American Guild of Organists Pittsburgh Chapter

39th Season 2017-2018

EASTMAN @ EAST LIBERTY Ivan Bosnar, Amanda Mole, Caroline Robinson Sunday, 19 November 2017 East Liberty Presbyterian Church 3:00 p.m. Co-Sponsored with

Cathedral Concerts East Liberty Presbyterian Church

Pittsburgh Chapter of the American Guild of Organists

Organ Artists Series Committee Mark A. Anderson William C. Gladden Gail M. Henry Dr. Sara Ruhle Kyle Dr. Alan Lewis J. Barbara McKelway Dr. Edward Alan Moore, Director John Thickey Keith Wannamaker Ex Officio: Dr. Douglas Starr, Chaz Bowers, Aaron Sproul The Organ Artist Series (OAS) Committee of the Pittsburgh Chapter of the American Guild of Organists (AGO) has been in existence since 1979. It is dedicated to promoting the performance, recognition, and appreciation of organ music as an art form by bringing to Pittsburgh many of the world's foremost organists. It also sponsors competitions, workshops, commissions, original works, and other related activities to advance the cause of organ music in the Pittsburgh metropolitan area. As part of the non-profit AGO, the OAS relies on individual contributions, program advertisers, ticket sales, and cooperative programs with institutions to be able to present quality programming. www.organseries.com www.facebook.com/OASPittsburgh

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Program AMANDA MOLE Toccata, Adagio, and Fugue, BWV 564

Johann Sebastian Bach (1685-1750)

Orpheus

Franz Liszt (1811-1886)

Dieu parmi nous

Olivier Messiaen (1908-1992)

IVAN BOSNAR Sonata No. 2 in D Minor, Op. 60 I. Improvisation 4ème Symphonie, Op. 32 IV. Romance Improvisation

Max Reger (1873-1916)

Louis Vierne (1870-1937)

Ivan Bosnar (b. 1991)

CAROLINE ROBINSON Fantaisie in D-flat, Op. 101

Camille Saint-Saëns (1835-1921)

Praeludium and Fugue on BACH

Franz Liszt (1811-1886)

Audio or video recording of this recital, using any device, without prior written consent is strictly prohibited. Please join us for a reception in the McKelvy Room following this afternoon’s concert where you may greet the artists.

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This Afternoon’s Artists AMANDA MOLE Amanda Mole is originally from Holden, Massachusetts, and is currently a Doctor of Musical Arts candidate studying with David Higgs at the Eastman School of Music. In 2011, Amanda graduated from the Yale Institute of Sacred Music and the School of Music with a Master of Music degree in Organ Performance and Sacred Music. During her time at Yale, Amanda studied organ with Martin Jean and Choral Conducting with Maggie Brooks, and was the only candidate in her class to receive the Church Music Studies Certificate for additional sacred music and theological studies. Prior to Yale, she obtained a Bachelor of Music degree with honors at Eastman while studying with William Porter, and, prior to Eastman, she studied with Larry Schipull and Patricia Snyder. Amanda has also completed the requirements for a minor in Choral Conducting during her doctorate. She has participated in masterclasses with several accomplished organists, including Jon Laukvik, Ludger Lohmann, Alan Morrison, Jacques van Oortmerssen, Stephen Tharp, Thomas Trotter, and Harald Vogel, among others. Amanda has performed internationally at venues across the USA and Europe. In 2015, she was a featured performer at the New Haven Regional American Guild of Organists Convention. In 2016, she joined the roster of concert artists at the Organ Historical Society Convention in Philadelphia and received consistent excellent reviews in The American Organist, The Diapason, and The Tracker magazines, hailing her as a rising "star" and describing her as playing "with authority and flair."Amanda has also been featured several times on the radio show Pipedreams LIVE!. Amanda is the first-place and audience prize winner of the 2016 Miami International Organ Competition, and the first-place

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This Afternoon’s Artists winner of the 2014 Arthur Poister Organ Competition, the 2014 John Rodland Memorial Organ Competition, and the 2014 Peter B. Knock Award. She was a finalist in the 2015 Bach-Liszt International Organ Competition in Erfurt, Germany, and in 2017, she served as a juror for the 24th annual L. Cameron Johnson Organ Competition in Storrs, CT. Amanda is a six-time winner of the American Baptist Scholarship and an nine-time winner of the National Religious Music Week Scholarship. She is the Director of Music at St. Michael’s Catholic Church in Rochester, NY, and at Immanuel Evangelical Lutheran Church in Webster, NY.

IVAN BOSNAR Ivan Bosnar, a native of Croatia, is pursuing a Doctorate of Musical Arts in Organ Performance at the Eastman School of Music, where he studies organ with Nathan Laube and improvisation with Edoardo Bellotti and William Porter. He took his first organ lessons at Vatroslav Lisinski School of Music in Zagreb where he studied with Jasna Šumak-Picek. Following high school, he studied organ at Zagreb Music Academy with Mario Penzar and at the University of Music and Performing Arts in Graz with Ulrich Walther. Ivan won First Prize in the Croatian Organ Student Competition in 2009, and Second Prize and Audience Prize in the University of Michigan Organ Improvisation Competition in 2016. He has appeared in several organ festivals, both in Croatia and abroad (Požega Cathedral, Zagreb Cathedral, Loretto, Graz, Pecs, Berlin). He has collaborated with the Croatian Military Symphony Orchestra and the Croatian Radiotelevision Symphony Orchestra. As a church musician, he served as an organist at St. Peter’s Church in Zagreb and at St. Mary’s Church in Zaprešić, Croatia. He currently serves as Associate Music Director and Organist at St. Boniface, St. Mary's, and Blessed Sacrament Church in Rochester, New York.

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This Afternoon’s Artists CAROLINE ROBINSON Originally from Greenville, SC, Caroline Robinson is a graduate of the Curtis Institute of Music, where she studied with Alan Morrison. Caroline commenced organ studies at the age of 12 under the tutelage of Adam Pajan. She later studied extensively with Dr. Charles Tompkins of Furman University, Dr. Wilma Jensen of Nashville, TN, and Mr. Thomas Bara of the Interlochen Center for the Arts. Caroline is a recipient of a grant from the J. William Fulbright fellowship fund. Aided by this generous grant, she studied during the 2013-14 year at the Conservatoire à Rayonnement Régional de Toulouse with Michel Bouvard, Jan Willem Jansen (organ), and Yasuko Bouvard (harpsichord). Caroline received the Master of Music from the Eastman School of Music in 2016 and is now a candidate for the Doctor of Musical Arts degree, remaining in the studio of David Higgs. As a young performer, Caroline has had the opportunity to play at several important venues in the U.S., including the famed Wanamaker organ at Macy’s (Philadelphia), Verizon Hall at the Kimmel Center (Philadelphia), the Kauffman Center (Kansas City, MO), The Cathedral of St. John the Divine (NYC), and St. Thomas Fifth Avenue (NYC). Her playing has been broadcast on American Public Media’s Pipedreams, Pipedreams LIVE!, and Philadelphia-based WRTI’s Wanamaker Organ Hour. Caroline has performed in recent AGO Regional and OHS Conventions. Caroline is the First Prize winner of the 11th annual Albert Schweitzer Organ Festival (2008) and the 10 annual West Chester University Organ Competition (2010). She was a semifinalist in the 2014 Dublin International Organ Competition and a quarterfinalist in the 2017 St. Albans International Organ Festival. In 2016 she received the top scholarship from the 25 annual Peter B. Knock Memorial Music Fund. That same year, she was also named one of the top “20 Under 30” budding young organists by the Diapason magazine. th

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Caroline serves as Assistant Organist at Third Presbyterian Church in Rochester, under the leadership of Director of Music Peter DuBois. She also holds the post of Executive Assistant for Organ Outreach within the Eastman Rochester Organ Initiative (EROI), in which she works to extend the impact of the pipe organ into the community.

Program Notes Johann Sebastian Bach's Toccata, Adagio, and Fugue, BWV 564 is in an unusual three-part form, demonstrating virtuosity in the Toccata first in the manuals and then with a solo pedal line. After several fast scales and trills in the pedal, the beginning of the Toccata is established. The Adagio features a beautiful solo accompanied by a bass line in the pedal and a realization of continuo in the left hand. The fugue re-establishes the fun, energetic feeling from the Toccata with a subject that includes several playful pauses and brings the work full-circle before ending suddenly with a short chord that seems to evaporate into thin air. Orpheus is a symphonic poem originally composed by Frank Liszt for orchestra, and was later transcribed to organ. The piece is meant to depict Orpheus in his heroism and incorporates two harps, a very unusual orchestration but one appropriate for Orpheus (and his lyre), in the original orchestration. A. W. Gottschalg, Liszt's student, transcribed the work to organ under the guidance of his teacher. Specific registration indications are given to the organist with a note that they should not be taken too literally, and that they only indicate the prevailing tonal character of the sound and should not confine the performer. The registrations given are diverse and colorful, and therefore give the organist the possibility to explore the widest range of color on the performing instrument, as well as push the organ to its limit with the loudest and softest possible sounds. Olivier Messiaen composed Dieu parmi nous as the last movement of a larger work about the birth of Christ. The first theme, heard in the pedal after a series of loud, crashing chords, is marked by its powerful decent from the top of the pedalboard down to low C and is meant to represent the incarnation of Christ coming down to earth. The second theme depicts the

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Program Notes sacred tenderness of communion with rich harmonies and the swell celestes, and the third theme, which is full of fast, jubilant scalar passages in alternation with the crashing chords from the beginning, represents the joy of the Magnificat: Mary's song that she sang when she learned that she would give birth to the Son of God. Dieu parmi nous is saturated with descending pedal themes throughout, and perhaps some of the most fantastic occurrences of the first theme are found in the exciting Toccata that ends this marvelous work. ~~~~ Max Reger's Second Sonata, Op. 60, became very popular after its publication in 1902. It was modeled after Reger's studies of Josef Renner's organ sonatas. In addition to sudden modulations and expressive dynamics, it displays a contrapuntal texture inspired by the music of Johann Sebastian Bach, whom Reger described as the “alpha and omega in music.” In the first movement of Sonata II, Improvisation, the opening motive reappears throughout various contrasting sections. Harmonic tensions escalate until their release in the very last chord of the movement. The Fourth Symphony of Louis Vierne was composed in 1914, just prior to World War I. It was dedicated to William C. Carl, an important figure in the founding of the Guilmant Organ School in New York. Because of the ongoing war and the fact that the work was fist published in the United States, Vierne did not hear it performed until 1923, in a performance by André Marchal in Paris. The fourth movement, Romance, presents at its outset a theme played in the pedal and accompanied by string-like chords. A contrasting, more chromatic middle section follows, after which the theme appears again in the soprano, and is concluded with a coda. ~~~~ Camille Saint-Saëns (1835-1921), known to the wider world for his orchestral, concertante, and vocal works, specialized in organ and composition during his formal musical training at the Paris

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Program Notes Conservatoire. He held titular organist positions throughout most of his career, first at l’Eglise Saint-Merry and then at l’Eglise de la Madeleine, where he played one of ArtistideCavaillé-Coll’s first major instruments. The classical traditions of his teachers, as well as the instruments at these churches, influenced his style of organ composition. Saint-Saëns produced six preludes and fugues for the organ in addition to three Fantaisies and other works (mostly intended for church). Saint-Saëns composed his Opus 101, the Fantaisie in D-flat, in 1895, dedicating it to Queen Elisabeth of Rumania. The piece has four major sections, the first a peaceful theme accompanied by flowing triplets. An imitative section with a minor subject follows, gradually slowing to chords suspended over a pedal point. The next section marks the return of the opening theme, this time raucous and extroverted, and eventually the minor imitative subject appears, transformed into major, in combination with the first theme. The closing section serves as the coda, quoting earlier material and ending as calmly as it began. Saint-Saëns shared great mutual admiration with his older contemporary Franz Liszt (1811-1885). The two composers met when Liszt was on tour in Paris, and Saint-Saëns dedicated his Third Symphony (“Organ”) to the German composer after his death. From an early age, Franz Liszt enjoyed international fame as a virtuosic performer (and teacher, later on). Known mostly as a pianist, Liszt became acquainted with the organ in Weimar, where he met organists J. G. Töpfer, Alexander Winterberger, and Julius Reubke. The monumental Ladegast pipe at Merseburg Cathedral (close to Weimar) inspired Liszt to compose his Prelude and Fugue on BACH, and his friend Alexander Winterberger premiered the work there in 1856, the year after its composition. Liszt revised the piece and published another version in 1870; this version became more widely known, and it is the one you will hear tonight. Stormy figurations, chromaticism, and dramatic crescendos and decrescendos characterize the Prelude and Fugue on BACH. The four notes comprising the name “BACH” – B-flat, A, C, and

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Program Notes B-natural – provide motivic and thematic material for the piece. The writing is highly pianistic, but Liszt exploits the sustaining capability of the organ in both the manuals and pedals to increase dynamic force and rhythmic accentuation. The theme features heavily in the pedal in the Prelude, with virtuosic, improvisatory material in the manuals. A downward chromatic line on the organ’s softest sounds connects the prelude directly to the fugue. At the beginning, each voice enters with the subject (which is “BACH”). However, the movement unfolds unlike a typical fugue through a series of long episodes containing scales and arpeggios, long trillos and series of broken chords. The piece reaches maximum intensity after a thundering pedal trill, which heralds a triumphant return of the theme, now in B-flat major. A coda ensues, interrupted by a maniacal shift to pianissimo just before the final cadence.

East Liberty Presbyterian Church 116 South Highland Avenue, Pittsburgh, Pennsylvania, 15206 Goulding & Wood Organ, 2007 incorporating some pipework from Aeolian-Skinner Organ, Opus 884, 1935 Four Manuals - 120 ranks Upgrade of Solid State Organ Systems installed by Richard Houghten, 2014 Great Organ – 30 ranks 16' Diapason 16' Bourdon 8' First Diapason 8' Second Diapason 8' Third Diapason 8' Violoncello 8' Claribel Flute 8' Bourdon 8' Gemshorn 8' String Organ VI (floating) 51/3 ' Quint 4' Principal 4' Octave 4' Flute 31/5' Tenth 22/3' Twelfth 2' Fifteenth 2' Flageolet 13/5' Seventeenth 11/3' Plein Jeu IV 2' Harmonics V (expressive) 16' Contra Tromba (expressive) 8' Tromba (expressive) 4' Octave Tromba (expressive) 8' Tuba Mirabilis (Solo) 8' State Trumpet (Solo) Tremulant Chimes Harp Great Reeds Off Great Great to Great 16–UO–4

Swell Organ – 28 ranks 16' Contre Gambe 16' 8' 8' 8' 8' 8' 8' 8' 8' 8' 8' 8' 4' 4' 2' 2' 2' 1' 16' 8' 8' 8' 8' 4' 8' 8'

(ext. 8' V, de Gam.)

Bourdon Diapason Geigen Diapason Nachthorn Stopped Diapason Viole de Gambe Voix Celeste (low c) Salicional Salicional Celeste (low c) Flauto Dolce Flute Celeste (tenor c) String Organ VI (floating) Octave Flute Triangulaire Super Octave Flautino Chorus Mixture IV Cymbale III Double Trumpet French Trumpet Cornopean Oboe Vox Humana Clarion Tuba Mirabilis (Solo) State Trumpet (Solo) Tremulant Harp Chimes Great Reeds on Swell Swell to Swell 16–UO–4

Choir Organ – 26 ranks 16' Contre Viole (ext. of 8' V.d’Orch.) 16' Quintaton 8' Diapason 8' Concert Flute 8' Chimney Flute 8' Viole d’Orchestre 8' Viole Celeste (low c) 8' Erzahler 8' Kleine Erzahler (tenor c) 8' String Organ VI (floating) 4' Fugara 4' Violina 4' Spindle Flute 22/3' Nasard 2' Piccolo 13/5' Tierce 11/3' Larigot 1' Sifflute 2' Full Mixture V 32' Contra Bassoon 16' 8' 8' 8' 4' 8' 8'

(ext. of 16' Bassoon)

Bassoon Corno di Basetto Orchestral Oboe Trumpet Clarion Tuba Mirabilis (Solo) State Trumpet (Solo) Tremulant Harp Chimes Great Reeds on Choir Choir to Choir 16–UO–4

Solo Organ – 20 ranks 8' Gamba 8' Gamba Celeste (low c) 8' String Organ VI (floating) 8' Flauto Mirabilis 4' Orchestral Flute 8' Cornet V (g20 – c61) 8' English Horn 8' French Horn 8' Tuba Minor 8' State Trumpet (unenclosed) 8' Tuba Mirabilis (hooded) Tremulant Harp Celesta Chimes Cymbelstern Rossignol Great Reeds on Solo Solo to Solo 16–UO–4

Pedal Organ – 16 ranks 32' Bourdon (extension of 16' Bourdon) 16' Double Open Diapason 16' Contrabass 16' Bourdon 16' Diapason (Great) 16' Contre Gambe (Swell) 16' Contre Viole (Choir) 16' Bourdon (Great) 16' Echo Lieblich Gedeckt (Sw.) 16' Quintaton (Choir) 8' Octave Metal 8' Principal (extension of 16' Contrabass) 8' Octave Wood (ext. of 16' Diapason)

8' 8' 8' 8' 8' 8' 4' 4' 22/3' 2' 11/3' 32' 32'

Stopped Flute Gambe (Swell) Bourdon (Great) Still Gedeckt (Swell) Quintaton (Choir) String Organ VI (floating) Fifteenth Cantus Flute Nineteenth Twenty-Second Mixture IV Grand Cornet VI (derived) Contra Bombarde

32' 16' 16' 16' 8' 8' 4'

Contra Bassoon (Choir) Bombarde Double Trumpet (Swell) Bassoon (Choir) Tromba Bassoon (Choir) Tromba Clarion

4’ 8’ 8’

Schalmei Tuba Mirabilis (Solo) State Trumpet (Solo) Tremulant Pizzicato Bass Pedal Divide 12/13 Chimes Harp Great Reeds On Pedal Unison Off

(ext. 16' Bom.)

(ext.of 8’ Tromba)

Accessories Console Fan Great/Choir Manual Transfer Pedal Combinations on Great Pedal Combinations on Swell Pedal Combinations on Choir Swell Transept Shades Closed Choir Transept Shades Closed Couplers Swell to Great 16–8–4 Choir to Great 16–8–4 Solo to Great 16–8–4 Great to Choir 8 Choir to Swell 8 Solo to Swell 8 Swell to Choir 16–8–4 Solo to Choir 8 Pedal to Choir 8 Great to Solo 8–4 Swell to Solo 8–4 Choir to Solo 8 Great to Pedal 8–4 Swell to Pedal 8–4 Choir to Pedal 8–4 Solo to Pedal 8–4 Antiphonal to Pedal 8 Ant. Exp. to Pedal 8 Combination Action 10 Divisional Pistons—Great, Swell, Choir, Solo, Pedal 5 Divisional Pistons— Antiphonal, Antiphonal Expressive 20 General Combination Pistons 4 Coupler Pistons Ventils for Manual 16’s Off, Pedal 32’s Off, Mixtures Off, Tremulants Off, Vox Humana and Celestes Off, Reeds Off Piston Sequencer All Swells to Swell Tutti (latching) and Sforzando (momentary)

Previous Artists in the Series – 1979-2017 1st Season – 1979-1980 Marilyn Mason Joyce Jones Roberta Gary Robert Noehren David Hurd Timothy Albrecht 2nd Season – 1980-1981 Carol Teti Thomas Murray Jeffrey Walker David Messineo 3rd Season – 1981-1982 Jean Langlais Keith Chapman Todd Wilson Frederick Swann 4th Season – 1982-1983 Gillian Weir Diane Bish Herman Berlinski Brett Wolgast 5th Season – 1983-1984 John Obetz Mark Laubach Marilyn Keiser Robert Glasgow 6th Season – 1984-1985 David Craighead Margaret Evans Anne Wilson William Albright th

7 Season – 1985-1986 Robert Anderson David Chalmers Janice Beck John Weaver th

8 Season – 1986-1987 Olivier Latry David Higgs John Longhurst Louis Robilliard

9th Season – 1987-1988 Susan Landale John Walker Diane Belcher James Moeser

17th Season – 1995-1996 Wolfgang Rübsam Douglas Cleveland Wilma Jensen Jeffrey Brillhart

10th Season – 1988-1989 Marie-Claire Alain Charles Tompkins J. David Williams Mary Preston

18th Season – 1996-1997 Colin Walsh Bruce Neswick Marvin Mills Catherine Rodland

11th Season – 1989-1990 Thomas Trotter Christopher Young Patricia McAwley Phillips Gerre Hancock

19th Season – 1997-1998 Jared Jacobsen Heather Hinton Marianne Webb Stephen Farr

12th Season – 1990-1991 James Kibbie Eileen Guenther Thomas Murray Frederick Hohman

20th Season – 1998-1999 David Briggs Mollie Nichols William Peterson Christa Rakich

13th Season – 1991-1992 Cherry Rhodes Matthew Dirst Dean Billmeyer Peter Dubois Marie-

21st Season – 1999-2000 Gordon Stewart Ann Elise Smoot Michael Kleinschmidt Susan Armstrong

14th Season – 1992-1993 Marilyn Keiser Katharine Pardee Huw Lewis Andrew Lumsden

22nd Season – 2000-2001 Robert Parkins Felix Hell Peter Sykes Victoria Wagner Margaret M. Kemper

15th Season – 1993-1994 John Scott Martin Jean Alan Morrison James Dale

23rd Season – 2001-2002 Brink Bush Susan Ferré Ji-yoen Choi Jean-Pierre Leguay

16th Season – 1994-1995 Andrew Fletcher Gordon Turk Janette Fishell David & Marian Craighead

24th Season – 2002-2003 Olivier Latry David Billings Ann Labounsky Paul Jacobs Anthony Rollett John Walker

Previous Artists in the Series – 1979-2017 25th Season – 2003-2004 Gillian Weir Stephen Tharp Timothy Olsen Richard Elliott

29th Season – 2007-2008 Aaron David Miller Scott Montgomery Patrick Kabanda Rachel Laurin

34th Season – 2012-2013 Christopher Herrick Joan Lippincott Robert McCormick Martin Neary

26th Season – 2004-2005 Elizabeth Melcher Michael Barone David Billings Gretchen Franz Ann Labounsky Christopher Pardini Neil Stahurski John Walker Kola Owolabi Gerre Hancock

30th Season – 2008-2009 Joseph Nolan Marilyn Keiser Harald Vogel Bruce Neswick

35th Season – 2013-2014 Olivier Latry Robert Nicholls John Scott Ahreum Han

31st Season – 2009-2010 Cameron Carpenter Michael Unger Jane Parker Smith Nigel Potts

27th Season – 2005-2006 Eric William Suter Yoon-Mi Lim Craig Cramer Peter R. Conte

32nd Season – 2010-2011 Renée Anne Louprette Todd Wilson Jonathan Biggers John Schwandt

36th Season – 2014-2015 Cherry Rhodes Kevin Jones Michael Messina Barbara Bruns Eric Plutz

28th Season – 2006-2007 James Welch Ken Cowan Carlo Curley J. Christopher Pardini Carol Williams

33rd Season – 2011-2012 Jeremy Filsell Dongho Lee Ken Cowan Christopher Houlihan

37th Season – 2015-2016 Scott Dettra Jonathan Rudy Isabelle Demers Christian Lane 38th Season – 2016-2017 David Higgs Chelsea Chen Simon Thomas Jacobs Martin Jean 39th Season – 2017-2018 Matthew Dirst

A note of thanks! We can't thank our patrons, advertisers, and co-sponsors enough for their continued generosity. They have contributed to the success of past seasons and guarantee our offerings in this and future seasons. Please consider joining the ranks of our regular contributors. Your donation will help us continue a Pittsburgh tradition of live performances of great organ music. You can also invite a friend to join you at the next OAS concert. Inviting a friend is a very practical and enjoyable way to support the series and help us increase our audience. Again, thanks to all who have supported the series in so many different ways. We couldn't do it without you!

Edward Alan Moore Director, Organ Artists Series

Donor Categories (check one)

Tuba Mirabilis A commanding solo reed stop

Bombarde

□ $1000+

A powerful chorus reed stop

□ $750$999

An essential chorus reed stop

□ $500$749

Trompette

Krummhorn A distinctive and colorful reed stop

Diapason The fundamental foundation organ stop

Melodia A gentle and lyric stop

Chimes A percussion stop

□ $250$499 □ $100$249 □ $25-$99

Please consider helping the OAS today with a tax-deductible gift. Your financial support makes a tremendous difference. We can't thank you enough for your generous support! Tear out this page and return it with your check to: Edward Alan Moore, OAS East Liberty Presbyterian Church 116 South Highland Avenue Pittsburgh, PA 15206 Make checks payable to: Organ Artists Series of Pittsburgh

□ to $24

Your contribution will be acknowledged in our next program book and on our website: www.organseries.com

ORGAN ARTISTS SERIES CONTRIBUTORS Tuba Mirabilis ($1,000+) Kenneth P. & Bernadette K. Leckey

Bombarde ($750 - $999) Alice C. Young

Trompette ($500-$749)

Dr. David A. Billings, CAGO J. Barbara McKelway

Krummhorn ($250-$499)

Larry Allen and Scott Bell William C. Gladden John D. Henninger, CAGO Gail M. Henry Donald K. Fellows Edward Alan Moore Ted and Sara Ruhle Kyle Dr. Jan Edward Orris Mr. and Mrs. C. John Thickey

Diapason ($100-$249)

Alan D. Ankney R. Bruce Cooper Suzanne L. Gilliland - in memory of Dale Alexander Gilliland, father Colleen Lissy Robert Mayer Signe O. Mitchell, CAGO Dr. Charlotte Roederer Jim and Judy Stark Douglas Starr Mina Belle Packer Wichmann

Melodia ($25-$99)

Anonymous Diane L. Berati Harry & Sarah Campbell Dr. Ellen E. Dodge Walter R. Holewa Helen & Dave Houggy Wilberta and John Pickett Kenneth Rankin Jacob M. Simon Joyce Moon Strobel, AAGO Nancy A. Tan

Chimes (to $24)

2017-2018 Program Partners Saint Paul Cathedral Saint Paul Cathedral Concert Series East Liberty Presbyterian Church Cathedral Concerts Calvary Episcopal Church Donald C McVey Organ Recital Shadyside Presbyterian Church Music in a Great Space

Visit us on the web: www.organseries.com and Facebook: OASPittsburgh

~ Notes ~

The O r g a n A r t i s t s S e r i e s o f P i t t s b u r g h is proud to partner with our Media Sponsors

Friday, October 20, 2017 7:30 pm

Sunday, November 19, 2017 3:00 pm

MATTHEW DIRST

EASTMAN AT EAST LIBERTY

University of Houston

Co-presented with

Ivan Bosnar, Amanda Mole, Caroline Robinson Eastman School of Music, Rochester, NY

Saint Paul Cathedral Concert Series Saint Paul Cathedral Fifth Avenue at Craig Street Pittsburgh, PA 15213

Co-presented with C a t h e d r a l C o n c e r t s

Friday, March 9, 2018 7:30 pm

Sunday, April 15, 2018 3:00 pm

BENJAMIN SHEEN

Saint Thomas Church, New York City

East Liberty Presbyterian Church 116 South Highland Avenue Pittsburgh, PA 15206

KATELYN EMERSON

AGO Young Artists Competition Winner

Co-presented with

Co-presented with

Donald C McVay Organ Recital Calvary Episcopal Church 315 Shady Avenue Pittsburgh, PA 15206

Music in a Great Space Shadyside Presbyterian Church 5121 Westminster Place Pittsburgh, PA 15232