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Thursday, July 8 July Thursday, DAY AT A GLANCE

Thursday, July 8

AFTERNOON

12 p.m. -3:30 p.m. Exhibits open

1 p.m. -2:30 p.m. Workshops—Session VI

3:30 - 4:30 p.m. Regional Meetings at Marriott Wardman Park Hotel Region I New England Wilson B Region II New York/New Jersey/Europe) Washington 1 Region III (Mid-Atlantic) Washington 5 and 6 Region IV (Southeast) Thurgood Marshall North Region V (Great Lakes) Thurgood Marshall South Region VI (North Central) Thurgood Marshall East Region VII (Southwest) Harding Region VIII (Pacific Northwest) Wilson A Region IX (Far West/Korea/Singapore/Australia) Thurgood Marshall West

5 p.m. Dinner on your own

EVENING

7 p.m. Load Buses for the Basilica of the National Shrine of the Immaculate Conception

7:30 p.m. Carillon Recital: Robert Grogan, carillonneur

8 p.m. - 9:15 p.m. Closing Concert—Basilica of the National Shrine of the Immaculate Conception The Choir of the Basilica, Peter Latona, director The Washington Chorus, Julian Wachner, music director Renée Anne Louprette, organ David Briggs, organ

9:15 p.m. Buses to Marriott Wardman Park Hotel

9:45 p.m. Reception/Cash bar Meet the Artists booth open THURSDAY

180 A G O 2 0 1 0 PROGRAM Thursday, July 8. 9:30 and 10:45 a.m.

CONCERT Fessenden Chamber Winds Ensemble Bagatelles, Op. 47 Antonin Dvorak (1841-1904) III. Allegretto Scherzando IV. Andante con moto V. Poco Allegro

Church Sonata in F Major, K. 244 Church Sonata in C Major, K. 336 Wolfgang Amadeus Mozart (1756-1791) Eric Plutz, organ

Serenade in D Major, Op. 11 Johannes Brahms (1833-1897) IV. Minuetto I & II VI. Rondo (Allegro) THE VENUE St. Paul’s Center in Rock Creek The Karl Wilhelm chamber organ was provided by William Neil, organist Parish was built in 1928 as the of the National Symphony Orchestra and National Presbyterian Church. parish hall in colonial design The organ has four stops: 8’ Flute, 4’ Flute, 2’ Octave, and 1-1/3’ Quintflote. with colonnade portico, spacious auditorium and stage, numerous class rooms and modern kitchen. It is a large, stately brick building located 250 yards from the church. THE PERFORMERS Today, it houses the church and cemetery administrative offices, a dining room and fully equipped commercial kitchen, and a large auditorium referred to as the Great Hall with stage suitable for concerts and performances. Renamed the St. Paul’s Center in 2004, the building has been expanded to add the Gallery, a large, long room with access to a courtyard for receptions and dinners and the administrative office wing. On the lawn in front of the Parish House stands a 65- foot flag pole, erected in 1940 by the Daughters of the American Fessenden Chamber Winds Ensemble Colonists, District of Columbia Society, in recognition of St. Paul’s Church as the only colonial church ince its founding in 2000 by artistic director and French horn player Emil still extant within the bounds of the SGeorge, the Fessenden Chamber Winds Ensemble has been recognized as District of Columbia. one of the finest chamber music groups in the Washington area. The ensemble is known for the musical diversity of its programs, which explore the wide variety of styles and instrumental combinations in the chamber repertory. Fessenden continued on the next page

A G O 2 0 1 0 181 THE PERFORMERS, CONTINUED concerts include seldom-heard works The group has earned high praise in Binneweg, the ensemble gave a rare of unfamiliar composers as well local media: “one of Washington’s performance of Samuel Barber’s as both standard and unexpected most consistently interesting chamber Medea, originally commissioned works of the major composers. The groups,” “a beautifully calibrated by Martha Graham for her ballet ensemble has brought this richness to performance,” (The Washington Post). Cave of the Heart, and the American superb performances at the Corcoran premiere of the recently released 1921 Gallery of Art, Katzen Arts Center at Distinctive chamber music is the chamber version of Anton Bruckner’s American University, Weinberg Center Fessenden Ensemble’s motto, and in Symphony No. 7. for the Arts, Rock Creek Festival, and keeping with this spirit, the ensemble other venues in Washington. They has been honored to perform both The Fessenden Ensemble maintains an have appeared on the Embassy Series local and American premieres. It has active program of educational concerts and in live concerts on Washington, programmed three pieces by American and master classes in DC public DC’s Classical WETA 90.9 FM’s “Front composer Eric Ewazen, including the schools. For more information, visit Row Washington.” The ensemble’s world premiere in 2007 of his Trio www.fessendenensemble.org. primary venue is its own concert series, for Trumpet, Cello, and Piano. In its Please see page 83 for a biography now in its tenth season. 2008 season, with conductor Anna of Eric Plutz. PROGRAM NOTES by Mary Dell Jenkins and John Hanson tinged, being a minor key version of successful, in fact, that it is difficult the song Hrály dudy (“The bagpipes to think of it in chamber terms. Five Bagatelles, Op. 47 played”). These cheerful and poetic Antonín Dvorák wrote the Bagatelles miniatures probably fed off the same This early Brahms piece is thoroughly in less than two weeks at the inspiration as the Slavonic Dances. suffused with a pastoral atmosphere. beginning of May, 1878, while he was It is joyous and outgoing, with none working on the first set of Slavonic Today’s performance uses an of the brooding, melancholy, wistful Dances. It was originally scored for arrangement of the original work Brahms of later years. It is also rooted two violins, cello, and harmonium. and is scored for five winds and five in the past, stylistically pervaded At the time, the harmonium was an strings. The result is that the local or by eighteenth-century classicism. important focus for domestic music regional color borne by the original The succession of movements is making. In the late 1870s and 1880s, harmonium has spread to and is freer than that of a four-movement Dvorák regularly played chamber now carried by other instruments, to symphony, yet the Serenade has music with friends at the home great effect. some symphonic characteristics, of Josef Srb-Debrnov, a friend of Serenade in D, Op. 11 and many see in these movements Smetana, among others. Among the precursors of Brahms’s later and Johannes Brahms’s Serenade players were both professionals and (music for evening entertainment at larger works, or allusions to Haydn amateurs, with Dvorák usually on court) has an interesting history. It or Beethoven’s early symphonies. the viola. This relaxed environment premiered in 1859, in Hamburg, as a was where the Bagatelles were first serenade after the manner of Haydn, The sonata-form first movement opens aired. The unusual instrumental or at least in the spirit of Haydn, with with a delightful horn melody over a combination was probably dictated nonet instrumentation: flute, two bagpipe-like drone, soon blossoming by the lack of a piano at the home of clarinets, horn, bassoon, two violins, out in full cry with that theme. There Debrnov. The harmonium was likely viola, and cello. It was perhaps this are two scherzos, the first somewhat played by Dvorák himself, since performance—or, as some would melancholic. The adagio is dignified there is no viola part in the score. have it, Clara Schumann’s opinion— and expressive. The two minuets, in classical fashion, are delightful pieces Many find the Bagatelles filled with that sparked the decision to rewrite it for full orchestra. Brahms proceeded and not at all symphonic. Then there local Czech color, reminiscent is the terse second scherzo, showing of Dvorák’s small-town roots in to do so, and it premiered in 1860 in Hannover. In that form, it has Brahms’s contrapuntal skills, leading Nelahozeves and Zionice. The to the energetic rondo finale. opening measures are nationally- become a popular concert piece—so

182 A G O 2 0 1 0 A G O 2 0 1 0 183 PROGRAM Thursday, July 8. 9:30 and 10:45 a.m.

ORGAN RECITAL James David Christie Praeambulum in D Heinrich Scheidemann (1596-1663)

Daphne (3 variations) Camphuysen manuscript Anonymous Dutch, 16th century

Veni Sancte Spiritus (10 versets) Peter Philips (ca. 1560-1628)

Ciaccona in C (1664) (from Selva di Varie Compositioni d’Intavolatura) Bernardo Storace (fl. mid-17th century)

Consonanze stravaganti THE VENUE Giovanni de Macque (ca. 1548-1614) The Schudi Organ (Opus 38, 1987), Rondò in G (1787) is an historically based German Giuseppe Gherardeschi (1759-1815) Baroque instrument with two manuals, 23 stops, 25 ranks, 1,355 Fuga sopra il Magnificat,BWV 733 pipes and a modified tonal design of Johann Sebastian Bach (1685-1750) the master organ-builder Gottfried Silbermann (1693-1753), a Neumeister Chorale Prelude contemporary, colleague and friend Herzlich lieb hab ich dich, O Herr , BWV 1115 of J.S. Bach (1685-1750). Musicians Johann Sebastian Bach and organists of the period, playing on words, praised the “silvery Art of Fugue, BWV 1080 sounds” crafted by Silbermann. Contrapunctus XI à 4 (triple fugue) Mozart remarked, “These Johann Sebastian Bach instruments are magnificent beyond measure.” Because many of the works in this program are short in duration, the artist requests that you hold your applause until the end of the program, so that The organ case is of solid white oak musical flow and concentration may be maintained. with a design typical of “classic” instruments of the 18th century. The cockleshell corbel, which supports the center tower of the organ, draws its inspiration from the main altar of the Crypt Church. This shell design is a symbol of pilgrimage. A fleur-de- lis, symbol of Mary, appears at the base of the corbel. The gilding on the instrument is 23-carat gold leaf. Construction of the instrument, by The Schudi Organ Company, Dallas, Texas, took more than 7,000 hours of labor.

184 A G O 2 0 1 0 THE PERFORMER Thursday, July 8. 9:30 and 10:45 a.m. ames David performed and recorded with major Speyer, Erfurt, Tokyo, Kaliningrad, JChristie symphony orchestras in Vienna, Lausanne, Boston and Bruges. His has been London, Stuttgart, Koblentz, students have been prizewinners in internationally Philadelphia, San Francisco, San North America, Europe, Japan, and acclaimed as Diego, Seattle, Baltimore, New South Africa. one of the York, and Boston. He has made finest organists over fifty tours of Europe and has James David Christie has recorded of his performed often in Canada, Asia, for Decca, Philips, Nonesuch, JAV, generation. He Australia, and Iceland. He is music Northeastern, Arabesque, Denon, has performed director of Ensemble Abendmusik, RCA, Dorian, Naxos, Bridge around the world with symphony a Boston-based period instrument Records, and GM Records and has orchestras and period instrument orchestra and chorus specializing in received several awards for his solo ensembles as well as in solo recitals. sacred music of the seventeenth and recordings, including the Preis der He was the 1979 first–prize winner of eighteenth centuries. He was awarded Deutschen Schallplatten Kritik and the Bruges (Belgium) International an honorary doctor of fine arts degree the Magazine d’Orgue: Coup de Organ Competition; he was the first from the New England School of Law Coeur. James David Christie holds American ever to win first prize in for his outstanding contributions positions as the distinguished artist this prestigious competition and to the musical life of Boston and in residence at the College of the Holy the first person in the competition’s was recently awarded the New Cross in Worcester, and professor eighteen-year history to win both England Conservatory Outstanding of organ at the Oberlin College the first prize and the prize of the Alumni Award. He has served on Conservatory of Music in Ohio. He audience. international organ competition also serves as an adjunct member of juries in Paris, St. Omer-Wasquehal, the Wellesley College music faculty. James David Christie has served as Chartres, Biarritz, Amsterdam, His has previously held positions organist of the Boston Symphony Lübeck, Bordeaux, Dublin, Worcester, at Boston Conservatory, M.I.T., and Orchestra since 1978 and has Calgary, Columbus, Dallas, Leipzig, Boston University. PROGRAM NOTES by James David Christie voor Muziekwetenschap at Utrecht. forced to leave England on charges of The untitled manuscript was given its adultery, and Peeter Cornet, organist Heinrich Scheidemann was one name by Alan Curtis, who prepared in Brussels. Philips also spent some of the most famous students of Jan the first modern edition. The pieces time in Rome where he was organist Pieterszoon Sweelinck. He served in the Camphuysen manuscript were at the English Jesuit College. After the as organist at the Church of St. compiled in the late seventeenth death of his wife, he was ordained a Catherine in Hamburg for over thirty century. These charming variations priest. His ten colorful variations on years until he died during an outbreak are exquisite examples of the art of the chant of the Pentecost Sequence, of the plague. Among Scheidemann’s variation that were found throughout Veni Sancte Spiritus, are in a dance-like most famous students was the England and the Netherlands, and triple meter. illustrious Johann Adam Reincken, they are playable on the harpsichord, who later succeeded him as organist virginal, or organ. The tune is of Very little is known about the life of the at the Church of St. Catherine. His English origin and was well known as Italian composer, Bernardo Storace. Praeambulum in d is a fine example “When Daphne did from Phebus fly.” His only surviving work, Selva di of Scheidemann’s abilities as an Varie Compositioni d’Intavolatura, was organist and improviser/composer. Peter Philips was one of the most published in Venice in 1664 and, it His style and harmonies are rich, and prolific composers of his time. is thought that Storace most likely this short work is full of passion. He was a Roman Catholic born lived in northern Italy. This collection in England, but was exiled to the contains diverse works playable on The three variations on the popular Spanish Netherlands because of either harpsichord or organ. The song Daphne come from an his faith. There, he made contact Ciaccona in C is an energetic work anonymous late sixteenth/early with Jan Pieterszoon Sweelinck, propelled by syncopations and seventeenth–century Dutch composer Girolamo Frescobaldi (who visited inventive, florid writing over the and are found in the “Camphuysen” the Netherlands in 1607-08) and basso ostinato. manuscript, located in the Instituut his good friend, John Bull, who was continued on the next page

A G O 2 0 1 0 185 PROGRAM NOTES, CONTINUED Giovanni de Macque (also known found on Italian organs during “Neumeister” collection of chorale as Jean de Macque) was born in this time such as the banda militare preludes at the Yale University Music Flanders and immigrated as a young (military band), which included a Library by the distinguished Bach boy to Vienna, where he sang as a pedal that depressed several of the scholar and Harvard University soprano in the Imperial Chapel. In lowest notes of the pedal to make the music professor, Dr. Christoph Wolff. his mid-twenties, he took a job as an effect of a drum or timpani roll. In These chorales are believed to have organist in Rome and later moved the “C” section of the Rondò, there is been the student works of the teenage to Naples, where he worked in the the possibility for the interpolation Bach and show the influences of Academy of Fabrizio Gesualdo, the of an improvised cadenza in the style older composers, such as Samuel father of the very famous composer, of a soprano opera star. Scheidt, Dieterich Buxtehude, and Carlo Gesualdo. Macque was very Johann Pachelbel. The simple, adventuresome and had an affinity for Johann Sebastian Bach’s Fuga sopra touching setting of the Lenten chorale chromaticism and sharp dissonance. il Magnificat is a marvelous example Herzliebster Jesu, was hast du verbrochen His Consonanze stravaganti clearly of Bach’s fugue writing. The German (BWV 1093), with its subject in the shows his love of chromatic harmony Magnificat text is “Meine Seele erhebet soprano, even shows the influence and sudden changes of harmony. den Herren,” and Bach uses this title of Jan Pieterszoon Sweelinck, with for his Schübler chorale setting. The a measure of descending modal Giuseppe Gherardeschi was born subject is based on the ninth tone of harmony reminiscent of the Dutch into a family of musicians and the Magnificat, the tonus peregrinus, master’s style. served as maestro di cappella at the or the “wandering” tone (called this Pistoia Cathedral. He wrote many because the recitation tone changes The culmination of Bach’s life was organ works highly influenced by one step in the second half of his monumental Art of Fugue, which by the flamboyant Italian operas the chant). The ninth tone subject he composed during the last ten that pervaded Italy during the late is heard at the very beginning of the years of his life. Contrapunctus eighteenth century. Gherardeschi’s entrance of the first voice and the XI is an extraordinary four-voice Rondò is a fun-filled example that lets entire chant is heard at the end of triple fugue and one of Bach’s most one experience the sounds one would the work in whole notes, creating a glorious compositions. It is a work have heard around the time of Mozart majestic conclusion. filled with power and majesty. Bach’s in Italian churches. The form is A-B- preeminence as the greatest fugue A-C-A. The organist would have The year 2010 marks the 25th writer of all time is heard in this readily used the theatrical devices anniversary of the “discovery” of the masterpiece of counterpoint. CRYPT CHURCH, BASILICA OF THE NATIONAL SHRINE OF THE IMMACULATE CONCEPTION (ROMAN CATHOLIC) 400 Michigan Avenue NE, Washington, DC Peter Latona, Director of Music Daniel Sañez, Assistant Director of Music Builder Schudi HAUPTWERK OBERWERK PEDAL Year 1987 8 Principal (enclosed) 16 Subbass No. of Manuals II 8 Rohrflöte 8 Gedackt 8 Principal (HW) No. of Ranks 25 4 Octave 8 Viol di Gamba 8 Bordun (ext) No. of Stops 23 2 2/3 Quinte 4 Rohrflöte 4 Octave (HW) No. of Pipes 1,355 2 Superoctave 2 Principal 2 2/3 Rauschpfeife III Type of Action Mechanical 1 3/5 Terz 1 1/3 Quinte 16 Posaune Memory Levels 2 1 1/3 Mixtur IV 1 Sifflet 8 Trompete (HW) 8 Trompete 2/3 Cymbel II Tremulant 8 Schalmey COUPLERS COMBINATION Tremulant Oberwerk/Hauptwerk ACTION Hauptwerk/Pedal General 1-2-3-4-5-6-7-8 Oberwerk/Pedal

186 A G O 2 0 1 0 PROGRAM Thursday, July 8. 9:30 and 10:45 a.m.

ORGAN IMPROVISATION RECITAL Matthew Glandorf and The Six The Art of Liturgical Improvisation

Improvisations on Te Deum Laudamus—Solemn Tone Plainsong

Three Chorale Preludes on Kyrie, Gott Vater

Fantasia and Fugue on the Magnificat Tonus Peregrinus

Improvisation on O Haupt voll Blut und Wunden

Improvisations on Salve Regina for Choir and Organ

The Six Jessica Beebe, soprano I Jenifer Smith, soprano II Rebecca Oehlers, alto THE VENUE Steven Bradshaw, tenor Colin Dill, baritone The Mount St. Sepulchre Brian Ming Chu, bass Franciscan Monastery is located in the Brookland neighborhood of Washington, DC. It includes gardens, a replica of the catacombs in Rome, an archive and a library, as well as bones of Saint Benignus of Armagh, brought from the Roman Catacombs.

The Very Reverend Charles A. Vassani (1831–1896) was the first THE PERFORMERS to establish the Commissariat of the Holy Land, in 1880, located in atthew Glandorf Society of Philadelphia New York. It was from this building Mhas an active career where he has conducted that Rev. Vassani and Father as conductor, composer, works ranging from Godfrey Schilling began to plan church musician, and those of Machaut, to build a “Holy Land in America” educator. He was raised Handel, Bach, and Rossi in Germany, where he to Mendelssohn and and a Holy Sepulchre, which they received early instruction Rachmaninoff, as well as envisioned crowning a high hill at the organ at the Bremen several premieres. on Staten Island, overlooking the Cathedral with Wolfgang entrance to New York’s harbor. Baumgratz. At the age of Mr. Glandorf has served Eventually, they realized their 16, he entered the Curtis Institute of as director of music for dream on a wooded hilltop in Music as a student of John Weaver numerous Philadelphia churches, Brookland, Washington, DC. In and Ford Lallerstedt. He pursued including historic Old St. Joseph's, 1991, Mount St. Sepulchre, with its graduate studies with McNeil Old Pine Street Presbyterian, and Monastery and Church, became a Robinson at the Manhattan School the Lutheran Church of the Holy Communion. During his tenure National Historic Monument. of Music. In 2004, he was appointed artistic director of The Choral Arts at Holy Communion, he founded

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A G O 2 0 1 0 187 THE PERFORMERS, CONTINUED the Bach Vespers Series, which presented the cantatas in the context of Lutheran worship services. As an organist, he is noted for his gifts in the art of improvisation. He has played recitals throughout the United States as well as in England and Germany, including Rochester Cathedral, Ulm Munster, the Cathedral of Bremen, the Wanamaker Grand Court organ, and the new organ in Verizon Hall.

He has several recordings to his credit as organist and accompanist. In 2005, Mr. Glandorf was appointed to St. Mark's Church in Philadelphia where he oversees an extensive music program including the St. Mark's semi-professional over the artistic directorship of the Festival of Philadelphia, and Choral choir, which sings full choral Mass Bach Festival of Philadelphia. Arts of Philadelphia, specializing in each Sunday and for special feasts. both early and contemporary music. he Philadelphia-based vocal Mr. Glandorf has served on the Tensemble, The Six, is composed As an ensemble, The Six, have sung faculties of Swarthmore College of Philadelphia’s finest hybrid various programs ranging from and Westminster Choir College singers. All are freelance vocal Renaissance polyphony and Bach and joined the faculty of The Curtis musicians who sing with various cantatas and motets to arrangements Institute of Music in 1995, where he groups such as Saint Mark’s Episcopal of the Beatles’ music. is instructor in music history and ear Church, St. Clement’s Church, training. In the fall of 2008, he took the Philadelphia Singers, the Bach TEXTS AND TRANSLATIONS Improvisations on Te Deum Laudamus Solemn Tone Plainsong

Choir Te Deum laudamus: te Dominum confitemur. Te We praise thee, O God, we acknowledge thee to be the Lord. aeternum Patrem omnis terra veneratur. Tibi omnes All the earth doth worship thee, the Father everlasting. To Angeli; tibi caeli et universae Potestates; Tibi Cherubim et thee all Angels cry aloud, the Heavens, and all the Powers Seraphim incessabili voce proclamant: therein. To thee Cherubin and Seraphin continually do cry,

Organ (Fugue a 5) Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni Holy, Holy, Holy Lord God of Sabaoth; Heaven and earth sunt caeli et terra maiestatis gloriae tuae. are full of the Majesty of thy glory.

Choir Te gloriosus Apostolorum chorus, Te Prophetarum The glorious company of the Apostles praise thee. The laudabilis numerus, Te Martyrum candidatus laudat goodly fellowship of the Prophets praise thee. The noble exercitus. army of Martyrs praise thee. The holy Church throughout Te per orbem terrarum sancta confitetur Ecclesia, Patrem all the world doth acknowledge thee; The Father: of an immensae maiestatis: Venerandum tuum verum et infinite Majesty; Thine honorable, true: and only Son; unicum Filium; Sanctum quoque Paraclitum Spiritum. Also the Holy Ghost: the Comforter. Thou art the King of Tu Rex gloriae, Christe. Glory, O Christ.

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188 A G O 2 0 1 0 PROGRAM NOTES, CONTINUED Organ (duet) Tu Patris sempiternus es Filius. Tu ad liberandum Thou art the everlasting Son of the Father. When thou suscepturus hominem, non horruisti Virginis uterum. tookest upon thee to deliver man thou didst not abhor Tu, devicto mortis aculeo, aperuisti credentibus regna the Virgin’s womb. When thou hadst overcome the caelorum. Tu ad dexteram Dei sedes, in gloria Patris. sharpness of death, thou didst open the Kingdom of Heaven to all believers. Thou sittest at the right hand of God: in the glory of the Father. Choir Iudex crederis esse venturus. Te ergo quaesumus, tuis We believe that thou shalt come to be our Judge. We famulis subveni: quos pretioso sanguine redemisti. therefore pray thee, help thy servants whom thou hast Aeterna fac cum sanctis tuis in gloria numerari. Salvum redeemed with thy precious blood. Make them to be fac populum tuum, Domine, et benedic hereditati tuae. numbered with thy Saints in glory everlasting. O Lord, save thy people and bless thine heritage.

Organ (Cromorne en Taille) Et rege eos, et extolle illos usque in aeternum. Per singulos Govern them and lift them up for ever. Day by day we dies benedicimus te; Et laudamus Nomen tuum in magnify thee; And we worship thy Name ever world saeculum, et in saeculum saeculi. Dignare, Domine, die without end. Vouchsafe, O Lord to keep us this day isto sine peccato nos custodire. without sin.

Choir Miserere nostri Domine, miserere nostri. Fiat misericordia O Lord, have mercy upon us have mercy upon us. O Lord, tua, Domine, super nos, quemadmodum speravimus in te. let thy mercy lighten upon us as our trust is in thee.

Organ (Grand Jeu) In te, Domine, speravi: non confundar in aeternum. O Lord, in thee have I trusted; let me never be confounded.

Three Chorale Preludes on Kyrie, Gott Vater Kyrie, Gott Vater in Ewigkeit,Groß ist dein’ Barmherzigkeit, Kyrie, God Father in heav’n above, You abound in gracious Aller Ding’ ein Schöpfer und Regierer. Eleison, eleison! love, Of all things the maker and preserver. Eleison, eleison!

Christe, aller Welt Trost Uns Sünder allein du hast erlöst. Kyrie, O Christ, our king, Salvation for all you came to bring. O Jesu, Gottes Sohn, Unser Mittler bist in dem höchsten O Lord Jesus, God’s own Son, Our mediator at the heav’nly Thron; Zu dir schreien wir aus Herzensbegier: Eleison, throne, Hear our cry and grant our supplication. Eleison, eleison! eleison!

Kyrie, Gott Heiliger Geist, Tröst, stärk uns im Glauben Kyrie, O God the Holy Ghost, Guard our faith, the gift we need allermeist,Daß wir am letzten End’ the most, And bless our life’s last hour That we leave this sinful Fröhlich abscheiden aus diesem Elend. Eleison, eleison! world with gladness. Eleison, eleison!

Fantasia and Fugue on the Magnificat Tonus Peregrinus “My Soul doth magnify the Lord, and my Spirit hath rejoiced in God my Savior”

Improvisation on O Haupt voll Blut und Wunden O sacred Head, now wounded, With grief and shame What thou, my Lord, has suffered Was all for sinners’ gain; weighed down, Now scornfully surrounded, With horns, Mine, mine was the transgression, But thine the deadly thine only crown: How pale thou art with anguish, With pain. Lo, here I fall, my Savior! ‘Tis I deserve thy place; Look sore abuse and scorn! How does that visage languish Which on me with thy favor, Vouchsafe to me thy grace. once was bright as morn! What language shall I borrow To thank thee, dearest friend, for this thy dying sorrow, Thy pity without end? O make me thine forever; And should I fainting be, Lord, Let me never, never Outlive my love for thee.

continued on the next page A G O 2 0 1 0 189 PROGRAM NOTES, CONTINUED Improvisation on Salve Regina Salve, Regina, Mater misericordiae, vita, dulcedo, et spes Hail, holy Queen, Mother of Mercy, our life, our sweetness nostra, salve. Ad te clamamus exsules filii Evae, ad te and our hope. To thee do we cry, poor banished children suspiramus, gementes et flentes in hac lacrimarum valle. of Eve; to thee do we send up our sighs, mourning and Eia, ergo, advocata nostra, illos tuos misericordes oculos weeping in this valley of tears. Turn then, most gracious ad nos converte; et Iesum, benedictum fructum ventris advocate, thine eyes of mercy toward us; and after this our tui, nobis post hoc exsilium ostende. O clemens, O pia, exile, show unto us the blessed fruit of thy womb, Jesus. O dulcis Virgo Maria. O clement, O loving, O sweet Virgin Mary.

CHURCH OF MOUNT SAINT SEPULCHRE AND FRANCISCAN MONASTERY (ROMAN CATHOLIC) 1400 Quincy Street NW, Washington, DC Fred Weber, Organist Builder Lively-Fulcher RÉCIT EXPRESSIF PEDALÉ Organbuilders 8 Diapason 32 Contre Soubasse (digital) Location Washington, DC 8 Viole de Gambe 16 Grosse Flûte Year 2002 8 Voix Celeste (F6) 16 Soubasse No. of Manuals III 8 Cor de Nuit 8 Montre No. of Ranks 41 4 Prestant 8 Bourdon (ext) Type of Action Electric Slider 4 Flûte Octaviante 8 Flûte (ext) Memory Levels 2 2 Octavin 4 Prestant (ext) II Cornet 32 Contre Bombarde (ext) GRAND-ORGUE (Manual I) IV Plein Jeu 16 Bombarde 16 Bourdon 16 Basson 16 Basson (Réc) 8 Montre 8 Trompette Harmonique 8 Trompette (ext) 8 Bourdon 8 Hautbois 8 Flûte Harmonique 8 Voix Humaine 4 Prestant Tremblant COUPLERS 4 Flûte Ouverte Octaves Graves Récit/G.O. 2 Doublette Octaves Aigues Bombarde/G.O. IV Fourniture Bombarde/Récit 8 Trompette BOMBARDE (Manual III) Tirasse G.O. 4 Clairon 16 Tuba Magna (ext) Tirasse Récit Tremblant 8 Tuba Mirabilis Tirasse Bombarde Octaves Graves 4 Cor Harmonique (ext) V Grand Cornet (TC)

190 A G O 2 0 1 0 PROGRAM Thursday, July 8. 9:30 and 10:45 a.m.

ORGAN RECITAL Ulrike Theresia Wegele Prelude and Fugue in C Major, BWV 547 Johann Sebastian Bach (1685-1750)

Kleine Fantasie über “U Petak miliga Glava Zabolita” (2003) Franz Zebinger (b. 1946)

Fantasia super Jelena (2003) Tibor Nemeth (b. 1961)

In Festo Corporis Christi Anton Heiller (1923–1979) • Post Benedictionem

Toccata, Adagio and Fugue in C Major, BWV 564 Johann Sebastian Bach THE VENUE St. Paul’s, Rock Creek Chutrch, was THE PERFORMER founded in the reign of Queen Anne. The Rector of St John’s, Broad Creek, lrike Theresia In 1993, she added the Reverend John Frasier, was invited UWegele was born in numerous master classes to preach one Sunday each month Weingarten, Württemberg, to her musical studies in what is now Rock Creek Parish. A Germany in 1964. and subsequently vestry was formed in May 1712. At its From 1984 to 1989, issued live recordings September 1719 meeting, Colonel she studied Catholic from her performances John Bradford pledged 100 acres of Church Music at the in many European land to serve as a Glebe for the parish. State College of Music countries and the Other members pledged 4,350 and Performing Arts in United States. Since pounds of tobacco and 45 pounds Stuttgart with Ludger 1991, Ulrike Wegele has sterling for the support of the church. Lohmann and was lectured at the College In 1721, a brick church was started awarded her diploma. of Music in Graz, Austria. on the site of the present building. Parts of this first church remain in In 1990, she received her concert In 1992 she was called to Eisenstadt the later eighteenth-century church, diploma for organ with unanimous for the organ class at the Joseph- which was restored after a major fire distinction from the Vienna Haydn-Conservatory. In addition in 1921, resulting in the present fine College of Music. In 1991, she to lecturing and giving concerts building with its famed acoustics for took the highest level examination she writes for several musical music. The stained glass windows, in Catholic Church Music. In the magazines. Since 1999, she has which depict the history of the same year she was awarded the been professor for organ at the Episcopal Church in America, date title “Magister artium” for her University for Music in Graz. from this restoration. A complete analytical study of the organ works by Michael Radulescu. She is artistic director of the refurbishment of the historic church Weinklang Festival in Austria and undertaken in February 2004 She studied at the Vienna College of gives masterclasses in many European included the provision of a fine Music with Michael Radulescu until countries. Her achievements as a marble floor, as well as new altar 1993, when she was awarded the solo- teacher are internationally recognized. and chancel furnishings designed diploma for organ with distinction. to harmonize with the eighteenth- century period style of the building.

A G O 2 0 1 0 191 PROGRAM NOTES by Ulrike Theresia Wegele to whom the work is dedicated. The Toccata, Adagio and Fugue in C ever-twisting melody is presented in Major, BWV 564 Prelude and Fugue in C Major, the form of a free fantasy, incorporated J. S. Bach’s Toccata begins with a BWV 547 with chaconne-like elements. virtuosic solo in the manual, which Johann Sebastian Bach’s organ is indicative of the North German pieces make up less than a fifth of his Fantasia super Jelena organ tradition. The phrases with entire catalog of works. More than Tibor Nemeth’s work is divided into so-called “speaking” rests are first 220 organ compositions exist, most three parts, and the material (both heard in the succeeding pedal solo. of which were composed for use rhythmic and motivic) is derived Passages featuring echo effects during church services. One of Bach’s from the Croatian folk song known and highly ornamented virtuosic preferred combinations was a prelude as “Jelena.” Several quick phrases phrases expand the structure. The (therefore, an “overture”) with a guide the tightly structured form of introductory recitative and the fugue. Although the themes of the the first part, while the slower middle pedal solo join to form a toccata BWV 547 Prelude and Fugue aren’t part of the piece incorporates freely reminiscent of a concerto, in which necessarily related to one another, the associated bits from the folk song. two main ideas converse and Prelude and Fugue—in contrast with This composition was dedicated to compete with one another in the most other Bach “pairs”—begin on Ulrike Wegele, who performed the manner of a ritornello. The Adagio the same pitch. Both pieces are built world premiere in 2003. cannot be compared with any other on shorter themes, even though from Bach work in the catalog. Its melody, the first measure of each, the listener Post Benedictionem from which could easily be performed by a expects a thorough and original In Festo Corporis Christi solo instrumentalist with the organ, treatment to follow. In the Prelude, Born in Vienna in 1923 and is accompanied by three secondary Bach develops the theme skillfully employed as an organ professor voices. Elements derived from the and enhances it with thoroughly in the same city, Anton Heiller Italian compositional style abound— inventive counterpoint. The theme of died in his hometown in 1979. for example the pizzicato in the the Prelude is introduced over fifteen As a pedagogue, he educated a pedal, the continuous four-voice measures and melds effortlessly into whole generation of organists. texture, and other harmonic details. the Fugue, leading up to a sequence Heiller scored his works in a richly The succeeding Grave is based on of complicated expositions that are polyphonic and chromatic style, and harmonies that are suspended over blended with a series of contrapuntal occupied himself almost exclusively a chromatic bass line. A striking phrases. with sacred and organ compositions. characteristic of the Fugue is the joy His catalog contains masses, a and lightness the theme imparts. Kleine Fantasie über “U Petak miliga requiem, psalms, motets, cantatas, The theme wraps up in the form of Glava Zabolita” oratorios and orchestral works. a sharply punctuated cadence, and This piece by the Austrian composer In his compositions, traditional the nearly brusque conclusion of Franz Zebinger is based on the Austrian music is interwoven with the fugue takes shape in the style of Burgenlandish-Croatian song called elements of modern music, and is earlier North German organ masters. ‘U Petak miliga Glava Zabolita,’ in further enhanced by employing the which the singer laments a man’s twelve-tone technique. The cycle In unexpected death. Zebinger was Festo Corporis Christi made its first inspired to compose this following appearance in 1957. the death of one of his own friends,

192 A G O 2 0 1 0 ST. PAUL’S EPISCOPAL CHURCH, ROCK CREEK PARISH (CHURCH) Rock Creek Church Road and Webster Street NW, Washington, DC Michael Parrish, Director of Music and Organist Builder Dobson ORGAN HISTORY whose lively acoustic is flattering Opus 80 The organ of St. Paul’s Church, to congregational singing, soloists, Year 2004 Rock Creek Parish, was installed in and small ensembles. The case No. of Manuals II 2004 as part of a major restoration was designed in the tradition of No. of Ranks 26 and refurbishment of the historic the Georgian Baroque instruments No. of Stops 21 Colonial-era church. This includes in England about the time of Type of Action Mechanical the provision of a fine marble floor, Christopher Wren. The organ has as well as new altar and chancel mechanical key action, electrical GREAT furnishings designed to harmonize stop action, two manuals, 21 8 Open Diapason with the eighteenth-century style of registers, and 26 ranks of pipes. This 8 Hohl Flute the building. Built by Dobson Pipe is a true romantic instrument: one 4 Octave Organ Builders, it was designed that still respects traditional chorus 4 Harmonic Flute expressly for the physical and building, employs a wide range 2 2/3 Twelfth acoustical space it occupies. The of foundations tone, and thinks 2 Fifteenth organ benefits greatly from its like a large organ even though it is 1 3/5 Seventeenth placement in the apse of the church, relatively small. 1 1/3 Mixture IV

SWELL (expressive) 8 Geigen Principal 8 Salicional 8 Celeste (aa) 8 Lieblich Gedeckt 4 Gemshorn 2 Flageolet 2 Mixture III 16 Bassoon 8 Trumpet 8 Oboe Tremulant (affects entire organ)

PEDAL 16 Bourdon (wood) 8 Open Diapason 8 Bass Flute (ext) 4 Octave (ext) 16 Trombone 8 Trumpet (ext) 4 Octave

COUPLERS Swell to Great Swell to Pedal Great to Pedal

A G O 2 0 1 0 193 Highland Park United Methodist Church, Dallas, Texas Opus 87 (IV/95) 2009

2 0 0 No rth Illinois St re e t Lake City, Iow a 5 1 4 4 9 DOBSON Ph o n e 712 4 6 4 - 8 0 6 5 Pipe Organ Builders Fa x 7 1 2 4 6 4 - 3 0 9 8 w w w. d o b s o n o r g a n . c o m

194 A G O 2 0 1 0 PROGRAM Thursday, July 8. 10 a.m.

ORGAN RECITAL Nathan Laube Overture to Die Fledermaus Johann Strauss II (1825-1899) Transcription by Nathan Laube (manuscript)

Sonata Eroïca pour Grand Orgue, Op. 94 Joseph Jongen (1873–1953)

L’Orgue Mystique, Cycle de Noël, Suite No. 7, Op. 55 Epiphania Domini Charles Tournemire (1870–1939) • Prélude à l’Introït • Offertoire • Élévation • Communion • Fantaisie THE VENUE Suite pour Orgue, Op. 5 Maurice Duruflé (1902–1986) New language coming from MES • Prélude • Sicilienne • Toccata

THE PERFORMER athan J. Laube is a awards at graduation: Nrising star among the Landis Award for young classical musicians Excellence in Academics and has quickly become and the Aldwell Award a popular artist on the for Excellence in Musical organ recital circuit. Studies. His brilliant playing, a u d i e n c e - f r i e n d l y Recent performances programs, and gracious include major venues demeanor have thrilled in the United States and audiences and presenters across Europe: Girard College the United States and in Europe. A Chapel (Philadelphia), in the native of Chicago, Nathan began closing event of the 2007 National piano study at age five with Donna Convention of the American Fortney. He later studied organ Institute of Organ Builders; Jacoby with Dr. Elizabeth Naegele and Symphony Hall (Jacksonville, piano and music theory with Louis FL); Spivey Hall (Morrow, GA), a Playford at the Chicago Academy performance subsequently broadcast for the Arts. He is a recent graduate on Minnesota Public Radio’s of the renowned Curtis Institute of “Pipedreams”; The Spreckels Organ Music in Philadelphia, where he Pavilion in Balboa Park (San Diego); studied organ with Alan Morrison and the 2009 National Convention and piano with Susan Starr, and of the Organ Historical Society received the Institute’s two highest (Cleveland). At The Kimmel Center’s continued on the next page

A G O 2 0 1 0 195 THE PERFORMER, CONTINUED Verizon Hall (Philadelphia), Nathan Recognition of Nathan’s talent is Orchestra principal trumpeter Chris has appeared as a solo recitalist, as evidenced by first place awards he Martin in acclaimed chamber music organ soloist for the 2008 “Sing-Along has received from the prestigious recitals in Chicago. Nathan served Messiah,” and with the Philadelphia National Albert Schweitzer Organ as organist for a weeklong choir- Orchestra under Maestros Charles Competition in September 2004, residency at the majestic Durham Dutoit and Christoph Eschenbach. and from the Chicago American Cathedral in England. With the Philadelphia Orchestra, he Guild of Organists/Quimby Regional traveled several times to Carnegie Competition for Young Organists in Although Nathan’s vast repertoire Hall, most notably to perform February 2007. spans the works of pre-Baroque to Mahler’s monumental Symphony living composers, he has become No. 8. Other celebrated venues As a church musician, Nathan served known for his colorful and virtuoso in which Nathan has performed as the first organ scholar at Bryn transcriptions of orchestral works by include St. Bartholomew’s Church, Mawr Presbyterian Church from Bach, Mahler, Rossini, and Strauss. As and Trinity Church, Wall Street, in 2006 to 2007, culminating in an an assistant organist to Peter Richard New York City; Princeton University extensive choir tour in South Africa. Conte at the Wanamaker Grand Chapel; The Fourth Presbyterian His previous positions include Organ Court Organ—the world’s largest Church in Chicago, and Ocean Scholar at the historic St. Luke’s and ultimate “transcription organ”— Grove Auditorium in New Jersey. He Episcopal Church in Germantown, Nathan performed regularly on their was the sole American organist at Philadelphia, PA, and associate daily recital schedule. In 2005 and the International European Organ organist at St. Paul’s United Church 2009 he appeared on WRTI Radio’s Festival held in 2004 at the Franciscan of Christ in Chicago. broadcast of “The Wanamaker Organ Church and St. Nicholas Cathedral in Hour,” playing many of his original In demand as an accompanist, he Ljubljana, Slovenia. Most recently, transcriptions. has worked with numerous chamber Nathan embarked on a debut recital ensembles and choruses, notably the Nathan’s other interests include tour of England in the summer of Choral Arts Society of Philadelphia medieval and modern architecture, 2009, including evening celebrity under the direction of Matthew gardening, international travel, recitals in Canterbury Cathedral Glandorf. He has also collaborated exotic cuisine and cooking, as well as and other celebrated British venues. with violinist Jasmin Lin, oboist sketching and drawing. Jelena Dirks, and Chicago Symphony PROGRAM NOTES by Nathan Laube It was only seven years after the The Overture—a staple at Vienna’s formation of the Habsburg Dual legendary New’s Year’s Concert—is With the dulcet tones of An der Monarchy that Strauss premiered an ingenious virtuoso concert piece, schönen blauen Donau waltz still his operetta, Die Fledermaus, at integrating into its structure five hanging in the air above one of the the Theater an der Wien in 1874. of the operetta’s melodies and the Stadtpark’s gazebos, and elegantly The operetta’s success was, not Fledermaus Waltz. In the sense that dressed women eating Apfelstrudel surprisingly, immediate—given Strauss’ music appeals to both the and Sachertorte in a café on its famously beautiful melodies connoisseur and novice, it is akin Ringstraße, the nineteenth–century and waltz. Centered around the to much of the orchestral literature Vienna that Johann Strauss II knew Hungarian Count Orlofsky’s masked transcribed by the “transcription simply bubbled with an intoxicating ball, the delightful song “Trinke, giants,” W.T. Best and E.H. Lemare. energy and charm. And although Liebchen, trinke schnell” (“Drink, Although this transcription remains the love between the ebullient city darling, drink quickly”) encourages generally faithful to Strauss’ score, in and Strauss II, the Waltz King, was the listener to forget the growing an effort to create a Konzertstück more certainly a mutual one, not only did tensions in the new Empire—those idiomatic to the instrument, I have Strauss capture the hearts of those which will change forever this blithe taken the liberty of reconfiguring, his waltzes charmed, he was admired Viennese landscape in 1914: “Wine embellishing, and providing by luminaries including Richard will soon give you consolation by additional counter-melodies in Wagner, Johannes Brahms, Gustav forgetting! Happy is the person who the vein of Liszt’s and Horowitz’s Mahler and Richard Strauss. forgets what can’t be altered anyway, virtuoso piano transcriptions. Ting-a-ling, sing, sing, sing!” continued on the next page

196 A G O 2 0 1 0 PROGRAM NOTES, CONTINUED Having raised the proverbial “curtain,” by a pedal counter-melody recalling graves; specific requests for Septième the remainder of the recital program Bonnet’s Variations de Concert. A five- and Piccolo stops to be drawn and consists of three distinct works written voice fugato introduces the call of removed). His use of birdsong, within a five-year period (1927 to the trumpets, and finally the theme modal harmonies, and unorthodox 1933) between the two World Wars heard triumphantly in the pedals, registrations in the effort to illuminate that ravaged Europe. In labeling accompanied by the peal of bells, in scriptural truths captivated the next his 1930 Organ Sonata, Op. 94, the rapturous coda. generation of young French organists, “Eroïca,” Joseph Jongen harkens among them Maurice Duruflé and back to Napoleonic years of war and As can be heard in moments of the Olivier Messiaen. Messiaen later revolution. Whereas César Franck and Sonata Eroïca, with its trios, canons, and wrote in his Technique de mon langage Joseph Bonnet (to whom the Sonata is fugato, Neo-Classicism was in vogue musical (1944), “One can hardly use dedicated) fastened to their respective across Europe. Charles-Marie Widor’s the themes of plainchant more and Pièce and Caprice the connotation Symphonie Gothique, Op. 70 (1895), better than Charles Tournemire in his “Héroïque,” and Chopin’s passionate Symphonie Romane, Op. 73 (1900), and L’Orgue Mystique.” Étude received “Révolutionaire,” the Salve Regina from his Symphonie Jongen bows his head to that towering II signaled a new era for organ The first four movements of Epiphania figure of the nineteenth century, composition, specifically employing Domini, feature the generous use of Ludwig van Beethoven, and his the antique Plein Jeux and Cornets. single and double pedal points and Sinfonia Eroica, Op. 55. Meanwhile, by the mid-1920s, the quinted pedals, and explore the spatial world came to know Ravel’s Tombeau effects of uncoupled manuals. The Like a “call to arms,” the Sonata Eroïca de Couperin, Prokofiev’s Classical brilliant Fantaisie sets up a dialogue opens with three increasingly forceful Symphony, and Stravinsky’s Pulcinella. between the heavens and the earth, intonations in tutti octaves, sweeping Coupled with the restorative work oscillating between the classical the listener into a sonic maelstrom on Gregorian Chant at the Abbey of Plein Jeux and nineteenth–century of crashing chords and thunderous Solesmes, and the 1903 Motu proprio Fond d’orgue. Evoking a distinctly pedal octaves, recalling the symphonic of Pius X that stressed the superiority “medieval” ethos in climatic moments poems of Liszt. With the distant peal of chant-based organ works, it was a suggestive of organum, this rhapsodic of church bells, the “dust clears,” and time that nurtured such a mystic as movement is among his most succinct Jongen introduces the main theme of Charles Tournemire. and dramatic. The work is dedicated the work, one resembling a carol from to André Marchal, a champion of Ardennes, Jongen’s summer retreat. Like Jongen, Charles Tournemire Tournemire’s music and the French Two variations follow, calling for was a prodigiously gifted improviser, Neo-Classical movement. unusual registrations (Cromorne with and his liturgical improvisations Larigot and Septième) possible on the at the Basilica of Ste. Clotilde were Before taking the post as organist Stevens organ at the Palace of the Fine legendary. At the suggestion of Joseph at St. Étienne-du-Mont in 1930, Arts in Brussels, for which the Sonata Bonnet (the dedicatee of Jongen’s Maurice Duruflé served as Eroïca was composed. The ensuing Sonata) Tournemire embarked on the Tournemire’s assistant at Ste. Allegro thrusts the listener into a more composition of L’Orgue Mystique (51 Clotilde. Such was his respect for impetuous, rhapsodic musical world, liturgical offices inspired by Gregorian his maître, that when Tournemire assuming the character of a symphonic Chant for each Sunday of the year) recorded five improvisations at tone poem, perhaps Jongen’s homage from 1927 to 1932, designed for use Ste. Clotilde in 1930/31, Duruflé to Richard Strauss, with whom he during the Roman Catholic Mass for painstakingly notated them off the studied after winning the Prix de Rome less-fluent improvisers than he was. records in 1956/58—works that in 1897. Characteristic of the writing Each office, or suite, consists of a ultimately became Tournemire’s is an inventive use of counterpoint Prélude à l’Introït, Offertoire, Élévation, most performed music. Duruflé, too, and seductive harmonies drawing on Communion, and an extended Pièce used plainsong as an integral part of augmented and whole-tone sonorities. Terminale. Tournemire, who would his composition, most notably in The transition into a stunning vocalise later write a treatise on registration, his Requiem, Op. 9, but also in his for the Flûte harmonique conjures had a highly creative and “modern” organ works Prélude, Adagio et Choral Debussy’s La Cathédrale Engloutie way of registering his essentially varié sur le thème du “Veni Creator,” with its sustained harmonies and nineteenth-century Romantic Cavaillé- Op. 4, and the Prélude sur l’Introït de parallel rising fourths. Gradually Coll organ at Ste. Clotilde, and some l’Épiphanie, Op. 13 (inspired by the regaining momentum and intensity, mild examples of such can be found same chant used by Tournemire in Jongen unleashes the theme on the in this Epiphania Domini office Op. 55, Ecce advenit). tutti (marked Eroïco), ornamented (Gambe, Nazard, Hautbois, octaves continued on the next page

A G O 2 0 1 0 197 PROGRAM NOTES, CONTINUED Perhaps the organ’s equivalent of sonority reveals the sole surviving interesting that only in this movement Ravel’s Tombeau de Couperin, the voice heard in a plaintive recitative does one feel a dance rhythm. tripartite Suite pour Orgue, Op. 5, on the Cromorne. The Sicilienne Continuing to draw on antique (1932) seems to embody as many possesses some of Durufle’s most forms, the Toccata is a constant textures and stylistic colorings as the intimate and colorful writing for flurry of digital activity, punctuated sparkling interior of St. Étienne-du- the instrument, showing Duruflé by volcanic eruptions and cascading Mont. In the Prélude—announced the neo-impressionist. The central waterfalls of sound. Eventually by an ominous, distant alarm section, featuring the Voix humaine, soaring into the stratosphere, a and subterranean rumblings—a continues to explore the interval of fanfare (a reconfiguring of the gentler serpentine theme moves inevitably the tritone (the first vertical sonority second theme) crackles like the fire forward, slowly erecting a tremendous found in the Prélude, and found of machine guns, until the shattering structure of sound so enormous that within both themes of the Toccata). brilliance of the B-major coda brings it collapses under the weight of its If the title Suite suggests a collection the work to a breathless conclusion. own vault. A return to the opening of subsequent dance movements, it is

NATIONAL PRESBYTERIAN CHURCH See organ specifications on page 73

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198 A G O 2 0 1 0 WORKSHOPS Thursday, July 8

examined, leaving you with many The Well–Tempered Regional: Masterclass: American ideas of how to build your online Planning a Regional Convention Organ Music music library. You will learn what to look for and what to avoid. 1:00-2:30 p.m.—Hotel 1:00-2:30 p.m.—St. Paul’s Copyright issues will be discussed. Room: Harding Lutheran Church Choral music on the Internet will Ronald Krebs Jonathan Biggers also be examined.

This workshop is designed to give Featuring music by American an overview of the entire process composers such as Dudley Buck, of hosting a Regional Convention. Charles Ives, Leo Sowerby, and Rediscovering Sigfrid All elements of planning and William Albright, the class focuses Karg-Elert’s Organ Music organization are discussed, from on musical and interpretive the beginning bid process to the elements leading to lively and 1:00-2:30 p.m.—Hotel completion of the final report. A meaningful performances. Room: Thurgood Marshall South well-conceived convention benefits the entire Regional membership. It JeeYoon Choi increases visibility for the organ in Sigfrid Karg-Elert composed more the community and energizes the EROI: than 250 works for organ. Many host chapter, often generating funds Building a Bright Future of these works utilize Lutheran that support Guild projects for years chorale and Gregorian chant tunes to come. You are invited to explore 1:00-2:30 p.m.—Hotel as cantus firmi. We explore three all the possibilities with Dennis Room: Wilson B periods of Karg-Elert’s organ music, Elwell, Councillor for Conventions, focusing on his integration of and members of the Committee on Hans Davidsson, David Higgs chorale and chant tunes through Regional Conventions: Albert various compositional techniques, Adcock, John Dickson, and EROI = Eastman Rochester Organ forms, styles, and genres. Janet Griffin. Initiative. Learn about EROI and the philosophy of a holistic and “global” organ education that includes the acquisition of various prototypical instruments and Oxford/ECS Fundraising Basics: guides their selection. Hear about Choral Reading Session Dollars and Sense audience development around such instruments, and various future 1:00-2:30 p.m.—Hotel 1:00-2:30 p.m.—Hotel perspectives on the art of the organ Room:Washington 6 (in exhibit area) in a society where the role of the Room: Wilson A This choral reading session instrument will be broader and includes old and new music from F. Anthony Thurman more diverse than in the past. the publishing companies Oxford AGO Director of Development and University Press and E. C. Schirmer. Communications F. Anthony Thurman opens the window into the world of fundraising. Drawing upon more than Free At Last! a decade of experience in the field, Dr. Public Domain Organ Music Thurman discusses the techniques and skills that are required for identifying 1:30-2:30 p.m.—Hotel and securing funding for special Room: Thurgood Marshall North programs and projects in the world of organ and sacred music. Individual, Richard Konzen corporate, and foundation support are examined, and areas of planned giving The workshop surveys the ever- are explored. growing amount of organ music that can be downloaded for free from the Internet. A number of sources from all over the world are

A G O 2 0 1 0 199 Thursday, July 8 WORKSHOPS

New Music for 2010: A Panel of Max Reger’s Orgelbüchlein chorales are perhaps too complex the Commissioned Composers for everyday use, and, as such, are in 1:00-2:30 p.m.—St. Paul’s Episcopal fact better suited to concert than to 1:00-2:30 p.m.—Hotel Church, Rock Creek Parish worship. This workshop surveys the Room: Wilson C collection, identifying pieces suitable Isabelle Demers for both beginners and more advanced Keith Reas players, and discussing such topics as Unlike his Chorale-Fantasias, Reger’s registration, articulation, and style. Composers commissioned for Fifty-Two Easy Chorales, Op. 67 were this convention meet in a panel not written for concerts, but rather for moderated by New Music Chair practical use in the liturgy; as such, the Keith S. Reas to discuss aspects of entire collection is akin to a romantic commissioning new music, to talk version of Bach’s Orgelbüchlein. about writing new music for the However, even though Reger thought organ, and to give insights into their of them as “easy,” some of the new pieces heard this week. New Music Committee members Julie Vidrick Evans and William Bradley Roberts join with composers Mary Beth Bennett, David Hurd, Rachel Laurin, Leo Nestor, Dorothy Colin Papadakos and Craig Phillips in a lively conversation. Daniel New Songs of Celebration Render: Enlivened Hymn-Singing Lynch 1:00-2:30 p.m.—Basilica of the National Shrine of the Immaculate Conception, Crypt Church Concert Organist Bruce Neswick Together we explore ways in which the organist can model the nature and style of a hymn, and lead a FIRST PRIZE congregation with appropriate style and substance. Whether reflective 2010 Fort Wayne National or bursting with praise, modest or Organ Competition big-boned, each hymn has a distinct personality. We organists have a sacred duty to draw out these varied personalities in ways that encourage singing in our congregations. Director of Chapel Music ST. PAUL’S SCHOOL Concord, NH

For recitals and information: www.colinlynchorgan.com

200 A G O 2 0 1 0 PROGRAM Thursday, July 8. 7:30 p.m.

CLOSING CONCERT PRELUDE Robert Grogan “A Century of Carillon Composition” Robert Grogan, carillonneur Melody for the Bells of Kallio Church, Op. 65b (1912) Jean Sibelius (1865-1957) (Kellosävel Kallion Kirkossa) Memorial Chime (1923) Edward Elgar (1857-1934) Legend (1931) Samuel Barber (1910-1981) Passacaglia (Suite III,1953) Henk Badings (1907-1987) BASILICA CARILLON Gamelan and Jhala, Op. 106 (1967) Alan Hovhaness (1911-2000) The 56-bell carillon of the Basilica Variations on the Song “Die Alder Soetste Jesus” of the Shrine of the Immaculate Sally Slade Warner (1932-2009) Conception, a gift of the Knights of Columbus, is housed in the Picardy (17th century French melody) 329-foot campanile known as the Roy Hamlin Johnson (b. 1929) “Knights’ Tower.” Cast by the bell Locrian Mode (Seven Modal Pieces, 2004, VII) foundry Les Fils de Georges Paccard John Courter (b. 1941) of Annecy-Le Vieux, France, and consecrated and dedicated in 1963, Allegretto (Sonatine for Carillon, II) the instrument spans 4 2/3 octaves, Sjef van Balkom (1922-2004) with bells ranging in weight from 21 to 7,200 pounds with a combined weight of 37,150. In accordance with ancient custom, the largest THE PERFORMER bells carry names. The Blessed Virgin Mary bell, the largest bell, obert Grogan, Basilica Holder of degrees from strikes on the hour. Christopher RCarillonneur and The University of Kansas, (C), Edward (F), Francis of Assisi organist emeritus, was first the College of Church (G) and Virgil (A) each strike the appointed to the National Musicians at Washington quarter-hours and are pealed prior Shrine in 1964, becoming National Cathedral, and to Mass, at noontime, and at the organist in 1976. His The Catholic University evening Angelus. The two bell compositions for carillon, of America, Dr. Grogan chambers are located at the levels organ, and choir have been teaches organ and related of 172 and 223 feet. The remaining published by the Guild courses at the Benjamin 53 bells of this mechanical–action of Carillonneurs in North T. Rome School of Music carillon are stationary with interior America, H. W. Gray (Belwin/Mills), of The Catholic University of clappers. All motion involved in and E. C. Schirmer. As carillonneur, America. Upon retirement from his sounding the bells comes directly organist, and accompanist he has full-time position at the Basilica he from the carillonneur’s hands and recorded on the instruments of the was honored with knighthood in feet, transmitted through the keys, Basilica for various labels including the papal order of St. Gregory the vertical rods, horizontal transfer Gothic Records. He has served as dean Great by His Holiness Benedict XVI rollers, and wires to the individual of the District of Columbia chapter of for his lifetime contributions to the clappers. the American Guild of Organists and art of sacred music. as chair of the DC AGO Foundation.

A G O 2 0 1 0 201 PROGRAM Thursday, July 8. 7:30 p.m.

CLOSING CONCERT The Choir of the Basilica, Peter Latona, director The Washington Chorus, Julian Wachner, music director David Briggs and Renée Louprette, organ COMMISSIONED WORK Tota pulchra es BY THE BASILICA: James MacMillan (b. 1959) The Choir of the Basilica Peter Latona, conductor Daniel Sañez, organ

COMMISSIONED WORK Three Psalms BY AGO 2010: David Hurd (b. 1950) • Psalm 1 • Psalm 42 (1-7) • Psalm 136 The Washington Chorus Julian Wachner, conductor David Briggs and Renée Louprette, organ THE VENUE FIVE-MINUTE INTERVAL The Basilica of the National Shrine Salve Regina (2009) of the Immaculate Conception Olivier Latry (b. 1962) is the pre-eminent Marian shrine Renée Anne Louprette, organ of the Roman Catholic Church in the United States. Amid the largest Improvisation: Symphony in Four Movements collection of modern ecclesiastical art David Briggs (b. 1962) in the world, hundreds of thousands I. Allegro gather each year for worship and II. Adagio prayer. It reflects the story of a III. Scherzo century of Catholicism in America, IV. Finale: Vivace each of its more than 70 chapels and oratories representing a piece of the CONCERT PROGRAM AVAILABLE AT THE BASILICA history of the many ethnicities and traditions that together constitute THE PERFORMERS the universal Church.

The Shrine honors the Blessed Virgin Mary, under whose protection the first Roman Catholic bishop in the United States placed the young nation. The spiritual bond was formalized in 1847 when Pope Pius IX proclaimed Mary as the patroness of the United States under her title of the Immaculate Conception. Bishop Thomas J. Shahan, fourth rector of The Catholic University of America, envisioned the Shrine as “a monument of love and gratitude, a great hymn in stone.” The Washington Chorus

202 A G O 2 0 1 0 THE PERFORMERS Thursday, July 8. 7:30 p.m. ounded in 1961 as the Oratorio (Gothic Recordings); Dvorák’s Calgary Philharmonic, San Diego FSociety of Washington, The Stabat Mater and Psalm 149 (Naxos Symphony, National Arts Centre Washington Chorus is noted for its International); Mussorgsky’s Boris Orchestra, Handel & Haydn Society, critically acclaimed performances Godunov (nominated for a Grammy Pacific Symphony, and L’Orchestre and recordings of the entire range in 1988); and the Grammy Award- Métropolitain du Grand Montréal. of the choral repertoire. A Grammy winning Of Rage and Remembrance Award winner, The Washington by John Corigliano with the In addition to being music director Chorus is currently in its 49th National Symphony Orchestra of The Washington Chorus, Wachner season and is considered a cultural under the baton of Leonard Slatkin. is also associate professor of music leader in the Washington area. The Chorus frequently tours at the Schulich School of Music In March, 2008, The Washington internationally, traveling to such at McGill University in Montréal, Chorus completed an eighteen– musically important destinations Québec, where he serves as principal month search and announced Julian as Paris, Vienna, Prague, Barcelona, conductor of Opera McGill. Wachner as the Chorus’ new music and Rome, among others. To better Julian Wachner’s original music director. Mr. Wachner officially serve its local community, the has been described as “bold and assumed the position on July 1 and Chorus also has various educational atmospheric” by The New York Times, is the third music director in the programs and presents free concerts “jazzy, energetic, and ingenious” by organization’s history. The Chorus throughout the greater Washington The Boston Globe, “highly enjoyable, presents an annual subscription area for special needs groups. The touching, clever, and inspiring” series at the John F. Kennedy Washington Chorus is deeply by the Deseret News, and “upbeat, Center for the Performing Arts, the committed to being a strong presence jazzy, glittering, and poignant” by Music Center at Strathmore, and in the Washington community. the Providence Journal. His complete other major venues throughout catalogue of music, containing over the Washington area. The Chorus ulian 80 works, is published by E. C. frequently appears at the invitation of Wachner, J Schirmer. the National Symphony Orchestra, music director of The singing under the direction of He is also an award-winning organist Washington many of the world’s greatest and improvisateur. At the Spoleto Chorus, is conductors, including Leonard Festival USA, his improvised finale one of North Slatkin, Mstislav Rostropovich, at his solo recital led one reviewer to America’s Rafael Frühbeck de Burgos, Seiji report that “this stupefying wizardry most exciting Ozawa, Sir Neville Marriner, Charles was the hit of the recital, and it had and versatile Dutoit, Kent Nagano, and many to be heard to be believed.” As a musicians, sought after as both others. In addition to its regular collaborative pianist, Julian Wachner conductor and composer. This Kennedy Center performances, the has twice toured South America with season, he makes New York City Chorus has sung throughout the countertenor Daniel Taylor and the Opera history, having been selected metropolitan area and has received Theatre of Early Music. Wachner’s as both conductor (With Blood, With acclaim for numerous world recordings are with the Chandos, Ink by Daniel Crozier; Zolle by Du premieres. The Chorus has recorded, Naxos, Atma Classique, Arsis, Musica Yun) and com poser (Evangeline been nationally broadcast and Omnia, and Titanic labels. internationally televised, performed Revisited) at the company’s annual as part of a motion picture VOX festival of contemporary opera. Born in Hollywood, California, soundtrack, and has performed for Wachner began his musical In addition to his City Opera debut, presidential inaugurations and to education at age four with cello and Wachner regularly appears on the honor world leaders. In February piano lessons at the University of world’s leading stages, including of 2000, the Chorus, under the Southern California, and studied engagements with the Philadelphia direction of former music director under Gerre Hancock while a boy Orchestra, Glimmerglass Opera, Robert Shafer, won a Grammy chorister at the Saint Thomas Choir Montreal Symphony Orchestra, Award for Best Choral Performance School in New York City. He earned Boston Pops Orchestra, Portland of the Year for its live-performance a doctor of musical arts degree from Symphony, Pittsburgh Symphony, recording of Benjamin Britten’s Boston University’s School for the Toledo Symphony, Honolulu War Requiem. Other recordings Arts, where his teachers included Symphony, Spoleto Festival include: Glorious Splendor, Sing David Hoose and Lukas Foss. USA, Music Academy of the Noel!!, and the Berlioz Requiem West, Berkshire Choral Festival, continued on the next page

A G O 2 0 1 0 203 THE PERFORMERS, CONTINUED Holiness Pope Benedict XVI presiding. Dr. Latona was also commissioned The Choir of the Basilica A live recording of this historic event to compose music for the visit was released in 2008. In November of of His Holiness Benedict XVI to 2008, the choir performed a concert Washington, DC, and New York of sacred music before an audience of City in April of 2008. 1,500 at the Basilica of Santa Maria Maggiore that was part of the Festival Dr. Latona holds a bachelor of music Internationale di Musica e Arte Sacra. from Bucknell University, a master of music from the Yale School of eter Music, and a doctor of musical PLatona arts from the Manhattan School of is director of Music. His teachers have included he Choir of the Basilica is the music at the McNeil Robinson, Thomas Murray Tresident choir of the Basilica Basilica of (organ) and Jean Langlais and Gerre of the National Shrine of the the National Hancock (improvisation). He is a Immaculate Conception. The choir Shrine. As member of the Conference of Roman of approximately twenty professional an organ Catholic Cathedral Musicians, the singers from the greater Washington recitalist, he American Guild of Organists and is metro area is dedicated to performing has performed chair of the DC AGO Foundation. at Solemn Eucharist on Sundays and across the United States and in Solemnities that mark the church Europe, has presented workshops aniel calendar. The choir is engaged in on improvisation and released a DSañez close to one hundred performances recording, An Organ Pilgrimage serves the (liturgical and otherwise) each year, (Raven), featuring all four pipe Basilica of and prepares approximately three organs at the Basilica. As conductor the National hundred works each season drawn of the Basilica’s Choir, he released six Shrine of the from the wealth of the Roman recordings of sacred choral music, Immaculate Catholic sacred music tradition. presented concerts in the United Conception On solemn occasions, the choir States and abroad, and was featured as assistant performs with Washington-area on Public Radio International. director of musicians including the Washington Among more recent recording music, a position he has held since Symphonic Brass, Orchestra of the projects, John Paul II: A Celebration July 2007. Before his appointment at Seventeenth Century and members of Life and Faith, was recorded at the National Shrine, he was assistant of the National Symphony Orchestra. Santa Maria Maggiore in Rome and director of music at Holy Trinity Solemn liturgies are broadcast live on combines spoken passages from Church in Georgetown, DC. After the Eternal Word Television Network the writings of the late pontiff with earning a bachelor of arts at Boston throughout the world. choral works highlighting the major College, where he studied organ and themes of his pontificate. choral conducting with John Finney, The Choir of the Basilica of the Daniel went to Leipzig, Germany, as National Shrine has completed Active also as a composer, Dr. Latona a Fulbright Fellow, to continue his several recording projects. In 2005, has several commissions published studies with Ullrich Böhme, organist the choir traveled to Rome to record by Morningstar Music Publishers. of the famed Thomaskirche, where a musical tribute to John Paul II. These include Ego sum ostium, for J. S. Bach served as music director The recording, released in August of chorus, orchestra, and soprano solo, for twenty-seven years. Daniel 2005, is comprised of texts drawn composed for the International then earned his master of music from the many writings of John Paul Celebration of the Jubilee in in historical performance at the II, interspersed with sacred choral Vatican City; My Hope Is Arisen, Oberlin College Conservatory of works that illuminate the message of for chorus and orchestra; Fanfare- Music where he studied organ with the selected texts. The recording was Introit and Procession on Da pacem David Boe; harpsichord with Lisa made in the Basilica of Santa Maria for orchestra and chorus, composed Goode Crawford and Webb Wiggins; Maggiore, Rome. In April of 2008, for the National Convention of the fortepiano with David Breitman; during the Holy Father’s apostolic Knights of Columbus, and Missa voice with Salvatore Champagne; journey to the United States, the Personent Hodie for chorus, double and choral conducting with Hugh choir sang at Solemn Vespers with His brass ensemble, and percussion. Floyd. Daniel has also participated

continued on the next page

204 A G O 2 0 1 0 THE PERFORMERS, CONTINUED in masterclasses with James David Competition, he also won the Contributor to the artistic direction Christie, Lionel Rogg, Bernard Lagacé first prize in the International of the Sacred Music in a Sacred (organ), Skip Sempé (harpsichord), Improvisation Competition at Space concert series at St. Ignatius and Max van Egmond (voice). Paisley. Subsequently David held Loyola, she directs the N.P. Mander positions at Hereford, Truro, and Organ Recital Series and performs Since Daniel’s appointment to the Gloucester cathedrals. regularly as conductor, recitalist, and National Shrine, he has performed continuo player. In October 2009, for His Holiness Pope Benedict David’s schedule includes more than she joined Kent Tritle as conductor XVI’s historic Apostolic Journey to fifty concerts a year, spanning several in the celebrated U.S. premiere of the United States during Solemn continents. Deeply committed to John Tavener’s Requiem at the Church Vespers held at the Basilica, which making organ music vibrant for of St. Ignatius Loyola. Other recent was attended by the bishops of the future generations, he enjoys giving conducting appearances on the United States; Daniel also performed pre-concert lectures designed to SMSS series included Stravinsky’s before the U.S. President and his make organ music more accessible Mass, François Couperin’s Leçons White House staff. to audiences. In addition, he teaches de Ténèbres, Heinrich Schütz’s at Oxford and Cambridge, frequently Musikalische Exequien and New York– avid serves on international organ based composer James Bassi Carol Briggs D competition juries, and gives master Symphony. is an classes at colleges and conservatories internationally across the United States and Europe. Ms. Louprette was appointed in renowned 2007 to the faculty of the John J. organist David Briggs is also a prolific Cali School of Music, Montclair whose composer; his works range from State University in New Jersey, as performances full–scale oratorios to works for visiting specialist in Organ, where are acclaimed solo instruments. He has recorded a she oversees a growing class of for their DVD, and 29 CDs, many of which young organists and has established musicality, virtuosity, and ability to include his own compositions and a new organ recital and master- excite and engage audiences of all transcriptions. For more information, class series. She has appeared at ages. With an extensive repertoire please visit www.david-briggs.org. the festivals of Dún Laoghaire, spanning five centuries, he is Ireland; Magadino, Switzerland; In ailed by increasingly known for his brilliant Tempore Organi, Italy; Ghent and The New organ transcriptions of symphonic H Hasselt, Belgium; and Toulouse Les York Times as music by composers such as Mahler, Orgues, France. She has performed “a technically Schubert, Tchaikovsky, Elgar, throughout the United Kingdom nimble and Bruckner, Ravel and Bach. Fascinated and the Republic of Ireland, dynamic by the art of Improvisation since including recitals at Westminster organist,” childhood, David also frequently Abbey, the Temple Church and St. Renée Anne performs improvisations to silent Bride’s Church, London, St. Giles Louprette has established an films such as Phantom of the Opera, Cathedral, Edinburgh, Dunblane international career as organ recitalist Hunchback of Notre-Dame, Nosferatu, Cathedral, Scotland, and Galway and choral conductor. Since 2005 Jeanne d’Arc, and Metropolis, as well Cathedral, Ireland. In 2009, she she has been the associate director of as a variety of Charlie Chaplin films. appeared as organ soloist with the music at the Church of St. Ignatius Queensland Symphony Orchestra in At the age of seventeen, David Loyola in New York City, where she Brisbane, Australia, in Saint-Saëns’ obtained his Fellow of the Royal collaborates with music director Organ Symphony under the direction College of Organists diploma, Kent Tritle in the direction of the of her husband, French conductor winning the silver medal of the renowned music ministry program, Emmanuel Plasson, broadcast Worshipful Company of Musicians. serving as liturgical organist, live on Australian National Radio. From 1981–1984, he was the organ accompanist, and conductor of both She was a featured artist in the scholar at King’s College, Cambridge professional and amateur ensembles. 2007 Region II Convention of the University, during which time he She has previously served as director American Guild of Organists in studied organ with Jean Langlais of music and organist at the Church New York City in an acclaimed in Paris. The first British winner of St. Ann in Avon, Connecticut, performance of Poulenc’s Organ of the Tournemire Prize at the St and the Church of the Immaculate Concerto. Other performances in Albans International Improvisation Conception in Montclair, New Jersey. continued on the next page

A G O 2 0 1 0 205 THE PERFORMERS, CONTINUED the United States have included Antiphona ensembles of Toulouse a Premier Prix, mention très bien, appearances at Yale, Harvard, and and Orchestra New England. She in 2003 from the Conservatoire Princeton universities. is a member of the keyboard trio National de Région de Toulouse, TRIPTYCH which performs original France, under the guidance of Ms. Louprette has collaborated compositions for piano, organ and Michel Bouvard, Jan Willem Jansen with a number of New York City harpsichord by Canadian composer and Philippe Lefebvre. In 2005, ensembles including the Clarion Paul Halley. she won a Diplôme Supérieur in Music Society, American Symphony organ performance from the Centre Orchestra, the Dessoff Choirs, Renée Anne Louprette holds a d’Etudes Supérieures de Musique et Gotham City Orchestra, Oratorio Bachelor of Music degree summa de Danse de Toulouse. Society of New York, Cantori New cum laude in piano performance and York, Orchestra of Our Time, and a Graduate Professional Diploma Renée Anne Louprette is a member of Piffaro, appearing in Carnegie, in organ performance from the the Executive Board of the New York Avery Fisher and Merkin Halls, and Hartt School of Music, University City Chapter of the American Guild the Miller Theatre of Columbia of Hartford, where she began organ of Organists and previously served University. She has performed with studies in 1993 with Larry Allen. She as dean of the Greater Hartford, l’Orchestre National du Capitole pursued private studies with Dame Connecticut Chapter of the American de Toulouse under the direction of Gillian Weir in London and with Guild of Organists. Richard Hickox, the Musica Nova and James David Christie. She earned THE COMPOSERS ames Vänska, Alsop, Maksymiuk, Runnicles Saints Church JMacMillan and Brabbins, and choreographer from 1985 is the pre- Christopher Wheeldon. His to 1997 and eminent recordings are available on BMG/ is currently Scottish RCA Red Seal, BIS, Chandos, Naxos, director of composer of Hyperion, Coro, and Black Box. music at The his generation. Church of the He has avid Hurd was born in Holy Apostles attracted DBrooklyn, New York. Prior all in New attention with to his undergraduate studies at York City. acclaimed BBC Proms premiere of Oberlin College, he attended both The Confession of Isobel Gowdie (1990). the High School of Music and Art He was awarded first prizes both in His music combines rhythmic and The Juilliard School. In 1971, organ playing and in improvisation excitement, raw emotional power, he was appointed assistant organist at the 1977 International Congress and spiritual meditation. of Trinity Parish in lower Manhattan of Organists. He has concertized where he served under the direction throughout North America since James’s Percussion Concerto Veni, Veni, of Larry King. He was appointed that time under the representation Emmanuel (1992) has received over to the faculty of Duke University of Phillip Truckenbrod. He has 400 performances and is programmed in 1972, concurrent with graduate performed at several National worldwide by orchestras including the studies at the University of North and Regional Conventions of the London Symphony Orchestra, New Carolina, Chapel Hill. In 1973, he American Guild of Organists. He York and Los Angeles Philharmonic, returned to New York as organist and was invited to perform at the 1981 and Cleveland Orchestra. music director at the Chapel of the Internationaal Orgelfestival Haarlem, Intercession, a position he retained meeting in Gouda, the Netherlands, He was a featured composer at until 1978, when he was named during which he received the diploma Edinburgh Festival (1993), South composer-in-residence for a season. for improvisation of the Stichting Bank Centre in London (1997), and In 1976, he was appointed to the Internationaal Orgelconcours. He BBC Barbican Composer Weekend faculty of The General Theological has participated in the adjudication (2005). Interpreters include soloists Seminary in New York City where of several major organ competitions. Evelyn Glennie, Wayne Marshall, he is presently professor of church His principal organ teachers were Colin Currie, conductors Leonard music and organist. In addition, he Bronson Ragan, Garth Peacock, and Slatkin, Mstislav Rostropovich, Sir has served as director of music at All Arthur Poister. Colin Davis, Sir Andrew Davis, continued on page 208

206 A G O 2 0 1 0 BASILICA OF THE NATIONAL SHRINE OF THE IMMACULATE CONCEPTION (ROMAN CATHOLIC) 400 Michigan Avenue NE, Washington, DC Peter Latona, Director of Music Daniel Sañez, Assistant Director of Music Builder M.P. Möller 4 Clairon 2 Plein Jeu IV Year 1964 Tremulant 1 Harmonics IV Additional Info Goulding & Wood 16 Bombarde Harmonique (2000-2001) CHOIR 8 Trompete Harmonique Console Details Duplicate 16 Quintaton 4 Clarion Harmonique Consoles in Gallery 8 Principal 8 Pontifical Trumpet and Chancel 8 Orchestral Flute Tremulant No. of Manuals IV 8 Gemshorn No. of Ranks Gallery 124 8 Gemshon Celeste PEDAL Chancel 48 4 Fugara 64 Gravissima Type of Action Electro–pneumatic 4 Chimney Flute 32 Contre Violone 2 Zauberflöte 32 Contre Bourdon SOUTH GALLERY ORGAN 2/3 Carillon III 16 Principal GREAT 16 Bass Clarinet 16 Bourdon 32 Contre Violone 8 Petite Trompette 16 Violone (Gt) 16 Violone 4 Clairon 16 Gemshorn 8 Principal 8 Pontifical Trumpet (Bom) 16 Violone (Sw) 8 Chimney Flute Tremulant 16 Contrebasse 8 Viola 16 Quintaton (Ch) 5 1/3 Grosse Quinte POSITIV RIGHT 10 2/3 Grosse Quinte 4 Octave 16 Singend Gedeckt 8 Octave 4 Spitzflote 8 Holzgedeckt 8 Stopped Flute 2-2/3 Quinte 4 Prinzipal 8 Viole (Gt) 2 Super Octave 4 Hohlflöte 4 Choralbass 2 Blockflöte 2 Blockflöte 4 Open Flute 1 1/3 Mixture IV 1 Sifflöte 2 Hohlflöte 2/3 Scharf IV 2/3 Mixture IV 4 Mixture IV 16 Fagott 8 Cromorne 1 1/3 Acuta III 8 Trompete Tremulant 32 Contre Bombarde 4 Clarion 16 Bombarde 8 Pontifical Trumpet (Bom) POSITIV LEFT 16 Basson (Sw) 16 Geigen 16 Fagott (Gt) 8 Trumpet SWELL 8 Principal 8 Rohrflöte 4 Clairon 16 Contre Viole 4 Rohrschalmei 8 Principal 4 Principal 4 Koppelflöte 8 Gedeckt WEST CHANCEL ORGAN 8 Viole 2 2/3 Rohr Nasat 8 Viole Celeste 2 Octave GREAT 4 Octave 2 Spielflöte 16 Bourdon 4 Traverse Flute 1 3/5 Terzflöte 8 Principal 2 2/3 Twelfth 1 1/3 Quintflöte 8 Bourdon 2 Flageolet 1 1/3 Mixture IV 4 Octave 1 3/5 Seventeenth 8 Trompete 4 Flute a Fuseau 2 Plein Jeu III-IV Tremulant 2 Flute a Bec ½ Cymbale III 1 1/3 Mixture IV 16 Contre Hautbois BOMBARDE 8 Trompete 8 Trompette 8 Diapason 8 Hautbois 8 Open Flute 8 Voix Humaine 4 Octave Major continued on the next page

A G O 2 0 1 0 207 ORGAN SPECIFICATIONS, CONTINUED SWELL CHOIR PEDAL 16 Gedeckt 16 Dolcan 32 Contre Bourdon 8 Principal 8 Spitzprincipal 16 Soubasse 8 Gedeckt 8 Rohrflöte 16 Bourdon (Sw) 8 Viole 8 Dolcan 16 Gedeckt (Sw) 8 Viole Celeste 8 Dolcan Celeste 16 Viole (Gt) 4 Octave 4 Nachthorn 16 Dolcan (Ch) 4 Harmonic Flute 2 2/3 Nazard 8 Octave 2 Gemshorn 2 Principal 8 Stopped Flute 2 Plein Jeu III-IV 1 3/5 Tierce 4 Choralbass 16 Contre Hautbois 1 Fourniture III 4 Open Flute 8 Trompette 8 Corno di Bassetto 2 2/3 Rauschquinte II 8 Hautbois Tremulant 1 1/3 Mixture II 4 Clairon 16 Bombarde Tremulant 16 Basson (Sw) 8 Bombarde 4 Chalameu ORGANS OF THE BASILICA’S GREAT UPPER CHURCH Built by the M.P. Möller Organ Company and dedicated on April 25, 1965, the organs were a gift of Francis Cardinal Spellman, archbishop of New York, the Catholic chaplains, and military personnel in honor of the deceased members of the armed forces. The combined instruments are comprised of 11 divisions and nearly 10,000 pipes. In the late 1990s, Goulding & Wood made modifications to the instrument , including the installation of two identical consoles at either e nd of the Basilica, re-configuration of the façade, and the rebuilding and installation of the two positiv divisions originally located on the south wall, the present site of the Universal Call to Holiness bas relief. The list of organists who have per- formed on the instrument includes some of the most distinguished organists of the twentieth century, including Olivier Messiaen, who gave the world première of his Méditations sur le Mystère de la Sainte Trinité in 1972.

THE COMPOSERS, CONTINUED He has received many commissions at the Yale Institute of Sacred Music Berkeley, California, and doctor for choral, organ, and instrumental and a visiting professor at the Yale of humane letters from Seabury- works, and has composed much School of Music. He has also taught Western Theological Seminary, liturgical music. Among his at the Manhattan School of Music Evanston, Illinois. published works are organ pieces, and at Westminster Choir College. choral works, and many original In another sphere of music-making, hymn settings. His liturgical In 1987, he was awarded the degree he performs regularly with Chelsea compositions and arrangements of doctor of music, honoris causa, Winds, a recorder consort of which are also found in many modern by the Berkeley Divinity School at he was a founding member in 1993 hymnals. He served on the Standing Yale. The following year he received and for which he has arranged much Commission on Church Music of two honorary degrees: doctor of music. He is also assistant director of The Episcopal Church from 1976 to sacred music from The Church the Manhattan Recorder Orchestra. 1985. He has been a visiting lecturer Divinity School of the Pacific in

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A G O 2 0 1 0 209 210 A G O 2 0 1 0 J. Richard

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Stop By And See Us At BOOTH 506

A Field of Voices Hymns for Worship JAmes e. Clemens & DAViD WrigHt A collection of thirty hymns and songs suitable for all-age Christian worship in a variety of settings — house churches, small congregations, formal and informal. the music by Jim Clemens is in a variety of styles from standard hymnody to folk, native American, gospel, early American, and chant. About a third of the selections may be learned and sung paperless. All selections are available electronically in print and as mP3s. Ask us.

Vocal Descants for 101 noteworthy Hymns lornA BArker Dr. Barker has followed her popular trumpet Descants for 101 Noteworthy Hymns with a generous offering of descants for well-known hymns written for the average church choir. the descants themselves have tunes for easier learning and the range is well within the capabilities of the sopranos. this will be a staple in your choral library.

MusicRiteAway® a NEW online resource for church musicians this is an online music store for you to browse, select, and download new easy anthems, hymns and arrangements, psalms, canticles, service music, and more! it’s much easier than schlepping to the no-longer-in-existence music store downtown. Come talk to us and find out what’s available and what’s coming.

ritesong online An online resource where you can see, hear, buy, and download all the music available from Church Publishing in the official hymnals and all the supplements plus much, much more. Ask us about it at Booth 506 and get a free download!

www.churchpublishing.org 800.242.1918

A G O 2 0 1 0 213 Wichita State University is pleased to announce a major symposium celebrating the centenary of the birth of JEhAN ALAIN (1911-1940) to be held on the Wichita State campus in October 2011 as part of the RIE BLOOMFIELD ORGAN SERIES featuring the great Marcussen organ (1986 IV/65).

Any former student of Marie-Claire Alain who is interested in participating in one of two “all-Alain” organ recitals is asked to respond to the e-mail address below by September 1, 2010.

For more information, contact: Lynne Davis Ann & Dennis Ross Endowed Faculty of Distinction Associate Professor of Organ [email protected] • 316-978-6218

214 A G O 2 0 1 0 HohMade Music Scattered leaves ... from our Letter File

“Your new studio instrument of 12 ranks at the Juilliard School is amazingly com- plete and satisfying in every way. With Compelling choral music by Christopher J. Hoh its wealth of tonal variety at unison and octave pitches, judicious duplexing over evocative texts, vivid harmonies, intriguing counterpoint three manuals, precise action, ample pro- vision of registrational controls and two enclosed divisions, students can learn not merely “the notes” on this organ, but With Organ: all aspects of their playing as they must for performing in public. So many organs 103rd Psalm (“O Bless The Lord, My Soul,” SAB) of the studio type are over-supplied with high-pitched mixtures and mutations Awaken Me, O Mighty One (Psalm 54, SATB, trumpet) that have a harsh, even harmful effect on one’s hearing. Clear, lively and full Light of the Minds That Know Him (St. Augustine, SAB) of color, the sound of this instrument forever puts to rest the idea that such No Temple Now (Passiontide, SATB) registers are useful in a small space. Fortunate are the Juilliard faculty and Not Alone For Mighty Empire (National Day, SAB) students who now have this perfect gem of an instrument to use!”

There’s A Wideness In God’s Mercy (Anthem, SATB) Thomas Murray, Professor in the Practice of Organ Performance Unto The Hills (Psalm 121, Mezzo solo, SATB) University Organist, Yale University You Are God (Te Deum, SATB) Schoenstein & Co. See and hear: www.HohMadeMusic.com Established in San Francisco • 1877 www.schoenstein.com ❧ (707) 747-5858

www.ago-houston.org Greetings from

A G O 2 0 1 0 215 Greetings The from Concord Australia Coaching and the South Coast Company District Chapters of Inland Empire, Achieve Business or Personal Success Inspiring Seminars, Team Building Orange County, Palomar and Dream it, Dare it—Got it? San Diego!

Cheryl Duerr, AAGO, Executive Coach ConcordCoachingCompany.com 617-852-3533 [email protected] 267 Concord Ave., Lexington, MA 02421

Ms. Duerr is Region I Coordinator for Education

216 A G O 2 0 1 0 A G O 2 0 1 0 217 Congratulations from Worcester, Region I The Pipe Organ Capital of New England

Featuring the acclaimed 2-CD pipe organ collection www.WorcesterAGO.com

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