| Sweeney: Today we are interviewing Professor Emeritus Charles E. Vogan of
the Department of Music. First, Professor Vogan, could you tell me about
your background your family background, education, and your early musical
interests?
Vogan: Well, I was raised in Pennsylvania. My family were not at all interested in music. I started out with the idea of becoming a pianist and played piano all through high school. My early work was all in the piano field.
Sweeney: Why did you decide to attend Oberlin College in Ohio?
Vogan: Because at that time Oberlin was considered to be the out standing music department of the country, and particularly in the field of organ had the largest organ department, at that time, in the world and was nationally known.
Sweeney: Was there a high school teacher that influenced you or an early
teacher that influenced you to go to Oberlin?
Vogan: No, actually, the person who influenced me most probably was my piano teacher from Oberlin who came to visit in the town and heard me play and urged me to go there.
[2]
Sweeney: After graduation from college, did you play professionally?
Vogan: Yes, I've played all my life. I played piano all through high school, and then in the organ field I've been doing recital work ever since I left college.
Sweeney: Did you study with any European or American masters of the organ?
Vogan: Yes, I studied in Paris with Marcel Dupree at Saint Sulpice with
Louis ____ at Notre Dame. In this country I studied with Arthur Poister and
Palmer Christian.
Sweeney: Were you able to utilize your musical talents in the military
service?
Vogan: Well, I started out as a chaplain's assistant, which meant playing services and playing for the soldiers for entertainment, and then when I was in Europe during the war I continued to play for the chaplains wherever I was stationed. And while I was in England I did a great deal of piano playing and studied piano with one of the teachers from the Royal Academy and did a number of broadcasts of American music for the BBC.
Sweeney: Could you tell me why you chose to pursue graduate study in music
after the war?
Vogan: I'd always wanted to get into college teaching, and getting out of school during the Depression, I took a church job in that that was the only job available. And with the break which came during the war, it seemed the time to go ahead and fit myself for college work.
Sweeney: You wrote your doctoral dissertation in the field of musicology.
Would you define that word, "musicology"?
Vogan: It is merely the field of research in music involving the study of early scores, digging out material, either musical or biographical, that is not available at the present time, and making this available to scholars.
Sweeney: Would you discuss the subject of your doctoral dissertation, and
did you make any interesting discoveries while conducting your research?
[3]
Vogan: I did my research in the field of the French Baroque and classical organ music. At the time I started it, there was very little known in this field except the _____ Archives. I was fortunate in finding a
great deal of material which had not been published up until that time
and being able to bring it to the attention of American scholars and to
make a selection of this material available for performers in this
country.
Sweeney: Why did you leave your position as head of musicology at the
University of Missouri after only one year and accept a position at the
struggling Norfolk Division of William and Mary in 1950?
Vogan: I was at Missouri two years, and when I went there they told me
if I would build up the musicology department they would give me
assistance. And the end of the first year they didn't have the money to
do so. I was teaching 25 hours a week on my schedule and holding down a
church job because the university had no organ, and there was just too
much of a load to carry. At the end of the second year they had again
promised me an assistant, and again came up with a story they had no
money for the thing, and it was just more of a load than one person
could carry. And I might say they hired two people to take my place when
I left. I came here because they promised me a great deal, much of which
didn't materialize, I might say, but the promises were very strong for
the development of the department here.
Sweeney: Could you describe the physical conditions you encountered and
the instruments available to the Music Department when you began teaching
at the college?
Vogan: We had two beat-up pianos in a tarpaper shack in what is now the
parking lot. The next year we went into a permanent building, the Old
Academic Building, and the facilities gradually developed as the years
went on.
Sweeney: Did you assume the chairmanship of the Music Department when you
arrived at the college?
Vogan: Yes, I did. But there were only two of us in the department at
the time, and we went along, adding a teacher a year as we built up the
department during those early years.
[4]
Sweeney: What did you see as the principal challenges facing you as
chairman of the Music Department in the early 1950's?
Vogan: When I came here, there was not a major music department in the
state of Virginia, and the facilities in a city like Norfolk made
possible the development of a music program here which could take
leadership in the field in the state.
Sweeney: But were there any obstacles that you could see that you would
have to overcome?
Vogan: The main obstacles then are the same as now: facilities, space,
and money. We've been very much handicapped financially during all the
years I've been here, and the promises of the legislature haven't always
materialized.
Sweeney: Could you discuss your interest in sacred music? A local reviewer
once described you as a proponent of the unusual and the difficult in
devotional music. Could you comment on this?
Vogan: Well, I've been doing church music since I was ten so that it is
a natural field for me to work in. And being an organist, of course, I'm
thrown into the church music field. The interest I have, of course, was
increased by the fact that for nine years after college I was in church
work full time and in a position where I did a great deal of oratorio
work and created a great deal of interest for me in the field of church
music. When I came here, there were very few organs that were at all
adequate in the city, and most of the churches were dependent on
quartets. And so when I started building choirs of a larger size and
teaching church music, I found that it was a field that was very
stimulating in seeing things grow here. I've always had an interest in
doing the unusual or the unperformed work and making known to people
music which otherwise they have not had a chance to hear. And I've done
this in the church, giving first performances of many of the major works
here.
Sweeney: Could you discuss your affiliation with the Royster Memorial
Presbyterian Church where you have served as minister of music since 1952?
Vogan: Royster was the neighborhood church when we came to town, and the
children started attending Sunday School there, and we attended church.
For about a year and a half I played in Park Place Baptist here, and
then my own church wanted me to come and work with them, which I did,
and have been there ever since. It's my home church, and so it's quite
natural for me to work there.
[5]
Sweeney: Why have you given so tirelessly of your time and talents in the
community? Have these community musical involvements enhanced your
classroom teaching?
Vogan: When I came here the college was small, of course. It was little
known in the community. I was surprised how many people did not even
know where the college was located. The one thing they seemed to know
was the college chorus, which had been putting on Gilbert and Sullivan
shows, and as a consequence had gotten the attention of the community.
Mr. Webb, who was President then, emphasized the importance of community
activity, and as a consequence we did a great deal of community work.
The chorus would make from thirty to thirty-five performances a year of
concerts and appearances around town. And I think that the college
chorus probably did more than any other one factor in making the college
known in the community and getting community support for the school in
those early days. And so I became involved early in community
activities, and once you get involved you stay involved.
Sweeney: And the second part of that question - did you feel that this
enhanced your classroom teaching?
Vogan: Well, not particularly, no. It's been more a case of doing the
community work for the benefit of the college in a publicity basis and
getting the college established and known that I've done it. Since then,
I've become interested, of course, in many organizations in the city and
have worked with them as a matter of course.
Sweeney: Could you tell me how and why the Opera Workshop came into being?
Vogan: When I came here, we were a two-year school, and the chorus was
involved inputting on a Gilbert and Sullivan show each spring. It meant
throwing these young students onto the Center Theater stage with no
experience at all in doing this kind of work. So I thought it would be a
good idea to establish a class in which they could get some training in
theater work before they had to go on the stage with the operetta. When
we announced it in the paper, we found that instead of a student
enrollment we were flooded with the musicians of the city who wanted an
opportunity to sing and sing opera. And so, as a consequence, it
developed as a separate organization, and largely a community one,
rather than as a student one as we had originally planned it to be.
[6]
Sweeney: What problems did you encounter in founding the Opera Workshop?
Vogan: Lack of facilities, mainly. The first year we worked in the
tarpaper shack with a couple floor lamps for lighting and a bare spot in
the middle for stage, but we succeeded in getting performances prepared
and given in those early years. And then we went over and moved into the
auditorium of Larchmont School, where we did our rehearsing during the
latter part of the time I had them.
Sweeney: Could you recall some of the Workshop's more memorable operatic
productions?
Vogan: We started out with a performance of Pergolesi's "La Serva
Padrona," which, I think, was a very polished performance. We had an
excellent performance of Puccini's "Gianni Scicchi," which was done in
the Center Theater. And then we did the first Southern performance of "Amahl and the Night Visitors," and very good performances of "The
Marriage of Figaro" and "Cosi Fan Tutte" of Mozart.
Sweeney: Who were some of the outstanding performers in workshop
productions?
Vogan: Several of the people we had in those earlier years went ahead
and did work in the opera field. Shirley Thompson sang opera both in
Italy and in Germany, and is now artist in residence in one of the state
colleges in California. Her sister Patti also sang with the Workshop and
then sang opera for a number of years in Germany and is now in Syracuse,
New York, where she's doing a great deal of opera and oratorio work in
New York State. Willy De Lara sang for six seasons with the Salzburg
Company in Austria, and Frank Summers sang for a number of years in
Switzerland and is now doing opera workshop work and is artist in
residence at one of the colleges in the South. I think these are ones
who went ahead, particularly in the professional field, from that early
group. Athena Bassil, of course, has been very active here in Norfolk in
the opera field and has sung many, many opera roles and developed a fine
style for opera singing.
Sweeney: Did the Opera Workshop performances receive generally favorable
reviews?
[7]
Vogan: In those early days we had very good support from the newspapers,
and the reviews were favorable. I think that the Workshop made itself
felt in the community as a force in the opera field and did a great deal
at launching singers in the opera field.
Sweeney: In 1951 you formed the Madrigal Singers. What was your purpose in
founding this group, and could you comment on its development over the
years?
Vogan: The Madrigal Singers were formed out of the college chorus to
give some of the students an opportunity to do singing in an--a smaller
ensemble group and to get experience with early music. As the
administrative load built up here, it became necessary for me to pass on
some of these people, and Eliot Breneiser took on the group and has had
it ever since and has done outstanding work, I think, in this field. His
Madrigal Singers are known all over Tidewater and, I think, are very
highly respected.
Sweeney: Could you tell me any more about the Gilbert and Sullivan shows
which you produced during your early years at the college?
Vogan: The Gilbert and Sullivan shows were started by John Paul, who was
my predecessor, and he had done two when I came. We continued those
until Dr. Hawn came, and he didn't care to go ahead working with the
student group, and rather than having a group competing with the Opera
Workshop, we stopped having the shows when he came. And so, that the use
of the shows by the college chorus was dropped at that time.
Sweeney: Did you find the Norfolk community to be receptive to musical
performances sponsored by the college?
Vogan: Yes, I think they have been over the years, and they were
particularly enthusiastic about the Opera Workshop and the work of the
college chorus. The chorus was very popular here in the early years that
I was in Norfolk and sang a great deal and were very much in demand. The
other contact, of course, the college had with the community was
through the concert series, which was the strongest musical force,
probably, in the community at that time.
Sweeney: Could you tell me about the community program, "Brotherhood
through Music," in observance of National Brotherhood Week in which you
participated in 1953?
[8]
Vogan: This, again, involved the college chorus. The programs were put
on primarily through the enthusiasm of Rabbi Reisch, who was then at
Beth El. And it involved usually the choir from Hampton Institute and
our college choir here, and usually one other group would sing. And we
put on choruses a number of years at Beth El for this Brotherhood Week
program. After Rabbi Reisch left, the program was dropped, as far as I
know.
Sweeney: Why did you give up your directorship of the Opera Workshop in
1953, and did you have any connection with the Opera Workshop after this
date?
Vogan: As the department grew, the administrative load grew, and also my
idea in building the department was to get organizations started and
then to bring in people to take them over. And since my primary
responsibility here was to be administrative, I brought in Dr. Hawn to
work in the Opera Workshop field. And he came here at that time. As far
as my connection after that, he had primary responsibility for it. I
helped him whenever I could along the way, but the Opera Workshop was
his organization.
Sweeney: How did the Music Department concerts in the 1950's succeed, and
how were they received on the campus?
Vogan: We have never had strong campus support for concerts that we've
had here. It was better in the earlier years when the campus was small.
As the organization grew and so much of the faculty were coming in from
homes in Virginia Beach, we found that it was very difficult to get
support for concerts from the college community. Our main source of
audiences has been the community rather than the school here.
Sweeney: What is the Vogan Chorale which you founded in 1974. Does it have
any connection with the university?
Vogan: It is not a university organization, though a number of the
faculty have sung in the group. My son, who was ... a law student out in San
Antonio, had sung with a similar group there that was connected with the
San Antonio Symphony and Opera Company, and wanted to start such an
organization here. It is a group of sixteen people, mainly professional
singers, who have little opportunity to sing because they're either
teaching voice or are conducting choruses, and so as a consequence they
like to get together and sing for pleasure. And so it is a labor of love
as far as they are concerned, and we sing a couple of programs a year
and just sing for the enjoyment of it.
[9]
Sweeney: Do you play any other instruments? Before you mentioned the
piano; are there any others?
Vogan: No, just piano and organ, and I haven't played piano in a great
many years now. After the war, when I got into the musicology field and
into teaching, it was too much to keep up on two instruments, so I have
limited my piano playing very much and concentrated mainly on organ.
Sweeney: Would you tell me how music has been a unifying influence in your
family?
Vogan: I guess it's rather taken for granted in the family. My wife is
an organist and taught for seven years at the University of Michigan,
and then, when I was at the University of Missouri, she taught at
Stephens, and now, since I've been here, has taught organ at Old
Dominion. My oldest boy, as I mentioned, is a singer. He's a lawyer by
profession. He also plays piano and plays guitar. My daughter sings and
plays piano, and my youngest boy plays cello, so we're all in the music
field to some extent.
Sweeney: In 1955 you accepted two $400 scholarships from the Keynote Music
Club of Norfolk to be awarded to worthy music students. Could you tell me
about the Keynote Music Club and your relation ship with the organization?
Vogan: The Keynote Music Club is a women's music club here in the city,
and during those early years we had almost nothing in scholarship funds
and students with rather desperate needs financially, and so I went to
them asking for help very early in my time here, and they were most
cooperative in helping students who needed financial help and for quite
a number of years gave us scholarships of varying amounts as there was
need in the specific students.
Sweeney: In 1955, also there was a movement to establish a Community Music
School in Norfolk with the purpose of providing music lessons for children
who did not have the means for a musical education. Your name was listed
among the directors of this effort. Could you tell me more about it?
Vogan: The Community Music School was founded primarily to build up
string programs at a time when there were no--there was no string program in the public schools. The idea was to make lessons available to children who
otherwise could not afford them. The school has not been large but has
had, oh, eight to twelve, perhaps, students, and has been very
successful. At the present time
[10]
two of our students who are high school age now are special students at
Julliard on scholarship and are going there to study. One of the little
girls played in England and has played with the symphony here, and
several of the students have come along in the youth orchestra, and some
now are up and playing in the symphony, and several have gone away on
very good scholarships to music schools in the country.
Sweeney: Could you tell me something about your weekly advent organ
recitals at the Epworth Methodist Church in 1955?
Vogan: Those recitals were not mine weekly. John Halverson, who was the
organist at Epworth then, established those when he came in 1950, and I
played for him each season, one of the recitals in his series. They were
at noontime and were to be organ recitals for people who were downtown
doing their Christmas shopping and were an established thing here in the
city until he left.
Sweeney: What do you call--what do you recall of the college's annual series of aculty recitals?
Vogan: We have given recitals here as we were able to. And the faculty
recitals we started, I guess, the second year I was here, and they have
been done as the teachers were able to get time from their teaching
loads to do some practice. We have always had very heavy teaching loads
for the music field and, as a consequence, the faculty have not been
able to do as much performing as they do at schools where time is given
for recital performance.
Sweeney: In 1957 you initiated planning for a four-year music degree
program. Could you tell me about your goals for the program, and what were
the chief obstacles to attaining them?
Vogan: As the school moved from a two-year school into a four, we were
early in the program for putting in degree programs and put in a program
in music education and also an A.B. at that time in applied music and in
musicology and composition. The A.B. has stayed in that while we moved
then on over into a bachelor of science with the performing
organizations. The degree programs moved along with the general
expansion of the school, and there were no problems in the development
other than the usual ones of lack of funds, and this has been with us,
of course, all through the history of the school.
[11]
Sweeney: During the 1950's and early 1960's how did the Music Department
faculty develop? In what areas would you say the department was the
strongest?
Vogan: During that period we were able to get most of the major fields
of music fairly adequately covered with faculty, and the department
developed very well. In fact, during that period a number of things in
print and opinions and letters to us and remarks made at state meetings,
I think we were accepted as the leading music school of the state
of Virginia during that period, and so we were fortunate in being able
to develop very rapidly here with the music program and to build it up
to that period.
Sweeney: Didn't you say that all the parts of the department were strong,
or were there any that especially stood out?
Vogan: Well, the two areas in which we were, I think, particularly
fortunate in that period were in the composition field, where we had a
number of outstanding students, and the Opera Workshop, too, was unique
in the state at that time.
Sweeney: Did you as chairman find it necessary to centralize decision-making in your office?
Vogan: Well, as far as the administration is concerned, yes, it was
pretty much left to me because I was the one who was supposedly trained
in the field and knew what needed to be done so that we had cooperation
from the administration on the development there. As far as
decision-making within the department itself, this was usually done in
faculty meeting in discussion with the whole faculty.
Sweeney: You served as chairman of the Music Committee of the College of
William and Mary Concert Board for the 1958-1959 season. What did this
position mean in terms of influence over the concert series?
Vogan: Well, actually I held that from the time of the death of Mrs.
Hancock, which was, I believe, about 1951, through until the series closed. What
it amounted to mainly was selecting artists for the series, generally
guiding it, and the big problems, trying to meet the bills and get
enough tickets sold to meet the budgets. We were very fortunate in the
concert series in building up a following here, that we had a budget,
that we were able to bring in most of the leading artists of the time so
that practically all of the major figures appeared here under the
sponsorship of
[12]
the college, and it was one of the most respected organizations we had
here at that time and brought to Norfolk many artists that otherwise
would never have been heard here. It was most unfortunate, I think, when
the college decided to drop this.
Sweeney: Did it come to an end because the connection with the
Williamsburg College was terminated?
Vogan: No, it came to an end after Dr. Bugg came and partly from certain
pressures that were brought onto the--onto him and onto the Board, and I think
it's just as well not to go into these.
Sweeney: Which of your students attained high professional standing among musicians? Do you recall Herbert Watson, Jr.?
Vogan: Yes, Herbert was a very talented boy in the composition field. He
is now working with the Restoration in Williamsburg and is very much
interested in the musical activities there. I'm sorry that he has not
gone on and done more that he could have in the composition field. At
the same time, I had a girl by the name of Edith Smith who went on and
worked with Milo and got her doctorate and is now teaching composition
in one of the state schools in California, who is also a very talented
person in that field. I've spoken about the singers we've had here at
the Opera Workshop. We've had a number of organ students that have gone
ahead. Jack Levick is one who has done a great deal in the church music
field. Ray Herbeck, who is now at First Baptist in Richmond, was our
first organ graduate here, and William Woldridge, who is at the Catholic
Cathedral in Washington, was one of our graduates. We have a number that
are now doing doctoral work away in other schools, so we've had quite a
few people who have gone ahead and made a place for themselves
professionally.
Sweeney: In the spring of 1959 you were planning a music festival at the
Division. What was your purpose, and how successful was the festival? Did
it become an annual event?
Vogan: The purpose of the music festival that we had here - I believe
that it started before '59 - was the performance of American music and
particularly the performance of music by Virginia composers. And it was
put on as an American music festival and ran for a number of years and
made it possible for major works to be done by local composers and to
make people conscious of the music of American composers at a time when
not much of their music was being performed here in Norfolk. I think it
was very successful as far as the audiences were concerned, and I think
it accomplished a great deal in furthering the cause of American music
locally.
[13]
Sweeney: Were you consulted when plans were drawn for the new Fine Arts
Building?
Vogan: Yes, the music faculty was consulted on this, but, of course, at
the time it was built, it was a temporary building. It was supposed to
serve us for five years. It has now been going sixteen, I believe. So
that the building was not primarily designed for music. And, of course,
the space now is quite inadequate, though it was adequate to our needs
at the time.
Sweeney: So you had a favorable reaction to the new building at first?
Vogan: It was adequate to what we needed then. It never had adequate
rehearsal facilities, but there was enough classroom space then. We had
more then than we have now, surprisingly. And it had enough studio space
for the faculty we had at that time.
Sweeney: I would like to know more about your position in the Norfolk
chapter of the American Guild of Organists.
Vogan: I've been active in the American Guild of Organists since my
student days at Oberlin and have been in chapters wherever I've been in--in
school jobs. And so when I came here it seemed that we should have one
in this area. So we established it with the local organists, and I was
the first dean of the thing. And it was a way of bringing church
musicians together, which I think is a very healthy thing.
Sweeney: In 1965, after fifteen years a department chairman, you stepped
down. Could you reflect on those busy years and what you believe your
accomplishments were as department chairman? And what were your principal
disappointments?
Vogan: Well, it was very stimulating to see the department grow. I think
we all like to see things which are developing. And the department came
along rapidly during those years. We always have been limited in
facilities, of course. And, as I keep saying, we've always been limited
in funds so that we were not able to expand many aspects of the
department as rapidly as we would have liked to have done. I think that
the potential here was and still is great if proper facilities were
provided. This is a disappointment, the fact that we do not ever seem to
be able to do as much as we could because of the restricting problems of
space and facilities.
[14]
Sweeney: Could you compare or contrast the attitude of the central
administration to the Music Department under Presidents Lewis W. Webb and
Dr. James L. Bugg?
Vogan: Of course, my years I was working with Mr. Webb, and he always
had a great interest in the department and gave us fine cooperation. And
we felt that he had a great personal interest in the development of the
department. As far as Dr. Bugg is concerned, I was no longer chairman
when he came, and I had a feeling of friction between the departmental
administration and the President most of the time that he was here. And,
as far as he personally was concerned, I don't know the man at all, and
he never had any contact with the department so that I have no way of
judging from a personal standpoint.
Sweeney: What have been your chief academic pursuits in the decade since
the end of your tenure as department chairman?
Vogan: Mainly expanding the program here and the introduction of new
programs in the musicology field. The thing that I have found since I
was chairman is, though, that the school has gradually added such a
great administrative load on the individual faculty members that the
change from the department chairman over the teacher's ... position has not
made the difference I thought it would because we seem to have as much
paperwork now as teachers as I had, in the earlier days, as department
chairman.
Sweeney: What have been your duties as a member of the artists selection
committee of the Norfolk Society of the Arts since 1974?
Vogan: Grace Farraby had been active for many years with the Society of
Arts, and I had cooperated with her a little over the years. We had been
close friends, working together in the American Guild of Organists and
other musical activities here in the city. And so I had had some contact
with it for many years, and then when she retired from the position, the
new group coming in were having trouble finding artists and knowing just
where to turn, so I offered to cooperate with them in any way that I
could. And it ended up, then, by a joining forces between the Music
Department and the Society of the Arts committee, a joint effort to run
the program, which
[15]
is held in the Chrysler Museum, and it's been a very happy association,
and, I think, one that has been good for us because we've had the
opportunity to bring back a number of our talented graduates, who have
appeared there on the programs at the Museum.
Sweeney: Have you developed any new musical interests recently?
Vogan: No more than I have all my life. I'm a person that has always had
curiosity about anything that's new. I am looking forward to having more
time now to do some work in composition, which was my first love, and
which has been pushed out of the program pretty much, as far as I was
concerned, during my years here just from lack of time. And I'm hoping
now to have time to go back; in fact, I have promised one score for next
year.
Sweeney: Could you assess the position of the Music Department today in
the university, its strengths and its weaknesses, its most pressing needs?
Vogan: The position of the department, I think, in the university as a
whole in recent years has not been as strong as it was in the earlier
years. And the thing that is needed, of course, that I keep stressing,
is space. We need a building desperately. And we have, of course, a
growing department along with the rest of the school, and the space has
not increased. In fact, it has shrunk. And so we are working under
terribly cramped conditions, and it means that there are inadequate
practice facilities. We have teachers sharing studios, which is very
difficult. When my wife comes in to teach in this room, I have to walk
the halls or plan to be someplace else so that she can use the room, and
this is most inconvenient, of course, for the faculty involved. And we
do not have adequate classroom space; we haven't space for small
ensembles that might want to practice together, so that the space
problem is our greatest handicap at the present time, I think.
Sweeney: Could you comment on the recent upsurge of interest in opera in
the Tidewater area?
Vogan: I think the interest has always been here. In fact, as I
mentioned earlier, some of the people who have been active in the
creation of the opera company here originally were
[16]
people who had grown up in the Opera Workshop in its earlier days here
at the college. So as a consequence I think that the present opera
company is a logical out growth of the Opera Workshop, which was active
here for so many years.
Sweeney: Could you comment on the mandatory age of 65 for professors?
Vogan: Well, I think quite universally professors don't like to retire.
We perhaps all hate to think we're growing old and particularly that
we're not wanted. And so as a consequence the idea of not having the
push of another year to work for is hard to face, but one meets things
as they come.
Sweeney: What are your plans for a fruitful retirement?
Vogan: Well, I'm going to continue, of course, in my church position.
I'm going to teach here part time next year, and, as I said earlier, I
hope now to have time to do composition and also hope to have time to
practice. I haven't been able to do an organ recital in a number of
years, and I've already booked a couple for next year.
Sweeney: Thank you very much, Dr. Vogan.
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