Thank you, and keep in touch!

I've come to the end of my final term as Regional Councillor for this fabulous Region of the Guild, and my successor, Marilyn Schempp, will be installed as Councillor for Region VI at the national AGO convention in Nashville next week. As I contemplate "passing the torch" to her, I have very mixed emotions.

Of course I will enjoy the extra time I'll recover in my schedule (and I already have plans for use of that time!) But on the other hand, I will truly miss serving in this particular volunteer position. I'll miss the many opportunities I've had to converse with and be inspired by so many dedicated volunteers who serve the Guild and its members in our ten states. So many of you have truly touched my life.

One of those people is Larry Wheelock, Dean of the Milwaukee chapter. His letter, printed in that chapter's letter soliciting membership renewals and donations, expresses eloquently the strength and scope of Guild membership to "touch the future." An excerpt from it is printed below.  I hope his words inspire you as much as they did me.

Thank you for allowing me to serve as your Regional Councillor for the past six years. I know you will join me in warmly welcoming Marilyn, from Sioux City, SD, to the role. She brings a wonderful skillset and passion for the work of the Guild, and I am certain that she'll be a great Councillor for us. (Did you know the South Dakota chapter, in Sioux City, will host their SIXTH POE this summer?)

All sincere best wishes to you all -- and please, do keep "in touch"!
Jan

From Larry's letter: 

As the Chapter Executive Board was planning this renewal mailing, Steve Jensen quipped that the Dean usually sends along a touching letter. We chuckled at his jest, but in the days following the meeting I have been musing on how appropriate the allusion to touching really is. There are so many references to touching which apply to the situation. 

• From Latin we have toccare, meaning ‘to touch’ and giving us the musical form, “toccata,” (a “touch-piece”) with which we are all familiar. 

• We keep-in-touch to be aware of our colleagues and our arts-community and to allow them to be aware of our guild and chapter activities and programs and what each has to offer. 

• We touch-base with our profession and our colleagues to make sure we are grounded; connected; on-track. 

• We speak of the touch of a keyboard and our approach to it as we discuss practices and techniques and how to improve our own use of them. 

• We speak of putting-the-touch on someone, meaning, “to ask for money,” which we find so necessary at this time of year. 

• And, perhaps, most importantly, we hope that we touch our audiences and parishioners and choristers and students; that they are touched by our musicianship, skill, emotion, and musicality. 

This touching letter is the result of that contemplation. I need not tell you of the financial challenges faced by each of our churches, synagogues, schools, and institutions, and by many individuals in this time of widespread concern. I can only ask that you examine for yourself the value and importance you place on your chapter membership and then respond by renewing promptly and, if at all possible, adding a donation beyond your dues. ... Your renewal can make a difference. Please renew promptly and consider a donation; by doing so (with apologies to the Teacher’s Union) you too can “touch the future.”

A Worthy Goal for Your Consideration

By this point in the calendar year, you may be like me:  despite my best intentions, I've blown most of my New Year's resolutions.

What to do now?  My answer is clear:  make new resolutions!

Today I recommend to you one professional goal that I believe is very worthy of your time and attention.  Why not try this year to earn your certification at one of the various levels offered by the Guild?  The goal of attaining certification is one that will benefit you in many ways.  I personally can attest to this, having, through many years, earned my Colleague (CAGO), Associate (AAGO) and Fellow (FAGO) certificates.

Everyone who has become certified has a different reason for doing so, and each person reaps different rewards from the process.  When I began working toward the CAGO certificate, over 20 years ago, I wanted to attain new skills and repertoire to contribute to my weekly service-and-rehearsal-playing responsibilities at my part-time church position.  I found -- and still find -- that each and every one of the skills I attained on that first certification journey has helped form a very valuable foundation on which I depend to this day. 

About five years ago, I felt that I again needed to refresh  old skills and learn new ones, and, being Region VI's newly-elected Councillor, I wanted to set a personal example for those in the region.  So, with fellow members in a "certification support group" we formed on-the-spot at the 2007 Regional Convention in Lincoln, NE, I committed to work on my next level of certification.  Two years later, at the Regional Convention in Wichita, KS, several of us were pleased to report that we'd reached our goals:  we'd earned our next certificates.  And, importantly, those in the group who had not yet attained that goal reported that they HAD acquired new skills along the way.  We re-committed to each other to keep going.  For me, that meant looking into the FAGO requirements.

When I began my certification journey over 20 years ago, attaining the Guild's top level of certification was something I never dreamed I would or could have done.  But the certification process led me step-by-step through the small goals that resulted, with time and effort, in that very big goal becoming a reality for me in 2010.  I was thrilled to be acknowledged as one of the two newest members attaining this certification at the National Convention in Washington, DC, and I am quite proud of the Fellowship certificate that is now displayed in my office.  However, in truth it is the certification journey that has led to the most important and ongoing benefits for me:  a surety of skill and knowledge, a level of self-respect, and a dedication to lifelong learning.  These benefits can be attained on any part of the certification journey, no matter what the end results are.

What is important is that you start.  You could take the first step toward this professional goal right now, in one of many ways:

• Look at the January issue of The American Organist, page 65, or visit this page of the AGO Headquarters website, to learn about certification requirements.
• Look in the front few pages of any issue of The American Organist, or visit the AGO Headquarters website's education area and click on the resources links to the right, for suggested study materials.
• Apply to take one or more of the certification exams this year.  A summary of the application deadlines is below; for full details, visit the first link, above.  NOTE:  You have approximately one week to decide about the upcoming SPC and CAGO exams -- application deadline for the next round is March 1! 
• Service Playing Certificate (SPC) -- March 1, 2012
• Colleague (CAGO) -- March 1, 2012 for the May 2012 exam; September 15, 2012, for the November 2012 exam
• Choir Master (ChM), Associateship (AAGO), and Fellowship (FAGO) -- April 1, 2012.

I highly recommend that you start on your certification journey today!  If you're already on your way, good for you!

My congratulations and thanks to the St. Louis chapter, whose executive committee recently voted to cover the examination fees for any chapter member who successfully earns his/her certification.  Great work!

IMPORTANT: Early-bird convention registration discount ends in 24 hours!

I do hope that you are planning to join me in Nashville for the exciting biennial AGO National Convention this summer!  There are only FOUR DAYS left to save $60 or more on registration.  Early Registration ends on February 14.   Give yourself or a musician you love a Valentine's Day gift that will not soon be forgotten!  

Register online at www.AGO2012.org or by using the registration form published in the January issue of THE AMERICAN ORGANIST.


Jan

Register NOW -- early bird registration for Nashville ends Feb 14

Early-bird registration for the 2012 AGO national convention in Nashville ends February 14.  Join me and register soon!

Unfortunately, due to a work commitment, I was unable to attend the preview provided by the Nashville convention steering committee that fellow members of the National Council experienced last October.  But below is a report from Leslie Wolf Robb, Councillor for Region IX.  This is definitely a not-to-be-missed event in a fascinating city.  I do hope to see you there!

Jan

I had the opportunity to visit Nashville in October for AGO National Council meetings, and was dazzled by the organs, the city, and the people. I can't wait to go back for the convention this summer, and I hope all of you are planning to be there, too!

My top 10 reasons for going to Nashville:

1. Inspiration – world class organ and choral performances make me want to practice 5 hours a day!
2. World-class organs and venues – can I take the Fisk at Covenant Presbyterian home with me (maybe the whole campus)? And move Schermerhorn Hall to San Diego?
3. Worship – there's nothing like having over 2,000 organists singing hymns together
4. Growth – workshops that give me new insights on literature, practicing, teaching, improvisation, and so much more
5. Fun – talking with friends, dinner with friends, talking with friends, helping others spend their money in the exhibit hall, talking with friends (we organists have to spend a lot of time being quiet in worship – conventions are our time to make up for that!)
6. Shopping – discovering new teaching materials and new literature to share in church and in concert, new CDs, and hopefully a fun t shirt or two
7. Southern hospitality – it's the best!
8. Challenge – learning new ways to practice and improvise, build great working relationships, and promote the organ. Come to Nashville – go home smarter!
9. Exploring a fantastic city – Nashville is spectacular!  Museums, plantations, history, and so much more.  I can't wait to visit The Hermitage again!
10. All of the venues are air-conditioned.  :)

$15,000 Grant to AGO from The National Endowment for the Arts

I just received this press release from the national office of the AGO. It's great news! Jan 

NEW YORK CITY — The American Guild of Organists (AGO) has been awarded a grant by the National Endowment for the Arts (NEA) to support the 2012 AGO National Convention in Nashville, Tenn., July 1–6, 2012. The $15,000 NEA “Art Works” grant is directed to new music, workshops, and performances, and carries a mandate that it be matched dollar for dollar from other funding sources. The 2012 AGO National Convention is the third consecutive AGO National Convention that has garnered funding from the arts endowment.

AGO President Eileen Guenther stated, “The recognition by the NEA reaffirms the importance of new music commissions to increase organ and choral repertoire available to future generations, and to increase the American public’s knowledge of and appreciation for contemporary classical music. The AGO is especially interested in supporting new music for the concert stage, as there are increasing numbers of American concert halls, including the Schermerhorn Symphony Center in Nashville, with new concert organs.”

AGO Executive Director James Thomashower added, “It is an honor to be recognized by the NEA. We are highly grateful for this grant that will enable us to continue our tradition of presenting outstanding musical performances when we meet for our 2012 AGO National Convention in Nashville.”

NEA Chairman Rocco Landesman announced that the agency will award 863 grants to organizations and individuals across the country. The 863 grant awards total $22.543 million, encompass 15 artistic disciplines and fields, and support projects in 47 states, the District of Columbia, and Puerto Rico. “Art Works is the guiding principle at the NEA,” said Agency Chairman Landesman. “And I’m pleased to see that principle represented through the Art Works-funded projects that demonstrate the imaginative and innovative capacities of artists and arts organizations to enhance the quality of life in their communities.”

For its 51st biennial National Convention in Nashville, Tenn., the AGO has commissioned new compositions from Diana Burrell, David Conte, Eleanor Daley, Craig Phillips, Rosephanye Dunn Powell, and Roberto Sierra. The NEA grant will support these newly commissioned works and their premier performances, as well as educational workshops and concert programming during the convention. The roster of convention performers will include organ recitalists Sophie-Véronique Cauchefer-Choplin, Matthew Dirst, Ahreum Han, Hector Olivera, Jane Parker-Smith, Craig Phillips, Raul Priéto Ramirez, Cherry Rhodes, Tom Trenney, and Thomas Trotter, plus winners of the AGO National Young Artists Competition in Organ Performance, the AGO National Competition in Organ Improvisation, and the AGO/Quimby Regional Competitions for Young Organists; choral ensembles Choir of Trinity College (Cambridge) and Nashville Chamber Choir; and instrumental ensembles Nashville Baroque Ensemble, Nashville Symphony (with organists Nathan Laube and Todd Wilson), and Joseph Gramley/Clive Driskill-Smith (organ and percussion duo).

For further information about the 2012 AGO National Convention, please visit www.Ago2012.org. For further information about the National Endowment for the Arts, please visit www.Nea.gov.

Your future and that of the Guild

I receive multiple chapter newsletters each month, both in regular mail and via e-mail, and I am always impressed with the activities, issues, and opinions mentioned in these publications.  Below is a Dean's Message from Larry Wheelock, Dean of the Milwaukee chapter, which greatly inspired me when I read it in the November issue of their chapter newsletter.  I hope it inspires you as well!  Jan 

One of the perks of the role of Dean is that one sometimes gets to spend time taxiing artists to and fro and once in a great while to sit-in on practice sessions.  As I write this I am being bathed in the splendor of Bach, Wagner, Reger and Laurin and saturated with the wonderful sonorities of the new Schantz organ at Gesu Church as Isabelle Demers rehearses for the upcoming recital.  It is difficult to express the emotion; the delight and awe I feel hearing this young woman, less than half my age, owning this music and shaping it with her own substantial creative power and then channeling it into sound through this great organ.  I am near tears.

This has triggered in me a reflection on the last half-century or so of organs and organists and the role and future of our profession.  Just thirty years ago we were in the midst of the great plague of AIDS which robbed our profession of so many of its best and brightest.  At the time there was speculation that this tragedy, added to the changing role of music in the church, was likely to spell the end of our art.

It hasn’t happened that way.  Thanks to the strength of our profession, to the dedication of myriad outstanding teachers and the constant outreach by our Guild there are literally dozens of exceptionally talented and dedicated young artists making careers and creating music-filled lives -- and more each day; artists like Isabelle Demers, Dongho Lee, Christopher Houlihan, Nathan Laube, Ken Cowan, Cameron Carpenter, Felix Hell, Dan Sullivan, Chelsea Chen, our own Michael T.C. Hey, and dozens and dozens more -- far too many to name.  Right beside them are literally thousands of people who make this music for love of the art -- people who will never make music their profession, but will value it and share it with all those whose lives they touch in parish and chapel, school and home.

I hear almost constantly that there is a shortage of organists at the parish level but I dispute that claim.  I would propose instead that there is a lack of adequate support for music which has lasting value and for organs and organists who interpret, share and value that music in our churches and schools.  We are a society which is quick to discard and to move on to the next new thing to discover only later the intrinsic value of that which we set aside.

How do we, then, teach our congregations -- our people -- to value what is sacred, good and beautiful about the music we professionals, and semi-professionals and amateurs and lovers of the music proclaim?  Leland Sateren said, speaking to choral directors, “Your choir can do anything you can teach it to do.”  I firmly believe that could be “Your congregation can do anything...,” “Your clergy can do anything...,” “Your students can do anything...” and of course, “Your people can love anything you can teach them them to love.”  The important part is, of course, “you can teach.”

One of the ways we can teach all of these is by example; by showing our love and excitement about the art we share and our commitment to what we do.  This is where the AGO, both National and Chapter, comes in.  It is among our colleagues that we can share and learn to be the best we can -- not only as performers, but also as teachers and learners.  At the national level our numbers make it possible to join in the discussion at a higher plane.  The Chapter is where we commiserate with colleagues, share our triumphs and trials, and get inspired by each other’s success.  Participation in both allows us to be a part of the great discussion both at the national level and right in our own back yard.  One can only influence the discussion if one is a part of it.  One can only influence the future if one participates in shaping it.

I sometimes hear from chapter members that the fees are too high.  The easy response is for me to say, ‘it is a matter of perspective and priority.’  Really, though, how much is it worth to have a part in shaping the future of our art and our profession?  If you see your AGO dues as merely the chance to claim membership or to put some letters behind your name or as a magazine subscription, perhaps it seems expensive, but having been a member of another profession and its professional organization (ASTD) I can honestly say that the AGO dues are a bargain by comparison even if your membership is only used casually.  If one really takes advantage and participates the value is increased many-fold.

Do yourself a favor; make an early New Years resolution to get full-value for your dues (and pay your renewal if you have not).  Claim your voice in the discussion and your part in shaping the future. It’s worth it!

Free Certification Webinar

Please see the invitation below.  Free webinars are a new tool being incorporated into AGO offerings to members.  If you have a computer with speakers, you will be able to access experts on a wide variety of topics.  I encourage anyone interested in the Guild certification program to "virtually attend" this webinar!  Jan

You Are Cordially Invited to Attend 

A Complimentary AGO Webinar on Professional Certification 

Thursday, November 3, 2011, at 12 Noon EDT 

Presented by Dean Billmeyer, DMA, FAGO 

Learn about the Service Playing Certificate (SPC), Colleague (CAGO) Associateship (AAGO), Fellowship (FAGO), and  Choir Master (ChM).

The July issue of The American Organist magazine announced the requirements for the AGO certification program for the coming year. Do you want to learn more about these programs? Are you interested in the changes that will be occurring in the next exam cycle? Would you like your questions on certification answered in real time by an expert?

If your answer is YES to any of these questions, then please join us for a webinar on the AGO Certification Program on Thursday, November 3, 2011, at 12:00 Noon EDT. The webinar will be led by Dean Billmeyer, a member of the AGO's Committee on Professional Certification. Dr. Billmeyer will present a one-hour webinar on all of the AGO certificates and will be able to answer any questions you might have.

No pre-registration is required in order to attend the webinar; all you need is a computer with speakers.  However, attendance at the live webinar is limited to the first 100 people who log on.

To attend the webinar:

• Follow this link on November 3. 
• Type in your name in the "guest" field—no password is necessary! 

The webinar will be recorded for playback by any AGO member at a later date.

If you have any questions, please e-mail AGO Webinar facilitator Claire DeCusati.

Sincerely,

AGO Committee on Professional Certification
     Kathleen Thomerson, MM, FAGO, ChM, Director
     Dean W. Billmeyer, DMA, FAGO
     David Enlow, MM, FAGO
     Joyce Shupe Kull, DMA, FAGO, ChM, Councillor for Education

Progam ideas for chapters

Now is the time of year that many chapter program committees are meeting to plan programs for the upcoming program year.  I am grateful to Paul H. Hesselink, AGO District Convener who lives in Las Vegas, for compiling the following list of program ideas, and to Leslie Wolf Robb, Councillor for Region IX, for forwarding it to all of her fellow Councillors, including me.  I hope it's helpful to your chapter!  Jan

Program Ideas Gleaned from Issues of The American Organist  

August 2010 through July 2011 

I suspect that the “Chapter News” sections of TAO may be among the most “under-read” parts of the magazine.  There are many creative ideas contained in these reports of chapter activities.  In compiling this list of program ideas, the more “usual” events such as member recitals, student recitals, Halloween Spooktaculars, organ crawls, and other events often part of regular chapter programming were not included. In order to qualify for the list, the program reported had to have a unique or creative quality. The programs are referenced by issue, page numbers and chapter report so you can go back to the original description for the details.  


August 2010—pp.18-30
A presentation (DVD) of early American organs and organ music. (Monmouth, N.J. Chapter)
A workshop on “registration.” (Binghamton, N.Y. Chapter)
A “Members’ Choice Recital” (Westchester County, N. Y. Chapter)
“The Music of Canadian Composer, Denis Bédard” (District of Columbia Chapter)
“Chant Based Works for Organ” (Pittsburgh, Pa Chapter)
A program of organ music for four hands and four feet. (Northern Virginia Chapter) (See also January, 2011, Savannah, Ga. Chapter.)
Workshop on “What to Do with a New Piece.” (Oklahoma City, Okla. Chapter)
“Organ Music 2010: What’s New for Sunday Morning? And Some forget-Me-Nots” (Austin, Tex. Chapter)


September 2010 – pp. 18-32
Dessert buffet and viewing of AGO video Pulling Out All the Stops. (Lancaster, Pa. Chapter)

October 2010 – pp. 20-29

Not necessarily a “program idea” but perhaps useful:  “Getting to Know You.” Members are encouraged to submit brief bios and each newsletter will feature a number of them. (Greater Hartford, Conn. Chapter)

“Nordic Delights” – a program of Scandinavian organ music (Central New Jersey Chapter)

“Taize: How to Make it Work for Your Congregation” (Southern Indiana Chapter)

November 2010 – pp. 22-26

“Bach’s Schübler Chorales.” Program included singing of each of the chorales, a performance of the cantata movement, and playing of the organ setting.   (Louisville, Ky. Chapter)

December 2010 – pp. 26-36

An anthem reading session of works representing American folk, spiritual and gospel styles. (Miami, Fla. Chapter)

A panel of clergy and musicians discussing trends in liturgy and church music. (St. Petersburg, Fla. Chapter)

Workshop on “Music for Solo Voice and Organ.” (East Central Illinois Chapter)

January 2011 – pp. 22-39

“Improvisation workshop” based on Robert Lau’s new book, A Practical Approach to Improvisation for the Church Organist. (Suffolk, N.Y   Chapter) (See also June 2011 issue, York, Pa. Chapter)

“Improve Your Skills Workshop” covering subjects “Reducing Orchestral Scores for Organ,” “Choral Repertoire,” “Organ Repertoire,” and “Music Technology for the Uninitiated.”  (Southwest Jersey Chapter)

“A hymn and service-playing workshop.”  (Cumberland Valley, Md. Chapter)

“Workshop/master class on Couperin’s Messe pour les Couvents. (Pittsburgh, PA Chapter)

Hymn festival based on Hal Hopson’s The Writers Tell Their Stories (Monongahela, W. Va. Chapter)

Hymn festival “”We Believe in One God—Hymns of the Church Year Through the Nicene Creed.”  (Columbus, Ga. Chapter)

“How the Pipe Organ Works” for non-organists (but it could be helpful to organists as well). (Greater Greensboro, N.C. Chapter)

A Program of Music by Benjamin Britten (Knoxville, Tenn. Chapter)

Daniel Gawthrop’s tongue-in-cheek Pie Carols, sung to well-known tunes. (Northeast Tennessee-Southwest Virginia Chapter)

“Practice Techniques That Pay Off” (Chicago Il. Chapter)

“Organ Music by Women Composers” (Chicago, Il. Chapter)

Master class on the Organ Works of Paul Hindemith (Lexington, Ky. Chapter)

Master class on the Organ Works of César Franck (South Dakota Chapter) (See also May 2011 listing for South Dakota Chapter where it is stated that the organ works of Franck was the study focus for the chapter during the year)

February 2011 – pp.18-32

Video night—numerous videos on the pipe organ, its history, construction, etc. available. The video on the Life and Music of Jean Langlais, produced by the Mistrettas of the LA Chapter as an outgrowth of the Region IX Conclave in Las Vegas in 2006 (Ann Labounsky) would also be an excellent choice.    (Westchester County, N.Y. Chapter) See also: documentary video about J.S. Bach and The Art of Fugue (Knoxville, Tenn. Chapter)

Workshop with Susan and David Cherwien on “How they write words and music for their hymns.” [Ed. Another possibility might be Susan Bentall Boersma, anthem lyricist-in-residence for Beckenhorst Press.] (Lehigh Valley, Pa. Chapter)

Presentation  “The Organist as Pastor—Creative Hymn and Service-Playing.” (Pittsburgh, Pa. Chapter)

The Music of Craig Phillips, including newly commissioned work Scenes from a Gallery for organ, violin and flute. (Nashville, Tenn. Chapter)

Dramatic enactment of Mark Schweitzer’s The Organist Wore Pumps, a liturgical mystery (Louisville, Ky. Chapter) (See also June 2011 issue, Northeast Tennessee-Southwest Virginia Chapter for additional possibilities).

A Service of Psalms and Songs (Saginaw Valley, Mich. Chapter)

Open console session, perhaps on the newest organ in town or one that usually isn’t very accessible. Important is that the individual organists be scheduled for a certain amount of time and that they have the time alone with the organ without listeners…for those who might be more timid! (We have done this   at UNLV in Las Vegas and should probably do it again now at Christ Church Episcopal on the new 54-rank, four manual Schantz.) (Sioux Trails, Minn. Chapter)

Organ Music 2010 – What’s New for Sunday Morning? a survey of newly-published organ literature. (Oklahoma City, Okla. Chapter)

March 2011 – pp. 14-26

The Care and Feeding of Small---and Even Smaller--- Choirs. (Portland, Maine Chapter)

Teaching New Music to Congregations (Harrisburg, Pa. Chapter)

Celebrating a Chapter Anniversary (Richmond, Va. Chapter)

Exploring: Organs and Organists—Where we have been—Where we are now---  Where are we going?  (St. Petersburg, Fla. Chapter)

Ways in which organists can avoid physical stress and injury at the keyboard. (Taubman technique) (Spartenburg, S.C. Chapter)

Cookies and Carols an informal meeting in a member home featuring seasonal organ and piano music, carols old and new.

April 2011 – pp. 20-32

Elements of the Service Playing and Colleague Exams (Suffolk, N. Y. Chapter)

“AGO Gives Back,” an evening of caroling at a retirement home (Spartanburg, S.C. Chapter)

Used organ music sale before and after a session/meeting. Perhaps proceeds could be used to support a scholarship fund. (Ann Arbor, Mich. Chapter)

“A Digital Saturday,” an opportunity to hear three electronic organ installations. (Los Angeles, Calif. Chapter)

May 2011 –pp. 16-28

Creative Use of Handbells in Worship (Miami, Fla. Chapter)

Jehan Alain Centennial Celebration (Charlotte, N.C. Chapter)

A Trip Down Memory Lane—Reminiscences by AGO Members and Friends (Knoxville, Tenn. Chapter)

Program of Organ Music and Vocal Selections Suitable for Weddings.  Wedding “horror” stories were shared over dinner. (Northeast Tennessee-Southwest Virginia Chapter)

June 2011—pp. 16—29

J. S. Bach Birthday Marathon  (Richmond, Va. Chapter)

“How to Learn Vierne” (Wilmington, N.C. Chapter)

“Gregory’s Music: Magnificent Monody (A Whistle-Stop Tour of Western Plainsong).”  (Charleston, S. C. Chapter)

The Music of Calvin Hampton (1938-1984) (Knoxville, Tenn. Chapter)

A Festival Service Featuring the Music of Healey Willan (1880-1968) Saginaw Valley, Mich. Chapter)

July 2011—pp 20-27

“Bach Birthday Bash” – A performance of Orgelbüchlein by seven members of the chapter. (New Hampshire Chapter)

“Organ Expo 2011” An event for the public, parents and children, organ demonstration, with hands-on time after the presentation. (Suffolk, N. Y. Chapter)

“This Works for Me,” a workshop by members sharing favorite anthems and organ selections (Harrisburg, Pa Chapter)

“A Virtual Tour of the North German Baroque Organ.” “An interactive journey of some of the most beautiful organs in the world.” (Charlottesville-Albermarle, Va. Chapter)

“Bach Birthday Bash,” a progressive concert featuring local organists, instrumentalists and choral groups in three churches. (Tampa, Fla. Chapter)

“Great Hymns of the Faith: A Festival of Hymns.” Singing of nine hymns and playing of compositions based on the hymn tunes. (Wilmington, N.C. Chapter)

“Voluntaries Old and New” designed around the liturgical year featuring both well-known and contemporary composers. Followed by a “garage sale” of music donated by chapter members, proceeds to benefit the AGO Annual   Fund. (Columbia, S.C. Chapter)

Workshop on “Effective Accompanying” (Grand Rapids, Mich. Chapter)

“A ‘POP’ Concert” (preludes, offertories and postludes) (Fort Worth, Tex. Chapter

I may have “missed” some ideas for programming which could be perfect for your chapter.  Some of the program ideas above will depend on what sort of local talent you have in the chapter, what your chapter’s budget may allow for the importing of a specialist, etc.  I hope, however, that you may find some ideas useful for your chapter.

AGO National Conference on Organ Pedagogy

Improvisation and Organ Pedagogy
November 10–13, 2011, Rochester, N.Y.

You are invited to attend the 16^th biennial AGO National Conference on Organ Pedagogy, presented in cooperation with the 10th annual Eastman Rochester Organ Initiative (EROI) Festival, November 10–13, 2011, in Rochester, N.Y.

Join the growing number of your colleagues in registering for what promises to be an inspirational and informative conference held at the Eastman School of Music’s recently expanded campus. This year’s conference has something for everyone: hands-on workshops for students, presentations on improvisation resources and curricula for teachers, performances by world-renowned organists on stunning instruments, and plenty of networking opportunities.

A distinguished faculty of internationally renowned organists and teachers working in the discipline of organ improvisation will include Jeffrey Brillhart (Yale University), Tony Caramia (Eastman), Sophie-Veronique Cauchefer-Choplin (Royal College of Music, London), Hans Davidsson (Eastman), Michael Dodds (University of North Carolina School of the Arts), Gerre Hancock (Butler School of Music, University of Texas), David Higgs (Eastman), Denise Lanning (Denver Chapter, AGO), Rudolf Lutz (Schola Cantorum Basiliensis), William Marvin (Eastman), Bruce Neswick (Indiana University), David Peckham (Horseheads United Methodist Church, Horseheads, N.Y.), William Porter (Eastman), McNeil Robinson (Manhattan School of Music), Pamela Ruiter-Feenstra (author of Bach and the Art of Improvisation), John R. Shannon (Sweet Briar College), and Daniel Zager (Eastman).

Register today through November 1, 2011. Special discounts are available for teacher and student pairs and groups. Complete information, including online registration, is available online. For further information, please contact please contact EROI Festival Coordinator Annie Laver at 585-274-1564 or e-mail alaver@esm.rochester.edu.

The AGO’s Committee on Continuing Professional Education creates and promotes Guild programs as “education for a lifetime.” The primary responsibility of this committee is the planning of the biennial National Conference on Organ Pedagogy. In addition, the committee works through the AGO’s Councillors for the Regions to encourage and promote the Guild’s professional certification program in sacred music. They welcome your input on future topics for conventions. Visit them online at www.agohq.org.