Dr. Jeannine Jordan, Concert Organist

Posts tagged ‘concert’

Carson Cooman – composer and editor

Jeannine:  You are the Composer in Residence at The Memorial Church, Harvard University.  What does this position entail? 

Mr. Cooman:  I compose works for the church’s and university’s musical ensembles, advise on new music-related repertoire, act as the liaison for projects where outside living composers are involved, and work with my conductor and organist colleagues in the running of the university church’s extensive music program. I do also play some services as organist since we have many (including a daily service that dates back to the university’s founding).

Jeannine:  Since early 2015, you have been the organ editor for the Lorenz Publishing Company.  Can you give us an insight into your role as editor of the three Lorenz organ magazines/periodicals — (The OrganistThe Organ Portfolio, and The Sacred Organ Journal)?  How is music chosen?  What is the criteria for inclusion?

Mr. Cooman:  I have worked in music publishing since 2000, initially directing publications for Zimbel Press and in a freelance advisory capacity for a number of publishers. In 2015, I was very pleased to join the staff at the Lorenz Corporation to direct the Lorenz Publishing and Sacred Music Press organ catalogs, organize our Sacred Music Press choral imprint, and edit our long-running organ periodicals. It has been a pleasure to work for a company that is so supportive of the breadth of contemporary church music that I am interested in myself. We strive to have organ and choral publications that cover whole gamut in every respect: difficulty level, purposes, denomination/worship style, and musical style. I thus aim in the organ catalog for a great variety of material and creative expression across the works and composers whose we publish.

The primary use of much of the music published is church service playing (and singing), and so a large degree of practicality, accessibility, and general usefulness is important. Personally, I am always most interested in music where the composer’s individual voice is allowed to flourish, rather than being edited into a homogenous “commercial” style. Thus across the publications for which I am responsible (including the organ periodicals), I seek to showcase a variety of distinct musical voices who are writing compelling music each in their own way. It would be impossible to have each piece be everybody’s personal favorite, given the wide variety of tastes, abilities, and interests. So I strive for a variety with the belief that everybody will be able to find things within the catalog that are especially appealing to them.

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.



Interview with Dr. Gail Archer, concert organist

Jeannine:  As a concert organist and recording artist, I’m always impressed with your themed recital series programs.  Please tell us the reasons, the thoughts behind the ideas for these concerts.

 Dr. Archer:  I started as a concert organist about 15 years ago.  I started very modestly by playing noon recitals in my own church and going up to Boston and down to DC playing little noon concerts with no real view that I was going to do this in any serious way.

 Then I played in the summer series at Riverside Church in NYC in summer 2002 where I played a Messiaen cycle, Les Corps Glorieux.  That performance got reviewed in the New York Times and nobody was more shocked, surprised and delighted than me.  So I said, “Oh my goodness maybe I ought to do this seriously”.

As a result, I went to the Boston Conservatory and worked with James David Christie and then to Paris to work with Jon Gillock on Messiaen. Over a five-year period I learned the complete works of Messiaen and played them for the 100th anniversary of Messiaen’s death in 2008 here in NYC.  That was the real turning point for me.  I was the first American woman to play Messiaen’s complete organ works and it got a lot of wonderful press.   At the end of 2008, Time Out New York, the culture magazine, recognized it as the Best of the Year in Classical Music and Opera.

 My concert career has continued to grow since then.  I have a publicist and a recording company, but I do all my own bookings and am now playing fifty concerts a year at home and abroad.

 Jeannine:  You have several CDs to your credit.  What are some of your most recent recording projects?

 Dr. Archer:  I am always making recordings.  A recent CD is one of the music of women composers, The Muse’s Voice, which got excellent press.  My newest recording is the result of a Russian project, A Russian Journey.  I’ve been to Russia three times where I investigated organ literature by Russian composers.  The premise of my research was that there has to be organ music by Russian composers even though the organ is not found in churches (the Russian Orthodox tradition is a sung tradition) but organs are found in small recital halls associated with the Philharmonic in every city.  So, I discovered music by the Russian Five, lesser known composers plus music by living Russian composers.  This disc has gotten beautiful reviews including one in the January 2018 issue of Gramophone.

 I am going to now do more music of Eastern European composers because so many of colleagues play the French Romantic literature or, of course, Bach, but we as artists need to find corners of repertoire where light needs to be shed so that we hear music by other people.  As a result I will be doing another CD in the Ukraine during the summer of 2018 of Ukrainian contemporary composers.

 Because of my interest in Eastern Europe, I was elected a member of the Harriman Institute here at Columbia where I now have access to grant monies and support for this work.  The Harriman Institute promotes scholarship and the arts to bridge the gap between the East and the West.

Excerpted from the Guest Artist Interview of the February 2018 Pro-Motion Music e-newsletter.  Dr. Jeannine and David Jordan are the creative artists of Pro-Motion Music LLC.  Jeannine, a concert organist, with David, a media artist, are the creators and performers of three organ and multimedia concert experiences, Around the World in 80 Minutes, From Sea to Shining Sea, and Bach and Sons.

Music Critic for The Washington Post

Jeannine:  As a writer you shared your insights with the public of Washington DC as music critic for The Washington Post.  What skills are needed to be an astute music critic?  You must have many “stories” from this part of your career.  Is there one you’d care to share with our readers?

Mr. Gawthrop:  The language skills required are considerable, not only in finding constantly fresh ways to colorfully and memorably describe musical events but also in the discipline required to be comprehensively descriptive within just a few column inches. Beyond language issues, it really helps to be broadly based in your listening and reading habits so that the things you are writing (to a very sophisticated audience) are firmly based in understanding.

I came to professional music criticism with almost no formal training and did so in front of a cosmopolitan readership in a major international music capitol. It was scary. I think the magnitude of what I had undertaken didn’t become fully clear to me until when, within a very short period of time, I was assigned to review two events by world class performers whom I had previously known only through recordings: the Leipzig Gewandhaus Orchestra and concert organist Marie Claire Alain. It was in equal measures humbling and exhilarating.

Excerpted from the Guest Artist Interview of the October 2017 Pro-Motion Music e-newsletter.  Dr. Jeannine and David Jordan are the creative artists of Pro-Motion Music LLC.  Jeannine, a concert organist, with David, a media artist, are the creators and performers of three organ and multimedia concert experiences, Around the World in 80 Minutes, From Sea to Shining Sea, and Bach and Sons.

Dunstan House

Jeannine:  You are also a music publisher, establishing the Dunstan House in 1991.  What are the challenges, joys of publishing and promoting your own music so successfully – case in point, Mr. Gawthrop’schoral piece, Sing Me to Heaven,has half million copies in print, and has become one of the most performed and recorded choral works in modern history!

Mr. Gawthrop:  My wife and I started Dunstan House when I realized that the companies which had been publishing my things up to that point were forced by reality to profitably sell as many copies as possible of each title, and that this quite inevitably led to editorial decisions about what to publish and what to allow to eventually go out of print which were not necessarily in my best interests. The only way to control those decisions was to own the process, so Dunstan House was established to allow me to publish even the things which would probably never turn a profit, and to keep in print even things which didn’t sell thousands of copies each year.


Obviously, the joys of self-publication are pretty much wrapped up right there. The challenges also follow pretty logically—no one but me will do any advertising or promotion for my catalog, so when there’s little or no money for those efforts (which is most of the time) very little gets done. Accordingly, I am looking at a catalog which is, from my perspective, filled with undiscovered gems which are unknown to nearly everyone but the original commissioning body.  Please visit http://www.dunstanhouse.com/ to peruse our catalog.


Excerpted from the Guest Artist Interview of the October 2017 Pro-Motion Music e-newsletter.  Dr. Jeannine and David Jordan are the creative artists of Pro-Motion Music LLC.  Jeannine, a concert organist, with David, a media artist, are the creators and performers of three organ and multimedia concert experiences, Around the World in 80 Minutes, From Sea to Shining Sea, and Bach and Sons.

An Interview with Dr. Damin Spritzer continued

J:  Your busy career spans a variety of different yet intertwined positions from university professor to church musician and concert organist to recording artist.  Let’s first focus on your faculty position at The American Organ Institute at the University of Oklahoma.  Please describe for us your role in what is described as “a revolutionary (organ) program without parallel”.

Dr. Spritzer:  What an incredible compliment to our program! That is really wonderful, thank you! I am one of three teaching faculty here out of nine staff in the organ department/AOI. It was very exciting for me to be the successful applicant for this position a few years ago, because as we understand it, this was the first new tenure-track position in our field to have been created in quite a few years. That directly reflects the significant growth of the program here over the last decade, under the leadership of Dr. John Schwandt. It was a tremendous honor to be considered and to then be the successful applicant for the position. It was also a dream come true to find a full-time professorship in a thriving program with so many colleagues.


I concentrate on studio teaching (along with the other two faculty) but I also teach a three-semester graduate class in Organ Literature and History, a one-semester undergraduate Organ Literature and History class, a Hymnody class, and will be jointly designed and implementing an Organ Pedagogy class in the coming year or so. It’s a unique program for a number of reasons, one in particular being that we are the only university, accredited or otherwise, that presently offers degrees in Organ Technology. So in addition to a full slate of classical performance training, improvisation, church and sacred music, theatre organ (that is also in the process of becoming acknowledged as a formal emphasis here), and academic study of the instrument, our students get to work hands-on throughout their program of study by participating actively with organ renovation, building, tuning, voicing, and repair.


I love being part of a large department like this, which is something I was also very fortunate to experience in all my church positions where we likewise always had multiple organists and musicians and directors. I have tremendous departmental support from my colleagues here for my teaching as well as my performing and recording, and I hope to do the same for them!  (To learn more of the American Organ Institute click here.) 


J:  Not only do you have a role in shaping future organists through your university teaching, you are also the Artist-in-Residence for the Cathedral Arts series at the Cathedral Church of St. Matthew in Dallas, Texas and as such have a role for generating new audiences.  What are your thoughts on not only generating but maintaining audience interest in live performance?

Dr. Spritzer:  My ties and association with St. Matthews Cathedral arevery precious to me. Cathedral Arts there incorporates a number of disciplines in the arts, which is always wonderful for reaching out to various parts of any given community. I give a lot of thought and talk to our students a great deal about the context, or perhaps, the intended audience, of any given “performance” situation. The diversity of the organ (especially when we include historic instruments) is stunning, and each hall, room, and instrument are unique. I love looking for programs that I hope suit each venue in particular. We can’t always put ourselves in the minds our supporters and listeners, but we can certainly listen to them when they communicate with us, and strive for ways to merge our own personal visions and aesthetics and dreams and ideals with what we are hearing that our congregations or audiences really respond to and recall with happiness or strong emotion.

The organ is so, so ancient, I am always in awe of the true extent of the historic body of repertoire from which we can draw for teaching, performing, and liturgical use. There is just so much! I work very hard personally to find a balance between canon rep that is beloved, and also a large percentage of [generally] Romantic or Modern music that has been overlooked by previous performers because of obscurity or loss. That seems to create a lot of memorable programs, based on the lovely letters and comments I have received over the years, and I’m very grateful that some of the programs have been so successful as well as the fact that my musical colleagues and listeners have taken the time to communicate so positively and eloquently with me about it.

I also try to simply perform as often as I possibly can, wherever I can, whenever I can, and I almost always try to speak with the audience before, during, or after the program, whenever that’s possible. It’s one of my favorite aspects of a live performance, and since we’re so often hidden, I think it helps make it more personal and relational. When people take the time to attend a performance, that says so much, and I want to honor that.


Excerpted from the Feature Article of the September 2017 Pro-Motion Music e-newsletter.  Dr. Jeannine and David Jordan are the creative artists of Pro-Motion Music LLC.  Jeannine, a concert organist, with David, a media artist, are the creators and performers of three organ and multimedia concert experiences, Around the World in 80 Minutes, From Sea to Shining Sea, and Bach and Sons.


A trailer for Around the World in 80 Minutes – check it out!

After many requests for a trailer of
Around the World in 80 Minutes, it’s here.
Enjoy the trip.

Click Here

I’d appreciate your feedback. Many people who have seen our concerts are truly awed by the experience.
The purpose of this trailer is to help people who haven’t experienced one of our concerts get a sense of what a Pro-Motion Music multimedia concert would be like for them.

For those of you who have seen one or more of our multimedia concerts, would you take a couple of minutes to let me know if this trailer gives a sense of what you experienced? Please tell me if there are additions that you think would help the viewer get a better sense of the live organ and multimedia concert experience.

Any comments you might have would be greatly appreciated.

Please send to

For those of you who have yet to see Bach and SonsFrom Sea to Shining Sea, or Around the World in 80 Minutes, I coordinate the live images from the five different cameras with still images and additional video segments in real time, projecting that “finished product” immediately to the cinematic screen.  Jeannine provides the glorious music and narration of the story — all in real time.  These are simply not-to-be-missed audience-engaging concert experiences!


Dr. Jeannine and David Jordan are the creative artists of Pro-Motion Music LLC.  Jeannine, a concert organist, with David, a media artist, are the creators and performers of three organ and multimedia concert experiences, Around the World in 80 Minutes, From Sea to Shining Sea, and Bach and Sons.

A video trailer of Around the World in 80 Minutes

Click the image below to view a video trailer of our newest organ and multimedia concert experience, Around the World in 80 Minutes.  All the scenes are from the sixteen countries we visit during the concert.   The music is also from the concert and consists of music by native composers of those sixteen countries based on indigenous melodies.


Visit www.aroundtheworldin80minutes.org to discover more.  To chat with us about our unique audience-engaging concerts, please contact me at jeannine@promotionmusic.org.

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