St. Malachy's presents Friday post-theatre recitals in October

Peragallo Pipe Organ Company, 

Paterson, New Jersey

St. Malachy’s—The Actors’ Chapel, New York City

Peragallo Pipe Organ Company, 

Paterson, New Jersey

St. Malachy’s—The Actors’ Chapel, New York City

 

The music ministry at St. Malachy’s Church in New York City 

On Monday, January 20, 2012, the New York Times published a feature article on the Paul Creston Memorial Pipe Organ, Aeolian-Skinner (1935), Opus 938, that was relocated to St. Malachy’s—The Actors’ Chapel, New York City, and rebuilt, renovated, and enhanced by the Peragallo Pipe Organ Company (2012) of Paterson, New Jersey. This vintage instrument has a storied past, which, coupled with its remarkable ‘rebirth,’ makes it a cultural landmark in its new home in the heart of New York City’s Theater District, the performing arts capital of the world.

In 2007, the late John Peragallo, Jr. received a call from a church in East Orange, New Jersey (formerly Hillside Presbyterian Church) about the organ, which had been damaged from a water leak in the roof. There was significant damage to the console, but the majority of the instrument, including the pipes and chests, remained mostly in good condition. However, the church no longer had the ability to maintain or use the organ and it was days away from being thrown away. Upon hearing this, Peragallo said to hold off on demolition. He returned the next day with his staff to dismantle the organ and began looking for a new home for it. John Peragallo, Jr.’s next call was to his friend, Reverend Richard D. Baker, pastor at St. Malachy’s—The Actors’ Chapel, to consider this instrument for installation at the church. With the guidance of then director of music Daniel Brondel, a proposal was developed in 2008. It was not until current director of music Mark Pacoe arrived in January 2009, that the project would gain traction. A comprehensive and multi-faceted fundraising and education campaign was launched in early 2009.

Over the next few years (2009–2012), St. Malachy’s Parish garnered widespread support for this extensive undertaking. St. Malachy’s is a relatively small parish that listed about 600 families on the register in 2009. Compared to its suburban counterparts that typically have rosters two and three times as large, St. Malachy’s is uniquely situated in the heart of the theater district and attracts regular visitors from around the world, as well as tourists on a daily basis. Fittingly, a campaign was developed to promote not only fundraising for this ‘King of Instruments,’ but also a liturgical and cultural outreach that resonates with all who visit and pray at The Actors’ Chapel. Through Fr. Baker’s vision, a high-quality music program, with its fine choral and liturgical tradition, was paramount in the challenge of acquiring such a fine, vintage instrument.

The new installation would be called the ‘Paul Creston Memorial Pipe Organ,’ honoring the legacy of the great American composer, who served as organist at St. Malachy’s from 1934–1967. During Creston’s time, there was a Kimball organ (15 stops) in the upper church and a Kilgen organ (20 stops) in the lower church (commonly referred to as The Actors’ Chapel, which was converted into the Encore Senior Center in 1978). Unfortunately, because of disrepair and other mitigating factors, both instruments were eventually removed in the late 1970s, when the church and the neighborhood were entrenched in difficult times and transition. Fr. George Moore was assigned to assess the dire existence of St. Malachy’s in the late 1970s, and became its pastor in 1978. Through Fr. Moore’s leadership, he re-galvanized St. Malachy’s influence and ministry in the neighborhood. Father Moore’s legacy is still felt today because of the measures he took then as a community activist and leader of the church. Throughout the 1990s and 2000s, Times Square and the Theater District became more attractive, commercial, and family friendly. The neighborhood surrounding St. Malachy’s was in the early years of a successful re-gentrification. While the church and surrounding areas were on the verge of ‘better days,’ it would be a very long time before a new pipe organ would sound again in the sacred place. In the 1980s, a two-manual electronic organ was installed and was used until obsolete in 2012. 

One of the most important challenges of this pipe organ project was how to promote St. Malachy’s rich history, its location, and its mission and ministry; this special place needed a worthy and versatile American classic organ, namely Aeolian-Skinner. The essential part of this campaign resides in the legacy of St. Malachy’s own distinguished composer and organist, Paul Creston. Future generations will benefit from the campaign and the new organ that embody Creston’s timeless ideals. Paul Creston is hailed as one of America’s leading 20th-century composers. During the 1940s–1960s, Creston’s music was performed regularly by leading orchestras across the nation, including the New York Philharmonic, the Boston Symphony Orchestra, the National Symphony Orchestra, and the Seattle Symphony, to name a few. Legendary conductors such as Leopold Stokowski, Arturo Toscanini, Eugene Ormandy, and Gerard Schwarz championed Creston’s music. In addition to Creston’s prolific compositional output, he also published authoritative books on music and devoted himself to teaching and academia, especially following his time at St. Malachy’s. ‘The Creston Creed,’ a self-penned statement about his philosophy of music and composition, expressed his strongest sentiments in the spiritual nature of creativity, music-making, and well-being. Creston’s ‘credo’ became the foundation of the Paul Creston Award that was established in 2009. This annual award honors a distinguished artist who embodies the Creston Creed, excellence in the arts, and is a significant figure in church music and the performing arts.

The first recipient of the Paul Creston Award (2009) was Frederick Swann, internationally recognized church musician and concert artist. At this inaugural Creston Award event, coupled with the official launch of the pipe organ campaign, an all-Creston program, ‘The St. Malachy’s Years’, was presented at the church. This unusual program included Prelude and Dance for solo accordion, his well-known setting of Psalm 23 for countertenor, and the Concertino for Marimba and Orchestra. Craig R. Whitney, former assisting managing editor of the New York Times and author of All the Stops: The Glorious Pipe Organ and Its American Masters, presented the keynote address about the Aeolian-Skinner pipe organ, Opus 938. Whitney’s address recounted American organ building in the 1930s, organ builder and Opus 938 consultant G. Donald Harrison, Opus 938’s relevance to the acoustical space and future usage at St. Malachy’s, and most interestingly, a novel and entertaining narration that enlivened Paul Creston’s legacy through the organ at The Actors’ Chapel. 

The second recipient of the Paul Creston Award (2010) was Bruce Neswick, then director of music at the Cathedral of St. John the Divine, New York City, now on the faculty at Indiana University, Bloomington. The award event featured a professional orchestra, the Salvatones (a professional choral ensemble), and the New York Boychoir. This program, ‘Creston’s New York’, included music by American composers Copland, Gershwin, Larsen, and Corigliano. 

The third recipient of the award was David Higgs, chair of the organ department at the Eastman School of Music in Rochester, New York. Higgs was presented the award at ‘Voices United’, a benefit event for St. Malachy’s Outreach Ministries and Covenant House New York at the historic Beacon Theatre in New York’s Upper West Side in November 2012. Higgs presented the headlining recital for the inaugural season of the Paul Creston Memorial Pipe Organ in April 2013, co-sponsored by the New Jersey Metropolitan and New York City chapters of the American Guild of Organists. Higgs performed Creston’s rarely heard, complex solo organ work Fantasia. This co-sponsored event was the first of its kind between these two AGO chapters and coincidentally connected the heritage of Opus 938 from the New Jersey chapter to its new home in the New York chapter.

The Concerts at St. Malachy’s series was initially developed to benefit the organ campaign through diverse and distinct programming, featuring instrumental, choral, Broadway, opera, chamber and symphonic performers. Concerts at St. Malachy’s programs have included the Fairbanks Trio (Asimov, Nagin and Hopkins), Danilo Pina (piano), ‘Love Notes—from Broadway to Opera’ (NY Bar Association), the Three Cantors—from Sanctuary to Stage, the Salvatones, the Orchestra of St. Malachy’s, the New York Boychoir, Face the Music, the Auburn University Show Choir, the Virtuosi (wind) Quintet, Sweet Plantain String Quartet, and Simon Boyar, Daniel Brondel, Deborah Jamini, and Joanna Arnold Darrow in a performance of Creston’s music. For the inaugural year of the new organ, Concerts at St. Malachy’s launched the ‘Fridays in October’ post-theater organ recitals at 11 p.m., and the ‘Fridays in December’ pre-theater organ recitals at 6:30 p.m. Other special performances included silent films, the Educational Outreach Series for school-age children through college-level music appreciation classes, massed choral performances and collaborations between St. Malachy’s Choir and tri-state regional choral societies, as well as full-length feature recitals. Inaugural-year recitalists included David Higgs, Mark Pacoe, David Ball, Jon Johnson, Michael Hey, Crista Miller, James Wetzel, Jonathan Ortloff, and Vincent Carr.

 

The builders 

The new installation of Aeolian-Skinner Opus 938 (1935) was completed by the Peragallo Pipe Organ Company of Paterson, New Jersey. The Peragallo Pipe Organ Company was founded in 1918 by John Peragallo, Sr., who developed his craft as an apprentice with the E. M. Skinner Company. His son, John Peragallo, Jr., who was a member of the American Guild of Organists, joined the company in 1949. 

Now in its fourth generation, the sons of John Jr., John Peragallo III and Frank Peragallo, having grown up in the business, now head the company. John III received his Bachelor of Science degree in Electrical Engineering from the New Jersey Institute of Technology and also studied organ with Russell Hayton of Montclair and Leonard Raver of the Juilliard School. He also pursued musical studies at the New York School of Liturgical Music. Frank studied cabinetmaking with the Salesian Brothers of Don Bosco. 

John III and Frank are now joined by their sons, Anthony and John IV. Anthony received his Bachelor of Science degree in Finance from Montclair State University. John IV received the Bachelor of Science degree in Architecture and a Master’s of Architecture degree from the Catholic University of America in Washington, D.C. 

The firm’s leadership is well rounded, with diverse skills and business acumen, and has distinguished the Peragallo Pipe Organ Company in fine pipe organ building and restoration. 

 

The organ 

The Paul Creston Memorial Pipe Organ includes 73 stops, 43 ranks of pipes, and 19 digitally sampled stops. These are all playable from two keydesks. A repurposed E. M. Skinner keydesk from Opus 524 is located in the gallery. The Aeolian-Skinner keydesk original to Opus 938 is located on the floor of the chancel. Both keydesks were completely updated with new key claviers and pedalboards, rocker tablets for stop control in the gallery keydesk and new drawknobs for the chancel keydesk. 

The tonal design was slightly modified with the addition of Walker components, primarily to expand the existing small pedal division and for a new floating division in the chancel for support of choral accompaniment. Several ranks of pipes were also added, including a Great four-rank mixture (12-15-19-22), 16′ Violone (façade, with 8′ Violoncello on the Great), and a hooded solo reed, the Actors’ Trumpet, on eight inches of wind pressure. The ranks of the original Dolce Cornet III of the Swell division were separated and installed independently as a 22⁄3′ Nazard, 2′ Flautino, and 13⁄5′ Tierce. The Grave Mixture II of the Great Organ was also separated and installed as the 22⁄3′ Twelfth and the 2′ Fifteenth. 

The casework of the instrument was designed and handcrafted to match the Gothic architectural style throughout the church. The façade includes the original pipes from the Aeolian-Skinner, along with the Violone 16′ comprising the towers. The case is adorned with gold accents found in the ceiling of the church and also features hand-crafted trefoil moldings and tower crowns featured throughout the nave. 

The superb acoustic of the church, at about three seconds, is a result of the high, narrow, neo-Gothic vaulting of the room. The room seats 350 comfortably, and provides an intimate and aesthetically pleasing setting for the dynamically subtle yet powerful instrument. While only steps away from the bustling theaters of Broadway and the frenzy of Times Square, St. Malachy’s is a hidden gem, a sanctuary where tourists, parishioners, neighbors, and people from all walks of life feel welcomed. 

For more information about St. Malachy’s—The Actors’ Chapel, the music calendar, and the Paul Creston Memorial Pipe Organ, see www.actorschapel.org or ‘Creston Memorial Pipe Organ’ on Facebook. 

We recognize those who made this restoration and relocation possible: Reverend Richard Baker, Mark Pacoe, Peggy Pugh, Daniel Brondel, Benjamin Lorello, Andy Nerhbas, John Peragallo Jr., and the parishioners and supporters of St. Malachy’s Parish. 

Information about the construction and rebuilding of this fine instrument can be found at www.peragallo.com.  

—Mark Pacoe, Director of Music, 

St. Malachy’s Church

—John Peragallo IV, Architectural Designer, Peragallo Organ Company

—John Peragallo III, Principal, Tonal Director, Peragallo Organ Company

Articles, Reports, and Reviews

Acoustics. See Bethards.

 

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

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

Art of the Fugue. See Kellner.

 

Bach. See Kellner.

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

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

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

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

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

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

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

Buxtehude. See Couch.

 

Calhoun. See Huestis.

Carillon News. See Swager.

Church Music. See West.

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

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

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

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

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

__________. Book Review. Oct 8-12

 

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

deTar, Vernon. See Wechsler.

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

Dzeda, Joseph. See Webster.

 

Editorial. Jan 2

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

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

 

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

French Organ Music Seminar. See McAfee.

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

 

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

German Organs. See Baggia.

 

Harpsichord News. See Palmer.

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

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

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

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

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

Harwood, Basil. See Hardwick.

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

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

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

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

__________. OrganNet Report. Sept 15

__________. Repair of reed resonators. Jun 13*

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

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

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

 

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

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

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

 

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

  Weinrich. Feb 13-17

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

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

Kimball. See Coleberd.

 

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

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

 

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

__________. Book review. Aug 8, 10

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

__________. New Organ Music. Jun 12, Jul 12

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

McFarlane, Karen.* Retirement. Dec 15

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

Music for Voices & Organ. See McCray.

 

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

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

New Handbell Music. See Nelson

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

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

 

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

OrganNet. See Huestis.

Orgelbüchlein. See Faulkner.

 

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

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

Pitman action. See Coleberd.

Prodigy. See Hartman.

Project 2000. See Huestis.

 

Rayfield, Robert. See Leppert-Largent.

Reeds. See Huestis.

Residence organ. See Jones.

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

 

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

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

Scott, John. See Van Oyen.

Simmons, Morgan. Book Review. Apr 6-7

Skinner. See Webster.

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

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

 

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

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

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

 

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

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

  12

Weinrich, Carl. See Keck.

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

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

Appointments

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Honors and Competitions

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

McFarlane, Karen,* honored upon retirement. Dec 15

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

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

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

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

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

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

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

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

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

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

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

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

Obituaries

Chevalier-Duruflé, Marie-Madeleine. Jan 8

Childs, Barney. Apr 4

Davis, Dwight J. May 4

Fauquet, Vivien Johnson. Jan 8

Ferris, William.* Jul 6

Groom, Lester H.* Jul 6

Hovhaness, Alan.* Sept 6

Pennells, Andrew.* Mar 4

Pettinga, Paul. Oct 6

Spelman, Leslie*. Aug 6.

Wheeler, Scott E. May 4

Whitehead, William. Dec 4

Organ Stoplists

Andover

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

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

 

Bedient

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

 

Buzard

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

 

Cook

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

 

Dobson

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

 

Fabry (Wicks)

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

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

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

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

 

Farmer (Pilcher restoration)

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

 

Glatter-Götz/Rosales

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

 

Goulding & Wood

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

 

Jaeckel

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

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

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

 

Kegg

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

 

Kney

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

 

Lauck

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

 

Lewis & Hitchcock

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

 

Murphy (Hook restoration)

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

 

Nichols & Simpson

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

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

 

Ott

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

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

 

Parkey

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

 

Pasi

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

 

Rench

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

 

Reuter

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

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

 

Reynolds (Kimball/Casavant restoration)

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

 

Ruggles

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

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

 

Rule (Hook & Hastings rebuild)

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

 

Swanson

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

 

Wicks

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

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

 

Wolff

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

 

Marijim Thoene, Lisa Byers

Marijim Thoene received a D.M.A. in Organ Performance/Church Music from the University of Michigan in 1984. She is an active recitalist and director of music at St. John Lutheran Church in Dundee, Michigan. Her two CDs, Mystics and Spirits and Wind Song are available through Raven Recordings. She is a frequent presenter at medieval conferences on the topic of the image of the pipe organ in medieval manuscripts. Lisa Byers received master’s degrees in music education and organ performance from the University of Michigan, and a J.D. from the University of Toledo, Ohio. She is retired from teaching music in the Jefferson Public Schools in Monroe, Michigan, as well as from her position as organist/choir director at St. Peter’s Episcopal Church in Tecumseh, Michigan. She currently subs as organist in the Monroe area.

This year’s gathering marked the fiftieth anniversary of the University of Michigan Conference on Organ Music, directed by its creator, Marilyn Mason. Organists from France, Germany, Poland, and the U.S. performed on the Aeolian-Skinner on the stage of Hill Auditorium. The shimmering golden pipes of this organ made this year’s theme especially appropriate: “Pure Gold: Music of Poland, France and Germany.” The conference was dedicated to the memories of Erven Thoma, a Michigan DMA graduate in church music, and William Steinhoff, Professor Emeritus of English at U-M and husband of Marilyn Mason.

Sunday, October 3
Frédéric Blanc, 43-year-old native of Angoulême, opened the conference with a program of all-French music. He introduced his program by saying that Fauré, Ravel, and Debussy are never far away in nineteenth and twentieth-century French organ music. Their influence was undeniable in the works Blanc performed, a mix of well-known and loved repertoire—Franck, Choral in A Minor and Cantabile; Vierne, Carillon de Westminster and Méditation Improvisée (reconstructed by Duruflé), repertoire that is occasionally heard—Prelude in E-flat Minor (from Suite, op. 5) by Duruflé and Allegro (from Symphony VI) by Widor, and repertoire that is rarely heard—Introduction et Aria by Jean-Jacques Gruenwald, Toccata (from Le Tombeau de Titelouze, on Placare Christe Servulis) by Dupré, and Prelude (from the suite Pélleas et Mélisande) by Debussy, transcribed by Duruflé.
Blanc’s technique is formidable and his choice of registration was both poetic and daring; however, his playing became more impassioned and inspired in his improvisation—a Triptych Symphony based on three submitted themes: Jesu, Joy of Man’s Desiring, Hail to the Chief, and Somewhere Over the Rainbow. His imagination and creativity were dazzling as he altered rhythms and keys of the submitted themes, seamlessly moved from dark and somber to warm and brilliant colors, from pensive to ebullient moods, and ending with a bombastic pedal toccata. He delighted in making the instrument hum, growl, and break forth in glorious trumpeting.

Monday, October 4
On Monday afternoon Frederic Blanc gave a lecture entitled “A Mind’s Eye.” He spoke informally of how his life as a musician has been shaped and influenced by unique circumstances, his teachers, and his views on improvisation. While he was a student at the Bordeaux Conservatory, Xavier Durasse heard him play and persuaded him to come to Toulouse, where he was then asked to be organist at St. Sernin. There he had all his nights to play the organ, and there he met Jean-Louis Florentz, André Fleury, and Madame Duruflé. When she heard him improvise, she said, “I will take you to Paris and I will make you work very hard.” He told how he was not prepared to play Dupré’s Variations on a Noël, one of the required pieces for the Chartres competition, and she told him he had to be able to play it from memory in fifteen days or she would never see him again. She was delighted when he came back in fifteen days and played it from memory. Blanc said that the most important thing he learned from her was that “each piece has its own way to be played, you must express yourself, your sensitivity must flow through the music.”
Blanc’s candid answers to questions about his own improvisation left me feeling that here is a man whose life is charmed, who is fully conscious of the rare gift he has been given, and is fully committed to nurturing it. When asked who taught him how to improvise, he answered: “I wasn’t. I listened to Madame Duruflé, Pierre Cochereau, Jean Langlais, and to recordings of Tournemire. Nobody can give you the gift. If you are not given the gift you will never be able to improvise a symphony . . . I heard Cochereau at Notre Dame and it was like magic, like being pierced by a sword, raised to heaven. He was at one with the organ.”
When asked about the state of organ building in France today, Blanc lamented that there are no organs in concert halls, and the organist cannot be seen in the lofts in churches. He commented that Cavaillé-Coll was a builder who turned toward the future and restored his own organs for new music, especially those organs in Notre Dame and Sacré Coeur.
Blanc’s final dictum concerning how to play French organ music: “After historicism, it must be the music and what you have inside.”
Charles Echols, Professor Emeritus of St. Cloud State University, lectured on “Observations on American Organ Music 1900–1950,” covering a large variety of topics: the movement of American composers to create “American” music; changes in musical style and organ building between 1930–1950; approaches to researching organ music by American composers; and an introduction to the organ music of René Louis Becker, whose scores have been given to the University of Michigan by his family, who were present at the lecture.
On Monday evening Martin Bambauer, 40-year-old organist and choirmaster at the Konstantin Basilika in Trier, played Dupré’s Poème héroïque, op. 33; Tournemire’s Triple Choral, op. 41; Liszt’s Eglogue (from Années de Pèlerinage), transcribed for organ by Bambauer; Karg-Elert’s Partita Retrospettiva, op. 151; Iain Farrington’s Fiesta!, plus his own improvisation. He played with great precision and refinement. His performance of Tournemire’s Triple Choral, op. 41 was an Ann Arbor premiere. Farrington’s four-movement work, Fiesta!, was a bit of fresh air, conjuring up all sorts of secular venues, from a stripper’s stage to a cocktail lounge.

Tuesday, October 5
On Tuesday, Martin Bambauer began his lecture, “Tournemire’s Triple Choral,” by saying that it was Tournemire’s first major organ work, and he had learned it in a week (!) and played it for the fourth time in public yesterday, and that it was not a very popular piece. Truly, I would have thought he had been playing the piece for years. This early work of Tournemire is introspective and cerebral, and at the same time hints at the other-worldliness that would characterize his later work. Bambauer mentioned that in 1896 the Liber Usualis became Tournemire’s constant companion, and when he became Franck’s successor at the Basilica of St. Clotilde in 1898 he only improvised on chant in the services. He thought sacred music was the only music worthy of the name, and when Langlais questioned him, asking what about the music of Debussy, Ravel, and Stravinsky, he said it didn’t matter! Bambauer recommended listening to Tournemire’s eight symphonies, among them Search for the Holy Grail and Apocalypse of St. John. Tournemire was drawn to the mysterious and supernatural, apparent not only in his music, but in his biography of Franck in 1931, and the naming of his two cottages “Tristan” and “Isolde”—his Opus 53 bears those names.
Bambauer pointed out that Tournemire was recognized as a great improviser, and Vierne described him as being “impulsive, enthusiastic, erratic, and a born improviser.” Tournemire’s Five Improvisations, recorded in 1930 at St. Clotilde and transcribed by his student, Duruflé, are his most popular works. His L’Orgue Mystique, fifty-one liturgical sets of five pieces each, was composed between 1927–1932 and is the Catholic counterpart to Bach’s Orgelbüchlein. Bambauer explained that the first edition of L’Orgue Mystique was dedicated to César Franck and states in the preface that the performer is free to choose the registration; however, in the second edition Duruflé includes registration and manual changes.
Bambauer’s insightful analysis of Tournemire’s Triple Choral not only focused on his compositional techniques—use of imitation, paraphrase, and inversion—but how and when Tournemire used the same harmonic vocabulary as Franck. Bambauer illustrated the meticulous craftsmanship in this early work of Tournemire based on his newly created chorals entitled “The Father,” “The Son,” and “The Holy Spirit,” and discussed how the prose with which Tournemire prefaced each choral was mirrored in the music. Tournemire’s prose offers a poignant testimony of his profound faith and allows the listener to participate in Tournemire’s personal vision.
Bambauer commented that the highlight of the piece occurs at the end as the three chorals softly merge together. Bambauer treated us to another performance of Tournemire’s Triple Choral and “the knowing made all the difference.”
Tuesday evening James Kibbie, Professor of Organ at U-M, presented a stunning memorized recital. He has a special affinity for the music of Marcel Dupré, Jehan Alain, Dan Locklair, and Jirí Ropek. He played Dupré’s Prelude and Fugue in B Major, op. 7, no. 1, with conviction and assurance. The pleasure of hearing Alain’s rarely played Two Preludes was heightened by being able to read the texts that accompany them. Kibbie’s sensitive interpretation made the images of the text take on a life of their own.
Dan Locklair’s Voyage was another kind of tone poem, providing a journey to fantasy lands filled with sounds of the ebb and flow of tides, jazz, bird song, chimes, and billowing waves evoked by hand glissandi. Kibbie managed to weave together these disparate elements into a fabulous and entertaining voyage.
It was a pleasure to hear Kibbie speak of his meeting Jirí Ropek when he won the Prague Organ Competition in 1979 and of his continuing friendship with this celebrated organist/composer who suffered greatly during the Communist oppression. Kibbie related conversations he had had with Ropek that offered insight into his music. Of the three Ropek pieces on the program, Kibbie said that the Toccata and Fugue (dedicated to Kibbie) was the most complex and dissonant, and mirrored in the work is Ropek’s philosophy: “Life is not only one melody, but many and dissonances, but in general I’m quite melodious. No frightening the audience.” To hear this account made Ropek’s Toccata and Fugue, filled with haunting and aggressive motives, a kind of musical autobiography. Kibbie also explained the compositional process of Ropek’s Fantasy on Mozart’s Theme. In 1775 Mozart improvised a work in a monastery, and only the first 57 measures were written down. Ropek was asked to play it and he added a cadenza. He worked on it over the years and finally he attached his own music to Mozart’s original piece. It was one of the last things he wrote before he died and is dedicated to the students of James Kibbie at the University of Michigan. It was published in 2009.
Kibbie mentioned that he had just played Ropek’s Variations on “Victimae Paschali Laudes” in Prague the week before and made a recording for the radio at the Basilica of St. James where Ropek was organist for 35 years. This beautiful work has become a signature piece for Kibbie.

Wednesday, October 6
Five recitals were performed on Wednesday, an intense day of listening.
The first recital of the day was played by Andrew Lang on the Létourneau organ in the School of Public Health. Lang is a student of James Kibbie and commutes from Chapel Hill, North Carolina. His program was well suited for the room and instrument: “The Primitives” and “Those Americans” (from Five Dances for Organ) by Calvin Hampton; Dies sind die heiligen zehen Gebot, BWV 678, Fughetta super Dies sind die heiligen zehen Gebot, BWV 679, and Prelude and Fugue in B Minor, BWV 544, by Bach. Lang played with verve and energy; the contrapuntal lines were electric with clarity and precision.
The day’s second recital was played at Hill Auditorium by Józef Kotowicz, who received his doctoral degree in 2001 from the Music Academy in Warsaw. He is active, playing recitals in music festivals throughout Europe, producing a radio program devoted to organs of northeast Poland, recording on the organ in the Cathedral Basilica (Bialystok), and teaching and serving as organist at St. Adalbertus Church. Two of the most interesting pieces of his ambitious program were works by Mieczyslaw Surzynski (1886–1924), Improvisation on the Polish Sacred Song “Swiety Boze,” and Stefan Lindblad (b. 1958), Espanordica. Kotowicz explained to me that “Swiety Boze” is a very popular hymn in Poland and is sung often during funeral services. A translation of the first line reads: “Holy God, Holy [and] Mighty, Holy [and] Immortal, have mercy on us.” The hymn has inspired many composers.
After hearing the performance of Surzynski’s Improvisation, it is easily understood why he is the most revered Polish composer of organ music. The work began with a statement of the hymn, and six dramatic variations followed, with variations one and five being the most riveting. In variation one, thundering chords are played in the manuals while the cantus firmus is heard in the pedals. In variation five, a fiery toccata is in the manuals while the cantus firmus thunders in the pedals.
Kotowicz’s performance of Lindblad’s Espanordica was electrifying. Each of the three movements—Rhapsodia, Nocturno, and Litanies—is built on Spanish dance motifs. Kotowicz told me that Stefan Lindblad lives in Göteborg, Sweden. Lindblad has composed two large works for organ, Hommages and Espanordica, which Kotowicz has performed in Ann Arbor. Both of these pieces have never been printed and he is the only Polish organist who has the scores. He also commented, “It’s interesting that Lindblad is almost completely unknown in Sweden, so I feel like his promoter. I know him personally because I often play in Sweden.”
In honor of Chopin’s 200th birth year, Arthur Greene, Professor of Piano at U-M, performed an all-Chopin recital. It was truly a gift to hear such great artistry.
His program provided a rich and tantalizing view of Chopin’s brilliant oeuvre. Greene drew sounds out of the piano like a magician—singing, soaring, langorous melodies, and thunderous, tumultuous chords. Greene is a master in knowing how to use his body in eliciting such sounds, and in controlling the exact timing of each key and creating suspense through poignant pauses. The audience was captivated by the huge gamut of emotions, from laughter to dark despair, that were portrayed in Greene’s memorized recital. In his hands each piece became a sort of microcosm of its own, glowing with its own unique beauty. His program included three short Mazurkas (op. 67, no. 3; op. 24, no. 3; op. 24, no. 4), the well-known Nocturne in E-flat Major, op. 9, no. 2, Écossaise, op. 72, and four Ballades (op. 23, op. 38, op. 47, and op. 52).
The 4 o’clock recital featured graduate students of James Kibbie and Marilyn Mason. Each performer played with such artistry, conviction, and joy. Their discipline and dedication to their art was obvious. Those performing from Kibbie’s studio included Joseph Balistreri (In Organ, Chordis et Choro by Naji Hakim); Susan De Kam (Partita sopra “Nun freut euch” by Lionel Rogg), and Richard Newman (Final from Symphony No. 5, op. 47, by Louis Vierne). Mason’s students included Timothy Tikker (Pièce Héroïque by César Franck) and Louis Canter (Adagio, Fugue from The 94th Psalm by Julius Reubke).
The final concert of the conference was played by Charles Echols. His entire program was devoted to the music of René Louis Becker (1882–1956). In his notes, Professor Echols described Becker’s career as a musician in the Midwest, and commented that among the many churches Becker served as organist were Blessed Sacrament Cathedral in Detroit and St. Alphonsus Church in Dearborn, Michigan. Echols also indicated those pieces that have been published and those that are in manuscript form. Echols’s playing was flawless, and he is to be thanked for advancing this composer’s work, which recalls the music of Mendelssohn.
Professor Marilyn Mason has been responsible for the organ conference at the University of Michigan, a “happening” in Ann Arbor for 50 years. When I asked her what inspired her to begin this incredible conference she told me: “I began the conference for our students; my then manager, Lillian Murtagh, urged me to sponsor Anton Heiller, who had never played in Ann Arbor. Further, I realized since the students could not have a European experience there, we could provide it for them here: especially to hear organists who had not played in Ann Arbor. Some firsts in Ann Arbor were the Duruflés, Mlle Alain, Anton Heiller, and many more. This contact also provided a window of opportunity for the students, many of whom went on to study with the Europeans after having met them here.” This gathering together of world-class performers and teachers continues to nurture and inspire. We are indebted to Marilyn Mason for literally bringing the world to us.

•

These articles represent the ten sessions that I reviewed (each session is designated by roman numerals I–X).
I. Sunday, October 3, 4 pm, A Grand Night for Singing, Hill Auditorium
This inaugural event was a multi-choir extravaganza led by conductor and artistic director Professor Jerry Blackstone. He was assisted by other U of M faculty conductors, vocalists and instrumentalists. Six U of M student auditioned groups participated, with approximately 650 students. Composers ranged from Monteverdi to Sondheim, fourteen in all, and many various ensembles, representing a variety of musical genres. Each of the sixteen presentations, including choirs, solos, opera, theater, and musicals, was greatly appreciated by the audience, which rendered a standing ovation.

II. Monday, October 4, 10:30 am, dissertation recital by Jason Branham, at Moore Hall, the School of Music, on the Marilyn Mason Organ built by Fisk
Branham’s recital featured Buxtehude’s Praeludium in E Major, BuxWV 141, Bach’s Liebster Jesu, wir sind heir, BWV 731, and Trio Sonata No. 5 in C Major, BWV 529, Clerambault’s Suite du deuxième ton, and Mendelssohn’s Sonata No. 4 in B-flat Major, op. 65. Branham performed with an understanding of musical forms, in a sensitive and confident manner. The variety of works presented allowed him to demonstrate well many registration possibilities of this unique instrument. This performance was acknowledged with great applause.

III. Monday, October 4, 4 pm, dissertation recital by Christopher Reynolds at Hill Auditorium
Cantabile by Franck, Passion, op. 145, No. 4 by Reger, Prelude on Picardy by Near, Meditation on Sacramentum Unitatis by Sowerby, Elegy in B-flat by Thalben-Ball, Praeludium in g, BuxWV 149 by Buxtehude, from Zehn Charakteristische Tonstücke, op. 86, Prologus tragicus by Karg-Elert, and Concert Variations on The Star-Spangled Banner, op. 23 by Buck. Reynolds appropriately approached and performed well the pieces that required a reflective and meditative interpretation. His registrations, musical sensitivity, and facility made his selections interesting for the listeners who aptly responded with approval.

IV. Tuesday, October 5, 9:30 am, Organs of France
IX. Wednesday, October 6, 9:30 am, Organs of Bach Country
X. Wednesday, October 6, 10:30 am, Organs of the Austro-Hungarian Empire
Janice and Bela Feher presented three narrated photographic summaries of the European pipe organs visited and played on University of Michigan Historic Organ Tours, 2005–2009.
Organs of France were viewed via a PowerPoint presentation of pipe organs from various regions of France. The Fehers showed examples of French Baroque, Classic, Romantic, and Symphonic organs, and they highlighted sites and instruments associated with important organists and composers. Instruments included organs built by Dom Bedos, François-Henry, Louis-Alexandre, and Robert Clicquot; Jean-Pierre Cavaillé (grandfather), Dominique (father) and Aristide Cavaillé-Coll (son); and Moucherel. The photographs of the organs were enhanced by illustrations of their settings; highlights of the organs included historical cases, consoles, and principal internal components.
Organs of Bach Country traced the life of Bach, with photographs of the places where he grew up, the churches where he worked, and the organs he designed and played, along with additional photographic documentation of the organs of Andreas and Gottfried Silbermann, and Arp Schnitger.
Organs of the Austro-Hungarian Empire included pipe organs of Hungary (Budapest, Esztergom, Tihany, Zirc), Austria (Vienna, Melk, St. Florian, and Salzburg), and the Czech Republic (Prague). Historic and modern organs were presented from a variety of churches, cathedrals, abbeys, and concert halls. The photographs showed churches and organs associated with Mozart, Bruckner, Haydn, and Liszt. The photographs and information about these organs and their sites will be available in the near future from the University of Michigan Organ Department website.
The photographs described above and information are contained in several books available through <blurb.com>. The Fehers, along with Marilyn Mason, have produced a photo book about historical organs of Germany and Demark related to Bach and Buxtehude, entitled Sacred Spaces of Germany and Denmark. Their second book on the organs of Hungary, Austria, and the Czech Republic is entitled Sacred Spaces of the Austro-Hungarian Empire. They are beginning to work on another book about the organs of France and Northern Spain. All books may be previewed and ordered from <blurb.com>.

V. Tuesday, October 5, 10:30 am, lecture by Christopher Urbiel, “The History of the Frieze Memorial Organ at Hill Auditorium, The University of Michigan”
Urbiel’s interesting history of this grand organ housed in Hill Auditorium began with the early instrument at Festival Hall at the World’s Columbian Exposition in Chicago, Farrand & Votey organ, 1876 and 1893. Albert Stanley purchased the instrument for $15,000 during U of M President Angel’s tenure. It was placed in University Hall and named for Professor Frieze, founder of the University Musical Society and Choral Union, in 1894. In 1912 it was moved from University Hall. The organ has been changed, modified, and “rebuilt” through the years: Hutchings (1913), Moore, Palmer Christian, E.M. Skinner (1928), G. Donald Harrison, Noehren/Aeolian-Skinner (1955), Koontz (1980), renovated in 1900s, and rededicated to Frieze in 1994. Urbiel was very detailed and thorough in his presentation on the Hill Organ, a large unique instrument, and the audience showed great appreciation for his informative and delightful lecture and pictures.

VI. Tuesday, October 5, 11:30 am, lecture by Michael Barone, “Louis Vierne (1870–1937): The ‘Other’ Music (songs, piano pieces, chamber and orchestral works).”
Michael Barone presented the audience with a detailed listing (seven pages), containing comments, performers’ names, disc identification, and other information of Vierne’s “other” music as described in his lecture title. He discussed Vierne’s life and provided insight into the interpretation of his music based on the tragedies and pain Vierne suffered in the losses of his brother and son, coupled with the difficulties Vierne endured in his career, health, and home life. Barone provided more than 20 recorded excerpts, with verbal descriptions and information in an entertaining and interesting manner. Near the end of the seven-page compilation, Barone listed a disc summary of Vierne’s non-organ repertoire. The audience appreciated Barone’s thorough work, sense of humor, and sensitive presentation.

VII. Tuesday, October 5, 1:30 pm, lecture/demonstration by Michele Johns, “Organ ‘Plus’”
Dr. Johns began her lecture/demonstration by sharing some down-to-earth tips when deciding to use the organ with other instruments in services and concerts. She discussed conducting from the organ, getting funding, how to pay performers, ways to obtain band and orchestra members, vocalists, planning rehearsals, and rehearsing. Her program featured three pieces written for organ, two trumpets and two trombones, which she conducted from the organ. In celebration of this 50th annual University of Michigan Conference on Organ Music and in honor of the Organ Department, an arrangement of “Angels We Have Heard on High” for congregation, brass quartet, tympani and organ was premiered. This was a welcomed and enjoyed opportunity for the conferees to participate in this rousing and exciting setting written by Scott M. Hyslop. Dr. Johns received thanks for her expertise.

VIII. Tuesday, October 5, 2:30 pm, lecture by Steven Ball, “Music of René Becker”
Dr. Ball gave a brief history of René Becker, son of Edouard, who was an organist at Chartres Cathedral. Born in 1882, Becker and his four siblings trained at Strasbourg’s Conservatory of Music. In 1904, Becker moved from France to St. Louis and taught piano, organ, and composition at the Becker Conservatory of Music, which he formed with his brothers. He later taught at St. Louis University and Kendride Seminary. In 1912, Becker and his wife moved to Belleville, Illinois, where he became organist at St. Peter and Paul Cathedral. It was at this time that son Julius was born, the only living child of René. Julius, a retired banker, presently lives in Birmingham, Michigan.
René Becker became the first organist of the newly built Blessed Sacrament Cathedral in Detroit in 1930; an AGO member, he helped to establish the Catholic Organists Guild, and with his son founded the Palestrina Institute. Becker retired in 1952 at the age of 70 from St. Alphonsus Church in Detroit. He left over 160 compositions for organ when he died in 1956. Dr. Ball shared some pictures of René Becker and introduced Becker’s son Julius and his family to the conferees. It was a delight to see Julius Becker (keeper of some of Becker’s compositions) in person. Steven Ball received a four-year grant to record René Becker’s compositions.