University of Michigan 26th Institute of Organ and Church Music

Lisa Byers, a native of Virginia, holds a B.A. from Westhampton College, University of Richmond, Virginia, a master’s in music education, and a master’s in organ performance, both from the University of Michigan. She earned a J.D. from the University of Toledo, Ohio.

Presented July 11, 18, and 25, the Ann Arbor Summer Festival’s International Organ Series included performances by Marilyn Mason with soprano Brenda Wimberly; David Troiano with Finnish violinist Tapani Yrjola; and Horst Buchholz with soprano Meeae Cecilia Nam. The series was coordinated by University Organist Marilyn Mason and all concerts were given in the Blanche Anderson Moore Hall in the E. V. Moore Building at the University of Michigan. The hall features the Fisk mechanical-action organ, built in the style of Silbermann, closely resembling the instrument in the Georgenkirche in Rotha, Germany.

July 11
The first recital was presented by Marilyn Mason and soprano Brenda Wimberly, professor of voice at Grambling State University and an alumna of Michigan. The first work for organ alone, Variations, Heil Dir im Siegeskranz by Johann C. H. Rinck, based on the tune America, featured various stop combinations, making each of the eight variations distinctive. Ms. Wimberly then provided the alternate verses for the Le Clerc Magnificat du Huitième Ton en Sol Majeur. The score was obtained from the British Museum and edited for performance by Dr. Mason.
The duo next offered Ave Maria by Bach/Gounod and The Lord Is My Light by Allitsen. Wimberly’s voice was rich and robust as well as gentle when necessary in the upper registers. In O Divine Redeemer by Gounod, organist and vocalist produced a nice sense of ensemble. The program closed with three spirituals for organ by Calvin Taylor. Wimberly sang the melodies for “Steal Away,” “This Little Light of Mine,” and “Swing Low, Sweet Chariot,” each followed by the organ settings that were commissioned by Mason, a long-time supporter of contemporary music. This duo has performed together for several years and was met with enthusiastic approval by audience, who applauded until an encore was performed.

July 18
The second program was offered by Finnish violinist Tapani Yrjola and the musically versatile David Troiano, organist, lyric tenor soloist, and choral conductor. Both have their doctorates in performance from the University of Michigan, have received numerous awards, and enjoy active international careers.
The opening Sonata Prima by Veracini featured several dance movements. Troiano then played three Neumeister Chorales by Bach: Allein zu dir, Herr Jesus Christ, BWV 1100; Erhalt uns, Herr bei deinem Wort, BWV 1103; and O Herre Gott, dein gottlich Wort, BWV 1110, aptly performed and registered. Next was Handel’s Sonata in D, op. 1, no. 13, for the duo. In this work and throughout the recital, Troiano always kept in mind the timbre and volume of his accompaniment, so as not to overshadow the violin.
Marcello’s Sonata di Organo is a charming piece, and proved to be a fun, somewhat pianistic fanfare. The “Allemanda” from Bach’s Partita in B Minor for violin solo was sensitively performed. Variations on a Finnish Chorale for organ solo by Sulo Salonen featured canonic and dramatic passages. The concluding three brief pieces were by Finnish composers: Chanson sans paroles by Toivo Kuula, Berceuse by Armas Jarnefelt, and Rondino by Jean Sibelius. All three works were originally written for violin and piano, but here transcribed for violin and organ by Troiano. Both artists showed great poise and were well rewarded by the audience, who insisted on an encore.

July 25
The final concert of the series featured soprano Meeae Cecilia Nam and organist Horst Buchholz. Originally from South Korea, Dr. Nam is currently professor of voice at Eastern Michigan University and has performed extensively with Dr. Buchholz, who is organist/choirmaster at Cleveland’s Trinity Cathedral and on the faculty at Cleveland State University.
One could easily tell from Buchholz’s opening work, Voluntary in C Major by John Stanley, that his European background and experiences made him at home on this German-style instrument. Ms. Nam gave a convincing and stylish rendition in impeccable German of two sacred concerti by Schütz: Ich will den Herren loben allezeit and O süsser, o feundlicher, o gütiger Herr Jesu Christe. Buchholz then followed with Bach’s chorale prelude, Kyrie, Gott Vater in Ewigkeit, BWV 669, played with great clarity and accuracy. Psalm 99 Jubilate Deo for soprano and organ by French Baroque composer André Campra showed Nam’s vocal agility and expressiveness in the multi-movement cantata.
In Pachelbel’s partita Was Gott tut, das ist wohlgetan, the organist offered colorful registrations. Pergolesi’s Salve Regina, originally for soprano and string orchestra, worked very well on the Fisk, with Pergolesi’s highly expressive melodies and suspended harmonies. Buchholz played his own most interesting arrangement of the famous Fantaisie in D Minor, K. 397, by Mozart. His transcription seemed to fit naturally on the organ, with beautiful stop changes for the various sections.
Dr. Nam’s voice was full of warmth and depth, and was also crystal clear in the demanding coloraturas of Mozart’s beautiful aria Dulcissimum convivium. The closing work by Carlo Morene, Versetti per il Gloria sopra la musica di Mozart, displayed good contrast in registrations and appropriate excitement. The audience insisted on an encore. ■

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

The University of Michigan

Joseph Daniel is graduate student instructor of carillon, assistant university carillonneur, and a doctoral candidate in organ at the University of Michigan. In addition he is organist-choirmaster at St. Andrew’s Episcopal Church, Livonia, Michigan.

The 25th International Organ and Church Music Institute, June 20-22, officially began Monday morning with a welcome by Dr. Marilyn Mason, chair of the organ department at the University of Michigan. The fifteen participants enjoyed a brief laugh remembering past institutes before beginning the day. The theme of this year’s institute was the music of French organists Charles Tournemire, Marcel Dupré and Maurice Duruflé.

Timothy Tikker presented two lecture/demonstrations on Charles Tournemire. Mr. Tikker’s first presentation included a survey of Tournemire’s organ output with him playing the Suite for the Feast of the Presentation from L’Orgue Mystique. The second presentation discussed performance practice of Tournemire. Tikker brought in many CDs, including a recording of Tournemire playing his improvisations, to demonstrate his ideas.

Dr. Michele Johns, Adjunct Professor of Church Music, led two workshops on hymn playing. Discussion included ideas for renewing congregational singing, as well as how to incorporate world music into church services while maintaining the integrity of the music. As a bonus, Dr. Tapani Yrjola, distinguished Finnish violinist and guest, joined Dr. Johns in two Baroque works (Bach and Veracini) for violin and organ.

Discussion on the lives and music of Dupré and Duruflé was led by Dr. Ralph Kneeream, noted scholar on both men. His presentations included wonderful multimedia slides (assisted by Dr. James Wilkes) and numerous--and entertaining--anecdotes. Both presentations traced the lives of the composers and their compositional output.

The sessions on Anglican chant were led by Dr. Gordon Atkinson, a University of Michigan alumnus. The sessions involved full participation from all participants. Plainchant, responsorial and Anglican double chants were taught to everyone. Participants volunteered to cantor for the various Psalm settings during the time.

The evenings featured graduate students of the organ department playing on the Marilyn Mason organ (C. B. Fisk) in the Blanche Anderson Moore Hall. Abigail Woods played a program of Baroque music including chorales from each of J. S. Bach’s major collection. Miss Woods was assisted by Mrs. Ginger Thorne Herrmann, cantor. David Troiano played a program of early music focusing on the early practice of alternatim. Mr. Troiano, a doctoral student in church music, is an accomplished singer, so he delighted the audience by being his own cantor.

The Sunday afternoon recitals included Mr. Tikker and his wife, Dr. Deborah Friauff, playing music spanning the centuries on the Fisk organ. That evening, Steven Strite played his Master of Music recital. Mr. Strite was joined by a string ensemble from his church to perform one of the Handel concertos.

23rd International Organ and Church Music Institute

The 23rd International Organ and Church Music Institute was held at the University of Michigan in Ann Arbor June 23-25. The institute began with a recital of music for violin and organ presented by U-M alums Tapani Yrjölä and Michele Johns, who also taught an improvisation class in addition to performing and organ teaching. The recital included Finnish music for violin and organ by Toivo Kuula and Franz Linnavuori, in addition to works by Bach, Buxtehude, and Vivaldi.

Marilyn Mason conducted an excellent masterclass on the Bach Neumeister Chorales, providing insight into these recently-discovered works. James Kibbie provided a thorough examination of the Bach Clavierübung, part III, in his masterclass. Robert Glasgow presented a very informative session on the interpretation of the organ works of César Franck.

One of the highlights of the festival was a recital by doctoral student William Jean Randall of Baroque music from France and Germany, which included a setting of the Titelouze Magnificat primi toni and the Marchand Te Deum, complete with plainchant sung in alternatim by Chris Meerdink. The last day of the institute included a three-hour masterclass on organ construction and design by Helmut Schick, which was then followed by a closing recital by students of Dr. Mason and Dr. Kibbie, featuring works by Bach, Buxtehude, and Lübeck.

--John C. Bostron

Organist, St. Stephen's Episcopal Church, Boise, Idaho

Organ Faculty, Boise State University

42nd Annual Conference on Organ Music

The University of Michigan's 42nd annual Conference on Organ Music  took place October 6-9, 2002, entitled "The European Connection," and featured the music of Germany, France, and the United States. Hill Auditorium, one of the usual venues for recitals and other events, is being renovated and was not available during this conference; however, Ann Arbor and the surrounding areas are replete with a wonderful variety of fine pipe organs.

The gala opening concert was held in the new sanctuary of Our Lady of Good Counsel Church, Plymouth, Michigan, and featured the new Casavant organ of 31 stops (42 ranks) on three manuals and pedal. The church sanctuary is spacious and the organ speaks effectively. It is an instrument with a rich palette of colors,  accommodates literature from all the periods, and is in a fine acoustical environment. Featured performers for the gala concert were guest organists from the Ann Arbor Chapter, American Guild of Organists, Donald Williams and Edward Maki-Schramm; from the Detroit Chapter, Scott van Ornum and Tom Trenney; from the Toledo Chapter, Brian Rotz and Barbara Dulmage. They performed works by Bach, Clérambault, Dudley Buck, Franck, and Duruflé.

Monday morning's activities were held in the Blanche Anderson Moore Hall of the University of Michigan, which houses the Marilyn Mason Organ, built by C.B. Fisk, which most closely resembles the instrument built by Silbermann for the Georgenkirche in Rotha, Germany. Master's degree student, Kirsten Hellman, performed music of France and Germany which included works by Lübeck, Couperin, and J.S. Bach. She was ably assisted by cantor David Troiano in the Gloria section of the Couperin Messe pour les Convents. Ms. Hellman was very well received as she played comfortably and flawlessly, concluding her program with the Bach Trio Sonata No. 1 and Prelude and Fugue in D Major, BWV 532.

Robert Clark, former Michigan organ faculty member and now Professor Emeritus, Arizona State University, lectured in the morning on the Hildebrandt organ of the Wenzelskirche in Naumburg, and performed the Bach Clavier-übung, Part III, in the afternoon.

The afternoon and evening activities on Monday were held at the First Congregational Church, which houses a fine Wilhelm organ. Graduate students Abigail Woods, Michael Frisch, and Elizabeth Claar, representing the studios of Professors Robert Glasgow, James Kibbie, and Marilyn Mason, gave brief remarks about the composers and music they were about to play, including compositions by Bach and Dupré.

Marilyn Mason blithely stated, as she introduced Susanne Diederich, distinguished German musicologist, that "some Germans love French music, and here is one!" This was an explanation for those wondering why Dr. Diederich was about to present a lecture titled, "Relations Between the Organs and the Music in the Classical French Tradition." Diederich gave lucid explanations of many aspects of French organ music, and her detailed handout provided a wealth of information on instruments, registration, and stoplists. Robert Luther, organist at Zion Lutheran Church in Anoka, Minnesota, played musical examples by Jean Adam Guilain.

Professor Clark's earlier lecture was based on his travels in East Germany and addressed the transitions of the Hildebrandt organ in 1933, 1978, and the restoration of 2000. We were treated with recordings of the present instrument along with a fine, scholarly and illuminating presentation. Mr. Clark played the Clavierübung, Part III, in memory of Robert Noehren, former Michigan organ professor and university organist who died on August 4, 2002. The playing was solid and sure, and the Wilhelm organ was the perfect instrument for this glorious music.

The concluding program for the day was all Bach, performed by Irene Greulich, organist at the Wenzel Church in Naumburg, Germany, since 1971, and included six compositions from the "Leipzig Eighteen," and a prelude and fugue along with the famed Toccata and Fugue in d minor, BWV 565. Her registrations were at times unexpected and effective, particularly in the chorale prelude Komm, heiliger Geist, Herre Gott.

Tuesday morning's activities were held at the First Presbyterian Church, Ann Arbor, with its recently installed Schoenstein organ of three manuals, 33 voices, and 42 ranks, on electric-pneumatic action. This instrument is described as enchambered with great and pedal unenclosed, and swell and choir enclosed. To the eyes and ears of this writer it is a successful instrument on which one is capable of leading church services, accompanying choral and instrumental groups, and performing organ literature of all periods.

Graduate students Luke Davis, Alan Knight, and Paula Seo, all of whom are directors of music at churches in the area, started out the day by presenting a well-performed program of organ music by Mendelssohn, George Thalben-Ball, and John Weaver. Again, the three players represented the three teaching studios of the Michigan organ faculty.

Marilyn Mason opened her lecture, "A Lifetime of New Music," commenting on and performing Prelude (pour Madame) by Gregory Hamilton and Miniature by Jean Langlais. Both compositions were played with verve, assurance, and absolute aplomb. Many of those present yearned for more of her playing; however, we were contented with cogent comments she made prior to each succeeding student performance. Doctoral students from her studio were Shin Ae Chun, Wm. Jean Randall, and David Saunders, performing commissioned works by John Ness Beck, Charles Callahan, Normand Lockwood, and Gordon Young. All of these organ students acquitted themselves splendidly. The brochure detailing the organ works commissioned by Mason through the years numbered over eighty, all of which she has performed. How many present-day organists can perform over eighty works by composers born in the 20th century?

Michael Gailit, distinguished Austrian organist at St. Augustine's Church in Vienna and a member of the faculty at the Vienna Conservatory of Music, presented a recital, "Mendelssohn and the Organ: The Background," which comprised works of Bach, Mozart, Mendelssohn, and Franz Schmidt. The entire program was cleanly played, always with tasteful, appropriate registrations and sometimes at breathtaking tempos.

Later in the afternoon, at St. Francis Catholic Church, where there is a three-manual Létourneau organ, Mr. Gailit presented an illuminating and often humorous lecture on his recital theme cited above. We were given a fairly exhaustive handout which included a number of composers and organs of the time, along with a graph which detailed the dates of Mendelssohn's organ compositions, publishers, and other useful information.

Irene Greulich, who performed on Monday night, lectured on the Bach Leipzig Chorales, BWV 651, 658, 659, 662, and 668. She discussed the plan for three settings of three chorales and spoke of the various usages of the settings. She was marvelously and amusingly assisted by Susanne Diederich, who also had lectured the day before, since Ms. Greulich was not always able to easily express herself in English. That, along with the consistent idea of "mystery" were sources of great fun and genuine interest.

One can, perhaps, tire of more and more brass groups endeavoring to play the great organ literature of the 17th and 18th centuries. However, the afternoon performance of the ensemble Today's Brass Quintet was refreshing, adding organ and tympani on this particular day. In their own words, "TBQ programs its original arrangements from a full spectrum of styles, ranging from the sparkling Baroque masterpieces of Bach and Pachelbel to the toe-tapping pleasures of Sousa, Gershwin and Ellington." On this occasion we heard some light fare, but in the main, we were feted with solid brass arrangements solidly played, including chorale preludes and an arrangement from Art of Fugue. Janelle O'Malley, organist at St. Francis, very competently joined the quintet on several compositions.

The long day ended splendidly with a performance of very challenging literature performed by Michigan organ professor James Kibbie. Beginning with the Bach Passacaglia in C minor, Professor Kibbie played compositions by Alain, Dan Locklair, Widor (Finale from Symphony VI in G minor), and Two Incantations for Trombone and Organ by Petr Eben. David Lee Jackson, trombonist, matched the organ in dynamics, expressiveness, and tone color. The Eben was a highlight of the recital. Kibbie plays with grace and ease, and one hears a maturity of expression and a total comfort with literature of all periods.

--Herman D. Taylor

Professor Emeritus

Eastern Illinois University

Charleston, Illinois

On Wednesday, October 9, the last day of the conference, conferees were treated to programs on two magnificent E. M. Skinner organs in Detroit. The morning program was held at the beautiful Jefferson Avenue Presbyterian Church, which houses a 68-rank Skinner organ. A program of music by Duruflé, Franck, Messiaen and Willan was performed by U of M doctoral students Gregory Hand, James Wagner, and Brennan Szafron, who used the registration possibilities available on the Skinner organ to the fullest.

The conference moved to the Masonic Temple for the afternoon program. After lunch at The Grill at the Temple, conferees gathered in the auditorium to hear the second Skinner organ. Dorothy Holden, internationally renowned E. M. Skinner expert and author of The Life and Work of E. M. Skinner, gave a very informative lecture on the development of the E. M. Skinner organ, illustrated by bits of music recorded on various notable Skinner organs around the country.

Next on the program was Robert Glasgow, U of M Professor of Music. Lecturing from the organ bench, Dr. Glasgow presented a masterclass on the performance of the Fantaisie in A by César Franck. For reference during the class, conferees were given a copy of the music with suggested annotations for performance by Dr. Glasgow.

The program--and the conference--concluded with the third dissertation recital of doctoral student Wm. Jean Randall. Mr. Randall played music of Dupré and selections from L'Orgue Mystique by Tournemire. Mr. Randall's performance of the Tournemire brilliantly demonstrated what an understanding of the previous scholarly talks on the Skinner organ and performance of late 19th-century French music can produce. It was a fitting conclusion to a rich and varied conference. Following the conclusion of the recital, conferees were invited to play the organ and tour the organ chambers.           

--Kathy Woodbury

Organist, First Church of Christ, Scientist, Norwood, Massachusetts

The first University of Michigan Organ Conference took place in 1961, featuring Anton Heiller, and was the brainchild of Marilyn Mason. It is singular in the organ world for its longevity. Just two other schools offer comparable conferences: The Eastman School of Music initiated the EROI festival in 2002, and Indiana University started an annual conference in 2010. During its 54-year history, the U of M conference has featured a glittering array of artists and lecturers from the United States and Europe in addition to offerings by Michigan faculty and students. In 2014, this annual organ conference was held September 28–30. Due to construction at the School of Music, Theater and Dance on north campus, all events were held on the U of M’s central campus, with conference attendees circulating between Hill Auditorium, First Presbyterian and First Congregational churches. Shortened to two days rather than three a year ago to make it more accessible to attendees, the conference continues to offer a slate of strong academic content and fine performances. 

The 2014 conference not only honored Michele Johns’s 33 years of teaching but also was a natural showcase for the revamped Michigan organ department, with strong contributions by the new faculty. Following the retirements of three long-time teachers in close succession—Robert Glasgow in 2005 after 43 years, Marilyn Mason in 2013 after 66 years, and Michele Johns in 2014 after 33 years—unlike Michigan’s beleaguered football program, the organ department is transitioning smoothly into a new era. Kola Owolabi has joined the department as associate organ professor, and Joseph Gascho is the new associate professor of harpsichord. Vincent Dubois has been named permanent visiting professor, and a carillon instructor will be hired for the next academic year. James Kibbie became department chair in 2013, providing both continuity and a fresh approach. He seems genuinely excited about the department’s future. Current students come from a wide range of backgrounds, undergraduate applications have increased, and students are evenly spread between the undergraduate and graduate levels of study. The desire is to promote a culture of openness and excellence. As Dr. Kibbie is fond of saying, “There will always be a need for organists. We can’t predict what church musicians will need to do in the future, but we will continue to pursue excellence.”

The biggest change in the department was brought about by requests from students to study with all of the organ professors rather than being bound to one studio. Once a week they take part in a department-wide studio class dubbed “Common Time.” The era of specialization has been succeeded by a focus on collaboration and breadth. Early music is integrated into the organ department with Dr. Gascho’s harpsichord instruction, and the focus is on an eclectic approach to musical development to parallel the current professional landscape for church musicians and organists. Dr. Owolabi includes improvisation and church music courses among his teaching duties, offering sessions on blended worship music, different choral styles, and multi-cultural music. 

A Grand Night for Singing

“A Grand Night for Singing,” a gala concert put on by the choral, vocal, and theatre departments of the University of Michigan School of Music, Theatre and Dance, offered conference attendees a great opportunity to witness the wide spectrum of vocal activity the school boasts. With over 650 students in eleven auditioned ensembles, the high caliber of Michigan music students and its excellent faculty was demonstrated by the fine performances prepared after only nineteen days of classes. Ensembles featured were the Chamber Choir, University Choir, Orpheus Singers and Orchestra, Men’s Glee Club, and Women’s Glee Club. In addition, the program included a scene from the musical Dead Man Walking and performances by voice majors. 

The concert concluded with all forces on stage for the Star Spangled Banner Medley, which had been featured previously in a football halftime show with the marching band and 500 singers in celebration of the 200th anniversary of our American flag. Before departing, the audience joined in “It’s a Grand Night for Singing” by Rodgers and Hammerstein. Jerry Blackstone, director of choirs and creator of this fifth annual event, included this comment in the program: “We are a singing community, and I am so happy that you are here to experience this Grand Night with us. Breathe deeply! Sing from your hearts!” The energy coming from the stage was palpable, and the enthusiasm of the audience unbridled.

Stellar performances by Michigan faculty

The highlight of the 2014 conference was stellar performances by Michigan faculty members Joseph Gascho and Kola Owolabi, and by Karl Schrock. Though not on the faculty at present, Karl Schrock did yeoman’s work serving as interim organ professor for the 2013–14 academic year while also maintaining his teaching duties at Kalamazoo College. Schrock offered a delicately articulated and subtly nuanced performance, having selected his repertoire—which offered plenty of sonic and stylistic variety—to mesh with the disposition of the Wilhelm organ at First Congregational Church. His harmonization of the tune was judicious and carefully handled, never overpowering, and his registrant was well rehearsed and expert in manipulating stops for him. Schrock’s program included works by Bach, Clérambault, Tournemire, Langlais, and Mendelssohn. Schrock negotiated each style with ease and assurance. His performances of the Cantilène Improvisée (a transcription) by Tournemire, followed by Langlais’ Miniature (commissioned by and dedicated to Marilyn Mason) were particularly charming. It was an exquisite program and a delight for the listener.

Joseph Gascho, associate professor of harpsichord and early music, played a wonderful recital in the intimate space of Monteith Hall at the First Presbyterian Church on Tuesday afternoon. James Kibbie’s introduction of Gascho displayed his delight in having him on the department team. Gascho has much ensemble experience and hopes to expand early music opportunities, making them a more integral part of the music school. His program included works by J.S. Bach, Buxtehude, Charpentier ,and C.P.E. Bach. He was joined by viola professor Yitzhak Schotten for the Bach Sonata in G Minor, BWV 1029, playing a sweet-sounding viola from 1570. Gascho and Schotten were in perfect synch and spirit, even in the many parallel trills. Gascho is very personable and warmly communicative in his playing. His conversational remarks before each piece further enhanced his connection with the audience.

Kola Owolabi put the Hill Auditorium organ through its paces with a program including works by Bach, Parry, Bingham, Widor, and Eben. His quiet technique matches his reserved demeanor, but underlying both is great confidence and a passion for excellence. Owolabi’s unfussy articulation and tasteful acknowledgement of harmonic events in the Bach made for easy listening, while he let the organ’s sweetest sounds sing in Parry’s lyrical Chorale Prelude on ‘Martyrdom.’ Equally fine was Bingham’s Toccata on ‘Leoni.’ It is a powerful work, beginning with a harmonization of tune then launching into alternation between French-toccata style and quieter sections that display Bingham’s distinct style. The complex texture of the Widor Pastorale from Symphonie II was rendered with ease and elegance and the heroic finale was played with aplomb. Eben’s Four Biblical Dances comprised the second half of the program, preceded by clear verbal notes given by Owolabi. The Biblical passages related to each movement were read ably by current organ students. In this fascinating work, which displays Eben’s imaginative take on the Biblical stories, Owolabi’s quiet, efficient technique was particularly effective, letting the experience be all about the music and its sonorities while the performer stays out of the way. 

Joshua Boyd, who has studied with Marilyn Mason and Karl Schrock, gave his bachelor’s degree recital on Monday afternoon, performed from memory. He launched into the program with energy and confidence in the Recessional by Mathias followed by a sensitively played Drop, Drop Slow Tears by Persichetti. He appeared to be thoroughly enjoying himself throughout the Adagio from Widor’s Second Symphony. The first half closed with Digital Loom by Mason Bates, a fascinating and enjoyable piece for organ and electronica, which Boyd had played to rave reviews at the Ann Arbor POEA this past June. Bates grasped the mystery and visceral quality of the organ, successfully pairing its power with throbbing electronic sounds. The second half of his ambitious program was Dupré’s Symphonie Passion, masterfully played. Boyd’s fine performance proved that he deserved a hearing at the organ conference.

True to Michigan tradition, the evening organ concerts at Hill Auditorium were preceded by 30-minute carillon concerts. Pamela Ruiter-Feenstra offered a sensitively played program on Sunday evening, complete with program notes, and Kipp Cortez, coordinator of carillon studies, played Tuesday evening. During these concerts, a handful of the organ crowd sat listening outside while students wandered by, often pausing to gaze up at the carillon tower and snap a photo with their phones.

The first organ concert of the conference was given by Jörg Abbing of Saarbrücken Conservatory of Music in Germany. His program consisted largely of twentieth-century music and made for demanding listening. Realizing he had planned a daunting program for the listener, Dr. Abbing made a late substitution of Franck’s Pièce Héroïque to open his concert. This and Reger’s Phantaisie ‘Hallelujah! Gott zu loben’ were far less than polished, but Abbing played works by Messiaen, Guillou, and André Jolivet with conviction and finesse. At eighteen minutes and fifteen minutes in length, the Guillou and Jolivet works require a real commitment from the performer not only to handle the technical demands, but also to make sense of the noisy bursts of sound alternating with slow-moving sections and silences. Mandala by Jolivet is a programmatic work, describing the seven continents and seven seas of the Jambu diagram, a “mandala” to aid Hindu meditation. Jean Guillou was one of the first to perform it in 1969 and devised the registration scheme for the published work. In contrast, Guillou’s Regard does not have a program, reflecting his preference for leaving the audience free to interpret his piece. It is interesting to note that Jolivet’s piece was composed in 1969 and was revolutionary at the time, while Guillou’s, written in 2011, does not differ from it appreciably in style.

Abbing proved to be an engaging and effective coach in a Monday morning workshop on improvising on Gregorian chant. He believes all students should be creating their own music in order to help develop a unique musical personality. He worked with several organists on harmonizing melodies, changing the tonality and paraphrasing the melody. Master’s student Ye Mee Kim and Michigan organ alums Joseph Balistreri and Dr. Naki Sung-Kripfgans were Abbing’s willing and skilled pupils.

A variety of lectures

Michael Barone kicked off Monday morning with “So Much Music, So Little Time,” another of his organ music appreciation sessions that have become a fixture at the Michigan organ conference. Barone always provides an enjoyable and insightful session, playing his chosen instrument—a stereo and stack of CDs. This musical tour included Bach cantata movements arranged for two organists, the Toccata and Fugue in D Minor for saxophone and organ, Cameron Carpenter’s performance of a Bach solo cello work played on the pedals, and a piece for organ and harmonica, to name a few. Barone is fully immersed in the realm of organ music, always ready to listen with an open mind, and is fascinated by all sorts of organ music. He invites organists to follow suit in expanding their musical horizons. Ending the session on a wistful note with a recording of Refined Reflection by Stephen Paulus (from his unfinished Baronian Suite written in honor of “Mike”), he commented “You’ll never have enough time, but make the most of it.”

On Monday afternoon, Michigan organ alumna Joy Schroeder gave a lecture on “The Power of Theoretical Analysis upon Performance, Illustrated in Two Chorale Prelude of Bach and Brahms.” Believing there is often too much disconnection between performance and theoretical analysis, Dr. Schroeder encourages analysis as an aid to memorization and a way to discover new aspects of the score. She illustrated her analytical techniques with Bach’s chorale preludes Durch Adams Fall ist ganz verderbt and Christe du Lamm Gottes from the Orgelbüchlein, and O Welt, ich muss dich lassen by Brahms. She noted that given the variety of opinions among theorists, discernment is required in applying analysis to interpretation. Schroeder’s points are well taken. It is all too easy to get caught up in learning the notes without a good understanding of the architecture of a piece. 

Tuesday morning, Iain Quinn of Florida State University gave a lecture on Russian organ music, providing an enlightening entrée to this little known realm of repertoire. The first organs in Russia were owned by the nobility and opportunities to compose organ music were limited because the Russian Orthodox Church suppressed the use of organs. Nevertheless, there is a small but very fine body of Russian organ literature written in the nineteenth and twentieth centuries. By the mid-nineteenth century, there were over two thousand organs in Russia, though many were destroyed during the Russian revolution. The first published organ works in Russia were three fugues by Glinka. Others who composed organ music are Gretchaninov, Rachmaninoff, Shostakovich, and Glazunov, whose works are the most substantial. Dr. Quinn skillfully played several engaging pieces, closing with the Prelude and Fugue in D Minor by Glazunov, which was dedicated to Saint-Saëns. Quinn provided a list of about three dozen works currently in print, most of which are published by Bärenreiter.

Michigan Improvisation Competition

The third annual Michigan Improvisation Competition, developed by Michele Johns, took place on Tuesday afternoon at the First Presbyterian Church of Ann Arbor. The competition has injected new life into the organ conference, offering another event open to the public and an opportunity for another church to be involved with the conference. Judging by the attendance at the competitions, this event is an audience favorite. Contestants in the preliminary round submitted a recording of a free improvisation on a given theme and a hymn introduction and two stanzas of the tune Pleading Savior. Preliminary round judges were Dr. Gale Kramer, Dr. Joanne Vollendorf Clark, and Dr. Marcia Van Oyen. Five contestants were invited to the final round, which involved similar improvisational challenges—a free improvisation on a given theme, a free improvisation on Darwall’s 148th, and a hymn introduction and two stanzas of Darwall’s 148th with the audience singing along. Final round judges were Dr. Larry Visser, Dr. Ronald Prowse, and Dr. Jorg Abbing. 

First prize was awarded to Luke Mayernik of Pittsburgh, second to Christopher Ganza of Oklahoma City, third and audience prizes to Matthew Koraus of New York, fourth to Aaron Tan of Ann Arbor, and fifth to Bryan Sable of Pittsburgh. The prizes were sponsored by the American Center for Church Music. Once again, First Presbyterian proved to be an ideal venue for the competition with the ample resources of its Schoenstein organ (III/42) and its hospitable staff and volunteers. Following the competition, the Ann Arbor AGO provided a dinner for conference attendees.

Honoring Michele Johns

Festivities to celebrate and honor Michele Johns’s 33 years of teaching in the organ department began Monday evening with a catered dinner held at the First Congregational Church. Joseph Balistreri, director of music at the Archdiocese of Detroit and Michigan organ alumnus, served as master of ceremonies. Dr. Timothy Huth, Dean of the Ann Arbor AGO, Colin Knapp, organ conference coordinator, Dr. James Kibbie and Matt Greenough, former cantor at Our Lady of Good Counsel Parish, each offered humorous anecdotes, remembrances, and words of appreciation.

In addition to her three decades teaching church music skills and philosophy at U of M, Michele Johns is the author of Hymn Improvisation (Augsburg 1987) and a regular columnist for GIA Publications. She is co-founder and executive director of the American Center of Church Music, an Ann Arbor-based, non-profit organization through which she was producer of five interdenominational choir festivals plus concerts, hymn-playing competitions, workshops, and conferences for the enrichment of church musicians. The ACCM currently supports the Michigan Improvisation Competition. She is also the co-founder and first Dean of the Ann Arbor Chapter of the American Guild of Organists.

For more than twenty years, Michele Johns served as director of music at Our Lady of Good Counsel Parish in Plymouth Michigan, developing one of the largest music ministries in the Archdiocese of Detroit. The ministry included 22 cantors, 5 handbell choirs, plus an 80-voice adult choir. Under her direction, the Plymouth Counsellors Chorale completed five European tours to ten countries and tours to churches in the United States. During her time in Ann Arbor, Dr. Johns also served at the Bethlehem United Church of Christ and the First Congregational Church. Her organ solo appearances in North America and abroad have featured music of the 18th and 20th centuries. In honor of her 30th anniversary of teaching at UM, a group of UM organ alumni created the Michele Johns Scholarship for Organ Performance and Church Music. Like her esteemed colleague and teacher, Marilyn Mason, Johns came to Ann Arbor to study organ at U of M and never left. 

Following the celebratory dinner at the conference, there was an alumni recital featuring students of Michele Johns. Performers were Dr. Christine Clewell, Dr. Brandon Spence, Stephanie Yu, Dr. Andrew Meagher, and Dr. Larry Visser. The repertoire included a variety of repertoire reflective of what Michele Johns would have covered in her church music classes—everything from a trio sonata to a congregational hymn setting. The program included the audience singing the anthem Peace I Give to You, composed by Larry Visser when he was a student, in honor of Michele Johns. The piece was later published by GIA and dedicated to Johns for her 20 years of service to Our Lady of Good Counsel Parish.

Songs of Thankfulness and  Praise

Perched atop stools, morning-show style, Darlene Kuperus and Larry Visser offered an upbeat and personal tribute to Michele Johns titled “Songs of Thankfulness and Praise.” They began with an overview of her career and the church music courses she taught. Her courses included liturgical practices in different denominations, hymnody, hymn improvisation, and a church music practicum, which included discussion of books on church music and issues that church musicians face. Dr. Kuperus provided a recommended reading list of books dealing with changes in the church music landscape, including Eileen Guenther’s excellent Rivals or a Team? The most entertaining portion of the presentation was the time spent on recollections of Johns’ personal characteristics and what she taught her students. Citing Johns’ warm, down to earth manner and ability to connect with people, both Kuperus and Visser said that she helped them understand that church music is relational. They applauded her emphasis on consensus and collaboration, as well as her notion that it matters how you treat people. Quotes of comments Johns is regularly known to make such as, “That idea was worth this whole meeting,” and “We do this, ja?” elicited smiles and head nods from the audience.

On a personal note, I have truly enjoyed the opportunities I’ve had to work with Michele Johns, particularly in recent years. While still at OLGC Parish, which is down the street from my church in Plymouth, she revived a Thanksgiving Choir Festival involving the choirs and bell choirs of five churches in town. I continue to organize this festival thanks to her inspiration. She is a dear soul with the ability to come up with great ideas and involve many people in implementing them. It is perhaps her collaborative spirit and kind heart that have had the greatest influence on those privileged to work with her. Thank you, Michele, for all of your contributions to the world of church music and for your friendship.

Each registrant was presented with a 232-page book entitled "Reflections." Included in the book are over 30 essays under the subject headings "History of the Organ Department," "Scholarly Articles," "Historic Organ Tours," and "Remembrances," along with a faculty discography, lists of organ department courses and awards, organ graduates, DMA documents, compositions commissioned by Marilyn Mason, and
organs at the university. An added bonus is a CD recording by Dr. Mason, made
at the National Shrine of the Immaculate Conception in Washington, DC.

The festivities began on Sunday afternoon with the Autumn
Festival of Choirs at Hill Auditorium, sponsored by the American Center of
Church Music. Over 15 local churches and 200 singers participated. The festival
included the premiere of the hymn, "Come, Celebrate God's Gifts Made
Known," written by Larry Visser in honor of Marilyn Mason's 50th
anniversary, and published by Wayne Leupold Editions.

On Sunday evening a special concert of African-American
organ music was played by present and former Michigan students who are of African-American heritage. All pieces were written in this century and provided much diversity of style.

Monday morning featured five brief sessions at the School of
Music. Jane Schatkin Hettrick of Rider University led a discussion and premiere
performance of a recently-discovered concerto by Pietro Sales (just published
by Vivace Press). Former faculty member Robert Clark (now at Arizona State
University) presented an encouraging lecture on the future of organ education
as we enter the 21st century. Jerry Blackstone of the U-M choral department
presented a practical workshop on the production of good choral tone. Robert
Glasgow led a discussion of Widor's Symphony VII, which he played later that evening. James Kibbie, with the help of
Larry Visser, demonstrated the new Walgreen Organ which was built by Fernand
Létourneau for Dr. Kibbie's studio.

Monday afternoon events took place on the Wilhelm organ at
First Congregational Church. James Hammann of New Orleans, LA, presented a
lecture-recital of some of the recently-discovered works of Mendelssohn, which
have been edited by William Little and published in a five-volume set by
Novello. Delbert Disselhorst, of the University of Iowa, performed a memorized
recital of six works of J.S. Bach. The conference then moved to Hill Auditorium
for the traditional student recital. Music of Bach, Dandrieu, Vierne,
Dupré, Bairstow, and Widor was heard.

The Marilyn Mason celebration dinner was held in the foyer
of Hill Auditorium on Monday evening. The festivities began with a presentation
hosted by popular WQRS radio personality David Wagner, who is a 1980 DMA
graduate. At this session, as well as one on the following day, many accolades
and awards were presented to Dr. Mason to honor her many years of teaching at
Michigan.

Monday evening concluded with a recital entitled "Ann
Arbor Night Celebration." Works by Willan, Dupré, Geoffrey Bush,
and Widor were played by current and former faculty members Robert Clark,
Michele Johns, James Kibbie, and Robert Glasgow. The concert featured the world
premiere of a work commissioned by the Ann Arbor AGO in recognition of Marilyn
Mason. Entitled "Retablo III: Victimae Paschali," the work was
written by Pamela Decker and played by Ann Arbor organist Janice Beck.

The fifth annual Jean & Broadus Staley Hymn-Playing
Competition was the first event Tuesday morning, held at the First Baptist
Church. Kenneth Logan, a 1992 DMA graduate, was named winner. Duo
harpsichordists Thomas Marshall and Allen Shaffer, "Les Deux
Clavecins," of Williamsburg and Norfolk, VA, played a delightful program
of music by Vivaldi, Herman Schroeder, Couperin, and W.F. Bach.

On Tuesday afternoon four DMA graduates representing four
different decades played a concert at Hill Auditorium entitled "Michigan
Revisited." Donald Williams (1969), Dennis Schmidt (1978), Joseph Galema
(1982), and Ronald Prowse (1992) played music of Bach, Franck, Vierne, and
Persichetti.

The most unusual of the recitals was played at Hill
Auditorium on Tuesday evening by Alexander Frey, a U-M graduate who now lives
in Berlin, Germany. It was a recital of both organ and piano music, but the
choices seemed to be a bizarre combination of actual organ pieces,
transcriptions, and an organ/piano duet he was able to play using the new
performance-recording system on the Hill organ. The program ended with the
virtuosic "Toccata" from Jongen's Symphonie Concertante
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All in all, this was a wonderful conference in tribute to a
remarkable woman who has established enduring legacies of organ teaching,
commissioning organ works, and leading historic organ tours. Brava! to Marilyn
Mason on your 50 years of teaching at the University of Michigan.

--Dennis Schmidt, DMA

Bach Festival of Philadelphia