Dr. Arthur Maud, Organist

 

Every other week from May to October, Dr. Arthur Maud, travels from Minneapolis to play the organ at Christ Church. On alternate weeks we are able use a recording he makes when he is here.

While at Christ Church Dr. Maud has been organist and choir director for the yearly "Advent Lessons & Carols" in December.

We are so pleased to have such a wonderful musician in our midst!

 

Dr. Maud's resume in his own words:

 
Born and raised in the West Riding of Yorkshire, quite early in life (from age 6 to 14) I sang as a chorister in the Anglican church choir in our village. I took singing lessons and was soloist at local churches in and around Keighley until the family emigrated to Salt Lake City, Utah, in 1948.

At the University of Utah I studied Music Theory and Composition. After military service I was accepted in composition at the Hochschule für Musik in Munich, Germany, where I studied with Harald Genzmer and Carl Orff. While there I was choir director at the American Church of the Ascension.

Returning to Utah I completed the MA in Composition for which I wrote A Christmas Cantata on Crashaw’s ʻSong on the Birth of our Lordʼ for string orchestra, harp, soloists and chorus in 1960, which won first place in the Utah State Music Composition Contest of that year (Judge: Ingolf Dahl). While at Utah I studied organ with Alexander Schreiner, cello with David Freed and piano with Reid Nibley, and became Organist and Choir Director at All Saints’ Episcopal Church in Salt Lake City.

Summer workshops at the Church Divinity School of the Pacific in Berkeley provided an opportunity to work with leading church musicians like Peter Hallock, Norman Mealy, Leo Sowerby and Searle Wright.

A one year appointment in the Music Department brought me to the University of Minnesota in 1961. This was a very busy time: I directed two University choirs, taught two undergraduate courses, enrolled in three graduate courses towards a PhD, and played cello in the University Orchestra, as well as being Organist and Choir Director at the University Episcopal Foundation. Fortunately, after one year the teaching position turned into a less demanding Teaching Assistantship in the Humanities Department.

Also in the early 1960s my wife Ann and I started Project IV, a School of Music and the Arts for Children. In the music classes I introduced the methods of Carl Orff ʻSchulwerkʼ to the children of the Twin Cities. By 1966 music at the Episcopal Foundation was flourishing, especially the Advent service of Lessons and Carols which attracted full houses. In this same year a new project was initiated – an early music ensemble modeled on the successful work of the New York Pro Musica under the direction of Noah Greenberg. Also this year saw the addition of two new positions — halftime music teacher at Breck School in Minneapolis, and full-time instructor at the new Metropolitan State Junior College. Something had to give, so after a year that saw Breck’s Choir join with Northrup School’s Choir and the SPCO in a performance of Vivaldi’s ʻGloriaʼ, I decided to concentrate on the early music ensemble, Concentus Musicus, and the work at Metropolitan College . . . and of course the PhD thesis. After attending the New York Pro Musica workshop in Madison in 1968 I was even more committed to the performance of Renaissance music, falling completely under the spell of Josquin Desprez, Cristobal Morales and the myriad other masters of 15th and 16th century polyphony. It was a period of furious research and exhilarating performances.

An advertised concert season was started in 1973 and audiences in the Twin Cities and the Upper Midwest were treated to the glories of Renaissance music on a regular basis as Concentus Musicus had a full schedule of sponsored and touring concerts — the annual ʻNowell Sing Weʼ concerts were particularly popular. Work at the College proved to be quite rewarding, too, with performances of major works by Carissimi, Purcell, Bach, Handel, Vaughan Williams and others. And finally the PhD and composition were not entirely forgotten with the completion, under Professors Dominic Argento and Paul Fetler, of ʻSinfonia Concertante for Organ and Orchestraʼ in 1977.

At the beginning of the 1980s a 17-year association with Prof. Stanford Lehmberg, Organist and Choirmaster at St Clement’s Episcopal Church, St. Paul, began. This resulted in a steady stream of commissioned anthems and liturgical pieces culminating in ʻMissa Sancti Clementiʼ (1995) and ʻMissa de Requiemʼ (1997) for choir, solos and orchestra.

After retiring from teaching in 1994, I started travelling to the UK fairly frequently and developed a relationship with the church of St. John’s-on-Bethnal Green, London. A series of song sets for instrumental ensemble, soloists and choir resulted from this collaboration, one of which, ‘Three Sonnets by Jones Very’, was published by ECS Publishing, Boston, in 2000. In 2004 they brought out my “Ave plena gracia”, a carol written for St. Clement’s.

In my years as Director of Concentus Musicus Minnesota we recorded major works by 15th and 16th century composers: Masses, Magnificats, Lamentations by Victoria, Mouton, Heinrich Finck, Josquin, Robert Fayrfax, John Taverner, Byrd, Jacob Handl and Francisco Penalosa . . the last two in international releases by Meridian Records, London. William Byrd’s ‘Magnificat” from The Great Service and Praetorius “Puer natus” are included in ʻNowell Sing Weʼ released by Musical Heritage.

In 2005 under the auspices of the US State Department I presented two workshops in Renaissance vocal polyphony with several choirs in Latvia. Noteworthy events in composition include: A Retrospective Concert at St Clement’s, St Paul, in 1984; BBC Radio 3 broadcast of my ‘Evening Canticles’ from Cathedral of Our Merciful Saviour, Faribault, in 1991; Evensong and Concert of my works as part of the St. Mark’s Cathedral concert series, Minneapolis, in 1996; a Schubert Club commission and Rose Ensemble performance of “In te Domine speravi” at St Mary’s Basilica, Minneapolis, in 2001; Concert of my works at St John’s-on-Bethnal Green, London, in 2004. Most recently Bruce Barber and the choir of St Jamesʼ Episcopal Cathedral, Chicago, included my “Ave plena gracia” in their new (2011) ‘Arise, shine’ —ʻLessons and Carolsʼ CD.
— Dr. Arthur Maud
 
 

David Telford at the Harmonium

 

Christ Episcopal Church's Clark Reed organ (harmonium) was made in Chicago in 1893. It has a total of 19 stops, one of which is an octave coupler and two are forte stops. The pump method is by foot and handle. The instrument case is made of oak. The Reed organ has a special place in American musical history. Lighter than pianos and less expensive to produce, several million were manufactured between the 1850s and 1920s. They were especially popular for use in small churches and chapels where a pipe organ would be impractical. 

In 2015 David Telford, MD, played the harmonium in concert at Christ Church as part of Bayfield's Summer (Mostly) Thursdays concert series. It was the first time in many years that the organ had been used so extensively.