The Lutheran college choral music tradition is not the only viable choral tradition at work in American today; but it is certainly one of the most notable, thanks in no small part to the tireless efforts and indefatigable spirit of Weston Noble.

Weston lived a life of such commitment and productivity, that he left most of his colleagues panting in his dust.

Anyone who has visited the monastery’s chapel will have seen a number of Orthodox icons prominently displayed, especially a recently completed and installed altar triptych. And may have wondered at what seems a strange hybrid of Benedictine and Orthodox elements, both in the chapel’s artifacts, and in its liturgical practice. I asked the monastery’s prior, Father Peter Funk, to elaborate on this, and he has written this response:

My pressing concern, now, is the accomplishment of all the mechanics which have to fall into place before or during our first rehearsal.

As is our usual pattern, we present music that is a part of the established canon, and music which is likely to be new to most of our listeners, as well as our singers.

The ten or so summers I spent with the Oregon Bach Festival are some of the most important music education I ever received—and it was all about the repertoire.