AMERICAN GUILD OF ORGANISTS ENDOWMENT FUND DISTINGUISHED ARTIST AWARD

RECITAL AND GALA BENEFIT RECEPTION HONORING Joan Lippincott

FRIDAY, APRIL 21, 2017

PHOTO CHRISTIAN STEINER PHOTO JOSEPH ROUTON

PRINCETON UNIVERSITY CHAPEL PRINCETON, NEW JERSEY Lippincot_AD_MGZN.indd 1 4/12/17 7:56 AM

April 21, 2017

Dear Friends,

ELCOME TO THE 2017 AGO Endowment Fund Distinguished W Artist Award Recital and Gala Benefit Reception honoring our beloved friend and colleague, Joan Lippincott. We extend our heartfelt gratitude to the Office of Religious Life at Princeton University for allowing us to share their beautiful Chapel and magnificent pipe organ with you this evening.

We are deeply blessed by Joan’s lifelong career as a teacher and performer. Through her performances, recordings, and students, she has touched the hearts and stirred the souls of millions of people she will never know. We are forever grateful for her gift of music and her enthusiastic support of the American Guild of Organists.

We are also grateful for your support of the AGO—the largest organization of its kind in the world promoting a single musical instrument and the performers and listeners who enjoy organ music—through your gifts to the AGO Endowment Fund this evening. Although many organ degree programs at institutions of higher education are being threatened—even in Princeton—the American Guild of Organists, founded in 1896, is here to stay. Your support of the AGO Endowment Fund helps to ensure that we will.

The AGO Endowment Fund secures the future of the Guild through educational programs such as Pipe Organ Encounters that introduce young people to the organ and encourage their study of the instrument. The AGO is proud of this program, our most effective means of ensuring that there will be organists in churches and concert halls for generations to come.

Finally, we extend our deepest gratitude to Scott Dettra, John McElliott, and Eric Plutz, for joining Joan in preparing such a colorful and interesting program of organ repertoire for us to enjoy. Thank you again for your support and for being here this evening!

Sincerely,

Michael Bedford, AAGO, CHM President

The mission of the American Guild of Organists is to foster a thriving community of musicians who share their knowledge and inspire passion for the organ.

Learn more about the Guild online at www.agohq.org. SPONSORS gala ticket sponsors Marilyn Kay Schempp, spc ACKNOWLEDGMENTS (as of April 10) Barbara W. Adler, spc John W. Shannon and Richard Allen the Rev. Walter G. Edmonds performers major support is provided by Wyndham Anderson Jack Spencer Scott Dettra AGO National Headquarters Rodney Ayers and Vince Edwards Michael and Margaret Stairs Joan Lippincott Elizabeth Bailey JoAnn and Hank Stankiewicz The American Organist John McElliott Meredith E. Baker, fago Mary V. Stutz Magazine Eric Plutz Charles M. Banks James Thomashower and Princeton University Office of Daniel Beckwith Penny Brickman Religious Life princeton university Michael Bedford, aago, chm Tony Thurman and Ted Barr Office of Conference and Event William R. Berg G. Ronald Vanderwest Services, Michelle Horgan silver sponsors Robert K. Betty Gregory K. Vick Office of Information Technology, Burke and Susan Raper Dennis H. Block Cecile Wang David Hopkins David Boyer Marty Waters Office of Religious Life David Burton Brown bronze sponsors Paul A. Wolfmeyer The Rev. Alison L. Boden, Dean Michael S. Burnette Ruth Anne and Penna Rose, Director of Anthony Cancro Bruce P. Bengtson, aago additional contributions and Chapel Music Christopher Thomas Daly participating from a distance Nancy Ruyle Dodge Eric Plutz, University Organist Paul Fritts Ruth Darling Nancy Via and Robert Davidson patron Frederick Swann and professional services Kevin Davis and Jeff Clearman Kim C. Heindel George Dickey Marianne and Frank Decker John Baker, audio recording John C. Walker, fago Craig and Ruth Ann Degener donors Robert Bullington, video streaming Stephen and Laura Douglass Michael Bedford, aago, chm Anna Pinto, calligraphy advertising sponsors Jeremy Flood Matthew F. Burt, spc Victor Printing, program book AGO Cape Cod and the Islands Charles D. Frost Matthew H. Corl, cago (Mass.) Chapter Philip R. Frowery Karen and Walter Holtkamp ago national council and staff AGO Central New Jersey Chapter Aaron and Mickey Gast Ashley L. Horner Michael Bedford, aago, chm, AGO Finance and Development Shawn M. Gingrich, spc Arthur P. Lawrence, aago, chm President Committee Donna and Paul Guyer, cago Chuck and Jackie Livesay Barbara W. Adler, spc, AGO New York City Chapter Timothy Hall and Donald G. McDonald Treasurer/Councillor for Finance and Development AGO Philadelphia (Pa.) Chapter Damon Lee Fowler Brian W. Rice James E. Thomashower, cae, The Rev. and Mrs. Wm. Hill Timothy Harrell and Leslie Wolf Robb, cago Emory Byrum Morgan and Mary Simmons Executive Director Brown III Christopher Hatcher and Todd R. Sisley F. Anthony Thurman, Canadian International Organ Jerilyn Herbert Lois Z. Toeppner Director of Development Competition Jack and Wendy Hill Michael Velting and Communications James David Christie— Eileen J. Hunt, aago David and Susan Yetter Oberlin Conservatory of Music Scot L. Huntington Hedley E. Yost ago finance and Clarence L. Cloak Mark Husey development committee Richard L. Cummins James D. Johnson sustainers Anthony Cancro Emery Brothers Inc. James F. Kay Don Cook, aago Ronald Krebs The First Presbyterian Church Dennis Keene Craig J. Cramer Robert Lee Mays in Germantown Ronald Krebs Wayne and Laurell Huber, aago G. Ronald Vanderwest Harry B. Fisher David K. Lamb, cago Dennis “Vidalia Onion” McCleary C.B. Fisk Inc. Mark E. Laubach Barbara Owen, chm Charles D. Frost Dan Lazarus May Ruth Seidel Douglas B. Leightenheimer Diane Elizabeth Snider Gothic Records Inc. James H. Litton, spc Sandra L. Tietjen James F. Hejduk Henry and Leigh Lowe Karen M. Wight Cliff Hill Music Donald A. Marsden, cago Mark Husey Robert L. Mays contributors John McElliott— Robert McCormick Alan D. Berlin Karen McFarlane Artists Inc. Matthew McMahan Marvin and Alice Crawford The Rev. Alexander McCurdy III Glenn A. Miller Marianne and Frank Decker Matthew and Lori McMahan J.J. Mitchell Homer A. Ferguson III Montreal Organ Festival Jack and Marilyn Mohlenhoff Eileen J. Hunt, aago Alan Morrison— Vince Natali Charlie W. Steele Curtis Institute of Music Renee Nodar Organ Historical Society Nancy A. Paugh friends Stephen L. Pinel Christopher and Sara Pfaff—UBS Rosemary B. Birchard, spc George H. Ransford Betty Ann Fawthrop Davenport, Eric D. Plutz Sandie and Roger Reinicker in memoriam Princeton Theological Seminary Lee Ridgway and Christopher B. Samuel Donald Vaughan in-kind contributions American Guild of Organists Judith Scheide Suzanne C. Riehl Bethlehem Bach Choir Cherry Rhodes and Ladd Thomas Glenn L. Rodgers, aago Len Levasseur, prepress and design 475 Riverside Drive, Suite 1260 Victor Printing Kenneth D. Sass Organ Historical Society New York, NY 10115 Yale Institute of Sacred Music Vicki J. Schaeffer Joseph Routon, photography 212-870-2310 | Agohq.org AMERICAN GUILD OF ORGANISTS in cooperation with PRINCETON UNIVERSITY OFFICE OF RELIGIOUS LIFE Joan Lippincott • Scott Dettra • Eric Plutz organ J April 21, 2017, at 7 p.m.

Veni Creator Spiritus ...... Nicolas de Grigny en taille à 5 (1672–1703) Fugue à 5 Duo Récit de Cromorne Dialogue sur les Grands Jeux John McElliott chant JOAN LIPPINCOTT

Prelude and Fugue in C Major, BWV 547 Johann Sebastian Bach (1685–1750) JOAN LIPPINCOTT

Prélude et Fugue sur le nom d’Alain, Op. 7 ...... Maurice Duruflé (1902–1986) SCOTT DETTRA

Cinquième Symphonie pour Grand Orgue, Op. 47 Louis Vierne III. Tempo di Scherzo ma non troppo vivo (1870–1937) V. Final: Allegro moderato ERIC PLUTZ

Präludium und Fuge über BACH ...... Franz Liszt (1811–1886) JOAN LIPPINCOTT The OHS celebrates Joan Lippincott

Follow tHE journey that leads tHE OHS to STONELEIGH

STONELEIGH.ORGANSOCIETY.ORG Program Notes

icolas de Grigny’s Premier Livre d’Orgue (1699) is the music alphabet past H (the German equivalent for regarded as one of the most significant collections of B natural), so that ALAIN is represented by the pitch- Norgan music from the French Baroque period. It consists es A-D-A-A-F, the principal theme of both the prelude of an organ mass and five organ hymns, one of which is and the fugue. He also quotes the theme of Alain’s most Veni Creator Spiritus (Come Creator Spirit). Grigny’s famous organ work, Litanies, in the closing section of composition is distinguished by rich texture, complex the prelude. The double fugue is one of the finest exam- counterpoint, expressive melodic embellishment, and ples of contrapuntal writing in the 20th-century organ intense feeling. The organ hymn Veni Creator Spiritus repertoire. The entire fugue is a gradual crescendo, using is a composition of five versets intended to be played in the first theme in inversion and stretto to build tension. alternation with the singing of the chant. The titles of the Finally, the crescendo reaches full organ and the piece versets indicate registration and suggest style and tem- climaxes in a thrilling blaze of D major. po. The opening verset is in overture style with the chant heard in the tenor (taille) played on trumpet sound in he last great late-Romantic French organ com- the pedal. Fugue à 5, the second verset, is a fugue whose poser, Louis Vierne, was organist at Notre-Dame theme relates to the second phrase of the chant. Duo is TCathedral for 37 years. He wrote six organ symphonies. a gigue of lively rhythm played on colorful stops. Récit As a student of both Widor and Franck, Vierne seemed de Cromorne is an exquisitely ornamented solo played destined to bring the organ symphony to its pinnacle. on the cromorne stop. Dialogue sur les Grands Jeux, the In Vierne’s music, one can hear the influence of Widor’s final verset, is a stunning overture of opening and closing clear command of counterpoint and classical forms, as sections on full reed sound (Grands Jeux) framing a sec- well as Franck’s attention to melodic development. A tion in gigue rhythm. third influence heard, especially in Symphony No. 5, is that of Richard Wagner, as shown by the chromatic har- he Prelude and Fugue in C Major, BWV 547 ap- mony and treatment of the themes almost as leitmotifs pears to stem from the Cöthen period, a time when rather than symphonic themes. The Fifth Symphony is TBach focused his energies on writing instrumental cham- the only symphony of Vierne to have received a French ber music. The Prelude, in a lilting 9/8 meter, displays a review. Jean Huré, in 1925, wrote of the Scherzo that number of affinities with the Brandenburg concertos. It it is “almost entirely chromatic and is a fiercely ironical, begins with a series of concise, interrelated motives that pitiless, satanic, and fantastic caricature of earlier scher- are presented in a straightforward manner before being zos by the same composer.” TheFinal is the longest combined in ever more fanciful ways. Underneath this movement of any Vierne symphony, and it shows the material Bach presents a bell-like pedal theme that re- composer as master of development and form. It begins curs in the fashion of an ostinato. The hypnotic effect with a carillon-like ostinato, reminiscent of the compos- of the dance rhythm is broken only toward the end of er’s famous Carillon de Westminster. The Final concludes the Prelude, where a series of detached chords heralds amidst rocketing scales and marcato chords, evoking the final reiteration of the opening material, now over an enormous bells pealing. extended pedal point. The fugue that follows is one of Bach’s most magnificent polyphonic essays. Bach con- he Liszt scholar, Humphrey Searle, has called structs the entire piece from a single, one-measure long the Präludium und Fuge über BACH the most subject. A contrapuntal tour de force, the Fugue in C Toverwhelming organ composition between the time of Major transports us to a special realm in which Bach Bach and the end of the 19th century. It is one of the combines art and artifice in equal measure. most frequently performed masterpieces of the 19th-cen- Excerpted from liner notes by George Stauffer on tury organ literature. Liszt composed the work in 1855 Joan Lippincott’s recording of this work. for the consecration of the Ladegast organ in Merseburg Cathedral, and revised it in 1870. It is an extraordinary aurice Duruflé is considered to be among the fantasia based on the BACH theme, the notes B flat, A 20th century’s finest French organists and com- natural, C natural, B natural (H in the German music Mposers. His Prélude et Fugue sur le nom d’Alain alphabet). The BACH motif permeates the entire piece was composed in 1942 in reaction to the untimely death and develops in an improvisatory and kaleidoscopic way of his friend and colleague, Jehan Alain, who was killed into a quiet fugal section of great expressivity followed in 1940 while on a mission at the outset of World War by a return to dynamic writing that leads to a grand final II. Duruflé derived the theme of the work by extending statement of the theme on the trumpets. JOAN LIPPINCOTT

“Well, you know...

I thought it might be just another ho-hum organ recital, but she played with such

Power, Authority & Conviction.

It was astonishing. It made me remember why I had become an organbuilder.”

Linda Cook

On Joan’s 1975 recital at Harvard University, Fisk Op. 46. Linda has been a pillar of organbuild- ing expertise at Fisk for 40+ years.

www.cbfisk.com 978 283-1909 THE CURTIS INSTITUTE OF MUSIC

CONGRATULATES JOAN LIPPINCOTT CLASS OF ’60

PUBLICITY PHOTO OF JOAN LIPPINCOTT CA. 1960 Roberto Diaz PRESIDENT

Alan Morrison THE HAAS CHARITABLE TRUST CHAIR IN ORGAN STUDIES LEN LEVASSEUR PHOTOGRAPHS HTTP://THENEOPRESS.MYPORTFOLIO.COM

Joseph Routon Portraits Headshots of Musicians

Haddonfield, New Jersey 856-547-3767 • [email protected] Biographies

OAN LIPPINCOTT has been acclaimed as one of A graduate of Westminster JAmerica’s outstanding organ virtuosos. She has per- Choir College (BM, MM) and formed extensively in the United States and has toured The Curtis Institute of Music, throughout Europe and Canada. She has been a featured she served as a member of the recitalist at Alice Tully Hall, the Spoleto Festival USA, Westminster Choir College or- The American Bach Society, the Dublin International gan faculty from 1960 to 1997, Organ Festival, and conventions of the American Guild and was head of the organ de- of Organists, the Organ Historical Society, and Music partment from 1967 to 1994. She Teachers National Association. She has performed on was Principal University Or- many of the most prominent organs in churches and uni- ganist at Princeton University, versities throughout the United States, including Yale, 1993–2000. Ms. Lippincott has Harvard, Duke, Stanford, Columbia, and Princeton. She served on summer faculties at has traveled widely in Europe, studying, playing, and the New England Conservatory performing in recitals on historic and contemporary or- of Music, University of Wisconsin, the Montreat Con- gans in Holland, Denmark, Sweden, Germany, Austria, ference, the Evergreen Conference, and Bach Week at Italy, Switzerland, and France. Especially in demand Columbia College. for Bach recitals and classes, she was a recitalist at the She has been on the Advisory Board of The Amer- Alice Tully Hall Bach-Handel Tercentennial, and has ican Bach Society, is an honorary member of Sigma performed at Bach Festivals in Arizona, Massachusetts, Alpha Iota, and has been honored by Westminster Michigan, New York, Ohio, Oregon, and South Car- Choir College with the Alumni Merit Award, the Dis- olina. In 2001–02, she played a highly acclaimed series tinguished Merit Award, the Williamson Medal, an (“Bach in the Big Apple”) of eight recitals featuring the Honorary Doctorate, and the Sesquicentennial Medal works of Bach on outstanding organs throughout New of Excellence. In 2013, the Organ Historical Society York City. Her many recordings on the Gothic label in- published a festschrift, Joan Lippincott: The Gift of Music clude music of Bach, Mozart, Mendelssohn, Widor, Du- by Larry G. Biser with contributions from students and ruflé, Alain, and Pinkham on major American organs. colleagues.

COTT DETTRA is one of the leading concert Festival, the Arizona Bach Fes- organists of his generation. He combines an ac- tival, the Bermuda Festival of Stive performance schedule with his post as director of the Performing Arts, and the music and organist at the Church of the Incarnation Piccolo Spoleto Festival. in Dallas, where he leads a vibrant music program in His discography includes the country’s fifth largest Episcopal parish. Prior to his Majestus (Gothic) at the Wash- appointment in Dallas, he was for five years organist ington National Cathedral and and associate director of music at Washington National Tongues of Fire (Pro Organo) at Cathedral, where he served as principal organist and the West Point Cadet Chap- assisted with the direction of the Cathedral choirs. Mr. el. A native of Wilmington, Dettra’s playing is known for its poetry, rhythmic in- Delaware, Mr. Dettra holds tensity, and musical elegance. His recital at the 2014 two degrees from Westminster AGO National Convention in Boston was widely ac- Choir College, where he was a claimed, and The American Organist described it student of Joan Lippincott, and has also studied jazz as “music making of absolute authority and sophisticat- piano at Manhattan School of Music. He has previ- ed expression, one of the week’s high points.” He also ously held positions as keyboard artist of the Washing- has performed at the 2002 and 2010 AGO National ton Bach Consort, assistant conductor of Washington’s Conventions as well as those of the Association of An- Cathedral Choral Society, and church positions at St. glican Musicians (1996, 2005, 2012) and the Association Paul’s Parish, K Street in Washington D.C., St. Mark’s, of Lutheran Church Musicians. Festival appearances Locust Street in Philadelphia, and Trinity Church, include the Lincoln Center Festival, the Carmel Bach Princeton. 16 international competitors, over $120,000 in prizes Gala Concert : October 21st www.ciocm.org RIC PLUTZ is in his second decade as university Mr. Plutz has performed organist at Princeton University, where his respon- throughout the United States Esibilities include playing for weekly services at the chap- and abroad in acclaimed ven- el, academic ceremonies, and recitals. He coordinates ues such as Philadelphia’s Veri- the weekly After Noon Concert Series at the University zon Hall, Macy’s Grand Court, Chapel, is lecturer in music and instructor of organ at Longwood Gardens, David Princeton University, maintains a private studio, and is Geffen Hall, Church of St. Ig- dean of the Central New Jersey AGO Chapter. In ad- natius Loyola, Cathedral of St. dition, Mr. Plutz is rehearsal accompanist for the West- John the Divine, Washington minster Symphonic Choir and Princeton Pro Musica. National Cathedral, Grace Ca- In 2016 Mr. Plutz received the Alumni Merit Award thedral in San Francisco, and in from Westminster Choir College. He has made four Germany and Austria. He has solo recordings on the Pro Organo label. About French been a featured artist at the annual convention of the Trilogy on the Aeolian-Skinner at Byrnes Auditorium, Organ Historical Society (2016), two AGO regional con- Winthrop University, The Diapason wrote, “Plutz is a ventions, and at the 2010 AGO National Convention in master craftsman . . . his performances are sensitive, Washington, D.C. Originally from Rock Island, Illinois, emotional, stunningly accurate, and spectacularly mu- Mr. Plutz earned a bachelor of music degree (magna cum sical . . . truly a world-class performance by a world- laude) from Westminster Choir College and a master of class musician.” Other recordings include Denver Jubilee music degree from the Eastman School of Music. From at St. John’s Episcopal Cathedral, Denver, and Musique 1995 through 2004, Mr. Plutz was organist and director Héroïque and Carnival at Princeton University. of music at Church of the Epiphany in Washington, D.C.

OHN McELLIOTT is a versatile singer and concert a choral scholar at Winchester Jartist manager. He performs regularly with several Cathedral in the UK. He is choral ensembles in Northeast Ohio including Apollo’s also president of Karen McFar- Fire, Quire Cleveland, and the Trinity Chamber Sing- lane Artists, where he manages ers, and is a soloist/section leader at Trinity Episcopal concert careers for many of the Cathedral in Cleveland. Mr. McElliott holds under- world’s finest concert organists graduate degrees in voice and organ performance from (including Joan Lippincott and the University of Akron and spent a year abroad as Scott Dettra) and choirs.

PHOTO JOSEPH ROUTON The New York City Chapter of the American Guild of Organists The executive board & members of the New York City Chapter send their cordial greetings to all participants and donors at the gala in honor of master teacher and performer Joan Lippincott.

David Enlow Dean

yale institute of sacred music salutes the lifetime achievements of joan lippincott

AGO Endowment Fund Distinguished Artist Award m celebrated by the American Guild of Organists

April 21, 2017 Princeton University Chapel Organ Skinner Organ Company, 1928 Aeolian-Skinner, 1954, 1956 N.P. Mander Ltd., 1991 137 Ranks ~ 7,897 Pipes

Great Swell Pedal West Gallery unEnclosed Enclosed 32 Double Diapason unEnclosed 16 Double Diapason 16 Bourdon 16 Diapason Wood On Choir Manual 16 Bourdon 8 Diapason 16 First Diapason 8 Gallery Trumpet 8 First Diapason 8 Rohr Flute 16 Second Diapason (Great) 8 Second Diapason 8 Gamba 16 Violone Nave 8 Stopped Diapason 8 Gamba Céleste 16 Bourdon (Great) unEnclosed 8 Concert Flute 8 Salicional 16 Gamba (Solo) 8 Diapason 4 Octave 8 Voix Céleste 8 Principal 4 Octave 4 Principal 8 Flauto Dolce 8 ’Cello 2 Superoctave 4 Stopped Flute 8 Flute Céleste (TC) 8 Gedeckt Fourniture III 4 Flûte Harmonique 4 Octave 4 Fifteenth Cymbale III (prepared) 2⅔ Twelfth 4 Flûte Triangulaire 4 Open Flute 8 Trumpet 2 Fifteenth 4 Unda Maris II Grave Mixture IV Enclosed 2 Piccolo 2 Fifteenth Mixture IV 8 Cor de Nuit Cornet III 2 Flautino 32 Contra Bombarde 8 Cor de Nuit Céleste (TC) Full Mixture IV Sesquialtera II 32 Contra Fagotto Sharp Mixture IV Mixture V 16 Bombarde Nave Pedal 16 Trombone Plein Jeu IV 16 Trombone (Great) 16 Contra Bass 8 Tromba 16 Posaune 16 Fagotto 8 Principal 4 Clarion 8 French Trumpet 8 Trumpet 4 Superoctave Tremulant (light wind) 8 Cornopean 8 Bassoon Cornet III 8 Oboe 4 Clarion Solo 8 Vox Humana 4 Hautboy Enclosed 4 Clairon 16 Contra Gamba Tremulant 8 Doppelflöte 8 Hohl Flute Choir 8 Viola unEnclosed About the Organ 8 Viola Céleste 8 Open Diapason 8 Echo Dulciana 8 Chimney Flute he Princeton University Chapel organ has a colorful history. 8 Dulciana Céleste 8 Violoncello When it was installed in 1928, it was heralded as revolutionary— 4 Flûte Ouverte 4 Principal Tespecially the Contra Fagotto stop in the Pedal division, which was 2 Piccolo 4 Spitz Flute the first of its kind, and was created for this instrument. However, the Chorus Mixture VI 2⅔ Nazard acoustics of the new chapel (which had been artificially deadened by 16 Cor Anglais 2 Fifteenth porous tiles) proved to be inhospitable to the sound of the instrument. 8 French Horn 2 Flageolet Just after its installation, a renewed interest in the organs and music 8 Corno di Bassetto 13/5 Tierce of the Baroque period swept the musical world, effectively putting the 8 Orchestral Oboe 1⅓ Larigot instrument out of style. In 1943, Carl Weinrich was appointed director Tremulant Mixture III of music at the University Chapel. Weinrich was a proponent of the 16 Contra Tuba 8 Trumpet neo-Baroque movement. Throughout his time at Princeton, he focused 8 Tuba 8 Cremona on the music of Bach and, in the 1950s, engaged the Aeolian-Skinner 4 Tuba Clarion Tremulant Company to modify the 1928 instrument to play music from the Ba- unEnclosed 8 Tuba Mirabilis roque period with more clarity and authenticity. It was at this time that the nave division was added to support congregational singing, since the building’s acoustics still proved to be problematic. In 1986, the porous tiles of the chapel were sealed to form a hard surface, vastly improving the acoustics for the organ. In 1991, the N.P. Mander Ltd. firm from London renovated the existing instrument by maintaining the clarity for which Weinrich strove, yet returning the instrument to its original orchestral character. Many new ranks (or sets) of pipes were added, ranks that had been removed were replaced, and all exist- ing ranks were renovated. Today, the instrument speaks into a room that is more conducive to its sound, and it speaks with pipes both old and new—paying homage to its past, yet engaging its future. — Eric Plutz The 110th Bethlehem Bach Festival • May 12-13 & 19–20, 2017 Building on glorious tradition, offering spirited performances and intimate conversations with soloists and guest lecturers, along with festival premieres. Join us in Bethlehem! • Enjoy Bach’s magnificent Mass in B Minor and other choral masterpieces • Chamber music in the intimate setting of the Saal of the Moravian Museum • The intimacy of Bach at 4 in the Incarnation of Our Lord Church, SouthSide Bethlehem • Bel Canto Children’s Chorus; and The Bach Choir and Orchestra performing The Nightingale with Mock Turtle Marionette Theatre • Zimmermann’s Coffee House featuring chamber music by young musicians, held café style in the historic Peter Hall, Moravian College

For complete schedule & to purchase tickets, visit BACH.org or call 610-866-4382 ext. 115/110

Excellence UBS proudly supports the American Guild of Organists

Christopher S. Pfaff UBS Financial Services Inc. Private Wealth Advisor Private Wealth Management 312-525-7515 One North Wacker Drive [email protected] Suite 3700 Chicago, IL 60606-2807

ubs.com/team/gpbm

©UBS 2017. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC. D-UBS-0073925A Congratulatory Messages

Warm congratulations on a distinguished career as Dear Joan-Those words of encouragement performer and teacher. From your local friends, so long ago have stayed with me and Central New Jersey AGO Chapter sustained me all these years. Thank you. Eric Plutz, Dean Harry B. Fisher

Heartiest, well-deserved congratulations to Philadelphia AGO congratulates Joan Lippincott for a stellar artist and pedagogue plus a big teaching and inspiring a generation of organists. pat on the back for Curtis, too! David Furniss, Marcia Sommers, and Edward Landin Jim Hejduk

Joan’s playing often lifts us to “realms above” – from Congratulations to a great artist and friend. the “here and now” to the “there and then.” Fondly recalling our Westminster and Curtis years What a gift! as students of Alexander McCurdy. The Rev. and Mrs. Wm. Hill Brown III Richard Cummins

Congratulations to my teacher, mentor, inspiration, Congratulations to our Cape Cod “neighbor” on your and friend. You have touched so many lives. outstanding career and contributions to organ perfor- I am so thankful for you. mance from the Cape Cod and the Islands AGO. Charlie Frost David S. Martin, Acting Dean

Indebted for your inspiration and care Well done, good and faithful servant. given to me (CR) as a teen at Curtis! Patricia and Alexander McCurdy III, Congrats for EVERYTHING since! Love, Xandra McCurdy Schultz, Eric Graham Schultz Cherry Rhodes & Ladd Thomas

Congratulations and best wishes to our dear friend Best wishes to Joan Lippincott as the American JOAN LIPPINCOTT Guild of Organists honors her—one of the The Oberlin Conservatory of Music great organists, teacher, and friend! Jonathan Moyer and James David Christie Cliff Hill Music Inc.

We love you dearly and deeply, Joan. An amazing teacher, who knew the best way to make Matthew (WCC ’88) and Lori McMahan and a point. Feigning death for 1½ minutes during my the staff of Decatur Presbyterian Church, Decatur, Ga. lesson was dramatic—but the topic lingers still! Christopher Samuel Princeton Theological Seminary joins the American Guild of Organists in honoring Joan Lippincott

JOAN LIPPINCOTT PICTURED IN PRINCETON SEMINARY’S MILLER CHAPEL AT THE JOE R. ENGLE ORGAN, FEBRUARY 2001.

CONGRATULATIONS! On your distinguished career as a teacher and concert artist.

THANK YOU! For your encouragement, support, and inspiration to me and all of your students through the years.

WITH ADMIRATION AND APPRECIATION! Burke Raper WESTMINSTER CHOIR COLLEGE CLASS OF 1980 Congratulations and Warmest Wishes to JOAN LIPPINCOTT from THE SCHEIDE FAMILY

Front Row Seat Productions LLC …captures and preserves great performances!

● At the performance venue or in our acoustically- friendly studio, ● using state of the art equipment, ● helping you reach a wider audience with innovative webcasting and online distribution strategies, ● drawing on our years of experience as performers, audio engineers and video producers.

FRONT ROW SEAT PRODUCTIONS LLC Robert Bullington, president www.frsprod.com 609.423.1072 We extend our congratulations and heartfelt gratitude to Joan Lippincott for supporting Robert Carwithen in the formation of the Germantown Oratorio Choir & Orchestra and for her many performances at our church.

THE FIRST PRESBYTERIAN

CHURCH IN GERMANTOWN

THE REV. RANDAL L. BREMER INTERIM PASTOR F. ANTHONY THURMAN MUSIC DIRECTOR

35 W. CHELTEN AVE. | PHILADELPHIA, PA 19144 | WWW.FPCGERMANTOWN.ORG American Guild of Organists Clarence Dickinson Society f o r p l a n n e d g i v i n g

   in your will or estate plans to ensure that your interests in the organ world will endure through future generations. Opportunities for deferred gi s are numerous: giving through life R insurance, retirement plans, trusts, annuities, and bequests.  e C  D  S  was established in 1997 to honor those members and friends of the AGO who have included the Guild in their wills or estate plans. Won’t you join us? Membership requires no minimum nancial commitment.

Anonymous (4) E Lary Grossman,  Jayson Rodovsky-Engquist Barbara W. Adler Eileen Guenther Roger W. Roszell,  † Lucie Anderson Terrie Harman,  † Marjorie D. Sawyer Donald C. Auberger, Jr.,  † Charles N. Henderson Vicki J. Schae er Christopher Babcock Suzanne M. Hertel Lea Schmidt-Rogers David G. Bahrke Shirley Hill,  †  omas J. Secor † Lorene S. Banta Edwin H. Holmberg Jr. † Ellena A. Sewell Mary Lou Criss Barker Karen and Walter Holtkamp § David L. Shearer Ted Barr and Tony  urman Winifred Howe Morgan F. Simmons Paula Jane Barta,  † Rudolf O. Inselmann Michael F. Simonini Bruce P. Bengtson,  Calvert Johnson † Edward F. Small R. Monty Bennett,  Jeanne R. Johnson M. Ellen Southard † Roberta Bitgood, ,  Paul R. Jones † Carl B. Staplin,  Lori P. Bourret † Roy F. Kehl,  David W. Stinson Andrew A. Bowen,  † Robert Burns King † Virginia Strohmeyer-Miles,  Jane Ann Bradbury Richard F. Kline Jr. Frederick Swann § Lynn Bratney,  Ralph Kneeream Peter Sykes § Donna Brunsma Ronald Krebs † Clementine Miller Tangeman Susan Shively Burkhalter,  † Joel H. Kuznik Louise Temte,  John-Paul Buzard Ann Labounsky,  Mark A.  allander † Don G. Campbell David K. Lamb,  † Violet E.  omas Cary W. Castellaw § Ture Edward Larson James E.  omashower James David Christie James Kirk Ledbetter,  Ralph F. Tilden  omas and Mary Clark Wm. A. Little Lois Z. Toeppner Clarence L. Cloak † Richard Alan Livingston † Robert L. Town Stephen Z. Cook,  Kenneth D. Lowenberg,  † Martha Lee Cain Tranby Charlotte F. Cordes,  † Cameron Magnon George E. Tutwiler † John E. Courter,  Lorraine M. Magnuson § Kenneth L. Udy † Joseph W. Coutret † Fred S. Mauk Charles J. Updegraph † Muriel W. Crowley Elaine Mann,  Paul Valente Paul J. Danilewski J. Barbara McKelway § Je rey J. Verkuilen,  † Vernon L. deTar,  Wilma J. Meckstroth † John T. Vernieu Harriet L. Dearden,  † Ruth Milliken,  Cheryl R. Wadsworth,  William D. Dickinson Robert L. Moncrief Victoria L. Wagner Delbert D. Disselhorst Philip T. Newton Jr.,  John C. Walker,  John A. Ditto William E. Nierintz,  John Powel Walsh Nancy Ruyle Dodge Frances Nobert † Mr. and Mrs. D. DeWitt Wasson,  Geo rey J. Druce,  † John Obetz † Marianne Webb Alice Dubpernell † Helen A. Osterberg † William B. Weeks,  Linda Wilberger Egan Barbara Owen,  † Wanda Wienke Steven L. Egler W. James Owen § Nan and Stowell Werden Sheldon F. Eldridge Jr. † Lyle F. Perusse,  † Kathryn E. Weyand Dennis Elwell † Arthur A. Phillips, ,  † Henry White Jane Errera,  Robert S. Plimpton II Mina Belle Packer Wichmann Margaret R. Evans † Ronald Pogorzelski and † Lester Yankee † Esther Cupps Wideman Pauline Fritz,  † Frank J. Poole Jr. † Charles T. Witmer † Henry S. Fusner,  Michael uimby § Elizabeth Hung Wong Stephen W. Garner Peggy Kelley Reinburg Barclay F. Wood Norman and Ethel Geist,  James P. Riggs Robert W. Woody Mr. and Mrs. Ronald L. Gould,  Roy Roberts † M. Searle Wright,  † Dennis L. Goward Stephen T. Roberts † Gordon Young † Frank S. Graboski,  † Deceased § New member How will you be remembered by the Guild, if the Guild is not remembered by you?

For information email [email protected] or phone 212-870-2311, ext. 4308. American Guild of Organists | 475 Riverside Drive, Suite 1260 | New York, NY 10115 The American Guild of Organists Endowment Fund

Promoting educational programs and new audiences for the organ

The members of the AGO Finance and Development Committee thank you for your support of this evening’s event! Barbara Adler, Anthony Cancro, Ronald Krebs, Robert Lee Mays and G. Ronald Vanderwest

For more information, visit Agohq.org THE CATALOG Honors

GOTHIC RECORDS Recording Artist JOAN LIPPINCOTT Years37 of Distinguished Recordings www.gothic-catalog.com/joan_lippincott_s/480.htm Curators of the Princeton University Chapel Organ

505 e. emmaus ave. | allentown, pa 18103 | 610-797-2510 | emerybrothers.com

PHOTO JOSEPH ROUTON