Stephanie Cluff Recitals create a way for me to hear great music from Jeannine's students. The deadline of recitals moves me to make better decisions with my time and talents while at the keyboard. One of my goals is to be able to breathe and smile while playing what I've practiced. Jeannine has been my hero and teacher since meeting her at an organ workshop at Rodgers Organ in 2000. Her patience and example as a teacher for the past years has encouraged me to develop my talents and inspires me to persevere. I've been a reluctant soloist, a willing church organist, and an organ/piano teacher for the past 43 years in Raleigh Hills before retiring. Mike and I have our built-in audience of 30 grandchildren who are now too active to attend and clap at our recitals but will clap for my private family performances.
Stephanie Cluff Hearing the growth and talents of Jeannine's students perform at our recitals is one of the highlights of my Christmas season. The challenges that the other students tackle and conquer in their music helps motivate and inspire me with my organ. Jeannine's patience and encouragement has helped me improve my talents and she challenges me with organ selections that I would usually ignore.
Music is a huge part of my life and I'm proud to be a student in her studio for the past 13 plus years. I'm an occasional Church soloist, organist and retired piano, organ teacher for adults. Since 1974 we raised our 7 children in Raleigh Hills and are having a ball watching them raise our 29, (soon to be 30) grandchildren.
Stephanie Cluff I so enjoy hearing the other students perform at the recitals. To hear the growth of my musical friends and to hear their selections of music motivates me and makes me smile while I practice. I miss being present today but anticipate hearing you on line soon. Many thanks to David for creating this for us!
Jeannine has been my hero since meeting her at an organ workshop at Rodgers Organ in 2000. Her patience and example as a teacher for the past 12-13 years has encouraged me to develop my talents and inspires me to persevere. I've been a reluctant soloist, a willing church organist, and an organ/piano teacher for the past 42 years in Raleigh Hills.
Stephanie Cluff has always enjoyed both creating and listening to music. There is one exception. She would rather perform or watch an organist rather than listen to a recording. The organ is such a visual, magnificent and complex instrument for me. As you know, it requires many, years to master and it’s a wonderful learning experience to watch an exceptional organist perform such as Jeannine Jordan. She’s an inspiration. To watch her perform and to teach is to give hope to an organist who has been playing publically for over 40 years. After nearly a decade of instruction from Jeannine, Stephanie is enjoying the progress and process enough to tackle ambitious music that Jeannine suggests. She appreciates the support of her husband Mike. They have 28 grandchildren who think their grandma is a musical marvel. In another life she taught piano and organ to adults for 30+ years.
Stephanie Cluff Stephanie’s organ skills have grown in the eight years she’s studied under Jeannine. Basically she has discovered for her that it’s easier to teacher her own students how to practice than to actually do it herself. She has been known to quote “You can play any song written…one note at a time. No one may recognize it but you can play the notes.” Hopefully today the audience will be able to recognize her selections. Music has always been a part of her life and it’s more fun for her when she can share it. She’s a happy wife to Mike since 1966 and a musical grandmother to soon to be 28 grandchildren. She has learned the value of a metronome to keep her from going too fast on the keys and the skill to breathe and to listen while she plays. Next she would like learn to smile while playing! 6-2-14
Stephanie Cluff Since our last recital in December I have taken the 30 day challenge of Jeannine’s without even remembering reading it. She has wonderful subliminal powers over her students with her newsletters! I have enjoyed the progressive steps in my practicing and my listeners can tell the difference in my technique. I chose the Buxtehude Prelude, Fugue, and Chaconne in C Major because my feet felt neglected. Even though I joined a beginner clogging class in January my toes just wanted to tap more. This piece makes them move.
Music has always been a part of my life and it’s more fun for me when I can share it. I have written lullabies/ditties for 26 of our grandchildren. Mike and I just returned from Colorado where I wrote my second lullaby in 2013. One of my goals with Jeannine is to improve my composition skills with the remaining songs.
Stephanie Cluff After 7 years of recitals in Jeannine’s wonderful studio my bio seems shorter and shorter. The support and challenges Jeannine gives me through her teachings have enriched my organ performance and helped me as a piano/organ teacher. I have been a church organist for the Church of Jesus Christ of Latter-day Saints congregations in varying degrees of proficiency since I was 16. My progress over the years is very noticeable to me and my listeners. Music has always filled our family’s life.
Stephanie Cluff I’ve thoroughly enjoyed returning to Jeannine’s studio after a 2-year interruption in order to serve a volunteer mission for The Church of Jesus Christ of Latter-day Saints. After working days in the state Maine State Archives, taking digital images of vital records, I was also able to be the church organist and to teach organ and piano on the weekends. It kept my fingers from being rusty but my pedal work relaxed into the ‘tip toe through the tulip mode’. Being the detailed teacher and supporter that she is, Jeannine soon awoke my consciousness to the sloppy habit.
I enjoy sharing my music with my organ/piano students in our Raleigh Hills home studio, and with our 22 local grandchildren. The two ‘unlocal’ granddaughters enjoy videos of Grandma. Mike, my husband of 46 years claps, and tries to keep the grand children quiet during family performances. He’s my favorite fan. I love my family, reading, and learning to use my Mother’s Day iTouch without getting frustrated. I figure if I can learn the organ I can learn anything.
Festive March……………………Michael Burkhardt (1957-)
Burkhardt is well known throughout the organ world for his creative and innovative hymn festivals. This piece is no exception. It is based on two hymns: "Lift Every Voice and Sing", and "Battle Hymn of the Republic". It's a rigorous setting for these 2 hymns whose text exclaims "Glory, Glory Hallelujah! His truth is marching on." and "Sing a song full of the faith that the dark past has taught us: Sing a song full of the hope that the present has brought us." Learning all the registration changes and double pedaling have kept me 'marching on' for the past several months! It's been a fun challenge and I'm sure will sound even better in the years to come.
Andante from Organ Sonata No. 7…………………. Josef Rheinberger (1839-1901)
This edited selection is one of three movements from Rheinberger's 7th Symphony.
This romantic piece is as a gentle breeze, delicate, yet haunting. It was a good experience for me to learn another three manual organ solo from one of my favorite composers. Rheinberger was a child prodigy who at 7 years old was organist in his Parish Church. At age 8 he composed a Mass for 3 voices.
Adagio in D flat Major…Franz Listz (1811-1886)
Listz composed 6 poetic thoughts for the piano. This one is Quasi Adagio know as the Star consolation because of the 6 pointed white star that appears on the printer score. This is described as "churchly-religious" and "prayerlike". I've enjoyed the Romantic style of this consolation No. 4 written in 1849. It's challenged me to keep it moving and not too get too romantic!
A Christmas Suite ….Gordon Young (1919-1998)
A Kansas born American composer of organ and choral works. Mr. Young was a brilliant organist and composer and member of ASCAP. He has over 1,000 published words. Most of his career he served as an educator, choir master/organist and when time permitted, a concert recitalist.
1. Fanfare on "Adeste Fideles"
2. Prelude on "God Rest You"
3. Gigue on "In Dulci Jubilo"
Herzlich tut mich verlangen My Heart Is Filled With Longing……… J S Bach
Several texts have been set to this tune but it is best known as the Passion Chorale from the St. Matthew Passion of JS Bach. The melody originally was that of a love song, by Hans Leo Hassler published in 1601. Some hymnals title it "O Sacred Head,0 Now Wounded" or "O Savior, Thou Who Wearest a Crown"
Bach Inventions and is lovely even without the tune in the pedal line. My challenge was to play the pedals legato while the hands were articulate and played detached.
Text and Translation of Chorale
In my beloved God I trust in anxiety and trouble;
He can always deliver me from sorrow, anxiety, and troubles;
he can change my misfortune, everything is in his hands
"Verset de Procession sur l'Adoro Te"……………...Leon Boellmann (1862-1897)
Boellman was a French Post Romantic organist and composer. Although he died at age 35 he wrote orchestral & chamber music, music for strings, piano, organ & piano. His best known composition is the Toccata from the Gothic Suite. My selection is improvised on a Catholic chant, l'Adoro Te. The registration is French and is primarily soft meditative strings. Relax and enjoy the quiet sedate tempo. I enjoyed the challenge of playing slowly and changing registrations and volume while breathing and playing the correct notes.
Grand Chorus in B Flat…………. François-Clément Théodore Dubois (1837-1924)
Dubois was a French composer, choirmaster, performer, organist and music teacher. In 1868, he became choirmaster at the Church of the Madeleine, and in 1871 followed César Franck as choirmaster at the Basilica of Sainte-Clotilde. In 1871, Dubois returned to the Church of the Madeleine, succeeding Camille Saint-Saëns, as organist there. From 1871 he taught at the Paris Conservatoire. His Grand Chorus in B Flat is a grand bombastic work that I think really needs 2 student organists to perform at the suggested moving tempo. I can get the bombastic part and will enjoy working on increasing the tempo during the next several years.
Herzlich tut mich verlangen ,“O Sacred Head, Now Wounded”….Johannes Brahms
This piece was published posthumously. Only 2 of Brahms’ organs works were published during his lifetime. No. 10 was composed in mid-1850. It is a somber, morose arrangement that recreates the agony of Good Friday. I tend to be fed by the celebration of Easter Sunday but surprised myself by enjoying this piece and its challenges. Brahms has given the melody to the pedal while, for me, the manuals creates the sustaining and repetitive motion of pounding. You decide whether it’s a heart or a hammer.
The hymn is based on a long medieval Latin poem, Salve mundi salutare, with stanzas addressing the various parts of Christ’s body hanging on the Cross. The last part of the poem, from which the hymn is taken, is addressed to Christ's head. The music for the German and English versions of the hymn is by Hans Leo Hassler, written around 1600 for a secular love song. Johann Sebastian Bach arranged the melody and used five stanzas of the hymn in his St Matthew Passion. The melody of "American Tune" by Paul Simon is based on the hymn.
O sacred Head, now wounded, with grief and shame weighed down,
now scornfully surrounded with thorns, thine only crown:
how pale thou art with anguish, with sore abuse and scorn!
How does that visage languish which once was bright as morn!
Sleepers Wake, a Voice is Calling (Wachet auf, ruft uns die Stimme) ……… Johann Sebastian Bach (1685-1750)
This is one of 6 Chorales which are from Bach’s church Cantatas. This one sounds and plays like a trio. There are 3 distinct melodies of equal importance although one is the choral part. Listen for the dissonant harmonies and tension on the beat that are quickly resolved on the off- beat. I am thrilled to perform selections of Mendelssohn and Bach since I feel that Bach would not be as well-known had it not been for the former.
“During the last years of his life, Mendelssohn paid further homage to J.S. Bach by preparing an edition of the latter's organ works (published in London by Coventry and Hollier, 1845-46). Mendelssohn's own Six Sonatas for organ, op. 65 (1845) not only renewed interest in the organ repertoire, and especially that of Bach, but also prompted the composition of new works for organ by other major composers. The revival of Bach's works that Mendelssohn had initiated nearly twenty years beforehand therefore continued to be cultivated throughout the younger composer's lifetime; the results of these selfless efforts are no less diminished in our day.” Performing Arts Encyclopedia
Allegro Maestoso from Sonata II ……Felix Mendelssohn (1809-1847)
I enjoyed blending the legato phrasing with the distinct marcato technique in both the hands and pedal at the (hopefully) appropriate times.
Mendelssohn played the organ and composed for it from the age of 11 to his death. His primary organ works are the Three Preludes and Fugues, Op. 37 (1837), and the Six Sonatas, Op. 65 (1845), of which Eric Werner wrote "next to Bach's works, Mendelssohn's Organ Sonatas belong to the required repertory of all organists". Mendelssohn was renowned during his lifetime as a keyboard performer, both on the piano and on the organ. One of his obituarists noted: “First and chiefest we esteem his pianoforte-playing, with its amazing elasticity of touch, rapidity, and power; next his scientific and vigorous organ playing [...] his triumphs on these instruments are fresh in public recollection.” In his concerts and recitals Mendelssohn performed both his own works and those of his predecessor German composers, notably works of Weber, Beethoven and (on the organ) J.S. Bach.
Es'ist ein Ros' entsprungen_(Lo, How a Rose E'er Blooming)....Johannes Brahms
(1833-1897} This German Christian hymn text focuses on the birth of Christ. You may follow the text and melody as the tune in the hymnal is played first.Then I will share the Brahms creation for organ. It's highly decorative and I dare you to hum along. Brahms used this tune by Praetorius as a base for no. 9 in his 11 Chorale Preludes for Organ.
Fugue in G Minor (Little Fugue) ..................... Johann Sebastian Bach (1685-1750) This is one his best known and is called 'little' not because it's simple but because it's short. A fugue is basically a 4 part round with the different voices chasing each other. One historian quotes Bach's housekeeper as telling him "I hope they catch each other" after listening to him play a fugue while she cleaned. The four and a half measure subject or theme is repeated throughout and is easily recognizable.
Prelude, Fugue, and Chaconne in C Major BuxWV 137………………Dietrich Buxtehude
Dietrich [Diderik Hansen] Buxtehude (1637-1707) was an organist and composer of the Baroque period. Not only the year, but also the country of his birth is uncertain and disputed. Since he spent his early years in Helsingborg in Skåne, at the time part of Denmark, he is by some considered a Danish composer. Others, however, claim that he was born at Oldesloe in the Duchy of Holstein, (now Germany), which at that time was a part of the Danish Monarchy. Later in his life he Germanized his name, his new name being Dietrich Buxtehude. His early youth and birthplace remain a mystery. Most scholars recognize that he studied music with his father, Johann, an organist, who had a great influence on him.
He was a composer of church music, and one of the most esteemed and influential composers in the Baroque Period. Buxtehude settled at Lübeck in 1688 as organist of St. Mary’s Church. There he gained such fame as a composer that the city became a mecca for musicians of northern Germany.
The young Handel visited him in 1703, and in 1705 young Bach walked more than 200 miles to see him. Both young men hoped to succeed the master at Lübeck, but marriage to one of his daughters was a condition and each found it unacceptable.
Listen for the 1st and 2nd preludes. In the fugue each voice enters and tries to catch the next one. The Chaconne is a 3 measure harmonic repetition in the pedal line while the hands do their thing. I’m really starting to have fun with this piece!
In dulci jubilo ………………Friedrich Wilhelm Zachau (1663-1712)
I have chosen 2 pieces by Zachau because I’ve enjoyed playing his music for years and wanted to share it with you. The first is known to me as “Good Christian Men, Rejoice”. The challenge for me as an organist is my finger dexterity and technique in order for the listener to recognize the melody.
Vom Himmel hoch, da komm ich her ………………..………F.W.Zachau
These two short variations of “From Heaven Above to Earth I Come” use the text written by Martin Luther. The second selection has the melody in the Bass.
Friedrich Wilhelm Zachow or Zachau was a German musician and composer of vocal and keyboard music. As a teacher Zachow is best remembered as George Frideric Handel’s first music teacher. Handel began studying with Zachau at between seven and nine years of age. He taught Handel how to play the violin, organ, harpsichord, and oboe as well as counterpoint. Zachow's teaching was so effective, that in 1702 at the age of seventeen, Handel accepted a position as organist at the former Dom in Halle. It is said that after Zachow died in 1712, Handel became a benefactor to his widow and children in gratitude for his teacher's instruction. In 1713 J.S. Bach was invited as Zachow's successor.
Martin Luther (1483-1546) was born into a musical family. As a boy, he joined a boys' choir and became proficient with the flute. Later, he became an Augustinian monk. This hymn was written by Martin Luther to teach his 3-year-old son about Christmas, and became a part of the Luther family Christmas tradition. One of the adults would dress up as an angel and sing the first 5 verses to the family. The rest of the family would sing verses 6 through 15. It was included in all Protestant hymnals until Silent Night was written, published and replaced it in the top 10 charts. Luther became known in particular for three things: one was the birth of congregational singing. He felt that music was of God, not of man. And he was determined to restore congregational singing in the German language to the Church. So strong were his beliefs about music and worship that he wrote these fiery words: "Next to the word of God, the noble art of music is the greatest treasure in the world. It controls our hearts, minds and spirits. A person who does not regard music as a marvelous creation of God does not deserve to be called a human being; he should be permitted to hear nothing but the braying of asses and the grunting of hogs!"
Récit de Cromorne en taille……………………..Guillaume-Antoine Calvièr (1695-1755)
I chose to learn this selection because I wanted the challenge of playing on a 3 manual organ and using detached and legato touches simultaneously. The title means the tenor plays melody with Cromhorne. Calvière, a Parisian, was gifted and precocious, and made his first public performance at the age of eleven. 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. I assume this piece is one of the ten parts from his Te Deum. He held the prestigious posts of organist of the Cathedral of Notre-Dame de Paris from 1730 until his death.
Trio no. 1 in g minor opus 49……………………………………Josef Rheinberger (1839-1901)
When only seven years old Rheinberger became organist at Vaduz Parish Church in Germany. His first composition was performed the following year. He was influenced by painting and literature (especially English and German).
Rheinberger was a prolific composer. Today he is remembered almost exclusively for his elaborate and challenging organ compositions; these include two concertos, 20 sonatas, 22 trios, 12 Meditations, 24 fughettos, and 36 solo pieces.
“A homework assignment meets true love”. That could be the headline for this trio. I fell in love with this romantic piece while working on the BYU Organ Classes. Most serious organists have cut their eye teeth on this. It sounded ponderous and heavy to me at first. Then I realized one fourth of the piece has major chords and it ends with a Picardy third. It could be a more joyful selection! In my mind it moved in the pulse of one instead of six. As I play, I imagine myself riding my bike through the hills of my suburban Maryland home as a young girl. Up and down with the wind blowing my ponytail is what I feel when I play this trio with my unorthodox tempo. I hope it doesn’t make you squirm to hear my bicycle speeding.
Prelude and Fugue in d Minor op. 603/6…………………………Carl Czerny (1791-1857)
Carl Czerny (1791-1857) was an Austrian pianist, composer and teacher. He is remembered for his many volumes of demanding fingering exercises and "Etudes de Vélocité" for piano. His father, a music teacher and pianist, often invited his Viennese organist friends to their home. This influenced young Carl and gave him a strong idea of organ music while he was still a boy. Bach’s organ works were often played at home. Years later Czerny published his own edition of the “Well-Tempered Clavier”, an important contribution to the 19th century understanding of Bach.
This Majestic sounding prelude creates for me the unlikely meeting of “Phantom of the Opera” and “Kitten on the Keys”. It’s dramatic and fun to perform yet challenging with the octave pedal lines. Meanwhile the hands also introduce the main theme while also tying many notes as the reoccurring theme in the Fugue comes and goes in the four voices.
Carol Minature From Michael Burkhardt's Balboa Park Organ Suite
I choose these pieces specifically to cater to my grandchildren in the audience. It's ironic that neither my grandchildren nor I are able to be at this recital. They are program pieces that suggest characters and/or scenes to my mind. The myriad of sounds in the midi have made these pieces fun and fresh to me.
The rhythm of the caravan of wise men riding their camels as they follow the star to the child, Jesus is suggested in the pedal line and in the following lyrics: Through the darkest night the Savior, we come seeking, Using as our guide, the star, so brightly beaming.
See the eastern star, it tells of God's great morning. Heaven's wondrous light' o'er all the world is shining! And upon the earth be peace, goodwill to all. - Puerto Rican Carol.
Amazing Grace John Newton 17-25-1807 arranged Dan Miller 2008
Amazing Grace is one of my favorite hymns and the creative sounds in the midi suggest waves, drums, harps, voices that remind me of the history of this hymn written by a former slave trader, who may have heard strains of this melody in the galleys of his ships. I've enjoyed becoming more familiar and comfortable using the midi. Now if only I had an organ and a midi.
Jeannine is a very patient, positive teacher who pushes me to explore sounds, techniques, and pieces that I tend to shy away from. She even creates a way for performers to share their music while absent. I've enjoyed being on her student roster for the past 4+ years. After nearly 30 years I still enjoy my weekly volunteer job as organist in the Garden Home congregation of the Church of Jesus Christ of Latter-day Saints and continue to teach organ and piano to adults in the Raleigh Hills area. We've had two more of our children and their families recently move to Beaverton so we now have 5 families to come clap for Grandma and we get to applaud at their recitals also. Mike and I are in Austin visiting a new granddaughter.
May 30, 2009
Schubert was a Romantic Period composer who had the gift of melody. He himself said that he no sooner got one idea on paper than several others began crowding into his consciousness. This composition gives me to opportunity to coordinate my feet with the volume boxes and the pedal line. The solo melody line has challenged me to make it sing with the joy that Schubert has in his creations. Listen for the melodic contrasting sounds of the violins and French horns.
Toccata in E Minor………………………………………………………………………………………… Johann Pachelbel ( 1653-1706)
I've always enjoyed the organ music of this Baroque composer because he helps me understand the composition style of Bach. In addition to the Canon in D, his most well-known works include the Chaconne in F minor, the Toccata in E minor for organ, Pachelbel preferred a clear, simple counterpoint style that stressed clear melody and harmony. I chose the Toccata because the tempo and rhythmic changes taught me the importance of counting no matter how long I've been playing.
Stephanie Cluff. It's satisfying to feel, hear, and enjoy the growth in my organ skills due to Jeannine's positive encouragement and all her teaching skills. She has the greatest suggestions to tweak a registration to make it more exciting to listen to. I'm enjoying using the MIDI to explore the sounds l like. Mike and I are still the parents of seven musical children and grandparents of 19+ rhythmic grand children. Hopefully some of them will clap today.