Organ - ARTS POLONIA TORONTO

Transcription

O
R
G
A
N
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X
Glionna Mansell Presents
14
A Music Series unlike any other
www.organixconcerts.ca
April 2014 through to November 2014
Gordon D. Mansell, M.Mus.
Executive Producer and Artistic Director
Photo: D'Arcy Glionna
PROGRAMME
Our Lady of Sorrows Catholic Church
St. Paul’s Anglican Church
All Saints’ Kingsway
St. Basil’s Catholic Church (U of T)
Church of the Holy Trinity
Glionna Mansell Corporation
Michalewski Residence
Organ - Toronto
Custom Heritage French
Terraced Edition in Natural
Walnut with Burled Walnut
music desk. Two-manual, 45
stop performance specification
with 7 cohesively voiced tonal
suites, multi-channel audio.
www.glionnamansell.com
416-769-5224 toll free/sans frais, 1-877-769-5224
represents excellence in organ building,
service and performance.
Leasing available through First Maestra Leasing Inc.
p
r
o
g
r
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m
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e
April 25 to
November 12,
2014
Producer
Executive Producer,
Artistic Director
Gordon D. Mansell
Print Production
MB Graphics
Advertising Sales
Gordon D. Mansell
F
e
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4
7
Creating the Big Festival
Gala Concert Performers
Biographies
12
Concert Performers
Biographies
19
Memories of Massimo
Nosetti
24
31
Programmes
Additional Concert
Looking Ahead to 2015
ORGANIX CONCERTS INC. is a wholly owned subsidiary of Glionna Mansell Corporation. ORGANIX
14 is a brand of the same. The ORGANIX CONCERTS INC. Programme for ORGANIX 14 is
published by Glionna Mansell Corporation, 464 Armadale Avenue, Toronto, Ontario, M6S 3X9,
www.glionnamansell.com. All rights reserved. Reproduction in whole or in part without written
consent is prohibited. Contents copyright © Glionna Mansell Corporation. Direct all advertising
enquiries to Gordon D. Mansell at [email protected] or through the ORGANIX website
at www.organixconcerts.ca
ORGANIX 14 WWW.ORGANIXCONCERTS.CA
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c
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The
big
festival
By Gordon Mansell, Executive
Producer and Artistic Director
In the 2013 Programme book, I
commented upon the reputation that
ORGANIX has achieved since its first
festival in 2006. In particular, I
expressed my opinion, based on
personal experience, regarding the
comparison between ORGANIX and
several music festivals in Poland that I
had performed in just the previous
year. Soon after the publication of the
ORGANIX 13 Programme book I
received a note from ORGANIX
alumnus, the very famous Diane
Bish (’12).
Regarding ORGANIX, Diane wrote….
...it is one of the
best and most
creative sponsors of
organ series in
North America. With
its dynamic director,
Gordon Mansell,
Toronto devotees of
Classical organ music are able to
hear many of the outstanding
organ virtuosi in the world today.
If you love the organ and its music,
you will be thrilled by ORGANIX
performances. From fresh, young,
brilliant talent, to some of the most
famous names in the organ world,
I challenge you to support the firstclass ORGANIX series and
experience the awesome sounds
of the organ, King of Instruments.
You will not be disappointed!
Previously, my dear friend and
ORGANIX alumnus Massimo Nosetti
('08, '12) wrote…
...ORGANIX is a fantastic music
box where you find a huge amount
of the most beautiful and varied
music for organ.” He continued,
“…it's a perfect organization with
the possibility for the performer to
present music not very often
heard.”
I appreciate these fine testimonials. It
proves that ORGANIX is on the right
track and is indeed, sustaining the
international reputation it has gained
over the past several years.
In producing this festival series, I have
endeavored to present the finest
professional organists, both Canadian
and International, to serve as a vital
Photo: Roni Ely
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source of inspiration for our younger
emerging musicians. While having this
as an important consideration, it was
also important to expand the audience
for organ music in Toronto. ORGANIX
is designed to provide the general
audience with an exceptional concert
experience before, during and after
each event. Last season, concerts
included solo performances but they
also included ensembles… organ and
guitar, organ and violin, organ and
viola, organ, flute, cello and violin, and
the duo of organ and organ - two
performers on the same bench wearing
puffy gowns and stiletto heels. It was a
very entertaining concert and one that
gained quite a bit of attention, mostly
good and some bad. Controversy is
not all that detrimental when creating
awareness. Nevertheless, if you closed
your eyes to this duo performance, you
would realize that the two young
women are the "real deal" and
showcased virtuosity at its best.
While ORGANIX is indeed an organ
festival, young emerging instrumentalists have also gained from their
experiences performing as ensemble
artists in collaboration with the organ.
By developing an environment of music
excellence, our many performers have
benefited from learning repertoire,
witnessing performance approaches
and perspectives that perhaps, they
may not have otherwise gained. Many
of our young organists have progressed to advanced studies and/or
significant positions and performance
opportunities throughout the world.
Sarah Svendsen ('11, '13) has just
completed her first year of master’s
studies at Yale, Rachel Mahon ('10,
'13) has just completed a year as
organ scholar at Truro Cathedral (UK)
and in September 2014, becomes
organ scholar at London's St. Paul's
Cathedral (UK) and in doing so,
becomes the first female organist of
that venerable cathedral. Ryan
Jackson ('06, '13) graduated from
organ performance in 2006, then
graduated from Yale in 2008 and finally
in 2013 completed his doctorate from
Juilliard. Now Dr. Jackson is Director of
Music and Fine Arts Ministries at Fifth
Avenue Presbyterian Church, New
York City. Jean-Willy Kunz ('09) is
organist with the Montreal Symphony
performing on the newly installed
Montreal Symphony Hall Casavant
organ. These are just four examples of
the excellence Glionna Mansell
Corporation has presented through its
ORGANIX Festival presentations. With
over 120 concert productions since
2006, ORGANIX has many more
success stories and many more to
come.
ORGANIX 14 is a very special festival
for several reasons. The first reason is
that the concerts presented will be
Deck
Experts
Andrew Michalewski
416-484-3473
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Photo courtesy of Tara van Leerdam
are in the position to offer financial
support to ORGANIX, please offer
your name and your interest at the
ticket desk. If you wish to keep
informed of future ORGANIX concerts
and events, please also provide your
contact information at the same desk.
Thank you for your past and future
support, your interest and for
choosing amongst all the various
concerts and events that are being
presented in Toronto tonight, to come
to an ORGANIX concert.
Photo of The Toronto Ecumenical Chorale in
performance at the Basilica of Santa Trinita,
Florence, Italy.
Photo courtesy of RCCO - Toronto,
Organs of Toronto
over several months rather than
concentrated in a six week period.
This is to give more people opportunity to take in many more concerts.
The second point of significance for
this festival is that it is the first time
we honour an alumnus who has
died. Massimo Nosetti died
November 12, 2013 from Cancer, a
condition diagnosed just one month
prior to his death. This festival is
dedicated to him and will conclude
with a gala memorial concert
presenting three organists – Maxine
Thévenot ('12), Eugenio Fagiani ('10)
and Omar Caputi. It will also present
The Toronto Ecumenical Chorale in a
tribute to Massimo.
This Programme Book also includes
personal stories and pictures as a
remembrance of our friend Massimo
Nosetti. He was a very kind and
generous man, well loved and
appreciated throughout the world
where he had either visited or
performed. Our gift of music will be a
gift of love in memory of Massimo.
Finally, all independent producers
need support. ORGANIX is not an
exception. Whether that support
comes from the community or from
advertisers, every aspect of it is lifegiving. ORGANIX is an expensive
festival to produce each year. If you
2014 commemorates the 100th anniversary of Casavant Opus 550 at St. Paul's Anglican - Bloor Street.
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b gala concert performerS
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s
1994-2002, and in 2006 he was
appointed Director of Music at
Coventry Cathedral. He has been an
international recitalist for over thirty
years, with organ recordings on the
Cantoris and Herald labels. His
recent release "Golden Jubilee!" on
the Coventry Cathedral organ,
celebrating its fiftieth year, has been
critically acclaimed, and it contains
nine world première recordings of
recent British organ works.
Kerry Beaumont
Kerry Beaumont was born in
Cambridge, England, and began his
musical education as a chorister at
Ripon Cathedral in Yorkshire,
starting organ lessons with Ronald
Perrin. After his family emigrated to
Canada he continued organ studies
with Peter Daly (Toronto), John
Weaver (Philadelphia), Antoine
Reboulot (Quebec) and Pierre
Cochereau (France). He holds a
Bachelor of Music degree in Organ
Performance from the Curtis
Institute of Music in Philadelphia and
a Master of Music degree in 20th
Century Music and Composition
from Durham University (U.K.). He
won the International Organ
Improvisation Competition in San
Anselmo, California, in 1986 and
was a finalist in 1988 International
Organ Improvisation Competition in
Haarlem, The Netherlands. Upon
completion of the diplomas at the
Royal College of Organists in 1989
he was awarded the Coventry
Cathedral Recital Award and seven
other prizes. He was Organist and
Master of the Choristers at St.
Davids Cathedral in Wales 1990-94,
Director of Music at Ripon Cathedral
Maxine Thévenot
Acclaimed for her
“solid musicianship ...
technical security and
poise” by The
American Organist,
and for her “beautiful
registration and
flawless playing...another real gem
of a recording with
ravishing playing” by
The Diapason
Magazine, Maxine Thévenot is amongst the
foremost artists of her generation, hailed
across North America and Europe for her
skillful, musical playing and inventive
programming.
Ms. Thévenot's recital career has taken her to
many major European venues including the
Magdeburger Dom, Germany; the Cathédrale
de St. Bénigne, Dijon, France; Church of
Santa Rita, Turin, Italy; Westminster Abbey
and Westminster Cathedral, UK; Salisbury, St.
Paul's and Canterbury Cathedrals, UK; St.
George's Chapel, Windsor, UK; la Cathèdrale
de Notre Dame, Paris; and to venues across
North America including Washington National
Cathedral, Washington, D.C.; Saint Thomas
Fifth Avenue, New York City; Princeton
University Chapel, Princeton, New Jersey;
Jack Singer Concert Hall, Calgary; and
l”Oratoire de Saint Joseph, Montréal. She has
also performed at the music festivals of
Bratislava, Budapest, Prague, and Vienna.
An advocate of new music, in 2011 Maxine
gave the world premiere of Canadian
composer, Andrew Ager's Concerto for
Organ and Orchestra under the direction of
Maestro Justin Bischof; in 2012 she gave the
US première of Concerto for Organ, Strings
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gala concert performerS
and Timpani by UK composer Philip Moore
under his direction; gave the US, UK and
French premiere performances of Canadian
composer Andrew Ager's Te Deum and
Première Suite, and she is the dedicatée of
organ works written by Andrew Ager, Hayes
Biggs, Noel Goëmanne, Robert Lind, Philip
Moore and Martin Stacey. In 2014, she will
perform UK composer Andrew Carter's
Concerto for Organ and Orchestra in C,
under the direction of the composer.
Dr. Thévenot has been a featured performer
and lecturer at national and regional
conventions of the American Guild of
Organists and the Royal Canadian College of
Organists, the 2013 Sewanee Church Music
Conference and the 2009 Summer Institute
of Church Music, winner of the 2000 Canada
Bach National Organ Competition, Maxine
has also broadcast for the Canadian
Broadcasting Corporation, National Public
Radio and Pipedreams.
Recognized for her excellence as a recording
artist, Maxine Thévenot has released 13 wellreceived CDs on Raven CD
(www.ravencd.com). Her most recent solo
release, recorded on the Hellmuth Wolff
Organ of Christ Church Cathedral, Victoria,
BC, Canada, was praised by Jean-Yves
Duperron of Classical Music Sentinel: “The
beauty of invention and purity of voice she
brings to the Bach, or the nobility she brings
to the Sweelinck are only some examples of
how this musician can expose the soul within
the works she performs.” Of her most recent
choral CD, 'The Immortal Air' with the
Cathedral Choir & Choristers of The
Cathedral of St. John reviewer Duperron
wrote: “under (her) direction (they) have
certainly matured and polished their delivery
dramatically...If you need an emotional or
spirtual lift, this (CD) will do it. …Gardiner's
Evening Hymn with an amen beautiful enough
to raise the airs on the back of your neck.”
Dr. Thévenot currently serves as Director of
Cathedral Music and Organist at the
Cathedral of St. John, Albuquerque where
she oversees a program consisting of 4
choirs and an extensive community outreach
ministry-Friends of Cathedral Music, now in
its 20th anniversary season. Under her
direction, the Cathedral Choir and Choristers
will sing in week-long residencies in 2014 at
both Winchester Cathedral and Westminster
Abbey having previously sung under her
direction in 2010 at Southwark Cathedral, St.
Paul's Cathedral, London, and York Minster;
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and in New York City (2012) singing concerts
and services at The Cathedral of the
Incarnation, Saint Mary the Virgin, Saint
Thomas Fifth Avenue and The Cathedral of
St. John the Divine.
Maxine Thévenot is Founding and Artistic
Director of Polyphony: Voices of New
Mexico, the state's first professional, resident
vocal ensemble; a faculty member at the
University of New Mexico, where she teaches
organ students as well as directs the state's
only collegiate all-women's choir, Las
Cantantes; and since September 2012, has
served as the Artistic Director of the Santa
Fe-based Sangre de Cristo Chorale, which is
currently celebrating its 36th season. A
member of the duo, Air & Hammers, she
concertizes with her husband, acclaimed
English baritone Edmund Connolly,
specializing in programs which combine song
repertoire from the 19th and 20th centuries
with new works by living composers.
Last season Dr. Thévenot was Musical
Director for the New Mexican première of the
gonzo opera, Too Much Coffee Man, by
Daniel Steven Crafts; chorus master for the
New Mexico Philharmonic's performances of
Brahms' Ein Deutsches Requiem and the
Holiday Pops concerts and conducted two
performances of Bach's St. John Passion
with her ensemble Polyphony: Voices of New
Mexico and the NMPhilharmonic – the first
known complete performances of this work,
in German, in Albuquerque. This 2013-2014
season she continues to push the
boundaries with unique performances of
large-scale orchestral and choral works by
Bach, Buxtehude, Handel, Haydn, Schubert,
and Chilcott.
Her first composition Here I am, published by
Paraclete Press is recorded by The Cathedral
Choir on their new CD, 'The Immortal Air'
CD. It was described by Classical Music
Sentinel: “The simple and naïve way in which
they present Here I am Lord ... a composition
simultaneously harmonically barren and
fertile, reinforces the pieces deceivingly
unassuming character, while at the same
time revealing its odd beauty.
A native of Saskatchewan, Canada, Dr.
Thévenot received her Bachelor's Degree in
Music Education from the University of
Saskatchewan, and her Master of Music and
Doctor of Musical Arts degrees from
Manhattan School of Music. At Manhattan
School she was twice-awarded the Bronson
Ragan Award for “Most Outstanding
Organist”. Maxine is an Associate of the
Royal Canadian College of Organists and the
Royal Conservatory of Music, Toronto, and
was made an Honorary Fellow of the National
College of Music, London, UK in 2006 for her
'services to music'.
Eugenio Fagiani
studied with
Maestro Enzo
Corti in Milan and
earned an Organ
and Composition
Diploma at the
“Luca Marenzio”
Conservatorium in
Brescia. He also
Eugenio Fagiani graduated in
Musicology at the SPFM in CremonaPavia University with a graduation
thesis on "Marcel Dupré and the Art of
Improvisation". He took part in several
specialization courses in interpretation
with Nigel Allcoat, Ewald Kooiman, Piet
Kee, Daniel Roth, Gillian Weir and Naji
Hakim. Later Eugenio specialized in the
art of improvisation with: Nigel Allcoat,
Jurgen Essl, Peter Planyavsky and Naji
Hakim. He also studied Music Analysis
with Marcel Bitsch.
Eugenio Fagiani regularly performs in
Europe, Russia, the United States and
Canada on some of the most
important instruments including the:
Brucknerorgel della Skt. Florian
Stiftsbasilika in Skt. Florian, Linz (A);
Domkirche, Eisenstadt (A); St.
Clement’s Church, Rathgeb Memorial
Organ at Deer Park United Church and
St. James Anglican Cathedral in
Toronto (CDN); Église Unie St. James,
Montreal (CDN); Église ChalmersWesley, Quebec City (CDN);
Kollegiorgel, Schwyz (CH);
Frauenkirche, Dom zu Unserer Lieben
Frau, München (D); Kaiser-WilhelmGedächtnis Kirche, Berlin (D);
Ottobeuren Stiftsbasilika (D); St-Marien
Domkirche, Hamburg (D); Ulmer
Muenster (D); St. Jakobs-Kirche,
Rothenburg o.d. Tauber (D); Saint
Saviour’s Church, Jerusalem (IL);
Bialystok’s Cathedral (PL); Olsztyn’s
Cathedral (PL); Uppsala Domkyrka
(SVE); Temple Church, Southwark
Cathedral and St. Paul’s Cathedral in
London (UK); King’s College Chapel,
Cambridge (UK);
Basilica of the National Shrine of
Immaculate Conception in Washington
D.C. (USA); St. Thomas (Episcopal)
Church, St. Patrick’s Cathedral and St.
Bartholomew’s Church in New York
City (USA); Saint Paul’s United
Methodist Church, Rochester MI
(USA); Hill Auditorium, University of
Michigan, Ann Arbor (USA); Santuario
della Verna (I); Basilica di S. Vitale,
Ravenna (I); Duomo di Messina (I).
Eugenio Fagiani is invited to hold
masterclasses and lectures for several
important musical institutions
throughout Europe and North America,
including Cambridge University Organ
Scholars’ Forum (UK) and the Royal
Canadian College of Organists,
Toronto (CDN). He is now the
professor of the Improvisation Class
created by the Ente Ecclesiastico of
the Messina’s Dome (Sicily). He is also
invited as juror in international
competitions.
During October 2012 Eugenio
performed his first Russian Concert
Tour and received enthusiastic praise.
During this tour, he performed nine
concerts in three weeks in some of the
most important Concert Halls of
Russia (Philharmonic Halls of Perm,
Nizhniy Tagil, Omsk, Chelyabinsk, Ufa,
Tyumen, Ekaterinburg and Khabarovsk
and as soloist with the Far East
Symphony Orchestra) and Moscow’s
Cathedral. The success of this tour
won him an immediate invitation to
once again perform in a significant tour
for the 2014-2015 season.
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In 2008 he was appointed as Guest
Organist of the Franciscan Shrine of La
Verna, Arezzo. In 2010 he started the
collaboration as organist with the
Orchestra Sinfonica di Milano
“Giuseppe Verdi”; with LaVerdi he
recorded also for the Italian’s state
broadcasting company Radio Tre Rai.
On the 10th anniversary of the 9/11
tragedy he performed Britten’s War
Requiem at the Teatro alla Scala in
Milan with the Orchestra under the
baton of Xian Zhang. With LaVerdi he
also took part in their Russian Tour,
with concerts in the Great Tchaikovsky
Hall of Moscow’s Conservatory, and
the Glinka’s Chapel of the Imperial
Palace in St. Petersburg, that the
Orchestra held in November 2012. He
also performed with the orchestra in
the recording project of the symphonic
music of Nino Rota, published by
Decca (6 CD’s under the conduction of
maestro Giuseppe Grazioli) in 2013. In
September 2013 he performed with
the LaVerdi production at the BBCProms in London, on the well known
instrument of the Royal Albert Hall,
again under the baton of Xian Zhang.
In November 2013 he was the organist
in the highly praised performance of
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the Mahler’s 8th Symphony that the
LaVerdi gave with maestro Riccardo
Chailly in Milano.
As a composer, his works include
pieces for chamber ensemble, organ
and orchestra and are published by
Carrara, Turris and Delatour France.
His production for organ, whose
relevance is internationally wellestablished (performed by several
artists in top venues: from the Tokyo’s
University to the Leizpig’s
Gewandhaus, from Notre Dame de
Paris to the Sydney’s Cathedral via the
Hill Auditorium of the University of
Michigan), is testified by the continuous commissions from European and
North-American Festivals as well as
from world top-class virtuosos. These
works are now part of the repertoire of
some of the most prestigious artists of
our time and include John Scott,
Stephen Tharp, Johannes Geffert,
Carol Williams, Robert Kovacs and
David Briggs.
He is also the author of a very
successful series of organ transcriptions. With the CD “Crucis Christi
Mons Alvernae”, recorded with the
choir of La Verna’s friars, and obtained
Native of Turin,
Italy, Omar
Caputi is an
international
concert artist,
composer and
director. He
studied at the
“G. F. Ghedini”
Conservatory
Omar Caputi
in Cuneo,
where he graduated with honours in
Organ and Organ Composition. He
also studied French baroque music
with Françoise Delor and Renè
Saorgin, and romantic and modern
repertoire with Daniel Roth and Lionel
Rogg.
Mr. Caputi is the titular organist of the
prestigious Zanin organ at Santa Rita
Sanctuary in Turin. He has performed
extensively in Italy, Switzerland,
Germany and France, receiving
unanimous appreciation of audiences
and critics alike. His debut as a
composer was in 1998, with the public
performances of “Alleluia” for choir and
organ in Sant’Ignazio Church in Rome
and in the St. Peter’s Basilica in
Vatican. His transcriptions of Bach’s
Brandenburg concertos have been
executed in Paris (Saint Eustache), Los
Angeles (Chrystal Cathederal), Leipzig
(Gewandhouse), Montreux, and Turin.
Caputi’s works have been printed by
the Italian publishing house Carrara. In
2000, the French BNL recorded a CD
with his organ transcriptions of Bach’s
Brandenburg Concertos (BWV 1048
and 1051) and Handel’s Concerti
Grossi Op. 3. Omar Caputi is a founder
of “Gruppo Barocco” at the University
of Turin. He is artistic director of two
music festivals: “Risonanze barocche”
in Turin and “Festival Internazionale di
Musica Sacra” in Gallo d’Alba, Italy. He
teaches Organ and Composition at the
Music School “L. Rocca” in Alba, Italy.
The Toronto Ecumenical Chorale
Director: Gordon Mansell
Assistant Conductor: Gerry Litster
Assistant and Accompanist: Allison
Hunwicks
Photo courtesy of Tara van Leerdam
the “Recording of the year 2009”
acknowledgement from Alias, cultural
review of the National newspaper Il
Manifesto, by the director of the
contemporary music review
Konsequenz. He records with the
German label Spektral Records.
Photo of The Toronto Ecumenical Chorale in
performance at the Basilica of Santa Trinita,
Florence, Italy.
Originally formed as the Our Lady of
Sorrows Ecumenical Choir, the
Chorale has been established to sing
at ecumenical and special liturgical
events in Toronto, including weddings,
funerals and memorials. The Chorale
also represents Toronto when it
travels abroad to perform concerts.
Its members include singers from the
OLS Chorale, St. Michael's Choir
School Alumni and various other
Toronto choirs, including the Toronto
Choral Society. The first public
performance on April 15, 2012,
commemorated two very significant
Polish events, the Katyn massacre
(1940) and the more recent event of a
Smolensk Tragedy (2010) when an
airplane crashed on route to Katyn
(Russia) and the 70th anniversary
PAGE 11
memorial that was to be held there.
The latter date is particularly
significant as all on board the aircraft
were killed including the much loved
Polish president, many senior
government officials, military and
religious leaders. The choir was
honoured to be an integral member
of this commemorative occasion.
Since that concert, the choir was
invited back to subsequent commemorative events. Further, the
ensemble has given many more
public performances, including those
at Santa Trinita in Florence and St.
Ignatius in Rome. While at the
Vatican, the choir sang as the
principal choir for the Cardinal's
Mass at St. Peter's Basilica and the
February 2, 2012 Candlemas
Celebration, one of Pope Benedict's
final public appearances before
resigning as Pope. The choir is
preparing for concerts in the United
States and in 2015, a tour to Prague,
Vienna and Salzburg.
Witold Zalewski
graduated in
1992 from the
Academy of
Music in
Krakow after
studying organ
performance
with Professor
Jan Jargoñ. He
honed his skills
Witold Zalewski
during courses
in organ music interpretation, having
also studied with J. Laukvik, G.
Schneider and J. Guillou. Since
1995, Witold Zalewski has been
Principal organist of Wawel Royal
Cathedral, Krakow, Poland. He has
been a member of the Church Music
Council of the Metropolitan Curia of
Krakow since 1998. He was the
organist of liturgies conducted by the
PAGE 12
Consulate General
of the Republic of Poland
in Toronto
Grzegorz Morawski
Consul General
Consulate General of the Republic
of Poland
2603 Lakeshore Blvd. West
Toronto, Ontario, M8V 1G5
416-252-5471, Fax: 416-252-0509
http://toronto.msz.gov.pl/en/
Holy Fathers John Paul II and
Benedict XVI during their papal
pilgrimages – in the Wawel Royal
Cathedral, the Ùagiewniki Sanctuary
and on Krakow Commons. He is the
author of the Church Songbook,
published by PWM edition and a
coauthor or coeditor of numerous
other publications, including the
Wawel Songbook. Mr. Zalewski gives
concerts as a soloist and chamber
music player in Poland and abroad
(including the Czech Republic,
Germany, Spain, Finland, Russia,
Israel, Switzerland, United States of
America, Canada, Japan, Brazil,
Argentina and Uruguay).
Witold Zalewski is the originator and
director of the International Organ
Music Festivals in Zakopane,
Oswiecim, Skawina, Nowy Targ and
Wadowice. He was awarded the "Pro
Ecclesia et Pontifice" from Pope
Benedict XVI.
James David
Christie has
been
internationally acclaimed as
one of the
finest
organists of
his generation. He has
James David Christie performed
around the
world with symphony orchestras and
period instrument ensembles as well
as in solo recitals. He was the 1979
First Prize winner of the Bruges
(Belgium) International Organ
Competition and was the first
American ever to win First Prize in
this prestigious competition; he was
also the first person in the competition’s eighteen-year history to win
both the First Prize and the Prize of
the Audience. James David Christie
has served as Organist of the Boston
Symphony Orchestra since 1978 and
has performed and recorded with the
major orchestras of Vienna, London,
Dublin, Stuttgart, Koblentz, Paris,
Philadelphia, San Francisco, San
Diego, Seattle, Baltimore, New York,
Boston, etc. He has given over fifty
tours of Europe and performs
regularly in Canada, Asia, Australia
and Iceland. He is Music Director of
Ensemble Abendmusik, a Bostonbased period instrument orchestra
and chorus specializing in sacred
music of the 17th and 18th centuries.
He has performed with many period
instrument orchestras including the
Academy of Ancient Music, the Bach
Ensemble, Handel & Haydn Society,
Boston Baroque, the New York
Collegium, etc. He was awarded an
honorary Doctor of Fine Arts degree
from the New England School of Law
for his outstanding contributions to
the musical life of Boston and the
New England Conservatory honored
him with their Outstanding Alumni
Award. He has served on international organ competition juries in
Paris, St. Omer-Wasquehal, Chartres,
Biarritz, St. Albans, Amsterdam,
Lübeck, Bordeaux, Dublin, Worcester,
Calgary, Montreal, Columbus, Dallas,
Leipzig, Weimar-Merseburg, Speyer,
Erfurt, Tokyo, Moscow, Kaliningrad,
Astana, Lausanne, Pistoia, Boston
and Bruges. His students have been
competition prizewinners in North
America, Europe, Japan and South
Africa. James David Christie has
recorded for Decca, Philips, Nonesuch,
JAV, Northeastern, Arabesque, Denon,
RCA, Dorian, Naxos, Bridge and GM
and has received several awards for his
solo recordings, including the Preis der
Deutschen Schallplatten Kritik and the
Magazine d’Orgue: Coup de Coeur.
PAGE 13
PAGE 14
Organ Competition in Béthune, France.
He recently toured Japan performing
Bach’s monumental Art of Fugue. He
was the American patron of the National
French Jehan Alain Centenary Festival in
Saint–Germain-en-Laye, France. He
teaches and performs regularly at the
McGill Summer Organ Academy in
Montreal, Canada, Musica Antiqua
Bolzano (Italy), the Oberlin Organ
Academy for High School Students and
the Oberlin Baroque Performance
Institute. This past season, he gave
concerts in Iceland, Monaco, France,
Belgium, the Netherlands, Germany,
Italy and Estonia. He recently recorded
four CDs of the organ works of Johann
Pachelbel on three historic organs in
Thuringia (Germany) for CPO, Germany.
In June of 2014, James David Christie
will open the National Convention of the
American Guild of Organists at
Symphony Hall, Boston, with a program
of five major works for organ and
orchestra.
Photo courtesy of Maria di Paolo
James David Christie holds positions as
Chair and Professor of Organ at the
Oberlin College Conservatory of Music,
Oberlin, OH, Distinguished Artist in
Residence at the College of the Holy
Cross, Worcester, MA, Chair and
serves as College Organist at Wellesley
College, Wellesley, MA. He has
previously held positions at Boston
Conservatory, Harvard University, M.I.T.
and Boston University. In the fall of
2010, James David Christie was on
sabbatical in Paris, France, where he
served as visiting Professor of Organ at
the Paris Conservatory. He exchanged
positions with Notre Dame Cathedral
organist, Olivier Latry, who was in
residence at Oberlin for the fall
semester. He was recently the featured
artist and teacher for the Académie
“Dom Bedos” in Bordeaux on the
restored Dom Bedos organ at the
Église de Sainte Croix and gave master
classes at the Chateau de Versailles
and at the Conservatoire à
Rayonnement Régional de Paris. He
performed solo recitals in Toulouse,
Reims and several in Paris, including
the final Tuesday Evening Artists
Concert at Notre Dame Cathedral. In
March 2012, he performed two soldout dedication concerts on the new
Casavant organ at the Kauffman Center
Concert Hall, Kansas City, MO; he
served as consultant for the building of
the organ. He has served on
international competition juries in ErfurtMerseburg-Weimar (Germany) and the
First Canadian International Organ
Competition in Montreal and will return
to Montreal for the jury of the 2014
CIOC. In 2014, James David Christie
will also serve on juries for the
Sweelinck International Organ
Competition in Amsterdam, the Pistoia
Agati-Tronci International Organ
Competition in Italy, the Grand Prix du
Chartres which will be held at Notre
Dame Cathedral in Paris, France, and
he will serve as president of the jury of
the Pierre de Manchicourt International
Casavant Opus 800 (1919)
John Paul Farahat ('09) organist at St.
Basil's Church.
Shawn Potter
holds a master’s
degree in organ
performance
from McGill
University’s
Schulich School
of Music, where
he studied
organ with
Hans-Ola
Shawn Potter
Ericsson and
John Grew, and harpsichord and
continuo with Hank Knox.
Originally from Nova Scotia, Shawn
graduated in 2010 with a bachelor’s
degree in music from Mount Allison
University, where he held a Canadian
Merit National Scholarship as well as
a Mount Allison Bell Scholarship.
He has held numerous grants and
fellowships including a Social
Sciences and Humanities Research
Council (SSHRC) grant, allowing him
to pursue a wide variety of interests,
ranging from 17th century North
German music to the organ works of
Olivier Messiaen. Shawn is the first
prize winner of the 2013 Royal
Canadian College of Organists
National Competition.
Shawn has held organ scholar
positions in Montreal at both Christ
Church Cathedral and the church of
St John the Evangelist, and is
currently the Director of Music at
First Baptist Church, Ottawa.
Rhonda Sider
Edgington
Organist
Rhonda Sider
Edgington is a
creative and
eclectic
musician, with
a diverse
repertoire and
wide range of
musical interests. Often commended for her innovative
programming, imaginative use of
registrations, and exciting playing,
Rhonda feels equally at home
playing small mechanical-action
instruments as well as large
Romantic or symphonic-style
organs.
Having spent seven years working
and studying in Bremen, Germany
(originally with a Fulbright
scholarship to study with Prof.
Harald Vogel), Rhonda has
acquired an extensive repertoire,
from Sweelinck and the music of
17th-century Northern Germany,
through music of 19th- and 20thcentury France, to the music of
today. She has played recitals at
venues such as St. Thomas Fifth
Avenue in New York City, Christ
Church Cathedral in Indianapolis,
St. Paul’s Episcopal Cathedral in
Buffalo, and Fourth Presbyterian
and Holy Name Cathedral in
Chicago, as well as on many
historic Arp Schnitger organs in
Germany, such as those in
Norden, Grasberg, and Weener.
She has played at five national
conventions of the Organ
Historical Society and a regional
convention of the American Guild
of Organists. She has also been
heard on the nationally syndicated
radio program “Pipedreams.”
Rhonda has worked as a church
musician since her student days,
and has held jobs in almost every
major denomination here in the
states, as well as working as a
church musician in Germany. As
organ teacher, Rhonda was
Assistant Professor at Concordia
University, River Forest (IL), and
PAGE 15
Interim Professor of Organ at
Houghton College (NY), and now
teaches privately. She also enjoys
playing the harpsichord, piano, and
carillon, and is an avid chamber
musician.
Rhonda studied in Germany with
Harald Vogel, Hans-Ola Ericsson,
and Hans Davidsson, and in the
U.S. with Larry Smith, Marilyn
Keiser, John Chappell Stowe,
Edward Zimmerman, and her father
Ronald Sider. She has a Master’s
degree in Organ from Indiana
University, a Bachelor’s degree in
Piano from Wheaton College (IL),
and a Diploma in Organ
Performance from the Hochschule
für Künste/ University of the Arts in
Bremen, Germany, where she was
awarded the highest possible
grade for her graduation recitals.
She helped lead an educational
tour for the European chapter of
the American Guild of Organists in
2011 to visit organs of Northern
Germany, and is currently Dean of
the Holland, MI chapter of the
AGO.
Rhonda lives with her family in
Holland, Michigan, where she is the
organist at Hope Church, a staff
accompanist at Hope College,
Seminary Organist at Western
Seminary, and maintains a private
studio, while continuing to perform
regularly in the U.S. and abroad.
Her website
http://rhonda.edgington.info
contains photos and recordings of
some of her favorite pipe organs.
Royal Canadian College of
Organists
presents
Organ Skills
Workshops
The Toronto
Centre of the
RCCO presents
workshops for
organ skills
development. The next workshop
will be in Feruary 2015. This
educational event is FREE. It is
designed to be like a "boot camp"
for new and not-so-new music
people charged with providing
organ hymn accompaniment.
Experienced organists will give
hands-on instruction, discussing
playing techniques, registration
(the sounds and colours of the
organ), finding appropriate music
for every occasion, working with
soloists and choirs, discussing
employment issues, rehearsal tips,
and much more. Participants will
have an opportunity to gain
hands-on instruction and will
focus on providing solutions for
pianists pressed into playing the
organ. Participants are encouraged
to bring lots of questions, and one
hymn or short voluntary to play or
to use as an example (optional).
Gain confidence, ask questions
and bring a friend!
The workshop location is based
on the number of registered
participants and where the most
need is.
For more information or to
register, please contact
Gordon Mansell at 416-571-3680
or email: [email protected]
PAGE 16
Originally
from Zwettl,
Lower
Austria,
Elisabeth
Ullmann
currently
resides in
Vienna. She
received her
Elisabeth Ullmann
musical
education at the national music
academies in Vienna and Salzburg
and at the Royal Academy of Music
in London. Elisabeth Ullmann has
taught music since 1979 at the
University Mozarteum in Salzburg. In
1988, she became the first female
Full Professor for Artistic Organ
Playing in Austria. She initiated the
annual “International Organ Festival
Stift Zwettl” (Austria), and remained
its Artistic Director until 2008. Today,
Elizabeth also works as a renowned
advisor for building and restoring of
organs. Elisabeth Ullmann has been
invited for numerous solo concerts,
guest performances with orchestras,
and also for master classes in nearly
all European countries as well as
Israel and the United States.
Originally from
Ottawa, cellist
Samuel Bisson is
quickly distinguishing himself in
Canada as a
versatile soloist,
chamber musician
Samuel Bisson and orchestral
player. Currently
based in Toronto, he performs
frequently in the GTA and has
performed and toured across
Canada, the US, Austria and China.
He has performed with renowned
Canadian piano trio, the Gryphon Trio
and performs regularly as part of the
Passport Duo, with pianist Nadia
Boucher.
Samuel currently holds the position
of principal cellist with the Sneak
Peek Orchestra (Toronto) and the
Kindred Spirits Orchestra (Markham).
He has also appeared as principal
and section cellist with the Ottawa
Symphnoy Orchestra (Ottawa), the
Ontario Philharmonic (Oshawa) and
l'Orchestre de la Francophonie
Canadienne (Montreal).
Over the years, Samuel has had the
pleasure of working with many
renowned cellists including Janos
Starker, Roman Borys, Hans Jorgen
Jensen, Paul Katz, Anthony Elliott,
Paul Marleyn and Julian Armour. He
has also had the privilege of playing
with great chamber musicians and
masters such as Pinchas
Zuckerman, Mark Fewer, Jean
Desmarais, Angela Hewitt and the
St-Lawrence String Quartet.
Samuel has a special interest in new
and unknown music and has an ease
with a broad range of musical styles.
He regularly performs premieres of
new works and has been a guest of
Toronto's New Music Festival for two
years.
Beyond the boundaries of classical
performance, Samuel is an active
studio session musician and
performer/arranger in a variety of
music genres. He has been involved
with projects that stylistically range
from jazz and broadway to metal and
electronica, and has worked and
collaborated with artists such as
Drake, Sarah Brightman and
members of Barenaked Ladies and
Our Lady Peace.
Samuel is also a composer and has
had many works performed by
ensembles across the country. He
composed the score to the awardwinning short film Nuit Blanche and
wrote the score for the feature film
Lovesick, released theatrically in
late 2011.
PAGE 17
Gordon D. Mansell Co-founder,
Executive Producer,
Artistic Director
Gordon Mansell is
Music Director and
Organist at Our Lady
of Sorrows Church in
Toronto where he directs a music
program of over 120 singers from five
choirs. He is also the Ontario dealer for
the world’s largest organ builder, Allen
Organ Company. Gordon is Cofounder and executive producer of
ORGANIX CONCERTS INC., a wholly
owned subsidiary of Glionna Mansell
Corporation.
In Summer of 2012, Gordon performed solo organ concerts in Poland,
including concerts at Wadowice,
Rabka, the XXII edition of the
International Cracow Organ Festival,
Zacopane in the mountains where
John Paul II liked to ski and finally, the
XI edition of the L’arte Organica festival
in Nowy Sacz. In January and February
2013 Gordon performed as organist
and choir director in Florence, Rome
and at the Vatican, touring with the Our
Lady of Sorrows Ecumenical Choir, an
SATB ensemble he formed in 2011.
The Choir sang at the Vatican on three
occasions, including the Pontifical
Institute of Sacred Music and at St.
Peter’s Basilica on two occasions
including the Papal celebration of
Candlemas. Under the patronage of
the Consulate General of the Republic
of Poland in Toronto, Gordon has been
invited back to Poland to perform in
Warsaw and Gdansk in August of
2014. For 2015, plans are underway
for a second European choir tour that
will include concerts with orchestra in
the Cathedrals of Prague, Vienna and
Salzburg.
Gordon’s early music training was
gained from the Royal Conservatory of
Music and St. Michael’s Choir School.
By the time Gordon was twelve years
PAGE 18
of age, he started his professional
career as a church organist. Gordon
holds a Bachelor of Science degree in
Printing and Photographic Sciences
(1979) from the Rochester Institute of
Technology. He also holds a certificate
in Information Technology from the
University of Toronto (2001) and a
Bachelor of Music (2006) and Master of
Music degree (2008) majoring in Organ
Performance from the University of
Toronto, Faculty of Music.
In parallel to his music career, Gordon
has a long professional career in
business management, marketing and
advertising and was a founding partner
company of SMART Toronto, a
technology advocacy organization now
known as the CATA Alliance. He also
established Creative Folio III, an
advertising and design agency and the
Ingenuity Group, a technology
management consultancy and ‘think
tank.’
Founded in 1909 as the Canadian
Guild of Organists, the RCCO is
Canada's oldest musicians' association.
Today, the RCCO is a nationwide
interdenominational community of
professional and amateur organists,
church musicians, choral conductors,
and others sharing an interest in the
organ and church music.
The Toronto Centre is the largest
centre in the country and each year
offers a variety of programmes from
recitals and workshops to social
gatherings. The Toronto Centre is a
proud annual
concert sponsor
of ORGANIX. The
RCCO Toronto, is
a sponsor of the
Elisabeth
Ullmann concert.
www.rcco.ca
† Massimo Nosetti 1960-2013
Meeting Massimo Nosetti
by Maxine Thévenot
Thursday, November 22, 2012: my
route to Italy was AlbuquerqueChicago, Chicago-Munich, MunichTurin. I arrived at the airport in Turin
Friday, November 23rd and was
greeted by Massimo's assistant
organist, Omar Caputi. It's true what
they say about Italian drivers: I was
immediately placed in one those
moments in life when you feel like
you're in a movie. My lack of Italian
and Omar's limited conversational
English made for a gesture-filled car
ride to the Best Western Hotel in the
center of Turin.
After settling in there, I was collected
by Mr. Nosetti in his North Americansized SUV and driven to Santa Rita,
the church where Massimo oversaw
the liturgical program, as well as the
annual International Santa Rita Organ
Festival, which began in 2008/2009
and continued until his sudden illness
in October 2013. I was honored to be
an invited guest on this distinguished
series.
Santa Rita is, on the inside, a most
beautifully ornate Catholic Church
complete with a mechanical action 4manual organ
built by Italian
organ builder,
Gustavi
Zanin. This
instrument is
seen as the
most successful and largest installation in Zanin's career to date. He has
also installed and rebuilt organs in
Venice and Como at the
Conservatories of Benedetto Marcello
and Guiseppi Verdi respectively.
Massimo Nosetti was one of those
rare breeds who spoke English just
as well as his native tongue, Italian,
was also fluent in French and German
and could write and interpret Latin.
His 'off the top of his head' knowledge of musical and non-musical
conversational topics was nothing
short of astonishing, and yet
Massimo managed to retain a very
down-to-earth air about him, which
drew people towards him. He had a
wonderful sense of humour and
excellent taste in wines and food. He
was also one of the most kind and
generous people I have met in the
organ profession.
After what would have been a very
full day of playing for Sunday liturgies
and masses at Santa Rita church, he
and his lovely wife Franca (also a
polyglot, who
speaks at least
four languages
fluently) invited
me to their
home for a late
night feast of
wonderful
Italian food and
wine. It was
here that I got
to receive a tour of their home and
see the maestro's office, which
housed a 3-manual organ, an
enviable music library
and study space. It
was wonderful time of
sharing common
stories of both
musical and life
experiences.
During my short time in Turin I was
invited to perform a full-length recital
on the evening of Monday, November
PAGE 19
26th, which (not unusual in Italy)
began at 9pm. The not unusual
capacity audience was most
generous and afforded me the
chance to play encores, which made
for a wonderfully memorable Italian
debut.
Following the
concert,
Massimo and some of his students
took me out for that most famous of
Italian foods, pizza. I think we left
that pizzeria at around 1:30am.
The following morning at 7am I was
traveling to Cuneo, which is about a
2-hour car journey from the center of
Turin. I had been invited to give a
lecture-recital on Canadian Organ
Music that morning, in English. None
of the 7 dedicated male students
really spoke the language, but
Massimo kindly translated most of
what I had to say to the class at the
Conservatory in Cuneo. This
conservatory was officially recognized
as such in 1995 - again something
that Massimo had a hand in
organizing with the city and further
developing.
We arrived in Cuneo shortly before
9am and the first stop was double
espresso and croissant at the
neighbourhood café, which it was
clear Massimo frequented with his
students. There was no need to
place an order!
The conservatory organ practice
room is a deconsecrated church
which Massimo had, with the
assistance of the city and larger
university, saved and had remade
into an extraordinary practice
'studio'. The church 'studio' includes
a baby grand piano in the sacristy,
and while someone can be practicing
there, someone else can either be
PAGE 20
practicing on the one manual
Neopolitan organ from 1759, or the
early 20th century 2-manual organ
situated in the rear gallery, or the 21st
century 3-manual organ in the front,
behind the high altar. It's something
of an organist's dream place to
spend several hours a day.
The intersection of my career with
Massimo's began when he wrote to
me in 2011 and invited me to come
and play in Turin on his Festival in
November 2012. I then in turn
extended an
invitation to
him to come
and make his
New Mexican
debut at the
Cathedral of
St. John on
May 4, 2012.
During his time here he also gave a
fascinating lecture on the history and
development of Italian organ building
and organ music in collaboration with
the local American Guild of Organists
chapter. It was enjoyed by organists
and enthusiasts alike.
Massimo's recital program included
works by Liszt,
Peeters, Bossi,
Germani, and
transcriptions by
Wagner and Prokofiev.
His playing was
wonderfully virtuosic
and his use of the
organ's available
colours was masterful.
From the start of our collegial
friendship, he began talking about
future goals and plans for his
students and his studio. He wanted
to begin a summer exchange
program and spoke about my
involvement in this project. He hoped
to be able, in the summer of 2014, to
begin a Cuneo Conservatory Summer
Academy, inviting organ teachers
from around the world to come and
work with his students. He also
wanted to see his students come and
pursue some form of study in the US.
His students were all quite curious
about NorthAmerican
organs and
study and were
full of questions
when I had
lunch with
them. It was
clear to me that
his students
adored their
maestro, and that he was a dedicated
mentor to these young men.
Aside from being an intellectual and a
brilliant musician and teacher, it was
also easy to see that Massimo was a
deeply spiritual person. In the short
time I interacted with him, he treated
everyone equally and clearly lived and
breathed the gospel of Christ. It is, of
course, very sad when a colleague is
taken from this earth in the prime of
his life, but earth's loss is most
definitely heaven's reward and gain.
Rest in peace, dear Massimo.
Meeting Maestro Nosetti
By Hanné Becker
I never expected this at all. Two days
ago, I get an email - "will you please
be the assistant for maestro Nosetti
at his performance at St Paul's on
Wednesday? He will be performing
the Rheinberger Organ Concerto no.2
in g minor with the orchestra, so
could you be there earlier for a run
through with the orchestra?"
My heart skips two beats already just
at the mention of the words
"Rheinberger" and "concerto" in the
same sentence.
What? RHEINBERGER has an organ
concerto? More than one? And this
concert is going to be with full
orchestra?
In St Paul's with that magnificent
instrument?
And I'm going to be turning pages
and registering ....
I get an email from the organist, who
is from Italy, asking me to come at
4.30 for the run-through.
I walk through the rain, on a dark
Wednesday afternoon along Bloor
Street, wondering what was awaiting
me.
I start to hasten slightly towards the
large glass doors, and wonder what
the organist
would look
like, as I'd
never seen
him before.
I see members
of the
orchestra
hanging
around the
sanctuary, and
as I walk
Photo courtesy of
Hanné Becker
towards the
organ console, a friendly face greets
me.
The rehearsal begins and I take my
position on his left side.
PAGE 21
PAGE 22
He played with such ease; he floated
through the music; he changed
pistons like it was breathing; he simply
controlled it all.
And yet, there was no focus on him,
he let the music speak to its fullest.
This showed mastery in its biggest
form.
When we finally got to the Rheinberger,
I think something in me lit up like never
before.
It was like I could taste the harmony. It
was like every chord became truly
lifelike in stature.
It was like I could believe in something
so incredibly beautiful that was still to
come, which was born already in the
past.
The greatness of it, the huge space,
the lush textures, yet interspersed with
such simple tenderness.....
I think I saw a bit of heaven tonight. It
was a tiny bit of heaven, but it was
wonderful.
How could I really say what I felt in this
music?
Final G major chord melts my face,
and my heart. Roaring applause.
A big warm hug from the maestro,
thanks and final goodbye.
So, so wonderful. I am honored to
have had the chance to meet this
wonderful man. May he rest in peace
and may his music and legacy play on.
Photo courtesy of Hanné Becker
As the first notes began to sound in
the wonderful acoustic, I instantly felt
excitement run down my spine. I could
hardly wait for the concert.
The rehearsal went smoothly, and the
maestro was as kind as to invite me for
coffee before the concert.
So we head out in the rain to get
coffee.
He was so cheerful and funny, really
laid back and full of great stories.
I begin to tell him what I'm playing this
year, and ask him about Guilmant's 1st
sonata.
"Ah, everyone plays that in Europe why not something more obscure?" he
chuckles.
"Well, not many people play it here" I
reply with a smile on my face.
“That's very funny" he says. "Oh, in
Italia, if you ask for coffee, it is a small
cup - here the smallest is very big!"
I thought I knew obscure works - well
apparently not; he knew much more
obscure composers than I did.
That intrigued me.
Time to head back for the concert.
"Please could you go and give the A to
the concert master before the time?
Just on the Diapason II and Octave 4".
"Sure thing" and I go to the console,
sitting down. The orchestra starts to do
their polymultiphonic warmup routine.
Concert master enters, looks at me
and smiles. I sound the A; I don't think
it was exactly at 440, but it was
something around there.
They tune up. Enter Maestro.
Applause.
And here begins possibly the most
lifechanging concert of my life in a long,
long time.
Here I was, sitting next to him, and
witnessing some of the most virtuosic
organ playing I had ever seen / heard.
It was flawless but consummate in
artistry and musicality and technique.
All of it.
Trumpeter Michael Barth with Massimo Nosetti
and Maestro Philip Sarabura after the ORGANIX
12 Opening Gala Concert.
by Eugenio Fagiani
I had known Massimo for many years.
We were friends but the first time he
commissioned a piece from me, it was
performed at his Santa Rita Festival.
After the concert we were motivated
by the audience acceptance of this
piece and so, Massimo and I started
talking about a second commission.
We started talking about themes and
decided upon Psalm 22 “The Lord is
my Shepherd” which was eventually
premiered April 1st, 2011 at the Grace
Episcopal Cathedral in Topeka,
Kansas.
Massimo then mentioned that he
would love to have a big Andante
Sinfonico from me. I thought that it
would be a nice idea to do an Andante
in a Mozart style (I mean the idea of
andante - faster trio – andante, as
happens in the D minor piano
concerto). He replied: “…nice idea, but
write a movement that is not too fast
because I am getting too old for this
stuff! We started laughing together.
This was Massimo’s sense of humour
and something we shared in common
among many things.
Another little story is about my
performance activity. He was so happy
that I started working with the Verdi
Symphony Orchestra. He too, worked
with an orchestra, Rai Orchestra in
Turin for many years and together we
discussed his experiences. Well, last
September I had the opportunity to
perform with the Verdi Orchestra for
the BBC Proms at the Royal Albert
Hall, and he was so thrilled for this
marvelous opportunity that he
mentioned that we had to talk better
about this when I visit in November to
perform in Torino. The organ at the
Royal Albert Hall was one of
Massimo’s preferred in the UK. The
same was about my performance in
Mahler’s 8th with Chailly. Massimo was
so happy for me and wished for me to
share all the details of this experience.
The day rehearsals started, I sent
Massimo a message about my
excitement. At that point, I didn’t know
what was going on with Massimo.
Unfortunately we were not able to see
each other again and only communicated via email or during the last
phone calls. Massimo was very patient
with me, because when we talked on
the phone, (the few times that we
could reach each other quietly) we
talked a minimum half an hour
discussing many random ideas.
Massimo died on the same day as my
opening performance of Mahler's 8th
Symphony. I am certain he was on the
bench with me enjoying every moment
of it. I am very sad to have lost such a
good friend.
Photo courtesy of Eugenio Fagiani
Performing with Massimo
March 8, 2010 premier of Eugenio Fagiani’s
“Lauda Sion Salvatorem” commissioned and
performed by Massimo Nosetti at the Santa Rita
Festival in Torino, Italy.
496 Huron Street,
Toronto, ON M5R 2R3 CANADA
Telephone: +1 416.921.3802
Fax: +1 416.962.2503
Email: [email protected]
PAGE 23
p
r
o
g
r
a
m
m
e
s
Opening Gala Concert
Kerry Beaumont - Organ
April 25th 2014 7:30pm
Our Lady of Sorrows Church
3055 Bloor Street West
Fantasia in G major BWV 572
J S Bach (1685-1750)
Herr Jesu Christ, dich zu uns wend’ (Trio) BWV 655
Concerto II in A minor BWV593
Toccata per l’Elevazione
J S Bach
Bach / Vivaldi (1678-1741)
Girolamo Frescobaldi (1583-1643)
Introduction and trumpet tune
Maurice Greene (1696-1755)
Ei Du feiner Reiter
Samuel Scheidt (1587-1654)
Final
César Frank (1822-1890)
Intermission - 15 minutes
Improvisation on submitted themes
Rumba sur les Grands Jeux
Pierre Cholley (b.1962)
St Bride, assisted by angels
Judith Bingham (b.1952)
Prelude and Fugue No.3 in E flat major
Camille Saint-Saëns
(1835-1921)
Alléluias sereins d’une âme qui désire le ciel
Niagara
PAGE 24
Olivier Messiaen
(1908-1992)
Jonathan Dove (b.1959)
Witold Zalewski - Organ
May 16th 2014 7:30pm
227 Bloor St. East
Prelude and Fugue E Flat Major BWV 552
Fantasy "Holy God"
J S Bach (1685-1750)
Marian Sawa (1937- 2005)
Fuga-Bolero
Marian Preludes
Juliusz £uciuk (b. 1927)
Toccata "Tu es Petra"
Henri Mulet (1878-1967)
Prelude, Fugue and Variation
César Franck (1822-1890)
Symphony II, Opus 20
Louis Vierne (1870-1937)
Allegro – Choral – Scherzo – Cantabile – Final
Consulate General
in Toronto
PAGE 25
James David Christie - Organ
June 6, 2014, 8:00pm
St. Basil’s U of T
50 St. Joseph Street
Pièces choisies (1711/12)
La Béatitude
Charles Piroye (ca1668/72-1717/30)
Premier Livre d’Orgue (1690)
Cromhorne en Taille
Gilles Jullien (ca1650/53-1703)
Suite Médiévale (1947)
V. Acclamations
Jean Langlais (1907-1991)
Élégie (2006)
(à la mémoire de Jean Langlais)
James David Christie (b. 1952)
Scherzo (1911)
Albert Alain (1880-1971)
Paysages euskariens (1930)
I. La vallée du Béhorléguy, au matin
Sonata I en ré mineur, Op. 42 (1874)
III. Final
Ermend Bonnal (1880-1944)
Alexandre Guilmant (1837-1911)
Six Pièces
III. Sortie (1896)
Symphonie, Op. 5 (1911)
I. Prélude
II. Fugue
III. Adagio
IV. Intermezzo
V. Finale
PAGE 26
Guy Ropartz (1864-1955)
Augustin Barié (1883-1915)
Shawn Potter - Organ
June 20, 2014, 7:30pm
All Saints' Kingsway
Praeludium in g, BuxWV 149
Dieterich Buxtehude (1637 – 1707)
Vom Himmel hoch da komm ich her
Ricercar del nono tono
Heinrich Scheidemann
(1595 – 1663)
Jan Pieterszoon Sweelinck (1562 – 1621)
Toccata in d, BuxWV 155
Dieterich Buxtehude
Symphonic Chorale on “Ach bleib
mit deiner Gnade”
Sigfrid Karg-Elert (1877 – 1933)
Verset pour le fête de la Dédicace
Olivier Messiaen (1908 – 1992)
Symphony No. 10: Andante Sostenuto
Messe de la Pentecôte:
IV. Communion (Les oiseaux et les sources)
V. Sortie (Le vent de l’Esprit)
Charles-Marie Widor
(1844 – 1937)
Olivier Messiaen
PAGE 27
Rhonda Sider Edgington - Organ
September 19th, 2014, 7:30 pm
Holy Trinity Anglican
10 Trinity Square (Next to the Eaton Centre)
Germany
Fugue in G Major, Gigue, BWV 577
Johann Sebastian Bach
(1685-1750)
Praeludium in C Major, BuxWV 136
Dieterich Buxtehude
(1637-1707)
From Thirty Pieces for small organ, Op. 18/ 1
III. Slow-moving
Raphael
Hugo Distler
(1908-1942)
Johann Matthias Michel (b. 1962)
North America
Fugue "Triangulaire" from Twelve Short Pieces, Op. 43
Oh Freedom
Rachel Laurin (b. 1961)
Adolphus Hailstork (b. 1941)
From Brevities
Theme and Variations: a Ballad of sorts
Play
Gwenyth Walker (b. 1947)
Eclogue and Fugue in A-flat
Bernard Wayne Sanders (b. 1957)
Gospel Prelude on Sometimes I Feel
William Bolcom (b. 1938)
England
Barrel Organ Monkey from Animal Parade
Iain Farrington (b. 1977)
France
Joie et Clarté des corps glorieux from Les Corps
Glorieux - (Joy and Brightness of the glorious bodies)
Deux Dances à Agni Yavishta
Mouvement
From Symphony No. 6, Op. 59
- Scherzo
- Finale
PAGE 28
Olivier Messiaen
(1908-1992)
Jehan Alain (1911-1940)
Jean Marie Berveiller (1904-1976)
Louis Vierne (1870-1937)
Elisabeth Ullmann - Organ,
Samuel Bisson - Cello,
ORGANIX String Ensemble
October 19th, 2014, 4:00 pm
Our Lady of Sorrows Church
Prelude in C, BuxWV 138
Dieterich Buxtehude (1637 – 1707)
Canzona IV
Johann Caspar Kerll (1653 – 1693)
Canzona V
Ciacona in G
Toccata Octava
from Apparatus musico-organisticus Salzburg
1690
Church Sonate, with string ensemble
Sonata in F, K 244
Sonata in G, K274
Sonata in C, K328
Sonata in C, K336
Georg Muffat (1653 – 1704)
Wolfgang Amadeus Mozart
(1756 – 1791)
Prelude & Fugue C Major BWV 547
J. S. Bach (1685 – 1750)
Four small Choral-Preludes
O Ewigkeit, du Donnerwort
Was mein Gott will, das g’scheh allzeit
O, wie selig seid ihr doch, ihr Frommen
Nun danket alle Gott
Sonata II (1947)
2nd movement: Adagio
Trio Sonata III in d minor BWV 527
Andante – Adagio e dolce – Vivace
In Festo Corporis Christi (1957) Four pieces for the feast of Corpus Christi
Ante Introitum
Post Offertorium
Post Communionem
Post Benedictionem – Lauda Sion
Franz Schmidt (1874 – 1939)
Anton Heiller (1923 – 1979)
J. S. Bach
Anton Heiller
David and June Weind
PAGE 29
Maxine Thévenot, Eugenio Fagiani, Omar Caputi and
Memorial Concert for Massimo Nosetti
November 12th, 2014, 7:30 pm
227 Bloor St. East
The Gentlemen of the Toronto Ecumenical Chorale
Assistant Conductor: Gerry Litster
I Said to the Man
W. Harris (1883 – 1973)
Sancta Maria
R. Woollen (1923 – 1994)
Maxine Thévenot
Piece d'orgue - BWV 572
Variations on Ubi Caritas *
Laudate Dominum *
Cortège et Litanie
J. S. Bach (1685-1750)
Denis Bédard (b. 1950)
Philip Moore (b. 1943)
Marcel Dupré (1886-1971)
Eugenio M. Fagiani
Chaconne
Transcribed by Busoni-Matthey
Adagio, from Sonata op. 36
The Lord is my Shepherd *
Commissioned by Massimo Nosetti
J.S. Bach (1685 – 1750)
Eugenio Fagiani (b. 1973)
Eugenio Fagiani
Director: Gordon Mansell
Ave Verum Corpus
Accompanist: Eugenio Fagiani
Ego Sum Panis Vitae
Accompanist: Eugenio Fagiani
Ave Maria *
Dedicated to the memory of
Massimo Nosetti
How Lovely Thy Dwellings
Accompanist: Allison Hunwicks
Colin Mawby (b. 1936)
Massimo Nosetti (1960 – 2013)
Gordon Mansell (b. 1956)
Johannes Brahms (1833 – 1897)
Omar Caputi
Grand Choeur, op. 84
Carillon
Toccata on “Dies irae” *
Ostern – Fanfare *
Alexandre Guilmant (1837 – 1911)
Marcel Dupré
Omar Caputi
Massimo Nosetti
* Canadian Premiere
PAGE 30
Looking
AHEAD . . .
organix 15 Select PRESENTS
May 15, 2015 at Metropolitan United Church
Roman Perucki - Organ, Maria Perucka - Violin
O
R
G
A
N
I
Please see ORGANIX website for complete details as they are announced.
Additional Concert Event
Glionna Mansell Presents
Simon Nieminski in performance at
Mississauga’s St. Patrick Catholic Church.
Simon is Organist of St. Mary's Metropolitan Cathedral and
Director of Music at The Robin Chapel in Edinburgh, Scotland.
As a recitalist, Simon's programmes often include unusual but attractive repertoire. It is
his aim to play programmes that appeal to organ buffs and sceptics alike.
Venue: St. Patrick's Catholic Church
Address: 921 Flagship Drive, Mississauga, L4Y 2J6
Date: Sunday July 13, 2014, 3:00 pm
Admission: $ 20.00 General, $ 15.00 Senior, $ 10.00 Student,
RCCO, RCSM, AGO and registered parishioners.
All 18 and under are free
Contact: Gordon Mansell for tickets, 416-571-3680 or email:
[email protected] or order on-line at
www.summerorganconcert.ca
HOW YOU CAN HELP OUR MISSION
OUR MISSION is more than just producing an annual organ festival. Our goal is to
offer unique concerts, showcase the city’s pipe organs, give performing
opportunities to young organists, foster collaboration between organists and other
artists, and raise the profile of the organ.
YOUR SUPPORT will help us continue our efforts in reaching these goals. Please
consider supporting ORGANIX CONCERTS INC. as you are able. Your donation may
be made through our website or by mail. We will acknowledged your contribution
on the website and in future programs.
Mail your donation to:
ORGANIX CONCERTS INC.
464 Armadale Avenue, Toronto, ON M6S 3X9
Please make your cheque payable to ORGANIX CONCERTS INC. and be sure to
include your name as you would like it to appear on our program and website, as
well as your contact information so that we may acknowledge receipt and thank
you personally.
David and June Weind
Consulate General
in Toronto
Glionna Mansell Foundation
www.glionnamansell.com
m beith
Print and Graphics
[email protected]

Organ - ARTS POLONIA TORONTO

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