THE DIAPASON SEPTEMBER, 2012
First Congregational Church Greeley, Colorado Cover feature on pages 30–32
THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Third Year: No. 9, Whole No. 1234 SEPTEMBER, 2012 In the wind . . . congregations in a way that’s worthy of Established in 1909 ISSN 0012-2378 As usual, John Bishop has given us an expecting laypeople to justify coming up An International Monthly Devoted to the Organ, interesting column in the May issue of with that kind of money?” Perhaps the the Harpsichord, Carillon, and Church Music The Diapason, on which I should like emphasis should be on understanding to express a few opinions. and supplying what the aforementioned Yes, we are hanging on to the glories people need and want and not what we of past ages. We are even reproducing think that we should provide or, even CONTENTS Editor & Publisher JEROME BUTERA [email protected] historic organs and claiming that they worse, simply what we have provided 847/391-1045 represent the pinnacle of organ design. in the past, and at a price that is seen as FEATURES They might be ideal for playing the mu- competitive against alternatives. Organs in Corsica and Southern France Associate Editor JOYCE ROBINSON sic contemporary to their installation Many industries have died because June 7–13, 2012 [email protected] by Helen VanAbbema Rodgers 20 but there have been several musical eras they have failed to adapt. Some have 847/391-1044 since then that also have to be played. gone to the brink but found a new posi- Ninth International Organ and Early Music Few people can afford more than one tion in the market. Some have introduced Festival, Oaxaca, Mexico Contributing Editors LARRY PALMER February 5–15, 2012 Harpsichord organ to play different styles. automation that they would have refused by Cicely Winter 21 Serious study of Baroque playing styles to at one time. Some have refused to en- JAMES MCCRAY is a very valid pursuit, but perhaps more tertain change at all and no longer exist. Like Father, Like Son: Choral Music A Conversation with Lee & Scott Dettra relevant to the current age is an analysis There is no reason for the pipe organ of how best to meet the need to play a industry to die out, but it must change, by Joyce Johnson Robinson 24 BRIAN SWAGER Carillon variety of musical styles on one instru- and it must recognize the need from The Recent Restoration of the Organ at ment of relatively modest size (and cost). within. And it needs to do it soon. Saint-Jean de Montmartre in Paris, France by Carolyn Shuster Fournier 27 JOHN BISHOP The organ is inherently inexpressive and I look forward to reading many more In the wind . . . so this may need some compromise, but of Mr. Bishop’s columns. NEWS & DEPARTMENTS that is inevitable. It may also need the Alan Woolley GAVIN BLACK application of technology traditionally Visiting Researcher Editor’s Notebook 3 On Teaching Letters to the Editor 3 alien to the organ. Musical Acoustics Group Here & There 4, 6, 8, 10, 11, 12 Reviewers John M. Bullard We continue to build tracker actions Edinburgh John L. Speller even in large organs, despite having to Appointments 8 David Wagner introduce all sorts of “assisters” to try to John Bishop replies Nunc Dimittis 11 John Collins make them “playable,” on the grounds I respond fi rst to Dr. Woolley’s pro- In the wind . . . by John Bishop 12 that all organs from the Baroque era had vocative suggestion that I missed my On Teaching by Gavin Black 15 tracker action. Those builders had no own point. I agree that it’s important to option. We can only guess as to whether consider what lay people want to hear REVIEWS the composers, builders, and players of and endeavor to satisfy them. However, Music for Voices and Organ 16 THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt the time dreamt about large organs hav- real advances are seldom, if ever, accom- Book Reviews 16 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. ing actions as “light” as a small organ so plished by polling the masses. Rather, New Recordings 18 Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 that they could actually hear the music those who are knowledgeable (or dare New Organ Music 19 MSG RLY. E-mail:
SEPTEMBER, 2012 3 able for use without incurring the ex- 11/18, Anne Laver; 11/25, Angela Kraft Advent Lessons & Carols; 12/24, Les- pense of support staff. A result perhaps Cross; December 2, Benjamin Sheen; sons & Carols; February 6, Helen An- unintended is that we can play a single 12/9, Frederick Teardo; 12/16, William thony; March 6, Anthony Ciucci; April instrument using both mechanical and Wisnom. For information: 3, Deborah Dillane. For information: electric actions and decide for ourselves
Albert Schweitzer Organ Festival winners concert (photo: Dave Gilbert)
The Albert Schweitzer Organ by Daniel Gawthrop, and Allegro Deciso Festival presented the 2011 winners in (Évocation, op. 37) by Dupré. Houston Chamber Choir concert on June 10 at the First Church Mary Pan has fi nished her freshman of Christ in Wethersfi eld. Mary Pan, re- year at Hartt School of Music in Hart- The Houston Chamber Choir an- 12/15 and 16, Chapel of the Villa de Ma- cipient of the high school division award, ford, Connecticut, where she studies un- nounces its 17th season: Soul Music of tel; What Sweeter Music: The British A played Toccata in F Major, BWV 540, by der Patricia Snyder. Christopher Ganza Tchaikovsky, Tavener, and Górecki, Sep- Cappella Tradition, March 2, St. John Bach, Choral No. 3 in A Minor by Franck, completed his master’s degree in organ tember 18, Co-Cathedral of the Sacred the Divine, 3/3, St. Thomas Episcopal and Prelude and Fugue on the Name of performance and is a doctoral student Heart; Bach and All That Jazz, November Church, College Station; Mozart’s Great ALAIN by Durufl é. Christopher Ganza, of John Schwandt at the University of 2, Lone Star College, The Woodlands, Mass in C Minor, K. 427, May 18, St. recipient of the young professional divi- Oklahoma. This year’s festival takes place 11/3, St. Philip Presbyterian Church; John the Divine. For information: sion award, played Prelude, Adagio, et September 7–9. For information: For Unto Us, December 8, Church of St.
4 THE DIAPASON Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Paul Cienniwa Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Concert Harpsichordist Indiana University Montevideo, Uruguay Battipaglia, Italy Paris, France Ann Arbor, Michigan Boston, Massachusetts
Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Milwaukee, Wisconsin Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama
Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer Professor of Organ Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California Yonsei University, Korea
David K. Lamb Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Conductor Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana New York City SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois
Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Brennan Szafron Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Organist/Harpsichordist University of Kansas Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Spartanburg, South Carolina
Timothy Tikker Michael Unger Elke Voelker Eugeniusz Wawrzyniak Jeffrey Cohan Duo Majoya Organist/Composer/Improviser Organist/Harpsichordist Organist/Musicologist Organist Concert Flutist Organ/Piano/Harpsichord Kalamazoo College, Michigan Rochester, New York Mannheim, Germany Charleroi, Belgium Seattle, Washington U of Alberta, King's UC www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Assistant Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 25th year of operation The American Guild of Organists Nashville community,” and the Fyfes announced the results of its national were recognized for their “commitment organ competitions. First prize and to excellence in music; unparalleled audience choice prize in the National knowledge of sacred music; their roles as Young Artists Competition in Organ teachers and mentors; and their leader- Performance (NYACOP) were awarded ship, devoted service, and extraordinary to Daryl Robinson; second prize was generosity to the AGO.” For informa- awarded to Malcolm Matthews, and the tion:
Worcester AGO chapter Pops Pipes concert
On April 20, the Worcester AGO rock star status from an audience of over chapter sponsored a Pops Pipes concert 350 organ enthusiasts. The Worcester at Wesley United Methodist Church, Telegram carried a two-page feature ar- Worcester, Massachusetts, featuring Car- ticle about the event. The concert was ol Williams performing on Wesley’s IV/73 sponsored, in part, by the Intel Founda- 1927 E. M. Skinner organ. The program tion in recognition of National Volunteer included works by John Williams, John Month and community volunteer work. Phillip Souza, Zez Confrey, Scott Joplin, Following the concert, Randolph and and J. S. Bach, as well as local composer Edla Ann Bloom hosted a reception for Robin Dinda. Carol Williams received Dr. Williams at their home.
Casavant façade, Kennedy Center
The John F. Kennedy Center for Center will introduce the new instru- the Performing Arts has released ment with a free concert of repertoire Casavant Frères’ design for the façade of for organ and orchestra, with the Na- the new Concert Hall Organ. The instru- tional Symphony Orchestra. ment is the gift of David M. Rubenstein, The new organ was built by Casa- and was announced on stage during the vant Frères of St-Hyacinthe, Québec: National Symphony Orchestra’s season- 85 ranks, four manuals and pedal, 5,000 opening ball September 25, 2011. pipes. A special feature is its “Filene Rather than the bronze pipes that Stop,” a set of 61 pipes retained from the patrons have seen since 1972, the front Filene Great Organ. The NSO and the pipes of the new façade will be of pol- Kennedy Center have been advised by ished tin, with gilded mouths. The for- JL Weiler, Inc. mer façade was removed at the close of For more information about the Ken- the 2011–12 season, and the installation nedy Center, visit
6 THE DIAPASON
Appointments
Robert Bates
Robert Bates, professor of organ at the Moores School of Music at the Uni- versity of Houston, has been appointed Wilma Jensen Fellow of the Yale Institute of Sacred Music and Senior Research Scholar at tion program for the 2012 AGO national Michael Surratt Diane Meredith Belcher Yale University for the 2012–13 academ- convention in Nashville. Entitled “Music ic year. During the year he will complete in the French Tradition,” the program the Union Church of Hinsdale, Illinois, vious times. Belcher is director of music a ten-year research project culminating also included Masses by Vierne and where he was also director of the Alle- at St. Mary Star of the Sea Parish in Bev- in a book about the history of the organ Widor for two organs and voices, sung by gro Handbell Ensemble, a high school erly, Massachusetts, and is represented of the French Renaissance based on le- the West End United Methodist Church bell choir that has toured annually since by Karen McFarlane Artists, Inc. She gal documents held in French national Choir and accompanied by Andrew Ris- 1975 in a touring cycle of three years in has been regularly featured at regional and departmental archives. inger and Gregg Bunn. the USA (with two tours including con- and national AGO conventions, and has Bates also continues his active concert In addition, Wilma Jensen was one of certs in Mexico and three tours includ- served on the faculties of the Univer- career this fall. Recitals include a pro- three judges for the fi nal competition of ing concerts in Canada) and a European sity of Memphis and Westminster Choir gram of American organ music at Cor- the National Young Artists Competition tour every four years. Surratt was named College, in addition to teaching organ at nell University on September 22, and a in Organ Performance (NYACOP). She Director of Music Emeritus at the Union the University of Pennsylvania. Belcher performance of Bach’s Clavier-Übung also taught two organ masterclasses as Church of Hinsdale, where he designed will be joining the festival beginning III for the EROI Festival at the Eastman part of the AGO workshop offerings. and oversaw the installation of Martin September 2013. Adjudicators for the School of Music on September 30. In ad- Ott’s Opus 69 in 1994, a 17-rank, two- 2012 festival are Faythe Freese, Cherry dition, he will perform a concert on the manual tracker organ in the chapel. The Rhodes, and Gordon Turk. Pasi organ at Trinity Episcopal Church sanctuary organ is a three-manual, 45- in Solebury, Pennsylvania in October. rank Austin built in 1962. Surratt will During the past several years, Dr. return to play a recital as part of a cel- Bates has been active in the development ebration of the organ’s 50th anniversary of the organ culture of the Houston area. this fall. He was consultant for two major organ projects in the city: Paul Fritts and Com- pany’s Op. 29 at St. Philip Presbyterian Church (III/P, 48 stops) and Pasi Organ Here & There Builders’ Op. 19 at the Co-Cathedral of the Sacred Heart (IV/P, 78 stops). He served as co-chair (with Matthew Dirst) of the Westfi eld Conference, “Histori- cal Eclecticism,” held in Houston April 12–14. He also serves as chair of the performance committee for the Houston 2016 AGO convention. (During his time Sarah Mahler Kraaz at Yale University, Phillip Kloeckner will take over as committee chair.) Sarah Mahler Kraaz has been Daryl Robinson, who completed his named visiting scholar for the Associ- Bachelor of Music degree in organ with ated Colleges of the Midwest (ACM) Robert Bates at the University of Hous- Arts of Florence (Italy) program this fall. ton in 2011, won both the fi rst prize and The focus of the program is threefold: the audience prize in the AGO National to develop students’ understanding of Young Artists Competition in Organ Renaissance art and culture in the con- Performance, held in Nashville on July text in which they were created, to build Raymond Chenault, Lynne Davis, Eliza- 1. Robert Bates is represented by the profi ciency in Italian, and to learn about beth Chenault Penny Lorenz Artist Management, present-day Italian society and culture.
AUSTINORGANS.COM t8PPEMBOE4U)BSUGPSE$5
8 THE DIAPASON Congratulations! Mary Queen Catholic Church, Friendswood, Texas
Over the past few years, the Mary Queen Catholic Church in Friendswood has In the 1960s, a unique company was grown to become a 2000-household congregation. This growth demanded born in the heart of the Netherlands: a major investment in a new church building, and after a thorough Johannus, builders of classical organs. selection process to fi nd a suitable organ, a delegation from the parish Over the decades, this family-owned went to Johannus in the Netherlands. The company was commissioned to company has grown to become a build a 105 rank Monarke organ, with 4 manuals and a fl oating resonance leading international enterprise. pipe division. The organ and console are based on the 19th century French Thorough research, development and symphonic Cavaillé-Coll style, and the sound will be perfectly distributed dedication to Europe’s rich organ thanks to its 60 channels and high-quality speakers. tradition and music history ensure that Johannus meets the highest of standards.
Watch on www.johannus.com YouTube Schlick, Scheidt, Bach, and Sorge; total Northwest Christian Church, Columbus, playing time 77:48. The Paul Fritts Opus Ohio. Yun Kyong Kim is organist and 20 organ, of two manuals and 39 stops, choirmaster at Christ Church, Dayton, was installed in 2000. For information: Ohio. She holds doctoral and master’s
MANDER ORGANS
New Mechanical Action Organs Frank Burne (executive director, Kansas City Symphony), Paul Jacobs, Michael Stern, Joshua Bell
In June Paul Jacobs spent a week the Kansas City Symphony. In addition, giving performances to capacity audi- Jacobs played a solo recital featuring Exquisite ences on the new Casavant organ in works of Bach, Durufl é, and Liszt, with Continuo Organs Helzberg Hall at the Kauffman Center, Michael Barone joining Jacobs in con- St. Peter’s Square with Michael Stern, Joshua Bell, and versation before the performance. London E 2 7AF • England [t] 011 44 20 7739 4747 [f] 011 44 20 7729 4718 CLAYTON ACOUSTICS GROUP [email protected] 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] www.claytonacoustics.com www.mander-organs.com ACOUSTICS AND SOUND SYSTEM Imaginative Reconstructions CLAYTON ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP
10 THE DIAPASON Arlington, and at Washington National Joe Utterback presented a workshop Lorna Lutz Heyge. He held positions as Cathedral, St. Thomas Church Fifth Av- on improvisation and jazz techniques at Nunc Dimittis organist-choirmaster at Holy Comforter enue, and the Cathedral Church of St. the 2012 AGO national convention in Episcopal Church in Burlington, North John the Divine (2011). Nashville. He then headed to Burling- Carolina (1970–72) and First Friends During his tenure at the cathedral he ton, Vermont, for the United Church of Meeting in Greensboro, North Carolina also supervised the installation of a fi f- Christ Musicians Association (UCCMA) (1973–93). In 1993 he was appointed teen-bell Paccard carillon, the purchase convention, where he improvised dur- organist and assistant choir director at of a Lammermuir continuo organ, and ing communion for the opening service, First Baptist Church in Elkin, North enhancements to the Grieb-Williams and presented a workshop on spirituals. Carolina, a position he held at the time organ installed in 1988. On his twenti- He wrote an article that appeared in the of his death. eth anniversary he was honored with the summer 2012 issue of Worship Music & Robertson served several terms as painting of his portrait by noted artist Ministry, the UCCMA’s journal. Dr. Ut- dean of the Winston-Salem AGO chap- Jason Bouldin. In March 2012 Sonare terback will appear on October 28 at 7 ter and was instrumental in starting Recordings released a solo CD, Stephen pm at First Presbyterian Church in Dun- “Organists Against AIDS” concerts to Schaeffer Plays the Advent Organ, fea- woody, Georgia. For information: benefi t AIDS Care Services of Winston- turing the cathedral organ in a varied
MEMBER FIRMS ANDOVER ORGAN COMPANY HOLTKAMP ORGAN COMPANY SCHANTZ ORGAN COMPANY BEDIENT PIPE ORGAN COMPANY J.H. & C.S. ODELL SCHOENSTEIN & CO. BERGHAUS PIPE ORGAN BUILDERS, INC. KEGG PIPE ORGAN BUILDERS TAYLOR & BOODY ORGANBUILDERS BIGELOW & CO. ORGAN BUILDERS LÉTOURNEAU PIPE ORGANS BOND ORGAN BUILDERS, INC. NOACK ORGAN COMPANY, INC. Domecq Smith BUZARD PIPE ORGAN BUILDERS, LLC PARKEY ORGANBUILDERS SUPPLIER MEMBERS Organist and composer Domecq C.B. FISK, INC. PARSONS PIPE ORGAN BUILDERS A.R. SCHOPP’S SONS, INC. Smith performed at Freiburg Cathedral CASAVANT FRÈRES PASI ORGANBUILDERS, INC. HARRIS PRECISION PRODUCTS in Freiburg, Germany, at a noon-time concert on June 29. He is pictured here DOBSON PIPE ORGAN BUILDERS PATRICK J. MURPHY & ASSOCIATES INC. INTEGRATED ORGAN TECHNOLOGIES, INC. at the main console upon which all four GARLAND PIPE ORGANS, INC. PAUL FRITTS & CO. ORGAN BUILDERS OSI - TOTAL PIPE ORGAN RESOURCES of the cathedral’s independent instru- GOULDING & WOOD, INC. QUIMBY PIPE ORGANS, INC. PETERSON ELECTRO-MUSICAL PRODUCTS, INC. ments may be played. He presented an all-French program featuring works by HENDRICKSON ORGAN COMPANY RANDALL DYER & ASSOCIATES, INC. SOLID STATE ORGAN SYSTEMS Du Mage, Gigout, Franck, Langlais, Widor, and also included the European premiere of his Litany for organ solo. For information:
SEPTEMBER, 2012 11 guerite Long-Jacques Thibaud Compe- sented “the American School of organ- tini, Brazilian Organ Music, Volume IV tition. After studying improvisation with ists at its fi nest” (New York Times). For (WL600268, $21.00); Dennis Janzer, Pierre Cochereau, director of the Nice information: 360/834-7022; Hymn Treatments for Organ, Volume In the wind . . . Conservatory, and organ with Marie-
12 THE DIAPASON tect Henry Hobson Richardson (1838– La Farge, depicting, you guessed it, the 1886), who is best known for his design Ascension of Christ with an ostentatious of Trinity Church, Copley Square, Bos- gold faux (painted) proscenium arch de- ton. For much of his career, White was a signed by Stanford White. partner in the extraordinarily prolifi c and In 1882, the famous jeweler Charles revered fi rm of McKim, Mead & White. L. Tiffany commissioned White to de- White designed an impressive cata- sign a family residence on the northwest logue of buildings in New York and corner of Madison Avenue and Seventy- around the country. One of his grand- Second Street. The mammoth building est was the original Madison Square included separate “apartments” for Mr. Garden, located at Madison Square on Tiffany and two of his children, one of Madison Avenue between Twenty-Sixth whom was the great artist and design- and Twenty-Seventh Streets. Ironically, er Louis Comfort Tiffany. That made that was the site of White’s death. He White a “designer’s designer” and he had an apartment in the building, where and Louis Tiffany had a long collabora- he apparently entertained a gorgeous tive relationship.3 young actress named Evelyn Nesbit. Ev- It’s amusing to note that while Stan- elyn’s jealous husband Harry Thaw shot ford White was able to satisfy and please White point-blank during a theatrical Louis Tiffany, the publisher Joseph Pu- performance. (Funny that today’s Madi- litzer was among the fussiest of White’s son Square Garden is an architectural clients. White designed renovations of nightmare at Eighth Avenue and Thirty- a house owned by Pulitzer, which later First Street, more than a half mile from burned, and was subsequently engaged Madison Square.) to plan Pulitzer’s new house on East In 1889, New York City celebrated Seventy-Third Street. Pulitzer rejected the centennial of the inauguration of several plans presented by White. George Washington as the fi rst president Both Tiffany’s home on Seventy- of the United States. Stanford White was Second Street and Pulitzer’s on Seven- commissioned to design a temporary ty-Third included large Aeolian pipe arch across Fifth Avenue about 150 feet organs equipped with the famous auto- Müller organ, St. Bavo, Haarlem north of Washington Square. It was a matic roll players. spindly thing made of wood and plaster, great classical organ cases, the best certs, festivals, and recordings. It has all and White capped it with a cheap statue Organ case architecture known of which is the organ completed the architectural features of the organs of Washington that he found in a New One of the compelling features of a by Christian Müller at St. Bavo in Haar- of its day—towers and fi elds of façade York junk shop—it looked a little like the fi ne pipe organ is its architectural ap- lem, Holland in 1738. It is 274 years old, pipes, lots of moldings and carvings, bril- tacky plastic bride-and-groom fi gures on pearance. We are all familiar with the and played regularly for worship, con- liant colors, and gold leaf. But when you a wedding cake. A year later, the cornerstone was laid for a permanent monumental stone arch on the north edge of Washington Square, which is the beginning of Fifth Avenue—an apartment building there is called “One Fifth Avenue”—isn’t that a classy address? The 70-foot marble arch, reminiscent of L’arc de Triomphe on the Champs Élysées in Paris, was dedicated in 1895. It’s fun to note that the faces of the angels in the spandrels on either side of the arch are those of Mrs. William Rhinelander Stewart, wife of the trea- surer of the arch project, and of White’s wife, Bessie!1 Standing in the middle of the square, looking north up Fifth Avenue is one of New York’s great views showing the Em- pire State Building framed in the arch— especially dramatic at night as the build- ings are well lit. On the southern edge of the park is Judson Memorial Church, another of White’s buildings, which features a ten- story campanile modeled after the tower of the twelfth-century church of San Giorgio in Velabro, Italy.2 To complete the sumptuous design of this magnifi - cent building, the windows are by John La Farge. The Judson Church is home to a 28-rank Roosevelt organ built in 1892—now available through the Organ Clearing House.
Church of the Ascension, NYC
The Church of the Ascension (Episco- pal) is fi ve blocks up Fifth Avenue, home to a terrifi c new organ built in 2010 by Pascal Quoirin of St. Didier, Provence, France. Visit
SEPTEMBER, 2012 13 Henry Moore arch and I.M. Pei-designed public library, Columbus, Indiana
The Cummins Engine Company was (a map gives phone numbers one can founded in 1919 in Columbus, Indiana by call to hear descriptions of the various Clessie Lyle Cummins. For the fi rst ten buildings). Several public schools, City years sales were pretty slow, but in 1929, Hall, medical clinics, fi re stations, banks, Clessie Cummins executed the market- newspaper offi ces, even the jail are all ing idea of a lifetime by installing a diesel fantastic modernist buildings. Altogether engine in a used Packard limousine and there are more than 60 modernist build- Holtkamp organ at MIT (courtesy Holtkamp Organ Company) taking Columbus banker and investor ings in town, six of which (built between W. G. Irwin for a Christmas Day ride. Ir- 1942 and 1965) have been designated stop and think, you can see that many of it does clearly show us the three manual win injected tremendous capital into the National Historic Monuments. these features are driven by the internal divisions (Rugpositief, Bovenwerk, and fi rm, catapulting it toward becoming one Take a look at the website
Great musicians need extraordinary instruments to deliver magnificent performances.
P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com
14 THE DIAPASON great an extent as is possible, a practi- organs to prefer (if any), registration, and tury developments in organ building as cal method should be designed around repertoire, among other things, as well a triumph of progress or as a departure On Teaching techniques that exclude as few people as interpretive factors: phrasing, articu- from the true nature of the instrument. by Gavin Black as possible. For example, postures that lation, approaches towards rhythm, etc. It is also possible though—I hope!— will prove uncomfortable to people who In principle, I as a teacher have always just to describe them, particularly in a do not have a particular physique, or ex- believed in as non-authoritarian an ap- way that shows the student how to con- ercises that require a wider hand-span proach to these things as I can possibly tinue to learn about them in more depth than the repertoire usually requires, concoct. For the purposes of the book, and detail. will needlessly exclude or discourage the challenge that I set for myself is to Concerning this last idea, nowadays potential students who might otherwise include enough meaningful and vivid the question arises regarding how much be interested. discussion of those matters to engage (and how) to direct students to the Inter- If I thought that there was a confl ict the interest of the students and to whet net for further research. Getting infor- here—that creating an inviting and their appetite for more—and especially mation about historical organs—or about comfortable template for learning or- for the process of exploring and thinking anything else—is less cumbersome that gan would involve what might be called about those things for themselves—with- it ever used to be. (Sitting here writing “dumbing down” (that is, reducing the out making them feel that I am trying to this, I typed just the words “alkmaar or- amount that could be learned by follow- constrain or limit that thinking. This is gan” into a search engine and immedi- ing that template or reducing the effec- the same philosophy with which I have ately came up with a long detailed page tiveness of the exercises)—then I would approached these aspects of the world of about the famous organ at the Alkmaar consider that to be a serious problem. I organ and organ teaching in the column, St. Laurenskerk, with specifi cations, his- believe, however, that there is no such and it is in this area that writing the col- tory, links to recordings, and so on. Of confl ict, and that the exercises and other umn has perhaps taught me the most. course, this is much more than would learning techniques that I will outline Many existing organ methods supple- be mentioned about that or any organ in will both be comfortable for anyone to ment whatever material for practical any organ method, but it is also probably undertake and lead to the best—indeed study that they include with discussions more than would have been found in a most “advanced”—results for anyone of the instrument itself—history, mech- traditional book specifi cally about that who follows them thoroughly. At least, anism, aesthetics, and so on. It is fairly instrument.) But of course information Organ Method—concept and that is the challenge that I have set for common for organ methods to open with on the Internet changes all the time, and introduction myself in writing the book. a section about the instrument as such it is not totally reliable. (However, it is This month’s column marks the fi fth rather than playing technique. (This is important to remember that encyclope- anniversary of On Teaching. During Interpretation and instruments true of both the Stainer method and the dias, books, articles, chapters in organ those fi ve years I have written about all Another question is that of interpreta- Gleason method, for example.) This is methods, and so on, have never been sorts of things having to do (mostly) with tion. That is, how much do I want to in- also a topic in which there are various fl awlessly reliable.) Students now and organ teaching, and in so doing I have fl uence students in how they think about types and degrees of objectivity or sub- for the foreseeable future are likely to be thought about aspects of teaching more the aesthetic/artistic/interpretive side of jectivity to be found. For example, it is well versed and experienced in looking systematically and thoroughly than I had organ playing? This includes choices of possible to present late nineteenth-cen- things up online. The question for the before. I have also gotten a lot of good and interesting feedback from teaching colleagues, students, and other organists, harpsichordists, and other musicians. This has brought me to the point where I feel ready to write an organ method as such—a book intended to be used sys- tematically by organ students and their teachers. The next several columns, be- ginning in October, will consist of a seri- alization of that book. This month’s col- Seamless ... umn—somewhat shorter than usual—is an introduction to what the book will be like, and to some of the rationale behind Tonal Design & Voicing, the book and its appearance as part of this column. An organ method is—or more accu- rately, I hope for my organ method to Smoo th Cre scendos & Dynamic Changes be—at its core a template or road map for studying and learning the practical art of organ playing. That is, it gives (should give) a series of steps which, if really fol- lowed, will—with a very high degree of certainty—lead to a student’s becoming a competent organist. Organ playing is a physical skill—but it is also a mental discipline and an outlet for artistic ex- pression. However, the physical aspect of it is 1) absolutely necessary, 2) capable of being described, and 3) accessible to anyone and everyone who might be in- terested in it. As I have written before, I believe that organ playing is an activ- ity that resembles common but complex activities like driving a car or typing in the extent to which it can be successfully learned by anyone who chooses to work at it. It is not magic, and it is not lim- ited to those who have been, so to speak, touched by the gods. Method book design There are activities—exercises, so to speak, and protocols and techniques for practicing—which will directly lead to anyone’s being able to carry out the ba- sics of playing the organ. An organ meth- od should lay those techniques out as clearly as possible. To me, this requires that the practical techniques be designed to be both as effi cient and effective as possible and (since they are in a fi xed written form) as easy to understand and as generally useful as possible. This is the fi rst challenge that I see in writing such a book, and is an area in which I think that I have learned a fair amount from the ex- perience of writing the column. Of course, I said above that the steps Visit www.buzardorgans.com for a demonstration laid out in a method must be “really followed” in order to work. This is self- evident, but important to bear in mind. I think that the second responsibility of a book of this sort is that it meet the student and teacher more than half way in making the material interesting, and, John-Paul BUZARD Pipe Organ Builders especially, in helping those using the 112 West Hill Street • Champaign, IL • 61820 • (217) 352-1955 • (800) 397-3103 book to understand why they are be- ing asked to do something. Also, to as
SEPTEMBER, 2012 15 author of a book of this sort—and indeed overfl owing congregations expecting would be my personal choice if I were poser’s notes, and each introit is also in- for any teacher—is how much help and meaningful and effective performances only going to purchase one new work for cluded separately at the back for use by prompting is needed. by the choir. the Advent season. A sure winner! the congregation. The introits are brief The alchemy of Advent is further with optional music for repetitions, espe- Intended audience stirred by the Christmas cantata. Direc- Come, Jesus, Come, Alan Smith. cially useful for processions. The music is Much of what I am including in the tors who do not begin rehearsing that SATB and organ, Augsburg Fortress, not diffi cult, often with extended phrases new organ method is—not surprising- music before Thanksgiving will add 978-1-4514-2395-2, $1.60 (M). in unison. ly—similar to things that I have written more pressure to the choir and to them- Both choral and organ parts are on over the years in this column. There is a selves. So, dear readers, be warned. As two staves in this rather majestic an- Alleluia! Rejoice, the Lord Shall difference of emphasis: the column is in Søren Kierkegaard said, “Life must be them. The choral parts are almost al- Come, arr. Patrick Liebergen. SATB, principle directed at the community of lived forward but understood backward.” ways chordal and tend to sound like a piano, and optional 2-octave hand- teachers. It addresses, most directly, is- And, it should be noted that two of the hymn, but there are some brief unac- bells, Choristers Guild, CGA 1283, sues about how to teach. (This of course primary messages of Advent are about companied passages. The organ music is $2.10 (M). spreads out into issues about how to anticipation and preparation. not diffi cult and is signifi cant. There is a This happy setting blends the melo- learn, and indeed how to play.) The book Advent music assists the congrega- strong, loud ending. dies of God Rest You Merry and Ukraini- is fundamentally directed at the students tion in understanding those two mes- an Bell Carol with the text from O Come, themselves, and also to their teachers, sages. Hymns such as Come, Thou Long Surely the Time Is Near, Lloyd Lar- O Come, Emmanuel, so the congregation insofar as those teachers are working Expected Jesus, People Look East, and son. SATB and keyboard, Becken- will be charmed with familiar material. directly with the students. This will lead Prepare the Way of the Lord are com- horst Press, BP1961, $1.80 (M). The handbell part is above the choral to different emphasis—addressing issues mon to most denominations. Probably This sectional work moves through a score; the bells play throughout. Their of how to learn, and how to play—differ- the most popular hymn of the season is variety of styles. It opens with the men in music is not diffi cult and also included ent organization, and the inclusion and O Come, O Come, Emmanuel; church a quiet unison; that melody grows into a separately at the back. The keyboard omission of different things. However, libraries typically have settings of that four-part texture that is more folksy and music is busy and adds much to the set- it is certainly the case that a lot of what classic melody. heard above a fl owing keyboard accom- ting. Highly recommended. is in the method, and therefore a lot of Other titles that fi nd favor with con- paniment, which tends to dominate the what will appear in this column over the gregations and singers include In the music. The melody returns later above next several months, duplicates things Bleak Midwinter, Lo, How a Rose E’er a more serious chordal accompaniment. that I have written about over the last Blooming, and Savior of the Nations, The message of the text is very strong. Book Reviews fi ve years. It is my hope (and my predic- Come. These repertoire standards de- tion) that this duplication will function as serve a yearly performance—most are Star of Advent, Peter Choplin. SATB an interesting and useful recap, rather rarely heard at other times of the year. with optional instrumental ensemble, Cavaillé-Coll’s Monumental Or- than boring redundancy. Some of it will With only four Advent Sundays, direc- Lorenz Publishing Co., 10/3991L, gan Project for Saint Peter’s, Rome: refl ect changes in my thinking about one tors may not be interested in adding new $1.95 (M-). Bigger Than Them All, by Ronald or two matters. music to the church library, but prefer to The choral score does not indicate Ebrecht. Lanham, MD, and Plym- And of course I am hoping for feed- return to those old standards that gather what the optional instruments are. With outh, UK: Lexington Books (Row- back. As I wrote above, I have gotten dust most of the year; for those who do, an easy rhythmic feeling in 2/2 and sev- man & Littlefi eld), 2011. ISBN: 978- very useful and interesting feedback below are some suggestions. enth or ninth chords, this setting has a 0-7391-6728-1. 223 pp + xii, $70.00; about the column from the beginning. I So, avoid the crunch of Christmas by light pop quality to it. The keyboard part
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16 THE DIAPASON Rossini, Aristide with father and brother III, the other being at the Cathedral of mant, Lemmens, Mailly, Saint-Saëns, us in not revealing their substance. He moved the fi rm north from Toulouse Notre-Dame. These critically prepared and Widor. He also supplies interesting does note van Elewyck’s tireless support to Paris in 1833, Aristide having won a Cavaillé-Coll for his Rome project. Of fi nancial details for each organ. and advocacy of the project. competition to build a large organ for the the two, the organ for Saint-Sulpice was From the beginning of the 19th cen- Anti-clericalism in Italy spawned famous Abbey Church of St. Denis, buri- larger and grander. Chapter II provides tury, the quality of church music in Italy demonstrations in Rome, one of which al place of French kings since the Middle every detail of the construction of that had declined noticeably, to the extent revealed a major threat to Cavaillé-Coll’s Ages. That achievement launched his ca- masterpiece (except for a helpful stop that Mendelssohn lamented, after visit- scheme: Michelangelo’s east end of St. reer, which culminated in the design and list). A comparison of the actual sizes ing Rome, that singers in the Papal choir Peter’s Basilica, facing the square and construction of the fi nest organ in Paris, of these churches is instructive. Saint- were growing old, were unmusical, could Bernini’s colonnade toward the Tiber the fi ve-manual, 100-stop organ in the Sulpice will accommodate 10,000 wor- not sing in tune, and “the orchestras are River, became a much-disputed bound- Basilica of Saint-Sulpice (1857–62), the shipers in a nave nearly 390 feet long, worse than anyone can imagine.” The ary between Vatican City and the Italian largest organ in France. 96 feet wide, and 100+ feet high, nearly general opinion of Italian organs was state. The Italian Republicans would not Ebrecht organizes the story in eight 52,000 square feet of fl oor space. Notre- that they were “pathetic.” Music histo- accept the idea of a massive organ case chapters, chock-full of historical, po- Dame has over 58,000 square feet and rian Xavier van Elewyck of Louvain, Bel- hanging from the basilica wall, “lest it litical, and social matter illuminating the seats 7,500 on the main level and 1,500 gium, visited Italy and published in 1875 shift.” A century after Cavaillé-Coll’s background. “History is an important in balconies. Saint-Sulpice holds more a serious report on “The Present State of death, and without the weight of any or- factor in the resolution of problems,” ex- people because the space is much more Music in Italy.” Like Mendelssohn earli- gan and supporting structures, that wall plains Cardinal Tauran in his Foreword, open, which makes the acoustics “more er, he denigrates church music there, es- did indeed shift. The right side of the and Cavaillé-Coll’s project was beset at rolling.” But the great builder placed pecially the organs and organists. In that Bernini façade sank eighteen inches and every turn with serious problems not limits on unchecked reverberation and same year, Cavaillé-Coll published his began to exfoliate. Thousands of cubic of his making. Ebrecht’s task of gather- deplored “resonnance incommode,” 54-page proposed “Project for a Monu- yards of concrete had to be injected into ing factual source material was not easy: consistently working to eliminate stand- mental Organ for the Basilica of Saint the ground beneath the basilica to stabi- He confesses to being perplexed that, ing-wave echoes in churches. Peter’s in Rome.” He sets out to estab- lize the foundation. Another impediment “amazingly, no paper trail remains of this A visit to England enabled Aristide lish his credentials, curiously concentrat- to realization of the great project was the project in Rome.” Cavaillé-Coll’s propos- to meet Henry Willis and to experiment ing on Parisian instruments, ignoring his builder’s French identity. Pope Pius IX al was undoubtedly the best presented with such innovations as balanced swell large commissions in foreign countries or approved the plan in 1875, as did his suc- and certainly the only one accompanied pedals centered above the pedalboard even his fi ne organ for the North Ameri- cessor Leo XIII in 1881. Thus in 1888 by a large physical model. Yet his cor- (replacing the old hitch-down foot-levers can College in Rome that might have Aristide thought the time was ripe to respondence and other relevant mate- far to the right), pneumatic stop controls, strengthened his claims. He provides for approach the pope personally to explain rial are not now to be found anywhere and expanded manual compasses adapt- the proposed organ a photo of the plans and defend his grand project, accompa- in Rome. Undaunted, Ebrecht starts out ed from English builders. He had used for the case façade and tribune, the his- nied by two potential underwriters and with a description of the great builder’s Charles Barker’s famous pneumatic lever tory of his involvement and study that the large scale model. Leo XIII listened career, set against the turbulent history as early as 1839 in the Saint-Denis organ motivated the project, an overall résu- to the presentation and expressed grate- of 19th-century Europe, focusing on and continued to use it. His proposal to mé of the instrument, construction and ful admiration for the expensive model France through Napoleonic empires, the build an organ for the new Royal Albert decoration of the façade, specifi cation of (which in today’s currency would have Republic, three disastrous wars (Crimea; Hall in London was turned down, but the organ, descriptive table of proposed cost, with packing and shipping, some Italy/Austria; France/Prussia), and the he won a commission to build one for stops and the pipes in their respective $250,000). But to everyone’s dismay, the attendant economic distress everywhere the huge Royal Albert Hall in Sheffi eld, intonation, arrangement of the manuals pope responded: “If one builds such an in Europe. French outrage at the Italian later praised by G. A. Audsley. He won accompanied by an engraving of the con- organ in St. Peter’s Basilica, it will be an seizure of papal lands in Rome in 1870, commissions for the Palace of Industry sole (in reality—for economic reasons— Italian who does it.” That remark, “as leaving only the Vatican City, led to the in Amsterdam, the new conservatory in the console of Saint-Sulpice), the blow- disconcerting as it was unexpected,” was formation of the Sacred Heart of Jesus Brussels, for Charles Garnier’s new Paris ing apparatus with provision for different later repeated by Pope Pius XI in conver- movement. That resulted in the construc- Opera, and for the Trocadéro, Paris’s pressures of wind, divided wind chests, sation with Widor representing Charles tion of the iconic Basilica of Sacré-Coeur “town hall” seating between 6,000 and mechanical action utilizing Barker’s pat- Mutin, Cavaillé-Coll’s successor. on Montmartre, Paris, wishing to assure 10,000. That organ had four manuals, a ented lever, pneumatic motors to pull Ebrecht does give us Aristide’s pro- its powerful place as the second most im- 32′ pedal façade 60 feet tall, 66 stops, stops as invented by Cavaillé-Coll and posed stoplist for the St. Peter’s organ. portant Catholic city in Christendom. An and 4,070 pipes: a good preparation for installed at Saint-Sulpice, combination Everyone knows a mere stoplist cannot early Cavaillé-Coll organ was installed the challenges of St. Peter’s to come. pedals, iron mechanism for manuals and truly convey the sound of anything. But in Sacré-Coeur in 1909, ten years after Ebrecht describes in detail the inaugural pedals, pipe construction with a digres- Thomas Murray describes it as “a work his death. But his magnum opus was his concerts for each of these instruments sion on the infl uence of the thickness of of careful symmetry,” with 124 speaking 1862 organ for Saint-Sulpice, one of two and much about the famous French, Bel- pipe walls on tone, harmonic stops, and stops and 8,316 pipes, plus terracing of monumental organs he built in Paris dur- gian, and English organists who played pipe dimensions. These technical details divisions, layering of subtly differentiat- ing the Second Empire under Napoleon them: W. T. Best, Gigout, Gounod, Guil- are important, but Ebrecht disappoints ed stops, and crescendo to a tremendous
Selected to build a new organ for Østerhåb Kirke Denmark
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Serious about organ building
SEPTEMBER, 2012 17 “tutti.” There are some interesting curi- loughby family, an instrument thought to strument by a Danish organbuilder. He osities: In the Pedal, Basse Acoustique New Recordings have been built by Gerard Smith in 1690. begins with the first movement of the 32b and in the Great, Basse Acoustique The Gibbons and Tomkins pieces that Sonata in G Minor by J. P. Emelius Hart- 16b, terms normally used today for Re- David Butterworth plays come off well mann (1805–1900), a charming piece in sultant basses (Tartini, Helmholz). Also Towards a Modernist Organ: Three on the original stops, which have retained a classical-romantic style not unlike that 1 in the Great, Quinte Trompette 5 ⁄3b Organs in Nottingham—St. Mary’s their unequal temperament. Then, in of Hartmann’s younger contemporary and Clairon Doublette 2b (reeds used as Parish Church, Wollaton Hall, Albert the second half of the eighteenth century Mendelssohn. This is followed by three mutations), and the unique Violon Har- Hall, with bonus tracks recorded at the organ was rebuilt with the addition delightful character pieces by Jesper monique 4b as a Solo (top manual) reed. the German Lutheran Church and of a short-compass Echo division and a Madsen (1957–1999) and a choral fanta- Long imagined as a misprint, Mutin Halam Court. David Butterworth, tierce mixture on the Great. The latter sy on Lobe den Herren by Lasse Toft retained it in the Positif in his revision organist. Fugue State Films DVD stop sounds particularly fine in the Stan- Eriksen (b. 1978). of the stoplist in the early 20th century, and CD, FSF-DVD 006, available ley Voluntary in G. David Butterworth’s The first of the organs featured on and Jean Huré went so far as to claim from
SEPTEMBER, 2012 19 Organs in Corsica and Southern France June 7–13, 2012 Helen VanAbbema Rodgers
Group at Monticellu organ (photo credit: Don Auberger) Marie-Louise Langlais at St. Maximin (photo credit: Don Auberger)
rom treacherous hairpin turns fi nally Freaching a remote Corsican village to play a tiny historic Italian treasure to the magnifi cent new Monaco Cathedral organ, our unique and carefully planned organ trip built a steady crescendo un- like any I have ever experienced. Most of us were veterans of previous organ trips (British and French Organ Music Seminars—BFOMS) arranged by Christina Harmon, Dallas organist and composer. The trip organizer was Marie-Louise Langlais, with whom Harmon has a longstanding working friendship. Assisted by Parisian organist Sylvie Mallet, Dr. Langlais was with us every step of the way. Our Corsican expert was Jean-Louis Loriaut, who for three days fascinated us with tales of local politics, history, and religion. Since 2000, the Parisian-born organbuilder, married to Corsican organ- The blue lights of the Monaco Cathedral ist Viviane Loriaut, has been restoring organ (photo credit: Don Auberger) and preserving these largely untouched instruments, an organ heritage consist- Monaco Cathedral (photo credit: Don Au- Nice Cathedral at night (photo credit: Don After the days on buses, the walking ing of 102 pipe organs on this island. berger) Auberger) organ tour in lovely Nice to play at Notre A small group allowed for ample play- Dame Cathedral and Eglise St. Pierre ing time. On the small organs in villages on the island that keep the traditional and were met by the venerable organist d’Arène was most welcome. Local organ- of La Porta, Pedicroce, Aregno, and indigenous chant style of singing alive at St-Maximin, Pierre Bardon. Luxuri- ist Stephane Eliot impressed us with his Monticellu, we offered Frescobaldi, Zi- and well. This chant, which began in the ous playing time here! lunch order of steak tartare as well as his poli, and Marcello. Pedicroce, meaning 16th century, is fi lled with improvisa- The next morning we visited the active playing of the Jongen Toccata. Later that foot of the cross, had the oldest organ, tory passages and enchanting melismas, parish of St. Vincent de Paul in Marseille, evening the trip reached its apex at the dating from 1617. The Aregno organ had along with unique timbres and meters, a façade that bears a strong resemblance Cathedral of St. Nicholas in Monaco with 19th-century percussion added to the making it much different from typical to Ste. Clotilde in Paris. This fi ve-manual our esteemed host Olivier Vernet. Ver- Ripieno, so this organist played Balbastre chant. It was impossible not to feel both organ is the combination of three previ- net dazzled us with a beautiful improvi- “Ou s’ont les gais Bergers?” with amus- the profound spirituality and the earthy ous organs housed in the church for an sation, imbued with many jazz elements, ing effects. More amusing was the large humanity of this music. impressive musical effect. Marseille or- while the organ reacted by changing herd of running sheep skirting our bus, After an early morning fl ight to the ganist Robert Martin led us to a fi ne colors. Each of us was then able to play carefully managed by an overworked dog mainland, we played the organ in the Ca- café for lunch, and at this point I will say the dazzling (and with changing colors as we left the village! thedral of Aix-en-Provence. Then came the trip excelled in gourmet delight led that Messiaen would have loved!) new In the large port city of Bastia we the highlight, the large 1772 Isnard at by our local experts. organ built by Belgian organbuilder Do- visited the largest church, St. Jean St. Marie Madeleine in Saint-Maximin. In Roquevaire, deep in the heart of minique Thomas on into the night, with Baptiste, and the beautiful Chapelle We knew something was about to hap- Provence and only thirty miles from Grace Kelly at rest in the apse. St. Croix. During our last dinner in pen as Dr. Langlais’ excitement grew Marseille, Dr. Langlais gave a stimulat- More friends (from France, Singapore, Corsica we were spellbound by an a (this is her favorite organ outside of ing masterclass on Vierne and Langlais. and U.S.) made for the musical journey cappella men’s quartet, one of several Paris), and as we approached this organ Organists played Pierre Cochereau’s of a lifetime, and much-needed inspira- keyboards on this refurbished organ at tion to learn more organ repertoire was L’Eglise St. Vincent. The organ of over gained by all. Thank you, Christina Har- 100 ranks began as a memorial project mon and Marie-Louise Langlais, who to the late great Notre Dame organist make the impossible dream of playing and improvisateur Pierre Cochereau these instruments come true. Q (1924–1984). In the summer of 1997, the FOMS group visited Rocquevaire Helen VanAbbema Rodgers has been direc- while this organ was lying in thousands tor of music at St. James Episcopal Church in of pieces on the fl oor, awaiting assem- Fairhope, Alabama, for 20 years, where she directs three choirs, plays a Schlicker organ bly. Since that time, this church in Roc- and a 14-rank 1896 Hook and Hastings or- quevaire has become home to a very ac- gan, and adminsters the St. James Concert tive organ concert series. Series. Her organ and choral repertoire has been greatly inspired by organ-playing trips to England, France, Germany, and Spain. Fruhauff Mussiic Publliicattiionss Don Auberger is music director at St. Boni- Compositions, Historical Transcriptions, Hymn Tune Settings & Liturgical Music face Church, Cincinnati, Ohio, and area rep- Scores for Organ, Voices, Carillon & Ensembles resentative for the Allen Organ Company. He www.frumuspub.net is retired Vice-President & CFO of the Cin- D P.O. Box 22043 E cinnati Symphony Orchestra and has been a Santa Barbara, CA 93121-2043 frequent participant in the French Organ Mu- sic Seminar programs.
20 THE DIAPASON Ninth International Organ and Early Music Festival Oaxaca, Mexico, February 15–20, 2012 Cicely Winter
he ninth festival had barely fi nished Tbefore people were clamoring to know when the next one would be! Once again, the Instituto de Órganos Históri- cos de Oaxaca (IOHIO) offered a unique celebration of Oaxacan culture based on the historic pipe organs. Over the course of fi ve and a half days, participants could enjoy concerts on six Oaxacan organs; two choral concerts in splendid colonial venues; one harpsichord and fl ute con- cert in a village church; visits to eleven unrestored organs with guided tours of their churches, many of which are usu- ally inaccessible to the public; a guided tour of the archeological site of Monte Albán; a guided tour of the colonial churches of Oaxaca City; the opportunity for organists to play some of the organs; a presentation about the Oaxacan organs; an exhibit of manuscripts related to the organs from local archives; and a chance Cicely Winter, Church of San Matías, Jalatlaco (photo: José Luis Pérez Cruz) to savor the famous Oaxacan cuisine in three villages. The festival attracted more than 100 Elisa Freixo concert, Oaxaca Cathedral experts, students, and afi cionados in fi elds related to organs, music, colonial the front in the choir loft. This elegantly art, and Oaxacan culture in general. The proportioned blue 8′ organ was built in concerts were packed, and there were 1866 by the distinguished Mexican (Oax- more local people in the audience than acan?) organbuilder Pedro Nibra and ever. Attendance was approximately 260 was recently evaluated by organbuilder people in the cathedral, 150 in Huaya- Gerhard Grenzing (Barcelona) for a pos- pam, 380 in La Soledad, 230 in San Pablo, sible future restoration. 150 in Tamazulapan, 150 in Yanhuitlán, It is always interesting see how the 180 in Zautla, and 150 in Tlacochahuaya. group splits up when we enter a church, The star performer was the internation- with the organbuilders scurrying up to ally acclaimed Brazilian organist Elisa the choir loft, the lovers of colonial art Freixo, who played the inaugural and fi - gravitating to the altarpieces (retablos), nal concerts. Twenty-fi ve Mexican musi- those with anthropological inclinations cians were invited to participate as well: talking to the local people, and oth- four organists, 14 singers, three guitar- ers just wandering around enjoying the ists, two percussionists (both Oaxacan), overall experience. a fl utist, and a harpsichordist, as well as a Our next stop was in San Juan Teiti- chorus of 14 singers. Also in attendance pac, where Richard Perry and art histo- were 11 young Mexican organists and or- rian Janet Esser offered an explanation Church of San Jerónimo, Tlacochahua- Concert at San Andrés, Huayapam: San- gan students from Guanajuato, Morelia, of the famous 16th-century Dominican ya (photo: José Luis Pérez Cruz) tiago Alvarez, Jazmín Rincón Mexico City, and Oaxaca. In addition to mural at the entrance of the former con- the musicians, we were honored to have vent. Inside the baroque-style church, Oaxacan historical treasure. The case of a visit to the archeological site of Monte with us Richard Perry, author of several we viewed the empty 18th-century organ this monumental 8′ organ is elaborately Alban with Marcus Winter (INAH), the books on Mexican colonial art, who guid- case, which was painted light blue and decorated and bears the earliest date opportunity to play the organs in the Ba- ed the church tours. converted into a confessional in the 1970s. of any Oaxacan organ: 1686. The inte- silica of La Soledad and the Cathedral, It was later abandoned in a storeroom, rior components were rebuilt during the or a guided tour by Richard Perry of the Wednesday, February 15 where the IOHIO found it some years 18th century, and the organ was restored most beautiful colonial churches in Oax- The events began with the inaugura- ago and moved it back into the church. in 2000. aca City. tion of the festival and reception in the We proceeded to the church of San That afternoon, Cicely Winter pre- Oaxaca Philatelic Museum (MUFI). Jerónimo Tlacochahuaya, considered Friday, February 17 sented a talk in the Francisco de Bur- María Isabel Grañen Porrúa, presi- to be one of the loveliest in Mexico, Participants could choose one of three goa Library about “The Historic Organs dent of the Fundación Alfredo Harp with its exuberant interior fl oral decora- options for the Friday morning activity: of Oaxaca and the Work of the IOHIO.” Helú Oaxaca, and Eloy Pérez Sibaja, tion and exquisite baroque altarpieces, director of the Oaxaca Regional Center all recently restored. The focus of the of the Instituto Nacional de Antropología visit was the church art rather than the Scattered leaves ... from our Scrapbook e Historia (INAH), offered words of con- organ, since there wouldn’t be time to gratulations and the support of their re- view it calmly after the upcoming con- spective institutions, after which Cicely cert on Sunday. Winter, director of the IOHIO, spoke Mexico City artists Santiago Alvarez about the goals of the festival. (harpsichord) and Jazmín Rincón (ba- From a review of Schoenstein’s Böhm Flute, The fi rst concert of the festival took roque fl ute) presented the second con- Ken Cowan Plays as well as the enormous place in the Oaxaca Cathedral. Elisa cert of the festival, entitled “A musical Romantic Masterworks dynamic range made Freixo offered a program of 16th– voyage through 18th-century Europe,” (Raven OAR 903). possible by multiple layers 18th-century repertoire by composers of in San Andrés Huayapam on the out- of expression devices. diverse nationalities, and her character- skirts of Oaxaca City. Their delightful The Lincoln Schoenstein Cowan seems to own istically elegant style set the high tone for program was enhanced by the main al- has plenty of theatri- each of these works; his the musical events to follow. Because of tarpiece behind them, one of the most cal tonal resources that technical and musical the position of the organ in the choir loft, beautiful in Oaxaca, whose intricate make this music most mastery allow him to per- the organist’s back is to the audience, so carving is referred to as “gilded lace.” ′ delightful! All of these form with abandon and the concert was projected onto a screen The 4 table organ (1772), originally works give Cowan ample spontaneity, while always in the church. In this way it was possible painted bright red, has been evaluated opportunity to explore remaining in full control. to see how the registers were changed for a restoration, since it is nearly intact. and watch Elisa’s hands as she played. We were refreshed by a drink of tejate, the seemingly endless This is not to be missed. The monumental organ (1712) retains its of pre-Hispanic origin and a specialty of array of tonal colors this opulently carved and gilded upper case, this community, followed by a delicious organ offers, including James Hildreth but its lower case has been rebuilt sev- meal of mole amarillo in the atrium of the pizzicato pedal and The American Organist eral times and there is no evidence of its the church. original appearance. However, one can That night Cicely Winter presented assume that it was once as richly deco- the third concert of the festival in the rated as the upper case. Basílica de la Soledad, accompanied by Oaxacan percussionist Valentín Thursday, February 16 Hernández. Joel Vásquez and Andrea The fi rst full day of activities began Castellanos were indispensible in pull- with a visit to the church of San Matías ing the stops, since this music required Jalatlaco, located on the edge of the his- many changes of registration. The huge Schoenstein & Co. toric center of Oaxaca City. We ascended church was packed and the crowd most the fi rst of the many winding stone stair- enthusiastic, even singing along and Established in San Francisco 1877 cases we would encounter in the days swaying in time to a program of well- www.schoenstein.com ❧ (707) 747-5858 ahead, in order to view the organ from known Oaxacan folk music, played on a
SEPTEMBER, 2012 21 Concert, Santa María de la Natividad, Tamazulapan: Laura Carrasco, Elisa Freixo (photo: José Luis Pérez Cruz)
Concert in Basílica de la Soledad: Valentín Hernández, Joel Vásquez, Andrea Cas- tellanos, Cicely Winter
Although the title of the talk does not instrument is decorated in a style closely change from year to year, the content resembling that of La Soledad. does, and the images of the organs and As in years past, the Federal Road and of the various IOHIO projects spoke for Bridge Commission (CAPUFE) opened themselves. The talk was followed by a an entrance from the superhighway, al- spirited discussion among the organists lowing us direct access to San Andrés and organbuilders about conservation Zautla and saving us over an hour of and restoration issues. travel time. The fi esta and concert in This was followed by an exhibit of Zautla are always a highlight of the fes- documents related to music from various tival. We were received in the atrium of Oaxacan archives. Entitled “Musicógra- the church by the local band with mez- fos y Melómanos,” the exhibit included cal, necklaces of bugambilia, and danc- 16th–20th-century printed documents ing. We then followed the band to the and manuscripts from Europe, Mexico, patio behind the church for a sumptuous and Oaxaca. meal featuring estofado de pollo, a deli- The fourth concert of the festival took cious Oaxacan stew. place in the newly restored Centro Aca- The seventh concert of the festival, démico y Cultural San Pablo. The presented by various Mexican musicians, baroque ensemble Melos Gloriae, di- took place in Zautla’s lovely baroque rected by Juan Manuel Lara, offered a church. Organist Laura Carrasco Gabriela Edith Pérez Díaz with Terceto Cuicacalli guitar ensemble, Tamazulapan captivating program of “Polyphonic Mu- played works from archive manuscripts (photo: José Luis Pérez Cruz) sic—Francisco López Capillas (1614– in Morelia and Puebla, as well as a set of 1674),” the most prolifi c Mexican com- verses from the Notebook of Psalm Tones poser of baroque Masses. The acoustics of Sor María Clara del Santísimo Sacra- were splendid as the choir sang from the mento (the 19th-century Oaxacan nun second story of the former convent. who compiled the pieces in the note- book) from the Oaxaca Cathedral. Saturday, February 18 As in Tamazulapan, the organ alter- Our caravan of seven vehicles jour- nated with the marimba (Gabriela neyed through the mountainous Mix- Edith Pérez Díaz) and the guitar en- teca Alta region to Santa María de semble Terceto Cuicacalli. The con- la Natividad Tamazulapan for the cert was projected on a screen, which fi fth concert of the festival. Organists allowed the public to watch the action Laura Carrasco and Elisa Freixo in the choir loft: the bellows pumped by played charming pieces appropriate for hand and the registers controlled by lat- this 2′ processional organ, situated in a eral slider tabs. high side balcony overlooking the huge After the concert, interested local nave of the church. They were joined by folks and visitors climbed up to the IOHIO organist Joel Vásquez and his choir loft to hear an explanation of the young student Isaí Guzmán. organ’s history and construction and ad- As in years past, we have featured mire it up close. The case of this 4′ table music on other instruments to alternate organ (1726) is exquisitely painted with with this small organ. Oaxacan percus- images of Saints Peter and Andrew and sionist Gabriela Edith Pérez Díaz and four archangels. the Terceto Cuicacalli guitar ensemble from Mexico City (Diego Arias Ángel, Sunday, February 19 Miguel Ángel Vences Guerrero, and The fi rst stop in our second Tlacolula Eduardo Rodríguez de la Torre) add- Valley tour was Santa María de la Asun- Laura Carrasco concert, San Andrés, Santa Mariá de la Asunción, Tlacolula, ed variety to the program with pieces by ción Tlacolula. Once again we experi- Zautla 8′ organ J. S. Bach transcribed for marimba, and enced the exciting moment of reaching by Vivaldi and more modern compos- the top of the winding stone staircase to We then traveled to San Dionisio possibilities of the organ and projected ers for guitars. Afterward, we admired see yet another unique instrument face Ocotepec to view one of Oaxaca’s earli- rich sounds and tone colors rarely heard one of the most splendid altarpieces in to face in the choir loft. Dating presum- est and most important organs (the date on this instrument. Built sometime be- Oaxaca, which includes paintings by the ably from the 18th century, this stately 1721 appears on a label in the inside of fore 1735 and restored in 1991, this is renowned 16th-century Spanish painter 8′ organ is nearly complete and has the the case). The lower case of this tall 4′ the most famous of the Oaxacan organs. Andrés de la Concha. most elaborately painted façade pipes in stationary instrument is narrower than The case and pipes are exquisitely deco- No matter how carefully we try to all Mexico. A proposal for its restoration the upper, an unusual design in earth- rated with fl oral motifs, and the organ plan the schedule, there are always “sur- by Gerhard Grenzing is being evaluated quake-prone Oaxaca. The organ came harmonizes beautifully, both visually prises” beyond our control. This time it by the INAH in Mexico City. We also close to being destroyed just around and acoustically, with the architecture was the highway construction that de- viewed the little 2′ 18th-century pro- the time the IOHIO made its fi rst visit of the church. As in some of the other tained us for an hour en route to Santo cessional organ, the smallest in Oaxaca, in 2001. Its decorated doors had fallen churches, the concert was projected on a Domingo Yanhuitlan. which was built for the baroque chapel off and were luckily retrieved, framed, screen. In this way people could see how Luckily, the sixth concert of the festival of the Señor de Tlacolula, currently un- and hung in the sacristy. The sacristans the registers were changed and watch by the choral ensemble Melos Gloriae dergoing restoration. brought the former doors to the choir the organist’s hands as she played. had just started when we fi nally arrived, This year for the fi rst time, we pro- loft so that participants could see on one We were delighted to have with us at and we were able to savor the program of grammed a visit to the church of San of them, King David playing his harp, several of our festival concerts Don Al- “Sacred Music from the Museo Nacional Miguel del Valle, whose bell towers are and the other, Santa Cecilia playing the fredo Harp Helú and his wife, María del Virreinato” in the vaulted stone space decorated with glazed pottery dishes im- Ocotepec organ, with the bellows behind Isabel Grañen Porrúa, president of of one of the most imposing 16th-centu- bedded in the stucco. The 4′ table organ and the original façade decoration. the Alfredo Harp Helú Foundation in ry buildings in the Americas. Organist appears to date from around 1800 and Elisa Freixo presented the eighth Oaxaca (FAHHO). The IOHIO is hon- Abraham Alvarado played a selection has neo-classic design features. Even concert of the festival in San Jerónimo ored to be included among the many of French pieces to demonstrate the though the pipes and keyboard no longer Tlacochahuaya, which culminated the cultural projects of the Foundation and sound of the organ. Built around 1700 exist, the organ still retains its windchest musical aspect of the festival. Her var- especially appreciates Don Alfredo’s and restored in 1997, this magnifi cent 8′ and original bellows. ied program highlighted the musical interest in supporting organ restora-
22 THE DIAPASON Tlacolula small processional organ Elisa Freixo concert, San Jerónimo, Tlacochahuaya
San Miguel del Valle table organ
San Miguel del Valle church Santa María, Tiltepec organ (photo: José Luis Pérez Cruz) tion projects over the past years. These include fi ve of the seven restorations in at Smith College and the University of Oaxaca (though Fomento Social and Fo- Organ, Santo Domingo, Yanhuitlán (pho- Michigan, where she obtained a B.A. in mento Cultural Banamex) and the resto- to: José Luis Pérez Cruz) music and an M.A. in European history. She later studied piano performance at the rations of the two monumental organs in post-graduate level in the School of Music the Mexico City Cathedral (the second of Organ, San Mateo, Yucucui (photo: José lage churches, more CDs of festival con- at Indiana University. She presents organ, which is in process) in collaboration with Luis Pérez Cruz) certs, a book about the Oaxacan organs, piano, and harpsichord concerts regularly, the organbuilder Gerhard Grenzing. continuing documentation and conserva- many of which benefi t community service the church of Yanhuitlán, since there tion work, and at least one organ restora- projects. In the year 2000 she co-founded Monday, February 20 hadn’t been adequate time to appreci- tion. By the time we meet again, there the Instituto de Órganos Históricos de Our second all-day trip to the Mixteca ate the church art and architecture after will be a lot to celebrate! Q Oaxaca A.C. (IOHIO) and since then has Alta began with a visit to the unrestored Saturday’s choral concert. Although the served as its director. The IOHIO focuses organ in Santa María Tinú. The little church was closed that day, our friend Cicely Winter grew up in the state of on the protection and promotion of the six- stone church houses two baroque altar- the custodian opened it for us specially. Michigan, but has lived in Oaxaca since ty-nine historic pipe organs known to date pieces and a disproportionately large or- This church is one of the jewels of 16th- 1972. She studied piano and harpsichord in the state of Oaxaca. gan (1828). Perhaps the organ was origi- century architecture in all the Americas, nally commissioned for a bigger church and it was amazing to have this space all or perhaps the community simply wanted to ourselves. something grand. The organ, completely Our fi nal church and organ visit was intact and played just a generation ago, in Santa María Tiltepec—for some, A Precious Gift still grunts and wheezes when the bellows the crowning visual experience of the located in the loft above are pumped. fi eld trips. Built in the 16th century Some years had passed since we last as an open chapel atop a pre-Hispanic from the Past included a visit to the organ in San An- temple, the 17th-century church has drés Sinaxtla in our festival tour, so it long been appreciated by art historians was of particular interest to our regular for its richly carved, asymmetrical fa- for the Present participants to see it this time. This in- çade. The organ is one of Oaxaca’s old- strument is neo-classic in design, richly est (1703) and is unique in its technical carved but unpainted. Most unusual is design and colorful, whimsical carved and the Future the inscription across the façade of the (not painted) decoration. organ including the date of construction We then walked down the hill and Supremely beautiful and blendable (1791), the cost, and the name of the do- across the river to the home of the Cruz tonal color – a Gift from the Venetian nor (a personal statement unthinkable a Martínez family for our farewell din- half century before). ner. We feasted on barbacoa de borrego, School of organbuilding, a monumental part of our Just up the road from Sinaxtla, the lamb barbecued Oaxacan style, cooked JUHDWKHULWDJH7KHUHVXOW DYHUVDWLOHDQGÁH[LEOH community of San Mateo Yucucui sits in the ground over hot rocks and cov- SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN on a promontory overlooking the Yanhu- ered with maguey leaves. Mezcal from itlán Valley. It is said that when this 8′ San Bartolo Yautepec fl owed freely, and organ was played, it could be heard for everyone had one last chance to relax Intriguing? Let us build your dream. miles around. The organ (1743) was nev- and enjoy the festival company before er painted or gilded, probably because returning to Oaxaca. the parish ran out of money, but is richly Participants in the ninth festival were carved and still has its original keyboard. enthralled by their Oaxaca experience, The fl oor of the high balcony on which and the village authorities, who always the organ sits is much deteriorated, but received us with ceremony and respect, the custodian had laid down some planks were equally pleased by our attention so that participants could get a closer to the organs in their communities. It is look at the organ. clear that the promotion of the organs Because of the delay on Saturday due during our festivals is one more step to- Builders of Fine Pipe Organs to the World to highway construction, we decided ward guaranteeing their preservation. to change our plan so as not to venture The IOHIO has many pending proj- www.ruffatti.com beyond Yanhuitlán and unfortunately ects between now and the tenth festival had to eliminate the visits to Tejupan (tentatively planned for February 2014), Via Facciolati, 166 Padova, Italy 35127 [email protected] In the U.S. 330-867-4370 and Teotongo. Instead we returned to including organ concerts in city and vil-
SEPTEMBER, 2012 23 Like Father, Like Son: A Conversation with Lee and Scott Dettra Joyce Johnson Robinson
Young Scott practicing piano at home
U.S. Military Academy in West Point, New York. During these years Scott and I both served as accompanists of the Masterwork Chorus in New Jersey un- der Andrew Megill. When I retired from West Point, my wife and I moved back to Delaware, where I served Immanuel Episcopal Church on the Green in New Scott Dettra at Washington National Castle for six years. Cathedral JR: When did Scott show interest in Dettra performs throughout the United the instrument? States and Canada under the manage- LD: From a very early age he exhib- ment of Karen McFarlane Artists. ited interest, ability, and a natural tal- ent for music. He began organ study at Scott Dettra and Lee Dettra following Lee’s recital at Washington National Cathe- Joyce Robinson: Do you have any around age eight, after several years of dral, January 25, 2011 musical ancestors? And are any of piano lessons. During high school he your grandchildren musical? served as organist for churches in High- hese days, while it is not uncommon for sons and daughters to follow in their par- Lee Dettra: My parents were ama- land Falls, New York, and Newburgh, Tents’ footsteps and become doctors, lawyers, and corporate chiefs, it is somewhat teur violinists and actually met playing in New York, before entering college. unusual for offspring to take up the “family business” if that business is playing the the Norristown, Pennsylvania Commu- organ. The Dettra family brings to mind other musical fathers and sons. In fact, three nity Orchestra in the 1930s. My moth- JR: Were you able to give him access Dettras are organists—Lee, Lee’s brother Philip, and Lee’s son, Scott. What makes a er taught public school music, having to the major instruments you played? musical dynasty tick? We discussed this with both Lee Dettra and his son Scott. earned a music education degree from LD: Beginning in Wilmington, and Beaver College. Janet’s and my grand- continuing at West Point, Scott had ac- daughter (the oldest of our four grand- cess to the organs, where he practiced children) plays the trombone in her high and had his lessons with me. He even- school band. tually gave several recitals on the West Point organ in recent years. JR: How did you and your brother Philip become interested in the or- JR: Have the two of you ever gan? What was your training? worked together, or presented any LD: My grandparents purchased a duet programs? home organ when I was nine, and I be- LD: In his early years Scott and I gan organ lessons with my piano teacher gave some recitals together, where we in Pennsylvania, Eleanor Fields Holden, included some duets. Then at Trinity a Curtis grad. My younger brother Phil- Church in Princeton, when he was as- ip, now an accomplished pianist and ar- sistant organist there, we presented a chitect as well as a church organist and “Dueling Organs” recital, where we choirmaster in North Carolina, soon fol- played a Sousa march encore with both lowed with piano study and eventually of us at the same organ. organ study. When my family moved to Florida when I was in junior high, I fi rst JR: You have held positions in large studied organ with Herman Siewert at and prominent churches and cha- Rollins College, and, when he retired, pels, including at West Point. What Lee Dettra at the West Point console with Ruth Richardson Carr at Stetson advice did you pass on to Scott about University. Philip and I both studied handling such a responsibility? Lee Dettra retired four years ago Scott Dettra is director of music at the piano with Maude Beiser when we were LD: Do your best, taking changes after 53 years of serving churches and Church of the Incarnation in Dallas, Tex- in high school. During this time I served in your stride, and even if you have ten universities in Florida, Pennsylvania, as, where he oversees one of the nation’s two churches as organist in our home weddings to play in one day, as I did once New York, and Delaware. A graduate largest Anglican music programs. Prior to town, Mount Dora. at West Point, try to keep it all “fresh”! of Westminster Choir College, he also his appointment in Dallas, he was organist I began college at Houghton, where earned the Master of Sacred Music de- and associate director of music at Wash- I studied organ with Charles H. Finney JR: Can you tell us a bit about your gree from Union Theological Seminary ington National Cathedral for fi ve years. and piano with Eldon Basney. I then West Point position—was it at all dif- in New York City, and holds the Ameri- A native of Wilmington, Delaware, Scott transferred to Westminster Choir Col- ferent from an organist-choirmaster can Guild of Organists’ Fellowship and Dettra holds two degrees from Westmin- lege (graduating in 1963), studying with position at a church? What was the Choir Master certifi cations. His study ster Choir College and has studied jazz Theodore Keller and then Alexander required repertoire? of the organ was mainly with Alexander piano at Manhattan School of Music. His McCurdy (both Farnam students). Af- LD: It was a joy and a privilege to McCurdy and Searle Wright. principal organ teachers have been Joan ter serving in my fi rst full-time church work with the fi ne cadets at the U.S. Mil- In 1985 Lee Dettra was appointed by Lippincott, Dennis Keene, and his father, position in Lancaster, Pennsylvania, I itary Academy. My duties included con- President Reagan as organist and choir- Lee Dettra. He is also organist of The entered the School of Sacred Music at master of the Cadet Chapel at the U.S. Crossing, Philadelphia’s new-music choir. Union Seminary in New York, where in Military Academy, West Point, where He has performed at national conven- 1968 I earned the Master of Sacred Mu- he served until 2000. There he pre- tions of the American Guild of Organists, sic degree, studying with Searle Wright. sided over the 325-rank, 20,142-pipe the Association of Anglican Musicians, About this time I earned the AGO’s Fel- organ and conducted the Cadet Chapel and the Association of Lutheran Church low and Choir Master certifi cations. I Choir, which sang at the annual service Musicians. Festival appearances include then served First Presbyterian Church for the U.S. Army at Washington Na- the Lincoln Center Festival, the Carmel in Sharon, Pennsylvania (also teach- tional Cathedral. Bach Festival, the Arizona Bach Festival, ing organ at Thiel College), and then Lee and his wife Janet, who live in the Bermuda Music Festival, and the First and Central Presbyterian Church Delaware, have three children and four Piccolo Spoleto Festival. in Wilmington, Delaware, where I also grandchildren. He was the fi rst organ His debut recording, Tongues of Fire founded and conducted Wilmington’s teacher of their son Scott, who has been (Pro Organo), featured French music Center City Chorale, and taught organ organist and associate director of music performed on the 325-rank organ of the at the University of Delaware. at Washington National Cathedral for Cadet Chapel at West Point. Majestus It was during this time that Scott, our the last fi ve years and is now director of (Loft) features large-scale organ favor- youngest of three children, was born. music at the Church of the Incarnation ites performed on the Great Organ of From 1985 to 2000 I was organist and in Dallas, Texas. Washington National Cathedral. Scott choirmaster of the Cadet Chapel at the Lee & Scott Dettra play a duet at home
24 THE DIAPASON Scott Dettra tries out the West Point organ ducting the Cadet Chapel Choir (which Cathedral Choir School of Delaware. sang for the Sunday morning Protestant I am enjoying once again being part service and did some touring), teaching of weekly playing—on the Noack and Lee and Scott at First and Central Presbyterian Church, Wilmington, Delaware a music appreciation course in the Eng- Möller organs there. lish department, giving VIP tours of the § four weeks. It was Advent of 1984, if I with jazz piano quite a bit while in high 1500-seat Gothic Cadet Chapel, con- recall correctly. There was no choir to school and actually began my college ca- ducting Handel’s Messiah with orchestra Joyce Robinson: Tell us about begin- conduct. I prepared a prelude and post- reer at Manhattan School of Music as a and chorus each December, planning ning organ study with your father. lude each week, along with hymns and jazz piano major. I think that was the ex- the organ recital series, playing carillon Scott Dettra: I grew up watching my service music. My mother took me on tent of my teenage rebellion! recitals, playing for many funerals of father play the organ in church and was Sundays because Dad was busy at his graduates, overseeing the maintenance fascinated by both the music and the in- own church, obviously. JR: What about study with your oth- of the organ, and playing the Cadet Cha- strument. For as long as I can remember, er teachers? pel organ for the Protestant service and I wanted to do what he did. I don’t spe- JR: And you played at Riverside SD: After one semester at Manhattan many weddings (attending their rehears- cifi cally remember our very fi rst lessons, Church when you were eleven. School of Music, I changed my major als as well). although I know they were when I was SD: John Walker invited me to play to organ performance and studied with eight years old. I had been taking piano at Riverside for their Youth Sunday in Dennis Keene. Although I only worked JR: Just how many weddings? lessons since I was three, so I already had 1986 after he and I met at West Point, with him for one semester, this was a LD: Any weekend might include four several years of keyboard experience un- where he was playing a recital on my very important time for me in my de- rehearsals and four weddings, with my der my belt. People always ask if I could father’s series. I played the postlude— velopment as an organist. He was the busiest weekend involving 21 weddings, reach the pedals when I was eight and Toccata and Fugue in D minor (no fi rst teacher I had ever had besides my ten of which were every hour following the answer is yes, although I could only less!). Obviously, it was a thrilling mo- father and his teaching engaged me in a two Sunday morning services. Many reach with my toes originally (great prac- ment for an eleven-year-old! new way. I still use and value many of the weddings required much organ reper- tice for when I later learned about Ba- things I learned from him during that se- toire, as I tried not to repeat preludial roque performance practice!). Some of JR: Is your mother musical, too? mester and am very thankful to have had music too often. (Most processionals the topics I remember covering in early How did she manage in a multi-or- the opportunity to study with him. When and recessionals got repeated many lessons were legato, fi nger substitution, ganist household? I transferred to Westminster Choir Col- times, though!) basic registration, and hymn playing. SD: Mom is a registered nurse and lege I studied with Joan Lippincott, who doesn’t play any instruments. She enjoys is wonderful in every possible way. I fi n- JR: One biographical item mentions JR: How were lessons handled? singing and has sung in Dad’s church ished out my college years with her and television recording, including for SD: We didn’t have a regular schedule choirs for as long as I can remember. continued on for my master’s. I am so the BBC. Please tell us about that. for lessons. We would just have one when- Obviously, she has heard more than her thankful for the time I spent studying LD: While at West Point I recorded a ever it was convenient. If I had a day off share of organ music over the years and with her and treasure our relationship to few pieces several different times for the from school I would go to work with Dad, has always been a great support for both this day. BBC, as well as for some American pro- practice all day, and have a lesson. We also of us. grams. These featured the West Point had a one-manual and pedal instrument at JR: Your prior position was as organ- organ—now 390 ranks—the world’s larg- home that Dad built from a kit. So there JR: Did you ever want to do any- ist at Washington National Cathedral est organ in a religious building and third was always an organ available. thing else? in Washington, D.C. Were you at all largest in the world, surpassed only by SD: When I was in the second or third affected by the recent earthquake the Atlantic City Convention Hall organ JR: You were only nine years old grade, I was fascinated by some of the there? and the Wanamaker Organ in Philadel- when you had your fi rst job. early personal computers and remember SD: Life at the cathedral was excit- phia, which Scott and I have both played. SD: My fi rst church job came through telling people I wanted to be a computer ing and busy. The earthquake caused While at West Point I recorded a CD— my father. Silverbrook United Method- programmer. But I never seriously con- considerable damage and forced us West Point Classics, which is available ist needed an interim and I played for sidered another profession. I did fl irt to close the building for almost three through the Organ Historical Society. (Scott’s CDs are available there, also.) JR: You have helped present a POE. How did it go, and how did it make you feel about the organ’s future? LD: I was very encouraged by the tal- ent and enthusiasm of the 30 students who participated in the Wilmington, Del- aware POE in June 2011. Even at the var- ious levels of playing exhibited, all were so enthusiastic, and so grateful to fi nd others their age who were also interested! JR: What changes have you observed in the organ world? LD: Of course, the knowledge of ear- lier performance practice has colored interpretation greatly since my fi rst or- gan study. The other change, as exem- plifi ed by POE attendance, has been an increased interest in the organ, giving much hope for the future! JR: How are you spending your time in retirement? LD: In 2008, after 53 years of serv- ing churches and universities in Florida, Pennsylvania, New York, and Delaware, I retired from regular church work, but have done a lot of substituting, as well as quite a few organ recitals. Actually, this year I am serving as assistant organist of the Episcopal cathedral in Wilmington, Delaware—the Cathedral Church of St. John—assisting Eugene Lavery in the fi ne program there, which includes the
SEPTEMBER, 2012 25 Scott’s fi rst job at age 9, Silverbrook United Methodist Church, Wilmington, Delaware Scott posing at Riverside Church, 1986
Scott, age 11, plays postlude on Youth Sunday at Riverside Church, April 1986 Young Scott Dettra at West Point months. It will take many years and the job. With seven choral services SD: My concert career is very im- Incarnation. Having had the privilege tens of millions of dollars to repair each week, the choir and organists go portant to me. I love playing recitals, to assist several excellent directors in a all of the earthquake damage. During through a vast amount of repertoire traveling to places I have not yet been, number of prominent programs—John the closure, many services and events very quickly. I loved that there was at meeting new people, and playing a va- Bertalot, Jim Litton, Mark Dwyer, and were moved to other venues (includ- least one service to play almost every riety of instruments. Being under man- Michael McCarthy come to mind imme- ing major services for the opening of day I came to work. agement with Karen McFarlane Artists diately—I have a strong urge to run my the Martin Luther King, Jr. Memorial has certainly shed a new spotlight on own program at this point in my career. and an entire weekend of services and JR: You gained some new and no- that part of my career, for which I am The program at the Church of the Incar- concerts for the tenth anniversary of table exposure at the 2010 AGO very grateful. nation offers everything I’m looking for, the 9/11 attacks), a logistical challenge convention, particularly for your including excellent choirs, a commitment met with the utmost distinction by the endurance in playing multiple pro- JR: Which are your preferred works to traditional Anglican liturgy and reper- entire staff. Happily, the organ did not grams on the same day. Obviously and who are your favorite composers? toire, and a large and active parish that we seem to have suffered any damage in you have inherited your father’s SD: For me, all music begins and ends can make the center of our family life. the earthquake. In fact, we used the stamina genes! Where do you get with Bach. His music has always been my downtime to repair some of the most your energy? fi rst love. Other composers for whom I JR: There seems to be a sort of mu- pressing maintenance issues threaten- SD: To be completely honest, I didn’t have a particular admiration are Franck, sical migration down to Texas! First ing the instrument. realize all three programs were sched- Widor, Durufl é, Brahms, Mendelssohn, the Hancocks moved back there; uled for the same day when I agreed to and Healey Willan. Ken Cowan and Isabelle Demers JR: What were the special challeng- them. That said, I approached it as a fun will be teaching there; and now you. es, especially musical challenges, of challenge. It was an exhausting day to JR: You studied jazz piano—was that Any thoughts on this? a position in such an internationally be sure, but we should all have a few of an end, or a means? SD: Several people have commented prominent cathedral? those now and then! As for where my en- SD: At the time it was an end, but now on the fact that Ken, Isabelle, and I are SD: The most challenging thing ergy comes from, I love to perform and I see it as a means. My high school band all heading to Texas at the same time. was the lack of practice time on the never have trouble gathering the energy director got me interested in jazz in a big I can only speak for myself when I say cathedral organ. The organists are un- necessary to do so. way. I had a church job throughout high that while I never pictured myself in able to practice during the day, when school, but my real love was playing jazz Texas, I have found there an exciting the building is open for tours. Another JR: Following the convention, you piano, not organ music. My background position that will challenge me and al- challenge was the musical pace. That came under management. Has that in jazz has certainly had an infl uence on low me to grow in new ways. And I will was also the thing I loved most about changed your life in any way? my organ playing, but not a large one. I be very happy to have such excellent think it infl uences my continuo playing colleagues nearby. more than anything. Realizing fi gured bass is really no different from reading JR: What are your goals and plans a jazz chart. for the future? SD: My main goal is to continue to JR: You have been involved with the grow as a musician, both in the church Embassy’s promotion of concerts— and on the concert stage. That means you presented recitals in Washington continuing to challenge myself with D.C., and also in Barbados. What is new projects, new repertoire, and new this program and how did you come ways of doing things. I would like to to be involved in it? grow as a conductor, an aspect of my SD: This has not been a formal- musical life I haven’t spent a great deal ized program so much as a few isolated of time cultivating thus far. I would events. In the case of my recital in Bar- also like to continue to record, but only bados last year, it was very exciting to when I feel I have something interest- work with our embassy there to connect ing to say about a particular part of the with music students in local schools. We repertoire. I also have non-musical played music for and with each other and goals and dreams, such as earning my had some very interesting question and private pilot’s license and hiking the Ap- answer sessions. palachian Trail. JR: Tell us about your new position JR: Thank you, Lee and Scott—hap- as director of music at the Church of py trails to you! the Incarnation in Dallas, Texas. SD: I could not be more excited about Joyce Johnson Robinson is associate editor my new position at the Church of the of THE DIAPASON.
26 THE DIAPASON The Recent Restoration of the Organ at Saint-Jean de Montmartre in Paris, France Carolyn Shuster Fournier
Photo 2. The two nameplates on the console (Photo by Dominique Fournier, published with his permission)
4′ Prestant 2′ Doublette Plein Jeu II–V with the following harmonic progression: C1 C2 C3 C4 2 1 2 2 ⁄3 4 5 ⁄3 Photo 1. Undated photo of the organ at Saint-Jean (Document Daniel Roth, published with 1 2 1⁄3 2 2 ⁄3 4 his permission) 1 2 1⁄3 2 2 ⁄3 1 1⁄3 2 1 In memory of Jean Bonfi ls and Xavier used initially to accompany the liturgy. 1⁄3 Darasse1 Placed in the tribune above the choir 8′ Trompette area in the 1960s, it was used to accom- The organs in Montmartre pany inexpensive funerals until the end Pédale (30 notes, C1–F3) 8 16′ Flûte (with 18 notes) The two-manual, 28-stop Cavaillé- of 1968. 16′ Soubasse (borrowed from the Coll/Mutin/Gutschenritter organ at the 2 Grand-Orgue Bourdon) Saint-Jean Church in Paris was restored The organ at Saint-Jean (See photo 1) 8′ Flûte (borrowed from the Grand- between August 2009 and October 2010 In 1910, Charles Mutin installed an or- Orgue Flûte harmonique) by the French organbuilder Yves Fos- gan Cavaillé-Coll had built in 1875 for the 8′ Basse (with 18 notes) saert. Aristide Cavaillé-Coll had original- Sacré-Coeur School in La Ferrandière 8′ Bourdon (borrowed from the Récit 9 Cor de Nuit 8′) ly constructed this organ in 1875 for the in Lyon. He maintained Cavaillé-Coll’s ′ chapel of Sacred Heart School (École du original nameplate without adding an- 16 Bombarde (with 18 notes) Sacré-Coeur de la Ferrandière) in Vil- other one. This organ with two 56-note Pédales de Combinaison leurbane, a suburb of Lyon. In 1910, it keyboards and a 30-note pedalboard had Tirasse Grand-Orgue Photo 3. The 1921 inaugural program in was transferred to the Saint-Jean Church 21 stops: eight on the Grand-Orgue, sev- Tirasse Récit the organ case at Saint-Jean (Photo by in Montmartre, where it was installed by en on the Récit, and six on the Pédale, Accouplement Récit/Grand-Orgue Yves Fossaert, published with his permission) Cavaillé-Coll’s successor, Charles Mutin. three of which were borrowed (the Sou- Appel et Renvoi Trompette 8′ Grand-Orgue12 This is one of the four church organs in basse 16′ and the Flûte 8′ respectively Trémolo du Récit Jean Vadon was born in Roanne (in the historic Montmartre district in Paris. from the Grand-Orgue Bourdon 16′ and Expression Récit (with a spoon-shaped lever, the Loire) on April 27, 1887. At the age In 1868, Aristide Cavaillé-Coll’s fi rm had Flûte harmonique 8′, and the Bourdon 8′ on the right side of the console) of twelve, he began to study at the Schola reconstructed a late-eighteenth century from the Récit Cor de nuit 8′). Although Cantorum with Vincent d’Indy, Alexan- organ3 for the Saint-Pierre de Montmar- the three Pédale stops only had eighteen In 1921, the G. Gutschenritter Fils dre Guilmant, and Louis Vierne. He tre Church, the remaining vestige of an pipes (from C1 to F2), the three bor- fi rm13 renovated and enlarged this organ. then taught there. A fresco by Eugène eminent twelfth-century Benedictine rowed stops had thirty notes (C1 to f3), Due to its stiff action, a Barker machine Thierry in the church depicts him play- convent. In 1890, Cavaillé-Coll had pro- which allowed the organist to play on the was added. Four new stops were in- ing the violin. A close friend to Marcel vided a temporary organ (II/17)4 for the entire 30-note pedalboard. In fact, Mu- stalled on the Récit: an Octavin 2′ (which Dupré, Vadon helped him translate the neo-Byzantine-style Sacré-Coeur Ba- tin had reconstructed the two manual replaced the Basson-Hautbois) and three Bach chorale texts into French for the silica, then under construction. Charles windchests of the Grand-Orgue and the reed stops: Basson 16′, Trompette 8′, Bornemann edition. He composed more Mutin installed its two organs: in 1914, a Récit foundation stops, which included and Clairon 4′.14 The Basson-Hautbois 8′ than 800 works, secular and sacred, in- two-manual, 20-stop choir organ; and in valves inserted in the bass register— was placed on a new reed windchest. A cluding twenty-three masses. In 1922, 1919, its monumental grand orgue5 with from C1 to f3—allowing the notes to be Bourdon 8′ replaced the Doublette 2′ on his Résurrection de Lazare, for choirs, four manuals and 74 stops. coupled to the Pédale. This procedure of the Grand-Orgue. A twelve-note wind- orchestra, and organ, was premiered two valves for the fi rst thirty notes of bor- chest completed the three eighteen-note at the inauguration of Jack Galand’s A brief history of the Saint-Jean rowed stops had been used by Cavaillé- Pédale stops (Flûte 16′, Basse 8′, and stained glass window depicting a Pascal Church Coll already in the 1860s.10 Bombarde 16′). The Trompette 8′ Appel/ Blanchard painting entitled “The Resur- The Saint-Jean Church is located at According to Yves Fossaert, the Flûte Renvoi was removed, an expression ped- rection of Lazarus.” It was sung by the 19, rue des Abbesses, just across the 16′ and the Basse 8′ Pédale stops, with al was placed in the center of the console choirs from the Saint-Jean Church and street from Hector Guimard’s distinc- wooden blocks, had been constructed (replacing the former spoon-shaped le- the Notre-Dame Church in Vincennes, tive Art-Nouveau subway entrance. This well before 1875. These older stops were ver on the right side of the console), and with the choir and instrumentalists from highly innovative church, constructed mentioned in the initial 1875 organ con- two Pédales de combinaison were added: the Opéra, directed by Félicien de Mé- from 1894 to 1904, was designed by the tract.11 One can assume that a Doublette the Barker Appel Grand-Orgue and the nil, with Jean Vadon at the organ. architect Anatole de Baudot. Although a 2′ stop was included on the Grand-Orgue 16′ II/I coupler. In addition, Gutschen- In 1931, following Vierne’s advice, specialist in the Middle Ages, he was re- keyboard in 1910, a notation that still re- ritter added his nameplate beside that Vadon requested the G. Gutschenritter ceptive to new contemporary ideas that mains on the Grand-Orgue rackboard. of A. Cavaillé-Coll, translated as “Re- Fils fi rm to add three more organ stops associated different materials for their Mutin added the Trompette 8′ to the stored, Enlarged by Gutschenritter Son– on the Récit: Quintaton 16′, Nazard, and unique structural qualities. Saint-Jean is Grand-Orgue soon after the construc- Paris–”. (See photo 2) Tierce. They were placed on a pneumatic the fi rst French church constructed with tion of the organ. Jean Vadon, the titular organist since windchest in the front part of the case. a system of iron rods that link together This organ, with a pseudo-Renaissance 1915, inaugurated this new organ on piled-up bricks. This allowed the use of case made of varnished oak, had the fol- Monday, May 8, 1921, with Louis Vi- The carillon at Saint-Jean thin vaults and slender supporting beams lowing 21 stops: erne, an orchestra, and four choirs. This Four years before the installation of and piers, thus creating much acoustical program is still posted in the organ case, the organ in 1910, a carillon was con- Récit-expressif (56 notes, C1–G5) space. Originally intended to replace the ′ along with Jean Vadon’s photo. (See structed that activated eight of its nine nearby Saint-Pierre Church,6 its con- 8 Flûte traversière photo 3) tower bells.15 Their benediction on 8′ Cor de Nuit struction was delayed from 1898 to 1902 8′ Viole de Gambe Vadon began the concert with a Bach Tuesday, June 5, 1906, was an extraor- when parishioners fi led a lawsuit to pro- 8′ Voix céleste chorale in G major. Vierne then played dinary event because the last blessing of test against its architectural innovations. 4′ Flûte octaviante pieces by Bach, Martini, and one of his a bell in Montmartre had taken place in Although the church was inaugurated as 8′ Basson-Hautbois own compositions to demonstrate the 1832. Its placement was “inconvenient a parish church in 1908, its mural paint- 8′ Voix humaine fi ve new stops. Messieurs Félicien de and even dangerous.”16 In addition, it ings and the main altar were only fi n- Ménil and Valdemier, from the Concerts was diffi cult to regulate, especially dur- Grand-Orgue (56 notes, C1–G5) ished in 1919. ′ Pasdeloup, conducted Charles Gounod’s ing the summer, because the long steel Before the installation of a pipe organ, 16 Bourdon Mors et Vitae with an orchestra, the rods that linked the keyboard to the 8′ Montre it is probable that a Debierre Polyphone ′ choirs from the Opéra, and the scholas bells rendered its mechanism extremely 7 8 Salicional “organ”, an expressive harmonium with 8′ Flûte harmonique from Saint-Jean and Vincennes, as well sensitive. In 1929, a bar of squares, in- a 56-note keyboard and some pipes, was as the Caecilia Choir from Saint-Jean. vented by a parishioner, Mr. Chenet,
SEPTEMBER, 2012 27 was installed underneath the bells, Pédale (30 notes) played his own organ works—March in which allowed the performance of two 16′ Flûte [fi rst 18 notes: +] E-fl at Major (1909) and an Allegro in [last 12 notes: +++] simultaneous melodies. ′ ′ the Style of Bach (1961)—and accompa- In 1934, three bells were added.17 The 16 Soubasse [G.-O. Bourdon 16 ] nied the Sanctus and Agnus Dei from his 8′ Flûte [G.-O. Flûte harmonique 8′] carillon then had the following eleven ′ Third Mass (1908). Dupré interpreted 18 8 Basse [fi rst 18 notes: +] bells: [last 12 notes: +++] his own Cortège et Litanie, three of Jean A 3 (Marie, 1906) 450 kg 8′ Bourdon [Récit Cor de nuit 8′] Vadon’s organ pieces composed in 1926 B 3 325 kg 16′ Bombarde [last 12 notes: +++] (Animé–Tierce, Modéré expressif–Quin- C-sharp 4 225 kg taton, and Vif–Nasard) and concluded D 4 (Joseph) 190 kg Pédales de Combinaison (from left to right) with a brilliant improvisation on a theme E 4 (Antoine) 135 kg Tirasse Grand-Orgue by Vadon. F-sharp 4 (Madeleine) 95 kg Tirasse Récit Appel Grand-Orgue (Barker lever) G 4 (Lucie) 89 kg Accouplement Récit/Grand-Orgue An American organist in Montmartre A 4 (Pierre-Paul) 56 kg Octaves graves du Récit sur le Grand-Orgue Jean Vadon played at Saint-Jean un- B 4 39 kg Expression Récit (in the center) til his death on September 3, 1973, at C-sharp 5 29 kg Appel Trompette 8′ du Grand-Orgue the age of 86.19 He was succeeded by D 5 25 kg. Appel d’Anches du Récit Jean-François Devillier, an excellent In March 1934, the pastor, Abbot Du- Trémolo du Récit improviser. Six years later, in 1979, the vaux, encouraged the installation of a church then named his successor: Frank stop knob to activate this carillon at the Without any indications: Aristide Cavaillé- Mento, an American organist born in Coll (1875) console as well as a new pneumatic ma- + Constructed before 1875 Youngstown, Ohio. (See photo 4) chine, a bellows activated with electric ++ Charles Mutin (1910) After majoring in organ at the Con- Photo 4. Frank Mento (2010) (published magnets. This allowed Jean Vadon to +++ G. Gutschenritter Fils (1921) servatory of the University of Cincinnati, with his permission) play the bells from the Grand-Orgue ++++ G. Gutschenritter Fils (1931) in 1976 Mento came to Paris, where he keyboard, which was much easier and studied the organ at the École Normale less dangerous! This type of carillon with The order of the stops on the wind- de Musique and then took private lessons an electro-pneumatic system is unique chests was follows: with Daniel Roth and Raphaël Tamby- in Paris. However, since the upkeep of eff. He also studied the harpsichord with its mechanism was so diffi cult, the Ma- Grand Orgue (from front of case): Huguette Dreyfus and continuo with Eiji Montre 8′ mias fi rm, which maintained the bells, ′ Hashimoto. Mento teaches harpsichord installed a small electric-action keyboard Prestant 4 at the Conservatory Gustave Charpentier Salicional 8′ (placed next to the organ) that enabled Bourdon 16′ in the eighteenth arrondissement in Paris, the organist to play the tower bells. Flûte harmonique 8′ and has written a harpsichord method for Bourdon 8′ children. He has given concerts in Europe Jacques Barbéris’ renovation Plein Jeu II–V and North America. Jacques Barbéris renovated the organ Trompette 8′ Frank Mento supervised Jacques Bar- in 1950 and again in 1979. The bell stop béris’ renovation and inaugurated this Récit (from the back of the case): knob, then not functional, still existed at ′ organ on Thursday, November 15, 1979, the console at that time. In 1980, Bar- Quintaton 16 (the bass pipes were placed performing works by Bach, Pachelbel, on pneumatic relays to avoid wind béris replaced the pneumatic action with problems) Daquin, Franck, Vierne, Vadon, Du- mechanical action on the reed wind- 2 pré, Langlais, and Messiaen. The post- Nazard 2 ⁄3′ 3 chest. Since then, the organ has had the Tierce 1 ⁄5′ Romantic repertory resonates so well following stops: here. Special recognition should be (on the reed chest) given to Father Pierre Vollaire, pastor Photo 5. Yves Fossaert (2010) (published Grand-Orgue (56 notes) Basson 16′ at this church until 1986, who approved with his permission) 16′ Bourdon Trompette 8′ ′ ′ this renovation and ensured the proper 8 Montre Basson-Hautbois 8 maintenance of the organ. tively took an interest in the organ. 8′ Salicional Clairon 4′ 8′ Flûte harmonique In 1980, the case was renovated by The city agreed to fi nance its restora- 8′ Bourdon Danet and Guglielmi. In 1982, Daniel tion totally and chose the organ builder (on the foundation windchest) 21 4′ Prestant Gambe 8′ Roth performed the complete organ Yves Fossaert. (See photo 5) He had Plein Jeu II–V (with a harmonic Flûte octaviante 4′ works of César Franck in three concerts. restored at least ten symphonic-style progression) Voix céleste 8′ Frank Mento has played the eleven organs, such as the 1866 Cavaillé-Coll 8′ Trompette [++] Cor de Nuit 8′ church tower bells on the separate key- at the Confl ans Chapel in Charenton- Flûte traversière 8′ ′ board for special occasions, interpreting le-Pont and the Great and Swell chests Récit (56 notes) Octavin 2 works such the Marseillaise on July 14th of the Cavaillé-Coll/Merklin organ at 16′ Quintaton [++++] Voix humaine 8′ 8′ Flûte traversière and America the Beautiful after Septem- the Saint-Antoine-des-Quinze-Vingts 8′ Cor de Nuit Pédale ber 11, 2001. Church in Paris. 8′ Viole de Gambe Flûte 16′ As usual, Fossaert began this restora- 8′ Voix céleste Flûte 8′ Yves Fossaert’s restoration20 tion by meticulously analyzing the organ, 4′ Flûte octaviante Bombarde 16′ Beginning in 1986, the organ began to under the supervision of Monsieur Éric 2 ′ 2⁄3 Nazard [++++] deteriorate due to the forced-air heat- Brottier, Expert Organ Advisor in Paris. 2′ Octavin [+++] 3 A separate keyboard, placed to the right ing system and the fact that the front Special recognition should be given to 1⁄5′ Tierce [++++] 16′ Basson [+++] of the console, enables the organist to doors were permanently left open, as Madame Catherine Guastavino from 8′ Trompette [+++] play the eleven bells in the church tower. well as the cement construction of the the Parisian Offi ce of Religious and His- 8′ Basson-Hautbois On Sunday, June 12, 1966, Jean Va- church. In 2002, it had become unplay- toric Buildings. 4′ Clairon [+++] don and Marcel Dupré performed a re- able, with numerous air leaks due to Yves Fossaert essentially provided the 8′ Voix humaine cital that celebrated the fi ftieth anniver- dust accumulation. Thankfully, in 2004, expressive Récit division with mechani- sary of Jean Vadon at Saint-Jean. Vadon the pastor, Father Alexis Bacquet, ac- cal keyboard action, restored the console to the Mutin Cavaillé-Coll layout (see illustration 1), veneered the keyboards with bone, entirely restored the wind Th e leadership at Faith Lutheran Church bellows and reposted the windchests. He completely solidifi ed the feet and of Sarasota, Florida decided to modernize bodies of the façade pipes and repaint- and expand their 14-rank pipe organ ed the wooden pipes and the wooden framework. He also re-established the with a new custom Rodgers console. Th is wind pressures and the tonal voicing to eff ort preserved the church’s original its original style. While it was not necessary to remove investment and greatly expanded the the organ case and the wind blower, Fossaert took the framework, all of the instrument’s functionality, reliability elements of the wind system, the chests, and tonal resources. Th e installation was the pipes, the entire console, the key- board, and stop action, the stop knobs, accomplished by Central Music Inc. of and the Barker machine to his workshop Clearwater, Florida. and cleaned them. The plastic plates on the keys were replaced with ones made of bone. The windchests were reposted For more information about Rodgers Pipe-Digital Combinations after the fi ssures in the tables were re- paired. The pneumatic motors in the pipe-digital combination organs, contact Digital Voice Expansions Barker machine were releathered. The Gary Kibble, 503-681-0430. Solutions for Old Pipe Organs turbine engine was isolated and placed in a soundproof box. He then repaired the reservoir with compensated folds and the parallel tables, the wind con- ductors, constructed a double regulation box to replace the existing valve system, replaced the pull-down pouches, the leather binding in the reservoirs, the ligatures of the hooks (crochets) of the trackers, and replaced all of the leather nuts. The feet of the façade pipes were www.rodgersinstruments.com straightened and restored; in the center, the largest ones were suspended to pre- vent them from collapsing again.
28 THE DIAPASON verlage Rensch, 1985, pp. 38–39), this organ had twenty-two stops, with four borrowed Pedal stops. 10. It is quite possible that this sort of bor- rowing system existed in the 1875 organ (Esch- bach, Aristide Cavaillé-Coll, Compendium). Cavaillé-Coll had already used it in the 1867 choir organ at the Trinité Church in Paris. 11. Eschbach, ibid. 12. It adds and removes the Trompette 8′. 13. Gaston Gutschenritter succeeded his father Joseph, who had succeeded Joseph Merklin, director of the Merklin et Cie. fi rm. 14. Dominique Proust and Bernard Baërd, “Nos Visites,” in Connoissance de l’Orgue, n° 45, Winter 1983, p. 8. 15. Six bells were cast in 1906 by Georges and Francis Paccard from Annecy; three oth- ers are undated and bear no inscription. 16. Parish bulletin of Saint-Jean de Mont- martre, February 1935, p. 10. 17. These three bells were cast by the fi rm Georges Paccard fi ls. Illustration 1. The layout of the console, design by Yves Fossaert (published with his Photo 6. The console (2012) (photo cour- 18. Documentaire campanaire, 1988, n° 4, permission) tesy of Frank Mento) preserved in the Archives diocésaines de Paris. 19. In 1980, the Association des Amis de Yves Fossaert removed all of the air Yves Fossaert was assisted by the fol- in 1770 for the former Saint-Pierre-des-Arcis Jean Vadon [Association of the Friends of Jean leaks, reduced the noise level as much as lowing specialists who should be com- Church, was transferred in 1791 to the former Vadon] was founded in his honor. His initials Notre-Dame-de-Lorette Church. are embroidered on the burgundy colored possible, and cleaned the entire instru- mended for this remarkable restoration: 4. In 1913, this organ was transferred to velvet cloth that now protects the keyboards. ment, including the organ case and pipe Simon Pasquet, Quentin and Floriane the Notre-Dame-du-Rosaire Church in Paris. 20. This fi nal section includes numerous surfaces, conserving any earlier inscrip- Requier, Florent Séchet, Étienne Prou- 5. In 1898, when Cavaillé-Coll originally details that were generously provided by tions. He repaired damaged feet and vay, as well as Fossaert’s wife Sandra built this organ for the Baron de l’Espée’s Yves Fossaert. treated the wood with xylophène to pro- (secretary and accountant). Ilbarritz Castle, it had seventy stops and was 21. Constructor of at least twenty-nine or- tect it from insects. He repainted the ex- This newly restored organ was inaugu- therefore his largest newly constructed organ. gans, Yves Fossaert recently built a seven- pression box and the wooden pipes with rated in an eclectic program on Wednes- For more information, cf. Daniel Roth, Le teenth- and eighteenth-century European- the same original ochre-colored paint. day, April 27, 2011, at 8:30 p.m. by titu- Grand Orgue du Sacré-Coeur de Montmartre style organ (II/ 21 [27]) for the Notre-Dame à Paris, Paris: La Flûte harmonique, n° spé- Church in Boulogne-Billancourt. To obtain maximum solidity, he repaired lar organist Frank Mento, Eric Lebrun, cial, 1985. 22. B.E.C.H.: Bureau des Édifi ces Cultuels broken elements of the action and re- titular of the Cavaillé-Coll Grand Orgue 6. This church deteriorated and was closed et Historiques. placed missing elements of the mecha- at the Saint-Antoine des Quinze-Vingts in 1897. It was restored from 1900 to 1906. 23. Aristide Cavaillé-Coll was born in Mont- nism (the sliders, the pipe pallets, the Church, and Daniel Roth, titular of the 7. Louis Debierre (1842–1920) invented pellier on February 4, 1811 and died in Paris registers) as well as the pipes with great Cavaillé-Coll Grand Orgue at Saint- the polyphone in 1882. on October 13, 1899. care, rigorously respecting Cavaillé- Sulpice. Frank Mento brilliantly opened 8. At the end of 1968, this polyphone was Coll’s same construction techniques and the concert with the Allegro from transferred to the nearby Jacques Decour Ly- A French-American organist and musicolo- materials, such as using oak and fi r wood, Charles-Marie Widor’s Sixth Symphony. cée [high school], located at 12, avenue Tru- gist, Carolyn Shuster Fournier is titular of the daine in the ninth district, thanks to Abbott 1867 Aristide Cavaillé-Coll choir organ at the hot glue on leather and various surfaces, Then Eric Lebrun interpreted Nico- Paul Wargny, the chaplain there. In 1974, its Mégis sheep leather for the bellows, the las de Grigny’s Ave Maris stella, Franz wooden fl ute pipes were incorporated into Trinité Church and an international concert pouches, and valves, and maintaining the Liszt’s Nun danket alle Gott (composed their chapel organ constructed. artist (www.shusterfournier.com). She has same pipe thickness. for the inauguration of the organ at the 9. Cf. Pierre Dumoulin, Orgues de l’Île de premiered many contemporary works and is The Récit division was completely Riga Cathedral), and Jehan Alain’s Varia- France, t. 6, Paris: Klincksieck, 1996, p. 281. Chevalier in the Order of Arts and Letters. Jesse Eschbach (Aristide Cavaillé-Coll, A She sincerely expresses her gratitude to Fa- reconceived to incorporate Gutschen- tions on a Theme by Clément Jannequin ther Alexis Bacquet, Yves Fossaert, Domin- ritter’s three pneumatic stops on a me- and Litanies, in the centenary year of his Compendium of Known Stoplists, Paderborn: Verlag Peter Ewers, 2003, p. 394) indicates ique Fournier, Boris Lefeivre, Frank Mento, chanical windchest. A fl an was added to birth. Daniel Roth concluded with J. S. that this organ had twenty stops, with fi ve Eugène Pelletier, Odile and Daniel Roth, Ré- enlarge the reed and foundation wind- Bach’s chorale Schmücke dich, o liebe Pedal stops, three of which were borrowed gis Singer, Raphaël Tambyeff, and Odile and 2 ′, chests to incorporate the Nazard 2 ⁄3 Seele, BWV 654, Alexandre Guilmant’s (without a Basse 8′ in the Pedal). According Pierre Vadon, as well as to Abbot Philippe 3 Tierce 1 ⁄5′, and Quintaton 16′. To fa- Scherzo from his Fifth Sonata, César to Gilbert Huysbens (Aristide Cavaillé-Coll, Ploix and Vincent Thauziès from the Archives cilitate its maintenance and tuning, the Franck’s Second Choral in B Minor, and Opus List, Lauffen/Neckar: Orgelbau-Fach- diocésaines in Paris. reed windchests were inverted and the Théodore Dubois’ Toccata. expression box was deepened to include Three days later, on Saturday, April 30, an additional fl oorboard. The entire me- 2011, at 9 p.m., Catherine Lieber, sopra- chanical action of the Récit and the wind no, and Marie-Agnès Grall-Menet, titular INCE 1979, we have conductors were transformed and small organist at the Saint-Nicolas-du-Char- pneumatic verrins were used to pull the donnet Church in Paris, gave a concert designed and built over stops on the reed windchest and the to celebrate their recent CD of this or- 120 new pipe organs for Quintaton 16′. gan, recorded by Cécile Lenoir to benefi t S The layout of the Récit Stops (from the children who suffered in Chernobyl, clients in Australia, Austria, the back of the case): twenty-fi ve years after this disaster. Enti- New Zealand, England, (on the reed windchest) tled Lune d’Avril (April Moon, the title of Basson-Hautbois 8′ a Francis Poulenc song based on a Mau- Canada and the United States. Clairon 4′ rice Carëme poem, which opens their Our instruments, whether Trompette 8′ program), their CD presents a varied Basson 16′ program that includes vocal works from tracker or electric action, have 3 Tierce 1 ⁄5′ the Middle Ages to the twentieth century been praised for their rugged 2 ′ Nazard 2 ⁄3 by Hildegard von Bingen, Monique Ga- construction, comfortable bus, Déodat de Sévérac, and others, and Opus 116 (on the foundation windchest) organ works by Guillaume Dufay, John consoles, responsive key ′ Quintaton 16 Dowland, Jan Pieterszoon Sweelinck, actions and tonal integrity. Viole de Gambe 8′ Johann Ludwig Krebs, J. S. Bach, Marie- Flûte octaviante 4′ Agnès Grall-Menet, and Eugène Gigout. New cases, keyboards, Voix céleste 8′ Sold to benefi t the solidarity antinuclear windchests, reservoirs and Cor de Nuit 8′ association Enfants de Tchernobyl Belar- Flûte traversière 8′ us, it can be ordered at
SEPTEMBER, 2012 29 Cover feature
Quimby Pipe Organs, Warrensburg, Missouri Opus 67: 3 manuals, 38 ranks First Congregational Church, Greeley, Colorado Quimby Pipe Organs’ new Opus 67, completed in the summer of 2011, at the First Congregational Church in Greeley, Colorado, is an exceptional instrument in every way. There is more to this in- strument than fi rst meets the eye—a three-manual instrument of thirty-eight ranks—which, with great utility and re- fi nement, seems to provide the resources of a much larger instrument. The primary inspirations for Opus 67 are from British and American 19th-cen- tury traditions, and from 20th-century American infl uences such as Ernest M. Skinner and Aeolian-Skinner. Opus 67 is particularly remarkable because it blends these traditions within the confi nes of a relatively modest three-manual organ. The conceptualization of this instrument Choir fl ue ranks takes to heart seriously the simile that 20th-century organbuilder James Jami- Three contrasting unison manual son marked as a requirement for a well- Close-up of the console fl utes are provided: the Great Hohlfl ute, rounded smaller organ: like “an athlete the Swell Gedeckt, and the Choir Rohr trained down to hard muscle, without a Flute. All three are of similar dynamic superfl uous ounce of fl esh.” “Everything levels, with the Hohlfl ute dominating. has to play its role and do multiple jobs,” The Great open Hohlfl ute is contrasted Michael Quimby agrees; “No stop can be with a stopped 4′ Gedeckt as its octave. an individualist.” The stopped Swell Gedeckt, the only Opus 67 covers all the essential bases rank retained from the church’s previous and provides much we might ordinar- organ, is contrasted by the open 4′ Har- ily consider to be lavish. Moreover, monic Flute at octave pitch. The Choir everything contributes to the musical Rohr Flute, stopped with chimneys, has excellence of a diverse but coherent for its octave an open 4′ Nachthorn, also whole. There are many surprises, given well-suited for its role in the cornet har- its relatively modest size of thirty-eight monic series, which is completed by the 2 3 ranks, such as three reeds at 16′ pitch in 2 ⁄3′ Nazard, 2′ Flageolet, and 1 ⁄5′ Tierce. the Pedal (two of which are also avail- The Pedal Bourdon, available at 16′ and able on the manuals), three different 8′, provides a solid foundation for the 8′ trumpets, color and solo reeds, con- Pedal, the volume of which is in between trasting but complete choruses in every the Principal and Gedeckt, the latter of division, an open 16′ in the Pedal, two which is borrowed from the Swell. The sets of strings and celestes, a Cornet, timbre of every stopped or open fl ute is and contrasting fl utes at 8′ and 4′ on different than any other, and the variety every manual. Many of these could be in fl utes of all pitches provides many op- considered luxuries, were the essentials portunities for authentic, convincing, not present, but nothing crucial is omit- and creative registration. ted where something special or surpris- There are two pairs of strings in the ing is provided. organ. The Swell Viole and Viole Ce- Each of the manual and pedal divisions leste are infl uenced by typical practices has a complete principal chorus. The of both Ernest M. Skinner and Aeolian- scaling and voicing of the Great princi- Skinner, and are full of harmonics and pal chorus is in the style of T. C. Lewis, richness. The Choir Gemshorn and which grandly fi lls the room and is the Gemshorn Celeste are really Skinner- backbone of the organ. The Swell princi- esque Klein Erzählers, hybrid ranks pal chorus, by comparison, is of Geigen that prove to be versatile chameleons; quality with slotted pipes, and draws with the shutters open, the character- infl uence from 19th-century American istic Erzähler octave partial adds rich- practice, most notably from the Hook ness, which contrasts the Swell strings, tradition. Both are based upon 8′ prin- though always remaining subordinate to cipals. Although there is no open manual them. With the shutters closed, they lose double, the Swell Gedeckt is available at enough of the octave presence and edge 16′ pitch in both the Great and Swell for so that the possibility of a gentler Flute fl exibility and utility. The Choir principal Dolce Celeste is suggested. chorus is based on a tapered 4′ Principal, Each manual has its own trumpet, all which works admirably well with either broadly infl uenced by the work of Henry the 8′ Gemshorn (also tapered) or 8′ Willis. The Swell Trumpet is a synthesis Rohrfl ute, or both. The Pedal principal of French and English schools. From chorus is derived from a single Principal 16′ C to 4′ g, English open shallots are rank, available at 16′, 8′, and 4′, and is used, but from 4′ g up, French dome scaled suitably for its role at multiple Swell fl ue ranks shallots are used, resulting in a versatile pitches. Each of the manual choruses rank that works well in each of its desig- has a mixture, and the manner in which nated pitch levels, with more fundamen- the individual stops blend together to tal lower in its range, and more “fi re” form a rich ensemble is further clari- moving upward. At 16′ “Contra” pitch, fi ed by Michael Quimby: “The diapason it serves as the primary pedal reed; the choruses have suffi cient foundational rank also does triple duty at 4′ pitch as tone plus emphasis on all other partials the Swell Clarion. The Great Trumpet to lock the entire chorus together, which has English open shallots and is voiced prohibits any voice from standing out as for roundness, but also with brilliance. an individualist.” Although the choruses The Choir Solo Harmonic Trumpet pro- of the Great and Swell divisions are of vides a commanding voice in the organ, contrasting character, the two divisions tuba-like, which is loud enough to stand are very close to one another in dy- up in solo dialogue to the Great prin- namic level, with the Great asserting the cipal chorus, but not so overpowering more prominent aural position because that its use in the ensemble climax of a it is unenclosed. Likewise, the Choir is big piece is offensive or unmusical. In slightly diminutive to the Swell, but all fact, its placement behind the effective of the divisions are closely related in Choir expression shutters allows it to be terms of volume, resulting in a coherent brought on imperceptibly with shutters instrument from one division to another. closed underneath full Great and Swell Both the Choir and Swell, enclosed in ensembles, and then gradually opened, separate chambers with Quimby stan- as Michael Quimby suggests, “for a fi nal dard two-inch-thick expression shades, surge of unexpected sound.” This rank present a surprising and effective range is on 15 inches of wind pressure, but of dynamic contrast. Eric Johnson in the process of cutting the fl aps on the Swell unit Trumpet not “for generating excessive dynamic
30 THE DIAPASON Eric Johnson in the process of voicing the Swell 4′ Principal Wilma Jensen at the dedication recital effects.” Rather, the high wind pres- it functions as a Fagotto for use in the sure allows the greatest “refi nement of Swell reed chorus and as a secondary 16′ tone,” something which is surely desir- reed in the Pedal; at 8′, it fulfi lls the tradi- able in so prominent a stop. Adding the tional roles required by organ literature. reeds to full ensemble, while dramati- The Choir Cromorne is also inspired by cally changing the ensemble’s character, early Aeolian-Skinner examples, and is never obscures the fl ues. The three con- slightly softer than the Oboe, especially trasting trumpets immediately present in the 16′ range, allowing it to be used possibilities for use in dialogue with the as a secondary manual double reed and different choruses. tertiary pedal double—an unexpected The Swell Oboe is inspired by Ameri- but welcome luxury in an organ of this can practice as typifi ed by Aeolian-Skin- size. Its duplication in the Great at 8′ ner from the 1930s until after World pitch allows for its use in dialogue with War II. Like the Swell Trumpet, it is also the Choir Cornet décomposé. extended, from 16′ to 8′. At 16′ pitch Mechanically speaking, the instru- ment is responsive and reliable, some- thing that Michael Quimby attributes to Quimby Pipe Organs, Opus 67 First Congregational Church, the fact that “the majority of fl ue manual Greeley, Colorado ranks are on electro-pneumatic slider Three manuals, 38 ranks windchests in the Blackinton style.” Oth- ³ page 32 GREAT 16′ Gedeckt (Swell) 8′ Principal 61 pipes PEDAL 8′ Hohlfl ute 61 pipes 32′ Bourdon (1–12 digital) 56 pipes 4′ Octave 61 pipes 16′ Principal 56 pipes 4′ Gedeckt 61 pipes 16′ Bourdon (extension 32′ Bourdon) 2 ′ 2⁄3′ Quint 61 pipes 16 Gedeckt (Swell) 2′ Super Octave 61 pipes 8′ Octave (extension 16′ Principal) 1 ′ ′ 1⁄3′ Mixture IV 244 pipes 8Bourdon (extension 32 Bourdon) 16′ Contra Oboe (Swell) 8′ Gedeckt (Swell) 8′ Trumpet 61 pipes 4′ Octave (extension 16′ Principal) 8′ Oboe (Swell) 4′ Gedeckt (Swell) 8′ Cromorne (Choir) 16′ Contra Trumpet (ext Swell Trumpet) 8′ Solo Harmonic Trumpet (Choir) 16′ Contra Oboe (Swell) Chimes (Choir) 16′ Cromorne (Choir) Flute Tremolo 8′ Trumpet (Swell) Cymbelstern 8′ Oboe (Swell) Great to Great 16′ 4′ Clarion (Swell) Great Unison Off 4′ Cromorne (Choir) Great to Great 4′ MIDI on Great Inter-manual Couplers Great to Pedal 8-4 SWELL Swell to Pedal 8-4 16′ Gedeckt 73 pipes Choir to Pedal 8-4 8′ Geigen Principal 61 pipes Swell to Great 16-8-4 8′ Gedeckt (extension) Swell to Choir 16-8-4 8′ Viole 61 pipes Choir to Great 16-8-4 8′ Viole Celeste (TC) 49 pipes Choir to Swell 8 4′ Principal 61 pipes Great to Choir 8 4′ Harmonic Flute 61 pipes ′ Combination Action Great fl utes and trumpet 2 Fifteenth (from Mixture) 2′ Mixture IV 244 pipes Peterson ICS 4000: 256 levels of memory 16′ Contra Oboe 73 pipes Great Organ thumb pistons 1–8 8′ Trumpet 85 pipes Swell Organ thumb pistons 1–8 8′ Oboe (extension) Choir Organ thumb pistons 1–8 4′ Clarion (extension) Pedal Organ thumb & toe pistons 1–8 Tremolo General: thumb pistons 1–18 Swell to Swell 16′ 1–6 duplicated by toe pistons 19–24 Swell Unison Off “Next Piston” piston sequencer Swell to Swell 4′ “Previous Piston” piston sequencer MIDI on Swell Set piston General Cancel piston CHOIR 8′ Rohr Flute 61 pipes Crescendo and Expression Pedals 8′ Gemshorn 61 pipes General crescendo pedal—60 positions, 8′ Gemshorn Celeste (TC) 49 pipes with three adjustable and one standard 8′ Principal 61 pipes Swell expression pedal 4′ Nachthorn 61 pipes Choir expression pedal 2 2⁄3′ Nazard 61 pipes 2′ Flageolet 61 pipes Reversibles 3 1⁄5′ Tierce 61 pipes Great to Pedal thumb & toe paddle 1′ Mixture III 183 pipes Swell to Pedal thumb & toe paddle 16′ Cromorne 73 pipes Choir to Pedal thumb & toe paddle 8′ Cromorne (extension) Swell to Great thumb & toe paddle 8′ Solo Harmonic Trumpet 61 pipes Choir to Great thumb (15 inches wind pressure) Swell to Choir thumb Tremolo 32′ Bourdon thumb & toe paddle Chimes (Deagan Class M) 21 tubes Sforzando thumb & toe paddle Choir to Choir 16′ Choir Unison Off MIDI Choir to Choir 4′ MIDI in and out MIDI on Choir Sequence Recorder Great slider windchests being installed
SEPTEMBER, 2012 31 ³ page 31: Quimby cover feature New Organs
Great slider windchests winded er ranks, which are duplexed or unifi ed In their mission statement, Quimby for fl exibility, are “on electro-pneumatic Pipe Organs admits to “a great respon- windchests with individual actions.” Du- sibility to produce organs that will not plexing and unifi cation are restricted to only ‘do church,’ but will do it with style.” some reeds and the Swell Gedeckt be- Their stated goals for achieving this are to tween the manuals, and for the augmen- provide organs that support choirs, offer tation of the Pedal. The responsiveness organists “registration possibilities for cre- of the chest actions is matched by their ative and sensitive service playing,” and to reliable performance, proven over time have “an essential grandeur as well as a to be dependable. Complete octave and heroic nature appropriate” to the context sub-octave couplers are provided within and requirements of the situation. These and between all manual divisions, not objectives have been resoundingly met in for completing the ensembles, but for the design and construction of Opus 67, registrational fl exibility and expanded which “combines the foundation for ex- color possibilities. cellent support of choral, congregational, The three-manual, drawknob con- and service music in addition to support- sole, constructed in the Skinner style, ing organ concert literature and the com- is an exercise in both convenience and munity concert venue.” elegance. Constructed of black walnut First Congregational Church’s organ- with a mahogany interior, the casework ist Kim Pace echoes these thoughts, as matches accent walnut woodwork in she describes her own impressions of the newly renovated chancel, provid- the new organ: “This glorious instru- ing rich contrast to the more prevalent ment is an expression of beauty as it blond oak. The console has 256 levels envelops the congregation’s songs, as it of memory for the combination action, a colors the choir’s anthems, as it speaks piston sequencer, adjustable crescendo to our hearts and souls through Bach or pedal, sequence recorder, and MIDI in Durufl é, spirituals or jazz. It is an ex- and out. pression of faith—the faith and vision of Chancel renovations completed prior a congregation that embraces music in to the installation of Opus 67 included worship and as a ministry to others. And, reconfi guration from a traditional Eng- it is an organist’s dream!” lish divided choir to built-in hardwood The organ was fi rst used in worship on risers with moveable chairs facing the Sunday, September 11, 2011, with Kim congregation. The console cabinet from Pace presiding at the console. The dedi- the previous instrument was converted catory recital was given on October 21, into a new pulpit, which helps to anchor 2011, by Wilma Jensen, who opened her the liturgical south end of the chancel program with Franck’s Pièce Héroïque, (the new console being on liturgical not knowing it was the same piece that north). A new façade, cased in black Professor George Whitfi eld Andrews walnut, with polished zinc 16′ principal played to close the dedicatory recital of pipes and Great principal basses, re- the church’s former Lyon & Healy 104 places a mid-twentieth-century organ years earlier. On March 25, 2012, Kim screen and monumental cross. A new Pace presented a recital to the commu- stained glass and metal cross, crafted by nity, and one additional recital is sched- David E. Wallace & Co., unknown original source and was made congregation members Carolyn Stuart uled for this year, with Ken Cowan per- Gorham, Maine by well-known Westfi eld, Massachusetts and Gary Pitcher, is suspended in front forming on October 7 at 4 pm. St. Paul’s Anglican Parish, reed maker Henry T. Levi. The Great 8′ of the organ façade. — T. Daniel Hancock Brockton, Massachusetts Chimney Flute is from an 1872 George David E. Wallace and Company has Stevens organ. The meticulous restora- completed their Opus 66 for St. Paul’s tion of the Clarinet, the manufacture of 1 A gift subscription to Anglican Parish of Brockton, Massa- the Swell 1 ⁄3′ Nineteenth, Great 4′ Prin- chusetts. The installation of the organ cipal, 2′ Fifteenth, and the façade pipes was completed in time for All Saints were by Organ Supply Industries, Inc. THE DIAPASON celebrations during the fi rst week of The organ was designed by Nicho- November 2011. las Wallace. Gwen Rowland and Nick The perfect gift for organist colleagues, students, teachers, choir directors, The two-manual, seven-rank organ Wallace built all of the components of and clergy. Send in the form below with your check and know that your gift was designed to accommodate the pres- the organ. The key action, tonal de- will be just right. For information, contact editor Jerome Butera, 847/391- ent worship space as well as its future sign, voicing and fi nishing were done by 1045;
32 THE DIAPASON Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH 30 SEPTEMBER Pickle Piano & Church Organs This calendar runs from the 15th of the month of NEW YORK Francesco Cera; Holy Cross College, Worces- Bloomingdale, IL issue through the following month. The deadline is ter, MA 3 pm the fi rst of the preceding month (Jan. 1 for Feb. Jung-A Lee; St. Anthony of Padua Church, issue). All events are assumed to be organ recitals New Bedford, MA 3 pm unless otherwise indicated and are grouped within Robert Bates; Sacred Heart Cathedral, Roch- Christopher Babcock each date north-south and east-west. •=AGO chap- ester, NY 2 pm ter event, • •=RCCO centre event, +=new organ dedi- Andrew Peters; Cathedral of St. John the Di- cation, ++= OHS event. vine, New York, NY 5 pm St.St. Andrew’s by the Sea,Sea, Information cannot be accepted unless it speci- Julie Vidrick Evans; St. Thomas Church Fifth Hyannis PortPort fi es artist name, date, location, and hour in writ- Avenue, New York, NY 5:15 pm ing. Multiple listings should be in chronological order; F. Allen Artz, III; Crescent Avenue Presbyte- SSt.t. David’s, South Yarmouth please do not send duplicate listings. THE DIAPA- rian, Plainfi eld, NJ 3 pm SON regrets that it cannot assume responsibility for Christopher Betts; Washington National Ca- the accuracy of calendar entries. thedral, Washington, DC 5:15 pm Ken Cowan & Lisa Shihoten, organ & violin duo; St. Paul’s Episcopal, Akron, OH 4 pm UNITED STATES Coro Vocati; Peachtree Road United Method- Dean W. Billmeyer GAVIN BLACK East of the Mississippi ist, Atlanta, GA 5 pm Princeton Early Keyboard Center Choral Evensong; Cathedral Church of St. University of Minnesota Paul, Detroit, MI 4 pm 732/599-0392 16 SEPTEMBER Choral Evensong; Trinity Episcopal, Bay City, Minneapolis 55455 • [email protected] www.pekc.org David Hurd; St. Gabriel’s Anglican Episcopal, MI 4 pm Hollis, NY 4 pm Paul Jacobs; Zion Lutheran, Wausau, WI Jürgen Essl; St. Thomas Church Fifth Avenue, 3 pm New York, NY 5:15 pm Christopher Houlihan; Cathedral of the Sa- 1 OCTOBER THOMAS BROWN cred Heart, Newark, NJ 4 pm Todd Wilson; Arborlawn United Methodist, Byron L. Blackmore Stephen Hamilton; Washington National Ca- Fort Worth, TX 7 pm Crown of Life Lutheran Church UNIVERSITY thedral, Washington, DC 5:15 pm PRESBYTERIAN CHURCH 2 OCTOBER Maxine Thevenot; Westminster Presbyterian, Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Lynchburg, VA 4 pm James Metzler; Park Congregational, Grand ThomasBrownMusic.com Isabelle Demers; Forrest Burdette Memorial Rapids, MI 12:15 pm 623/214-4903 United Methodist, Hurricane, WV 3 pm 3 OCTOBER Nicholas Schmelter; School of Music, Central Annette Richards; Sage Chapel, Cornell Uni- Michigan University, Mt. Pleasant, MI 3 pm versity, Ithaca, NY 12:30 pm Karen Beaumont; St. John’s Evangelical Lu- David Binkley; Camp Hill Presbyterian, Camp theran, Milwaukee, WI 3 pm David Chalmers DELBERT DISSELHORST Hill, PA 12:15 pm Concert Organist 18 SEPTEMBER 6 OCTOBER Professor Emeritus Kevin Faulkner; Campbellsville University, GLORIÆ DEI CANTORES Huw Lewis; First Presbyterian, Trenton, NJ 2 University of Iowa–Iowa City Campbellsville, KY 12:20 pm pm Orleans, MA Shawn Gingrich; First United Methodist, Her- 19 SEPTEMBER shey, PA 7 pm Jeffrey Snedeker; Anabel Taylor Hall Chapel, Cornell University, Ithaca, NY 12:30 pm 7 OCTOBER Victor Hill, harpsichord; Clark Art Institute, JAMES DORROH, AAGO, PhD STEVEN EGLER Central Michigan University 21 SEPTEMBER Williamstown, MA 3 pm Saint Luke’s Episcopal Church Rosalind Mohnsen; Methuen Memorial Music John Scott; St. Thomas Church Fifth Avenue, Mt. Pleasant, Michigan Hall, Methuen, MA 8 pm New York, NY 5:15 pm Samford University Artist in Residence Christopher Houlihan; St. Joseph’s Cathe- Robert Bates; Trinity Episcopal, Solebury, PA Birmingham, Alabama First Congregational Church dral, Hartford, CT 8 pm 4 pm Saginaw, Michigan David Baskeyfi eld; Memorial Presbyterian, Tom Bell; Washington National Cathedral, Organ Consultant Organ Recitals [email protected] Midland, MI 7 pm Washington, DC 5:15 pm Alan Morrison; Shryock Auditorium, Southern Barbara MacGregor; Fairlawn Lutheran, Ak- Illinois University, Carbondale, IL 7:30 pm ron, OH 4 pm A Professional Card in Andrew Scanlon; University of Tennessee, JOHN FENSTERMAKER 22 SEPTEMBER Knoxville, TN 6 pm The Diapason David Baskeyfi eld; Memorial Presbyterian, For rates and digital specifi cations, Midland, MI 7 pm 9 OCTOBER TRINITY-BY-THE-COVE Chelsea Chen; Ford Chapel, Allegheny Col- contact Jerome Butera lege, Meadville, PA 7:30 pm 847/391-1045 23 SEPTEMBER NAPLES, FLORIDA [email protected] Francesco Cera; Mt. Holyoke College, South John Deaver; Campbellsville University, Hadley, MA 3 pm Campbellsville, KY 12:20 pm Leonardo Ciampa, with soprano; Ciampa, Carol Williams; All Saints Church, Atlanta, GA Organ Symphony; Kresge Auditorium, Massa- 8 pm chusetts Institute of Technology, Cambridge, MA 10 OCTOBER 4 pm TEPHEN AMILTON WILL HEADLEE Bach, Mass in b; Cathedral of St. John the Di- S H Scott Lamlein; Congregational Church, Naug- vine, New York, NY 7:30 pm 1650 James Street atuck, CT 2 pm recitalist–clinician–educator Syracuse, NY 13203-2816 Ken Cowan; South Congregational Church, 12 OCTOBER www.stephenjonhamilton.com New Britain, CT 4 pm Christian Lane & Jolle Greenleaf, organ & (315) 471-8451 Christoph Schlütter; St. Thomas Church Fifth voice; Evangelical Lutheran Church, Frederick, Avenue, New York, NY 5:15 pm MD 7:30 pm Rhonda Sider Edgington; Camp Hill Presby- Christopher Houlihan; Benson Great Hall, terian, Camp Hill, PA 4 pm Bethel University, St. Paul, MN 7:30 pm Gary L. Jenkins Corrado Cavalli; Washington National Cathe- ANDREW HENDERSON, DMA Central Presbyterian Church dral, Washington, DC 5:15 pm 13 OCTOBER Director, Schmidt Concert Series Isabelle Demers; Bridgewater Church of the Michael Hey; St. Agnes Catholic Church, New Madison Avenue Presbyterian Church Brethren, Bridgewater, VA 3 pm York, NY 4:30 pm New York, NY Carmelite Monastery Bruce Neswick, hymn festival; Stambaugh Robert Powell Celebration; First Congregation- Curator of Organs University, Youngstown, OH 4 pm al, Saginaw, MI 5 pm www.andrewhenderson.net Rose-Hulman Institute of Technology Jonathan Ryan; Legacy Hall, Columbus State Terre Haute, Indiana University, Columbus, GA 4 pm 14 OCTOBER Yun Kyong Kim; Culver Academies Memorial Bruce Neswick; Crane School of Music, Chapel, Culver, IN 4 pm SUNY, Potsdam, NY 3 pm •Gregory Hand, Bolcom, Gospel Preludes; Choral Evensong, Britten, Rejoice in the Lamb; A two-inch Professional Card St. John the Evangelist Episcopal, St. Paul, MN Grace Church, New York, NY 4 pm 4 pm Mark King; Cathedral of St. John the Divine, in The Diapason New York, NY 5 pm 24 SEPTEMBER For information on rates and specifi cations, contact Jerome Butera: Julian Bewig; Elliott Chapel, Presbyterian [email protected] 847/391-1045 Homes, Evanston, IL 1:30 pm TheDiapason.com has a new look!
25 SEPTEMBER Our website has been redesigned Francesco Cera, masterclass; Yale University, LORRAINE BRUGH, Ph.D. New Haven, CT 4 pm and we invite you to visit.
26 SEPTEMBER As before, you must register in Associate Professor Richard Hill; Unity Church, North Easton, MA order to view all its contents: fi nd 12:15 pm your subscriber ID from the mail- University Organist Francesco Cera; Yale University, New Haven, ing label of an issue (you will need CT 8 pm to enter the seven digits following Valparaiso University Sam Porter; Ransdell Chapel, Campbellsville “DPP”, but NOT the letters). Valparaiso, IN University, Campbellsville, KY 5 pm www.valpo.edu If you need assistance logging in 28 SEPTEMBER or using the site, contact Joyce Francesco Cera; Old West Church, Boston, Robinson at 847/391-1044 or e-mail 219-464-5084 MA 8 pm Dongho Lee; First Presbyterian, Durham, NC [email protected]. [email protected] 7:30 pm
SEPTEMBER, 2012 33 CALIFORNIA LUTHERAN UNIVERSITY Tom Bell; St. Thomas Church Fifth Avenue, Peter King; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm New York, NY 5:15 pm MICHELE JOHNS Peter King; Washington National Cathedral, Newark Boys Chorus School and Far Brook A.Mus.D Kyle Johnson, DMA Washington, DC 5:15 pm School Choirs; Crescent Avenue Presbyterian, Andrew Scanlon; St. Thomas Episcopal, Organ — Harpsichord Plainfi eld, NJ 4 pm University Organist Bath, NC 3 pm All Hallows concert; Brevard-Davidson River The University of Michigan rLFKPIOT!DBMMVUIFSBOFEV David Higgs; Basilica of the Co-Cathedral of Presbyterian, Brevard, NC 6:30 pm School of Music the Sacred Heart, Charleston, WV 3 pm Joe Utterback; First Presbyterian, Dunwoody, www.callutheran.edu Todd Wilson; Zion Evangelical Lutheran, San- GA 7 pm dusky, OH 4 pm Yun Kyong Kim; First Presbyterian, Athens, Ken Cowan; Westminster Presbyterian, Day- OH 4 pm ton, OH 4 pm Bradley Welch; Central College Presbyterian, Brian Jones KIM R. KASLING Robert Powell Celebration; Trinity Episcopal, Westerville, OH 4 pm D.M.A. Bay City, MI 4 pm Ken Cowan; Hyde Park Community United DirectorDirector of Music Emeritus Tom Trenney, recital & silent fi lm accompani- Methodist, Cincinnati, OH 4 pm St. John’s University ment; First Presbyterian, Grand Haven, MI 7 pm Andrew Peters; Cathedral of St. Philip, Atlan- TRINITY CHURCH Choral Evensong; Cathedral Church of the Ad- ta, GA 3:15 pm BOSTON Collegeville, MN 56321 vent, Birmingham, AL 4 pm PRUMC Staff Singer Concert; Peachtree Road United Methodist, Atlanta, GA 5 pm 15 OCTOBER Choral Evensong; Cathedral Church of St. David Enlow; Church of the Resurrection, Paul, Detroit, MI 4 pm New York, NY 7 pm Christian Lane; Reid Chapel, Samford Univer- JAMES KIBBIE sity, Birmingham, AL 2:30 pm 16 OCTOBER The University of Michigan Choral Evensong; Independent Presbyterian, Mark Loring; Park Congregational, Grand Birmingham, AL 4 pm Ann Arbor, MI 48109-2085 Rapids, MI 12:15 pm ORGAN CONSULTANT James Cook, with choir and orchestra, Pou- 734-764-1591 FAX: 734-763-5097 lenc works; Canterbury United Methodist, Mt. www.gabrielkney.com 17 OCTOBER email: [email protected] Brook, AL 7:30 pm Annette Richards & David Yearsley; Anabel Gail Archer; Cathedral of St. Joseph the Work- Taylor Hall Chapel, Cornell University, Ithaca, NY man, La Crosse, WI 3 pm 12:30 pm David K. Lamb, D.Mus. A Professional Card in 29 OCTOBER 19 OCTOBER Tom Trenney, silent fi lm accompaniment; Director of Music/Organist The Diapason Isabelle Demers; Third Presbyterian, Roches- Schermerhorn Symphony Center, Nashville, TN For rates and digital specifi cations, ter, NY 8 pm 8 pm First United Methodist Church VocalEssence; Cathedral of St. Paul, St. Paul, contact Jerome Butera MN 8 pm Columbus, Indiana 847/391-1045 30 OCTOBER 812/372-2851 Olivier Latry; Painesville United Methodist, [email protected] 20 OCTOBER Painesville, OH 7 pm Stephen Tharp; St. Norbert Abbey, De Pere, Carol McNally; Park Congregational, Grand WI 2 pm Rapids, MI 12:15 pm Martin Jean, masterclass; First Lutheran, Du- luth, MN 10 am 31 OCTOBER Dennis James, silent fi lm accompaniment; 21 OCTOBER Sage Chapel, Cornell University, Ithaca, NY Olivier Latry; The Memorial Church, Cam- 12:30 pm bridge, MA 4 pm Dennis James & Mark Goldstein, silent fi lm Leslie Teardo; St. Thomas Church Fifth Av- accompaniment; Sage Chapel, Cornell Univer- enue, New York, NY 5:15 pm sity, Ithaca, NY 8 pm Bruce Neswick; St. John’s Episcopal, Wash- Mark Steinbach ington, DC 5 pm ; Sayles Hall, Brown Univer- Douglas Cleveland; Duke University Chapel, sity, Providence, RI 11:59 pm Durham, NC 5 pm Lester Seigel, Jim Cook, Organ Spooktacu- Dongho Lee; Mayfl ower Congregational, lar; Hill Recital Hall, Birmingham-Southern Col- ANDREW PAUL MOORE lege, Birmingham, AL 9:30 pm A.S.C.A.P. Grand Rapids, MI 3 pm FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH Gail Archer; Cathedral of the Holy Angels, Gary, IN 3 pm 345 SADDLE LAKE DRIVE Martin Jean; First Lutheran, Duluth, MN 4 pm UNITED STATES ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS West of the Mississippi (770) 594-0949 22 OCTOBER Musica Sacra, Mozart, Haydn, and Beethoven 15 SEPTEMBER works; Alice Tully Hall, New York, NY 8 pm James Welch; Bethania Lutheran, Solvang, Dongho Lee, masterclass; Mayfl ower Congre- CA 1 pm LEON NELSON DOUGLAS O’NEILL gational, Grand Rapids, MI 8 pm Robert McConnell; Elliott Chapel, Presbyte- Cathedral of the Madeleine 16 SEPTEMBER Director of the Sanctuary Choir rian Homes, Evanston, IL 1:30 pm Diane Meredith Belcher; Center for Faith and Southminster Presbyterian Church Salt Lake City, Utah 23 OCTOBER Life, Luther College, Decorah, IA 4 pm Arlington Heights, IL 60005 [email protected] Jeremy Filsell; Highland Park Presbyterian, 801/671-8657 Alan Morrison; Savage Chapel, Union Univer- sity, Jackson, TN 7:30 pm Dallas, TX 7 pm Patrick Scott; Hill Recital Hall, Birmingham- Christoph Tietze; St. Mary’s Cathedral, San Southern College, Birmingham, AL 7:30 pm Francisco, CA 3:30 pm MARILYN MASON John Karl Hirten; Legion of Honor, San Fran- CHAIRMAN, DEPARTMENT OF ORGAN 24 OCTOBER cisco, CA 4 pm Olivier Latry; Church of the Ascension, New UNIVERSITY OF MICHIGAN 17 SEPTEMBER ANN ARBOR York, NY 8 pm Christopher Houlihan; Highland Presbyte- •Hymn Fest; Southminster Presbyterian, Prai- “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it rian, Lancaster, PA 7 pm rie Village, KS 7:30 pm with awesome technique and a thrilling command of its daring writing.” The American Organist, 1980 25 OCTOBER 18 SEPTEMBER Karen Electra Christianson; Adolphus Busch Houston Chamber Choir; Co-Cathedral of the Hall, Harvard University, Cambridge, MA 12:10 Sacred Heart, Houston, TX 7:30 pm pm SYLVIE POIRIER Christian Lane, masterclass; Trinity United 21 SEPTEMBER LARRY PALMER Methodist, Huntsville, AL 4:30 pm Peter Richard Conte; All Saints’ Episcopal, Fort Worth, TX 7:30 pm Professor of PHILIP CROZIER 26 OCTOBER N. Seth Nelson; Redeemer Presbyterian, Aus- ORGAN DUO John Scott; Methuen Memorial Music Hall, tin, TX 7:30 pm Harpsichord and Organ Methuen, MA 8 pm 3355 Queen Mary Road, Apt 424 Ryan Anthony, trumpet & Gary Beard, organ; 22 SEPTEMBER Meadows School of the Arts United Methodist Church, Saratoga Springs, NY Keith Thompson; Legion of Honor, San Fran- Montreal, H3V 1A5, P. Quebec 7:30 pm cisco, CA 4 pm SOUTHERN METHODIST UNIVERSITY Canada Olivier Latry; Longwood Gardens Ballroom, Kennett Square, PA 8 pm 23 SEPTEMBER (514) 739-8696 Peter Richard Conte; First Presbyterian, Dallas, Texas 75275 Isabelle Demers; St. Luke Lutheran, Silver Fax: (514) 739-4752 Spring, MD 7:30 pm Wichita, KS 3 pm Organ Spooktacular; St. Paul’s Episcopal, James David Christie; Hemmle Hall, Texas Musical Heritage Society recordings [email protected] Greenville, NC 7:30 pm Tech University, Lubbock, TX 3 pm Christian Lane; Trinity United Methodist, Craig Cramer; First United Methodist, Colo- Huntsville, AL 7:30 pm rado Springs, CO 7 pm Tom Trenney, silent fi lm accompaniment; James Mellichamp; St. Mary’s Cathedral, San Stambaugh Auditorium, Youngstown, OH 7 pm Francisco, CA 3:30 pm Todd Wilson; Trinity United Methodist, Wil- Keith Thompson; Legion of Honor, San Fran- mette, IL 8 pm cisco, CA 4 pm A four-inch Professional Card Douglas Cleveland; Augustana Lutheran, Compline (Gregorian chant); St. Paul’s Episco- in THE DIAPASON West St. Paul, MN 7:30 pm pal, Oakland, CA 8 pm 27 OCTOBER 27 SEPTEMBER For rates and specifi cations Christopher Houlihan; Abingdon Episcopal, Patrick Scott; Bates Recital Hall, University of White Marsh, VA 5 pm Texas, Austin, TX 7:30 pm contact Jerome Butera Huw Lewis, with Holland Symphony Orches- tra; Hope College Chapel, Holland, MI 7:30 pm 28 SEPTEMBER 847/391-1045 Christian Lane, masterclass; Reid Chapel, Maxine Thevenot, with baritone; First Presby- Samford University, Birmingham, AL 10:30 am terian, Santa Fe, NM 5:30 pm [email protected] 28 OCTOBER 29 SEPTEMBER Thomas Murray; Church of St. Ignatius Loyo- Linda Patterson; Bates Recital Hall, Univer- la, New York, NY 4 pm sity of Texas, Austin, TX 5:30 pm
34 THE DIAPASON
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Angela Kraft Cross; Legion of Honor, San Christopher Houlihan; First Lutheran, Fargo, Francisco, CA 4 pm ND 4 pm Stephen G. Schaeffer Sophie-Véronique Cauchefer-Choplin; Res- 30 SEPTEMBER urrection Parish, Santa Rosa, CA 3:30 pm Recitals – Consultations Jeremy Filsell; St. Mark’s Episcopal Cathe- Chelsea Chen; Point Loma Community Pres- dral, Minneapolis, MN 5 pm byterian, San Diego, CA 7 pm Cathedral Church of the Advent David Pickering; Community of Christ Audito- Birmingham, Alabama rium, Independence, MO 3 pm 23 OCTOBER Christopher Houlihan; Christ United Method- David Pickering, with Kansas State University www.AdventBirmingham.org ist, Plano, TX 7 pm Trumpet Ensemble; Basilica of the Immaculate Christoph Tietze; St. Mary’s Cathedral, San Conception, Conception, MO 8 pm Francisco, CA 3:30 pm Angela Kraft Cross; Legion of Honor, San 24 OCTOBER Nicholas E. Schmelter ROBERT L. Francisco, CA 4 pm Sophie-Véronique Cauchefer-Choplin; Pa- cifi c Union College, Angwin, CA 4 pm Director of Music and Organist SIMPSON 5 OCTOBER First Congregational Church James David Christie; First Presbyterian, 26 OCTOBER Christ Church Cathedral Santa Fe, NM 5:30 pm Linda Patterson; Bates Recital Hall, Univer- Saginaw, Michigan 1117 Texas Avenue Peter Richard Conte; St. John’s Episcopal Ca- sity of Texas, Austin, TX 7:30 pm Houston, Texas 77002 thedral, Denver, CO 7:30 pm Richard Elliott; Christ Church Episcopal, Las Vegas, NV 7:30 pm 6 OCTOBER ORGAN MUSIC OF THE SPANISH BAROQUE David Hegarty; Legion of Honor, San Fran- 28 OCTOBER Stephen Tappe cisco, CA 4 pm Stephen Hamilton; Central Lutheran, Minne- Organist and Director of Music David Troiano apolis, MN 4 pm Saint John's Cathedral 7 OCTOBER Olivier Latry; First United Methodist, Shreve- DMA MAPM David Baskeyfi eld; Wartburg College, Wa- port, LA 4 pm Denver, Colorado 586.778.8035 Chelsea Chen verly, IA 4 pm ; Our Lady of Lourdes Church, www.sjcathedral.org [email protected] Paul Jacobs; Boston Avenue United Method- Sun City West, AZ 3 pm ist, Tulsa, OK 6 pm Kathrine Handford; Trinity Lutheran, Lynn- Ken Cowan; First Congregational United wood, WA 7 pm Church of Christ, Greeley, CO 4 pm Sophie-Véronique Cauchefer-Choplin; Grace Clive Driskill-Smith; Cathedral of the Mad- Cathedral, San Francisco, CA 4 pm Marcia Van Oyen eleine, Salt Lake City, UT 4 pm Joe Utterback Isabelle Demers; Our Lady of Fatima Parish, First United Methodist Church INTERNATIONAL COMMISSIONS & CONCERTS Seattle, WA 4 pm Plymouth, Michigan Charles Rus; Lagerquist Hall, Pacifi c Lutheran 732 . 747 . 5227 University, Tacoma, WA 3 pm 15 SEPTEMBER mvanoyen.com James Welch; Fremont Presbyterian, Sacra- Jaap Stork; Kathedrale Basiliek Sint Bavo, mento, CA 4 pm Haarlem, Netherlands 3 pm Nathan Laube; Truro Cathedral, Truro, UK 9 OCTOBER 7:30 pm Karen Beaumont; St. John’s Cathedral, Den- Peter Dutton; St. Mary, Brighton, UK 2:30 pm David Wagner ver, CO 3 pm Gillian Weir; Coventry Cathedral, Coventry, DMA Kevin Walters UK 7:30 pm Madonna University 11 OCTOBER M.A., F.A.G.O. Patrick Scott; Bates Recital Hall, University of 16 SEPTEMBER Livonia, Michigan Texas, Austin, TX 7:30 pm Vincent Dubois, with tenor; Eglise St-Jacques- [email protected] Rye, New York le-Majeur, Hunawihr, Alsace, France 5 pm 12 OCTOBER James Welch; Church of Jesus Christ of Lat- 18 SEPTEMBER ter-day Saints, Camarillo, CA 7:30 pm David Deward; St. Ives Parish Church, Corn- wall, UK 12:30 pm Davis Wortman 13 OCTOBER Benjamin Chewter; St. Werburgh’s, Chester KARL WATSON Marilyn Keiser, Diocesan Choral Festival; Grosvenor, UK 1 pm TMI—The Episcopal School of Texas, San Anto- SAINT LUKE’S St. James’ Church nio, TX 4 pm 19 SEPTEMBER New York Jonathan Hope; Reading Town Hall, Reading, METUCHEN 14 OCTOBER UK 1 pm Dongho Lee; Newman Center for the Per- Cathy Lamb; St. Michael & All Angels, West forming Arts, University of Denver, Denver, CO Croydon, UK 1:10 pm 2:30 pm Joseph Cullen; Westminster Cathedral, Lon- Maxine Thevenot, with New Mexico Philhar- don, UK 7:30 pm UDOLF UIDERVELD monic Orchestra; Cathedral of St. John, Albu- Nathan Laube; St. Michael and All Angels’ RONALD WYATT R Z querque, NM 4 pm Church, Great Torrington, Devon, UK 7:30 pm Illinois College, Jacksonville Scott Dettra; St. James Episcopal, Los Ange- Trinity Church les, CA 6 pm 20 SEPTEMBER Galveston First Presbyterian Church, Diego Innocenzi, with vocal trio; Saint-Sulpice, Springfi eld 19 OCTOBER Paris, France 8:30 pm The Chenaults; St. John’s Episcopal Cathe- Peter Morris; Walsall Town Hall, Walsall, UK dral, Denver, CO 7:30 pm 1 pm Charles Dodsley Walker, FAGO 21 OCTOBER 21 SEPTEMBER Ken Cowan; First Presbyterian, Fort Smith, AR Willibald Guggenmoos; Cathedral, Lau- Artist-in-Residence Founder/Conductor 3 pm sanne, Switzerland 8 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458
William Webber, C.A.G.O. Organist, First Christian Church, Danville, KY Instructor of Music & Religious Studies, Maysville Community College Contact Bill at
A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact Jerome Butera: [email protected] 847/391-1045 DAVID SPICER First Church of Christ Wethersfi eld, Connecticut
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SEPTEMBER, 2012 35 Stefano Canazza, with trumpet; Chiesa di S. Stephanie Burgoyne & William Vandertuin; Vincent Rigot, with Choeurs Monteverdi; Jesu Christ, op. 28, no. 37, Dupré; Pièce Maria della Pace, Pralungo, Italy 9 pm St. Paul’s United Church, Paris, ON, Canada Cathédrale, Evreux, France 4:30 pm d’Orgue, BWV 572, Bach; Rondo in G, Ghe- Anthony Burns-Cox; Romsey Abbey, Hamp- 3 pm rardeschi; O Lamm Gottes, unschuldig, op. shire, UK 7:30 pm 17 OCTOBER 67, no. 32, Reger; Incantation pour un jour 1 OCTOBER Peter Holder; St. Michael & All Angels, West saint, Langlais. 22 SEPTEMBER Stephen Tharp; St. Lambertus, Düsseldorf, Croydon, UK 1:10 pm Stefan Kordes, Vierne, Symphony 6; Markt- Germany 7:30 pm Peter Stevens; Westminster Cathedral, Lon- MICHAEL COSTELLO, Lutheran School kirche, Hannover, Germany 6 pm don, UK 7:30 pm of Theology, Chicago, IL, April 3: Ah, holy Je- Stephen Tharp; St. Lutwinus, Mettlach, Ger- 2 OCTOBER sus, how hast thou offended, Costello; Varia- many 8 pm Keith Hearnshaw; Warwick Road URC, Cov- 21 OCTOBER tions sur un thème de Clément Jannequin, Margreeth de Jong, with soprano; Kathedrale entry, UK 1:10 pm Rutter, Magnificat; Eglise Saint-Martin, Dude- Alain; Kyrie, Gott Vater in Ewigkeit, BWV Basiliek Sint Bavo, Haarlem, Netherlands 3 pm lange, Luxembourg 5 pm 669, Christe, aller Welt Trost, BWV 670, Kyrie, Enrico Zanovello; Chiesa di San Lorenzo, 3 OCTOBER David Graham; Saint-Sulpice, Paris, France Gott heiliger Geist, BWV 671, O Mensch, be- Ponderano, Italy 9 pm Stephen Tharp; St. Peter and Paul, Ratingen, 4 pm wein dein Sünde Gross, BWV 622, Bach. Lucia Aiche; St. Alfege, Greenwich, UK 1 pm Germany 7 pm Jean-Pierre Lecaudey; Cathédrale, Evreux, Gerard Brooks; St. Michael & All Angels, West France 4:30 pm CRAIG CRAMER, St. Olaf Catholic Thomas Kientz 23 SEPTEMBER Croydon, UK 1:10 pm , with Quatuor Florestan; Eg- Church, Minneapolis, MN, April 28: Toccata lise St-Georges, Epfig, Alsace, France 5 pm Stephen Tharp; Missionsbenediktinerabtei in D, BuxWV 155, Buxtehude; Prelude and Schweiklberg, Schweiklberg, Germany 7 pm 5 OCTOBER Fugue on O Traurigkeit, O Herzeleid, Smyth; Stephen Tharp; St. Johannes Bosco, 24 OCTOBER Andrea Vannucchi; Chiesa Parrocchiale, Sar- Fantasia and Fugue in g, BWV 542, Bach; In- München-Germering, Germany 7 pm Nigel Kerry; St. Michael & All Angels, West ripoli, Pistoia, Italy 5 pm troduction, Scherzo und Fugue on B-E-A-T-E, Emmanuele Jannibelli, Heinz Peter Kort- Croydon, UK 1:10 pm Paolo Bougeat; Santuario di Sant’Euseo, Ser- Zahnbrecher; Le Mystère de Noël, Fauchard. mann, Sylvain Junker; Cathedral, Lausanne, ravalle Sesia, Italy 9 pm Switzerland 7 pm, 8 pm, 9 pm 26 OCTOBER DELBERT DISSELHORST, St. David’s Carolyn Shuster Fournier; Église abbatiale, Stephanie Burgoyne & William Vandertuin; Episcopal Church, Glenview, IL April 22: 25 SEPTEMBER Saint-Sever (Landes), France 9 pm Waterford United Church, Waterford, ON, Cana- Virgile Monin (interpretation) & Baptiste-Flo- Fanfare, Phillips; Ein Feste Burg, Vom Him- da 7:30 pm mel hoch, Ich ruf zu Dir, Lobe den Herren, rian Marle-Ouvard (improvisation); Eglise Saint- 7 OCTOBER Martin, Dudelange, Luxembourg 8 pm Walcha; Sonata IV, BWV 528, Bach; Allegro Stephen Tharp; St. Peter’s Basilika, Dillingen, 27 OCTOBER (Chorale and Fugue), Mendelssohn; Even Stephanie Burgoyne & William Vandertuin; Germany 5 pm Pierre Pincemaille, Vierne, Symphony 3; St. Paul’s Anglican Cathedral, London, ON, Can- Song, La Montaine; Giga, op. 73, Bossi; Finale Elisa Teglia; Cattedrale, Pistoia, Italy 5 pm Marktkirche, Hannover, Germany 6 pm (Symphonie VI), Vierne. ada 12:15 pm Michel Baumel; Cathédrale, Evreux, France 4:30 pm 28 OCTOBER 26 SEPTEMBER John Scott; Metropolitan United Church, Lon- MARIO DUELLA, Presbyterian Homes, Evanston, IL, April 23: Sonata in C, So- Anne-Caroline Prénat; St. Michael & All An- 9 OCTOBER don, ON, Canada 3 pm gels, West Croydon, UK 1:10 pm David Higgs; Westminster United Church, nata in B-flat, Valeri; Deuxième Offertoire, Wolfgang Seifen, improvisations; Eglise op. 36, Batiste; Chant du Matin, Guilmant; Saint-Martin, Dudelange, Luxembourg 8 pm Winnipeg, MB, Canada 7:30 pm 28 SEPTEMBER Thème varié, Plum; Evening Song, Bair- Daniel Pandolfo, with violin; Chiesa di S. Ma- 31 OCTOBER stow; Andante per l’Elevazione, Sonata per 10 OCTOBER l’Offertorio, Petrali. ria, Valduggia, Italy 9 pm Hartmut Leuschner-Rostoski; St. Michael & Sarah Kim; St. Michael & All Angels, West All Angels, West Croydon, UK 1:10 pm Croydon, UK 1:10 pm 29 SEPTEMBER JOHN FENSTERMAKER, Trinity Epis- copal Cathedral, Columbia, SC, April 22: Ben van Oosten, Vierne, Symphony 5; Markt- 12 OCTOBER kirche, Hannover, Germany 6 pm Offertory for Easter Day, Dandrieu; Chorale Anthony Burns-Cox; St. Stephen Walbrook, I in E, Franck; Variations on ‘Kum Ba Yah,’ Ton van Eck, with choir; Kathedrale Basiliek London, UK 12:30 pm Organ Recitals Sint Bavo, Haarlem, Netherlands 3 pm Behnke; Irish Air, Lemare; Improvisation on ‘Nearer, My God, to Thee,’ Karg-Elert. John Keys; St. James the Great, Dursley, UK 13 OCTOBER 11 am Daniel Roth, Vierne, Symphony 4; Markt- GAIL ARCHER, St. Francis Xavier MICHAEL GAGNE, Faith Lutheran Michael Smith; Bridlington Priory, North Hum- kirche, Hannover, Germany 6 pm Church, New York, NY, March 23: Preamble berside, UK 6 pm Church, Arlington Heights, IL, April 29: Fan- for a Solemn Occasion, Copland; Postlude, fare, Willan; Jesu, Joy of Man’s Desiring, Bach, 14 OCTOBER Moves; Passacaglia on BACH, Decker; Varia- 30 SEPTEMBER arr. Metzger; Prelude and Fugue in c, BWV Thierry Escaich, with Sequenza 9.3; Eglise tions on ‘America’, Ives; Sonata in e-flat, op. 549, Bach; The Musical Clocks, Haydn; Suite Stephen Tharp; Salvatorkirche, Duisburg, Saint-Martin, Dudelange, Luxembourg 5 pm 65, Parker. Germany 5 pm on the Second Tone, Clerambault; Variations Klemens Schnorr, with Choeur Canta Nova; on Amazing Grace, Callahan; Toccata/Scherzo Daniel Pandolfo, with violin; Chiesa di S. Mi- Eglise St-Jacques-le-Majeur, Heiteren, Alsace, MAHLON E. BALDERSTON, DAVID on ‘Come Thou Fount,’ Steffen; Aria, Phillips; chele Arcangelo, Cavaglià, Italy 9 pm France 4 pm GELL, KEVIN ROSE, EMMA LOU DIE- Sortie, Lefébure-Wely; Jazz Suite, Michel; MER, and CHARLES TALMADGE, with Processional, Nelson; Partita on All Glory, Jane Hahn, flute, and Nary Rose Go, soprano, Laud, and Honor, Burkhardt; The Peace May ORGAN BUILDERS Trinity Episcopal Church, Santa Barbara, CA, Be Exchanged (Rubrics), Locklair; Toccata on March 11: Prelude and Fugue in F, BWV 556, Rejoice, You Pure in Heart, Travis. Prelude and Fugue in a, BWV 559, Sonata in L. W. BLACKINTON THE NOACK ORGAN CO., INC. e, Allegro (Concerto in G, BWV 592), Toccata KATYA GOTSDINER-MCMAHAN, Trin- and associates, inc. MAIN AND SCHOOL STREETS in D, BWV 912, Jauchzet Gott in allen Lan- ity Episcopal Church, Santa Barbara, CA, GEORGETOWN, MA 01833 den, Fantasy and Fugue in a, BWV 561, O April 15: Cortège et Litanie, op. 19, no. 2, www.noackorgan.com 380 FRONT ST. Mensch, bewein dein Sünde gross, BWV 622, Dupré; Sarabande for the Morning of Easter, EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America Valet will ich dir geben, BWV 735, Herzlich Howells; Toccata on ‘O Filii et Filiae’, Far- tut mich verlangen, BWV 727, Fantasy and nam; Tiento de Medio Registro de dos Tiples, Fugue in g, BWV 542, Bach. De Septimo tono, de Arauxo; Burlesque “Car- martin ott pipe pathian Meditations” (Sixth Organ Suite), organ BYRON L. BLACKMORE, American Kikta; What a Friend We Have in Jesus company inc. Lutheran Church, Sun City, AZ, March 27: (Gospel Preludes), Bolcom; Sabre Dance, Suite for Organ, Bales; Ich ruf’ zu dir, Herr Khachaturyan, arr. 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36 THE DIAPASON STEPHEN HAMILTON, St. John’s Lu- JOYCE SHUPE KULL, with Philip Fryer, Himmelreich, Böhm; Fugue in E-fl at, BWV 17: Praeludium in a, BuxWV 153, Buxtehude; theran Church, Stamford, CT, February 26: Stewart Kull, Sebastian Schmidt, baritone 552b, Bach. Schmucke dich, O liebe Seele, BWV 654, O Partite Sopra la Aria della Folia de Espagne, choir, Deke Polifka, director, St. John’s Ca- Lamm Gottes, unschuldig, BWV 656, Praelu- Pasquini; La Romanesca con Cingue Mutanze, thedral, Denver, CO, April 27: 1st Sonate MELISSA PLAMANN, First Presbyterian dium et Fuga in a, BWV 543, Bach; Andante, Valente; Concerto in F, Handel; O Mensch, (Symphonie) pour l’Orgue, op. 42, Guilmant; Church, Greensburg, PA, April 15: Three Pre- Allegretto (Sonata in e-fl at, op. 65), Parker; bewein’ dein’ Sünde gross, O Gott, du from- Praeludium und Fugue in D-Dur, BWV 532, ludes on Welsh Hymn-Tunes, Vaughan Wil- Allegro (Symphonie VI, op. 42), Widor. mer Gott, Bach; Sonata VI in d, op. 65, Men- Bach; Variations on Onder een linde groen, liams; Wondrous Love: Variations on a Shape- delssohn; Aria (Six Pieces), A. Alain; Le Jardin Sweelinck; Prélude, Adagio et Choral Varié Note Hymn, op. 34, Barber; Fugue in E-fl at, CARL SCHWARTZ, St. Paul’s Episcopal Suspendu, JA 71, J. Alain; Toccata, Villancico sur le thème du ‘Veni Creator,’ op. 4, Durufl é. BWV 552, Bach; A Festive Voluntary: Varia- Church, Rock Creek Parish, Washington, DC, y Fuga (BACH), op. 18, Ginastera. tions on ‘Good King Wenceslas’, Eben; Some- March 11: Fantasia, Gibbons; Adagio (Trum- SCOTT LAMLEIN, United Congrega- times I Feel Like a Motherless Child (Gospel pet Concerto in D, TWV 51), Telemann; CHRISTOPHER HOULIHAN; First tional Church, Holyoke, MA, April 29: Rigau- Preludes), Bolcom; Le Jardin suspendu (Trois V. Tryptique (L’Orgue Mystique No. 26, In Lutheran Church, Rockford, IL, March 25: don, Campra; Toccata and Fugue in d, Bach; Pièces), Alain; Chorale Fantasia on ‘Ein’ feste Festo Ss. Trinitatis), Tournemire; Wo soll ich Passacaglia and Fugue in c, BWV 582, Bach; White’s Air, Hammond; Remembrance, Peace, Burg ist unser Gott’, op. 27, Reger. Carillon, Lamlein; Outer Hebrides (A Fanta- fl iehen hin, BWV 646, Wer nur den lieben Vocalise in the form of a Habanera, Ravel, arr. Gott lasst walten, BWV 647, Bach; Récit de Houlihan; Andante Sostenuto (Symphonie sia on Three Celtic Melodies), Halley; Of the NAOMI ROWLEY, with Mary Bell, fl ute, Father’s Love Begotten, Southbridge; Go Tell Tierce en Taille (Livre d’Orgue), de Grigny; Gothique, op. 70), Allegro (Sixth Symphony, Shepherd of the Bay Lutheran Church, El- Musette (Suite for Viola and Small Orches- op. 42, no. 2), Widor; Second Symphony, op. It on the Mountain, Lonesome Valley, Powell; lison Bay, WI, March 25: Prelude, op. 69, Were You There?, Callahan; Good Christian tra), Vaughan Williams, arr. Sumsion; Andan- 20, Vierne. no. 15, de Lange; Sonata in F for Flute and te (Concerto I in g), Handel, arr. Dupré. Friends, Rejoice and Sing, Willan; The Peace Organ, Handel; Prelude and Fughetta, Wil- JILL S. HUNT, Presbyterian Homes, Ev- May Be Exchanged (Rubrics), Locklair; Caril- lan; Two Hymn Preludes for Flute and Or- lon-Sortie, Mulet. CHRISTOPHER URBAN, First Presbyte- anston, IL, March 26: Vater unser im Him- gan, Kosche; Jesus Comforts the Women of rian Church, Arlington Heights, IL, April 4: melreich, BWV 683, Bach; Vater unser im Jerusalem (The Stations of the Cross), Du- CHRISTOPHE MANTOUX, All Souls’ Prelude in c, Blake; O Sacred Head, Hustad; Himmelreich, op. 67, no. 39, Reger; Sonata pré; Romance, Scherzo (Suite for Flute and Ah, Holy Jesus, Wood; Prelude and Fugue in g, Episcopal Church, San Diego, CA, March Organ, op. 14), Widor, arr. Egler; Toccata on VI, Mendelssohn; Choralvorspiel und Fuge: 11: Allabreve, BWV 589, Trio in d, BWV 583, Bach; Adagio for Strings, Barber; In the Gar- ‘All Glory, Laud and Honor’, Burkhardt. O Traurigkeit, O Herzeleid, Brahms; Rorate Der Tag, der ist so freudenreich, BWV 605, den, Miller; If Thou But Suffer God, Manz; Caeli, Te Deum, op. 11, Demessieux. Herr Jesu Christ, dich zu uns wend, BWV Cortège et Litanie, Dupré. 709, Sonata VI in G, BWV 530, Fantasy in c, STEPHEN G. SCHAEFFER, Cathe- CALVERT JOHNSON, with Amanda Pep- BWV 562, Herr Gott, nun schleuß den Him- dral Church of the Advent, Birmingham, ping, trumpet, First Presbyterian Church, AL, March 25: Toccata in F, BWV 540, ARTIS WODEHOUSE, reed organs and mel auf, BWV 617, In dulci jubilo, BWV 608, piano, with Marti Newland, soprano, George Marietta, GA, March 6: Prima Sonata di Concerto in d, BWV 596, An Wasserfl üssen Bach; Prière, op. 20, Franck; Phoenix Pro- Tromba et Organo insieme detta del Dollore- cessional, Locklair; Allegro vivace (Sym- Spitzer, baritone, and William Workinger, pi- Babylon, BWV 563b, Fantasy and Fugue in ano, Church of the Epiphany, New York, NY, to, Sonata No. 2, detta del Gonzaga, Fantini; g, BWV 542, Bach. phony No. 5 in F, op. 42), Widor; Adagio in Sonata in D Major for Trumpet, Purcell; So- E, Bridge; Impromptu, op. 54, no. 2, Caril- March 25: Five Traditional Afro-American Spirituals, Jessye; Beams of Heaven as I Go, nata Capriccio for organ, Ziani; Concerto for AARON DAVID MILLER, House of lon de Westminster, op. 54, no. 6 (Pièces de trumpet in D, Torelli; Voluntary for organ, op. fantaisie), Vierne. Tindley; Shall We Gather At the River, Low- Hope Presbyterian Church, St. Paul, MN, ry; At the River, Serenity, Memories, Charlie 5, no. 8, Stanley; Concerto for trumpet in D, March 18: Jump, A Flower Opens, Parody Fasch; Canzona, BWV 588, Bach; Concerto on Aberystwyth, Parody on BWV 772, Rus- JEFFREY SCHLEFF, St. Andrew Luther- Rutlage, When Stars are in the Quiet Skies, for trumpet in E-fl at, Neruda. tic Toccata, Improvised Sonata on Submitted an Church, Mundelein, IL, March 4: Canzona Ives; Eight Pieces for the American Harmo- Themes, Miller. in d, BWV 588, Bach; My Faith Looks Up to nium, Bird; Three Dances, op. 6, Nevin. ODILE JUTTEN, Cathédrale, Evreux, Thee, Osterland; Chorale Prelude and Fugue France, April 1: Prélude et fugue en ut mineur, DEREK NICKELS, Zion Lutheran on ‘O Traurigkeit, o Herzeleid’, Brahms; Lord, RONALD WYATT, Temple Sinai, New Or- BWV 546, O Mensch, bewein’ dein’ Sünde gross, Church, Lyons, IL, April 29: Prelude in E- Whose Love in Humble Service, Wold; Three leans, LA, March 11: Fanfare, Cook; Prelude BWV 622, Bach; improvisations on the seven fl at, BWV 552a, Bach; Passacaglia in d, Preludes and Chorale on ‘Christe, Du Lamm and Fugue in c, BWV 549, Bach; Fantaisie, last words of Christ; Wir glauben all’ an einen BuxWV 161, Buxtehude; Was Gott tut, das Gottes’, op. 18, no. 3, Distler. Saint-Saëns; Ave Maria, Bossi; Carillon-Sor- Gott, BWV 680, Christ ist erstanden, BWV ist wohlgetan, Pachelbel; Sarabande, Rhyth- tie, Mulet; Concerto del Sigr. Meck, Walther; 627, Bach; Choral-Improvisation sur le ‘Victi- mic Trumpet (Baroques), Bingham; Volun- STEPHEN SCHNURR, St. Charles Senior Scherzo, Gigout; Prélude, Boulanger; Final mae Paschali,’ Tournemire, transcr. Durufl é. tary in A, op. 7, no. 1, Stanley; Vater unser im Living Community, Carthagena, OH, April (Symphony I), Vierne.
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Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website ❑ of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ 1.00 Regular Classifi ed minimum 23.00 ______Display Classifi ed, per word 1.35 Display Classifi ed minimum 27.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 17.00 ______($30 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $5.00 per issue desired with their payment. Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.
SEPTEMBER, 2012 37 Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
POSITIONS PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ AVAILABLE RECORDINGS RECORDINGS RECORDINGS
Hupalo & Repasky Pipe Organs is seeking a Ed Nowak, Chicago-area composer, arranger, Crystal Records announces the release of Da- The OHS Catalog is online at www.ohscatalog. qualifi ed individual in pipe organ building. Appli- and church musician, announces his new web- vid Craighead, Organ (CD181), a combination org. More than 5,000 organ and theatre organ cant should have some experience but ready to site, ednowakmusic.com. The website features of Craighead’s two Crystal Records LPs, origi- CDs, books, sheet music, DVDs and VHS vid- expand their knowledge from a certifi ed Master Nowak’s original choral works, hymn concer- nally released in 1977 and 1981. The program eos are listed for browsing and easy ordering. Organ Builder. Please send résumés to Hupalo tatos, chamber and orchestral works, organ includes Albright, The King of Instruments; Persi- Use a link for adding your address to the OHS & Repasky Pipe Organs, LLC, 2450 Alvarado St., hymn accompaniments, original organ and chetti, Sonata for Organ, op. 86, and Drop, Drop Catalog mailing list. Organ Historical Soci- Bldg.7, San Leandro, CA 94577 or e-mail john@ piano pieces, electronic music, and psalm set- Slow Tears; Adler, Xenia, A Dialog for Organ and ety, Box 26811, Richmond, VA 23261. E-mail: hupalorepasky.com. tings. The website offers scores and recorded Percussion (Gordon Stout, percussion); and [email protected]. examples that are easy to sample and can be Cooper, Variants for Organ. David Craighead purchased in downloaded (PDF and MP3) or (1924–2012) studied with Alexander McCurdy PUBLICATIONS/ printed form. at the Curtis Institute of Music, and taught at Request a free sample issue of The Diapason RECORDINGS Westminster Choir College in Princeton, NJ, at for a student, friend, or colleague. Write to the Occidental College in Los Angeles, and at the Editor, The Diapason, 3030 W. Salt Creek Lane, J.S. Bach’s Chromatic Fantasia & Fugue Eastman School of Music from 1955 until his re- Suite 201, Arlington Heights, IL 60005; or e-mail: “In Fairyland” is a three-movement suite perfect in D Minor, arranged for organ with pedal, in tirement in 1992. One of the most respected or- [email protected]. for the current generation who loves fantasy in a detailed performance edition (3-stave lay- ganists in the world, Craighead represented “the seemingly unending books and movies. I offer out, 17 pages + texts, softbound 8½x11, $18 + American School of organists at its fi nest” (New a free short article from 1919 on Roy Stough- shipping). Visit www.frumuspub.net, or contact: York Times). For information: 360/834-7022; ton and this endearing characteristic suite. [email protected]; 805/682-5727, mornings, www.crystalrecords.com. PIPE ORGANS michaelsmusicservice.com; 704/567-1066. Pacifi c time. By mail: Fruhauf Music Publica- FOR SALE tions, P.O. Box 22043, Santa Barbara, CA, USA 93121-2043. Historic Organs of Seattle: A Young Yet Vi- JAV Recordings has released one of the fi rst brant History, the latest release from OHS, is a 1961 Moller 4-rank Artiste—Great condition, audiophile high resolution surround sound re- four-disc set recorded at the 2008 OHS national $10,000/obo. It was rebuilt in the 1990’s and cordings of a pipe organ (96khz/24bit, Multi- Wild Sunrises, Organ Music of Carson convention, held in the Seattle, Washington has a Peterson solid-state pedal relay. We also channel 5.1), also available as a download. The Cooman—Harry Lyn Huff plays the 1921 E. M. area. Nearly fi ve hours of music feature historic have a 3-rank Moller petite, $8,500/obo. We recording features Frederick Teardo, associate Skinner organ, 115 ranks, at Old South Church, organs by Aeolian-Skinner, Casavant, Hook & can deliver within 300 miles of New Orleans or organist at St. Thomas Church Fifth Avenue in Boston. Built for the municipal auditorium in Hastings, and Hutchings-Votey, Kilgen, Tallman, prepare these organs for shipping. We can dis- New York City, in his fi rst solo recording play- St. Paul, Minnesota, the organ was relocated Woodberry, Hinners, Cole & Woodberry, plus in- count if you pick up the organs. Please e-mail ing a historic Johann Andreas Silbermann in- 1981–85 to Old South, Boston, saving it from de- struments by Flentrop, C. B. Fisk, and Rosales, [email protected] or call 800/520-7723 for strument at the Thomaskirche in Strasbourg, struction. This fi rst CD of the organ in solo rep- and Pacifi c Northwest organbuilders Paul Fritts, dimensions and pictures. France. The disc features French-infl uenced ertoire presents works by American composer Martin Pasi, John Brombaugh, Richard Bond, organ music of J.S. Bach, as well as works by Carson Cooman (b. 1982, Rochester, NY), who and many more! Renowned organists Douglas French Baroque composers Nicolas de Grigny is a widely published organist and composer- Cleveland, Julia Brown, J. Melvin Butler, Carole Seeburg Combo Player Organ/Piano— and Jacques Boyvin. Includes a 24-page book- in-residence at The Memorial Church, Harvard. Terry, Bruce Stevens, and others are featured Stopped Flute and Quintadena, with Octave let with an essay about the music and the organ, The pleasing and approachable works include in live performances on 24 pipe organs built Coupler. Blower and vacuum pump included. a biography of the artist, and numerous photos. several based on hymn tunes: Toccata-Fantasy between 1871 and 2000. Includes a 36-page Casework excellent. Piano works OK. All com- The recording is available in CD format, iTunes on a Medieval Welsh Carol; Alive!; Sunburst; Trio booklet with photographs and stoplists. $34.95, ponents complete. Re-rubberclothing needed download, high-resolution stereo and Surround in memoriam Dirk Flentrop; Exaltations I. Her- OHS members: $31.95. For more info or to or- for pipe valves and player action. Asking $3700. Sound; the booklet is available in PDF format alding; II. Refl ective; III. Joyous; No Darkness der: http://OHSCatalog.com/hiorofse.html. Tom Rench, Wisconsin; 262/639-3473. with the downloaded fi le. For full details visit at All; Toccata Homage to Buxtehude; Blessing; www.pipeorgancds.com. JAV Recordings will Dawning; Ab ortu Solis; Make Glad the City of be releasing Daniel Roth playing Widor’s Sym- God; Jubilee-Postlude on Converse; Berceuse; Certifi ed appraisals—Collections of organ 1971 II/3 Delaware simulated tracker-touch phonies #9 & #10 at Saint-Sulpice in time for Trumpet Tune; Wild Sunrises. Raven OAR-932, books, recordings, and music, for divorce, es- pipe organ (61) pedal (32). Perfect for practice Christmas 2012, and the entire JAV Recordings $14.98 postpaid worldwide, Box 25111, Rich- tate, gift, and tax purposes. Stephen L. Pinel, or small church. 12 stops, 185 pipes. Contact catalog will be on iTunes soon. mond VA 23261, www.RavenCD.com. Appraiser. [email protected]; 609/448-8427. [email protected]; 330/494-3195.
TOTAL PIPE ORGAN RESOURCES
2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 Phone (515) 964-1274 Fax (515) 963-1215
PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.com
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
38 THE DIAPASON Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
PIPE ORGANS PIPE ORGANS MISCELLANEOUS SERVICES/ FOR SALE FOR SALE FOR SALE SUPPLIES
Portative organ: Designed for small choral or Moeller Artiste, 3 ranks, very good condition, Frederick Hohman’s practice pipe organ ′ ′, ′, some renovation completed, builder ready to baroque ensembles. Four stops: 8 , 4 2 and remnants (three lots) for immediate sale in Need help with your re-leathering 1-1/3′, with the last two divided into bass and tre- assist in moving for additional cost. $8,000/ South Bend, Indiana. Lot 1: 5 ranks from 1950s project? All pneumatics including ble registers and an adjustable point of division best offer. 414/228-8737; jennifer.ankerberg@ vintage Kilgen Harmonic Ensemble: Open (b24/c25 or c25/c#26). Adjustable pitch between sbcglobal.net. Austin. Over 45 years experience Diapason, Gedeckt, Dulciana, Salicional, Voix (on the job assistance available). A=440 Hz and A=415 Hz. Quartersawn white oak Celeste; 365 pipes total. Includes three bass 615/274-6400. case. Available immediately. For more informa- offset chests and chest topboards (with re- tion, contact Létourneau Pipe Organs at mail@ Reuter, 15 stops, great condition. Moller Dou- cent direct-electric style magnets). Lot 2: One letourneauorgans.com or 888/774-5105. ble Artiste, very good condition. 615/274-6400 or milnarorgan.com. 3/4 horsepower Spencer Orgoblo Blower c. 1950. Lot 3: One SSL Solid-State Logic Multi- Aeolian/Robert Morton-style maroon System Organ switch, c. 2004; two switching Reiley Tracker Organ (c. 1890) —Two manuals, leather is now available from Columbia Or- ′ ″ Two manual, 3 ranks, 6 Walker stops, detached panels plus pair of MIDI controller units; switch gan Leathers! Highest quality. 800/423-7003, 9 ranks, 10 speaking stops, 4 couplers. 10 5 previously programmed for 181-stop tablet wide; walnut and cherry case. Excellent condi- console,10 years old; $6,500. Atlantic City Pipe www.columbiaorgan.com. Organ Co., 609/432-7876. 4-manual console, can be reprogrammed, tion. Asking $42,000. Contact: Lutheran Church full documentation. All in good condition. of the Redeemer, Rev. Roy Coats, 443/745-9200; Must be removed by October 1, 2012. E-mail: 4211 Vermont Avenue, Baltimore, MD 21229. Highest quality organ control systems since E-mail: [email protected]. ELECTRONIC ORGANS [email protected] or phone 574/271-9151. 1989. Whether just a pipe relay, combination action or complete control system, all parts FOR SALE are compatible. Intelligent design, competitive Atlantic City Pipe Organ Company—16′ Dou- 1995 Fowler self-contained pipe organ. Two ′ ′ pricing, custom software to meet all of your re- manuals, seven ranks, all solid state control. Allen MDS-65—3-manual drawknob, 54 stops, ble Open Diapason, 16 String, 16 Pedal Trom- quirements. For more information call Westa- Ideal for smaller church seating up to 200. Full 6 channels, 600 watts audio, 6 speakers, MIDI; bone, much more. 609/641-9422, acorgan@ cott Organ Systems, 215/353-0286, or e-mail details on request. Complete with 10 year war- 1990’s vintage, good condition: $33,000. Atlantic comcast.net. [email protected]. ranty, installed—$35,000. Contact Fowler Organ City Pipe Organ Co.; 609/432-7876. Co., [email protected] or 517/485-3748. Wood pipes. Missing pipes made to match. Releathering all types of pipe organ ac- MISCELLANEOUS Damaged pipes in any condition repaired. Over tions and mechanisms. Highest quality ma- 1964 M.P. Möller pipe organ. 36-rank American 25 years experience. Filip Cerny, 814/342-0975. terials and workmanship. Reasonable rates. Classic specifi cation including two célestes, two Are you an organist (or enthusiast) that Columbia Organ Leathers 800/423-7003. enclosed divisions and 32′ reed. Three-manual www.columbiaorgan.com/col. happens to be a Parliamentarian? We would Ornate Gothic oak organ case—Front and console. No casework or façades; instrument is like to speak with you at your earliest conve- ″, ″, ″. in good condition but will need releathering. Ask- sides. H 312 W 330 D 174 Includes façade nience. Please respond to Box JU-7121, THE pipes and related ranks (Principal 16′, Principal ing $50,000 “as is” or can be rebuilt with some DIAPASON. ′, ′ ANNOUNCEMENTS modifi cations. Available immediately. For more 8 Harmonic Flute 8 ). $30,000. john@organ- information, contact Létourneau Pipe Organs at clearinghouse.com; 617/688-9290. [email protected] or 888/774-5105. Visit TheDIapason.com! Our subscribers-only MISCELLANEOUS website has been totally redesigned and offers FOR SALE ATTENTION ORGANISTS! Rally Sunday many new features. Log in using the 7 digits af- Wicks organ, 2 manuals, 4 ranks, ca. 1990. is upon us, so make sure the pipe or- ter “DPP” on your mailing label (do not include ′ ′ ′ gan you play is festively decked out and “DPP”). Need help? Contact Joyce Robinson, 16 Rohrfl ute 97 pipes, 8 Principal 85 pipes, 4 Consoles, pipes and numerous miscellaneous Gemshorn 73 pipes, 8′ Trumpet 61 pipes. Excel- presents an inviting and appealing ap- [email protected]. parts. Let us know what you are looking for. pearance. Our exclusive Rally Day Kit lent condition. Oak casework and console. Lauck E-mail [email protected] (not comcast), Pipe Organ Co. 269/694/4500; e-mail: k.reed. includes fl ags (attach with Velcro), bal- Postal regulations require that mail to phone 215/353-0286 or 215/788-3423. loons (with extensions so that they can [email protected]. THE DIAPASON include a suite number to be infl ated through use of the Swell ped- assure delivery. Please send all corre- 16′ Double Open Wood Diapason al), and modest fi reworks en chamade with chests spondence to: THE DIAPASON, 3030 W. Martin Pasi pipe organ—Two manuals, 24 and racks. 14″ Scale, 5″ WP. $8000 FOB Deer- (mostly fi re-resistant). No more fuddy- stops, suspended-tracker action. $350,000. Web: fi eld, NH. Can deliver. john@organclearinghouse. duddies! Box Rally-Con, The Diapason, Salt Creek Lane, Suite 201, Arlington http://martin-pasi-pipe-organ-sale.com; phone: [email protected]. Heights, IL 60005. 425/471-0826. com; 617/688-9290.
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America -+ &62GHOO odellorgans.com s 860-365-8233 P.O. Box 405, East Haddam, Connecticut 06423 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859
GUZOWSKI & STEPPE Advertise in The Diapason H.W. DEMARSE ORGANBUILDERS INC For rates and digital specifi cations TRACKER ORGANS NEW INSTRUMENTS REBUILDS - ADDITIONS contact Jerome Butera TUNING & SERVICE 518-761-0239 1070 N.E. 48th Court 847/391-1045 2 Zenus Dr., Queensbury, NY 12804-1930 FT. LAUDERDALE, FL 33334 (954) 491-6852 [email protected]
HAGERSTOWN Own a piece of history! ORGAN COMPANY, INC. New • Rebuilding • Solid-State Updating The cover of the 100th Anni- versary Issue of The Diapason is 301/797-4309 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-quality organbuilders plaque has a marbleized black fi n- ish; a slot on the back makes it easy 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 to hang for wall display. Made in 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
SEPTEMBER, 2012 39 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Michel Bouvard* Guy Bovet* Chelsea Chen Douglas Cleveland Daryl Robinson 2012 AGO National Competition Winner Available 2012-2014
Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*
Christian Lane Canadian International Organ Competition Winner Available 2012-2014
Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney
Celebrating Our 91st Season!
*=Artists based outside the U.S.A. Thomas Trotter* Todd Wilson Christopher Young