The Second Sursa American Organ Competition Wednesday, September 6

to Saturday, September 9, 2017Sursa Performance Hall

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Letter from the Organizer and Congratulations...........................................................................3

Letters from the Dean and Director......................................................................................................4

Competition Schedule...................................................................................................................................5

Opening Recital Program............................................................................................................................6

Competitors’ Biographies and Repertoire......................................................................................7-9

Jury Members’ Biographies...............................................................................................................10-11

Goulding and Wood Organ Description...................................................................................12-13

Acknowledgements....................................................................................................................................14

Table of Contents

A second edition is always a greater challenge than a first. Following the great success of last year’s inaugural competition and the exposure that resulted from it, the Sursa American Organ Competition has become a well-known competition among young American organ students and professionals. Our partnership with the Moscow Conservatory International Organ Competition has proven to be very solid and beneficial. Last year one of our First Prize winners, Nicole Simental, was also awarded the First Prize in Moscow. This not only sent the message that the level at the Sursa American Organ Competition is of the highest international standard, but our procedures and overall organization is absolutely world class as well. All rounds are broadcasted live on the internet, our jury members are recognized as some of the most prestigious organists worldwide, and the level of our competitors has been breathtaking. This event is a great opportunity for Muncie and Ball State University to participate in the international music scene and showcase our wonderful facilities and professionalism.

I am forever grateful to the Sursa family for their amazing gift to Muncie and Ball State University. I am equally grateful to the whole State of Indiana. As I explained in my letter for the 10th anniversary of the organ in 2016, “The Sursa Performance Hall Organ is one of the only concert hall organs in the entire state of Indiana, and certainly the closest one to Indianapolis.The Palladium in Carmel has only front pipes but an empty space behind. The Hilbert Circle Theater in downtown Indianapolis has a nice Wurlitzer theater organ, however, it is not a concert hall organ for solo, chamber, or symphonic repertoire. When I was invited to perform in Sursa Hall years ago I fell in love with the instrument and its incredibly well tuned concert hall. My dream came true years later when I was offered the position of organ professor. With an instrument like this one it is not difficult to become emotionally attached. Every minute I spend with it teaching students, working on new concert programs, and sharing my passion for music with the city of Muncie and the Ball State University community is a tremendous pleasure.” It has become my voice and I have become its soul. I hope our competitors will find their way through its beauty and that they will make it their own voice for a few days to sing into the soul of the Ball State University, Muncie, and Indiana communities.

– Raúl Prieto Ramírez, instructor of organ at Ball State University

Congratulations to Nicole Simental, the co-winner of last year’s First Sursa American Organ Competition. Following her success at Ball State and advancement to the Moscow Conservatory’s IV International A. F. Goedicke Organ Competition, Nicole won the First Prize there in September, 2016.

Letter from the Organizer

Congratulations

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Schedule

Wednesday, September 6th

Opening Faculty Artist Series Recital by Raúl Prieto Ramírez 7:30 p.m. Sursa Performance Hall (free and open to the public)

Thursday, September 7th

Semi-final Round | Sursa Performance Hall (free and open to the public)

Morning Session:

10:00 a.m. Tate Addis 11:00 a.m. Wesley Hall12:00 p.m. Hansol Kim

Afternoon Session:

3:00 p.m. Yunjung Lee4:00 p.m. Kathryn Minion5:00 p.m. Aaron Tan

Results will be made public at 7:00 p.m. in Sursa Hall’s Mueller Lobby

Saturday, September 9th

Final Round, Part I | Sursa Performance Hall (free and open to the public)

10:00 a.m. FINALIST 1 10:45 a.m. FINALIST 2 11:30 a.m. FINALIST 3

Gala Concert (Final Round, Part II) | 7:30 p.m. | Sursa Performance Hall (Tickets $15*) The audience will be allowed to vote for the $500 Audience Prize Winner

7:30 p.m. FINALIST 18:00 p.m. FINALIST 28:30 p.m. FINALIST 3

Refreshments will be available in Sursa Hall’s Mueller Lobby while the jury deliberates

9:30 p.m. Announcement of Competition Winners and Presentation of Awards

*General Admission is $15; discounted student tickets are available with ID. Tickets are available through the Emens Auditorium Box Office, currently located at Sursa Hall due to construction.

It is indeed exciting for Ball State University to once again be hosting the Sursa American Organ Competition utilizing our wonderful Goulding and Wood instrument housed in stellar Sursa Performance Hall. When David and Mary Jane Sursa agreed to fund a pipe organ for the hall, we thought in terms of the advantages it would bring to the academic programs in our School of Music, the enjoyment it would provide for our community, and the beauty it would add to Sursa Performance Hall. Now through the leadership of Professor Ramírez and Dr. Hourigan, we stand to showcase our pipe organ and music facilities through this august competition. Our winner will receive a cash award and automatic acceptance into the International Moscow Organ Competition.

The level of competition is extremely high, and it is our privilege to be the host institution for a second year.

Robert A. Kvam, DeanCollege of Fine Arts

It is an honor to be hosting the second annual Ball State University – Sursa American Organ Competition in Sursa Hall. The Sursa Organ, made by Goulding and Wood, is a fine instrument housed in one of the great concert halls. We are excited to be hosting a number of competitors from all over the United States. Congratulations to Raúl Ramirez for showcasing this great instrument and bringing together some of the best talent in the country. We are also grateful to the Sursa family for their support of this competition which has enabled it to become an annual event.

Ryan Hourigan, DirectorSchool of Music

Letter from the Dean

Letter from the Director

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Johann Sebastian Bach . . . . . . . . . . . . . . . . . . . . . Toccata, Adagio and Fugue in C Major, BWV 564(1685–1750)

Jan Pieterszoon Sweelinck . . . . . . . . . . . . . . . . . . . . . . . . . . . Variations on Unter den Linden grune(1562–1621)

Franz Liszt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mephisto Waltz No. 1(1811–1886)arr. Raul Prieto Ramirez

Sebastián Aguilera de Heredia . . . . . . . . . . . . . . . . . . . . . . Tiento de batalla de 8º tono por delasolré(1561–1627)

Richard Wagner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Prelude to Die Meistersinger von Nurnberg(1813–1883)arr. Raul Prieto Ramirez

Opening Recital

Raúl Prieto Ramírez, organ

Semi-Final RoundFelix Mendelssohn (1809–1847) Sonata No. 6 in D minor, Op. 65, No. 6 Choral - Andante sostenuto - Allegro molto Fugo Sostenuto e legato Finale: AndanteJohann Sebastian Bach (1685–1750) Sonata No. 5 in C Major, BWV 529 Allegro - Largo - AllegroJean Langlais (1907–1991) Cantilene (II) from Suite BreveGirolamo Frescobaldi (1583–1643) Toccata Sesta from “Secondo libro di toccate...” 1627

Semi-Final RoundJohann Sebastian Bach (1685–1750) Sonata No. 5 in C Major, BWV 529 Allegro - Largo - AllegroLouis-Nicolas Clérambault (1676–1749) Suite du deuxieme ton Plein jeuFelix Menelssohn (1809–1847) Sonata No. 6 in D minor, Op. 65, No. 6 Choral - Andante sostenuto - Allegro molto Fugo Sostenuto e legato Finale: AndanteFlor Peeters (1903–1986) Toccata, Fugue, et Hymne sur ‘Ave Maris Stella,’ Op. 28

Final Round, Part IDietrich Buxtehude (1637–1707) Praeludium in G, BuxWV 148Johann Sebastian Bach (1685–1750) Toccata and Fugue in F, BWV 540Johannes Brahms (1833–1897) “Herzlich tut mich verlangen” Op. 122, No. 10 Max Reger (1873–1916) Te Deum, Op. 59, No. 12

Evening Gala Concert (Final Round, Part II)Charles Tournemire (1870–1939) Choral Improvisation on “Victimae paschali” (Durufle version)César Franck (1822–1890) CantabileMarcel Dupre (1886–1971) Magnificat I “My Soul Doth Magnify the Lord” from Op. 18Maurice Duruflé (1902–1986) Prelude and Fugure on the name of Alain, Op. 7

Final Round, Part IGeorg Böhm (1661–1733) Præludium d-moll Johann Sebastian Bach (1685–1750) Præludium et Fuga in D, BWV 532 André Isoir (1935–2016) Six variations sur un psaume Huguenot, Op. 1

Evening Gala Concert (Final Round, Part II)César Franck (1822–1890) Choral No. 2 in B minorGeorge Baker (b. 1951) Variations on ‘Rouen’ (2010)

Tate Addis, a native of Kansas, has been praised for his “deep, communicative musicality” and the Kansas City Star wrote “this young organist has the right stuff.” His recent recital appearances have taken him to New York City, Boston, Kansas City, Los Angeles, and the Rie Bloomfield Organ Recital Series at Wichita State University.

A dedicated church musician from an early age, Tate has held positions at New York City’s Brick Presbyterian Church, at Second Presbyterian Church in Kansas City, Missouri, and at the Yale Berkeley Divinity School in New Haven. Currently he serves as organist of First Baptist Church in Asheville, North Carolina.

A graduate of Yale and Oberlin, Tate’s teachers have included James David Christie, Lynne Davis, and Thomas Murray.

Wesley Hall is an organist and keyboardist based in New England. He is a graduate of the Yale School of Music and Institute of Sacred Music, where he studied organ with Martin Jean, and harpsichord with Arthur Haas. He holds both a master’s degree in historical performance and a Bachelor of Music in organ performance from the Oberlin Conservatory where he studied organ with James David Christie and harpsichord with Webb Wiggins.

Wesley has given concerts throughout the United States, Canada, and Europe, and has appeared as a soloist or continuo player with early music ensembles around the United States. In 2016 he received the Diapason Magazine’s 20 Under 30 Award. He serves as the Minister of Music and the Arts at the First Baptist Church of Worcester, Massachusetts.

Competitors and Repertoire

Ball State University School of MusicFaculty Artist Series

Wednesday, September 6, 2017 Sursa Performance Hall, 7:30 p.m.

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Semi-Final RoundJohann Sebastian Bach (1685–1750) Sonata No. 2 in C minor, BWV 526 Vivace - Largo - Allegro Louis-Nicolas Clérambault (1676–1749) Fugue (from premier livre d’orgue, suite I)Felix Mendelssohn (1809–1847) Sonata No. 4 in B-flat Major, Op. 65, No. 4 Allegro con brio Andante religioso Allegretto Allegro maestoso e vivaceOlivier Messiaen (1908–1992) Mess de la Messe de la Pentecôte Communion (Les oiseaux et les sources) Sortie (Le vent de l’Esprit)

Semi-Final RoundJohann Sebastian Bach (1685–1750) Sonata No. 4 in E minor, BWV 528 Adagio/Vivace - Andante - Un poco allegroGirolamo Frescobaldi (1583–1643) Toccata Prima from “Secondo libro di toccate...” 1627Felix Mendelssohn (1809–1847) Sonata No. 6 in D minor, Op. 65, No. 6 Choral - Andante sostenuto - Allegro molto Fugo Sostenuto e legato Finale: AndanteOlivier Messiaen (1908–1992) Dieu parmi nous (from La Nativité)

Final Round, Part ICésar Franck (1822–1890) Chorale No. 2 in B minorJohann Sebastian Bach (1685–1750) Toccata in C Major, BWV 564

Evening Gala Concert (Final Round, Part II)Nicolaus Bruhns (1665–1697) Prelude in E minor (“The Great”)Louis Vierne (1870–1937) “Clair de lune” from Pieces de FantaisieMaurice Duruflé (1902–1986) Prelude et Fugue sur le Nom Alain, Op. 7

Final Round, Part IJohann Sebastian Bach (1685–1750) Toccata, Adagio and Fugue, BWV 564Maurice Duruflé (1902–1986) Prelude et Fugue sur le Nom Alain, Op. 7

Evening Gala Concert (Final Round, Part II)Nicolaus Bruhns (1665–1697) Prelude in E minor (“The Great”)César Franck (1822–1890) Choral No. 3 in A minorLouis Vierne (1870–1937) Symphony No. 5 II. Allegro molto marcato

Hansol Kim, a native of Busan, South Korea, is currently pursuing a Performer Diploma in organ at the Indiana University Jacobs School of Music where she is currently studying with Janette Fishell, chair of the Jacobs School Organ Department. She received her undergraduate degree from Korea Baptist Theological University under Eunyoung Kim and her master’s degree at Yonsei University, where she studied organ performance with Tong-Soon Kwak and organ literature with Dong-ill Shin. She has been awarded many prizes including first place in the Fox Valley Chapter of the American Guild of Organists Scholarship Competition in 2017, the Strader Competition in 2016, the Mokwon University Competition, the Korea Baptist Theological University Competition, the Keimyung University Competition, and the Daeshin University Competition.

Yunjung Lee began to accompany worship services as a teenager on the piano in her native Busan, South Korea. During her high school years, she received third prize in the Korean High School Organ Competition at Kyemyung University in Busan. Her passion for the organ and church music grew consistently and led to her studies in organ with Seon Hee Kang, Hye Young Lee and Dongil Shin. Due to the education of her teachers in France, Germany, and the United States, Ms. Lee gained a well-rounded undergraduate education in organ performance at Yonsei University in Seoul. In 2014 she received first prize in the Korean Association of Organists Organ Competition. Yunjung Lee is currently a student in the organ studio of Stefan Engels at Southern Methodist University, studying in the Performers Diploma program. In 2017 she was awarded the second prize in the Hall Pipe Organ Competition in San Antonio, TX, first prize in the Arthur Poister Scholarship Competition in Syracuse, NY, and also first prize in the AGO Taiwan Organ competition in Taiwan. Ms. Lee holds the position of organist at First United Lutheran Church in Dallas where she plays the beautiful tracker  organ by Karl Wilhelm.

Kathryn Minion, originally from Chicago, completed her Bachelor of Music in organ performance with distinction at Indiana University’s Jacobs School of Music, studying with Janette Fishell. She studied with Michael Gailit in Vienna, Austria for a semester and then with Michel Bouvard and Jan Willem Jansen at the Toulouse Conservatoire in Toulouse, France, during her Fulbright grant in 2015-2016. Winner of the Arthur Poister Scholarship Competition in 2012, being named into the Diapason’s “20 under 30 - Class of 2015,” and the Fulbright grant are among the numerous awards she has received during her career. Kathryn is currently completing graduate studies with Stefan Engels at Southern Methodist University and is the Assistant Organist at Highland Park UMC in Dallas.

Aaron Tan is a passionate organist and pianist. His primary musical tutelage has been under John Tuttle, David Palmer, and Joel Hastings. He has won numerous noteworthy contests and scholarships on both instruments including the Toronto RCCO Young Organists Competition, the Osborne Organ Competition of the Summer Institute of Church Music (Ontario), the RCCO’s National Organ Playing Competition, the Charlotte Hoyt Bagnall Scholarship for Church Musicians, the Lilian Forsyth Scholarship, the West Chester University Organ Competition, the Arthur Poister Scholarship Competition, and the XVI Poland International Piano Festival Competition. He is currently Artist in Residence at the Cathedral Church of St. Paul in Detroit. More information about Aaron’s musical interests and activities can be found at www.AaronTan.org.

Semi-Final RoundJohann Sebastian Bach (1685–1750) Sonata No. 6 in G Major, BWV 530 LentoLouis-Nicolas Clérambault (1676–1749) Récit de cromorne et de cornet séparé (from premier livre d’orgue, suite I)Rachel Laurin (b. 1961) Étude-Caprice “Le rire de Belzébuth,” Op. 66 (2013)Felix Mendelssohn (1809–1847) Sonata No. 4 in B-flat Major, Op. 65, No. 4 Allegro con brio Andante religioso Allegretto Allegro maestoso e vivace

Semi-Final RoundJohann Sebastian Bach (1685–1750) Sonata No. 4 in E minor, BWV 528 Adagio/Vivace - Andante - Un poco allegroOlivier Messiaen (1908–1992) Alleluia Sereins from L’AscensionGirolamo Frescobaldi (1583–1643) Toccata Sesta from “Secondo libro di toccate...” 1627Felix Mendelssohn (1809–1847) Sonata No. 4 in B-flat Major, Op. 65, No. 4 Allegro con brio Andante religioso Allegretto Allegro maestoso e vivace

Final Round, Part IDietrich Buxtehude (1637–1707) Praeludium in E minor, BuxWV 142 Max Reger (1873–1916) Second Sonate, Op. 66 I. ImprovisationCésar Franck (1822–1890) Chorale No. 3 in A minor

Evening Gala Concert (Final Round, Part II)Thierry Escaich (b. 1965) Poèmes pour Orgue III. Vers l’espérance Johann Sebastian Bach (1685–1750) Prelude and Fugue in G Major, BWV 550Herbert Howells (1892–1983) Prelude de Profundis (1958)Louis Vierne (1870–1937) Organ Symphony No. 5 in A minor II. Allegro molto marcato

Final Round, Part ICésar Franck (1822–1890) Fantaisie en laJohann Sebastian Bach (1685–1750) Prelude and Fugue in A minor, BWV 543Marcel Dupre (1886–1971) Prelude and Fugure in G, Op. 7, No. 3

Evening Gala Concert (Final Round, Part II)Dietrich Buxtehude (1637–1707) Prelude in C, BuxWV 136Wolfgang Amadeus Mozart (1756–1791) Fantasia in F, K. 594Sigfrid Karg-Elert (1877–1933) III - La Nuit from Trois Impressions, op. 72Louis Vierne (1870–1937) Final (from Symphony No. 6)

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Raúl Prieto Ramírez is the first Spanish organist in recent times to establish himself among the elites of the international concert scene. “His powerful personality, passionate expressiveness, gift for communication, and outstanding technique make him shine in a wide range of repertoire and styles” (Los Angeles Philarmony). Milan Cathedral described him as “an extraordinary mix of transcendent virtuosity, technical skill and intellectual control, and a genuine Mediterranean sense of musicality. His interpretations, all of the highest level, demonstrated great artistic maturity, security, and eloquence--something possible only in musicians who have raised their art to an existential level” (Fabrica del Duomo de Milano, Italy). “Raúl Prieto Ramírez is a colossally talented organist. His fearless playing and at-times brazen registrations gave his eclectic program a nervy, exciting flair so often lacking in classical recitals. He’s the whole package - flawless technique and solid repertoire executed with the flair and bravado of a matador” (Joey DiGuglielmo, Washington Blade). After his debut in UK The Sentinel wrote about Mr. Prieto Ramírez that “Raúl played the organ with such enthusiasm. He made it talk in a way that I have never heard it talk before. The footwork on the pedals and hand movements between the four manuals were like lightning. For a person so young to be able to play such pieces for one hour continually from memory, was simply awe-inspiring”(Ron Richards, The Sentinel, UK). “His brilliant virtuosity and abundant expressive prowess remained in complete service

to his musicologically informed, deeply insightful interpretations. The program was swo electrifying that he earned an enthusiastic standing ovation at the intermission as well as at the end, after which the audience demanded several encores” (Bruce B. Stevens, Richmond, VA). Mr. Prieto Ramírez was appointed at age 27 as the first Organist-in-Residence of the Auditorio Nacional de Música in Madrid—Spain’s National Concert Hall, a position that had never existed before. Within the first six months of his appointment, he increased attendance at the hall’s organ recitals by a multiple of 30, and critics hailed him as one of the most exciting talents in the music scene in Spain. Right after Madrid, he developed the most successful organ Festival in his country, set in Barcelona, where he fills the Basilica in Mataró with audiences of over a thousand. Mr. Prieto Ramírez is now a successful concert organist with a busy global schedule that takes him to major Festivals and Concert Halls around the world. He studied in Stuttgart with Ludger Lohmann on a scholarship from German government and with pianist Leonid Sintsev from Rimsky-Korsakov Conservatory in St. Petersburg. He also worked on interpretation of the most important schools of organ literature with leading teachers such as Marie-Claire Alain, Guy Bovet, Eric Lebrun, Lionel Rogg, Zsigmond Szathmáry, and Luigi Ferdinando Tagliavini, and he also studied composition, orchestra conducting, improvisation, and continuo playing. The premiere of many of his works have been recorded and broadcast in Spain, including chamber music, organ music, many pieces for solo instruments and a concerto for organ and orchestra premiered in Barcelona during the City Festival. Mr. Prieto Ramírez has been a jury member of several organ competitions like the III Goedicke International in Moscow among others. He is often requested for master classes in prestigious institutions like Bloomington University, Baylor University, Graz University in Austria, Moscow Txaikovsky Conservatory, Celebrity Series in Huntsville (AL) and several AGO chapters. Since September 2014, Mr. Prieto Ramírez is the organist in residence at Sursa Performance Hall and the organ faculty at Ball State University. He continues as the artistic director of the annual summer International Organ Festival and Academy in Barcelona. He has been widely recorded and interviewed for radio and television in several European countries, Canada, Russia and in the US. His first two compact discs, on the Brilliant Classics label, were recorded at Milan Cathedral in Italy and at the famous Palau de la Música Catalana in Barcelona.Follow him on www.facebook.com/raulexperience | www.raulprietoramirez.com | www.duomusart.com

Cherry Rhodes is the first American to win an international organ competition (Munich, Germany). During her brilliant career she has toured extensively throughout the major music capitals of America and Europe with recitals in cathedrals, churches, and concert halls, including Lincoln Center (New York City), Kennedy Center (Washington, D.C), Orchestra Hall (Chicago), Meyerson Symphony Center (Dallas), the Performing Arts Center (Milwaukee), Kimmel Center for the Performing Arts (Philadelphia), Royal Festival Hall (London), International Performing Arts Center (Moscow), Philharmonic Halls of Berlin, Dortmund, and Luxembourg, the Organ and Architecture Symposium, and the renowned International September Music Festival of Montreux-Vevey (Switzerland). Other international festivals include those of Paris (Notre Dame and St. Eustache), Munich, Freiburg, Nurnberg, St. Albans, Luxembourg, Vienna, Bratislava, Presov, Gdansk and Warsaw. As one of the first organists to perform on the organ in the Walt Disney Concert Hall in Los Angeles, Rhodes premiered Concierto de Los Angeles by James Hopkins, with members of the Los Angeles Philharmonic. Subsequently, she played the monumental Symphonie Concertante by Joseph Jongen on the Los Angeles Philharmonic Subscription Series and a solo recital sponsored by Toyota. At age seventeen, Rhodes made her debut with the Philadelphia Orchestra and later performed many times under the baton of Eugene Ormandy as well as numerous guest conductors. Since that time she has performed

as soloist with orchestras including the Los Angeles Philharmonic (with conductors Simon Rattle and Edo de Waart), the Phoenix Symphony, the Pasadena Chamber Orchestra, the South German Radio Orchestra, and the Orchestra of the French National Radio. From 1972-1975, Rhodes taught organ at the Peabody Conservatory in Baltimore. During this time she was Artist-in-Residence at All Souls Church, Unitarian in Washington, D.C., where she gave recitals and frequently premiered new music. Numerous composers have written and dedicated works to her, and she has edited several compositions as well. These include Ascent by Joan Tower (Associated Music Publishers, Inc.), Prelude and Variations on “Old Hundredth” by Calvin Hampton (Wayne Leupold Editions, Inc.), Meditations on “Salve, Festa Dies”and Chorale, Diferencias and Glosas on “Puer Natus in Bethlehem”by Joseph Walter (Composer’s Library), and Larry King — The Organ Music for solo organ and organ and tape (Wayne Leupold Editions, Inc.) Rhodes has recorded for Columbia Records with Eugene Ormandy and the Philadelphia Orchestra. Everyone Dance, her critically acclaimed solo recording on the Pro Organo label, has been hailed by The American Organist as “A joyous celebration of unrivaled artistry!” She has been featured on the CDs Pipedreams Live!(Minnesota Public Radio), Comes Summertime (JAV Recordings), Historic Organs of Boston (The Organ Historical Society), Jean Guillou — Colloques (Augure), Cherry Rhodes…Live (Pro Organo), Cherry Rhodes in Concert and Cherry Rhodes at the Kimmel Center(Delos Productions, Inc.). Many of her performances have been broadcast throughout North America and Europe. Rhodes is a graduate of the Curtis Institute of Music, where she studied with Dr. Alexander McCurdy. She received Fulbright and Rockefeller grants for studies in Munich with Karl Richter and in Paris with Marie-Claire Alain and Jean Guillou, who invited her to be his assistant for two years at St. Eustache. Rhodes, Adjunct Professor of Organ, has taught at the Thornton School of Music since 1975. Many of her students have won awards, grants, and top prizes in competitions in the United States and Europe. A sought-after musician, she gives master classes and frequently serves as adjudicator for competitions in North America and Europe.

Huw Lewis was born into a musical family in Wales, and received formal training with John Birch and Ralph Downes at the Royal College of Music in London and at Cambridge University. In 1972, he came to the United States to study organ at the University of Michigan, earning Master’s and Doctoral degrees in organ performance. His teachers there were Robert Clark, Robert Glasgow, and Marilyn Mason. He also studied privately with Catharine Crozier. Huw Lewis’ early career was marked with distinction: he received the teaching and performing diplomas from the Royal Academy and the Royal College of Music, and top prizes for both diplomas of the Royal College of Organists while yet a teenager; he received scholarships and fellowships at Cambridge and Michigan Universities, and won First Prize at the National Organ Competition in Fort Wayne, Indiana. Subsequently, his extensive performing career has taken him all across the United States, and to Britain, Europe, and Russia. he has performed at numerous national and regional conventions of many professional organizations, including the Hymn Society of America and the American Guild of Organists; he has been a soloist at the International Congress of Organists, and has judged at many competitions, including the Dallas International Organ Competition. His playing has been broadcast over the radio in Europe, Britain, and in the U.S., and on Television in the U.S. Huw Lewis has appeared as a soloist many times with orchestra; he recently participated in the world premieres of concertos by Alfred

Fedak and Michael Daugherty. Dr. Lewis is College Organist at Hope College, and Director of Music at St. John’s Episcopal Church, Detroit.

David Higgs, one of America’s leading concert organists, is also Chair of the Organ Department at the Eastman School of Music. He performs extensively throughout the United States and abroad, and has inaugurated many important new instruments including St. Stephan’s Cathedral, Vienna; the Meyerson Symphony Center, Dallas; St. Albans Cathedral, England; St. Canice’s Cathedral, Kilkenny, Ireland; and the Church of St. Ignatius Loyola in New York City. His performances with numerous ensembles have included the Chamber Music Society of Lincoln Center, the Orpheus Ensemble, Chanticleer, and the Empire Brass. For more than twenty years the San Francisco Symphony featured his holiday organ recitals at Davies Symphony Hall, and now the Los Angeles Philharmonic/Hollywood Bowl continues that tradition each year at the Walt Disney Concert Hall. Mr. Higgs performs, teaches, and adjudicates at festivals and competitions throughout the world, including the International Organ Festivals and Competitions of Bremen, Germany; the Leipzig Bach Competition, Germany; the Gottfried Silbermann Competition in Freiberg, Germany; Calgary, Canada; Dublin, Ireland; Odense, Denmark; Varzi, Italy; Redlands and San Anselmo, California; and the Gilmore International Keyboard Festival. In England he has appeared several times at the Oundle International Festival and Organ Academy, the St. Albans International Festival and Competition, and the Cambridge Summer Festival; in France, at the Xavier Darasse International Competition in Toulouse; and

in Japan, at several venues, most recently an all-Bach recital for the composer’s birthday at Izumi Hall in Osaka. His performances for colleagues include national, regional and pedagogy conventions of the American Guild of Organists, as well as national conventions of the American Pipe Organ Builders Association, the American Institute of Organbuilders, the Westfield Center, and the Organ Historical Society; and in London, the Annual Congress of the Incorporated Association of Organists, and the International Congress of Organists. A native of New York City, Mr. Higgs held his first position as a church organist at age ten; as a teenager, he performed classical music as well as rock, gospel, and soul music. He earned the Bachelor and Master of Music degrees at the Manhattan School of Music, and the Performer’s Certificate from the Eastman School of Music. His teachers have included Claire Coci, Peter Hurford, Russell Saunders, and Frederick Swann. In New York City, he was Director of Music and Organist at Park Avenue Christian Church, and later Associate Organist of the Riverside Church, where he also conducted the Riverside Choral Society. After moving to San Francisco in 1986, he became Director of Music and Organist at St. Mark’s Episcopal Church in Berkeley, Director of Church Music Studies at the Church Divinity School of the Pacific in Berkeley, and Organist/Choir Director at Temple Emanu-El in San Francisco. In addition to his significant performing career, Mr. Higgs has distinguished himself as a pedagogue. He was appointed to the faculty of the Manhattan School of Music upon graduation from that institution, and has been a member of the faculty of the Eastman School of Music since 1992. His students have won prizes in prestigious international competitions, and hold important positions in leading academic and religious institutions. Mr. Higgs has recorded for Delos International, Pro Organo, Arsis, Loft, and Gothic records.

Jury Members

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GREAT16’ Bourdon8’ Principal8’ Gambe8’ Flûte harmonique8’ Bourdon (ext. 16’ Bourdon)4’ Octave4’ Flûte conique2 ⅔’ Twelfth2’ Fifteenth1 ⅗’ Seventeenth1 ⅓’ Fourniture IV16’ Bombarde8’ Trumpet4’ Clairon8’ Tuba Magna (floating) Tremulant Great Reeds Off Great Great to Great 16-Unison Off-4 Swell to Great 16-8-4 Positif to Great 16-8-4 SWELL16’ Cor de nuit8’ Diapason8’ Cor de nuit (ext. 16’ Cor de nuit)8’ Viole de Gambe8’ Voix céleste4’ Prestant4’ Flûte traversiére2’ Doublette2’ Piccolo2 ⅔’ Sesquialtera II2’ Plein Jeu III-IV16’ Basson-Hautbois8’ Trompette8’ Hautbois (ext. 16’ Basson-Hautbois)8’ Voix humaine4’ Clairon8’ Tuba Magna (floating) Tremulant Swell to Swell 16-Unison Off-4 Positif to Swell 8 Great Reeds On Swell

POSITIF16’ Quintaton8’ Flûte à cheminée8’ Gemshorn8’ Unda maris4’ Prestant4’ Flûte à fuseau2 ⅔’ Nazard2’ Doublette2’ Flûte à bec1 ⅗’ Tierce1 ⅓’ Larigot⅔’ Cymbale IV8’ Cromorne8’ Tuba Magna (floating) Tremolo Positif to Positif 16-Unison Off-4 Great to Positif 8 Swell to Positif 16-8-4 Great Reeds on Positif PEDAL32’ Contre Bourdon (extension of 16’ Soubasse)16’ Principal16’ Soubasse16’ Bourdon (Gt.)16’ Cor de nuit (Sw.)8’ Octave8’ Flûte bouchée8’ Bourdon (Gt.)8’ Cor de nuit (Sw.)4’ Choral Bass4’ Cantus Flute2 ⅔’ Fourniture IV16’ Bombarde16’ Basson (Sw.)8’ Trompette8’ Basson (Sw.)4’ Clairon8’ Tuba Magna (floating) Tremolo Great to Pedal 8-4 Swell to Pedal 8-4 Positif to Pedal 8-4 Great Reeds on Pedal

Goulding and Wood Organ Description

14

The School of Music would like to thank the following people for making this event possible:

The Sursa Family

Robert Kvam, dean of the College of Fine Arts

Richard Grill, host family

Paul and Christy Reilly, host family

Rebecca Burkart

Kathy Burrell, Sursa Hall backstage manager

Zachary Bretz and Johna Walls, program designers

Peter Douglas, Jared Post, and Ben Weaver, student assistants

Acknowledgements

Series LXXII – Number 5