Category Archives: Events

Dr. Susan Armstrong and Michael Sklader perform at Elm Street Congregational Church in Southbridge, MA

Elm Street Congregational Church located in Southbridge, Massachusetts, is proud to present a concert featuring internationally known concert organist Dr. Susan Armstrong on Sunday, November 19, 2000 beginning at 7pm.

Dr. Armstrong will be performing on the Church’s 1891 Johnson Tracker Organ. Dr. Armstrong received her Doctor of Musical Arts degree from Boston University, is an associate of the American Guild of Organists, and writes frequently for The New England Organist, and American Organist magazines. She has concertized widely throughout the United States, Europe, and Canada.

A versatile player, she has performed music ranging from Baroque and American music to “Great Romantic Masterpieces” such as Fantasies by Max Reger, and Symphonies of Vierne and Widor. She combines historical perspectives with an individualized concert presentation and performance for each occasion.

Performing with Dr. Armstrong will be Michael Sklader. Mr. Sklader has been playing the organ since he was 13 years old. He is currently the organist at the Portland Street Baptist Church in Haverhill, Massachusetts, where he plays an 1885 Hook and Hastings organ. A graduate of Montclair State College, he has performed in concerts throughout New England and New York.

The concert is part of Elm Street Congregational Church’s 200th Anniversary Celebration, and is being sponsored by the Men’s Fellowship group. Following the concert, a reception featuring food and fellowship will be held sponsored by the Women’s Fellowship group. Admission to the concert is free and opened to the public. Elm Street Congregational Church is located on the corner of Elm and Park Streets in Southbridge, Massachusetts. For more information, please contact the Church office at 508-764-8058.

Margaret Irwin-Brandon leads a Pipe Organs of Italy Tour

The Organs of Italy tour originator and guide, Margaret Irwin-Brandon, performer and teacher specializing in early keyboard instruments, enjoys a life-long interest in the historic organs of Italy and their music. Organs of Italy tours focus on instruments which cover a broad range of size, age and importance.

The Details: 

Cost of the tour, including land transportation in Italy: $1900.00
Single supplement: $400.
Contact Margaret Irwin-Brandon: mi-b@rcn.com

includes:
Hotels with breakfast
5 festive meals with regional specialties
Tips and taxes
Recitals & garden admissions

does not include:
Passport fee
Air passage to Italy
Items of a personal nature
Trip cancellation or travel insurance

Reservations may be made with a deposit of $400, payable by October 5, 2000. Reservations will be made in the order of receipt of deposit. Late reservations are subject to space availability.

Cancellations made before Sept. 15 will result in a full return of payment. After Sept, 15, refunds will be subject to charges by carriers, hotels and other contractors. Cancellation insurance is recommended.

Prices are based on exchange rates in effect on August 15, 2000 and are subject to adjustment before the start of the tour.

Leadership: Organs of Italy tour originator and guide, Margaret Irwin- Brandon, performer and teacher specializing in early keyboard instru- ments, enjoys a life-long interest in the historic organs of Italy and their music.Organs of Italy tours focus on instruments which cover a broad range of size, age and importance. Ms. Irwin- Brandon is also the founder and director of Arcadia Players, a period instrument ensemble specializiing in the music of the Baroque.

ITINERARY, Oct. 28 – Nov. 4

Saturday, Oct. 28 PISTOIA
Gather at the Cathedral at 4:30 pm.
“Choir rehearsal” for Sunday’s mass with Umberto Pineschi
Opening reception

Sunday, Oct. 29
Worship in the Cathedral
Organs of PISTOIA
Walking tour of several Pistoese organs by Hermanns, Agati and Tronci.
Dinner together
Recital in Serra (new Ghilardi organ)

Monday, Oct. 30
More organs of Pistoia
Afternoon trip to the villages and organs of TREPPIO & S. MARCELLO

Tuesday, Oct. 31 LUCCA/CORSANICO
Morning garden tour to Villa Garzoni
Inner-city organs in Lucca,
Afternoon visit to Lucca’s organ builder, Glauco Ghilardi
Evening in Corsanico: Recital & Dinner

Wednesday, Nov. 1 BOLOGNA
San Petronio’s famous Da Prato and Malamini organs demonstrated by Lieuwe Tamminga. Visits to other instruments, including the church of San Martino.

Thursday, Nov. 2 FLORENCE
free day

Friday, Nov. 3
Morning organ visits to La Badia and S. Niccolo
Afternoon tour of Baroque gardens:
La Gamberaia, La Pietra
Closing dinner

Saturday, Nov. 4
Farewell breakfast and check-out.

Optional extension:, November 4, 5, 6 VENICE

Organ Crawl in the Finger Lakes region, NYS led by Chemung Valley chapter of AGO

Chemung Valley Chapter of the American Guild of Organists invites you to join us for an Autumn jaunt to Lodi, Ovid, Interlaken, and Trumansburg, New York

0ctober 28, 2000
Meet: Lodi Historical Society
South Main ST
Lodi, New York
10:00 a.m. 1852 E. & G. G. Hook
14 ranks
Holy Cross Catholic Church
7231 South Main ST
Ovid, New York
11:00 a.m. 1862 Builder unknown
7 ranks
Lunch: Ginny Lee Café
Wagner Vineyards
9322 Route 414
Lodi, New York
Noon
Reformed Church
8315 Main ST
Interlaken, New York
2:00 p.m. 1928 Mõller/Strauss
12 ranks
First Presbyterian Church
Main ST
Trumansburg, New York
3:00 p.m. 1923 Casavant/Strauss
15 ranks
First United Methodist Church
Main ST
Trumansburg, New York
3:45 p.m. 1860 Garrett House
16 ranks

Please contact David Lenington to make reservations for luncheon buffet.
E-mail: DAVELEN@AOL.COM
PH: 570-268-5035 evenings

Alexander Fiseisky plays Bach Marathon in Duesseldorf, Germany

On September 23, 2000, Alexander Fiseisky will perform the entire organ works of J.S. Bach in one day. See the program, stoplist, and Alexander’s bio here in both English and German.

Program 1 | Program 2 | Program 3 | Program 4 | Program 5 | Program 6 | Program 7 | Program 8 | Program 9 | Program 10 | Program 11 | Program 12 | Program 13 | Program 13 | Program 14 | Program 15 | Program 16

Organ and Stoplist of St Margareta Basilica   |   Alexander Fiseisky’s biography   |   About this performance

More about Alexander Fiseisky

Gesamte Orgelwerke / The Complete Organ Works

anläßlich des 250. Todestages von Johann Sebastian Bach /
In Commemoration of the 250-th Anniversary of the Death of Johann Sebastian Bach

gespielt von / played by Alexander Fiseisky
an der/on the Rieger-Organ

In tiefer Verehrung und zur Erinnerung an den größten Komponisten des letzten Jahrtausends
In profound honour and remembrance of the greatest composer of the second millennium

Program 1: 6.30 Uhr

Präludium und Fuge C-Dur, BWV 545
Choralbearbeitungen:
Valet will ich dir geben, BWV 735
Christ lag in Todesbanden, BWV 718

Präludium und Fuge g-Moll, BWV 535

Trio-Sonate e-Moll, BWV 528
Adagio. Vivace
Andante
Un poco Allegro

Choralbearbeitungen: Lobt Gott, ihr Christen, allzugleich, BWV 732
Jesu, meine Freude, BWV 713
Liebster Jesu, wir sind hier, BWV 706
Allein Gott in der Höh’ sei Ehr’, BWV 711
Herzlich tut mich verlangen, BWV 727

Präludium und Fuge c-Moll, BWV 546

Präludium und Fuge d-Moll, BWV 539

Choralpartita “Sei gegrüßet, Jesu gütig”, BWV 768

top of page
Program 28.00 Uhr

Präludium und Fuge C-Dur, BWV 531

Choralbearbeitungen:
Valet will ich dir geben, BWV 736
Gottes Sohn ist kommen, BWV 703
Liebster Jesu, wir sind hier, BWV 730
Christ lag in Todesbanden, BWV 695
Wer nur den lieben Gott läßt walten, BWV 690

Fantasie und Fuge a-Moll, BWV 561

Einige canonische Veränderungen über das Weihnachtslied:
Vom Himmel hoch, da komm’ ich her, BWV 769a

Concerto d-Moll, BWV 596
Ohne Tempobezeichnung
Grave
Fuga
Largo e spiccato
Ohne Tempobezeichnung

Fuge c-Moll, BWV 575

top of page
Program 3: 9.00 Uhr

Toccata (Präludium) und Fuge F-Dur, BWV 540

Choralpartita “Christ, der du bist der helle Tag”, BWV 766

Concerto a-Moll, BWV 593
Ohne Tempobezeichnung
Adagio
Allegro

Fantasie C-Dur, BWV 570

Präludium und Fuge G-Dur, BWV 550

Präludium und Fuge a-Moll, BWV 543

top of page
Program 4: 10.00 Uhr

Präludium und Fuge G-Dur, BWV 541

Choralbearbeitungen:
Nun komm, der Heiden Heiland, BWV 699
Herr Christ, der ein’ge Gottes-Sohn, BWV 698
Gelobet seist du, Jesu Christ, BWV 697
Wir Christenleut’, BWV 710
Ach Gott, vom Himmel sieh’ darein, BWV 741
An Wasserflüssen Babylon, BWV 653b
Wo soll ich fliehen hin, BWV 694
Wer nur den lieben Gott läßt walten, BWV 691
Ein’ feste Burg ist unser Gott, BWV 720

Trio-Sonate Es-Dur, BWV 525
Ohne Tempobezeichnung
Adagio
Allegro

Passacaglia c-Moll, BWV 582

top of page
Programm 5: 11.00 Uhr

Fuge c-Moll über ein Thema von Giovanni Legrenzi, BWV 574

Choralbearbeitungen:
Vom Himmel hoch da komm’ ich her, BWV 700
In dulci jubilo, BWV 729
Jesus, meine Zuversicht, BWV 728
Liebster Jesu, wir sind hier, BWV 731
Nun freut euch, lieben Christen g’mein, BWV 734

Fuge h-Moll über ein Thema von Corelli, BWV 579

Präludium und Fuge C-Dur, BWV 547

Pastorale (Pastorella) F-Dur, BWV 590

Toccata und Fuge d-Moll (dorisch), BWV 538

top of page
Programm 6: 12.00 Uhr

Präludium und Fuge a-Moll, BWV 551

Choralpartita “O Gott, du frommer Gott”, BWV 767

Trio G-Dur, BWV 1027a

Arie F-Dur, BWV 587

Allabreve D-Dur, BWV 589

Trio-Sonate G-Dur, BWV 530
Vivace
Lento
Allegro

Präludium und Fuge e-Moll, BWV 548

top of page
Program 7: 13.00 Uhr

Orgelbüchlein (45 Choralbearbeitungen, BWV 599-644)
1. Nun komm, der Heiden Heiland
2. Gott, durch deine Güte
3. Herr Christ, der ein’ge Gottes-Sohn
4. Lob sei dem allmächtigen Gott
5. Puer natus in Bethlehem
6. Gelobet seist du, Jesu Christ
7. Der Tag, der ist so freudenreich
8. Vom Himmel hoch, da komm’ ich her
9. Vom Himmel kam der Engel Schar
10. In dulci jubilo
11. Lobt Gott, ihr Christen, allzugleich
12. Jesu, meine Freude
13. Christum wir sollen loben schon
14. Wir Christenleut’
15. Helft mir Gottes Güte preisen
16. Das alte Jahr vergangen ist
17. In dir ist Freude
18. Mit Fried’ und Freud’ ich fahr’ dahin
19. Herr Gott, nun schleuß den Himmel auf
20. O Lamm Gottes, unschuldig
21. Christe, du Lamm Gottes
22. Christus, der uns selig macht
23. Da Jesus an dem Kreuze stund
24. O Mensch, bewein’ dein’ Sünde groß
25. Wir danken dir, Herr Jesu Christ
26. Hilf Gott, daß mir’s gelinge
27. Christ lag in Todesbanden
28. Jesus Christus, unser Heiland
29. Christ ist erstanden
30. Erstanden ist der heil’ge Christ
31. Erschienen ist der herrliche Tag
32. Heut triumphieret Gottes Sohn
33. Komm, Gott Schöpfer, heiliger Geist
34. Herr Jesu Christ, dich zu uns wend’
35. Liebster Jesu, wir sind hier
36. Dies sind die heil’gen zehn Gebot’
37. Vater unser im Himmelreich
38. Durch Adams Fall ist ganz verderbt
39. Es ist das Heil uns kommen her
40. Ich ruf’ zu dir, Herr Jesu Christ
41. In dich hab’ ich gehoffet, Herr
42. Wenn wir in höchsten Nöten sein
43. Wer nur den lieben Gott läßt walten
44. Alle Menschen müssen sterben
45. Ach wie nichtig, ach wie flüchtig

top of page
Program 8: 14.30 Uhr

Dritter Teil der Klavierübung (“Orgelmesse”)

Präludium Es-Dur, BWV 552, 1

Choralbearbeitungen, BWV 669-689:
Kyrie, Gott Vater in Ewigkeit
Christe, aller Welt Trost
Kyrie, Gott heiliger Geist
Kyrie, Gott Vater in Ewigkeit
Christe, aller Welt Trost
Kyrie, Gott heiliger Geist
Allein Gott in der Höh’ sei Ehr’
Allein Gott in der Höh’ sei Ehr’
Allein Gott in der Höh’ sei Ehr’
Dies sind die heil’gen zehn Gebot’
Dies sind die heil’gen zehn Gebot’
Wir glauben all’ an einen Gott
Wir glauben all’ an einen Gott
Vater unser im Himmelreich
Vater unser im Himmelreich
Christ, unser Herr, zum Jordan kam
Christ, unser Herr, zum Jordan kam
Aus tiefer Not schrei’ ich zu dir
Aus tiefer Not schrei’ ich zu dir
Jesus Christus unser Heiland
Jesus Christus unser Heiland

Fuge Es-Dur, BWV 552, 2

top of page
Program 9: 16.00 Uhr

Acht kleine Präludien und Fugen, BWV 553-560
Präludium und Fuge C-Dur
Präludium und Fuge d-Moll
Präludium und Fuge e-Moll
Präludium und Fuge F-Dur
Präludium und Fuge G-Dur
Präludium und Fuge g-Moll
Präludium und Fuge a-Moll
Präludium und Fuge B-Dur

Trio-Sonate c-Moll, BWV 526
Vivace
Largo
Allegro

Fantasia und Imitatio h-Moll, BWV 563

Fantasie (Präludium) und Fuge g-Moll, BWV 542

top of page
Program 10: 17.00 Uhr

Fantasie und Fuge c-Moll, BWV 537

Choralpartita “Ach, was soll ich Sünder machen?”, BWV 770

Präludium G-Dur, BWV 568
Fuge G-Dur, BWV 577

Trio-Sonate C-Dur, BWV 529
Allegro
Largo
Allegro

Präludium und Fuge h-Moll, BWV 544

top of page
Program 11: 18.00 Uhr

Gottesdienst mit Musik von Johann Sebastian Bach

Präludium a-Moll, BWV 569

Sechs Choräle von verschiedener Art (Schübler-Choräle), BWV 645-650:
Wachet auf, ruft uns die Stimme
Wo soll ich fliehen hin
Wer nur den lieben Gott läßt walten
Meine Seele erhebet den Herren
Ach bleib’ bei uns, Herr Jesu Christ
Kommst du nun, Jesu, vom Himmel herunter

Toccata d-Moll, BWV 565

top of page
Program 12: 19.30 Uhr

Präludium und Fuge c-Moll, BWV 549

Fuge G-Dur, BWV 576

Choralbearbeitungen:
Ach Gott und Herr, BWV 714
Allein Gott in der Höh’ sei Ehr’, BWV 717
Lob sei dem allmächt’gen Gott, BWV 704
Herr Gott, dich loben wir, BWV 725

Toccata (Präludium) und Fuge E-Dur, BWV 566

Choralbearbeitungen:
Der Tag, der ist so freudenreich, BWV 719
Erbarm’ dich mein, o Herre Gott, BWV 721
Herr Jesu Christ, dich zu uns wend’, BWV 726
In dich hab’ ich gehoffet, Herr, BWV 712

Concerto C-Dur, BWV 594
Ohne Tempobezeichnung
Recitativo. Adagio
Allegro

top of page
Programm 13: 20.30 Uhr

Fuge g-Moll, BWV 578

Orgelchoräle der Neumeister-Sammlung, BWV 1090-1098
Wir Christenleut’
Das alte Jahr vergangen ist
Herr Gott, nun schleuß den Himmel auf
Herzliebster Jesu, was hast du verbrochen
O Jesu, wie ist dein Gestalt
O Lamm Gottes, unschuldig
Christe, der du bist Tag und Licht
Ehre sei dir, Christe, der du leidest Not
Wir glauben all an einen Gott

Trio G-Dur, BWV 586

Orgelchoräle der Neumeister-Sammlung, BWV 1099-1108
Aus tiefer Not schrei ich zu dir
Allein zu dir, Herr Jesu Christ
Durch Adams Fall ist ganz verderbt
Du Friedefürst, Herr Jesu Christ
Erhalt uns, Herr, bei deinem Wort
Wenn dich Unglück tut greifen an
Jesu, meine Freude
Gott ist mein Heil, mein Hilf und Trost
Jesu, meines Lebens Leben
Als Jesus Christus in der Nacht

Trio c-Moll, BWV 585

Orgelchoräle der Neumeister-Sammlung, BWV 1109-1120
Ach Gott, tu dich erbarmen
O Herre Gott, dein göttlich Wort
Nun lasset uns den Leib begrab’n
Christus, der ist mein Leben
Ich hab’ mein Sach’ Gott heimgestelt
Herr Jesu Christ, du höchstes Gut
Herzlich lieb hab’ ich dich, o Herr
Was Gott tut, das ist wohlgetan
Alle Menschen müssen sterben
Werde munter, mein Gemüte
Wie nach einer Wasserquelle
Christ, der du bist der helle Tag

top of page
Program 14: 22.00 Uhr

Präludium und Fuge f-Moll, BWV 534

Choralbearbeitungen:
Gottes Sohn ist kommen/Gott, durch deine Güte, BWV 724
Vom Himmel hoch da komm’ ich her, BWV 701
Christum wir sollen loben schon, BWV 696
Herr Jesu Christ, dich zu uns wend’, BWV 709
Allein Gott in der Höh’ sei Ehr’, BWV 715

Fuga sopra il Magnificat, BWV 733

Concerto C-Dur, BWV 595

Trio d-Moll, BWV 583

Toccata (Toccata, Adagio und Fuge) C-Dur, BWV 564

Canzona, BWV 588

Präludium und Fuge D-Dur, BWV 532

top of page
Programm 15: 23.00 Uhr

Präludium und Fuge e-Moll, BWV 533

Choralbearbeitungen:
Gelobet seist du, Jesu Christ, BWV 722
Vom Himmel hoch, da komm’ ich her, BWV 738
Vater unser im Himmelreich, BWV 737
Wie schön leuchtet der Morgenstern, BWV 739

Fuge G-Dur
Machs mit mir, Gott, nach deiner Güt, BWV 957

Trio-Sonate d-Moll, BWV 527
Andante
Adagio e dolce
Vivace

Fuge C-Dur, BWV 946

Präludium und Fuge A-Dur, BWV 536

Concerto G-Dur, BWV 592 Ohne Tempobezeichnung
Grave
Presto

Fantasie c-Moll, BWV 562

Fantasie G-Dur (Pièce d’Orgue), BWV 572

top of page
Program 16: 24.00 Uhr

Achtzehn Choräle, BWV 651-667, 668a
Komm, heiliger Geist, Herre Gott
Komm, heiliger Geist, Herre Gott
An Wasserflüssen Babylon
Schmücke dich, o liebe Seele
Herr Jesu Christ, dich zu uns wend’
O Lamm Gottes, unschuldig
Nun danket alle Gott
Von Gott will ich nicht lassen
Nun komm, der Heiden Heiland
Nun komm, der Heiden Heiland
Nun komm, der Heiden Heiland
Allein Gott in der Höh’ sei Ehr’
Allein Gott in der Höh’ sei Ehr’
Allein Gott in der Höh’ sei Ehr’
Jesus Christus, unser Heiland
Jesus Christus, unser Heiland
Komm, Gott Schöpfer, heiliger Geist
Vor deinen Thron tret’ ich

About this performance:

Für die Zusammenstellung der Programmfolge wurde W. Schmieders Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach zugrunde gelegt. In das Programm sind alle Orgelwerke aufgenommen, die nachweislich von J. S. Bach komponiert wurden. Zusätzlich sind auch einige Kompositionen enthalten, bei denen es fraglich ist, ob hier Bach wirklich der Komponist ist. Nicht aufgenommen wurden diejenigen Werke, die unvollendet geblieben sind. Von den Werken, die in mehrere Versionen überliefert sind, wurde nur eine ausgewählt. Zwischen den einzelnen Programmen ist jeweils nur eine kurze Pause von ca. 3 – 5 Minuten geplant. Das Publikum wird während dieser Unterbrechungen um größtmögliche Ruhe gebeten, um die Aufmerksamkeit auf die Musik hin und die tontechnische Aufzeichnung nicht zu stören. Mit der Aufführung ist auch folgender Benefiz-Aspekt verbunden: Der finanzielle Erlös soll für die Weiterentwicklung der Orgelausbildung an der Russischen Gnessin Musikakademie in Moskau bestimmt sein. The programme of the complete cycle is based on Schmieder’s ‘Systematic Thematic Catalogue of the Musical Works of Johann Sebastian Bach’. All the organ works which demonstrably are by Bach are included in the programme. In addition there are some compositions over which some questions of Bach’s authorship are not settled. Of those works which have several variants, normally only one version has been chosen. Unfinished works of the composer have not been included. Between the individual programmes there will be a short pause of approximately 3 – 5 minutes. The audience is respectfully requested to remain as quiet as possible during the intervals in order to maintain the sense of deep reflection upon the music, and the entire concert is also being recorded. There is the further beneficial purpose to this performance, that its profits will be used to continue the development of the teaching of the organ at the Russian Gnessin’s Academy of Music in Moscow.
Alexander Fiseisky
Alexander Fiseisky wurde in Moskau geboren. Er studierte am Moskauer Konservatorium unter Professor Vera Gornostajewa Klavier und Orgel bei Professor Leonid Roisman. Seine weitere Ausbildung vervollkommnete er in Meisterklassen bei Wolfgang Schetelich, Leo Krämer, Daniel Roth und Jean Guillou. Alexander Fiseisky ist Solo-Organist der Moskauer Staatlichen Philharmonischen Gesellschaft und Leiter der Orgelklasse an der Russischen Gnessin Musikakademie. Eine beachtliche Anzahl von Kompositionen sind ihm gewidmet, wie z. B. die von Michael Kollontaj, Wladimir Rjabow, Milena Aroutjunova und Arif Mirsojew. Er hat an vielen bedeutenden Festivals sowohl in der ehemaligen Sowjetunion als auch im Ausland teilgenommen. Er betätigt sich als Jury-Mitglied bei nationalen als auch internationalen Orgelwettbewerben, wie z. B. beim Calgary Internationalen Orgel-Festival (Canada), dem St. Albans Internationalen Orgel-Festival (England) usw.. Durch Vorträge und Meisterklassen-Kurse an der Royal Academy of Music in London und dem Internationalen Orgel-Festival in Oundle (England), Musikhochschule Wien, Musikhochschule Hamburg, Peabody Conservatoire in Baltimore (USA) usw. erlangte er internationales Ansehen, sowohl als Tutor als auch als Musikwissenschaftler. Alexander Fiseisky hat viele Einspielungen gemacht, einschließlich des gesamten Orgelwerkes von J. S. Bach. Er ist ferner tätig als Sachverständiger in allen Orgelfragen seines Landes, organisierte zahlreiche Festivals und wissenschaftliche Konferenzen. Mit der Veröffentlichung einer Anthologie “Orgelmusik in Russland” im Bärenreiter-Verlag (8217-8219) ist er als Herausgeber sehr darum bemüht, das Beste aus der russischen Orgeltradition dem Westen zu vermitteln.

Born in Moscow, Alexander Fiseisky has become one of Russia’s premier and most influential organists. He studied piano at the Moscow State Conservatoire under Professor Vera Gornostajeva and organ under Professor Leonid Roizman. He had further guidance and masterclasses from Wolfgang Schetelich, Leo Krämer, Daniel Roth and Jean Guillou. Alexander Fiseisky is an official organ soloist of the Moscow State Philharmonic Society and Head of the Organ Class of the Russian Gnessin’s Academy of Music. A significant number of premières of works which he has given have been dedicated to him – including compositions by Mikhail Kollontay, Vladimir Ryabov, Milena Aroutjunova, and Arif Mirzoyev. He has performed at many of the major festivals in the former USSR and abroad. He regularly appears as a jury member of national and international organ competitions including Calgary International Organ Festival (Canada) and St. Albans International Organ Festival (UK), etc. His lectures and masterclasses at the Royal Academy of Music in London and Oundle International Organ Festival (UK), Musikhochschule Vienna (Austria), Musikhochschule Hamburg (Germany), Peabody Conservatoire in Baltimore (USA), etc., established his international reputation both as a tutor and musicologist. Alexander Fiseisky has many recordings to his credit, including the complete organ works of J. S. Bach. He also continues to be nationally involved in organ matters in Russia, organizing a number of festivals and scientific conferences. He is strongly advocating the introduction of the best of Russian organ tradition to the West by editing an Anthology of Russian Organ Music by Bärenreiter-Verlag (8217-8219).

The Organ of St Margareta Basilica
Um die Jahrhundertwende schuf die Firma Fabricius eine neue Orgel, die auf der Westempore Platz fand. Mitte der dreißiger Jahre wurde diese durch eine größere ersetzt. Nach dem Abriß der Empore gelangte diese Orgel 1957 in das südliche Querschiff. Mit Beginn der Restaurierungsarbeiten 1975 befand sich die Orgel in einem sehr schlechten Zustand und wurde ausgelagert. Eine Restaurierung wäre wiederum Flickwerk geworden, das nicht zu rechtfertigende Kosten verursacht hätte, so daß der einzige realistische Weg vorwärts war, eine neue Orgel zu bestellen. Die Auswahl des Orgelbaumeisters gelang relativ schnell, die Fa. Rieger aus Schwarzach in Österreich erhielt den Auftrag für ein Instrument mit 40 Registern auf 3 Manualen und Pedal. Zu langwierigen Auseinandersetzungen führte dann aber die Frage des Standortes der Orgel. Die Südwand wurde gewählt, und die damals gefundene Lösung bleibt – für jeden hörbar, der sich im mittleren und hinteren Bereich aufhält – akustisch gesehen ein Kompromiß, wenn wahrscheinlich auch der beste, der gefunden werden konnte. Die Fa. Rieger schuf ein Werk, das durch seine große klangliche Geschlossenheit, seine der schwierigen Akustik angepaßte dezente Kraft und seine Vielseitigkeit viele positive Beurteilungen erfahren hat. Durch die Verwendung erlesener Materialien und die an guten Traditionen orientierte Bauweise wird diese Orgel auf lange Sicht ihre Aufgaben in der Liturgie und in Konzerten erfüllen können. Diese Vielseitigkeit, die im Klang der Orgel deutlich hörbar wird, erlaubt es, stilistische Vielfalt zu pflegen und Musik mit unterschiedlichstem Hintergrund aufzuführen.

At the turn of the century Fabricius built a new organ in the church’s west end gallery. They considerably rebuilt it again in the mid-1930s, and after the demolition of the gallery the organ was removed to the south transept in 1957. By the start of restoration work in 1975 the organ was not only in a poor state but, being stored temporarily in an unsuitable place, such further damage was done as to render any further repair unjustifiable; the realistic way forward was to commission an entirely new organ. The choice of builder was made relatively quickly, Rieger of Schwarzach in Austria being commissioned for an instrument of 40 stops over three manuals and pedals. Somewhat longer deliberation was needed as to its position within the church. The south wall of the transept was chosen, and it is probably the best overall solution, and Rieger’s work, with its tonal unity, its ‘subtle strength’ suited to the difficult acoustic, and its versatility, was favourably received. Construction according to time honoured traditions, with materials of superior quality, ensures a long term ability to fulfil all that is required of it within both the liturgical and concert fields. This eclecticism, as the sound of the organ itself ringingly declares, allows the stylistic performance of music from many different backgrounds upon it.

Klaus Wallrath

The Disposition:
Hauptwerk
1. Pommer 16′
2. Principal 8′
3. Spitzflöte 8′
4. Octav 4′
5. Nachthorn 4′
6. Superoctav 2′
7. Mixtur V 1 1/3′
8. Zimbel III 1/2′
9. Cornet V 8′
10. Trompete 8′
Rückpositiv
11. Holzgedackt 8′
12. Principal 4′
13. Koppel 4′
14. Gemshorn 2′
15. Quintlein 1 1/3′
16. Scharf IV 1′
17. Rankett 16′
18. Krummhorn 8′
Tremulant
Schwellwerk
19. Bourdon 8′
20. Salicional 8′
21. Voix Celeste 8′
22. Prestant 4′
23. Rohrflöte 4′
24. Nazard 2 2/3′
25. Flöte 2′
26. Tierce 1 3/5′
27. Sifflet 1′
28. Plein Jeu V 2′
29. Basson 16′
30. Hautbois 8′
31. Clairon 4′
Tremulant
Pedal
32. Principal 16′
33. Subbaß 16′
34. Octav 8′
35. Gedackt 8′
36. Choralbaß 4′
37. Rohrschelle 2′
38. Rauschpfeife IV 2 2/3′
39. Posaune 16′
40. Trompete 8′
Koppeln / Couplers:
I/II, III/II, III/I, I/P, II/P, III/P6 Generalsetzer, jeweils 4 Werksetzer
Mechanische Spiel- und Registertraktur6 Generals, 4 Divisionals
Tracker action, mechanical stop action
© Alexander Fiseisky

 

Edward A. Moore and Marvin Mills in performance at National City Christian Church, Washington, DC

On Friday, September 29 at 8 p.m., Dr. Edward A. Moore, the new minister of music at National City Christian Church, will present his DC debut organ recital, teaming up with the church’s new associate minister of music, Marvin Mills.

NOTES ON NATIONAL CITY FANFARE

National City Fanfare is a new work commissioned from composer Aaron David Miller. It was written for Dr. Edward A. Moore to commemorate his appointment as Minister of Music at National City Christian Church in Washington, DC. Aaron David Miller is presently Associate Organist and Assistant Director of Music at Fourth Presbyterian Church in Chicago, Illinois. A graduate of the Eastman School of Music and the Manhattan School of Music, Dr. Miller is in great demand as a performer, improviser and composer. In 1996, he won the top prize at the AGO National Improvisation Competition, and in 1998, he earned the Bach and Improvisation prizes at the Calgary International Organ Festival Competition. In 1999, his Concerto for Two Organists was premiered and recorded by the Zurich Symphony for Ethereal Records. Later this year, six of Aaron’s chorale preludes will be published by Augsburg/Fortress.

EDWARD MOORE

Edward Alan Moore, a native of Girard, OH, is currently serving as Minister of Music at National City Christian Church in Washington, DC. Previously he was Director of Music for Saint Andrew Presbyterian Church in Iowa City, Iowa, where he oversaw a music ministry of nine choral and instrumental ensembles. Before his position in Iowa, he served as Director of Music Ministries at Twelve Corners Presbyterian Church in Rochester, New York. He received his Doctor of Musical Arts Degree in Organ Performance in October 1999 from the Eastman School of Music in Rochester, where he was a student of Michael Farris. Edward was the 1995-1996 Russell Saunders Organ Scholar at the Eastman School, the first recipient of this award. He has studied organ improvisation at Eastman with Gerre Hancock and Richard Erickson and was a research assistant for Professor Wm. A. Little. He worked closely with Dr. Little on his Doctoral project, in which he researched the organ works of German Composer Heinrich Reimann (1850-1906). Edward received his Master of Music degree from the University of Illinois at Urbana-Champaign in 1993 as a student of Michael Farris. While in Illinois, he was organist and handbell choir director at the First Presbyterian Church in Urbana. He served as consultant for a new pipe organ built for the church by the Martin Ott Company of St. Louis, working with the builder to design the specifications for the instrument. Edward performed the dedication recital on the new instrument in 1998. For this recital, he premiered Preces for a New Instrument, a new organ composition written for and dedicated to him by then New York composer Aaron David Miller, now Associate Organist at Fourth Presbyterian Church in Chicago. The church produced a compact disc recording of the dedication recital.

He received his Bachelor of Music degree in music and religion from Grove City College in Western Pennsylvania in 1991, where he studied with the late Robert Cornelison. Edward’s choral conducting training has been with Fred Stoltzfus and Chester Alwes at the University of Illinois and Douglas Browne at Grove City College. During the fall semester 1998 Dr. Moore was a visiting faculty member at the University of Iowa School of Music while Professor Delbert Disselhorst was on sabbatical.

Concerts presented at academic institutions include recent recital performances at the University of Illinois at Urbana-Champaign and the University of Iowa. He has also performed at the State University of New York, Buffalo, the Eastman School of Music, the University of Illinois, Grove City College and Westminster College. Solo concerts presented for churches have included recitals in Iowa City, Iowa; Rochester, New York; Greenville, Pennsylvania; Scottsville, New York; Champaign, Illinois; Urbana, Illinois; Warren, Ohio; and Youngstown, Ohio.

Dr. Moore is a member of the American Guild of Organists, the American Choral Directors Association, the Association of Disciple Musicians and the Choristers Guild.

MARVIN MILLS

Marvin Mills, a native of Philadelphia, PA, is Associate Minister of Music at National City Christian Church. Previously he was Director of Music/Organist at All Souls Church, Unitarian, Washington, DC. Early music studies were with violin and piano. Further studies were done at Westminster Choir College as a prizewinner in the Alexander McCurdy Organ Competition.

He is a member of the National Association of Negro Musicians, former board member of the Unitarian/ Universalist Musician’s Network, and past dean of the District of Columbia Chapter of the American Guild of Organists.

He has performed throughout the eastern United States in such places as the Academy of Music in Philadelphia, the Kennedy Center for the Performing Arts, Barns of Wolf Trap Farm Park, and historic churches in Krakow, Poland, and appeared as guest artist with the Washington Male Choral, the Concert Artists of Baltimore, the Washington Bach Consort, the Cathedral Choral Society, and the Folger Consort.

Mr. Mills has performed for numerous chapters of the American Guild of Organists and was the featured recitalist in the Guild’s 1992 and 1996 Centennial national conventions. He opened the 1989 Wendell P. Whalum Concert Series at Morehouse College, performing for the entire student body. He was presented in recital by the Washington National Cathedral in observance of Black History Month 1989 and returned to appear on its 1995 Summer Festival Series.

Mr. Mills has recorded for PBS television the Concerto for Organ, Strings and Timpani by Francis Poulenc and a digital recording titled Organ Music from All Souls Church. A compact disk of music by Marcel Dupré is in production. Mr. Mills can be heard as arranger and accompanist on a disc of spirituals with mezzo-soprano Denyce Graves, Angels Watching Over Me.

Other accomplishments include a 1986 fellowship from the District of Columbia Commission on the Arts, and selection as featured recitalist at the Organ Historical Society 1991 and 1992 Conventions, as well as the American Guild of Organists 1992 National Convention in Atlanta, Georgia. In the spring of 1992 he performed the complete organ works of Johann Sebastian Bach in a weekly series of fourteen programs on the 96 rank Rieger organ at All Souls Church.

Mr. Mills made his West coast debut in July 1992 at the Spreckles Organ Pavilion International Organ Summer Concert Series in Balboa Park, San Diego, his New York City recital debut in July 1993 at the Riverside Church and his orchestra debut with the Jacksonville Symphony in June 1995.