The Presidents Day Conference of the New York City Chapter of the

The Presidents Day Conference of the New York City Chapter
of the American Guild of Organists
The Executive Board
Keith S. Tóth, Dean David Enlow, Sub-Dean
Christopher Barrett Jennings, Registrar
Mary Huff, Secretary F. Anthony Thurman, Treasurer Steven E. Lawson, Renee Anne Louprette, Auditors
Neal Campbell, John Edward Cantrell, Christopher Creaghan,
Sebastian M. Glück, John T. King, Daniel Kirk-Foster,
Christopher Babcock, Louise Basbas, James Kennerley,
Matthew Lewis, Deanna Muro
Presented in partnership with
the CHURCH of St MARY the VIRGIN
the BRICK PRESBYTERIAN CHURCH
PALAZZETTO BRU ZANE
and
the CHURCH of the ASCENSION
SCHEDULE at a GLANCE
SUNDAY — 19 February 2012
Brick Presbyterian Church, Park Avenue at 91st Street, 4.00 pm
Vierne & Dupré Chamber Music ~ Organ Music of Dubois, Franck, and Batiste
Bernadette Hoke and Daniel Kirk-Foster, piano, Laura Bontrager, cello, and Cenovia Cummins, violin
Diego Innocenzi (Switzerland), organ
The Church of St. Mary the Virgin, 145 West 46th Street (between 6th and 7th Avenues), 8.00 pm
Organ Recital & 2011 International Performer of the Year Award
Stephen Tharp, organ
MONDAY — 20 February 2012
The Church of the Ascension, Fifth Avenue at 10th Street
9.00 – 10.30 am
Morning Coffee (Catered by Balthazar Bakery), Display tables open
10.30 – 11.45 am
12.00 – 1.00 pm
19th Century French Church Music & Interpretation, Diego Innocenzi
Marie-Madeleine Duruflé-Chevalier – Remembrances, Dr. Dennis Keene, Dr. Matthew Lewis
1.00 – 2.30 pm
Lunch on your own, display tables open
2.30 – 3.45 pm
3.45 – 4.15 pm
4.15 – 5.30 pm
Early Organ Works of Tournemire – Lecture/Recital, Dr. Andrew Henderson
Display tables open
Jehan Alain: Life and Works – Lecture/Recital, Renée Anne Louprette
5.30 – 7.30 pm
Dinner on your own, display tables open
8.00 pm
Clarion Choir, Steven Fox, conductor
with Diego Innocenzi, organ, & chamber ensemble
WELCOME
If you are from outside our fair City, welcome to New York! We have worked to ensure that your experience will be as
enriching as possible, and that there is plenty of time to visit with colleagues and friends old and new. There is a restaurant
guide in this book and we hope your conference is enjoyable in all respects. If you are not a chapter member, please keep
your program book as your pass to enter conference events.
We conference participants are visiting three of New York’s venerable churches and hearing their renowned organs, St
Mary’s famous Skinner, Brick Church’s recent monumental Coignet-Casavant, and Ascension’s practically brand-new,
exciting Quoirin organ. Each has something special to contribute to French music in America, and we hope the conference
builds our understanding and enjoyment of French music for years to come.
2
Arthur LaMirande
Concert Organist
♦
[email protected]
B
Frank L Crosio, FAGO
Arthur Lawrence
B
Minister of Music
Garden City Community Church
[email protected]
[email protected]
D.M.A, A.A.G.O., ChM.
[email protected]
www.davidenlow.com
3
Chamber Music of Vierne & Dupré
Organ Music of Dubois & Batiste
SUNDAY — 19 February 2012
The Brick Presbyterian Church, 4.00 pm
Cenovia Cummins, Violin; Daniel Kirk-Foster, Piano
Marcel Dupré
Sonate pour Violon et piano, Op. 5
(à Louis Vierne)
Allegro
Andantino
Presto
Laura Bontrager, ‘Cello; Bernadette Hoke, Piano
Louis Vierne
Poco lento – Allegro moderato
Molto largamente
Risoluto – Allegro molto
Sonate pour Violoncelle et piano, Op. 27
(à Pablo Casals)
INTERMISSION
Diego Innocenzi, Organ
Édouard Batiste
(1820-1876)
Offertoire op. 28 (1863)
à M. G. WASHBOURN MORGAN, organiste de "GRACE CHURCH" à New York
Théodore Dubois
(1837-1924)
Cantilène religieuse (1900)
Édouard Batiste
Offertoire – Fantaisie – Orage op. 23 (1862)
à mon ami BOISSIER-DURAN, organiste de la Cathédrale de Bourges
Théodore Dubois
Marche des Rois Mages (1886)
à Eugène Gigout, organiste de Saint-Augustin
Ludwig van Beethoven
(1770-1827)
Fragments of symphonies transcribed by Édouard Batiste (1867)
à Mr. FETIS, directeur du Conservatoire royal de Bruxelles
Offertoire (Allegretto scherzando of Symphonie no 8)
Grande Sortie (Final of Symphony no 9)
4
Grand-Orgue (1)
Bourdon (from and Pédale)
Montre
Bourdon
Montre
Salicional
Bourdon
Prestant
l Quinte
Doublette
l Grande Fourniture 111-vii
8 8 8 ; 8 l ; l k Fourniture 11-v
8 6 6 6 6 : Cymbale 111-1v
8 8 ; ; 8 8 Basson (ext.)
Baryton
Grand Orgue Grave
Grand Orgue Muet
Grand-Chœur (1)
Violonbasse (ext.)
Violon
Flûte harmonique
Flûte octaviante
Grand Cornet v (from , m.c)
Cornet v (t.c)
Bombarde
Trompette
Clairon
Grand Chœur Grave
Grand Chœur Muet
Récit expressif (111)
Bourdon
Diapason
Viole de gambe
Voix céleste
Flûte traversière
Cor de nuit
Voix éolienne (t.c)
Fugara
Flûte octaviante
l Nasard
Octavin
Cornet harmonique 11-v
8 8 8 Plein Jeu harmonique 11-v
8 ; ; ; 8 Bombarde
Trompette harmonique
Basson-Hautbois
Clarinette
Voix humaine
Clairon harmonique
Trémolo
Récit Grave
Récit Muet
Récit Octave
Sostenuto
--
61
61
61
61
61
61
61
61
326
224
232
12
61
12
61
61
61
--
245
61
61
61
61
61
61
61
61
61
49
61
61
61
61
245
228
61
61
61
61
61
61
Positif expressif (11)
Quintaton
Principal
Flûte harmonique
Bourdon
Dulciane
Unda Maris (gg)
Prestant
Flûte douce
l Nasard
Flageolet
p| Tierce
k Larigot
n~ Septième
Piccolo
k Plein Jeu 11-v
8 8 8 8 8 ; Clarinette basse
Trompette
Cromorne
Clarinette soprano
Trémolo
Positif Grave
Positif Muet
61
61
61
61
61
54
61
61
61
61
61
61
61
61
233
61
61
61
61
Solo expressif (1v)
Violoncelle
61
Céleste
61
Flûte majeure
61
Flûte célestes 11 n
110
Viole d’amour
61
l Nasard harmonique
61
Octavin
61
p| Tierce harmonique
61
Piccolo harmonique
61
k Clochette harmonique
61
8 8 8 8 Tuba Magna (from , t.c)
- Cor de basset
61
Tuba mirabilis
61
Cor français n
61
Cor anglais (free reeds) o
61
Trémolo
Solo Grave
Solo Muet
Solo Octave
Sostenuto
Clochettes
n= from the former Skinner organ
o= 19th-century French pipework
Pédale
Soubasse (ext.)
Flûte
Contrebasse
Montre (g.-o.)
Violonbasse (g.-c.)
Soubasse
Bourdon (récit)
l Grande Quinte
Flûte
Violoncelle
Bourdon
o| Grande Tierce
k Quinte
q~ Grande Septième
Octave
Flûte
Cor de nuit
Contre Bombarde (ext.)
Bombarde
Basson (g.o.)
Bombarde (récit)
Trompette
Baryton (g.o.)
Clairon
12
32
32
32
32
32
32
32
32
32
32
32
32
32
12
32
32
32
Effet d’orage
Grand-Orgue à la Pédale
Grand-Chœur à la Pédale
Récit à la Pédale
Récit Octave à la Pédale
Positif à la Pédale
Positif Octave à la Pédale
Solo à la Pédale
Solo Octave à la Pédale
Récit Grave au Grand-Orgue
Récit au Grand-Orgue
Récit Octave au Grand-Orgue
Positif Grave au Grand-Orgue
Positif au Grand-Orgue
Solo Grave au Grand-Orgue
Solo au Grand-Orgue
Solo Octave au Grand-Orgue
Pédale au Grand-Orgue
Grand-Orgue au Positif
Grand-Chœur au Positif
Récit Grave au Positif
Récit au Positif
Récit Octave au Positif
Solo au Positif
Solo au Récit
Solo Octave au Récit
Grand-Chœur au Solo
Grand-Orgue–Grand-Chœur/Positif Reverse
Union des Expressions (all swells to swell)
Coupure de Pédalier (pedal divide)
The Anderson Organ
Coignet-Casavant Frères
opus 3837 (2005)
4 manuals and pedal
101 stops
118 ranks
6,288 pipes
Meet the Performers
Laura Bontrager came to New York City in 1986 to attend the Juilliard School, where she received
her bachelor's and master's degrees. As a William Randolph Hearst Foundation and Leonard Rose
Memorial scholar, she studied with Lorne Munroe and Joel Krosnick. Her commitment to
contemporary music began with her well-received North American premiere of Richard Barrett’s Ne
songe plus à fuir for solo cello at Juilliard’s Focus! Festival and continued in featured performances
of works by Roger Sessions and John Tavener with the Aspen Contemporary Ensemble. Active on
the New York freelance scene, Ms. Bontrager has appeared with a wide variety of orchestras and
chamber music ensembles, in jazz and popular settings, and frequently in solo recital. She has
performed with Leonard Bernstein, Michael Tilson Thomas, Leonard Slatkin, Bernadette Peters,
Elvis Costello, and she has recorded on the RCA Victor and Sony Classical labels, among others.
Ms. Bontrager is a longtime member of the cello quartet CELLO. and a faculty member at the DillerQuaile School of Music in Manhattan.
Cenovia Cummins is the concertmaster of the NY Pops, Riverside Symphony and School
of American Ballet Orchestra. She has served as concertmaster for other orchestras
including Eos, Roanoke Symphony, Naumberg Orchestra and the San Francisco Ballet.
She is also an active chamber musician having played with the Chamber Music Society of
Lincoln Center, Grand Canyon and Moab music festivals.
She has appeared on the David Letterman show, Saturday Night Live, VH1, and Good
Morning America, backing up artists such as Tony Bennett, Britney Spears, Paul McCartney,
Diana Krall, P. Diddy, Rod Stewart among others. As associate concertmaster she has twice toured with Barbra Streisand.
Cenovia's violin solos have been featured in the major motion pictures Lovely and Amazing and more recently in the film
Julie and Julia. She also has two feature violin solos on Nellie McKay's 2009 CD release "Normal as Blueberry Pie" a
tribute to Doris Day. She was featured recently in the NY City Ballet "Red Angels" for four dancers and solo electric violin.
Cenovia plays on a violin made in 1716 by Giovanni Grancino of Milan and bows made by contemporary bow makers,
Michael Yeats and Jean-Pierre Gasq.
Bernadette Hoke performs each year in concert and recital with a variety of vocalists,
instrumentalists, choirs and chamber groups. Her New York performances include
appearances on the Noonday Concert series in St. Paul’s chapel, The Friends and Enemies
of New Music series and The MoBiA (Museum of Biblical Art) concert series. As a member of
the Birk and Hoke Duo, she was a Chamber Music Award winner of the Artists International
competition and was presented in concert at Weill Recital Hall at Carnegie Hall and Merkin
Concert Hall in New York City. The duo has also performed at the Center for Chamber Music
in Greenwich, Connecticut and on numerous concert series in the tri-state area.
Ms. Hoke is the Music Director and organist of the First Reformed Episcopal Church in New
York City where she directs a professional choir. During her time there she has conducted
performances of the Requiem by Duruflé, Handel’s Messiah and the Brahms’ Liesbeslieder
Walzer. She is the assistant conductor and accompanist of the Dalton and Collegiate alumni
choruses in New York City as well as part of the music faculty at the Convent of the Sacred Heart where she directs the
upper school ensemble, teaches piano and is the pianist for the upper school chorus.
6
Diego Innocenzi began his musical studies in Argentina where he was the organist of the
Cathedral San Isidro (Cavaillé-Coll organ). He continued his training in Switzerland with Lionel
Rogg at the Conservatoire de Musique de Genève where he won a first prize for virtuosity. He
then worked in Paris with Marie-Claire Alain. To complete his training, he obtained the diploma
of choir direction from the Conservatoire de Musique de Genève in the class of Michel Corboz.
In Geneva, Switzerland, he is the director of music of Protestant parishes of Saint-GervaisPâquis and Cologny-Vandoeuvres-Choulex. In January 2011 he became the resident organist
of the Van den Heuvel organ of the Victoria Hall.
For several years he has been conducting research on the historical interpretation of sacred
and organ music of the nineteenth and twentieth centuries. His investigations led to several
series of concerts ranging from César Franck to Olivier Messiaen and to a number of
recordings including the complete works of vocal music with organ by César Franck in two
volumes, recorded for the Aeolus label in collaboration with Les-Solistes-de-Lyon-Bernard-Tétu. A double album of works
for organ by Edouard Batiste was released in 2011 and a further recording of Théodore Dubois’ chamber music and motets
with organ will be released in 2012, again by Aeolus.
In order to renew the form of organ and sacred music concerts, he has organized several art events like the Festival
d’automne à Vandœuvres devoted to chamber music with organ (since November 2002), a cycle of cantata services at
Saint-Gervais church (since 2002), a performance combining dance and organ (Pasos-Passacaglia, 2008), two organ
marathons during the Fête de la Musique in Geneva 2008 and 2010, a Festival de Psaumes during the Calvin year
celebrations (2009), and Les Nuits de Saint-Gervais, music events uniting organ and video projections (2009).
www.diegoinnocenzi.com
Daniel Kirk-Foster received his bachelor's degree in music from the University of North
Carolina School of the Arts and his master's degree in music from the Manhattan School of
Music. He is active in the New York City area as both a pianist and organist. As a pianist, he
was a winner of Artists International and presented a solo recital in Weill Hall at Carnegie Hall.
He has performed with the Pan American Symphony Orchestra, Sarah Lawrence College
Orchestra, the MSM Contemporary Ensemble Orchestra, the Composers Concordance, The
New Music Consort and in contemporary music festivals and concerts in Sacramento and
Santa Fe, and in CAMI Hall in New York City, and has recorded on the CRI label. His recent
concerts include a recital of the piano works of Louis Vierne at the Church of the Heavenly
Rest in NY, and an all-Messiaen piano concert in NY City's Steinway Hall, and the
Rachmaninoff piano concerti at Princeton University.
Mr. Kirk-Foster is also an accomplished organist, and has performed organ concerts
throughout the NY Metropolitan area, including St. Patrick's Cathedral, the Interchurch Center
and Princeton University Chapel. He recently performed several concerts at the Tibor Varga Music Festival in Sion,
Switzerland. His recent recital at Brick Church on Park Avenue included works by Brahms, Bartok, as well as two
monumental works -- Gaspard de la nuit by Ravel and Organ Symphony No. 6 by Louis Vierne. Mr. Kirk-Foster is Director of
Music and Organist of St. Nicholas of Tolentine Church and Associate Organist of Brick Church.
Special thanks to Keith S. Tóth, Minister of Music at Brick Church, Dean of the NYC AGO, for welcoming us into this
beautiful house of worship and allowing us to enjoy both the recently refurbished 1898 Steinway C, and the Anderson
Organ, by Coignet-Casavant.
7
Organ Recital by Stephen Tharp
2011 International Performer of the Year Award
SUNDAY — 19 February 2012
The Church of St. Mary the Virgin, 145 West 46th Street (between 6th and 7th Avenues), 8.00 pm
Pierre Cochereau (1924-1984)
Sortie Improvisée sur "Venez, Divin Messie" (1974)
(Transcribed by Stephen Tharp. First performance.)
Charles-Marie Jean Albert Widor (1844-1937)
Moderato
Choral (Adagio)
Cantilène (Lento)
Final
George Baker (b. 1951)
Symphonie No. 10 “Romane,” Op. 73
Variations on the hymn-tune Rouen (2010)*
(*Dedicated to Stephen Tharp, and composed in memory of Jehan Alain.)
INTERMISSION
Gaston Litaize (1909-1991)
Lied, from “Douze Pièces” (1932)
Marcel Dupré (1886-1971)
Moderato
Adagio con tenerezza
Allegro deciso
Évocation Poème Symphonique, Op. 37
A reception follows this concert at which Mr. Tharp will be presented with the NYC AGO International Performer of the
Year Award. This is the Chapter’s highest honour, and is to be presented every year to a performer of outstanding
achievement on the international stage. The award makes the recipient an honorary member of the Chapter for life. The
reception will take place in the Parish Hall, through the doors in the west side of the nave.
Special thanks to James Kennerley, Organist and Director of Music at St. Mary’s, for again allowing the Chapter and
guests to enjoy this famous organ and stunningly beautiful church.
Saint Mary's wishes to acknowledge the extraordinary generosity of John Rust, who has been a great friend of the church
for many years. His support, along with the efforts of Larry Trupiano, Organ Curator, has ensured that the organ remains in
the best possible condition. We are forever grateful for their gifts.
8
Program Notes
Pierre Cochereau was born in Saint-Mandé, near Paris. In 1929, after a few months of violin instruction, he began to take piano
lessons with Marius-François Gaillard. Marguerite Long became his piano teacher in 1933, and three years later, Paul Pannesay. In
1938, Cochereau was introduced to the pipe organ by Marie-Louise Girod, a student of Marcel Dupré. He continued his organ studies
with André Fleury and Paul Delafosse, whom Cochereau succeeded as titular organist at St. Roch in Paris in 1942.
After one year of law studies, Cochereau decided to dedicate himself to a musical career, and entered the Conservatory of Paris in
1943. He left the Conservatory in 1949 with first prizes in harmony (class of Maurice Duruflé), music history, fugue and counterpoint
(class of Noël Gallon), composition (class of Tony Aubin), and organ (class of Marcel Dupré).
In 1955, he succeeded Léonce de Saint-Martin (1886–1954) as titular organist at Notre Dame Cathedral in Paris. The following year,
his recording of Marcel Dupré's Symphonie-Passion was awarded the Grand Prix du Disque. The same year, Cochereau made his first
of 25 recital tours to the United States.
Pierre Cochereau had a worldwide reputation as a concert organist and especially as a brilliant improviser. In his improvisations,
Cochereau had created a musical language that was eminently personal, recognizable as of the opening notes. In regard to these
formidable improvisational skills, Marcel Dupré said about his former student, "Pierre Cochereau is a phenomenon without equal in the
history of the contemporary organ." One of the most torrential of these, the Postlude on “Come, Divine Messiah,” was done as the
conclusion of a Christmas recording at Notre Dame, Paris in 1974. This transcription of the work, based on the original LP recording,
receives its first performance tonight. The Notre Dame organ’s well-known massive tutti with chamades is reflected in the registrations
chosen for this work in particular.
Charles-Marie Widor, French organist, composer and teacher, studied in Brussels with Fétis (composition) and J.N. Lemmens
(organ). He was organist at St Sulpice, Paris, for over 60 years (1870-1934) and professor of organ (1890) and composition (1896) at
the Conservatoire, his pupils including Louis Vierne, Albert Schweitzer, Marcel Dupré, Honegger and Milhaud. Well-known as a man of
great culture and learning, Widor was made a chevalier of the Légion d'Honneur in 1892, named to the Institut de France in 1910, and
was elected "Secrétaire perpetuel" (permanent secretary) of the Académie des Beaux-Arts in 1914. In 1921, Widor founded
the American Conservatory at Fontainebleau with Francis-Louis Casadesus. He was the Director until 1934, when he was succeeded
by Maurice Ravel.
As a performer he is remembered for his rhythmic precision and traditional interpretations of Bach, whose music he often used in
teaching. Though he composed prolifically in many genres he is best known for his organ music, most of it secular and conceived to
make full use of the elaborate resources of the grandiose contemporary instruments, notably those of Cavaillé-Coll. He created the
organ symphony, a decorative, powerful multi-movement work that treats the organ as a kind of self-contained orchestra, using a wide
variety of technical demands.
The four-movement Symphonie “Romane,” was composed in 1899 during Widor’s holiday, and is the last of his 10 organ
symphonies. The stylistic development between his earliest pieces and this work is clear: extrovert exuberance has now given way to a
more subdued temperament. The path taken here is expressed in the use of plainsong themes in a freer, almost improvisatory style
with greater spiritual depth. In particular, Widor employs the Easter gradual Haec Dies, quam fecit Dominus and the Easter sequence
Victimae paschal laudes. Thus evolved a hugh, cyclical Easter symphony, with which Widor’s spiritual ideal reached its climax. The top
of the score bears the inscription: Ad memoriam Sancti Saturini Tolosensis (in memory of Saint Saturin of Toulouse). The third-century
Saint Saturin (later known as Saint Sernin) was the first bishop of Toulouse. The city’s great basilica (the largest Romanesque church
in western Europe) is dedicated to him.
George C. Baker completed his organ studies with Robert T. Anderson at Southern Methodist University in Dallas in 1973 with a
Bachelor's degree. In 1969, he won the Regional Competition, a year later the National Organ Competition of the American Guild of
Organists in Buffalo, New York. Additional organ studies in France followed with Marie-Claire Alain, André Marchal, Pierre Cochereau,
and Jean Langlais. In 1974, Baker won the Grand Prix de Chartres in organ performance. He obtained a Doctor of Musical Arts degree
from the University of Michigan and joined the faculty of The Catholic University in Washington, D.C. In 1979, he was the recipient of
the first prize at the International Organ Improvisation Competition in Lyon, France. His recordings contain the complete organ works
of Johann Sebastian Bach (the first by an American) and Louis Vierne (together with Pierre Cochereau), as well as the world premiere
recording of the organ compositions of Darius Milhaud, which was awarded two Grand Prix du Disque. In addition to his musical career,
9
Organs of The Brick Church
Coignet-Casavant Frères organ, op. 3837 (2005)
4 manuals, 118 ranks, electric slider chest action
Guilbault-Thérien organ, op. 42 (1996)
2 manuals, 26 ranks, mechanical action
Keith S. Tóth, Minister of Music and Organist
Dr. John B. Herrington III, Associate Organist
The Brick Presbyterian Church
Daniel Kirk-Foster, Associate Organist
Park Avenue at East 91st Street, New York City
www.brickchurch.org
George Baker obtained an M.D. degree from University of Texas Southwestern Medical School in Dallas in 1987 and began to practice
medicine in 1991.
Variations on “Rouen” (an 18th century French hymn melody) is dedicated to Stephen Tharp and to the memory of organist and
composer Jehan Alain, whose birth centennial we celebrated in 2011. Alain was a World War II hero who died in 1940 at the age of 29.
His unique musical language continues to inspire organists and composers around the world. Noted French composers such as
Maurice Duruflé and Jean Langlais have composed organ works in Alain’s honor. Alain-style harmonies appear here and there in
the Variations, as do references to the harmonic languages of Duruflé and Langlais. Stephen Tharp played the first performance of the
work at the Meyerson Center, Dallas, TX in September 2010.
Gaston Litaize was born in Ménil-sur-Belvitte, Vosges, in northeast France. An illness caused him to lose his sight just after birth. He
entered the Institute for the Blind at a young age, studying with Charles Magin, who encouraged him to move to Paris and study with
Magin and Adolphe Marty at the Institut National des Jeunes Aveugles, which he did from 1926 to 1931. Concurrently, he entered
the Paris Conservatoire in October 1927, studying with Marcel Dupré and Henri Büsser, as well as privately with Louis Vierne. Over the
course of six years, he won first prizes in organ, improvisation, fugue, and composition, as well as the Prix Rossini for his cantata Fra
Angelico.
He began working as organist at Saint-Cloud in 1934, and after leaving the Paris Conservatoire in 1939 he returned to the Institut
National des Jeunes Aveugles to teach harmony. In 1944 he began a thirty-year directorship of religious radio programs, where he
oversaw five weekly broadcasts. He took up a position in 1946 at St François-Xavier, Paris, where he remained the organist until his
death. In 1975 he retired from the radio and began teaching organ at St Maur-des-Fossés Conservatoire. As a performer, Litaize
toured France, Western Europe, the USA, and Canada.
Litaize wrote his Twelve Pieces for organ between 1931 and 1937. The lyrical Song from this collection dates from 1932.
Marcel Dupré was the foremost French organ virtuoso of his time, an heir to the great tradition of Romantic French organ playing and
composing. Dupré was famed for his ability to improvise; he also composed substantial works and was a widely traveled recitalist and
an influential teacher.
His pedigree as a French organist was impeccable. His father and two grandfathers were organists and choirmasters, and he was
tutored privately by Guilmant in 1898. Dupré studied at the Paris Conservatory (1902-1914) with Vierne, Diémer, and Widor. In 1914,
after already having won conservatory prizes for organ and fugue, he received the Grand Prix de Rome for his cantata Psyché.
In 1920 Dupré gave a series of ten recitals in which he played from memory the complete organ works of J.S. Bach; he had learned the
music during World War I, for which he had been found unfit for duty. He toured extensively as a virtuoso, giving as many as 110
recitals in a single trip and making ten tours of the U.S. alone between 1921 and 1948. Dupré celebrated his 1,900th concert in 1953.
His written compositions include a series of 76 chorales, a concerto for organ and orchestra, and two symphonies for solo organ.
Dupré's academic appointments included a professorship at the Paris Conservatory from 1926 (an institution he directed from 1954 to
1956) and oversight of the American Conservatory at Fontainebleau (1947-1954). From 1934 until his death at age 85, he also served
as organist (succeeding Widor) at St. Sulpice.
Évocation, Op. 37, one of three “symphonic poems” composed for organ by Dupré, is dedicated to the memory of his father Albert
(1860-1940). Marcel gave its first performance in October, 1941 at St. Ouen, Rouen, France, where his father had been organist, and
where Widor had played the inaugural recital. Dupré wrote, “My idea is to portray three sides of my father’s character: he was a fearful
person, like myself; he was tender; and he was proud, in the sense of dignified.”
The expression of these characteristics is recognizable in the each of the three movements. The frequent harshness in the writing,
which moves closer and closer to the edge of tonality, is undoubtedly associated with the time when the work was written, following two
years of wholesale war and destruction. This is especially evident in the third movement, wherein motifs of machine-gun fire are very
clear.
-notes compiled by Stephen Tharp
10
About the Organ
The organ at the Church of Saint Mary the Virgin, Aeolian-Skinner Opus 891, was installed in January 1933. Designed by
G. Donald Harrison, the organ is widely considered a forerunner of the “American Classic” school. The program notes for
the dedicatory recital include the following: “The new organ . . . is something of an innovation, if one may call a return to
ancient principles an innovation, a return to the principles of the ‘classic’ organ, the organ of the Thomas-Kirche and of the
older French and German builders.” The new organ, though incomplete, certainly attracted quite a stir, with numerous
articles being devoted to it, and all appreciative of its place as a revolutionary instrument. One of the principal goals in
American Classic organ building was for a satisfactory organ ensemble sound, rather than an emphasis on solo voices, and
an ability to play organ music of all styles and periods. The organ, when first installed and today, however, certainly bears a
strong French influence and has always been appreciated for its ability to render French organ music appropriately. The
organ was revised, with substantial changes in a number of divisions, by G. Donald Harrison in 1942 and renamed Opus
891-A. Nevertheless, the organ was still not complete. Finally, in 1988, the completion of the organ was begun by Mann &
Trupiano of Brooklyn. A number of ranks were added, including the planned Bombarde division, and the organ was brought
very close to Harrison’s original design. The intended case has never been built.
GREAT (unenclosed)
32
Salicional (Pedal)
16
Principal
8
Diapason *
8
Montre
8
Flûte harmonique *
8
Violoncelle *
8
Bourdon
5 1/3
Grosse Quinte
4
Prestant
4
Flûte couverte
3 1/5
Grosse Tierce
2 2/3
Octave Quinte
2
Doublette
III-V
Fourniture
III
Cymbale
V
Harmonics
8
Trompette harmonique (Bombarde)
8
8
8
4
Trompette
Hautbois
Voix humaine
Clairon
Tremolo
POSITIF (enclosed)
16
Salicional
8
Principal *
8
Flûte traversière
8
Gambe
8
Gambe céleste
4
Prestant *
4
Flûte d’amour
4
Gemshorn
2 2/3
Nasard
2
Piccolo
1 3/5
Tierce
1 1/3
Larigot
IV
Plein Jeu
16
Musette
8
Trompette *
8
Basson *
8
Cromorne
8
Clarinette
4
Chalumeau
Tremolo
SWELL (unenclosed)
16
Flûte conique
8
Principal
8
Bourdon à cheminée
8
Salicional
8
Voix céleste
8
Viole sourdine
4
Prestant
4
Flûte courte
2 2/3
Nasard
2
Octavin
1 3/5
Tierce *
V
Plein Jeu
III
Cornet
16
Bombarde
11
8
8
8
8
8
4
4
4
4
IV
II
IV
32
16
16
16
8
8
8
4
4
GRAND CHOEUR (unenclosed and floating)
16
Trompette (from 8)
8
Trompette *
4
Trompette (from 8)
BOMBARDE (unenclosed)
16
Violonbasse (Pedal)
8
Diapason (Great)
8
Viole
8
Flûte harmonique (Great)
V
Grand Cornet *
16
Bombarde *
8
Trompette harmonique *
4
Clairon harmonique *
Tremolo
PEDAL (unenclosed)
32
Soubasse (Resultant)
16
Flûte ouverte *
16
Contrebasse
16
Principal (Great)
16
Bourdon *
16
Flûte conique (Swell)
16
Salicional (Positif)
10 2/3
Grosse Quinte (from Grand Cornet)
Diapason (Great)
Contrebasse (from 16)
Bourdon (from 16) *
Flûte conique
Salicional
Doublette (from Fourniture)
Contrebasse (from 16)
Flûte conique
Salicional
Fourniture
Carillon (from Fourniture)
Grand Cornet
Bombarde *
Bombarde
Bombarde (Swell)
Musette (Positif)
Trompette harmonique (Bombarde)
Trompette (from Pedal Bombarde)
Musette (Positif)
Clairon (from Pedal Bombarde)
Musette (Positif)
* New pipes from 1988-2005
The organ contains 91 ranks of pipes at the present time. The four-manual organ console includes a memory system from
Solid State Logic, featuring 255 levels of memory, and a full complement of pistons, couplers and other controls.
Sir John Stainer's
The Crucifixion
A Meditation on the Sacred Passion of the Holy Redeemer
Schola Cantorum of Saint Agnes
James D. Wetzel, Organist & Choirmaster
6:15 PM Wednesday, February 29th
The Church of Saint Agnes, 143 East 43rd Street
(between Lexington and 3rd Avenues), Manhattan
Suggested donation of $20/$15 (seniors/students)
Celebrating the 125th anniversary of its February, 1887 premiere.
12
“The Perfect Virtuoso…..”
“Mr. Tharp, widely considered one of the most brilliant of
the current crop of concert organists, proved a
personable and formidably equipped musician.”
The Dallas Morning News
Die Abendzeitung, München, Germany
Stephen Tharp, described as having “performed colorfully,
rousing and splendid” by The New York Times, and hailed
as “the organist for the connoisseur” (Organ magazine,
Germany), “the thinking person’s performer” (Het Orgel),
“every bit the equal of any organist” (The American
Organist magazine) and “the consummate creative artist”
(Michael Barone, Pipedreams), is recognized as one of the
great concert organists of our age. Having played more
than 1300 concerts across 39 tours worldwide, Stephen
Tharp has built one of the most well respected international
careers in the world, earning him the reputation as the most
traveled concert organist of his generation. He is listed in
Who’s Who in America and Who’s Who in the World, and
has been given the 2011 International Performer of the
Year Award by the New York City chapter of the American Guild of Organists.
His list of performances since 1987 includes such distinguished venues as St. Bavo, Haarlem; The Royal Albert Hall,
London; St. Eustache, Paris; Ste. Croix, Bordeaux; The Hong Kong Cultural Centre; the Town Halls of Sydney and
Adelaide, Australia; Tchaikovsky Hall, Moscow; the Tonhalle, Zürich; the Duomo, Milano, Italy; the cathedrals in Berlin,
Köln, München, Münster and Passau, and the Gewandhaus, Leipzig, Germany; Antwerp Cathedral, Belgium; Dvorak Hall,
Prague; the Hallgrimskirkja, Reykjavik, Iceland; The Morton H. Meyerson Symphony Center, Dallas; Walt Disney Concert
Hall, Los Angeles; The Kimmel Center, Philadelphia; The Riverside Church, New York City; Rice University, Houston;
Spivey Hall, Atlanta; and Severance Hall, Cleveland.
He has given master classes at Yale University; Westminster Choir College; the Cleveland Institute of Music, Bethel
University (St. Paul, MN); the Hochschulen für Musik in Stuttgart, Trossingen and Bochum (Germany); and for chapters of
the American Guild of Organists. He has also adjudicated for competitions at the Juilliard School and Northwestern
University.
Stephen Tharp remains an important champion of new organ music, and continues to commission and premiere numerous
compositions for the instrument. The first such piece was Jean Guillou’s symphonic poem Instants, Op. 57, which Tharp
premiered at King’s College, Cambridge, England in February 1998. Works dedicated to him include George Baker’s
Variations on “Rouen” (2009); David Briggs’ Toccata Labyrinth (2006); Samuel Adler’s Sonata (2005); Eugenio Fagiani’s
Psalm 100 (2009) and Stèle (2003); Thierry Escaich’s Trois Poèmes (2002); Philip Moore’s Sinfonietta (2001); Anthony
Newman’s Tombeau d'Igor Stravinsky (2000), Toccata and Fuga Sinfonica on BACH (1999) and the Second Symphony
(1992); Martha Sullivan's Slingshot Shivaree for Organ and Percussion (1999); and Morgan Simmons Exercitatio Fantastica
(1997). Himself a composer, Tharp was commissioned by Cologne Cathedral, Germany to compose for Easter Sunday,
2006 his Easter Fanfares for the inauguration of the organ’s new en chamade Tuba stops, as well Disney’s Trumpets,
composed this past February for the organ at the Walt Disney Concert Hall, Los Angeles, where it was premiered by the
composer in March.
In April 2008, Stephen Tharp was named the Official Organist for the NY visit of Pope Benedict XVI, playing for three major
events attended by more than 60,000 people that were broadcast live worldwide. Mr. Tharp’s playing has also been heard
on both English and Irish national television, on Radio Prague, orgelnieuws.nl in the Netherlands, and in the U. S. on
13
American Public Media’s Pipedreams. In both 2005 and 2011, Pipedreams broadcast entire programmes dedicated
exclusively to his career, making him one of the few organists in the world so honoured.
He is also an active chamber musician nationwide, having performed on organ, piano and harpsichord with artists such as
Thomas Hampson, Itzhak Perlman, Jennifer Larmore, Rachel Barton Pine, the American Boychoir (James Litton,
conductor), the St. Thomas Choir (John Scott, conductor, in Duruflé’s Requiem), and at Carnegie Hall, the Metropolitan
Museum of Art, Alice Tully Hall and Avery Fisher Hall at Lincoln Center. His 14 solo organ recordings can be found on the
JAV, Aeolus, Naxos, Organum and Ethereal labels, and are available from the Organ Historical Society
(http://www.ohscatalog.org/), JAV Recordings (http://www.pipeorgancds.com/) and Aeolus (http://www.aeolus-music.com/).
His commercial release The Complete Organ Works of Jeanne Demessieux on Aeolus Recordings, received the 2009 Preis
der Deutschen Schallplattenkritik, Germany’s premier critic’s prize for recordings, as well as the French 5 Diapason award.
The release was celebrated in October 2010 with Mr. Tharp’s performance of the complete Demessieux works live over
three concerts at New York’s Cathedral of St. John the Divine. Stephen Tharp plays St. Bavo, Haarlem, The Netherlands
on the JAV label was called “the most beautiful CD of 2009” by Resmusica in France.
Stephen Tharp earned his BA degree, magna cum laude, from Illinois College, Jacksonville, IL and his MM from
Northwestern University, Chicago, where he studied with Rudolf Zuiderveld and Wolfgang Rübsam, respectively. He has
also worked privately with Jean Guillou in Paris.
He is currently Artist-in-Residence at Grace Church (Episcopal), New York City. He also served as Organist at St. Patrick's
Cathedral from 1995-1997 and the Associate Organist at St. Bartholomew's, NYC, from 1998-2002. For more information,
see www.stephentharp.com.
Clarion events remaining this season:
Friday, March 23, 2012
Bach, Handel, and Corelli
with Juilliard415 at Lincoln Center
Monday-Sunday, April 16-22, 2012
Clarion Collegium Week – The Brothers Haydn
Sunday, April 22, 2012
Brothers Haydn Concert
with Members of the Clarion Orchestra at Park Avenue Christian Church
visit www.clarionsociety.org for more information
The Clarion Choir appears in the closing concert of this conference.
14
19th Century French Church Music & Interpretation
Diego Innocenzi
The Church of the Ascension
10:30 – 11:45 am
For more about Mr. Innocenzi, please read the biography printed in the Sunday concert section, or visit
www.diegoinnocenzi.com. Mr. Innocenzi has prepared an audio-visual presentation.
NOTES
15
Justin
“…He is as versatile as he is talented.”
­—The Western Australian (Perth)
of
ber Orchestra
am
h
C
n
ia
ad
Can
CCO/NYC
New York City
“…hopefully there will be a next time in
Toronto for Justin Bischof—he has a lot
to offer.”
—The Toronto Star
E
nsemble Orchestr
al de Paris
der the strong
un
tly
an
illi
br
d
ye
pla
ra
“The orchest
ed
us
inf
of
sch
Bi
o
str
of….Mae
leadership of Maestro Bisch
all
and vitality that exorcised
this score with a freshness
ly a
one and all a ‘lift’ that on
of life’s problems and gave
n give. Bravo!”
“…Tchaikovsky Symphony No. 5 was
great night at the opera ca
performed with
youthful vigor and an excitement tha
e
ic
Vo
n
lia
Ita
e
t
resulted in a
—Th
well-deserved standing ovation. Maestr
o Bischof is an
inspiring presence on the podium, exu
ding grace, energy
and an innate ability to inspire his pla
“Maestro Bischof ’s conducting conveyed his
yers.”
—www.scarsdale10583.com
sensitive reading of the score, with just the
right amount of support and direction for
the chorus and orchestra.”
—Boro City News
As orchestral and opera conductor, past seasons have seen him conduct in France, Russia,
Australia, Germany, Canada and the US with such orchestras as the National Arts Center Orchestra,
The Ensemble Orchestral de Paris, The Western Australian Academy of Performing Arts, Berliner
Symphony Orchestra and the Canadian Chamber Orchestra of New York City (CCO/NYC).
www.justinbischof.com
Bischof
“…impressive...spontaneous...subtle
(organist)”
—The New York Times
“…virtuosic (pianist)…”
es
—The Los Angeles Tim
“…a master vir
tuoso and
improviser…”
—Frankfurt (G
ermany) Ne
ws
Le Poisson Ro
uge, ­
NYC
rovisor of the
p
im
er
st
a
m
a
“…he is
highest order...
ir­
, Program Cha
w
lo
n
E
id
v
a
D
—
NYC AGO
Czech Republic
“(at St. George’s Cathedral Perth) it was impossible to
tell that this was improvisation, so perfectly formed
and composed did it sound… to hear someone
improvise in these various styles is just unbelievable.”
­—EarWax Magazine Australia ­
Contemporary Music
…“The Dupre (Passion Symphony) received as
fine and exciting a performance here at the Zurich
Tonhalle as has been recorded; one would like to
hear Bischof play the rest of the work.”
“…the Miller Concerto, which was commissioned
and brilliantly performed by Justin Bischof
(and Ken Cowan) at the Zurich Tonhalle, is a
remarkable essay in form and substance.”
­—American Organist Magazine
“Maestro Bischof is an exceptionally sensitive and multifaceted artist. He is a wonderful pianist and
collaborative partner and his improvisations on themes submitted by the audience of Weill Hall Carnegie
Hall were engaging and staggering in their sense of having already been written but of course they were not.”
—Variety NYC
As organist and pianist, he regularly tours internationally performing with orchestras and
presenting recitals, many of which are all improvisation in various styles. Venues include Carnegie
Hall, Le Poisson Rouge, Eli Broad Stage L.A., Zurich Tonhalle and various European cathedrals.
Orchestras include Milwaukee, Zurich Symphony, St. Luke’s and Riverside Symphony.
For all bookings, including concerts, master classes and commissions, contact:
Dorothy Yewer, Personal Representative • Scarsdale, NY 914.656.2027 • [email protected]
BERTRAND CATTIAUX
Master French Organbuilder
PARIS
Notre-Dame Cathedral
CONCEPT FOR A NEW AMERICAN ORGAN
III :RECIT Expressif 61 notes.
BOURDON
16
DIAPASON
8
FLÛTE Traversière
8
VIOLE de GAMBE
8
VOIX CÉLESTE
8
VIOLA
4
FLÛTE Octaviante
4
QUINTE
2 2/3
OCTAVIN
2
CORNET
V
PLEIN JEU
V
BOMBARDE
16
TROMPETTE
8
BASSON HAUTBOIS
8
VOIX HUMAINE
8
CLAIRON
4
Trémolo
I : GRAND ORGUE 61 notes.
MONTRE
16
MONTRE
8
FLÛTE HARMONIQUE
8
BOURDON
8
VIOLE de GAMBE
8
PRESTANT
4
QUINTE
2 2/3
DOUBLETTE
2
GRANDE FOURNITURE II
FOURNITURE
V
CYMBALE
IV
GRAND CORNET
V
BOMBARDE
16
TROMPETTE
8
CLAIRON
4
II :POSITIF Expressif 61 notes.
QUINTATON
16
PRINCIPAL
8
FLÛTE Harmonique
8
BOURDON
8
SALICIONAL
8
UNDA MARIS
8
PRESTANT
4
FLÛTE
4
NAZARD
2 2/3
DOUBLETTE
2
TIERCE
1 3/5
LARIGOT
1 1/3
PLEIN JEU
II - VI
CLARINETTE Basse
16
TROMPETTE
8
CROMORNE
8
Tremblant
Total : 72 voices, 78 stops.
Manual couplers :
Pipe Organs
in the True
Pedal Couplers :
French Style
TOULOUSE Saint Sernin
PÉDALE 32 notes.
SOUBASSE
FLÛTE
SOUBASSE
QUINTE
FLÛTE
BOURDON
TIERCE
FLÛTE
CONTRE BOMBARDE
BOMBARDE
BASSON
TROMPETTE
BASSON
CLAIRON
32
16
16 extension
10 2/3
8 extension
8
6 2/5
4
32
16 extension
16 Solo
8
8 Solo
4
Positif/Grand Orgue 8’
Récit/Grand Orgue 8’
Solo/Grand Orgue 8’
Récit/Positif 8’
Solo/ Positif 8’
Solo/Récit 8’
Récit/ Récit 16’
Grand Orgue/Grand Orgue 16’
Grand Orgue 8’
Positif 8’
Récit 8’,
Solo-Résonance 8’, 4’
IV: SOLO-RÉSONANCE Expressif 61 notes.
BOURDON
16
PRINCIPAL
8
BOURDON
8
VIOLONCELLE
8
GRAND NAZARD
5 1/3
PRESTANT
4
FLÛTE Ouverte
4
GRANDE TIERCE
3 1/5
SEPTIEME
2 2/7
DOUBLETTE
2
FLAGEOLET
1
CORNET
II-V
FOURNITURE Progressive II-VI
BASSON
16
TROMPETTE en chamade 8
BASSON
8
Tremblant
Orgues Bertrand Cattiaux
www.orguescattiaux.org
Email: [email protected]
La vidalie Haute - F 19120 LIOURDRES
Tél. (33) 0555 912828 Fax (33) 0555 912829
American Contact:
Dr. George Baker
[email protected]
Marie-Madeleine Duruflé-Chevalier – Remembrances
Dr. Dennis Keene, Dr. Matthew Lewis
The Church of the Ascension
12:00 – 1:00 pm
NOTES
Olivier Latry in concert
Sunday, February 26th, 4 pm
St. Peter’s by-the-Sea Episcopal Church
Co-Sponsored by St. Peter’s with the Nassau and Suffolk Chapters of the AGO
500 S. Country Rd., Bay Shore, 11706
631-665-0051 – www.stpetersbayshore.org
Suggested donations: Adults $10, Seniors/Students $8
Max REGER (1873 – 1916) : Introduction et passacaile en Ré mineur
Charles TOURNEMIRE (1870 – 1939) : Petite Rhapsodie improvisée
(Improvisation retranscrite par Maurice DURUFLÉ)
César FRANCK (1822 – 1890) : 2ème Choral, en Si mineur
Louis VIERNE (1870 – 1937) : Feux follets
Marcel DUPRÉ (1886 – 1971) : Cortège et litanie
Anton HEILLER (1923 – 1979) : Tanz-Toccata
Pierre COCHEREAU (1924 – 1984) : Boléro sur un thème de Charles Racquet,
pour orgue et percussion
(Improvisation retranscrite par Jean-Marc Cochereau)
Olivier LATRY : Improvisation
16
Early Organ Works of Tournemire
Dr. Andrew Henderson
The Church of the Ascension
2:30 – 3:45 pm
A TOURNEMIRE TIMELINE
1870
1881
born January 22, Bordeaux, to Dominique & Marguerite Renaud Tournemire
Began studies at Conservatoire Sainte-Cécile, Bordeaux (piano studies with Camille Doney)
Organist “accompagnateur”, Saint-Pierre, Bordeaux
c.1883 Organist (accompagnateur/suppléant?), Saint-Seurin, Bordeaux
1886 Preparation for Conservatoire entrance exam, in Paris
1887 Entered Paris Conservatoire (piano, harmony)
1889 Entered Franck’s organ class at Conservatoire (Widor from December, 1890)
1890 1er accessit (organ)
1891 1er prix (organ); Suppléant to Widor at Saint- Sulpice
1891/92 Organist at Saint-Médard, Paris
1894
First organ works published (Widor’s L’Orgue Moderne series)
1897 December, Organist at S. Nicolas-du-Chardonnet, Paris
1898 April, Organist at Ste. Clotilde (succeeding Gabriel Pierné)
1898
Pièce Symphonique composed
1900
Completed 1st Symphony, “Romantique”, Op. 18
Pièces de Morceaux, Op. 19, published
1902:
Pièces de Morceaux, Op. 24, published
1903 November 5, married Alice Juhel-Rénoy (née Taylor, b. 1870)
1904 Won City of Paris prize in composition, Le sang de la sirène, Op. 27
(“legende musicale” for chorus, soloists & orchestra)
1907 Organ Recitals in Berlin
1908 Organ recital tour in Holland
1910
Poème (organ & orchestra), Op. 38
November, Triple Choral, Op. 41
1911 Organ recital tour in Russia
1912
Triple Choral, Op. 41, published
Les Dieux sont morts (opera) composed
1914 Army service; stationed in France
1919 November, appointed professor of chamber music, Paris Conservatoire
1920 Death of first wife, Alice Juhel-Rénoy Tournemire
1923 Music critic for Le Courrier Musical
1924 Opera: Les Dieux sont morts first performed, Paris Opéra
1925 Applied for Conservatory organ professorship; went to Dupré
1926
La legende de Tristan, Op. 53
1927
November 11, first L’Orgue Mystique suite completed
1930 Organ recital tour of Spain
1930-31 Recordings for Polydor; improvisations later transcribed by Maurice Duruflé
1931 May 18, Grand Prix du Disque for recording of Franck Chorale in A minor
1931 Book: César Franck published
1932
February 5, final L’Orgue Mystique suite completed
1932-33 Ste. Clotilde organ rebuilt
1933 June 30, opening recital on Ste. Clotilde organ – reviewed by Messiaen
1934 July 18, married Alice Espir (b. 1901, 1er prix in violin 1921)
1936 April, recital in London
1939 November 4, Tournemire’s body found, Bay of Arcachon
1996 September 14, death of Alice Espir Tournemire
17
The First Congregational Church of Greenwich
&
First Music and Arts Series
presents
The Inaugural 2011-2012 Season
Saturday, March 17, 8:00 p.m.
The Choir of the College of William and Mary
Williamsburg, VA
Dr. James Armstrong, conductor
Friday, April 6, 8:00 p.m.
Music for a Good Friday Evening
Théodore Dubois The Seven Last Words of Christ
The First Congregational Church Chancel Choir
Hanna Golodinskii, soprano, Christopher Pfund, tenor
Vasil Golodinskii, bass, Mark Swicegood, organist
Dr. Craig Scott Symons, conductor
Friday, May 4, 8:00 p.m.
Spring Music Festival
Felix Mendelssohn Elijah
The First Congregational Church Festival Chorus and Orchestra
Randal Turner, baritone
Hanna Golodinskii, Carolyn Paulus, Katie Weatherseed, sopranos
Linnea Conley, mezzo soprano
Christopher Pfund, tenor
Dr. Craig Scott Symons, conductor
Friday, May 11 8:00 p.m.
Organ Recital by Thomas Dahl
Cantor/Organist at St. Peter’s Church, Hamburg, Germany
All performances in the First Music and Arts series are presented to the public as an outreach ministry of
The First Congregational Church of Greenwich. Each performance offers an opportunity to support the
series through a free will donation, with a suggested donation of $20 per person.
The First Congregational Church of Greenwich
108 Sound Beach Avenue, Old Greenwich, CT 06870
203-637-1791 www.fccog.org
AN ANNOTATED LIST OF EARLY ORGAN WORKS (1894-1910)
BY CHARLES TOURNEMIRE
I.
“L’Orgue Moderne”
Andantino, Op. 2
Manuscript:
not extant
Date of composition:
unknown
First Edition: L’Orgue Moderne 3, ed. Charles Marie Widor. Paris: Alphonse Leduc, 1894.
Plate No:
A.L. 9410
Dedication:
“A Son Altesse Royale Monseigneur le prince Guy de Lusignan”
Premiere:
unknown
Subsequent Editions
1.
The French Organist 1, ed. Robert Leech Bedell. New York, NY: Edward B. Marks, [1945].
Sortie, Op. 3
Manuscript:
not extant
Date of composition:
unknown
First Edition: L’Orgue Moderne 1, ed. Charles Marie Widor. Paris: Alphonse Leduc, 1894.
Plate No:
A.L. 9269
Dedication:
none
Premiere:
unknown
Subsequent Editions
1.
“Grand Choeur in G,” ed. Robert Leech Bedell, New York, NY: Le Grand Orgue, [1940s].
2.
Anthology of 19th Century Music, ed. David Drinkwater. Glen Rock, NJ: J. Fischer, 1966.
3.
Reprint of Leduc. Boca Raton, FL: Masters Music Publications, [1994].
II.
“Sainte-Clotilde”
Pièce Symphonique, Op. 16
Manuscript:
not extant
Date of composition
circa 1898
First Edition: Répertoire moderne de Musique Vocale et d’Orgue 17. Paris: Schola Cantorum, 1899.
Plate No:
S.617.C.
Dedication:
A Monsieur l’abbé Gardey, vicaire général, Curé de Ste Clotilde
Premiere:
Charles Tournemire, organist. December 4, 1898, Schola Cantorum, Paris
Subsequent Editions
1.
Reprint of Schola Cantorum. Paris: Librairie de l’Art Catholique, 1906.
2.
Historical Organ Recitals 5, ed. Joseph Bonnet. New York, NY: G. Schirmer, 1929.
3.
Reprint of Schola Cantorum, with English registration indications.
Ed. Robert Leech Bedell. New York, NY: Mills Music, 1947.
4.
Reprint of Leduc. Boca Raton, FL: Masters Music Publications, [1994].
Suite de Morceaux, Op. 19
(I) Adagio, Op. 19
Manuscript:
not extant
Date of composition:
unknown
18
First Edition:
Plate No:
Dedication:
Premiere:
Paris: Pérégally et Parvy fils, 1900
P.P. 4702
“Samuel Rousseau”
Charles Tournemire, organist. September 1900, Schola Cantorum, Paris.
Subsequent Editions
1.
Paris: A. Noël [reprint]
2.
ed. Robert Leech Bedell. Brooklyn, NY: Edition Musicus, [1940s].
(II) Scherzetto, Op. 19
Manuscript:
not extant
Date of composition:
unknown
First Edition: Paris: Pérégally et Parvy fils, 1900
Plate No:
P.P. 4703
Dedication:
“H[enri] Letocart, Organiste de St Pierre de Neuilly”
Premiere:
unknown
Subsequent Editions
1.
Paris: A. Noël
2.
The International Organist 2, ed. Robert Leech Bedell. New York, NY: Edward B. Marks, [1949].
(III) Toccata, Op. 19
Manuscript:
not extant
Date of composition:
unknown
First Edition: Paris: Pérégally et Parvy fils, 1900
Plate No:
P.P. 4704
Dedication:
“F[ernand] de la Tombelle”
Premiere:
unknown
Subsequent Editions
1.
Paris: A. Noël
2.
ed. Robert Leech Bedell. Brooklyn, NY: Edition Musicus, [1940s].
3.
Toccatas, Carillons & Scherzos, ed. Rollin Smith. Mineola, NY: Dover, 2002.
(IV) [5] Interludes, Op. 19
Manuscript:
not extant
Date of composition:
unknown
First Edition: Paris: Pérégally et Parvy fils, 1900
Plate No:
P.P. 4705
Dedication:
“Paul Combes, organiste de Notre Dame de Bordeaux”
Premiere:
unknown
Subsequent Editions:
1.
Paris: A. Noël. (Plate No: 5384)
2.
Thirty-Three Favorite Organ Solos, ed. Charles Paul. New York, NY: G. Schirmer, 1941.
Suite de Morceaux, Op. 24
(V) Pastorale, Op. 24
Manuscript:
Abbreviated (original?) version (mm. 1-25; 126-135 of complete composition); B.N. Mus. Ms.
19100 (5)
19
Date of composition:
unknown
First Edition: Paris: Pérégally et Parvy fils, 1902
Plate No:
P.P. 4723
Dedication:
“Madame A[lice] Juhel-Renoy”
Premiere:
unknown
Subsequent Editions:
1.
Paris: A. Noël
2.
ed. Robert Leech Bedell. Brooklyn, NY: Edition Musicus, [1940s].
(VI) Communion, Op. 24
Manuscript:
not extant
Date of composition:
unknown
First Edition: Paris: Pérégally et Parvy fils, 1902
Plate No:
P.P. 4724
Dedication:
“Joseph Bonnet, Organiste des P. Dominicains à Paris”
Premiere:
unknown
Subsequent Editions:
1.
Paris: A. Noël
(VII) Ite Missa Est-Sortie, Op. 24
Manuscript:
not extant
Date of composition:
unknown
First Edition: Pérégally et Parvy fils, 1900
Plate No:
P.P. 4725
Dedication:
“Camille Doney, Organiste de St. Seurin a Bordeaux”
Premiere:
unknown
Subsequent Editions:
1.
Paris: A. Noël. (Plate No: 5389)
2.
The French Organist 2, ed. Robert Leech Bedell. New York, NY: Edward B. Marks, [1945].
III.
‘Sancta Trinitas’: Triple Choral, Op. 41 (1910):
Triple Choral, Op. 41
Manuscript:
B.N. Mus Ms. 18971
Date of composition:
November 1910
First Edition: Lyon: Janin Frères, 1912
Plate No:
J.F. 1300
Dedication:
“A la mémoire de mon Maître vénéré César Franck”
Premiere:
Joseph Bonnet, organist. March 19, 1911, Saint-Eustache, Paris
Subsequent Editions:
1.
Orgue et Liturgie 54, ed. Maurice Duruflé. Paris: Schola Cantorum, 1962.
2.
Reprint of Schola Cantorum. New York, NY: Kalmus, [n.d.]. Catalog No.: K04011.
3.
Reprint of Schola Cantorum. Boca Raton, FL: Masters Music Publications, [1994].
20
EARLY ORGAN WORKS OF CHARLES TOURNEMIRE
MUSICAL EXAMPLES
A.
Examples from Pièce Symphonique, Op. 16
First & Second Themes:
Combination of Themes, m. 98
21
Tournemire (trans. Duruflé) Victimae Paschali Laudes:
C.
Examples from Triple Choral, Op. 41
Three Themes: The Trinity
Preface to Original Edition (Janin, 1912)
The numerous inflections of movement are left to the discernment of the individual, and the metronome markings only
indicate the general speed of the different sections of this work.
The art of organ registration cannot be made precise, because of the diversity of instruments, as much in terms of their stop
composition as in terms of balance between them and the combination mechanisms.
The nuances, the changes of manual, and the following indications enlighten the player in the course of this work:
One may use the Fonds for the Prélude.
The First Choral is played by a reed, or by the Fonds.
For the Second Choral one introduces the reeds mf of the Récit.
The Third Choral is interpreted by means of two timbres of great softness, of the organist’s choice.
The “Colorations,” in general, are left to the knowledge of the artist. The same applies to the keyboard couplers and the
other “combinaisons.”
Selected Bibliography
Fauquet, Joël-Marie. Catalogue de l’œuvre de Charles Tournemire. Geneva: Minkoff, 1979.
Ianco, Pascal. Charles Tournemire ou le mythe de Tristan. Mélophiles, ed. Jean Gallois, no. 4. Geneva: Editions Papillon,
2001.
23
Andrew Elliot Henderson was appointed Director of Music & Organist
at Madison Avenue Presbyterian Church, New York City, in July 2005.
At the church he directs an extensive liturgical program with a number of
choirs, a choral society, and the highly regarded “Music on Madison”
concert series. The recipient of a C.V. Starr Foundation fellowship, he
was awarded the Doctor of Musical Arts degree at the Juilliard School in
2007, receiving the Richard F. French prize for the best doctoral
document. He also serves as the Assistant Organist of Congregation
Emanu-El in New York City – the largest Jewish house of worship in the
world, as the organ instructor at Teacher’s College, Columbia University,
and as an adjunct assistant professor of organ at Westminster Choir
College, where he teaches graduate courses in organ literature.
Dr. Henderson, a native of Thorold, Ontario, holds degrees in music
from Cambridge University in England and Yale University. While at
Cambridge he held the position of Organ Scholar at Clare College,
Cambridge from 1996 to 1999, and at Yale he completed his graduate
studies in organ performance on a full scholarship from the Yale Institute
of Sacred Music. From 2001 to 2005 he was the Assistant Organist at
the Church of St. Ignatius Loyola, New York, where he was actively
involved in their renowned liturgical and concert programs.
In August 2002 Andrew was a finalist in the international organ competition Grand Prix de Chartres held in Chartres
Cathedral, France, and in 2003 he won first prize in the biennial National Organ Playing Competition sponsored by the
Royal Canadian College of Organists. As well as performing recitals in St. Paul’s Cathedral and Westminster Abbey,
London, and in most major venues in New York City and at the National Cathedral in Washington, D.C., recent
performances include organ and continuo playing with the New York Philharmonic, American Symphony Orchestra, Musica
Sacra, The Collegiate Chorale, in addition to performing solo recitals in Colorado (Boulder Bach Festival), Georgia, Kansas,
Nebraska, New Jersey, Ontario (Elora Festival), South Carolina, at the historic Round Lake Auditorium in Upstate New York
and at the Metropolitan Museum of Art in New York City. His performances have been featured on the nationally-syndicated
radio programs Pipedreams and With Heart and Voice. His first solo CD, Andrew Henderson at St. John’s, Elora, was
recorded and released in 2010.
A Fellow of the Royal Canadian College of Organists, his teachers have included John Tuttle, Barrie Cabena, David Sanger,
Thomas Murray and John Weaver. Andrew is married to organist Mary Wannamaker Huff, the Associate Director of Music
at Madison Avenue Presbyterian Church and Director of the Children’s Choirs at the Church of St. Ignatius Loyola. Andrew
and Mary have two young boys, Elliot and Christian.
24
The Church of the Ascension
in the City of New York
n preparation for installation of the new pipe organ by French builder Pascal Quoirin,
this historic congregation undertook a significant infrastructure upgrade and
Isanctuary
restoration. The new organ required enlarged chambers with additional tone
openings, damaged plaster walls were repaired, the original interior decoration scheme
was recreated, and new lighting and sound systems installed. In spite of these changes,
music director Dennis Keene was adamant the church’s acoustical signature not be
changed. Acoustical measurements showed us what our ears had already discerned: the
sanctuary is very kind to the full range of human voice, not harsh or strident, boomy or
muddy. In a large stone church, as in a concert hall, the ideal sound covers the full
frequency range, with plenty of bass as befits organ and orchestra. But at Ascension—
which we discovered bears much acoustical similarity to an opera house—the lowfrequency range is purposefully less substantial, tailored to accentuate singers’ mid-range
warmth and vocal clarity. We designed solid, sound-reflecting chambers for the new
organ, and were strong advocates for preservation of Ascension’s signature acoustics.
The church’s illustrious tradition of great pipe
organs, noted musicians, fine liturgical music
and the resident choral ensemble Voices of
Ascension continues anew in a rejuvenated
home beautiful to both eye and ear.
CLAYTON
ACOUSTICS GROUP
2 Wykagyl Road Carmel, NY 10512
T: 845-225-7515 M: 914-643-1647
www.claytonacoustics.com
ACOUSTICS AND SOUND SYSTEM CONSULTING FOR HOUSES OF WORSHIP
Jehan Alain: Life and Works
Renée Anne Louprette
The Church of the Ascension
4:15 – 5:30 pm
INTRODUCTION
Litanies, JA 119
JOIES ~ JOYS
Born Feb. 3, 1911 in St. Germaine-en-Laye
Parents: Albert and Magdeleine Alain
I. Albert Alain (1880-1971)
II. The salon organ
III. Family life
IV. Jehan’s early education
V. Physical and moral portrait: Fantasmagorie, JA 63
VI. The mountains
Conservatory Formation, Friendship, First Major Works
I. Conservatoire de Paris
II. Paternal influence: Variations sur un thème de Clément Jannequin, JA 118
II. Preferred composers
III. Exoticism: Deuxième Fantaisie, JA 117
IV. Organs that most influenced him
DEUILS ~ MOURNINGS
I. The Army (1933-1934, 1939-1940)
II. The tragedy (1937)
LUTTES ~ STRUGGLES
I. 1938: Grand achievements
II. The war
CLOSING
Trois Danses, JA 120
Joies ~ Deuils ~ Luttes
25
Hailed by The New York Times as “a technically nimble and dynamic organist,” Renée
Anne Louprette has established a formidable international career as organ recitalist,
accompanist and conductor. Ms. Louprette was appointed Organist and Associate
Director of Music and the Arts at Trinity Wall Street, New York in June 2011 where she
collaborates as primary accompanist and associate conductor of the renowned Trinity
Choir under the directorship of Dr. Julian Wachner. From 2005 to 2011, she served as
Associate Director of Music at the Church of St. Ignatius Loyola in New York where she
was a featured recitalist, continuo player, accompanist and conductor on the prominent
Sacred Music in a Sacred Space series, as well as director of the N. P. Mander Organ
recital series.
Since 2007, she has been a member of the faculty of the John J. Cali School of Music,
Montclair State University in Montclair, New Jersey as Adjunct Professor of Organ.
There she has overseen the development of the organ class on both the
undergraduate and graduate levels and has established a new organ recital and
masterclass series recently featuring internationally acclaimed artists Dame Gillian Weir, James David Christie and Stephen
Tharp. In April 2010, she led an educational tour of historic organs in the south of France for the European Chapter of the
American Guild of Organists in collaboration with the organ department of Montclair State University.
Renée Anne Louprette has presented recitals at the festivals of Dún Laoghaire, Ireland; Magadino, Switzerland; In Tempore
Organi, Italy; Ghent and Hasselt, Belgium; and Toulouse Les Orgues, France. She appeared as organ soloist with the
Queensland Symphony Orchestra in Brisbane, Australia in a performance of Saint-Saëns’ Organ Symphony broadcast
internationally on ABC radio. She has been featured at several Regional Conventions of the American Guild of Organists as
well as the 2010 National Convention in Washington, D.C., where she performed before an audience of 4,000 in the Basilica
of the National Shrine of the Immaculate Conception. She has performed recitals throughout the UK and Ireland including at
Westminster Abbey and the Temple Church in London, St. Giles Cathedral Edinburgh and Dunblane Cathedral, Scotland,
and Galway Cathedral, Ireland. Recent American appearances included St. Thomas Church, New York City; the Cathedral
of St. Paul in Pittsburgh; College of the Holy Cross in Worcester, Massachusetts; the Cathedral of Christ the King in Atlanta;
and the University of Arizona, Tucson. She returned to the N.P. Mander Organ Series at the Church of St. Ignatius Loyola in
September 2011 presenting the world premiere of Mannahatta, a new organ piece she commissioned from organistcomposer David Briggs.
Ms. Louprette has collaborated with a number of acclaimed New York City ensembles including the Mostly Mozart Festival
Orchestra, Trinity Baroque Orchestra, Clarion Music Society, American Symphony Orchestra, the Dessoff Choirs, New York
Choral Society, Gotham City Orchestra, Oratorio Society of New York, Cantori New York, Orchestra of Our Time and
Piffaro, appearing in Carnegie, Alice Tully, Avery Fisher and Merkin Halls and the Miller Theatre of Columbia University.
Renée Anne Louprette holds a Bachelor of Music degree summa cum laude in piano performance and a Graduate
Professional Diploma in organ performance from the Hartt School of Music, University of Hartford, where she began organ
studies in 1993 with Larry Allen. In 2003, she earned a Premier Prix - mention très bien from the Conservatoire National de
Région de Toulouse, France and a Diplôme Supérieur in organ performance in 2005 from the Centre d’Études Supérieures
de Musique et de Danse de Toulouse, where she specialized in interpretation with Michel Bouvard and Jan Willem Jansen
and improvisation with Philippe Lefebvre. She completed additional studies with Dame Gillian Weir in London, with James
David Christie, and with Guy Bovet at the Academy of Romainmôtier, Switzerland.
Ms. Louprette is a member of the Executive Board of the New York City Chapter of the American Guild of Organists and
Chair of the Chapter’s International Performer of the Year committee. She previously served as Dean of the Greater
Hartford, Connecticut Chapter AGO.
26
CLOSING CONCERT
The Clarion Choir
Steven Fox, Conductor
Diego Innocenzi, Organ
Grace Cloutier, Harp; Ezra Seltzer, ‘Cello; Roger Wagner, Bass
The Church of the Ascension
Monday, 20th February 2012, 8 pm
Claude Debussy (1862 – 1918)
Dieu, qu’il la fait bon regarder!
Yver! vous n'estes qu'un villain
(from Trois Chansons de Charles d’Orléans)
Soli: Esteli Gomez, Luthien Brackett, Matthew Hensrud, Avery Griffin
César Franck (1822 – 1890)
Maurice Ravel (1875 – 1937)
Agnus Dei
Soli: Jolle Greenleaf, Charles Wesley Evans, Timothy Hodges
(from Messe à Trois Voix)
Nicolette (from Trois Chansons)
Franck
Dextera Domini
Soli: Mellissa Hughes, Timothy Hodges, Jonathan Woody
INTERMISSION
Théodore Dubois (1837 – 1924)
Agnus Dei
Sub Tuum
Panis Angelicus
Francis Poulenc (1899 – 1963)
Soli: Melissa Hughes, Steve Wilson
Christopher Herbert, Bass
Steven Wilson, tenor
Quatre Motets pour un Temps de Pénitence
Timor et Tremor
Vinea mea electa
Tenebrae factae sunt
Tristis est anima mea Martha Cluver, soprano
We are tremendously grateful to Dennis Keene, organist & choirmaster at the Ascension, for allowing the majority of the
conference to take place here. His generosity of spirit and expertise have been invaluable.
This concert is co-sponsored by NYC AGO, Clarion Music Society, & Palazzetto Bru Zane.
27
The Clarion Choir
Soprano
Mellissa Hughes
Jolle Greenleaf
Martha Cluver
Estelí Gomez
Alto
Luthien Brackett
Robert Isaacs
Kirsten Sollek
Geoffrey Williams
Tenor
Matthew Hensrud
Timothy Hodges
Geoffrey Silver
Steven Wilson
Bass
Charles Wesley Evans
Avery Griffin
Christopher Herbert
Jonathan Woody
The Clarion Music Society consists of the renowned period-instrument orchestra, The Clarion Orchestra, and the
celebrated professional vocal ensemble, The Clarion Choir. The Society was founded in 1957 by pioneering musicologist
and conductor Newell Jenkins. Originally formed as an orchestra on modern instruments, Clarion, in the 1970s, became
one of the first New York ensembles to begin regularly performing on period instruments. In 1996, Jenkins was succeeded
by noted harpsichordist Frederick Hammond, who led the Society until its concert series was discontinued in 2001. In 2006,
Clarion was reborn under the artistic directorship of young American conductor Steven Fox, who quickly brought Clarion
back to prominence as a fresh and innovative force in the Early Music scene. Over the last several seasons, the Clarion
Orchestra and the Clarion Choir have performed at Lincoln Center on the White Light and Tully Scope Festivals, Weill
Recital Hall at Carnegie Hall, the Brooklyn Academy of Music, the Miller Theatre at Columbia University, the Morgan
Library, the Aston Magna Festival, and St. Ignatius Loyola in conjunction with the Sacred Music in a Sacred Space series.
In 2010, Clarion formally joined forces with the fine period-instrument ensemble, the New York Collegium. Continuing the
Collegium’s remarkable legacy is Clarion Collegium Week, an annual week of master classes, lectures, and concerts
focusing on the music of a great Baroque composer. Since its revival, Clarion has received wide critical acclaim, having
been called 'superb' by the The Wall Street Journal, 'on par with the best Baroque groups in the world' by Seen and Heard
International, 'terrific' and 'polished' by The New York Times, and 'legendary' and 'distinguished' by The New Yorker. Clarion
has just completed its first recording since the Jenkins era, Handel's Judas Maccabeus (1751 complete version), which will
be released in the 2011-12 season.
Steven Fox is Artistic Director of Clarion Music Society and Music Director for Musica Antiqua St. Petersburg in Russia. In
2014, he begins as Music Director of the new Geneva International Early Music Festival. This season he is Assistant and
Cover Conductor for the Metropolitan Opera Lindemann Young Artists Program and Juilliard Opera, and returns for the
fourth year to New York City Opera as an Associate Conductor for Christopher Alden's production of Cosi fan Tutte. This
season also marks his debut conducting the Handel and Haydn Society in Boston, Juilliard415 at Lincoln Center, and the
Fundacion Excelentia in Madrid. Since he began as Artistic Director of Clarion in 2006, Mr. Fox has taken the Clarion
Orchestra and Clarion Choir to Lincoln Center on the White Light and Tully Scope Festivals, Weill Recital Hall at Carnegie
Hall, Brooklyn Academy of Music, the Miller Theatre at Columbia University, and The Morgan Library; he has garnered
critical praise from The New York Times, The Wall Street Journal, New Yorker, Seen and Heard International, Musical
America, and BBC Music Magazine. Steven graduated a Senior Fellow with High Honors from Dartmouth College and with
Distinction from the Royal Academy of Music, London, where, in 2010, he was named an Associate.
For information about Diego Innocenzi, see p. 7. or visit www.DiegoInnocenzi.com.
The vocation of the Palazzetto Bru Zane – Centre de musique romantique française — is to favour the
rediscovery of the French musical heritage of the years 1780 to 1920, and to obtain for that repertoire the
international recognition it deserves. Research and publishing, the organisation and international
distribution of concerts, and support for CD recordings are the main activities of the Palazzetto Bru Zane,
which opened in 2009.
This concert is made possible by a generous grant from the PALAZZETTO BRU ZANE.
28
The right organ
at the right price;
chosen and voiced
for Church of the
Resurrection in
New York City.
Organ Clearing House
www.organclearinghouse.com
617-688-9290
Visit our website
to see hundreds of
available instruments
and let us help you
make the perfect
choice for your
musical needs.
“In choosing OCH, I know
that the work has been done
with the utmost knowledge,
enthusiasm, care, and integrity.”
– David Enlow, Sub-Dean,
New York Chapter, AGO
Above: Casavant #665 (1916), relocated from Lewiston, ME to Church of the Resurrection, New York, NY.
New Solo Division, four new sixteen-foot voices. Tonal finishing by Scot Huntington. Dedication recital on
February 22, 2011, 8pm, Peter Conte, organist. Go to www.resurrectionnyc.org for information
vintage organs relocated and installed • tuning • maintenance • major repairs • consultation
Have you enjoyed this conference?
Do you like organ music, choral music, or music generally?
Not already a member of this organization?
Consider joining the American Guild of Organists, particularly our own New York City Chapter!
visit
www.nycago.org
to learn more
Remaining NYC AGO programs in the 2011-2012 season
DATE TBA
Organ Building Knowledge Base
Presenters: Sebastian Glück and John Bishop
Free to NYC Chapter members; $10 general
MONDAY, 21 MAY 2012
Dinner Cruise in New York Harbor
Pier 60, Chelsea Piers
6.00 pm – Embarkation
6.30 pm sharp – Set Sail
Members $75; Spouses–Friends–Guests $100
An Open Bar is included!
Our May dinner cruise featuring unparalleled views of New York Harbor will be aboard the Motor Yacht Affinity, a 120-foot
vessel accommodating up to 149 guests. Invite your friends to join us for food and drink, and a chance to relax with
colleagues as we sail past Lady Liberty and under the city's magnificent bridges.
There’s plenty of room on the Yacht – spouses, partners and friends welcome! Not to be missed!
29