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

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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 19th Century French Church Music & Interpretation, Diego Innocenzi 12.00 – 1.00 pm 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 Early Organ Works of Tournemire – Lecture/Recital, Dr. Andrew Henderson 3.45 – 4.15 pm Display tables open 4.15 – 5.30 pm 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.

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Arthur LaMirande Concert Organist

♦ alamirande2001@yahoo.com

Frank L Crosio, FAGO

Minister of Music Garden City Community Church

frankcrosio@yahoo.com musicministry@gardencitycommunitychurch.org

www.davidenlow.com

B B Arthur Lawrence

D.M.A, A.A.G.O., ChM. ALawrence28@nyc.rr.com

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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 Sonate pour Violoncelle et piano, Op. 27 (à Pablo Casals) Poco lento – Allegro moderato Molto largamente Risoluto – Allegro molto

INTERMISSION

Diego Innocenzi, Organ

Édouard Batiste Offertoire op. 28 (1863) (1820-1876) à M. G. WASHBOURN MORGAN, organiste de "GRACE CHURCH" à New York Théodore Dubois Cantilène religieuse (1900) (1837-1924) 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 Fragments of symphonies transcribed by Édouard Batiste (1867) (1770-1827) à Mr. FETIS, directeur du Conservatoire royal de Bruxelles

Offertoire (Allegretto scherzando of Symphonie no 8)

Grande Sortie (Final of Symphony no 9)

Grand-Orgue (1) Bourdon (from and Pédale) --

Montre 61 Bourdon 61 Montre 61 Salicional 61 Bourdon 61 Prestant 61 Quinte 61 Doublette 61 Grande Fourniture 111-vii 326

Fourniture 11-v 224

Cymbale 111-1v 232

Basson (ext.) 12 Baryton 61 Grand Orgue Grave Grand Orgue Muet

Grand-Chœur (1) Violonbasse (ext.) 12 Violon 61 Flûte harmonique 61 Flûte octaviante 61 Grand Cornet v (from , m.c) -- Cornet v (t.c) 245 Bombarde 61 Trompette 61 Clairon 61 Grand Chœur Grave Grand Chœur Muet

Récit expressif (111) Bourdon 61 Diapason 61 Viole de gambe 61 Voix céleste 61 Flûte traversière 61 Cor de nuit 61 Voix éolienne (t.c) 49 Fugara 61 Flûte octaviante 61 Nasard 61 Octavin 61 Cornet harmonique 11-v 245

Plein Jeu harmonique 11-v 228

Bombarde 61 Trompette harmonique 61 Basson-Hautbois 61 Clarinette 61 Voix humaine 61 Clairon harmonique 61 Trémolo Récit Grave Récit Muet Récit Octave Sostenuto

Positif expressif (11) Quintaton 61 Principal 61 Flûte harmonique 61 Bourdon 61 Dulciane 61 Unda Maris (gg) 54 Prestant 61 Flûte douce 61 Nasard 61 Flageolet 61 Tierce 61 Larigot 61 Septième 61 Piccolo 61 Plein Jeu 11-v 233

Clarinette basse 61 Trompette 61 Cromorne 61 Clarinette soprano 61 Trémolo Positif Grave Positif Muet

Solo expressif (1v) Violoncelle 61 Céleste 61 Flûte majeure 61 Flûte célestes 11 110 Viole d’amour 61 Nasard harmonique 61 Octavin 61 Tierce harmonique 61 Piccolo harmonique 61 Clochette harmonique 61

Tuba Magna (from , t.c) -- Cor de basset 61 Tuba mirabilis 61 Cor français 61 Cor anglais (free reeds) 61 Trémolo Solo Grave Solo Muet Solo Octave Sostenuto Clochettes

= from the former Skinner organ= 19th-century French pipework

Pédale Soubasse (ext.) 12 Flûte 32 Contrebasse 32 Montre (g.-o.) Violonbasse (g.-c.) Soubasse 32 Bourdon (récit) Grande Quinte 32 Flûte 32 Violoncelle 32 Bourdon 32 Grande Tierce 32 Quinte 32 Grande Septième 32 Octave 32 Flûte 32 Cor de nuit 32 Contre Bombarde (ext.) 12 Bombarde 32 Basson (g.o.) Bombarde (récit) Trompette 32 Baryton (g.o.) Clairon 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 RécitSolo Octave au RécitGrand-Chœur au Solo

Grand-Orgue–Grand-Chœur/Positif ReverseUnion des Expressions (all swells to swell)Coupure de Pédalier (pedal divide)

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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 Diller-Quaile 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.

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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-Gervais-Pâquis 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.

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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) Symphonie No. 10 “Romane,” Op. 73

Moderato Choral (Adagio) Cantilène (Lento) Final

George Baker (b. 1951) 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) Évocation Poème Symphonique, Op. 37

Moderato Adagio con tenerezza Allegro deciso

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.

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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,

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 OrganistDr. John B. Herrington III, Associate Organist Daniel Kirk-Foster, Associate Organist

The Brick Presbyterian Church Park Avenue at East 91st Street, New York City www.brickchurch.org

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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

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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) 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

8 Trompette 8 Hautbois 8 Voix humaine 4 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

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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)

8 Diapason (Great) 8 Contrebasse (from 16) 8 Bourdon (from 16) * 8 Flûte conique 8 Salicional 4 Doublette (from Fourniture) 4 Contrebasse (from 16) 4 Flûte conique 4 Salicional IV Fourniture II Carillon (from Fourniture) IV Grand Cornet 32 Bombarde * 16 Bombarde 16 Bombarde (Swell) 16 Musette (Positif) 8 Trompette harmonique (Bombarde) 8 Trompette (from Pedal Bombarde) 8 Musette (Positif) 4 Clairon (from Pedal Bombarde) 4 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.

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“The Perfect Virtuoso…..” Die Abendzeitung, München, Germany

“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

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

14

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.

15

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

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).

Justin“…He is as versatile as he is talented.”­­—The­Western­Australian­(Perth)

Canadian­Chamber­Orchestra­of­

New­York­City­CCO/NYC

Ensemble­Orchestral­de­Paris

“…hopefully there will be a next time in Toronto for Justin Bischof—he has a lot to offer.”—The­Toronto­Star

“The orchestra played brilliantly under the strong

leadership of Maestro Bischof….Maestro Bischof infused

this score with a freshness and vitality that exorcised all

of life’s problems and gave one and all a ‘lift’ that only a

great night at the opera can give. Bravo!”

—The­Italian­Voice

“Maestro Bischof ’s conducting conveyed his sensitive reading of the score, with just the right amount of support and direction for the chorus and orchestra.”—Boro­City­News

www.justinbischof.com

“…Tchaikovsky Symphony No. 5 was performed with youthful vigor and an excitement that resulted in a well-deserved standing ovation. Maestro Bischof is an inspiring presence on the podium, exuding grace, energy and an innate ability to inspire his players.”—www.scarsdale10583.com

For all bookings, including concerts, master classes and commissions, contact:Dorothy Yewer, Personal Representative • Scarsdale, NY

914.656.2027 • doryewer@yahoo.com

Bischof

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.

“…impressive...spontaneous...subtle (organist)”—The­New­York­Times

“(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.”­—­EarWax­Magazine­Australia­­

Contemporary­Music

…“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.” ­—American­Organist­Magazine

“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.”—Variety­NYC

Czech­Republic

Le­Poisson­Rouge,­­NYC

“…virtuosic (pianist)…”

—The­Los­Angeles­Times

“…a master virtuoso and improviser…”—Frankfurt­(Germany)­News

“…he is a master improvisor of the

highest order...

—­David­Enlow,­Program­Chair­

NYC­AGO

BERTRAND CATTIAUX Master French Organbuilder

TOULOUSE Saint Sernin PARIS

Notre-Dame Cathedral

American Contact: Dr. George Baker orguescattiauxusa@gmail.com

Orgues Bertrand Cattiaux www.orguescattiaux.org Email: orgues.cattiaux@orange.fr La vidalie Haute - F 19120 LIOURDRES Tél. (33) 0555 912828 Fax (33) 0555 912829

CONCEPT FOR A NEW AMERICAN ORGAN

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

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

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

PÉDALE 32 notes.

SOUBASSE 32

FLÛTE 16

SOUBASSE 16 extension QUINTE 10 2/3

FLÛTE 8 extension

BOURDON 8 TIERCE 6 2/5

FLÛTE 4

CONTRE BOMBARDE 32 BOMBARDE 16 extension

BASSON 16 Solo

TROMPETTE 8 BASSON 8 Solo

CLAIRON 4

Pipe Organs

in the True

French Style

Manual couplers : 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’

Pedal Couplers : Grand Orgue 8’

Positif 8’

Récit 8’, Solo-Résonance 8’, 4’

Total : 72 voices, 78 stops.

16

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

17

Early Organ Works of Tournemire Dr. Andrew Henderson The Church of the Ascension 2:30 – 3:45 pm

A TOURNEMIRE TIMELINE

1870 born January 22, Bordeaux, to Dominique & Marguerite Renaud Tournemire 1881 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

The First Congregational Church of Greenwich&

First Music and Arts Seriespresents

The Inaugural 2011-2012 Season

Saturday, March 17, 8:00 p.m. The Choir of the College of William and Mary

Williamsburg, VADr. James Armstrong, conductor

Friday, April 6, 8:00 p.m.Music for a Good Friday Evening

Théodore Dubois The Seven Last Words of ChristThe First Congregational Church Chancel Choir

Hanna Golodinskii, soprano, Christopher Pfund, tenorVasil Golodinskii, bass, Mark Swicegood, organist

Dr. Craig Scott Symons, conductor

Friday, May 4, 8:00 p.m.Spring Music Festival

Felix Mendelssohn ElijahThe First Congregational Church Festival Chorus and Orchestra

Randal Turner, baritoneHanna Golodinskii, Carolyn Paulus, Katie Weatherseed, sopranos

Linnea Conley, mezzo sopranoChristopher 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 Greenwich108 Sound Beach Avenue, Old Greenwich, CT 06870

203-637-1791 www.fccog.org

18

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

19

First Edition: Paris: Pérégally et Parvy fils, 1900 Plate No: P.P. 4702 Dedication: “Samuel Rousseau” Premiere: 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)

20

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].

21

EARLY ORGAN WORKS OF CHARLES TOURNEMIRE MUSICAL EXAMPLES

A. Examples from Pièce Symphonique, Op. 16 First & Second Themes:

Combination of Themes, m. 98

23

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.

24

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.

ACOUSTICS AND SOUND SYSTEM CONSULTING FOR HOUSES OF WORSHIP

2 Wykagyl Road Carmel, NY 10512T: 845-225-7515 M: 914-643-1647www.c lay tonacous t ics .com

ACOUSTICS AND SOUND SYSTEM

A C O U S T I C S G R O U PC L A Y T O N

In preparation for installation of the new pipe organ by French builder Pascal Quoirin,this historic congregation undertook a significant infrastructure upgrade and

sanctuary 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 low- frequency 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.

in the City of New YorkThe Church of the Ascension

25

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

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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 organist-composer 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.

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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)

Agnus Dei Soli: Jolle Greenleaf, Charles Wesley Evans, Timothy Hodges (from Messe à Trois Voix)

Maurice Ravel (1875 – 1937)

Nicolette (from Trois Chansons) Franck

Dextera Domini Soli: Mellissa Hughes, Timothy Hodges, Jonathan Woody

INTERMISSION Théodore Dubois (1837 – 1924)

Agnus Dei Soli: Melissa Hughes, Steve Wilson Sub Tuum Christopher Herbert, Bass Panis Angelicus Steven Wilson, tenor

Francis Poulenc (1899 – 1963)

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.

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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.

“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

Organ Clearing Housewww.organclearinghouse.com617-688-9290

Visit our website to see hundreds of available instruments and let us help you make the perfect choice for your musical needs.

vintage organs relocated and installed • tuning • maintenance • major repairs • consultation

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 fi nishing by Scot Huntington. Dedication recital on February 22, 2011, 8pm, Peter Conte, organist. Go to www.resurrectionnyc.org for information

The right organ at the right price; chosen and voiced for Church of the Resurrection in New York City.

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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!