Dr. Jeannine Jordan, Concert Organist

Archive for the ‘From Sea to Shining Sea’ Category

Robert Ampt Interview continued

Jeannine:  Your extensive performance career includes solo concerts as well as those with your wife, organist Amy Johansen.  Together you have developed two specialties – the playing of organ duets, and the presentation of children’s ‘Introduction to the Organ’ programs.

What are the challenges/joy of performing duet concerts?  What repertoire is included in these concerts?
Mr. Ampt:  Duet playing is surprisingly different to solo playing.  For a start many, particularly American, consoles are deliberately designed for the convenience of a single player on the middle of the bench.  Any departure from this position makes the pedalboard, in particular, quite uncomfortable to play.  For duet playing a flat/straight pedalboard is definitely the easiest. On the other hand, ample and convenient registration aids together with the presence of fanfare reeds make many American organs well suited to duet playing.  Compared to solo playing registration for duets is significantly more complicated, particularly when playing transcriptions. And of course both players must agree on the choices.  We find that preparation time on an unknown instrument is approximately doubled for duet programs. And there will be no point in being shy about occasional close physical contact.
We perform a mixture of original organ duets (eg Merkel, Beethoven, Hakim, Mozart, Bedard, Ampt), and transcriptions (eg William Tell Overture, Saint Saens III, 1812 Overture, Mid-Summer Night’s Dream overture).
Playing in time together raises an interesting issue.  Playing metronomically accurately is the easiest was to stay together, but it also produces the most heartless and empty performances. So a definite challenge in duet playing is to be able to play together while still allowing rhythmic flexibility to colour and enliven the music, just as with the performance of chamber music.
Jeannine:  Please describe your “Introduction to the Organ” programs.

Mr. Ampt:  The aim of these presentations is to offer approximately 25 unbroken minutes of total fun and enjoyment in a situation where the organ is the centre-piece, followed by all children having a play.  Those who have brought (usually piano) music can play their whole piece while non-players are encouraged to simply “improvise”.
The actual presentations give the impression that Amy (on the organ) and I (writer, arranger and narrator) are just having a good time imparting lots of information.  But in reality the presentations are tightly organized and fully scripted, with most of the narrations delivered by memory to give the impression of spontaneity.  We have often performed Daniel Burton’s Rex, The King of Instruments (with changes appropriate to the local instrument and culture), and frequently use 5 – 10 minute segments using TV, film and football club themes presented in appropriately varied ways, for which I have write narratives.  There may also be an “I spy…” segment and a quiz Yell-a-thon.


Jeannine:  I recently learned your delightful yet challenging organ composition, Concert Etude on an Australian Folk-Tune.  Do you often use indigenous Australian melodies in your composition?


Mr. Ampt:  My first published music – Australian Christmas Suite for Organ – treats, somewhat as chorale preludes, five of the Australian Christmas Carols (Wheeler/James) which were published in the 1940s.  The texts of these delightful carols mention the heat, dust and fires of Christmas time and allude to Australian flora and fauna. Definitely no snow in the paddocks. In addition to the Concert Etude you mentioned (based on “Pub with no Beer”), there is also a set of concert variations for four feet on Waltzing Matilda.  Audiences seem to find this piece quite entertaining, with several American organ duet teams having it in their repertoires.
  Many seem to think that my most successful solo organ work is “Elijah on the Mountain”, inspired by the passage in Kings II where Elijah recognizes his god in the “still, small voice”. The first in a recently published set of Three Trumpet Pieces is also proving popular. Besides the organ music, there is also music for oboe/organ and piano/organ.
I have also arranged and written a considerable quantity of Christmas music for choir.  Some of this is a capella, but most is with organ accompaniment. All of this music was originally prepared for the annual Christmas at the Sydney Town Hall concert – a very traditional Christmas celebration based on the Nine Lessons and Carols which always sells out. For this event I have also arranged several of the well-known carols with organ/brass fanfares and accompaniments which can be used with large choir and congregation.  I would classify the style as traditional and harmonic. All of this music is published.
Although I have never had formal composition lessons, I do consider my learning in this area to have come from three sources. The first was the playing, in my early years, of countless high quality hymns harmonized by properly trained musicians.   A natural feeling for good and correct harmonisations is now normal for me.  The second was/is the music of the great composers; those whose music exhibits both form and passion.  These composers extend from Bach to Hakim. The third will be mentioned below in regard to my church-playing requirements.


Jeannine:  Where can one find your compositions, recordings, other publications?
Mr. Ampt:  The website “Birralee Publishing” has a sadly incomplete list of my works. Best to email direct to robertampt@tpg.com.au  Most of the CD recordings can be found on the Move Records site, including “Joy to the World”, which contains much of the Christmas music already referred to, and “Organ at the Opera” which includes the Waltzing Matilda duet.


Excerpted from the June 2017 Pro-Motion Music newsletter.

Dr. Jeannine Jordan, concert organist with her husband David, media artist, are the creators and performers of Bach and Sons, From Sea to Shining Sea, and Around the World in 80 Minutes — live organ concerts with multi-media.

What is Around the World in 80 Minutes?

… the exciting title of this new show by Jeannine and David Jordan keeps its promise: as spectator and listener I was taken on a trip around the world that provided glimpses of the beautiful rolling hills of England and its Roman churches, majestic cathedrals in Paris, allowed me to feel part of a procession during Passion Week in Spain, invited me into Johann S. Bach’s Germany, took me into the somber atmosphere of a Polish orphanage during World War II .. and this was only the first part of the ‘trip’ that went on to Nigeria, Lebanon, Israel, Taiwan, Australia… the list goes on! The blend of carefully selected and masterfully played pieces of music and visuals that reflected the music and the characteristics of the countries – or that were simply entertaining and humorous – made the journey enjoyable, fun and unforgettable. This show will undoubtedly be a favorite for many! The organ shines in its seemingly infinite musical expression and potential – who associates ‘La Bamba’ with the organ? From now on – I will! When the journey is over you sit back and think: “I would like to do this again!”   Ulla Mundil, concert attendee


Dr. Jeannine Jordan, concert organist, and David Jordan, media artist, are the creators and performers of three organ and multi-media concert experiences, Around the World in 80 Minutes, Bach and Sons, and From Sea to Shining Sea.  Contact Dr. Jordan at jeannine@promotionmusic.org for information.

Godwin Sadoh and intercultural music – Interview continued

Jeannine:  Intercultural music is described as that in which elements from two or more cultures are integrated.  Please describe your compositional technique and how it exhibits intercultural tendencies?

Dr. Sadoh:  My compositions exemplify the process of intercultural music as three distinct cultures are vividly and copiously utilized in them; these cultures are Nigerian/African, European, and American.  Jazz idiom in some of my early piano works is the major American influence on my music.  As regards Nigeria, it could be further broken down to the influence of the Yoruba, Igbo, and Hausa cultural traits.  In terms of Africa as a continent, I have incorporated elements from South Africa and Ghana into my piano works especially the ten-movement Childhood Dreams.  The Nigerian musical elements are quite glaring in my music because I always want my music to be conceptualized in that way, music written by a modern Nigerian composer.  I deliberately make painstaking efforts to infuse a lot of Nigerian musical flavors into my music.  Hence, I employ Nigerian traditional, popular, and church music resources in my compositions.  Some of these elements are the rhythmic patterns, tonal organizations, parallel harmony, formal structures, timbres, folk melodies, instrumental resources, indigenous languages as exemplified in my Five Nigerian Songs for Vocal Solo and piano, Three Wedding Songs for Soprano and piano, and most of my choral songs that are in Yoruba.

Quite a number of my organ works are based on indigenous church tunes, traditional, and folksongs.  In terms of tonality, I combine European pitch collections with indigenous Nigerian tonal schemes such as diatonic, pentatonic, hexatonic, and octatonic scales, atonality, as well as the 12-tone row method.   For illustration, Memoirs of Childhood for piano is a three-movement work based mainly on pentatonic scale.  My Nigerian Organ Symphony is largely influenced by 19th century French organ symphonic techniques, in particular, Louis Vierne and Charles Marie-Widor.  Even though the character, style, and registrations of the five movement work are influenced by French music, the Nigerian Organ Symphony is infused with distinct African music creative and performance procedures such as scales, ostinati, call-and-response, interlocking rhythmic patterns, dance nuances, folk melodies, bell patterns, foot stamping, and hand clapping rhythms.  Structurally, the forms of my music ranges from simple binary, ternary, rondo, theme and variations, sonata form, aria, strophic, through-composed, canonic imitation, contrapuntal forms to other free styles.  In the area of instrumental resources, I do conjoin Western and Nigerian traditional instruments, such as the  Fisherman Song for Flute and Organ, African Nostalgia for Xylophone, Harmattan Overture for Symphony Orchestra and Nigerian Instruments, and Folk Dance for a Percussion Ensemble of Four Players. 

One of my most successful intercultural compositions is The Misfortune of a Wise Tortoise for Organ and Narrator (An African Folktale).  It is a work created to introduce kids to the nature and workings of the pipe organ.  This composition could be regarded as a “Nigerian program music,” in which the organ replicates the narrated folk story in sonic space.  There are 8 short pieces that are actually variations of the original song that goes with the folktale.  Each organ piece is given divers registrations to introduce the children to the various sounds that the pipe organ is capable of producing.  I am always excited to hear comments from organists around the world telling me how much they enjoy playing my music and that my compositions are practically different in style from all the other organ repertoire they have ever played.  That is so cool to hear.  They could feel the Africanesques in my music.  Here are some comments from selected organists and pianist:

  1. i) In a letter on March 17, 2008, American organist, John Abuya, writes: “Dear Dr. Sadoh, . . . Your music is interesting and delightfully refreshing. I have nothing like it in my repertoire.  I am entranced by the authentic African melodies and rhythms.  You can be assured that I will use them in my service playing at church and my organ recitals.  God has truly blessed you with a great gift. . .”
  2. ii) In The Organ, a British journal, August 2008, No. 345, A review of the Nigerian Organ Symphony, Roger Rayner, writes: “Sadoh makes an important contribution to our repertoire in introducing African rhythms and a style of playing possibly unfamiliar to most of us.”

iii)  From Michael Vollmer, German organist, Bielefeld, Westphalia: “Godwin, let me tell you briefly about last Sunday.  We had a feast with our congregation, we had fellowship the whole day. My best friend and I lead the Gospel Choir and we sang some songs.  I had your Nigerian Suite No. 2 with me and we were so full of Gospel music that (when everyone was having lunch outside) I pulled out your Suite and started playing.  Of course, I held back “K’a Juba,” this is for tomorrow. 🙂 But I played the last movement, the “Royal Dance.”  My friend grabbed a pair of Bongos and joined me.  It was so much fun, so vivid, so full of life.  We played the entire suite *three times* and hearing us from the outside, people would pop in and listen.  When we finished, the church was a quarter full and your music earned much applause! 🙂 Thank you for this music, it is new to me and although I may not always understand the background, I feel the life and the spirit behind every written bar!” [April 14, 2011].

  1. iv) Stephen Jenkins of the American Guild of Organists, Holland, Michigan Chapter, writes: “I find Godwin Sadoh’s work fun to play and refreshing. I love the way he uses Nigerian riffs on the pipe organ.  Dude rocks.”  He made this remark after listening to the recording of “Konkonkolo” from Five African Dances for organ solo. [February 24, 2015].
  2. v) E-mail message on February 10, 2016, Italian international concert pianist, Silvia Belfiore, comments on my compositional style: “Your music plays an important role in my repertory. The interest that it arouses is extraordinary.  Your music is characterized by metric mixtures, syncopation, rhythmic counterpoints, and above all, clarity and transparency.  Through your music, I discovered that the process of composing music and creating hierarchies within the voices of a piece are the dichotomy between traditional practicum and modern expressionism.  I can also attest that the public reactions were amazing everywhere I played your music, in any country, and for any type of audience.”


  1. vi) Facebook comment on February 20, 2016, American musician, Daniel Walton, writes, “This is super cool. I’ve never heard these definitely African sounds out of an organ, and it’s such a joyous noise.” Reacting to Mark Pace’s performance of “Ijo Oba” (Royal Dance) from Nigerian Suite No. 2 for organ.

vii)  Chase Castle: “Looking forward to playing selections from Godwin Sadoh‘s Impressions from an African Moonlight.  Sadoh is a Nigerian organist, composer, and ethnomusicologist, who offers trans-cultural and exciting modern organ repertoire.” [October 8, 2016].

viii)  Monty Bennett: “Godwin, they loved your pieces! You should have heard the applause after the toccata!!!! The best part was that because the console is turned so the organist looks at the auditorium, there was a camera placed on me and was shown on a big screen at the front of the hall. They could see my feet playing the toccata and the fast pedal work.”  This is a report of the audience response to the Middle-Eastern Premiere of Nigerian Suite No. 1 for solo organ, at the prestigious Israel International Organ Festival 2016-2017, under the auspices of the Israel Organ Association, at the Hecht Museum Auditorium, Haifa University, Israel, on February 24, 2017.

Dr. Jeannine Jordan, concert organist, and David Jordan, media artist, are the creators and performers of three organ and multi-media concert experiences, Around the World in 80 Minutes, Bach and Sons, and From Sea to Shining Sea.  Contact Dr. Jordan at jeannine@promotionmusic.org for information.


Godwin Sadoh – ethnomusicologist – Interview continued

Dr. Sadoh:  My extensive researches on African ethnomusicology, intercultural musicology, modern African art music, Nigerian church music, organ building, and composers, have been published in reputable international journals such as The Diapason, The Hymn, The Organ, The Organ Club Journal, Journal of the Royal College of Organists, The Organ: An Encyclopedia, The Musical Times, Africa, Choral Journal, Percussive Notes, MLA Notes, NTAMA, Living Music Journal, and Composer-USA.  In fact, one of my books, Intercultural Dimensions in Ayo Bankole’s Music, topped the bestseller list as No. 1 on Amazon in 2007.  My books have been catalogued in some of the most prestigious archival centers and university libraries around the world, including the Library of Congress, Smithsonian Libraries, Harvard University Library, Yale University Library, Columbia University, Cornell University, Dartmouth College Music Library–New Hampshire, UCLA Music Library, Duke University Library–North Carolina, Stanford University Library–California, Southern Methodist Libraries, Dallas–Texas, Center for Black Music Research–Chicago, Bayreuth University Library–Germany, Tufts University Library–Massachusetts, University of London, School of Oriental Studies and African Studies–London, Cathedral Church of Christ Library–Lagos, and the Music Libraries of the University of Pretoria, University of South Africa, University of Kwazulu-Natal, University of the Witwatersrand–Johannesburg, all nestled in South Africa.  This is just to mention a few.

I am always excited and grateful to see my published articles and books listed as references in theses and dissertations, and in the syllabi of both undergraduate and graduate courses at colleges and universities around the world.  As regards my compositions, they have been performed all over the world including Birmingham, Cameroon, Canada, Costa Rica, Ethiopia, France, Germany, Israel, Italy, Ivory Coast, Luxembourg, Netherlands, Nigeria, Norway, Scotland, Tanzania, South Africa, and of course, the United States, where my music is performed regularly in churches and schools every week.  Since my return to Nigeria in 2013 after several years of sojourn in the United States, I have come across a lot of Masters and PhD students and Music Instructors who informed me of how useful my scholarly publications have being to them when writing their theses or dissertations.  My compositions too have been widely performed at churches, schools, colleges and universities all over Nigeria.  The climax of my creative reward in Nigeria were the mammoth concerts featuring only my compositions that took place in the nation’s capital, Abuja, on April 29, 2016, and on August 6, 2016, at the prestigious Cathedral Church of Christ, Lagos.  The third phase of the concert would feature only my organ compositions at the Cathedral Church later in 2017; while the Grand Finale would take place in my late mother’s home town in summer 2017.  At this Finale, a 100-Mass Choir would perform my choral songs to the glory of God.  To me, these are priceless and quantum experiences in my musical career!

Dr. Jeannine Jordan, concert organist, and David Jordan, media artist, are the creators and performers of three organ and multi-media concert experiences, Around the World in 80 Minutes, Bach and Sons, and From Sea to Shining Sea.  Contact Dr. Jordan at jeannine@promotionmusic.org for information.

Meet Godwin Sadoh

Excerpted from a Guest Artist Interview in the April 2017 issue of the Pro-Motion Music e-newsletter

Jeannine:  Born in Lagos, Nigeria, what were your first musical experiences?

Dr. Sadoh:  My first musical experiences in Lagos could be attributed to six entities or stages: My late mother, Taiwo Akinsanya, frequently sang to me and my other siblings a lot of Nigerian traditional music, pop music, church songs, and American Hollywood music by Bob Hope, Frank Sinatra, and John Wayne;  My second encounter with music as a child was in the company of my sisters who shared folktale stories and the folksongs that go with them; The third point of my musical experience in Lagos were the observances of traditional festivals, naming ceremonies, weddings, funerals, house warming parties, that involved singing, hand clapping, playing of musical instruments, and dancing in different parts of Lagos;  I will give the fourth encounter to my days at the Eko Boys’ High School where I was introduced to choral songs and piano accompaniment in the school’s choir, and subsequently appointed by the Teaching staff as the Organist and Choirmaster of the school at the tender age of 16; The fifth place was at St. Paul’s Anglican Church, Idi-Oro.  I joined the choir, sang tenor, became Assistant Organist and played several services, especially when the main organist was out of time; Finally, at the Cathedral Church of Christ Choir, I was formally introduced to advanced church music, complex compositions such as oratorios and cantatas, responses, and chanting of the Psalms of DavidThe choir performed works by notable composers such as John Ireland, William Byrd, John Stainer, Bernard Rose, David Willcocks, John Rutter, Ralph Vaughan Williams, Samuel Wesley, Thomas Attwood, Charles Villiers Stanford,  Malcolm Archer, George Thalben-Ball, Sydney Nicholson, Hubert Howells, Hubert Parry, Edward Elgar, Mary Kay Beall, Eric Thiman, Healey Willan, Walford Davies, Edward Bairstow, William Harris, Orlando Gibbons, Martin Shaw, William Boyce, William Matthaias, Robert Cooke, and Charles Stanley.

One of the criteria to get admitted to the Cathedral Choir as an adult was the ability to sight read music as fast as possible because the choir sings numerous difficult compositions every week.  It takes the choir about three months to prepare the entire three-part Messiah for concert during Easter season.  Other major works performed by the Cathedral Choir were Mendelssohn’s Elijah, St. Paul, and Hymn of Praise; Johann Sebastian Bach’s Christmas Oratorio; Samuel Coleridge-Taylor’s Hiawatha’s Wedding Feast; George Frederic Handel’s Messiah, Ode to Joy, Judas Maccabaeus, and Ode on Saint Cecilia’s Day; Joseph Haydn’s Creation; John Stainer’s Daughter of Jairus, and Crucifixion; Walford Davies’ The TempleIt was also in Lagos that I practiced on the piano for at least six hours daily and took the piano, theory, and general musicianship graded external examinations of the Associated Board of the Royal Schools of Music, London.  When it was getting close to my practical exams, I would stay behind on Sundays after worship to practice from 12:00PM to 6:00PM when the evening service would commence.

Jeannine:  How and where did you discover the world of the organ?

Dr. Sadoh: I taught myself to play on the electronic-digital organ while at St. Paul’s Anglican Church, Idi-Oro.  However, I was exposed to the pipe organ at the Cathedral Church of Christ, Marina, Lagos, when I joined in 1980.  I still remember the awe and amazement on my face when I first saw and heard the sound emitting from the herculean instrument known as the King of all Western instruments and a one-man orchestra.  At the end of each service on Sundays, I always ran as quickly as I could after the recession of the choir from the church, back to seat as close as possible to observe the organist play the postlude.  It was heavenly for me.  I would watch the feet of the organist as they move on the pedals and saw the pulling out of the stops and change of sound.  I wanted to play the massive instrument so badly and accompany the congregation in singing.  I received my first lesson in organ from the then Organist and Master of the Music, Charles Obayomi Phillips (1919-2007), who later appointed me as an Assisting Organist in 1982.  It was Phillips who prepared me for all my piano examinations which I passed with Merits and Distinctions.

As the Assisting Organist, I accompanied the choir rehearsals on Tuesdays and Thursdays from 6:00PM to 7:00PM, and I played for the early morning Eucharist at 7:15AM on Sundays.  One of the most profound experiences I had at the Cathedral Church was the meeting of some of the most advanced professionally-trained organists, choir directors, and operatic singers.  I was privileged to hear preludes and postludes every Sunday, and observed several organ recitals played by the Cathedral organists and guest organists.  This was how I was introduced and got hooked to the pipe organ and its music.  In 1994, I left Nigeria to study African ethnomusicology and organ at the University of Pittsburgh, and received an MA in 1998.  My organ instructor was Robert Lord.  I earned an M. Mus. in organ and church music from the University of Nebraska-Lincoln, under the tutelage of Quentin Faulkner and George Ritchie.  At Louisiana State University, Baton Rouge, I distinguished myself in 2004 as the first African to receive the Doctorate in Organ performance from any institution in the world.  I studied organ with Herndon Spillman and composition with Dinos Constantinides.

Dr. Jeannine Jordan, concert organist, and David Jordan, media artist, are the creators and performers of three organ and multi-media concert experiences, Around the World in 80 Minutes, Bach and Sons, and From Sea to Shining Sea.  Contact Dr. Jordan at jeannine@promotionmusic.org for information.

Naji Hakim at the Basilique du Sacré-Coeur and La Trinité

Dr. Hakim:  I was appointed organist at the Basilique du Sacré-Coeur in 1985 by the First Chapelain Father François de Vorges. A few months after my appointment, after an evening mass, the old Rector Monseigneur Maxime Charles asked to meet me in presence of the Maître de Chapelle. He said : “Monsieur Hakim, je tenais à faire votre connaissance avant de partir de cette basilique où j’ai été recteur pendant plus de 50 ans. Vous êtes exactement l’organiste qu’il faut pour cette basilique. Ne changez rien à ce que vous faites, ni plus ni moins! J’espère que vous resterez plus longtemps que moi ici. Et dorénavant il faudra vous appeler “Maître”. Au revoir Maestro!”  “Mister Hakim, I wanted to meet you before leaving this basilica where I have been rector for more than 50 years. You are exactly the organist we need for this basilica. Don’t change anything in what you do, no more, no less! I hope you will stay here more than myself. And from now on we must call you “Maître”. Good bye Maestro!”
It was the first and last time I met him in person. I played for several of his services before he retired. When he passed away (I had already left the Basilique to be organist at La Trinité), Rector Alain Hazemann called me and insisted that I play for his funeral, which I did.

Many people think I left Sacré-Coeur to succeed Messiaen at La Trinité. The true reason is that Rector Hazemann didn’t want to amend my contract – my family needed my presence more. I buried my heart at the Basilique du Sacré-Coeur and regret its organ and liturgy as a part of my body and soul. Both organ and music at the Basilique du Sacré-Coeur are a very important source of inspiration to my music as for example the first movement of my Seattle Concerto for organ and orchestra, the second movement of my Sonata for trumpet and organ, or my Hommage à Igor Stravinsky for organ.
  You may be interested to read an excellent article on my organ music/Lebanese influences in German by Dr Crista Miller ORGAN magazine December 2015 Schott Music, or Biography of Naji Hakim by Zeina Saleh Kayali, in French : http://www.geuthner.com/livre/figures-musicales-du-liban-naji-hakim/1107

“The melody, always the melody, that is the only and unique secret of our art.”
Charles Gounod

“Why do you want me to love the music I don’t love if I already love the music I do love?”
Erik Satie

“Music is the Word of the unspeakable!”
Naji Hakim

Dr. Jeannine Jordan, concert organist, and David Jordan, media artist, are the creators and performers of three organ and multi-media concert experiences, Around the World in 80 Minutes, Bach and Sons, and From Sea to Shining Sea.  Contact Dr. Jordan at jeannine@promotionmusic.org for information.


Naji Hakim’s 2

Jeannine:  What are your current projects?

Dr. Hakim:  I will premiere my Variationen über “Ein Haus voll Glorie schauet” for organ at St Nikolaus Church Frankfurt on 26 March.  Having composed a Diptyque for txistu (Basque flute) and piano and a Concerto for txistu and orchestra (the latter to be premiered this year or in 2018), I have been interested in the existing repertoire for txistu. So I am finishing now a Basque Anthology, arrangements for txistu (basque flute)/recorder/flute and keyboard (piano/harpsichord/organ) of compositions by Basque composers. It is in preparation at United Music Publishing, England.

I am preparing a chamber music concert in July in Bayonne, for txistu, wind quintet, and piano featuring a.o. my works inspired by the Basque country. It will include my Sonate Basque for piano solo (world premiere), my Diptyque for txistu and piano, my Concerto for txistu (version concertante for txistu and piano), my Carnaval for wind quintet (world premiere) and Rondo for txistu, wind quintet and piano (world premiere). Garikoitz Mendizabal, txistu; Quintet Haize; Ana Belén García, piano.
  Right now I am writing a suite for 3 trumpets, timpani and organ which I will premiere in August in Ingolstadt Dom, Germany. Dr Franz Hauk, Director of Music at Ingolstadt Dom has prompted several commissions to me, including my Pange lingua, Ouverture Libanaise, Aalaiki’ssalaam, Salve Regina, Variationen über “Wie schön leuchtet der Morgenstern” for oboe and organ, and Suite Française and now this upcoming suite!

Jeannine:  Where can one find your music?

Dr. Hakim:   Naji Hakim Scores Publishers and Naji Hakim Recordings Publishers


Dr. Jeannine Jordan, concert organist, and David Jordan, media artist, are the creators and performers of three organ and multi-media concert experiences, Around the World in 80 Minutes, Bach and Sons, and From Sea to Shining Sea.  Contact Dr. Jordan at jeannine@promotionmusic.org for information.

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