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40th Conference on Organ Music

January 25, 2003
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The University of Michigan School of Music presented its 40th annual Conference on Organ Music, October 15-18, 2000, an international event featuring music of Germany, France, and Russia. The conference was directed by Marilyn Mason, chairman of the Organ Department.

 

 Prof. James Kibbie opened the conference with the 14th of his 18 Bach recitals on the Fisk organ in the Blanche Anderson Moore Hall. The performance of the complete organ works of J.S. Bach is the centerpiece of his project mark-ing the 250th anniversary of the composer's death. Prof. Kibbie revealed himself to be a well-prepared Bach performer with a clean technique, judicious articulation, and particularly tasteful ornamentation. This program achieved his stated goal of presenting "audience-friendly" programs planned as individual units so that the listener could experience the rich variety of Bach's genius.

Dietrich Wagler is organist and church music director at the Cathedral in the old Saxonian city of Freiberg.  His program on the three-manual Wilhelm organ at the First Congregational Church, "Bach and His Circle," included music of J.S. Bach, Krebs, Schneider, W.F. Bach, Homilius, and C.P.E. Bach. An organist of international reputation, Mr. Wagler performed all of the music with ease and clearly enjoyed playing the Wilhelm. Noteworthy were his delightful performance of two Krebs chorales, effective registration for the C.P.E. Bach Fantasy and Fugue in C minor, and an especially spirited performance of the J.S. Bach Prelude and Fugue in E-Flat.

October 16

Rose Van Mersbergen, graduate student in organ performance and theory at Michigan, presented a lecture/performance entitled, "J.S. Bach's Weimar Years (1708-1717):  Encountering and Synthesizing the Italian Concerto," on the Marilyn Mason Organ  at the School of Music. Her ideas were well presented and illustrated by her performance of the music. She demonstrated the characteristics of the concerto: structural insights; responding to the three-movement structure; the ritornello; and characteristic motifs. Van Mersbergen also presented "The Orgelbüchlein: A Working Demonstration of Synthesis."

 Michigan Prof. Ellwood Derr lectured on the topic, "Observations on Method in Bach's Compositions." The basis of the lecture dealt with the process of securing themes and proceeding to develop them. He pointed out, with effective examples, the absolute indispensability of chorales in whatever genre the composer happened to be working.  Chorales are the basis for the Praeambula and Fantasias which Bach wrote for Wilhelm Friedmann Bach; these later received the titles "Inventions and Sinfonias."

In  his lecture, "The Spiritual Bach," Dennis Schmidt emphasized Bach's piety as the source of his music. Schmidt demonstrated the spirituality of Bach by setting his work in the context of the Reformation and stressing death as the fulfillment of life from Bach's treatment of the chorale texts. He cited the marginal notes from Bach's Biblical commentary and supplied readings and examples from artists contemporary with Bach, notably a painting of the crucifixion by Cranach. In a second session, Dr. Schmidt described the completed restorations of the organs at the Bachkirche, Arnstadt, and St. Thomas Church, Leipzig. He presented the history of these organs and the philosophy guiding the restorations as planned by the present organists of the churches where Bach was organist and kantor.

At the Frieze Memorial Organ, the following organ majors performed varied repertoire:  Paula Lee and Steph-anie Muller (pupils of Robert Glasgow); Christopher Lees and Michael Elsbernd (pupils of James Kibbie); and Sean Jackman and Jean Randall (pupils of Marilyn Mason).

Wolfgang Baumgratz, cathedral organist at Bremen Dom and Professor, Hochschule für Kunst, Bremen, Germany, played an all-Bach concert on the Frieze Memorial Organ. The large works of  BWV 547 and 542 were sandwiched between the Glorias of the Leipzig Chorales. The Reger transcription of Bach's Chromatische Fantasie und Fuge, BWV 903, was an Ann Arbor premiere.

October 17

Michael Elbernd gave a lecture-recital,  "Organ Works of Johann Adam Reincken," on the Wilhelm organ at the First Congregational Church. Russian pianists Sofia Lissitchenko and Alexei  Melentiev, students at the Moscow Conservatory, played a concert of varied  music. They demonstrated superb technique and compelling virtuosity. The enthusiastic audience called them back for two encores.

Michele Johns conducted a colorful program of music for handbells, organ, and choir. The compositions had been chosen as challenging material for each ensemble. Performers included Jean Randall, Sara Hazen, Kay Ray, Eileen Page, Pat McOmber, and Ed Maki-Schramm, organist. The music had been donated by Beckenhorst  Press, Columbus, Ohio. The RACC Trio brilliantly played music of Mendelssohn and Schumann. Christie Abe, violin; Katri Ervamaa, ‘cello; and pianist Rakhee Sung displayed solid training in chamber music.

The lecture, "Matters of Registration in the Bach Organ," by Baumgratz, brought a  North German perspective on Bach's registration. It is hoped that his lecture will be published in article form. Jean Randall performed Couperin's Messe pour les Couvents with an historically informed sense of style, and was assisted by Matthew Moore, who sang the alternatim chant in sympathetic style. The  evening recital, "Music of France," by Jean-Pierre Lecaudey,   included works of Widor, Franck, Duruflé, Bonnal, and Messiaen. He pulled out the stops of the Frieze Memorial Organ resulting in a performance of great panache.

October 18

Carole Halmekangas provided an illustrated viewpoint of "Worship Renewal," particularly through the hymn singing as performed at Ward Church, Livonia, Michigan, where she serves as director of music. Mark Rich offered an excellent side-by-side comparison of Te Deums by LeBègue, Buxtehude, and Bach and included thoroughly satisfying performances of the three works. The cantor, Chris  Meerdink, sang alternatim with a fine sense of style.

The recital by Gregory Hamilton, "Music of Johann Gottfried Walther"  on the Marilyn Mason Organ, showed many varied compositions of the composer, and was an excellent combination of performer, music and organ. At Hill Auditorium, Jeremy Tarrant, recently appointed organist and choirmaster at the Cathedral of St. Paul, Detroit, discussed Widor's Symphonie Gothique and gave a compelling reading of this great work. Two carillonists played recitals: Judith Ogden on October 16, "Music by Bach"; and on October 17, University carillonist, Margo Halsted, "A Program of French Music."

In sum, there were twenty-one guest presenters. Two organists, Prof. Baumgratz and M. Lecaudey, and the two Russian pianists appeared in Ann Arbor for the first time. The conference closed with a gala reception on the stage of Hill Auditorium for all performers and guests.

 

Contributors to this article include Alan Knight, Marilyn Mason, and Herman Taylor.

 

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