The Wesley Community Foundation will sponsor an exciting and vibrant evening of music on Saturday, August 23, 2025, at 7:00 PM, in the White-Helms Chapel at The Gardens at Wesley Des Moines. The Choppers Brass Quintet and organist Thomas B. Clark will present From Bach to Beach Boys, a program that spans the centuries with music both sacred and secular, classical and contemporary.

The program opens with Gabrieli’s Sonata pian ’e forte, one of the earliest known works to specify loud and soft alternations between two choirs of instruments. Organist and Tacoma AGO member Paul Tegels transcribed this work for organ and brass, and it will be performed antiphonally, with the brass choir at the opposite end of the chapel from the organ.

The concert will also feature selections by J. S. Bach, George Frederic Handel, and Marc-Antoine Charpentier, alongside works by living composers including Thomas Marlatt, Frederik Magle, and Robin Dinda. The program highlights original contributions from within the ensemble: a composition by hornist Stacey Eliason and three Beach Boys transcriptions for organ and brass by organist and Tacoma AGO member Thomas Clark. The evening concludes with a dramatic rendition of Grand chœur dialogué by Eugène Gigout, transcribed and arranged for organ and brass by Paul Tegels.

Performers include:
Shelly Devlin, trumpet
Kevin Slota, trumpet
Stacey Eliason, horn
Zach McLurg, trombone
Dennis Goans, tuba
Thomas B. Clark, organ

The Choppers Brass Quintet is a Seattle-based ensemble known for its eclectic programming and dedication to both historic and contemporary brass repertoire. Whether performing at art festivals, churches, museums, or colleges, The Choppers are committed to making brass music engaging and accessible. Their repertoire spans from the 16th century to the present and includes original compositions and arrangements by ensemble members. In addition to their collective work, Choppers musicians are active throughout the Puget Sound region as soloists, teachers, clinicians, and conductors, and have performed across the country.

The chapel at Wesley Des Moines is fortunate to have Paul Fritts and Co Organs opus 46, a two manual mechanical action organ situated in a gallery. The room was designed to be accoustically favorable to music, with a shoebox shape, tall ceiling with complex shape, and low pile carpet. The organ is a gift from then Wesley residents Tom and Jan Crews.

Admission is free, and refreshments will be served following the performance.

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Sponsorship Information

The program is sponsored by the Wesley Community Foundation. Wesley Community Foundation helps enhance the lives of older adults and their families by supporting wellness and educational programs for residents and staff, funding improvements to make Wesley communities even better, and developing capital campaigns to create new Wesley communities.

Funding for the players is provided by the Music Performance Trust Fund of the American Federation of Musicians, which supports admission-free, live, quality music performed by professional musicians to the public of all backgrounds. The Choppers Brass is part of Seattle Musicians’ Union, Local 78-493.

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More information, including a Google map, may be found in the calendar entry.

On Monday, May 19, 2025, the Tacoma Chapter of the American Guild of Organists hosted a thoughtful and practical presentation on composing for choirs, ensembles, and congregations, with a focus on music created in and for the church.

The program, at Spanaway Lutheran Church, was introduced by Cheryl Drewes, organist and Director of Music Ministries, and featured two local composers and church musicians: Dr. Dawn Sonntag and Sheila Bristow.

A Composer’s Musings: Dawn Sonntag

The two presenters split the hour, with Dr. Sonntag speaking first. Currently teaching part-time at Pacific Lutheran University, Dr. Sonntag spoke extemporaneously about her personal journey as a composer. From an early age, she felt called to write music, but was hesitant to pursue composition while the academic world favored atonality. Only later, when tonal composition gained acceptance again, did she begin to pursue it more seriously.

Dr. Sonntag provided the following written take-away points:

• When composing a choral piece, sing all of your parts and imagine a different conductor looking at your score – what information would they need? 
• A piece that works for your own ensemble will likely work for others, so consider sharing your music by publishing.  GIA and other choral music publishers do appreciate accessible pieces. You can also consider self-publishing (which I do) and can list your works on distributor websites like J.W. Pepper. You can also share your music through Choral Net by posting under “announcements.” Choral Net used to have a commissioning forum for connecting choral conductors and composers, but I cannot find this anymore. It would be helpful to start on online AGO group for sharing and commissioning works among AGO composer members. 
• Help your pastor/choir/congregation understand that composing is time-consuming.  But it is rewarding to write pieces that you can immediately hear performed, and you can then share this work beyond your own church choir. 

She also provided the following list of her compositions and two sample pieces. The two pieces are copyrighted by Dr. Sonntag, but she has given permission for reproduction on the Tacoma AGO website and for personal use. Redistribution and performance are prohibited. Many of her works are available for purchase on her website.

Composing for the Church: Sheila Bristow

The second half of the program, led by Sheila Bristow, was rich in insight and practical guidance for those composing in church contexts. Bristow, the organist at St. Barnabas Episcopal Church on Bainbridge Island, earned her undergraduate degree in composition at Cornish College of the Arts. Despite not originally intending to pursue music as a profession—nor composition specifically—she now does both actively.

Bristow began by contrasting the romanticized image of the 19th-century composer—isolated and working for months on a grand concert piece—with the realities of composing in a church setting. Church composition often responds to immediate, practical needs: a specific liturgical moment, an unusual choir configuration, or an instrumental gap. Far from being a limitation, she noted, this environment offers unique rewards. Church composers get to hear their works performed right away, receive immediate feedback, and revise or refine their music accordingly. Even modest works can become part of the lived experience of a congregation.

She also touched on the financial realities of composing. Bristow shared that while she doesn’t sell her church music directly, income can come from commissions, sheet music sales, royalties, and licensing through organizations like OneLicense. This structure allows composers to write with purpose and still generate income over time.

Bristow illustrated her talk with three examples of her own compositions:

• “Deep Peace” was composed for a Unitarian Universalist church in Seattle over thirty years ago. The congregation requested music that sounded classical but did not include overtly sacred language. Drawing on a text from their hymnal, Bristow wrote an SATB benediction response that remains a useful example of adapting sacred music traditions to fit non-traditional liturgical settings.
• “O Queen of Heaven” was created when Bristow served at the Episcopal Church of the Redeemer in Kenmore, WA. Facing an August visit from the bishop—during the slowest choir month—she set a medieval Marian text to music. The piece was well-received and eventually published by GIA. While publication offers broader distribution and relationships with editors, she noted that the royalties are modest—typically just 10% of the cover price, with checks only issued after a $50 minimum.
• Psalm settings for Blessed Sacrament Church in Seattle represent Bristow’s ongoing freelance work, even after her formal position there ended. Working with a professional choir and a congregation comfortable with chant, she composes Anglican chant psalm settings with antiphons for the congregation. These commissions, paid on a quarterly basis, provide both creative fulfillment and long-term use, with potential additional income from licensing reprints and streaming.

Sheila Bristow has provided a handout of musical examples (reproduced below), and has granted permission for reproduction on the Tacoma AGO website and for personal use. Redistribution and performance are prohibited.

Throughout her presentation, Bristow emphasized that composing in the church is not about perfection but about service, responsiveness, and presence. Whether writing for a feast day with limited singers or crafting music for weekly liturgies, church composers build relationships with their communities and create music that speaks to the spiritual lives of real people.

Following the program, attendees enjoyed a warm reception featuring wine, cookies, and pastries—generously curated by Jan Regier, who visited several local bakeries to select the treats.

Tacoma AGO Hosts an Immersive Exploration of Bach’s Organ Music

On March 21, 2025, the Tacoma Chapter of the American Guild of Organists hosted an extraordinary six-hour watch party featuring the documentary Bach and Expression. This event, planned and moderated by Chapter Dean Wyatt Smith, and held at The University Club of Puget Sound, was a departure from our usual one-hour programs, offering attendees an immersive experience into the depths of Johann Sebastian Bach’s organ music.

The centerpiece of the gathering was the screening of Bach and Expression, a comprehensive seven-part documentary exploring the nuances of performing and interpreting Bach’s organ works. Renowned organists Daniel Moult and Martin Schmeding guided viewers through historical performance practices, expressive techniques, and the unique characteristics of tracker-action organs. The film also showcased performances on meticulously chosen central German organs, emphasizing their historical authenticity and rich tonal qualities.

Throughout the afternoon, attendees engaged in vibrant discussions, reflecting on various aspects of the film and performances:

• Acoustics of Historic Churches: Participants marveled at the extraordinary acoustics of the churches featured in the recordings, noting how the ambient qualities enhanced the resonance and depth of Bach’s music.
• Expertise of the Presenters: The profound knowledge and exceptional playing skills of Moult and Schmeding were widely appreciated, with attendees expressing admiration for their insightful interpretations and technical mastery.
• Authenticity of Tracker Organs: The use of historical tracker-action organs sparked conversations about their mechanical action, which provides a direct connection between the organist’s touch and the pipes’ response.
• Balancing Historical Accuracy with Emotion: A recurring theme was the challenge of honoring historical performance practices while also allowing for personal expression. Attendees debated the extent to which an organist should adhere to historical conventions versus infusing individual artistic interpretation.
• Registration Techniques and Repertoire: Specific pieces, such as the Toccata in F Major, served as focal points for discussions on registration choices. Participants analyzed how different stop combinations can alter the character and impact of a performance, sharing insights and preferences.

To complement the intellectual and auditory feast, refreshments were available throughout the event, fostering a convivial atmosphere that encouraged networking and further discussion among organ enthusiasts.

This extended program provided a rare opportunity to delve deeply into the art of interpreting Bach’s organ music, leaving attendees inspired and enriched. The Tacoma Chapter looks forward to organizing more such immersive events in the future, continuing our commitment to education, appreciation, and the celebration of organ artistry.

For those interested in viewing the documentary, Bach and Expression is available through Fugue State Films.

In recognition of Black History Month, the University of Washington School of Music has recently released “The Black Composers Project, Music for Organ” under the direction of Dr. Stephen Price, head of UW Organ Studies. With the assistance of six UW students from the flute, voice, violin, and organ studios he has produced a one-hour video which includes outstanding individual performances by students and one by Dr. Price along with introductions by Dr. Anne Searcy, Associate Professor of Music History at UW.

Price, a member of both the Tacoma and Seattle AGO chapters, started planning for this comprehensive project in the summer of 2024. To highlight the evolution of organ music, he includes composers in the video ranging from the Classical era to the 21^st century: Joseph Bologne Chevalier de Saint-Georges (1745-1799); Scott Joplin (1868-1917); Samuel Coleridge-Taylor (1875-1912); Florence Price (1887-1953); Charles Loyd, Jr. (b. 1948); Euridice Osterman (b. 1950); and David Hurd (b 1950.) As the final piece, Price improvises his own rousing accompaniment to the beloved spiritual “Ev’ry Time I Feel the Spirit.”

The video is enriched by Dr. Anne Searcy’s enlightening commentary about the historical background on each composer. She includes not only biographical details but interesting footnotes. As one example, did you know that the great Black contralto Marian Anderson performed settings of spirituals by Florence Price in her historic concert on the steps of the Lincoln Memorial in 1939? Dr. Searcy, along with the other performers, also discusses many aspects of the music itself.

The organs played in the video were chosen from the instruments in Seattle which the School of Music utilizes for lessons, practice sessions, and recitals. They include organs from St. Mark’s Cathedral (Flentrop), Plymouth UCC (Fisk), Church of the Blessed Sacrament (Bigelow), St. Alphonsus Catholic Church (Fritts/Richards, Op. 4), and University of Washington (Fritts, Op. 9).

Regarding his experience as artistic director of this project, Price has stated that “it was a privilege to feature music from the African diaspora, showcasing the richness and diversity within the culture.” With this video he and the UW School of Music have offered us a valuable tool for both appreciating and delighting in that same richness and diversity.