Kay Card

Kay Card Life has been good. After 33 years of living and loving in Oregon, Brian and I will be moving to Utah to enjoy the family we have been visiting for those many years. We are excited to pursue new adventures and discover more opportunities in life. As we close the door of our life in Oregon we are so grateful for all of our friends here. I am thankful for music and the avenues it has taken me over the years. Service in church, the community and blessings of receiving organ instruction and teaching piano and organ have enriched my life. Each of you are dear friends. Your devotion to music and the role it plays in our individual lives and our church worship has brought me joy and rejoicing. Thank you, Jeannine and David for your eternal friendship. You have taught me to be better, to strive better, to practice better, and to live and love better. God bless each of you. you will be remembered and loved. A piece of my heart will always remain in Oregon because you have held fast to it and won’t let it go. Go with God----blessings to all.s

Kathleen (Kay) Card has discovered that retirement is way too busy and feels that maybe she should go back to work. Ha, ha – not really, but life continues to feel overwhelming and way too busy, involved and complicated. I love being with my family and friends and connecting with my music friends throughout the Portland area. Grateful for the blessings of music in my life. I love this quote by Plato – “Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.” Enjoy the music of this Christmas season and the joy it brings to all of us. 12-8-18

Kay Card Life has been good to me and my family. However, I keep trying to decide what I want to do when I grow up---which you would think I could have figured out by now. Our family continues to grow and change as we have more experiences in life. Brian and I have visited a few places we haven’t seen, and we hope to continue to explore new and interesting sights. I look forward to new adventures and cherish those people I love and care for as we all move along in our lives. My hobbies have taken over my life in a lot of ways---with more available time to enjoy them. Organ practice needs to work its way up my list so that I can achieve more and become a more precise and prudent performer. So grateful for the years I have spent with Jeannine increasing my repertoire, developing skills and technique, becoming more knowledgeable of the organ and enjoying the opportunity to share what I have learned with others.

Kathleen (Kay) Card has enjoyed being a student of Jeannine Jordan’s for 10-ish years now. So much to be learned, so much to experience----repertoire, pedal fun, lots of black notes on the pages, interesting music, and challenges beyond compare---not only with organ experiences but in life. After 30 years working for Legacy Health System at Meridian Park Hospital, I finally retired and find myself as busy as ever. The best part of retirement is that I don’t have to be awakened by an alarm. I’m learning to enjoy cooking again now that I have additional time and I think my husband is happy about that. Looking forward to an exciting 2018 with new challenges and experiences. Thank you Jeannine and David for an exciting past few years. You help me set the mark high and aim even higher.

Kay Card What’s new in my world? Lots of family related activities this year which has involved and will involve traveling to Utah and back. My sister entered a new decade and we celebrated that accomplishment. Our oldest grandson graduated from high school. One of our granddaughters will be married on June 16 and our family minus one son-in-law will be together for that auspicious day. Our youngest granddaughter turns 8 this year and will be baptized into the LDS Church by her older brother. And then---most exciting of all---my husband and I both enter a new decade. He’s three months older than me, but that’s perfectly OK. And the best part of 2017—I will be a happily retired worker-bee on July 11. It’s been a crazy 10 years with Jeannine but it’s been worth the toil and strife and practice. Thanks for a great ride!! Looking forward to the future!

Kathleen (Kay) Card I’m using my “real” name so that I sound more grown-up. Jeannine has been an influential part of my life for about 10 years. I cannot believe how the time has flown by and how much I have learned. More importantly, I realize how much I don’t know and yet need to know. I love the sounds of the organ---soft, mellow, loud, boisterous, joyous, flutes, trumpets, solid principal chorus and light and airy strings and celestes. They all have a place in experiencing the joy of organ music. This year has been most interesting. I’ve had two total knee replacements and have recovered quite well. I still enjoy spending time with my family and loving them all. Wish I could spread myself from coast to coast to see them. I look forward to retirement in 2017 and finding everything in my house that I’ve lost the past 20 years. Good luck to me!! Thank you, Jeannine for your patience and caring as I keep learning better technique at the organ bench.

Kay Card What wonderful things have happened to me these past few months?? After a very busy Christmas season I gathered myself together and had total knee replacement surgery in February. Recovery has gone very well and was so grateful for only a two week rest from the organ. My youngest daughter will be having her first child in October and one of my oldest granddaughters is engaged to be married. I am grateful for my family and the support they give me to continue playing the organ. These past few months I’ve taken a different direction in my organ playing and decided to just have fun and find new and interesting repertoire to play. My plan is to perform my second solo recital in the fall. The biggest change in my life will be retirement in September. My husband is looking forward to me spending more time with him. I’m anxious to quilt more, practice the organ more, clean out closets and bookshelves and cupboards and getting myself out in the yard. Thank you Jeannine for your support and great suggestions for my organ performance.

Kay Card loves playing the organ, wishes she had more time to practice, and enjoys learning new skills and discovering new music. One of her favorite things to do during practice is creating distinct sounds that give vitality and character to the music. Life is good and busy and Kay looks forward to the time very soon when she can retire from the world of employment and delve into the word of fun and fantasy without having a full-time job dictating her schedule

Kay Card a busy wife, mother, grandmother who enjoys playing the organ, teaching piano, quilting and reading. She sings with the Portland Ensign Choir and serves in her church as the organist and teacher of young Primary children. Her biggest desire is to complete all six levels of the BYU Organ Certification program. Grateful for good health and the ability to see, hear, and play music that gives meaning to her life. Thank you Jeannine, for all your instruction and faith in my abilities to achieve my goals.

Kay Card grows older with the years but loves playing the organ more and more. Desperately trying to complete the BYU Organ Certification Level 4, she continues to work on developing better skills and technique and tries to figure out and understand all the secrets of theory. One of these days it will click. Grateful for Jeannine, all her fellow students and her very supportive husband, Kay plans to work harder at mastering the organ and looks forward to another solo recital in 2015.
12-7-2013

Kay Card What a whirlwind year this has been for me. April 2012 culminated many months of practice for my first solo organ recital at the LDS Church in Tualatin. While visiting in Utah in July, I again performed my organ recital for family and friends. What a great opportunity to share my love of music and the “king of instruments” – the organ. In the fall I tried hard to complete Level 4 of the BYU Organ Certification program but found that my personal life took over. October found me rehearsing for the Beaverton LDS Stake production of “Seussical, the Musical” where I participated in the orchestra pit as one of the keyboard players. Then in November I was a member of the on-stage choir at the Arlene Schnitzer Concert Hall for the presentation of “The Forgotten Carols,” a musical theater production. My whirlwind year is coming to a close with this recital and the completion of four large warm and cuddly flannel quilts that I have made for each of my children. Now it’s time for a little rest and more concentration on the completion of Level 4. Energized by the BYU organ workshop in August, I have a greater desire to move forward in my organ studies. None of these items were on my bucket list, but I have added them and one-by-one checked them off. Now to find more fun things to add to my bucket list.
12-9-12

Kay Card I just recently completed my first solo organ recital. It was challenging and very worthwhile. Lots of hard work and practice created a very rewarding and successful experience. I am excited to complete Level 4 of the BYU organ Independent Study program this year and am looking forward to attending the BYU Organ Workshop in July. The friendships I have made through my organ study have been wonderful and timeless. I thank Jeannine for excellent organ instruction and encouragement to continue moving forward with my organ goals. The journey has been unforgettable, rewarding and worth all the effort. When I go to Utah the end of June to visit, I will present my organ program to my friends and family in Utah and am excited to share the music that has become so much a part of me.

Settings of the Magnificat

Fugen……………………………………Johann Pachelbel (1653-1706

Piéces posthumes for organ/harmonium - Grand Choeur..César Franck (1822-1890)

Six versets- Op. 41, No. 2……………………………. Alexandre Guillmant (1837-1911)
II. Andantino III. Das Pastorale IV. Adagio VI. Andante

Magnificat (1932)………………………………… Ralph Vaughan Williams (1872-1958)
Magnificat – is also called, Canticle of Mary or Ode of the Theotokos, in Christianity, the hymn of praise by Mary, the mother of Jesus, found in Luke 1:46-55. The Magnificat has been incorporated into the liturgical services of the Western churches (at vespers) and of the Eastern Orthodox churches (at the morning services). In Scripture, the hymn is found after the jubilant meeting of Mary, pregnant with Jesus, and her relative Elizabeth, pregnant with John, the Baptist. Some scholars contend that this canticle was a song of Elizabeth, most early Greek and Latin manuscripts regard it as the “Song of Mary.”
The Magnificat is the oldest Advent hymn. It is at once the most passionate, the wildest, and one might even say, the most revolutionary Advent hymn ever sung. It is a common part of Christian worship, for instance traditionally included in vespers, evensong or matins. As such it is often sung and was set to music by various composers. The list of composers who have set this text to music is more or less the same as the list of every composer that most of us have ever heard of, and then some. These settings include some of the most beautiful sacred music ever produced.
In Gregorian chant the Magnificat is sung according to the eight traditional psalm tones (Tonus I to Tonus VII). The newer psalm tones were used for Magnificat settings. (Tonus IX to Tonus XII) *See insert for words to this music

Student Recital December 8 2018

Good Christian Men Rejoice.. arranged by Douglas Lemmon
Hymn Tune – In Dulci Jubilo is a 14th Century German melody and was originally a folk dance. It is filled with rhythmic energy.
The story of this hymn has always been about accessibility to the Christmas story. In the late medieval period, there was a tradition of using folk songs to teach illiterate church-goers the Gospel story. This hymn is a good example of that practice. Written in a combination of Latin and German, it would be familiar in both the vernacular and the language of the Church. When set to a familiar folk tune, the people would be able to sing along with ease and would understand the story. It was translated from Latin to English by John M. Neale in Carols for Christmastide (London: 1853) Folklore has it that Heinrich Suso (?-1366) hearing angels sing these words, joined them in a dance of worship.
Over the centuries, this hymn has been translated into many different languages, so many more people could hear and sing these beautiful words that call us to praise. A missionary diary claims that on September 14, 1745, at the Moravian mission in Bethlehem, Pennsylvania, this hymn was simultaneously sung in thirteen different languages. What a marvelous thought, that we can sing the same song with brothers and sisters in Christ around the world, celebrating the story that began all of our own stories.
Philip Douglas Lemmon was born on September 4, 1943 in Pocatello, Idaho, United States. Son of Eugene and Shirley (Walton) Lemmon. He is an American Publishing company executive and is a member of Egyptian Theatre Organ Foundation (chairman), and American Guild of Organists. His regular performances include Egyptian Theatre Boise on Robert Morton Theatre Pipe Organ conductor, Church Organist Seminars recital series for Dunkley Music, Boise Institution sales director, Dunkley Music, Boise teacher, arranger, composer owner, Douglas Public Company, Spiral Studios and Prodns., Odyssey Records. Lemmon enjoys theatre pipe organ restoration, concerts, workshops for church organists and theatre organists, arranging, oil painting.

Theme and Variations on Simple Gifts…………………………………………………………….arr. Michael Burkhardt
from The Balboa Park organ Suite: A Celebration of Many Peoples
Simple Gifts is a Shaker song written and composed in 1848 by Elder Joseph Brackett.
(1797–1882). Brackett, a lifelong resident of Maine, first joined the Shakers at Gorham, Maine, when his father's farm helped to form the nucleus of a new Shaker settlement.
The song was largely unknown outside Shaker communities until Aaron Copland used its melody for the score of Martha Graham's ballet Appalachian Spring (Shakers once worshipped on Holy Mount, in the Appalachians), first performed in 1944. Copland used "Simple Gifts" a second time in 1950 in his first set of Old American Songs for voice and piano, which was later orchestrated. Many people thought that the tune of "Simple Gifts" was a traditional Celtic one but both the music and original lyrics are actually the compositions of Brackett. "Simple Gifts" has been adapted or arranged many times since by folksingers and composers.
This “simple” song has, in some form or another, been included in movies, television shows, on a myriad of albums, as a song for the Revolution Drum & Bugle Corps, and from 1993 to 1998 was the theme song for American Journal. It has been played by the West Virginia University Mountaineer Marching Band since 1973. John Williams arranged “Air and Simple Gifts” for a string quartet to play at the January 2009 inauguration of President Barack Obama. Composers, arrangers and musicians have found opportunities to use this Shaker song to enhance and enrich so much of our lives. Mack Wilberg of The Tabernacle Choir included new lyrics in his 2002 arrangement.
‘Tis a gift to be joyful, ‘Tis a gift to be free, ‘Tis a gift, ‘tis a gift, ‘tis a simple gift to be.
And when you find yourself in the pure delight, The gift to be simple has led you alright.
Michael Burkhardt is internationally known for his innovative and inspiring hymn festivals and for his creative work with children. He is in frequent demand as a choral clinician, organ recitalist, and hymn festival leader. He is currently Director of Worship and the Arts at Holy Cross Lutheran Church, Livonia, Michigan, Director of Worship and the Arts for the Southeast Michigan Synod of the ELCA, and Artistic Director of the Detroit Handbell Ensemble. Dr. Burkhardt is a graduate of Carthage College, Kenosha, WI. He earned his M.M. degree from Southern Methodist University, Dallas, TX, and his D.M.A. degree from Arizona State University, Tempe, AZ.

Récit de Cromorne en taille………………………………… Guillaume-Antoine Calvière
Written in three parts, this piece is 41 bars long and alternates gracefully between Récit de hautbois and Cromorne en taille. Most musicologists agree that the work seems far too advanced for its time to be definitely attributed to Calviére. According to this, it might be a pastiche.
Calvière (1695-April 18, 1755) was a virtuoso French musician who was for many years organist of the Cathedral of Notre Dame de Paris He was born in Paris around 1695, the son of Rodolphe Calvière and Jeanne Boundin. He was a pupil of Philippe Isoré de La Fontaine, who spent his whole career until his death in 1733 as organist of Saint-Denis. Calvière was gifted and precocious and made his first public performance at the age of eleven. Calvière became organist of Saint-Germain-des-Prés in 1722, and in 1730 succeeded Maderic Corneille as organist at Notre Dame. Calvière was an admirer of François Couperin. His work included motets and pieces for organ. His Te Deum mimicked the sounds of wind and thunder. But apart from a short piece preserved in the library of the Brussels Conservatory, almost nothing has survived. After his death his widow gave his manuscripts to Louis-Claude Daquin for editing and publication. Daquin, his friend, colleague and also rival, neglected to do so. In fairness, Daquin failed to publish many of his own works.

Festive Trumpet Tune………………………………………………………………..David German
Composers of organ music have tended to highlight the instrument’s more colorful registers, and the trumpet stop has been an inspiration since at least the eighteenth century, when John Stanley and his contemporaries wrote movements for it. By the end of the nineteenth century, the mildly voiced trumpets of the Baroque organ had been supplanted by heavy-pressure examples, and these created a vogue for pieces in which their stentorian tones are heard against the rest of the organ. The Festive Trumpet Tune of David German (b. 1954), an American composer, belongs to this tradition and was written for the composer’s wedding and is dedicated to his wife, Kathleen. David German is the former minister of music and organist at Calvary Church in Charlotte, NC and holds a MME degree from Winthrop University in Rock Hill, SC. He was born in 1954 somewhere in the US, probably North Carolina. This is the exten of the bio information I have been able to find. Someone suggested that maybe it’s a pseudonym. Hmmm…

Vom Himmel hoch, da komm ich her From Heaven Above to Earth I Come...Martin Luther
This hymn text relating to the Nativity of Jesus, was written by Luther in 1534. The hymn is most often sung to a melody that first appeared in 1539 and that was likely composed by Luther as well. That version became a classic Christmas carol, and many composers referred to it in their compositions.
Luther, though a rebel, was no Puritan, and was a passionate lover of music and folk-poetry. “I would fain,” he said, “see all arts, especially music, in the service of Him who has given and created them.” Kindly, a lover of children, he had a deep feeling for the festival of Christmas; and in 1534 he wrote for his children (including his little son Hans) one of the most delightful and touching of all Christmas hymns — “Vom Himmel hoch, da komm ich her.” Martin Luther loved Christmas. The joy he derived from the festival each year not only overflowed in this composition and others that he wrote, but also charged his spirit for the many struggles that continually challenged his life.
The song is an interpretation of Luke 2:8–18, a part of the Christmas story. The first five stanzas echo the annunciation addressed to the shepherds and were to be sung by a man dressed as an angel. The following stanzas are an invitation to follow the shepherds to the manger and celebrate the newborn baby. These stanzas were sung in response by Luther’s children, and the last stanza is a short doxology and mentions the new year, as a new, peaceful time, to be sung by the angel and the children together. “Together, this entire package forms a whole piece of teaching and admonition as well as gratitude to God, “ wrote Leonard Payton.
From the fifteen verses that I could find, I will be highlighting verse 2 and verse 15. The two pieces I will be playing reflects the feeling of each verse in the registration used on the organ. Verse 2 is tender and more contemplative. Verse 15 is exuberant and joyous.

Vs. 2 To you this night is born a child Glory to God in highest heaven,
Of Mary, chosen mother mild; Who unto man His Son hath given!
Vs. 15 This little child, of lowly birth, While angels sing with pious mirth
Shall be the joy of all your earth. A glad New Year to all the earth..

Come Ye Thankful People Come…George J. Elvey/arr. James Kasen
Elvey composed ST. GEORGE’S WINDSOR as a setting for James Montgomery’s text “Hark! The Song of Jubilee,” with which it was published in Edward H. Thorne’s Selection of Psalm and Hymn Tunes (1858). ST. GEORGE’S WINDSOR is named after the chapel in Windsor, England, where Elvey was organist for forty-seven years.
Henry Alford (b. London England, 1810; d. Canterbury, England, 1871) wrote the text and published it in seven stanzas in his Psalms and Hymns (1844)
James "Jim" Kasen graduated from Brigham Young University in 1986 with a bachelor's degree in music performance and returned to receive his master's degree in performance and pedagogy in 1999. Author and arranger. He is currently the Director of University Relations at Brigham Young University. He has conducted choirs since the age of 16 and has mainly focused on conducting church choirs. He has published five volumes of organ works and numerous hymn and choral arrangements.

Auf meinen lieben Gott "Oh My Loving God" "O Whither shall I flee" ………………………………………………..Johann Sebastian Bach (1685-1750)
The music is sometimes credited to a student of Bach's, Johann Tobias Krebs although the hymn tune (Wo Soll Ich Fliehen Hin) was composed in 1574. The melody is dominant in the pedal line although the fugue type style in hands reminds me of the among Protestants more generally. It has been called the "Battle Hymn of the Reformation" for the effect it had in increasing the support for the Reformers' cause.
   This is one of the best known hymns by the reformer Martin Luther, a prolific hymnodist. Luther wrote the words and composed the melody sometime between 1527 and 1529.[1] It has been translated into English at least seventy times and also into many other languages. The words are a paraphrase of Psalm 46.
   Luther composed the melody, named "Ein feste Burg" from the text's first line, in meter 87.87.55.56.7. This is sometimes denoted "rhythmic tune" to distinguish it from the later isometric variant, in 87.87.66.66.7-meter which is more widely known and used in Christendom. In 1906 Edouard Rœhrich wrote, "The authentic form of this melody differs very much from that which one sings in most Protestant churches and figures in (Giacomo Meyerbeer's) The Huguenots. ... The original melody is extremely rhythmic, by the way it bends to all the nuances of the text ..."
   While 19th-century musicologists disputed Luther's authorship of the music to the hymn, that opinion has been modified by more recent research; it is now the consensus view of musical scholars that Luther did indeed compose the famous tune to go with the words
   Martin Luther, (born November 10, 1483, Eisleben, Saxony [Germany]—died February 18, 1546, Eisleben), German theologian and religious reformer who was the catalyst of the 16th-century Protestant Reformation. Martin Luther became one of the most influential figures in Christian history when he began the Protestant Reformation in the 16th century. He called into question some of the basic tenets of Roman Catholicism, and his followers soon split from the Roman Catholic Church to begin the Protestant tradition.
   Johann Walther, also known as Johann Walther or Johannes Walter (original name: Johann Blankenmüller) (1496 – 25 March 1570) was a Lutheran composer and poet during the Reformation period.   Walter was born in Kahla, in present-day Thuringia in 1496. According to a document filed with his will, he was born with the surname of Blanckenmüller, but adopted out of poverty by a citizen of Kahla, and given an education at Kahla and Rochlitz under his new name, Johann Walter. He began his career as a composer and bass cantor in the chapel of Frederick the Wise at the age of 21. It was a position he would hold until Frederick’s death in 1525. By this time, he was the director of the chapel and had become an outspoken musical spokesman for Lutherans. Walter edited the first Protestant hymnal for choir, Eyn geystlich Gesangk Buchleyn, in Wittenberg in 1524, with a foreword by Luther himself and for the German-language Deutsche Messe produced in 1527. The asteroid 120481 Johannwalter is named in his honour. He is also commemorated in the Calendar of Saints of the Lutheran Church - Missouri Synod as a musician on April 24.

Hornpipe Humoresque–A Nautical Extravaganza for Organ…Noel Rawsthorne
Rawsthorne (born 24 December 1929) is a British organist and composer. He was a pupil of Fernando Germani in Italy and Harold Dawber at the Royal Manchester College. He became Organist of Liverpool Cathedral from 1955 to 1980. While there, he This melody originated in County Londonderry, Northern Ireland. It was first published in composed many original choral works, such as the Festive Eucharist (1978). He received an honorary doctorate in music from the University of Liverpool
Rawsthorne's compositions and arrangements are found in many contemporary collections of organ music. His Hornpipe Humoresque is an amusing set of variations on the familiar Sailor's Hornpipe, in the styles of (and with apologies to) Bach (Brandenburg Concerto No. 3, 1st movement), Vivaldi ("Spring," 1st movement, from The Four Seasons),Arne (Rule Britannia) and Widor ("Toccata" from Symphony for Organ No. 5). Dr. Gordon Stewart recorded a CD in 2012 of 21 pieces of Rawsthorne's Organ Music to mark the composer's 83rd birthday, including many pieces never previously recorded.

In quiet joy (In dulci jubilo) Op. 28 # 41 Marcel Durpe’ (3 May 1886-30 May 1971)
One of 79 easy Chorales for organ written on the melodies of the 79 old Chorales which Bach used in his Chorale preludes. When looking for a piece for the recital I really felt that I wanted to play something by Dupre’ and so with Jeannine’s help I chose this piece because of its lullaby sound and feeling. I wanted something soft and serene that spoke of the birth of Jesus Christ.
Marcel Dupré was the foremost French organ virtuoso of his time, an heir to the great tradition of Romantic French organ playing and composing. Dupré was famed for his ability to improvise; he also composed substantial works and was a widely traveled recitalist and an influential teacher. His pedigree as a French organist was impeccable. His father and two grandfathers were organists and choirmasters, and he was tutored privately by Guilmant in 1898. Dupré studied at the Paris Conservatory (1902-1914) with Vierne, Diémer, and Widor. He had already given his first organ recital at age 10, had been appointed organist at St. Vivien at 12, and had had his oratorio Le Songe de Jacob performed (in his home) at 15.
In 1920 Dupré gave a series of ten recitals in which he played from memory the complete organ works of J.S. Bach; he had learned the music during World War I, for which he had been found unfit for duty. He toured extensively as a virtuoso, giving as many as 110 recitals in a single trip and making ten tours of the U.S. alone between 1921 and 1948. Dupré celebrated his 1,900th concert in 1953

God Rest You Merry, Gentlemen …………………………………………………….Lani Smith
This is an English traditional Christmas carol. It is one of the oldest extant carols, dated to the 16th century or earlier. The earliest printed edition of the melody appears to be in a parody, in the 1829 Facetiae of William Hone. It had been traditional and associated with the carol since at least the mid-18th century, when it was recorded
by James Nares under the title “The Old Christmas Carol”. The carol is referred to in
Charles Dickens’ “A Christmas Carol’ in 1843. I love this particular Christmas carol and so enjoy playing it and listening to it sung throughout the Christmas season.
Lani (Kamiki) Smith, one of the most important composers in the Lorenz Publishing Company's history, was born in Cincinnati, Ohio on June 9, 1934. He was educated at the College‑Conservatory of Music at the University of Cincinnati (BM and MM). He was an organist best known for his church music compositions. He served as an editor, composer, and arranger on the Lorenz Publishing editorial staff between 1967 and 1982. Smith died on June 24, 2015. Smith was one of the most prolific classical composers in music history, with more than 4,000 published compositions, written over sixty years as a professional composer. While active in all areas, he had a particular gift for organ music, and his output of several thousand pieces makes him the most prolific composer for the instrument in the history of keyboard literature, surpassing even the baroque masters.
Few composers have had Lani Smith's gift for consistent craftsmanship and imagination. Because of his large body of work, Smith published compositions under numerous pen names, including Edward Broughton, David Paxton, Franklin Ritter, Tom Birchwood, Gerald Peterson, and Christopher Gale.

Wie schon leuchtet der Morgenstern (How Brightly Shines the Morning Star) …………………………………………………………………Philipp Nicolai (1599) arr. Douglas Bush

Before I play the organ arrangement, we will sing verse one of the hymn 827 “O Morning Star, How Fair and Bright.”
   "Wie schön leuchtet der Morgenstern" (How lovely shines the morning star) is a hymn by Philipp Nicolai written in 1597 and first published in 1599. The words in seven stanzas are based on Psalms 45, a mystical wedding song. Jesus is identified with the morning star, according to Revelation 22:11, and with the bridegroom of the psalm. Nicolai wrote the words in response to a pestilence in 1597. He published the chorale first in 1599 in his book Frewdenspiegel deß ewigen Lebens ("Mirror of Joy of the Life Everlasting") in Frankfurt, together with "Wachet auf, ruft uns die Stimme". This hymn is often referred to as "The Queen of Chorales". The chorale theme "Wie schön leuchtet der Morgenstern" was codified then, but research by C. S. Terry has shown the tune to predate Nicolai's publication by at least 61 years.
   Wie schön leuchtet der Morgenstern was seized upon by many of the composers of the period. Dieterich Buxtehude used it (BuxWV223), as did Johann Kuhnau. Michael Praetorius published a setting in Polyhymnia Caduceatrix et Panegyrica (1618–19, Wolfenbütte). Johann Sebastian Bach based his chorale cantata Wie schön leuchtet der Morgenstern, BWV 1 on it
   Philipp Nicolai was born at Mengeringhausen in Waldeck, Hesse, Germany where his father was a Lutheran priest. His early education include studies at Kassel in Hesse, Hildesheim in Lower Saxony and Dortmund in Westphalia. He studied theology at the University of Erfurt where he was a pupil of Ludwig Helmbold.
   He was the author of two famous hymns: Wachet auf, ruft uns die Stimme and Wie schön leuchtet der Morgenstern, sometimes referred to as the King and Queen of Chorales, respectively. These two chorales have inspired many composers, including Johann Sebastian Bach, whose chorale cantatas Wie schön leuchtet der Morgenstern, BWV 1, and Wachet auf, ruft uns die Stimme, BWV 140, are based on them. Bach's organ transcription of the latter, as published in the Schübler Chorales, has become world famous. Nicolai is supposed to be the last example of the Meistersinger tradition, in which words and music, text and melody stem from one and the same person.
Douglas "Doug" E. Bush (1947-2013) was a renowned concert organist, musical scholar, and teacher and Professor Organ in the School of Music at Brigham Young University. Bush was born in March of 1947.Bush concertized extensively in the United States, Mexico, and Europe and was a featured soloist in several concert series. He taught for many years at Brigham Young University and was a frequent guest organist for the Mormon Tabernacle Choir at Temple Square. Bush conducted numerous master classes and workshops on organ literature, church music, the music of Johann Sebastian Bach, and published both organ and choral music for church use.

“O Come, All Ye Faithful” (Adeste Fideles)……………………arr. Janet Rupp Linker This Christmas carol has been attributed to John Francis Wade (circa 1743) in the English-speaking world. However, many other probable authors exist and the oldest manuscripts of this hymn have been found in a royal library in Portugal, with a date prior to Wade’s collection. The original four verses of the hymn were extended to a total of eight, and these have been translated into many languages. The English translation (verses 1-3 and 6 from Latin) of “O Come, All Ye Faithful” by the English Catholic priest Frederick Oakeley (1841) is widespread in most English speaking countries. Verses 4-5 were translated by William T. Brooke (1848-1917)
   Besides John Francis Wade, the tune has been purported to be written by several musicians, from John Reading and his son to Handel and even Gluck, including the Portuguese composers Marcos Portugal or the king John IV of Portugal himself. Thomas Arne, whom Wade knew, is another possible composer.
   I love this Christmas carol because it is such a jubilant hymn praising the birth of Jesus Christ and inviting everyone to “come ye to Bethlehem” and to “come, adore him.” What joy to have been a witness of the birth of the Christ child.
   Janet Rupp Linker received her Bachelor’s and Master’s Degrees in organ performance from Capital University and the University of Michigan, respectively. The latter degree was under the instruction of Marilyn Mason. Mrs. Linker has taught at the Capital University Conservatory of Music in Columbus, Ohio for over thirty years. She has published seventeen books of organ music, several anthems, and over sixty works for organ and handbells.
Oh, come, all ye faithful, Joyful and triumphant!
Oh, come ye, oh come ye to Bethlehem. Come and behold him, Born the King of angels;
Chorus
Oh, come, let us adore him; Oh, come, let us adore him;
Oh, come, let us adore him, Christ, the Lord.
Sing, choirs of angels, Sing in exultation;
Sing, all ye citizens of heav'n above! Glory to God, Glory in the highest;
Yea, Lord, we greet thee, Born this happy morning;
Jesus, to thee be all glory giv'n. Son of the Father, Now in flesh appearing;

I Saw Three Ships – Traditional English Carol………………………arr. by Dale Wood
“I Saw Three Ships (Come Sailing In)" is a traditional and popular Christmas carol from England. The earliest printed version of "I Saw Three Ships" is from the 17th century, possibly Derbyshire, and was also published by William B. Sandys in 1833. The lyrics mention the ships sailing into Bethlehem, but the nearest body of water is the Dead Sea about 20 miles away. The reference to three ships is thought to originate in the three ships that bore the purported relics of the Biblical magi to Cologne Cathedral in the 12th century
Dale Wood was a renowned composer, organist, and choral director best known for his church music compositions. Wood began writing compositions at a young age. When he was 13 years old, he won a national hymn-writing contest for the American Lutheran Church. His music is sung or played worldwide by small church choirs, renowned organists, symphony orchestras, and choral groups as large and well known as the Mormon Tabernacle Choir, which has performed and recorded many of his works.

Joy to the World ………George F. Handel, arr. Douglas E. Bush
   The words are by English hymn writer Isaac Watts, based on Psalm 98 in the Bible. The song was first published in 1719 in Watts' collection; The Psalms of David: Imitated in the language of the New Testament, and applied to the Christian state and worship. Watts wrote the words of "Joy to the World" as a hymn glorifying Christ's triumphant return at the end of the age,] rather than a song celebrating His first coming.
   The music was adapted and arranged to Watts' lyrics by Lowell Mason in 1839 from an older melody which was then believed to have originated from Handel, not least because the theme of the refrain (And heaven and nature sing...) appears in the orchestra opening and accompaniment of the recitative Comfort ye from Handel's Messiah, and the first four notes match the beginning of the choruses Lift up your heads and Glory to God from the same oratorio. However, Handel did not compose the entire tune. The name "Antioch" is generally used for the tune. As of the late 20th century, "Joy to the World" was the most-published Christmas hymn in North America.

   Douglas "Doug" E. Bush (1947-2013) was a renowned concert organist, musical scholar, and teacher and Professor Organ in the School of Music at Brigham Young University.   Bush conducted numerous master classes and workshops on organ literature, church music, the music of Johann Sebastian Bach, and published both organ and choral music for church use.

"Nun bitten wir den Heiligen Geist" (We now implore the Holy Ghost) ………Dietrich Buxtehude This is a hymn in four stanzas. The first stanza dates from the 13th century and alludes to the Latin sequence Veni Sancte Spiritus, three other stanzas were written by Martin Luther. The Holy Spirit is addressed, but the general theme makes the hymn appropriate not only for Pentecost, but also for general occasions and funerals. The text inspired vocal and organ music from the Renaissance to contemporary. This piece calms my soul and fills me with reassurance and joy.
Buxtehude was a Danish-German organist and composer of the Baroque period. His organ works represent a central part of the standard organ repertoire. He composed in a wide variety of vocal and instrumental idioms, and his style strongly influenced many composers, including Johann Sebastian Bach.

Noel Nouvelet (Sing We a Glad Noel) – French carol melody…………………..arr. Dale Wood a renowned composer, organist, and choral director was best known for his church music compositions. Wood began writing compositions at a young age. When he was 13 years old, he won a national hymn-writing contest for the American Lutheran Church. Dale was for many years Organist and Choirmaster in San Francisco at the Episcopal Church of St. Mary the Virgin, as well as director of the Grace Cathedral Boys' Chorus. Dale published more than 125 settings for solo organ, each full of his characteristically beautiful harmonies, modulations, romance, wit, and humor

O Come, All Ye Faithful (Adeste Fideles)………………………………......arr. Janet Rupp Linker
   This Christmas carol has been attributed to John Francis Wade (circa 1743) in the English-speaking world. However, many other probable authors exist and the oldest manuscripts of this hymn have been found in a royal library in Portugal, with a date prior to Wade’s collection. The original four verses of the hymn were extended to a total of eight, and these have been translated into many languages. The English translation (verses 1-3 and 6 from Latin) of “O Come, All Ye Faithful” by the English Catholic priest Frederick Oakeley (1841) is widespread in most English speaking countries. Verses 4-5 were translated by William T. Brooke (1848-1917)
   The original text consisted of four Latin verses, and it was with these that the hymn was originally published. The text has been translated innumerable times, but the most used version today is the English "O Come, All Ye Faithful". This is a combination of one of Frederick Oakeley's translations of the original four verses and William Thomas Brooke's of the three additional ones, which was first published in Murray’s
Hymnal in 1852. Oakeley originally titled the song “Ye Faithful, approach ye: when it was sung at his Margaret Church in Marylebone before it was altered to its current form.
   Besides John Francis Wade, the tune has been purported to be written by several musicians, from John Reading and his son to Handel and even Gluck, including the Portuguese composers Marcos Portugal or the king John IV of Portugal himself. Thomas Arne, whom Wade knew, is another possible composer.
   The earliest existing manuscript shows both words and tune. John Francis Wade included it in his own publication of Cantus Diversi (1751). It was published again in the 1760 edition of Evening Offices of the Church. It also appeared in Samuel Webbe's An Essay on the Church Plain Chant (1782).
   Janet Rupp Linker received her Bachelor’s and Master’s Degrees in organ performance from Capital University and the University of Michigan, respectively. The latter degree was under the instruction of Marilyn Mason. Mrs. Linker has taught at the Capital University Conservatory of Music in Columbus, Ohio for over thirty years. She has published seventeen books of organ music, several anthems, and over sixty works for organ and handbells.

o_come_all_ye_faithful_adeste_fidelesarr._janet_rupp_linker.mp3
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Kay Card

Settings of the Magnificat

Student Recital December 8 2018

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Click on arrow to right to hear this piece

Kay Card Organ Recital April 29 2012

Toccata in E minor Pachelbel

Three Organ Duets - Prelude Cundick

Three Organ Duets - Postlude Cundick

Prelude and Fugue in B - Bach

The Son of God Is Come Dupre'

The Heavens Are Telling (from The Creation) - Haydn

Come Thou Fount of Every Blessing Arr. Lau

Prelude on O Waly Waly Arr. Johnson

Come, Come Ye Saints (All is Well)- Arr. Christiansen

Student Recital December 5

May 30, 2009