THE DIAPASON MAY 2019

Foley-Baker, Inc., Tolland, Connecticut Saving Organs—“101” Cover feature on pages 26–27 PHILLIP TRUCKENBROD CONCERT ARTISTS

ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS

ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN

DAVID HURD MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE LOUPRETTE & GOFF DUO ROBERT MCCORMICK

BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN ROBIN & LELEU DUO BENJAMIN SHEEN HERNDON SPILLMAN

CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER IT’S ALL ABOUT THE ART

ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 5, Presenting our 20 Under 30 Class of 2019 Whole No. 1314 This issue is devoted to our 20 Under 30 Class of 2019. Now MAY 2019 a biennial recognition program of the best of our young organ- Established in 1909 ists, church musicians, organbuilders, harpsichordists, and car- Stephen Schnurr ISSN 0012-2378 illonneurs, it is our pleasure to present to you representatives 847/954-7989; [email protected] of the promising future of what we all care about deeply. In the www.TheDiapason.com An International Monthly Devoted to the Organ, pages of this issue, you will fi nd biographical information and the , , and Church pictures of each of the Class of 2019. A member of this year’s calendar of events includes many international happenings, from class presents a feature article this month, an introduction to the to Australia, for those who will be traveling CONTENTS the organ works of Klaus Huber by Alexander Meszler. abroad in the months ahead. Our summer issues will include more FEATURES We thank the many people who submitted nominations, and of these international events, as well as our Carillon Calendar. A brief introduction to the organ works of we know there will be many more quality candidates to hear Our cover feature focuses on three organ restoration projects Klaus Huber about again in two years. In December 2020, nominations will in New England by Foley Baker, Inc., of Tolland, Connecticut. by Alexander Meszler 16 open again for the Class of 2021. We also present a recent new organ by Schoenstein & Co. in The Class of 2019: Atlanta, Georgia. 20 leaders under the age of 30 Elsewhere in this issue by The Diapason staff 19 Gavin Black, in “On Teaching,” continues his discussion of stu- Need to fi nd a gift for a colleague? NEWS & DEPARTMENTS dents’ listening to music. In “In the Wind . . .,” John Bishop brings Look no further! A subscription to The Diapason makes Editor’s Notebook 3 insight to the importance of the human touch in church music. the perfect gift for your friends who share your joy in our world Here & There 3 Larry Palmer, in “Harpsichord Notes,” reviews a recent compact of music. You can give a gift subscription by contacting Rose Nunc Dimittis 6 disc release and introduces us to a harpsichord repair artisan. Our Geritano: [email protected] or 847/391-1030. Q Appointments 8 Harpsichord Notes by Larry Palmer 11 On Teaching by Gavin Black 12 Here & There In the wind . . . by John Bishop 14

NEW ORGANS 28 CALENDAR 29 Events 6/12, Eric Plutz; 6/19, Jonathan Vaughn; and Kaukauna, Wisconsin, announces RECITAL PROGRAMS 33 6/26, Christa Rakich; its 24th series, Wednesdays at 12:15, July 3, Sarah Simko; 7/10, William in Appleton, unless otherwise noted: CLASSIFIED ADVERTISING 34 Ness; 7/17, John Walthausen; 7/24, May 29, Kathrine Handford, Lawrence Kevin Neel; 7/31, Julian Wachner; University; June 5, Samuel Buse, August 7, Janet Yieh; 8/14, Mary Dolch; Memorial Presbyterian Church; 6/12, 8/21, Anne Laver; 8/28, Rudolf Innig; David Heller, Zion Lutheran Church; September 13 (Friday), Richard 6/19, Stephen Schnurr, Trinity Evan- Elliott; November 30 (Saturday, 7:00 gelical Lutheran Church, Kaukauna; p.m.) and December 1 (Sunday, 3:00 6/26, David Atteln, Holy Cross Catholic p.m.), Ray Cornils. For information: Church, Kaukauna; THE https://mmmh.org. July 3, David Bohn, St. Thomas DIAPASON Episcopal Church, Menasha; 7/4, MAY 2019 L’Organo Recital Series of Charles- Daniel Schwandt, Independence Day ton, South Carolina, announces its 2019 sing-along, All Saints Episcopal Church; Cathedral of St. Mary of the Assump- series: May 26, Pamela Meys Kane, 7/10, Naomi Rowley, Faith Lutheran tion, San Francisco, California, Ruffatti Holy Spirit Lutheran Church; 5/27, Church; 7/17, Andrew Schaeffer, St. organ Lee Kohlenberg, Grace Church Cathe- Bernard Catholic Church; 7/24, Jeffrey dral; 5/28, Jonathan Schakel, Cathedral Verkuilen, First Congregational Church The Cathedral of St. Mary of the Church of St. Luke & St. Paul; 5/29, (UCC); 7/31, Paul Weber, First English Assumption, San Francisco, Califor- James Mellichamp, Cathedral of St. Lutheran Church; nia, announces recitals, Sundays at John the Baptist; 5/30, Richard Gray, St. August 7, Derek Nickels, First 4:00 p.m.: May 5, Gail Archer; 5/12, the Philip’s Church; 5/31, Eli Roberts, St. Presbyterian, Neenah; 8/14, Kartika Benedict Sixteen, Festival of Marian Matthew’s Lutheran Church; Putri, St. Paul Lutheran, Neenah; 8/21, Foley-Baker, Inc., Tolland, Connecticut Saving Organs—“101” Cover feature on pages 26–27 Hymns; 5/19, St. Brigid School Honor June 2, Yuri McCoy, organ, with Ethan Mellema, First United Method- Choir; 5/26, Hans Uwe Hielscher. St. Yvonne Chen, , Summerall Cha- ist Church; 8/28, Bruce Bengtson, St. Mary’s Cathedral houses a 1971 Fratelli pel, The Citadel; 6/3, Robert Gant, Joseph Catholic Church. For informa- COVER Ruffatti organ of four manuals, 89 ranks. organ, Antonio Marti, , and tion: www.lunchtimeorganrecital.org. Saving Organs—“101” For information: Ellen Dressler Moryl, cello, St. Mat- Foley-Baker, Inc., Tolland, Connecticut 26 www.stmarycathedralsf.org. thew’s Lutheran Church; 6/4, Jonathan The North Bennett Street School, Walthausen, Cathedral of St. John the Boston, Massachusetts, is offering a Baptist; 6/5, Randall Sheets, organ, with weeklong course focusing on harp- Editorial Director STEPHEN SCHNURR Chuck Seipp, trumpet, First (Scots) sichord voicing and regulation, June and Publisher [email protected] 847/954-7989 Presbyterian Church; 6/6, John Noth- 18–21, taught by Allan Winkler. This is aft, St. John’s Lutheran; 6/7, David an intensive, hands-on course designed President RICK SCHWER Kiser, organ, and Lisa Kiser, piano, St. mainly for piano technicians and musi- [email protected] 847/391-1048 Michael’s Church. For information: cians who manage and maintain harp- www.piccolospoleto.com. sichords. The class covers voicing and Editor-at-Large ANDREW SCHAEFFER regulation of a double-manual harpsi- [email protected] chord with three registers, 2 x 8′, 1 x 4′. Sales Director JEROME BUTERA For information: [email protected] https://app.getoccasion.com/p/n/l8GgqvkZ. 608/634-6253 Circulation/ Subscriptions ROSE GERITANO The Association of Lutheran [email protected] Church Musicians announces its 2019 847/391-1030 Methuen Memorial Music Hall Biennial Conference, June 24–27, in Designer KIMBERLY PELLIKAN Portland, Oregon. Conference highlights [email protected] Methuen Memorial Music Hall, include a movable hymn sing at three 847/391-1024 Methuen, Massachusetts, announces churches, Evensong at Trinity Episcopal organ recitals, Wednesdays at 8:00 p.m., Cathedral, and a concert performance by Contributing Editors LARRY PALMER Harpsichord unless otherwise noted: May 22, a young First English Lutheran Church, Apple- Ensemble of Oregon. Keynote speakers organists’ program featuring Paige ton, Wisconsin, Wahl organ include Susan Briehl, Robert Buckley BRIAN SWAGER Busse, Marshall Joos, Colin Lapus, Ben- Farlee, and Samuel Torvend. For infor- Carillon jamin W. Pajunen, and Joshua Pak; 5/29, The Lunchtime Organ Recital mation: www.alcm.org. JOHN BISHOP Richard Gress; June 5, Isaac Drewes; Series of Appleton, Neenah, Menasha, ³ page 4 In the wind . . .

GAVIN BLACK THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of On Teaching Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. Subscriptions: 1 yr. $43; 2 yr. $77; 3 yr. $106 ( and U.S. Possessions). Copyright ©2019. Printed in the U.S.A. Canada and Mexico: 1 yr. $43 + $10 shipping; 2 yr. $77 + $15 shipping; 3 yr. $106 + $18 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $43 + $30 shipping; 2 yr. $77 + $40 shipping; specifi c written permission of the Editor, except that libraries are authorized to make 3 yr. $106 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2019 Q 3 Here & There

³ page 3 Northfi eld, Minnesota. The keynote The Seventh European Organ speaker will be Lyn Loewi, followed by Academy at the University of Music a performance by Twin Cities organ- and Theatre, Leipzig, , will take ists Caroline Diamond, Mary Newton, place July 28–August 11. The biennial and Kathy Borger. The sessions on the event offers concerts and masterclasses opening day will also include the wom- on the organs of the university and in en’s wind group Dolce Wind Quintet, a Leipzig’s churches. Faculty includes lecture on women of choral Martin Schmelding, Henry Fairs, Hans literature presented by Terees Hub- Fagius, Paul Jacobs, and Ben van Oosten. bard, and an Evensong in the St. Olaf For information: www.hmt-leipzig.de. College chapel. The June 14 events will feature Susan Cherwien in a session on poetry People and music in American hymnody. The concerts will spotlight Karen Black per- forming the music of Pamela Decker, Kathrine Handford lecturing and performing the music of Charles Tour- nemire, and young organists Martha Barth from St. Olaf College and Susan Powell and Katie Moss from Indiana The Salvatones University. Marie Rubis Bauer will play “A Festival of Hymnody from Wales,” an afternoon recital, while Catherine Seven Eight Artists announces the addition of -based profes- Trinity Memorial Episcopal Church, Rodland, Shelly Moorman-Stahlman, sional vocal ensemble The Salvatones to its roster. Led by artistic director Daniel Binghamton, New York and Nicole Keller perform the gala Brondel, associate director of music and organist at New York City’s St. Patrick’s evening recital. Registration is $100 Cathedral, the group performs in concert as well as in private and public events. Timothy E. Smith led “A Festival of for adults and $75 for students, which The ensemble has appeared throughout New York City, Connecticut, Maryland, New Hymnody from Wales” on February 24 includes meals and housing on campus. Jersey, Ohio, and Texas. at Trinity Memorial Episcopal Church, For further information: They have performed the work of Pulitzer Prize-winning Jennifer Binghamton, New York, where he serves www.musforum.org. Higdon as part of the 2016 Paul Creston Award concert. This May they premiere a as organist and choirmaster. Smith was new work by Joan Szymko as part of the Chorus American Commission Consortium. joined by the church choir, an eight- Their debut album, Wonderful World, is available online. They have collaborated piece brass ensemble, and tympani. The Competitions with other vocal ensembles, including Philippine Singers, Essence of Joy group performed twelve hymns from the Singers, and DeKoor Close Harmony, and they were honored to take part in the Welsh tradition, including such hymn- recent papal visit of His Holiness Pope Francis to New York City in 2015. For infor- tunes as Hyfrydol, Aberystwyth, mation: seveneightartists.com. Rhuddlan, Llangloffan, and Llan- fyllin. Narrator Gregory Keeler presented brief historical summaries of each hymn performed. Engaging the next generation The Friends of the Kotzschmar Organ, Portland, Maine, announce 2019 awardees of scholarships from the Peter Niedmann (photo credit: Kathleen Kotzschmar Memorial Trust Fund, Niedmann) established by Mary Ann Kotzschmar after the death of her husband Hermann in The Sewanee Church Music Con- 1908. The documents establishing the trust ference announces the winner of its stated that after 25 years the funds would second choral composition contest, the be used to support music training for Fyfe Prize. Peter Niedmann of West promising pupils of the organ, piano, violin Hartford, Connecticut, is the composer or other musical instruments or voice. Ten of the winning composition, Praise Ye students aged 12–20 auditioned before a the Lord. Niedmann is awarded a cash panel of three judges at the Cathedral of prize of $2,000, and his composition St. Luke, Portland. Awardees are Morgan will be premiered at the 2019 Sewanee Peppe (age 16, violin), Nicole Ponte (20, Church Music Conference. For informa- Martin Baker, Edward Alan Moore, OAS chairperson, Dan Locklair, and Alan Lewis, soprano), Lee Federle (16, violin), and tion: www.sewaneeconf.com and www. director of music at Calvary Episcopal Church, Pittsburgh, Pennsylvania. Ryan Sweet (12, organ). For information: peterniedmann.com. www.foko.org. The Organ Artists of Series of Pittsburgh (OAS) hosted Martin Baker from The International Organ Com- Westminster Cathedral, , UK, on February 24 at Calvary Episcopal Church. petition Wuppertal, Germany, will The concert was the third in the fortieth anniversary season of the OAS. Featured on Conferences be held August 20–23. Sponsored by the concert was the thirtieth anniversary performance of Rubrics by Dan Locklair, Musforum, a network for women the Hochschule für Musik und Tanz which was commissioned by the OAS for its tenth anniversary and premiered by organists, announces its third confer- Köln and the Historische Stadthalle Mary Preston on April 16, 1989, at Calvary Church. For information: ence, June 13–14, at St. Olaf College, ³ page 6 http://organseries.com.

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4 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM Colin Andrews R. Monty Bennett Elisa Bickers Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Charlotte, North Carolina Prairie Village, Kansas Ann Arbor, Michigan Austin, Texas Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Justin Hartz Sarah Hawbecker Organist Organ/Carillon Professor of Organ Organist/Recording Artist Pipe/Reed Organist Organist/Presenter Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Philadelphia, PA Atlanta, GA

James D. Hicks Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Organist Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Lecturer Califon, NJ Brooklyn, New York San Francisco, CA Clarksville, Indiana Wilkes-Barre, Pennsylvania Dallas/Fort Worth, TX

Wynford S. Lyddane Colin Lynch Philip Manwell Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Pianist/Instructor Organist/Conductor Organist Organist/Faculty Organist/Presenter Organist/Pianist Washington, D.C. Boston, Massachusetts University of Nevada, Reno Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Jason A. Wright Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Conductor/Clinician Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK Hilton Head, South Carolina

Beth Zucchino Clarion Duo Rodland Duo Christine Westhoff Organist/Harpsichordist/Pianist Keith Benjamin, trumpet Viola and Organ & Timothy Allen Sebastopol, California University of Missouri-Kansas City The Juilliard School/ Soprano and Organ Melody Steed, Elementary Music St. Olaf College Little Rock, Arkansas Specialist, Waterloo, Iowa www.ConcertArtist Cooperative.com

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Nunc Dimittis In 2004, Flummerfelt was named Musical America’s Conductor of the Year, and William A. Crowle (Bill), 62, died March 16 in Vernon in his retirement, he held numerous visiting professorships. His honors included Hills, Illinois. He began piano study at the age of four and Le Prix du President de la Republique from L’Académie du Disque Français and violin at six. He attended Eastman School of Music, Roch- four honorary doctoral degrees. ester, New York, where he studied composition with Joseph Joseph Ross Flummerfelt is survived by a brother, Kent, and two sisters, Pam Schwantner, Samuel Adler, and Warren Benson and piano Flummerfelt Rappaport and Carol Flummerfelt Helmling. with Maria Luisa Faini. He pursued graduate studies at Indiana University, Bloomington, where he studied compo- Peter John Hurford, 88, organist, church musician, sition with Frederick Fox and Bernhard Heiden and piano performer, recording artist, teacher, composer, and with Enrica Cavallo-Gulli and received both master’s and author, died March 3 in St. Albans, UK. He was born doctoral degrees in composition with highest distinction. November 22, 1930, in Minehead, Somerset, UK, and William A. Crowle He studied organ with Richard Enright and Leon Nelson. was educated at Blundell’s School. After brief studies at For the last 25 years Crowle served as organist/accom- the Royal College of Music in London, he earned dual panist at First Presbyterian Church, Deerfi eld, Illinois. He also served in parallel degrees in music and law at Jesus College, Cambridge, years as accompanist to Lakeside Congregation for Reformed Judaism in Highland studying with Harold Darke, later studying organ in Park, Illinois. He was the staff accompanist for the music department at Vernon High , France, with André Marchal. School until this past year and was accompanist for the Beverly-Morgan Park Com- Peter John Hurford He served as organist for Holy Trinity Church, munity Choir, , Illinois. (photo courtesy: St Al- Leamington Spa, from 1956 until 1957, while also music His many musical collaborations included the Waukegan Concert Chorus, the bans International Or- master at Bablake School, Coventry, and for Royal gan Festival) New Classic Singers, Buffalo Grove Symphonic Band, members of the Chicago Leamington Spa Bach Choir. From 1958 until 1978, he Symphony Orchestra and Chorus, and he was heard on WFMT radio and WGN- was organist and choirmaster of St. Albans Cathedral TV. As a composer, he wrote works for a variety of media, including treble choir, Choir, St. Albans. In 1963, Hurford was founder of what became the St. Albans piano, recorder, Orff instruments, guitar, bass guitar, and percussion. His versatil- International Organ Festival, as a new Harrison & Harrison organ had been ity as a musician spanned musical genres that stretched from classical, to jazz, to installed at the cathedral, designed by Ralph Downes and Hurford. baroque, rock and roll, spiritual, and beyond. In 1956, Hurford performed at Royal Festival Hall, which launched what would become an international performance career. A recording artist as well, he recorded Joseph Ross Flummerfelt, 82, died March 1 in more than fi fty discs. His largest recording project included the complete organ Indianapolis, Indiana. He was born February 24, 1937, works of Bach in the 1970s for Decca (1975–1981) and BBC Radio 3 (1980–1982); in Vincennes, Indiana, and he began music studies with he would also record the complete organ works of Mendelssohn, Franck, and Hin- his mother, who was organist of First Baptist Church of demith. He taught at Oxford and Cambridge universities and was an honorary fel- Vincennes. He studied organ and church music at DePauw low in organ studies at the University of Bristol. He held several international artist University, Greencastle, Indiana, and choral conducting at residencies and was a consultant for design of the organ of the Sydney Opera House. the Philadelphia Conservatory of Music and University of He was named an Honorary Fellow of Jesus College in 2006, served as a president Illinois, Champaign. Early in his career, he taught at the of the Incorporated Association of Organists and the Royal College of Organists, University of Illinois, DePauw University (1964–1968), and receiving the latter’s medal in 2013, and was appointed an Offi cer of the Order of Florida State University, Tallahassee (1968–1971); later he the British Empire in 1984. He served on international competition juries, including taught for 33 years at Westminster Choir College, Princ- Haarlem, Bruges, , Linz, Nürenberg, , Dublin, and Chartres. Hurford Joseph Ross Flum- eton, New Jersey, retiring in 2004. There he conducted the was an honorary member of the Royal Academy of Music and honorary fellow both merfelt (photo courte- Westminster Choir and Westminster Symphonic Choir. of the Royal College of Music and of the Royal School of Church Music, and held sy: Rider University) Flummerfelt was named director of choral activities honorary doctorates in music from the University of Bristol and from Baldwin- for Spoleto Festival USA at its inception in 1977 and also Wallace College, Ohio (home of the Riemenschneider Bach Institute). served as chorus master of the Festival dei Due Mondi in Spoleto, Italy, from 1971 A composer, his works were mostly published by Oxford University Press and until 1993. Upon his retirement from Spoleto Festival USA in 2013, he was named Novello. His book, Making Music on the Organ (Oxford University Press, 1998), director emeritus. In 1979, Flummerfelt founded New York Choral Artists and was widely distributed. He was diagnosed with Alzheimer’s disease in 2008, became chorus master for the New York Philharmonic and music director of Singing retiring from performing in 2009. City, Philadelphia. He made his New York Philharmonic conducting debut in 1988 In 1955, Hurford married Patricia Matthews, who died in 2017. Peter John with a performance of Haydn’s Creation. He collaborated with dozens of orchestral Hurford is survived by a daughter Heather, sons Michael and Richard, nine conductors in preparing their choruses for concerts and recordings. Three of his grandchildren, and sister Maureen. A private funeral was held March 18. A recordings received Grammy awards. memorial service is to be held June 15 at St. Albans Cathedral. Q

³ page 4 choir at its fi ve annual Festival of Carols Music Rises.” Compositions are due by $25,000, plus a CD recording and three- Wuppertal, the competition will feature performances. A cash prize of $2,500 July 31 and will be judged anonymously. year management and professional the Sauer organ of the Großer Saal of (increased from $1,000 to celebrate the The winning composer will receive an development by Karen McFarlane Art- the Historische Stadthalle Wuppertal. competition’s anniversary), plus travel honorarium of $3,000 and travel support ists; second prize is $15,000; third prize First prize is €8,000; second prize and lodging for the world premiere in to the November 1 Utech Hymnody is $10,000. The jury is Jean-Willy Kunz €5,000; third prize €3,000. The jury is December 2019, will be awarded to Symposium and Festival at the Eastman (Canada), Martin Baker (UK), Bernard Winfried Bönig (chair), Iveta Apkalna, the winning composer. Deadline for School of Music in Rochester, New York. Foccroulle (), Michael Kapsner and Naji Hakim. Application deadline is submissions is May 31. For information: For further information: (Germany), Rachel Laurin (Canada), May 17. For information: www.indychoir.org. [email protected]. William Porter (United States), Louis www.stadthalle.de. Robilliard (France), Dong-ill Shin The Eastman School of Music, The Canadian International (South Korea), and Patricia Wright Indianapolis Symphonic Choir, Department of Organ, Sacred Music, Organ Competition announces its (Canada). Deadline for application to Indianapolis, Indiana, announces its and Historical Keyboards, announces a 2020 competition, October 6–18. The the preliminary round is January 31, tenth annual Christmas Carol Com- competition to provide a tune and set- competition is open to organists born 2020. For information: www.ciocm.org. mission Competition. The winning ting for a newly commissioned hymn after October 17, 1985. First prize is ³ page 8 composition will be performed by the text by Carl P. Daw, Jr., “Out of Silence

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It is available in five different models, starting out with the Balanced audio system delivers a powerful sound two-manual T-170 and adding extensive extra options to The organ is based on a state-of-the-art audio system and culminate in the four-manual D-570, with eighty stops. features multiple amplifiers, subwoofers and loudspeakers. The D-570, for example, is equipped with an 18.3 audio system, The Ecclesia is an outstanding organ for the smallest church which channels the authentic pipe organ sound superbly. hall to the largest cathedral. The organist has all the tools This powerful sound - a feature of all five Ecclesia organs - necessary to take congregational singing to a higher level. makes the organ the ultimate instrument for accompanying both choral and congregational singing. Saturated with musical tradition One of the striking features of the Ecclesia is its magnificent The church organ that doesn’t compromise sound, saturated with a musical tradition spanning the The Ecclesia organ is so attractive because it can be adapted entire spectrum from Baroque, Romantic, and Symphonic to suit individual needs. For example, solo stops can be added, styles to classical organ literature. alternative side panels can be chosen, and wood fi nish colors can be selected. The only way Ecclesia compromises is by combining Johannus believes in the authenticity of each individual tone the ultimate quality of Johannus with the wish to create the produced by the pipe organ, which is why we record the sounds organ that best suits the needs of the church. In all other respects, tone by tone, to maintain that authentic pipe organ sound. the Ecclesia is the church organ that doesn’t compromise.

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³ page 6 Benefactor ($150), Patron ($200), and Angel ($300 and above). The deadline Appointments Publishers for subscriptions is November 1, with Isaac Drewes is appointed publication date of June 15, 2020. For the Association of Anglican Musi- information and to subscribe: www. cians Gerre Hancock Intern for wayneleupold.com or 800/765-3196 or 2019–2020, and he will serve his by mail, Wayne Leupold Editions, Inc., internship at St. James Episcopal 8510 Triad Drive, Colfax, North Caro- Cathedral, Chicago, Illinois. Ste- lina 27235. phen Buzard is director of music for St. James Cathedral. Michael’s Music Service announces Drewes is a master’s degree can- new sheet music restorations. Prae- didate at Eastman School of Music, ludium, by Gordon Balch Nevin, is Rochester, New York, where he dedicated to Edwin Arthur Kraft of studies organ with David Higgs and Cleveland, Ohio. This work from 1915 holds the George Utech Hymnody could open a recital program or be of Fellowship. He is organist and use as a service prelude or offertory. The choir director at Penfi eld United Angelus, by Gatty Sellers, published in Methodist Church and sings in the 1914, recalls the traditional Catholic Christ Church Schola Cantorum. practice of praying the Angelus thrice A graduate of St. Olaf College, he daily. The Flight of the Bumble Bee, by Isaac Drewes completed his undergraduate stud- Rimsky-Korsakov, arranged by Richard ies with Catherine Rodland and held Ellsasser, is set with the fast melody in the position of organ scholar at St. Louis, King of France Catholic Church, A Whispered Prayer the pedal part. Pixie Parade, by Jesse St. Paul, Minnesota. Crawford, is one of the few original Drewes’s performances have been heard throughout the United States and A Whispered Prayer, for unison voices compositions by this organist. For fur- Canada, including at St. Joseph’s Oratory in Montréal, Old West Church in with organ accompaniment, is the third ther information: Boston, and St. Mark’s Cathedral in Seattle. He earned fi rst prize in the 2018 of a trio of complimentary hymn anthems www.michaelsmusicservice.com. Lynnwood Farnam Competition and was a semi-fi nalist in the 2018 National to be offered by Fruhauf Music Publi- Young Artists Competition in Organ Performance. In 2016 and 2017, he per- cations during 2018–2019. Available in formed for Organ Historical Society conventions in Philadelphia and the Twin May, the hymn text is multi-seasonal. The Recordings Cities, respectively. He is also the winner of the 2016 Twin Cities American setting provides three unison verses and Guild of Organists Student Competition and a recipient of the Pogorzelski- a brief transition, followed by a unison Yankee and Paul Manz Scholarships. When not at the organ bench, Isaac fourth verse featuring a free accompani- enjoys bicycling and hiking in the mountains of the Pacifi c Northwest. Q ment and descant. A visit to FMP’s home page bulletin board at www.frumuspub. net will provide a link to the letter-sized Dallas, Texas. The disc is available from the members of the Friends of the Wana- PDF booklet fi le’s download page, along www.amazon.com. For information: maker Organ have funded the project. with access to the other two anthems and www.gregoryhamilton.org. The case was designed in 1910 by Dan- an organ postlude, Carillon-Toccata on iel Hudson Burnham, architect of the St. Anne, all featured this year. Harmonia Mundi announces a department store, and was built by the new 4-CD set: , Meader Furniture Company of Cincin- Wayne Leupold Editions, Inc., will The Complete Works for Keyboard, nati, Ohio. The façade is designed in the publish a defi nitive biography of over Volume 2, “Towards the North” (HMM same Greco-Roman Renaissance revival 350 pages covering the lives, performing 902453.56), featuring Benjamin Alard style as the rest of the store and is topped and teaching careers of Harold Allen Resounding Aftershocks on organ and harpsichord. Gerlinde by a human-size herald angel blowing Gleason (1892–1980) and Catharine Sämann, soprano, is also featured. Bach twin . Twin carved heads sup- Crozier (1914–2003), authored by Pipeline Press announces a new CD, works included on the discs spotlight the porting the twin pipe towers are said to David C. Pickering. Gleason began his Resounding Aftershocks, featuring Mar- infl uence of the North German Baroque be in the likeness of James B. Woodford, career as the personal organist of George tin Setchell performing on the 1997 on the young composer. Works by Bux- head of Wanamaker’s piano department. Eastman, founder of Eastman Kodak Rieger organ in Christchurch Town Hall, tehude, Pachelbel, and Reinken are also Brought to Philadelphia following the Company in Rochester, New York. He . The organ was silenced included. To order: http://smarturl.it/ St. Louis World’s Fair, the Wanamaker established the organ and musicology eight years ago in an earthquake, and TowardstheNorth-Vol2. Organ was dedicated on June 22, 1911. departments for the Eastman School this recording is the fi rst to be made on It has since been enlarged and contains of Music where he was both professor the renewed instrument, with fourteen 464 ranks and 28,500 pipes. and director for 34 years. He authored new ranks of pipes. Works by Bach, Organbuilders The restoration project began in Feb- Method of Organ Playing, fi rst published Guilmant, Bossi, Vierne, Widor, Reger, ruary, when conservators performed paint in 1937 and progressing through eight Bédard, and others are featured. For studies to determine the original colors editions, which became the most popu- information: www.pipelinepress.com. used. In March, each of the 117 display lar organ method in the United States in pipes was removed for gilding. After a the 20th century. thorough cleaning, missing ornamenta- Catharine Crozier earned a Bachelor DOM PAUL tion will be replaced, and the façade will of Music degree from Eastman School BENÔIT be repainted with the original scheme. of Music, where she studied with Har- Three and a half pounds of solid gold is old Gleason, whom she later married. Works for Organ required for the gold-leaf decorations. In 1939 she joined the Eastman organ Vol I For the rededication, free concerts faculty and in 1953 was named chair First Recordings EverGreene conservator Brooke Rus- feature Peter Richard Conte, Ken of the department. Two years later sell with carved image of James Bayard Cowan, Rudy Lucente, Monte Maxwell, Woodford she joined the faculty of Rollins Col- Gregory Colin Howland, Philadelphia Brass, and lege, Winter Park, Florida, where she others. There will be a musical celebra- remained through 1969. She concertized Hamilton, Friends of the Wanamaker Organ tion of the life of former Wanamaker throughout North America and Europe. announces that the case of the historic Organist Keith Chapman, who died 30 In 1979 the American Guild of Organists Organ organ at the former Wanamaker years ago. A ticketed evening concert named her International Performer of Department Store, now Macy’s, Phila- showcases Conte and Cowan in the the Year. She was particularly known for delphia, Pennsylvania, has experienced closed store. Also planned is a pops her defi nitive playing of organ works of Organ Works of Dom Paul Benoit, Vol- a complete restoration. EverGreene concert on the Friends Wurlitzer organ Ned Rorem and Leo Sowerby. ume 1 Architectural Arts performed the in Macy’s Greek Hall. For information: Prepublication subscriptions are work, and the grand organ case, newly www.wanamakerorgan.com. invited, and subscribers’ names will be RosaMystica Recordings announces repainted and gilded in 22-karat gold, included in the book, with one com- a new CD, Organ Works of Dom will be unveiled and rededicated on June Hochhalter, Inc., of Salem, Oregon, plimentary copy mailed to each after Paul Benoit, volume 1, featuring 1, Wanamaker Organ Day. Gifts from has installed a set of 32′ Bourdon pipes publication. The levels of subscrip- Gregory Hamilton playing the Ross Macy’s, the Wyncote Foundation, the from a 1911 W. W. Kimball organ in the tion are Friend ($50), Sponsor ($100), King organ of Holy Trinity Seminary, Michael Stairs Memorial Fund, and from ³ page 10

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8 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM

Here & There

³ page 8 within a new case across the back of the church’s gallery. Nearly three-quarters of the rebuilt instrument’s pipework will be restored from the church’s previous organs by Aeolian-Skinner Organ Co. (Opus 1048, 1947) and M. P. Möller (Opus 11805, 1991). When complete during the third quarter of 2020, this pipe organ will be the fi rm’s Opus 136. For information: http://letourneauorgans.com.

Kimball Bourdon pipe installation in Sa- lem, Oregon existing organ of First United Method- ist Church, Eugene, Oregon. The organ in the Eugene church was built in 1913 by the Austin Organ Company, but has been rebuilt by Hochhalter. The pipes were Bernd Richard Deutsch, Franz Welser-Most, and Paul Jacobs (photo credit: Elle Henig) made available to the church by Daniels Development Company of Seattle. For- Paul Jacobs was soloist with the Cleveland Orchestra, conducted by Franz mer director of music and organist Julia Welser-Most, March 14–17, in performances of the United States premiere of Aus- Brown spearheaded the project. trian composer Bernd Richard Deutsch’s organ concerto, Okeanos, a 30-minute In 1911 Kimball installed an organ in work inspired by the Greek mythological Titan of rivers and water encircling the earth. First Methodist Church of Seattle. In 1968 Austin Organs, Inc., installed a new organ, retaining the 32′ Bourdon pipes. The Seattle church building has been repurposed by the developer, and the pipes of the organ were rescued. Kimball originally installed the pipes standing upright. In 1968 Austin re- installed them upside down. In present installation they are laying down on the Walt Disney Concert Hall, Glatter-Götz concrete top of the organ chamber. A 50′ Rosales organ, Los Angeles, California scaffolding tower was required to hoist them 33′ to the top of the chamber. For Solid State Organ Systems information: www.hochhalter.com. announces that the latest software for MultiSystem II and Capture for Mul- tiSystem II has been installed in the Glatter-Götz Rosales organ at Walt Dis- Miami International Organ Competition prizewinners: Ilaria Centorrino, Tyler ney Concert Hall, Los Angeles, Cali- Boehmer, and Joseph Russell (photo credit: Timothy Champion) fornia. The project has been managed by Manuel Rosales of Rosales Organ The ninth Miami International Organ Competition took place February 22 Company. The installation controls at the Church of the Epiphany, Miami, Florida. First prize ($5,000) was awarded to both a mechanical-action main console Tyler Boehmer, who studied with Don Cook at Brigham Young University and is and a remote, movable stage console. a graduate student of James Higdon at the University of Kansas. In 2015, Boehmer The Solid State Organ Systems Multi- earned fi rst place at the Regional Competition for Young Organists, West Region System II now features wireless control competition, and was featured as a Rising Star at the 2016 American Guild of Organ- for record/playback, wireless tuning, full ists National Convention in Houston. Most recently, Boehmer participated in the Market Square Presbyterian Church, MIDI compatibility, and Organist Pal- Tenth Mikael Tariverdiev International Organ Competition in Kaliningrad, where he Harrisburg, Pennsylvania, Létourneau ette with over 50 organist Libraries. For was awarded the diploma prize, as well as the special prize for outstanding interpreta- PIpe Organs Opus 136 information: 703/933-0024, ussales@ tion of Mikael Tariverdiev’s organ works. He was also a quarter-fi nalist in the 2017 ssosystems.com, www.ssosystems.com/. Canadian International Organ Competition. Boehmer is organist for First United Létourneau Pipe Organs has signed Methodist Church of Leavenworth, Kansas. a contract with Market Square Pres- The organ of Salisbury Cathedral, Second prize ($2,500) and audience prize ($500) went to Joseph Russell, who is byterian Church, Harrisburg, Pennsyl- UK, has been removed for restorative currently pursuing a master’s degree at the Shepherd School of Music at Rice Uni- vania, to rebuild the church’s pipe organ. work by Harrison & Harrison, Ltd., versity, studying with Ken Cowan. Prior to his studies at Rice, Russell received his The project will begin with the removal of Durham. The organ was built in 1876 bachelor’s degree at the Curtis Institute of Music, studying organ with Alan Morrison, of the entire instrument, including the by Henry Willis at a cost of £3,500, plus where he was a recipient of the Stephanie Yen-Mun Liem Azar Fellowship. He also Positiv division currently on the gallery £1,000 for the case and £800–1,000 for studied harpsichord and continuo playing at Curtis with Leon Schelhase. Russell rail, to allow for reconstruction of the the blowing mechanism. The four-man- graduated from the Interlochen Arts Academy, where he studied organ with Thomas church’s two organ chambers. The exist- ual, 65-stop instrument was rebuilt by Bara. He has participated in numerous competitions, including the ing electro-pneumatic windchests will be Henry Willis & Sons in 1934 and again Organ Festival, where he won both fi rst prize and the hymn-playing award in 2012. fully reconfi gured to suit the new tonal by Harrison & Harrison in 1978 and He also won the Chicago regional American Guild of Organists competition in April plan while a new four-manual console 1993. Much of the Father Willis sound 2013. Russell is organist at Christ the Redeemer Catholic Church in Houston. will be built. Similar to the present, part of the organ has survived and will be Third prize ($1,500) went to Ilaria Centorrino, who was born in Messina, Italy, of the rebuilt organ will be displayed retained; the main choruses of the organ in 1998. She studied organ at the A. Corelli Music Conservatory in Messina and the are still cone-tuned. The present project S. Giacomantonio Music Conservatory in Cosenza, where she is now working on a costing £700,000 includes new electro- bachelor’s degree in organ with Emanuele Cardi. In 2016, she won fi rst prize at the A. E. Schlueter Pipe Organ Co. pneumatic actions, conservative revision Tisia International Organ Competition, second prize (fi rst prize was not awarded) and of the wind system, and consolidation of the Franz Zanin special prize at the Fifth International Organ Competition Organi the 1934 Pedal chorus. Completion is storici del Bassi Friuli, and second prize at the Sixth International Organ Competi- scheduled for January 2020. For infor- tion Premio Elvira De Renna in Faiano. Centorrino was one of the semifi nalists at the mation: www.harrisonorgans.com. Q International Organ Competition in Groningen and Weisbaden in 2017. In 2018, she was selected to compete in the International Organ Competition in Nürnberg, was highly commended during the Northern Ireland International Organ Competition in Armagh, and won the fi rst prize at XIII Premio delle Arti 2018, the organ competition for Italian conservatory organ students. In November 2018, she recorded her fi rst CD, on the Pinchi organ in the church of S. Giorgio in Ferrara, for Urania Records. Final round judges were Craig Cramer, Janette Fishell, and Tarcisio Barreto Ceballos. For information: http://ruffatti.com/en/.  New Instruments  Tonal Additions  Rebuilding  Maintenance 0LOQDU2UJDQ  New Consoles  Tuning &RPSDQ\

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10 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM Harpsichord Notes By Larry Palmer

Le Clavecin Mythologique Quoting from my email of July 12, Le Clavecin Mythologique is the title 2007: of L’Encelade compact disc EL 1801, the Yesterday at the country house Hatch- most recent recording by harpsichordist lands was far more exciting than we had Anne Marie Dragosits playing the Pascal planned: I was allowed to tag along on a Taskin harpsichord from 1787 now in demonstration given by the collector of the the Prof. Dr. Andreas Beuermann Col- instruments, Alec Cobbe, for The Friends of Wigmore Hall. He is quite unique in that lection of the Museum for Art and Com- he not only purchases all these fantastic merce in Hamburg, Germany. Ms. Dra- rare keyboards, but he is able to play them gosits studied with Wolfgang Gluxam in quite well, too. Among the early keyboard and with both Ton Koopman and gems are a Bach-period clavichord (Hoff- mann) and a virginal from Whitehall Palace Tini Mathot at the Royal Conservatory (marked with the royal accession initials in Den Hague (Holland). She currently from Charles II’s time, so it was most likely holds the position of harpsichord profes- tuned weekly by ). Other in- sor at the Anton-Bruckner-Conservatory struments include ones by Kirkman, Shudi, and the newest prize, a Ruckers made into Anne Marie Dragosits (photo credit: Stefan in Linz, . an expressive double by Henri Hemsch, For this recording she has created a Schweiger) fully decorated and absolutely gorgeous in fascinating program comprising seven- sound, just restored to its playing condition. teenth- and eighteenth-century French that instrument, but do not hear or use it Got to play a bit on each of them. And you should see the place—statues every- music by Pancrace Royer, Jean-Philippe very often since I placed it with a friend where (mostly plaster casts of Greek and Rameau, François Couperin, Jacques decades ago when I ran out of space in Roman originals). A nice lunch with the Duphly, Jean-Henry D’Anglebert, and my spacious music room, as my inventory Collection staff and the day’s recitalist Antoine Forqueray—thoughtfully orga- of keyboard instruments surpassed six Robert Wooley, and all this was followed by a wonderful extended drive with Claire nized to form a narrative program based widely varied examples. The Dowd may down into the Surrey countryside . . . abso- on ancient tales beginning with the sweet be heard, complete with buffalo hide, lutely magical. singer Prometheus and culminating with on my fi rst Musical Heritage Society the king of the gods, Jupiter. vinyl disc, The Harpsichord Now and For a summer visitor to the United The playing throughout is musically Then, where it was particularly useful Kingdom, if one is interested in historic satisfying, historically stylish, and techni- for the Busoni Sonata, one of the earliest keyboard instruments, Hatchlands is cally agile. The instrument delights in compositions for the revival harpsichord. not to be missed. The catalogue lists Claire Hammett each selection, and be sure to take the To hear such similar gentle tones on the fi ve : Zenti, c. 1622; “prob- time to enjoy the seemingly endless current compact disc, reference Track 8: ably English,” c. 1623; Andreas Ruckers, such matters it was helpful to receive this reverberation as the musical bombast Royer’s La Sensible to be moved by fi ve 1636, reworked by Henri Hemsch, Paris, information: Claire and her family have of Jupiter slowly dies away at the disc’s minutes of gently haunting music. 1763; Jacob and Abraham Kirkman, returned to the United States from Lon- conclusion. This historic harpsichord’s 1772; Burkat Shudi and John Broad- don and now are settled in Florida, from resonance is nearly as long lasting as that Editor’s note: see www.encelade. wood, 1787. Also of interest: a virginal by whence she reports “few engagements of my own remarkable Richard Kingston net or www.amazon.com to order the John Player, 1664; a by Ferdinand as tuner/repairer.” However, she and her Franco-Flemish double. disc. Tracks are available for listening Weber, 1780; and a clavichord by C. G. new Kevin Fryer harpsichord are sched- The historic harpsichord by Pascal at www.youtube.com. For more infor- Hoffmann, 1784. Other non-plucked uled for the Birdfoot Festival in New Taskin is one of the builder’s reworkings mation on Anne Marie Dragosits, visit keyboard instruments include two Orleans at the end of May, so she com- of an even older instrument made by the http://dragosits.org. organs: a chamber instrument by John mented, “that is a proper job like I used Flemish master Andreas Ruckers. Taskin Snetzler, 1754, and a larger organ by to do six times a week rather than once in is usually credited with the invention A major instrument collection J. W. Walker and Sons, 1903. a blue moon.” She is also on the schedule of the Peau de Buffl e stop for the harp- The historic harpsichord featured on Cobbe’s interest in that have of this year’s Historic Keyboard Society sichord, just one of multiple attempts the compact disc and a recent redis- composer-connections has led to at of North America (HKSNA) conference to add more dynamic possibilities to an covery of an email sent from London to least 28 accessions, of which several in Huntsville, Texas (May 12–15), where instrument that was facing stiff competi- my partner Clyde Putman in July 2007 highlights are the 1836 Graf owned by she will lead a workshop, “Introduction tion from the newly popular . reminded me that I have been meaning Gustav Mahler, and instruments known to Quarter-Comma Meantone Tuning” The use of soft buffalo hide (thus the ever since then to call attention to Alec to, and sometimes signed by, such out- from 1:00–1:50 p.m. on the fi nal day of name) to stroke the strings rather than Cobbe’s historic standing fi gures as Frédéric Chopin, the meeting. One could purchase a day pluck them as did the usual quill plectra collection housed at Hatchlands, an his- Edward Elgar, Franz Liszt, Sigismund pass and, if so moved or merely curious, offered an additional gentle, quieter tonal toric estate in Surrey. Thalberg, Charles Dibdin, and Jane also attend my 25-minute paper, “Scar- possibility for music that seems to require Harpsichordist Jane Clark Dodgson Stirling. There is even a Zumpe square latti’s Cat in London, Vienna, and Texas” it. Taskin also added pedals for changing arranged for me to perform the fi rst piano from the 1770s autographed by from 10:00–10:30 a.m. on the same day. the registers while playing, and he thus of the two harpsichord recitals that I Johann Christian Bach. Claire also wrote that she is avail- provided an historic example for the early have been fortunate to play at London’s The collection is open to visitors from able to fl y out to repair and refurbish twentieth-century revival instruments Handel House Museum—a truly memo- April to October. Since the stately home harpsichords or tune for recordings or by Pleyel and the many other builders. rable experience to make music on a serves as the private domicile for the festivals (“birthdays, anniversaries, bar Indeed, my 1968 harpsichord by Wil- beautiful Bruce Kennedy instrument in Cobbe family, the hours for public view- mitzvahs . . . whatever”). She may be liam Dowd was the American builder’s the very room where Handel composed ing are limited from 2:00 to 5:00 p.m. contacted via email at keyboards415@ penultimate two-manual instrument to his immortal oratorio Messiah. She also gmail.com. More information is avail- be equipped with pedals for controlling made arrangements for me to join Claire Claire Hammett able on her website: the registers, and this instrument, like Hammett, an American harpsichord Since the October 2018 death of my www.harpsichordservices.com. Q the Taskin, has four registers: 8′, 8′, and technician who served as tuner from partner Clyde, I have been at a loss 4′ provided with the usual “quill” plectra “about 2000 to 2016” for the Alec Cobbe when asked to suggest a tuner-repairer Comments and questions are wel- (at this time replaced with plastic rather Collection at Hatchlands, as she drove of harpsichords in the Dallas Metroplex. come. Address them to lpalmer@smu. than bird-provided material), plus the to the National Trust House in Surrey to Thus, when I contacted Claire for infor- edu or 10125 Cromwell Drive, Dallas, added 8′ Peau de Buffl e stop. I still own prepare an instrument for a recital. mation about her current status with Texas 75229. 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WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2019 Q 11 On Teaching

Students’ Listening II Beethoven, listen to Albrechtsberger. musician had discarded as being of little Why should anyone ever listen to There need not be anything obscure, or no interest. And the musician in ques- music? complicated, or subtle about construct- tion was someone from whom I learned That is, of course, a ridiculous ques- ing these circles. Fruitful connections a lot and whose taste and judgment I tion. It is obvious from history that lis- can be found by perusing Wikipedia admired. We should never base our tening to music is fundamentally human: articles or CD booklets. exploration on the assumption that any a desire or even a need, and maybe a This is fairly obvious, and we all prob- two people see things the same way. defi nitional part of human experience. ably do it normally as we seek out things When we talk about listening to music Yet, I think it is important to continu- to listen to. But still, you should encour- to broaden or deepen our familiarity ally remind ourselves that recordings, in age your students to follow the process with repertoire, we are mostly talking addition to live performances, help us to consciously, maybe in ways that are partly about listening to recordings. We expect strive to become better musicians. Musi- teacher-guided, perhaps with a written to be able to fi nd recordings of just about cians are often subject to self-doubt. outline to keep track. But another idea anything, whereas the concert offerings (There is a cartoon that I see once in is to seek out new things to listen to not in any one locale can only cover a tiny a while that shows a pie chart of the by affi nity but by opposition. If you love amount of music, even over several con- mind of a musician. The section labeled Brahms, listen to Wagner or Liszt. If cert seasons. The changes in the ways in “crippling self-doubt” covers about 90% you love Debussy, listen to a selection which we encounter recordings that have of the space.) That self-doubt comes of music by Les Six, who consciously taken place in the last several years are from several questions, not the least of rejected his infl uence. If you love Bach, interesting to consider, especially as they which is: “is this all worthwhile?” Yet, seek out the music of Marchand, who infl uence the experience of students. A gramophone (photo credit: Gerhard Gell- listening to great music provides us with was apparently intimidated by Bach and inger from Pixabay) an affi rmative answer. The sort of self- fl ed from a possible competition with The revolution in the listening doubt regarding the quality of one’s own him. Or, if you have not already done so, experience or mostly to learn something about what playing can be exacerbated by listen- listen to Handel, whose life, career, tem- In my experience, I would say that music is out there, then the identity or ing—something that I will try to grapple perament, and music were so different for at least fi ve years now, 85% of the background of the player is perhaps best with below. from those of Bach. time that a student has come to a lesson thought of as only one piece of informa- One concrete reason for listening to and told me that they have listened to a tion about what is going on, not neces- music is to gain familiarity with diverse Keeping a distance piece, that listening has taken place on sarily more important than information repertoire. This was the point of that Another way to fi nd things to listen to YouTube. A lot of listening is now done about instruments, acoustics, recording “listening test” I encountered in col- is to search for music that is completely without any money changing hands. That technology, edition used, and so on. If a lege that I referenced last month. What different from your norm. Whatever you opens music up to more listeners, though piece seems less interesting or compel- repertoire? There are expanding circles have just been listening to and enjoying, the effect on creators of performances is ling than you had hoped that it would be, ranging from music from a specifi c time move as far away as possible. If you have more problematic. I remember spending it is often worth looking for a different period written specifi cally for our instru- been listening to the Telemann Paris several days while I was in college ago- performance before shelving your inter- ment to the entirety of written music. It is Quartets, fi nd some late nineteenth-cen- nizing over whether to spend, I believe, est in that piece. potentially frustrating and, for me, quite tury Russian choral music. If you have $4.99 on ’s LP of four This modern paradigm has the effect liberating to realize that it is impossible been listening to a Bruckner symphony, Bach harpsichord toccatas. I vividly recall of taking away some of the feelings to know all of the music that is out there. fi nd a clavichord performance of early going back to the Princeton University of authority that we have traditionally Frustrating because of the inevitability seventeenth-century dances. This is a Store several times to look it over. (I did bestowed on those performers who were of missing things that are wonderful. controlled randomness and guarantees buy it.) Now anyone can fi nd many per- invited to make recordings. Part of the Liberating because, if we cannot experi- avoiding ruts. formances of those pieces on YouTube. dynamic of record listening over the ence everything, then we do not have to If a friend, teacher, critic, or scholar When a student comes to a lesson and twentieth century was that we assumed, aspire to have experienced everything. says that particular music is not worth tells me that they have been looking into by and large, that the recording art- We can hope to experience a substantial getting to know (boring, pedestrian, a particular piece by listening to a You- ists were the most talented players and and meaningful subset of what there is. unpleasant, lacking in importance), then Tube performance, I always ask who was thoughtful interpreters. No matter how How should any given student navi- try it out! This suggestion is not based playing. And never once in that situation inspiring it can be to listen to great gate the world of listening for learning on the notion that that friend or critic is has anyone been able to say who the per- recordings, it can also be limiting. This about repertoire? Listening to music someone of bad judgment or likely to be former was. Of course, that information limiting tendency has its feel-good side: that you already know and like is a won- wrong. It is just a way of shaking things is usually there to be found. And further- getting accustomed to a certain undeni- derful thing to do, but that’s not really up. People of equal discernment and more, all of the students in question have ably effective performance approach part of this process. Going out in circles experience end up reacting differently been extremely smart and clever people and experiencing the satisfaction of is always a good idea: if you love and lis- to artistic experience as often as they who pay attention to the world around absorbing and then perhaps recreating ten to Brahms symphonies, try his cham- end up reacting similarly, and that is just them and care about artistic matters. It it. I would argue that the limiting nature ber music; try symphonies by someone as true when they agree that they are is just that expectations have changed; of this outweighs the good feeling that who infl uenced Brahms or whom he people of similar tastes. the ethos of how we listen has changed. it engenders. But even worse, there is infl uenced. Then try their chamber Some of my most important, reward- YouTube is seen, for purposes like this, as the outwardly discouraging side: feeling music, piano music, and so on. If you ing, and long-term fruitful listening as a a sort of neutral encyclopedia of music. intimidated by the reputed greatness like Schütz, listen to Gabrieli. If you like youngster came from LPs that an older It isn’t any more obvious that you would of the recording artists, not just by lik- check on who was playing than it would ing their performances better than you be to dig into the question of who wrote a anticipate liking your own, but being given encyclopedia or Wikipedia article. daunted by their celebrity and publicly Is this good, bad, neither, or both? I heralded greatness. It is possible that the am not sure. I have an extreme interest more democratic performance model in performers. Probably too extreme, in that has taken hold now will have the that it can get in the way; if I do not know psychological effect of freeing students who is playing, I have trouble feeling to include themselves more easily in the comfortable listening. But that is a foible universe of those whose performances of mine. If listening is being done only are valid.

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12 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM By Gavin Black

There is a lot more to say about all of this, and I will come back to it. For the next column, I will turn to J. S. Bach’s The Art of the Fugue. Some of the features of this piece that make it particularly interesting inspire me to think and write while working on creating a performance of it, as there are some important things about the work that we do not know. For instance, we do not know the order of the movements, what instrument or instru- ments it was intended for, what title the composer meant for it to have, or, since it is incomplete, how it was meant to end. We do know that Bach worked on it for years, right up to his death, and that his heirs worked thereafter on getting it pub- Gavin Black is Director of the Princ- Record player lished. As to all of these things that we do eton Early Keyboard Center in Princ- not know, we can make highly educated eton, New Jersey. He can be reached by Listening to interpretation As another example, I love the piano guesses or assumptions—enough to make email at [email protected]. In former days, a student might ask, music of Schubert. However, I have it interesting to discuss and to be getting For information on the Princeton Early “how can I hope to play as well as Mar- lately realized that I so deeply absorbed on with for performance. Q Keyboard Center: www.pekc.org. cel Dupré, Helmut Walcha, Fernando Alfred Brendel’s approach to that music Germani, Marie-Claire Alain, etc.” Now growing up that I have a hard time listen- we can say “you don’t even know who that ing to anyone else playing it. For years player was. It could just as easily have I have sought out records or occasional been you. You can do that just as well!” live performances of Schubert by pianists This is an over-simplifi cation, but not an whom I admire greatly. But I always react unrealistic or inapt one, based on what I as if something is just not quite right—an have seen. interpretive/rhetorical analogue to perva- This brings us to another major aspect sive wrong notes or bad tuning. I consider of listening: to learn interpretation. this a loss for me, and it may fade or As anyone will know who has read this otherwise change someday. It is not a big column over the years, I am a strong deal; rather, it is part of the give and take congratulates the winners of the believer in encouraging everyone to feel of life. But if I were trying to play that free to play as they want. This includes music, I would have the following bad students, to such an extent that I want choice: either I would play in a way that 2019 even beginners to make their own inter- was a copy of someone else, or I would pretive decisions. That is a big subject, not like the way I played. and this is not the place to go into it So the fi rst antidote to getting one per- fully. The role of listening to recordings formance approach stuck in one’s head is Miami in shaping interpretation or in learning to listen more or less equally to multiple how to think about the art of shaping performances. If you have heard each of International interpretation is essentially two-fold. fi ve or six performances of a piece approx- On the one hand, anyone’s playing can imately the same number of times, then it be a direct source of ideas about playing. is quite impossible that one of them can Organ Competition There is nothing wrong with listening to have established itself in your mind as someone else play and thinking about the very defi nition of the piece. But this what that player did, the choices that is also part of the give and take of life. If he or she made, the effects that those we listen to half a dozen performances of choices seemed to have, etc. If a student every piece that we might want to play, is doing this as a conscious choice then it then we have that much less time to listen can be used in the ways that the student to other things. It is a question of manag- wants, with whatever guidance from ing what we want to do. I personally focus the teacher seems useful. The teacher on pieces that I am actively working on might do well to remind the student that or feel sure that I want to play some day. anything heard in someone else’s perfor- I solve the problem for those pieces by www.ruffatti.com mance is just one person’s choice. not listening to them at all. That is the Z]ᙘI\\QWZOIV[ But there is only so much that we can opposite solution to listening to multiple do by taking hold of this sort of listening performances. They both work for this consciously. To a greater or lesser extent purpose. For other music I sort of let the from one person to another, but to a chips fall where they may. signifi cant extent for almost everyone, Most of us spend much less time performances heard repeatedly exert listening to live concerts in person than a subconscious infl uence, sometimes a we do listening to recordings. Probably very strong one. If we have heard a pas- the major advantage of live performance sage or a piece exactly the same way over is that when all is said and done, the and over again, our minds can defi ne the sonorities, the effect of acoustics, and piece as being what we heard as much the spontaneity are simply different. A as we defi ne it by the notes on the page. recording is not an “I couldn’t tell the dif- This is true not only as defi ned by per- ference” recreation of a concert or other formance gestures—tempo, articulation, live performance, and it is at least a com- timing, etc., but also about registration mon experience that concerts at their or the often-irreproducible effects of best are even better than recordings. acoustics. I recall an earnest conversa- This is kind of a cliché, and in this case it tion that I once had with an organist a is only sometimes true. A given concert bit older and more experienced than I even by a great performer can happen was about what the registration “should” to be uninspired, or something can go be for the middle section of a certain wrong: noise, tuning, acoustic. But there piece. I was arguing that the nature of is a particular advantage to live concerts. the music called for something clear and If you hear a piece in concert and are light; he was equally sure that it needed a intrigued or excited by it—a piece of the Tyler Boehmer more “quinty”-rich sound. It turned out sort that you might want to play—then .QZ[\8ZQbM that each of us had had as our favorite the chances are that you will not remem- recorded performance of that piece one ber all specifi cs of the interpretation well Ilaria Centorrino Joseph Russell that led us to these diverging conclu- enough or in enough detail to be overly

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2019 Q 13 In the wind...

The human touch . . . many organists are not easily adaptable to a changing worship culture. Finding an Choral music is not one of life’s frills. It’s organist who is willing to ‘give and take’ is something that goes to the very heart of certainly a challenge. Many organists are our humanity, our sense of community, and ‘purists’ when it comes to music, making our souls. You express, when you sing, your the challenge even more diffi cult. They are soul in song. And when you get together Kings and Queens of their domain and will with a group of other singers, it becomes certainly let you know that very thing! more than the sum of the parts. All of those people are pouring out their hearts and souls in perfect harmony, which is kind of I have witnessed many musicians an emblem for what we need in the world, insisting that their way is correct, and I when so much of the world is at odds with itself. That’s just to express in symbolic have participated in many dinner table terms what it’s like when human beings are conversations about working with diffi - in harmony. That’s a lesson for our times, cult clergy. I know that what Fr. Dobson and for all time. says here is based in truth. But when he continues by suggesting that if your When I was writing for the July 2015 church “fi nds itself without an organist,” issue of The Diapason, I was in the a weekly subscription service, or “organ thrall of a video interview with John in a box,” is a viable solution, I think he Rutter just released on YouTube by has gone off the rails. Among advantages his American distributer, J. W. Pepper. of this plan, he lists, “Pastoral control (Type “john rutter the importance of over weekly content,” “Accurate and pro- Instead of an organist (photo credit: John Lectern (photo credit: John Bishop) choir” in the YouTube search bar.) This fessional sounding organ led worship,” Bishop) simple statement, presented as a matter and “Reliability.” These ideas carry nega- well compensated, the church must of fact, says everything about why we tive connotations for organists, especially quite a few of my clients have informed offer reasonable compensation to the work so hard to nurture parish choirs. when taken out of context. In that light, it me that they will stop maintaining their musician that refl ects the requisite Maybe not quite everything. He goes on, is important to mention that Fr. Dobson organ because they have not been able education and experience. Good organ- implies that he would prefer to have a to fi nd an organist. I often learn that ists are trained seriously and creatively. Musical excellence is, of course, at the heart of it, but even if a choir is not the “real” organist: “While it’s great to have a when the prominent incumbent musician Planning a vibrant and varied music greatest in the world, it has a social value, a real organist, like I said, they’re not easy retired, the church advertised the position program requires deep knowledge of the communal value . . . . [A] church or a school to fi nd.” Fake organists need not apply. at a lower salary, believing that such a tran- literature and lots of skill, and church without a choir is like a body without a soul. § sition was a good time to cut the budget. organists are among the most prolifi c The next generation of organists, eager of performing musicians, often playing Recently, a blog post appeared on Wendy and I moved to New York City to apply for that plumb position, is disap- fi fteen or twenty different “numbers” the website of the Episcopal Diocese of four years ago, but I still have quite a few pointed to learn that the salary offered is before the public each week. Dallas with the title, “The Future of the organ-service clients in the Boston area low and moves on to the next opportunity. In many parishes, the choir (or choirs) Organ for Church Worship,” written by where I have been maintaining organs Another symptom of a church that is is the most active volunteer activity. the Reverend Marc Dobson. The piece since 1984—I have been visiting eight of cutting budgets is the unattended offi ce. Dozens of people arrive cheerfully twice opens with an overview of various chap- those organs for all that time. Thirty-fi ve Thirty years ago, it was typical for every a week to give their effort and talents ters in the movement of contemporary years is more than a generation, and I church to have at least one full-time to the enhancement of worship. There music in worship including the Pente- have seen many changes. I remember a person in the offi ce. Of course, those are choir parties, retreats, and special costal movement, Folk Masses, Char- formidable list of musicians who occupied were also the days before voicemail, call programs of outreach to members who ismatic worship, television evangelists, the great organ benches of Boston, like waiting, call forwarding, and all the tech- are suffering illness in their families or and the Willow Creek movement. We George Faxon, John Ferris, Max Miller, nological advances that allow us to stay in other of life’s complications. Some par- are all well aware that many worshippers Yuko Hayashi, Donald Teeters, and Dan- touch without answering the phone. But ish choirs even go on international tours, are moved by styles of music other than iel Pinkham, now all deceased; each led today, at least where I live and work, when carrying the ministries of a local parish the organ-and-choir tradition in which I brilliant music programs and infl uenced calling a church offi ce, there is someone across oceans to sing in European cathe- grew up. My fi rst job playing the organ the generation that followed them. Uni- in the offi ce only two or three mornings drals. To sustain all this excitement, it is in church was in a Roman Catholic par- versity organ departments, notably the a week, so it is usual to reach a voicemail the responsibility of the choir director to ish (I was thirteen years old) where the New England Conservatory of Music, fed system. Scheduling a tuning visit and program music that is stimulating and 5:00 Mass on Sunday afternoon featured churches with energetic ambitious young being sure that the heat will be turned challenging. Squandering that power- folk music. I played traditional music on organists, many of whom are now the up is done by voicemail, email, and text ful volunteer effort by wasting hours is Sunday mornings on the Conn Artiste. senior musicians in the area. messages. In some ways, that is the same unthinkable. It is impossible to imagine (Get it?) Unfortunately, NEC has closed its as replacing the organist with a subscrip- any or all of this being replaced with a Fr. Dobson continues with other organ department, and perhaps not coin- tion service, as in both cases the personal subscription service. truths, such as, “Finding a good church cidentally, many of the churches where I connection is removed from the equation. The important thing here is that we organist is hard, given the nature of the maintain organs struggle to retain organ- I have been in countless church are all working for institutions that are church and where things are at today.” ists. More than a few congregations that I buildings where the ubiquitous church not as strong as they were a generation He states, fairly enough, served and admired have disbanded, and secretary ran an important ministry that ago. The musician who fails to be a con- was the bustling, cheerful, comforting structive colleague is hastening the day traffi c of parishioners coming and going when another good position vanishes. Scattered leaves ... from our Sketchbook during the week. The coffee was never § very good, but there was always a bowl of candies or a plate of cookies and plenty I admit freely that I have heard very of good cheer. It is a little sad for the little contemporary worship music, and organ tuner to open the building with none of what I have heard merits much his own and walk alone down dark praise. I have never gone out of my way corridors past bulletin boards festooned to hear it. My only exposures have been with yellowing minutes of meetings held the several occasions when I have been four months ago, and it is frustrating to working in an organ through a Saturday fi nd that in spite of numerous emails and afternoon, agreeing that the praise band voice messages, they failed to turn up the can rehearse while I am there. I have heat—again. It is especially sad in those heard young volunteers with powerful buildings where I remember the bustle amplifi ers, no ears, no skill, and no sense and conviviality of a rollicking church of trying to improve plodding through offi ce, where running jokes lasted from four-chord, four-note, four-word songs year to year. over and over, making the same mistakes § each time. (Just keep turning leather nuts, John.) I am sure there are skilled I’ll do my best to shine a positive professional ensembles that lead contem- light on Fr. Dobson’s blog and read it porary music in worship, but I have not as a plea for good organists rather than had an opportunity to witness in person. a plan to replace them. Every good If a parish judges that their congrega- organist deserves a proper position, and tion would thrive on a diet of contempo- every church that wants a good organist rary music, wouldn’t it be appropriate for deserves to have one. However, there it to be offered with the highest profes- are some ground rules. The musicians sionalism possible, rather than allow it to Schoenstein & Co. and the clergy all must strive to be serve as an excuse not to pay musicians? creative colleagues and constructive Joseph W. Clokey (1890–1960), professor Established in San Francisco š 1877 leaders in the life of the church, not of organ at Miami University and Pomona www.schoenstein.com ❧ (707) 747-5858 the “King or Queen” of impregnable College and dean of the School of the domains. And just as clergy should be Fine Arts at Miami University, said:

14 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM By John Bishop

of the parish (the bride had babysat for work of serious new composers. Church our kids), the groom was standing by musicians add life and color to worship, the open door, marveling at the organ. from mystery to majesty. They can inspire I remember hearing him say to his best awe and wonder or interject a touch of man, “we should let him ply his trade,” as humor. A huge proportion of the history he quietly closed the door. No subscrip- of the fi ne arts has been devoted to public tion service could have done all that. worship, from soaring architecture to the § great settings of the Latin Mass, and from pictorial art to ecclesiastical symbolism. Allow me a sassy moment. If an organist Remember those words of Joseph W. can be replaced by a subscription service, Clokey, “The purpose of worship is to so can a pastor. I bet I could fi nd a service elevate, not degrade.” And remember that would provide recorded sermons the words of John Rutter, “. . . a church based on the lectionary, as if preaching or school without a choir is like a body was all the pastor did. And CDs are so without a soul.” yesterday. Each week you would receive I am thinking and writing about the No trespassing (photo credit: John Bishop) an email with a WAV fi le to download. best of things. Not all church musi- to be sure you are a valued colleague and The laptop or tablet would feed Bluetooth cians have conservatory degrees. Not all a valued part of staff. Would that it could The purpose of worship is to elevate, not speakers, and Bob’s your uncle. churches can afford or produce sophis- be that no member of the clergy could degrade. The quality of music used should But that is not the point. In response to ticated music programs. But clergy and feel that the local musician was overlord be above, not below the cultural level of the congregation. If the music seems to be Fr. Dobson’s essay, I would like to remind musicians should always be ready to work of an impregnable domain. You will be ‘over your heads’ the best plan is to raise all of us that, at best, the church musician with each other and respect each other, the one who is always offered a job. your head. is called to the work in ways comparable to create constructive environments Note: I contacted the communications to a call to join the clergy. Musicians get without animosity, envy, or competition, director of the Episcopal Diocese of I have had another experience with specialized educations, they practice and to present a unifi ed worship experi- Dallas to ask why Fr. Dobson’s blog post the diminution of excellence. A member many hours each week to maintain and ence for the benefi t and betterment of had been removed. I was told that they of the clergy on staff with me did not hone their skills and to learn new litera- the communities in which they work. received many responses in a short period approve of my assigning solos to mem- ture, they read and study to keep current Musicians, live up to the challenge! and did not have a mechanism through bers of the youth choir, saying that it was with new trends and styles, and with the Raise the bar, work toward the best. Work which to make it be a discussion. Q not fair to kids of lesser ability. I under- stand that kids do not want to be left out, but didn’t Aretha Franklin, Whitney Houston, Leontyne Price, and Jessye Norman all start their singing careers in DISCOVEDISCOVER R church choirs? Would their artistry have thrived if they were held back to be like the others? Isn’t a church choir a good 21st CENTURY place to encourage natural talents? And 21st CENTURY isn’t it a responsibility of the choir direc- tor to recognize and encourage extraor- dinary abilities? ORGANIN NORTH BUILDI AMERICA NG I know that I have always been involved with skillful church musicians; I am grate- ful for that. When I was directing choirs, it was my privilege to work with talented IN NORTHORTH AAMERICAMER and dedicated singers, both volunteer amateurs and hired professionals, who were willing to work hard and who were excited each time by the challenge of learning a new piece. I also know that many churches present more modest music programs, but unless they are really horrible, the human element will always bring depth and warmth to the music. BUILDER MEMBERS: SUPPLIER MEMBERS: Besides working with choirs to present music during regular worship, the church Andover Organ Company Goulding & Wood, Inc. 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Organ Taylor & Boody Organbuilders hand with several strangely placed com- A. Thompson-Allen mas and misspelled words, but it simply Garland Pipe Organs, Inc. thanks me for being nice and helping them to choose such nice music. They were certain that their wedding would be wonderful. Maybe it was a simple service with another round of Wagner, Pachel- APOBA provides a simple way for you to take bel, and Mendelssohn. Maybe it was bit advantage of the expertise of the top people in of a bore for me. But it was an important day for them, and they had the chance to WKHʦHOGPDQ\RIZKRPEULQJWKHexperience of choose special music for themselves. It several generations who have preceded them. might be the only time in their lives that they chose music for a celebration. I am happy that I had the chance to provide Call today for APOBA’s Pipe Organ that for them. Sure, someone could have 5HVRXUFH*XLGHDQG0HPEHU3URVSHFWXV played recordings of the same pieces, but it would not be the same. The last church I served had a tra- ditional “chancel plan,” with the organ 11804 Martin Rd. Please watch and share CONTACT :DWHUIRUG3$ console on the right side. There was a our short video at: US door behind the bench that opened into ZZZDSREDFRPYLGHR 800-473-5270 the stairway to the choir room below, and DSREDFRP it was usual for the groom and best man to hang out there waiting for the proces- sional march. While playing preludes for the wedding of two beloved children

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2019 Q 15 Contemporary composers

A brief introduction to the organ works of Klaus Huber

By Alexander Meszler

lements of old and new make for Wüthrich, and Hans-Ola Ericsson. Many Efertile ground in organ composition; of his students went on to write their Klaus Huber (1924–2017) built his organ own organ works. works on this ground. Although even the I became interested in the music of most recent organ works can hardly be Klaus Huber for three reasons: (1) a considered new, they still stand outside desire to explore music of the twentieth of the standard canon of repertoire, and century that is underrepresented; (2) thus, sound refreshing. Huber’s historically infl uenced approach Music historians have already begun to composition for the organ; and (3) the to specialize in of the last fact that most of his works are relatively decades of the twentieth century. Vary- short and can be performed on a wide ing interpretations of historical periods variety of instruments, making them Klaus Huber (photo credit: Harald Rehling) and styles among musicologists have easily programmable. Currently, the emerged, but the lasting impact of post- only article related directly to Huber’s war music is still up for debate. In writ- organ works is a similar introduction ing about Huber, I intend to introduce a from 2010 in La Tribune de l’Orgue, composer who I believe deserves a place in French, by Guy Bovet.1 This article in the . combines my observations with Bovet’s Apart from his work as a composer, and explores aspects of the diffi culty, Huber is best known as a teacher. Two style, and programmability of each of of his most signifi cant teaching positions Huber’s organ works. As a supplement, were as professor of composition at the interested readers should consult Bovet’s Académie de Musique (1964–1973) in article, Huber’s Oxford Music Online Example 1: Ciacona, measures 1–3 (opening) Basel, Switzerland, and later, at the Fri- entry,2 the composer’s thorough website bourg Musikhochschule (1973–1990). (www.klaushuber.com),3 and fi nally, the paradoxically both conservative and pro- until 1995. Though he has written only He won numerous awards and prizes Institute for Research and Coordination gressive—for instance, Franco-Flemish fi ve solo pieces for organ, a signifi cant for his work in orchestral and chamber in Acoustics/Music (IRCAM) contem- polyphony, harmony and counterpoint number of chamber and choir pieces use genres. The depth of Huber’s infl uence porary music database, “B.R.A.H.M.S.” of the Baroque and Classical eras, seri- organ. I will not discuss these, except as a composition teacher cannot be over- (Base de documentation sur la musique alism, and non-Western music.5 On the one, Sonata da chiesa (1953), for which stated; his name is found prominently contemporaine, http://brahms.ircam.fr).4 one hand, his initial resistance to the the organ part is particularly prominent in the biographies of composers such as progressive (but standardized) serial and marks his fi rst exploration of the Brian Ferneyhough, Toshio Hosokawa, Huber’s style developments of the Darmstadt School instrument’s capabilities. Since Huber Michael Jarrell, Younghi Pagh-Paan, Huber’s early compositions exhibit made him seem unadventurous and was a profi cient violinist, a composition Wolfgang Rihm, André Richard, Hans a combination of infl uences that is attached to the past. On the other hand, that combines the unfamiliar territory of the application of his unique voice to the the organ with the expressive potential music of the past is remarkably postmod- of the violin, an instrument Huber was ern. In many ways, he anticipates some intimately conversant with, seems an later styles that, early in his life, were yet appropriate starting point. Guy Bovet to emerge. has compared it to a better-known piece Des Engels Anredung an die Seele, by the same name and similar instru- his 1959 chamber cantata, unifi ed serial mentation, Sonata da chiesa (1938) of structures with consonant intervals Frank Martin (1890–1974). Huber’s that launched him onto the world stage piece comprises three movements: Poco and won him fi rst prize in the Interna- Allegro, Allegro, and Largo. Until 2004, tional Society for Contemporary Music this piece remained in manuscript, but (ISCM) competition. Huber loved texts, now that it is available in print, it will especially old ones, even medieval. hopefully fi nd its way into the repertoire. Though opera is not a signifi cant genre It is a strange coincidence (and, to in his compositional output, the oratorio my knowledge, only a coincidence) that and other vocal genres are. Later in life, the fi rst organ work of György Ligeti Huber wrote experimental compositions (1923–2006), Ricercar (1953), was con- that use unusual techniques such as hav- ceived only one year before Huber’s fi rst ing multiple temporal planes that differ solo work, Ciacona per organo (1954). in tempo. Finally, perhaps an infl uence Both works have thin textures and are in from his students, he eventually turned relatively antiquated forms. It is notable drastically away from traditional Western that despite vast political separation, two styles toward non-Western where signifi cant postwar compositions, for he used non-Western pitch construc- an instrument virtually forgotten to the tions, instruments, and styles. Second Viennese School, share much in common. Huber’s chaconne is infl u- Organ works enced by a repeated fi gure that is diffi cult MINNESOTA MUSFORUM AT ST. OLAF COLLEGE In general, Huber’s organ works date to identify since it appears in so many A Musforum Conference | June 13 and 14, 2019 from his early professional decades (after modifi ed forms. Ciacona’s form is, in his student years) and are representative loose terms, ABA. The fi rst large section 3SVXLǻIPH23 St. Olaf College | of a more conservative aesthetic, not marked Allegro molto starts with an alter- ȋȨȀȇȬȄȃȋȇȀȒȄȃȄȋ: www.musforum.org necessarily typical of all his compositions. nation of chromatic passages (Example Metanoia, however, was not composed 1) with sections marked subito tranquillo

16 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM Example 2: Ciacona, measures 15–17 (subito tranquillo)

Example 3: Ciacona, measures 194–197 Klaus Huber (photo credit: Brigitte Frierich/The Image Works)

SOLID STATE ORGAN SYSTEMS

Example 4: Ciacona, trio section, measures 28–31 (before return)

Example 5: In memoriam Willy Burkhard, I. Molto sostenuto measures 23–26

1970 1980

Example 6: In memoriam Willy Burkhard, II. Adagietto measures 8–12

(Example 2). The same section culmi- is again written as a trio. In the decades nates in a passage marked agitato with surrounding 1950, Huber is not alone a thicker chordal texture (Example 3). in his fascination with the trio texture— The B section is scored as a trio with the Vincent Persichetti’s sonata of 1960 (and 1990 fi rst entry in the pedal. Huber’s fascina- his fi rst harpsichord sonata from 1951), tion with the organ’s capability to play or earlier, Distler’s Organ Sonata of trios continues and develops throughout 1938/9. Huber’s second movement is MultiSystem II his other compositions. Following this technically a chorale trio since it features 2000 rhythmically challenging trio section, Vater unser im Himmelreich on a 4′ reed The world’s the composer requests a twenty-second in the pedal. The composer achieves a pause (Example 4) before returning to great deal of harmonic and rhythmic most advanced the material of the A section presented in interest though having only two free and intuitive quasi-imitation. Registration suggestions voices over the chorale (Example 6). It are generally limited to pitch levels, but is important that performers, despite the pipe organ dynamic markings are supplied liberally. rhythmic complexity, not lose sight of the control system Thus, the piece should transfer easily to compound triple meter that is crucial to 2010 organs of many styles. the gentle, lilting character. Bovet has In memoriam Willy Burkhard (1955), argued that this piece is suitable for Huber’s second piece for the organ, is liturgical use as well as concert use. In dedicated to the passing of his former total, both movements are only around teacher at the Zürich Conservatory. seven minutes long. Burkhard, like Huber, had written solo After about a ten-year hiatus from works for the organ and featured it in writing for solo organ, Huber returned his other chamber works. The structure to the instrument with In te Domine 2020 of the piece is in two movements, Molto speravi (1964). It was around this same sostenuto and Adagietto. The harmonic time that he composed Des Engels Anre- content is strongly tertian but includes dung an die Seele, which, among other hints of quartal harmonies. Unfamiliar pieces, confi rmed his fame and solidifi ed harmonies in Huber’s early works can his compositional identity. In te Domine usually be accounted for as expressive, speravi was composed for a three- dissonant, but resolving, albeit uncon- manual Merklin organ in Basel and was ventionally, non-chord tones. Bovet awarded fi rst prize in the Kulturwerk compares the singing quality of the fi rst Nordhessen composition competition movement (Example 5) to Hindemith’s for organ. It is a short fantasy followed Trauermusik, but I am inclined to go a by a quieter section in compound meter. step further and argue that this singing Though the piece seems intimidating quality even extends to parts of Hin- since it includes irregular and challeng- 5600 General Washington Dr.,Suite B211, Alexandria, VA 22312 demith’s , particularly the ing rhythms, prominent double pedal, t: +1 (703) 933 0024 e: [email protected] slow movements. The second movement and four staves, the piece is signifi cantly

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2019 Q 17 Contemporary composers

Example 7: In te Domine speravi, measure 1

Example 9: Metanoia, measures 1–2

Example 8: Cantus Cancricans, measures 16–19 easier than it appears (Example 7). complex, both harmonically, but espe- Bovet humorously writes, “Despite the cially rhythmically (Example 8). Logis- complicated appearance of the score tically, to follow Huber’s dynamic mark- Example 10: Metanoia, measures 11–14 upon fi rst look, the piece is not diffi cult ings, it is necessary to either utilize two (One does not even need to know how expression boxes or frequently change Greek title literally means repentance Conclusion to count since the composer indicates registrations. The former is probably or penitence and is a reference to the Huber’s organ works are rarely ‘senza misura’!).”6 The dense beginning preferable since it would allow the colors fundamentally Christian admittance of recorded or performed. Given his infl u- may mark a defi nite change in style from to remain intact even though operating sin. The score calls for an organ in a non- ence on the world of twentieth-century his earlier organ works, but in the second two boxes can often be cumbersome. equal temperament. composition, it is curious that he seems section, Huber returns to a tranquil trio Cantus cancricans is only about four Metanoia begins by alternating stacked to have almost no place in the organ texture in compound meter. The piece minutes in length, yet is likely the hard- harmonies broken up by various colors literature. Several of his pieces, as Bovet concludes with a rapid crescendo return- est of his works, excepting Metanoia. and rhythms and frequently changing has pointed out, could be used in more ing to the opening material. This work is Following Cantus cancricans, Huber densities (Example 9) with sections of exploratory church music programs. around six minutes long, making it even took an even longer hiatus from solo fast polyrhythmic passagework (Example Concert organists should take note of shorter than the previous works. organ but returned in 1995 to write 10). When these passages include a pedal the relatively short duration of most of Cantus cancricans (1965) was com- his longest and by far most complex part, they can be dauntingly challenging. Huber’s pieces, making them program- posed the following year. Though the work for the instrument, Metanoia At other times, similar passagework is pre- mable. If nothing else, I hope that organ- title seems to indicate the presence of (1995). The work is a meditation that sented over pedal tones. After the third ists will take note of Huber, not only for a crab canon, Huber does not provide lasts slightly under thirty minutes. The fast passage, the texture returns to broken his works, but also for the extent of his a strict one. However, the opening is score consistently has fi ve staves that, harmonies as expected (as in Example infl uence elsewhere. Having passed only mirrored at the end. Cantus cancricans, though diffi cult to read, accurately and 9), but the dynamic suddenly changes to recently in 2017, we should take stock unsurprisingly, is scored as a trio. It helpfully portrays the intended colors fortissimo and it introduces double pedal. and remember the signifi cance and was composed for “Schweizerischen by manual and register. The work has Following this, Huber returns to quieter beauty of the music of Klaus Huber. Q Arbeitskreises für Evangelische Kirch- been published only in manuscript fac- dynamics and presents a new texture. The enmusick,” a church group in Zurich. simile that, although adequately clear, work then returns to the newly introduced Alexander Meszler is a doctoral stu- Originally, it was to be played after the still makes it more challenging to learn. fortissimo section of broken chords with dent of Kimberly Marshall at Arizona reading of John 3:30 on the feast of Saint Metanoia I, from the same year, is the double pedal. At the end of this section, State University. He currently lives in John the Baptist. The piece also includes same composition reworked for organ, only about halfway through the piece, Versailles, France, on a Fulbright award a short congregational song that should alto trombone, two boy sopranos, and Huber changes again and does not return where he is investigating secularism be sung at the fermata on page fi ve some simple percussion. It received its to any of the opening material. From here and the organ as well as continuing before continuing. By this point, Huber’s fi rst performance, despite being written to the end of the piece (around fi fteen organ studies with Jean-Baptiste Robin. writing style had become much more later, earlier than the original score. The minutes), Huber presents alternating A strong advocate of music by living chords on different manuals. He calls for composers, he serves as a member of the alterations of pitch by various degrees of American Guild of Organists’ Committee a semitone that are not possible when on New Music. He is a member of THE restricted by equal temperament. DIAPASON’s 20 Under 30 Class of 2019. Bovet describes the overall aesthetic of Metanoia: Notes — 38 ranks 1. Guy Bovet, “L’œvre pour et avec orgue From the listeners’ perspective the ex- de Klaus Huber (né en 1924),” La Tribune de perience is not truly musical: it is more l’Orgue – Revue Suisse romande, 62/3 (2010): like a musical-theatrical happening, or a 3–11.

tuscaloosa, alabama tuscaloosa, long meditation; in short, the experience 2. Max Nyffeler, “Huber, Klaus,” Grove

opus 132 is total. Time is abolished; the sonorities Music Online, Oxford University Press, 2001, inspire dreams. In the end, Metanoia is a accessed June 6, 2017, www.oxfordmusicon- large dream: a moment when the listener line.com. gives himself or herself the time, where life 3. “Klaus Huber,” accessed June 6, 2017, stops in a sort of parenthetical refl ection on www.klaushuber.com. eternity. In our time when no one has time 4. “Klaus Huber: Compositeur Suisse né for anything, this can be pure happiness.7 Chri Episcopal Church Chri Episcopal le 30 novembre 1924 à Berne,” Ircam-Cen- tre Pompidou, accessed June 6, 2017, http:// A harpsichord work brahms.ircam.fr/klaus-huber. 5. Nyffeler. Though not an organ work, readers may 6. Bovet, 8. be interested in La Chace (1963) for solo 7. Ibid., 11. harpsichord. The Diapason has enough follow harpsichord readers that I believe inter- Scores by Klaus Huber us on est in this work is probably self evident. Cantus Cancricans. Basel: Bärenreiter-Verlag facebook! Kassel (5486), 1968. The piece was written for and dedicated Ciacona. Kilchberg: Sinus-Verlag (10016), to Antoinette Vischer, though she did not 1954. premiere it. It is scored in four staves, two In memoriam Willy Burkhard. Basel: Bären- for each manual, which, though compli- reiter-Verlag Kassel (4462), 1965. cating the notation, displays his specifi c In te Domine speravi. Basel: Bärenreiter-Ver- 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA intentions related to the use of each key- lag Kassel (4463), 1966. t 800 625-7473 [email protected] La Chace. Mainz: Edition Schott (5429), board. His registration markings are clear 1965. Visit our website at www.letourneauorgans.com and useful. Interested harpsichordists will Metanoia. München: G. Ricordi & Co., 1995. fi nd this a technically challenging and Sonata da chiesa. München: G. Ricordi & musically satisfying piece of music. Co., 2004.

18 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM 20 under 30 The Class of 2019: 20 leaders under the age of 30

By THE DIAPASON staff

Matthew Buller

Matthew Buller is a native of Lake Charles, Louisi- Matthew has been director of music and organist at Holy Family Catholic Church in ana, and a candidate for the Artist Diploma at Oberlin Parma, Ohio. As a performer, he has performed extensively around the United States, Conservatory of Music, Oberlin, Ohio, where he studies in Montreal, Québec, and in Paris, France. He also performed on the 2015 Danenburg with Arvid Gast. He earned his Bachelor of Music and Honors Recital, in addition to performing on the Songsun Lee Memorial Concert in Vero Master of Music degrees from Oberlin in May 2017, Beach, Florida, in 2016. where he had the privilege of studying with organists An interesting fact: I am a collector of old organ scores and old hymnals. such as Nathan Laube, Liuwe Tamminga, Jean-Baptiste Proudest achievement: A major scholarship to study at Oberlin Conservatory and many Robin, and Marie-Louise Langlais, in addition to his opportunities in the world of church music. regular studies with James David Christie and Jonathan Career aspirations and goals: I hope to be a director of music in a major cathedral and Moyer. He also studied harpsichord under Webb Wig- to perform large choral, orchestral, and organ Masses in their original context, namely photo credit: Jonathan Moyer gins and fortepiano under David Breitman. Since 2017, during the Catholic Mass.

Katie Burk

Originally from Lawrence, Kansas, Katie Burk is and Christopher Aspaas, and voice with Karen Wilkerson. This summer, Katie will an organist, conductor, vocalist, and composer pursu- be a faculty member at both the Royal School of Church Music in America’s King’s ing the Doctor of Music degree in organ performance College Training Course in Wilkes-Barre, Pennsylvania, and the Presbyterian Asso- at Indiana University, where she is a student of Chris- ciation of Musicians Conference on Worship and Music at Montreat, North Carolina. topher Young. An active organ recitalist and choral An interesting fact: I am an identical twin; my sister Maggie is a choral conductor clinician, she currently serves as music intern at Trin- and composer (who moonlights as an organist!) about to start her doctorate at the ity Episcopal Church in Bloomington, Indiana, under University of Michigan! the direction of Marilyn Keiser, where she directs and Proudest achievement: Though it’s still a little way off, I predict that once I fi nish accompanies both youth and adult choral ensembles everything up, I will be very happy to have earned a doctorate in organ (an instrument and coordinates the Evenings at Trinity music and I didn’t play until college!). For the moment, however, I’m excited that my choral photo credit: Synthia Steiman, liturgy series. Additionally, she teaches undergraduate compositions are being performed in venues such as the National Cathedral in Wash- SfS Photography aural skills courses at the IU Jacobs School of Music. ington, D.C., and Saint Mark’s Church in Philadelphia! She holds the Master of Music degree in organ from Career aspirations and goals: Whether I fi nd myself in academia or working as a IU and Bachelor of Music degrees in organ and music education summa cum laude church musician (or both), I’d like my job to be multifaceted. I’ve always enjoyed a wide from Saint Olaf College, Northfi eld, Minnesota, where she sang in the Saint Olaf variety of musical activities—playing the organ, conducting, singing, teaching, compos- Choir and studied organ with Catherine Rodland, conducting with Anton Armstrong ing—and I hope to be in a setting where I can continue to pursue all of my interests!

Jared Cook

Jared D. Cook is a native of Houston, Texas, where Jared has served as organ scholar at Holy Spirit Episcopal Church in Houston and as he began his formal organ study at age seventeen principal organist at Saint Paul’s Episcopal Church, Waco, Texas, where his responsibili- with Stephen Morris. He is currently a junior organ ties included accompanying the Chancel Choir and playing for services. Currently, he is performance and French major at Baylor University, serving as organ scholar at Preston Hollow Presbyterian Church, Dallas, Texas. where he studies with Isabelle Demers. In the 2018 An interesting fact: I speak three languages (English, Spanish, and French) and enjoy William C. Hall Pipe Organ Competition, he was traveling frequently! awarded fi rst place in the undergraduate division, as Proudest achievement: I’m the proudest of making the organ accessible to non-organ- well as the prize for outstanding hymn playing. Dur- ists. I enjoy showcasing the colors and abilities of the instrument, and helping people ing his sophomore year, he was selected as the organ develop an appreciation for the organ. division winner in the 2018 Baylor School of Music Career aspirations and goals: I’d like to inspire people as a concert organist, peda- Semper Pro Musica Competition. An active recitalist, Jared has performed recitals at gogue, and church musician. It is my goal to continue making the organ an accessible the Cathedral of Saint John the Divine, New York City, Saint Bartholomew’s Episcopal instrument and to give back to the community through music. I want to help educate Church, New York City, Christ Church Cathedral, Houston, among others. others about the organ and help them develop a passion for the “King of Instruments.” The Diocese of Madison Congratulations to our son Jared, Congratulates Matthew Buller an amazing Texas organist! We look forward to your recital July 11 at 7:00 p.m. • Holy Name Chapel Love Mom and Dad 702 South High Point Road, Madison, Wisconsin JaredCongratulations Cook Congrats Jared! "20 under 30" Class of 2019 We love you forever! Mo and Grandma From Isabelle Demers and Baylor University

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2019 Q 19 20 under 30

he Diapason’s fourth “20 Under 30” selections came from a fi eld that included Nominations will again open for 20 Tnearly one hundred nominations. The nominees were evaluated based on informa- Under 30 in December 2020 for our tion provided in the nominations; we selected only from those who had been nominated. Class of 2021. Please carefully consider We looked for evidence of such things as career advancement, technical skills, and those you may know that deserve this creativity and innovation; we considered a nominee’s awards and competition prizes, honor and begin to take notes for your publications and compositions, and signifi cant positions in the mix. Our selections were nomination. We can only honor those not limited to organists but refl ect the breadth of our editorial scope, which includes who are nominated. the organ, harpsichord and clavichord, carillon, and church music. Here we present The Associated Pipe Organ Build- the winners’ backgrounds and accomplishments, and then have them tell us something ers of America (APOBA) is graciously interesting about themselves and about their achievements, goals, and aspirations. providing a one-year subscription to our 20 Under 30 Class of 2019.

Carolyn Ann Craig Bryan Dunnewald

Carolyn Craig of Knoxville, Tennessee, is the Conductor and organist Bryan Dunnewald of Arvada, 2018–2019 organ scholar at Truro Cathedral in Colorado, has performed in numerous venues across the Truro, England, where her duties include playing for country, from the Washington National Cathedral to the at least three Evensongs per week and training the Mormon Tabernacle. From 2015 to 2018, he served as youngest boy choristers daily. She will begin a Mas- organ scholar at Saint Mark’s Church, an Anglo-Catholic ter of Music in organ performance in 2019. Carolyn parish in Philadelphia, Pennsylvania, and as assistant graduated summa cum laude from Indiana Univer- organist at Macy’s (formerly Wanamaker’s) department sity in 2018, where she held the Wells Scholarship photo credit: Andrew Morehead store, giving frequent concerts on the largest organ in the photo credit: Charles Grove and was one of fi ve graduating seniors to receive the world. Bryan enjoys collaborating with ensembles large Elvis J. Stahr Award for leadership and academic excellence. Carolyn graduated with and small and has performed with the Philadelphia Orchestra, the Colorado Symphony, the a Bachelor of Music in organ performance in the studio of Christopher Young with Curtis Symphony Orchestra, and numerous chamber ensembles as an organist and harp- minors in conducting and German. While at Indiana University, Carolyn was organ sichordist. As a conductor, Bryan has led a variety of ensembles, from orchestras at Curtis scholar at Trinity Episcopal Church with Marilyn Keiser. to choirs in Denver. He is an active composer and recently conducted the premiere of his Carolyn began her keyboard studies as a pianist and performed in Carnegie Hall at Missa Brevis: Saint Mark with Saint Mark’s Parish Choir. Bryan currently lives in New York age 14 as a winner of the American Protégé International Talent Competition. At the age City where he pursues a master’s degree in orchestral conducting with David Hayes at the of seventeen, Carolyn won the Region IV Quimby Competition for Young Organists and Mannes School of Music. He is a graduate of the Curtis Institute of Music and Interlochen performed a Rising Star recital for the 2014 American Guild of Organists national con- Arts Academy, earning over the course of his studies the highest honors in music, academ- vention in Boston, Massachusetts. She has since been heard on Pipedreams and in recital ics, citizenship, and character. Bryan’s teachers and mentors include Alan Morrison, Robert domestically and abroad, in venues such as St. Paul’s Cathedral, London, England. McCormick, Jonathan Coopersmith, Leon Schelhase, Thomas Bara, Steve Larson, Martha An interesting fact: I love to sing. I study voice privately whenever I have the chance, Sandford-Heyns, and Joseph Galema. In the summer of 2018, he worked at Schoenstein & currently with Margaret Kingsley, professor emerita of the Royal College of Music, Co., developing his love of organbuilding as an apprentice to Jack Bethards. and studied privately at Indiana University and, as a high school student, at the Uni- An interesting fact: I love architecture and public transit. I have a very real dream to versity of Tennessee. At Indiana University, I sang in Dominick DiOrio’s new music drive a bus one day. choir NOTUS, in the early music group CONCENTUS, for many colleagues’ composi- Proudest achievement: My proudest professional moments are those in which I create tion premieres, and in the student-led chamber choir Burgundian Consort (Hannah something great with others. These achievements can be in- or outside of music. Some McGinty, director). I have also done some musical theater and enjoy singing a cappella recent examples include conducting the premiere of my Missa Brevis at Saint Mark’s, with the Choral Scholars of Truro Cathedral. working for years with administrators at Curtis to make positive changes to the orchestra Proudest achievement: I’m proudest when my teaching is successful—when I see program, conducting my friends at my graduation recital in a performance of one of my my organ students playing their fi rst postlude, when the youngest boy choristers I train very favorite pieces, Poulenc’s Le Bal Masqué, and voicing my very fi rst rank of pipes have their fi rst solos, when theory concepts and sight singing click, and when com- (with some success!) at Schoenstein. munity choirs get German vowels right. Career aspirations and goals: I want a career in which I build something special. Career aspirations and goals: I would like to be the choir director and organist at a There are many disciplines that make me feel fulfi lled, so I look for a career with variety, church where vibrant children’s choir and adult choir programs provide a foundation one where those disciplines complement each other. Being a leader and fostering an for faith formation and contribute to a sense of community and where the standard environment of healthy, serious artistry are important to me. Outside that I expect to for choral and organ music is excellence. Additionally, I would like to concertize as an have a career that involves, in some form, playing, conducting (orchestras and choirs), organist and would like to perform as a collaborative pianist and professional choral working with others, organbuilding, and bus driving (likely in retirement). soprano. I would also like to continue teaching organ lessons. Website: www.bryandunnewald.com.

Daniel Ficarri

A native of Pittsburgh, Pennsylvania, broadcast his live all-Bach performance as Tully Hall. Ficarri has also composed Daniel Ficarri is a graduate student part of their “Bach Organ Marathon.” He extensively for the organ—his Exultation at The Juilliard School, studying with has performed around the country and at was commissioned by Choir & Organ organist Paul Jacobs. Ficarri is recognized New York City’s Cathedral of Saint John magazine for the dedication of the Miller- as a performer of both new music and the Divine, Saint Thomas Church, and Scott Organ at Saint Thomas Church. An standard classical repertoire—The New Trinity Church Wall Street. His orchestral active church musician, Ficarri is currently York Times listed his performance of John performances have included engagements organ scholar at Church of Saint Paul the Cage’s Souvenir under the “Week’s 8 Best with the Florida Orchestra and the Juil- Apostle in Manhattan, where he founded Classical Music Moments,” and WQXR liard Orchestra in Carnegie Hall and Alice the organ concert series “Sacred Sounds at Saint Paul’s.” Previously, he served as organ scholar at Hitchcock Presbyterian CONGRATULATIONS TO Church in Scarsdale, New York. For more Congratulations to information, and to purchase sheet music, for strings and orchestra and enjoy tran- Bryan Dunnewald visit www.danielfi carri.com. scribing these works for organ. An interesting fact: I began my musical Proudest achievement: I fi nd the greatest Carolyn Craig training as a violinist and studied privately satisfaction in composing my own works for We wish you much for ten years. Though I no longer study the organ. My favorite of these composi- the violin, I still have a great love of music tions is Exultation, a fanfare. Composing 20 Under 30 Class of 2019 continued success. allows me to push the limits of the instru- A Great Career Awaits ment while sharing my unique voice. From your friends in the Career aspirations and goals: I hope that Alan Morrison and Multi-talented my work is able to bring awareness to the LEXINGTON AGO CHAPTER Curtis Institute of Music potential of the organ and the enduring rel- evance of its music. Whether through per- forming, composing, or serving in churches, BRYAN I hope that I am able to educate and inspire others to take interest in the voices DUNNEWALD of history’s great artists. The organ and its 20 Under 30 Class of 2019 repertoire are greatly misunderstood—by the musically ignorant in society and also by the most advanced classical musicians. My from the Knoxville AGO Chapter greatest aspiration is to enlighten others, and in doing so, enrich their lives in some way.

20 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM Julian Goods

Raised in Chi- of Michigan. Goods serves as the music director for the Michigan Gospel Chorale cago, Illinois, Julian and organist at both Hartford Memorial Baptist Church and Tabernacle Mis- J. Goods is a senior sionary Baptist Church in Detroit. He is a member of the American Guild of at the University of Organists, American Choral Directors Association, and the National Association Michigan pursuing of Negro Musicians where he serves on the Collegiate Board and as the recording a Bachelor of Music secretary for the Central Region. degree in choral An interesting fact: I am a proud Eagle Scout. music education. Proudest achievement: My proudest achievement is every time an ensemble or He has a primary someone I work with experiences a success. focus in voice and It would be very easy for me to say that my proudest achievement would be secondary focuses any of the awards, honors, or recognitions that I have collected over the years; in pipe organ and however, there is one achievement that I am especially proud of. My proudest conducting. Over achievement is the work that I do as a student teacher within the Detroit Public the last few years, Schools System. As a student teacher I have the opportunity to spend time engag- Goods has worked ing with and cultivating young minds. On a daily basis, I am able to sow into these closely with the young minds and work to provide them with the resources they need. I am the choral conducting most proud when I am able to see these bright individuals take those resources and music education and utilize them to work toward a successful future. I am a giver to my very core, faculty to help fi nd and watching my students take what I give them and produce success is truly my ways in which he can proudest achievement to date. become a successful Career aspirations and goals: My ultimate goal is to one day serve as the director and effective teacher of choral activities at a university/college where my focus would be to build a choir in schools with primarily African American student populations. In the fall, he that will continue the strong tradition of Western European Classical music while will be starting a Master of Music degree in choral conducting at the University constantly displaying the diverse repertoire of choral music from around the world.

Conner Kunz

photo credit: Katie Stewart (Katie Sue Photography)

Conner Kunz was born in Delta, Utah, to Mark and Beverly Kunz and has always had a fascination with music, the pipe organ, and large mechanical devices. He graduated from Delta High School and currently studies business management at Utah Valley University and also works with Bigelow & Co. organbuilders as a part-time craftsman. His main areas of interest in the organ world include the mechanical creation of the organ, as well as voicing and tuning of pipes, and he hopes to continue to broaden his skills in those areas. An interesting fact: Before I was employed at Bigelow & Co. I was a high- end furniture maker. Proudest achievement: My furni- ture can be seen internationally in the temples of The Church of Jesus Christ of Latter Day Saints. Career aspirations and goals: I hope to be able to take on the career of pipe organ building and more fully develop my capa- bilities in both the design and production of these beautiful instruments.   

    

    

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2019 Q 21 20 under 30

Colin MacKnight Alexander Meszler

Colin MacKnight is a third year C. V. Starr Doc- Alexander Meszler is a Doctor toral Fellow at The Juilliard School, where he also of Musical Arts degree student in completed his bachelor’s and master’s degrees. He organ of Kimberly Marshall at Ari- studies with Paul Jacobs, Grammy award winner and zona State University. He currently chair of the organ department, and is working on his lives in Versailles, France, on a dissertation entitled “Ex Uno Plures: A Proposed Fulbright award where he investi- Completion of Bach’s Art of Fugue.” Colin also serves gates secularism and the organ and as associate organist and choirmaster at Cathedral of studies with Jean-Baptiste Robin. the Incarnation on Long Island. Before Incarnation, Meszler completed his master’s Colin was assistant organist and music theory teacher degree in organ performance and at Saint Thomas Church, Fifth Avenue. music theory at the University of Colin’s fi rst prizes and scholarships include the Kansas where he studied organ 2017 West Chester University International Organ with Michael Bauer and James Competition, 2016 Albert Schweitzer Organ Competi- Higdon and his bachelor’s degree tion, 2016 Arthur Poister Scholarship Competition, M. in organ with Kola Owolabi while Louise Miller Scholarship from the Greater Bridgeport Chapter of the American at Syracuse University. Guild of Organists, the 2013 Rodgers North American Classical Organ Competition, Alexander has been a fi nalist and the Ruth and Paul Manz Organ Scholarship. He also won the New York City in several performance competi- and Northeast regional AGO competitions. In addition, Colin received the Clarence tions and, in 2016, he won second Snyder Third Prize in the 2016 Longwood Gardens International Organ Competition prize at the Westchester Univer- and is a Fellow of the American Guild of Organists. sity Organ Competition. A strong An interesting fact: I was an extremely reckless and accident-prone kid. I went to the advocate of music by living composers, he currently serves as a member of the emergency room so often that I had my favorite hospital and the staff there knew me, American Guild of Organists’ Committee on New Music. He has collaborated with and my mom says that my raison d'être was self-destruction. One of my more memo- composers Huw Morgan, Hon Ki Cheung, and George Katehis on the premieres rable injuries was when I concussed myself by diving into a bathtub with no water. of their organ works. Proudest achievement: Most recently, acquiring two free leather couches and In 2017, he was awarded a grant from the Arizona Center for Renaissance and smuggling them into the Juilliard organ rooms. Medieval Studies for a project titled, “Crossroads for the Organ in the Twenty- Career aspirations and goals: I’m mainly interested in doing church music, con- First Century: A Precedent for Secularism in the First Decades of Sixteenth-Cen- certizing, and perhaps doing some teaching. I particularly enjoy the variety of musical tury Print Culture.” He has presented papers and lecture-recitals at conferences activities that are involved in church music: repertoire, improvisation, conducting, including the Rocky Mountain chapter of the American Musicological Society, service playing, etc. the Westfi eld Center for Historical Keyboard Studies, and the Historical Key- Website: colinmacknight.com. board Society of North America. He is making his fi rst signifi cant interdisciplin- ary contribution this June at the European Association for the Study of Religions’ annual conference. An interesting fact: I started my undergraduate career as a trombone major. Thomas Mellan Having taken some organ late in high school with Stephen Best in Utica, New York, I was warmly welcomed as a secondary student into the organ studio at Syracuse University. I found myself in the organ practice room for hours at a Born in Lyon, France, Thomas Mellan time—much, much more time than I spent practicing the trombone. The moment won fi rst place in the Musical Merit Founda- I knew I needed to approach Kola Owolabi, my organ teacher at the time, about tion’s national competition in 2016. In 2011, the possibility of switching majors was when my trombone professor, Bill Harris, he recorded for the offi cial documentary complimented my trombone playing in a rather distinctive way. He said, “You of the Walt Disney Concert Hall organ. He know, you play the trombone extremely well for an organ major.” Not an insult at performed as a Rising Star in the American all, he knew where my heart was. I am extremely thankful for both mentors! Guild of Organists’ West Region Convention Proudest achievement: I’m proud of a collaborative project that I initiated and and the Spreckels Centennial International organized with my mentor, Kimberly Marshall. Inspired by other artist-activists, Festival in 2015. As Young Artist of the Year, we explored the negative environmental effects of a United States-Mexico border he played in the 23rd International Festival wall. We incorporated the art and music of many others including commissioning of St. Eustache in Paris, France. In 2018, his two new works funded by the Foundation for Contemporary Arts in New York European tour included a residency at the City. One resulting work was for two organs and fi xed-media electronics by Huw Organ Hall in Lviv, where he gave the Ukrai- Morgan, which incorporated sounds of the wall itself from musician-activist Glenn nian premiere of Messiaen’s Livre d’Orgue. Weyant. Another highlight for me was working with a leading scientist in the fi eld, His compositions include orchestral, cham- Michael Schoon, to write an accurate, yet moving script that accompanied the ber, and solo works, which have been performed in France, America, Canada, and program. The result, if nothing else, was that new audiences were exposed both to Ukraine. Mellan was the Outstanding Graduate of the undergraduate class of 2017 at the organ and the science behind this important and timely issue. the University of Southern California, Thornton School of Music, graduating with a Career aspirations and goals: While there is no doubt that we live in uncertain double major in organ and composition. times for the organ, I remain optimistic about the future. I want to fi nd a place that An interesting fact: I pick hikes spontaneously and based on the elevation gain. If will support my continuing research on secularism and the organ, but no matter it’s below 700 meters (+- 3,000 feet), then it’s too pleasant! where life takes me, I will share my love for the organ through teaching, research, Proudest achievement: Pushing organ technique to new possibilities, by playing and concertizing. I am and will always be on the lookout for ways to keep the organ and designing études (Chopin, Dupré, Liszt, my own), modern music (Xenakis and exciting and relevant. Barraqué, for instance, push keyboard technique and expression to new boundaries), Website: alexandermeszler.com. and new works of my own, such as my Ballade de l’impossible. Playing three concerts on three consecutive nights in Lviv, Ukraine, each with individual programs last summer.    CONGRATULATIONS Career aspirations and goals: Touring internationally as an organist with programs of music that I believe in (sometimes, but not always, organ repertoire: Ferneyhough, Bach, Louis Couperin, Schoenberg, Liszt, Xenakis, Reger, Webern, to name just a  !" # tiny bunch); teaching at a university or conservatoire; composing pieces that I feel Alexander Meszler need to be written (at the moment my backlog of commissions includes an organ con-     "20 under 30" Class of 2019 certo, violin inventions, and a percussion solo); touring as a harpsichordist (Couperin, Froberger!) and pianist (Boulez! Bartok!).  From Kimberly Marshall     and the Arizona State The Associated Pipe Organ Builders University School of Music of America (APOBA) congratulates The Diapason’s 20 Under 30 Class of 2019 Congratulations APOBA is proud to provide complimentary Kevin Neel subscriptions to The Diapason for the "20 under 30" Class of 2019 members of the Class of 2019. From Emmanuel Church in the City of Boston

22 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM Collin Miller

Collin Miller is a native of Lafayette, Louisi- Southwest Regional Competition for Young Organists and is a recipient of the Bar- ana, and is a junior organ performance major at bara and David Jacobs Scholarship. the Indiana University Jacobs School of Music An interesting fact: My primary interest outside of music is fi lm, particularly the where he is a student of Janette Fishell. He work of Béla Tarr, Federico Fellini, and the fi lms of the French New Wave. began playing piano at the age of fi ve, receiving Proudest achievement: I am most proud of a few performances of lesser-known initial training from Rosa Lynne Miller and then music I have given, including programming the Sonata on the 94th Psalm of Julius studying with Susanna Garcia. In his freshman Reubke alongside the composer’s other more underplayed masterpiece, the Piano year of high school, Collin began taking organ Sonata in B-fl at Minor, as well as more recently performing the “Toccata” from the lessons with Tom Neil and has since held church Second Organ Symphony of Kaikhosru Shapurji Sorabji, one of the most technically positions as pianist and organist at Northwood demanding sections of this massive work. Methodist Church and the Episcopal Church Career aspirations and goals: I aspire to become an organ professor at a university of the Ascension in Lafayette. He was the win- while continuing to advocate for and perform some of the neglected works of the rep- ner of the 2017 American Guild of Organists ertoire, including eventually the three organ symphonies of Sorabji.

Ryan Mueller

Ryan Mueller holds a lifelong of service work and shop activities, Ryan’s primary responsibilities at Dobson revolve fascination of music, history, and all around the tonal department. Outside of the organ scene, he thoroughly enjoys restor- things mechanically inclined. A native ing classic cars, photography, cycling, and spending time with his fi ancée Emily, to of Milwaukee, Wisconsin, he credits whom he will be married this June. the region’s landscape of instruments as An interesting fact: One thing not too many people know about me is that I have a inspiration for his love of pipe organs. real fascination of fi re trucks. (I was one of those little boys who wanted to be a fi re- Ryan began piano studies in third grade fi ghter when I grew up.) Growing up, we lived right across the street from a fi re station, with Susan Eichstadt and began organ and so till this day I am usually able to identify, by the sound of the siren, whether it is a as a freshmen in high school with John ladder truck, engine, ambulance, or police car, etc., coming down the street. Reim. Frequently called upon as a recit- Proudest achievement: Being a part of our new instrument at Saint Thomas Church alist, lecturer, and writer, he recently Fifth Avenue is perhaps one of my bigger career accomplishments. Even though the founded Cream City Preservation, Inc., a project conceptualized many years before I began at Dobson, I was fortunate to be non-profi t organization dedicated to the a part of the in-shop work, installation, and on-site voicing. Being but a small part of advocacy of historic instruments, build- the team that brought Opus 93 to life and spending many months in Manhattan was ings, and artifacts. Ryan has served in various local American Guild of Organists and a life changing experience. To me, there is no greater satisfaction than knowing that American Theatre Organ Society chapters and is also an active member of the Organ the fruits of your labor are going to stand, be used, and be heard by generations of Historical Society, AGO’s Young Organist division, Association of Lutheran Church people from around the world to the glory of God. Musicians, and National Trust for Historic Preservation. He was a recipient of an OHS Career goals and aspirations: Though I am currently content with where I am at in E. Power Biggs Fellowship in 2014 and was a scholar at the 2017 American Institute of my career, someday I would like to be the tonal director of a large fi rm and perhaps Organbuilders convention. Ryan currently resides in Ogden, Iowa, working for Dob- own my own company. Outside of career-oriented goals, I currently have two books son Pipe Organ Builders Ltd., of Lake City, Iowa. While he takes part in a wide variety in the works which I am hoping to complete in the next year or two.

Kevin Neel

Kevin Neel enjoys a versatile career as organist, collaborative pianist, conductor, singer, and arts administrator. He has been heard at the organ in numerous venues including Symphony Hall, Old South Church, Emmanuel Church, Old West Church, all in Boston, Massa- chusetts, as well as in the southeast. In December 2016 he co-founded The Brookline Consort, a choral ensemble for which he serves as co-artistic direc- tor, baritone, and primary accompa- nist, a group whose mission is to tell stories through diverse, thoughtful programming performed at the high- est level. As a singer, he has sung with the Marsh Chapel Choir, Emmanuel Music, Cantata Singers, and VOICES 21C. He is organist and chapel choir director at Emmanuel Church, Boston, and serves as execu- tive director for Coro Allegro and organist for Saint Clement Eucharistic Shrine. He holds degrees from Boston University in choral conducting and Indiana University in organ performance and is originally from the Charlotte, North Carolina, area. An interesting fact: I trained in classical ballet. Proudest achievement: Co-founding my own choral ensemble and serving as a singer, pianist, organist, and administrator for the ensemble. Career aspirations and goals: I am excited to be able to work at the intersection of the choral and the organ worlds, both in and out of sacred music. I aspire to use my skills at the organ and as a choral musician to further the collaborative approach to music making. I’m drawn to collegiate music making, especially in university chapels, as it represents the intersection of the highest caliber music with inspired preaching and collegial youthfulness. I’m looking forward to an upcoming concert in October 2019 where I’m performing Durufl é’s Requiem (organ-only) and Kodaly’s Missa Bre- vis. And later that month, turning 30! Website: www.kevinwneel.com.

Nominations for the 20 Under 30 Class of 2021 will open on December 1, 2020.

Look for details at www.thediapason.com.

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2019 Q 23 20 under 30

Jessica Park

Jessica Park is a native of Saint Paul, Minnesota, and Young Organists (Region VI) and performed as a “Rising Star” at the 2014 American is the chapel organist and assistant liturgical musician at Guild of Organists national convention in Boston, Massachusetts. She was the fea- the Chapel of Saint Thomas Aquinas of the University tured organist for the inaugural 2014 Twin Cities Early Music Festival and was also a of Saint Thomas, Saint Paul, Minnesota, where she is performer at the 2017 Organ Historical Society Convention held in Minneapolis. Her the principal musician of the chapel and director of the performances have been broadcast on American Public Media’s Pipedreams. Schola Cantorum. She received the Doctor of Musical An interesting fact: I run my own photography business as a specialist in portrait Arts degree in organ performance from the University of photography, and I like to paint on canvases and hang them around my place. I have not Minnesota—Twin Cities, where she studied with Dean mastered the Bob Ross style yet, but I hope I can someday. Billmeyer. Jessica received the Master of Music degree Proudest achievement: I am proud of my master’s degree harpsichord recital in in Historical Performance and Bachelor of Music 2014. I loved the music I was playing, and I remember being fully focused and degree in Organ Performance at Oberlin Conservatory enjoying the music. After the recital, I listened to the recording and was actu- of Music, Oberlin, Ohio, where she studied organ with ally very pleased with my playing (which is rare)! It really was one of my happiest James David Christie, Jonathan Moyer, Olivier Latry, moments as a student, and I still love the harpsichord. and Marie-Louise Langlais, and harpsichord and continuo with Webb Wiggins. She Career aspirations and goals: I would like to continue performing as a recitalist, received fi rst prize at the 2013 American Guild of Organists/Quimby Competition for playing in the church, and in the future, I would like to teach organ and harpsichord.

Jordan Prescott

Heralded by The Baltimore Sun as a performances have been featured on WBJC radio. Jordan is in his seventh season “rising organ star,” Jordan Prescott has as associate musical director of The Lost Colony, America’s longest-running outdoor established himself as one of the leading drama. Under his direction, The Lost Colony Choir has risen to critical acclaim and organists, church musicians, and directors was featured as part of the Sing Across America campaign honoring the centennial of of his generation. A native of Greenville, the National Parks Service. North Carolina, Jordan holds the Bach- An interesting fact: I am a distance runner and currently training for the Balti- elor of Music degree in organ and sacred more Marathon. music from East Carolina University, Proudest achievement: I am proudest of the collegial relationships that I have Greenville, North Carolina. While at East with other organists and my colleagues in the broader music profession and grateful Carolina, Jordan spent two years as organ for the network of support and collaboration that we have created. scholar of Duke University Chapel in Career aspirations and goals: I hope to follow in the footsteps of my teachers in photo credit: Kyler Zary Durham, North Carolina. He is now pur- developing a career that includes church music, teaching, and performing—in that suing a Master of Music degree in organ order. Church music allows me to actively practice my faith and glorify God in thanks- performance at the Peabody Conservatory where he studies with John Walker. Jordan giving for the gifts he has given me as well as enhance the spiritual and liturgical lives formerly studied with Andrew Scanlon and Christopher Jacobson. In 2018, Jordan won of the parishioners I am called to serve. Through teaching I will pass on the knowledge, fi rst prize in the 16th International Organ Competition at West Chester University. He passion, and kindness given to me by the mentors in my own life. Lastly, performing was a 2015 E. Power Biggs Fellow with the Organ Historical Society and currently affords me the opportunity to share the music that I connect with and to do my part serves as the Mid-Atlantic Chair for the American Guild of Organists Young Organ- in the preservation of the incredible repertoire to which we have all been entrusted. ists. Jordan has research set for future publication in The American Organist, and his Website: www.jordanprescott.com.

Alexandria Smith Emily Solomon

Alexandria Smith is a pipe organ technician cur- Emily Solomon is currently pursuing a Doctor of rently employed at John-Paul Buzard Pipe Organ Musical Arts degree in sacred music from the University Builders. She has passionately trained as a musician of Michigan, Ann Arbor. Her prior degrees include dual since a young age, beginning with piano before start- Master of Music degrees in early keyboard instruments ing oboe. Her journey as an instrument technician and sacred music from the University of Michigan and a began while she was a freshman in college. Master of Arts in music research from Western Michigan In spring 2017 through winter 2018, Alexandria University with a thesis on Johann Walter’s Geistliches studied organ with Joby Bell and was awarded the Gesangbüchlein. Emily is the executive director for the Wallace Organ Scholarship. Alexandria received Academy of Early Music in Ann Arbor and cantor of the E. Power Biggs Fellowship of the Organ His- Zion Evangelical Lutheran Church of Detroit, Michigan. torical Society in 2018, deepening her love of historic organs. She will graduate from She is also a continuing visiting artist in harpsichord at Appalachian State University with a Bachelors in Music Industry degree: merchan- photo credit: Natasha Janardan Western Michigan University. In May 2018, Emily was dising and manufacturing, with a minor in general business in May 2019. Alexandria invited to perform on the Nordic Historical Keyboard spent two summers as an intern at Buzard before beginning full-time work in January Festival in Kuopio, . She toured Germany, Poland, and the Czech Republic 2019. She fi nds maintaining instruments and keeping the builders’ original style as as the organist for the Concordia University Ann Arbor choir in May 2017. A proud alive as possible extremely rewarding. Her work lies mostly in late nineteenth- and Michigan native, Emily is a Certifi ed Tourism Ambassador™ for Washtenaw County twentieth-century organs. and serves on the board of the Soo Locks Visitors Association in the Upper Peninsula. An interesting fact: My primary instrument in college was oboe, English horn, and An interesting fact: I love Great Lakes freighters! I’m frequently involved with Baroque oboe. maritime activity in the Upper Peninsula and have been a long-time member of the Proudest achievement: Joining the service department at Buzard Organs. It is a American Society for Marine Artists. well-rounded team, and everyone has so much knowledge to share and pass on, and Proudest achievement: When I began organ lessons at the age of 19, I had no idea I get to work on so many rewarding projects. that I would go on to earn advanced degrees in this fi eld. I’m both proud of and Career aspirations and goals: To manage a pipe organ company and to continue to humbled by what I have been able to accomplish in the last nine years. grow my knowledge as much as possible on the instrument. Career aspirations and goals: I hope to continue my work in church music, per- forming arts management, and early music while also becoming an effective and infl uential pedagogue. Congratulations Jessica Park Website: www.emilysolomon.com. on your selection to the 20 Under 30 Class of 2019! You’ve achieved so much since winning the very first TCAGO/Pipedreams Scholarship in 2008. The Organ Department of We applaud your subsequent achievements and wish you the very best! Peabody Conservatory Congratulations —Your TCAGO and PIPEDREAMS Friends Congratulates Jordan Prescott 20 Under 30 Class of 2019 Alexandria Smith 20 under 30 Class of 2019 Daniel Aune Donald Sutherland Buzard Pipe Organ Builders John Walker

24 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM Mitchell Stecker

Mitchell Stecker is direc- with several commissions in progress. His scholarly interests include shape-note tor of chapel music and music, campanological topics, and the music of Peter Benoit and the Flemish carillonneur at The Citadel, Romantic. He is an active member of the GCNA, serving as the guild’s cor- Charleston, South Carolina. responding secretary since 2017; in 2016, he was awarded the guild’s Barnes He is an alumnus of the Uni- Scholarship to study Roy Hamlin Johnson’s monumental Carillon Book for the versity of Florida (Bachelor Liturgical Year and its relation to Bach’s Orgelbüchlein. In his free time, Mitch- of Music and Bachelor of Arts ell is an avid fasola singer, enjoys studying languages, and is passionate about in linguistics, 2014), studying good food and drink. principally with Laura Ellis. An interesting fact: In 2011, I took part in the “largest carillon recital in his- In 2015, Mitchell spent six tory.” Designed to commemorate the seventy-fifth congress of the Guild of Car- months at the Royal Carillon illonneurs in North America, a novelty concert program was presented in which School (Mechelen, Belgium) seventy-five individual performers all shared an hour-long recital program. before returning to UF to pur- Proudest achievement: As a freshman at the University of Florida, I originally sue the Master of Music (musi- declared a major in engineering, with no intention of studying music. I had the cology), which he will receive occasion to re-evaluate my purpose and realized that my calling was elsewhere. in May of this year. Prior to his The simple fact of being a church musician is a great source of pride for me. I current role, Mitchell served find the work of leading God’s people in praise to be tremendously fulfilling and as carillon fellow to Geert am proud that such a significant responsibility falls to me. D’hollander at Bok Tower Career aspirations and goals: I hope to serve as a church musician in whatever photo credit: Anne Seraphine Gardens, Lake Wales, Florida, capacity I am best suited for, for as long as I can. Additionally, I aspire to continue from 2017 to 2018. to grow as a scholar and eventually seek a doctoral degree in musicology. Avocation- Mitchell is also an active composer, with titles published by the Guild of ally, I am in the midst of compiling several new compilations of fasola music and Carillonneurs in North America and American Carillon Musical Editions, and hope to see these offerings fi nd a place within the shape-note singing community.

Grant Wareham

University’s Shepherd School of Music, University Institute of Sacred Music the University of Saint Thomas Singers Houston, Texas, where he studied with and School of Music, New Haven, under the direction of Brady Knapp. Ken Cowan, graduating cum laude and Connecticut, where he studies organ Career aspirations and goals: I with distinction in research and cre- with Thomas Murray. He also serves as fi rmly believe in a very strong future ative work. While at Rice, Grant served organ scholar at Christ Church, New for the organ, and every organist who as Moseley Memorial Organ Scholar Haven, one of America’s renowned feels this way has a duty to train and and assistant organist at Saint Thomas Anglo-Catholic parishes, where he nurture successive generations in Episcopal Church, Houston, and as works alongside choirmaster Nathaniel the art of organ playing. Therefore, I associate organist at Palmer Memorial Adam and organist and artist-in-resi- want to teach at the collegiate level to Episcopal Church, Houston, where dence Thomas Murray. pass on the incredible legacies that all of he worked with music director Brady An interesting fact: I am an avid dis- my teachers have given to me. I greatly Knapp and artist-in-residence and tance runner and completed two half- enjoy serving in churches as a source organist Ken Cowan. marathons in 2018. of professional and personal fulfi llment Winner of both the First and Audi- Proudest achievement: Winning the and would love be employed at a church ence prizes at the 2017 Albert Schweit- fi rst and audience prizes at the 2017 with a vibrant music tradition. I also zer Organ Competition in Hartford, Schweitzer Competition, then playing love learning new instruments and hope Connecticut, Grant was also a featured the Fauré Requiem three days later with to have an active performing career. performer at the 62nd annual convention of the Organ Historical Society in Saint Paul, Minnesota. This June, he will com- pete in the 2019 Longwood International The staff of THE DIAPASON congratulates Organ Competition at Longwood Gar- photo credit: Natalie Gaynor Photography dens in Kennett Square, Pennsylvania. the 20 Under 30 Class of 2019! Grant is currently pursuing his A Dayton, Ohio, native, Grant Master of Music degree at the Yale Wareham began organ studies with Jerry Taylor in 2007. He earned his Bachelor of Music degree at Rice Congratulations to graduate study in

Mitchell Stecker organ performance The ISM congratulates at Yale Institute of Sacred Music and Yale School of Music From the organ and Grant Wareham carillon studios at (M.M. expected 2020), the University of Florida on being selected for The Diapason’s Go Gators! “20 Under 30,” class of 2019.

   degrees offered Master of Music Master of Musical Arts #$  Doctor of Musical Arts     Institute students receive full $%&'()'* Yale Institute of Sacred Music, 406 Prospect Street, New Haven, CT 06511 tuition scholarships. Generous tel 203.432.9753 · awards available to qualified &+ ,  ism.yale.edu/musicprograms [email protected] applicants.

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2019 Q 25 Cover feature

Foley-Baker, Inc., The committee and the pastor, Tom Tolland, Connecticut Meyers, were interested in the best pos- Saving Organs—“101” sible job. The budget was tight, but they Times have changed, and over recent realized the importance of the moment decades there’s been added concentration and its effect on the church’s musical on the complete reconditioning of pipe future. We worked together and care- organs. As many will note, rather than fully dissected what needed to happen only new instruments, front cover articles from costlier dreamscape additions. now occasionally feature older organs We removed the organ to our shops. that have been completely reconditioned. Except for the swell shades, the chassis Granted, they’re usually high profi le, was totally reconditioned. The pipes large projects; it’s always great to know were in the toughest shape of all. We these important organs have been saved. scrubbed, repaired, and closely re-reg- But for all the large ones, there are ulated them on our voicing machines. many smaller pipe organs with good roots With our guidance, two very mechani- that remain important to the communi- cally gifted church members tackled ties they serve. Some are musically special the Spencer blower. The motor went and, given that they make up the musi- to a motor shop for a thorough check cal fabric of most American churches, over and new bearings. The console it seemed right to feature some smaller, needed no more than general clean- older organs that were selected for major ing. The original one-level mechanical Putnam Congregational Church (United Church of Christ), Putnam, Connecticut, reconditioning. The projects here were all combination action works well. The Hall Organ Company Opus 328 completed between ten and twenty years chambers and the blower room were ago. Also, the organists then are the organ- completely gutted and resurfaced. ists now. When recently asked what they Thanks to dedicated and talented would do differently, their answers were church members, the chamber walls unanimous—nothing! Looking back, and ceilings were painted gloss white each felt their decision to totally renovate and fl oors deck gray. Both chambers was right, fi nancially and musically. were totally relighted. Once their chassis are at our shops The biggest change was driven by the and the equipment laid out on the need to improve service access. No one benches, our technicians get a peek into wanted to cheat the organ out of a ser- the past as some of the earlier electric- viceable future again. The Swell access and tubular-pneumatic actions can test hatch had been totally blocked by the the best. The learning process uncovers 16′ Bourdon pipes. Getting in the Swell both revelations and disasters in chassis required awkward (nearly dangerous) design. Our techs are always eager to façade pipe and swell shade removal. fi gure out how something was supposed The hatch had to again be made to to work. Sometimes fi guring it out helps work. The only way was to replace the to understand why a particular fi rm’s Bourdons with digital Pedal stops. Not a output wasn’t very big. Regardless, at decision any of us embraced but one that one time, most all these organs worked worked out well. and worked very well. Making that I think the renovated organ would happen again is a big part of any major have even made Harry Hall proud. Most reconditioning project. Here are three importantly, it is wonderfully musical A view of the reconditioned Swell division in the Putnam Congregational Church organs that got the works and deserve and works well for church services and organ to be noticed for their time-proven con- choir accompaniment. Without doubt, struction and excellent, original sound. and especially with the room’s bright, We were called in 2004 to survey for important and satisfying were the Hook They remain, good, dependable, Sunday half-second reverb, it could be consid- a possible major reconditioning. There pipes. As they were cleaned, repaired, morning church organs. ered for some limited concert use. Every was a defi nite cap on spending. Changes and regulated, they came back to life. stop is musical, making combinations of that occurred over the years included the Haskelizing the 16′ Pedal Open Woods Putnam Congregational Church sounds seemingly endless. Except for Swell’s expansion to a 61-note compass made their speech like new again—and (United Church of Christ), an orphaned Skinner Trompette that and the addition of electro-pneumatic at the right pitch. With the pressures Putnam, Connecticut replaced a supply house English Horn, pull-downs on the slider chests when corrected and steady, the organ took on Hall Organ Company Opus 328 the specifi cation is unchanged. the instrument was moved to chancel marvelous ensembles and again, indi- (1921). FBI project 209, 2005 chambers in 1953. Except for the Celeste vidual stops all spoke with new life. The Like so many small Connecticut towns, Putnam Congregational Church and Quint, most of the pipes appear to be fl utes are magical. Without doubt, the Hall Opus 328 Putnam’s base was its textile mills. (As 13 ranks, 781 pipes original. All the changes were done well room’s bright acoustic helps. long as a river ran through it, a Connecti- and now, in its second century of service, With both these organs, sticking with cut town usually had mills.) The Con- GREAT the organ was greatly intact. The chancel necessities and making the most of what gregational Church, at the top of Main 8′ Open Diapason 61 pipes move came with winding (bellows) issues was there brought the costs down and 8′ Viole d’Gambe 61 pipes Street, did a big business. Their Hall was 8′ Melodia 61 pipes that had the pressure in the Great drop- honestly made both jobs special—for us the church’s third organ. The fi rst was E. 8′ Dulciana 61 pipes ping by a whopping 30%. The electric and for the churches. & G. G. Hook’s Opus 362, a one-manual, 4′ Octave 61 pipes console had been built with used parts, twelve-rank instrument built in 1865 4′ Flute 61 pipes many of which were in trouble. Some Central Congregational Church Chimes (digital) E. & G. G. Hook Opus 310 and installed in the choir gallery. The Harp (digital) pipes were damaged to the point they 24 ranks, 1,418 pipes second, an 1891 George Stevens, built could not tune. The 16′ Wood Opens were in Cambridge, Massachusetts, spanned SWELL too tall to fi t within the chancel chamber, GREAT 8′ Violin Diapason 61 pipes 16′ Open Diapason 61 pipes the entire width of the chancel. Thirty ′ so someone had simply cut them down years later, when the church decided 8 Stopped Diapason 61 pipes until they did. Of course, the severely 8′ Open Diapason 61 pipes 8′ Salicional 61 pipes 8′ Melodia 61 pipes they wanted all the chancel space back, a 8′ Celeste (TC) 49 pipes shortened pipes were nowhere near pitch, ′ ′ 8 Stopped Diapason 61 pipes contract was signed with the Hall Organ 4 Flute 61 pipes and their speech was “just a bit” affected, 8′ Dulciana 61 pipes 4′ Violina 61 pipes ′ Company of West Haven, Connecticut, ′ but there they stood—or what was left. 4 Principal 61 pipes for their Opus 328, a two-manual with 8 Trompette 61 pipes We removed the entire instrument. 4′ Chimney Flute 61 pipes 2 ′ but thirteen ranks. This instrument was PEDAL While it was gone, the church’s contrac- 2⁄3 Twelfth 61 pipes ′ 2′ Fifteenth 61 pipes tucked into unused spaces behind each 16 Bourdon (digital) tors rebuilt and painted the chambers ′ sidewall of the chancel. As such, the 16′ Lieblich Gedeckt (digital) gloss white. The organ’s chassis was 8 Trumpet 61 pipes 8′ Bourdon (digital) 8′ Clarionet 61 pipes chambers are well placed but small and 8′ Gedeckt (digital) completely reconditioned, and the hope- Chimes 21 tubes crammed with organ equipment—cer- less and non-original Great winding tainly not service-friendly. system was replaced. Added chamber SWELL 16′ Bourdon 61 pipes By the time we were called in, its chas- Central Congregational Church openings got the organ’s resources into ′ sis had many problems and its pipes had (United Church of Christ), both chancel and nave. New and effec- 8 Open Diapason 61 pipes 8′ Stopped Diapason 61 pipes enough metal and speech issues that a Newburyport, Massachusetts tive shades faced the Swell. The console 8′ Viola da Gamba 61 pipes good tuning wasn’t possible. The original E & G. G. Hook Opus 310 (1862). was totally gutted to its core. Structural 8′ Celeste (TC) 49 pipes Spencer turbine blower in the basement FBI project 230, 2005 issues were addressed. The pedalboard 8′ Aeoline 61 pipes had been abandoned for two foreign Central Congregational Church is was rebuilt, and the keyboards and stop 4′ Principal 61 pipes ′ ones that were annoyingly audible in a vibrant and busy place of worship in rail replaced. A new electronic relay 4 Flute 61 pipes 2′ Flautino 61 pipes the church. Regardless, the Hall’s pipes the heart of the beautiful waterfront made for improved articulation while 1 1⁄3′ Quint 61 pipes (some from the church’s two previous community of Newburyport. Michael providing all the modern features. 8′ Oboe 61 pipes organs) were all there as well as an Aus- Hamill is the seasoned organist and The console became comfortable Chimes (Great) tin console built new in the 1980s. choir director. and a pleasure to play. Perhaps most Tremolo

26 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM Central Congregational Church (United Church of Christ), Newburyport, Massachu- setts, E & G. G. Hook Opus 310 Ellington Congregational Church (United Church of Christ), Ellington, Connecticut, J. W. Steere & Sons Opus 687

The console of the organ in Central Congregational Church (United Church of Christ), Newburyport, Massachusetts

The Swell division of the J. W. Steere & Sons organ, Ellington Congregational Church

The chamber is the entire back wall of churches. Perhaps yours is one and that the chancel, and the console and choir what’s above will offer some guidance. sit directly in front of it, facing the con- gregation. The set up couldn’t be better. Ellington Congregational Church J. W. Steere & Sons Opus 687 Simple, but stately façade pipes make 9 ranks, 592 pipes for a beautiful backdrop for the choir. The reconditioned Great division in the Perhaps most astonishing is the fact GREAT Newburyport organ that the organ is so small but, in every 8′ Diapason 61 pipes 8′ Melodia 61 pipes way, works so well. Thanks to Steere’s 8′ Dulciana 61 pipes Ellington’s Steere was different in pipe scales, pressure (six inches), and that no harm had ever come to it. In a bright, half-second reverb, the organ SWELL over 85 years, other than basic tuning, enjoys a rich sound that simply doesn’t 16′ Bourdon (ext Gedeckt) 12 pipes 8′ Diapason 73 pipes the Steere had simply been left alone. get a lot more satisfying for church ser- 8′ Gedeckt (unit) 73 pipes It got dirty, and the leather began show- vices and choir accompaniment. Hon- 8′ Salicional 73 pipes ing wear. When the relay switches and estly, when fi nished, the organ really 4′ Harmonic Flute 73 pipes blower room static reservoir gussets didn’t sound a lot different. But then, it 8′ Oboe 73 pipes Rebuilt Swell slider mechanisms in the gave out, it was decided to clean and didn’t need to; it’s wonderful as it is, just Newburyport organ PEDAL releather. Like always, money wasn’t as Mr. Steere left it back during World 16′ Bourdon 32 pipes growing on trees. The organ continued War I. One wonders, if all organs were 16′ Gedeckt (Swell) PEDAL 32′ Acoustic Bass to serve the church well, therefore the left alone, like this one was, would more 16′ Open Diapason 32 pipes decision was made to thoroughly recon- organs survive? —Michael E. Foley 16′ Bourdon 32 pipes dition but with no changes whatever. None of these projects exceeded President and founder 16′ Stopped Diapason (Swell) Like the other projects already men- $300,000; most were much less. All Foley-Baker, Inc. 8′ Open Diapason (ext) 12 pipes 8′ Bourdon (ext) 12 pipes tioned, the instrument was removed, of them continue to work very well 8′ Lieblich Gedeckt (Swell) the chassis was releathered, the pipes and sound great, and although I know Builder’s website: http://foleybaker.com/ Chimes (Great) all cleaned, the chambers repaired, that’s got much to say for our talented painted, and lighted (above and below technicians, I think it also underscores All photos of the Newburyport and Ellington Congregational Church the chests), and the organ reinstalled. just how smart and talented the original Putnam organs are by Mark Manring (United Church of Christ), The console needed so little that we builders were, mechanically and tonally. (https://www.manring.net/). Ellington, Connecticut left it in the building. There would be These are still their organs, and each Photos of the Ellington organ by J. W. Steere & Sons Opus 687 (1916). no new electronic combination action: one continues to work as well as it did Foley-Baker, Inc. FBI project 100-133, 1997 with but eleven knobs, the console is originally. They were and continue to Ellington, Connecticut, is a beauti- easily maneuvered. Fear not, if one be much a part of each church’s musi- Cover page, clockwise, from top left: ful country town. The Congregational needs them, there are three (count cal fabric. The congregations wanted Central Congregational Church, New- Church, with its magnifi cent steeple ’em) generals. They’re easily reset to keep them. It is New England after buryport, exterior; Putnam Congrega- soaring above the green, is the town’s with a visit to its in-chamber switches. all, and what was good enough for our tional Church exterior; Newburyport centerpiece. Designed by Clark and The blower still starts with the original forefathers is more than good enough pipe chamber; Putnam pipe chamber. Arms of New York, it’s the church’s “Frankenstein” type switch mounted for us. Reasonably, there’s a bit of this Ellington Congregational Church ex- fourth such edifi ce. next to the bench. thinking throughout many of America’s terior; Ellington pipe chamber.

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2019 Q 27 New Organs

Schoenstein & Co., Benicia, California Mikell Chapel, Cathedral of Saint Philip, Atlanta, Georgia A small instrument in a busy Episco- pal cathedral chapel carries a heavy load of musical responsibility. In one day it may have to serve a small family funeral, a wedding fi lled to capacity, a rehearsal, and a service. In Mikell Chapel there is daily Morning Prayer and on Sunday two morning Eucharists and a Spanish lan- guage Eucharist. It is the main practice organ and often used in small musical programs and student recitals. A variety of tonal color is important, but even more so is expression control, especially in a small instrument. We like to have everything under expres- sion with the possible exception of a 16′ independent Pedal stop. In some cases, however, there is no way to place Great and Swell side-by-side so the Great must be unexpressive. For this instrument and several others we have adapted E. M. Skinner’s characteristically practi- cal as well as artistic solution: a luxuri- ously complete Swell organ with just one or two stops in the Great and Pedal plus borrows from the Swell. One way to get variety from a limited number of stops is to avoid repetition of tone colors. Also, 70% of the voices are at 8′ pitch and below—where tonal color counts most. Finally, the Swell includes our double expression system for the higher pres- sure Trumpet and Gambas, giving the Swell an extended dynamic range. Mikell Chapel was served by an elec- tronic organ for many years but had a chamber prepared for a future pipe organ. It is perhaps one of the most strangely shaped chambers we have ever encountered, and the tone open- ing into the chapel is quite limited. The bulk of the chamber was used for the Swell with the two Great stops directly behind the tone opening. To accommo- date the very unusual chamber layout, the pipes of the 16′ Swell Bourdon are placed horizontally on the chamber fl oor. The independent Pedal Sub Bass was placed in display in the southwest corner of the chapel near the console. Special attention was given to make the console playing aids and acces- sories comparable to the Schoenstein console that controls the Aeolian- Skinner in the Cathedral Church. This makes the chapel organ an effective vehicle for practice when the church is Mikell Chapel, Cathedral of Saint Philip, Atlanta, Georgia, Schoenstein & Co. organ not available. The instrument, known as the and by Marie Pettet on March 3. The David Fishburn, representing the music Builder’s website: Thomas Ruben Jones Memorial Organ, organ was dedicated in a Eucharist cel- department headed by Dale Adelmann, https://schoenstein.com. was given in memory of Thomas Ruben ebrated by the Very Reverend Samuel canon for music. Jones (1929–2014) by Delbert Lowell G. Candler, dean of the cathedral on —Jack M. Bethards Cathedral website: Jacks. The organ was completed in 2018 March 4. The organ project was under President and Tonal Director www.cathedralatl.org. and presented in recitals by David Fish- the direction of David Rocchio, director Schoenstein & Co. burn and Patrick A. Scott on March 2, of stewardship and gift planning, and Pipe Organ Builders Photo credit: Louis Patterson

Schoenstein & Co. Mikell Chapel, Cathedral of Saint Philip, Atlanta, Georgia

GREAT (Manual I) SWELL (Manual II, expressive) PEDAL Couplers 16′ Bourdon (Swell) 16′ Bourdon (ext 8′ Ch. Fl.) 12 pipes 32′ Resultant Great to Pedal 8′ Open Diapason 61 pipes 8′ Horn Diapason 61 pipes 16′ Sub Bass (Bourdon treble) 27 pipes Great to Pedal 4 8′ Horn Diapason (Swell) 8′ Gamba† 61 pipes 16′ Bourdon (Swell) Swell to Pedal 8′ Gamba (Swell) 8′ Gamba Celeste (TC)† 49 pipes 8′ Principal (Gt, 8′ Open Diapason) Swell to Pedal 4 8′ Gamba Celeste (Swell) 8′ Silver Flute (Ch. Fl. bass) 49 pipes 8′ Horn Diapason (Swell) Swell to Great 16 8′ Silver Flute (Swell) 8′ Chimney Flute 61 pipes 8′ Gamba (Swell) Swell to Great 8′ Chimney Flute (Swell) 4′ Gemshorn 61 pipes 8′ Chimney Flute (Swell) Swell to Great 4 4′ Principal 61 pipes 4′ Chimney Flute (ext 8′) 12 pipes 4′ Fifteenth (Gt, 8′ Open Diapason) 2 4′ Chimney Flute (Swell) 2⁄3′ Nazard (Chimney Flute) 4′ Silver Flute (Swell) † Stops under double expression 2′ Fifteenth (Swell) 2′ Fifteenth (ext Gemshorn) 12 pipes 16′ Contra Oboe (Swell) †† Mixture cut out with coupler 3 2′ Mixture (III – Swell) 1⁄5′ Tierce (TC) 42 pipes 8′ Trumpet (Swell) 8′ Trumpet (Swell) 2′ Mixture (III)†† 166 pipes 8′ Oboe (Swell) 2 manuals, 16 ranks, 930 pipes 8′ Clarinet (Swell) 16′ Contra Oboe 73 pipes 8′ Clarinet (Swell) Great 16 8′ Trumpet † 61 pipes 4′ Oboe (Swell) Great Unison Off 8′ Oboe Horn (ext) 4′ Clarinet (Swell) Great 4 †† 8′ Clarinet 61 pipes Tremulant Swell 16 Swell Unison Off Swell 4 ††

28 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Pamela Meys Kane; Holy Spirit Luther- Park Ridge Presbyterian Church This calendar runs from the 15th of the month an, Charleston, SC 3 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Mozart, Trinitatis Mass; Church of St. Ag- Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for nes, St. Paul, MN 10 am NEW YORK Feb. issue). All events are assumed to be organ Bloomingdale, IL recitals unless otherwise indicated and are grouped 27 MAY within each date north-south and east-west. •=AGO Lee Kohlenberg; Grace Church Cathe- chapter event, • •=RCCO centre event, +=new organ dral, Charleston, SC 10 am dedication, ++= OHS event. Christopher Babcock Michael J. Batcho Information cannot be accepted unless it 28 MAY specifi es artist name, date, location, and hour in Jonathan Schakel; Cathedral Church of Director of Music writing. Multiple listings should be in chronological St. Luke & St. Paul, Charleston, SC 10 am St. Andrew’s by the Sea, order; please do not send duplicate listings. CATHEDRAL OF ST. JOHN 29 MAY Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. Richard Gress; Methuen Memorial Mu- sic Hall, Methuen, MA 8 pm James Mellichamp; Cathedral of St. UNITED STATES John the Baptist, Charleston, SC 10 am East of the Mississippi Patrick Scott; Peachtree Road United Dean W. Billmeyer Methodist, Atlanta, GA 12 noon Kathrine Handford; Lawrence Univer- University of Minnesota 15 MAY sity, Appleton, WI 12:15 pm Sarah Hawbecker; Peachtree Road United Methodist, Atlanta, GA 12 noon 30 MAY Minneapolis 55455 • [email protected] Ascension Evensong; Emmanuel Epis- 16 MAY copal, Chester Parish, Chestertown, MD Gail Jennings, Shin-Ae Chun, & Alice 6 pm Van Wambeke, Bach, Well-Tempered Cla- Richard Gray; St. Philip’s Church, vier; First Baptist, Ann Arbor, MI 12:15 pm Charleston, SC 10 am GAVIN BLACK Byron L. Blackmore Choral Evensong; Cathedral Church of Princeton Early Keyboard Center 17 MAY the Advent, Birmingham, AL 5:30 pm Crown of Life Lutheran Church Rosalind Mohnsen; Trinity Episcopal, 732/599-0392 Sun City West, Arizona Boston, MA 12:15 pm 31 MAY www.pekc.org Karen Beaumont; St. Malachy’s Catho- + Vaughn Mauren; St. James’s Episco- 623/214-4903 lic Church, New York, NY 6:30 pm pal, West Hartford, CT 7 pm David Baskeyfi eld, recital and silent Eli Roberts; St. Matthew’s Lutheran, fi lm; Overbrook Presbyterian, Philadelphia, Charleston, SC 10 am PA 7 pm THOMAS BROWN • Wilma Jensen; Trinity English Luther- 1 JUNE Carson Cooman an, Fort Wayne, IN 12:10 pm UNIVERSITY Alchemy Choral Ensemble; First Church Composer and Concert Organist • Isabelle Demers; St. Raphael Catholic of Christ Congregational, Glastonbury, CT PRESBYTERIAN CHURCH Church, Naperville, IL 7:30 pm 7:30 pm CHAPEL HILL, NORTH CAROLINA Harvard University ThomasBrownMusic.com www.carsoncooman.com 18 MAY 2 JUNE Ken Cowan; St. Thomas Church, Fifth Christa Rakich; St. John’s Episcopal, Avenue, New York, NY 3 pm West Hartford, CT 12:15 pm Robert McCormick; Calvary Episcopal, Choral concert; United Congregational Summit, NJ 7 pm Church of Tolland, Tolland, CT 4 pm Your professional card Aaron David Miller, with Manual Cin- Children’s choirs concert; St. Ignatius DELBERT DISSELHORST ema-ADA/AVA; Kimmel Center, Philadel- Loyola, New York, NY 2 pm could appear here! phia, PA 8 pm Jillian Gardner; Gloria Dei Lutheran, Professor Emeritus • Wilma Jensen Contact: [email protected] , masterclass; Trinity Huntington Station, NY 4 pm University of Iowa–Iowa City English Lutheran, Fort Wayne, IN 9 am Kenneth Danchik; St. Paul Catholic Ca- or 608/634-6253 thedral, Pittsburgh, PA 3:30 pm 19 MAY John Walthausen; Washington National Nathaniel Gumbs; Trinity Lutheran, Cathedral, Washington, DC 5:15 pm Worcester, MA 4 pm Yuri McCoy, with piano; The Citadel, STEVEN EGLER Renée Anne Louprette; Brick Presbyte- Charleston, SC 3 pm JOHN FENSTERMAKER rian, New York, NY 5 pm Colin Knapp; First Presbyterian, Ypsi- Central Michigan University Sandro Russo, organ & piano, works lanti, MI 4 pm School of Music TRINITY-BY-THE-COVE of Liszt; Scarsdale Congregational Church Mozart, Missa Longa in C; Church of St. Mt. Pleasant, MI 48859 UCC, Scarsdale, NY 5 pm Agnes, St. Paul, MN 10 am Robert McCormick; Cathedral Church [email protected] NAPLES, FLORIDA of the Nativity, Bethlehem, PA 4 pm 3 JUNE Michael Hey; Sts. Philip & James Catho- Robert Gant, with trumpet and piano; St. lic Church, Baltimore, MD 3 pm Matthew’s Lutheran, Charleston, SC 10 am Norberto Peter DuBois; Christ Episcopal, Easton, Isabelle Demers; Southern Illinois Uni- MD 4 pm versity, Carbondale, IL 7:30 pm Wayne Wold; St. John’s Episcopal, Elli- Susan Goodson Guinaldo cott City, MD 4 pm 4 JUNE Emanuel United Church of Christ His Music Joshua Stafford; Grace United Method- Jonathan Walthausen; Cathedral of St. See—Listen—Buy ist, Hagerstown, MD 4 pm John the Baptist, Charleston, SC 10 am Manchester, Michigan The Chenault Duo; Cathedral of St. Phil- www.GuinaldoPublications.com ip, Atlanta, GA 3:15 pm 5 JUNE Nicholas Schmelter, with piano; First Isaac Drewes; Methuen Memorial Music Presbyterian, Caro, MI 4 pm Hall, Methuen, MA 8 pm A Professional Card in Thomas Fielding; Loyola University, Pittsburgh Camerata; Shadyside Presby- TEPHEN AMILTON Chicago, IL 3 pm terian, Pittsburgh, PA 7 pm The Diapason S H Schubert, Mass in G; Church of St. Ag- Randall Sheets, with trumpet; First nes, St. Paul, MN 10 am (Scots) Presbyterian, Charleston, SC 10 am For rates and digital specifi cations, recitalist–clinician–educator Samuel Buse; Memorial Presbyterian, contact Jerome Butera www.stephenjonhamilton.com 20 MAY Appleton, WI 12:15 pm 847/391-1045; [email protected] Peggy Massello; Presbyterian Homes, Evanston, IL 1:30 pm 6 JUNE John Nothaft; St. John’s Lutheran, 22 MAY Charleston, SC 10 am Paige Busse, Marshall Joos, Colin Andrew Kreigh; Holy Name Chapel, Lapus, Benjamin W. Pajunen & Josh- Madison, WI 7 pm David Herman ua Pak; Methuen Memorial Music Hall, Methuen, MA 8 pm 7 JUNE Trustees Distinguished Professor Emeritus of Music and University Organist Handel, Dixit Dominus, Haydn, Har- Todd Wilson; Sacred Heart Basilica, The University of Delaware Q [email protected] moniemesse; St. Ignatius Loyola, New Syracuse, NY 7 pm York, NY 8 pm Mark King, with violin; St. John’s Episco- Scott Atchison & Nicole Marane; pal, Hagerstown, MD 7 pm Peachtree Road United Methodist, Atlanta, David Kiser, with piano; St. Matthew’s GA 12 noon Church, Charleston, SC 10 am Kira Garvie; First Presbyterian, Evans- Gail Archer 23 MAY ville, IN 7 pm organist St. James School Choir; St. John’s Epis- David Jonies, with Milwaukee Sympho- copal, Hagerstown, MD 7:30 pm ny Orchestra; Marcus Center, Milwaukee, www.gailarcher.com Lorraine Brugh, Ph.D. WI 11:15 am Professor of Music 24 MAY Vassar College Alex Ashman; First United Methodist, 8 JUNE Barnard College, Columbia University University Organist Hershey, PA 7 pm David Jonies, with Milwaukee Sympho- [email protected] • Valparaiso, Ind. Michael Plagerman; First Presbyterian, ny Orchestra; Marcus Center, Milwaukee, (212) 854-5096 Saginaw, MI 7:30 pm WI 8 pm valpo.edu Promotion 219.464.5084 26 MAY 9 JUNE SOZO Media Rebecca Marie Yoder; Washington Na- Gail Archer; Cathedral of All Saints, Al- [email protected] [email protected] tional Cathedral, Washington, DC 5:15 pm bany, NY 2:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2019 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church Jeremy Filsell; Washington National Ca- Jonathan Wohlers, with soprano; St. New York, NY Syracuse, NY 13203-2816 thedral, Washington, DC 5:15 pm Andrew’s Episcopal, Tacoma, WA 3 pm www.andrewhenderson.net Christopher Berry; Shrine of Our Lady St. Brigid School Honor Choir; Cathedral (315) 471-8451 of Guadalupe, La Crosse, WI 3 pm of St. Mary of the Assumption, San Fran- David Jonies, with Chicago A Cappella; cisco, CA 4 pm St. Thomas the Apostle Catholic Church, Gail Archer; St. Bede’s Episcopal, Menlo Chicago, IL 3 pm Park, CA 4 pm Richard Barrick Hoskins Haydn, Heiligmesse; Church of St. Ag- Brian Jones nes, St. Paul, MN 10 am 20 MAY Director of Music & Organist Andrew Koch; St. James Catholic Ca- Director of Music Emeritus 11 JUNE St. Chrysostom's Church thedral, Seattle, WA 7:30 pm Joshua Stafford; First Presbyterian, Chicago TRINITY CHURCH Glens Falls, NY 7:30 pm [email protected] 26 MAY BOSTON Hans Uwe Hielscher; Cathedral of St. 12 JUNE Mary of the Assumption, San Francisco, Eric Plutz; Methuen Memorial Music CA 4 pm Hall, Methuen, MA 8 pm KIM R. KASLING JAMES KIBBIE Stephen Schnurr; Christ Church, Michi- 31 MAY gan City, IN 12:15 pm D.M.A. The University of Michigan Sandro Russo, organ & piano, works of David Heller; Zion Lutheran, Appleton, Liszt; Mission Dolores Basilica, San Fran- St. John’s University Ann Arbor, MI 48109-2085 WI 12:15 pm cisco, CA 7:30 pm 734-764-1591 FAX: 734-763-5097 Collegeville, MN 56321 13 JUNE email: [email protected] 9 JUNE Kevin Edens; Holy Name Chapel, Madi- Gregory Hand; St. Matthew’s By-the- son, WI 7 pm Bridge Episcopal, Iowa Falls, IA 4 pm Christopher Houlihan; Davies Sympho- David K. Lamb, D.Mus. 15 JUNE ny Hall, San Francisco, CA 3 pm Karen Schneider Kirner Monica Czausz; Kimmel Center, Phila- Director of Music delphia, PA 11 am & 5 pm Director, Notre Dame Handbell Choir 13 JUNE Trinity United Methodist Church Nancy Ypma; St. Olaf College, North- Assistant Director, Notre Dame Folk Choir New Albany, Indiana 16 JUNE fi eld, MN 10 am University of Notre Dame Jeremy Filsell; Christ Church Capitol Lyn Loewi, lecture; St. Olaf College, 812/944-2229 Hill, Washington, DC 5 pm Northfi eld, MN 12 noon Paul Griffiths; Washington National Ca- Caroline Diamond, Mary Newton & thedral, Washington, DC 5:15 pm Kathy Borger; St. Olaf College, Northfi eld, Stephen Buzard; Loyola University, Chi- cago, IL 3 pm MN 2 pm Karen Beaumont; Milwaukee Catholic Therees Hibbard, lecture; St. Olaf Col- A.S.C.A.P. Home, Milwaukee, WI 2 pm lege, Northfi eld, MN 3 pm FELLOW, AMERICAN GUILD OF ORGANISTS Evensong; St. Olaf College, Northfi eld, MN 7 pm 345 SADDLE LAKE DRIVE 17 JUNE ROSWELL-ATLANTA, GEORGIA 30076 • Michael Hey; Cathedral of St. John the (770) 594-0949 Evangelist, Milwaukee, WI 7:30 pm 14 JUNE Karen Black, works of Decker; St. Olaf 19 JUNE College, Northfi eld, MN 9 am Jonathan Vaughn; Methuen Memorial Kathrine Handford, lecture/recital; St. Music Hall, Methuen, MA 8 pm Olaf College, Northfi eld, MN 10 am Marilyn Mason Stephen Schnurr; Trinity Lutheran Martha Barth, Susan Powell & Katie Kaukauna, WI 12:15 pm Moss; St. Olaf College, Northfi eld, MN 11 am June 29, 1925–April 4, 2019 Jillian Gardner; Ss. Peter & Paul Catho- Susan Cherwien, lecture; St. Olaf Col- lic Church, Milwaukee, WI 1:15 pm lege, Northfi eld, MN 2 pm Requiescat in pace • Lynne Davis; Church of the Gesu, Mil- Marie Rubis Bauer; St. Olaf College, waukee, WI 7:30 pm Northfi eld, MN 4 pm Cathy Rodland, Shelly Moorman- 20 JUNE Stahlman & Nicole Keller; St. Olaf Col- A two-inch Professional Card in The Diapason Michael Mills; Holy Name Chapel, Madi- lege, Northfi eld, MN 8 pm son, WI 7 pm 18 JUNE For information on rates and specifi cations, contact Jerome Butera: 21 JUNE Gail Archer; Episcopal Church of the + Bruce Neswick; First Presbyterian, Good Shepherd, Lake Charles, LA 7:30 pm [email protected] 608/634-6253 Stroudsburg, PA 7 pm INTERNATIONAL 23 JUNE Jackson Borges; Washington National Cathedral, Washington, DC 5:15 pm 15 MAY Karen Beaumont; St. Hedwig Catholic Renata Marcinkute; Frauenkirche, LARRY PALMER Church, Milwaukee, WI 2 pm Dresden, Germany 8 pm PHILIP CROZIER Nathan Laube; Radio France, Paris, CONCERT ORGANIST Harpsichord – Organ 24 JUNE France 8 pm Robert McConnell; Presbyterian ACCOMPANIST Homes, Evanston, IL 1:30 pm 16 MAY Professor of Music, Emeritus 3355 Queen Mary Road, Apt 424 Ilaria Centorrino; St. Margaret Lothbury, 26 JUNE London, UK 1:10 pm Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Christa Rakich; Methuen Memorial Mu- sic Hall, Methuen, MA 8 pm 17 MAY Canada The Chenaults; Peachtree Road United Stefan Kordes; St. Jacobi, Göttingen, (514) 739-8696 Recitals — Lectures — Consultancies Methodist, Atlanta, GA 7:30 pm Germany 6 pm David Atteln; Holy Cross Catholic Martin Gregorius; St. Pankratius-Kirche, [email protected] Church, Kaukauna, WI 12:15 pm Gütersloh, Germany 9 pm [email protected] + 214.350-3628 27 JUNE 18 MAY Don VerKuilen; Holy Name Chapel, Christoph Schoener; St. Michaelis, Madison, WI 7 pm Hamburg, Germany 12 noon Angela Metzger; Stadtpfarrkirche St. 28 JUNE Martin, , Germany 5:30 pm announces... Marijim Thoene; St. Francis of Assisi Stefano Pellini; Abteikirche, Brauweiler, Catholic Church, Ann Arbor, MI 7 pm Germany 8 pm Karel Baeten; Basilika, Tongeren, Bel- 20 Under 30 Nominations 30 JUNE gium 4 pm Nominations20 Under 30close Class February of 12019 • Joshua Stafford; Chautauqua Institute, Vierne, Messe solennelle; Collégiale Chautauqua, NY 6:30 pm Saint-Barthélemy, Liège, Belgium 8 pm We congratulate the young people • Scott Dettra, with brass; Central Re- Benjamin Alard, organ & harpsichord; whose career accomplishments formed, Grand Rapids, MI 8 pm Temple du Foyer de l’Âme, Paris, France place them at the forefront of the 12:30 pm organ, church music, harpsichord, UNITED STATES Philip Scriven; St. Alban’s Cathedral, West of the Mississippi carillon, and organbuilding St. Alban’s, UK 5:30 pm fields—before their 30th birthday. 16 MAY 19 MAY Amanda Mole; The Episcopal School of Franz Danksagmüller; Jesuitenkirche, Dallas, Dallas, TX 7:30 pm Vienna, Austria 6:20 pm Stephan Ronkov; Willibrordi-Dom, We- 17 MAY sel, Germany 6 pm Mina Choi; Christ Episcopal, Tacoma, Dietrich Kollmannsperger; St. Jacobi, WA 12:10 pm Salzderhelden, Germany 6 pm Thomas Ospital; Munster, Basel, Swit- APOBA graciously provides a subscription to The Diapason 19 MAY zerland 6 pm to all members of our 20 Under 30 Class of 2019. Earl Naylor; Trinity-Las Americas United Nicholas Haigh; St. Paul’s Cathedral, Methodist, Des Moines, IA 3 pm London, UK 4:45 pm

30 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH 20 MAY Monica Melcova; St. Pankratius-Kirche, Southminster Presbyterian Church Thomas Leech; Cathedral, Leeds, UK Gütersloh, Germany 5 pm HORT ILLS 1 pm Jonathan Scott, with piano; Salle Phil- S H Arlington Heights, IL 60005 harmonique, Liège, Belgium 4 pm 21 MAY Rien Donkersloot; Grote Zaalvan Phil- 28 MAY ANDREW SCHAEFFER harmonie, Haarlem, Netherlands 8:15 pm Dasol Rhee; Hauptkirche St. Jacobi, DEREK E. NICKELS, DMA Katelyn Emerson; St. Lawrence Jewry, Hamburg, Germany 8 pm Luther Memorial Church (ELCA) London, UK 1 pm Ghislaine Reece-Trapp; St. Lawrence Church of the Holy Comforter Janette Fishell; Grosvenor Chapel, Lon- Jewry, London, UK 1 pm Madison, Wisconsin Kenilworth, IL 60043 don, UK 1:10 pm [email protected] 29 MAY (847) 251-6120 • [email protected] 22 MAY Stefan Vielgelahn; Kathedrale, Dres- Recitals — Hymn Festivals Holger Gehring, with trumpet and alto; den, Germany 8 pm Kreuzkirche, Dresden, Germany 8 pm 30 MAY Jeffrey Schleff, Ed.D. A one-inch Professional Card 23 MAY Helmut Deutsch; Klosterkirche, Maul- in The Diapason Hans-Georg Reinertz; St. Margaret bronn, Germany 6 pm Organist – Teacher – Consultant Lothbury, London, UK 1:10 pm Gauthier Bernard, with trumpet; Cha- For information on rates and specifi cations, pelle de Bavière, Liège, Belgium 3 pm & Sulphur Public Schools, Sulphur, OK 24 MAY 5 pm United Disciples Christian Church, Richardson, TX contact Jerome Butera: David Pipe; Lutherkirche, Schönhagen, Benjamin Alard, harpsichord; Palau de [email protected] [email protected] 608/634-6253 Germany 7:30 pm la Música, Barcelona, Spain 8 pm Daniel Moult; Bloomsbury Central Bap- tist, London, UK 4 pm 31 MAY Denis Bédard; Holy Rosary Catholic Ca- Caline Malnoury; St. Jacobi, Göttingen, thedral, Vancouver, BC, Canada 8 pm Germany 6 pm JOHN SCHWANDT Johannes Mayr, silent fi lm; Jesuiten- STEPHEN SCHNURR 25 MAY kirche, Heidelberg, Germany 9:30 pm Saint Paul Catholic Church American Organ Institute Christoph Schoener; St. Michaelis, University of Oklahoma Hamburg, Germany 12 noon 1 JUNE Valparaiso, Indiana aoi.ou.edu David Pipe; St. Mauritius Kirche, Hard- Horst Allgaier; Münster, Überlingen, egsen, Germany 6 pm Germany 11:30 am Choir concert; Willibrordi-Dom, Wesel, Manuel Gera; St. Michaelis, Hamburg, Germany 6:30 pm Germany 12 noon Luc Ponet; Basilika, Tongeren, Belgium Ludwig Audersch; Willibrordi-Dom, We- ROBERT L. 4 pm sel, Germany 12 noon Benjamin Alard; Cathédrale Saint-Vin- Bernd Eberhardt; St. Johannis Kirche, SIMPSON Mark Steinbach cent, Saint-Malo, France 8:30 pm Rosdorf, Germany 6 pm Brown University Daniel Moult; Bloomsbury Central Bap- Emmanuel Van Kerckhoven; Basilika, Christ Church Cathedral 1117 Texas Avenue tist, London, UK 4 pm Tongeren, Belgium 4 pm Houston, Texas 77002 Sebastian Gillot; St. John the Evange- list Catholic Church, Islington, UK 7:30 pm 2 JUNE Ansgar Schlei; Jesuitenkirche, Vienna, 26 MAY Austria 6:20 pm ] Martin Hasselböck; Jesuitenkirche, Vi- David Briggs; Philharmonic Hall, Berlin, Joe Utterback enna, Austria 6:20 pm Germany 11 am David Wagner Christoph Schoener; St. Michaelis, Stephen Tharp; Klosterkirche, Fürsten- www.jazzmuze.com]] ] DMA Hamburg, Germany 12 noon feldbruck, Germany 12:15 pm Roland Maria Stagnier; St. Michaelis, Matthias Mück; Kathedrale St. Sebas- 203 386 9992 www.davidwagnerorganist.com Hamburg, Germany 1 pm tian, Magdeburg, Germany 3 pm Werner Parecker; St. Michaelis, Ham- Caline Malnoury; St. Martini Kirche, burg, Germany 2 pm Stöckheim, Germany 6 pm Christian Skobowsky; St. Michaelis, Gail Archer; Church of Santa Maria, San Hamburg, Germany 3 pm Sebastian, Spain 9 pm Michael Mages; St. Michaelis, Hamburg, Eleni Keventsidou; St. Marylebone, Kevin Walters KARL WATSON Germany 4 pm London, UK 4 pm Christian Skobowsky; St. Michaelis, Natalia Sander; St. Paul’s Cathedral, M.A., F.A.G.O. FIRST PRESBYTERIAN CHURCH Hamburg, Germany 5 pm London, UK 4:45 pm OODBRIDGE Johannes Krutmann, with Choralscho- Simon Hogan; Westminster Abbey, Lon- Rye, New York W , NJ la des Knabenchores Hagen; Liebfrauen- don, UK 5:45 pm kirche, Hamm, Germany 5 pm Choral Evensong; St. Michaelis, Ham- 3 JUNE burg, Germany 6 pm Nigel Ogden; Cathedral, Leeds, UK 1 pm Michael Schönheit; Stiftskirche/Dom, Alan G Woolley PhD RONALD WYATT Bad Gandersheim, Germany 6 pm 4 JUNE Research David Timm; St. Michaelis, Hamburg, Constance Taillard; St. Lawrence Jewry, Trinity Church Germany 7:30 pm London, UK 1 pm [email protected] Galveston

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253

1918 - On Stage . . . concert and competition performances M feature ‘live’ music made vivid in the moment. A two-inch Professional Card in The Diapason A 1919 - American Poets . . . whether with words or music, For information on rates and specifi cations, contact Jerome Butera: Y creations or interpretations, these artists compel our admiration. [email protected] 608/634-6253 2 1920 - Winpenny for Your Thoughts . . . a stimulating visit with English organist Tom Winpenny, who introduces us to 0 his many musical enthusiasms. ArtistArtist Spotlights Spotlightspotlight s 1 9 1921 - Twin Cities Trackers . . . revisiting some engaging Artist Spotlights mechanical-instruments in Minneapolis-Saint Paul are available on Your professional card neighborhoods. The Diapason website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

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WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2019 Q 31 Calendar

5 JUNE Hans-Peter Retzmann; Abteikirche, Hans-Dieter Meyer-Moortgat; St. Basii 23 JUNE Samuel Kummer; Frauenkirche, Dres- Marienstatt, Germany 5 pm und Marien, Fredelsloh, Germany 6 pm Michael Gailit; Jesuitenkirche, Vienna, den, Germany 8 pm Gregor Simon, with trumpet; Münster, Luc Ponet; Basilika, Tongeren, Belgium Austria 6:20 pm Ben Bloor; London Oratory, London, UK Obermarchtal, Germany 5 pm 4 pm Klaus Geitner; Klosterkirche, Fürsten- 7:30 pm Felix Friedrich; Abteikirche, Marienmün- Andreas Liebig; Munster, Basel, Swit- feldbruck, Germany 12:15 pm Thomas Trotter; Temple Church, Lon- ster, Germany 5 pm zerland 12 noon Philip Crozier; St. Thomas Kirche, don, UK 7:30 pm Rudolf Peter, with trombone; Au- Soest, Germany 5 pm gustinerkirche, Landau, Germany 6 pm 16 JUNE Martin Hofmann, with Kantorei an St. 6 JUNE Wolfgang Seifen; Kaiser-Wilhelms- Andrea Trovato; Jesuitenkirche, Vienna, Andreas; St. Andreas, Seesen, Germany Roman Hauser; Jesuitenkirche St. Mi- Gedächtniskirche, Berlin, Germany 8 pm Austria 6:20 pm 6 pm chael, München, Germany 8 pm Alain Arnols, Geneviève Chapelier, Je- Johannes Skudlik; Klosterkirche, Lidia Ksiazkiewicz; Kirche St. Nikolaus, Bo Ingelberg; St. Margaret Lothbury, roen Follon, Anne Froidebise & Edward Fürstenfeldbruck, Germany 12:15 pm Frankfurt a.M.-Bergen-Enkheim, Germany London, UK 1:10 pm Vanmarsenille; l’Église Notre-Dame de Helfried Waleczek, with block fl ute; Willi- 7:30 pm Simon Johnson; St. Paul’s Cathedral, Saint-Trond, Liège, Belgium 7:30 pm brordi-Dom, Wesel, Germany 6 pm Juan de la Rubia; Munster, Basel, Swit- Anthony Hammond London, UK 6:30 pm ; Cathedral, Leeds, Greg Abrahams; St. Paul’s Cathedral, zerland 6 pm UK 1 pm London, UK 4:45 pm Tom Winpenny; St. Paul’s Cathedral, 7 JUNE Natalia Sander; Westminster Abbey, London, UK 4:45 pm 11 JUNE London, UK 5:45 pm Loreto Aramendi; Westminster Abbey, Christoph Grohmann; St. Jacobi, Göt- Sophie-Véronique Cauchefer-Choplin; tingen, Germany 6 pm London, UK 5:45 pm Kaiser-Wilhelms-Gedächtniskirche, Berlin, 17 JUNE Christoph Schoener; St. Michaelis, Germany 8 pm Benjamin Saunders; Cathedral, Leeds, 24 JUNE Hamburg, Germany 7:30 pm Rudolf Lutz; Hauptkirche St. Jacobi, UK 1 pm Carolyn Craig; Cathedral, Truro, UK Ourania Gassiou; Cathedral, Leeds, UK Hamburg, Germany 8 pm John Wellington; Christ Church, Spital- 1 pm 1:10 pm Daniel Glaus; Munster, Berner, Switzer- fi elds, London, UK 7:30 pm land 5 pm 25 JUNE 8 JUNE Philip Meaden; St. George’s Hanover 18 JUNE Manuel Gera; St. Michaelis, Hamburg, Daniel Glaus, with Berner Kantorei; Square, London, UK 1:10 pm Maurizio Salerno; Munster, Berner, Munster, Berner, Switzerland 5 pm Germany 12 noon Switzerland 5 pm Stefan Schmidt; Kiliansdom, Würzburg, 12 JUNE Margaret Phillips; Grosvenor Chapel, 26 JUNE Germany 7 pm Wayne Marshall; Kulturpalast, Dresden, London, UK 1:10 pm Christoph Schoener, Thomas Dahl, Chris Holman; St. Killiani, Höxter, Ger- Germany 8 pm Greg Morris; Temple Church, London, Gerhard Löffler, Andreas Fischer, Eber- many 7:30 pm Martin Baker; Kaiser-Wilhelms- UK 7:30 pm hard Lauer & Manuel Gera; St. Michaelis, Jean-Christophe Orange; Basilika, Ton- Gedächtniskirche, Berlin, Germany 8 pm Hamburg, Germany 7 pm geren, Belgium 4 pm Martin Gregorius, with Schola der KHG 19 JUNE Hendrik Burkhard; Kathedrale, Dres- Andreas Liebig Darmstadt; Abteikirche, Marienstatt, Ger- ; Munster, Basel, Swit- Gerhard Löffler; Kreuzkirche, Dresden, den, Germany 8 pm zerland 12 noon many 8:30 pm Germany 8 pm Henry Fairs; Freemasons’ Hall, London, Olivier Latry; Temple Church, London, Scott Brothers Duo; Victoria Hall, Han- Ben Bloor; London Oratory, London, UK UK 7:30 pm ley, UK 12 noon UK 6:15 pm 7:30 pm Nicholas Schmelter, with piano; York- 28 JUNE 9 JUNE 13 JUNE minster Park Baptist, Toronto, ON, Canada Michael Utz; Abteikirche, Brauweiler, Mainzer Domchor; St. Pankratius-Kirche, Roman Summereder; Jesuitenkirche, 12:30 pm Gütersloh, Germany 7:30 pm Vienna, Austria 6:20 pm Germany 8 pm Karol Mossakowski; Kaiser-Wilhelms- Roman Hauser; Klosterkirche, Fürsten- 20 JUNE 29 JUNE feldbruck, Germany 12:15 pm Gedächtniskirche, Berlin, Germany 8 pm Daniel Gottfried; Jesuitenkirche, Vien- Frederick Stocken; St. George’s Cathe- Christoph Schoener; St. Michaelis, Martin Hofmann; St. Abdon und Sen- na, Austria 6:20 pm Hamburg, Germany 12 noon dral, Southwark, UK 6:30 pm Thorsten Hülsemann nen, Klostergut Grauhof, Germany 3 pm ; Klosterkirche, Mädchenkantorei am Freiburger Mün- Roger Sayer; Temple Church, London, Maulbronn, Germany 6 pm Felix Friedrich; Stiftskirche/Dom, Bad ster; Münster, Überlingen, Germany 7 pm UK 7:30 pm David Löfgren; St. Margaret Lothbury, Gandersheim, Germany 6 pm Regina Schnell; Klosterkirche, Fürsten- London, UK 1:10 pm Mattias Wagner; Munster, Basel, Swit- 14 JUNE feldbruck, Germany 8, 9 & 10 pm zerland 6 pm Christoph Kuhlmann; St. Jacobi, Göt- Georg Toch; Basilika, Tongeren, Bel- Alexander Hamilton; Westminster Ab- 21 JUNE tingen, Germany 6 pm Jean-Pierre Leguay gium 4 pm bey, London, UK 5:45 pm ; Evangelische Bruce Neswick; Christ Church Cathe- Bischofskirche St. Matthäus, München, Andreas Jost; Munster, Basel, Switzer- Jeremiah Stephenson; All Saints dral, Victoria, BC, Canada 7:30 pm Germany 7 pm land 12 noon Church, London, UK 7:15 pm Johannes Mayr, silent fi lm; Klosterkirche, Gordon Stewart; Bloomsbury Central 15 JUNE Bronnbach, Germany 8:30 pm Baptist, London, UK 4 pm 10 JUNE Klaus Rothaupt; St. Michaelis, Ham- Sebastian Gillot; St. John the Evange- Matthias Mück, with brass; Kathedrale burg, Germany 12 noon 22 JUNE list Catholic Church, Islington, UK 7:30 pm St. Sebastian, Magdeburg, Germany 4 pm Markéta Schley Reindlová, with fl ute Heinz Peter Kortmann; St. Michaelis, Michael Schöch, with fl ute; Abteikirche, and soprano; Stadtpfarrkirche St. Martin, Hamburg, Germany 12 noon 30 JUNE Amorbach, Germany 4 pm Bamberg, Germany 5:30 pm Magne Draagen; Kathedrale St. Sebas- Jeremy Joseph; Jesuitenkirche, Vienna, tian, Magdeburg, Germany 7:30 pm Austria 6:20 pm Luc Ponet; Basilika, Tongeren, Belgium Tobias Frank; Klosterkirche, Fürsten- 4 pm feldbruck, Germany 12:15 pm Taras Baginets; Munster, Basel, Swit- Markus Eichenlaub; Liebfrauenkirche, zerland 12 noon Hamm, Germany 5 pm David Briggs; Cathedral, Portsmouth, Anastasia Kovbyk; Westminster Abbey, UK 2 pm London, UK 5:45 pm

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Subscribers can view the digital David E. Wallace version of this issue (as well as A N D C O M PA N Y, L. L. C. selected past issues) at our website. Pipe Organ Builders New Organs Visit www.TheDiapason.com Restoration / Renovation / Relocation to experience this! www.wallacepipeorgans.com ATOS ExperienceAmerican Theatre Organ Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

32 Q THE DIAPASON Q MAY 2019 WWW.THEDIAPASON.COM Recital Programs

MATT BICKETT, Finney Chapel, Ober- tion on Quelle est cette odeur agréable, Manz; JEAN-BAPTISTE ROBIN, Duke Universi- provisation on Nearer, my God, to Thee, lin, OH, November 25: Scherzo (Dix pièces Carol-prelude on Greensleeves, Wright; Ror- ty Chapel, Durham, NC, October 14: Suite du Karg-Elert; Roulade, op. 9, no. 3, Bingham; pour orgue), Gigout; Andante sostenuto ate cæli, Adeste fi deles, Demessieux; Fantasia Premier Ton, Marchand; Passacaille d’Armide Comes Autumn Time, Sowerby; Choral No. 2 (Symphonie Gothique, op. 70), Widor; Tu on Adeste Fideles, Shaw. en Rondeau, Lully, transcr. Robin; Aria detta la in b, FWV 39, Franck. es petrus et portae inferi non praevalebunt Frescobalda, Frescobaldi; Trois Solos, Robin; adversus te (Esquisses Byzantines), Mulet; THOMAS GOUWENS, Fourth Presby- Fantasy and Fugue on BACH, Liszt. ERIK WM. SUTER, Washington Na- Symphonie-Passion, op. 23, Dupré. terian Church, Chicago, IL, November 16: tional Cathedral, Washington, DC, October Fanfare, Canzonetta, Mathias; Wachet auf, ANDREW SCANLON, United States 14: Präludium und Fuge über BACH, Liszt; BARBARA BRUNS, Old West Church, ruft uns die Stimme, BWV 645, Meine Seele Military Academy, West Point, NY, October 7: Sonate—Der 94ste Psalm, Reubke; Fanta- Boston, MA, November 16: pro Organo pleno erhebt den Herren, BWV 648, Ach bleib bei Pomp and Circumstance, Military March No. sie über den Choral Wachet auf, ruft uns die (An Extravagance of Toccatas), Woodman; uns, Herr Jesu Christ, BWV 649, Kommst du 4 in G, op. 39, Elgar; Prélude et fugue in f, op. Stimme, op. 52, no. 2, Reger. Partita on Christe Sanctorum, Dahl; Vater un- nun, Jesu, vom Himmel herunter, BWV 650, 7, no. 2, Dupré; Cantilène improvisée (Cinq ser im Himmelreich, Böhm; Allein Gott in der Bach; Cortège et Litanie, op. 19, no. 2, Du- Improvisations, opp. 55–57), Tournemire; JEREMY DAVID TARRANT, St. Lorenz Höh’ sei Ehr, BWV 663, Prelude and Fugue in pré; Requiescat in Pace, Sowerby; Final (Sym- Prelude and Fugue in D, BWV 532, Bach; Lo- Lutheran Church, Frankenmuth, MI, Oc- C, BWV 547, Bach; Be Thou My Vision: Par- phonie I, op. 14), Vierne. tus Blossom, Strayhorn, arr. Wyton; Fanfare tober 21: Passacaglia in c, BWV 582, Bach; tita on Slane, Festive March, Pinkham; pro (Four Extemporizations), Whitlock. Sketch in D-fl at, op. 58, no. 4, Canonic Study Organo aetherio, pro Organo fl agrante (An JUDITH HANCOCK, St. Thomas in a, op. 56, no. 2, Canonic Study in E, op. 56, Extravagance of Toccatas), Woodman. Church, Fifth Avenue, New York, NY, No- NICHOLAS SCHMELTER, Basilica of no. 3, Fugue on BACH, op. 60, no. 3, Fugue vember 4: La Béatitude, Piroye; Toccata and St. Mary, Minneapolis, MN, October 15: on BACH, op. 60, no. 5, Sketch in f, op. 58, ELIZABETH & RAYMOND CHENAULT, Fugue in d, BWV 565, Bach; Preludio in La Heraldings, Hebble; Carillon, Sowerby; no. 3, Schumann; Fugue in E-fl at, BWV 552ii, Immaculate Heart of Mary Catholic Church, minore, Respighi; Fugue sur le thème du car- Capriccio, Lemaigre; Sinfonia (Ich steh mit Bach; Allegretto (Symphonie VII, op. 42, no. Atlanta, GA, November 13: The Stars and illon des heures de la cathédrale de Soissons, einem Fuss im Grabe), Pièce d’orgue, BWV 3), Widor; Impromptu, Clair de lune, Vierne; Stripes Forever, Sousa, arr. Chenault; Eclogue, op. 12, Durufl é; Variations on Palm Beach, 572, Bach; Variations on Old Folks at Home, Variations sur un Noël Angevin, Litaize. Shephard; Allegro for Organ Duet, Moore; G. Hancock; Toccata in d, op. 59, no. 5, Fugue Buck; Annonciation (Deux méditations, op. Londonderry Air, Callahan; Shenandoah, in D, op. 59, no. 6, Reger. 56), Dupré. PAUL THORNOCK, Cathedral of St. White; Phantom of the Opera Medley, Lloyd Church of St. Louis, King of France, St. John the Baptist, Savannah, GA, October 26: Webber, arr. Chenault; Variations on Veni Cre- JEAN HERMAN HENSSLER, with Patri- Paul, MN, October 16: Toccata, Mushel; Re- Marche, op. 7, no. 3, Barié; Partita sopra Sei ator Spiritus, Briggs. cia O’Connell, French horn, First Presbyterian quiescat in Pace, Sowerby; Meditation (Trois gegrüßet, Jesu gütig, BWV 768, Passacaglia Church, Troy, PA, November 3: Prelude in b, Improvisations), Vierne; Offrande Musicale, in c, BWV 582, Bach; Psalm Prelude, op. 32, LYNNE DAVIS, Concordia Theological BWV 544, Bach; Est-ce Mars, Sweelinck; Fi- op. 18, no. 2, Maleingreau. no. 1, Howells; Almande Brun Smeedelyn, Al- Seminary, Fort Wayne, IN, November 11: nale (Symphonie VIII, op. 42, no. 4), Andante mande prynce, Almande de amour, Almande Christ, der du bist der helle Tag, BWV 766, cantabile (Symphonie IV, op. 13, no. 4), Widor; DAVID SCHRADER, Presbyterian (Susanne van Soldt manuscript), anonymous; An Wasserfl üssen Babylon, BWV 653, Pas- Praise to the Lord, Brown; We Gather Togeth- Homes, Evanston, IL, October 22: Wir Fantasie: Hallelujah! Gott zu loben, op. 52, no. sacaglia in c, BWV 582, Bach; Passacaglia in er, Held; Be Thou My Vision, All Things Bright glauben all in einem Gott, BWV 680, Vater 3, Reger. d, BuxWV 161, Buxtehude; Praeludium in e, and Beautiful, Burkhardt; Serenade for Horn unser im Himmelreich, BWV 682, Bach; So- Bruhns; Basse de Trompette, Récit (Premier and Organ, Festival Piece, Phillips. nata in c, op. 65, no. 2, Mendelssohn; Tiento DAVID TROIANO, St. John Cantius Livre d’Orgue), Marchand; Variations sur un del cuarto tono de medio registre de tiple, de Catholic Church, Chicago, IL, October 14: thème de Clément Jannequin, Litanies, Alain. CHRISTOPHER HOULIHAN, First Pres- Arauxo; Ciacona in e, BuxWV 160, Praeludi- Fanfare (Five Pieces for Organ), Willan; byterian Church, Lockport, NY, October 12: um in d, BuxWV 140, Buxtehude. Processional, Schenk; Ave Maris Stella (Five ISABELLE DEMERS, Park Central Toccata, Sowerby; Master Tallis’s Testament Preludes on Plainchant Melodies), Prelude Presbyterian Church, Syracuse, NY, October (Six Pieces), Howells; Passacaglia and Fugue in TIMOTHY EDWARD SMITH, Trinity and Fugue in b, Matins, Barcarolle, Wil- 26: Harry Potter Symphonic Suite, Williams, c, BWV 582, Bach; Four Sketches for Pedal Pi- Memorial Episcopal Church, Binghamton, NY, lan; Solemn Entry, Schenk; Prelude and transcr. Demers; Requiescat in Pace, Sowerby; ano, op. 58, Schumann; Alleluias sereins d’une October 5: Chorale in E, Franck; Suite on the Fuguetta, Intermezzo (Five Pieces for Or- Intermezzo, Finale (Symphonie pour Orgue, âme qui désire le ciel (L’Ascension), Messiaen; Magnifi cat, Guilain; Sonata Cromatica, Yon; gan), Aeterna Christi Mundi (Five Preludes op. 5), Barié; Vitava (Ma Vlast), Smetana, transcr. Scherzo (Symphonie II, op. 20), Toccata (24 Fanfares, Hampton; Sonata in E-fl at, BWV on Plainchant Melodies), Finale (Five Pieces Demers; Praeludium in g, Bruhns; Final Pièces de Fantaisie, op. 53, no. 6), Vierne. 525, Bach; Sonata I in d, op. 42, Guilmant. for Organ), Willan. (Symphonie V in a, op. 47), Vierne. RAÚL PRIETO RAMÍREZ, Weidner Cen- JOSHUA STAFFORD, Notre Dame Ba- JOHANN VEXO, Trinity University, San ANDREW FREDEL, Fourth Presbyteri- ter for the Performing Arts, Green Bay, WI, silica, Montréal, QC, Canada, October 19: Toc- Antonio, TX, October 23: Choral No. 1 in E, an Church, Chicago, IL, November 23: Fan- October 12: Prelude and Fugue in G, BWV cata in F, BWV 540i, Bach; Berceuse à la mé- Franck; Joie et clarté des Corps glorieux (Les fare, Cook; Wachet auf, ruft uns die Stimme, 541, Bach; Allegro (Symphonie VI in g, op. 42, moire de Louis Vierne, Cochereau; Symphony Corps glorieux), Messiaen; Allegro maestoso, BWV 645, Nun komm der Heiden Heiland, no. 2), Widor; Rhapsodie, op. 7, no. 1, Saint- No. 8, op. 88, Dvorák. Intermezzo (Symphonie III in f-sharp, op. 28), BWV 659, Prelude and Fugue in C, BWV 545, Saëns; Mephisto Waltz No. 1, Liszt, transcr. St. John’s United Church of Christ, Lans- Vierne; Danse Macabre, Saint-Saëns, transcr. Bach; Introduction and Variations on an Old Ramírez; Fantasia and Fugue on Ad nos ad dale PA, October 28: Sonata Eroïca, op. 94, Lemare; Prélude, adagio, et choral varié sur Polish Carol, Guilmant; Choral Improvisa- salutarem undam, Liszt, transcr. Ramírez. Jongen; Toccata in F, BWV 540i, Bach; Im- Veni Creator, op. 4, Durufl é.

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POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PIPE ORGANS FOR SALE

Director of Music wanted. The Jackson First Schmücke dich is known to many as “Deck Raven has released a new recording by Jer- Rieger 23-rank mechanical pipe organ for Presbyterian Church of Jackson, Michigan Thyself, My Soul, with Gladness.” A few months emy Filsell, Gaston Litaize, Music pour orgue sale. Two 61-note manuals and 32-note AGO (JFPC) seeks a qualifi ed individual to lead the ago, I received notice of Jeanne Shaffer’s hus- (OAR-147). Filsell plays the 64-rank Aeolian-Skin- concave, radiating pedals. 1,221 pipes, manual music program of the church. JFPC has relied band’s death. He was instrumental in the the ner at the Church of the Epiphany, Washington, and pedal couplers, and tremulant; includes 3 on its music program to fashion, support, and production of this partita from his wife, and I must D.C., where he is Director of Music and Organist. separate mixture stops and 2 reed stops. Gen- sustain worship, Christian Education, and spe- honor him for this. We present a beautiful print edi- Works include Final from Messe pour tous le tly voiced for a chapel or home use. Compact 1 cial programs. Pels pipe organ, 52 ranks; 6-foot tion with photo and notes by Dr. Frances Nobert. temps; Variations sur un Noël Angevin; Final; design: width: 5′-8 ⁄8″, depth 7′-3¼″, height 1906 refurbished Steinway grand piano; 1980 michaelsmusicservice.com 704/567-1066. Arches; Épiphanie; Prèlude et Danse Fugée; 7′-3½″ with separate electric blower 2′ x 2′-1″ Steinway concert grand, and another 6-foot Reges Tharsis; Final from Messe pour Toussaint; x 2′-5″. Mechanical key and stop action, slider Steinway grand; handbells and Orff instruments and eight of the 24 Préludes Liturgiques. $15.98 windchest. Reduced to $45,000.00. For more as well. Submit résumé with cover letter and any Raven has released the CD, Tell of His Love, postpaid worldwide from RavenCD.com. details call 360/945-0425 or see OHS Organ supplemental materials to: Reverend Dr. James Raven OAR-144, featuring the musicians of Data Base, Rieger Orgelbau, Gaspar Schulek D. Hegedus, Jackson First Presbyterian Church, the Cathedral of St. John, Albuquerque, New Residence. 743 W. Michigan Avenue, Jackson, Michigan Mexico. The Choirs of the Cathedral of St. The Organ Historical Society announced the 49201; jimh@jacksonfi rstpres.org John, Maxine Thévenot, Director and Organ- publication of its 2019 Pipe Organ Calendar. ist, and Edmund Connolly, Assistant Organist, The calendar features organs by Wolff, Schudi, Wicks Organ, Op. 1210—$12K. Restored, perform the Magnifi cat and Nunc Dimittis by Noack, Bedient, Sipe-Yarbrough, Fisk, Hook & 61-key Great and Swell manuals plus 32-key PUBLICATIONS / RECORDINGS ′ ′ ′ Aaron David Miller; Andrew Carter’s setting Hastings, Redman, Kern, and others. Available pedal; 16 Bourdon, 16 Lieb-Ged, 8 Diapason, ′ ′ ′ ′ of “Consider the Lillies”; settings of O sacrum from the OHS e-Shoppe: $18 members ($21 8 Salicional, 8 Melodia, 8 Flute, 4 Vox Celeste, Mother’s Day Music? Check out “A Woman of convivium and Haec Dies by McNeil Robinson; non-members), https://organhistoricalsociety.org/ Deagan Chimes (20), Swell shades. Located in Valor”—Seven pieces on Proverbs 31, by Nor- and other choral works by Philip Moore, Ola product/ohs-2019-calendar/?v=7516fd43adaa. Albuquerque, NM. [email protected], www.thedia- berto Guinaldo: More precious than rubies; In her pason.com/classifi ed/wicks-op-1210-pipe-organ. husband’s heart; Fortitude; Artful and charitable; Gjeilo, Fauré, Samuel Wesley, Casals, Cabena, Wisdom and kindness; Gratitude and blessings; Lindley, DeLong, Dyson, Gibson, and Stephanie PIPE ORGANS FOR SALE The beauty within. 28 pages. See, listen, buy. Martin. Thévenot plays Variations on Ubi Cari- Lawrence Phelps Casavant Frères, Op. 3075 www.guinaldopublications.com. tas by Denis Bédard and Robinson’s Chorale for sale. 2 manuals, 3 divisions, 46 ranks, 29 26-rank Casavant pipe organ for sale. Orgues Prelude on Llanfair. Edmund Connolly plays stops. Terraced drawknob console. Mechani- Létourneau is offering a 22-stop Casavant Fanfare by Kenneth Leighton. Raven OAR-144, cal action. 1969 electronic combination action. Carillon-Toccata on St. Anne is available now as RavenCD.com, $15.98 postpaid. Frères pipe organ (Opus 2295 from 1955) for Email [email protected] or call a complimentary online issue from Fruhauf Music sale. This electro-pneumatic instrument is cur- 914/738-5515, ext. 102. Publications. The 12-page letter-sized PDF book- rently in storage at the Létourneau shops and let includes notes and 10 pages of music, offered The Tracker—The Organ Historical Society is available for purchase in “as is” condition for as a fresh alternative for enterprising organists in quarterly journal includes news and articles US $45,000 with its original three-manual con- Aeolian Duo-Art Pipe Organ, Opus 1560. search of an uplifting postlude or special recital about the organ and its history, organ build- sole. Likewise, Létourneau would be pleased Three manuals: Great, Swell, Choir, w/expres- feature. A visit to FMP’s home page bulletin board ers, exemplary organs, and regional surveys to provide a proposal to rebuild this instrument, sion, and Pedal; 48 ranks, Harp and Chimes, at www.frumuspub will provide a link to the PDF of instruments. Both American and European taking into account any desired changes to the all stops 73-pipes, 61-note manuals, 32-note fi le’s download page. organ topics are discussed, and most issues stoplist as well as installation costs, voicing, pedals. Electro-pneumatic chests; 176-note roll- run 48 pages or more with many illustrations casework as required, and rebuilding the three- player in console. $52,000. Restored by Dave Certified appraisals—Collections of organ and photographs. Membership in the OHS manual console with a new solid-state switch- Junchen; professionally removed from California books, recordings, and music, for divorce, includes a subscription to The Tracker. Visit the ing system. The organ requires approximately , Pasadena, by Organ estate, gift, and tax purposes. Stephen L. OHS Web site for subscription and membership 360 sq. ft. with 15′ ceilings. For more details, Clearing House and American Organ Institute. Pinel, Appraiser. 629 Edison Drive, East Wind- information, as well as information on the orga- visit www.letourneauorgans.com, email info@ Organ in safe/secure climate controlled stor- sor, NJ 08520-5205; phone: 609/448-8427; nization’s conventions and publications: www. letourneauorgans.com or call Andrew Forrest at age, San Antonio, Texas. Contact Mr. Crockett; email: [email protected]. organsociety.org. 450/774-2698. 214/991-1009; [email protected]

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Each month your gift will keep on giving by providing the important news TOTAL PIPE ORGAN RESOURCES of the organ and church music fi eld. Know that your gift will be just right. For information, contact Rose Geritano, 847/391-1030; rgeritano@ 2320 West 50th Street * Erie, PA 16505-0325 sgcmail.com. Or visit www.thediapason.com and click “subscribe.” (814) 835-2244 * www.organsupply.com $43 one year USA; $35 one year digital; $20 one year student

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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 PIPE ORGAN BUILDERS, LTD. Phone (515) 964-1274 Fax (515) 963-1215 LAKE CITY, IOWA 51449 (712) 464-8065

Roy Redman PEEBLES-HERZOG, INC. Redman Pipe Organs LLC 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders www.peeblesherzog.com Member, International Society of Organ Builders e-mail: [email protected]

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PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE MISCELLANEOUS FOR SALE ANNOUNCEMENTS

1968 Schantz, opus 890, III Manual, 5 divi- Patrick J. Murphy & Associates Opus #47 Forty-fi ve beautiful, hand-made “Noye’s sions. Organ is in good condition, console (2006). Three manuals, 61 stops, includes 32’ Fludde” animal head hoods. Lots of extra mate- Consider a gift subscription to THE DIAPA- converted to solid-state, several additions to Bombarde. Reading, Pennsylvania. $200,000, rial and patterns. [email protected]. SON for all your friends who love the organ, harpsichord, carillon, and church music. Your original stoplist, organ to be removed profes- exclusive of OCH fees and relocation costs. gift will be remembered throughout the year. sionally by new owner prior to new organ instal- Video recordings and layout plans are available Consoles, pipes and numerous miscellaneous (And don’t forget our special bargain for stu- lation. Best offer. 1980 Milnar organ, 11 ranks by request. Contact John Bishop, the Organ parts. Let us know what you are looking for. dents at $20!) Visit www.thediapason.com and click on “subscribe.” on II Manuals and Pedal. Currently in climate- Clearing House, [email protected]. E-mail [email protected] (not comcast), controlled storage. $16,500 or best offer. Small phone 215/353-0286 or 215/788-3423. Wicks practice organ, $5,000. Contact Milnar Organ Company for more information on either Casavant organ for sale, Opus 3606, 1986; 58 THE DIAPASON’S new website has an increased registers, 82 ranks, 2 digital voices, 5 divisions capacity for new videos. Go to www.thediapa- of these organs. www.milnarorgan.com or SERVICES / SUPPLIES son.com and click on videos to see what you’ve 615/274-6400. (Grande, Positif, Recit, Antiphonal, Pedale, and En-Chamade Trompette); 3-manual movable missed! Visit www.thediapason.com often and Complete Pipe Organ Services from the Organ keep up to date with all the news items. drawknob console; electro-pneumatic action. Clearing House: 450 organs available, renova- 33-rank Wicks, Opus 3585 (1956) for sale. Make offer, buyer to remove summer 2019. tion, tuning, consultation. Other services: trans- Three-manual and pedal drawknob console, Contact Music Director Mr. Woosug Kang for portation, cleaning and renovation of carvings, THE DIAPASON E-Newsletters are e-mailed duplexed to 60 playing stops. Exposed Great, full information and photos. St. George’s Epis- reredos, liturgical furnishings. Call John Bishop at monthly to subscribers who sign up to ′ expressive Swell and Choir, chamber 22 wide, copal Church, 4715 Harding Road, Nashville, 617/688-9290. [email protected]. receive them. Don’t miss the latest news, 10′-6″ deep. Make offer. Christ King Catholic TN 37205, 615/385-2150 woosug.kang@ featured artists, and classifi ed ads—all with Church, 2604 N. Swan Blvd., Wauwatosa, WI stgeorgesnashville.org. photos—some before they appear in print! Do you have a pipe organ that you would Visit www.TheDiapason.com and click on 53226; 414/258-2604. Organist Bill Lieven, Subscribe to our newsletter. For assistance, [email protected]. like to interface with an electronic or digital contact Stephen Schnurr, 847/954-7989, Aeolian-Skinner Opus 968 a-b-c (1937, 1955, organ? We can interface any digital organ or [email protected]. 1965) rebuilt by Angerstein & Associates (1977) any organ console with any pipe organ. For more Residence instrument available, Doug- and Létourneau (1995). Four manuals, nine information e-mail [email protected] (not lasville, Georgia. Four manual, six division, divisions, 85 stops. Williamsburg, VA. Best rea- Comcast) or call 215/353-0286. THE DIAPASON’s website (www.thediapason. hybrid instrument built in 2010. Short montage sonable offer. Contact John Bishop, the Organ com) features an ever-increasing number of on YouTube by entering “HDG residence organ” Clearing House, [email protected]. PDFs of vintage issues. Search the website Aeolian/Robert Morton-style maroon in the browser. Complete stoplist and pictures now for selected issues, as most are avail- leather is now available from Columbia Organ able from 1944–1945, 1966–1993, and 2005 available. Contact M. Proscia, 770/258-3388 or Leathers! Highest quality. 800/423-7003, to the present! 770/361-2485; [email protected]. Expressive and compact—3/27 Kilgen (1940). Two expressive divisions. 17 manual 8-foot www.columbiaorgan.com. fl ues. Reeds include Tuba, Cornopean, Oboe, ′ Postal regulations require that mail to THE Pfeffer and Debierre organs. Circa 1860 Pfeffer Clarinet, Vox Humana. Harp. 16 Open Wood. Releathering all types of pipe organ actions ″, ″, ″. DIAPASON include a suite number to assure eight-rank organ, available rebuilt and custom H: 237 W: 170 D: 189 Stopkey console. and mechanisms. Highest quality materi- delivery. Please send all correspondence to: fi nished. Also 1884 choir organ by Louis Debi- Original restorable condition. $30,000. Organ als and workmanship. Reasonable rates. THE DIAPASON, 3030 W. Salt Creek Lane, Suite erre. Both are pictured on the Redman website: Clearing House, 617/688-9290, john@organ- Columbia Organ Leathers 800/423-7003. 201, Arlington Heights, IL 60005. www.redmanpipeorgans.com. clearinghouse.com. www.columbiaorgan.com/col.

Advertise in THE DIAPASON Visser Pipe Organ Co. For information on rates and digital specifi cations Quality Craftsmanship, Creativity & Integrity contact Jerome Butera New Organs–Restorations–Additions–Relocation All Actions & Tonal Styles • 713-503-6487 • [email protected] 608/634-6253, [email protected]

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WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2019 Q 35 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 Martin Baker* David Baskeyfield Diane Meredith Belcher Michel Bouvard* Stephen Buzard Aaron Tan 2018 AGO National Competition Winner Available 2018-2020

Chelsea Chen Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois*

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

Katelyn Emerson Stefan Engels* Thierry Escaich* Janette FishellDavid Goode* Thomas Heywood*

Choirs Available

Saint Thomas Church New York City (March 2019)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Amanda Mole New College Oxford United Kingdom (March/April 2019) Trinity College Cambridge United Kingdom (September 2019) Notre-Dame Cathedral Paris (April 2020) Alan Morrison James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth*

Celebrating Our 98th *=Artists based outside Season! the U.S.A. Jonathan Ryan Todd Wilson Christopher Young