* Required fields
Event submitted for review.
Thank you.

For questions or comments, please contact me at webmaster@organfocus.com


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

by admin, Events

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...

Read More

Alexander Fiseisky plays Bach Marathon in Duesseldorf, Germany

by admin, September 2000

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 pageProgram 2: 8.00 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 pageProgram 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 pageProgram 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 pageProgramm 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 pageProgramm 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 pageProgram 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...

Read More

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

by admin, September 2000

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...

Read More

J. S. Bach and the Organ – Some Neglected Threads

by Stephen Bicknell, Scholarly Works

Lecture read at the International Organ Festival at St. Albans 2nd December 2000 By Stephen Bicknell To use imagination in any area of serious study is a difficult business.There are no facts to be found in imaginary exercises. There may be insight of a kind, but that insight is deeply compromised by being at one stage removed from reality. Even with this cautionary note an imaginary exercise can sometimes be useful, and I am going to start by inviting you to consider just such a speculation in the hope that it may generate some tiny fragment of concrete information. Imagine that there was once a celebrated Thüringian organist and composer named Bach, widely respected for his ability as a performer, for his genius as a composer, and for his understanding of the art of organ building. Suppose further that Herr Bach had had the opportunity, at the height of his career, to commission a completely new organ that exactly represented his wishes as regards a really fine instrument. Imagine that negotiations with a leading organ builder led to a scheme for a substantial three manual organ of, say, about fifty stops; that a contract was signed, and that in due course the instrument was completed and delivered. Imagine that this instrument exhibited many innovative features which reflected not just the precise areas of development and interest that preoccupied musicians and craftsmen of the day, but also the specific inspirations and insights of the great man himself. If such an instrument had existed in respect of J. S. Bach himself we would have a far greater understanding of the man and his music. In truth the historical record conspicuously lacks any such instrument. There is no identifiable Bach organ, and despite the hopes of many researchers the possible connection between J. S. Bach and the design of any particular instrument – whether the Trost organ at Altenburg or the Hildebrandt at Naumburg – is at best treacherously tenuous. The study of Bach and the organ is very like the study of Stonehenge. At Stonehenge we have a leviathan monument of palpable importance. It has been studied extensively and with modern methods it is possible to trace with some accuracy the various stages of construction and use over a period of fifteen hundred years. Yet the archaeological record is infuriatingly slight. Apart from the stones themselves, the various filled holes suggesting previous states, and the earthworks which complete the site, there are virtually no artefacts or other evidence that might help to complete the picture. It is as though a Neolithic sanitation team had deliberately scoured the entire area removing every item which might conceivably give any clue as to the true purpose of the structure. There is an exceptionally fine book about Stonehenge by the archaeologist Christopher Chippindale, entitled ‘Stonehenge Complete’. Far more than describing in readily accessible terms what modern archaeology has discovered about Stonehenge, a job which can be satisfactorily completed in remarkably few pages, he presents a complete modern history of the monument, describing its rediscovery in the seventeenth century and explaining without fear or favour every single one of the sometimes mad theories which have been applied to it over the last four hundred years: that it was a temple at which Druids performed human sacrifices; that it was a giant astronomical observatory; that it was a landing site for flying saucers; and so-on. Chippindale makes several points from this study, especially that in the absence of any more coherent understanding based on fact these flights of the imagination are the very stuff of which Stonehenge history...

Read More

Walter Hilse plays Bach’s The Art of Fugue at St Peter’s Lutheran Church, NYC

by Lana Krakovskiy, Reviews

Review of Dr Walter Hilse’s performance of Bach’s The Art of Fugue, played on 9/24/2000 at St Peter’s Lutheran Church, NYC Today at 4 o’clock, at St Peter’s Lutheran Church in NYC, Walter Hilse gave a splendid performance of the Art of Fugue. The Klais organ sang, whispered, and trumpeted under Dr Hilse’s imaginative registration. Each fugue and canon possessed its own distinctive character, and like pieces of a puzzle they fit together perfectly. Dr Hilse interspersed the fugues with the canons, to “welcome contrast”, as he wrote in the program notes. The program was as follows: Fugue I Fugue II Fugue III Fugue IV Canon II at the Octave Canon IV at the Twelfth Fugue VI Canon I in Augmentation and Contrary Motion Fugue VII –intermission– Fugue VIII Fugue IX Fugue X Canon III at the Tenth Fugue XI Mirror Fugue in 4 Voices (Normal, then inverted) Mirror Fugue in 3 Voices (Normal then inverted) Fugue XII (Unfinished) Chorale Prelude Vor deinen Thron   The intensity of the performance grew as time went on. The canons were a pleasant variation to the complexity of the fugues. They also provided the opportunity to exploit the organ’s color to the fullest. The canon in Augmentation and Contrary Motion was, I think, a bit too fast and aggressive. I hear it as having a more composed, meditative character. In the context of the rest of the performance, though, Dr Hilse’s interpretation of the canon was a logical interlude between fugues VI and VII and made perfect sense that way. The fugues nrs. X and XI were particularly spellbinding. Dr Hilse unleashed the sheer power of those pieces and brought it thundering down into the sanctuary. It was simply thrilling, this windstorm of sound and logic, bound by deeply felt emotion. As the last, unfinished, fugue started, I was filled with apprehension, waiting for the moment when the B-A-C-H would sound. I’d like to think that I wasn’t the only one in the audience who wondered—just what sound will Dr Hilse choose to represent Bach’s name? It was a flute-like 8′. How fitting. After the last notes of the fugue hung in the air, clean and pure, it was also the sound that started the sublimely beautiful chorale, Vor deinen Thron. The minimalist modern architecture of St Peter’s was a perfect background for the highly spiritual music of Bach. Having never visited St Peter before, I was struck with it’s architect’s flight of imagination. I certainly have never seen a church where the sanctuary was below ground level, with ceiling windows facing the street. Several people were glued to the glass during the performance, and that created a feeling that the organ was speaking not only to us, sitting below, but also to the people outside, and to the sky, and to the entire city. While much bitter discussion is being centered on organists playing recitals for organists, Walter Hilse has performed Bach for the people. I believe musicians and non-musicians alike went home with a memory of something special today. Saint Peter’s Lutheran Church is located at 619 Lexington Avenue at 54 St New York, NY 10022 (212) 935-2200 www.saintpeters.org  ©2000 Lana...

Read More

Andrew Nethsingha plays at St George’s Cathedral, Kingston, Ontario, Canada

by Robert Conway, Reviews

We were delighted to have Andrew Nethsingha, the Organist and Master of the Choristers at Truro Cathedral, UK, here in Kingston, Ontario, Canada, to give a recital at St. George’s Cathedral, on Tuesday 10th October 2000. The programme was as follows: Guilmant Grand Choeur in D minor Whitlock Folk Tune J. S. Bach Trio super “Herr Jesus Christ Fantasia and Fugue in C minor Hollins Allegretto Grazioso Handel Adagio and March from the “Occasional Oratorio” Interval Karg-Elert Chorale-Improvisation “Nun danket alle Gott” Samuel Wesley Air and Gavotte Howells     Psalm Prelude (Set 1, No 1) “Lo, the poor crieth and the Lord heareth him, yea, and saveth him out of all his troubles.” (Psalm 34.6) Guillmant March on a Theme of Handel Andrew Nethsinga introduced the pieces at the beginning of each half, and then went on to play them as though he had played the organ at St. George’s Cathedral all his life! In fact, he was here some years ago when he gave a recital, which was as enjoyable as the one we heard this week. The organ has never sounded better! Mr. Nethsingha also conducted the Diocesan Choral Festival Service, Sunday October 15, 2000, at 4.00 pm. ©2000 Bob Conway...

Read More