REGION IX CONVENTION 2011 TUESDAY JULY 5 at a glance … n.b. all today’s venues are located in the city of San Francisco 7:00 a.m. Leadership Breakfast at the hotel (by invitation and ticket only) 7:30 a.m. – 9:00 a.m. Registration and Hospitality Desk open 9:15 a.m. Workshops I. To MIDI or Not to MIDI? That Is the Question (Robert Tall) at the hotel II. Adding More Ranks to Your Resumé (Linda Margetts) at the hotel III. Got Organists? Need Training? How to host a Super Saturday (Lori Serr) at the hotel IV. Vocal Technique for the Young Singer (Elizabeth Avakian) at Old First Presbyterian Church 10:15 a.m. Walk to St. Luke’s Episcopal Church 10:30 a.m. Organ Recital by AGO/Quimby RCYO Winner at St. Luke’s Episcopal Church 11:15 a.m. Walk to workshop venues 11:45 a.m. Workshops I. The Art of Accompanying (T. Paul Rosas) at St. Luke’s Episcopal Church II. “It’s Not in My Job Description” (Lea Schmidt-Rogers) at the hotel III. The Panama-Pacific Exhibition Organ (Jack Bethards and Orpha Ochse)at the hotel IV. Kaleidescope: The Colorful Life of Sigfried Karg-Elert (Richard Webb) at the hotel V. Contemporary Choral Music (Daniel Hughes) at Old First Presbyterian Church TUESDAY 12:00 p.m. (Lunch on your own) 12:30 p.m. – 1:45 p.m. Exhibits, Registration, and Hospitality Desk open 1:45 p.m. Buses depart hotel for Mission Dolores Basilica 2:15 p.m. Organ Recital by Roger Nyquist at Mission Dolores Basilica 3:15 p.m. Walk/Courtesy Shuttle to St. John the Evangelist Church and Second Church of Christ, Scientist 3:30 p.m. Sherry reception at St. John the Evangelist Church 3:45 p.m. Organ recital by Brian Swager at Second Church of Christ, Scientist 4:00 p.m. I, Norton: An Opera in Real Time at St. John the Evangelist Church 5:00 p.m. (Dinner on your own in the Mission district) 7:00 p.m. Walk to Mission Dolores Basilica 7:30 p.m. This American Land: A Choral Concert by Artists’ Vocal Ensemble at Mission Dolores Basilica 9:00 p.m. Buses depart Mission Dolores Basilica for hotel 9:30 p.m. – 10:30 p.m. Registration and Hospitality Desk open 9:30 p.m. – 12:00 a.m. Exhibits open (with cash bar)

49 REGION IX CONVENTION 2011 SAN FRANCISCO Tuesday July 5 @ 9:15 a.m. Workshop I To MIDI or Not to MIDI? That Is the Question Robert Tall Golden Gate Holiday Inn, 1500 Van Ness Avenue, San Francisco

ome learn about MIDI technologies from a true pioneer In California, Tall has been a Cin the field! member of the Chapter AGO since 1984. Robert Tall has worked since 1984 in various capacities to He has held many positions, help create and develop digital systems that allow MIDI to including Dean, and was communicate to classical organs. He has been influential the Convention Coordinator in the creation of Sound Modules that store digitally for the Los Angeles AGO recorded samples from world-renown pipe organs, as well National Convention, July as, instruments of the orchestra, the human voice, and 4–9, 2004. On the national those of ethnic mix. He calls the classical MIDI organ “The level, he recently served as Modern Organ”, for which he has composed, arranged, Director of the Committee on and recorded music. His performances and lectures are National Conventions. highly entertaining. He enjoys sharing the magic! He remains active in performing, recording, and arranging. Tall has devoted most of his life to music. Advanced studies He manages the Division of Marketing and Sales for his at the University of Utah culminated in 1967 with a Doctor company. Robert Tall and Associates, Inc. is one of the of Philosophy degree in music and psychology. During world’s leading distributors of classical organs and digital his student years, he was a frequent guest recitalist at the music systems. Mormon Tabernacle in , Utah. Following receipt of his degrees, he moved to Los Angeles. This workshop was made possible by a generous gift from the Joanna Smullin Organ Education Fund, administered by the San Francisco Chapter AGO

TUESDAY Tuesday July 5 @ 9:15 a.m. Workshop II Adding More Ranks to Your Resumé Linda Margetts Golden Gate Holiday Inn, 1500 Van Ness Avenue, San Francisco

his workshop offers a synopsis of the Guild-sponsored and is coordinator of a group Tcertification examinations, considering the benefits, organ program. requirements, and study techniques for successful Margetts holds bachelor and completion. The instructor serves as Region IX Education master’s degrees in organ Coordinator, and has helped others prepare for and pass the performance from Brigham exams. Young University where Linda Margetts, FAGO is currently Region IX’s Education she studied with Parley Coordinator. She is one of five organists at the Mormon Belnap. She received a PhD Tabernacle, Salt Lake City (1984 to present) where her in composition from the responsibilities include playing noon recitals, accompanying University of Utah. and working with the Mormon Tabernacle Choir, teaching She is active as a recitalist and served on the organ selection in the choir school and participating on the broadcast of committee for the Lively Fulcher organ in Gardner Hall, “Music and the Spoken Word”. University of Utah. Her past service in the AGO includes As an Adjunct Assistant Professor at the University of Utah Dean and State Chairman positions. (1999 to present), she teaches organ performance majors She and her husband, Bert, are parents of six children.

50 REGION IX CONVENTION 2011 SAN FRANCISCO Tuesday July 5 @ 9:15 a.m. Workshop III Got Organists? Need Training? How to Host a Super Saturday Lori Z. Serr Golden Gate Holiday Inn, 1500 Van Ness Avenue, San Francisco

or the past several years, the Utah Valley Chapter AGO Her BM in organ performance Flocated in Provo, UT, has successfully organized and is from sponsored Super Saturday training workshops for the University, and she is a church organist. They have served as an outreach from the Nationally Certified Teacher Guild to the community to help church organists improve of Music with the Music and enhance their service-playing skills, while at the same Teachers National Association time increasing awareness of the AGO and its purposes. in piano and organ. Organ training is offered at beginner, intermediate, and She has taught both advanced levels, and includes educational workshops, instruments for over 25 years. 25 minute private lessons, and opportunities for social As a former faculty member at interaction with fellow church musicians. It also serves as a the Church Music Workshop perfect first exposure to the organ for pianists. at Brigham Young University, she frequently teaches organ training workshops for local units of the LDS church. Lori Serr is a native of Logan, Utah, where she began formal organ training at 14 years of age. She has studied with Linda She has served as Sub-Dean of the Utah Valley Chapter Margetts, Associate Tabernacle Organist and Parley Belnap, AGO and currently serves as the Education Coordinator and among others. chairman of the Super Saturday Training for Organists in the Utah Valley Chapter. TUESDAY

Tuesday July 5 @ 9:15 a.m. Workshop IV Vocal Technique for the Young Singer Elizabeth Avakian Old First Presbyterian Church, 1751 Sacramento Street, San Francisco

his presentation will unlock some of the mysteries in Avakian studied conducting Tworking with young voices to help them develop their at the University of the Pacific full potential of beautiful tone. Avakian will discuss and Conservatory of Music, demonstrate vocal techniques applicable for the young received a BM degree from singer. Included in the presentation will be exercises for the University of Georgia, alignment, breathing, good diction, and reduction of and undertook postgraduate unnecessary tension. studies at Arizona State University. Assisting her in the workshop will be some of her students from the San Francisco Girls Chorus. She conducts sight-reading clinics for the American Elizabeth Avakian has been a member of the San Francisco Choral Directors Association, Girls Chorus music faculty since 1983. She directs and adjudicates at choral and vocal music festivals, serves as supervises The Chorus School and conducts Level IV, the clinician for youth choruses throughout Northern California, Chorus School’s most advanced ensemble. She prepares and has provided in-service demonstrations and workshops singers for performances with San Francisco Symphony, San in choral and vocal development and technique. Francisco Opera, and San Francisco Bach Society; supervises the Chorus’ Conducting and Music Theory Apprenticeships; This workshop was made possible by generous donations and directs the Graduate Conducting Seminar taught each from Douglas H. Franks and Linda M. Quon, summer at SFGC’s Summer Music Camp. and by a grant from the Special Projects Advisory Committee, Boston Chapter AGO

51 REGION IX CONVENTION 2011 SAN FRANCISCO Tuesday July 5 @ 10:30 a.m. Organ Recital AGO/Quimby RCYO Winner St. Luke’s Episcopal Church, 1755 Clay Street, San Francisco ? St. Luke’s: Æolian-Skinner Organ, Op. 1350 (1960) Great Swell (continued) 16’ Gemshorn (ext) 16’ Contre Hautbois (ext) 8’ Prinzipal 8’ Trompette 8’ Gedecktpommer 8’ Hautbois 8’ Gemshorn 8’ Voix Humaine 4’ Oktave 4’ Chalumeau à Cheminée 4’ Rohrflöte Tremblant 2’ Spitzoktave IV-VI Mixtur Positiv 8’ Pontifical Trumpet (Ch) 8’ Nasongedeckt 4’ Pontifical Trumpet (Ch) 4’ Koppelflöte Zimbelstern 2’ Blockflöte 13/5’ Terz TUESDAY Choir 11/3’ Nasat 8’ Spitzgeigen 1’ Oktave 8’ Zauberflöte 8’ Kleinerzahler II Pedal 4’ Spitzflöte 32’ Untersatz 22/3’ Rohrnasat 16’ Kontrabass 2’ Spillflöte 16’ Bordun III-IV Scharf 16’ Flute Couverte (Sw) 8’ Krummhorn 16’ Gemshorn (Gt) Tremulant 8’ Oktave (ext) 8’ Pontifical Trumpet 8’ Bordun (ext) 4’ Pontifical Trumpet (ext 8’ Flute a Cheminée (Sw) 8’ Gemshorn (Gt) Swell 4’ Choralbass 16’ Flute Couverte 4’ Bordun (ext) 8’ Flute à Cheminée III Mixture 8’ Flute Conique 32’ Contre Bombarde (ext) 8’ Viole de Gambe 16’ Bombarde 8’ Viole Celeste 16’ Contre Hautbois (Sw) 4’ Prestant 8’ Trompette (ext) 4’ Flute Courte 8’ Hautbois (Sw) 2’ Doublette 8’ Krummhorn (Ch) III Plein Jeu 4’ Clairon (ext) IV Cymbale 4’ Chalumeau à Cheminee (Sw)

52 REGION IX CONVENTION 2011 SAN FRANCISCO Tuesday July 5 @ 11:45 a.m. Workshop I The Art of Accompanying T. Paul Rosas St. Luke’s Episcopal Church, 1755 Clay Street, San Francisco

e are presented with many challenges in our job as church recently he has specialized Worganist—the most pressing being how to assist the in performing works of various musicians (choirs, soloists, and instrumentalists) in living composers such as the learning and presenting their music each Sunday. Some are piano part of Three Northern beginners, some are professional, some are soft, some are loud. California Landscapes for How do you create a satisfying experience for everyone? This Piano and Organ by Sondra workshop will focus on the organist who accompanies a church Clark, Triptych for Organ and choir and will be divided into three parts. Brass by David Ashley White, The first part will present the attitude of the accompanist, being and Variations on ‘“Auld Lang supportive, how to accept correction, preparation of music, and Syne” by John Karl Hirten. He sight reading. The second part will deal with the accompanist’s also played both piano and role during rehearsal, i.e. making the rehearsal as efficient harpsichord in the premiere performance of Messyah by Paul as possible, how to help the choir to learn parts, simplifying Ayres with the Sanford Dole Ensemble. His primary musical accompaniments for clarity (and ability), and techniques for focus involves being Senior Organist (and composer/ following and anticipating the conductor. The third part will accompanist) at Los Altos United Methodist Church. He is a discuss the various problems of performance situations and member of the Silicon Valley Arts Coalition and the National how to cope with the placement of the organ, following the Association of Composers, USA. He enjoys collaborating with director through the use of simple and digital technology, and composers, musicians and artists across the country, creating quick registration solutions for small to large choirs. music concerts that shed new light on traditional music as TUESDAY T. Paul Rosas entered the Conservatory of Music at the well as being a champion for new compositions written by University of the Pacific in 1974. The first choir that he living composers. accompanied was the University Chorus under the direction of William Dehning, and he played his first organ concerto at This workshop was made possible by a a generous donation his graduation in 1978 with the University Orchestra. Most from Los Altos United Methodist Church (Los Altos, CA)

Tuesday July 5 @ 11:45 a.m. Workshop II “It’s Not in My Job Description” Lea Schmidt-Rogers Golden Gate Holiday Inn, 1500 Van Ness Avenue, San Francisco

nderpaid, overworked, the modern organist must play which she is currently the Uthe keyboard and piano as well as the organ, take over Coordinator for Professional for the choir director at times, and know how to perform all Development for Region IX. styles of music. He or she may be responsible for the church’s During the past ten years, she concert series and teach the church’s young people. Where has published three volumes is the balance in our artistic lives? Where is the pay for work of French composer Marie done? How do we get along with “them”? Jaëll’s music and recorded a CD of Jaëll’s music. She and Lea Schmidt-Rogers is one of three organists who plays her students have of late for the Fifth Grade in the Park program and loves her new had fun recording organ and job as a substitute organist in the greater area. piano pieces for Youtube. Rogers has been active in the Music Teachers Association of California and the American Guild of Organists, with This workshop was made possible by a generous gift from the Joanna Smullin Organ Education Fund, administered by the San Francisco Chapter AGO

53 REGION IX CONVENTION 2011 SAN FRANCISCO Tuesday July 5 @ 11:45 a.m. Workshop III The Panama-Pacific Exhibition Organ Jack Bethards Golden Gate Holiday Inn, 1500 Van Ness Avenue, San Francisco & Orpha Ochse

ne of San Francisco’s greatest attractions has never Obeen seen by most who live or visit here. It’s not on post cards or t-shirts, and though it never won a World Series, it was once the centerpiece of a public event even larger. The great Exposition Organ built for the Panama-Pacific International Exposition of 1915 lies silent today, crated and stored beneath the city that built and once adored her. So, what or who stands in the way of returning this treasure to the people of San Francisco? Find out in this presentation given by author/historian Orpha Ochse and organ builder Jack Bethards, whose company Schoenstein not only Institution, Washington National Cathedral, the University of installed Austin Op. 500 at the 1915 World’s Fair and then Chicago, the University of Michigan, the Cathedral of St. John moved it to the SF Civic Auditorium, but also served as the Divine and the Riverside Church, New York, the Eastman curator for the organ for more than 70 years. School of Music, the symphony orchestras of Boston, Before the presentation, you’ll learn about Edwin H. Lemare’s Cleveland, and San Francisco, the Atlantic City Convention tonal direction of the instrument and its rich and tragic Hall, The Wanamaker Store, Philadelphia, Melbourne Town history in a short documentary film. Hall, Australia; and Newcastle Town Hall, England. Jack Bethards is a Area native and holds Schoenstein and Co. is the oldest and largest organ factory bachelor’s and master’s degrees from the University of in the states. The Schoenstein family has been California at Berkeley. He has been a professional musician building distinguished instruments for five generations. The and is currently active in the American Guild of Organists. firm was started in the Black Forest of Germany in the mid- He is past president of the Associated Pipe Organ Builders nineteenth century and in 1877 in San Francisco. In addition of America and a member of the American Institute of to organ building, Schoenstein and Co. does renovation Organbuilders, the International Society of Organbuilders, work specializing in Æolian-Skinner organs, including the TUESDAY the Association Aristide Cavaillé-Coll, and the Organ Salt Lake Mormon Tabernacle, and fine instruments by other Historical Society. He serves on the advisory boards of builders. several organ preservation societies. Orpha Ochse is Professor of Music Emerita at Whittier In over 45 years of pipe organ work and research, Bethards College, Whittier, California. A graduate of Central College has been a frequent lecturer and contributor of articles to (1947) and the Eastman School of Music (1948, 1953), she professional journals. A major thrust of his study, including held several teaching positions before moving to California work abroad, has been Romantic organ building in France, in 1957. Subsequently, she was Director of Music at the First Germany, England, and America. Congregational Church, Pasadena, and Lecturer in Music at the California Institute of Technology. She joined the His organ design and restoration consulting clients include Whittier College faculty in 1969, and retired from teaching the Kennedy Center, the National Shrine, the Smithsonian in 1987. Ochse’s activities in the organ profession have included research studies in various aspects of organ playing and organ history. Her books are: The History of the Organ in the United States (1975), Organists and Organ-Playing in Ninteenth Century France and Belgium (1994), Austin Organs (2001), a revised edition of David Smith’s Murray M. Harris (2005), and Schoenstein and Co. Organs (2008). In 2006 she received the Distinguished Alumni Award from the Eastman School of Music, and in 2008 the Distinguished Service Award from the Organ Historical Society. This workshop was made possible by a generous grant from the Special Projects Committee, San Francisco Chapter AGO and generous donations from Douglas H. Franks and Dr. Donald Knuth 54 REGION IX CONVENTION 2011 SAN FRANCISCO Tuesday July 5 @ 11:45 a.m. Workshop IV Kaleidoscope: The Colorful Life of Sigfrid Karg-Elert Richard Webb Golden Gate Holiday Inn, 1500 Van Ness Avenue, San Francisco

vexing career irony was that Sigfrid Karg-Elert was having served previously as Aregarded as one of the most significant organ Dean and Chief Academic composers since Bach, except in his own country. His first Officer at Westminster Choir published works were for the Art-harmonium on which College and Chair of the he was billed as a virtuoso, played frequent concerts, and Departments of Music at presented a Sunday morning radio broadcast. He was San Francisco State and East encouraged early by Edvard Grieg and Alexandre Guilmant, Tennessee State Universities, urged by Max Reger, and finally inspired by the phenomenal He currently is Organist/ playing of Karl Straube to write original compositions and Music Associate of First arrange many of his harmonium works for the organ. From United Methodist Church, youthful adventures to a two-year nervous breakdown, from Organ Principal of the Baton Rouge Symphony, Dean of the recognition to post-war poverty amid face-saving donations Baton Rouge Chapter AGO and a Louisiana Artist Fellow. A from admirers, from the ambivilance of professional neglect designee of the Louisiana Touring Directory, Webb performs to the anticipation of a subsequently ill-fated American as an Artist Member of Concert Organists Collective and is a tour, this workshop will provide glimpses of the colorful Life Member of the Karg-Elert Archive. His website may be and sometimes fragmented life of Karg-Elert through a viewed at . kaleidoscope of images, sounds, anecdotes, and quotations. This workshop was made possible in part by Richard Webb is Professor and Dean Emeritus of the College a generous donation from Christoph Tietze of Arts and Humanities at Southern University Baton Rouge, TUESDAY

Tuesday July 5 @ 11:45 a.m. Workshop V Contemporary Choral Music Daniel Hughes Old First Presbyterian Church, 1751 Sacramento Street, San Francisco

he presentation will feature tried and true choral works Scotland, and Wales. The Tthat can be used for sacred services and/or sacred ensemble has also received concerts. Repertoire will feature a broad range of musical top prizes in international and cultural styles, as well as music specifically suited to competitions throughout the particular parts of the liturgical seasons. The presentation world. They have recorded will include suggested rehearsal approaches, as well as seven compact discs on suggestions for vocal and ensemble technique in the church the Gothic Records label. choir rehearsal forum. Issues such as working with aging Hughes also serves as the voices and improving musicianship in the church choir will director for two new choirs be addressed. in The Choral Project musical family: Menharmonics—a Daniel Hughes is in constant demand as a conductor, men’s chorus dedicated to celebrating diversity, creating accompanist, coach and choral clinician. He serves as the community, and forming fellowship through quality musical Artistic Director and Conductor of The Choral Project, performance; and Amaranth—a small a cappella vocal jazz a mixed-voice vocal ensemble specializing in dramatic, ensemble specializing in a broad range of styles including conceptual performance of high-level choral music from the contemporary a cappella, world music, and straight-ahead medieval period to the contemporary. jazz. Under his direction The Choral Project has received In addition to his work with The Choral Project choirs, international recognition, performing to standing ovation Hughes serves as the new Chancel Choir Director for Los crowds in the United States, Mexico, Costa Rica, England, Altos United Methodist Church, Los Altos, CA.

55 REGION IX CONVENTION 2011 SAN FRANCISCO Tuesday July 5 @ 2:15 p.m. Organ Recital Roger Nyquist Mission Dolores Basilica, 3321 Sixteenth Street, San Francisco

Fantasy in G Minor, bwv 542 Johann Sebastian Bach (1685–1750)

Erbarm’ dich mein, o Herre Gott, bwv 721 Johann Sebastian Bach

Noël Étranger Louis Claude Daquin (1694–1772)

Rondo in G attributed to John Bull (1563–1628)

Intermezzo, from Pièces de Fantasie, Suite No. 1 (Op. 51) Louis Vierne (1870–1937)

Improvisation No. 7 Camille Saint-Saëns (1835–1921)

Spirit of God Joe Utterback (b. 1944)

La Nativité du Seigneur Olivier Messiaen (1908–1992) v Les enfants de Dieu ix Dieu parmi nous

This recital was made possible in large part by a generous donation from Robert Lindquist on behalf of J. Nelson and Company (Livermore, CA)

Roger Nyquist, concert organist, master teacher and Records, and Digital Disc Corporation. His most recent CD composer is a native of Rockford, Illinois. Music study was released in 2007. commenced at an early age and culminated in an earned TUESDAY Nyquist has written a book, Does the Organ Sing? An doctorate in music from Indiana University in Bloomington. Organist’s Guide. He has published “Alleluia”, an anthem for Hallmarks of excellence are always present in Nyquist mixed choir, and a re-release of his “Adagio”, a composition performances: technical mastery, rhythmic energy, for organ. faithfulness to score, absolutely clean articulation, and power of musical expression all combine to produce The music critic John Ogasapian, writing in The American flawless music making. Nyquist’s formidable technical skills Organist, makes this statement about Nyquist’s playing: are always subservient to the voice of the composer— whose music is allowed to come alive through the hands of “It is clean, exciting, æsthetically satisfying, eschewing a masterful organist. extremes and idiosyncracies of interpretation on the one hand and empty displays of virtuosi technique Very much like his famous teachers Arthur Poister, Catharine on the other. One can tell that the technique is there, Crozier, and Andre Marchal, Nyquist has devoted a major such that he feels no need to show it, nor we to have it portion of his career to teaching. He has served on the demonstrated to us inappropriately. Instead, the whole faculties of Southwestern College, Winfield, Kansas and the production makes a fine æsthetic whole.” University of California at Santa Barbara, and from 1968– 1992 he was Professor of Music and University Organist at Nyquist’s ability to communicate so forcefully through his Santa Clara University, where Nyquist was responsible for music making can be explained by a quote from his own developing the music department. writings: In addition to an active concert career, Nyquist has recorded “It is the spirit of the music that remains with the extensively. With 25 albums (over 197 compositions) to his listener long after the sound has subsided. The spirit of credit, he has recorded for Century, Chapel Bridge, Orion the composer co-mingles with the performer’s spirit to Master Recordings (Yehudi Menuhin Foundation), Arkay produce one blended spirit. When this act occurs, one hears the very essence of the music.”

56 REGION IX CONVENTION 2011 SAN FRANCISCO Program Notes George Stauffer asserts that the Fantasy and Fugue in G Minor Although attributed to John Bull in a supposed transcription by were not paired together until after Bach’s death in 1750. Good Richard Ellsasser (1926–1972), the Rondo in G is of spurious news, since I prefer to perform the Fantasy as a work that can origin. (I have made my own arrangement.) It is a tour de force stand on its own æsthetic feet. The Fantasy plunges into a soul- replete with double thirds and sixths. I invite you to dance the searching recitative-like statement poignantly punctuated with Irish Jig! diminished harmonies. The cascading melodic construction “Intermezzo”, from Pièces de Fantasie is a tongue-in-cheek is intensified by the extended organ point in the pedals. The scherzo that spins a refreshingly clever mosaic. Two contrasting second section, while lyrical in nature, melodically outlines moods vie for attention in this charming work. diminished triads that unite both sections harmonically. Bach’s predilection for intermingling major-minor key relationships Saint-Saëns was a first rank virtuoso. His seventh Improvisation in composition is heard dramatically after the third section. is a testimony to his performing ability; it is a joyful, care-free Beginning on the dominant, Bach alternates 15 major to minor work of noble proportions. harmonic changes over an extended downward pedal scale in contrary motion to the rising melody. Great harmonic tension Joe Utterback’s “Spirit of God” captures a refreshing jazz follows; Bach climaxes enharmonically, tying E-sharp to F style while maintaining the simplicity of the original hymn. A natural in the bass, and arrives momentarily in G Major. The strong, tight legato line is mandatory for its execution. entire work is a stroke of genius. Oliver Messiaen is one of the greatest composers of the The sublime chorale prelude “Erbarm’ dich mein, o Herre twentieth century. I have chosen two of my favorite works Gott” (“Have mercy on me, O Lord God”) is cast in the purple- from La Nativité for today’s performance. Messiaen’s own patch key of F-sharp Minor. The reiterated harmonic scheme inscriptions of the two works define his intentions. in the accompaniment and pedal creates an hypnotic effect “Children of God: To all those who have received him, under the cantus. The expressive, intricate ornamentation the Word has given the power to become children of God. of the cantus was created by the noted musicologist, Arnold

And God sent into their hearts the Spirit of his Son, which TUESDAY Dolmetsch. cries, ‘Father! Father!’” John 1:12 A Gigue rhythm, with its notable skipping effect, predominates “God Among Us: And the Word became flesh and dwelt in the delightful Noël Étranger. Cast in theme and variation among us, full of grace and truth; we believed his glory as form, the organist is confronted with intricate ornamentation, the only Son from the Father.” John 1:14 rhythmic nuances, and a variety of articulations. Roger Nyquist Mission Dolores Basilica: Allen Renaissance R-450 Organ (1997) Great Choir Swell Solo Pedal 16’ Double Diapason 16’ Erzähler 16’ Bourdon Doux 8’ Flauto Mirabilis 32’ Contra Violone 16’ Quintadon 8’ Holzgedackt 8’ Geiden Diapason 8’ French Horn 32’ Contra Bourdon 8’ 1st Open Diapason 8’ Erzähler 8’ Rohr Bourdon 8’ Corno di Bassetto 16’ Diapason 8’ 2nd Open Diapason 8’ Erzähler Celeste II 8’ Oboe 8’ Cor Anglais 16’ Prinzipal 8’ Harmonic Flute 4’ Principal 8’ Viola Pomposa 16’ Mirabilis 16’ Bourdon 8’ Gamba 4’ Koppelflöte 8’ Voila celeste 8’ Tuba Mirabilis 16’ Violone 8’ Metal Gedackt 4’ Erzähler Celeste II 8’ Salicional 8’ Trompeta Real 16’ Lieblich Gedackt 4’ Octave 2’ Octave 8’ Voix Celeste Tremulant 8’ Octave 4’ Flute (Sw) 11/3’ Quintflöte 8’ Flute Celeste II String (floating) 8’ Gedackt 22/3’ Twelfth III Zimbell 8’ Erzähler Celeste II 16’ Vox Humana 4’ Choralbass 2’ Fifteenth 16’ Rankett 4’ Octave Geigen 8’ Vox Humana 4’ Octav II Sesquialtera 8’ Krummhorn 4’ Transverse Flute 8’ Dulcets II V Mixture IV Grand Mixture Orchestral Harp 22/3’ Nazard 8’ Gambas II 32’ Contre Bombarde III Scharf Handbells 13/5’ Tierce 8’ Viol d’Orchestras II 16’ Bombarde 16’ Double Trumpet Harpsichord IV Fourniture Tremulant 16’ Basson 8’ Tromba Celesta 16’ Basson 8’ Trumpet Chimes Tremulant 8’ Trompette 4’ Clarion Tremulant 4’ Clarion 8’ Vox Humana 8’ Vox Humaine Tremulant

57 REGION IX CONVENTION 2011 SAN FRANCISCO Tuesday July 5 @ 3:45 p.m. Organ Recital Brian Swager Second Church of Christ, Scientist, 655 Dolores Street, San Francisco

Paraphrase on a Chorus from Handel’s Judas Maccabæus: Alexandre Guilmant “See, the conqu’ring hero comes!” (1837–1911) Petite pièce (1932) Jehan Alain (1911–1940) Ballade en mode phrygien (1930) Jehan Alain Sketch in D-flat Major for Pedal Piano, Op. 58 Robert Schumann 1810–1856 Neuf Préludes, Op. 231b Darius Milhaud (1894-1974) ii Paisible et Pastoral v Animé iv Modéré ix Vif Nun freut euch, lieben Christen gmein, bwv 734 J. S. Bach (1685–1750) Balletto del granduca Jan Pieterszoon Sweelinck (1562–1621) Lead, Kindly Light (lux benigna) John Bacchus Dykes (1823–1876) arr. Edwin H. Lemare (1866–1934) Symphonie No. 1, Op. 14 Louis Vierne (1870–1937) iv Allegro vivace v Andante Second Church of Christ, Scientist: Hall Organ (1915) vi Final Great Swell Pedal

TUESDAY 8’ Open Diapason 8’ Open Diapason 16’ Bourdon Brian Swager is an organist, carillonneur, and harpist from 8’ Concert Flute 8’ Viole d’Orchestre (ext from Gt) San Francisco. He holds the Doctor of Music degree in 8’ Dulciana 8’ Viole Celeste 16’ Lieblich Gedackt Organ Performance from Indiana University, where he was a 4’ Flute d’Amour 8’ Gedackt (ext from Sw) student of Larry Smith. His other organ teachers were Richard Chimes 4’ Harmonic Flute Shirey (University of Akron), Flor Peeters (Belgium), and 8’ Oboe Marie-Claire Alain (Paris). Study with the latter culminated This is the smallest of three organs that were featured in the Panama-Pacific in a Premier Prix in organ from the Conservatoire National Exposition of 1915 in San Francisco. The organ stood on a pedestal at one de Région, after a year of study on a scholarship from the end of the “The Palace of Varied Industries” building. French government. He “plays from the heart.” From the Hall Organ Company Panama-Pacific Exposition brochure: Swager received the Final Diploma with great distinction “This instrument is not built for size but to show to those interested, from the Royal Belgian Carillon School after two years of what can be done in the way of a moderate sized organ, equipped as all study on a Fulbright-Hays grant. He won the silver medal in Hall Organs are, with all the latest improvements. the 1990 Queen Fabiola International Carillon Competition “The action is Electro-Pneumatic, constructed, so that it is durable in Mechelen, Belgium. In 1996 Swager was awarded a and reliable, with perfect repetition and attack. A noticeable feature is the research fellowship in the Anton Brees Carillon Library at adjustability of the Combination Pistons which can be set or changed in a Bok Tower Gardens in Lake Wales, Florida, where he was in moment by the organist without leaving his bench. residence as a Carillon Scholar. He was Assistant Professor “No attempt has been made by The Hall Organ Company to produce of Music and University Carillonneur at Indiana University anything wonderful or unusual in design or mechanism, but merely to where for nine years he taught carillon, piano, and organ, show what it is doing everyday in its regular work at its Factory in New Haven, Conn. This Factory is the most modern and best equipped Pipe and played weekly recitals on the Arthur R. Metz Memorial Organ works in the United States.” Carillon. He is the carillon editor for The Diapason. In December 1915 when the Exposition closed, the organ was moved into a rented hall on Mission Street, then into Second Church when it was completed in 1918. Even though the organ case is hidden behind the geometric design screen, it speaks clearly into the room.

58 REGION IX CONVENTION 2011 SAN FRANCISCO Program Notes More notable for its colors than for its grandeur, this historic instrument designed for the Panama Pacific International Exposition in San Francisco in 1915 lends itself perhaps better to character pieces than to standard organ literature. Therefore, the bulk of this program is comprised of short pieces that demonstrate the organ’s twelve stops and chimes. Brochures from the Hall Organ Company proclaim: “The tone of a Hall organ is as mellow, peaceful and lovely as a cornfield in Autumn.” Alexandre Guilmant performed at two expositions in America, the Chicago World’s Fair and the St. Louis Exposition. A nod to the Jehan Alain centenary, the Petite pièce and the Ballade feature the oboe, the only reed stop on this organ. Not an organist himself, but having studied composition under Widor, Les Six member Darius Milhaud brings a fresh perspective. His Neuf Préludes were written while he was professor of composition at Mills College in Oakland and employ several trouvère melodies. Edwin Lemare performed 100 of the 287 organ recitals at the Panama Pacific International Exposition, so it is likely that he played this instrument on that occasion. Brian Swager

Tuesday July 5 @ 4:00 p.m. I, Norton: An Opera in Real Time Gino Robair & Ensemble St. John the Evangelist Episcopal Church, 110 Julian Ave., San Francisco TUESDAY “At the request of the citizens of these United States, I, Joshua Norton declare myself Emperor.” So began the proclamation by which Joshua Norton, on September 17, 1859, became Norton I, Emperor of the United States and Protector of Mexico. The first of many proclamations, it was published nearly 10 years after Norton landed in San Francisco to make his fortune from the . During his 20 year reign, Norton I abolished Congress, decreed bridges be built between Oakland and San Francisco, enjoyed free passage by rail and ship, printed and used his own money, and corresponded with kings, queens, and presidents. Among the literary works to immortalize Norton I are ’s Huckleberry Finn and Robert Louis Stevenson’s The Wrecker. Yet few people remember the one and only Emperor of the United States. Composer and Director I, Norton is an opera in the form of a kit that can be performed by any number of people Gino Robair and assembled in a unique way for each performance. The literary elements behind the work are the writings attributed to Norton I, as well as “fraudulent decrees” published Emperor Norton in contemporary newspapers to cash in on the Emperor’s notoriety. The words, letters, Tom Duff rhythms, and structure of the texts are prepared in a variety of ways and used as source Organist material by each performer. David Hatt In performance, I, Norton takes the shape of an improvised collage structure that combines conduction (using hand cues), graphic scores, memory-based improvisational structures, and fully notated works. The opera can be performed by a handful of people or a large ensemble. The score can be interpreted by artists from any media, such as video and dance. Although it includes text-based material for speakers and singers, a realization of the opera can be completely instrumental. The piece does not require staging, sets, lights, or costumes. It is meant to be performed anywhere, anytime. Gino Robair

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Gino Robair, Composer and David Hatt, Organist, is a Director, has created music self-proclaimed expert on the for dance, theater, radio, organ music of Max Reger, of television, silent film, and which he has learned about gamelan orchestra, and his 90%, and with which he works have been performed regales the folks at St. Mary’s throughout North America, Cathedral in San Francisco, Europe, and Japan. He was where he is the Assistant composer in residence with Cathedral Organist. the California Shakespeare He is the founder and major Festival for five seasons and supporter of the Bay Area served as Music Director for Reger Festival, which in the the CBS animated series The Twisted Tales of Felix the Cat. Fall of 2008 sponsored the phenomenal Isabelle Demers in His commercial work includes themes for the MTV and her first West-Coast appearances. Comedy Central cable networks. His early education included an MA degree in music from Robair is also one of the “25 innovative percussionists” UC Riverside, following organ study with Anthony Newman included in the book Percussion Profiles (SoundWorld, at UCSD and Raymond Boese at the University of Redlands, 2001). He has recorded with Tom Waits, Anthony Braxton, where he met Gino Robair, along with a cadre of young Terry Riley, Lou Harrison, John Butcher, Derek Bailey, Peter musicians heavily influenced by the brilliant composer/ Kowald, Otomo Yoshihide, the ROVA Saxophone Quartet, poet/scholar Barney Childs. and Eugene Chadbourne, among many others. In addition, Robair has performed with John Zorn, Nina Hagen, Fred In 2004, Dave was asked to present the opening concert of Frith, Eddie Prevost, Thinking Fellers Union Local 282, Myra the 47th National Conference of the College Music Society. Melford, Wadada Leo Smith, and the Club Foot Orchestra. This event featured the music of CMS composers, and it was the first time in the history of the Society that the invited Robair is a founding member of the Splatter Trio and the guest performed every piece submitted by the review heavy-metal band, Pink Mountain. In addition, he runs committee. Rastascan Records, a label devoted to creative music. As a writer about music technology, Robair has contributed St. John the Evangelist: Moller/De Camp Organ (1902/1984) to Mix, Remix, Guitar Player, and Electronic Musician (EM) magazine, where he was an editor for 10 years. He is the Great Swell Pedal

TUESDAY 16’ Lieblich Gedackt 8’ Gedackt 16’ Bourdon author of two books, including The Ultimate Personal 8’ Open Diapason 8’ Gemshorn 8’ Open Bass Recording Studio (Thompson, 2006). 8’ Doppelflute 4’ Fugara 4’ Choral Bass Tom Duff, Emperor Norton, 4’ Octave 4’ Waldflute 16’ Trombone was raised by mathematical 2’/II Fifteenth/Mixture 22/3’/13/5’ Nasard/Tierce 8’ Trumpet carpenters and opera singers (double draw) (double draw) in the frozen north woods. 8’ Trumpet 2’/III Flageolet/Sharp Mixture (double draw) When the diode harvest Tremulant 8’ Oboe repeatedly failed during the 8 Trompet hard early frosts of the 1970s, he migrated south and east, joining a tribe of migrant animation researchers in deepest Long Island, where he found his calling as an entertainment scientist, in which profession he has worked ever since. He has been awarded two small trophies by the Entertainment Science Academy for achievements that, while inexplicable to the general public, are highly regarded among his technical colleagues. In his later life, he returned to his operatic roots, his breakthrough role being the part of Missionary No. 2 in the west coast company of Missionaries and Cannibals. He dismisses as scurrilous the idea that he was cast as Joshua A. Norton because it takes one to know one.

60 REGION IX CONVENTION 2011 SAN FRANCISCO Tuesday July 5 @ 7:30 p.m. This American Land: A Choral Concert Artists’ Vocal Ensemble Mission Dolores Basilica, 3321 Sixteenth Street, San Francisco washington street William Billings (1746–1800)

Peace to Zion (1997) Shaker Song, arr. Kevin Siegfried (b. 1969)

Kyrie, from Missa Et ecce terræ motus Antoine Brumel (1483–1513)

O How Beautiful, This Finely Woven Earth (2003) Greg Jasperse (b. 1968)

Works of the Great Spirit (2006) Richard Proulx (1937–2010)

Christ the Apple Tree (2010) Stanford Scriven (b. 1988)

Mesa Songs Judith Cloud (b. 1954) Artists’ Vocal Ensemble High mesa land There is a color in nature Artistic Director I have seen power Jonathan Dimmock Sopranos INTERMISSION Tonia d’Amelio

Shauna Fallihee TUESDAY Sanctus, from Missa Et ecce terræ motus Antoine Brumel Carol Kessler Rita Lilly El Padre Nuestro (c. 1810) Fray Narciso Duran (1776–1846) (California Mission Music collection) Altos Clifton Massey mckay (2003) Sacred Harp, arr. Carol Barnett (b. 1949) Heidi Waterman Celeste Winant Mornings of Creation Skinner Chavez-Melo (1944–1992) Tenors David Kurtenbach Shenandoah arr. James Erb (b. 1926) Neal Rogers Sam W. Smith Earth Song (2007) Frank Techeli (b. 1958) Basses This Little Light of Mine Traditional Spiritual, arr. Moses Hogan (1957–2003) Jeff Fields Josh Henderson

Artists’ Vocal Ensemble, or AVE, is a professional choral trained singers. While presenting programs of scholarly ensemble directed by critically-acclaimed early music interest, AVE strives to create experiences that are specialist Jonathan Dimmock. AVE has become well emotional, spiritual, and contemplative. The concerts have a known in the San Francisco Bay Area for presenting sacred strong impact on audiences, where many describe feelings polyphony for today’s spiritual seekers. Music from this of being transformed and uplifted. AVE’s intention is not to wonderful repertoire facilitates soul development while limit its audience to early and liturgical music devotees, but uplifting, inspiring and transforming the listener. to offer this seldom-heard material for an audience of all ages, tastes, and sensibilities. Founded on St. Cecilia’s Day 2004, AVE brings to life many of the lost masterworks from the Renaissance and Tudor To find out more about AVE, please visit its website at periods, using informed performance style and highly .

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Concert organist and conductor Jonathan Dimmock, has A graduate of Oberlin Conservatory, Yale School of Music, distinguished himself through his dazzling and sensitive and Yale Divinity School, he became the first American performances in churches, major concert halls, music to hold the prestigious position of Organ Scholar of festivals and cathedrals throughout the world. Lauded for Westminster Abbey. He then went on to serve two American his diverse repertoire and his engagement with audiences, cathedrals, St. John the Divine in New York City, and St. his performing is marked by both musical depth and a Mark’s in Minneapolis. distinctive personalness, causing audiences immediately Jonathan now resides in California, serving several churches to warm to him. Hailed by the Eskilstuna-Kuriren (Sweden) in the San Francisco Bay Area including St. Ignatius Church, for “power and flaming brio,” cited by the Natal Mercury San Francisco. (South Africa) for “musicianship, taste, and unostentatious virtuosity,” and described by the Adelaide Advertiser Jonathan’s teachers and mentors have included Dame (Australia) as playing in such a way that “the organ has rarely Gillian Weir, Peter Hallock, Paul Halley, Simon Preston, Jean sounded more clear and multi-hued than in his very expert Langlais, Harald Vogel, William Porter, and Haskell Thomson. and virtuoso hands and feet,” Jonathan is considered by His interest in French improvisational styles led him to many to be one of the leading musicians in his field. pursue study with Frédéric Blanc, Naji Hakim, Nigel Allcoat, and Gerre Hancock. He is a published composer and writer, Jonathan co-founded the award-winning American Bach and his more-than-twenty CDs appear on labels including Soloists in 1989. Gothic, Loft, Arkay, BCI Records, Time-Warner Recordings, He plays keyboards with many ensembles, including the and Koch International. His solo Bach recording received San Francisco Symphony, where he has had the privilege of Grammy nominations in three categories in 1998. He has working with some of the world’s greatest conductors. His been interviewed and featured on National Public Radio, solo performing career, as well as his work as an accompanist, Radio France, BBC3, ABC (Australia), MTV2 (Budapest), and regularly takes him on foreign and domestic tours. SABC (South Africa).

Texts and Program Notes Today’s program examines how American composers have addressed the subject of the land. Perhaps more than any other nation on earth, America has shown an enormous reverence for the land, bestowing it with virtually every aspect of the sacred. We find the roots of this in our earliest music as an English colony. We see the development of this theme as immigrants from other reaches of Europe find their way to these shores. By the time we became a nation in 1776, we had a self-image that entwined our ideals with our theologies, and mixed them both in a recognition of the awesomeness of the specific portion of TUESDAY the earth in which we find ourselves. The land of this country, its purple-mountain majesty, its fruited plains, its glistening and fertile shores, has always been seen as a sign of God’s providence and, perhaps narrow-mindedly, God’s unique blessing on us, its stewards. When Puritans first came to this country, and many waves of other immigrants following in their wake, they came seeking religious freedom and the absence of oppression. They brought with them a particular mindset as to their (God-ordained) purpose: namely to set up God’s kingdom in the New World and create a locale for the millennial age (1,000 years when Jesus would reign in peace, based in the New Jerusalem, i.e. New England). As a consequence, the land, the very dirt itself, was deemed sacred. They named their land names that would indicate their role in millennial age: Salem, New Canaan, etc. The Native Americans, who had a long tradition of the sacredness of the land, added to the European’s sense of mission. Having crossed the Atlantic (an analogy to the Israelites crossing the Red Sea) and set up the New Jerusalem in America, the Europeans believed that God had put them here on an extremely vital mission that would ultimately save the world. Two centuries later (1840) witnessed the birth of the first major, indigenous philosophy/religion in the United States, namely Transcendentalism. With the writings of Emerson and Thoreau, the sensual, as well as practical, gratification which nature could bestow was imbued with divine portent. At the very same time, this belief system flowered into . Americans developed a missionary zeal to promote and defend democracy (actually unabashed capitalism) throughout the world, justifying our expansion across the Western United States, and eventual annexation of island states around the world. A century after that, the creation of a Cold War to save the world from the Evil Empire (Communist Russia) would embody the same proud ideals. But throughout it all, American poetry is filled with a love for the land, the very earth we stand on, the unspeakable beauty of our mountains, the fertility of our soil and waters. This is unique in the world. Yes, all nations love their location and are proud of it, but none have taken this to the high extreme of god-like elevation that we have in America. We are intimately wedded to our rocks and soil. The very taste of it runs through our veins.

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washington street Now shall my inward joys arise, a constant theme in this period, How my heart beats with yours, And burst into a Song; beginning with the Great Awakening You will feel how my heart Almighty Love inspires my Heart, (1735–55), and continuing with beats with yours And Pleasure tunes my Tongue. the subsequent phases of the Great I know your heart’s journey, it is my own O how beautiful this finely woven earth. God on his thirsty Zion-hill Awakening, 1800–1840 (during which Some mercy-drops has thrown, two new denominations were born in Chicago-based composer Greg And solemn oaths have bound his love America: Mormonism and Seventh- Jasperse has written for choirs all To shower salvation down. Day Adventists), 1880–1910 (the around the United States. His jazz birth of the Social Gospel movement), harmonies make for a very American- Yet, says the Lord, should nature change, and 1968–1974 (the birth of liberation And mothers monsters prove, sounding composition. The text was theology). The notion that Americans Zion still dwells upon the heart written in light of September 11, 2001. have failed to live up to the principles Of everlasting love. of our founding fathers, betraying William Billings, the first notable our covenant as God’s chosen people, Works of the Great Spirit American composer, was a curious and must therefore return to the true All things are the work character. He had only one good eye, faith, rededicating ourselves—this has of the Great Spirit. a deformed arm, a harsh voice, and a name: The American Jeremiad, and We know well that the Spirit is here was lame in one leg, yet his choral is very much a part of our collective within all things: music compositions are noteworthy psyche. The trees, the grasses, The rivers and mountains, enough for him to maintain the title And all four-legged animals of “the father of American choral Kyrie, from Missa Et ecce terræ motus music.” Stalwart and stolid, this music And all the winged creatures. has a joyous and naïve quality that Lord, have mercy upon us. We know that the Spirit is above TUESDAY make it instantly likeable. He was an Christ, have mercy upon us. all these things exact contemporary of the son of the Lord, have mercy upon us. And is above all peoples. great American preacher, Jonathan The Antoine Brumel “earthquake Therefore, when I am gone, Edwards, and continued the same mass” has no obvious relationship to Do not stand at my grave and weep, theological bent in this choice of texts. the title of our program except for I am not there, I do not sleep. Here we find a song about America, the fact that San Francisco is in an I am a thousand winds that blow, disguised under the garb of “Zion”. earthquake zone, and AVE is well- I am the diamond glints on the snow; Here we find the birth of the American known for singing Renaissance music. I am the sunlight on ripened grain, deification of the land. Missa Et ecce terræ motus is Brumel’s I am the autumn’s rain. When you awaken at the dawn best-known (and greatest) musical in the hush of morning, achievement. Scored for twelve Peace to Zion I am the swift uplifting rush separate parts, there is little that can Peace unto Zion. Peace to the faithful, of quiet birds in flight, compare to its complexity and length and a crown of rejoicing from your And the soft star that shines by night. in the Renaissance. Heavenly Father. When Zion shall be Do not stand at my grave and cry, cleansed she shall flourish as a rose. I am not there, I did not die, I will walk in her midst and will bless O How Beautiful, I do not sleep. This Finely Woven Earth all those with a tenfold blessing. And All things are the work their sorrows shall cease, for I’ll cry O how beautiful this finely woven earth. of the Great Spirit; upon her walls. We are bound in threads of joy, Listen with the ear of your heart The Shakers settled in America in threads of grief, of soul And restore harmony to all things. Your tears fall from my eyes, the early nineteenth century. They Nineteenth Century Native American your joy rings in my laughter were strong pursuers of perfection in (Black Elk and Chief ) themselves. They reached their peak We are bound together of numbers (approximately 6,000) in Give me your sorrow Richard Proulx wrote “Works of the 1840, just prior to the writing of the I will stretch across (to you) Great Spirit” for the Chicago Chapter original setting of “Peace unto Zion” over green pine AGO. In a conversation with Jonathan (will feel) and sparkling lake (my heart) in 1851 in Enfield, New Hampshire) Dimmock, Proulx described this Cleansing of Zion (America) was composition as his best work. It is

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Sanctus, from Missa Et ecce terræ motus a perfect fit for our program, using It is in the sky in Taos. Holy, holy, holy, Lord God of Hosts. a text of , and a loving There is a color in nature Heaven and earth are full of your glory. tribute to a wonderful composer, That speaks to the blood. Hosanna in the highest. Like to like. conductor, and friend. It is in my veins in Taos. El Padre Nuestro I have seen power Christ the Appletree Our Father, who art in heaven, Dancing barefoot in the dust hallowed be thy Name. Thy kingdom The tree of life my soul hath seen On Third Mesa. come, Thy will be done on earth as it Laden with fruit and always green I have seen power, is in heaven. Give us this day our daily The trees of nature fruitless be Wearing spruce anklets bread, and forgive us our trespasses as Compared with Christ the apple tree And mud-head masks we forgive them that trespass against Wetting the dust of Third Mesa His beauty doth all things excel us. And lead us not into temptation, With dripping sweat. By faith I know but ne’er can tell but deliver us from evil. The glory which I now can see I have seen the flesh of power In Jesus Christ the apple tree. Linked together with rhythm Fray Duran compiled a collection And belief. of California Mission music in the For happiness I long have sought I know that power, early nineteenth century. This setting And pleasure dearly I have bought In our time, of the Lord’s Prayer was most likely I missed of all but now I see Lives in air-conditioned board rooms sung next door to this basilica, in San ‘Tis found in Christ the apple tree. And in offices of geometric shapes Francisco’s Mission Dolores, for well In all the capital cities of the world, This fruit does make my soul to thrive over 100 years. Where the sweat It keeps my dying faith alive Is checked by chemicals Which makes my soul in haste to be And the masks worn inside out, mckay With Jesus Christ the apple tree. And the dancing is forgotten. O the tansporting, rapturous scene Stanford Scriven is a student at St. But until that day that rises to my sight! Sweet fields Olaf College in Minnesota. His On Third Mesa In the sun and the dust arrayed in living green, and rivers “Christ the Appletree” was premiered of delight. There gen’rous fruits that by the St. Olaf choir at their Christmas And the faith, TUESDAY never fail on trees immortal grow, concert in 2009. It is remarkable for I never saw the body of power, On Third Mesa there rocks and hills and brooks and its lyricism, warmth, and beauty. vales with milk and honey flow. The text is written by an anonymous The naked, breathing, Chanting, sweating New Englander in the 18th century. Although an Englishman, Samuel Body of power, With images of the divine in nature, Stennett was a Puritan and his hymn Wearing spruce anklets texts were much beloved in America. and nature in the divine, we see And mud-head masks Frequently sung in camp meetings and how Americans fused our yearnings Dancing barefoot in the dust by nineteenth century Methodists, his for God with the signs of nature all To hold the structure of the world hymn settings ended up in shape note around us. AVE gave the West coast Together. premiere performance of this work in books as well as the 1835 collection 2010. Judith Cloud lives in Flagstaff, Arizona known as Southern Harmony. Carol where she is a voice teacher at Northern Barnett’s arrangement of his tune,

Arizona University. Tennessee born mckay, was made in 2003. She lives in Mesa Songs and raised, her Southern routes gave Minneapolis. High mesa land, way to a Native American-influenced And cedar scrub, mysticism, strongly influenced by Mornings of Creation An erasing wind, the massive spaciousness of the And room to turn a mind in. American Southwest. In these pieces, There are from time to time mornings, she uses text by Los Angeles poet and both in summer and in winter when There is a color in nature especially the world seems to begin That speaks to the blood. film writer, Betty Andrews. It is very evocative of wide open spaces—a anew; beyond which memory need Like to like, a brownish pink not go, for not behind them is Circulated by the sun. constant theme in American writing. It is in the earth in Taos.

64 REGION IX CONVENTION 2011 SAN FRANCISCO yesterday and our past life; when as accompanied by tone clusters on the Earth Song in the morning of a hoar frost there organ. Sing, Be, Live, See… are visible the effects as of a certain Shenandoah creative energy. The world has been This dark stormy hour, recreated in the night. “Mornings of Oh Shenando’, I long to see you, The wind, it stirs. Creation” I call them. In the midst And hear your rolling river The scorched earth of these marks of a creative energy Oh Shenando’, I long to see you, Cries out in vain: recently active, while the sun is rising ’Way, I’m bound away, O war and power, with more than usual splendor, I look Across the wide Missouri. back, for the era of this creation not You blind and blur. into the night, but to a dawn for which I long to see your smiling valley, The torn heart no man or woman ever rose early And hear your rolling river, … Cries out in pain. ’Tis sev’n long years since last I see enough. A morning which carries us But music and singing you, back beyond the mosaid creation Have been my refuge, And hear your rolling river, … where crystallizations are fresh And music and singing and unmelted. It is the poet’s hour. James Erb’s profound arrangement Shall be my light. Mornings, when men [and women] of the favorite Appalachian tune, are newborn, men [and women] who A light of song have the seeds of life in them. “Shenandoah,” lets us examine how Shining strong: Alleluia! American love of geographical Through darkness, pain and strife, I’ll Skinner Chavez-Melo was Mexican- reference helped form our identity. Sing, Be, Live, See… born, but lived most of his life in New In the lyrics of this tune, we hear of York City. In “Mornings of Creation”, a pioneer’s nostalgia for his Virginia Peace. he quotes a lengthy text of Henry homeland and a young woman who Frank Techeli was born in Louisiana David Thoreau, the famous American is his daughter. The song was also and now teaches composition at USC.

Transcendentalist and writer. The piece, associated with escaped slaves who With images about the end of life and TUESDAY filled with awe for the beauty of nature, sang this song in gratitude because the profundity of music in our lives, only exists in manuscript form and is the river allowed their scent to be lost. we also find images of the end of the

earth (“scorched earth cries out in vain”).

This Little Light of Mine This little light of mine, I’m gonna let it shine … All through the night I’m gonna let it shine … My God gave it to me, I’m gonna let it shine … In my home, All over the world, let it shine. Moses Hogan, a friend and classmate of AVE’s director, was a phenomenally talented pianist as a young man. Shortly after college, he found a new “voice,” as conductor of a choir in New Orleans, specializing in the singing of African-American spirituals. He became America’s leading composer of arrangements of spirituals.

Notes by Jonathan Dimmock

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