The Well-Tempered Ear

Madison’s Sonata à Quattro performs TONIGHT online for the prestigious Boston Early Music Festival

June 17, 2021
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By Jacob Stockinger

The Ear has received the following note from the local early music group, Sonata à Quattro (SAQ):

We have a very exciting announcement to share.

Tonight we will be one of the featured ensembles at the 2021 Boston Early Music Festival Fringe Concerts!

The Boston Early Music Festival (BEMF) is recognized as a national and international leader in the field of early music, and SAQ is thrilled to make its first appearance at this event. 

Concert presented during the Boston Early Music Festival’s 2021 Fringe Concerts.  Learn more at https://bemf.org/2021-festival/fringe-concerts/

The online premiere of the SAQ concert video will be TONIGHT — Thursday, June 17 — at 7 p.m. ET/6 p.m. CT, and the musicians will be available to chat during and after the recorded performance.

Please join us at this link: https://www.youtube.com/watch?v=tSfzu6Q6DcU

The 50-minute concert, titled “Musical Meditation and Merriment,” features (below, from left) violinists Christine Hauptly Annin and Leanne League; cellist Charlie Rasmussen; and violist Marika Fischer Hoyt.

This period-instrument quartet will perform the following program: Quartet in G Major, TWV 43:G5 by Georg Philipp Telemann (1681-1767); Duo II in D Minor, Op. 19, No. 2, for Violin and Viola by Franz Anton Hoffmeister (1754-1812); Duetto III in G Major, Op. 1, No. 3, for Violin and Cello by Giovanni Battista Cirri (1724-1808, below); and Quartet in D Major, Op. 64, No. “The Lark” by Franz Joseph Haydn (1732-1809).

The concert was live-streamed and recorded at the United Methodist Church in Whitefish Bay, Wis., on April 13, 2021.

From the austere fugal opening of the Telemann to the jaunty Finale of Haydn’s “Lark” Quartet — heard played by the Jerusalem Quartet in the YouTube video at the bottom — this program offers a reflection on the unimaginable year we’ve just experienced, as well as the stirrings of hope, as we awake to a spring and summer of new beginnings.

The slow movements, with their gorgeous string sonorities, range from still, inner contemplation to poignant pleas, while the fast movements outdo one another in wit, verve and sheer joie de vivre.


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Salon Piano Series posts pianist Kangwoo Jin playing the Liszt transcription of Schumann’s song “Dedication”

June 13, 2021
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By Jacob Stockinger

The Ear has the following announcement to post from the Salon Piano Series.

As the series has done during the COVID-19 pandemic, it is offering a FREE excerpt from a past concert.

In this case, it is the South Korean pianist Kangwoo Jin (below, in a photo by Andy Manis) playing Franz Liszt’s solo piano transcription of Robert Schumann’s song “Widmung” (Dedication). which you can hear in the YouTube video at the bottom. It is a sensitive and lyrical performance full of unrushed songfulness.

It is often used as an encore, and was a favorite of Van Cliburn and others.

Here it was part of a larger program that Jin – who last summer received his doctorate from the University of Wisconsin’s Mead Witter School of Music — did virtually and only during the pandemic.

For more information about the complete concert, go to: https://welltempered.wordpress.com/2021/04/22/this-sunday-at-4-p-m-the-salon-piano-series-debuts-an-online-recital-by-pianist-kangwoo-jin-he-plays-music-by-scarlatti-beethoven-liszt-and-schumann-it-will-be-available-until-may-9/

Here is the announcement from the Salon Piano Series, which is sponsored by and held at Farley’s House of Pianos on Madison’s far west side near West Towne:

Please take a break from your day to see and hear Kangwoo Jin perform a portion of Franz Liszt’s Transcriptions for Piano.

This video was recorded (below), without an audience, at Luther Memorial Church on April 15, 2021 as part of the Salon Piano Series.

Over the years, many of you have supported the Salon Piano Series with your attendance, individual sponsorships and donations.

We look forward to bringing you world-class musical performances in our unique salon setting again soon.

Please stay tuned for the announcement of our 2021-22 season.

Sincerely,

Salon Piano Series


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This Sunday at 4 p.m., the Salon Piano Series debuts an online recital by pianist Kangwoo Jin. He plays music by Scarlatti, Beethoven, Liszt and Schumann. It is up until May 9

April 22, 2021
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By Jacob Stockinger

This Sunday afternoon at 4 p.m. CDT, the Salon Piano Series, hosted by Farley’s House of Pianos, will debut an online concert by pianist Kangwoo Jin (below, in a photo by Andy Manis).

The concert, which was recorded at Luther Memorial Church, costs $10 and will be available online through May 9.

The program is:

Scarlatti – Sonatas in D minor and D Major, K. 213 and 214 (ca. 1756-1757)

Beethoven – Sonata in C-sharp minor, Op. 27, No. 2, “Moonlight” (1801)

Liszt – Transcriptions for solo piano of the songs “Widmung” (Dedication) by Robert Schumann and “Litanei” (Litany) by Franz Schubert

Schumann – Symphonic Etudes, Op.13 (1830)

Bishop – Home, Sweet Home

Tickets are only available online at eventbrite.com. Service fees apply. Complete program and concert information is at salonpianoseries.org

PROGRAM NOTES 

Jin has written the following program notes for The Ear:

“As a musician, I am always eager to share music with the public. I am very excited to be able to reach out to the audience with this unprecedented Salon Piano Series Virtual Concert. 

“I believe music soothes our mental health in difficult times regardless of age, gender or race. I very much hope my performance will contribute to this collective healing we feel through music.

“I wanted to include three different styles, as I usually do for recitals. This time I have Baroque, Classical and Romantic music.

“I chose one of the most famous Beethoven sonatas in order to celebrate his 250th birth year (2020), which I did not have a chance to mark last year.

“This piece is popular with the title of “Moonlight,” which Beethoven (below) never intended. Five years after his death, the German critic Ludwig Rellstab used the word “Moonlight” in order to describe the first movement. But it was really inspired by the funeral march in Mozart’s opera “Don Giovanni.” I try to bring out the tragic color of the first movement. (You can hear Jin play the exciting final movement of the sonata in the YouTube video at the bottom.)

“I also wanted to play the virtuosic masterpiece “Symphonic Etudes,” Op. 13, by Robert Schumann (below), including the beautiful posthumous variations 4 and 5.

I find this piece special in the sense that Schumann intended to make this piece “symphonic.” He created multiple layers of voices in various ways through each etude and created orchestral sounds. This polyphonic writing with multiple layers and a thick texture is what makes this piece difficult to play.

“I also specifically wanted to include one of the piano transcriptions by Franz Liszt (below) of Schubert’s Litanei auf das Fest Aller Seelen (Litany for the Feast of All Souls), D. 343.

“Schubert (below) used the poem “Litany” by Johann Jacobi (1740-1814). It is written for comforting the deceased. Robert Capell, the author of the book “Schubert’s Songs” (1929), said about this lied: There was never a truer or more touching expression of simple devotion and consoled grief … “The music rises from a pure well of affection and humility.” 

“I would like to dedicate this piece to all the people who  suffered from Covid 19.”

BACKGROUND

Here is a link to Kangwoo Jin’s impressive website where you can see many photos, learn about his extensive career as a teacher and hear many samples of his playing: https://www.pianistkangwoojin.com

Praised for his “refined tone quality with powerful energy” (Chosun Daily Newspaper), Jin (below, in a photo by Steve Apps for the Wisconsin State Journal) concertizes nationally and internationally, including performances in Germany, Italy, China, Indonesia and South Korea.

He gave his debut concert at the Sejong Arts Center in Seoul, South Korea, sponsored by the Chosun Daily Newspaper. He has given live performances on Wisconsin Public Radio and WORT 89.9 FM. 

Jin appears frequently as a guest artist at music festivals, universities and various concert series. Recent invitations include UW-River Falls, Texas A&M University-Corpus Christi, and Tongji University in Shanghai. Kawai Pianos USA has also invited him as a guest artist at the annual Piano Technicians Guild Convention and Technical Institute in Florida.

Jin completed the Bachelor of Music degree at Hanyang University in South Korea, then earned his Performer Diploma and Master’s of Music at Indiana University, where he worked as an associate instructor.

He is the recipient of the J. Battista Scholarship for performance excellence at Indiana University and received the Collins Distinguished Fellowship for his doctoral studies, completed last year, at the University of Wisconsin-Madison, where he studied piano with Christopher Taylor and piano pedagogy with Jessica Johnson.


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Just Bach’s FREE concert for April welcomes back woodwinds and will be posted early this Wednesday morning

April 18, 2021
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By Jacob Stockinger

The Ear has received the following notice from Just Bach about the FREE concert they will post starting at 8 a.m. this Wednesday morning, April 21.

Our April concert program opens with a welcome and overview from our co-director, Grammy-winning soprano and UW-Madison graduate student Sarah Brailey (below, in a photo by Miranda Loud).

And then comes the music: after a season of pieces for strings and keyboards, we’re delighted to welcome woodwinds back to our stage! (Below from left, in a photo by Barry Lewis, are Monica Steger, Linda Pereksta and UW-Madison Professor Marc Vallon.)

The exuberant Sinfonia from Cantata 42 was composed for the first Sunday after Easter, and its jubilant writing is the perfect way to celebrate spring and the expanded musical forces (below, in a photo by Barry Lewis) made possible by the vaccine.

Linda Pereksta follows this up with a performance of the Sonata in E Minor for Flute and Keyboard, BWV 1034. Her musical partner is harpsichordist Jason Moy (below, in a photo by Barry Lewis), making his Just Bach debut.

The program closes with our popular chorale sing-along, this time  “Der Herr ist mein getreuer Hirt” (The Lord Is My Faithful Shepherd), BWV 104. (You can hear it in the YouTube video at the bottom.)

Sarah Brailey introduces the text, Andrew Schaeffer plays the music on the organ, and then Sarah and Andrew perform it together. The music and text are displayed on the computer screen, so please join in, if you’d like!

Our concerts are posted on the Just Bach and Luther Memorial YouTube Channels at 8 a.m. on the third Wednesday of every month: https://www.youtube.com/channel/UCcyVFEVsJwklHAx9riqSkXQ

Concert viewers are invited to a half-hour live Zoom Post-concert Reception is this Wednesday night, April 21, at 7 p.m. Chat with the performers and other audience members, via this link: https://us02web.zoom.us/j/85490470546…

Viewing the concerts is free, but we ask those who are able, to help us pay our musicians with a tax-deductible donation: https://justbach.org/donate/

The final Just Bach concert of this season launches on Wednesday, May 19.

Performers are: Linda Pereksta, traverso 1; Monica Steger, traverso 2; Marc Vallon, bassoon;  Leanne League, violin 1; Aaron Yarmel, violin 2; Marika Fischer Hoyt, viola; Lindsey Crabb, cello; Jason Moy, harpsichord; Sarah Brailey, soprano; Andrew Schaeffer, organ.

Dave Parminter is the videographer and Barry Lewis is the photographer.


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Wisconsin Baroque Ensemble performs a FREE live-streamed concert this Sunday afternoon

February 19, 2021
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By Jacob Stockinger

After a year of canceled events, the Wisconsin Baroque Ensemble (below) will perform a live-streamed concert this Sunday afternoon, Feb. 21, at 3 p.m. CST.

The concert will take place at the First Congregational Church in Beloit as part of the Musica Maxima concert series.

(A concert scheduled for this Saturday night, Feb. 21, at St. Andrew’s Episcopal Church in Madison has been CANCELED.)

On the program are: six duos for two cellos, Op. 18, by Tommaso Giordani (below top), played by Charlie Rasmussen and Anton TenWolde (you can hear the same performers play the second of the six duos in the Centaur recording featured in the YouTube video at the bottom);  and the sonata for viola da gamba and harpsichord obbligato (WQ 88) by Carl Philipp Emanuel Bach (below bottom) performed by Eric Miller and Max Yount, respectively.

There will be no live audience.

The link to the free concert as well as a full program can be found at our home webpage: http://www.wisconsinbaroque.org

There is no charge, but please consider making a donation to the Wisconsin Baroque Ensemble to help defray our expenses. Go to: http://www.wisconsinbaroque.org/donate.html

In case you are unable to watch the live broadcast, the concert will remain posted for viewing for several weeks.

 


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Which classical composer has helped you the most during the Covid-19 pandemic?

January 4, 2021
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By Jacob Stockinger

The holidays are over and as we close in on marking a year of the coronavirus and COVID-19 pandemic, The Ear has a question:

Which composer has helped you the most to weather the pandemic so far?

The Ear wishes he could say Bach, Haydn, Mozart, Beethoven, Schubert, Chopin or Brahms. And the truth is that they all played a role, some more than others.

But The Ear was surprised by the composer whose works he most listened to and liked — Antonio Vivaldi (below), the Red Priest of Venice who lived from 1678 to 1714 and taught at a Roman Catholic girls school.

Here is more about his biography, which points out that his work was neglected for two centuries and began being rediscovered only in the early 20th-century and still continues being rediscovered to the present day: https://en.wikipedia.org/wiki/Antonio_Vivaldi

The Ear isn’t talking about popular The Four Seasons although that set of 12 solo violin concertos has its charms and originalities.

The Ear especially appreciated the lesser-known concertos for two violins and the cello concertos, although the concertos for bassoon, flute, recorder, oboe, lute, trumpet and mandolin also proved engaging, as did the concerto grosso.

It was the 20th-century composer Igor Stravinsky (below) – the modern pioneer of neo-Classicism — who complained that Vivaldi rewrote the same concerto 500 times. “Vivaldi,” Stravinsky once said, “is greatly overrated – a dull fellow who could compose the same form many times over.”

But then did anyone turn to Stravinsky – who, The Ear suspects, was secretly envious — when they needed music as medicine or therapy during the pandemic? 

Vivaldi was, in fact, a master. See and hear for yourself.  In the YouTube video at the bottom, you can hear a performance of Vivaldi’s Concerto Grosso in G minor, RV 535,  performed by the Akademie für Alte Musik Berlin.

Why Vivaldi? You might ask.

Well, it’s nothing highbrow.

The best explanation is that Vivaldi’s music simply seems like caffeine for the ears and sunshine for the eyes. His music isn’t overly introspective or glum, and it isn’t too long or melodramatic.

The melodies and harmonies are always pleasing and energizing, and the tempi are just right, although bets are that the music is much harder to play than it sounds.

In short, Vivaldi’s extroverted music is infectious and appealing because it just keeps humming along — exactly as those of us in lockdown and isolation at home have had to do.

Happily, there are a lot of fine recordings of Vivaldi by period instrument groups from England, Italy and Germany and elsewhere that use historically informed performance practices. But some the most outstanding recordings are by modern instrument groups, which should not be overlooked.

With a few exceptions – notably Wisconsin Public Radio – you don’t get to hear much Vivaldi around here, especially in live performances, even from early music and Baroque ensembles. If you hear Vivaldi here, chances are it is The Four Seasons or the Gloria. Should there be more Vivaldi? Will we hear more Vivaldi when live concerts resume? That is a topic for another time.

In the meantime, The Ear wants to know:

Which composer did you most listen to or find most helpful throughout the pandemic?

Leave your choice in the comment section with, if possible, a YouTube link to a favorite work and an explanation about why you liked that composer and work.

The Ear wants to hear.

Thank you and Happy New Year!

 


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This Wednesday’s FREE Just Bach virtual online concert features holiday music from the Christmas Oratorio and other works

December 14, 2020
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By Jacob Stockinger

The Ear has received the following announcement from the organizers of Just Bach:

The program for Just Bach’s holiday concert this Wednesday, Dec. 16, opens with Chorale Prelude settings of Advent melodies from the Orgelbüchlein (Little Organ Book) by Johann Sebastian Bach (below), with Mark Brampton Smith on organ and soprano Sarah Brailey singing the melodies. 

Violinist Nathan Giglierano follows with the beautiful, contemplative Largo from the third solo violin Sonata, along with two pieces – Two-Part Invention No. 13 and the Sinfonia from Cantata 156 — arranged for violin and viola, which he plays with his wife Gillian.

The second half of the program features selections from the Christmas Oratorio, BWV 248. The Madison-based early music group Sonata à Quattro (SAQ, below in a photo by Barry Lewis) plays the luminous Sinfonia – in an arrangement for string quartet and organ– that opens the second Cantata in this work. The performance was recorded at St. Matthias Episcopal Church in Waukesha, Wis., where SAQ is ensemble-in-residence. (You can hear the Sinfonia in the YouTube video at the bottom.)

Members of SAQ (below, in a photo by Barry Lewis)  are: Christine Hauptly Annin and Leanne League, violins; Marika Fischer Hoyt, viola; Charlie Rasmussen, cello; and Mark Brampton Smith, organ.

Soprano and UW-Madison graduate student Sarah Brailey (below) — who was just nominated for a Grammy Award — returns with three chorales from the Christmas Oratorio, singing all four parts in a multi-track recording and bringing the holiday program to a high-tech conclusion.

We are thrilled to participate in the weekly ‘Music at Midday’ concert series by Luther Memorial Church. Here is a link: https://www.luthermem.org/music-at-midday

As part of this series, Just Bach concerts take place on the third Wednesday of each month. Remaining concerts are Dec. 16, Jan. 20, Feb. 17, March 17, April 21 and May 19. Each program lasts approximately 30 minutes.

It is still too risky to have in-person audiences, so these concerts are posted on the Just Bach and Luther Memorial YouTube Channels. 

Please note: Now that concerts are online instead of in person, the videos are published early Wednesday mornings, instead of at noon. Then the online post will remain up and accessible for an indefinite time.

Here is a link: https://www.youtube.com/channel/UCcyVFEVsJwklHAx9riqSkXQ?

Viewing the concerts is free, but we ask those who are able, to help us pay our musicians with a tax-deductible donation. https://www.paypal.com/donate/?cmd=_s-xclick&hosted_button_id=7A4R7CA8VDRMG&source=url

Concert viewers are invited to a half-hour live Zoom post-concert reception on Wednesday night, Dec. 16, at 7:30 p.m. Those who would like to join us and chat with the performers can follow this link: https://us02web.zoom.us/j/88960952122?pwd=NTNQY21HZmxNSEh0ODRWdmQvVTlsQT09

Just Bach concerts are typically performed in Luther Memorial’s beautiful nave (below), but that was not possible this month. The recent Emergency Order barring indoor gatherings in Dane County of people from different households inspired some special creativity.

 

The program was recorded by musicians in their respective homes, and at a church in Waukesha County, and in some cases, some high technology was involved.

Dave Parminter was the videographer.

Just Bach’s social media links are:

https://justbach.org

facebook.org/JustBachSeries

youtube.com/channel/UCcyVFEVsJwklHAx9riqSkXQ?

 


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The 10th annual Baroque Holiday Concert by the Madison Bach Musicians is next Saturday night and will be virtual and online

December 6, 2020
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By Jacob Stockinger

On this coming Saturday night, Dec. 12, the Madison Bach Musicians will present their 10th annual Baroque Holiday Concert (below is a photo of a previous year’s holiday concert). 

Because of the coronavirus pandemic, this year’s one-hour concert will be a virtual web event.

The program features Baroque masterworks by Johann Sebastian Bach, Georg Philipp Telemann, Arcangelo Corelli, Joseph Dall’Abaco, Jean Daniel Braun and Marc-Antoine Charpentier. It was recorded Dec. 1-6 in several acoustically superior venues.

Links to the MBM holiday program can be purchased at $15 per household at https://madisonbachmusicians.org. Patrons purchasing the link can view the program the evening of Dec. 12 and anytime afterward through Friday, Dec. 26.

Festivities begin at 7:30 p.m. with MBM director Trevor Stephenson’s 30-minute pre-concert lecture about the repertoire, the composers and the period instruments.

At 8 p.m., viewers will see the 60-minute, high-definition video of the concert portion of the program, followed by a 30-minute Zoom Q&A session with the musicians from their homes. Questions for the Zoom session should be submitted by email to MBM manager Karen Rebholz at madisonbachmusicians.manager@gmail.com.

The concert begins with a selection of nine pieces from the Schemelli Songbook. Georg Schemelli collaborated with Johann Sebastian Bach (below, 1685-1750) in assembling this magnificent collection of spiritual songs, published in Leipzig in 1736. Bach provided most of the bass lines and wonderful harmonizations.

Grammy Award-winning soprano Estelí Gomez and harpsichordist Trevor Stephenson (both below) perform this set in the beautiful chapel at Lawrence University in Appleton, Wis.

From the sanctuary of Grace Episcopal Church, on the Capitol Square in downtown Madison, baroque cellist James Waldo (below) will perform Bach’s magisterial Solo Cello Suite No. 4 in E-flat major

UW-Madison Mead Witter School of Music bassoon faculty member Marc Vallon (below top, in a photo by James Gill) and esteemed baroque cellist Martha Vallon (below bottom) team up in the Collins Recital Hall of the UW”s Hamel Music Center for a Duo Sonata by Jean Daniel Braun (1703-1738).

Marc will also play a solo bassoon transcription of two Fantasias, originally for solo flute, by Telemann (1681-1767). Martha will perform the meditative Capriccio no. 4 in D minor by Dall’Abaco (1710-1805).

The program concludes at The Crossing in Madison with MBM concertmaster violinist Kangwon Kim (below top), violist Micah Behr (below bottom) and cellist James Waldo joining in a medley of holiday favorites.

They include Greensleeves variations over a ground (repeated bass line); three movements from Christmas Music for Instruments by Charpentier (1643-1704); the Adagio from the Christmas Concerto Op. 6, No. 8 by Corelli (1653-1713), which you can hear in the YouTube video at the bottomand two beloved carols — Lo How a Rose and Sussex Carol – in arrangements by Micah Behr.

MBM wishes to thank Geneva Campus Church for their collaboration in filming this portion of the program as a contribution to their weekly services.

 


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November’s “Just Bach” FREE online concert is this Wednesday morning at 8 instead of noon. It features two favorites: “Air on the G String” and the Concerto for Two Violins

November 17, 2020
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This Wednesday, Just Bach again shares the timeless beauty of the music by Johann Sebastian Bach (below) from their home in the nave of Luther Memorial Church (LCM), 1021 University Avenue.

The group participates in LMC’s weekly ‘Music at Midday’ concert series at https://www.luthermem.org/music-at-midday. (Please note: Now that the concerts are online instead of in person, the videos will be posted early Wednesday mornings at 8 a.m., instead of at noon. They will remain online indefinitely so viewers can see them at their convenience.).

As part of this series, Just Bach concerts take place on the third Wednesday of each month. Remaining concerts are: Nov. 18, Dec. 16, Jan. 20, Feb. 17, March 17, April 21 and May 19. The programs last approximately 30 minutes. 

It is still too risky to have in-person audiences. So in addition to the Luther Memorial website, they will be posted on:

The Just Bach home website at: https://justbach.org/concerts/

The Just Bach Facebook page at: https://www.facebook.com/JustBachSeries

And the Just Bach YouTube Channel, where previous concerts are still posted, at: https://www.youtube.com/channel/UCcyVFEVsJwklHAx9riqSkXQ

Viewing the concerts is FREE, but the group asks those who are able, to help pay the musicians with tax-deductible donations at: https://www.paypal.com/donate/?cmd=_s-xclick&hosted_button_id=7A4R7CA8VDRMG&source=url

PLEASE NOTE: New this month will be a half-hour live ZOOM post-concert reception on this Wednesday night at 7:30 p.m. CST. Those who would like to join us and chat with the performers can follow this link: https://us02web.zoom.us/j/87144868956?pwd=aHUrR3BNZFF5Y1hlVG1EWkNvMklkQT09

The November concert opens with Just Bach co-founder, UW graduate student and nationally concertizing soprano Sarah Brailey (below), who will provide welcoming remarks and an overview of the program.

Our guest artists this month (below, in a photo by Barry Lewis) are a quartet of string players from the Madison Symphony Orchestra: violinists Leanne League and Xavier Pleindoux; violist Marika Fischer Hoyt; and cellist Lindsey Crabb. Also performing is harpsichordist John Chappell Stowe, a professor in the UW-Madison Mead Witter School of Music. Dave Parminter is the videographer.

League and Pleindoux (below, in a photo by Barry Lewis) will play the solo parts in the familiar and beautiful Concerto in D Minor for Two Violins (the ‘Bach Double’), BWV 1043.

Madison Symphony Orchestra audiences will remember their gorgeous performance of this piece at a Christmas Spectacular concert a couple of years back. (You can hear the beautiful and poignant slow movement in the YouTube video at the bottom.)

The ensemble will continue with a movement from the Orchestral Suite No. 3 in D major, BWV 1068, the serenely transcendent “Air on a G String.”

Sarah Brailey returns to lead the final chorale from Cantata 139, composed for the 23rd Sunday after Trinity, which happens to be this coming Sunday. The stirring title, Dahero Trotz der Höllen Heer! translates as “Therefore Defiance to the Host of Hell.”

We encourage viewers to sing along by following the chorale sheet music, which will be displayed on the screen, as Stowe accompanies on the organ. 

 


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