but the chorus’s specialties were gospel and spiritual works. By the close of the concert, the audience was standing and joining in with their energy and joyful singing. 

The opening worship service followed with a variety of music. Particularly interesting was Fiat Lux by Jeffrey A. Haeger, associate for music ministry at First Congregational Church of Glen Ellyn. This anthem was sung by a massed choir from Congregational United Church of Christ of Arlington Heights, First Congregational Church of Crystal Lake, First Congregational Church of Glen Ellyn, the Little Home Church by the Wayside, and the Union Church of Hinsdale, all in the Chicago area. Michele Hecht directed. The sermon was “The Mantel of the Prophetic,” given by Rev. JoAnne M. Terrell, associate professor of ethics, theology, and the arts at Chicago Theological Seminary. A champagne reception made for a great ending to the day.

Monday through Wednesday, July 13–15

Each morning, Rev. H. Scott Matheney, conference chaplain and Elmhurst College’s chaplain and dean of religious life, offered short and contemplative matins. The Monday and Tuesday morning plenary sessions were given by the keynote speaker, Rev. John H. Thomas, visiting professor in church ministries at Chicago Theological Seminary. Rev. Thomas has served in several UCC congregations and was also the general minister and president of the United Church of Christ. His lectures, “Building Church Community, Our Song as Call and Celebration” and “Building Human Community, Our Song as Resistance and Imagination,” were very well received. 

Wednesday morning’s plenary session was a pastor/musician panel with Rev. Thomas, Rev. Scott Oberle, senior minister at First Congregational United Church of Christ in Downers Grove, and Jim Molina, First Congregational’s minister of music and media. This panel discussed the importance of communication between musician and minister and invited responses from the audience. This proved very enlightening and seemed too short for the topic. 

Conference choir rehearsals filled the mornings. The conference choir of over 80 people was directed by Jeffrey Hunt, director of St. Charles Singers, faculty member at Elgin Community College, and director of music at Baker Memorial United Methodist Church. Hunt’s knowledge of the voice and his conducting skills were sublime. The conference handbell choir was directed by David Weck, founder of the Agape Ringers and music editor for Hope Publishing Company. Each afternoon workshops were offered on choral conducting, early childhood music, developing the young singing voice, the mature adult voice, copyright and Internet solutions, organ masterclasses, organ maintenance, choir touring, handbell techniques, the Alexander Technique, new music, blended worship suggestions, a composer’s forum, and reading sessions. Clearly, there was something for everybody! Many of those mentioned above were conference clinicians, as were Mark Bowman, Jill Burlingame, Dean Christian, Larry Dieffenbach, Emily Ellsworth, David Hecht, Joel Raney, Robin Restrepo, David Schrader, Michael Surratt, Ann Tucker, and Jim Winfield. 

Monday evening’s concert offered contrasts at First Congregational Church of Glen Ellyn. Organist David Schrader showed his command of the instrument with de Grigny’s Veni Creator Spiritus, Franck’s Prelude, Fugue, et Variation, Alain’s Première and Deuxième Fantaisies and Litanies. The Agape Ringers, directed by David Weck, performed Sherman’s Procession of Praise, Elisabeth Judd’s arrangement of Bizet’s Gypsy Song, and Joel Raney’s arrangement of America, the Beautiful. Raney’s arrangement of William Walton’s Coronation March was played by Jane Holstein, organ, Raney at the piano, and the Agape Ringers—an unusual timbre, beautifully done. The evening concluded with a reception hosted by the church.

Tuesday evening was a time to relax. A bus trip to Chicago included an architectural boat tour of the city and/or time at Navy Pier. 

At Wednesday evening’s concert and worship service in Hammerschmidt Chapel, the Chicago Gargoyle Brass and Organ Ensemble thrilled everyone with their expertise and musicality. Selections included Prelude, Elegy, and Scherzo by Carlyle Sharpe, Earthscape by David Marlatt, and Saint-Saëns’ “Maestoso” from Symphony No. 3. Jim Winfield, former music director and organist at First Congregational Church of Western Springs and First Congregational United Church of Christ in Elmhurst, joined the ensemble and played the work arranged by Craig Garner. 

The concluding service of the conference began with beautiful hymn singing, with scores of musicians in a wonderful room singing “God is Here!” (Abbott’s Leigh) and “Rejoice, Ye Pure in Heart” (Vineyard Haven). Anthems included Raney’s “Bless the Lord, O My Soul” for choral and handbell choirs and Winfield’s Holy, Holy, Holy, Lord God Almighty, a choral setting that was an adaptation of “Nimrod” from Elgar’s Enigma Variations. Rev. Matheney gave the meditation on “Serving the Lord through Music.” During Holy Communion and Blessing of Hands, Kevin McChesney’s Transformations for Handbell Choir was played. At the service’s conclusion, organist Mark Sudeith played Simon Preston’s Alleluyas. The conference ended on the campus patio with ice
cream sundaes. 

For over twenty years the United Church of Christ has had two musicians’ organizations, the United Church of Christ National Network and United Church of Christ Musicians Association (UCCMA). After serving UCC musicians for many years, offering conferences and workshops, the Network was unable to continue. All Network musicians are invited to unite as one with UCCMA. For more information: www.uccma.org.

Watch for future UCCMA regional workshops and the next national conference at the United Parish Church in Brookline (Boston), Massachusetts, July 9–12, 2017.

W. Michael Brittenback is currently minister of music at St. John’s Episcopal Church in Plymouth, Michigan. He serves as Chair of Region V of the Association of Anglican Musicians, and as a member of the Executive Board of the Ann Arbor AGO Chapter. Gordon Atkinson is a past president of the RCCO (1976–1978) and currently serves as organist and choirmaster of All Saints’ Episcopal Church, Virginia Beach, Virginia.

The 43rd International Conference on Organ Music, Marilyn Mason, director, sponsored by the University of Michigan, was held October 5–8, 2003, in Ann Arbor and Ypsilanti, Michigan. The offerings this year represented Germany, Holland, France, Russia and the United States, and the organ music ranged from the beginnings of the North German-Dutch School through the twentieth century. The two cities of Ann Arbor and Ypsilanti, separated by only a street, boast three thriving university organ programs, and the conference showcased all three schools.

The festivities began with a traditional Lutheran hymn festival on Sunday evening at Concordia University Chapel with the choirs of Concordia University and St. Lorenz Lutheran Church, Frankenmuth, Michigan, conducted by Paul Altvogt, with Michele Johns and Scott Hyslop playing the large Schlicker organ.

On Monday morning the conference began at the University of Michigan School of Music with a lecture by William Gudger on the editing and performance of Handel’s organ concertos. On Tuesday he gave a recital of music by British composers (including Handel) at Eastern Michigan University. Dr. Gudger is currently on the faculty of the College of Charleston, Charleston, South Carolina, and is co-editor of the critical edition of the Opus 4 Organ Concertos of Handel.

The lecture was followed by a splendid recital of music of Sweelinck, Scheidt and Scheidemann given by Gail Archer, director of the music program at Barnard College, Columbia University, New York City, on the Marilyn Mason Organ built by Fisk. On Tuesday, Dr. Archer gave an animated lecture on performance practices of Sweelinck and his contemporaries as well as insights into the organs of the period.

Monday afternoon’s events were held at First Congregational Church of Ann Arbor, featuring the large three-manual Wilhelm organ. Marilyn Mason and Robert Luther gave an exciting recital of organ music for four hands and feet. For the last selection Dr. Mason was joined by pianist Seth Nelson playing the Classic Concerto for Organ and Piano by Leo Sowerby, one of the highlights of the day.

This was followed by a fine lecture on Russian organ music and organs in Russia by Iain Quinn, a Welsh organist and scholar. His lecture made everyone look forward to his recital on Tuesday on the fine Aeolian-Skinner organ at Pease Auditorium on the campus of Eastern Michigan. A recital by Matthew Bogart, Erin MacGorman, Seth Nelson, and Abigail Woods—students of the University of Michigan organ department—closed the afternoon’s events.

The day culminated with a splendid recital by Petr Plany, professor of organ at the University of Olomouc, Czech Republic, on the Létourneau organ at St. Francis Catholic Church in Ann Arbor. The evening began with one of the best performances of the Gothic Symphony in recent memory, and ended with music by the Czech composer Euben Reuchsel. On Wednesday Professor Plany gave an insightful lecture on the organ music and organs of the Czech Republic.

On Tuesday all events were held at Eastern Michigan and began with an exciting recital on the recently restored Aeolian-Skinner organ given by Donald Williams, professor of organ and university organist at Concordia University; Scott Elsholz, visiting instructor of organ at Eastern Michigan University; and James Wagner, adjunct faculty at Marygrove College. The program featured organ music of the 20th century. This was immediately followed with a recital given by Shin Ae Chun, Greg Hand, and David Saunders, graduate students of the organ department of the University of Michigan.

The afternoon events moved into the organ studio at Eastern Michigan where a fine three-manual Kney resides. After Dr. Archer’s lecture and Dr. Gudger’s recital, a discussion was led by Michele Johns, adjunct professor of church music at the University of Michigan, on “Recruitment and Positive People Skills for Church Musicians.” Dr. Johns was assisted by two students: Luke Davis and Kirsten Hellman.

The evening recital was given by Pamela Ruiter-Feenstra, professor of organ and university organist at Eastern Michigan, on the Aeolian-Skinner in Pease Auditorium. The program featured music by Demessieux, Boulanger, Olsson, Lindberg, and Bovet.

The final day was held at First Presbyterian Church of Ann Arbor, showcasing their new Schoenstein organ. The first event was a recital by students from the organ department of the University of Michigan and included Luke Davis, Michael Frisch, Kirsten Hellman, Andrew Herbruck, and Susan DeKam. This was followed by a masterclass in improvisation given by Justin Bischof, on the theory faculty of Manhattan School of Music and organist/choir director of Westchester Reform Temple. His teaching skill made the art of improvisation seem accessible to any musician. Next followed an improvised recital on hymn tunes suggested by the audience. Dr. Bischof performed convincing improvisations in the style of Max Reger, John Adams, and Messiaen, and then played a thirty-minute improvisation in his own style of a complete four-movement symphony for organ.

Following Petr Plany’s lecture on organ music of the Czech Republic, Joseph Daniel performed the final recital of the conference featuring music by Widor, Franck, and Duruflé.

The conference closed with a wonderful patio reception at the home of Marilyn Mason. The extraordinarily high caliber of all of the presenters and the variety of the material presented truly gave something for everyone who attended to learn and enjoy.

—W. Michael Brittenback

The University of Michigan’s 43rd Conference on Organ Music, “The European Connection,” was held October 5–8, 2003, and highlighted music from England, France, Germany, Holland, Russia and the United States. Three full days of organ music and lectures were preceded by the opening program at Holy Trinity Chapel, Concordia University, Ann Arbor, entitled “Oh, That I Had a Thousand Voices—Hymns, Psalms and Spiritual Songs for the Church Year.” The unique triangular shaped building with its stunning stained glass, reminiscent of that at Chartres (the artist Charles Loire’s studio is in Chartres) was an appropriate venue, particularly as the sun set. With important events in the church year outlined by the narrator, Rev. Stephen P. Starke, music was presented with opportunity for congregational participation. The choirs of Concordia University and St. Lorenz Lutheran Church, Frankenmuth, Michigan, with organ, brass quintet and handbells, provided strong leadership, and sang anthems by Alfred Fedak, Scott Hyslop, Martin How and K. Lee Scott. As a result of careful planning, there was great variety in the arrangements of hymns, with some verses sung by choir alone, solo verses, congregation alone, and instrumental solos, the latter affording the congregation time to reflect on the words. Conducted by Brian Altevogt, Andrew Schultz prepared the brass players, and Scott Hyslop was the organist. The 1963 Schlicker provided powerful accompaniment for the 300 people present.

Monday morning’s session, held in the Blanche Anderson Moore Hall at the University of Michigan, commenced with William Gudger’s lecture, “Editing and Performing Handel’s Organ Concertos.” He pointed out that the early concertos were intended for performance with the early oratorios. No. 4 with its “Alleluya” chorus was performed with Athalia, the chorus part founded on the material of the final fugue. This concerto, which is not a reworking of earlier compositions, can be called the first keyboard concerto by any composer. Concerning registration, the single-manual instruments contained two diapasons, one metal, one wood, with metal principals at 4’, 22/3’, 2’ and 13/5’; 4’ flutes were sometimes available. “Swiss cheese registrations” (8’ and 2’, 8’ and 22/3’) have no validity historically. In 1738 John Walsh published a transcription of the Six Concertos for the Harpsichord or Organ, making them available as solos for a single player. Of note, this edition was available by successors to Walsh and others until the late 1890s, when it was supplanted by romantic style editions with flamboyant cadenzas. An excellent handout was provided.

Gail Archer played music by Jan Pieterszoon Sweelinck and two of his many students, Samuel Scheidt and Heinrich Scheidemann, with great style and authentic registration. The Fisk Opus 87, which most closely resembles the Silbermann instrument in Rotha, Germany, was wholly appropriate for this recital.

At First Congregational Church, Marilyn Mason and Robert Luther played a program of duets, the commissioned Celebration of Two Hymn Tunes by Alice Jordan; Martyrs, op. 7 of Kenneth Leighton (“not for the faint-hearted, players or listeners”); and Concert Variations on Auld Lang Syne by Eugene Thayer. Dr. Mason, joined by Seth Nelson, played Leo Sowerby’s Classic Concerto with grace and style, the strings arranged for piano by the composer in 1948, in order “that there be more performances.” (I recall hearing Dr. Mason play this with strings conducted by Dr. Sowerby at Westminster Abbey for the International Congress of Organists in 1957.) The Karl Wilhelm instrument is always a joy to hear.

Two recitals and lectures featured music from countries of which many musicians know little, the first by Iain Quinn in his lecture, “The Tsar of Instruments.” He gave an overview of the history of the organ in Russia from Byzantine times to J. S. Bach and beyond. Organs from Holland and England were owned by the nobility, as organs had no place in the Orthodox liturgical world and were denounced by church authorities. During the time of Peter the Great, the mid-18th century, an interest in the culture of Europe developed, and more organs were imported, including those of Arp Schnitger. European artists made tours. Johann Wilhelm Hassler (1747–1822) influenced the musical life of Moscow and introduced the music of J. S. Bach to Russia. The 19th century saw the importation of organs by Walcker, Sauer, Steinmeyer and Ladegast from Germany; from England those by Brindley and Foster; and the Cavaillé-Coll from France for the Moscow Conservatory. Liszt, Widor, Tournemire and Bossi made tours, Widor playing five of his symphonies in one concert. Newly established organ departments of the conservatories of St. Petersburg and Moscow had “non-ecclesiastical” organ studies. A helpful handout of publications listing compositions by Glasunov (“arguably the most important Russian organ composer”), Gretchaninov, Glière, Glinka, Rachmaninov (an Andante for harmonium from Trio elegiaque, written in memory of Tchaikovsky) and Shostakovich shows the extent of organ compositions in the 19th and first half of the 20th centuries.

A daily addition to the conference featured recitals by students in the organ department from the studios of Marilyn Mason, Robert Glasgow and James Kibbie. Matthew Bogart, Abigail Woods, Stephanie Muller, Seth Nelson and Erin MacGorman concluded the afternoon sessions.

That night at St. Francis Catholic Church (Létourneau organ), Petr Plany of the University of Olomouc, Czech Republic, played a program which opened with Widor’s Gothic Symphony. The last movement with its numerous tempi changes was stunningly performed, the player, organ and the building’s sympathetic acoustics a fine match. Chorale preludes and a Prelude and Fugue in f by B. A. Wiedermann (1883–1951) and Promenades en Provence by Eulen Reuchsel (1900–1988) completed the evening.

Tuesday’s events were held at Eastern Michigan University, Ypsilanti. At Pease Auditorium with its 1960 Aeolian-Skinner recently restored by Schoenstein, Donald Williams opened the first program with Vincent Persichetti’s chorale prelude Give peace in our time, O Lord, the melody introduced by Sally Carpenter, alto. James Wagner played Messiaen’s Consecration and Apparition de l’Eglise eternelle. Calvin Hampton’s Five Dances were played by Scott Elsholz. In the second recital by students of the School of Music, David Saunders, Gregory Hand and Shin-Ae-Chun were heard. In Iain Quinn’s recital he played much of the music he had discussed the previous day. Of particular interest were the Prelude and Fugue in D, op. 93, and Prelude and Fugue in d, op. 98, of Glasunov.

In the organ studio of the Alexander Building with its 1982 Gabriel Kney instrument, Gail Archer shared her enthusiasm for Sweelinck and his disciples in her lecture, “The Foundation of the North German School,” stressing the tuning of instruments and the fingering used. An invaluable handout included the stoplists of the Oude Kerk in Amsterdam, where Sweelinck as civic organist played daily recitals, and St. Moritz’s Church, Halle, where Scheidt was organist; his instructions for playing chorale-based pieces were also included. “Rules for the Organist in the City of Leiden” (1607) directed that recitals start and end on “ . . . the Principal and in between [he] will use and play all the stops . . . ” Slides were shown of churches in Germany where this music can be performed authentically.

Dr. Gudger’s recital featured English music from the 18th to the 20th centuries, with works by William Walond, Handel (Concerto No. 4), Samuel Wesley, Samuel Sebastian Wesley, Charles Villiers Stanford, and Herbert Howells. Again a handout provided much pertinent information.

For the last part of the afternoon, Michele Johns introduced “Recruitment and Positive People Skills for Church Musicians,” presented by Luke Davis and Kirsten Hellman. In the short time available the audience was divided into small groups in which situations both positive and negative were discussed, some of which were reported at the end of the session. From their research, the presenters defined problems and positive ways in which they could be met.

The evening program at Pease Auditorium, played by Pamela Ruiter-Feenstra, professor and university organist at EMU, featured French music by Jeanne Demessieux and Nadia Boulanger, and Swedish music by Otto Olsson and Oskar Lindberg. The 1935 Prelude and Fugue in d# (!) of Olsson was exciting in its intensity, and Guy Bovet’s well-known Salamanca concluded a delightful evening.

Wednesday, October 8, at First Presbyterian Church, Ann Arbor (with its 2002 Schoenstein organ), commenced with the third program by organ students of the School of Music: Luke Davis, Ben La Prairie, Kirsten Hellman, Michael Frisch, Susan de Kam and Andrew Herbruck. For the second time in the conference a composition for organ and piano was featured, Dupré’s Ballade for Piano and Organ dedicated to his daughter, Marguerite, played by de Kam and Herbruck. In his lecture on improvisation, Justin Bischof said that technique in this art form must be developed, by practicing regularly and striving for excellence. He suggested using as a basis I-IV-V-I, keeping the forward movement in strict time. As one progresses one could move to I-I6-IV-IV6-V-V7-I. In playing a hymn, solo the treble line, then put the melody in the pedal, followed by the melody with a different pedal line from that written (using part of the printed chord), and finally adding other chords. Two people volunteered (or were conscripted) to illustrate his suggestions. Dr. Bischof requested hymn tunes from the audience on which he improvised short pieces. His improvisation in the style of Reger demonstrated his familiarity with the composer’s style. The final piece, in which were quotations from several sources, was a brilliant tour de force.

Petr Plany’s noteworthy lecture included many recorded examples. Composers who wrote prolifically for the organ included J. F. N. Seger (1716–1782), B. A. Wiedermann (1883–1951), and major contributions from present-day Jiri Ropek and Petr Eben. Dvorák and Janácek, probably the best known Czech composers, wrote little for the instrument, the former various preludes and fugues, of which the one in D was heard, and the latter some short adagios, apart from the monumental Postlude of his Glagolitic Mass. An extensive handout provided much information concerning composers from the 17th century to the present day, as well as stoplists, manual compasses and the names of organ builders.

In the final recital, Joseph Daniel performed movements from Widor’s Symphony No. 4, Franck’s Choral in a, and the Choral Variations on Veni Creator Spiritus of Duruflé, the alternatim sung by David Hoffman. The conference concluded with a reception at the home of Marilyn Mason and her husband, Dr. William Steinhoff.

As always, The University of Michigan presented a fine conference with time allowed for relaxation. There was much compelling playing by the students with thanks due their teachers, Marilyn Mason, Robert Glasgow and James Kibbie. Conferees from 12 states appreciated the organizational skills of Dr. Mason and Dr. Johns. It was a time for listening, learning, discussion, meeting old friends and making new ones. After being closed for almost two years for restoration and improvement it will be a delight to be at Hill Auditorium for the 44th Conference in October 2004.

—Gordon Atkinson