Convention Day 5 June 27

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f r i d ay j u n e 27, 2014

Via Facciolati, 166Padova 35127 Italy

39-049-750-666

Harbin Concert Hall Harbin, People’s Republic

of China

Härnösand Cathedral Härnösand, Sweden

Builders of Fine Pipe Organs to the Worldwww.ruffatti.com

St Mel’s CathedralLongford, Ireland

Christ Cathedral(Crystal Cathedral)

Garden Grove, CaliforniaRestoration

Church of S. Giovanni EvangelistaQuartu S. Elena, Sardinia, Italy

St. Patrick’s College and National Seminary

Maynooth, Ireland

Visit us in Boston • Booths 619/718

EbonyandPearl.com

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2015 AMERICAN GUILD OF ORGANISTS SOUTHEAST REGIONAL CONVENTION CHARLOTTE, NORTH CAROLINA JULY 1-4, 2015 www.agocharlotte2015.org EXPERIENCE QUEEN CITY GRANDEUR WITH FLOURISHES OF FRANCE

FRENCH CONNECTIONS

Renée Anne Louprette Olivier Latry Ned Rorem

Herndon Spillman Paige Whitley-Bauguess David Conte

Jack Mitchener Stephen Tharp Mary Louise Bringle

DIVERSE • DYNAMIC • DIVINE

Harry Huff Atlanta Master Chorale Linda Dzuris Robert McCormick Charlotte Children’s Choir Jesse Eschbach William Bradley Roberts Renaissance Mark Glaeser Dorothy Papadakos Charlotte Bronze Robert Burns King Robert Ridgell Charlotte Symphony Brass Margaret Mueller Patrick Scott Eric Nelson

Michael Barone, Convention Host Host–Senior Executive Producer

American Public Media’s™ PIPEDREAMS®

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Carus Organ Music New Issues – New Innovations

Jon Laukvik

Historical Performance Practice inOrgan PlayingPart 2 · The Romantic Period

Carus

Laukvik: Historical Perform

ance Practice in Organ Playing, Part 2 · The R

omantic Period

Part 2 of the series Historical Performance Practice in Organ Playing by Jon Laukvik is the continuation of Part 1, “An Introduction based on se lected Organ Works of the 16th–18th Centuries” (Carus 60.003),which deals with the repertoire up to and including the Classical period.Part 2 is concerned with the interpretation of organ music in Germanyand France in the years between ca. 1800 and 1930. A further volume,with contributions by several authors (ed. Jon Laukvik), will deal withthe interpre tation of organ music in the 20th century (modern era andavant-garde).

CarusCV 60.005ISBN 978-3-89948-136-5

www.carus-verlag.com

Max Reger – The Complete Organ Music in 7 volumesPublished by the Max Reger Institute and Carus (in the “Reger Edition”). A hybrid edition combining traditional editorial methods with a digital medium (DVD) used to store facsimiles of all relevant sources for each of these works – sources can be studied, compared and reviewed at a glance.

5 volumes have been published to date:4 Chorale Fantasias for Organ4 Fantasias and Fugues, Variations, Sonatas, Suites I and II (2 vols.)4 Chorale Preludes 4 Organ Pieces I

Carus Organ Music – Over 500 works availableThe complete organ works of Louis Vierne and J. G. RheinbergerMozart’s 17 Church Sonatas · Handel’s Organ Concertos (Nos. 7–16, co-editor Jon Laukvik),Tournemire and much more!

New IssuesOrgano Pleno – A practical collection containing 140 short pieces from the 17th and 18th centuries, including preludes, fugues, toccatas and versettes – pieces perfectly suited as preludes, postludes and for other occasions.

Pastorale – Pastoral Music for Organ, Vol. 1 – A rich selection of Christmas music, ideally suited for services and concert, it features a broad range of styles with music from Italy, Switzerland, France, and England, including works by Charpentier, Corelli, Dandrieu, Handel, Manfredini, Pasquini, Smith, Stanley, and others.

An historical-practical basis for informed performance, by one ofEurope’s leading scholars of organ music

4 The Baroque and Classical periods, Vol. 14 The Romantic Era, Vol. 2

Jon Laukvik Historical Performance Practice in Organ Playing

We look forward meeting you at the Carus booth at the AGO!

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Kenrick-Glennon Seminary, St. Louis, Missouri III Manual/38 Ranks - Concept Design

2015 Installation

Kenrick-Glennon Seminary, St. Louis, Missouri has recently commissioned our firm to build a new III manual, 38 rank pipe organ for their chapel. Other upcoming installations for the 2014 - 2015 calendar year include:

Iglesia Ni Cristo, Central Temple - Quezon City, Philippines New IV Manual, 50 Ranks First Presbyterian Church Galveston, Texas New III Manual, 52 Ranks First Lutheran Church Galveston, Texas New III Manual, 24 Ranks First Presbyterian Church, Jacksonville, Alabama Rebuild of Moller with Additions Greek Orthodox Cathedral, Atlanta, Georgia New Console & Additions

Please Let Us Know How We Can Be Of Service To You

A.E. Schlueter Pipe Organ Company

P.O. Box 838, Lithonia, Georgia 30058 (770) 482-4845 • (770) 484-1906 Fax • www.pipe-organ.com

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c o n v e n t i o n e v e n t s — f r i d ay

6 :00 am–10:00 pm Registration open

a f u l l d ay i n b o s t o n ( g r o u p a )

9 :00–10:00 am Worship: Morning Service with St. Paul’s Choir School Basilica and Shrine of Our Lady of Perpetual Help (Mission Church), Boston

10 :30–11:30 am Concert: Thierry Escaich Basilica and Shrine of Our Lady of Perpetual Help (Mission Church), Boston

11 :30 am–1:00 pm Break/Travel to Marriott Hotel

1 :00–2:00 pm Workshops and Scholarly Papers Marriott Copley Place Hotel, Boston (unless otherwise stated)

2 :00–2:30 pm Break/Travel

2 :30–3:30 pm Psalm-Singing & Improvisation Festival: Bruce Neswick and Pamela Ruiter-Feenstra Old South Church, Boston

Concert: Chelsea Chen St. Cecilia Parish, Boston

3 :30–4:00 pm Break/Travel to Marriott Hotel 4 :00–5:00 pm Workshops and Scholarly Papers

Marriott Copley Place Hotel, Boston (unless otherwise stated) 5 :00–8:00 pm Break/Travel to The Mother Church, The First Church of Christ, Scientist, Boston

8 :00–10:00 pm Saint Cecilia Concert: Stephen Tharp The Mother Church, The First Church of Christ, Scientist, Boston

10 :00–10:30 pm Travel to Marriott Hotel

10:30 pm–midnight Gala Closing Reception with the Berklee Jazz Organ Group Exhibit Hall, Marriott Copley Place Hotel, Boston

a g o b o s t o n 2014

f r i d ay at a g l a n c e

june 27, 2014

c o n t i n u e d > > >

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a f u l l d ay o u t s i d e b o s t o n ( g r o u p b )

7 :00–7:30 am Load buses, Marriott Copley Place Hotel, Boston

7 :30 am Buses depart for Wellesley

8 :30–9:30 am Concert: Kimberly Marshall Houghton Memorial Chapel, Wellesley College

9 :30–10:15 am Travel to St. Andrew’s Episcopal Church, Wellesley

10 :15–11:15 am Concert: Renée Anne Louprette St. Andrew’s Episcopal Church, Wellesley

11 :15 am–12:00 pm Travel to Village Church, Wellesley

12 :00–1:00 pm Boxed lunch provided, Village Church, Wellesley

1 :15 pm Buses depart for Groton

2 :15–3:15 pm Concert: Jonathan Ortloff Shanklin Music Hall, Groton

3 :15 pm Buses depart for Methuen

4 :15–5:15 pm Concert: Kola Owolabi Methuen Memorial Music Hall

5 :15 pm Buses depart for Boston

6 :30–8:00 pm Break/Travel to The Mother Church, The First Church of Christ, Scientist, Boston Follow Group A evening schedule.



r e n é e a n n e l o u p r e t t e c h e l s e a c h e n b ru c e n e s w i c k

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a m o r n i n g e x c u r s i o n o u t s i d e b o s t o n ( g r o u p c )

8 :30–9:00 am Load buses, Marriott Copley Place Hotel, Boston

9 :00 am Buses depart for Wellesley

10 :00–11:00 am Concert: Kimberly Marshall Houghton Memorial Chapel, Wellesley College

11 :00–11:45 am Travel to St. Andrew’s Episcopal Church, Wellesley

11 :45 am–12:45 pm Concert: Renée Anne Louprette St. Andrew’s Episcopal Church, Wellesley

12 :45 pm First buses depart for Boston Optional break in Wellesley Center

2 :30 pm Late bus departs for Boston

Follow Group A afternoon and evening schedules.

a n a f t e r n o o n e x c u r s i o n o u t s i d e b o s t o n ( g r o u p d )

Follow Group A morning schedule through 11:30 am.

11 :30 am–12:30 pm Boxed lunch provided, Basilica and Shrine of Our Lady of Perpetual Help (Mission Church), Boston

12 :30–12:45 pm Load buses, Basilica and Shrine of Our Lady of Perpetual Help (“Mission Church”), Boston

(No pick-up from Marriott)

1 :00 pm Buses depart for Methuen

2 :15–3:15 pm Concert: Kola Owolabi Methuen Memorial Music Hall

3 :15 pm Buses depart for Groton

4 :15–5:15 pm Concert: Jonathan Ortloff Shanklin Music Hall, Groton

5 :15 pm Buses depart for Boston

6 :30–8:00 pm Break/Travel to The Mother Church, The First Church of Christ, Scientist, Boston

Follow Group A evening schedule.



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wa l k i n g d i r e c t i o n s

friday in boston

8:30 am

Directions from Marriott Hotel to Mission Church 1545 Tremont Street

25 minu tes

From Marriott Hotel, turn RIGHT on Huntington Ave. Turn RIGHT on Dartmouth St. to Back Bay T Station. Take Orange Line subway OUTBOUND (in the direction of Forest Hills) 3 stops to Roxbury Crossing. Exit T station

and turn LEFT on Tremont St. to Mission Church.

note: This walk on Tremont St. is 5 blocks slightly uphill. There is a bus, #66 to Harvard, across the street from the Roxbury Crossing T Station that will take you to Mission Church. You will need to allow 20 minutes extra travel time to use this bus (it does not run frequently), and it will be very crowded at this hour.

Directions from Mission Church to Marriott Hotel

25 minu tes

As you exit Mission Church, turn LEFT on Tremont St. and return to Roxbury Crossing T Station. Take Orange Line INBOUND (in the direction of Oak Grove) 3 stops to Back Bay T Station. Turn RIGHT as you exit Back Bay

Station. Turn LEFT on Stuart St. Marriott Hotel will be ahead on your left.

12:45 pm

Directions from Marriott Hotel to Trinity Church 206 Clarendon Street

5 minu tes.

As you exit the Marriott Hotel, turn RIGHT on Huntington Ave. At Copley Square, cross Dartmouth St. and walk straight ahead to Trinity Church.

Directions from Marriott Hotel to Old South Church 645 Boylston Street

6 minu tes.

As you exit the Marriott Hotel, turn RIGHT on Huntington Ave. Turn LEFT on Dartmouth St. (The Public Library will be on your left.) Walk one block on Dartmouth St. Old South Church is at the intersection of Dartmouth and

Boylston Streets.

Directions from Marriott Hotel to St. Cecilia Parish 18 Belvidere Street

15 minu tes

As you exit Marriott Hotel, turn LEFT on Huntington Ave. Turn RIGHT at West Newton St. West Newton St. becomes Belvidere St. on the other side of Huntington Ave. Continue on Belvidere St. towards to Hilton Hotel. St. Cecilia

Parish will be ahead on Belvidere St. on your right.

Scan these handy QR codes on your smartphone for customized directions from your current location! Requires Google Maps and an app such as Scan or Red Laser.

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wa l k i n g d i r e c t i o n s

Directions from St. Cecilia Parish to Marriott Hotel

15 minu tes.

As you exit St. Cecilia Parish, turn LEFT on Belvidere St. and continue to Huntington Ave. Turn LEFT on Huntington Ave. And continue straight ahead to the Marriott Hotel.

Directions from Marriott Hotel to The Mother Church 250 Massachusetts Avenue

10 minu tes

As you exit Marriott Hotel, turn LEFT on Huntington Ave. Turn RIGHT at Massachusetts Ave. Walk one block. Mother Church will be on your right.

Directions from Mother Church to Marriott Hotel

10 minu tes

As you exit Mother Church, turn LEFT on Massachusetts Ave. Turn LEFT on Huntington Ave. The Marriott Hotel will be ahead on your right.

COLIN LYNCHConcert OrganistAssociate Director of Music & Organist

Trinity Church in the City of Boston

“...enormous style and aplomb. His technique and musicality seem flawless...a tour-de-force...”

The Journal of the Association of Anglican Musicians

FOR MORE INFORMATION AND CONCERT INQUIRIES:www.colinlynchorgan.com

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The project will return the organ to its original 1926 specification using existing and vintage pipework, while judiciously adding upper-work to each division in the style and voicing of the instrument’s original era.

The three-manual instrument over six divisions will include a new floating Solo division, bringing the tonal resources of the organ to 60 ranks.

Austin Organs, Inc. of Hartford, Connecticut, and The First Church of Nashua, New Hampshire, are pleased to collaborate on this historic renovation project.

Completion is slated for fall 2015.

Soli Deo Gloria!

1 Concord Street Austin Organs, Inc.Nashua, NH 03064 Hartford, CT 01605www.firstchurchnashua.org www.austinorgans.com

Rev. James S. Chaloner, Senior MinisterRev. Dr. Jeffrey C. Evans, Associate MinisterPatricia C. Harris, Minister of Christian EducationJoseph R. Olefirowicz, Minister of Music

THE FIRST CHURCH (UCC) of NASHUA, NEW HAMPSHIRE

is pleased to announce the restoration and tonal expansion of the 1926 Anderson Memorial Organ, Austin Organ Co., Opus 1406.

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w o r s h i p : m o r n i n g p r ay e r

c o n t i n u e d > > >

Lord have mercy,Christ have mercy,Lord have mercy.

Solemnity of Our Lady of Perpetual Help

Friday, June 27, 2014, 9:00 am

Basilica and Shrine of Our Lady of Perpetual Help (Mission Church), Boston

Introit Kyrie eleison Ivan Božičević (b. 1961)Winner of the 2014 AGO/ECS Publishing Award in Choral Composition

Kyrie eleison,Christe eleison,Kyrie eleison.

Invitatory

Celebrant All

All continue

The Choir of St. Paul’s | Harvard SquareJohn Robinson, conductorDr. Jonathan Wessler, organist

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Hymn Hail, Queen of Heaven, the Ocean Star stell a



1 Hail,2 O3 So4 And

Queengenjournwhile to

erstle,of

himinchaste,heaven,

whothisandthe

reignsvalespoto

aof

lesscean

bove,tears,maid,star,

intowe

guide

Godthee,sinof

headblestnersthe

one,admakewan

invoour

derer

-

- -- - -

- - -- -

percate,prayershere

sonswe

throughbe

three,cry;thee;low:

thepitre

thrown

sourceymindon

ofourthy

life’s

life,sorSonsurge,

ofrows,thatwe

grace,calmheclaim

ofourhasthy

love,fears,paidcare;

-

- --

-

homandthesave

agesootheprice

us

wewith

offrom

payhopeourper

onourinil

bendmis

iand

eder

quifrom

knee.y.ty.

woe.

DoRefVir

Moth

thou,ugeginer

brightin

mostof

Queen,grief,pure,

Christ,

- -

- - -- - - -

- -

StarStarStarStar

ofofofof

thethethethe

Sea,Sea,Sea,Sea,

praypraypraypray

forforforfor

thythethethe

chilmournsinwan

dren,er,

ner,derer,

praypraypraypray

forforforfor

me.me.me.me.

-

---

Words: John Lingard (1771–1851); music: Henri F. Hemy (1818–1888).

Hail, Queen of Heaven, the Ocean Star

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Psalmody O God, thou art my God Henry Purcell (1659–1696)

O God, thou art my God: early will I seek thee.My soul thirsteth for thee,my flesh also longeth after theein a barren and dry land where no water isThus have I looked for thee in holiness,that I might behold thy power and glory.For thy loving kindness is better than life itself:My lips shall praise thee.As long as I live will I magnify thee on this mannerand lift up my hands in thy Name.Because thou hast been my helper,therefore under the shadow of thy wings will I rejoice.Hallelujah.

—Psalm 63:2–9

Canticle The Benedicite Francis Jackson (b. 1917)

O all ye Works of the Lord, bless ye the Lord : praise him, and magnify him forever.O ye Angels of the Lord, bless ye the Lord : praise him, and magnify him forever.O ye Heavens, bless ye the Lord : praise him, and magnify him forever.O ye Waters that be above the Firmament, bless ye the Lord : praise him, and magnify him forever.O all ye Powers of the Lord, bless ye the Lord : praise him, and magnify him forever.O ye Sun and Moon, bless ye the Lord : praise him, and magnify him forever.O ye Stars of Heaven, bless ye the Lord : praise him, and magnify him forever.O ye Showers and Dew, bless ye the Lord : praise him, and magnify him forever.O ye Winds of God, bless ye the Lord : praise him, and magnify him forever.O ye Fire and Heat, bless ye the Lord : praise him, and magnify him forever.O ye Winter and Summer, bless ye the Lord : praise him, and magnify him forever.O ye Dews and Frosts, bless ye the Lord : praise him, and magnify him forever.O ye Frost and Cold, bless ye the Lord : praise him, and magnify him forever.O ye Ice and Snow, bless ye the Lord : praise him, and magnify him forever.O ye Nights and Days, bless ye the Lord : praise him, and magnify him forever.O ye Light and Darkness, bless ye the Lord : praise him, and magnify him forever.



c o n t i n u e d > > >

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O ye Lightnings and Clouds, bless ye the Lord : praise him, and magnify him forever.O let the Earth bless the Lord : yea, let it praise him, and magnify him forever.O ye Mountains and Hills, bless ye the Lord : praise him, and magnify him forever.O all ye Green Things upon the Earth, bless ye the Lord : praise him, and magnify him forever.O ye Wells, bless ye the Lord : praise him, and magnify him forever.O ye Seas and Floods, bless ye the Lord : praise him, and magnify him forever.O ye Whales, and all that move in the Waters, bless ye the Lord : praise him, and magnify him forever.O all ye Fowls of the Air, bless ye the Lord : praise him, and magnify him forever.O all ye Beasts and Cattle, bless ye the Lord : praise him, and magnify him forever.O ye Children of Men, bless ye the Lord : praise him, and magnify him forever.O let Israel bless the Lord : praise him, and magnify him forever.O ye Priests of the Lord, bless ye the Lord : praise him, and magnify him forever.O ye Servants of the Lord, bless ye the Lord : praise him, and magnify him forever.O ye Spirits and Souls of the Righteous, bless ye the Lord : praise him, and magnify him forever.O ye holy and humble Men of heart, bless ye the Lord : praise him, and magnify him forever.O Ananias, Azarias and Misael, bless ye the Lord : praise him, and magnify him forever.

—Daniel 3:57–88, 56

Psalm 149 Tone V

Antiphon (Boys, then All repeat)(O Virgin) Mary, how great your cause for joy * God found you worthy to bear Christ our Savior.

(Sing a new) song to the Lord, *His praise in the assembly of the faithful.(All) Let Israel rejoice in its ma-ker, *let Zion’s sons ex-ult in their king.



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Let them praise his name with dan-cing *and make music with tim-brel and harp.(All) For the Lord takes delight in his peo-ple. *He crowns the poor with salvation.

Let the faithful rejoice in their glo-ry, *shout for joy and take their rest.(All) Let the praise of God be on their lips *and a two-edged sword in their hand,

to deal out vengeance to the na-tions *and punishment on all the peoples;(All) to bind their kings in chains *and their nobles in fet-ters of ir-on;

to carry out the sentence pre-ordained; *this honor is for all his faithful.(All) Glory to the Father, and to the Son, *and to the Ho-ly Spirit:

as it was in the beginning, is now, *and will be for ever. Amen.

Antiphon (All)O Virgin Mary, how great your cause for joy * God found you worthy to bear Christ our Savior.

Reading Galatians 3:22–4:7

ResponsoryCelebrant: When the fullness of time had come, God sent to earth his own Son, Born of a woman, subject to the lawAll: to deliver those under the law.

Celebrant: Because of His great love for us, God sent his own Son In the likeness of our sinful fleshAll: to deliver those under the law.



c o n t i n u e d > > >

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Canticle Benedictus Scott Perkins (b. 1980)

First performance, commissioned by the AGO 2014 National Convention in Boston

Benedictus Dominus Deus Israel, quia visitavit, et fecit redemptionem plebi suæ;Et erexit cornu salutis nobis: in domo David pueri sui.Sicut locutum est per os sanctorum, qui a sæculo sunt, prophetarum eius,

Salutem ex inimicis nostris, et de manu om-nium, qui oderunt nos;Ad faciendam misericordiam cum patribus nostris: et memorari testamenti sui sancti.

Iusiurandum, quod iuravit ad Abraham pa-trem nostrum, daturum se nobis:Ut sine timore, de manu inimicorum liberati, serviamus illi.In sanctitate, et iustitia coram ipso, omnibus diebus nostris.Et tu, puer, propheta Altissimi vocaberis: præi-bis enim ante faciem Domini parare vias eius:

Ad dandam scientiam salutis plebi eius: in remissionem peccatorum eorum:Per viscera misericordiæ Dei nostri: in quibus visitabit nos oriens ex alto:

Illuminare his, qui in tenebris, et in umbra mortis sedent, ad dirigendos pedes nostros in viam pacis.



Blessed be the Lord God of Israel : for he hath visited, and redeemed his people;And hath raised up a mighty salvation for us : in the house of his servant David;As he spoke by the mouth of his holy Prophets : which have been since the world began;

That we should be saved from our enemies : and from the hands of all that hate us;To perform the mercy promised to our fore-fathers : and to remember his holy Covenant;

To perform the oath which he sware to our forefather Abraham : that he would give us;That we being delivered out of the hands of our enemies : might serve him without fear;In holiness and righteousness before him : all the days of our life.And thou, Child, shalt be called the Prophet of the Highest : for thou shalt go before the face of the Lord to prepare his ways;

To give knowledge of salvation unto his people : for the remission of their sins,Through the tender mercy of our God : whereby the day-spring from on high hath visited us;

To give light to them that sit in darkness, and in the shadow of death : and to guide our feet into the way of peace.

—Luke 1:68–79

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Intercessions

Celebrant: Let us glorify our Savior, who chose the Virgin Mary for his mother. Let us ask him:All: May your mother intercede for us, Lord.

Celebrant: Savior of the world, by your redeeming might you preserved your mother beforehand from all stain of sin, keep watch over us, lest we sin.All: May your mother intercede for us, Lord.

Celebrant: You are our redeemer, who made the immaculate Virgin Mary your purest home and the sanctuary of the Holy Spirit, make us temples of your Spirit for ever.All: May your mother intercede for us, Lord.

Celebrant: King of kings, you lifted up your mother, body and soul, into heaven; help us to fix our thoughts on things above.All: May your mother intercede for us, Lord.

Celebrant: Lord of heaven and earth, you crowned Mary and set her at your right hand as queen, make us worthy to share this glory.All: May your mother intercede for us, Lord.



c o n t i n u e d > > >

Our Fa ther, who art in hea ven, hal lowed be thy Name;

thy king dom come,- - - -

thy will be done on earth as it is in hea ven.

Give us this day our dai ly bread;- -

and for give us our tres pass es as we for give those who tres pass a gainst us;- - - - - -

and lead us not in to temp ta tion,

but de liv er us from e vil.- - - - - -

Setting: traditional plainsong, arranged by John Robinson, public domain.

The Lord’s Prayer

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The Lord’s Prayer (music on previous page) at tribu tion

Celebrant: Gathering our prayer and praises into one, let us offer the prayer Christ himself taught us.

Concluding Prayer

Lord God,give to your people the joyof continual health in mind and body.With the prayers of the Virgin Mary to help us,guide us through the sorrows of this lifeto eternal happiness in the life to come.Grant this through our Lord Jesus Christ, your Son,who lives and reigns with you and the Holy Spirit,one God, for ever and ever.Amen.

Dismissal

May the Lord bless + us,protect us from all eviland bring us to everlasting life.Amen.

Recessional Hymn Hail, Holy Queen Enthroned Above salve regina coelitum (music on opposite page)

Voluntary Toccata, fugue et hymne sur “Ave maris stella,” Op. 28 Flor Peeters (1903–1986)

Tandy Reussner, DMA

Available for Recitals, Master classes and Lectures on the

Life and Work of David Craighead

[email protected]

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1 Hail,2 Our3 To4 This

holife,theeearth

lyourweis

Queensweet

cry,but

ennesspoor

a

throned

heresonsvale

abeofof

bove,low,Eve,tears,

O Ma

ri a!

Hail,OurToA

- - -- -

- -

Motherhopetheeplace

ofinweof

mersorsigh,ban

cyrowweish

andand

mourn,ment,

ofinweof

love,woe,grieve,fears,

O Ma

ri a!

Tri umph

--

- -

-- -

all ye

cher u bim,

sing with us ye

ser a phim.

Heaven and earth re

- - - - -

sound the hymn.

Sal ve,

sal ve,

sal ve, Re

gi na!

- - - --

Words: Salve Regina, attributed to Hermannus Contractus (1013–1054); translated in The Roman Hymnal, New York, 1884.

Music: Melchior Ludwig Herold (1753–1810); hamonization by Healey Willan (1880–1868), copyright © Willis Music Co.

Turn then, most gracious advocate, O Maria!

Toward us thine eyes compassionate, O Maria!

5 6 When this our exile is complete, O Maria!

Show us thy son, our Jesus sweet, O Maria!

7 O clement, gracious, Mother sweet, O Maria!

O Virgin Mary, we entreat, O Maria!

Hail, Holy Queen Enthroned Above

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c o n c e r t : t h i e r r y e s c a i c h

Thierry Escaich teaches improvisation and composition at the Paris Conservatoire, and is organist at the church of Saint-Étienne-du-Mont in Paris, where he succeeded Maurice Duruflé. He tours internationally as a performing artist and composer; his concert programs feature a large repertoire in addition to his own works and improvisations, for which he is world-renowned. As a composer, he was discovered in 1989, when he received the Prix Blumenthal from the Fonda-tion franco-américaine Florence Blumenthal, and to date has written more than one hundred works. Other awards for his compositions include the Prix des Lycéens (2002), the Grand Prix de la musique symphonique from La Société des auteurs, compositeurs et éditeurs de musique (2004), and, on three occasions, the Victoires de la Musique Composer of the Year (2003, 2006, 2011).

Although he mainly composes for the organ, M. Escaich is open to all types of genres and forms, always exploring new sound horizons. Recent compositions include a ballet writ-ten for New York City Ballet, and an opera based on Victor Hugo’s Claude Gueux, with a libretto by Robert Badinter, premiered by Opéra de Lyons in March 2013. Since 2011, he has been associate composer with the Paris Chamber Orches-tra and previously held similar positions with the Orchestre National de Lille, the Orchestre de Bretagne, and the Orches-tre National de Lyon.

M. Escaich has many recordings available on the Accord/Universal label—featuring both solo organ performances and recordings of his own compositions—which have received numerous international awards and critical acclaim.

Thierry Escaich, organ

Basilica and Shrine of Our Lady of Perpetual Help (Mission Church), BostonFriday, June 27, 2014, 10:30 am

Präludium und Fuge g-Moll, WoO 10 Johannes Brahms (1833–1897)

“Herzliebster Jesu,” Op. 122 (posth.), No. 2 Johannes Brahms (b. 1965)Étude-Choral No. 3, “Herzliebster Jesu,” choral de la Passion Thierry Escaich

“In dir ist Freude,” BWV 615 from Orgelbüchlein Johann Sebastian Bach (1685–1750)Étude-Choral No. 1, “Nun freut euch, ihr Christen,” choral de Noël (Adeste Fidelis) Thierry Escaich

“Christ ist erstanden,” BWV 627 from Orgelbüchlein Johann Sebastian Bach

Étude-Choral No. 5, “Christ ist erstanden,” choral de Pâques Thierry Escaich

From Quatrième Symphonie pour Orgue, Op. 32 Louis Vierne (1870–1937)

Romance Final

Tryptique Symphonique Improvisé On two submitted themes Thierry Escaich

Program Sponsor:

This program is generously supported in full by the Florence Gould Foundation.

Thierry Escaich is represented by Karen McFarlane Artists, Inc.

Geo. S. Hutchings organ, Opus 140, 1897, rebuilt in 1968 by the Lahaise Brothers and prepared today by William Catanesye.

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p r o g r a m n o t e s

Vierne completed his Fourth Symphony in August 1914, while on vacation on the Atlantic coast at La Rochelle. It was a last idyll before the onset of World War I, a conflict that claimed his son, a brother, and many former students. The symphony’s dedicatee, William C. Carl, had met Vierne in Paris while a student of Alexandre Guilmant. Back in New York, Carl of-fered the manuscript to G. Schirmer, who accepted it for pub-lication, with editorial additions by Carl, in 1917. From thence it came to the attention of Francis Snow, organist at Boston’s Trinity Church, who gave its world premiere on November 7, 1917, at Second Church, an exuberant essay in American Colo-nial Revival style by architect Ralph Adams Cram, most noted for his work in Gothic Revival style. Vierne himself would travel to Boston in 1927, performing with orchestra in Jordan Hall and in recital at Trinity Church, where he greatly admired the work of Ernest M. Skinner.

The Étude-Chorals, a cycle of six works based on chorale themes, was commissioned by the Church of St. Peter and St. Paul in Rattingen, Germany, in 2010, and will be published shortly by Schott. In this concert, three will be preceded by treatments of the same chorales by Johann Sebastian Bach or Johannes Brahms.

French organists being as prone to purchase a score published in America as a bottle of wine from California, Vierne’s Fourth languished unheard in its native land for six years. Not until 1923 did André Marchal include it in his professional con-cert debut at the Salle Berlioz in Paris. Performances remain uncommon, yet its final two movements easily hold their own with the best of Vierne’s output. Only the Adagio of the Third Symphony rivals the Fourth’s Romance for a lyricism as elegant as it is unabashed. A rare instance of cyclical unity informs the Final, in which a curiously sinuous theme from the first movement returns as a moto perpetuo of manic persis-tence. Jabbed by octave leaps and hounded by tolling unisons, the theme is finally silenced by a series of eleven hammer-blow chords. Vierne wrote to Marchal, “You have admirably understood and felt this work which, brightened for a moment by the fragments of a happy dream, finishes in a fever.”

Herzliebster Jesu seizes upon the repeated-note motive that opens the chorale, transforming it into a series of chords that dart from one keyboard to another as an echo effect. A second motive, derived from the chorale’s following phrase, forms a series of legato chords that move at an unstable tempo, im-parting a mood of persistent anxiety.

Nun freut euch, ihr Christen is a luminous work, incorporating dance-like rhythms of both added and reduced note values, comments upon the Christmas text as it unfolds around the Ad-este fideles theme. Quartal harmonies and polytonality impart a sense of vivid alertness with frequent use of double pedal.

In Christ ist erstanden, a broad and majestic polyphony opens in the manner of a double choir. Long descending lines inter-twine in the manuals while the pedal announces a declama-tory motive based upon the chorale’s opening. As it develops further, an ostinato becomes the foundation for outbursts of chords resembling shafts of brilliant light.

Program notes © Thierry Escaich (trans. Ross Wood)

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w o r k s h o p s

june 27, 2014

f r i d ay, j u n e 2 7 , 1 : 0 0 – 2 : 0 0 p m

Church Music in FinlandTimo Kiiskinen Boylston Room, first floor, capacity 160A comprehensive guide to Finnish church music: past and present, an overview of education, choir music, organ building, and compositions.

Teaching Organ Techniques in a Holistic MannerAnnie Laver Tremont Room, first floor, capacity 160Resources and strategies for teaching healthy keyboard technique for a variety of repertoire.

How to Pass the AGO Service Playing and Colleague ExamsAndrew Scanlon St. Botolph Room, second floor, capacity 150Learn tips for passing these two exams. Recorded examples from actual exams are used to demonstrate commonly heard misunderstandings or errors, and to illustrate successful results.

Writing Grant Applications to State Arts & Humanities CouncilsCalvert Johnson AGO Committee on Grants and Development Berkeley & Clarendon Rooms, third floor, capacity 160AGO chapters and conventions always need money for programs. This workshop demonstrates how to write grant applications to state arts and humanities councils to fund concerts, workshops, and speakers.

Intermediate Choral Conducting MasterclassAnn Howard Jones Exeter & Fairfield Rooms, third floor, capacity 160Pre-selected participants will conduct workshop participants singing selected music. Dr. Jones will offer instruction on improvement in choral conducting.

To MIDI or Not to MIDI

Robert Tall A&B Salon, fourth floor, capacity 170Learn about the latest MIDI advancements from a true pioneer in the field, focusing on three important aspects of MIDI: 1) organ voices; 2) non-organ voices; and 3) sequences.

Church Concert Series: Starting, Maintaining, Building, Programming, Network, Funding, ContractBrian Bogdanowitz C&D Salon, fourth floor, capacity 170Proven ways to start or expand a concert series in your church, covering: artistic programming, musician contracts, marketing and social media, networking, and fundraising.

Sponsored by the Toledo AGO Chapter.

Choral ReadingOxford University Press Gloucester Room, third floor, capacity 300

Masterclass on Organ ImprovisationThierry Escaich Trinity Church in the City of BostonOne of today’s leading concert organists and improvisa-teurs, Thierry Escaich coaches participants on the art of organ improvisation in an open-lesson format.

Sponsored by the Florence Gould Foundation.

4 : 0 0 – 5 : 0 0 p m

Help! My Bucket is Always Full! Time Management for MusiciansWill Sherwood Boylston Room, first floor, capacity 160Musicians, often holding multiple jobs, are overwhelmed with commitments needing prioritization. Discover how to optimize productivity energies to reach your fullest potential.

Sponsored in part by the Worcester AGO Chapter.

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Discovering the Organ Library and Archives of the Boston AGO ChapterPeter Sykes Tremont Room, first floor, capacity 160An exploration of the musical scores and archives of one of the largest collections of organ music in the world—more than fifty thousand titles. Visit www.organlibrary.org.

Changing Stops: American Organs and Registration in the Nineteenth CenturyBarbara Owen AGO Committee on Professional Education Exeter & Fairfield Rooms, third floor, capacity 160Tonal and mechanical resources of American organs constantly evolved during the nineteenth century, particularly during the latter half. Learn about the influence of these changes on American compositions and their registration.

Sponsored by the Merrimack Valley AGO Chapter.

Keyboard Psychohaptics: Empirical Performance and Pedagogy Research and its ApplicationsRandall Harlow A&B Salon, fourth floor, capacity 170Examine recent empirical research into the symbiotic intersection of theories of embodied music cognition with the kinesthetic of keyboard performance, and explore its ramifications and future applications.

Sponsored by the Cedar Valley AGO Chapter.

Designing Promotional MaterialsHeidi Kohne Clarendon-Berkeley, third floor, capacity 160Do you want help designing brochures? Does your chapter’s website look a bit off? Learn tips and tricks for creating print and web materials, focusing on formatting.

Choral ReadingGIA Publications Gloucester Room, third floor, capacity 300

Scott Perkins Composer of Sacred Music for Choir and Organ

“…truly eloquent choral settings…”

—Thomas Murray !Chair, Organ Department, Yale University

“The choral works of Scott Perkins show elegance, depth,

craft, and nobility. They are at once sophisticated and singable. I recommend this music highly.”

—William Weinert !

Editor, American Choral Review !Director of Choral Activities, Eastman School of Music

Hear his commissioned anthem at the 2014 National Convention of the

American Guild of Organists

www.ScottPerkins.org www.EncoreMusicCreations.com

20


p s a l m f e s t !

PsalmFest!Organ improvisation featuring metrical Psalmody and robust singingBruce Neswick & Pamela Ruiter-Feenstra, organ improvisateursOld South Church, BostonFriday, June 27, 2014, 2:30 pm

From their inception, Psalms were sung.Psalms express the gamut of human experience.Psalms dress in diverse costumes around the world through each era.For these reasons, we chose to feature Psalms in this PsalmFest:Organ improvisation featuring metrical Psalmody and robust singing.

In the first half of the program, we explore Psalms that speak of God’s guidance through the ages, culminating with musical instruments and “Hallelujahs” in the Jewish folksong setting of Psalm 150.

In the second half of the program, we begin with Psalm responses to the Exodus, enter the paradox of praise and despair in the world, and paint vivid pictures of creation.

We conclude by remembering lifetimes of music sounding, honoring how our music-making leads us to “that new world we glimpse through song.”

“Neumark” Dances: Chorale Prelude on “Wer nur den lieben Gott” (2013) Lisa Bielawa (b. 1968)First performance, commissioned by the AGO 2014 National Convention in Boston

Psalm 55: If thou but trust in God to guide thee neumarkAn old favorite, creatively led by Bruce Neswick

Psalm 90: Eternal Father, God of grace morton streetFresh tune and harmonies composed by young Korean composer Texu Kim (b. 1980)

Psalm 150: Hal’luhu, hal’luhu hal’luhuA traditional Jewish folksong

Psalm 114: Let My People Go Traditional spiritualAn African-American spiritual, combined with Sprechstimme, denouncing injusticesthat continue to plague us, such as racism, child abuse, sexism, and homophobia

Toccata in G Minor, Op. 6 Marianne Ploger (b. 1953) Commissioned by David Arcus, Ploger’s brilliant toccata paints the Psalm-114 depiction of the Israelites rushing into the Red Sea, chased by Egyptian captors

Psalms 9–10: Give thanks to the Lord with your whole heart ethiopian mode iiA new setting, inspired by sixth-century Ethiopian Orthodox Church chants

Psalm 65: Praise is your right, O God in Zion genevan 65The timeless nature of the Genevan Psalter beckons cavernous breaths and roof-raising singing

For Remembered Music Sounding trenneyTom Troeger’s profound text with Pamela Ruiter-Feenstra’s vibrant setting sends us off celebratinghow music lifts our spirits, creating “that new world we glimpse through song”

Organ prepared by Jonathan Ambrosino.

21


p s a l m f e s t !

Bruce Neswick is associate professor of organ at the Indiana University Jacobs School of Music, having come to that post from the Cathedral of Saint John the Divine in New York City, where he served as director of music and conducted the Choir of Girls, Boys, and Adults. He is a graduate of Pacific Lu-theran University and the Yale Institute of Sacred Music, and holds Fellowship certificates from both the American Guild of Organists (AGO) and the Royal School of Church Music. His teachers included David Dahl, Margaret Irwin-Brandon, Gerre Hancock, Robert Baker, and Lionel Rogg. A winner of three improvisation competitions—including the first Na-tional Competition in Organ Improvisation, held at the AGO’s 1990 national convention in Boston—he is also a published composer of organ and choral music. He has performed and taught at many AGO regional and national conventions. He is represented by Truckenbrod Concert Artists.

Pamela Ruiter-Feenstra resuscitates historic improvisation pedagogy in her acclaimed Bach and the Art of Improvisation (professional-level), Improvisation Endeavors (entry-level), and Muse (a cappella works for children). She performs solo recitals throughout North America and Europe, early music concerts with Voci dell’Anima, composes organ and choral works, and presents and teaches improvisation courses on historical instruments nationally and internationally. Her mentors include Delbert Disselhorst, Delores Bruch, Harald Vogel, William Porter, Edoardo Bellotti, historic instruments and builders, and decades of colleagues, collaborators, and students. From 1989–2008, she served as professor of music at Bethany College and Eastern Michigan University, and from 1996–2002 as senior researcher at the Göteborg Organ Art Cen-ter (Sweden). She is a Fleur De Son Classics recording artist; her recordings include Organ Works of Franz Tunder; Bach, Improvi-sations, and the Liturgical Year; Froberger on the 1658 De Zentis; and Bach’s Teacher Böhm and Improvisation.

Composer-vocalist Lisa Bielawa is a 2009 Rome Prize winner in Musical Composition. She takes inspiration for her work from literary sources and close artistic collaborations.

Born in San Francisco into a musical family, Lisa Bielawa played the violin and piano, sang, and wrote music from early childhood. She moved to New York two weeks after receiving her B.A. in Literature in 1990 from Yale Uni-versity, and became an active participant in New York musical life. She began touring with the Philip Glass Ensemble

in 1992, and has also toured with composers such as John Zorn, Anthony Braxton, and Michael Gordon. In 1997 she co-founded the MATA Festival, which celebrates the work of young composers.

Bielawa was appointed Artistic Director of the acclaimed San Francisco Girls Chorus in 2013 and is an artist-in-resi-dence at Grand Central Art Center in Santa Ana, California.

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c o n c e r t : c h e l s e a c h e n

Chelsea Chen, organViviane Waschbüsch, violin

St. Cecilia Church, BostonFriday, June 27, 2014, 2:30 pm

Prelude and Fugue in D Major, BWV 532 Johann Sebastian Bach (1685–1750)

Three Taiwanese Folksongs (2007) Chelsea Chen (b. 1983)

Four Seasons Cradle SongSong of the Country Farmer

I Got Rhythm (1930) George Gershwin (1898–1937)

arr. Roderick Gorby

Prélude et danse fuguée (1964) Gaston Litaize (1909–1991)

Two Pieces for Violin and Organ (2007) Chelsea Chen

Rice DumplingsSpring BreezeViviane Waschbüsch, violin

Enchantement, for Violin and Organ Viviane Waschbüsch (b. 1989)

Viviane Waschbüsch, violin

Prélude et fugue no. 3 en sol mineur from Trois Préludes et Fugues, Op. 7 (1912) Marcel Dupré (1886–1971)

Chelsea Chen is represented by Karen McFarlane Artists, Inc.

1999 Smith & Gilbert organ prepared by Timothy Smith

Organist and composer Chelsea Chen (b. 1983) is internation-ally renowned for her concerts of “rare musicality” and “lovely lyrical grandeur,” and a compositional style that is “charm-ing” and “irresistible” (Los Angeles Times). She has delighted audiences throughout the United States, Europe, Australia, and Asia in venues such as Singapore’s Esplanade, Hong Kong’s Cultural Centre, Kishinev’s National Organ Hall, and Philadelphia’s Kimmel Center. As a composer she is broaden-ing the classical organ repertoire with her works based on Asian folksongs. Her solo organ works have been featured at multiple conventions of the American Guild of Organists and her chamber music has been performed by orchestras in the United States, China, and Indonesia.

The recipient of the 2009 Lili Boulanger Memorial Award, Ms. Chen is a graduate of Juilliard and Yale, where she received her bachelor’s, master’s and Artist Diploma degrees. Her major organ teachers were Thomas Murray, John Weaver, Paul Jacobs, Monte Maxwell, and Leslie Robb, and her piano teachers were Baruch Arnon, Jane Bastien, and Lori Bastien Vickers. She has recorded multiple CDs: Reveries (2011) at Bethel University, Live at Heinz Chapel (2005) in Pittsburgh, and Treasures from the East with violinist Lewis Wong (2010). Her playing has been aired on CNN.com, Pipedreams, Hawaii Public Radio, and Taiwan’s Good News Radio.

Ms. Chen currently collaborates with German violinist and composer Viviane Waschbüsch as the VivaChe Duo. She is both artist-in-residence at the Emmanuel Presbyterian Church in Manhattan and visiting artist at Coral Ridge Presbyterian Church in Florida.

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c o n c e r t : c h e l s e a c h e n

Bach biographer Philipp Spitta (1841–1894) considered the Prelude and Fugue in D Major, BWV 532, to be “one of the most dazzlingly beautiful of all the master’s organ works.” Generally dated to the early Weimar period, the work is no-table for its charm, drama, and the unprecedented virtuosity of the pedal line. Opening with triumphant, ascending pedal scales, the prelude abruptly moves to F-sharp major before returning to D major. The second section of the prelude is of a more delicate texture, relying on a descending sequential fig-ure and chains of suspensions. The writing is extroverted and the mood cheerful until an unexpected fully diminished chord begins a series of unstable harmonies, which eventually make their way back to D major. The idiosyncratic fugue subject is divided in half by a long rest and is almost childlike in the ob-stinate insistence of the opening figure. It remains lighthearted and playful through its final pedal flourish.

Chelsea Chen researched Taiwanese vocal folk music and traditional instruments during her 2006–2007 Fulbright year in Taiwan. She composed Three Taiwanese Folksongs for organ and Two Pieces for Violin and Organ, in 2007, for a concert at

Grace Baptist Church in Taipei with violinist Daniel Chiang. Each movement features variations on early twentieth-century folk melodies. “Four Seasons” is a song about playful young lovers; “Cradle Song” is a soothing lullaby; and “Song of the Country Farmer” describes the life of a farmer in southern Taiwan. “Rice Dumplings” is about a vendor selling sticky rice wrapped in lotus leaves, a popular Taiwanese snack. “Spring Breeze” depicts the yearning for a warm breeze after a long and dreary winter.

Roderick Gorby is a composer, organist, and pianist steeped in both classical and jazz idioms. He has performed across the world as a soloist and chamber musician, and is currently a DMA candidate in composition at Florida State University, having studied organ at Juilliard. His arrangement of Gersh-win’s iconic I Got Rhythm contains jazz trio-like textures—a

Composer, violinist, and musicologist Viviane Waschbüsch is internationally renowned for her compositions, which integrate elements including quarter-tones, jazz, and flamenco. She writes chamber music, orchestral music, solo pieces, and film music. One of the most promising German musicians of her generation, she has played and interpreted her own works in concert halls in France, Germany, Switzerland, Austria, Italy, Spain, and Russia. She actively promotes a new style of violin playing while continuing the traditions of violinists and composers such as Fritz Kreisler and George Enescu. Since age thirteen, she has soloed with German orchestras and worked in contemporary music ensembles directed by major Euro-pean composers including Tilo Medek, Hans-Jürgen von Bose, and Wolfgang Rihm.

Ms. Waschbüsch is assistant professor in the Department of Musicology at the University of Saarland, where she teaches history of composition, analysis of tonal music, and analysis of contemporary music. She plays an Antonio Guadagnini from 1852.

Organist Chelsea Chen and Ms. Waschbüsch perform as the VivaChe Duo.


c o n t i n u e d > > >

2 4

solo reed, accompanying chords, and a double bass pattern in the pedals. After an introduction and two complete varia-tions on the theme, the final variation features new, crushing harmonies under the opening bars of the melody.

Gaston Litaize studied with Adolphe Marty (a student of César Franck), Marcel Dupré, and Louis Vierne. Although not as well-known as his contemporaries, Litaize made significant contributions to the repertoire. His musical language em-braces several competing currents in twentieth-century music, including non-Western scales, neoclassicism, and polytonality. Prélude et danse fuguée, written as a jury piece for the Paris Conservatoire, pairs an airy, capricious prelude with a boldly syncopated and dissonant fugue.

Viviane Waschbüsch’s Enchantement is a three-part suite for violin and organ, conceived as soloistic chamber music for both instruments. The piece mixes styles and influences from the Romantic period through contemporary music and jazz. The first movement features irregular meters and a strong dialogue (question/answer) between the violin and the organ. The second movement is slow and dreamy, evoking a feeling

of wideness and space. The third movement is a rapid moto perpetuo. The “Enchantement” theme of the second move-ment returns to close the suite. Enchantement contains special harmonic elements including quartertones and microtonal variations in the violin.

Marcel Dupré was famous for performing more than two thousand organ recitals throughout Australia, the United States, Canada, and Europe. He more than once performed the complete works of Johann Sebastian Bach entirely from memory. In 1916, he premiered his Trois Préludes et Fugues, Op. 7, at Salle Gaveau in Paris. Despite their “insurmountable difficulties”—as described by contemporaries such as Charles-Marie Widor—the pieces have become a part of the standard organ repertoire. No. 3 is a tightly constructed work in which the long, sustained melody from the prelude makes several appearances in the fugue against the fugue’s jaunty subject. A filigree of fast-moving notes characterizes the prelude, while a strong, 6/8 rhythm propels the fugue towards its climactic end.



Program notes © Chelsea Chen, David Crean, and Viviane Waschbüsch

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CELEBRATING A CENTURY OF

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AND COLORFUL ACTIVITY For program details, contact Dan Pruitt, [email protected]

For program details, contact Dan Pruitt, [email protected]

For program details, contact Dan Pruitt, [email protected]

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Come experience the Bayou City and take a fresh look at our musical traditions.

• World-class instruments

• Diverse Performances

• Dynamic Connections

• Professional Growth

JUNE 19 - 23, 2016WWW.AGOHOUSTON2016.COM

Visit booth 712 for convention details, a raffle drawing and free gift.

28

Shin-Ae ChunOrganist/Harpsichordist

Ann Arbor, Michigan

Leon W. Couch IIIOrganist/Lecturer

Birmingham, Alabama

Maurice ClercInterpreter/Improviser

Dijon, France

Joan DeVee DixonOrganist/Pianist

Bloomington, MN

Cristina Garcia BanegasOrganist/Conductor/Lecturer

Montevideo, Uruguay

Michael KaminskiOrganist

Brooklyn, New York

Richard BrasierOrganist/Editor

London, UK

Faythe FreeseProfessor of Organ

University of Alabama

Yoon-Mi LimAssoc. Prof. of Organ

SWBTS, Fort Worth, TX

Philip ManwellOrganist

Reno, Nevada

Laura EllisOrgan/Carillon

University of Florida

Sarah Mahler KraazProfessor of Music/Organist

Ripon College

Emanuele CardiOrganist/LecturerBattipaglia, Italy

Christopher MarksOrganist/Professor of Music

U of Nebraska-Lincoln

James D. HicksOrganist

Morristown, NJ

David K. LambOrganist/ConductorColumbus, Indiana

Shelly Moorman-StahlmanOrganist/Pianist

Lebanon Valley College

David F. OliverOrganist

Morehouse College

Henry FairsHead of Organ Studies

Birmingham Conservatoire

Angela Kraft CrossOrganist/Pianist/Composer

San Mateo, California

Sophie-Véronique Cauchefer-Choplin

Paris, France

Katherine MeloanOrganist

New York, New York

Ann Marie RiglerOrganist/Presenter

William Jewell College

Frederick TeardoOrganist

Birmingham, Alabama

Timothy TikkerOrganist/Composer/

ImproviserKalamazoo College, MI

Michael UngerOrganist/Harpsichordist

Cincinnati, Ohio

Maria WelnaPianist/Organist/Singer/ComposerSydney, Australia

Rodland DuoViola and Organ

Eastman School of Music/St. Olaf College

Brennan SzafronOrganist/HarpsichordistSpartanburg, S. Carolina

Michael D. BoneyOrgan/Choral

St. Michael's, Boise, ID

Johan HermansOrganist/LecturerHasselt, Belgium

Colin AndrewsAdjunct Organ Professor

Indiana University

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Anna MyeongOrganist/Lecturer

University of Kansas

Scott MontgomeryOrganist/Presenter

Champaign, Illinois

Mark LaubachOrganist/Presenter

Wilkes-Barre, Pennsylvania

Gregory PetersonOrganist

Luther College

29

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FACULTYDr. Timothy Olsen, UNCSA Kenan Professor of Organ

2015 AUDITION DATESInstrumental and Composition: January 23*; February 6*, 20*; April 3

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Photography by Brent LaFever

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c o n c e r t : k i m b e r ly m a r s h a l l

Kimberly Marshall, organ

Houghton Memorial Chapel, Wellesley CollegeFriday, June 27, 2014, 8:30 & 10:00 am

Songs and Dances from Times of Old

Galliarda ex D und Variatio, WV107 Heinrich Scheidemann (c. 1595–1663)

“Hoe losteleck” Arnolt Schlick (c. 1455–c. 1525)

Melodia à 4 voc. (1595) Johann Fischer Morungensis Tablature

Passacaglia in D Minor, BuxWV 161 Dieterich Buxtehude (1637–1707)

Three Dances from Intabolatura nova di varie sorte de balli da sonare (1551) published Antonio Gardane (1509–1569) Venetiana gagliarda Le Forze d’Hercole Passamezzo antico

From Fiori musicali (1635) Girolamo Frescobaldi (1583–1643)

Canzona dopo l’Epistola (Messa della Madonna)

Capriccio sopra la Girolmeta

Canzona in D Minor, BWV 588 Johann Sebastian Bach (1685–1750)

Pavana Lachrimae Fantasia chromatica Jan Pieterszoon Sweelinck (1562–1621)

Program Sponsor:C.B. Fisk, Inc., supporting sponsor

C.B. Fisk, Inc., Opus 72, 1982, prepared courtesy of the builder.

Kimberly Marshall is known worldwide for her compelling programs and presentations of organ music. She is an ac-complished teacher, having held teaching positions at Stanford University and the Royal Academy of Music, London. Winner of the Saint Albans International Organ Playing Competition in 1985, she has been a recitalist, workshop leader, and adjudi-cator at seven national conventions of the American Guild of Organists. From 1996 to 2000, she served as a project leader for the Göteborg Organ Research Center (GOArt).

Acclaimed as a specialist in early music, Dr. Marshall has performed on many of the most significant historical organs in Europe. She is also a noted authority on contemporary organ repertoire, especially the music of György Ligeti. Her compact disc recordings and videos display the breadth of her interests, from the music of Arnolt Schlick and sixteenth-century Italian composers to Chen Yi’s Dunhuang Fantasy. She currently holds the Patricia and Leonard Goldman En-dowed Professorship in Organ at Arizona State University.

c o n t i n u e d > > >

Sweelinck’s Fantasia chromatica is a masterpiece of counterpoint and the perfect piece with which to end this demonstration of meantone temperament.

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Today’s program explores the meantone repertoire of organ music based on songs and dances. By the fourteenth century, organists were playing music based on dance forms, as shown by the presence of estampies in the Robertsbridge Codex. Manuscripts from the fifteenth century, such as the Faenza Codex and the Buxheimer Orgelbuch, contain arrangements of polyphonic songs, demonstrating the impact of vocal music on the development of keyboard idioms. Renaissance organ music is replete with song-and-dance arrangements; these were usually ornamented intabulations that followed their models closely. During the Baroque, vocal and dance forms such as the canzona and passacaglia gained independence as stylized keyboard music.

Heinrich Scheidemann’s Galliarda is an exuberant exploration of keyboard figuration. Based on a galliard in the same key by the English composer John Bull, Scheidemann’s setting, transmitted in the Düben Tablature, was probably composed c. 1640, more than twenty-five years after he began his studies with Sweelinck, in Amsterdam. In each section of the Galliarda, Scheidemann adopts a single type of figuration, such as disjunct scale passages, triadic motion, and the octave displacement of short motives.

Arnolt Schlick was the first to publish organ music in his Tabulaturen etlicher lobgesang und lidlin (“Tablatures of a Few Sacred and Secular Songs,” Mainz, 1512). The title of the May song in this collection, “Hoe losteleck” (“How beautiful”), suggests that it is an arrangement of a Dutch vocal model. Although no song with these words has been found, a related tune was set to a text that uses springtime images to describe Christ’s cross. Another text in the same source describes Christ’s cross as a spiritual maypole. The Dutch text would not have been understood at the Heidelberg court where Schlick worked, but his polyphonic rendering would have been ap-preciated for its musical value. “Hoe losteleck” presents the complete melody, often ornamented, in the top voice.

Johann Fischer was a German composer who spent most of his life working in eastern Prussia, an area that exchanged hands between Germany and Poland until the twentieth cen-tury. His Melodia displays Italian influence; he often supports virtuosic passagework in one hand against sustained chords in the other. The contrast between contrapuntal and free sections in this sixteenth-century piece shows the origins of the fantas-tic style employed by German composers a century later.

Piet Kee has speculated that Dieterich Buxtehude composed his Passacaglia in D Minor to reflect the four phases of the moon, as a musical counterpart to the famous astronomical clock in the Marienkirche, Lübeck, where Buxtehude was organist. The piece has four tonal centers, each with seven statements of the passacaglia theme, making a total of twenty-eight, the number of days in a lunar cycle. Found in the same manuscript (Andreas Bach Buch) as Bach’s C-minor Passaca-glia, Buxtehude’s repeated theme also features an initial rising fifth and subsequent leading-tone upbeats.

In the middle of the sixteenth century, Antonio Gardane pub-lished a collection of keyboard dances that included examples of popular genres. The “Venetiana gagliarda” is in compound meter, providing six beats per bar for the five jumps (“cinq pas”) of the robust dance. “Le Forze d’Hercole” is an elegant pavane, whose tune may have been sung with these lyrics as the dancers processed. The three settings of the “Passamezzo antico” may constitute the earliest theme and variations in keyboard music. Right- and left-hand flourishes are featured in the virtuosic realizations of the repeated harmonic pattern.

By 1635, when Girolamo Frescobaldi published his collection of liturgical music, Fiori musicali, the canzona had become an organ work in the style of a vocal canzona, but independent of any particular model. As its name implies, the “Canzona dopo l’Epistola” was played after the reading of the Epistle. The repeated notes of the opening theme harken back to the polyphonic chansons of sixteenth-century Franco-Flemish composers. The lively theme is imitated in all parts, leading to a free section, after which the theme is transformed to triple meter. In his “Capriccio sopra la Girolmeta,” Frescobaldi treats a secular tune imitatively, adapting it to different meters. He derives two themes from the melody and displays great inge-nuity in combining them, also treating them in augmentation and diminution. In the third section, an ascending chromatic line serves as a countersubject. The two semitone sizes heard in meantone tuning (a small one, as from C to C sharp, and a large one, as from C sharp to D) create an interesting tension in the chromatic lines.

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Johann Sebastian Bach’s Canzona in D Minor probably re-flects his study of Frescobaldi’s Fiori musicali, a copy of which he owned. Like the Italian master, Bach opens with a theme in duple meter, leading through a short free passage to a triple-meter variation. Although the repeated notes characteristic of canzona style are absent in the duple exposition, they are heard in the triple-meter section. The conservative harmonic range of this piece makes it one of the few Bach works that can be played in meantone temperament, emphasizing the beauty of the major thirds and the expressivity of the chromatic lines.

The Pavana Lachrimae of Jan Pieterszoon Sweelinck is a keyboard arrangement of John Dowland’s “Flow my tears,” one of the most famous songs of the early Baroque. Dow-land also arranged the song for viol consort, entitling it the “Pavane of Tears,” with reference to the slow dance pulse in duple meter. In this setting, the mournful strains benefit from

the sustained sound of the organ. As in the original pavane structure, Sweelinck repeats each of the three sections in ornamented versions. Sweelinck’s Fantasia chromatica is a masterpiece of counter-point and the perfect piece with which to end this demonstra-tion of meantone temperament. The main theme is a descend-ing chromatic line that the composer manipulates to create a sectional work of great scope and aesthetic impact. Sweelinck treats the theme in both augmentation and diminution, combining it with itself as well as with new countersubjects in a gradual build-up of intensity. For two of the bass entries, I employ the eight-foot Pedal Trommeten, one of two pedal stops that Sweelinck had on the large organ at the Oude Kerk in Amsterdam, where he served as organist for most of his life.

Program notes © Kimberly Marshall

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c o n c e r t : r e n é e a n n e l o u p r e t t e

Renée Anne Louprette, organ

St. Andrew’s Episcopal Church, WellesleyFriday, June 27, 2014, 10:15 & 11:45 am

Marche américaine from Feuillets d’Album Op. 31 (1877) Charles-Marie Widor (1844–1937)trans. Marcel Dupré (1886–1971)

Fugue sur le theme du Carillon des Heures de la cathédrale de Soissons, Op. 12 (1962) Maurice Duruflé (1902–1986)

Faneuil Hall (2013) Pamela Decker (b. 1955) Elegy: The Cradle of Liberty Fugue: Liberty and Union Now and Forever

First performance, commissioned by the AGO 2014 National Convention in Boston

Récit de tierce en taille from Livre d’orgue (1699) Nicolas de Grigny (c. 1672–1703)

From Premier livre d’orgue: Douze pièces (1938) George Elbert Migot (1891–1976) Une prière votive: Comme un choral Les chérubims du paradis: Clair, heureux Antienne en musette: Allant La Rosace: Allant, brilliant, éclatant

Trio à trois mains Claude-Bénigne Balbastre (1724–1799)arr. Marie-Agnès Grall-Menet (b. 1954)

Final, Op. 21 from Six Pièces (1868) César Franck (1822–1890)

Program Sponsor:Juget-Sinclair, supporter-in-part

2005 Juget-Sinclair organ, Opus 24, prepared by Jonathan Ambrosino.

Renée Anne Louprette is organist and director of music at L’Église de Notre Dame in New York City; lecturer in organ at the Mason Gross School of the Arts, Rutgers University; and adjunct professor of organ at Montclair State University in New Jersey. Formerly organist and associate director of music and the arts at Trinity Wall Street, she also served for six years as associate director of music at the Church of St. Ignatius Loyola in New York. She is in frequent demand as organ recitalist and masterclass teacher throughout the United States and has concertized widely in Europe and Australia. She has presented recitals at the festivals of Dún Laoghaire, Ireland; Magadino, Switzerland; In Tempore Organi, Italy; Ghent and Hasselt, Belgium; Toulouse Les Orgues, France; and ORGANIX, Toronto, and has appeared as organ soloist with the Queensland Symphony Orchestra in Brisbane, Australia. She has been featured at American Guild of Organists regional conventions and at the Guild’s 2010 national convention in Washington, D.C. Her recording of the J.S. Bach’s Great Eigh-teen Leipzig Chorales on the Metzler Organ in the chapel of Trinity College, Cambridge, England, will be released in 2014.

Ms. Louprette has performed with acclaimed New York City ensembles including Voices of Ascension, Mostly Mozart Festival Orchestra, the American Symphony Orchestra, Clarion Music Society, the New York Choral Society, and the Dessoff Choirs. She holds degrees from the Centre d’Études de Musique et de Danse de Toulouse, France, and from the Hartt School, University of Hartford, Connecticut.



This program highlights the tonal colors and brilliance of the Juget-Sinclair organ, Op. 24 (2005), within the intimate space of St. Andrew’s Episcopal Church. We begin with the magiste-rial Marche américaine by Charles-Marie Widor, undoubtedly a tip of the hat to the American military and patriotic march style perfected by John Philip Sousa. The work comes from a collection of twelve piano pieces by Widor entitled Feuillets d’Album (Album Leaves), Op. 31, reminiscent of Mendelssohn’s Songs Without Words. Marcel Dupré, in his transcription for organ, adds a four-bar fanfare before the content of the piano version begins. In Widor’s piano score, the left hand plays the principal theme in A minor in octaves in the bass; in Dupré’s arrangement, the theme is introduced in the pedal.

Fugue sur le thème du Carillon des Heures de la cathédrale de Soissons, by Maurice Duruflé, serves as a sonic transition between the romanticism of Widor and the impressionistic, flamenco-influenced language of Pamela Decker’s Faneuil Hall that follows. Published in 1962, this is one of the last of Duruflé’s solo organ works. Based upon the eight-note carillon theme of the Cathedral of Soissons in Picardy, which can still be heard today, Duruflé’s fugue both adheres to the rules of counterpoint and evokes dramatic brilliance with a well-paced crescendo from the beginning of the piece until its climactic ending.

In September 2013, The American Organist published the fol-lowing notes by Pamela Decker, detailing the inspiration for, and musical structure of, her newly composed piece, Faneuil Hall, commissioned for the occasion of this convention:

The piece pays tribute to the city of Boston through a musical portrait of the landmark that has housed pivotal meetings and events in the history of the United States. Faneuil Hall was built in 1742 as a market house that offered a meeting hall on its upper level. A subsequent restoration added a third story. The hall has been referred to as the “Cradle of Liberty,” in connection with its status as the location of citizens’ meetings and government actions that advanced the cause of liberty.

Having spent time with the composer in Tucson, I came to appreciate the Spanish influences on the art and culture of the desert Southwest. These are prevalent in much of Decker’s music and bring a sweet melancholy to the berceuse theme of the opening movement, “Elegy: The Cradle of Liberty.” Sensitive to the tonal colors of the Juget-Sinclair organ, Decker skillfully combines South American and flamenco influences with elements of French Impressionism. The theme of the “Liberty and Union” fugue is based upon a musical spelling of “Faneuil Hall.”

One of the most sublime works in the organ repertoire, the Récit de tierce en taille by Nicolas de Grigny, presents the first of two interjections from the French Baroque period within the program. Born in Reims, de Grigny spent most of his working life there, with the exception of a short tenure at the Abbey Church of St. Denis in Paris, from 1693 to 1695,

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Pamela Decker is professor of organ and music theory at the University of Arizona and organist at Grace St. Paul’s Episco-pal Church, both in Tucson. She has performed as a featured recitalist at the American Guild of Organists 1992 National Convention, the Guild’s Region V convention, the University of Michigan Conference on Organ Music, the Twice Festival, the Redlands Organ Festival, and the Tallinn International Organ Festival, among others.

Some of Dr. Decker’s major works have been recorded by Douglas Cleveland, Janice Beck, and Christa Rakich.She holds a Doctor of Musical Arts from Stanford University and was a Fulbright Scholar in Germany. She has won prizes in national and international competitions as performer and composer. In 2004, she was awarded the Henry and Phyllis Koffler Prize for Research/Creative Activity, and, in 2000, she was awarded the College of Fine Arts Award for Teaching Excellence, both from the University of Arizona.


c o n t i n u e d > > >

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during which time he studied with Nicolas Lebègue, one of the organists of the Royal Chapel. The Récit de tierce en taille comes from the mass setting in the single volume of organ music de Grigny left us in his brief life of thirty-one years. So revered was this collection, representing the pinnacle of style and compositional technique from the period, that Johann Sebastian Bach copied it out when studying French keyboard music in Weimar. One of the most exquisite examples of the Récit de tierce—in this case, for the left hand in the tenor range (en taille)—de Grigny’s Récit continues to enchant with its elegance of ornamentation, sweep of movement, and handling of dissonance to highly expressive effect.

Georges Elbert Migot was a Parisian composer, poet, and visual artist. He studied composition with Charles-Marie Widor, orchestration with Vincent d’Indy, and organ with Eugène Gigout and Alexandre Guilmant at the Paris Con-servatoire. Migot was a prolific composer of chamber music, orchestral works, opera, and ballet. Fascinated by early music, he wrote a book on Jean-Philippe Rameau and composed numerous works based upon early forms. In 1948, he was appointed Conservateur du Musée des instruments anciens du Conservatoire de Paris. His Premier livre d’orgue: Douze pièces includes several colorful movements. His writing for the organ reveals a charm and nostalgia I have enjoyed discovering through these miniature tableaux.

The penultimate piece on the program is a minuet by Claude-

Bénigne Balbastre, Trio à trois mains. Balbastre (also spelled Balbâtre) was a native of Dijon who achieved great fame as organist and composer during his lifetime. While titulaire at the Parisian church of St. Roch, crowds of people would come to hear him play his Noëls at Midnight Mass on Christmas Eve, which irritated the Archbishop of Paris to such degree that he forbade Balbastre from playing the Mass in 1762. The Trio in B-flat major is found within a manuscript from 1749, entitled Livre contenant des pièces de différent genre d’orgue et de clavecin, also known as the Versailles manuscript. French organist Marie-Agnès Grall-Menet has created an arrange-ment of the piece that may be played by one organist, with the “third hand” covered by flute stops in the pedal.

Final, Op. 21, is the last piece in the collection Six Pièces by César Franck. This valiant work is dedicated to Franck’s friend and colleague Louis-J.-A. Lefébure-Wély. Both Franck and Lefébure-Wély participated in the dedication of the Cavaillé-Coll organ at the Church of St. Clotilde in Paris, on December 19, 1859. It was at this performance that Franck may have first improvised or performed the Final on the instrument he would preside over until the end of his life, in 1890. This substantial piece exploits virtuosic pedal technique—some-thing for which Lefébure-Wély, rather than Franck, was widely recognized—and exhibits a joie de vivre, as well as a dignity and elegance in the juxtaposition of the playful, outgoing first theme and the poetically lyrical second theme.

Program notes © Renée Anne Louprette


c o n c e r t : j o n at h a n o r t l o f f

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Jonathan Ortloff, theatre organ

Shanklin Music Hall, AyerFriday, June 27, 2014, 2:15 & 4:15 pm

“Give Me the Simple Life” from Wake Up and Dream (1946) Rube Bloom (1902–1976)

“It’s Bad for Me” from Nymph Errant (1933) Cole Porter (1891–1964)

“Where Do I Begin?” from Love Story (1970) Francis Lai (b. 1932)

Jaywalk (1927) Zez Confrey (1895–1971)

Tribute to Duke Ellington Edward Kennedy “Duke” Ellington (1899–1974)arr. George Faxon (1913–1992) and Jonathan Ortloff Take the “A” Train (1939, with Billy Strayhorn) Sophisticated Lady (1932) I Let a Song Go Out of My Heart (1938) Mood Indigo (1930) Don’t Get Around Much Anymore (1940)

“Rainbow Connection” from The Muppet Movie (1979) Paul Williams (b. 1940) and Kenneth Ascher (b. 1944)

Tico Tico no Fubá (1917) Zequinha de Abreu (1880–1935)

“Send in the Clowns” from A Little Night Music (1973) Stephen Sondheim Joe Sheppard, piano

“Springtime for Hitler” from The Producers (2001) Mel Brooks (b. 1926)

1928 Rudolph Wütlitzer Manufacturing Co. organ (assembled in 1999), prepared courtesy of the Ortloff Organ Company, LLC.

An organ builder, scholar, and classical and theatre organist, Jonathan Ortloff holds degrees from the Eastman School of Music and the University of Rochester in organ performance and interdisciplinary engineering. While at Eastman, he was a student of David Higgs and studied improvisation under William Porter. He is principal of Ortloff Organ Company, Boston-based organ builders and restorers. He apprenticed under organbuilder and pipemaker Stephen Russell, and sub-sequently worked for Spencer Organ Company of Waltham, Massachusetts. He has previously worked for C.B. Fisk, Paul Fritts & Company, and Jonathan Ambrosino.

As a performer, Mr. Ortloff has excelled as a young the-atre organist, winning the American Theatre Organ Society’s (ATOS) 2008 Young Theatre Organist Competition. He has been a featured performer at national conventions of ATOS, the Organ Historical Society, and the American Guild of Organists, and has two recordings to his credit: Clang Clang Clang, recorded in 2009, and Roll Out the Big Guns, recorded live in 2010. Both albums feature drummer Allan Ward. His scholarly interests, mainly in the fields of organ history and preservation, have led to publication in The American Organist, Theatre Organ, The Diapason, and The Tracker. He currently serves on the Organ Historical Society’s Publications Governing Board.

A graduate of Phillips Exeter Academy, Mr. Ortloff makes his home in Boston, spending his free time skiing, hiking, or paddling the mountains and streams of New England.

c o n t i n u e d > > >

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Rube Bloom, along with lyricist Harry Ruby, penned three songs for the 1946 film Wake Up and Dream, including “Give Me the Simple Life,” which achieved moderate fame, being recorded by dozens of vocal and instrumental artists. A fine pianist, Bloom made a name for himself during the 1920s, writing novelty piano pieces, recording many of them on Duo-Art piano rolls.

Cole Porter wrote the scores to more than two dozen musicals, and while the plays themselves were not always memorable, almost without exception each produced at least one hit song for the composer. “It’s Bad For Me” comes from the 1933 West End production of Nymph Errant; the show would not play on Broadway until 1982. A racy and controversial musical, its plot chronicles the young English socialite Evangeline Edwards’s travails through love, seduction, and sex throughout Europe, en route home to Oxford following her time at a Swiss finish-ing school. She and the first of her many suitors sing this duet as she debates straying from her planned trip home to accom-pany him to France.

Zez Confrey was one of the kings of the piano novelty in the 1920s, composing and performing dozens of such pieces for the Ampico reproducing piano, most notably Dizzy Fingers and Kitten on the Keys. Jaywalk, written in 1927, is a fine model of its genre. Its recording makes full use of Ampico’s sophisticated reproducing mechanism, including the ability for lightning-quick accents at fast tempo. Played into the recording piano by the composer, the piece was then edited on a master roll, adding expression, correcting mistakes, and embellishing the arrangement to the point where what is played from the roll would be impossible for one pianist to play alone. The arrangement for organ was developed directly from the roll performance, and makes use of the Shanklin Music Hall’s two pianos—a rare Mason & Hamlin RBB Am-pico and a Wurlitzer upright.

A heart-wrenching tragedy, Love Story received seven Acad-emy Award nominations in 1970, winning Best Original Score for Francis Lai. With lyrics by Carl Sigman, “Where Do I Begin?” spent considerable time on the popular music charts in a recording by Andy Williams.

George Faxon, the dean of Boston organ-playing and church music during much of the twentieth century, was a musician of dazzling breadth and versatility. In addition to holding his longtime position at Trinity Church, he also loved popular music, performing several times on the Wurlitzer at Babson College in Wellesley. His Tribute to Duke Ellington, modi-fied and embellished by today’s performer, combines five of Ellington’s most famous tunes in a medley that shows Faxon’s thorough knowledge of the style.

The Muppet Movie marked the first appearance of Jim Henson’s legendary troupe of characters on the silver screen. In the opening scene, Kermit the Frog sits on a log in a Florida swamp, singing “Rainbow Connection” while playing the banjo. The song, as well as the film’s score, received the only two Academy Award nominations for the film, and has since become widely recognized, having been recorded by a number of famous vocalists.

Choro, despite its English translation “lament,” is anything but, being a popular upbeat musical style indigenous to Brazil from the late nineteenth century. Tico Tico no Fubá is undoubtedly the most famous composition in the genre. Made internationally famous by Carmen Miranda in the 1947 film Copacabana (fruit hat and all), Tico Tico gained even greater fame as the signature song of Hammond organist Ethel Smith, most notably performed in the Esther Williams film Bathing Beauty, in 1944.

Like Porter, Stephen Sondheim is one of the rare talents in musical theatre, writing both music and lyrics. Sondheim’s early mentor was Oscar Hammerstein; he later studied com-position with Milton Babbitt. Famous musicals include Swee-ney Todd, Into the Woods, A Little Night Music, and A Funny Thing Happened on the Way to the Forum, and lyrics to both West Side Story and Gypsy. “Send in the Clowns,” Sondheim’s most popular song, is a backward-looking lament about lost loves, missed opportunities, and the waning acting career of the show’s female lead, Desirée Armfeldt. Sondheim cleverly avoids traditional song form here, constantly changing meter between 12/8 and 9/8 to suit lyrics arranged in many short

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phrases. The song enjoyed great success outside the show through recordings by Judy Collins and Barbara Streisand, among many others. It is difficult to do justice to the piece on the organ alone; this afternoon’s performance is realized with the help of Joe Sheppard on the piano.

Mel Brooks had early exposure to “song and dance” as a teen-ager, while working at resorts and nightclubs in the Catskill Mountains, where he acted, performed comedy, and played piano and drums. This penchant for over-the-top produc-tion numbers figures in most of his films, including Men in Tights, History of the World: Part I, Blazing Saddles, Robin Hood, and, of course, The Producers. Originally a film starring

Gene Wilder, The Producers was adapted by Brooks into a wildly successful Broadway musical, in 2001, as well as a film based on the musical, in 2005. The plot concerns a Broadway producer who deliberately oversells shares to a show he know will flop: Springtime for Hitler. It turns out to be a fantastic success, instead, largely for the unintentionally humorous and suggestive portrayal of der Führer. The show’s main number, in addition to being musically spectacular, has hilarious lyrics, also written by Brooks. Several unique features of the Shanklin Music Hall Wurlitzer make this arrangement a perennial favorite to perform here.

Program notes © Jonathan Ortloff

Join us for our Choral Reading Session

Thursday, June 2611am

Robert LauClinician

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PARACLETE PRESSS H E E T M U S I C

Cathedral of the Sacred Heart Houston, Texas

Martin Pasi & Associates OPUS 19

iv/p 76 stops pasiorgans.com

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c o n c e r t : k o l a o w o l a b i

A native of Toronto, Canada, Kola Owolabi is university organ-ist and assistant professor of music at Syracuse University. There, he teaches courses in organ, improvisation, continuo playing, and baroque chamber music; plays for weekly chapel services and special events; and coordinates the Malmgren Concert Series at Hendricks Chapel. He is the current dean of the Syracuse chapter of the American Guild of Organists. He holds degrees from McGill University, Montréal, (B.Mus, organ performance), Yale University (M.M. organ perfor-mance and choral conducting) and the Eastman School of Music (DMA, organ performance). His teachers have included Bruce Wheatcroft, John Grew, Martin Jean, Thomas Murray, Hans Davidsson, and William Porter. In 2002, he was awarded second prize and audience prize at the American Guild of Or-ganists National Young Artists Competition in Organ Perfor-mance. He is a published composer and has received commis-sions from the Royal Canadian College of Organists and the Catholic Archdiocese of Toronto. His solo organ composition Dance was selected for the Royal Canadian College of Organ-ists National Competition in August 2013, for all finalists to perform. As a solo recitalist, he has performed across Canada, the United States, Mexico, and Jamaica, at venues such as St. Thomas Church Fifth Avenue in New York, Methuen Memorial Music Hall in Massachusetts, Cornell University, and the University of the West Indies in Jamaica. He also performs regularly as organist and harpsichordist with the Grammy-nominated vocal ensemble Seraphic Fire and Fire-bird Chamber Orchestra, based in Miami.

Kola Owolabi, organ

Methuen Memorial Music HallFriday, June 27, 2014, 2:15 & 4:15 pm

Étude héroïque, Op. 38 (2004) Rachel Laurin (b. 1961)

Andante from Deuxième Symphonie pour Orgue, Op. 13 (1872) Charles-Marie Widor (1844–1937)

Nigerian Organ Symphony (2007) Godwin Sadoh (b. 1965) Prelude The Star of Bethlehem Finale

Sonatina (1947) Leo Sowerby (1895–1968) In a placid and easy going manner Very slowly Fast and perky

1863 E.F. Walker and Company organ, Opus 200, renovated in 1947 by the Aeolian-Skinner Organ Co. It is prepared today by the Andover Organ Co.

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Born in the village of St. Benoît, Québec, Rachel Laurin is one of the foremost Canadian concert organists today. A graduate of the Conservatory of Music in Montréal, she was assistant organist at St. Joseph’s Oratory in Montréal from 1986 to 2002, and then served as organist at Notre-Dame Cathedral in Ot-tawa from 2002 to 2006. She has composed more than fifty pieces for various vocal and instrumental ensembles. Étude héroïque, Op. 38, was commissioned by the Claude Lavoie Foundation for the Québec Organ Competition in 2004. The aims of the commission were to produce a concert piece that develops the performer’s technique, is accessible to any audience, and shows off the organ’s diverse palette of colors. Étude héroïque is in the form of a rondo. A lengthy introduc-tion, which includes a virtuoso pedal solo, leads into the main rondo theme, which returns several times, separated by two contrasting themes, one which is rather eerie, the other more expressive.

Charles-Marie Widor served as organist at Saint-Sulpice in Paris from 1870 until his death, in 1937. This parish was so-cially active in the late nineteenth century, fighting against the oppression of blacks in equatorial Africa and helping to rees-tablish Catholicism in England. Widor’s ten organ symphonies were a direct response to the tonal resources of the Cavaillé-Coll organ at Saint-Sulpice, the largest organ in France. Compared to orchestral symphonies, Widor’s Symphonies Nos. 1–4, Op. 13, lack stylistic unity and are better character-ized as suites. They incorporate a variety of forms, including fugues, marches, scherzos, and character pieces, yet not a single sonata-allegro movement. The individual movements give a sense of what Widor’s improvisations during the liturgy at Saint-Sulpice must have sounded like, and many may have originated in that context. Outside of his responsibilities at Saint-Sulpice, Widor frequently participated in soirées musi-cales at Parisian salons. The Andante from Symphonie No. 2 reflects the style of chamber music Widor would have heard at these gatherings, combining Mozartean elegance with the harmonic language of Schubert, Schumann, and Liszt.

Godwin Sadoh is a Nigerian composer, organist, pianist, and choral conductor, with music degrees from the Obafemi Awolowo University, Nigeria; the University of Pittsburgh; the University of Nebraska-Lincoln; and Louisiana State Univer-sity, Baton Rouge. He has written numerous articles on church music and African art music. He was professor of music at Talladega College, Alabama, until he returned to Nigeria, in 2013, to assume a position as professor of music at Technical University in Ibadan. His Nigerian Organ Symphony, from 2007, incorporates various elements of traditional West-African music, including folk melodies, pentatonic scales, and drum patterns. The first movement is based on a Yoruba (Western Nigerian) Christian song that was commonly sung at Thanksgiving services in Anglican churches in Lagos in the 1980s. The translation of the text reads, “If you cannot dance, sway; if you cannot dance, march; if you cannot dance, lift up one leg, and sway so vigorously.” The second movement incorporates a Yoruba Christmas song. The Finale is char-acterized by imitations of African bells, drum patterns, and hand-clapping rhythms.

Leo Sowerby’s career was based in Chicago, where he was or-ganist and choirmaster at St. James Episcopal Church (now St. James Cathedral). He also taught music theory, composition, and orchestration at the American Conservatory of Music. His prolific output includes three symphonies; concertos for piano, violin, cello, and organ; and numerous chamber works. He is best known for his choral music, which includes one hundred and twenty anthems for liturgical use, and his more than forty compositions for organ. The three-movement Sonatina, composed in 1947, displays various facets of Sowerby’s style. The first movement shows his penchant for Baroque passaca-glia and chaconne forms, but uses quadruple meter instead of the traditional triple meter. Solo colors at the beginning (Oboe in the right hand; Flutes, eight-foot and four-foot, in the left hand) slowly build up to full organ, then gradually subside back to the opening registrations. The second movement, with its beautiful melody accompanied by lush post-Romantic harmonies, is reminiscent of Mahler, particularly the Adagi-etto of Symphony No. 5. The third movement, in sonata form, opens with a jaunty, folk-like melody, contrasted with a lyrical second theme on the Swell string stops.

Program notes © Kola Owolabi


c o n c e r t : s t e p h e n t h a r p

Stephen Tharp, organ

The Mother Church, The First Church of Christ, Scientist, BostonFriday, June 27, 2014, 8:00 pm

Final from Hommage à Igor Stravinsky (1986) Naji Hakim (b. 1955)

Prélude in F Minor (1912) Nadia Boulanger (1887–1979)

Sonata for Organ (1960) Vincent Persichetti (1915–1987) Andante–Allegro Larghetto Vivace

Fantasy for Flute Stops (1934) Leo Sowerby (1895–1968)

Choralefantasie: “Straf ’ mich nicht in deinem Zorn,” Op. 40, No. 2 (1899) Max Reger (1873–1916) – Intermission –Le Sacre du printemps-The Rite of Spring (1913) Igor Stravinsky (1882–1971)

Performed from Stravinsky’s own version for piano-four-hands part ipart i i

Aeolian-Skinner Organ Co., Opus 1203, 1952, prepared courtesy of Foley-Baker, Inc.

Following the recital, the closing reception of the convention is at the Marriott Copley Place Hotel, Boston.

The st. cecilia recital was established in 2007 through the generosity of Marianne Webb, professor of music and distinguished university organist at Southern Illinois University Carbondale, in gratitude to God for a lifelong career as a concert organist and educator. Miss Webb’s endowment, established in perpetuity, presents world-renowned concert organists in recital during the biennial National Conventions of the American Guild of Organists.

The 2014 St. Cecilia Recital is presented with the cooperation, generosity, and part-nering efforts of The First Church of Christ, Scientist, Boston.

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s t e p h e n t h a r p

m a r i a n n e w e b b

c o n c e r t : s t e p h e n t h a r p


Marianne Webb (1936–2013) maintained a balanced career as an internationally recognized performer and teacher. She was Distinguished University Organist at Southern Illinois University Carbondale (SIUC), where she has taught organ and music theory since 1965. She built a thriving organ depart-ment and established, organized, and directed the nationally acclaimed SIUC Organ Festival (1966–1980), the first of its kind in the country. She sought funding for and designed the 58-rank Reuter pipe organ in Shryock Auditorium in 1969. The instrument is named in her honor. Together with her husband, David N. Bateman, she established the endowed Marianne Webb and David N. Bateman Distinguished Organ Recital Series.

Miss Webb was a graduate of Washburn University in Topeka, Kans., and obtained the master of music degree, with highest distinction, from the University of Michigan in 1959. Her teachers were Jerald Hamilton, Marilyn Mason, Max Miller, and Robert Noehren. In 1961, she was awarded a Ful-bright scholarship to continue her studies in Paris with André Marchal. While in Paris she served as supply organist for the American Cathedral of the Holy Trinity (Episcopal). Further graduate study was with Arthur Poister at Syracuse University and Russell Saunders at the Eastman School of Music.

Among her numerous awards and honors, Marianne Webb was given the AGO Edward A. Hansen Leadership Award in 2008 “in recognition of her stellar career as a concert artist and distinguished teacher, and in gratitude for

Stephen Tharp is one of today’s most internationally prolific concerts organists. In recognition of his more than fourteen hundred concerts worldwide, he received the 2011 Interna-tional Performer of the Year Award from the New York City chapter of the American Guild of Organists, considered by many to be the highest honor given to organists by a profes-sional musicians’ guild in the United States. His fourteen commercial recordings, including the complete organ works of Jeanne Demessieux and releases from such venues as Saint-Sulpice, Paris, and St. Bavo, Haarlem, the Netherlands, have won awards including the Preis der Deutschen Schallplat-tenkritik—Germany’s most prestigious critics’ prize—and the French Diapason 5.

her lifetime of leadership, devoted service, and extraordi-nary generosity to the AGO.” In 2009, she received the Avis Blewitt Award from the St. Louis (Mo.) AGO Chapter, and was selected as the Alumni Fellow by the College of Arts and Sciences at Washburn University in Topeka, Kans., for her “significant contribution as a highly regarded professional in her chosen field.”

As a concert artist and clinician, Miss Webb toured extensively throughout the United States performing at AGO regional and national conventions, and for the national con-ventions of Sigma Alpha Iota International Music Fraternity and the Fellowship of American Baptist Musicians, as well as for local AGO chapters, churches, colleges, and universities. She recorded on the Pro Organo and Pleiades labels and was featured on American Public Media’s Pipedreams.

An active member of the AGO, Miss Webb served as a member of the national committees on Educational Re-sources, Chapter Development, and Membership Develop-ment and Chapter Support. She re-established the Southern Illinois AGO Chapter in 1983 and served as its dean for six years. She is a member of the Clarence Dickinson Society and founded the AGO St. Cecilia Recital series in 2007. Through this magnanimous gift to the American Guild of Organists, Marianne Webb will be remembered, in perpetuity, for her musical artistry, excellence in teaching, and as a woman of quiet strength, courage, generosity, and abiding faith.

Mr. Tharp is a champion of new organ music and has commissioned works from composers Samuel Adler, George Baker, David Briggs, Thierry Escaich, Eugenio Fagiani, Jean Guillou, Philip Moore, Anthony Newman, Martha Sullivan, and Morgan Simmons. A composer himself, he was commis-sioned by Cologne Cathedral, in 2006, to write Easter Fanfares for the dedication of the Cathedral’s new tuba chamades. He also composed Disney’s Trumpets, in 2011, for the Walt Disney Concert Hall in Los Angeles, and premiered it there in concert that same year.

A Chicago native, Mr. Tharp holds degrees from Northwestern University and Illinois College (Jacksonville), where he studied organ with Wolfgang Rübsam and Rudolf Zuiderveld, respectively. He has also studied privately with Jean Guillou in Paris. He is currently the associate director of music at the Church of Our Saviour in New York City.

c o n t i n u e d > > >

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Lebanese-born Naji Hakim is one of today’s most important representatives of the long tradition of French organists, com-posers, teachers, and improvisors. A student of Jean Langlais and Rolande Falcinelli, Hakim was first-prize winner at the prestigious international improvisation competitions at Haar-lem, Beauvais, Lyon, Nuremberg, St. Alban’s, Strasbourg, and Rennes. He served as organist of the Basilique du Sacré-Coeur, Paris, from 1985 until 1993, when he was appointed succes-sor to Olivier Messiaen as organist of La Trinité Church, the post once held by Alexandre Guilmant. He also teaches at the Conservatoire Nationale de Boulogne-Billancourt, near Paris. A versatile and accomplished performer and teacher, he is in demand at important festivals worldwide and remains highly sought after as a composer. Prior to studying music, he earned a diploma from the École Nationale Supérieure des Télécom-munications, Paris.

Of this arresting and virtuosic movement—the only music by a living composer performed on tonight’s concert— Hakim writes,

Hommage à Igor Stravinsky is a triptych which presents contrasted colors and dynamics, with short cyclical melodic and rhythmic motives inspired by Gregorian chant. The brilliant Final adopts a very contrasted and free symphonic-variations structure. Completed in Bayonne on August 8, 1987, the work was premiered by the author on November 25, 1987, at the Royal Festival Hall in London.

Nadia Boulanger was one of the most influential musical forces of the twentieth century, as far as composition and teaching are concerned. Upon entering the Paris Conser-vatoire at age ten, she studied organ with Guilmant and Charles-Marie Widor and composition with Gabriel Fauré. Her own first composition student was her younger sister, Lile, a gifted musician in her own right who, in 1913, would win the prestigious Prix de Rome under Nadia’s guidance. But perhaps Nadia’s greatest living legacy remains a list of students who have become some of the most significant composers of our age, including Aaron Copland, Walter Piston, Roy Harris, Virgil Thompson, and, of the next generation, David Conte. Boulanger’s Prélude in F Minor was published in the 1912 collection Maîtres contemporains de l’orgue. In a strict and discernable structure that is clear to the ear, the piece is scored for the foundation stops with the Hautbois. Thematic simplic-ity and modal harmonies dominate here.

Vincent Persichetti began piano lessons at age five, followed by studies in organ, tuba, and double bass. He became the organist at Philadelphia’s Arch Street Presbyterian Church at age sixteen, and remained in the post for twenty years. After later studies at Combs College of Music and the Philadelphia Conservatory, he taught composition and theory at the Curtis Institute of Music, was appointed editorial director of the Elkan-Vogel, Inc. music publishing company, and was chair of the composition department at The Juilliard School of Music. His Organ Sonata was written in 1960 and premiered by Rudolph Kremer on December 28 of that year at Washington University in St. Louis. All thematic material used throughout the stern Andante-Allegro, haunting Larghetto, and arresting Vivace stems from the opening bars of the first movement.

Born in Grand Rapids, Michigan, Leo Sowerby was educated primarily in Chicago, studying organ performance and theory, followed by three years of further schooling in Italy that resulted from becoming the first American to win the Prix de Rome composition prize. Upon returning to the U.S., he was professor of composition at the American Conservatory in Chicago, and also organist at St. James (Episcopal) Cathedral for more than forty years. He left Chicago in 1962 to help establish the College of Church Musicians in Washington, D.C. The famous Chicago painter, teacher, and author of chil-dren’s books, Rainey Bennett, created a watercolor that would inspire Sowerby’s three-part Fantasy for Flute Stops of 1935, marked “fairly fast and whimsically” at the outset. The piece is dedicated to Bennett.

Maximilian Reger was born in Brand, Upper Palatinate, Bavaria. An early and rigorous musical training with Hugo Reimann of Thuringia, with particular attention to the music of J.S. Bach, resulted in a rich compositional style and thorough mastery of counterpoint. Considered a Classicist-Romanticist in the tradition of Johannes Brahms, Reger represents the pinnacle of German Romantic organ music. In his choral fantasia on Punish me not in thy anger, he writes seven variations that depict the verses of the Protestant hymn text. His expectedly dense textures, dynamic contrasts, and idiosyncratic gestural implications are all in high form.

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Little need be said about Igor Stravinsky’s place in musical history. Far more relevant to this concert is the work at hand, the notorious ballet The Rite of Spring, whose original title, Vesna svyashchennaya, actually translates as “Sacred Spring.” Opening night took place on May 29, 1913, at the Théâtre des Champs-Élysées, Paris, with Pierre Monteux conducting a production choreographed by Vaslav Nijinsky. The boos and hisses that were soon audible were likely a response to the jagged movements of the dancers rather than to the music itself. In any case, the volume levels rose to engulf the music and reach such a near-riotous scene that the police were sum-

moned. While Nijinsky apparently spent the afterglow dinner in tears, it is said that Sergei Diaghilev, who commissioned the work for the Ballets Russes, was absolutely thrilled with the evening. The score, which to this day retains its shock value, remains a premier test piece for most orchestras. In playing it on the organ as a solo, I have used the duo piano score, made by Stravinsky for rehearsal purposes, as a basis for keyboard adaptability in consultation with the full orchestral score as a reference for textures and orchestration.

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Program notes © Stephen Tharp

a web-based outlet and resource for amateur and

under-published composers

mlbdv.com/AGOBoston.htm featuring the works of

Richard H. LaLumondier

"Music for people who want to play better and practice less"

David W. Beaubien, PhD "Music for the 21st Century"

Charles H. Zacharias "Music for the Organ"

New amateur and under-published composers

always welcome. For more information go to:

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Prisms: Ceremonial Processionals for Trumpet and Organ Balint Karosi

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