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ORGANIX

A Music Series unlike any other

Gordon D. Mansell, M.Mus.Executive Producer and Artistic Director

Our Lady of Sorrows Catholic ChurchSt. Paul’s Anglican Church

All Saints’ KingswaySt. Basil’s Catholic Church (U of T)

Church of the Holy Trinity

PROGRAMME

Mansell PresentsGlionna

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www.organixconcerts.caApril 2014 through to November 2014

Mansell CorporationGlionna

www.glionnamansell.com 416-769-5224 toll free/sans frais, 1-877-769-5224

Glionna Mansell Corporationrepresents excellence in organ building,

service and performance.

Leasing available through First Maestra Leasing Inc.

Michalewski Residence Organ - TorontoCustom Heritage French Terraced Edition in Natural Walnut with Burled Walnut music desk. Two-manual, 45 stop performance specification with 7 cohesively voiced tonal suites, multi-channel audio.

ORGANIX 14 WWW.ORGANIXCONCERTS.CA

programme

April 25 toNovember 12,2014

ORGANIX CONCERTS INC. is a wholly owned subsidiary of Glionna Mansell Corporation. ORGANIX 14 is a brand of the same. The ORGANIX CONCERTS INC. Programme for ORGANIX 14 is published by Glionna Mansell Corporation, 464 Armadale Avenue, Toronto, Ontario, M6S 3X9, www.glionnamansell.com. All rights reserved. Reproduction in whole or in part without written consent is prohibited. Contents copyright © Glionna Mansell Corporation. Direct all advertising enquiries to Gordon D. Mansell at [email protected] or through the ORGANIX website at www.organixconcerts.ca

Photo: D'Arcy Glionna


ProducerGlionna Mansell Corporation

Executive Producer, Artistic DirectorGordon D. Mansell

Print ProductionMB Graphics

Advertising SalesGordon D. Mansell

Features

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Creating the Big Festival

Gala Concert Performers Biographies

Concert Performers Biographies

Memories of Massimo Nosetti

Programmes

Additional ConcertLooking Ahead to 2015

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By Gordon Mansell, Executive Producer and Artistic DirectorIn the 2013 Programme book, I commented upon the reputation that ORGANIX has achieved since its first festival in 2006. In particular, I expressed my opinion, based on personal experience, regarding the comparison between ORGANIX and several music festivals in Poland that I had performed in just the previous year. Soon after the publication of the ORGANIX 13 Programme book I received a note from ORGANIX alumnus, the very famous Diane Bish (’12).

Regarding ORGANIX, Diane wrote….

...it is one of the best and most creative sponsors of organ series in North America. With its dynamic director, Gordon Mansell, Toronto devotees of


Classical organ music are able to hear many of the outstanding organ virtuosi in the world today.

If you love the organ and its music, you will be thrilled by ORGANIX performances. From fresh, young, brilliant talent, to some of the most famous names in the organ world, I challenge you to support the first-class ORGANIX series and experience the awesome sounds of the organ, King of Instruments. You will not be disappointed!

Previously, my dear friend and ORGANIX alumnus Massimo Nosetti ('08, '12) wrote…

...ORGANIX is a fantastic music box where you find a huge amount of the most beautiful and varied music for organ.” He continued, “…it's a perfect organization with the possibility for the performer to present music not very often heard.”

I appreciate these fine testimonials. It proves that ORGANIX is on the right track and is indeed, sustaining the international reputation it has gained over the past several years.

In producing this festival series, I have endeavored to present the finest professional organists, both Canadian and International, to serve as a vital

Photo: Roni Ely


source of inspiration for our younger emerging musicians. While having this as an important consideration, it was also important to expand the audience for organ music in Toronto. ORGANIX is designed to provide the general audience with an exceptional concert experience before, during and after each event. Last season, concerts included solo performances but they also included ensembles… organ and guitar, organ and violin, organ and viola, organ, flute, cello and violin, and the duo of organ and organ - two performers on the same bench wearing puffy gowns and stiletto heels. It was a very entertaining concert and one that gained quite a bit of attention, mostly good and some bad. Controversy is not all that detrimental when creating awareness. Nevertheless, if you closed your eyes to this duo performance, you would realize that the two young women are the "real deal" and showcased virtuosity at its best.

While ORGANIX is indeed an organ festival, young emerging instrumental-ists have also gained from their experiences performing as ensemble artists in collaboration with the organ. By developing an environment of music excellence, our many performers have benefited from learning repertoire, witnessing performance approaches and perspectives that perhaps, they may not have otherwise gained. Many

of our young organists have pro-gressed to advanced studies and/or significant positions and performance opportunities throughout the world. Sarah Svendsen ( 11, '13) has just completed her first year of master’s studies at Yale, Rachel Mahon ('10, '13) has just completed a year as organ scholar at Truro Cathedral (UK) and in September 2014, becomes organ scholar at London's St. Paul's Cathedral (UK) and in doing so, becomes the first female organist of that venerable cathedral. Ryan Jackson ('06, '13) graduated from organ performance in 2006, then graduated from Yale in 2008 and finally in 2013 completed his doctorate from Juilliard. Now Dr. Jackson is Director of Music and Fine Arts Ministries at Fifth Avenue Presbyterian Church, New York City. Jean-Willy Kunz ('09) is organist with the Montreal Symphony performing on the newly installed Montreal Symphony Hall Casavant organ. These are just four examples of the excellence Glionna Mansell Corporation has presented through its ORGANIX Festival presentations. With over 120 concert productions since 2006, ORGANIX has many more success stories and many more to come.

ORGANIX 14 is a very special festival for several reasons. The first reason is that the concerts presented will be

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over several months rather than concentrated in a six week period. This is to give more people opportu-nity to take in many more concerts. The second point of significance for this festival is that it is the first time we honour an alumnus who has died. Massimo Nosetti died November 12, 2013 from Cancer, a condition diagnosed just one month prior to his death. This festival is dedicated to him and will conclude with a gala memorial concert presenting three organists – Maxine Thévenot ('12), Eugenio Fagiani ('10) and Omar Caputi. It will also present The Toronto Ecumenical Chorale in a tribute to Massimo.

This Programme Book also includes personal stories and pictures as a remembrance of our friend Massimo Nosetti. He was a very kind and generous man, well loved and appreciated throughout the world where he had either visited or performed. Our gift of music will be a gift of love in memory of Massimo.

Finally, all independent producers need support. ORGANIX is not an exception. Whether that support comes from the community or from advertisers, every aspect of it is life-giving. ORGANIX is an expensive festival to produce each year. If you

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Photo of The Toronto Ecumenical Chorale in performance at the Basilica of Santa Trinita, Florence, Italy.

2014 commemorates the 100th anniversary of Casavant Opus 550 at St. Paul's Anglican - Bloor Street.

are in the position to offer financial support to ORGANIX, please offer your name and your interest at the ticket desk. If you wish to keep informed of future ORGANIX concerts and events, please also provide your contact information at the same desk. Thank you for your past and future support, your interest and for choosing amongst all the various concerts and events that are being presented in Toronto tonight, to come to an ORGANIX concert.

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Kerry Beaumont was born in Cambridge, England, and began his musical education as a chorister at Ripon Cathedral in Yorkshire, starting organ lessons with Ronald Perrin. After his family emigrated to Canada he continued organ studies with Peter Daly (Toronto), John Weaver (Philadelphia), Antoine Reboulot (Quebec) and Pierre Cochereau (France). He holds a Bachelor of Music degree in Organ Performance from the Curtis Institute of Music in Philadelphia and a Master of Music degree in 20th Century Music and Composition from Durham University (U.K.). He won the International Organ Improvisation Competition in San Anselmo, California, in 1986 and was a finalist in 1988 International Organ Improvisation Competition in Haarlem, The Netherlands. Upon completion of the diplomas at the Royal College of Organists in 1989 he was awarded the Coventry Cathedral Recital Award and seven other prizes. He was Organist and Master of the Choristers at St. Davids Cathedral in Wales 1990-94, Director of Music at Ripon Cathedral

1994-2002, and in 2006 he was appointed Director of Music at Coventry Cathedral. He has been an international recitalist for over thirty years, with organ recordings on the Cantoris and Herald labels. His recent release "Golden Jubilee!" on the Coventry Cathedral organ, celebrating its fiftieth year, has been critically acclaimed, and it contains nine world première recordings of recent British organ works.

Kerry BeaumontAcclaimed for her “solid musicianship ... technical security and poise” by The American Organist, and for her “beautiful registration and flawless play-ing...another real gem of a recording with ravishing playing” by The Diapason

Magazine, Maxine Thévenot is amongst the foremost artists of her generation, hailed across North America and Europe for her skillful, musical playing and inventive programming.Ms. Thévenot's recital career has taken her to many major European venues including the Magdeburger Dom, Germany; the Cathédrale de St. Bénigne, Dijon, France; Church of Santa Rita, Turin, Italy; Westminster Abbey and Westminster Cathedral, UK; Salisbury, St. Paul's and Canterbury Cathedrals, UK; St. George's Chapel, Windsor, UK; la Cathèdrale de Notre Dame, Paris; and to venues across North America including Washington National Cathedral, Washington, D.C.; Saint Thomas Fifth Avenue, New York City; Princeton University Chapel, Princeton, New Jersey; Jack Singer Concert Hall, Calgary; and l”Oratoire de Saint Joseph, Montréal. She has also performed at the music festivals of Bratislava, Budapest, Prague, and Vienna.

An advocate of new music, in 2011 Maxine gave the world premiere of Canadian composer, Andrew Ager's Concerto for Organ and Orchestra under the direction of Maestro Justin Bischof; in 2012 she gave the US première of Concerto for Organ, Strings

PAGE 7ORGANIX 14 WWW.ORGANIXCONCERTS.CA

Maxine Thévenot

and Timpani by UK composer Philip Moore under his direction; gave the US, UK and French premiere performances of Canadian composer Andrew Ager's Te Deum and Première Suite, and she is the dedicatée of organ works written by Andrew Ager, Hayes Biggs, Noel Goëmanne, Robert Lind, Philip Moore and Martin Stacey. In 2014, she will perform UK composer Andrew Carter's Concerto for Organ and Orchestra in C, under the direction of the composer. Dr. Thévenot has been a featured performer and lecturer at national and regional conventions of the American Guild of Organists and the Royal Canadian College of Organists, the 2013 Sewanee Church Music Conference and the 2009 Summer Institute of Church Music, winner of the 2000 Canada Bach National Organ Competition, Maxine has also broadcast for the Canadian Broadcasting Corporation, National Public Radio and Pipedreams.Recognized for her excellence as a recording artist, Maxine Thévenot has released 13 well-received CDs on Raven CD (www.ravencd.com). Her most recent solo release, recorded on the Hellmuth Wolff Organ of Christ Church Cathedral, Victoria, BC, Canada, was praised by Jean-Yves Duperron of Classical Music Sentinel: “The beauty of invention and purity of voice she brings to the Bach, or the nobility she brings to the Sweelinck are only some examples of how this musician can expose the soul within the works she performs.” Of her most recent choral CD, 'The Immortal Air' with the Cathedral Choir & Choristers of The Cathedral of St. John reviewer Duperron wrote: “under (her) direction (they) have certainly matured and polished their delivery dramatically...If you need an emotional or spirtual lift, this (CD) will do it. …Gardiner's Evening Hymn with an amen beautiful enough to raise the airs on the back of your neck.”

Dr. Thévenot currently serves as Director of Cathedral Music and Organist at the Cathedral of St. John, Albuquerque where she oversees a program consisting of 4 choirs and an extensive community outreach ministry-Friends of Cathedral Music, now in its 20th anniversary season. Under her direction, the Cathedral Choir and Choristers will sing in week-long residencies in 2014 at both Winchester Cathedral and Westminster Abbey having previously sung under her direction in 2010 at Southwark Cathedral, St. Paul's Cathedral, London, and York Minster;

and in New York City (2012) singing concerts and services at The Cathedral of the Incarnation, Saint Mary the Virgin, Saint Thomas Fifth Avenue and The Cathedral of St. John the Divine.Maxine Thévenot is Founding and Artistic Director of Polyphony: Voices of New Mexico, the state's first professional, resident vocal ensemble; a faculty member at the University of New Mexico, where she teaches organ students as well as directs the state's only collegiate all-women's choir, Las Cantantes; and since September 2012, has served as the Artistic Director of the Santa Fe-based Sangre de Cristo Chorale, which is currently celebrating its 36th season. A member of the duo, Air & Hammers, she concertizes with her husband, acclaimed English baritone Edmund Connolly, specializing in programs which combine song repertoire from the 19th and 20th centuries with new works by living composers.Last season Dr. Thévenot was Musical Director for the New Mexican première of the gonzo opera, Too Much Coffee Man, by Daniel Steven Crafts; chorus master for the New Mexico Philharmonic's performances of Brahms' Ein Deutsches Requiem and the Holiday Pops concerts and conducted two performances of Bach's St. John Passion with her ensemble Polyphony: Voices of New Mexico and the NMPhilharmonic – the first known complete performances of this work, in German, in Albuquerque. This 2013-2014 season she continues to push the boundaries with unique performances of large-scale orchestral and choral works by Bach, Buxtehude, Handel, Haydn, Schubert, and Chilcott.

Her first composition Here I am, published by Paraclete Press is recorded by The Cathedral Choir on their new CD, 'The Immortal Air' CD. It was described by Classical Music Sentinel: “The simple and naïve way in which they present Here I am Lord ... a composition simultaneously harmonically barren and fertile, reinforces the pieces deceivingly unassuming character, while at the same time revealing its odd beauty.

A native of Saskatchewan, Canada, Dr. Thévenot received her Bachelor's Degree in Music Education from the University of Saskatchewan, and her Master of Music and Doctor of Musical Arts degrees from Manhattan School of Music. At Manhattan School she was twice-awarded the Bronson



Ragan Award for “Most Outstanding Organist”. Maxine is an Associate of the Royal Canadian College of Organists and the Royal Conservatory of Music, Toronto, and was made an Honorary Fellow of the National College of Music, London, UK in 2006 for her 'services to music'.

Eugenio Fagiani studied with Maestro Enzo Corti in Milan and earned an Organ and Composition Diploma at the “Luca Marenzio” Conservatorium in Brescia. He also graduated in

Musicology at the SPFM in Cremona-Pavia University with a graduation thesis on "Marcel Dupré and the Art of Improvisation". He took part in several specialization courses in interpretation with Nigel Allcoat, Ewald Kooiman, Piet Kee, Daniel Roth, Gillian Weir and Naji Hakim. Later Eugenio specialized in the art of improvisation with: Nigel Allcoat, Jurgen Essl, Peter Planyavsky and Naji Hakim. He also studied Music Analysis with Marcel Bitsch.

Eugenio Fagiani regularly performs in Europe, Russia, the United States and Canada on some of the most important instruments including the: Brucknerorgel della Skt. Florian Stiftsbasilika in Skt. Florian, Linz (A); Domkirche, Eisenstadt (A); St. Clement’s Church, Rathgeb Memorial Organ at Deer Park United Church and St. James Anglican Cathedral in Toronto (CDN); Église Unie St. James, Montreal (CDN); Église Chalmers-Wesley, Quebec City (CDN); Kollegiorgel, Schwyz (CH); Frauenkirche, Dom zu Unserer Lieben Frau, München (D); Kaiser-Wilhelm-Gedächtnis Kirche, Berlin (D); Ottobeuren Stiftsbasilika (D); St-Marien Domkirche, Hamburg (D); Ulmer

Muenster (D); St. Jakobs-Kirche, Rothenburg o.d. Tauber (D); Saint Saviour’s Church, Jerusalem (IL); Bialystok’s Cathedral (PL); Olsztyn’s Cathedral (PL); Uppsala Domkyrka (SVE); Temple Church, Southwark Cathedral and St. Paul’s Cathedral in London (UK); King’s College Chapel, Cambridge (UK);

Basilica of the National Shrine of Immaculate Conception in Washington D.C. (USA); St. Thomas (Episcopal) Church, St. Patrick’s Cathedral and St. Bartholomew’s Church in New York City (USA); Saint Paul’s United Methodist Church, Rochester MI (USA); Hill Auditorium, University of Michigan, Ann Arbor (USA); Santuario della Verna (I); Basilica di S. Vitale, Ravenna (I); Duomo di Messina (I). Eugenio Fagiani is invited to hold masterclasses and lectures for several important musical institutions throughout Europe and North America, including Cambridge University Organ Scholars’ Forum (UK) and the Royal Canadian College of Organists, Toronto (CDN). He is now the professor of the Improvisation Class created by the Ente Ecclesiastico of the Messina’s Dome (Sicily). He is also invited as juror in international competitions.

During October 2012 Eugenio performed his first Russian Concert Tour and received enthusiastic praise. During this tour, he performed nine concerts in three weeks in some of the most important Concert Halls of Russia (Philharmonic Halls of Perm, Nizhniy Tagil, Omsk, Chelyabinsk, Ufa, Tyumen, Ekaterinburg and Khabarovsk and as soloist with the Far East Symphony Orchestra) and Moscow’s Cathedral. The success of this tour won him an immediate invitation to once again perform in a significant tour for the 2014-2015 season.


Eugenio Fagiani


In 2008 he was appointed as Guest Organist of the Franciscan Shrine of La Verna, Arezzo. In 2010 he started the collaboration as organist with the Orchestra Sinfonica di Milano “Giuseppe Verdi”; with LaVerdi he recorded also for the Italian’s state broadcasting company Radio Tre Rai. On the 10th anniversary of the 9/11 tragedy he performed Britten’s War Requiem at the Teatro alla Scala in Milan with the Orchestra under the baton of Xian Zhang. With LaVerdi he also took part in their Russian Tour, with concerts in the Great Tchaikovsky Hall of Moscow’s Conservatory, and the Glinka’s Chapel of the Imperial Palace in St. Petersburg, that the Orchestra held in November 2012. He also performed with the orchestra in the recording project of the symphonic music of Nino Rota, published by Decca (6 CD’s under the conduction of maestro Giuseppe Grazioli) in 2013. In September 2013 he performed with the LaVerdi production at the BBC-Proms in London, on the well known instrument of the Royal Albert Hall, again under the baton of Xian Zhang. In November 2013 he was the organist in the highly praised performance of

the Mahler’s 8th Symphony that the LaVerdi gave with maestro Riccardo Chailly in Milano.

As a composer, his works include pieces for chamber ensemble, organ and orchestra and are published by Carrara, Turris and Delatour France. His production for organ, whose relevance is internationally well-established (performed by several artists in top venues: from the Tokyo’s University to the Leizpig’s Gewandhaus, from Notre Dame de Paris to the Sydney’s Cathedral via the Hill Auditorium of the University of Michigan), is testified by the continu-ous commissions from European and North-American Festivals as well as from world top-class virtuosos. These works are now part of the repertoire of some of the most prestigious artists of our time and include John Scott, Stephen Tharp, Johannes Geffert, Carol Williams, Robert Kovacs and David Briggs.

He is also the author of a very successful series of organ transcrip-tions. With the CD “Crucis Christi Mons Alvernae”, recorded with the choir of La Verna’s friars, and obtained



gala concert performerSthe “Recording of the year 2009” acknowledgement from Alias, cultural review of the National newspaper Il Manifesto, by the director of the contemporary music review Konsequenz. He records with the German label Spektral Records.

Native of Turin, Italy, Omar Caputi is an international concert artist, composer and director. He studied at the “G. F. Ghedini” Conservatory in Cuneo,

where he graduated with honours in Organ and Organ Composition. He also studied French baroque music with Françoise Delor and Renè Saorgin, and romantic and modern repertoire with Daniel Roth and Lionel Rogg.

Mr. Caputi is the titular organist of the prestigious Zanin organ at Santa Rita Sanctuary in Turin. He has performed extensively in Italy, Switzerland, Germany and France, receiving unanimous appreciation of audiences and critics alike. His debut as a composer was in 1998, with the public performances of “Alleluia” for choir and organ in Sant’Ignazio Church in Rome and in the St. Peter’s Basilica in Vatican. His transcriptions of Bach’s Brandenburg concertos have been executed in Paris (Saint Eustache), Los Angeles (Chrystal Cathederal), Leipzig (Gewandhouse), Montreux, and Turin. Caputi’s works have been printed by the Italian publishing house Carrara. In 2000, the French BNL recorded a CD with his organ transcriptions of Bach’s Brandenburg Concertos (BWV 1048

and 1051) and Handel’s Concerti Grossi Op. 3. Omar Caputi is a founder of “Gruppo Barocco” at the University of Turin. He is artistic director of two music festivals: “Risonanze barocche” in Turin and “Festival Internazionale di Musica Sacra” in Gallo d’Alba, Italy. He teaches Organ and Composition at the Music School “L. Rocca” in Alba, Italy.

The Toronto Ecumenical ChoraleDirector: Gordon MansellAssistant Conductor: Gerry LitsterAssistant and Accompanist: Allison Hunwicks

Originally formed as the Our Lady of Sorrows Ecumenical Choir, the Chorale has been established to sing at ecumenical and special liturgical events in Toronto, including weddings, funerals and memorials. The Chorale also represents Toronto when it travels abroad to perform concerts. Its members include singers from the OLS Chorale, St. Michael's Choir School Alumni and various other Toronto choirs, including the Toronto Choral Society. The first public performance on April 15, 2012, commemorated two very significant Polish events, the Katyn massacre (1940) and the more recent event of a Smolensk Tragedy (2010) when an airplane crashed on route to Katyn (Russia) and the 70th anniversary

Omar Caputi

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Photo of The Toronto Ecumenical Chorale in performance at the Basilica of Santa Trinita, Florence, Italy.

memorial that was to be held there. The latter date is particularly significant as all on board the aircraft were killed including the much loved Polish president, many senior government officials, military and religious leaders. The choir was honoured to be an integral member of this commemorative occasion. Since that concert, the choir was invited back to subsequent com-memorative events. Further, the ensemble has given many more public performances, including those at Santa Trinita in Florence and St. Ignatius in Rome. While at the Vatican, the choir sang as the principal choir for the Cardinal's Mass at St. Peter's Basilica and the February 2, 2012 Candlemas Celebration, one of Pope Benedict's final public appearances before resigning as Pope. The choir is preparing for concerts in the United States and in 2015, a tour to Prague, Vienna and Salzburg.

Witold Zalewski graduated in 1992 from the Academy of Music in Krakow after studying organ performance with Professor Jan Jargoñ. He honed his skills during courses

in organ music interpretation, having also studied with J. Laukvik, G. Schneider and J. Guillou. Since 1995, Witold Zalewski has been Principal organist of Wawel Royal Cathedral, Krakow, Poland. He has been a member of the Church Music Council of the Metropolitan Curia of Krakow since 1998. He was the organist of liturgies conducted by the

Grzegorz MorawskiConsul General

Consulate General of the Republic of Poland

2603 Lakeshore Blvd. WestToronto, Ontario, M8V 1G5

416-252-5471, Fax: 416-252-0509http://toronto.msz.gov.pl/en/

Consulate Generalof the Republic of Polandin Toronto


Witold Zalewski


both the First Prize and the Prize of the Audience. James David Christie has served as Organist of the Boston Symphony Orchestra since 1978 and has performed and recorded with the major orchestras of Vienna, London, Dublin, Stuttgart, Koblentz, Paris, Philadelphia, San Francisco, San Diego, Seattle, Baltimore, New York, Boston, etc. He has given over fifty tours of Europe and performs regularly in Canada, Asia, Australia and Iceland. He is Music Director of Ensemble Abendmusik, a Boston-based period instrument orchestra and chorus specializing in sacred music of the 17th and 18th centuries. He has performed with many period instrument orchestras including the Academy of Ancient Music, the Bach Ensemble, Handel & Haydn Society, Boston Baroque, the New York Collegium, etc. He was awarded an honorary Doctor of Fine Arts degree from the New England School of Law for his outstanding contributions to the musical life of Boston and the New England Conservatory honored him with their Outstanding Alumni Award. He has served on interna-tional organ competition juries in Paris, St. Omer-Wasquehal, Chartres, Biarritz, St. Albans, Amsterdam, Lübeck, Bordeaux, Dublin, Worcester, Calgary, Montreal, Columbus, Dallas, Leipzig, Weimar-Merseburg, Speyer, Erfurt, Tokyo, Moscow, Kaliningrad, Astana, Lausanne, Pistoia, Boston and Bruges. His students have been competition prizewinners in North America, Europe, Japan and South Africa. James David Christie has recorded for Decca, Philips, Nonesuch, JAV, Northeastern, Arabesque, Denon, RCA, Dorian, Naxos, Bridge and GM and has received several awards for his solo recordings, including the Preis der Deutschen Schallplatten Kritik and the Magazine d’Orgue: Coup de Coeur.

Holy Fathers John Paul II and Benedict XVI during their papal pilgrimages – in the Wawel Royal Cathedral, the Ùagiewniki Sanctuaryand on Krakow Commons. He is the author of the Church Songbook, published by PWM edition and a coauthor or coeditor of numerous other publications, including the Wawel Songbook. Mr. Zalewski gives concerts as a soloist and chamber music player in Poland and abroad (including the Czech Republic, Germany, Spain, Finland, Russia, Israel, Switzerland, United States of America, Canada, Japan, Brazil, Argentina and Uruguay).

Witold Zalewski is the originator and director of the International Organ Music Festivals in Zakopane, Oswiecim, Skawina, Nowy Targ and Wadowice. He was awarded the "Pro Ecclesia et Pontifice" from Pope Benedict XVI.

James David Christie has been internation-ally ac-claimed as one of the finest organists of his genera-tion. He has performed around the

world with symphony orchestras and period instrument ensembles as well as in solo recitals. He was the 1979 First Prize winner of the Bruges (Belgium) International Organ Competition and was the first American ever to win First Prize in this prestigious competition; he was also the first person in the competi-tion’s eighteen-year history to win

James David Christie


James David Christie holds positions as Chair and Professor of Organ at the Oberlin College Conservatory of Music, Oberlin, OH, Distinguished Artist in Residence at the College of the Holy Cross, Worcester, MA, Chair and serves as College Organist at Wellesley College, Wellesley, MA. He has previously held positions at Boston Conservatory, Harvard University, M.I.T. and Boston University. In the fall of 2010, James David Christie was on sabbatical in Paris, France, where he served as visiting Professor of Organ at the Paris Conservatory. He exchanged positions with Notre Dame Cathedral organist, Olivier Latry, who was in residence at Oberlin for the fall semester. He was recently the featured artist and teacher for the Académie “Dom Bedos” in Bordeaux on the restored Dom Bedos organ at the Église de Sainte Croix and gave master classes at the Chateau de Versailles and at the Conservatoire à Rayonnement Régional de Paris. He performed solo recitals in Toulouse, Reims and several in Paris, including the final Tuesday Evening Artists Concert at Notre Dame Cathedral. In March 2012, he performed two sold-out dedication concerts on the new Casavant organ at the Kauffman Center Concert Hall, Kansas City, MO; he served as consultant for the building of the organ. He has served on international competition juries in Erfurt-Merseburg-Weimar (Germany) and the First Canadian International Organ Competition in Montreal and will return to Montreal for the jury of the 2014 CIOC. In 2014, James David Christie will also serve on juries for the Sweelinck International Organ Competition in Amsterdam, the Pistoia Agati-Tronci International Organ Competition in Italy, the Grand Prix du Chartres which will be held at Notre Dame Cathedral in Paris, France, and he will serve as president of the jury of the Pierre de Manchicourt International

Organ Competition in Béthune, France. He recently toured Japan performing Bach’s monumental Art of Fugue. He was the American patron of the National French Jehan Alain Centenary Festival in Saint–Germain-en-Laye, France. He teaches and performs regularly at the McGill Summer Organ Academy in Montreal, Canada, Musica Antiqua Bolzano (Italy), the Oberlin Organ Academy for High School Students and the Oberlin Baroque Performance Institute. This past season, he gave concerts in Iceland, Monaco, France, Belgium, the Netherlands, Germany, Italy and Estonia. He recently recorded four CDs of the organ works of Johann Pachelbel on three historic organs in Thuringia (Germany) for CPO, Germany. In June of 2014, James David Christie will open the National Convention of the American Guild of Organists at Symphony Hall, Boston, with a program of five major works for organ and orchestra.

Casavant Opus 800 (1919)John Paul Farahat ('09) organist at St. Basil's Church.

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Shawn Potter holds a master’s degree in organ performance from McGill University’s Schulich School of Music, where he studied organ with Hans-Ola Ericsson and

John Grew, and harpsichord and continuo with Hank Knox.

Originally from Nova Scotia, Shawn graduated in 2010 with a bachelor’s degree in music from Mount Allison University, where he held a Canadian Merit National Scholarship as well as a Mount Allison Bell Scholarship.

He has held numerous grants and fellowships including a Social Sciences and Humanities Research Council (SSHRC) grant, allowing him to pursue a wide variety of interests, ranging from 17th century North German music to the organ works of Olivier Messiaen. Shawn is the first prize winner of the 2013 Royal Canadian College of Organists National Competition.

Shawn has held organ scholar positions in Montreal at both Christ Church Cathedral and the church of St John the Evangelist, and is currently the Director of Music at First Baptist Church, Ottawa.

Shawn Potter

Organist Rhonda Sider Edgington is a creative and eclectic musician, with a diverse repertoire and wide range of Rhonda Sider

Edgington

musical interests. Often com-mended for her innovative programming, imaginative use of registrations, and exciting playing, Rhonda feels equally at home playing small mechanical-action instruments as well as large Romantic or symphonic-style organs.

Having spent seven years working and studying in Bremen, Germany (originally with a Fulbright scholarship to study with Prof. Harald Vogel), Rhonda has acquired an extensive repertoire, from Sweelinck and the music of 17th-century Northern Germany, through music of 19th- and 20th-century France, to the music of today. She has played recitals at venues such as St. Thomas Fifth Avenue in New York City, Christ Church Cathedral in Indianapolis, St. Paul’s Episcopal Cathedral in Buffalo, and Fourth Presbyterian and Holy Name Cathedral in Chicago, as well as on many historic Arp Schnitger organs in Germany, such as those in Norden, Grasberg, and Weener. She has played at five national conventions of the Organ Historical Society and a regional convention of the American Guild of Organists. She has also been heard on the nationally syndicated radio program “Pipedreams.”

Rhonda has worked as a church musician since her student days, and has held jobs in almost every major denomination here in the states, as well as working as a church musician in Germany. As organ teacher, Rhonda was Assistant Professor at Concordia University, River Forest (IL), and


Interim Professor of Organ at Houghton College (NY), and now teaches privately. She also enjoys playing the harpsichord, piano, and carillon, and is an avid chamber musician.

Rhonda studied in Germany with Harald Vogel, Hans-Ola Ericsson, and Hans Davidsson, and in the U.S. with Larry Smith, Marilyn Keiser, John Chappell Stowe, Edward Zimmerman, and her father Ronald Sider. She has a Master’s degree in Organ from Indiana University, a Bachelor’s degree in Piano from Wheaton College (IL), and a Diploma in Organ Performance from the Hochschule für Künste/ University of the Arts in Bremen, Germany, where she was awarded the highest possible grade for her graduation recitals. She helped lead an educational tour for the European chapter of the American Guild of Organists in 2011 to visit organs of Northern Germany, and is currently Dean of the Holland, MI chapter of the AGO.

Rhonda lives with her family in Holland, Michigan, where she is the organist at Hope Church, a staff accompanist at Hope College, Seminary Organist at Western Seminary, and maintains a private studio, while continuing to perform regularly in the U.S. and abroad. Her website http://rhonda.edgington.info contains photos and recordings of some of her favorite pipe organs.

Royal Canadian College of Organists

presents

Organ Skills Workshops

The Toronto Centre of the RCCO presents workshops for organ skills

development. The next workshop will be in Feruary 2015. This educational event is FREE. It is designed to be like a "boot camp" for new and not-so-new music people charged with providing organ hymn accompaniment. Experienced organists will give hands-on instruction, discussing playing techniques, registration (the sounds and colours of the organ), finding appropriate music for every occasion, working with soloists and choirs, discussing employment issues, rehearsal tips, and much more. Participants will have an opportunity to gain hands-on instruction and will focus on providing solutions for pianists pressed into playing the organ. Participants are encouraged to bring lots of questions, and one hymn or short voluntary to play or to use as an example (optional). Gain confidence, ask questions and bring a friend!The workshop location is based on the number of registered participants and where the most need is.

For more information or to register, please contact Gordon Mansell at 416-571-3680 or email: [email protected]


Originally from Zwettl, Lower Austria, Elisabeth Ullmann currently resides in Vienna. She received her musical

education at the national music academies in Vienna and Salzburg and at the Royal Academy of Music in London. Elisabeth Ullmann has taught music since 1979 at the University Mozarteum in Salzburg. In 1988, she became the first female Full Professor for Artistic Organ Playing in Austria. She initiated the annual “International Organ Festival Stift Zwettl” (Austria), and remained its Artistic Director until 2008. Today, Elizabeth also works as a renowned advisor for building and restoring of organs. Elisabeth Ullmann has been invited for numerous solo concerts, guest performances with orchestras, and also for master classes in nearly all European countries as well as Israel and the United States.

Originally from Ottawa, cellist Samuel Bisson is quickly distinguish-ing himself in Canada as a versatile soloist, chamber musician and orchestral player. Currently

based in Toronto, he performs frequently in the GTA and has performed and toured across Canada, the US, Austria and China. He has performed with renowned Canadian piano trio, the Gryphon Trio and performs regularly as part of the Passport Duo, with pianist Nadia Boucher.

Samuel currently holds the position of principal cellist with the Sneak Peek Orchestra (Toronto) and the Kindred Spirits Orchestra (Markham). He has also appeared as principal and section cellist with the Ottawa Symphnoy Orchestra (Ottawa), the Ontario Philharmonic (Oshawa) and l'Orchestre de la Francophonie Canadienne (Montreal).

Over the years, Samuel has had the pleasure of working with many renowned cellists including Janos Starker, Roman Borys, Hans Jorgen Jensen, Paul Katz, Anthony Elliott, Paul Marleyn and Julian Armour. He has also had the privilege of playing with great chamber musicians and masters such as Pinchas Zuckerman, Mark Fewer, Jean Desmarais, Angela Hewitt and the St-Lawrence String Quartet.

Samuel has a special interest in new and unknown music and has an ease with a broad range of musical styles. He regularly performs premieres of new works and has been a guest of Toronto's New Music Festival for two years.

Beyond the boundaries of classical performance, Samuel is an active studio session musician and performer/arranger in a variety of music genres. He has been involved with projects that stylistically range from jazz and broadway to metal and electronica, and has worked and collaborated with artists such as Drake, Sarah Brightman and members of Barenaked Ladies and Our Lady Peace.

Samuel is also a composer and has had many works performed by ensembles across the country. He composed the score to the award-winning short film Nuit Blanche and wrote the score for the feature film Lovesick, released theatrically in late 2011.

Elisabeth Ullmann

Samuel Bisson

Gordon D. Mansell - Co-founder, Executive Producer, Artistic DirectorGordon Mansell is Music Director and Organist at Our Lady of Sorrows Church in

Toronto where he directs a music program of over 120 singers from five choirs. He is also the Ontario dealer for the world’s largest organ builder, Allen Organ Company. Gordon is Co-founder and executive producer of ORGANIX CONCERTS INC., a wholly owned subsidiary of Glionna Mansell Corporation.

In Summer of 2012, Gordon per-formed solo organ concerts in Poland, including concerts at Wadowice, Rabka, the XXII edition of the International Cracow Organ Festival, Zacopane in the mountains where John Paul II liked to ski and finally, the XI edition of the L’arte Organica festival in Nowy Sacz. In January and February 2013 Gordon performed as organist and choir director in Florence, Rome and at the Vatican, touring with the Our Lady of Sorrows Ecumenical Choir, an SATB ensemble he formed in 2011. The Choir sang at the Vatican on three occasions, including the Pontifical Institute of Sacred Music and at St. Peter’s Basilica on two occasions including the Papal celebration of Candlemas. Under the patronage of the Consulate General of the Republic of Poland in Toronto, Gordon has been invited back to Poland to perform in Warsaw and Gdansk in August of 2014. For 2015, plans are underway for a second European choir tour that will include concerts with orchestra in the Cathedrals of Prague, Vienna and Salzburg.

Gordon’s early music training was gained from the Royal Conservatory of Music and St. Michael’s Choir School. By the time Gordon was twelve years


of age, he started his professional career as a church organist. Gordon holds a Bachelor of Science degree in Printing and Photographic Sciences (1979) from the Rochester Institute of Technology. He also holds a certificate in Information Technology from the University of Toronto (2001) and a Bachelor of Music (2006) and Master of Music degree (2008) majoring in Organ Performance from the University of Toronto, Faculty of Music.

In parallel to his music career, Gordon has a long professional career in business management, marketing and advertising and was a founding partner company of SMART Toronto, a technology advocacy organization now known as the CATA Alliance. He also established Creative Folio III, an advertising and design agency and the Ingenuity Group, a technology management consultancy and ‘think tank.’

Founded in 1909 as the Canadian Guild of Organists, the RCCO is Canada's oldest musicians' association. Today, the RCCO is a nationwide interdenominational community of professional and amateur organists, church musicians, choral conductors, and others sharing an interest in the organ and church music.

The Toronto Centre is the largest centre in the country and each year offers a variety of programmes from recitals and workshops to social gatherings. The Toronto Centre is a

proud annual concert sponsor of ORGANIX. The RCCO Toronto, is a sponsor of the Elisabeth Ullmann concert.

www.rcco.ca


Meeting Massimo Nosettiby Maxine Thévenot

Thursday, November 22, 2012: my route to Italy was Albuquerque-Chicago, Chicago-Munich, Munich-Turin. I arrived at the airport in Turin Friday, November 23rd and was greeted by Massimo's assistant organist, Omar Caputi. It's true what they say about Italian drivers: I was immediately placed in one those moments in life when you feel like you're in a movie. My lack of Italian and Omar's limited conversational English made for a gesture-filled car ride to the Best Western Hotel in the center of Turin.

After settling in there, I was collected by Mr. Nosetti in his North American-sized SUV and driven to Santa Rita, the church where Massimo oversaw the liturgical program, as well as the annual International Santa Rita Organ Festival, which began in 2008/2009 and continued until his sudden illness in October 2013. I was honored to be an invited guest on this distinguished series.

Santa Rita is, on the inside, a most beautifully ornate Catholic Church complete with a mechanical action 4-

manual organ built by Italian organ builder, Gustavi Zanin. This instrument is seen as the

most successful and largest installa-tion in Zanin's career to date. He has also installed and rebuilt organs in Venice and Como at the Conservatories of Benedetto Marcello and Guiseppi Verdi respectively.

Massimo Nosetti was one of those rare breeds who spoke English just as well as his native tongue, Italian, was also fluent in French and German and could write and interpret Latin. His 'off the top of his head' knowl-edge of musical and non-musical conversational topics was nothing short of astonishing, and yet Massimo managed to retain a very down-to-earth air about him, which drew people towards him. He had a wonderful sense of humour and excellent taste in wines and food. He was also one of the most kind and generous people I have met in the organ profession.

After what would have been a very full day of playing for Sunday liturgies and masses at Santa Rita church, he and his lovely wife Franca (also a polyglot, who speaks at least four languages fluently) invited me to their home for a late night feast of wonderful Italian food and wine. It was here that I got to receive a tour of their home and see the maestro's office, which housed a 3-manual organ, an

enviable music library and study space. It was wonderful time of sharing common stories of both musical and life experiences.

During my short time in Turin I was invited to perform a full-length recital on the evening of Monday, November

† Massimo Nosetti 1960-2013


26th, which (not unusual in Italy) began at 9pm. The not unusual capacity audience was most generous and afforded me the chance to play encores, which made

for a wonder-fully memora-ble Italian debut. Following the concert,

Massimo and some of his students took me out for that most famous of Italian foods, pizza. I think we left that pizzeria at around 1:30am.

The following morning at 7am I was traveling to Cuneo, which is about a 2-hour car journey from the center of Turin. I had been invited to give a lecture-recital on Canadian Organ Music that morning, in English. None of the 7 dedicated male students really spoke the language, but Massimo kindly translated most of what I had to say to the class at the Conservatory in Cuneo. This conservatory was officially recognized as such in 1995 - again something that Massimo had a hand in organizing with the city and further developing.

We arrived in Cuneo shortly before 9am and the first stop was double espresso and croissant at the neighbourhood café, which it was clear Massimo frequented with his students. There was no need to place an order!

The conservatory organ practice room is a deconsecrated church which Massimo had, with the assistance of the city and larger university, saved and had remade into an extraordinary practice 'studio'. The church 'studio' includes a baby grand piano in the sacristy, and while someone can be practicing there, someone else can either be

practicing on the one manual Neopolitan organ from 1759, or the early 20th century 2-manual organ situated in the rear gallery, or the 21st century 3-manual organ in the front, behind the high altar. It's something of an organist's dream place to spend several hours a day.

The intersection of my career with Massimo's began when he wrote to me in 2011 and invited me to come and play in Turin on his Festival in November 2012. I then in turn

extended an invitation to him to come and make his New Mexican debut at the Cathedral of St. John on May 4, 2012.

During his time here he also gave a fascinating lecture on the history and development of Italian organ building and organ music in collaboration with the local American Guild of Organists chapter. It was enjoyed by organists and enthusiasts alike.

Massimo's recital program included works by Liszt, Peeters, Bossi, Germani, and transcriptions by Wagner and Prokofiev. His playing was wonderfully virtuosic and his use of the organ's available colours was masterful.

From the start of our collegial friendship, he began talking about future goals and plans for his students and his studio. He wanted to begin a summer exchange program and spoke about my involvement in this project. He hoped to be able, in the summer of 2014, to


begin a Cuneo Conservatory Summer Academy, inviting organ teachers from around the world to come and work with his students. He also wanted to see his students come and pursue some form of study in the US. His students were all quite curious

about North-American organs and study and were full of questions when I had lunch with them. It was clear to me that his students adored their

maestro, and that he was a dedicated mentor to these young men.

Aside from being an intellectual and a brilliant musician and teacher, it was also easy to see that Massimo was a deeply spiritual person. In the short time I interacted with him, he treated everyone equally and clearly lived and breathed the gospel of Christ. It is, of course, very sad when a colleague is taken from this earth in the prime of his life, but earth's loss is most definitely heaven's reward and gain.

Rest in peace, dear Massimo.

Meeting Maestro NosettiBy Hanné BeckerI never expected this at all. Two days ago, I get an email - "will you please be the assistant for maestro Nosetti at his performance at St Paul's on Wednesday? He will be performing the Rheinberger Organ Concerto no.2 in g minor with the orchestra, so could you be there earlier for a run through with the orchestra?"

My heart skips two beats already just at the mention of the words "Rheinberger" and "concerto" in the same sentence.

What? RHEINBERGER has an organ concerto? More than one? And this concert is going to be with full orchestra?

In St Paul's with that magnificent instrument?

And I'm going to be turning pages and registering ....

I get an email from the organist, who is from Italy, asking me to come at 4.30 for the run-through.

I walk through the rain, on a dark Wednesday afternoon along Bloor Street, wondering what was awaiting me.

I start to hasten slightly towards the large glass doors, and wonder what

the organist would look like, as I'd never seen him before.

I see members of the orchestra hanging around the sanctuary, and as I walk towards the

organ console, a friendly face greets me.

The rehearsal begins and I take my position on his left side.

Photo courtesy ofHanné Becker


As the first notes began to sound in the wonderful acoustic, I instantly felt excitement run down my spine. I could hardly wait for the concert.

The rehearsal went smoothly, and the maestro was as kind as to invite me for coffee before the concert.

So we head out in the rain to get coffee.He was so cheerful and funny, really laid back and full of great stories.I begin to tell him what I'm playing this year, and ask him about Guilmant's 1st sonata."Ah, everyone plays that in Europe - why not something more obscure?" he chuckles.

"Well, not many people play it here" I reply with a smile on my face.

“That's very funny" he says. "Oh, in Italia, if you ask for coffee, it is a small cup - here the smallest is very big!"I thought I knew obscure works - well apparently not; he knew much more obscure composers than I did.

That intrigued me.

Time to head back for the concert.

"Please could you go and give the A to the concert master before the time? Just on the Diapason II and Octave 4".

"Sure thing" and I go to the console, sitting down. The orchestra starts to do their polymultiphonic warmup routine.

Concert master enters, looks at me and smiles. I sound the A; I don't think it was exactly at 440, but it was something around there.

They tune up. Enter Maestro. Applause.

And here begins possibly the most lifechanging concert of my life in a long, long time.Here I was, sitting next to him, and witnessing some of the most virtuosic organ playing I had ever seen / heard.

It was flawless but consummate in artistry and musicality and technique.

All of it.

He played with such ease; he floated through the music; he changed pistons like it was breathing; he simply controlled it all.

And yet, there was no focus on him, he let the music speak to its fullest. This showed mastery in its biggest form.When we finally got to the Rheinberger, I think something in me lit up like never before.

It was like I could taste the harmony. It was like every chord became truly lifelike in stature.It was like I could believe in something so incredibly beautiful that was still to come, which was born already in the past.The greatness of it, the huge space, the lush textures, yet interspersed with such simple tenderness.....

I think I saw a bit of heaven tonight. It was a tiny bit of heaven, but it was wonderful.How could I really say what I felt in this music?Final G major chord melts my face, and my heart. Roaring applause.

A big warm hug from the maestro, thanks and final goodbye.

So, so wonderful. I am honored to have had the chance to meet this wonderful man. May he rest in peace and may his music and legacy play on.

Trumpeter Michael Barth with Massimo Nosetti and Maestro Philip Sarabura after the ORGANIX 12 Opening Gala Concert.

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so happy for me and wished for me to share all the details of this experience. The day rehearsals started, I sent Massimo a message about my excitement. At that point, I didn’t know what was going on with Massimo. Unfortunately we were not able to see each other again and only communi-cated via email or during the last phone calls. Massimo was very patient with me, because when we talked on the phone, (the few times that we could reach each other quietly) we talked a minimum half an hour discussing many random ideas. Massimo died on the same day as my opening performance of Mahler's 8th Symphony. I am certain he was on the bench with me enjoying every moment of it. I am very sad to have lost such a good friend.

Performing with Massimoby Eugenio Fagiani

I had known Massimo for many years. We were friends but the first time he commissioned a piece from me, it was performed at his Santa Rita Festival. After the concert we were motivated by the audience acceptance of this piece and so, Massimo and I started talking about a second commission. We started talking about themes and decided upon Psalm 22 “The Lord is my Shepherd” which was eventually premiered April 1st, 2011 at the Grace Episcopal Cathedral in Topeka, Kansas.

Massimo then mentioned that he would love to have a big Andante Sinfonico from me. I thought that it would be a nice idea to do an Andante in a Mozart style (I mean the idea of andante - faster trio – andante, as happens in the D minor piano concerto). He replied: “…nice idea, but write a movement that is not too fast because I am getting too old for this stuff! We started laughing together. This was Massimo’s sense of humour and something we shared in common among many things.

Another little story is about my performance activity. He was so happy that I started working with the Verdi Symphony Orchestra. He too, worked with an orchestra, Rai Orchestra in Turin for many years and together we discussed his experiences. Well, last September I had the opportunity to perform with the Verdi Orchestra for the BBC Proms at the Royal Albert Hall, and he was so thrilled for this marvelous opportunity that he mentioned that we had to talk better about this when I visit in November to perform in Torino. The organ at the Royal Albert Hall was one of Massimo’s preferred in the UK. The same was about my performance in Mahler’s 8th with Chailly. Massimo was

March 8, 2010 premier of Eugenio Fagiani’s “Lauda Sion Salvatorem” commissioned and performed by Massimo Nosetti at the Santa Rita Festival in Torino, Italy.

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496 Huron Street, Toronto, ON M5R 2R3 CANADA

Telephone: +1 416.921.3802 Fax: +1 416.962.2503

Email: [email protected]



Fantasia in G major BWV 572 J S Bach (1685-1750)

Herr Jesu Christ, dich zu uns wend’ (Trio) BWV 655 J S Bach

Concerto II in A minor BWV593 Bach / Vivaldi (1678-1741)

Toccata per l’Elevazione Girolamo Frescobaldi (1583-1643)

Introduction and trumpet tune Maurice Greene (1696-1755)

Ei Du feiner Reiter Samuel Scheidt (1587-1654)

Final César Frank (1822-1890)

Intermission - 15 minutes

Improvisation on submitted themes

Rumba sur les Grands Jeux Pierre Cholley (b.1962)

St Bride, assisted by angels Judith Bingham (b.1952)

Prelude and Fugue No.3 in E flat major Camille Saint-Saëns (1835-1921)

Alléluias sereins d’une âme qui désire le ciel Olivier Messiaen (1908-1992)

Niagara Jonathan Dove (b.1959)

Opening Gala ConcertKerry Beaumont - Organ

April 25th 2014 7:30pmOur Lady of Sorrows Church

3055 Bloor Street West

programmes

PAGE 24


Prelude and Fugue E Flat Major BWV 552 J S Bach (1685-1750)

Fantasy "Holy God" Marian Sawa (1937- 2005)

Fuga-Bolero

Marian Preludes Juliusz £uciuk (b. 1927)

Toccata "Tu es Petra" Henri Mulet (1878-1967)


Prelude, Fugue and Variation César Franck (1822-1890)

Symphony II, Opus 20 Louis Vierne (1870-1937)Allegro – Choral – Scherzo – Cantabile – Final

Witold Zalewski - OrganMay 16th 2014 7:30pm

St. Paul’s Anglican Church227 Bloor St. East

PAGE 25

Consulate Generalof the Republic of Polandin Toronto


Pièces choisies (1711/12)La Béatitude

Premier Livre d’Orgue (1690) Gilles Jullien (ca1650/53-1703)Cromhorne en Taille

Suite Médiévale (1947) Jean Langlais (1907-1991)V. Acclamations

Élégie (2006) James David Christie (b. 1952)(à la mémoire de Jean Langlais)

Scherzo (1911) Albert Alain (1880-1971)

Paysages euskariens (1930) Ermend Bonnal (1880-1944)I. La vallée du Béhorléguy, au matin

Sonata I en ré mineur, Op. 42 (1874) Alexandre Guilmant (1837-1911)III. Final


Six Pièces Guy Ropartz (1864-1955)III. Sortie (1896)

Symphonie, Op. 5 (1911) Augustin Barié (1883-1915)I. PréludeII. FugueIII. AdagioIV. IntermezzoV. Finale

Charles Piroye (ca1668/72-1717/30)

James David Christie - OrganJune 6, 2014, 8:00pm

St. Basil’s U of T 50 St. Joseph Street

PAGE 26


Praeludium in g, BuxWV 149 Dieterich Buxtehude (1637 – 1707)

Vom Himmel hoch da komm ich her Heinrich Scheidemann(1595 – 1663)

Ricercar del nono tono Jan Pieterszoon Sweelinck (1562 – 1621)

Toccata in d, BuxWV 155 Dieterich Buxtehude


Symphonic Chorale on “Ach bleib Sigfrid Karg-Elert (1877 – 1933)mit deiner Gnade”

Verset pour le fête de la Dédicace Olivier Messiaen (1908 – 1992)

Symphony No. 10: Andante Sostenuto Charles-Marie Widor (1844 – 1937)

Messe de la Pentecôte: Olivier MessiaenIV. Communion (Les oiseaux et les sources)V. Sortie (Le vent de l’Esprit)

Shawn Potter - OrganJune 20, 2014, 7:30pmAll Saints' Kingsway


PAGE 27

Germany

Fugue in G Major, Gigue, BWV 577 Johann Sebastian Bach (1685-1750)

Praeludium in C Major, BuxWV 136 Dieterich Buxtehude (1637-1707)

From Thirty Pieces for small organ, Op. 18/ 1 Hugo DistlerIII. Slow-moving (1908-1942)

Raphael Johann Matthias Michel (b. 1962)

North America

Fugue "Triangulaire" from Twelve Short Pieces, Op. 43 Rachel Laurin (b. 1961)

Oh Freedom Adolphus Hailstork (b. 1941)

From Brevities Gwenyth Walker (b. 1947)Theme and Variations: a Ballad of sortsPlay

Eclogue and Fugue in A-flat Bernard Wayne Sanders (b. 1957)

Gospel Prelude on Sometimes I Feel William Bolcom (b. 1938)


England

Barrel Organ Monkey from Animal Parade Iain Farrington (b. 1977)

France

Joie et Clarté des corps glorieux from Les Corps Olivier MessiaenGlorieux - (Joy and Brightness of the glorious bodies) (1908-1992) Deux Dances à Agni Yavishta Jehan Alain (1911-1940)

Mouvement Jean Marie Berveiller (1904-1976)

From Symphony No. 6, Op. 59 Louis Vierne (1870-1937)- Scherzo- Finale

Rhonda Sider Edgington - OrganSeptember 19th, 2014, 7:30 pm

Holy Trinity Anglican10 Trinity Square (Next to the Eaton Centre)

ORGANIX 14 WWW.ORGANIXCONCERTS.CAPAGE 28

Elisabeth Ullmann - Organ, Samuel Bisson - Cello,

ORGANIX String Ensemble

October 19th, 2014, 4:00 pmOur Lady of Sorrows Church


ORGANIX 14 WWW.ORGANIXCONCERTS.CA PAGE 29

Prelude in C, BuxWV 138 Dieterich Buxtehude (1637 – 1707)

Canzona IV Johann Caspar Kerll (1653 – 1693)

Canzona V

Ciacona in G Georg Muffat (1653 – 1704)Toccata Octavafrom Apparatus musico-organisticus Salzburg 1690

Church Sonate, with string ensemble Wolfgang Amadeus Mozart Sonata in F, K 244 (1756 – 1791)Sonata in G, K274Sonata in C, K328Sonata in C, K336

Prelude & Fugue C Major BWV 547 J. S. Bach (1685 – 1750)


Four small Choral-Preludes Franz Schmidt (1874 – 1939)O Ewigkeit, du DonnerwortWas mein Gott will, das g’scheh allzeitO, wie selig seid ihr doch, ihr FrommenNun danket alle Gott

Sonata II (1947) Anton Heiller (1923 – 1979)2nd movement: Adagio

Trio Sonata III in d minor BWV 527 J. S. BachAndante – Adagio e dolce – Vivace

In Festo Corporis Christi (1957) - Anton HeillerFour pieces for the feast of Corpus ChristiAnte IntroitumPost OffertoriumPost CommunionemPost Benedictionem – Lauda Sion

David and June Weind

Maxine Thévenot, Eugenio Fagiani, Omar Caputi and The Toronto Ecumenical Chorale

Memorial Concert for Massimo Nosetti November 12th, 2014, 7:30 pm

St. Paul’s Anglican Church227 Bloor St. East

ORGANIX 14 WWW.ORGANIXCONCERTS.CAPAGE 30

The Gentlemen of the Toronto Ecumenical ChoraleAssistant Conductor: Gerry Litster I Said to the Man W. Harris (1883 – 1973)Sancta Maria R. Woollen (1923 – 1994)

Maxine Thévenot

Piece d'orgue - BWV 572 J. S. Bach (1685-1750)Variations on Ubi Caritas * Denis Bédard (b. 1950)Laudate Dominum * Philip Moore (b. 1943)Cortège et Litanie Marcel Dupré (1886-1971)

Eugenio M. Fagiani

Chaconne J.S. Bach (1685 – 1750)Transcribed by Busoni-MattheyAdagio, from Sonata op. 36 Eugenio Fagiani (b. 1973)The Lord is my Shepherd * Eugenio Fagiani Commissioned by Massimo Nosetti

The Toronto Ecumenical ChoraleDirector: Gordon Mansell

Ave Verum Corpus Colin Mawby (b. 1936)Accompanist: Eugenio Fagiani

Ego Sum Panis Vitae Massimo Nosetti (1960 – 2013)Accompanist: Eugenio Fagiani

Ave Maria * Gordon Mansell (b. 1956)Dedicated to the memory of Massimo Nosetti

How Lovely Thy Dwellings Johannes Brahms (1833 – 1897)Accompanist: Allison Hunwicks

Omar Caputi

Grand Choeur, op. 84 Alexandre Guilmant (1837 – 1911)Carillon Marcel DupréToccata on “Dies irae” * Omar CaputiOstern – Fanfare * Massimo Nosetti

* Canadian Premiere

ORGANIX

HOW YOU CAN HELP OUR MISSIONOUR MISSION is more than just producing an annual organ festival. Our goal is to offer unique concerts, showcase the city’s pipe organs, give performing opportunities to young organists, foster collaboration between organists and other artists, and raise the profile of the organ.

YOUR SUPPORT will help us continue our efforts in reaching these goals. Please consider supporting ORGANIX CONCERTS INC. as you are able. Your donation may be made through our website or by mail. We will acknowledged your contribution on the website and in future programs.

Mail your donation to:ORGANIX CONCERTS INC. 464 Armadale Avenue, Toronto, ON M6S 3X9

Please make your cheque payable to ORGANIX CONCERTS INC. and be sure to include your name as you would like it to appear on our program and website, as well as your contact information so that we may acknowledge receipt and thank you personally.

LookingAHEAD . . .LookingAHEAD . . .organix 15 Select PRESENTS

May 15, 2015 at Metropolitan United ChurchRoman Perucki - Organ, Maria Perucka - Violin

Please see ORGANIX website for complete details as they are announced.

David and June Weind

www.glionnamansell.comGlionna Mansell FoundationConsulate General

of the Republic of Polandin Toronto

m beithPrint and [email protected]

Additional Concert Event

Simon is Organist of St. Mary's Metropolitan Cathedral and Director of Music at The Robin Chapel in Edinburgh, Scotland. As a recitalist, Simon's programmes often include unusual but attractive repertoire. It is his aim to play programmes that appeal to organ buffs and sceptics alike.

Venue: St. Patrick's Catholic ChurchAddress: 921 Flagship Drive, Mississauga, L4Y 2J6Date: Sunday July 13, 2014, 3:00 pmAdmission: $ 20.00 General, $ 15.00 Senior, $ 10.00 Student, RCCO, RCSM, AGO and registered parishioners. All 18 and under are freeContact: Gordon Mansell for tickets, 416-571-3680 or email: [email protected] or order on-line at www.summerorganconcert.ca

Simon Nieminski in performance at Mississauga’s St. Patrick Catholic Church.

Glionna Mansell Presents

glionna mansell presents o - arts poloniaartspolonia.com/organix_2014_04_25_program.pdfglionna...

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