I think we all know I’m a church nerd by now (see 1st photo for proof). What you may not know is that I am also a church music nerd. The church of my childhood was a major influence on my love of music. I began singing in the Junior Choir around second grade, and sang in my church choir until giving it up in college because my work schedule kept me from rehearsals. For most of my formative years I learned music under the tutelage of Frank McConnell, who was the organist at my home parish for more than 50 years. He was lively and spry – still running up the stairs from our basement choir room two at a time into his 80’s. Mr. McConnell, as we all called him, loved kids, and loved sacred music, and he could get us to love sacred music too.

Frank (I can call him that now that I’m an adult) was an incredibly talented organist who had turned down offers to move to New York City and play for prominent churches, having studied under and worked with T. Tertius Noble, the well-known British organist who served at St. Thomas, New York City. Frank’s wife was an ordained minister, in fact, the first (now) UCC minister, and they wanted to stay in Lancaster County where he played at St. James and taught at the Lancaster Theological Seminary, and where she would continue her ministry. All of this is background to say that one of my favorite pieces of organ music, Widor’s Symphony for Organ No. 5, or more specifically, the fifth movement of that piece, known often as Widor’s Tocatta or Widor’s 5th for short.

I was introduced to Widor’s 5th as a young child by Mr. McConnell. It was a much-requested piece of his, and he played it beautifully – better than most any other organist I’ve heard. (Sorry Kathleen, your version is wonderful, but you’re up against an unrealistic childhood memory, so Frank wins!) He wouldn’t always save it for Easter alone – he though it should be played more frequently, although I think I can remember a time when there was a minor revolt after he chose another piece for the Easter postlude. Incidentally, Frank’s other much-requested piece was Bach’s Tocatta and Fugue in D Minor, which he also excelled at. It used to be my favorite, but Widor has supplanted it.

To this day, Widor’s 5th can move me to tears, not only because of the beauty of the piece, but also because of the strong memories it invokes. I can remember standing behind the organ console watching Mr. McConnell play it, and even turning pages for him when I was a bit older (he had to nod when it was time to turn the page because I could not follow the complex music). You can see him playing here (not Widor), in 1995 at the age of 82. The mustached man in the background is my father; standing around the organ was a family affair. Frank retired in 1996, the year I graduated high school, and he died in 2005, the year I graduated from seminary. Frank’s death remains one of the most impactful in my life. He is a giant in my early life and one of my hero figures as I remember him. And like most memories I don’t like it being messed with. I like a relatively straight up rendering of Widor’s 5th. Which is why I had a unique experience at General Convention recently, when the musicians for one of our daily eucharists monkeyed with my beloved Widor’s 5th.

Each day the Convention eucharists were accompanied by different musicians, playing and singing different styles. One day was a traditional choir, another day was a gospel choir. We had a Hispanic group and a Native American group. We even had Taiko drummers from a Japanese UCC church down the street from the convention center. My favorite, however, was the Theodicy Jazz Collective, a group formed ten years ago at the Oberline Conservatory, and in residence at the Yale Institute of Sacred Music for several years since then. They provided wonderful jazz accompaniment to the music of the liturgy, including playing under the prayers of the people. It was a glorious service. And to my great delight, after the closing of the service, the organ fired up with Widor’s 5th!

When I was growing up, a lot of congregants waited to leave the church until Frank was done playing his postlude, after which he was almost always celebrated with applause. As a parish priest I can no longer stick around after the service to listen to postludes the way I used to – I need to greet people on the way out of church. But I did stay to listen to postludes, more than once at General Convention, and there was no way I was going to miss the Widor! The organist of the day was talented, and the electronic organ actually sounded very good, even in that large convention hall space. But something strange happened. A few minutes into the piece the organ stopped abruptly, and Theodicy picked up the theme. I couldn’t believe my ears. I think my brain almost exploded.

Apparently I wasn’t alone. Many of those who had been slowly making their way out of the hall stopped and turned, and a large crowd began to gather around the musicians. The organ came back in and continued where it left off, although it

stopped at least two more times while the Jazz musicians picked it up and carried it along, taking the Widor to places I had not envisioned it could go. I was enthralled – so much so that it took me a bit to think to take out my phone and record it (I ended up getting about 5 minutes worth). What was this mixing of Widor and Jazz? I loved it. It was incredibly powerful. This is the point at which you need to stop and listen/watch a recording of Theodicy doing this piece at Trinity Wall Street from 2012 (thank you Google). No really. Stop what you’re doing and watch the video. I’ll wait.

Now, I can’t verify if Mr. McConnell would have like this version or not. As a child our church music was traditional from everything I can remember. The Jazz didn’t show up at St. James until my seminary days – which I also love. I do not know if “messing” with Widor would have been something that Frank would have welcomed and had fun with or whether it would have gone against his sensibilities. As a young person, I was not in tune with those sorts of advanced perspectives on people. But, for the sake of this rambling, I’m going to assume that Mr. McConnell’s playful and fun spirit would have liked it. Even if that isn’t accurate, I love it, perhaps even making me love this piece even more.

What I find useful in this new rendition, and the reason I am taking all of your time to describe it, is that it can speak to what it is we are trying to do as a Church, not only at Christ Church, but in the Episcopal Church in general. We are a church of tradition and order and beauty, and all the rest of it. What we’re trying to do as we continue on into the 21st Century is to find new ways of conveying our essence, and our message. The way the Jazz in this piece picks up on Widor’s theme and doesn’t destroy it, but opens it up to new possibilities – this is what we’re trying to do. I have said it at other times, that what we’re trying to do is find a way to translate our traditions and our telling of the gospel so that it connects with younger generations. St. Paul speaks of his own ability to mold the Gospel message to fit the various communities and cultures into which he went. We want and need to find ways to reach the hearts and minds, even the eyes and ears of people who might not otherwise give us or our Lord a second glance.

Fear of newness, fear of change, fear of losing memories of great comfort and meaning are very real fears. I understand why we tend not to want to innovate and change. As I have described above, I have my own sacred memories I don’t want anyone to mess with. But, a surprise postlude at General Convention has reminded me that innovation and change does not mean something must be destroyed in the process. Newness can open up cherished memories and open up new doors we didn’t know were there, if we will let it. Just imagine the heavenly music we can make when we do. There is no limit!

Tom+

…go ahead, go back and listen to Theodicy’s version again, I know you want to…

O God, whom saints and angels delight to worship in heaven: Be ever present with your servants who seek through art and music to perfect the praises offered by your people on earth; and grant to them even now glimpses of your beauty, and make them worthy at length to behold it unveiled for evermore; through Jesus Christ our Lord. Amen. BCP p. 819