Lynnwood Farnam Competition finals

Part two of two

National Competition in Organ Improvisation

The ninth National Competition in Organ Improvisation was held at St. James Episcopal Cathedral in Chicago. Five semi-finalists were chosen from 19 preliminary round recordings. Judges for the preliminary round were Justin Bischof, Marianne Ploger, and Bruce Shultz. Five semi-finalists resulted from the recorded round: Steven Ball, Vincent Carr, John Karl Hirten, David J. Hughes, and Tom Trenney. Judges for the semi-final and final rounds were James Biery, Sophie-Véronique Cauchefer-Choplin, and Hans Davidsson. Richard Proulx composed original themes for the competition.
The three finalists chosen to compete in the final round on Monday evening, July 3, were Vincent Carr, John Karl Hirten, and Tom Trenney. The first prize of $2,000, provided by the Holtkamp Organ Company, was awarded to Tom Trenney, director of music and organist at First Presbyterian Church, Birmingham, Michigan. The second prize of $1,500, provided by Dobson Pipe Organ Builders, was awarded to Vincent Carr, a graduate organ student at Yale University’s Institute of Sacred Music where he studies with Martin Jean. An audience prize of $1,000 provided by David and Robin Arcus and McNeil Robinson was awarded to Tom Trenney.
A 30-page souvenir booklet, which included a history of the NCOI competition, competition criteria, semi-finalists’ biographies and photographs, judges for all rounds, specifications of the Austin/Skinner organ at St. James Cathedral, statements from the prize donors, and lists of NCOI committees, previous judges, and composers was made available to those attending the semi-final and/or final rounds. This booklet also included 14 pages of themes used in past competitions.

National Young Artists Competition in Organ Performance

On Sunday, July 2, three organists competed in the final round of the National Young Artists Competition in Organ Performance at St. Paul’s United Church of Christ: Robert Horton, Bálint Karosi, and Scott Montgomery. Each performed Bach’s Fantasy and Fugue in G Minor, BWV 542, Georg Böhm’s Vater unser im Himmelreich, and Max Reger’s Fantaisie and Fugue on “Wie schön leuchtet der Morgenstern,” op. 40, no. 1. Competitors were allowed to complete their program with a contemporary work of their choice. These were Cinq versets sur le “Victimae Paschali” by Thierry Escaich, performed by Horton; Two Portraits for Organ: I. György Ligeti, II. Béla Bartók by Bálint Karosi, performed by the composer; and Olivier Messiaen’s “Les deux murailles d’eau” and “Prière après la communion” from Le Livre de Saint Sacrement, performed by Montgomery.
First place (The Lilian Murtagh Memorial Prize: $2,000 cash award and career development assistance from Karen McFarlane Artists, Inc., and a CD recording for the Pro Organo recording label) went to Scott Montgomery, director of music and organist at Holy Cross Catholic Church in Champaign, Illinois, and a master’s student of Dana Robinson at the University of Illinois. Second place ($2,000 provided by John-Paul Buzard Pipe Organ Builders): Bálint Karosi, a native of Budapest, Hungary, and a student of James David Christie at the Oberlin Conservatory. Third place ($1,000 provided by the Noack Organ Co. Inc.): Robert Horton, assistant professor of music at Dordt College, Sioux Center, Iowa. Audience Choice prize: Scott Montgomery ($500 provided by Martin Ott Pipe Organ Company Inc.). The Reger Prize: Robert Horton ($500 provided by Jim Zinkhan and Heather Holowka).
Judges for the final round were Christa Rakich, Charles Tompkins, and Christopher Young.

Recitals

St. Ita’s RC Church was the site of the recital by Sophie-Véronique Cauchefer-Choplin on Wednesday, July 5. Cauchefer-Choplin is titular at St. Jean Baptiste de la Salle in Paris and co-titular at St. Sulpice, Paris. Her program included Suite pour Orgue, Bédard; Prelude (from Suite, op. 5), Duruflé; Mélodie Intérieure, Grunenwald; Résurrection (from Symphonie-Passion), Dupré; and an improvisation on a submitted theme (“Chicago”). The elegant French Gothic architecture of the church was the perfect setting for Cauchefer-Choplin’s elegant playing, and the Opus 2918 Wicks organ (1949–50), rebuilt in 2002–03 by H. A. Howell, provided the necessary color and brilliance for the program of French works. Passion and delicacy were evident in pleasing proportion throughout the program, and the improvisation on the tune “Chicago” demonstrated technical mastery and structural coherence, and brought the audience to its feet.

San Diego Civic Organist Carol Williams played an unusual program at St. Vincent de Paul Church on Thursday, July 6. Beginning with a virtuosic performance of the Liszt Prelude and Fugue on B.A.C.H., in a syncretic version by Jean Guillou, the artist then offered the Six Sketches on Children’s Hymns, op. 481, by Barrie Cabena, winner of the Holtkamp-AGO Award in Organ Composition, The Brothers Gershwin arranged by Howard Cable, and Toccata “Store Gud, vi lover deg” by Iver Kleive.
A veteran of numerous performances at the outdoor Spreckels Pavilion, as well as recitals worldwide, Williams was right at home with the eclectic program, playing with brilliance in the Liszt, tenderness in the Cabena, playfulness in the Gershwin, and sheer enjoyment in the Kleive toccata. The venerable 1901 Lyon & Healy organ has been under the care of Alfred J. Butler of New York City.

Wolfgang Seifen played an all-improvisation concert on the Opus 2207 Reuter organ (III/64) at Trinity United Methodist Church in Wilmette on Wednesday, July 5. The program consisted of an improvised Symphony in Six Movements based on submitted themes. Seifen amazed the audience with his phenomenal technique, even combining the submitted themes with patriotic tunes in honor of the recent holiday. Listeners praised his phenomenal technique, energy, and command of the organ, showing the wide variety of color in the recent installation. He was given an enthusiastic standing ovation.

The Morrison Duo, Jeannine Morrison, piano, and Alan Morrison, organ, played a recital at College Church Wheaton (Schantz Opus 2012, III/54), on Thursday, July 6. The program included Flying Fingers, Johnny Costa; Sinfonia, op. 42, Dupré; Newmark Variations and Mountain Music, Harold Stover; and Variations on a Theme by Paganini, Lutoslawski. One heard many comments on Mrs. Morrison’s flawless piano technique and the overall polished performance of the duo in what proved to be unfamiliar repertoire for most convention-goers.
—Jerome Butera

September 5–7, 2014

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

To encourage young organists—this has been our raison d’être for the past seventeen years of the Albert Schweitzer Organ Festival, something with which all of us in the profession agree.

It was indeed a treat to hear such wonderfully prepared young organists at the Albert Schweitzer Organ Festival in September! One can marvel at these students developing their talents and be grateful for their excellent teachers. That, combined with wonderful organ music, set the stage for the seventeenth annual festival. We are grateful to be able to encourage young organists with this competition. We had some wonderful applicants who sent in outstanding CDs. Judges for this year’s festival were Diane Meredith Belcher, Charles Callahan, and Ken Cowan.

On Friday evening, September 5, our traditional opening concert was held. The service/choral portions were played by the author: Andante (Grand Pièce Symphonique, op. 17), Psalm 150, Franck; Christ Is Made the Sure Foundation (Christ Church), Dirksen; Kyrie (from Messe Solennelle, op. 16), Vierne; He Comes to Us (text by Albert Schweitzer), Marshall; Go Ye Into All the World, Wetzler; Let Heaven Rejoice (text by Hal M. Helms; tune, Rock Harbor, by Alan MacMillan).

Each of the judges played selections of their own choosing on the Austin organ at the opening event. A video camera, via closed-circuit television, projected a view of the organists in the balcony onto a screen downstairs. The selections were: Allein Gott in der Höh sei Ehr, BWV 662, Bach, and Passacaglia on a Theme by Dunstable, Weaver, played by Diane Meredith Belcher; Lyric Prelude and Fugue, Callahan, and Risoluto, op. 68, Parker, played by Charles Callahan; Fantasie in F Minor, K. 608, Mozart, played by Ken Cowan.

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

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

Clara Gerdes—Bach, Prelude and Fugue in A Minor, BWV 543; Widor, Adagio (from Symphony No. 5); Messiaen, Transports de Joie (from L’Ascension); hymn, Coronation.

Alexander Pattavina—Bach, Fantasia and Fugue in C Minor, BWV 537; Widor, Meditation (from Symphony No. 1); Langlais, Fête; hymn, Ein’ Feste Burg.

Richard Gress—Bach, Prelude and Fugue in G Major, BWV 541; Widor, Andante Cantabile (from Symphony No. 5 in F Minor); Messiaen, Transports de Joie (from L’Ascension); hymn, Veni Creator (1940 Hymnal #217).

The young professional division finalists and the works they played were:

Evan Cogswell—Franck, Choral No. 2 in B Minor; Messiaen, Communion (from Messe de la Pentecôte); Bach, Fantasy and Fugue in G Minor, BWV 542; hymn, Slane.

Brian Glikes—Bach, Trio Sonata No. 5, BWV 529; Franck, Choral No. 2 in B Minor; Messiaen, Offrande et Alléluia final; hymn, Diademata.

Nicholas Quardokus—Bach, Prelude and Fugue in D Major, BWV 532; Franck, Choral No. 1 in E Major; Vierne, Finale (from Symphonie VI); hymn, Ein’ Feste Burg.

Later that evening, all finalists and judges had a chance for interaction and discussion over a delicious meal provided by Dana Spicer at the Solomon Welles House in Wethersfield.

On Sunday, September 7, the young professional finalists played portions of the 8:45 a.m. worship service. In addition, we thank Ezequiel Menéndez, who invited the finalists to play portions of the 11 a.m. Mass at the Cathedral of St. Joseph in Hartford. In Wethersfield at 1:30 p.m., a masterclass with the three judges was held. Many important topics were covered and awards were presented.

The judges’ decisions

High school division: first place, Clara Gerdes from Davidson, North Carolina, a student of Alan Morrison at the Curtis Institute of Music; second place, Alexander Pattavina from Stoughton, Massachusetts, a student of Paul Jacobs at the Juilliard School of Music; third place, Richard Gress from Newmarket, New Hampshire, student of Bruce Adami.

Young professional division: first place, Nicholas Quardokus from Bridgeman, Michigan, student of Janette Fishell at the Jacobs School of Music at Indiana University; second place, Brian Glikes from Rochester, New York, student of David Higgs at the Eastman School of Music; third place, Evan Cogswell from Glastonbury, Connecticut, student of Patricia Snyder, and a recent graduate of the Hartt School of Music.

We are grateful to Robert Bausmith and Jill Peters-Gee, M.D. for giving the young professional division first prize of $3,500; the young professional division second prize of $1,500 came from several individuals in the First Church of Christ community and others. Our thanks to the Helen L. Reinfrank Music Fund for the $2,000 award for first prize in the high school division and to Marilyn Austin and family for the high school division second place prize of $1,000. Thanks go to John Gorton and Richard Pilch for providing $1,000 for the David Spicer Hymn Playing Award, which was given to young professional division finalist Nicholas Quardokus.

Special thanks go to Bon Smith of Austin Organ Service Company of Avon, Connecticut, who was on hand throughout the Saturday competition to offer volunteer assistance, should the organ have needed it. Thanks to Linda Henderson, festival coordinator and associate, for so ably performing the organizational work that made the festival run smoothly and efficiently.

Churches that allowed their instruments to be used for additional practice included the Cathedral of St. Joseph, Hartford, Ezequiel Menéndez, director of music; First Church of Christ, Glastonbury, Angela Salcedo, director of music ministries; and Trinity Episcopal Church, Wethersfield, the Reverend Lois Keen, interim rector.

We are taking steps to move this festival to a more community-based organization. Robert Bausmith is the chairperson, and a board of directors has been formed; I will remain as the artistic director. We are looking forward to having this wonderful event at alternate sites in the future. In our efforts to make this happen, the two first-place winners, Clara Gerdes (high school division) and Nicholas Quardokus (young professional division) will return to play their recitals at Trinity College Chapel, Hartford, Connecticut, on June 14, 2015, at 7 p.m.

Plans are underway for the 2015 Albert Schweitzer Organ Festival September 11–13, 2015. Information about the festival and current competition requirements are available by telephone at 860/529-1575, ext. 209, by e-mail at [email protected], or at the ASOF website: www.firstchurch.org/ASOF. 

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

On Tuesday, September 5, 2006, six young organists began arriving in Wethersfield, Connecticut, to participate in the Ninth Annual Albert Schweitzer Organ Festival/USA. This year the caliber of playing was especially high. All who heard were greatly encouraged about the future of organ playing in our country.

We are grateful to the following churches for allowing these six finalists to practice on their organs: Trinity Episcopal Church, Wethersfield, Bruce Henley, organist-choirmaster; St. John’s Episcopal Church, West Hartford, Ralph Valentine, organist-choirmaster; Asylum Hill Congregational Church, Hartford, Charles Miller, organist and associate minister of Music; Christ Church Cathedral (Episcopal) Hartford, Canon James Barry, organist and choirmaster; Bethany Covenant Church, Berlin, Olga Ljungholm, minister of Music; and First Church of Christ, Glastonbury, Angela Salcedo, organist-choirmaster.
Friday morning, the finalists were treated to a tour of the Austin organ factory in Hartford. Finalists were able to experience this institution, now in its 114th year, and were able to see pipe metal being cast as well as the many unique machines used in the process of making a pipe organ.

Friday evening, September 9, a concert was held in the historic Meetinghouse of the First Church of Christ in Wethersfield. The prelude was Andante Espressivo (from Sonata in G Major, op. 28) by Elgar. The Festival Choir sang Psalm 150 by Franck. All in attendance sang “Christ Is Made the Sure Foundation” (tune Christ Church by Richard Dirksen). The choir then sang Kyrie (from Messe Solennelle, op. 16) by Vierne. David Spicer served as organist-choirmaster for this portion of the concert.

Music from West Africa was presented by St. Mary’s Ghanaian Catholic Ministry Choir from East Hartford. The choir, dressed in ceremonial garb, was directed by Rev. Fr. Savino-Gyimah and Joachim Pennin. Music sung in the Ghanaian tongue was a reminder of Albert Schweitzer’s great missionary work in Africa. Next, the three judges for the competition played on the Austin IV/62. Marilyn Mason played March on a Theme of Handel by Guilmant and Amazing Grace (from Gospel Preludes, Book IV) by William Bolcom, which was commissioned by and dedicated to Dr. Mason. Following this, Frederick Hohman played two excerpts by Widor: Meditation (Symphony No. 1 in C minor, op. 3), and Intermezzo (Symphony No. 6 in G, op. 42). Thomas Heywood ended the judges’ recital portion with his own composition: Humoresque for Pedal Trombone.

Anthems He Comes to Us by Jane Marshall (with text by Albert Schweitzer) and Go Ye Into All the World by Robert Wetzler were sung by the Festival Choir. These anthems reinforced the idea of the missionary work that was so much a part of Dr. Schweitzer’s life. The concluding hymn was “Let Heaven Rejoice” (tune: Rock Harbor by Alan MacMillan, and text by Hal M. Helms), which has become a tradition at these opening concerts.

Saturday morning, September 9, the High School Division competition was held 9–noon. The Young Professional Division finalists competed 1–4 pm.

High School finalists were Caroline Judith Robinson from Greenville, South Carolina (third prize), who studies with Adam Pajan; Malcolm Ross Matthews from Knoxville, Tennessee (second prize), who studies with Professor John Brock; and Samuel Kohei Gaskin from Beaumont, Texas (first prize), who studies with Marjorie Rasche and Christina Harmon. Gaskin also was the judges’ choice for the most creative hymn playing in this festival.

The Young Professional Division finalists were Ahreum Han, Philadelphia, Pennsylvania (third prize), a student of Alan Morrison at the Curtis Institute of Music; Mark Edwards from Ontario, Canada (second prize), a student of David Higgs at the Eastman School of Music; and Brenda Portman, from Flint, Michigan (first prize), a graduate of Wheaton College and Northwestern University.

Sunday morning, September 10, all finalists played portions of the 8, 9:15 and 11 am worship services. At 3 pm awards were presented and first-place winners Samuel Kohei Gaskin and Brenda Portman were heard in recital.

Frederick Hohman remarked that “It has been a privilege to have served as permanent juror at ASOF/USA for the first nine years. All recent contestants chosen for the finals have shown remarkable levels of technical achievement. The technical ability and secure memory shown by High School and Young Professional contestants is at a higher level than I can recall in any previous generation. ASOF/USA recognizes and encourages this devotion and achievement in organ-playing with cash prizes; however, equally valuable is the exposure that the festival provides young organists with regard to inspired leadership in hymn-playing, and the detailed, honest, and at times tough and frank feedback of the jurors.”

The total combined repertoire represented by these six finalists included Bach: Trio Sonatas No. 3, BWV 527, No. 5, BWV 529, and No. 6, BWV 530; Concerto in d minor, BWV 596 (Vivaldi); Prelude and Fugue in C Major, BWV 545; from Dupré’s Opus 7: Prelude and Fugue No. 1 in B Major and Prelude and Fugue No. 3 in g minor; Widor: Adagio from Symphony No. 2; Adagio from Symphony No. 5, Cantabile from Symphony No. 6, Andante Sostenuto from Symphonie Gothique; Franck: Choral No. 1 in E Major, Choral No. 2 in b minor, and Choral No. 3 in a minor; Hindemith: Sonata II (first movement); Persichetti: Sonata for Organ (Vivace, movement III); Demessieux: Te Deum; hymn tunes: Coronation, Diademata, Eventide, and St. Thomas.

We are grateful to Ahlborn-Galanti Organs for the $2000 award for first prize in the High School Division. The Young Professional Division first prize of $3500 was shared by the Helen L. Reinfrank fund, which provided $2000, and J.H. and C.S. Odell Organ Builders, which provided $1500. Bank of America, Hartford, provided $1500 for the second prize Young Professional Division. Austin Organs, Inc. provided a tour of their facilities and a gift for the judges’ awards. The Helen L. Reinfrank Music Fund provided $500 for the most creative hymn playing. In addition, several local residents gave gifts to this festival, which are most appreciated.

Special thanks go to Gordon Auchincloss, who was on hand throughout the Saturday competition to offer assistance should the organ need it, and to Bon Smith of Austin Organ Service Company of Avon, Connecticut, who graciously gave the gift of tuning for this festival. Austin Organ Service Company is the regular curator of this instrument, serviced by Alex Belair and Michael Tanguay.

Our thanks to Nancy Andersen, festival manager; Karen Franzen, administrative assistant; Betty Standish and Laurie Allen, ASOF/USA Chair, for so ably performing the organizational work that made the festival run smoothly and efficiently. A special note of thanks to Dana Spicer and Mainly Tea of Wethersfield, which provided a reception for the three judges on Friday evening, and a wonderful dinner for finalists and judges on Saturday evening.

At this moment, the Albert Schweitzer Organ Festival committee is preparing for our tenth ASOF/USA, to be held in Wethersfield, Connecticut, September 7–9, 2007. Organists Paul Jacobs and Diane Meredith Belcher will join Frederick Hohman as this year’s guest artists/judges. Plans are underway to feature these organists in the opening concert of the festival on Friday evening, September 7 at 7:30 pm. The committee is hoping to invite six qualified young organists to compete in the two divisions on Saturday, September 8.

Samuel Kohei Gaskin and Brenda Portman will perform in recital on Sunday, June 3, 2007 at 7:00 pm.


Information about the Albert Schweitzer Organ Festival/USA and current requirements for the competition are available by telephone: 860/529-1575 ext. 209; e-mail: or by viewing the ASOF/USA website: , click “Ministries,” then click “Music” and go to the ASOF/USA link.