Los Angeles Chapter
American Guild of Organists
presents
Presidents' Day Organ Festival
San Marino and South Pasadena
Monday, February 16, 2015
Schedule of the Day 9:00 am Sweet rolls, donuts, coffee and refreshments served complimentary in front of the Colonial Kitchen Restaurant, just east of the church 9:30 am – 10:15 am Aaron David Miller, Organist First Church of Christ, Scientist 1070 Huntington Drive San Marino, CA 91108 Aeolian-‐Skinner Opus 1424, 1963, Rosales 2013 – 2m/26r 10:40 am – 12 noon Richard Unfried, Organist Aaron David Miller, Organist San Marino Community Church (Presbyterian) 1750 Virginia Road San Marino, CA 91108 Casavant Frères, 1949/53, new console, 1994 -‐ 4m/46r ~ 12:15 pm – 1:15 pm Lunch at Calvary Presbyterian Church Lunch information on page 17 LAAGO Fund Raising -‐ Sheet music and CD sale ~ 1:15 pm – 2:15 pm Tom Mueller, Organist Manuel Rosales, Speaker Jaebon Hwang, Organist Calvary Presbyterian Church 1050 Fremont Avenue South Pasadena, CA 91030 Reuter Organ Co., 1966, enlarged by Reuter -‐ 3m/48r 2:45 pm – 3:45 pm James Welch, Organist Holy Family Catholic Church 1527 Fremont Avenue South Pasadena, CA 91030 Schoenstein Organ Co., 1994 -‐ 3m/39r 2 First Church of Christ, Scientist 1070 Huntington Drive San Marino, CA 91108 Aaron David Miller, Organist Program to be announced. San Marino Community Church (Presbyterian) 1750 Virginia Road San Marino, CA 91108 Richard Unfried, Organist Trumpet Voluntary in D John Stanley (1713-‐1786) A Congregational Hymn: Rejoice, The Lord Is King* Tune: Darwall’s 148th (Arr. Richard Unfried ) Music: John Darwall Text: Charles Wesley Prelude and Liebestod (Tristan und Isolde) Richard Wagner (Transcribed by Richard Unfried, 2013) (1813-‐1883) Short Introduction -‐ Verses 1 & 3 -‐ Short Interlude -‐ Verse 4 -‐ Extended Organ Stanza *Please turn to the last page for the Hymn. Prelude and Liebestod: At my 1950’s lessons on orchestral transcription for organ, Clarence Mader
recommended not slavishly transcribing every note and figuration in the orchestral score. Instead, I should
listen to a good recording and capture the essence of the orchestra’s effects. I often wanted to transcribe
this Wagner gem during my San Marino years, as this Casavant organ seemed a highly appropriate
vehicle tonally. On “getting around to it” in 2013, I transcribed a somewhat simplified “essence” that fit
well under the hands the Creator gave me. My only tools were a Chicago Symphony Orchestra
performance on You-Tube, and my PC’s Finale program.
Rejoice, the Lord is King! This hymn accompaniment was conceived in this very church. Just before my
arrival in 1984, The Pastor, The Rev. Dr. Dennis Denning, read a book on worship by Anne Ortland in
which she suggested the organist “improvise” a glorious minute-long “postlude” after the final sung
stanza. Dr. Denning asked that I give this a try. The weekly opening hymns of adoration thus appended
over the next year or two inspired a book of forty settings entitled Hymn Exultations for Organ, published
by Hinshaw in 1987. In the book, however, most of the “postludes” (but not this one) were reworked into
extended introductions.
Aaron David Miller, Organist Program to be announced. 3 Calvary Presbyterian Church 1050 Fremont Avenue South Pasadena, CA 91030 Tom Mueller, Organist Pastorale David Conte (b. 1955) There is a Happy Land George Shearing (1919-‐2011) Scherzetto Percy Whitlock (1903-‐1946) Allegro maestose e vivace from Sonata in B-‐Ilat major, Op. 65, No. 4 Felix Mendelssohn (1809-‐1847) One of the last students of legendary teacher Nadia Boulanger, David Conte is Chair of the Composition
Department and Professor of Composition at the San Francisco Conservatory of Music, and on the
Composition Faculty of the European American Music Alliance in Paris. He is the composer of over eighty
published works, including six operas, a musical, works for chorus, solo voice, orchestra, chamber music,
organ, piano, guitar, and harp. He currently serves on the board of the American Composer's Forum and as
Composer in Residence with Cappella SF, a professional chorus in San Francisco.
Sir George Shearing had a long career as a recording and concert artist and as a jazz pianist with various
ensembles, as well as a composer. In the 1970s, he made arrangements of 19th century American tunes for
organ. “There Is A Happy Land” is set in five variations based on a mid-19th century hymn.
Percy Whitlock was born in Chatham, Kent and at the age of seven he was given a voice trial at Rochester
Cathedral, where he was successful in being accepted as a probationer. This was the beginning of a long
association with the organ loft. He was a scholar at the Cathedral Choir School and then the Kings School. He
attended the Royal College of Music between 1920 and 1924. There he studied organ with Henry G.Ley and
composition with Ralph Vaughan Williams. The Organ Sonata in C minor dwarfs most of the other pieces
that this composer wrote. There is little of the 'sea front and deck chairs' about this work although the
Scherzetto has a lot of 'fun' about it.
Jakob Ludwig Felix Mendelssohn Bartholdy was born into a prominent Jewish family. Although initially
he was raised without religion, he was later baptized as a Reformed Christian. In the course of ten visits to
Britain during his life Mendelssohn won a strong following, sufficient for him to make a deep impression on
British musical life. He composed and performed, and he edited for British publishers the first critical
editions of the oratorios of Handel and of the organ music of J.S. Bach. During his visits to Britain he gave a
number of well-received organ recitals. These often included improvisations for which he was famous. In an
article in the magazine Musical World of 1838, the English organist Henry John Gauntlett noted: “His
execution of Bach's music is transcendently great. His extempore playing is very diversified - the soft
movements full of tenderness and expression, exquisitely beautiful and impassioned. In his loud preludes
there are an endless variety of new ideas and the pedal passages so novel and independent.”
These qualities are evident in the organ sonatas, which were commissioned as a 'set of voluntaries' by the
English publishers Coventry and Hollier in 1844 and were published in 1845.
4 Manuel Rosales, Speaker Jaebon Hwang, Organist Prelude and Fugue in A Major, BWV 536 Johann Sebastian Bach (1685-‐1750) Adagio assai from Five Pieces for Mechanical Clock Ludwig van Beethoven (1770-‐1827) La valse des anges Julien Bret (b. 1974) Toccata from Symphony 5 Charles Marie Widor (1844-‐1937) Johann Sebastian Bach made his early reputation as an organist. The son of a town and court musician, Johann
Ambrosius Bach, he owed much of his early training, after the death of his parents, to his brother, Johann Christoph
and began his career as organist at Arnstadt at the age of eighteen, moving to Mühlhausen four years later and in
1708 winning appointment as organist and chamber musician to Duke Wilhelm Ernst at Weimar, the elder of the two
rulers of the duchy.
Bach's later career took him in 1717 to Cöthen as Hofkapellmeister to the young Prince Leopold, a position in which
he composed secular music. His patron's marriage to a woman without cultural interests led Bach to leave Cöthen in
1723 and move to Leipzig, where he had accepted the position of Kantor at the Choir School of St. Thomas. He
remained in Leipzig until his death in 1750.
Prelude and Fugue in A major, BWV 536, was apparently written during Bach's years at Weimar. The opening
arpeggios of the Prelude lead to a four-voice fugue with a triple rhythm subject announced in the tenor, answered in
the alto, followed by the soprano and finally the pedals with the bass entry.
Organ clocks or flute clocks are precision mechanical clocks combined with a small organ. The mechanical clock
movement is linked to the musical mechanism and the tunes are generated by a barrel, usually of wood. The result is
melodious and tunes were composed especially for organ clocks by such famous composers as Haydn, Beethoven
and Mozart. The organ clocks were built for affluent, well educated, culturally sophisticated individuals with an fine
appreciation of art and music.
French composer Julien Bret is a virtuoso organist, a noted interpreter and an entirely original composer. His
musical path unites the tradition of the cinema organ to the spirit of Francis Poulenc. Above all, Julien Bret belongs
to the old and colorful family of "Parisian composers” in the tradition Clement Jannequin and Jacques Offenbach.
La Valse des Anges, composed in 1999, has become a "hit" of literature. It is frequently performed and recorded.
Charles-Marie Widor was born in Lyon. His father, the organist of St. François, Lyon, was his first teacher. Later
he studied with Jacques Lemmens in Brussels. As a boy, Widor was a skilled improviser. By 1860, at age 16, he
replaced his father as the organist at St François, and in 1869 became the “provisional” organist at St. Sulpice in
Paris, where he remained until 1934 without ever being “officially” named “Titulaire.”
Widor's best-known single piece for the organ is the final movement, Toccata, from his Symphony for Organ No. 5.
It is the first of the toccatas characteristic of French Romantic organ music, and served as a model for later works by
Boëllmann, Mulet, and Dupré. Widor was pleased with the worldwide renown this single piece afforded him, but he
was unhappy with how fast many other organists played it.
5 Holy Family Catholic Church 1527 Fremont Avenue South Pasadena, CA 91030 James Welch, Organist Prelude and Fugue in E Major Vincent Lübeck (1654-‐1740) Fantaisie Con moto; Allegro di molto e con fuoco Sursum Corda, Op. 155, No. 2 Sigfrid Karg-‐Elert (1877-‐1933) Mouvement (1953) Supplication Richard Purvis from Four Prayers in Tone (1951) (1913-‐1994) Handel in the Strand (1908) Adagio from Lyric Symphony (2009) Rulon Christiansen (b. 1949) Fiesta (1996) Emma Lou Diemer (b. 1927) Wonderful Words of Life Dale Wood (1934-‐2003) Final Louis Vierne from Symphony No. 3 (1870-‐1937) 6 Camille St.-‐Saëns (1835-‐1921) Jean Berveiller (1904-‐1976) Percy Grainger (1882-‐1961) Program Notes by James Welch The most prominent kigures in the North German organ school at the end of the 17th century were Buxtehude, Bruhns, and Lübeck. From 1675 to 1702 Lübeck served as organist at the Church of St. Cosmas in Stade, which still houses a famous organ built by Arp Schnitger in 1679. Lübeck was well known for his virtuoso performances, particularly at Saturday vesper services which in many North German cities took on a distinct concert-‐like character. In 1702 he was appointed organist at the Church of St. Nicholas in Hamburg, a position held until his death. Unlike the prelude and fugues of Bach, which are usually longer and more homogeneous, the earlier North German preludes and fugues consist of numerous short sections, each with a distinct rhythmic and textural character. Often these selections alternate free fantasia with contrapuntal techniques. Camille Saint-‐Saëns was born in Paris in 1835 and died in Algiers in 1921. He was one of the comparatively few late Romantic composers who devoted time to playing and composing for the organ. He entered the Paris Conservatoire at age 13. His kirst positions as organist were at the churches of St. Severin and St. Merry, moving to the Cavaillé-‐Coll organ at the Madeleine, a post which he held for many years. Among his output for the organ are six preludes and fugues, seven improvisations, and several fantaisies. Sigfrid Karg-‐Elert studied at the Leipzig Conservatory and was an accomplished pianist as a young man. He later taught theory and composition as Reger's successor in Leipzig and made an extensive concert tour of the United States in 1931-‐32. Although he actually came to the organ relatively late in his career, it was for this instrument that his greatest works were written. His compositions for the organ number over 250, requiring highly original registrations and with frequent changes of dynamics and color. Many are impressionistic tone poems, ranging from tonality to atonality. His strong attraction to the music of Scriabin, Debussy and Schoenberg is evident in many of his works. “Sursum Corda,” from his Opus 155, was published posthumously. Jean Marie Berveiller was a gifted French organist and composer who studied with Dupré. Berveiller composed several virtuoso jazz-‐inspired works for the instrument, four of which were published in his lifetime. Considering their sophistication and ingenuity, they deserve to be performed much more often. His riveting "Mouvement" (1953, dedicated to composer Jean Wiener) was recorded by Jeanne Demiessieux. It is clear that there was some sort of relationship between Berveiller and Demessieux: Berveiller dedicated his "Cadence: Etude de concert” to her, and she dedicated her organ cycle "Sept Méditations sur le Saint-‐Espirit" to him. She frequently performed his compositions in her organ recitals, and she recorded his "Mouvement" in 1967 on the Walker organ at the Metropolitan Cathedral of Christ the King in Liverpool, England. From here the story gets murkier. Dupré had championed Jeanne Demessieux in a series of public recitals for kive years, starting in 1941. However, in 1946, and without explanation, Dupré refused ever to speak again to Demessieux. Could there have been some sort of Dupré-‐Demessieux-‐Berveiller triangle? Richard Purvis is best known as Organist and Master of the Choristers at Grace Cathedral, San Francisco, where he served from 1947 until 1971. He was born in San Francisco in 1913, and as a young man studied classical organ with Wallace Sabin. He was also very interested in theatre organ, attending performances by the great theatre organists of the day. From 1936-‐1940 he studied at the Curtis Institute in Philadelphia with Alexander McCurdy. During World War 2 he served as a bandmaster; he was captured during the Battle of the Bulge and was imprisoned in the notorious Stalag 13, a German prisoner of war camp in Bavaria. Following his liberation, he returned to California, where he soon took the post at Grace Cathedral. He composed and published over 100 pieces for organ and 80 choral anthems; he concertized throughout the country; and he was much sought after as a teacher. He died in 1994. My biography Richard Purvis, Organist of Grace was published in 2013. “Supplication” is the third movement in his Four Prayers in Tone, published in 1951 and dedicated to his long-‐time partner John Shields. The work is based on the hymn-‐tune Eisleben, with the following penitential text: “Most Holy Lord and God, Grant that we may never lose the comforts from Thy death: Have mercy, O Lord.” 7 Percy Grainger (1882-‐1961) was an Australian-‐born composer, arranger, and pianist. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-‐dance tune “Country Gardens.” Grainger left Australia at the age of 13 to study at the conservatory in Frankfurt, Germany. Between 1901 and 1914 he was based in London, where he established himself kirst as a society pianist and later as a concert performer, composer and collector of original folk melodies. In 1914, Grainger moved to the United States, where he lived for the rest of his life. “Handel in the Strand” was composed in 1911 "for piano and two or more strings, or for massed pianos and string orchestra." Grainger arranged this version for piano solo in 1930. Later, he made arrangements for orchestra for and piano duet. Grainger provided a brief note on the piece in which he stated, “My title was originally ‘Clog Dance.’ But my dear friend William Gair Rathbone (to whom the piece is dedicated) suggested the title Handel in the Strand, because the music seemed to reklect both Handel and English musical comedy (the ‘Strand’ is the home of London musical comedy). At various points I have made use of matter from some variations of mine on Handel's ‘Harmonious Blacksmith’ tune.” This transcription for organ was made by Wolfgang Stockmeier. Rulon Christiansen is Lecturer in Music at Weber State University and Organist of St. Paul's Church in Ogden, Utah. His organ teachers include Tabernacle organists Alexander Schreiner and Robert Cundick, J. J. Keeler of Brigham Young University, and Russell Saunders at the Eastman School of Music. He has also studied in Paris with Gaston Litaize and André Fleury, a pupil of Louis Vierne. His compositions have been performed in such venues as Notre Dame Cathedral, Ulm Cathedral, and at conventions of the American Guild of Organists. This Adagio is from his very successful kive-‐movement "Lyric Symphony," which I was privileged to premiere at the Mormon Tabernacle in Salt Lake City. Historically there have been relatively few women composers for organ. Emma Lou Diemer, who was a colleague of mine at the University of California, Santa Barbara, is probably the world's most prolikic woman composer of organ and sacred music, and she continues to add to the repertoire. "Fiesta" was written for Santa Barbara's annual Spanish Days celebration in 1996, when she premiered the work at Trinity Episcopal Church. Dale Wood is recognized as one of the leading composers of church music in the 20th century, and his many organ and choral works have become standards in the sacred literature. He drew on a wide variety of sources for his over 125 organ settings-‐-‐from Gregorian chant to spirituals. He also co-‐
authored an organ collection with jazz pianist George Shearing. Born in Glendale, Dale was organist for Lutheran churches in Hollywood and Riverside. Dale lived and worked in Northern California from 1972 until his passing. He was organist-‐choirmaster at St. Mary the Virgin (Episcopal) in San Francisco, and he served as executive editor for The Sacred Music Press from 1975 to 1996. I am now in the process of writing a biography of Dale Wood, another one of our own California organist-‐composers. Although best known for his sacred organ works and anthems, Dale Wood was an avid theater organist: as a young man he performed frequently at the Orpheum Theater in Los Angeles; he entertained on an electronic organ during a 70-‐day Royal Viking cruise to the Orient; and his home organ was an electronic theater organ. His penchant for popular music is evident in this arrangement of the gospel hymn “Wonderful Words of Life,” which comes from his 1999 collection Two Tuneful Whimsies. Louis Vierne, the blind organist of Notre Dame Cathedral in Paris from 1900-‐1937, was the outstanding organ symphonist of the early 20th century. His Symphonie 3, written in 1912 and dedicated to French organ composer and virtuoso Marcel Dupré, is a kive-‐movement work culminating in this dazzling Final. During graduate school at Stanford I had lessons with Alexander Schreiner, organist of the Mormon Tabernacle in Salt Lake City. Schreiner had studied with Vierne in Paris in 1925-‐26, so I had the opportunity to ask Schreiner questions about the works he had studied with the composer himself. I will be playing at Notre Dame Cathedral on June 6 of this year, and I plan to end my recital with this Final. 8 Jaebon Hwang is a Los Angeles-‐based organist and composer. She entered the Korea National University of Arts as a young talent in the Pre-‐College Division and received a Bachelor of Music in composition. Following her undergraduate study, she earned a Master of Arts in Scoring for Film & Multimedia from New York University and a Graduate Certikicate in Organ Performance from University of Southern California with honors. As a composer, she has been repeatedly chosen to participate in three of the ASCAP kilm scoring workshops: NYU/ASCAP Film Scoring Workshop in Memory of Buddy Baker, ASCAP/Columbia University Film Scoring Workshop and ASCAP Television & Film Scoring Workshop with Richard Bellis. Her submission to the 8th Annual Young kilm Composers Competition, sponsored by Turner Classic Movies, won the 3rd prize among over 850 international entries. She was also commissioned to be one of the composers for the premiere of the French silent kilm “Les Deux Timides” (René Clair, 1929) at the 2008 Tribeca Film Festival. Her music has been heard at many other prestigious international kilm festivals. While pursuing her career as a composer, she also has been an active church musician and organist. In 2011, she was awarded the Fellow of American Guild of Organists (FAGO), the organization’s highest level of certikication. In 2013, she won the 3rd prize at the 13th National Organ-‐Playing Competition sponsored by The Ruth and Clarence Mader Memorial Scholarship Fund. In 2014, she became Organist of Westwood United Methodist Church where she presides over one of the largest organs in the region. This follows tenure as Organ Scholar and Assistant Organist at First Congregational Church of Los Angeles. She is currently pursuing a Doctor of Musical Arts degree in Organ Performance at the University of Southern California, Thornton School of Music, studying with Dr. Ladd Thomas. Aaron David Miller is a renowned concert organist and composer, having won numerous international awards and given concerts across the United States. Dr. Miller’s performances have been heard on National Public Radio, Minnesota Public Radio, Pipe Dreams, and many television programs. His compositions have been performed by such ensembles as the Zurich Symphony, Seattle Symphony, and Toledo Symphony. Dr. Miller’s work was recently honored with the 2004 Hellenikon Idyllion Composition Prize offered by the Olympic Committee in Athens, Greece. In 1996, Dr. Miller won the Top Prize in Improvisation at the American Guild of Organists National Convention in New York. In 1998, he went on to win the Bach and Improvisation Prizes at the Calgary International Organ Festival and Competition. Subsequently, he was invited to perform at the New York, Calgary, and Los Angeles Bach Festivals. His other prizes include the 1999 Helen Cohn Award for Music Research for his study of late Medieval and Renaissance keyboard music. Dr. Miller has been commissioned to compose works for numerous organ dedications and orchestra festivals. In 1999, the Zurich Symphony premiered and recorded his Concerto for Two Organists and Orchestra, a four hand-‐
four feet concerto featuring organists Kenneth Cowan and Justin Bischof. In 2004, Dr. Miller was commissioned to write Glass City Fanfare, a new work commemorating the 60th Anniversary of The Toledo Symphony. In the summer of 2006, Dr. Miller’s new work for organ and orchestra, Sleepy Hollow, will be premiered at the National Convention of the American Guild Of Organists in Chicago. Dr. Miller’s many solo organ, choral, and orchestra compositions are published through Augsburg Fortress, Paraclete Publishing, and Kjos Publishing House. He received his Bachelor of Music degree in 1995 from the Eastman School of Music, studying organ performance with David Craighead, Russell Saunders, David Higgs, and Michael Farris, and composition with Samuel Adler and Joseph Schwantner. Dr. Miller completed his graduate studies at the Manhattan School of Music, earning his Master of Music degree in 1997 and his Doctor of Musical Arts in 1999. He studied composition and organ performance with McNeil Robinson. Dr. Miller was a member of the theory faculty at the Manhattan School of Music from 1996-‐ 1999. He served as Organist and Assistant Director of Music at Fourth Presbyterian Church in Chicago from 1999-‐2000. Dr. Miller is currently the Organist and Director of Music at House of Hope Presbyterian Church, St. Paul, MN. Aaron David Miller is represented by Penny Lorenz Artist Management at www.organists.net. 9 Tom Mueller is Assistant Professor of Church Music and University Organist at Concordia University in Irvine, California, where he teaches organ, jazz, and composition. An award-‐winning church musician, Mueller also serves as the interim assistant organist at St. James’ in the City in Los Angeles, where he accompanies the acclaimed Choir of St. James’ under the direction of James Buonemani. Mueller maintains an active performance schedule, and has performed at universities and churches across the United States. In 2010, he performed the complete organ works of J. S. Bach in a series of seventeen concerts in his native state of Maine. He has received numerous commissions for new choral and liturgical works, and performances of his compositions have been broadcast on national radio and television. Mueller is also an accomplished guitarist, and toured the country as a member of The Muellers, a nationally-‐recognized family bluegrass band. Their fourth album, The Muellers, was released in 2009. His primary research interests include the early organ and keyboard works of J. S. Bach and the performance practice of organ continuo playing in the classical-‐era concerted sacred music of Germany and Austria. He has presented workshops, masterclasses, and lectures for numerous organizations, including several chapters of the American Guild of Organists, and has served as a faculty member for the Guild’s Pipe Organ Encounter program for young organists. In 2014, Mueller was awarded kirst place in the Schoenstein Competition in Hymn-‐Playing, held in conjunction with the biennial national convention of the American Guild of Organists in Boston, Massachusetts. Mueller earned the Doctor of Musical Arts degree at the Eastman School of Music, where he studied with David Higgs. He also holds degrees from the University of Notre Dame (M.S.M. in organ), and the University of Maine at Augusta (B.M. in jazz composition and piano), where he graduated summa cum laude. His former teachers include Craig Cramer, Alan Wingard, William Porter, Frank Mauceri, and Steve Grover, and he has performed in masterclasses with Stephen Tharp, Isabelle Demers, Ken Cowan, Alan Morrison, Michael Bauer, and Diane Meredith Belcher, among others. Manuel J. Rosales is President of Rosales Organ Builders in Los Angeles. His interest in the organ began at age 14, the consequence of hearing the music of J. S. Bach in the Walt Disney movie Fantasia. He served an apprenticeship with the Schlicker Organ Company of Buffalo, New York, from 1968 until 1975. Returning to Los Angeles in 1972, and overlapping his Schlicker association, he started his own business in 1973 and has developed an enviable reputation for building and voicing new organs of distinction. In addition, collaborations and consultations with C. B. Fisk; Dobson Organ Builders, Ltd.; Glatter-‐Goetz Orgelbau; and Parsons Pipe Organ Builders have resulted in several kine instruments. The world-‐renowned organ for the Walt Disney Concert Hall in Los Angeles, with its innovative façade, was designed jointly by architect Frank O. Gehry and Manuel Rosales. Built in collaboration with Glatter-‐Goetz Orgelbau and voiced together with long-‐time associate Kevin Gilchrist, this instrument’s iconic visual design has been seen worldwide in diverse media, including television commercials. Manuel Rosales and Kevin Gilchrist serve as Curators of the Walt Disney Concert Hall organ which celebrated the 10th anniversary of its inauguration in 2004. Active in the preservation of historic organs, of particular interest to him are the few remaining works of pioneer Los Angeles builder Murray M. Harris. As a member of the Technical Advisory Board for the ongoing rehabilitation of the Wanamaker Organ in Philadelphia he has designed a simplikied version of the Fleming pipe valve that increases the longevity of the instrument’s original 1904 windchests. Manuel Rosales has presented lectures at several AIO conventions and has served as Education Committee Chairman, Journal Committee Chairman as well as Program Chairman for the 2002 AIO Los Angeles Convention. Professional memberships include AIO, ISO, AGO, and the Organ Historical Society. 10 Richard Unfried studied with Robert Prichard, Irene Robertson, and Clarence Mader. He joined the Los Angeles Chapter as a college freshman in 1953, and was soon elected to the ofkice of Sub Dean. He later served the Orange County Chapter as Dean, and General Chair of their 1983 Regional Convention. He was elected National Councilor representing Region IX, serving from 1986 to 1992. Richard was on the Conservatory of Music faculty at Biola University for thirty-‐eight years. He retired in 1998, and holds the title, Professor of Music, Emeritus. In nearly sixty years as a church organist, Richard served the Robert Schuller Ministries (Crystal Cathedral) for twenty-‐one years, and the First Evangelical Free Church of Fullerton for twenty years. Between those venues, Richard was organist of this San Marino Community Church from 1984 to 1991, where he succeeded the legendary Mary Elizabeth Caldwell. Mary E. had served the congregation for thirty-‐
kive years as its kirst organist in this edikice. Richard and Mary E. became close friends, and shared a deep love for “Cassie,” an organ which had surely inkluenced her more than 200 compositions in print. Richard even adopted her frequent references to Cassie as The Beast! Richard ended his career as a weekly service player in 2011 to devote his primary attention to Yvonne, his wife of kifty-‐eight years who suffers a vascular dementia. James Welch is the University Organist and lecturer in music at California's Santa Clara University, where he joined the music faculty in January 1993. He also serves as organist at St. Mark's Episcopal Church in Palo Alto. Awarded the Doctor of Musical Arts degree in organ performance at Stanford University, James Welch studied with Herbert Nanney and served as Assistant University Organist. He has also studied organ with Grace Brown; Parley Belnap, Brigham Young University; Dr. Alexander Schreiner, former Mormon Tabernacle Organist; Dr. Josef Doppelbauer, Mozarteum Akademie, Salzburg, Austria; Jean Langlais, Ste. Clotilde, Paris, France; and Dr. John Walker. From 1977 to 1994 he served as University Organist at the University of California, Santa Barbara. The recipient of a Fulbright award to pursue research on historical Cavaille-‐Coll organs in Brazil, presenting lectures and recitals on this subject at conventions of the American Guild of Organists. His world-‐wide appearances include the following recitals at Notre Dame Cathedral, Paris; St. Stefans Cathedral, Vienna; Wellington Cathedral, New Zealand; National Theater, Taipei; Beijing Concert Hall; University of Rio de Janeiro, Brazil; Harvard, Yale, and Duke Universities; National Cathedral, Washington, D.C.; The Mormon Tabernacle, Salt Lake City; Grace Cathedral, San Francisco; Stanford University Memorial Church; and on carillons in Holland, Belgium, and Israel. James Welch is an Associate member of the American Guild of Organists. He has served on both the local and regional levels as an ofkicer of the Guild and has performed several times at Guild conventions. He has written articles on a wide variety of topics for The American Organist and The Diapason. As a member of The Church of Jesus Christ of Latter-‐day Saints, he has been very active in the Church's music program. He is the composer of a hymn in the Church's hymnal ("Bless Our Fast, We Pray," No. 138). He is a frequent guest recitalist at the Tabernacle on Temple Square in Salt Lake City, and he has taught as a guest professor at the Church Music Workshop held at Brigham Young University. He served a mission in Brazil 1970-‐72 and has returned several times for recitals and lectures. He and his wife, Deanne Everson, are the parents of two sons, Nicholas and Jameson. 11 First Church of Christ, Scientist 1070 Huntington Drive San Marino, CA 91108 Aeolian-‐Skinner Opus 1424, 1963; Rosales 2003/5 PEDAL 32 Resultant 16 Contra Viola 16 Bourdon (32p.) 16 Lieblich Gedeckt 8 Spitz Octave 8 Bourdon (Gr.) 5-‐1/3 Spitz Quint 4 Choral Bass 4 Bourdon (Gr.) 16 Contre Trompette 8 Trompette (Sw.) 8 Cromorne (Gr.) Great to Pedal 8 Great to Pedal 4 Swell to Pedal 8 Swell to Pedal 4 SWELL 8 Viola Pomposa 8 Viola Celeste (CC) 8 Rohrklöte 4 Gemshorn 2 Italian Principal III Mixture 16 Hautbois (t.c -‐ ext.) 8 Trompette 8 Hautbois (ext.) 4 Hautbois 8 Voix Humaine Tremulant Chimes Swell to Swell 16 Swell Unison Off Swell to Swell 4 GREAT Swell to Great 16 Swell to Great 8 Swell to Great 4 16 Bourdon (ext.) 8 Principal 8 Spitz Principal (Ped.) 8 Bourdon 8 Spitzklöte 8 Flute Celeste (t.c) 4 Octave 4 Koppelklöte 2-‐2/3 Nasard 2 Super Octave 1-‐3/5 Tierce IV Mixture 8 Cromorne Tremulant Great to Great 16 Great Unison Off Great to Great 4 THUMB PISTONS General 1-‐8 Great Divisionals 1-‐4 Swell Divisionals 1-‐4 Gr./Ped. reversible Sw./Ped. reversible Sforz. Cancel TOE PISTONS General 9-‐12 Pedal Divisionals 1-‐4 Great expression pedal Swell expression pedal Crescendo 12 Signal Lights for Cresc., Sforz. San Marino Community Church (Presbyterian) 1750 Virginia Road San Marino, CA 91108 Casavant Organ, Op. 1985, 1949 (4/46) Solo Division added 1953; New Casavant console 1994 Positive, Antiphonal, Antiphonal Pedal Divisions prepared for Many stops prepared for in each division CHOIR 8 Viola 8 Bourdon 8 Dulciana 8 Unda Maris 4 Lieblich Flöte 2-‐2/3 Nazard 2 Flageolet 1-‐3/5 Tierce 8 Clarinet Tremulant Ch. 16 Ch. Unison Off Ch. 4 (GG) PEDAL 32 Contra Bass 32 Subbass 16 Open Diapason 16 Violin Bass (Gt.) 16 Subbass (ext.) 16’ Bourdon (Sw.) 8 Principal (ext.) 8 Violin (ext.) 8 Stopped Flute (ext.) 4 Octave (ext.) III Harmonics 32’ Contre Trombone 16’ Trombone 8’ Tromba (ext.) GREAT 16 Violin Bass 8 Open Diapason 8 Violin 8 Harmonic Flute 8 Chimney Flute 4 Octave 4 Flute 2 Super Octave IV Fourniture Tremulant (prep.) Gt. 4 Gt. Unison Off POSITIVE (Prepared) Zimbelstern COUPLERS Great to Pedal 8 Great to Pedal 4 Swell to Pedal 8 Swell to Pedal 4 Choir to Pedal 8 Choir to Pedal 4 Solo to Pedal 8 Solo to Pedal 4 Solo to Swell 16 SWELL 16 Bourdon 8 Open Diapason 8 Rohr Flöte 8 Viola da Gamba 8 Salicional 8 Voix Celeste 4 Principal 4 Flauto Traverso 2 Block Flöte III Cornet 16 Double Trumpet 8 Harmonic Trumpet 8 Oboe 4 Clarion Tremulant Sw. 16 Sw. Unison Off Sw. 4 Swell to Great 16 Swell to Great 8 Swell to Great 4 Choir to Great 16 Choir to Great 8 Choir to Great 4 Choir to Swell 8 Great to Choir 8 Solo to Swell 8 Solo to Swell 4 SOLO (IV) 8 Doppel Flute 8 Gamba 8 Gamba Celeste 8 Aeoline (t.c) 4 Octave 8 Tuba Mirabilis Tremulant Solo 16 Solo Unison Off Solo 4 Solo to Great 16 Solo to Great 8 Solo to Great 4 Swell to Choir 16 Swell to Choir 8 Swell to Choir 4 Solo to Choir 16 Solo to Choir 8 Solo to Choir 4 All Swells to Swell Zimbelstern, Switch, Speed Control: Reversible Piston Transposer, up and down -‐ 7 half-‐steps Adjuster Key Lock Indicator Light for Crescendo Pedal Mass-‐Rowe Carillon/Tower
PISTONS General 1-‐10 (Manual and Toe) Swell 1-‐8 Great 1-‐8 Choir 1-‐8 Solo 1-‐6 Pedal 1-‐6 (Manual and Toe) Calvary Presbyterian Church 1050 Fremont Avenue South Pasadena, CA 91030 Reuter, Lawrence, Kansas, Op. 1505, 1966 GREAT 16’ Sub Principal 8’ Principal 8’ Bourdon 8’ Gemshorn 4’ Octave 4’ Koppelklöte 2’ Fifteenth IV Mixture 16’ Fagotto 8’ Fagotto Chimes (prep.) Great to Great 16’ Great Unison Off Great to Great 4’ SWELL 16’ Lieblich Gedeckt 8’ Rohrklöte 8’ Viola 8’ Viole Celeste (t.c) 4’ Principal 4’ Hohlklöte 2-‐2/3’ Nazard 2’ Blockklöte 1-‐3/5’ Tierce III Mixture 16’ Hautbois 8’ Trompette 8’ Hautbois 4’ Clarion Tremolo Swell to Swell 16’ Swell Unison Off Swell to Swell 4’ 61 (ext. Pos. 61 61 61 61 61 61 244 61 12 61 61 61 49 61 61 61 61 61 183 61 61 12 61 POSITIV (unenclosed) Ripieno 8’ Principale 8’ Voce Umana (t.f) 4’ Ottava 2’ XV 1-‐1/3’ XIX 1’ XXII 2/3’ XXVI ½’ XXIX 1/3’ XXXIII Concertato 8’ Flauto 4’ Flauto Aperto 2’ Flageoletta Sesquialtera II 8’ Cromorne Tremolo Positiv to Positiv 16’ PEDAL 16’ Open Diapason 16’ Bourdon 16’ Sub Principal 16’ Lieblich Gedeckt 8’ Octave 8’ Principale 8’ Gedeckt 4’ Choral Bass 4’ Gedeckt III Mixture 16’ Tromba 16’ Hautbois 8’ Fagotto 8’ Hautbois 4’ Schalmei 14 61 44 61 61 61 61 61 61 61 61 61 6 122 61 32 32 (Gt.) (Sw.) 32 (Pos.) (Sw.) 32 (Sw.) 96 32 (Sw.) (Gt.) (Sw.) 32
Thumb Pistons: Sw. to Ped. reversible Swell Divisionals 1-‐6 PED. to Man. Pistons ON/OFF for Swell, Great, Positiv F.O. (Full Organ) Generals 1-‐6 Gt. To Ped. reversible Great Divisionals 1-‐6 Setter Pos. to Ped. reversible Positiv Divisionals 1-‐6 Gen. Can. Toe Pistons: Zimbelstern reversible Generals 1-‐6 Pedal Divisionals 1-‐6 Great to Pedal eversible Swell to Pedal reversible Positiv to Pedal reversible Full Organ reversible Expression Pedal Crescendo Pedal Signal lights for: Crescendo (4 lights), Full Organ, Current COUPLERS Great to Pedal Unison Great to Pedal 4’ Swell to Pedal Unison Swell to Pedal 4’ Positiv to Pedal Unison Positiv to Pedal 4’ Swell to Great 16’ Swell to Great Unison Swell to Great 4’ Positiv to Great 16’ Positiv to Great Unison Positiv to Great 4’ Swell to Positiv 16’ Swell to Positiv Unison Swell to Positiv 4’ Holy Family Catholic Church 1527 Fremont Avenue South Pasadena, CA 91030 Schoenstein & Co. Organ, Op. 120, 1994 GREAT 16’ Bourdon (wood) 61 8’ Diapason 61 8’ Harmonic Flute 61 8’ ‘Cello (Ch.) 8’ Chimney Flute (Ch.) 4’ Principal 61 4’ Traverse Flute (Ch.) 2-‐2/3’ Twelfth 61 2’ Fifteenth 61 2’ Chorus Mixture (Ch.) 16’ Trombone (Ch.) 8’ Tromba (Ch.) 8’ Corno di Bassetto (Ch.) Chimes (t.c) (analog) Celestial Solo Voices (Duplexed) 8’ Principal 8’ Bourdon & Flute 8’ Violin 4’ Prestant 8’ Harmonic Trumpet 8’ English Horn Tremulant SWELL 8’ Principal 8’ Stopped Diapason 8’ Gamba 8’ Vox Angelica 4’ Principal 4’ Forest Flute 4’ Flute d’Amour 2-‐2/3’ Nazard 2’ Piccolo 1-‐3/5’ Tierce (T.C.) 2’ Full Mixture (III-‐IV) 16’ Bassoon 8’ Trumpet 8’ Hautboy 8’ Vox Humana 4’ Clarion Tremulant Sub Octave Nominal Pitch Off Super Octave CHOIR 16’ Bass Viol 12 8’ ‘Cello 61 8’ Chimney Flute 61 8’ Spire Flute 49 (Chimney Flute Bass) 8’ Unda-‐Maris (T.C.) 49 4’ Fugara 61 4’ Traverse Flute 61 2’ Harmonic Piccolo 61 2’ Chorus Misture IV 244 CELESTIAL (Man. I) 8’ Principal 8’ Bourdon & Flute 8’ Bourdon (wood) 8’ Violin 8’ Violin Celeste (T.C) 4’ Prestant 4’ Chimney Flute 8’ Harmonic Trumpet 8’ English Horn Tremulant 49 61 61 61 12 61 61 ext. 12 44 268 12 61 61 61 12 PEDAL 32’ Bourdon 32 (analog) 16’ Contra Bass (wood) 32 16’ Bass Viol (Ch.) 16’ Bourdon (Gr.) 8’ Diapason 32 8’ Flute (Gr.) 8’ Bourdon (Gr.) 8’ ‘Cello (Ch.) 8’ Stopped Diapason (Sw.) 4’ Octave 12 4’ Flute (Gr.) 32’ Contra Trombone 32 (analog) 16’ Trombone (Ch. ext.) 16’ Bassoon (Sw.) 8’ Tromba (Ch.) 4’ Corno di Bassetto (Ch.) CELESTIAL PEDAL 16’ Sub Bass 12 (Celestial) 8’ Bass (coupler) (Celestial) 61 37 61 61 49 61 37 61 61 COUPLERS Swell to Great Sub Octave Swell to Great Swell to Great Super Octave Choir to Great Sub Octave Choir to Great Choir to Great Super Octave Swell to Choir Sub Octave Swell to Choir Swell to Choir Super Octave Great to Pedal Choir to Pedal Swell to Pedal Swell to Pedal Super Octave Solid State Capture Combination Action: 16 Memory Levels 35 Thumb & Toe Pistons Programmable piston range for each memory level 8 Reversibles Separate 1 1/2 manual & pedal console for Celestial Organ in front of church
15 First Church of Christ, Scientist 1070 Huntington Drive San Marino, CA 91108 San Marino Community Church (Presbyterian) 1750 Virginia Road San Marino, CA 91108 Calvary Presbyterian Church 1050 Fremont Avenue South Pasadena, CA 91030 Holy Family Catholic Church 1527 Fremont Avenue South Pasadena, CA 91030 16 Parking for both the First Church of Christ, Scientist and
San Marino Community Church will be mostly on the streets. Please be very careful on
Huntington Drive as it is a very busy street.
Parking for Calvary Presbyterian also requires mostly parking on
Fremont Avenue or side streets.
Holy Family Church has a parking lot.
Lunch Information Lunch served at Calvary Presbyterian Church Sandwich of your choice: Beef, Turkey or Vegetarian, Pickle, Pasta Salad Cookie Condiments Refreshments, water and coffee $10.00 17 Acknowledgements First Church of Christ, Scientist Richard Kirtland, Organist and Monica Kenyon, Clerk San Marino Community Presbyterian Church Lisa Edwards, Organist Skip Ober-‐Miller, Business Manager Calvary Presbyterian Church Michael Wilson, Director of Music Holy Family Catholic Church Andrew Reed, Director of Music Jack M. Bethards, Schoenstein Organs Organ Preparation and Tuning First Church of Christ, Scientist and Calvary Presbyterian Kevin Gilchrist, André Rigden Curt Sather, Arthur Omura Casavant Organ at San Marino Community Presbyterian Sean Kieran and Phil Riddick Lunch Committee Russell Schertle, cashier, Mary Lee Mistretta, William Mistretta André Riggen, Manuel Rosales, Michael Wilson Program Booklet Production Zeljko Marasovich Organ Specicications Documentation Curt Sather 18 American Guild of Organists
Los Angeles Chapter
Philip Smith, Dean ▪ Ned Tipton, Sub-Dean
Karla Devine, Secretary ▪ Douglas Herbst, Treasurer
Manuel Rosales, Program Chair ▪ Alice Rucker, Education Chair
Donors
Program Sponsor
Robert Bottoms
Benefactor
Richard Kirtland
Patron
William Charles Beck
Manuel Rosales & Russell Schertle
Larry Waters
Sustaining
Dr. Timothy Howard & Jerry Beale
Frederick Swann
Dr. William and Mary Lee Mistretta
Dr. James Vail
Donor
Tom Henry Dr. Christian Hermann, Jr.
Roger A. House
Helen Young
John Mitchell Dr. Frances Nobert (in honor of Dr. Wilbur Held) Dr. Orpha Ochse
Cherry Rhodes & Ladd Thomas Byron Shirk Philip Smith Patricia Teele
Jack Le Van Nan Werden Stowell Werden José Luis Zambian
Ned Tipton & Matthew Leum
Contributor
Ryan Ballantyne
Freddie Lu and Frank McGinnis
Rick Jackson
Frances Johnston
Peter Krasinski Alice Rucker
David Wheatley
Marjie and Gary Toops
Tom and Kristina Mueller
Friend Mark Holmstrom
Josef Lesser
François Vaillancourt
Anonymous (in memory of David Larsen)
If you enjoyed today’s events please donate to help fund the future programs!
Mail your check to: LA AGO Fundraising 1737 Maltman Ave., Los Angeles, CA 90026
19
Rejoice, the Lord Is King
Short Introduction - Verses 1 & 3 - Short Interlude - Verse 4 - Extended Organ Stanza
4
&4
œ
œœ
1. Re - joice,
2. Je - sus,
3. His
king 4. Re - joice
œ
the
the
dom
in
˙ ™™
˙
œ
œ
œœ
Lord
is
Sa - vior,
can - not
glo - rious
King:
reigns,
fail,
hope!
Your
The
He
Our
Lord
God
rules
Lord
Lord
is
Sa - vior,
can - not
glo - rious
King:
reigns,
fail,
hope!
Your
The
He
Our
Lord
God
rules
Lord
œœ
œ
œ
˙œ
œœ
œ
Rejoice, the Lord Is Kingœ
œ
4
& 4 œ œœ œ œœ œ
œœ œœ œ œœ
? 4 œœ
œ
4
1. Re - joice,
2. Je - sus,
3. His
king 4. Re - joice
the
the
dom
in
˙™
œœ
œœ
˙˙ ™™
˙™
? 4 œœ œœ œœ œ œœ ˙ ™ œ
& œ4 œœ œ œœ œœœ #œœ œ œ
œ
Re - joice, give thanks and
When
He has purged our
The
keys of death and
And
take His ser - vants
? &œ œœ œœ œœ œœ œ œœœ œœœ
œ œ
œ
Re - joice, give thanks and
When He has purged our
The keys of death and
And take His ser - vants
&?˙˙ œ ˙˙ œœ
œ
up
up
up
up
your
your
your
your
sing,
stains,
hell
up
Lift
Lift
Lift
Lift
œ
up
up
up
up
your
your
your
your
voice! Re
voice! Re
voice! Re
voice! Re
-
King
a - dore!
truth and
love;
earth and heav'n;
judge shall come
œœ œœ
˙
œœ ˙ ™
™ ™
œ ˙˙ ™ ˙
ver
a
sus
nal
-
˙˙
˙™˙
-
œœ œ
œ
more.
bove;
giv'n:
home:
Lift
Lift
Lift
Lift
œœœ œœ˙˙ œœ œ#˙˙ ˙˙
œ
œ
˙™ œ
œ˙ ™
joice,
joice,
joice,
joice,
re
re
re
re
a - gain
a - gain
a - gain
a - gain
I
I
I
I
Lift
Lift
Lift
Lift
˙ ™˙ ™
˙ ™˙ ™
˙œ
ver
a
sus
nal
œœ
more.
bove;
giv'n:
home:
-
˙#˙
And tri - umph
e He took his
seat
Are to our
Je To their e - ter -
œœœ
œ
King
a - dore!
truth and
love;
earth and
heav'n;
judge shall
come
˙™
and
of
o'er
and
˙™
And tri - umph
e
He took his
seat
Are
to
our
Je
To their
e - ter
œ œ
œœ˙˙ ™™ œ œœ œ œœ œœ #œœ œ
heart,
heart,
heart,
heart,
and
of
o'er
and
˙˙ ™™
œœ
œœœ œ œ œ ˙ ™
œ œœœ œ œœ œ œœ ˙ ™ ˙ ™
œ œ
#œœœœ #œœ œœ œœœ
œ
sing,
stains,
hell
up
œœ
say,
say,
say,
say,
-
˙œ™
˙œ™
joice!
joice!
joice!
joice!
? &˙ ˙ ˙˙ ˙˙
˙
˙˙™˙™ ™
˙™
œ œ
œœ œœ œœœ œœ œœœ œœœ #œœœœ œœœ œœœ ˙˙ ˙ ˙ ˙œ ˙˙ ™™ ˙˙™™
œ
œ˙
œ œ œ
œ
up
up
up
up
your
your
your
your
heart,
heart,
heart,
heart,
Lift
Lift
Lift
Lift
˙˙
˙˙™™
? ˙
Text: Charles Wesley, 1707-1788
Tune: John Darwall, 1731-1789
up
up
up
up
your
your
your
your
voice! Re voice! Re voice! Re voice! Re -
joice,
joice,
joice,
joice,
a - gain
a - gain
a - gain
a - gain
I
I
I
I
say,
say,
say,
say,
œ œ
œœ œœ œœ œ œ œœ #œœ œ œœ ˙
re
re
re
re
˙
˙
-
joice!
joice!
joice!
joice!
˙˙™™
Irregular
Darwall
www.hymnary.org/text/rejoice_the_lord_is_king_your_lord_and_
k
This hymn is in the public domain. You may freely use this score for personal and congregational worship. If you reproduce the score, please credit Hymnary.org as the source.