Dr. Kristina Rizzoto on Service Playing,
Arranging, and Composing

Northaven United Methodist, Dallas

Dr. Rizzotto, a self-published composer composer for organ, choir, and piano, with emphasis in sacred repertoire for religious services, leads an exciting event that will gives you some fresh ideas on what to do beyond the notes in the hymnal. Breakfast munchies will be available at 9:30am.

Hosts:  Larry McCain and Program Committee

 Neighborhood Recital

Custer Road United Methodist, Plano

How often do you get 91 ranks of organ to play with?! Okay, some of you do... but for the rest of us this is your chance to pull out some of those pieces (large or small) that you love to play. Take a look at the spec list for this 4/91 Schantz from 2005 and bring a piece we don’t already know exists but should. Remember, not everything needs to be a barn-burner on a neighborhood recital! Reception to follow.

Hosts:  Chris Brunt and Program Committee

ROBERT T. ANDERSON RECITAL SERIES
Jan Kraybill

Perkins Chapel, SMU Campus

After you’ve toured the art and enjoyed a delicious meal, just walk across The Boulevard to Perkins Chapel to hear the recently installed E. M. Skinner Op. 563 in the final RTA Recital played by Dr. Jan Kraybill and hear one of the “newer” organs that Dallas has to offer! There’s plenty of room, bring a friend! 

Hosts: RTA and Program Committees

ROBERT T. ANDERSON RECITAL SERIES 

    Ken Cowan

Northridge Presbyterian, Dallas

Praised for his dazzling artistry, impeccable technique and imaginative programming by audiences and critics alike, Ken Cowan performs the first RTA Recital on the 2001 2/36 Nichols & Simpson organ. 

Hosts:  RTA Committee and Northridge Pres

 Prof. Stefan Engels and Registering the
Organ Music of J. S. Bach

University Park United Methodist, Dallas

This workshop will draw conclusions from a variety of sources and will endeavor to provide answers to the following questions and issues:

1.) The examination and meaning of Bach’s own registration indications found in his manuscripts. 

2.) The analysis and interpretation of Bach’s suggestions for the modification and expansion of specific instruments. What could he have had in mind musically when recommending specific stops to be included with existing specifications? 

3.) What ideas for organ registration can we draw from his orchestral music/choral music? What orchestral works match the Affekt of certain works for the organ? 

4.) What does the meaning of the text in Chorale arrangements teach us about registration? 

5.) How can we relate the important meaning of the Baroque key signatures to aspects of registration? 

6.) How can we realize all these various aspects on organs that were built in the last 50-60 years to achieve, at least to a certain degree, a sound that represents the sound of the organs Bach knew?

Hosts:  Mark Pope and Program Committee