Heinz Wunderlich 1 at 90 Jay Zoller

ld age for most people means a Oslowing down and a loss of the abili- ties they once had. If they are among the few who live to their ninth decade, they usually live a very limited existence. If they are among the very few, often very gifted, artists who are sustained by their art and who, by force of will, work at their art, they continue to be produc- tive in their chosen fi eld. One thinks of the painter Andrew Wyeth who re- mained active in his work until he died, and was nourished by his deep roots in Pennsylvania and rural coastal Maine. As a young man, after determining what he was about, he remained true to his calling throughout his life, undeterred by differ- ent trends that swirled around him. Heinz Wunderlich has also been sus- tained by his roots, which reach back to the music of Max Reger, transmitted to him by his teacher Karl Straube. And, like Wyeth, Professor Wunderlich has re- mained true to his calling, digging deep into the music of Reger and Bach and carrying that tradition into the 21st cen- tury with his own works, despite trends Heinz Wunderlich at 85th birthday that have gone off in all directions. celebration after his Bach concert Hamburg celebrations in 2009 witnessed the destruction of the Men- On April 25, 2009, Heinz Wunderlich delssohn Memorial in front of the Ge- will turn 90. As happens every fi ve years wandhaus and the loss of jobs that many for Wunderlich’s birthday, all Hamburg musicians suffered. turns out for a festival of recitals. This As a young child of fi ve, Wunderlich In the early 1960s at the Schnitger console year is no different. was traveling on the train with his par- The fi rst concert is to be at St. Petri on ents when a faulty door latch let the Reger had been the older generation. He not a desirable time to be enlisted in the Saturday, April 25, and is an organ recital child fall out of the moving train onto died in 1916 before I was born. But, Reger army, but because he had had typhoid as of Wunderlich’s works played by former the tracks between two moving trains. was required study and his compositions a child, he had problems with his heart. students: Dörte Maria Packeiser (Heiden- His father pulled the brake to stop the were very important. So, he was only fi t for home duty. The heim), Eva-Maris Sachs (Erlangen), Sirka train and a doctor who happened to be military was also stationed in Halle and Schwartz-Uppendieck (Fürth), Izumi on board administered to the child until Wunderlich also began his study of so in the evenings when the other sol- Ikeda (Japan), Jay Zoller (USA), and An- they reached the hospital in Leipzig. The composition and choral conducting with diers went to drink beer, he could go to dreas Rondthaler (Hamburg). train company was found negligent and Johann Nepomuk David. The rigorous church and practice. He was discharged Sunday morning, April 26, Wun- made monthly payments to the family. training he got from this famous com- from the military in 1943. derlich’s Ökumenische Messe (2006) un- Wunderlich’s family was musical. On poser has stayed with him. During his time in the military, though, der the direction of former student and his father’s side were pianists, all the way he studied with Heinrich Fleischer, a Director of Music at St. Petri, Thomas back to his great-grandfather. David was a very famous composer. In good organ teacher, who had also been Dahl, will receive its premiere. On Tues- my last year, I had to write fugues based on a student of Straube. Wunderlich wrote day, April 28, Heinz Wunderlich will play I began taking piano lessons from my the fugues from the Art of Fugue by Bach. the Fuga Variata in 1942 while he was a recital at Hauptkirche St. Jacobi where father when I was ten. I made progress They are complicated fugues with their own a soldier. and one year later began studying piano themes and we had to write our own themes the famous Arp Schnitger organ resides. and double and triple fugues. We began our and composition with Joachim Voigt who Civilian life in East Germany Wednesday the 29th, back at St. Petri, was the organist at our church. I grew in- study with fugues of Palestrina and studied there will be a concert for chorus, organ, terested in the organ, and when I was fi f- all the old techniques and later on we came Upon completion of his military du- and orchestra that will include the Con- teen began studying organ with Mr. Voigt to modern music. It was very thorough. ties in 1943, Wunderlich began teaching certo for Organ and Orchestra on the as well. I studied the fl ute for awhile and, organ and harpsichord at the Church name of BACH by Heinz Wunderlich. for a little time, the violin also, but I cannot When I asked Wunderlich if he re- Music School in Halle. It was here at his The generous acoustics of both St. Petri play either now. membered his very fi rst compositions church where bombs fell just ten days and St. Jacobi and the high caliber of the My father wanted to study piano at the he said, smiling, “Yes, it was before this before the end of the war. He was hiding artists involved will make each of these Hochschule, but couldn’t because he had time, when I was 14 or 15 years old. But, in a basement with some other people, no money for that. His father was a piano concerts an event to remember. teacher and his father, my great-grandfa- I lost them!” and after one of the bombs exploded on I have always come away from these ther, as well as his father, my great, great- Another part of his musical training the other side of the wall, they were for- concerts in the past with a feeling for grandfather, were all piano teachers. I also was orchestral conducting with Max tunate to be able to escape through the the great respect and love that Profes- had an uncle who was a very good cellist, Hochkofl er. Hochkofl er was Germany’s rubble. When they emerged, everything sor Wunderlich’s former students and but he died very young.2 most famous conductor at the time and had been destroyed. his Hamburg audiences have for him. had many students. A week after the war ended, Wun- His late wife, the violinist Nelly Söregi- On his mother’s side of the family were In 1937, at the age of 18, Heinz accept- derlich played a recital in his church, Wunderlich, once told me that when he musicians also. ed his fi rst organist position, becoming which had apparently been spared. Since plays in Hamburg the church is always the second organist at the Petri Church there were no newspapers, they had to My mother played the piano a little bit. full. I have found that to be true in the She played some with me. My mother’s in Leipzig. The organist of this church put up small handwritten notices. At the concerts I have attended. cousin was a conductor in Prague and my was the second director of the Music recital there were 1,000 people crowded At 90, Heinz Wunderlich continues grand aunt from the same family as my Academy. It was great experience for the into the church, many of whom could to compose, play concerts, and prepare mother was a singer. She sang in opera and young man because he played services not sit down. It was a very emotional ex- his earlier compositions for publication. also got her start in Leipzig. and pieces with orchestra. It was during perience for all of them. Retirement for him has only meant this time, in 1938, that he wrote the Kon- The Americans were in Halle until a change of emphasis from teaching Musical training trapunktische Chaconne g-Moll. August of 1946, and then, because of and church work to writing, recording, At the age of sixteen, Heinz was ac- Wunderlich completed his music de- Potsdam, it was given to the Russians. An and publishing. cepted into the Academy of Music in gree in 1940, but continued to study with American captain who had attended the Leipzig, earning the distinction of be- Straube through 1941. His examination recital in Halle later arranged a recital in Early life ing the youngest student at the famous was the fi nest testimonial earned up to Washington, D.C. in 1962 or ’63. That Paul Arthur Heinz Wunderlich was school. It was there that he began organ that time at the academy: “with distinc- same captain was by then a professor of born in Leipzig on April 25, 1919. At study with Karl Straube, who had been tion in masterly organ performance and music history in Washington. the time of his birth, the First World a friend and colleague of Max Reger. At improvisation.” It was during these stu- In 1946 a drunk Russian soldier stuck War had just ended and the Paris Peace sixteen he began his study of and lifelong dent days that he became widely known, his pistol in Wunderlich’s face and de- Conference was meeting to decide the interest in the music of Max Reger. not only for his many recitals, but also as manded his papers, which he then said fate of Europe. Indeed, the Treaty of an improviser. Wunderlich was the fi rst were forged. Wunderlich was ordered Versailles was signed a mere two months We were three, four, fi ve students in student that Straube ever let play the to accompany him, and they met yet an- after his birth. The social upheavals that one four-hour class with Straube. And so Reger Phantasy, op. 57, in public. other drunken soldier. Fortunately for occurred during the next twenty years we listened to all of the other students as Wunderlich, a Russian offi cer happened before World War II did not radically they played and I played too. We played Military service to see them and ordered the soldiers to interrupt his childhood, which was very chorales, preludes, music of Bach, the mu- After his additional year of study with go with him. Heinz was able, then, to sic of Franck, French music, and also Re- quiet. However, infl ation worsened and ger. It was at this time that I began study- Straube he was appointed Church Mu- make his escape. by 1929 had affected the whole world ing Reger. It was required of us. Reger sic Director at the Moritzkirche in Halle Wunderlich met his fi rst wife, Char- economy. There was fear and uncertain- had been a teacher in Leipzig and all of in 1941, a position once held by Samuel lotte, in about 1943 while he was in ty as Hitler made his bid for power. In the great organists had come to Leipzig to Scheidt. The German army drafted him, Halle, and they married in 1946. It was May 1936, the 17-year-old Wunderlich study with Straube and before with Reger. however, and his job had to wait. It was for her that the Partita on “Macht hoch

APRIL, 2009 19

Apr 09 pp. 19-21.indd 19 3/10/09 8:24:46 AM die Tür” was written in honor of their year before since my recital there, but it fi rst Christmas together. They had twin couldn’t be done any faster. daughters, Uta and Christina, born in 1949, and a third daughter, Ulrike, born St. Jacobi is the home of the 1694 Arp in 1951. Schnitger organ, which was to become In 1948 he wrote the Mixolydische famous during succeeding decades. It Toccata and, just two years later, for the had been saved from destruction in the 200th anniversary of the death of Bach, Allied bombing of Hamburg by the fore- played the complete organ works of sight of church offi cials who removed the Bach in a series of twenty-one concerts. pipes and mechanisms to a safe location. It was also at this time that he became Overseer of Sacred Music and Organ for It was at this time that I met Mr. Howes: churches in the area. Arthur Howes, from Baltimore. I played a recital when he died. He came with the There were 150 churches and I had to American organbuilder, Charles Fisk, who teach the organists, some of whom were not had built an organ in Baltimore. I showed very advanced; many were not profi cient at them all the organs in Hamburg. Mr. Fisk all. The organs were in need of repair after was interested in the pipes and examined the war and I advised on what the organs them carefully. A year later they invited me needed by way of repairs and maintenance. to play in America. My fi rst performance Some needed pipes, it included almost was in Baltimore on the new organ and then anything. It was interesting. Mr. Howes arranged for me to play at the Methuen Memorial Music Hall in Methuen, Escape from East Germany Massachusetts. A year later I came back and did a master class in Andover. Wunderlich remained in Halle until Wunderlich as a student one year before 1958. One aspect of life under the com- his exam in 1938 munist government was that his career Heinz Wunderlich’s schedule was could not advance as rapidly as that of very busy once he began playing at St. and during three days of a Reger festival his contemporaries in other countries. Jacobi. By necessity, he played an im- at St. Jacobi, Wunderlich performed all He had received a number of offers to portant part in overseeing the restora- of the large compositions, taught a mas- Playing at St. Moritz, Halle teach in the West, but as a church musi- tion of the large four-manual Schnitger ter class, and directed a festival service. I cian he was regarded as an enemy of the organ. He established the Kantorei St. asked Professor Wunderlich if he played teach at the Hochschule. Wunderlich’s state. Although he had played concerts Jacobi, a 100-member mixed chorus all of Reger’s works. large-scale organ work, Hiroshima, dates in the West including some at St. Jacobi that sang at services and gave concerts. from 1978 and is based on a theme given in Hamburg, he could not get permis- They had an extensive repertoire ranging No, no. He wrote more music than him by György Ligeti. Ligeti, also a pro- sion to leave the East and would have to from Bach and Mendelssohn to Stravin- Bach. Look, I have all the works of Reger. fessor at Hamburg’s School of Music, do so illegally. The offi cials in Hamburg sky. The choir made several tours under [He goes over to a long bookshelf and takes would often give Wunderlich themes for about half the books off one shelf.] His ear- had expressed an interest in him, but Wunderlich’s direction, including one ly pieces look easy, but they get more dif- his improvisations. This piece is based on without permission he could not leave. It to the United States in the fall of 1978. fi cult. He also has many unimportant works one of those themes. was a diffi cult time for his young family. Concurrently with the St. Jacobi posi- so you have to see what is important. He had three young daughters, two who tion, Wunderlich was also Professor of With Reger’s pieces there are many Marriage to Nelly were nine and one who was seven. They Organ and Improvisation at the College problems; there are things which cause The two decades following 1982 were had to go through Berlin before the wall of Music in Hamburg. Wunderlich did misunderstandings. For example, his Al- productive ones for Wunderlich. He was put up, and although you could go much promotional work for the impor- legro should be much slower than an Al- married Nelly Söregi, a violin professor from east to west all the time, to avoid tant St. Jacobi organ as well. His recitals legro for other composers. Reger himself at the School of Music, in November of says “Don’t play my pieces too fast. The suspicion they could not travel together. devoted to cycles of works by Bach and tempos we wrote down are much too fast; 1984. Thus began a professional musical So, Heinz went fi rst; his wife and chil- North German composers; his summer play everything quite steadily, even if faster relationship that was to span two decades, dren came on a later train. Then, they “Schnitgerfest,” a summer series of recit- is indicated!” until Nelly’s untimely death in January of met in West Germany much to the relief als; his authoring a book about the organ; It is also necessary in Reger that you 2004. Nelly was born in Budapest, Hun- of all. and hosting the endless stream of visitors hear everything. You have to hear every gary and fl ed to Austria in 1945. Later Heinz had sent his music and his to the organ loft, all helped to underscore change; that is important. Sometimes the she was to move to Hamburg, where she books all out of the East the previous the importance of the organ. changes occur every 16th note and if it is taught violin at the Hochschule. Nelly year to many different people in the played too fast, it becomes confusing. was a concert violinist of international West for safekeeping. And in that way, Max Reger stature, and she and Heinz concertized he was able to save much of the more In the years between 1960 and 1970, The early years at St. Jacobi were very extensively throughout the world, and important things. However, he had an Wunderlich oversaw the building of an- busy years, and by Wunderlich’s own ad- also made a number of recordings to- organ and a piano in Halle that had to be other organ for St. Jacobi that would be mission he was unable to compose much: gether. They can be credited with creat- left behind. ideally suited for 20th-century music ing an awareness of the organ/violin so- and particularly the music of Max Re- From 1957 to about 1980 I was very natas of Rheinberger and Kodály. Professional life in the West ger. Wunderlich studied the music of busy with my choir and I played all over I had the possibility of two positions, Reger with a close friend of Reger, Karl the world and I simply did not have time Compositions one in Dortmund and one in Hamburg. for composition; it was impossible to write Straube, and as a result is one of the few pieces. After that, I did not have a choir In 1988, Wunderlich wrote the Intro- We went fi rst to friends in Dortmund, but organists in the world today who is in a duction and Toccata on BACH. In the after a week I thought, no, this is not the and, although I taught at the Hochschule, I right place for me. It was an academy of direct line of succession with Reger. Re- had more time to compose. 1990s there followed Dona nobis pa- music, but I had no organ to practice so it ger has remained one of Wunderlich’s cem, Sonata on Jona, Variationa Twelve- was a problem for me. So then, we went passions—performing Reger’s music and In 1982, Wunderlich lost his wife, tonata (violin and organ), and Emotion to Hamburg where there were organs and writing about him (see The American Charlotte, to cancer. It was also in that and Fugue. The Dona nobis pacem was one month later I was the organist at St. Organist, March 2002). The year 1973 year that he decided to resign his post written for the 1000th anniversary of St. Jacobi. They had wanted me to come a half brought the centenary of Reger’s birth, at St. Jacobi, although he continued to Wolfgang.

The piece commemorated 1000 years after the death of St. Wolfgang. In Germa- ny, he was a famous bishop who worked for freedom for Germany, Czechoslovakia, and /44/(%533/2'!.0!243 Hungary in a bad time of war. I wrote the piece for the Community of St. Wolfgang 4RADITIONAND0ROGRESS in Austria. The original version was written for vio- lin and organ, but Wunderlich also wrote &ORMORETHANYEARSWEHAVEBEENDESIGNINGANDBUILDINGORGAN a version for organ solo. CONSOLES CHASSISANDPARTSASWELLASCOMPLETEMECHANICALAND One very interesting piece, a monu- ELECTRICALTRACKERANDREGISTRATIONSYSTEMSFORPIPEORGANS mental work dating from 1996, is the So- nata über den Psalm Jona. Unlike many of the earlier pieces that are developed /URENTHUSIASMnCOUPLEDWITHTHEOPPORTUNITIESPROVIDEDBY around a particular musical form, Jona MODERNTECHNOLOGYANDFUELLEDBYOURGENUINEEXCITEMENTFOR is a programmatic work dealing with the EXPERIMENTSnlNDSEXPRESSIONINTHECONTINUOUSFURTHERDEVELOP separation that was Jonah’s when he fl ed MENTOFTHE/44/(%533RANGEOFPRODUCTSANDSERVICES from God. The piece even includes in its preface the plea from Jonah as he lay in 7HATEVERYOUTOUCHANDHEARINORGANBUILDING 9OULLALWAYSCOMEACROSSONEOFOURIDEAS OrganmasterShoes Comfort, Quality & Design %VERYWHEREANDAROUNDTHEWORLD /44/(%533n9OURCREATIVEPARTNERINORGANBUILDING Since 1976

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20 THE DIAPASON

Apr 09 pp. 19-21.indd 20 3/10/09 8:25:11 AM its inception to Samuel Scheidt’s Variation Emotion und Fuge per augmentationem et Fugue. There are eight fugal variations in diminutione (EMB #Z14364), written in the Fuga Variata, all based on a four-bar 2002, follows the traditional organ form theme. It is mildly chromatic and stays in C of prelude and fugue. Based on a theme major throughout. given him by his teacher, Johann Nepomuk Partita über “Macht hoch die Tür” (EMB David, in 1940, it consists of ten notes in #Z14331), written in 1946 and dedicated to a chromatically descending line. The fugue his fi rst wife, Charlotte; this is a wonderful contains this theme in its purest form. In set of variations on the Advent tune “Fling the prelude, Wunderlich combines it with Wide the Door.” a theme of his own devising. Augmentation Mixolydische Toccata über “Gelobet seist du, and diminuation are used throughout. Jesu Christ” (EMB #Z13945) was written for Christmas 1948. It is neo-Gregorian in These works constitute the organ works of style and contains a complete statement of Heinz Wunderlich. He has, however, quite a the chorale. The third section combines the large list of works for other combinations of lyrical Gregorian theme with the German instruments. A few that I am aware of are: chorale. Orgelsonate über ein Thema (EMB #Z13946) Graduale für Solo, kleinen Chor und Orgel was written in 1956 for Church Day. The (EMB #Z14365) three movements make use of the same Kanonische Variationen für Klavier vier- thematic material, a falling chromatic händig phrase, albeit in totally different and highly “Ein Psalm der Liebe” Variationen für Klavier original ways. (Hausmusik) Sonata Tremolanda Hiroshima (EMB Introduktion und Chaconne über ein Zwölf- tonthema für Violine Albert Schweitzer (around 90) and Heinz #Z13947) was written in 1984 and based Wunderlich at St. Jacobi on a theme given him by Ligeti. The theme Chaconne über ein Zwölftonthema für Flöte was the perpetual mirror-canon from Lige- Volkstümliches gesungenes Krippenspiel für At the Kemper console at St. Jacobi in ti’s La Grand Macabre. Two dodecaphonic Soli und Chor 1970 themes are used in the work, one by Ligeti Kantate “Erschienen ist der herrlich Tag” für and the other by Wunderlich. The piece got Chor und Orchester the belly of the whale. The piece is ter- its name from impressions Wunderlich had Kantate “Es kommt ein Schiff, geladen” für rifying in its impact. However, when I while on tour in Japan. He played the fi rst Chor, Blockfl öte, und Streicher (Bären- discussed it with Professor Wunderlich, performance in Hiroshima in 1985. reiter-Verlag) he had this to say, Introduktion und Toccata über Namen B-A- Weihnachtsgeschichte für Solo und Chor C-H (EMB #Z13943). Wunderlich wrote (Bärenreiter-Verlag) this mono-thematic work in 1988. Remi- Oratorium “Maranatha” zum Osterfest für It is not about a fi sh! You are born, how Soli, Chöre und Orchester (Bärenreiter- would you say, reborn. You are in death niscent of Liszt, it makes continual use of dynamic contrast. This piece was also ar- Verlag 2111) and you are reborn anew. It is the story of 5 Motetten für Chor a cappella (Editio Musica Christ; the story of Easter. ranged in 1990 by the composer for organ and orchestra (EMB #Z13948). Budapest) Konzert für Orgel und Orchester über den Gesang der drei Männer im Feuerofen für Concerts and teaching Namen B-A-C-H (Z.13948), written for 2 Solo, Chor und Orgel Heinz Wunderlich is a concert organ- fl utes, 2 oboes, 2 bassoons, 3 trumpets in Kantate “Gelobet seist du, Jesu Christ” für ist of international stature. He has played C, 2 trombones, tuba, timpani, percussion, Solo, Chor und Orgel 2 violins, viola, cello, contrabass, and organ, 7 Chorsätze (VEB Verlag Hofmeister concerts in virtually every civilized coun- Leipzig) try in the world, including 23 tours in Taken as a still from an old Nazi is based on Wunderlich’s Introduktion und Toccata über den Namen B-A-C-H for or- Ökumenische Messe für gemischten Chor (for the United States alone. In more recent propaganda fi lm showing Wunderlich mixed voices) (Editio Musica Budapest Z. playing for Karl Straube gan. However, it is a much enlarged score years he has concertized extensively in at more than twice the length of its corre- 14 509) former Eastern bloc countries. He has For further reading sponding piece for organ. also performed for radio, television, and Invocatio “Dona nobis pacem” (organ solo ver- Brown, David Burton. “80th Birthday Trib- Jay Zoller is the organist at South Parish fi lm. His list of CDs is extensive. As a re- ute—Heinz Wunderlich,” The Diapason, sion EMB #Z14039; violin and organ ver- sion EMB Z.14038). This prayer for peace Congregational Church in Augusta, Maine, sult, Wunderlich’s name has attracted or- April 1999. where he plays the church’s historic 1866 gan students from all over the world, and ______. “The Published Organ Works of was written in January 1993 especially for his wife, violinist Nelly Söregi-Wunderlich, E. & G. G. Hook organ. He holds degrees from that list reads like a Who’s Who in the Heinz Wunderlich,” The Diapason, April the University of New Hampshire and the organ world. Without exception, former 1994. and they have recorded it on an Organum Classics CD. A haunting melody opens and School of Theology at Boston University. He organ students found him to be patient ______. “Heinz Wunderlich at 74,” The is a retired designer for the Andover Organ Diapason, April 1994. ends the work with a tremendous climax in and kind and sensitive to their needs. A the middle. Company and currently designs for the Or- gan Clearing House. He resides in Newcastle, former American organ student, Nancy Sonata über den Psalm Jona (EMB #Z14108) Boch-Brzezinski, had a typical response: Maine with his wife Rachel. Heinz Wunderlich list of works was completed in 1996 and is based on a Zoller, as a high school student in 1961, Kontrapunktische Chaconne g-Moll (EMB double twelve-note row. This programmat- was fortunate to hear Heinz Wunderlich play I enjoyed him as a teacher because of #Z13944), written in 1938 while still a student ic work is in two sections—the fi rst a cry of at the Methuen Memorial Music Hall on his his musicality. Nothing he ever played was in Leipzig. The work is highly chromatic and distress from the belly of the whale, and the fi rst American tour. They began a professional boring or unattainable. He found the fi re, in three sections, each using the chaconne second longer movement a ferocious toc- relationship in 1989 when Zoller played in excitement and beauty in every piece he theme. Free variations alternate with canonic cata ending with a statement of the Easter a master class that Wunderlich was giving. played. I learned technically from him by variations in double counterpoint. hymn “Christ is risen.” Since then, Zoller has studied with Heinz watching him, though my German was not Praeludium und Doppelfuge im alten Stil Variationa Twelvetonata (EMB #Z14325), Wunderlich and has performed many of great in the beginning. With music, the lan- 3 (EMB #Z14246), written in 1939 at the written in October 1998, was dedicated to Wunderlich’s organ compositions in recital. In guage barrier doesn’t get in the way. beginning of the war while still a student his wife Nelly Söregi-Wunderlich. This very addition to writing several articles about Pro- of David. Both themes of the fugue are an- expressive piece is for violin and organ and fessor Wunderlich for The American Organist Invariably, students recall Wunderlich’s ticipated in the prelude, which is a highly is an important addition to the literature for and Choir and Organ magazines, Zoller has gentle corrections and his ability to dem- canonical work. that combination. It is very expressive and played in all-Wunderlich recitals in Hamburg, onstrate the most diverse pieces from Fuga Variata (EMB #Z13942), written in 1942 contrasts the violin with differing colors of Germany in 1999 and again in 2004. He plans the literature at a moment’s notice. while Wunderlich was in the army. It owes the organ. to participate in the 2009 festivities as well. Legacy His compositions are his legacy to each of us. As one begins to look at these works, one understands the depth and complexi- ties of the music, the devices that the composer uses to such great effect, and the enormous contribution to 20th-cen- tury organ literature that is contained in the music. One sees the distance Wun- derlich has come from the Romanticism of his teachers and is dazzled by the level where Wunderlich lives and performs. It is a place where most of us only dream. The infl uence of his organ works for the twentieth century is incalculable. The music Heinz Wunderlich has continued to prepare his works for publication. His publisher is Editio Musica Buda- pest, P.O. Box 322, H-1370, Budapest, Hungary. The works can be obtained through their U.S. agent Boosey & Hawkes, New York. ■ Notes 1. Information for this article was gleaned from correspondence with Professor Wun- derlich and some of his former students, a bi- ographical statement that he sent me in 2008, and notes from my 2004 interview with him. 2. All quotations of Wunderlich are from an interview that the author conducted with Professor Wunderlich in 2004. 3. Quotation from an e-mail with former student Nancy Boch-Brzezinski. Used with permission.

APRIL, 2009 21

Apr 09 pp. 19-21.indd 21 3/10/09 8:25:40 AM