Dr. Jeannine Jordan, Concert Organist

Posts tagged ‘concert’

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.

An interview with Robert Ampt

Jeannine:  Please share anything else from your life story that would be of interest to our readers.
Mr. Ampt:  Three things come to mind:
1. American organist and carillonist Amy Johansen (who in now my wife) came into my life around thirty years ago following our initial meeting in the bar of Kings College, Cambridge.  Amy was, and still is, a startlingly brilliant organist who was soon to make her first CD – the music of Naji Hakim, with whom she had been studying, and who recommended her for the CD. Amy has an impeccable sense of rhythm and some splendid practice techniques which were passed on to her from Naji.  I have benefited from both of these aspects.

2. For around three decades I have been the organist/choirmaster of Sydney’s German Lutheran Church.



The church is very small, has zero acoustic and houses a very fine seventeen-stop mechanical action organ from Schuke of what used to be West Berlin.  All hymns are played and harmonized from just the melody, and each hymn is introduced by an improvised prelude.  This process has been a marvelous and rigorous teacher.     Before each prelude, decisions need to be made so that not only the music, but also the text, is introduced.  Decisions to be made include volume (loud/soft), form (duo, melody in which voice, melody in pedal on 16′, 8′ or 4′, fugal, melody ornamented or unadorned, chorale prelude with interludes, melody in octaves, harmonic language (tradition/modern), one or more keyboards …  An important aspect is that these preludes are always performed with a listening audience, so that every note played (even the surprises!) must be considered correct and part of the music.
Improvising these thousands of preludes has had a direct influence on the forms and styles of my composing.  Some movements are quite short and could be considered similar to “chorale prelude” styles, including sets of variations. Overall I have learnt both fluency and consistency of style/language within pieces from my service playing.

3. Finally, it is impossible to be playing one of the world’s great organs without being influenced by it.


The magnificent Hill organ in the Sydney Town, the largest in the world at the time of its opening in 1890 (5 mans/ped, 126 speaking stops with no borrowing or extension and a true 64′ pedal stop), has taught me that great organs can convincingly play all music from all periods.  At a “toccata” concert last year, for example, the music ranged from Frescobaldi (elevation toccata) to Messiaen (Dieu parmi nous) with Bach (T & F in F major) and Widor in between. If I fail to play this range of music, many, even if they attend a church regularly, will be totally unaware of its existence.
Although the organ dates from 1890 and is obviously ideally suited for the music of the nineteenth and twentieth centuries, the splendid 16′ Principal Chorus on the Great, which includes almost a dozen ranks of mixtures, is the thrilling heart and soul of the instrument, and splendidly suitable for the great northern repertoire of the seventeenth and eighteenth centuries.  This organ has taught me about the spaciousness and majesty of this music – which, in its turn, is the heart and soul of our instrument’s repertoire.
This organ has also taught me how a great organ should look.  Too many large organs, including in civic situations, have uninspiring facades often designed by architects. The case of the Sydney organ was designed by an organbuilder who was also the foremost authority on historic organ cases – Dr Arthur Hill. Based on some of the greatest organs of his time – St Bavo in Haarlem and St Jakobi in Stralsund – the Sydney case is simply breathtaking with its size, its perfect balance of towers and flats, and its beautiful detail.

Jeannine:  Thank you for sharing the intriguing story of your life as an organist.


Excerpted from an interview published in 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.

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.

Dr. Naji Hakim – composer

Jeannine:  You are the recipient of numerous awards and prizes in performance and composition including The Augustae crucis insigne pro Ecclesia et Pontifice awarded by His Holiness Pope Benediktus XVI for your excellent commitment and work for the benefit of the Church and the Holy Father.  Please tell us of the work in the Church that led to this high honor.

Dr. Hakim:  Prior to this distinction I was nominated member of the Consociatio Internationalis Musicae Sacrae and took part in several symposium on church music, and received a Doctorate honoris causa from the Pontifical University of the Holy Spirit, Kaslik, Lebanon. My work in the Church was testified by Reverend Father Louis Hage, President of the Consociatio Internationalis Musicae Sacrae, who visited me several times at la Trinité church, followed my publications, recordings, invited me to make an improvisation CD on Chants Maronites (published by IFO, Germany) and take part in the Canonisation in Rome of Lebanese saints Rafka and Hardini. All these events culminated in my papal distinction.

Jeannine:  Your compositional output ranges from pieces for organ solo to congregational songs.   What is the impetus for your compositions?

Dr. Hakim:  The impetus stems from one verse from the Credo : “Et incarnatus est!”, never ending “Et incarnatus est!” Word made flesh in us in our Life, Joys, Sufferings, Death and Resurrection. All my works, whether organ solo, chamber, vocal or orchestral, radiate from this belief.

Jeannine:  Having recently begun studying the organ setting of your OUVERTURE LIBANAISE, I am particularly intrigued by your compositions for the organ based on nationalistic melodies and Mid-Eastern scales and rhythms.  What can you share for those of us exploring your organ repertoire to assist us in understanding and performing your music?


Dr. Haim:   He poured himself out, dew and bracing rain,
Upon Mary, that earth thirsting for Him.
Grain of wheat, he descended into earth;
He rose again from it sheaf and new Bread.

Saint Ephrem, Sermon for the 3rd Sunday after Epiphany

Patriotic, nationalistic, flows, derives from the word “earth” in Saint Ephrem’s quotation above.

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.

V7 – I

I.  Life is a series of dissonance (V7) and consonance (I).  The goal, though, is that the dissonance directs us to the solid footing of the tonic, the starting point, the landing place of our lives.

  • Dissonance is what causes us to want to go to the consonance.
  • We don’t have to be taught what dissonance is. It’s what we call most of our life experiences. So dissonance is a reality, but it’s one that needs to be followed through to get back to the Tonic.


Some people are so “dissonancy” that they end up just flitting from one dissonance to another. There have been composers over time that thought that was a great idea. Can’t name one, can you? Right, they and their “dissonancy music” are gone. (again)

  • Some lives are mostly consonance and are, how shall we say, boring. Some are oblivious to the fact that there actually can be resolution to the dissonance in their lives — that there is a great tonic out there calling their name.
  • Consonance is our resting place, that really nice feeling of equilibrium where we want to be after a hard day’s work. For example, after a staff meeting or finance meeting.


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.


Podcast Interview

We have followed the exemplary work of Vidas Pinkevicius for quite a while via email and facebook. He promotes the organ from his native Lithuania in a variety of ways including his conversations with internationally renowned experts from the organ world.   He interviews concert and church organists, improvisers, educators, composers, organ builders, musicologists and other people who help shape the future of the organ profession and presents those interviews on his Secrets of Organ Playing Podcast.

In December, Dr. Pinkevicius asked Jeannine to be a guest on his podcast. His goal was to share with his listeners our multimedia and storytelling approach to organ concerts

To listen to the Podcast interview, please click the link below.


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.

The Power of One Plus

One person with one idea can change the direction of a project for a community or an organization.  In our travels we have had the privilege to meet many people who with an idea and a passion have used the Power of One Plus to accomplish marvelous things.

  • A standing-room only crowd for a Bach and Sons concert in Corvallis, Oregon because one person decided her community should know about and experience this unique event.  She enlisted the help of one other person and together they were not afraid to do the myriad of work to ensure a successful event.
  • The Bach Wedding Church preserved for future generations because one person realized if something was not done to protect this landmark it would forever be gone.  Rosemarie Frey spear-headed the project which eventually not only  involved the entire community of Dornheim, Germany but inspired other municipalities in the area to also do something to preserve their churches.
  • A woman’s shelter received several thousand dollars because one person decided a Bach and Sons concert would be a benefit concert for the charity.  She enlisted the help of a small but mighty chapter of six music educators who embraced the idea and made sure the community benefited not only with funds for the shelter but great music as well.
  • A burgeoning small church music program is unfolding in a small coastal church because one person had a dream for excellent music in worship and was not afraid to ask others to support her vision.  The congregation of this church now has a wonderful organ, a grand piano, choir robes, folders, music and best of all a music program led by two keyboard musicians who study weekly to enhance their skills, and an enthusiastic choir.
  • The new Presbyterian Hymnals proudly gracing the pews of a small rural church just a month after publication because one person wanted the best in hymnody for their church.  That woman plus others from the church attended workshops and within weeks raised the money to provide the hymnals.
  • A small but growing church in Nevada not only has a new organ but also new seating for the entire sanctuary because one person saw a need and quietly and quickly raised the funds to provide the best for worship in his church.
  • A woman in a small parish church with the threat of losing their music program entirely due to severe budget cuts, decided that if the Episcopal Cathedral in a nearby city could raise funds through a Hymn-a-thon, so could her parish.  The result of her enthusiasm was the church choir singing through the entire Episcopal Hymnal in one day and raising the funds necessary to not only keep but grow their music program.

Will you be the person who exemplifies the POWER OF ONE PLUS  in your community, organization or church?

Dr. Jeannine Jordan, church musician, educator, and concert organist.

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