THE DIAPASON APRIL, 2007
Mt. Pleasant Lutheran Church Racine, Wisconsin Cover feature on pages 30–31
VocalEssence presents a two-week The University of Michigan has festival celebrating the music of William announced historic organ tours led by THE DIAPASON Bolcom April 21–May 5. Presenters Marilyn Mason: Historic Tour 54, “In A Scranton Gillette Publication include VocalEssence, Minnesota the Steps of Buxtehude and Bach,” July Ninety-eighth Year: No. 4, Whole No. 1169 April, 2007 Opera, David Higgs, Minnesota 9–23, Conlin Travel (www.conlinon Established in 1909 ISSN 0012-2378 Chorale, Minnesota Boychoir, and Min- line.com; 888/426-6546); and Historic nesota Orchestra. For information: Tour 55, “Three Great Cities: Budapest, An International Monthly Devoted to the Organ,
Emmanuel Church, Chestertown, Kimberly Hess; July 8, Scott Foppiano; Maryland, continues its music series: 7/22, Douglas Kostner; August 5, Craig April 6, Evensong; May 5, the Choir of Campbell. For information: 212/753- the Church of the Redeemer, Balti- 2261 x245; more; 5/16, Evensong; June 8, Ken
APRIL, 2007 3 will be given by the members of the jury Sir Sydney Nicholson (May 30, 1947). on the Cavaillé-Coll organ of the Phil- In the UK, a new festival to encourage harmonie, the concert hall of the town singing is being launched. So far there of Haarlem. The jury consists of Marie- are eight major events planned around Claire Alain, David Sanger, and Ton van the UK as part of the RSCM Young Eck. For information: Voices Festival 2007. For information:
4 THE DIAPASON Maryland, and began studying piano at Requirements for the 2008 Second program includes works by Bach, Here & There age 8. He majored in piano at Alderson- Annual Anthem Competition of the First Johannes of Lublin, Bruna, and Buxte- Broaddus College in Philippi, West Vir- Baptist Church of Worcester, Massachu- hude. The CD comes with an extensive ginia, and earned a master’s degree in setts, will be announced on the church booklet containing an interview with composition at Shenandoah University, website:
ConcertArtistCooperative thth 20ANNIVERSARY
Colin Andrews Cristina Garcia Banegas Emanuele Cardi Shin-Ae Chun Maurice Clerc Organist/Lecturer/ Organist/Harpsichordist/Conductor Organist/Lecturer/ Organist/Harpsichordist/ Interpreter/Improviser/ Recording Artist Organ Faculty and Chair Recording Artist Recording Artist Recording Artist Lecturer, Organ Performance University of the Republic Organ and Soprano with Director of Music and Organist Titular Organist & Sacred Music Studies Conductor, De Profundis Polina Balva (St. Petersburg) Redeemer Lutheran Church St. Benigne’s Cathedral East Carolina University Vocal/Instrumental Ensemble Titular Organist St. Clair Shores, Michigan Faculty School of Music Director, International Organ Festival St. Maria della Speranza National Conservatory Greenville, North Carolina Montevideo, Uruguay Battipaglia, Italy Dijon, France
Leon Couch Laura Ellis Faythe Freese Johan Hermans Michael Kaminski Organist/Lecturer Organist Organist/Lecturer Organist / Lecturer / Organist College Organist Associate Professor of Associate Professor of Organ Recording Artist Director of Music Ministries Assistant Professor of Organ Organ and Carillon School of Music Conservatory of Music Saint Francis Xavier Church and Music Theory University of Florida University of Alabama St. Quintinus Cathedral Brooklyn College Faculty Converse College Gainesville, Florida Tuscaloosa, Alabama Organ Concert Series St. Francis College Faculty Spartanburg, South Carolina Civic Organist Brooklyn, New York Hasselt, Belgium
Angela Kraft Cross William Kuhlman Tong-Soon Kwak David K. Lamb Maija Lehtonen Organist/Pianist/Composer/ Organist Organist Organist/Choral Conductor/ Organist/Pianist/ Recording Artist Professor of Music Emeritus Professor of Organ Oratorio Accompanist Recording Artist Organist Luther College College of Music Director of Music/Organist Senior Lecturer, Organ Faculty Congregational Church Decorah, Iowa Yonsei University First United Methodist Church Oulu Polytechnic San Mateo, California Artistic Director Columbus, Indiana Organ and Violin Torch International Organ Academy with Manfred Grasbeck Seoul, Korea Helsinki, Finland
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
APRIL, 2007 5 missioned by Marilyn Mason for Morn- Zamalek district. The inner move- work, A Patriot’s Processional (ZS1002). ingStar Music Publishers’ “Marilyn ments—II. The majesty of the law; III. The Bach Arioso, one of four pieces Mason Music Library” series. A philosopher; IV. The curious reticence in the volume Extensions, is recorded of the gazelle; V. Another philosopher; on Frederick Hohman’s Pro Organo VI. The serenity of the shepherd— CD entitled Symphohmania. The reflect various specific aspects of this remaining three works in Extensions ancient, Coptic, and Islamic culture. At and both items in the volume Mutations the same time, each is a portrait of a per- are all heard on the complimentary CD son and therefore the style of writing recording Unseen Servants. Thousands changes from movement to movement. of units of the CD have been distributed The fourth movement is completely ser- since its launch at the 2006 AGO con- ial while the remaining movements are vention in Chicago. These CDs are also modeled on various baroque models. available from Pro Organo. Dr. Freese was an active collaborator in A key feature of Zarex Scores is a the composition of the work, assisting in more detailed registration and expres- selecting the registrations and sending sion notation than is typically found in MP3 files to Dr. Baboukis for sound published organ music. Additional organ reviews. Freese gave the Georgia pre- scores from both American and Euro- miere on February 18 at Emory Univer- pean composers are planned for release sity and plans to perform the Egyptian in the Zarex Scores brand through 2008. premiere in May 2008. For information:
NATIONAL ASSOCIATION of PASTORAL MUSICIANS 2007 NATIONAL CONVENTION Indianapolis, Indiana July 9–13
Nearly 200 Workshops 5 Major Addresses 2 Special Lecture Series Master Classes and Clinics Felix Hell Jeannine Jordan John Baboukis Organ Crawl Felix Hell will play the complete Jeannine Jordan presented “From Performances Faythe Freese, associate professor organ works of J. S. Bach in a series of Sea to Shining Sea,” an organ and media Noontime Organ Recitals of organ at the University of Alabama, recitals at Wesley United Methodist event, at The Old Church in Portland, Prayer and Eucharist performed the world premiere of Out of Church, Bethlehem, Pennsylvania, Oregon, on January 31. Presented as Egypt, composed by John Baboukis, April 26–30. The opening recital on part of the Wednesday recital series on Choir and Handbell Festivals director of the music program at the April 26 is at 7:30 pm; 4/27, 6 pm and the historic Hook & Hastings organ, the American University in Cairo (Egypt), 8:15 pm; 4/28, 1 pm, 4 pm, 8 pm; 4/29, program featured the music, anecdotes, Phone: (240) 247-3000 on January 28. The work, a suite of char- 2 pm, 5 pm, 8:15 pm; 4/30, closing and images of the first 200 years of the acter pieces connected to Cairo, consists recital at 7:30 pm. For information: organ in the colonies and United States. Web: www.npm.org of seven movements, opening and clos- George Boyer, 610/533-8623. Dr. Jordan’s research into the lives of ing with a call to prayer such as Baboukis early American organists, organs, and heard from a nearby minaret in the organ music led her to create this pro- gram in conjunction with media artist David Jordan, whose images invited the listeners to experience a visual connec- The customer is always right. tion with the music and stories of the program. “From Sea to Shining Sea” took the listeners on a narrated musical The Bedient at Saint Paul is notable for its unusually and visual historical journey. For infor- “ beautiful mation:
6 THE DIAPASON PEDAL 2nd Voices/Pipes 64 Resultant 32 Contre Bourdon LEVERINGTON PRESBYTERIAN CHURCH 32 Contra Violone 16 Diapason Prinzipal HILADELPHIA ENNSYLVANIA 16 Gedeckt Pipes only P , P 16 Bourdon 16 Bourdon doux (Sw) 16 Contra Gamba (So) 16 Violone 8 Principal Pipes only 8 Octave Oktav 8 Bass Flute Pipes only 8 Bourdon Pipes only 8 Gedacktflöte 8 Gamba (Solo) 4 Prestant Pipes only 4 Choralbass 4 Fife Pipes only 4 Flûte 2 Octave Pipes only IV Fourniture Pipes only IV Mixture 32 Contre Bombarde 32 Contre Dbl. Trumpet (Gt) 16 Bombarde Posaune 16 Double Trumpet (Gt) 8 Trompette 4 Clarion SWELL English Swell/Pipes 16 Bourdon doux 8 Geigen Diapason Open Diapason 8 Bourdon 8 Gedeckt Pipes only 8 Flute Celeste II Erzähler Celeste II 8 Erzähler Pipes only 8 Viola Pipes only 8 Viola Celeste Pipes only 8 Salicional Viole d’Orchestre 8 Voix Celeste Viole Celeste 4 Principal Pipes only 4 Octave Geigen Octave 4 Rohrflöte Pipes only 4 Traverse Flute 2 2/3 Nasard 2 Octavin Pipes only 2 Flautino Pipes only 2 Piccolo 1 3/5 Tierce IV Fourniture Mixture V III Plein jeu Pipes only 16 Contre Trompette Double Trumpet 8 Trompette Trumpet 8 Hautbois Orchestral Oboe 8 Vox Humana Vox Humana 4 Clairon Clarion Tremulant 16 Swell to Swell Swell Unison Off 4 Swell to Swell English Swell Chimes mechanical (in Swell chamber) GREAT Second Voices/Pipes 16 Double Diapason Quintaton 16 Bourdon 8 Principal Pipes only 8 Diapason Prinzipal 8 Bourdon 8 Gedeckt Pipes only 8 Harmonic Flute Metalgedackt 8 Gamba 4 Prestant Pipes only 4 Octave Oktav 4 Spitzflute 4 Harmonic Flute Pipes only 2 2/3 Twelfth Sesquialtera II 2 2/3 Nazard Pipes only 2 Super Octave Pipes only 2 Fifteenth 2 Waldflute IV Mixture III Cymbale Pipes only III Sharp Mixture 16 Double Trumpet 8 Tromba Tremulant Chimes Carillon SOLO (no pipes) A four-manual Allen Renaissance Heritage™ console in a special two-tone finish 16 Gamba Celeste II 8 Flauto Mirabilis has been recently installed in Philadelphia’s Leverington Presbyterian Church, 8 Solo Gamba located in the heart of the Roxborough section. The 24 Mudler-Hunter pipe ranks 8 Gamba Celeste 4 Gambette Celeste II and 79 Allen digital voices are controlled by individual drawknobs. The handsome 16 Trompeta Real 8 Trompeta Real console features rosewood manual and pedal sharps, rosewood rocker tablets, 8 French Horn rosewood drawknob faces with maple stems, and Skinner-style key cheeks. 8 Corno d’Bassetto 8 Cor Anglais The manual naturals are Laukhoff Ivora. Cathedral-style side panel mouldings 4 Trompeta Real Tremulant complement the inspired console design. An adjustable bench, adjustable music Celesta rack and console dolly are finished to match the console’s exterior finish, which CHOIR (no pipes) 16 Contra Viole is custom-matched to the existing woodwork of the sanctuary. The digital audio 8 Holzgedackt is located behind the pipe façades, in and near the pipe chambers. 8 Viole 8 Viole Celeste 4 Prinzipal 4 Koppelflöte 4 Violes II 150 Locust Street, P.O. Box 36 Macungie, PA 18062-0036 USA 2 Oktav Phone: 610-966-2202 Fax: 610-965-3098 1 1/3 Quintflöte III Cymbale E-mail: [email protected] 16 Bass Clarinet 8 Petite Clarinette www.allenorgan.com Tremulant PIPE AND DIGITAL CUSTOM ORGANS CUSTOM PIPE AND DIGITAL on Maya Angelou’s poem Equality. On January 19, Stanford University Locklair performed his organ music Organist Robert Huw Morgan per- on February 6 at St. Paul’s Episcopal formed Frank Ferko’s Hildegard Organ Church, Winston-Salem, North Caroli- Cycle. Each of the cycle’s ten move- na. Selections from his Salem Sonata ments is a musical depiction of one of (2003) and Æolian Sonata (2002) were the holy visions of Hildegard von Bin- featured, along with his Triptych for gen, who lived 1098–1179. Composed Manuals (1974) and the premiere of in 1991, Ferko’s music is reminiscent of Dance the Joy (2004), in addition to the style of French composers such as Schumann’s Sketches in F minor and C Messiaen, Dupré, Langlais, and Guillou. minor (op. 58, nos. 1 and 3) and Han- The live acoustics of Stanford Memorial del’s Sonata in F Major for Flute (op. 1, Church, and the tonal resources of the no. 11) (with flutist Kathryn Levy). 1901 Murray Harris organ complement- ed Morgan’s outstanding reading of this landmark composition, which has been heard in venues such as St. Alphonsus Church, Chicago; Cathedral of St. Mary, San Francisco; St. Patrick’s Church, Washington, DC; and the Domkerk in Utrecht, The Netherlands. It has been recorded by the composer on the Arsis label. Ferko, who holds degrees in music Wilma Jensen masterclass at the Curtis Institute of Music (photo credit: Jean E. Brubaker) from Valparaiso, Syracuse, and North- western universities, now holds a posi- Wilma Jensen conducted a master- Laube, Joshua Stafford. Dr. Jensen’s tion in Stanford University’s Archive of class for organ students of Alan Morrison 2007 schedule continues with recitals at Recorded Sound. at the Curtis Institute of Music. Pictured West End Methodist Church, Nashville, —James Welch are (back row) Professor Alan Morrison, Tennessee; St. Paul’s Episcopal Church, Ahreum Han, Dr. Wilma Jensen, Greenville, South Carolina; and St. Robert Parris is featured on a new Stephanie Liem; and (front row) Nathan Mark’s Episcopal Church, Philadelphia. recording, Land of Rest, on the Loft label (LRCD 1080). Recorded on the C. B. Fisk organ at Christ Church, James R. Metzler Macon, Georgia, the program includes works of Buxtehude, Bach, Franck, James R. Metzler will be playing Sowerby, and Dupré, and is the pre- organ recitals in England at King’s Col- miere recording of the Fisk Opus 115 lege Chapel, Cambridge, on May 5 and (II/38). For information: at Westminster Cathedral (RC) in Lon-
United States Canada 1220 L Street NW 16355 avenue Savoie Suite 100 – No. 200 St-Hyacinthe, Québec Washington, DC J2T 3N1 20005-4018 Tel: (450) 774-2698 Tel: (800) 625-PIPE Fax: (450) 774-3008 Fax: (202) 737-1818 [email protected] [email protected] www.letourneauorgans.com
8 THE DIAPASON WHY
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Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue * Hillsboro, Oregon 97124 503.648.4181 * fax: 503.681.0444 America’s Most Respected Organ Builder Email: [email protected] * www.rodgersinstruments.com his parents, playing the organ in church national committee on new music and the dozens of organs he worked on is at the age of eight. He is a graduate of the committee for the AGO improvisa- the Salt Lake Mormon Tabernacle the Curtis Institute of Music in tion competition, and served on the instrument of G. Donald Harrison. Philadelphia, where he studied under national council as Region II councillor. Ron organized his own organ building CHANGE IS INEVITABLE. Alexander McCurdy. Graduate studies Her reviews and articles appeared fre- and service firm, H. Ronald Poll & Asso- were completed at Eastern Baptist The- quently in The American Organist and ciates, employing two sons, Michael and ological Seminary, also in Philadelphia. THE DIAPASON. She was co-author (with Timothy, who are continuing the firm’s GROWTH IS OPTIONAL. Further organ study was done with Jayson Engquist) of the book Gardner operation. Ron’s code was well stated by Robert Elmore. David Spicer is married Read: A Bio-bibliography (1996). At the Henry Ward Beecher: “Hold yourself to Dana, an artist and designer. They time of her death, Mary Ann Dodd was responsible for a higher standard than { have a blended family of seven children working on a book on contemporary anybody else expects of you. Never and six grandchildren. Spicer’s interests organ music, focusing on the career of excuse yourself.” Ron constantly sought include biblical studies, model railroad- the late Leonard Raver. for perfection. He was faithful to the ARTISTRY IS CRITICAL. ing, astronomy and sports cars. She is survived by her husband of 55 highest ethical and performance stan- years, Jack G. Dodd, a son, a daughter, dards and in bringing joy to others and three grandchildren. through his creation. { Ron worked on many instruments Nunc Dimittis from coast to coast. Among his more recent accomplishments are the three- manual instruments for St. Paul’s Epis- INTEGRITY AND AN INFORMED copal Church in Salt Lake City and the Provo L.D.S. Tabernacle. POINT OF VIEW,SINCE 1917 Ron is survived by his wife, Mary, nine children, 19 grandchildren and two great-grandchildren, his mother, four { brothers and five sisters. Services were held February 2 in Taylorsville, Utah, where Mormon Tabernacle organist Clay Christiansen provided the music on one of Ron’s smaller instruments. —David Poll
H. Ronald Poll Reuter Organ Co. H. Ronald Poll, age 70, passed away 1220 Timberedge Road January 28 at home in Salt Lake City, Lawrence, KS 66049 Mary Ann Dodd Utah. A charter member of the Ameri- can Institute of Organbuilders, he 785/843-2622 Mary Ann Dodd died January 1 in served three years as the organization’s Cooperstown, New York. She was Uni- president. He also served on several www.reuterorgan.com versity Organist Emerita at Colgate committees and was dedicated to strong University in Hamilton, New York, positive goals, art and technology, and where she had served as university in furthering the cause, reputation and organist and special instructor in organ expansion of true pipe organs. from 1973–93. In 1976 she selected Ron’s love for the pipe organ had its Holtkamp to build the three-manual roots as a young boy when he and his Bruce V. Schantz Brehmer Memorial Organ. She also brother David would sit for hours listen- taught at the State University of New ing to their organist mother’s 78-rpm, Bruce V. Schantz died on January 5 1 York in Binghamton as an adjunct lec- and later 33 ⁄3-rpm LP, recordings. He in Orrville, Ohio, at the age of 93. Born turer 1987–90 and as the Link Visiting was impressed with the beauty and October 17, 1913, in Orrville, he began Professor in organ in 1989. musical expression of the pipe organ. studies at Oberlin College, but left to Born and raised in Pullman, Wash- After a time with the Utah National handle the sales department of the ington, Dodd held the BMus degree Guard and service as a missionary for Schantz Organ Company with his from the University of Arkansas (1956) the Church of Jesus Christ of Latter-day cousin Paul Schantz. He covered terri- and the MMus degree from the Univer- Saints, Ron worked for a period doing tory in Ohio and Indiana during the sity of Tennessee (1971). She per- installation, voicing and tuning with his Depression and took night classes at the formed and lectured throughout the M. P. Möller representative brother University of Akron. He was hired by United States with special emphasis on David, the Wicks Organ Co., and oth- Goodyear Aircraft just before the U.S. contemporary organ music. An active ers. He was employed by the Church of entered World War II, and worked member of the American Guild of Jesus Christ of Latter-day Saints as an there in management during the war Organists, she had been a member of its organ technician and supervisor. Among years. He then returned to Orrville to join the family business. Bruce Schantz managed the Schantz Organ Company along with his brother John, his son Victor, his cousin Paul, and Jack Sievert. He served as the company’s /44/ (%533 /2'!. 0!243 president, chairman of the board, and chairman emeritus. He was involved in 4RADITION AND 0ROGRESS many community projects, including the transformation of the Community Chest into the Orrville United Way and chair- &OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN ing the drive that made Wayne College CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND possible. He was a past president of the ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS Orrville Chamber of Commerce and the Exchange Club. In 1970 he was named the Paul L. Powell Citizen of the Year /UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY for the City of Orrville. MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR He is survived by his wife Grace, two EXPERIMENTS n lNDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP daughters, five sons, a brother, and 12 MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES grandchildren. A funeral was held Janu- ary 13 at Christ Church, United Church of Christ, and a memorial service was 7HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING held January 21 at Wayne College. 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS Malcolm Wechsler died November 16, 2006 in New Fairfield, Connecticut, %VERYWHERE AND AROUND THE WORLD at the age of 70. Born in the Bronx, New /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING York, and raised in Stamford, Connecti- cut, he studied piano as a child and
/44/ (%533 'MB( n 'ERMANY 0HONE n s&AX n E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE
10 THE DIAPASON earned a bachelor’s in organ perfor- Swann, and Christopher Johnson) in live mance at Oberlin College. In 1963 he recitals at The Riverside Church in New received a master’s in organ perfor- York City. In the summer of 2006 the mance from the Juilliard School of living organists of the church were invit- Music. He held a number of church ed back to play in the church’s Tuesday positions and in 1966 was appointed night organ recitals. These were all music director at St. Paul’s Anglican recorded live and assembled onto this Cathedral in London, Ontario, also two-CD set. Repertoire consists of teaching at the University of Western music commissioned for the Riverside Ontario. He later taught at Laurentian organ, and by musicians that had strong University, Sudbury, Ontario. ties to the church. A 32-page booklet In 1985 Wechsler returned to New includes written notes on each composi- York to work with the Opera Orchestra tion, biographies of each organist and of New York and begin Ph.D. studies at numerous photographs. For informa- City College of New York. In 1987 he tion:
David Petty & Associates Organbuilders
27 Marlboro Lane • Eugene, OR 97405 (541) 521-7348 [email protected]
823 Massachusetts Avenue • Indianapolis, Indiana 46204 Telephone: 800.814.9690 or 317.637.5222 www.gouldingandwood.com
12 THE DIAPASON Carillon News by Brian Swager
Iowa State University Carillon Festival The Iowa State University Carillon Festival, sponsored by The Stanton Memorial Carillon Foundation, will be held on April 14. Guest artists include Don Cook, University Carillonneur at Brigham Young University, and Jeffrey Prater, Professor of Music at Iowa State University. The festival will include carillon concerts, master class, and seminar. In conjunction with the festival, a car- illon composition competition is held to encourage the writing of original caril- The Belgian Pavilion in its setting at the New York World’s Fair in 1939 lon compositions by young composers. Prizes include one cash award of $500 Dianne Watkins at Stanford University. The gift to heard the carillon on the Stanford cam- and the premiere performance of the Hoover was in appreciation for his pus, not at that time knowing its con- winning composition at the carillon fes- exhibition hall, at the 1939 New York humanitarian relief efforts to Belgium nection to Virginia Union University. tival. For information: 515/294-2911; World’s Fair. At the close of the Fair after WWII. Neither university had a With her brother, Alan Nelson, she
APRIL, 2007 13 VUU and VUU graduate, and his wife, and compare stoplists wondering Yikes! If this is popular culture, crazy amounts of money installing opu- Elizabeth Balfour Ellison. It was whether, for the sake of a given conver- what’s the future of the pipe organ? I lent instruments in their luxurious and through the actions of the Ellisons, and sation, it really matters if the 8v Flute on note that there is not a single Grammy enormous homes. compassionate donors, that $500,000 the Great was a Melodia or a Clarabella category that even mentions the organ. Brothers John (1864–1920) and was given to transport and reconstruct (yes Virginia, there is a difference!). If the Grammies are so genre-specific, Horace Dodge (1868–1920) were insep- the Belgian building in Richmond in the Likewise, while participating in a sail- why isn’t there at least a category for arable from early childhood, sharing 1940s. Supporters provided the moral boat race I met an old salt sitting on a Best Baroque Album (the winner, common employment throughout their and financial support that helped the dock bench who demanded that Four Seasons with the Red Priest, Vari- careers. Early on they both worked for a university to become a highly respected passers-by give him compass headings ous Artists)? manufacturer of marine boilers in and admired institution. Virginia Union so he could show off by giving the recip- I am not suggesting that the pipe Detroit, Michigan. Later, on the University is a historic African American rocal course. We all know that South organ will ever compete with hip-hop, strength of an improved ball bearing institution that opened in Richmond in (180º) is the reciprocal of North (0º) but rap, ska, reggae, R&B, or soul. (Twenty patented by Horace, they built a suc- 1865 out of Lumpkin’s Jail, a former we have to stop and think before stating years ago I was asked to play reggae at a cessful business manufacturing bicycles. slave holding pen. that the reciprocal of North-by-north- wedding. I have to admit that was the The mammoth Dodge Motor Company For contributions or further informa- east-a-half-east (33.75º) is the reciprocal first time I heard of it, but realizing now was the result of logical progression. tion, go to
New Organs: Atlanta First United Methodist Church: 5-manual, 120 stops New Orleans Baptist Theological Seminary, Leavell Chapel: 4-manual, 78 ranks Midway Presbyterian Church, Powder Springs, GA: 3-manual, 55 ranks First United Methodist Church, Carrollton, GA: 3-manual, 42 ranks New Orleans Baptist Theological Seminary, Recital Hall: 3-manual, 33 ranks (new & existing pipes) Newberry A.R.P., Newberry, SC: 2-manual, 13 ranks (new & existing pipes) Rebuilds: St. John’s Church, Savannah, GA: 4-manual, 76 rank Wicks - additions, tonal revisions & revoicing First Baptist Church, Orangeburg, SC: 3-manual, 31 rank M.P. Moller - complete rebuild with additions Selwyn Avenue Presbyterian Church, Charlotte, NC: 3-manual, 22 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Jackson, GA: 2-manaul, 20 rank Austin - complete rebuild with major additions Cumberland United Methodist Church, Florence, SC: 2-manual, 10 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Tennille, GA: 2-manual, 8 rank Tellers, complete restoration 800-836-2726 y www.pipe-organ.com
14 THE DIAPASON through which you see the skyline of “birthday” is celebrated on Pentecost. Veni Sancte Spiritus (Come, Thou ing, somewhat repetitive music that is lower Manhattan. The acoustics are From that moment on, the church has Holy Spirit Bright), Randall Giles. well crafted. bright and clear, there’s a fine Steinway been a living, growing entity whose Unison, 14 handbells, and tabor, piano, and a fireplace crackles on the influence spread throughout the world. Paraclete Press, PPM00707, $1.60 The Spirit, Like a Mighty Wind, port side. Our Bargemusic experience As St. Francis of Assisi said so long ago: (E). William Rowan. SATB and optional involved performances by the DaPonte “Grant that we may not so much seek to The tabor could be a hand-held keyboard, GIA Publications, Inc., String Quartet, an excellent permanent be understood as to understand.” This drum, and it plays the same rhythm G-5963, $1.30 (E). ensemble that lives and works in our special commemoration is one that tran- throughout the piece. Both Latin and There are four verses and a refrain in neighborhood in mid-coast Maine. scends denominations. English versions are provided for the this brief two-page setting. An accompa- The nut behind all this is Olga Music brings the celebration into choir. There are 10 verses, which could niment is included on the back cover as Bloom, founder and chairman of Barge- focus. The most profound theme is the be sung by diverse groups (women, an alternative for singing the anthem music. Olga is elderly and slight, a gra- ancient melody Veni creator spiritus, men, mixed) to give variety to the color unaccompanied. The music is fast and cious hostess, and a true music lover. the opening words of a hymn that has of the sound. The handbells are accom- vigorous with the chorus notated on two She is stationed right inside the door been attributed to the Benedictine paniment to the voices, and they play staves. Easy music. greeting the audience as they come and abbot Rabanus Marius (776–656). Its throughout, usually in three-note go. It’s fun to imagine her moving up primary liturgical function is to be sung chords. The setting closes with an Holy Ghost, Dispel Our Sadness, and down the New York waterfront at Vespers on Pentecost, and the music Amen and Alleluia. Very easy music Michael Larkin. SATB and key- shopping for a barge—she told us that has been set in numerous arrangements and useful for small church choirs. board, Concordia Publishing the barge was purchased for $800. Her in both Protestant and Catholic services, House, 98-3697, $1.35 (M-). vision was the origin of this unique as can be seen in reviews below. Veni Sancte Spiritus, Gabor Lehot- The choral parts are on two staves place. The website
APRIL, 2007 15 the congregation joining on numbers Dur, by J. J. Froberger; Praeludium und Bach trios would go well only on the big thee and five. The lyric oboe plays on New Recordings Fuge G-Dur, by Johann Schneider. organs of Freiberg and Dresden, while three of the five verses; two verses are Vol. VIII is played by Hansjürgen Bach’s “big” preludes and fugues for unaccompanied four-part choir. The Scholze on the organs at Dittersbach demand resources only available on congregation joins the women for the Die Orgeln von Gottfried Silber- (I/14), Crostau (II/20), Großkmehlen those same organs. (The inclusion of a coda, which primarily is a repeat of the mann. Vols. 5–8. Querstand 0302-05; (II/22), and the Katholische Hofkirche/ Mendelssohn prelude and fugue is jus- opening theme with the men singing a available from Querstand
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Exquisite Proudly made in America Continuo Organs St. Peter’s Square London E 2 7AF • England 1003 Barnwood Lane [t] 011 44 20 7739 4747 Camillus, New York 13031 [f] 011 44 20 7729 4718 [email protected] (315) 751-0505 www.lewtakorgan.com www.mander-organs.com Imaginative Reconstructions
16 THE DIAPASON Following the 250th anniversary of clock, K. 594, the oboe’s role varying ny, the registrations selected for the Society ($14.98 plus shipping), Mozart’s birth, we have here two CDs from solo to participating in a concer- accompanied works being generally
APRIL, 2007 17 States, and the Steere company had such the flute and string stops from the dif- chorale prelude on this recording is recording. The final work, George W. fine instruments as the Newberry organ ferent divisions are used to good effect “Rhosymedre,” the third and best known Chadwick’s Pastorale, is, apart from the at Yale University to their name. (The in contrasting registrations. All the regis- of Ralph Vaughan Williams’s Three Pre- Dudley Buck chorale prelude, the only Newberry organ at Yale still contains trations used, incidentally, are very help- ludes on Welsh Hymn Tunes, giving us work by an American composer on the many ranks of pipes from the previous fully listed in the leaflet that accompa- an example of a chorale prelude from compact disc, and in its gentle character Steere instrument.) Seeing the dangers nies the recording. Following Pachel- the twentieth century to compare with provides a striking contrast with much of the company as a rival, as well as need- bel’s Canon there is an opportunity to the others. All these chorale preludes of what has gone before. Once again, ing more production capacity than his hear the full organ in Lemmens’s Fan- demonstrate how a sensitive player can effective use is made of the Orchestral Boston workshop could provide, Arthur fare, a piece that, though less well- use the Steere orchestral organ to regis- Oboe, and there is also an opportunity Hudson Marks bought the Steere firm known than the Mouret and Pachelbel ter compositions effectively in a much to hear the Harp and Chimes of the for the Skinner Organ Company in 1921. pieces, is of no less general appeal. wider range of musical styles than might Steere organ. For its combination of a Steere’s instruments possessed many Next comes a transcription of Bach’s a priori have been expected. historic Steere orchestral organ and a interesting features. On this particular Jesu, joy of man’s desiring from Cantata The rich diapasons of the Steere organ selection of music likely to appeal to a instrument the fourth manual is an Echo No. 147. Here the solo line is played on appear in the Rhapsodie sur des Noëls very wide audience, this is a recording division rather than the Solo organ, and the Great 16v, 8v, and 4v flutes an octave from the Dix pièces of Eugène Gigout. that I heartily recommend. this Echo organ, as the recording higher in order to produce an effect that The Swell strings and Vox Humana are —John L. Speller demonstrates, occupies an unusually is much more “baroque” in feeling than used in the middle section, after which St. Louis, Missouri prominent role in the tonal design of the one might have thought such an instru- there is a build-up to full organ. The instrument as a whole. Few unaltered ment as the Steere orchestral organ to be Harp stop is effectively used in a tran- Steere organs of any size remain today, capable of. In Kommst da nun vom Him- scription for organ of Sergei Rachmani- Mark Lee Plays Organ Music from and Keith Bigger has therefore done the mel herunter from the Schübler chorale noff’s G-major piano prelude, op. 32, no. Bristol. The English Cathedral Series, organ community a great service in res- preludes, Craig Williams produces 5, a piece that also makes good use of the Volume IX, Regent Records cuing the Brooklyn organ—probably the another surprisingly “baroque” effect by strings and flutes. After this, Craig REGCD191 (2004); available from most significant remaining example of using the Swell chorus with the octave Williams returns more toward the norms
18 THE DIAPASON The 65-stop Bristol Cathedral organ, ing virtuoso passages including thirds or be avoided), another good exercise for notes set against passagework including spread over four manuals and pedal, has sixths (mainly in eighth notes but occa- hand and foot coordination. runs in 32nd notes. Although not specif- an excellent pedigree. The original sionally in 16th notes as in the final vari- Sweelinck had two organs in the Oude ically marked as for two manuals, such a instrument was built by Renatus Harris ation of both Da pacem, Domine in Kerk in Amsterdam at his disposal, the performance is highly effective. The in 1685, and this was integrated by J. W. diebus nostris and Psalm 140), figural pedal division of the small one having unusual short canon is in three voices, Walker into a largely new organ in 1907. imitation sometimes derived from the only an 8v Trumpet, while the large one each of which is printed here on its own When the Walker instrument was fully chorale melody, and passages in triple had an 8v Trumpet and 2v Nachthorn, so five-line stave, followed by a reduction restored in 1989–90 by N. P. Mander, time making sudden appearances— the use of a 4v reed for the alto or the to treble and bass staves. It was dedicat- the noisy 1907 tubular pneumatic action performers who have already bought tenor voice as indicated by Scheidt ed to Scheidemann on his completion of was retained, and, unfortunately, this is volume 1 of this edition will have would not be authentic; however, there his studies with Sweelinck. audible occasionally in the recording, noticed that many of these traits also was the possibility of the 2v being used to This volume concludes with a most particularly in the softer sections played appear in the toccatas. The pedal is give out the cantus firmus in the treble. important essay in English and German on the Swell and Solo manuals. marked in the final variation of Psalm The cycle on Psalm 116 is an interesting on the organs of Sweelinck and registra- —Peter Hardwick 36 and in the third and fourth variations example of adding layers; starting with a tion sources, followed by a catalogue of Minesing, Ontario, Canada of Erbarm dich mein following the bicinium, the second variation is marked the chorale and psalm melodies and main source, Lynar A1, but the editors “a 3,” the third “for 2 manuals,” the RH notes on their provenance. The printing give the manualiter version found in of which leads straight into variation 4; is very clear, each piece being preceded the Turin manuscript in an appendix. the entire cycle is well suited to being by the first bar in the original notation. New Organ Music The version for pedals is printed on played on two manuals. Dirksen and Vogel have set a very high three staves, thus requiring mental Of the four pieces of dubious authen- standard in the re-presentation of gymnastics as the pedal part frequently ticity printed here, the five variations on pieces well known from previous edi- Jan Pieterszoon Sweelinck, Complete lies well above the bass, a good exercise Jesus Christus unser Heiland have been tions, and this volume is very highly rec- Keyboard Works, Volume 3: Varia- for left hand and pedal coordination. ascribed by Gustav Fock to Sweelinck’s ommended to organists. Almost all of tions on Chorales and Psalms; edited Use of the pedals is also recommended pupil Heinrich Scheidemann, the manu- the pieces are playable on manuals only, by Pieter Dirksen and Harald Vogel; for the final verse of Da pacem, Domine script in which it occurs (Clausthal- and can thus be considered valuable Breitkopf & Härtel EB8743, €34.00; in diebus nostris. Zellerfeld Ze1) containing just the one material for harpsichordists and clavi-
acknowledged as experts in the North HENDRICKSON WOOD & GOULDING GARLAND FISK DYER R. DOBSON FRERES CASAVANT German repertoire. One important difference from the older editions is the return to the origi- nal bar-lengths and note groupings, as well as the layout for each hand based on the premise that the staff notation indi- cates which hand plays which note, although a few exceptions will be noted in the text. The new layout presenting the bar length in the cut C time of eight quarter notes gives rise to many varia- tions of 16th-note and eighth-note beaming, which can at first sight appear daunting; but once this initial barrier has been overcome, the new groupings may well give rise to a more subtle applica- tion of articulation. The new edition is also based not on a collation of various manuscripts, but essentially on a single source for each work, only slightly supplemented by readings from secondary sources. The critical commentary (unfortunately in German only) does, however, give vari- ants. An excellent general introduction to Sweelinck’s life and compositions (amazingly his keyboard compositions were written more or less only during the last 15 years of his life), source evaluation, and notation is followed by notes on the sacred variations as devel- oped by Sweelinck, including a detailed analysis of Erbarm dich mein, and on the individual sources and attri- bution problems. Dropped from this The Future of Church Music edition as spurious are the variation cycles on Herzlich lieb hab ich, Vater unser in Himmelreich, and the first is in These Fingers verse of Wir glauben all; the variations on Puer nobis nascitur are now includ- ed in the volume devoted to variations Share a 10 year-old’s sense of wonder as she first touches an organ’s keys! Delight on songs and dances. in a 12 year-old’s steady concentration, as he learns the pedals. Watch a 14 year old In this volume there are 12 sets of variations considered as authentic, mature before your eyes during his first recital! seven in staff notation and five in tabla- ture, (the four-variation cycle of Die 10 Gebot Gottes preserved in tablature Young people are forever changed when they play the pipe organ! Join APOBA in notation is considered as a separate set- supporting AGO outreach programs to the next generation of organists! ting of the five variations on Psalm 140 preserved in staff notation), followed by four sets preserved anonymously in the sources and a canon in three parts To receive information about pipe organs on Ave Maris Stella. The authentic cycles include from three to six varia- A and recognized pipe organ builders tions, the longest works being the four P write or call toll free 1-800-473-5270 variations on Allein zu dir Herr Jesu Christ at 310 bars and the six on O or on the web @ www.apoba.com Erbarm dich mein at 269. B Associated Pipe Organ Builders of America In all of the cycles we can see Sweel- A inck’s compositional genius and mas- P.O. Box 155 • Chicago Ridge, Illinois 60415 tery of form, be it in the bicinium TT PARSONS QUIMBY REDMAN SCHANTZ SCHOENSTEIN TAYLOR & BOODY where the cantus firmus in long notes is O set against smaller note values includ- ing 16th-note figuration, tightly NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP wrought counterpoint, highly demand-
APRIL, 2007 19 John Weaver at 70 A Life in Music Michael Barone
John Weaver, one of the America’s new piece also. It got us into the habit of finest concert organists, celebrates his assuming when you started to learn a 70th birthday on April 27, 2007. The piece that you were eventually going to following interview is offered in honor play it from memory. There are some of this milestone. pieces that I have never been able to Dr. Weaver was director of music at play from memory. I’ve memorized a Madison Avenue Presbyterian Church fair amount of Messiaen, but with more in New York City from 1970–2005, and atonal pieces, I find that I am just not served as head of the organ department comfortable playing without the score. at the Curtis Institute of Music in Philadelphia 1971–2003, and also chair MB: The challenge for the organist, of the organ department at the Juilliard of course, is that each instrument is School 1987–2004. different from the next and requires His formal musical studies began at its own learning process. The trav- the age of six, and at age 15 he began eling recitalist comes to a church, organ study with Richard Ross and gets used to the instrument, gets George Markey. His undergraduate used to the instrument’s response in study was at the Curtis Institute as a stu- the room, and then tries to make dent of Alexander McCurdy, and he music with the repertoire that earned a Master of Sacred Music you’ve brought to town. Perhaps it’s degree at Union Theological Seminary. no wonder that fewer organists In 1989 John Weaver was honored by want to memorize these days, but the Peabody Conservatory with its Dis- there’s still something about a per- tinguished Alumni Award. He has former totally connected to and received honorary Doctor of Music deeply involved in the music that is degrees from Westminster College, missing when a score is being read. New Wilmington, Pennsylvania, and the John and Marianne Weaver at their house organ, Estey Style T, in New York, 2004 JW: There is always the problem of Curtis Institute of Music. In 2005 he the page-turner—or, if one turns one’s was named “International Performer of MB: With whom did you study and occasions as an Old Testament figure. own pages, that has its risks as well. the Year” by the New York City chapter how would you characterize those He was someone you both loved and Page-turners can sometimes pull music of the American Guild of Organists. years? feared at the same time—certainly, not down off the rack inadvertently, or pull In addition to his work at the Curtis JW: My first organ lessons were with one to suffer fools. If you went into a les- a page right out of the book, or turn two Institute and the Juilliard School, he has a wonderful organist in Baltimore, son unprepared, you were sure to get a pages—there are lots of risks. Page- taught at Westminster Choir College, Richard Ross. He died at age 39 shortly dressing down that would do a drill turners also have a tendency sometimes Union Theological Seminary, and the after having given me a lesson on a Sat- sergeant credit. But when words of to hum or to tap their foot. I’ve even Manhattan School of Music. He has urday afternoon—just failed to show up praise came, they were so precious and known some who think it’s safe to step written numerous articles for organ and the next day at church. Ross was becom- so rewarding that they could light you up on the pedalboard to reach a page that’s church music magazines and has served ing one of the best-known and finest for a whole week. He was a very liberal far out of the way—that really does pro- as president of the Presbyterian Associ- organists in the country. When I first teacher in that he did not insist on play- duce a catastrophe. ation of Musicians. went to him, at the age of 15, instead of ing any piece of music in any certain I guess it doesn’t make a lot of differ- Dr. Weaver has been active as a con- auditioning me at the organ, he told me way. Within that department at that time ence if the console is completely hid- cert organist since coming under man- to go up onto the stage of the Peabody we had about six students—there was den. I wouldn’t know if someone was agement in 1959. He has played concert hall and play for him on the one student who was very much a disci- playing from memory or not, but throughout the USA, Canada, Western piano. Well, there was a big Steinway up ple of E. Power Biggs, and there were pianists, violinists, singers are expected Europe, the United Kingdom, and there, but the thing that really interest- others of us who were much more in the to walk on stage and play from memory. Brazil. He has performed on national ed me was the 4-manual E. M. Skinner. Virgil Fox camp. That was sort of the It’s harder for organists, yes. I like to television and radio network programs I could hear air escaping from it, and I nature of the department, but McCurdy have 12 to 15 hours at an instrument in the U.S. and Germany, and has made coveted playing that instrument so was as enthusiastic about the fellow who before I’m ready to play a recital on it. If recordings for Aeolian-Skinner, the badly that I can feel it still today. was a Neo-Baroquist as he was about the I had 20 hours it would be better still. If Wicks Organ Company, Klais Orgelbau Nevertheless, Ross told me that he rest of us. That person, by the way, is I had 25, I would find a few more things of Germany, a CD on Gothic Records wanted to hear me play something on Temple Painter, who is one of the lead- to make that instrument come across in for the Schantz Organ Company, and a the piano. So, I stumbled through my ing harpsichordists in the city of the very best possible way and the music recording on the Pro Organo label on Mozart sonata that was not really very Philadelphia and still plays organ as well. to be the best that I could do. That kind the new Reuter organ at University good at that point, and afterward he said of time is rarely available, but 12 to 15 Presbyterian Church in Seattle. His to me, “I don’t want you to study organ MB: What were McCurdy’s tech- hours is a norm. most recent recording, “The Organ and yet. You need to study at least another niques to get the best out of stu- Choral Music of John Weaver,” is avail- year of piano and really work at it very dents? What did he create in you MB: I always get the sense watching able on the JAV label and features his hard.” And then he also said something that might not have been there you that you really enjoy playing. own organ and choral compositions. His that I’ve always remembered: “If in the before? And then how did you take Now is this actually true or are you published compositions for organ, cho- meantime you study organ with any- what you learned from McCurdy just a very good actor? rus/organ and flute/organ are widely body else, I will never teach you.” and shape that with your own per- JW: If it looks like I’m having fun, I’m performed. Well, I took his advice, and I went sonality? glad for that because in a way, I am. I He currently lives in Vermont and back to my piano teacher and really did JW: McCurdy had several ways of also am constantly aware of the pit- continues to concertize and lead work- work for a year—then came back the getting the best from us. I’ll never for- falls—how many things might happen shops and masterclasses around the next year and played for Ross again. get my first lesson: he assigned a chorale that you don’t want to happen and world. The Weavers love to climb the This time I played the Beethoven prelude from the Orgelbüchlein, which sometimes do. But I do enjoy playing. I New England mountains, and have a tra- “Pathétique,” and I played it pretty well. I had not played, and he said, “Mr. love playing recitals, though it scares dition of an annual ascent of Mt. Wash- Ross said, “OK, now you can start study- Weaver, I’d like you to play this next me, and five minutes before the recital I ington. Marianne is an avid gardener, ing organ, but you must continue to week from memory in organ class.” ask myself “Why did I ever agree to do and John’s hobby is a deep fascination study piano as well.” Well, right away it was jump-starting; this?” But once I start playing, why, that with trains, both model and prototype. Fortunately I had a very good piano and seven, eight hours a day of practic- departs and I really do settle down and This interview took place July 11, teacher, and I studied with Ross for ing became the norm. At my second les- enjoy what I love about the music that I 2005, at the Weaver home in the rolling about a year and a half, until his death. son, he assigned the Vierne Cantabile, play—hoping that people will catch countryside near West Glover, Vermont. The Peabody Conservatory brought in from the second symphony, and said, something of what I’m feeling about George Markey as an interim to fill out “I’d like you to play that next week in that music and my devotion to it. MICHAEL BARONE: How did John the rest of that academic year. While I organ class in front of your peers.” Well, Weaver stumble into the world of was studying with Markey, at this point that was really a struggle. And he did MB: How did you, a former student the organ? as a senior in high school, he said that for about three weeks at the begin- at the Curtis Institute, come to be JOHN WEAVER: We moved away “Where are you going to go to school ning of the four years. After that, he the head of the organ department from the little town where I spent the next year?” I just assumed I would go to never assigned a piece again. But he got at Curtis? first four and a half years of my life. I Peabody because we lived in Baltimore, me into the habit of learning—I knew JW: One fine day Alexander McCur- have very few recollections of that and Markey said, “Well, have you con- he expected that kind of production dy called me up and said, “Mr. Weaver, place, except one of them that’s very sidered auditioning for the Curtis Insti- from week to week. I’m going to retire from the Curtis Insti- strong—the organ at the church where tute of Music?” And I remember asking That’s a Curtis tradition that was tute, and Rudolph Serkin would like to my father was the pastor had a wonder- him, “Where is that?” I was soon to find started by Lynnwood Farnam, contin- meet with you and see if you might be ful sound on low E. Something about out a lot about Curtis and also about the ued by Fernando Germani and by an appropriate successor.” (Rudolph the 16v stop on that organ resonated in great teacher there, Alexander McCur- McCurdy, and I believe is still the Serkin at that point being the director of the room in a glorious way, and I fell in dy. I did audition and was accepted, and case—each student comes every week the Curtis Institute.) Needless to say, I love with that. As soon as I learned how had four glorious years in Philadelphia. with a new piece memorized to play in went down to Philadelphia and met with to play a few notes on the piano, my class. This could be a little one-page Serkin, and he suggested that I play a favorite thing was to hold down the sus- MB: McCurdy is something of a leg- chorale prelude for manuals alone, or it recital in Curtis Hall—it was never taining pedal and play an arpeggio— end, and the stories about him are could be a major prelude and fugue, a called an audition recital, but I think slowly at first—and just listen to it ring numerous. I expect you have more big romantic work, or a modern work— they wanted me to clear that hurdle like an organ. Something in me has than a few. you could repeat something from previ- before giving me a green light. Curtis always been attracted to that sound. JW: I’ve described him on numerous ous classes, but you always had to have a Hall is one of the hardest places to play.
20 THE DIAPASON It is totally dry acoustically, with a 118- four hymns every Sunday, plus they am trusting that others will come in. rank Aeolian-Skinner in a room that began to sing the Kyrie, Sanctus, and And if they don’t I’ll write anyhow. seats about 200 people—probably more Agnus Dei. pipes per person than any place else in That progressed until the congrega- MB: Someone wanting to commis- the world. But it’s an instrument that tion tended to draw people who liked to sion you would do what? Do you can, if one works with it, do remarkable sing, and so the congregational singing have a website? things. So I did play the recital and did was strong and is to this day. David JW:
APRIL, 2007 21 Angeles. One could go on and on and name any number of places where new instruments have been installed or old instruments have been restored—to me this suggests that the organ will take, again, its place as a concert instrument and not just a liturgical instrument. On the other hand, it must be said that concert halls are often not the most perfect, acoustically, for organs. Great organ music was written to sound its best in places with fairly substantial reverberation, such as a large stone church. So concert hall organs are won- derful, and I’m glad they’re being built, and they enable us to do organ concerti and sometimes organ solo recitals. But the church, particularly one that has a long reverberation period, is still where the organ seems most at home. First photo for Colbert-LaBerge man- agement at the five-manual Aeolian- MB: How would you compare the Skinner, Curtis Institute, 1959 scene for organs and organists in your day? Was this a peak of energy with that marvelous—some would say divisive, some would say energy Marianne and John Weaver at Holy Trinity Lutheran, 1966 (newlyweds) producing—polarity between the historicists and E. Power Biggs on in terms of naming names. The name of but I also am not one to completely dis- one side, and the theatricalists and Cameron Carpenter who studied with regard the knowledge that musicolo- Virgil Fox on the other? We don’t me at Juilliard comes to mind. Cameron gists have brought to us of performance have quite that type of energy today. is extraordinarily flamboyant, both in practice, of historic instruments—but I daresay the man in the street, if dress and personality and in playing. His sometimes I will just say “this piece that asked to name a concert organist playing annoys the purists terribly, but I’m playing on this particular instru- today, might be hard pressed, certain people are simply mesmerized ment cannot be played in a good, whereas back in the ’60s and early by his performances. And he is a authentic, 18th-century style.” Some- ’70s, the names of Biggs and Fox genius—there’s no question about that. thing must be done to make the music were very much in the public ear. Another name that gets a great deal of and the organ come together in a way JW: Biggs and Fox, both of them very visibility these days is the young Ger- that is satisfying and gratifying. And talented, extraordinary musicians, had a man organist, Felix Hell, whom I also sometimes that means just throwing the great advantage of working right at the had the honor to teach. Felix, at first, rulebook out the window. time that the LP recording was becom- was famous because he was so very ing common in the American home. young when he was playing recitals all MB: Did you set out with goals? You RCA Victor and Columbia were the big over the world, literally, as he still does. probably didn’t begin your study producers of LP recordings at the But now he is taking his place among imagining you would go to Curtis, Publicity photo, c. 1961 beginning of that time in the early ’50s. the more mature artists of the younger and then after having studied at And there was Biggs and there was Fox, generation and plays very well indeed— Curtis, you probably hadn’t thought and these two polarities were represent- and has made numerous recordings. So that you might end up teaching ed in the recording industry—that did a these two are a little bit like Biggs and there, or at Juilliard for that matter. great deal for the visibility of the organ Fox—Felix tends to be a fairly conserv- You’re like a natural surfer who has and the popularity of organ music. ative player, not extremely so but more swum out into the sea and found a middle of the road, whereas Cameron is fantastic wave and you’ve been able MB: It could be argued that now is way out there in show biz land. to ride that wave through your both the best of times and the worst career with skill, with accomplish- of times—there are far more organ MB: Presuming it’s something dif- ment, certainly with a sense of recordings available, representing a ferent from that marvelous, res- pride. How do you look back at your much larger panoply of artistry and onate low “E” that had you mes- career from this point? instruments both new built and his- merized as a child, when you play JW: I would have to say that as with toric, marvelously represented— and hear the organ, what sort of many careers, a great deal of it has to do and yet there is so much that the thoughts go through your mind? with being at the right place at the right focus is lost to some degree. What is it about the instrument that time, but also having ability to do the JW: Yes, I think that’s right. When it still captures your heart and soul? job that is required. I’ve often thought was Biggs and Fox, you could expect to JW: Who could not be seduced by that if I had been five years younger, the find their names in the crossword puz- the instrument itself? Just the mechan- Curtis Institute would not have thought zle. No organist today has that kind of ics of it and this great collection of me an appropriate age to head that visibility. Another name that was right pipes, some of them enormous, much organ department. If I had been five up there at the top was Marcel Dupré larger than most people realize, and years older, it’s likely that they would At Madison Avenue Presbyterian because of his extraordinary playing and most of them very much smaller. I think have chosen someone else from among Church, c. 1975 also the fact that he had been the when a layman sees the inside of a pipe Alexander McCurdy’s students. teacher of so many organists in the U.S. organ for the first time, they’re always through the Fulbright program. There astonished—even if it’s a small instru- MB: You have moved on from three isn’t anyone who has really achieved ment, it looks amazingly big and com- prestigious positions and you’ve that kind of star status in the organ plex. And the large ones, of course, are now settled in what used to be your world, which is not to say that there simply mind-boggling. So there’s some- summer home in rural Vermont, up aren’t a great many wonderfully talent- thing about the instrument: its bigness, in the marvelous rolling countryside ed and brilliant performers. Maybe its history. When I’m playing an organ, in the northeast corner of the state. there are just too many. if I’m playing Bach I’m thinking about Somehow, I can’t think of you as instruments I’ve played that Bach may retiring. What projects have you set MB: Yes, it could be argued that the have played—there’s this great history for yourself for the future? performance quality of the 21st and great repertoire, and frankly the JW: The mail recently brought a new century is higher than it’s ever sound of the instrument has always commission for a new organ piece— been. Do you think that it’s possible seduced me. that’ll be one of the things. I do want to with so much talent around for continue to compose. I’m playing a someone to distinguish themselves MB: How would you characterize number of recitals this year including or do they have to almost jump your playing style? two that I’m extraordinarily excited beyond mere artistry and do some- JW: Probably other people should do about, because I will be reunited with thing odd in order to be discov- that. I would say that I am in the mid- the instruments that I had my first ered? dle someplace. I probably am a little bit lessons on. One of them, the Peabody JW: Perhaps it would be best to think on the extrovert side of dead center, concert hall Skinner, was put in storage At Curtis, c. 2000 (photo by Joseph Routon)
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22 THE DIAPASON for about 40 years, and then set up at a 390 feet of track in it. This is my last a wonderful experience. Very often the big Roman Catholic Church in Prince- model railroad—if I live to 150 I might reason for writing pieces based on ton, New Jersey. A week later I will be actually finish it. hymns has to do with the nature of a playing a recital on the wonderful Skin- commission that I have received. In ner organ at Brown Memorial Presby- MB: And you had one in your office fact, almost always when I have com- terian Church in Baltimore, where my at Madison Avenue Presbyterian. posed a piece based upon a hymn tune, teacher Richard Ross was the organist, JW: Yes, unfortunately when I retired it’s been requested by the person who and before him, Virgil Fox—a beauti- from Madison Avenue that meant the commissioned the composition. ful, perfectly untouched Ernest Skin- end of that railroad, but all of those ner that really is quite a marvelous trains and the structures and the little MB: Did your parents live to see the instrument. And I’m playing some people and the automobiles and all that honor accorded their son who went other recitals and some dedications are now a part of the railroad here. on to great things? around the country. JW: My father was very gratified to MB: I’m sure the compositions that live to see my appointment to Madison MB: So, you keep your organ shoes you created for Madison Avenue Avenue Presbyterian Church. It was polished and ready to go? Presbyterian remain in the files one year later that I was appointed to JW: Indeed so. there for the choirs to sing. It’s too Curtis. By that time, my mother had [Editor’s note: Dr. Weaver has bad that your railroad installation in died, and my father was not at all well. announced that the 2007–2008 concert the office wasn’t kept by your My father did not particularly encour- season will be his last for regular concert replacement. age my desire to be a professional activity.] JW: In the search for my replace- organist. He, as a minister of a medium- ment, a fondness for railroads had noth- size church, saw that as being at best a MB: Tell me about some of your ing whatsoever to do with their choice. part-time job, which would mean having John Weaver, c. 1960 memories from being “on the So. to do something else on the side, and road.” that’s always a difficult life. I think he JW: The wonderful occasions that I MB: What of your siblings and in was very happy to see that I had the love to think back upon are two recitals what directions did they go? security of a full-time church position that I played—one in Grace Cathedral JW: My older brother took piano that was also in a church of great promi- in San Francisco, for a national conven- lessons from the same teacher that I nence within the denomination. tion of the American Guild of Organists, had, and he could see that I was making in which everything went the way I faster progress, so he switched to violin Michael Barone adds: When I first wanted it to. I loved the instrument, the and became in his high school years a heard John Weaver play, at Grace audience was wonderful, the acoustic reasonably good violinist—he played Cathedral in San Francisco for the was great. And the other one was the second chair, first violin in what was at AGO convention in 1984, I was Mormon Tabernacle—a recital I played that time a very good high school charmed by his physical presence (Mr. when the Tabernacle was having a orchestra. My younger brother is a won- Clean in a dinner jacket!), awed by his three-day symposium to celebrate the derful tenor, does a lot of solo work in control of the instrument (and him- restoration of the organ there. Every- the western Massachusetts area, teaches self), and beguiled by his musicianship. thing was fun, and the instrument was mathematics at Mount Holyoke Col- Subsequent convergences have con- to die for, and of course the acoustics lege, has an abiding passion for music firmed my first impressions. John is a are world famous. and even does some composing—he has modest man of major accomplish- been published. ments, a patrician artist and persuasive MB: Tell me about your railroad virtuoso who has fostered and encour- fascination. Where did you grow MB: And your parents’ musical aged the talents and individuality of an up? Mauch Chunk? backgrounds? inspiring array of youngsters. He is a JW: Yes, Mauch Chunk, Pennsylva- JW: Both of my parents played the musician whose own playing leaves a nia, is a little town north of Allentown piano, my father better than my mother. lasting memory, and whose composi- and Bethlehem, about 20 miles up into My father had also studied organ for a tions touch the soul. He’s a guy I’ve the Pocono Mountains—it’s in a ravine year or two, and could get through a been both honored and delighted to cut by the Lehigh River, and there was hymn—knew how to use the pedals a know. Happy birthday, John! I At Madison Avenue Presbyterian, 1970 a railroad on both sides of the river that little bit for hymn playing. My mother ran through the town. The town is now was an artist, did a master’s at Carnegie John Weaver will be the featured called Jim Thore, but its historic name Tech and then studied for a year at the guest/topic of a Pipedreams broadcast of Mauch Chunk has great importance. Sorbonne—the walls of our houses are (#0717) during the week of April 23, Anyhow, it was a railroad town, and covered with paintings that she did over 2007, which will remain available 24/7 being in this mountain ravine, day or the years. in an online audio “programs” archive at night you could hear the sound of a
At MAPC, c. 1970 From historical organ building to modern organ building
Join the Organ Historical Society’s 2007 convention in Central Indiana to sample the rich and diverse organ culture of America’s heartland
30 ORGANS from ca. 1840 to 2004 will be heard from the pre- convention event July 11 through the final concert on July 17th. We’ll spend two days in Indianapolis and four days exploring the organs and scenery north, east, south, and west of the city. HEADQUARTERS is The Sheraton Indianapolis Hotel & Suites, located just off I-465 at Keystone at the Crossing. Our special convention room rate is $103. Parking is plentiful and free! Book now via the OHS website below, or by phone at 800-325-3535.
For full convention information and to register visit John Weaver at Curtis at the new www.organsociety.org/2007 Robert Turner console, c. 2000 (photo by Joseph Routon)
APRIL, 2007 23 Steuart Goodwin: Organbuilder R. E. Coleberd
Introduction Pipe organ building in America today, as portrayed in the music media, is described exclusively as the crafting of new instruments, some with mechanical action and nearly all with carved or gild- ed cases. This is understandable given the news value of new instruments, but it is nonetheless unfortunate because it ignores a vital segment of organbuilding today: the restoration, rebuilding, refur- bishing, updating, and modernizing of existing instruments as well as the build- ing of new instruments from recycled and new material. This activity is pri- marily the work of individuals and small firms, unsung heroes in the spectrum of organbuilding today. Their work is espe- cially important for two reasons: it speaks to the ongoing primacy of the King of Instruments as the time-hon- ored musical medium in a house of wor- ship, and the determination of congre- gations, recognizing this fact, to pre- serve and promote the pipe organ for present and future generations. In 1966 the author published, in these pages, “The Place of the Small A working model with pipes of paper Builder in the American Organ Indus- built by Goodwin as a high school try.” His comment that the independent senior in 1960 (photo credit Jim Sloan) builder “may well assume increasing importance in the future of the pipe mer teacher and now colleague Leslie organ and the organ industry”1 was per- Spelman in the music department.11 By haps prophetic of the situation today. In his junior year, Steuart had become dis- many ways this narrative is a continua- satisfied with the Wicks, Harry Hall tion and update of that article. Forty (New Haven), and Robert Morton prac- years ago the pipe organ industry was tice organs on campus, all dated and dominated by the major builders, whose woefully inadequate for modern peda- work accounted for 80% of the new gogy and performance. He convinced instruments in a market where the dis- the school that they needed a tracker carding and replacement of older instrument, having been listening avidly instruments was a major portion of the Steuart Goodwin in 2001 finish voicing the Schoenstein & Co. organ in the L.D.S. to recordings by E. Power Biggs playing work. Today the situation is vastly dif- Conference Center in Salt Lake City and narrating tracker organs in Europe. ferent. The market is now only a shadow Scouring classified ads in THE DIAPA- of its former self. Several major builders both visual and tonal. He is a musician turned him on was when, at the age of SON, he found an 1870s George Stevens have folded, unable to continue under through and through. His touch with pipes fourteen, he and his father saw Disney’s (Cambridge) instrument for sale by greatly diminished factory production; is magical. With ease and efficiency, he 20,000 Leagues under the Sea and Nelson Barden.12 After months of nego- can bring the best musical quality out of buyers have welcomed the electronic 3 heard Captain Nemo play Bach’s Toc- tiating with school officials, the parties instrument amid drastically diminished just about any set of pipes. cata and Fugue in D minor. “I went reached an agreement, whereby the mainline church membership and bud- Said Manuel Rosales of Rosales home and played my older sister Jane’s school would pay for the instrument and gets; and the academic market, with Organbuilders: recording over and over, checked out shipping, and Goodwin would install it certain notable exceptions, is gone books at the library on organbuilding, in Watchorn Hall. In gratitude for this because colleges and universities are My friend and colleague Steuart Goodwin and from that time on I was perma- effort, the school awarded him three market-driven and direct capital is a rare individual, whose organ building nently ‘hooked’,” he says.7 credits toward graduation.13 Steuart’s resources to enrollment demand. talents combine great skill, good taste, and Eager to study organ, Steuart senior recital at Redlands, featuring his Yet, organbuilding continues, and economy of resources. He is equally at approached Roberta Bitgood, organist own compositions, included a Trio for pipe organs will always be built in this home with visual design, tonal finishing, at Calvary Presbyterian Church in horn, violin and piano, a Quintet for country and the world over. An impor- and hands-on organbuilding. His love of Riverside, who had studied organ with woodwinds, a Sonata for organ, and a the craft is exemplified by the warm and 14 tant segment of this effort, now demand- inviting sounds of his new instruments and Clarence Dickinson and who was later Suite for brass. He graduated with a ing recognition, is the work of talented many revoicing projects. He and his work national president of the AGO. She sug- bachelor’s degree in music in 1964. individuals, working alone and in collab- continue to be a source of personal and gested he begin with a year of piano During this period he built a small oration with other artisans, to craft professional inspiration for me, his instruction, which he did, before study- organ with paper pipes on which he instruments of singular artistic merit in coworkers, and his clients.4 ing with her for two years, in the 11th could play a Haydn clock piece (see accordance with public recognition and 12th grades.8 While in high school, photos). Then, in a remarkable coinci- today that a pipe organ is a work of art Early life and education his future organbuilding career began dence, E. Power Biggs played a recital and the work of an artist. In a statement Donald Steuart Goodwin, Jr. was born when he installed a three-rank Robert on the Casavant in the Redlands chapel. in 1966 prophetic of the situation today, on April 9, 1942 in Riverside, California, Morton theatre organ in his family’s Goodwin showed him the paper-pipes Robert J. Reich, founder and now the son of a building contractor who garage. His theatre organ interest con- organ, and Biggs, unprompted, played retired president of the Andover Organ sang in college musical productions, and tinued and became part of his work. that particular Haydn piece on it. Rec- Company, an early participant in the a sometime public school teacher and In 1959 he matriculated in the music ognizing Steuart’s interest and promise, tracker organ revival in America, stated housewife who taught piano privately.5 program at the University of Redlands, Biggs suggested that he apply for a Ful- his philosophy of organbuilding as “the His grandfather, Phillip Goodwin, majoring in composition under Wayne bright scholarship to study organbuild- craftsman’s approach to construction taught violin in Redlands, California, Bohrnstedt, having already written two ing in Europe. In his letter of recom- and the musician’s approach to tone.”2 and played in a string quartet. Steuart’s chorale preludes for organ and a sonata mendation to the Institute of Interna- Musical interest and skill begin early and folks met at the University of Redlands, for woodwind quintet. He sang in the tional Education, Biggs wrote: often with other instruments, while a Baptist liberal arts college long known University Choir his freshman year and craftsmanship is acquired through for- for its fine musical program. Arthur played in the concert band all four Steuart Goodwin has the possibly-unusual mal and informal training. Poister taught organ there in the 1920s years. In 1961, his sophomore year, he wish to study organ building in Europe, This article describes the career of D. when a celebrated four-manual, 54-rank won the $800 first prize in the Forest preferably in the center of fine organs, old and new, which is Holland. . . . I cannot Steuart Goodwin: the experiences and Casavant organ, recently restored and Lawn Foundation Writing Awards Con- think of anyone who would be more quali- individuals who shaped his philosophy updated, was installed in Memorial test with an essay entitled, “The Organ 9 fied for a Fulbright grant than Steuart of organbuilding, details of several Chapel. The organ program at Redlands Builder Finds His Place.” During Goodwin, nor anyone who could make bet- instruments in his opus list, and his con- is primarily associated with Leslie Spel- Goodwin’s junior year, the band direc- ter use of the opportunity. Already at Red- temporary voicing and tonal finishing man (1903–2000), a nationally known tor persuaded three trumpeters to lands he has proved his theoretical grasp of assignments. Steuart has won the admi- teacher and pedagogue who joined the switch to French horn, which was a wise the subject, and his ability to transform ration and respect of organ committees, faculty in 1937.6 move for Steuart as he went on to play ideas into action, and practical results.”15 organists, and builders as evidenced by Steuart’s musical interests began horn for 13 seasons in the University- his assignments across the country. Jack early; his 96-year-old mother recalls Community Symphony—until it was The choice for the Fulbright year Bethards, president of Schoenstein that he could carry a tune at the age of converted to all union professionals.10 abroad for Goodwin, 1964–65, was Organbuilders, calls Goodwin a genius: two. He began cornet lessons in the In recent years he has played French between Flentrop and von Beckerath. There is no other way to explain his bril- fourth grade and enrolled in the band horn in a woodwind quintet and in the He chose Flentrop because most Hollan- liance in so many fields. Steuart combines at Lincoln School in Riverside. He Redlands Fourth of July Band. ders speak English, and his German was the well-honed skill of a master craftsman recalls as a youngster asking his mother Goodwin studied organ at Redlands very limited. His experience was mixed, with the cultivated taste and sensitivity of about the Estey pipe organ in the fami- with Raymond Boese (1924–1988), who probably unlike that of most Fulbright a fine artist. He has a real gift for design ly’s Methodist church, but what really came to Redlands in 1961 to join his for- scholars, he comments. He was assigned
24 THE DIAPASON Trinity Episcopal, Redlands, Opus 4, Steuart Goodwin (left) with E. Power Biggs and Curtis Zimmerman in April 1963 at view from the nave (photo credit Robert the University of Redlands Rearick) to the pipe shop where he acquired eight-foot rank on the Great. It needed to pipemaking skills, but he had a brief run- work as an accompanimental sound as well Trinity Episcopal Church, as the foundation for a small principal cho- Redlands, California in with Mr. Flentrop. Inadvertently rus. At St. Bavo in Holland, I had heard an Trinity Episcopal Church, Redlands, Steuart Goodwin & Co., 2004 interrupting a conference while trying to unforgettably warm tapered hybrid stop California, chancel view of Steuart introduce himself, he was subsequently called ‘Barpijp,’ which inspired me to use Goodwin & Co. Opus 4, 1976 (photo cred- GREAT ushered into the maestro’s office and a Gemshorn instead of a less flexible Prin- it Robert Rearick) 8v Open Diapason 56 pipes severely scolded. “If we had been Ger- cipal or Stopped Flute. I experimented 8v Hohlflute 56 pipes mans you would have been thrown out with using Gemshorns in a Swell division, 8v Gemshorn 56 pipes but soon grew out of that and came to Trinity Episcopal Church, 4v Octave 56 pipes immediately,” Flentrop said, adding, 20 “you can stay here if you will simply work greatly prefer real string tone. Redlands, California 2v Fifteenth 56 pipes Steuart Goodwin & Co., Opus 4, IV Mixture 244 pipes in the pipe shop and keep quiet. Try to During this long period of apprentice- 1975–76 8v Trumpet 56 pipes observe the Dutch boys and behave as ship including travel, reading, talking 16 they do.” This meant never asking with organists and organbuilders, and GREAT SWELL questions—asking questions was perhaps most importantly listening—to 16v Bourdon (Jardine and Morey) 8v Open Diapason 56 pipes unheard of for an apprentice. He was records and instruments—his philoso- 8v Open Diapason (new, Stinkens) 8v Stopped Diapason 56 pipes never allowed to see the company wood- phy of organbuilding and tonal ideals 8v Hohlflute (Austin, revoiced) 8v Viola de Gamba 56 pipes working shop in Koog an de Zaan. He were taking shape, and he made certain 4v Octave (new, Stinkens) 8v Viole Celeste (TC) 46 pipes did, however, make several sets of pipes fundamental decisions about the direc- IV Fourniture (new, Stinkens) 4v Violina 56 pipes 8v Trumpet (new, Trivo) 4v Flauto Traverso 56 pipes for the Rugwerk division of the large tion of his emerging career. He deter- 2v Octave 58 pipes four-manual Flentrop instrument in St. mined that he wanted to work individu- SWELL II Mixture 116 pipes Mark’s Episcopal Cathedral in Seattle. ally, expressing his own artistic concepts, 8v Stopped Diapason (Austin, revoiced) 16v Oboe (TC) 46 pipes At the end of his Flentrop sojourn, free from the constraints of established 8v Gemshorn (Austin, revoiced) 8v Oboe 12 pipes Goodwin met with Dr. Martin Vente, large builders where opinions differ, 4v Principal (other used) Tremulant (prepared for) 2 internationally renowned organ histori- compromises are often the rule, and 2 ⁄3v Twelfth (Jardine) an and scholar, who provided him with a mimicking some academic paradigm or 2v Octave (new, Stinkens) CHOIR map locating important Dutch organs current fashion is required. His primary II Mixture (new, Stinkens) 8v Gedeckt 56 pipes 8v Oboe (new, Trivo) 4v Principal 56 pipes nearby. He spent several days traveling goal became to achieve “a certain pop- 4v Chimney Flute 56 pipes by train and bicycle to see many of them. ulist sensibility when it comes to provid- 2 CHOIR 2 ⁄3v Nazard 56 pipes The one that deeply impressed him and ing what will please congregations and 8v Gedeckt (Austin, revoiced) 2v Flautino 56 pipes 21 1 would greatly influence his emerging audiences.” “Many times I have won- 4v Principal (Jardine) 1 ⁄3v Tierce 56 pipes tonal philosophy and mark his work dered whether to stay [in Redlands], but 4v Chimney Flute (new, Stinkens) 8v Clarinet 56 pipes today was at the Oude Kerk in Amster- if I were to work for a nationally known 2v Flautino (Morey, rebuilt) Tremulant dam, ironically dismissed by Flentrop as organ builder, I would lose the indepen- II Cornet (Morey, rebuilt) too romantic.17 “I suffered something of dence I have here,” he told the San PEDAL 22 PEDAL 16v Bourdon 30 pipes a cognitive dissonance over this, since Bernardino Sun-Telegram in 1978. 16v Bourdon (Austin, Morey, rebuilt) 16v Gemshorn (Gt) 12 pipes Flentrop represented the Neo-Baroque And as he told columnist Nelda Stuck of 8v Octave (Austin, revoiced) 8v Octave 30 pipes ideal espoused by Biggs,” Steuart com- the Redlands Daily Facts in 1987, 4v Fifteenth (used) 4v Fifteenth 30 pipes ments. “I was supposed to like the “There is no area of music I can think of IV Mixture (Jardine, other) IV Mixture 112 pipes Baroque, but found myself more deeply where there are so many factions and 16v Trombone (new, Trivo) 16v Trombone 30 pipes moved by the 19th-century voluptuous- arguments about style,” referring to ness of this instrument.”18 Baroque vs. Romantic pipe organs and Couplers Couplers Returning from Holland, he opened a tracker vs. electro-pneumatic action.23 Swell to Great Great to Pedal Choir to Great Swell to Pedal small shop in San Bernardino, soon wel- Swell to Choir Choir to Pedal coming an opportunity to move to a Trinity Episcopal Church Great to Pedal Swell to Great larger, well-equipped facility nearby, Opus 4, an instrument in which he Swell to Pedal Choir to Great the former Fletcher Planing Mill, whose takes particular pride, illustrates the Choir to Pedal Swell to Choir owner was retiring. There he built three scope of Goodwin’s early work and evi- small tracker organs and rebuilt two. dences his talents in voicing and case Tremulant affects Swell and Choir Source: Goodwin records Opus 1, a six-rank, two-manual tracker designs: the 35-rank, 31 speaking stops, for the Fine Arts building at the Univer- three-manual tracker in Trinity Episco- sity of Redlands, was originally pur- pal Church, Redlands, California. Orig- a relationship between what you see and was replaced a number of years ago with chased by the organ professor, Ray- inally built in 1853 by the prominent what you hear (see photos). “A pipe individual regulators for each division, mond Boese. He sold his interest to the New York City builder George Jardine organ should be capable of choruses, resulting in steadier wind and the possi- university, which paid Steuart a nominal for the First Presbyterian Church in amalgams of many tones from many bility of divisional tremulants. More sum and traded him the Hall and Mor- Rome, New York, it was acquired by St. pipes, producing a rich, subtly infused recently electric stop and combination ton instruments. The stoplist comprised Michael’s Ukrainian Catholic Church in musical statement,” he told Dennis actions were installed, several ranks a Gemshorn 8v and Principal 2v on Man- Rome in 1908, where it was rebuilt by Tristram, a reporter for the Riverside were added and others moved around, ual I, a Gedeckt 8v and Rohrflute 4v on C. E. Morey of Utica, New York. Mean- Daily Press newspaper.25 giving the organ more scope and a more Manual II, and a 16v Bourdon and 4v while, Trinity Church in Redlands In an arched nave opening three English flavor (see 2004 stoplist). Choral Bass on the Pedal, plus the usual installed a three-manual Austin, Opus lancet arches were formed of oak and couplers. His Opus 2, 1972, was an 11- 111, in 1904.24 filled with 15 newly painted and sten- Tonal evolution rank, two-manual tracker for the Fourth The Jardine-Morey organ was ciled dummy pipes retained from the Goodwin’s work is especially notewor- Ward Mormon Church in Riverside. In acquired through the Organ Clearing Austin façade. Trinity Church has been thy because it represents the crafting of 1973 he built Opus 3, a one-manual, House, and over a period of 19 months described as an example of 19th-centu- instruments embracing the required four-rank rental organ. This instrument was rebuilt, together with parts of the ry Anglo-American architecture, which resources in tonal families and pitches was used at the Memorial Chapel, Uni- Austin, as an eclectic instrument com- led to the chancel case design that capable of performing the great music of versity of Redlands, for the Feast of bining 802 original and 838 new pipes Steuart based on the case at Peterbor- antiquity as well as today’s require- Lights one year, and has been rented by for a total of 1640 (see 1975 stoplist). ough Cathedral in England designed by ments, but one that is free from the stri- the Ambassador Auditorium and by the This project illustrates the amalgama- Arthur George Hill (1857–1923), dent and narrow definitions of Baroque, Los Angeles Philharmonic and Cham- tion of older and new material into an described as one of the great Victorian Neo-Baroque, North German, South ber Orchestras for use in the Dorothy instrument of singular artistic merit. organ builders.26 German, or American Classic stoplists, Chandler Pavilion and Hollywood Bowl. Through a vision of what these two During the construction of this organ scales, wind pressures, and voicing. It is now in a home in Altadena.19 instruments together could and should Steuart joined the choir, and ultimately These eclectic instruments, beginning Reflecting on Opus 1 and 2, he be, Goodwin was able to “see” how the became confirmed as a member of the with the work of individual artisans and describes this period as his Biggs, Flen- skilful blending of solo and foundation church. This has provided an unusual small shops, have influenced a new style trop, Schlicker days and says: stops would produce vibrant and color- opportunity for the builder to repeated- of organs, free from the prejudices ful choruses and ensembles. This organ ly update and modify the instrument against stops that in the 1950s were con- In each of these first two small organs fulfills Goodwin’s conviction that there over many years, both tonally and sidered “old hat” and indicative of an there was to be only one independent has to be a visual-sonic relationship, i.e., mechanically. The large single bellows obsolete organ that should be replaced.
APRIL, 2007 25 Formerly verboten stops—the Melodia, Cornopean, Harmonic Flute, and Vox First Baptist Church, St. George’s Episcopal Church, Humana, for example—are now recog- Colton, California Riverside, California Steuart Goodwin, Opus 8, 1979 Steuart Goodwin & Co., Opus 15, 1995 nized for their intrinsic musical content 12 ranks, 28 stops, 10 independent and are often embraced without hesita- GREAT voices, 788 pipes tion by many builders who incorporate Straight stops them in their instruments, confident of 8v Diapason 61 pipes GREAT their ongoing musical value. This 8v Hohlflute 61 pipes Straight stops approach extends to the use of wooden 4v Octave 61 pipes 8v Principal 61 pipes flue work and open flutes, a defining 2v Fifteenth 61 pipes 8v Open Flute 61 pipes characteristic of American organbuild- IV Mixture 244 pipes 4v Octave 61 pipes Swell/Great 16v 2v Fifteenth (ext Oct 4v) ing from the very beginning, but largely Swell/Great 8v III–IV Mixture 232 pipes eschewed in the 1950s in favor of metal Swell/Great 4v 8v Trumpet (Swell) ranks and tapered, half-tapered, stopped, and chimneyed stops. Unit rank Unit rank Steuart’s Opus 5 was a restoration for 16v Gedeckt 97 pipes 16v Gedeckt St. Mark’s Episcopal Church in Upland, 8v Gedeckt 8v Gedeckt California, of E. & G. G. Hook & Hast- 4v Gedeckt 4v Gedeckt ings’ Opus 734, 1873, formerly located SWELL ORGAN SWELL in the First Baptist Church in Blooming- Straight stops Straight stops ton, Illinois. Opus 6 is a four-rank, two- 8v Viola 61 pipes 8v Viola da Gamba 61 pipes manual house organ, featuring an ornate 8v Vox Celeste 49 pipes 8v Viola Celeste (TC) 49 pipes case and suspended action (see photo).27 8v Trumpet 61 pipes 4v Fugara 61 pipes This is an early example of an elaborate Swell/Swell 16v 8v Trumpet 61 pipes 18th-century case as built by the Dutch Swell Unison Off and Germans and pioneered by John Swell/Swell 4v Unit rank Brombaugh in America at a time when 16v Gedeckt 97 pipes Unit rank 8v Gedeckt the European builders were building Opus 6 by Steuart Goodwin & Co. built 16v Gedeckt 4v Gedeckt modern cases in this country. In 1978, in in 1978 for the home of Frances Olson 2 8v Gedeckt 2 ⁄3v Gedeckt a brief detour from mechanical action, in Mount Baldy Village, California 4v Gedeckt 2v Gedeckt 2 3 Steuart built a two-manual, six-rank unit 2 ⁄3v Gedeckt 1 ⁄5v Gedeckt organ with electric action for the United 2v Gedeckt 3 Methodist Church in Yucaipa, Califor- 1 ⁄5v Gedeckt PEDAL nia. “I never built another unit organ for Tremulant 16v Bourdon 32 pipes (prepared) a church,” he comments. “I am enthusi- 16v Gedeckt (Swell unit) PEDAL 8v Open Flute (Great) astic about the unit principle for a the- 16v Bourdon 32 pipes 8v Gedeckt (Swell unit) atre organ, but you can easily overdo it in 1 8v Octave 44 pipes 5 ⁄3v Gedeckt (Swell unit) church work if you are concerned about 8v Gedeckt (unit) 4v Octave (Great) 28 1 good tone.” 5 ⁄3v Quint (unit) 4v Gedeckt (Swell unit) In 1978, David Dixon, who met 4v Octave (ext Oct 8v) 8v Trumpet (Swell) Manuel Rosales at Schlicker in Buffalo 4v Gedeckt (unit) 4v Trumpet (Swell) 2 and who became his partner in Los 2 ⁄3v Gedeckt (unit) Angeles (and who later returned to 2v Gedeckt (unit) Couplers Great/Pedal 8v Swell to Great 16v, 8v Schlicker before his untimely death at Swell/Pedal 8v Swell to Swell 16v, UO, 4v an early age), approached Steuart about Swell/Pedal 4v Swell to Pedal 8v, 4v working for them, which he elected to Great to Pedal 8v do. He assisted in their introduction to Source: Goodwin records (unit stops are unaffected by the couplers) tracker work, in designing cases, traded organ philosophy with Manuel, and Source: booklet, “The Blessing and Dedica- acquired some refinements in voicing Trumpet, and (where space and finances tion of the Organ,” October 22, 1995. technique from Dixon. permit) a 4v Principal or Fugara. Bud- Opus 8, a 13-rank, two-manual elec- getary concerns generally limit indepen- tropneumatic action organ for the First dent pedal ranks to the ubiquitous 16v able at three pitches on the Great, six on Baptist Church in Colton, California in The double case of Opus 8, 1979, at the Bourdon. The Great also contains an the Swell, and four to six pitches on the 1979, marked a major milestone in First Baptist Church of Colton, California open metal flute, which, in the Colton Pedal. Importantly, the Gedeckt stop Goodwin’s tonal philosophy, and con- prototype, was originally part of an Aeo- tabs on each division are grouped tains elements that characterize his later for a small, flexible church organ design, lian house organ. The pipes looked together to the right of the straight stops work. In earlier years he was interested and the unit Gedeckt was part of the ridiculous to one brought up on Neo- and couplers, and they are not affected in tracker action, but over time came to answer. “I hit upon it almost by accident Baroque ideals. The heavily nicked by the couplers. believe that even 11 ranks (Opus 2, while contemplating for Colton how to mouths were cut-up two-thirds in a half “This arrangement makes the struc- Fourth Ward Chapel, L.D.S. Church, best use a couple of pitman chests circle, and, yet, when you blew on them ture of the tonal design quickly appar- Riverside) in a tracker aren’t very flexi- incorporating one unit chest,”29 he com- they were magically beautiful. I began ent to an organist, while simultaneously ble. He became convinced of the value ments, adding: to realize that you couldn’t depend on making registration practically goof- of a unit Gedeckt stop, which he first “The concept begins, as usual, with a what other people said was good, you proof. For instance, it is impossible to used in Colton and subsequently on sev- complete principal chorus, 8v through had to trust your own ears. mix the derived mutations on the Swell eral 12- or 13-rank instruments (see mixture, on the Great. Next, on the “The 85 to 97 pipes of a Lieblich with the principal chorus on the Great. stoplists for Colton and St. George’s Swell, I use a pair of strings (real string Gedeckt are located on a unit chest in I settled on the Lieblich Gedeckt for Episcopal Church). He began searching tone, not hybrids), a medium-bright the Swell box. This rank is made avail- the one unified rank because it blends well at all pitches and because the pitch-beats caused by an equal-tem- pered rank used at mutation pitches are only barely discernible. Log On and take the tour! “In an organ of only 12 or 13 ranks, one can make dozens of useful combi- nations and build ensembles suggesting a much larger instrument. For instance, 1 ANNUAL AND ONE-TIME COPYRIGHT on the Pedal the 5 ⁄3v through 2v pitch- es—when used with the Great chorus PERMISSIONS WITH THE coupled—reinforce the 16v line and cre- ate the impression that there is a Pedal CLICK OF A MOUSE mixture. A solo Cornet effect can be registered as follows: couple the string and celeste to the Great and silence them on the Swell using the Unison Off. Then set a solo combination of Gedeckt 2 3 pitches such as 8v, 4v, 2 ⁄3v and 1 ⁄5v on the Swell (tremulant optional). “The point of all this is to provide excellent sound and unusual flexibility in a small church organ design. To keep these organs even more affordable, we incorporate many used parts and pipes. A brand new console shell is hardly a necessity when so many are available used. I like to put the money where it • EASY—online permission and reporting counts the most—in careful voicing and • ECONOMICAL—based on average weekend attendance tonal finishing, new electronic relays, 30 • THOROUGH—your favorite songs and high quality visual designs.” The discovery of the Aeolian open • CONVENIENT—includes a growing list of publishers metal flute, quixotically called Flute Piano (apparently for people barely musical and certainly not organists) was LOG ON TODAY! WWW.ONELICENSE.NET to mark a milestone in Goodwin’s career. Placed in the Great of his instru- ment in Colton, it proved to be of such
26 THE DIAPASON Fifth Avenue Presbyterian Church, Holy Cross Roman Catholic Church, Columbus, Ohio Santa Cruz, California A. B. Felgemaker, Erie, Pennsylvania, Steuart Goodwin, San Bernardino, Opus 506, 1889 California, Opus 10, 1988 GREAT GREAT 16v Bourdon (TC) 49 pipes 8v Open Diapason 61 pipes 8v Open Diapason 61 pipes 8v Flute Ouverte 61 pipes 8v Dulciana 61 pipes 4v Octave 61 pipes 8v Melodia 61 pipes 4v Flute d’Amour 61 pipes 4v Octave 61 pipes 2v Fifteenth 61 pipes 2 3 4v Flute d’Amour 61 pipes III Cornet (TC) (8v, 2 ⁄3v, 1 ⁄5v) 147 pipes 2v Fifteenth 61 pipes IV Mixture 244 pipes SWELL SWELL 8v Open Diapason 61 pipes 8v Stopped Diapason 61 pipes 8v Salicional 61 pipes 8v Salicional 61 pipes 8v Stopped Diapason 61 pipes 8v Vox Celeste 49 pipes 4v Flute Harmonique 61 pipes 4v Flute Harmonique 61 pipes 8v Oboe (TC) 49 pipes 8v Oboe 61 pipes 8v Bassoon 12 pipes 8v Trumpet 61 pipes Cymbelstern PEDAL Tremolo 16v Bourdon 30 pipes PEDAL 16v Sub Bass 30 pipes and pedal organ of 12 ranks, featuring 16v Bourdon 30 pipes the unit Gedeckt and the 8v open flute 8v Octave 30 pipes 4v Super Octave 30 pipes discussed above in St. George’s Episco- 16v Trombone 30 pipes pal Church, Riverside (see stoplist on page 26, and photo left). The striking Source: Goodwin records. See also Organ white oak case is accented with bronze Historical Society, 1988 Organ Handbook, moldings and padouk wood stripes.32 pp. 83–85. Voicing and tonal finishing In 1980 Steuart became associated sensitive new organist, and one job with the Schoenstein firm in San Fran- leads to another. This work typically cisco, which marked still another chap- involves removing sizzle and chiff, St. George’s Episcopal Church, Riverside, California, Goodwin Opus 15, 1995 ter in his career, one that would grow increasing foundation tone, repitching and distinguish his work today. He a mixture with new breaks, and replac- great value as both a solo and ensemble is found at Holy Cross Church in Santa worked closely with Jack Bethards, ing unsuitable pipes. With his fine rep- stop that it led him to incorporate 8v Cruz, California. Built in 1889 on the Schoenstein president, in the major utation as a voicer and finisher, when open flutes on that division routinely. site of one of the famous Spanish Mis- renovation of the epic Aeolian-Skinner prospects hear his work, they want the Most instruments, having a Chimney sions, Holy Cross is an imposing neo- organ in the Mormon Tabernacle in same thing. For example, Steuart’s cur- Flute on the Great and Gedeckt on the Gothic brick building with splendid Salt Lake City, where he did most of rent work at the Covenant Presbyterian Swell, don’t have the flexibility of an acoustics. Starting with a 13-rank A. B. the flue voicing. Bethards does exten- Church in Charlotte, North Carolina, is open 8v flute, an important color in his Felgemaker tracker obtained through sive consulting coast-to-coast, and the direct result of his work at Myers judgment, adding, “I voice it quietly in Alan Laufman and the Organ Clearing when he concludes that the major prob- Park Baptist Church there. Goodwin’s the bass and midrange and somewhat House, Goodwin added 10 ranks includ- lem with an organ is inferior tonal work, recent theatre work includes voicing, in ascendant from middle C up so one rank ing an open metal flute, two mixtures, he often recommends Steuart, who, collaboration with Lynn Larsen, a large can be used three ways: as an accompa- two chorus reeds and a string celeste working with his assistant Wendell Bal- theatre and romantic instrument in the niment stop in the left hand, a solo stop (see before and after stoplists above lantyne, has had nationwide assign- home of Adrian Phillips in Phoenix, in the treble and a lighter foundation right, and photo on page 28). ments: New York, Georgia, Texas, and Arizona, and completing a mostly than a Diapason in a Principal chorus.”31 In 1995, Steuart installed his Opus North Carolina. Reworking an older seven-rank Wurlitzer organ in his own Perhaps the most impressive example 15, a remarkably cohesive two-manual instrument almost always begins with a home in Highland. His much admired
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APRIL, 2007 27 Steuart Goodwin & Co. Opus List 1. 1970. Two-manual, six-rank tracker practice organ. Now in home of Dr. Harold Knight in Dallas, Texas. 2. 1972. Two-manual, 11-rank tracker, 4th Ward, Church of Jesus Christ of Latter- day Saints, Riverside, California. 3. 1974. One-manual, four-rank portable rental organ. Now in home of Bruce and Mary Elgin, Altadena, California. 4. 1976. Three-manual, 35-rank tracker, Trinity Episcopal Church, Redlands, California. With components of an 1852 Jardine from Rome, New York, obtained through the Organ Clearing House. 5. 1977. Two-manual, 17-rank tracker, St. Mark’s Episcopal Church, Upland, Cali- fornia. Rebuild of E. & G. G. Hook & Hastings #734, 1873, obtained through the Organ Clearing House. 6. 1978. Two-manual, four-rank practice organ in the home of Frances Olson, Mount Baldy Village, California. 7. 1978. Two-manual, six-rank unit organ, now in St. John’s Episcopal Church, Steuart Goodwin in January 2007 Corona, California. 8. 1979. Two-manual, 13-rank electro- pneumatic, First Baptist Church, Colton, California. 9. 1984. Two-manual, 13-rank tracker, Our Lady of the Rosary Cathedral, San Bernardino, California. Rebuild of Moller #1701, 1913, obtained through the Organ Clearing House. 1889 Felgemaker as rebuilt by Goodwin for Holy Cross Roman Catholic Church, 10. 1988. Two-manual, 23-rank tracker, Santa Cruz Holy Cross Church, Santa Cruz, Califor- nia. Based on A. B. Felgemaker #506, tonal work on the epic four-manual, 26- and vocal, which continues, they acquire 1889, enlarged and considerably modi- rank Wurlitzer in Plummer Auditorium, the knowledge and skills of building the fied visually and tonally. 11. 1991. Two-manual, 11-rank, electric Fullerton, led to his election to the gov- pipe organ through travel, reading, action, Stake Center, Church of Jesus erning board of the Orange County observation and apprenticeship. In their 33 Christ of Latter-day Saints, Simi Valley, Theatre Organ Society. deep commitment to the King of Instru- California. Incorporates many pipes and ments, they gladly sacrifice more lucra- parts of Moller #5482, 1928, obtained Summary tive occupations. Today and tomorrow, through the Organ Clearing House. In a varied career marked by many amid the manifold and far-reaching 12. 1992. Two-manual, 13-rank electro- Goodwin’s tonal finishing associate, pneumatic, Fontana Community accomplishments, Steuart Goodwin rep- changes in our culture, the majestic pipe Wendell Ballantyne, at the Aeolian- resents the individual organbuilder, organ is recognized as a work of art and Church, Fontana, California. Incorpo- Skinner organ in Myers Park Baptist rates console and many pipes from the working alone or in collaboration with the work of an artist. There can be no Church, Charlotte, North Carolina in church’s 1920s Spencer organ. others, a vital segment in the spectrum better example of this truth than the life 1991 I 13. 1993. Three-manual, 38-rank, electric of organbuilding in America today. Long and work of Steuart Goodwin. slider chests, First Christian Church, neglected but deserving of greater Jack Bethards, Ken W. List, Albert Neutel, Pomona, California. Extensive tonal recognition, the work of these persons R. E. Coleberd is a contributing editor to Donald Olson, Michael Quimby, Robert revisions. Based on Hook & Hastings THE DIAPASON. Reich, Manuel Rosales, Jack Sievert, and R. E. may well assume greater significance in #2240 with prior modifications and addi- Wagner. tions by Ken Simpson and Abbott & the future of the trade and the instru- For research input and critical comments ment. Beginning with a rich musical Notes Sieker. on earlier drafts of this paper, the author 14. 1995. Two-manual, 19-rank, electric background, often both instrumental gratefully acknowledges: Edward Ballantyne, 1. Coleberd, Robert E. Jr., “The Place of the Small Builder in the American Organ Industry,” and electro-pneumatic, St. Timothy THE DIAPASON, November 1966, pp. 44–45. Lutheran Church, Lakewood, California. 2. Coleberd, op. cit. 15. 1995. Two-manual, 12-rank, electro- TENTH ANNUAL 3. Jack M. Bethards, letter to author, November pneumatic, St. George’s Episcopal 16, 2006. Church, Riverside, California. Albert Schweitzer Organ Festival/USA 4. Rosales to author, January 4, 2007. 5. Goodwin, memorandum to author, Septem- Other work ber 15, 2006, p. 1. See also Uwe Pape, The Tracker North American Competition Organ Revival in America, Berlin, 1977, p. 418. The tonal finishing team of Steuart Good- 6. Leslie P. Spelman, known to his friends by his win and Wendell Ballantyne has done exten- middle name Pratt, was a native of Covert, Michi- sive work on organs in California, Georgia, Panel of Judges gan, who in six years’ study at Oberlin College, North Carolina, New York, Texas and Utah. High School Division 1922–1928, obtained three degrees: Bachelor of Steuart has worked on many case design Music, Bachelor of Arts, and Master of Arts in His- and voicing projects with Rosales Organ- tory of Music and Art, as well as the AGO Associate builders and Schoenstein & Co. For pho- certificate in his junior year. He began his teaching tographs and details visit FIRST PRIZE: $2,000 career in 1928 at Williams Woods College in Mis- Provided by Ahlborn - Galanti Organs souri, and in 1930 traveled to France for study with
28 THE DIAPASON New Organs
Johnson Organ Company, Inc., place, which included the removal of Fargo, North Dakota heavy curtains on the stage. Stained glass Levsen Organ Company, It was decided that the room’s aesthet- Voorhees Recital Hall, Jamestown windows were restored, and the Buffalo, Iowa ic and acoustic design would fully inte- College, Jamestown, North acoustics greatly improved. St. Paul’s Episcopal Church, grate the organ, which would be set to the Dakota The new organ consists of 30 stops and Atlanta, Georgia left of the altar to allow for greater move- This is the third pipe organ for 40 ranks fully encased across the balcony. Some have called St. Paul’s Episco- ment of congregants in the front. The Voorhees Recital Hall. The first was a The manual chests are all Johnson-made pal Church of Atlanta, Georgia, the organ would have 22 ranks and MIDI small tracker (builder unknown), and slider, with electro-pneumatic unit “Cathedral on Peyton Road.” Newcom- interface. Hard plaster walls along with the second was a three-manual Hill- chests. The manual divisions have ers may not realize the creation of its ceiling and quarry tiles on the floor would green-Lane from ca. 1956. The college schwimmer regulators. The console is of pipe organ is fully intertwined with the aid the acoustics. An array of large win- has long had an active organ depart- red oak with Carpathian elm burl, John- building’s history. dows directly behind the altar would ment, which included Susan Hegberg, son-made rosewood keys and pedal- The congregation, in existence for well allow those in attendance to see the dense William Kuhlman, and Davis Folkerts board. The stop knobs are of grenadilla. over a century, is the second largest Epis- green woods outside, with the circular among its instructors. The oak case has gold highlights with a copal church in the United States with a platforms of the pulpit, organ console, The musical arts have always played an basket weave screen of Chinese red. historically African-American congrega- and altar representing the Holy Trinity. important role at the college, an affiliate Installation was done by Lance E. John- tion. At one time worshiping above a But it wasn’t to be that easy. Funding of the Presbyterian Church. Negotiations son and his crew from the Fargo shop. drugstore, the burgeoning membership problems caused the organ to sit in Buf- for this instrument, which uses several Tonal finishing was by James Gruber and knew the importance of planning, so a falo for nearly two years before its instal- revoiced Hillgreen-Lane stops, began in Johnson voicer Mike Johnson. first-phase structure was built. It would lation. Once the instrument was in place, 1998 when it was learned that there The inaugural recital was played by become a fellowship hall once a new the first notes played in front of several would be a significant gift from the estate college organ instructor William Woj- sanctuary was created. A bequest of dozen members caused some tears of joy of the late William Schlossman, who nar. At the recital, Anna-Jane Schloss- $133,000 from the estate of the late Mrs. and relief. Although utilizing the Ameri- built the West Acres Shopping Center in man, widow of William Schlossman, was Alva Evans launched the project. can Classic tonal design, the unusually Fargo. Before the hall received its organ, recognized for her generous gift. Music has always been important to good acoustics allowed for some devia- a major renovation and upgrade took —Lance E. Johnson this church. Organist/choirmaster Dr. tions from standard voicing procedures Calvin Grimes, also on staff at More- that were received with wide approval. GREAT SWELL POSITIV PEDAL house College, knew the little 50-year- Frank Allan, Bishop of Atlanta, was 16v Quintaton 8v Flûte Bouchée 8v Holzgedackt 32v Untersatz (derived) old pipe organ would not be able to fill present at the dedication, symbolically 8v Open Diapason 8v Viol d’Gamba 4v Gemshorn 16v Principal 8v Spitzflute 8v Viol Celeste TC 4v Rohrflote 16v Bourdon a larger sanctuary, so he steered the pounding the door with his staff to her- 4v Octave 4v Prestant 2v Principal 16v Quintaton (Gt) church toward building a new pipe ald the entrance of the Reverend 1 4v Bourdon 4v Flûte à Fuseau 1 ⁄3v Quinte 8v Principal (ext) organ. Shortly after, Levsen Organ Edward Warner’s congregation. Atlanta 2 2 2 ⁄3v Twelfth 2 ⁄3v Nazard III Cymbal 8v Flauto Dolce (ext) Company of Buffalo, Iowa, received a Mayor Bill Campbell, local legislators, 2v Fifteenth 2v Flûte Conique 8v Krummhorn 4v Choralbass (ext) business reply card from St. Paul’s in the architect, builders, and Rodney 3 V Mixture 1 ⁄5v Tierce III Mixture response to a bulk mailing sent to the Levsen were also present. 8v Trumpet III Plein Jeu 16v Trombone (ext, Gt) Atlanta area. They were chosen to build Trey Clegg, current organist/choir- 16v Basson TC (ext) 8v Trompette (Sw) the new organ. The sanctuary was to be master, said although there are only 22 8v Trompette 4v Clarion (Sw) 8v Hautbois designed by architects Stanley, Love- ranks, the acoustics make it sound more 4v Clarion (ext) Stanley, PC, with continuous input from like 60. The church presents a regular Tremulant Levsen Organ Company. organ concert series and has five adult choirs, a teen choir, and two children’s choirs, all of which are beautifully sup- ported by this instrument. —Tamara Fudge, D.Mus. Moline, Illinois GREAT 8v Principal 8v Holzgedeckt 8v Dolcan 8v Erzähler Céleste (Swell) 4v Octave 4v Koppelflöte 2v Fifteenth IV Mixture 8v Trompette (Swell) SWELL 8v Rohrflöte 8v Erzähler 8v Erzähler Céleste 4v Gemshorn 4v Rohrflöte (ext) 2 2 ⁄3v Nazard 2v Blockflöte 3 1 ⁄5v Tierce III Mixture (prep) 8v Trompette 4v Oboe Tremolo PEDAL 16v Subbass 16v Lieblich Gedeckt (softwind) 2 10 ⁄3v Quintbass (32 notes) 8v Principal 8v Pommer (ext) 4v Choralbass 16v Trompette (ext) 8v Trompette (Swell) 4v Oboe (Swell)
APRIL, 2007 29 Cover feature
John-Paul Buzard Pipe Organ Builders, Champaign, Illinois, Buzard Opus 34 Opus 34 33 stops, 40 ranks Mt. Pleasant Lutheran Church GREAT (4w wind) (ELCA), Racine, Wisconsin 16v Lieblich Gedeckt 8v Open Diapason From the designer and builder 8v Flûte à Bibéron (wide chimneys) Did you know that the Jetsons are 8v Viola da Gamba parishioners of Mt. Pleasant Lutheran 4v Principal 4v Spire Flute Church, Racine, Wisconsin? You know 2 them: George, Jane (his wife), daughter 2 ⁄3v Nazard 2v Fifteenth Judy, and his boy, Elroy. Outside the 3 1 ⁄5v Tierce world of futuristic fiction, they must 1 1 ⁄3v Mixture IV have had an influence in the design of 8v Trompete this church building, which is locally Tremulant known as “The Space Ship Church.” Cymbalstern Built in 1975, it is a dish with an invert- 8v Festival Trumpet (Solo) ed saucer as its roof; large plate glass Great to Great 16v, UO, 4v windows surround its perimeter, filling Swell to Great 16v, 8v, 4v in the space at which the two join. Solo to Great 16v, 8v, 4v This building’s unique shape deter- SWELL (4w wind) mines how it is accessed and used— 8v Violin Diapason functionally and liturgically. Ahead of its 8v Stopped Diapason time in terms of accessibility, upon 8v Salicional entering at ground level, one enters the 8v Voix Celeste (gg) lower level fellowship areas and upper 4v Principal level worship area by a series of switch- 4v Harmonic Flute 2v Recorder back ramps that wind around the build- 2v Full Mixture IV ing’s diameter. Liturgically, this is a 16v Bassoon church in “three-quarter round,” which 8v Trompette presents its own challenges for commu- 8v Oboe nion and processional traffic flow. 4v Clarion The building’s shape also determines Tremulant its acoustical environment, and there- Buzard Opus 34 8v Festival Trumpet (Solo) fore the limits of a pipe organ’s physical Swell to Swell 16v, UO, 4v and tonal design. Consultant Scott Solo to Swell 8v Riedel guided the church in improving SOLO (4w wind) the acoustics and creating a better area 8v Harmonic Flute for music-making, by altering the shape 8v Flute Cœlestis II (Ludwigtone) of the walls facing the congregation, fill- 4v Open Flute ing in gaps between ceiling beams, and 8v Clarinet replacing the carpeting in the choir’s 8v Festival Trumpet (horizontal) seating area with hardwood flooring. Tremulant Chimes And, in fact, sound is now heard more Solo to Solo 16v, UO, 4v clearly and evenly through the room, Swell to Solo 16v, 8v, 4v especially in the outer ring of seating at the edge of the room’s diameter. But, PEDAL (4w wind) the remaining carpet and pew cover- 32v Subbass (1–12 digital) ings do their work too well, absorbing 32v Lieblich Gedeckt (1–12 digital) (Gt) bass frequencies. 16v Open Diapason (in façade from FFF) We were able to observe this phenom- 16v Bourdon (stoppered wood) 16v Gedeckt (Gt) enon clearly before the church’s former 8v Principal organ was removed. The 16v pedal sounds 8v Bass Flute (ext 16v) were weak in the church, but in the lower 8v Spire Flute level fellowship hall, the tone boomed to 4v Choral Bass (ext 8v) overtake normal conversation. 4v Open Flute (ext 16v) The organ chamber, while perfectly 16v Trombone sited across the front of the worship 16v Bassoon (Sw) area, is horizontal in nature, with a max- 8v Trumpet (ext 16v) v Mt. Pleasant Lutheran Church, Racine, Wisconsin 8v Festival Trumpet (Solo) imum ceiling height of 14 . Congrega- Great to Pedal 8v, 4v tional seating comes to within four feet Swell to Pedal 8v, 4v of the organ’s left side; the choral the organ sound smooth, balanced in the and the chamber developed by moving Solo to Pedal 8v, 4v singers are about eight feet from the tonal spectrum, and consonant with our offices and closets previously flanking right side. The wide layout, and very artistic style. To have achieved the bal- the former instrument. The chamber present location of the organ, demand- ance it has—whether one is sitting next space itself was asymmetrical as regis- ed that the design be practical, and to the Great Mixture, or in the outside tered to the centrally located sculpture. John-Paul Buzard Pipe Organ Builders required a very gentle touch in its scal- ring—is a testament to the organ’s solid We decided to design the organ’s 112 W. Hill St., Champaign, IL 61820 ing and voicing. Since the pipes could construction, painstaking attention to façade in three sections, not only to ph: 800/397-3103; fax: 217/352-1981 not be elevated above the congrega- scaling, and countless hours of listening emphasize the Trinitarian symbolism, [email protected] tion’s heads, the sound is produced and adjusting the sounds in the church. but to give us some practical construc- www.buzardorgans.com directly at the level of people’s ears, Our head voicer, Brian Davis, was pro- tional flexibility in reconciling the many requiring very refined voicing. The moted to the position of tonal director as dimensional variables. Even though enclosed accompanimental divisions of a result of this organ’s success in the face everything was accurately constructed the organ needed to be located to the of such overwhelming challenges. in the shop to careful measurements right, nearer the choir, which meant The visual design’s “prime directives” taken once the organ chamber was con- that the Great needed to be on the left. were to bring order to random asymme- structed, we still needed to do more People on the left side of the organ try, lead the eye toward the center of woodworking on-site than we would would be only four feet away from the the worship area, emphasize what little have liked, or than other situations have Great Mixture. Oh, yes, there were also verticality the space actually has, and ever required. four steel roof support columns in the give a dignified prominence to a steel The center section, being behind the organ chamber, which could not be sculpture in front of the organ—the flat-black steel sculpture, needed some moved, and had to be worked around. base of the church’s three-bladed visual grounding, but not heaviness. The Those of you who have followed our steeple, which pierces the roof and former organ was basically dark, with work, or played our instruments, know ascends to a needle point in the sky. lots of black grille-cloth, which made the that our organs have a smooth, warm, The three arms of the steeple are of steel sculpture disappear. We therefore pervading, and significantly grand tone. unequal width, connected by horizontal displayed the centrally located large They can be bright when they need to welded rods, and form a sculpture in the wood pipes in a light, natural finish in be, but the various stops are not inher- nature of a cross. Original descriptions the center section, with the horizontal ently so. (The last thing we want to do is of the sculpture allude to the Trinitarian bright polished copper reed resonators voice the high pitches in the mixtures to symbolism of its three blades. The organ wrapping themselves around the sculp- be bright!) Our organs are not crowned chamber is located immediately behind ture from above and behind. This cen- by high-pitched mixture-work (as in the sculpture, the center portion curved tral display is symmetrical, and acts as a neo-classic organs), but by the heroic in the outline of the stone font, the sides perfect backdrop to gently soften the blend that results from mixtures and on a slightly reverse curve as the cham- tension created by the wide-versus-nar- reeds singing together, reinforcing uni- ber returns to the side walls. Aside from row blades of the sculpture in front. The son pitch. In the case of this church, we the planned asymmetry of the steel low octave of the 8v Pedal Principal needed to fill the entire building (base- sculpture, the exact dimensions and flanks this display of the wood pipes, the ment included) with bass frequencies, precise placement of the organ chamber pipes being mounted on toeboards that and gradually decrease the intensity of behind the sculpture could not be ascer- follow the curve of the font, to act as a tone as the pitches rose, in order to have tained until the old organ was removed transition to the façade’s side elements. Façade and steel sculpture
30 THE DIAPASON View from the console
room. The largest Pedal Principal pipes inside of an SUV!” we could fit in the façade are from 16v Fortunately, like any good Lutheran, FFF, which sit on the floor, to break the I put my trust in God’s abiding grace, horizontal line of the sill and challenge and returned to Mt. Pleasant as their the height of the central steel sculpture. organist and director of music to discov- As the compass of this stop ascends, the er the beauty of this building. A ribbon smaller pipes are racked up on the sill, of windows keeps the outside world in but the mouth line forms one continu- plain sight, and the roof line surrounds ous rising arch, leading the eye inward. the building with a crown of thorns. The Subtle touches of pipe spacing from the triune tower rises up from the baptismal edges of the upright casework members font, punctuating this architectural were added to subtly influence one’s statement, which has served as the viewing of the “symmetrically asymmet- church’s very best evangelism tool since rical organ.” its completion 30 years ago! The tonal design of this instrument is The church’s former small organ had fairly typical of what we do, with the been assembled in an ad hoc manner exception of the four-stop Solo Organ, through the years, and suffered from which is at home on the bottom manual the oppressive acoustical environment Façade arched outer flats keyboard. The Great, Swell, and Pedal and poor chamber layout. With the able are full and well developed, consonant guidance of Scott Riedel and Associates, with our style. The Solo offers some the church crafted a plan to remodel the evocative coloristic sounds and the flex- sanctuary, double its reverberation ibility of a third keyboard in a situation time, and replace the aging organ. The in which there was neither room nor organ committee considered many fine money for a full Choir Organ. Usually builders. John-Paul Buzard’s warmth of our organs’ solo reeds are Tubas. But, in tone, quality of workmanship, and, to this close acoustic, we were extremely quote the Senior Pastor Stephen concerned that the high volume, located Samuelson, “bang for the buck,” all con- so close to the listeners, would drive tributed to the church’s final selection them all out onto Green Bay Road and of his firm. us out of town on a rail! We therefore This unique American church opted to make these Trombas, on lower required an equally unique American pressure with slightly more open shal- organbuilder. John-Paul Buzard and his lots for a relatively dark tone, but at a team tackled the church’s twin chal- solo volume in balance with the rest of lenges of odd architecture and unforgiv- the organ. The Great 8v Trumpet is truly ing acoustics with great aplomb. In the a luxury. This Trumpet is a beautifully process they demonstrated that the best blending chorus reed and also very use- organbuilders, particularly for American ful for solo work. The Swell reed bat- churches, need a flexible approach to fit tery, though, is what’s worth writing a wide range of applications. From high home about! Here’s the power in the gothic architecture with grand acoustics organ, beautifully tailored for its uses in to restrained “prairie style” architecture a wide variety of contexts, but it is never with limited acoustics, John-Paul too loud in the room. The Swell 16v Bas- Buzard has adapted and delivered stun- soon, which plays in the Pedal as well, ning results while maintaining his tonal perfectly balances not only the Swell style and uncompromising quality. battery, but also the Great full chorus Opus 34, the result of three years’ for those many times when it is used as careful planning and execution, has a “pointed” pedal reed and the darker, both matched and enhanced the sanctu- heavier Trombone would be too much. ary’s architectural style. More impor- It has been a pleasure to work with tantly, it has brought an entirely new the people of Mt. Pleasant Lutheran dynamic to the worship life of the con- Church, and consultant Scott Riedel, on gregation. With a tonal scheme based this new instrument. Pastor Stephen on a wide array of 8v pitches, the organ Samuelson, music director Joshua fully supports the congregation’s singing Brown, and the organ committee fell in and easily fills the room with sound. The love with our instruments after hearing two complete principal choruses allow the organ we built at St. David’s Episco- the organ to lead congregations of vary- pal Church, Glenview, Illinois. Their ing sizes, from 10 to 600. The wide vision for how the new organ would selection of reed and flute stops offers transform their unique worship space ample color and variety for responding was inspiring. It was our privilege to be to hymn texts and playing repertoire. given the challenges and create some- The organ was first played for wor- thing truly beautiful. ship on Reformation Sunday 2006, and —John-Paul Buzard Mary Preston will play the inaugural recital this month. I am grateful to all From the organist and director of of the Buzard staff who worked at a Organ and piano music strenuous pace to deliver and install Like any good Lutheran, I must start our organ, and to Scott Riedel for his In order to provide motion, rhythm, the organ, so we had to hide the chests with a confession. Five years ago, when insight and guidance throughout the and verticality to this horizontal instru- and reservoirs behind them with black I pulled up to Mt. Pleasant Lutheran project. Finally, a special thanks to the ment, the left and right sides feature the felt to eliminate potential visual confu- Church for my first interview, I staff, worship and music and organ largest of the polished tin Principal sion. The pipes on the outside edges are thought “Who designed this thing, committees, and members of Mt. pipes, mounted on casework with a toe- supported by arched toeboards, rising Frank Lloyd Wrong? It embodies dis- Pleasant Lutheran Church who had the board “sill” lower than that of the center above the façade’s sill (or impost if this appointing American church architec- long-term vision required to undertake section. The façade pipes’ feet are sig- were an organ case), which we enam- ture with its wide squat room, plenty of this project. nificantly lower than the windchests in eled blue to relate to other colors in the carpet and more wasted space than the —Joshua Brown
APRIL, 2007 31 Iowa State University Keyboard Explo- The Fellowship of United Methodists in Summer Institutes rations 2007 Music & Worship Arts (FUMMWA) June 25–30, Ames, Iowa. National Convocation Workshops & Conferences Explorations of carillon, harpsichord, pipe July 16–19, St. Louis, Missouri. organ, and piano. William David, Paula For- Michael Burkhardt, Felix Hell, Robert Albert Schweitzer Organ Forum Sacred Music Colloquium 2007 rest, Michael Giles, Tin-Shi Tam, May Tsao- Ray, Arnold Sherman, others. Lim, Lynn Zeigler. June 1–3, Königsfeld, Germany. June 19–24, Catholic University of America Contact:
32 THE DIAPASON South German Organ Academy 30th International Organ Week August 2–5, Ottobeuren & Weingarten, Ger- September 9–17, St. Andreas-Kirche, Bert Adams, FAGO many. Korschenbroich, Germany. PATRICK ALLEN Franz Raml; classes, lessons, recitals. Naji Hakim, Ewald Kooiman, Wolfgang Park Ridge Presbyterian Church Contact:
Joan Lippincott; Proclamation Presbyterian, Bryn Mawr, PA 8 pm This calendar runs from the 15th of the month +Paul Davis; Christ Lutheran, Baltimore, MD of issue through the following month. The deadline 7:30 pm is the first of the preceding month (Jan. 1 for Mark King; St. John’s Episcopal, Hagers- Feb. issue). All events are assumed to be organ town, MD 7:30 pm recitals unless otherwise indicated and are grouped David Hurd; Christ & St. Luke’s Episcopal, within each date north-south and east-west. •=AGO Norfolk, VA 8 pm chapter event, • •=RCCO centre event, +=new R. Monty Bennett, with Charlotte Symphony; organ dedication, ++= OHS event. Friendship Missionary Baptist Church, Char- Information cannot be accepted unless it spec- lotte, NC 8 pm ifies artist name, date, location, and hour in writ- André Lash; Christ United Methodist, ing. Multiple listings should be in chronological Greensboro, NC 7:30 pm order; please do not send duplicate listings. THE David Higgs; St. Joseph Cathedral, Colum- Dean W. Billmeyer DIAPASON regrets that it cannot assume responsi- bus, OH 7:30 pm bility for the accuracy of calendar entries. Todd Wilson, with the Toledo Symphony; University of Minnesota Peristyle Theater, Toledo, OH 8 pm Barbara MacGregor, with trumpet; Holy Trin- Minneapolis 55455 • [email protected] ity Lutheran, Akron, OH 8 pm Ullrich Böhme; Berea United Methodist, UNITED STATES Berea, OH 8 pm East of the Mississippi John Scott; Christ Church Cathedral, Nashville, TN 8 pm 15 APRIL THOMAS BROWN DAVID CHALMERS Fred Jodry, with Schola Cantorum of Boston; 21 APRIL ONCERT RGANIST Christ Church, Westerly, RI 4 pm UNIVERSITY C O William Ness; First Baptist, Worcester, MA CONCORA; St. John’s Episcopal, West Hart- PRESBYTERIAN CHURCH LORIÆ EI ANTORES 7:30 pm G D C ford, CT 4 pm Ryan Jackson; Christ Church Episcopal, CHAPEL HILL, NORTH CAROLINA RLEANS David Chalmers; Cathedral of St. Patrick, O , MA New Haven, CT 5 pm New York, NY 4:45 pm Jieun Newland; Woolsey Hall, Yale Universi- Harold Stover; St. Thomas Church Fifth ty, New Haven, CT 8 pm Avenue, New York, NY 5:15 pm Joan Lippincott, workshop; Proclamation Singing Boys of Pennsylvania; St. Peter Presbyterian, Bryn Mawr, PA 10 am STEVEN EGLER Lutheran, Allentown, PA 4 pm Bach, Mass in B Minor; Severance Hall, David Higgs; Shadyside Presbyterian, Pitts- DELBERT DISSELHORST Central Michigan University Cleveland, OH 2:30 pm burgh, PA 4 pm First Presbyterian Church Todd Wilson, with the Toledo Symphony; Thierry Escaich; Basilica of the National A. MUS. D. Peristyle Theater, Toledo, OH 8 pm Mt. Pleasant, Michigan 48858 Shrine, Washington, DC, accompanist at Mass, UNIVERSITY OF IOWA Choral concert; Rockefeller Chapel, Chicago, SOLO Shelly-Egler 12 noon; recital, 7 pm IL 8 pm RECITALS Flute and Organ Duo Kent Tritle; Greene Memorial United Methodist, Roanoke, VA 4 pm 22 APRIL Parry, Blest Pair of Sirens; Church of the Stephen Cook; St. Thomas Church Fifth Covenant, Cleveland, OH 10 am A Professional Card in Avenue, New York, NY 5:15 pm Todd Wilson; Washington Avenue Christian JOHN FENSTERMAKER Vernon Williams; Christ Church, New Church, Elyria, OH 3 pm THE DIAPASON Brunswick, NJ 6:30 pm Anders Paulsson; Masonic Auditorium, For rates and digital specifications, Carol Williams; Heinz Memorial Chapel, TRINITY-BY-THE-COVE Cleveland, OH 3 pm Pittsburgh, PA 4 pm contact Jerome Butera Anthony & Beard; Hyde Park Community Alan Morrison; Media Presbyterian, Media, 847/391-1045 United Methodist, Cincinnati, OH 4 pm NAPLES, FLORIDA PA 7 pm [email protected] Georgia Festival Chorus; Peachtree Road Bruckner, Requiem; First Presbyterian, United Methodist, Atlanta, GA 5 pm Lynchburg, VA 4 pm Paul Jacobs; St. Mark’s Episcopal, Grand American Brass Quintet; Grace Episcopal, Rapids, MI 8 pm Organist / Pianist The Plains, VA 5 pm ELLEN KURTZ LeMoyne-Owen College Concert Choir; Sec- Todd Wilson; Westwood First Presbyterian, ond Congregational, Memphis, TN 4 pm Cincinnati, OH 3 pm Michael Gailit Sally Cherrington Beggs; Cathedral of the Robert Moncrief; Fairmount Presbyterian, FUNK [email protected] Holy Angels, Gary, IN 3 pm Cleveland Heights, OH 4 pm http://www.gailit.at Martin Jean; Frank Moody Music Building, M.Mus., A.A.G.O. Paul Jacobs; First Congregational, Traverse St. Augustine’s Church Tuscaloosa, AL 2 pm City, MI 4 pm Concord, California Conservatory / University (Vienna) Rutter, Requiem; First Presbyterian, Arlington Scott Montgomery; St. Gregory’s Episcopal, Heights, IL 4 pm Muskegon, MI 4 pm Lorenz Maycher, with soprano; Christ Craig Cramer; St. Paul Lutheran, Michigan Church Cathedral, New Orleans, LA 4 pm City, IN 4 pm III +Mary Preston; Mt. Pleasant Lutheran, CHRISTOPHER John M. Gearhart 16 APRIL Racine, WI 4 pm B.A., M.Mus. Choral concert; Battell Chapel, Yale Universi- Chicago Chorale; Lake Forest College, Lake ty, New Haven, CT 5 pm GARVEN St. John the Divine (Episcopal) Forest, IL 3 pm Alistair Nelson; Woolsey Hall, Yale Universi- Organist & Music Director 2450 River Oaks Blvd. •Erik Suter; Bethany Lutheran, Crystal Lake, ty, New Haven, CT 8 pm Church of the Good Samaritan IL 4 pm Houston, TX 77019 Eric Lebrun; Brick Presbyterian, New York, Paoli, Pennsylvania Merlin Lehman; St. Luke’s Episcopal, NY 8 pm Evanston, IL 4 pm Paul Jacobs, workshop; Trinity Lutheran, Gospel Choir concert; Lutheran School of Grand Rapids, MI 8 pm Theology, Chicago, IL 4 pm David Higgs; Benson Great Hall, Bethel Uni- 17 APRIL ROBERT GLASGOW Antone Godding Craig Cramer; Reyes Organ Hall, University versity, St. Paul, MN 4 pm of Notre Dame, South Bend, IN 8 pm PROFESSOR EMERITUS Nichols Hills 23 APRIL Jean Krinke; Church of St. Louis, King of The University of Michigan United Methodist Church France, St. Paul, MN 12:35 pm Thomas Baugh; Christ Episcopal, Roanoke, Thierry Escaich; Chapel, University of St. VA 7:30 pm Ann Arbor Oklahoma City Thomas, St. Paul, MN 8:15 pm Margaret Wilson; Elliott Chapel, The Presby- terian Homes, Evanston, IL 1:30 pm 18 APRIL John Butt; House of Hope, St. Paul, MN 4 pm LORRAINE BRUGH, Ph.D. Sonia Kim; Christ Church Episcopal, New Haven, CT 12:45 pm 24 APRIL A two-inch Gerre Hancock; St. Bartholomew’s, New Yale Schola Cantorum; Beinecke Rare Book York, NY 7:30 pm Library, New Haven, CT 5:15 pm Associate Professor Professional Card Marek Kudlicki; Cathedral Church of St. University Organist 19 APRIL Luke, Orlando, FL 7:30 pm Russell Weismann; Church of the Holy Fam- Tom Ferry; Church of St. Louis, King of in THE DIAPASON ily, New York, NY 12:45 pm France, St. Paul, MN 12:35 pm Valparaiso University Valparaiso, IN For information on rates and 20 APRIL 25 APRIL www.valpo.edu specifications, contact: Ray Cornils; Trinity Church, Boston, MA Zachary Hemenway; Woolsey Hall, Yale 12:15 pm University, New Haven, CT 12:30 pm Jerome Butera Vaughn Mauren; Trinity College Chapel, K. Scott Warren; St. Ignatius Loyola, New 219-464-5084 Hartford, CT 7:30 pm York, NY 7 pm [email protected] Joan Lippincott, workshop; Proclamation Vincent Edwards; St. Bartholomew’s, New [email protected] 847/391-1045 Presbyterian, Bryn Mawr, PA 11 am York, NY 7:30 pm
APRIL, 2007 33 Renée Anne Louprette, with choir and orches- Russell Weismann; Woolsey Hall, Yale Uni- tra; St. Ignatius Loyola, New York, NY 8 pm versity, New Haven, CT 8 pm JAMES HAMMANN WILL HEADLEE Aaron David Miller; First Presbyterian, Lock- DMA-AAGO 26 APRIL port, NY 7 pm 1650 James Street Felix Hell, complete Bach works; Wesley Alan Morrison, with brass; Kimmel Center, University of New Orleans Syracuse, NY 13203-2816 United Methodist, Bethlehem, PA 7:30 pm Philadelphia, PA 11 am Choral Evensong; St. Paul’s Episcopal, Chapel of the Holy Comforter (315) 471-8451 27 APRIL Doylestown, PA 6 pm Elaine Dykstra; Trinity Church, Boston, MA Choral concert; Emmanuel Church, Chester- 12:15 pm town, MD 7:30 pm Joseph Gramley, percussion; Immanuel Gerre Hancock, improvisation workshop; MICHELE JOHNS Congregational, Hartford, CT 7:30 pm Church of the Covenant, Cleveland, OH 1:30 Harry H. Huber Felix Hell, complete Bach works; Wesley A.Mus.D pm D. Mus. United Methodist, Bethlehem, PA 6 pm, 8:15 pm Ensemble Voltaire; Christ Church Cathedral, Organ — Harpsichord John Scott; St. Ann’s, Washington, DC 8 pm Indianapolis, IN 7:30 pm Kansas Wesleyan University, Emeritus Henderson, From Darkness to Light; St. University Methodist Church The University of Michigan James Episcopal, Birmingham, MI 7:30 pm 6 MAY Marek Kudlicki; Cathedral of the Assump- SALINA, KANSAS School of Music Ian Watson; Wesley United Methodist, tion, Louisville, KY 7:30 pm Worcester, MA 12:15 pm Charles Kennedy; Cathedral Church of the Choral Evensong; Trinity Episcopal, Hartford, Advent, Birmingham, AL 12:30 pm CT 5 pm Haydn, Mass in Time of War; Cathedral of St. John Scott; St. Thomas Church Fifth John the Evangelist, Milwaukee, WI 7:30 pm Brian Jones KIM R. KASLING Avenue, New York, NY 5:15 pm Brian Jones Bradley Hunter Welch; Shryock Auditorium, D.M.A. Ken Cowan; Trinity Cathedral, Trenton, NJ 3 pm Carbondale, IL 7:30 pm Director of Music Emeritus Giorgio Parolini; Christ Church, New St. John’s Univeristy Brunswick, NJ 6:30 pm TRINITY CHURCH 28 APRIL Lisa Lonie, carilllon; Longwood Gardens, Collegeville, MN 56321 Enrico Contenti; Battell Chapel, Yale Univer- BOSTON Kennett Square, PA 3 pm sity, New Haven, CT 1 pm Britten, War Requiem; Woolsey Hall, Yale The American Boychoir; Good Shepherd University, New Haven, CT 8 pm Lutheran, Southampton, PA 3 pm Choral concert; Church of St. Joseph, Cantate; First Presbyterian, Lynchburg, VA 3 pm JAMES KIBBIE DAVID K. LAMB, D.MUS. Bronxville, NY 7 pm Cathedral Choir; Cathedral Church of the John Scott; St. Thomas Church Fifth Advent, Birmingham, AL 4 pm The University of Michigan Director of Music/Organist Avenue, New York, NY 4 pm Gerre Hancock, conducting the Covenant Choir; Ann Arbor, MI 48109-2085 First United Methodist Church Felix Hell, complete Bach works; Wesley Unit- Church of the Covenant, Cleveland, OH 4 pm 734-764-1591 FAX: 734-763-5097 Columbus, Indiana ed Methodist, Bethlehem, PA 1 pm, 4 pm, 8 pm Simon Preston; St. Paul’s United Methodist, 812/372-2851 Keith Reas; Franciscan Monastery, Wash- Rochester, MI 4:30 pm email: [email protected] ington, DC 12 noon Choral concert; Christ Church Cathedral, Indi- anapolis, IN 4:30 pm 29 APRIL Derek Nickels; St. Luke’s Episcopal, Paul Bisaccia, piano; First Congregational, Evanston, IL 5 pm, following 4 pm Evensong David Lowry BETTY LOUISE LUMBY East Hartford, CT 2 pm Choral Evensong; St. James Episcopal Gospel music concert; South Church, New Cathedral, Chicago, IL 4 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO Britain, CT 4 pm Paul Jacobs; Emmanuel Episcopal, 1512 BLANDING STREET, COLUMBIA, SC 29201 Ken Cowan; St. Paul’s on the Green, Nor- LaGrange, IL 4:30 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO walk, CT 4 pm 7 MAY ROCK HILL, SC 29733 Robert Moncrief; Rye Presbyterian, Rye, NY MONTEVALLO, AL 35115 4 pm Monteverdi, Vespers (1610); Christ Church John Sittard; First Presbyterian, Ithaca, NY 4 Cathedral, Indianapolis, IN 7:30 pm pm Arthur LaMirande; Cathedral of St. Patrick, 8 MAY New York, NY 4:45 pm Trinity Choir; Trinity Church, New York, NY 6 pm Naomi Shiga; St. Thomas Church Fifth Paul Jacobs; All Saints Episcopal, Atlanta, JAMES R. METZLER Avenue, New York, NY 5:15 pm GA 8 pm Michael Diorio; Christ Church, New Jeffrey Patry; Church of St. Louis, King of PARK CONGREGATIONAL CHURCH Brunswick, NJ 6:30 pm France, St. Paul, MN 12:35 pm GRAND RAPIDS, MICHIGAN Felix Hell, complete Bach works; Wesley United Methodist, Bethlehem, PA 2 pm, 5 pm, 9 MAY 8:15 pm Daniel Moriarty; St. Bartholomew’s, New Joseph Gramley, percussion; First Presby- York, NY 7:30 pm terian, Germantown, Philadelphia, PA 3 pm Cj Sambach; West Lawn United Methodist, Paul Jacobs; Lutheran Church of the Good West Lawn, PA 4 pm (INformance), 7 pm William H. Murray Shepherd, Lancaster, PA 4 pm Nick Schmelter; Cathedral of St. John the A.S.C.A.P. John Weaver; Bomberger Hall, Ursinus Col- Evangelist, Milwaukee, WI 12:15 pm FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. lege, Collegeville, PA 4 pm Paul Skevington, with trumpet; St. Luke 10 MAY 345 SADDLE LAKE DRIVE Catholic Church, McLean, VA 4 pm ROSWELL-ATLANTA, GEORGIA 30076 Fort Smith, Arkansas Andrew Henderson & Renée Anne (770) 594-0949 Kevin Kwan; Church of the Covenant, Cleve- Louprette, organ, piano and harpsichord, with land, OH 4 pm dancers; Church of St. Ignatius Loyola, New Jeremy David Tarrant; Cathedral Church of York, NY 7:30 pm St. Paul, Detroit, MI 4 pm MARILYN MASON Bradley Hunter Welch; Irvington United CHAIRMAN, DEPARTMENT OF ORGAN 11 MAY Methodist, Indianapolis, IN 4 pm Jeremy Bruns; Trinity Church, Boston, MA UNIVERSITY OF MICHIGAN Fauré, Requiem; First United Methodist, 12:15 pm Columbus, IN 9 am ANN ARBOR Cj Sambach; United Methodist Church; John Sherer; St. Chrysostom’s, Chicago, IL “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played Saratoga Springs, NY 7 pm INformance it with awesome technique and a thrilling command of its daring writing.” 2:30 pm The Alleluia Ringers; Concordia University The American Organist, 1980 12 MAY Wisconsin, Mequon, WI 3:30 pm John Scott; St. Thomas Church Fifth Avenue, New York, NY 4 pm 30 APRIL Donald Sutherland; Franciscan Monastery, Felix Hell, complete Bach works; Wesley Mary Mozelle United Methodist, Bethlehem, PA 7:30 pm Washington, DC 12 noon LARRY PALMER Simon Preston; Spivey Hall, Clayton State Associate Organist 1 MAY University, Morrow, GA 8:15 pm Professor of Mary Louise Peeples; St. Paul’s Episcopal, The National Winston-Salem, NC 7 pm 13 MAY Harpsichord and Organ Craig Cramer; Reyes Organ Hall, University Handbell concert; Church of St. Joseph, Presbyterian Church Bronxville, NY 3 pm Washington, DC of Notre Dame, South Bend, IN 8 pm Meadows School of the Arts Judy Campen; Church of St. Louis, King of Philip Baker; Cathedral of St. Patrick, New France, St. Paul, MN 12:35 pm York, NY 4:45 pm 703.898.9609 Giorgio Parolini; St. Thomas Church Fifth SOUTHERN METHODIST UNIVERSITY www.PipeOrganPro.com 2 MAY Avenue, New York, NY 5:15 pm Gwendolyn Toth; Christ Church, New Dallas, Texas 75275 Parker Kitterman; Woolsey Hall, Yale Uni- “The Sights and Sounds versity, New Haven, CT 12:30 pm Brunswick, NJ 6:30 pm of the Pipe Organ” Anthony Newman; St. Bartholomew’s, New Chanson; St. James Episcopal, Lancaster, Musical Heritage Society recordings York, NY 7:30 pm PA 7 pm Simon Preston; St. Paul’s Episcopal, Wil- Aaron David Miller; Monroe Street mington, NC 7:30 pm Methodist, Toledo, OH 7 pm Atlanta Baroque Orchestra; Peachtree Road 3 MAY United Methodist, Atlanta, GA 5 pm Taverner, Missa Gloria Tibi Trinitas; Church David Ouzts, with flute; Church of the Holy A four-inch of St. Luke in the Fields, New York, NY 8 pm Communion, Memphis, TN 3 pm Choral concert; St. Mary’s College, South Professional Card Bend, IN 7:30 pm 15 MAY Ray Cornils, youth concert; Portland City in THE DIAPASON 4 MAY Hall, Portland, ME 10:30 am Rosalind Mohnsen; Trinity Church, Boston, Andrew Scanlon; Trinity Episcopal, Haver- MA 12:15 pm hill, MA 7:30 pm No additional charge for photos Paul Jacobs; Brevard College, Brevard, NC Thomas Murray, masterclass; Central Syna- 7:30 pm gogue, New York, NY 10 am; recital 12 noon For information on rates and specifications, contact Jack Mitchener; St. Michael’s Episcopal, Frances Nobert; Church of St. Louis, King of Raleigh, NC 8 pm France, St. Paul, MN 12:35 pm Jerome Butera, 847/391-1045 5 MAY 16 MAY [email protected] Jessica French; Battell Chapel, Yale Univer- William Trafka, with brass; St. sity, New Haven, CT 2 pm Bartholomew’s, New York, NY 7:30 pm
34 THE DIAPASON Choral Evensong; Emmanuel Church, 26 MAY Chestertown, MD 6 pm John Scott; St. Thomas Church Fifth Choral Evensong; Church of the Holy Com- Avenue, New York, NY 4 pm LEON NELSON DOUGLAS REED munion, Memphis, TN 5:30 pm Scott Hanoian; Franciscan Monastery, FIRST PRESBYTERIAN CHURCH Washington, DC 12 noon ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE 17 MAY Singing Boys of Pennsylvania; St. Stephen 27 MAY NORTH PARK UNIVERSITY EVANSVILLE, INDIANA Catholic Church, Allentown, PA 7 pm Kimberly Hess; Cathedral of St. Patrick, New CHICAGO, IL 60625 Bach, Cantata 128, St. Lorenz Lutheran, York, NY 4:45 pm Frankenmuth, MI 7 pm Andrew Moore; Christ Church, New Paul Bisaccia, piano; St. Paul’s Episcopal, Brunswick, NJ 6:30 pm Chattanooga, TN 7 pm Bach, Cantata 108; St. Luke Church, Chica- STEPHEN G. SCHAEFFER go, IL 10:30 am ROBERT L. 18 MAY D.M.A. Patrick Hawkins; Trinity Church, Boston, MA 30 MAY 12:15 pm The Cathedral Church SIMPSON St. Bartholomew’s Boy & Girl Choristers; St. Christ Church Cathedral •Wayne Peterson, AGO Guild service; First Bartholomew’s, New York, NY 7:30 pm of the Advent 1117 Texas Avenue Presbyterian, Jeffersonville, IN 7 pm John Scott; St. Mary Episcopal, Richmond, Birmingham, Alabama 35203 Houston, Texas 77002 Scott Montgomery; Westminster Presbyter- VA 7:30 pm ian, Peoria, IL 7:30 pm
19 MAY UNITED STATES David Wagner DMA John Scott; St. Thomas Church Fifth West of the Mississippi Avenue, New York, NY 4 pm Joe Utterback Madonna University Three Choir Festival; Rockefeller Chapel, 15 APRIL COMMISSIONS & CONCERTS Livonia, Michigan Chicago, IL 8 pm Raymond Johnston; St. Mark’s Episcopal KMZT-FM Cathedral, Minneapolis, MN 4 pm 732 . 747 . 5227 Los Angeles, California 20 MAY Ty Woodward; American Lutheran Church, Dvorák, Requiem; Kent Hall, Westerly, RI 4 [email protected] Prescott, AZ 3:30 pm pm, 6:30 pm Brent Hylton; Pinnacle Presbyterian, Scotts- The American Boychoir; St. John’s Episcopal, dale, AZ 4 pm Essex, CT 4 pm Christoph Tietze; Cathedral of St. Mary of SALLY SLADE WARNER, AAGO, ChM CONCORA; Church of St. Thomas the Apos- the Assumption, San Francisco, CA 3:30 pm tle, West Hartford, CT 7:30 pm Carillonneur ARL ATSON Maxine Thevenot; Grace Cathedral, San K W David Jackson; First Presbyterian, Ithaca, Francisco, CA 4 pm NY 4 pm St. Stephen’s Church, Cohasset, MA Carol Williams; Balboa Park, San Diego, CA ST. RAYMOND’S CHURCH Huff, Requiem; Church of St. Joseph, Phillips Academy, Andover, MA 2 pm Bronxville, NY 3 pm Recitals PARKCHESTER Jeremy Bruns; St. Thomas Church Fifth 16 APRIL Avenue, New York, NY 5:15 pm Alison Luedecke, with Millennia Too!; All John Walker; Church of the Immaculate Con- ception, Montclair, NJ 4 pm Souls Episcopal, Point Loma, CA 7:30 pm A Professional Card in Patrick Hawkins; Christ Church, New Brunswick, NJ 6:30 pm 19 APRIL Cherie Wescott THE DIAPASON Chanticleer; Cathedral Basilica of St. Louis, Janet Tebbel, carilllon; Longwood Gardens, Concerts • Masterclasses • Coaching For rates and digital specifications, Kennett Square, PA 3 pm St. Louis, MO 8 pm contact Jerome Butera Brahms, A German Requiem; Shadyside 405/942-3958 20 APRIL 847/391-1045 Presbyterian, Pittsburgh, PA 4 pm e-mail: [email protected] [email protected] David Spicer; St. Paul’s Lutheran, Ardmore, Gillian Weir; The Mormon Tabernacle, Salt PA 7 pm Lake City, UT 7:30 pm Mendelssohn, Elijah; Peachtree Road United Frederick Swann; First Church of Christ, Sci- Methodist, Atlanta, GA 7 pm entist, San Diego, CA 8 pm Huw Lewis; Asbury United Methodist, Delaware, OH 4 pm 21 APRIL Davis Wortman RONALD WYATT Duruflé, Requiem; St. Mary’s College, South Larry Smith, masterclass; St. Olaf College, Bend, IN 7:30 pm Northfield, MN 9 am ST. JAMES’ CHURCH Trinity Church The Callipygian Players; St. Chrysostom’s, The American Boychoir; First Presbyterian, Galveston Chicago IL 2:30 pm Tyler, TX 7 pm NEW YORK Ken Cowan; LDS Conference Center, Salt 21 MAY Lake City, UT 7:30 pm David Christiansen; Elliott Chapel, The Presbyterian Homes, Evanston, IL 1:30 pm 22 APRIL David Higgs; Hennepin Avenue United 22 MAY Methodist, Minneapolis, MN 4 pm Marcia van Oyen mvanoyen.com Alan Morrison, with brass; Verizon Hall, The John Ferguson & Catherine Rodland, with Kimmel Center, Philadelphia, PA 11 am band; St. Olaf College, Northfield, MN 7:30 pm Brad Althoff; Church of St. Louis, King of Carlene Neihart; St. Mary’s Episcopal, France, St. Paul, MN 12:35 pm Kansas City, MO 2 pm Plymouth First United Methodist Church, Plymouth, Michigan The American Boychoir; Woodway United 23 MAY Methodist, Waco, TX 4 pm James Litton; St. Bartholomew’s, New York, Daniel Goltz & Kraig Scott; St. Mark’s NY 7:30 pm Cathedral, Seattle, WA 2 pm Youth Choir Celebration; Episcopal Church of CHARLES DODSLEY WALKER, FAGO 25 MAY the Resurrection, Eugene, OR 10:30 am Joanna Elliott; Trinity Church, Boston, MA Jeremy Filsell; Los Altos United Methodist, TRINITY EPISCOPAL CHURCH 12:15 pm Los Altos, CA 4 pm BOX 400 SOUTHPORT, CT 06890
Cathedral Church of St. John SYLVIE POIRIER Albuquerque, New Mexico www.stjohnsabq.org PHILIP CROZIER 505-247-1581 ORGAN DUO A #0714 - Arising to the Day…musical meditations on the theme of 3355 Queen Mary Road, Apt 424 P Easter resurrection. Montreal, H3V 1A5, P. Quebec R Canada I #0715 - Those Gospel Preludes…composer William Bolcom (514) 739-8696 provides glimpses into the creation of these beguiling re- L Fax: (514) 739-4752 Iain Quinn Maxine Thevenot imaginings of familiar American tunes. Director of Associate Organist- [email protected] Cathedral Music Choir Director #0716 - From “C” to Shining “C”…works of the Couperin Family provide a fog-free introduction to music in French Classic style. 2 DAVID SPICER 0 #0717 - The Weaver’s Tale…we celebrate one of America’s First Church of Christ 0 foremost veteran teachers, church musicians, and recitalists with Wethersfield, Connecticut Carol Williams 7 his own performances, words and compositions. San Diego Civic Organist
Website: www.melcot.com House Organist E-mail: [email protected] The Bushnell Memorial Hartford
APRIL, 2007 35 23 APRIL 4 MAY 11 MAY Martin Rein; Westminster Abbey, London, David Higgs, masterclass; Hennepin Avenue The American Boychoir, with Amarillo Boychoir; Martin Jean; St. Andrew’s Lutheran, Mah- UK 5:45 pm United Methodist, Minneapolis, MN 6 pm St. Andrew’s Episcopal, Amarillo, TX 7:30 pm tomedi, MN 7:30 pm The American Boychoir; Grace Lutheran, Joan Lippincott; St. Mark’s Cathedral, Seat- Michael Britt; St. Stephen Presbyterian, Fort 24 APRIL Conroe, TX 7:30 pm tle, WA 7:30 pm Worth, TX 7:30 pm Stephanie Burgoyne; All Saints’ Kingsway, Peter Richard Conte; Benaroya Hall, Seat- Charles Raasch; Trinity Lutheran, Manhattan Toronto, ON, Canada 12 noon tle, WA 7:30 pm Beach, CA 12:15 pm 13 MAY Choral Evensong; All Saints’ Episcopal, Bev- John Morabito; Grace Cathedral, San Fran- 27 APRIL 24 APRIL erly Hills, CA 7:30 pm cisco, CA 4 pm Carol Williams; The Esplanade Theatre, Sin- Erik Suter; First Presbyterian, Wichita, KS Todd Wilson; St. James Episcopal, Los gapore 7:30 pm 7:30 pm 5 MAY Angeles, CA 6 pm The American Boychoir; Wesley United Jan Kraybill, workshop; First Baptist, Fayet- 28 APRIL Methodist, Beaumont, TX 7:30 pm teville, AR 9 am 18 MAY Stephen Disley; St. Albans Cathedral, St. Samuel Soria; Cathedral of Our Lady of the Bernstein, Chichester Psalms; Cathedral of Albans, UK 5:30 pm 25 APRIL Angels, Los Angeles, CA 7:30 pm the Madeleine, Salt Lake City, UT 8 pm, also John Scott Whiteley; Bridlington Priory, The American Boychoir; St. Dunstan’s Epis- 5/20 Bridlington, UK 6 pm copal, Houston, TX 7:30 pm 6 MAY Alison Luedecke, with Peninsula Sympho- Adrian Gunning; St. John the Evangelist, Jan Kraybill; First Baptist, Fayetteville, AR 3 ny; Fox Theater, Redwood City, CA 8 pm Islington, London, UK 7:30 pm 27 APRIL pm Cinnabar Women’s Chorus; Knox Presbyter- The American Boychoir; St. Luke’s United Charles Callahan & Lorenz Maycher, work- ian, Santa Rosa, CA 5 pm 29 APRIL Methodist, Houston, TX 7:30 pm shop; First United Methodist, Omaha, NE Ty Woodward; Westminster Presbyterian, Martin Stacey; Westminster Abbey, London, Joseph Adam; University of Puget Sound, David Higgs; Trinity Episcopal, Tulsa, OK 5 Escondido, CA 7 pm UK 5:45 pm Tacoma, WA 12:05 pm pm Simon Preston, with Los Angeles Philhar- Paul Jacobs; St. John’s Cathedral (Episco- Bach, Cantata 146; Christ the King Lutheran, monic; Walt Disney Concert Hall, Los Angeles, 4 MAY pal), Denver, CO 7:30 pm Houston, TX 5 pm CA 8 pm, also 5/19 Stephanie Burgoyne; St. Jude’s Brantford, Choir of Men and Boys; Grace Cathedral, San Bradley Hunter Welch; First Baptist, Abi- Toronto, ON, Canada 12 noon Francisco, CA 7 pm lene, TX 7 pm 19 MAY Alison Luedecke, with Peninsula Sympho- Choral Evensong; Cathedral Church of St. 5 MAY ny; Flint Theater, Cupertino, CA 8 pm 28 APRIL John, Albuquerque, NM 4 pm James Metzler; King’s College Chapel, Cam- VocalEssence; Orchestra Hall, Minneapolis, J. Melvin Butler, with trumpet; Grace Luther- bridge, UK 6:30 pm MN 8 pm an Church, Tacoma, WA 3 pm 20 MAY Mendelssohn, Elijah; Christ Church Cathe- William Ness; Pacific Union College Church, Carole Terry; Trinity Lutheran, Lynnwood, 6 MAY dral, Houston, TX 4 pm Angwin, CA 4 pm WA 7 pm Mark King; Notre-Dame Cathedral, Paris, Gerre & Judith Hancock; Grace Cathedral, Anna Myeong; Grace Cathedral, San Fran- France 4:30 pm 29 APRIL San Francisco, CA 4 pm cisco, CA 4 pm James Metzler; Westminster Cathedral, Lon- VocalEssence; Orchestra Hall, Minneapolis, Simon Preston, with Los Angeles Philhar- Alison Luedecke, with Millennia Too!; St. don, UK 4:45 pm MN 2 pm monic; Walt Disney Concert Hall, Los Angeles, Stephens Episcopal, Belvedere, CA 4 pm Harri Viitanen; Westminster Abbey, London, Ernest Whitmore, with Grace Church choir; CA 2 pm Carol Williams; Balboa Park, San Diego, CA UK 5:45 pm Grace Episcopal, Siloam Springs, AR 7:30 pm 2 pm Erik Suter; First Congregational, Los Ange- Haydn, The Creation; First-Plymouth Congre- les, CA 4 pm 8 MAY gational, Lincoln, NE 7:30 pm 7 MAY Simon Preston; Walt Disney Concert Hall, Arthur LaMirande; Cathedral of the Good Martin Rost; Christ the King Lutheran, Hous- Charles Callahan & Lorenz Maycher, with Los Angeles, CA 7:30 pm Shepherd (R.C.), Singapore 7 pm ton, TX 5 pm orchestra; First United Methodist, Omaha, NE Gerre & Judith Hancock; St. Mark’s Episco- The American Boychoir; First Presbyterian, 22 MAY 10 MAY pal, San Antonio, TX 4 pm Oklahoma City, OK 7 pm Simon Preston, choral masterclass; Memor- Gillian Weir; St. Giles-in-the-Fields, London, Jonathan Dimmock, organ and harpsichord; ial Church, Stanford, CA 7 pm UK 7 pm Cathedral Church of St. John, Albuquerque, NM 8 MAY 4 pm Simon Preston; Visitation Catholic Church, 23 MAY 11 MAY Rick Erickson; Lagerquist Hall, Pacific Kansas City, MO 7 pm Simon Preston; Memorial Church, Stanford, Clement Carelse; St. Jude’s Brantford, Lutheran University, Tacoma, WA 3 pm The American Boychoir, with Boston Avenue CA 8 pm Toronto, ON, Canada 12 noon Douglas Cleveland; Plymouth Church, Seat- UMC Children’s Choir; Boston Avenue United Yoon Park; Holy Rosary Cathedral, Vancou- tle, WA 4 pm Methodist, Tulsa, OK 7:30 pm 27 MAY ver, BC, Canada 8 pm John Renke; Grace Cathedral, San Francis- Gail Archer; Christ Church Cathedral, Hous- co, CA 4 pm 10 MAY ton, TX 4:15 pm 13 MAY Carol Williams; Balboa Park, San Diego, CA The American Boychoir; Covenant Presbyter- Choral Evensong, Christ Church Cathedral, Wolfgang Zerer; Kirche “Zur frohen 2 pm ian, Sherman, TX 7:30 pm Houston, TX 5 pm Gary Desmond; Grace Cathedral, San Fran- Botschaft,” Berlin Karlshorst, Germany 5 pm cisco, CA 4 pm Daniel Cook; Westminster Abbey, London, UK 5:45 pm martin ott pipe INTERNATIONAL 18 MAY organ Sophie-Veronique Cauchefer-Choplin; company M. L. BIGELOW & Co. 15 APRIL St. John’s Cathedral, Brisbane, Australia 7:30 inc. David Drury; St. John’s Cathedral, Brisbane, pm ORGAN BUILDERS 1353 Baur Boulevard Australia 3 pm Rob Waltmans; Cattedrale di S. Stefano, (801) 756-5777 St. Louis, Missouri 63132 Paul Derrett; Westminster Abbey, London, Biella, Italy 9 pm 130 W. 1st S., American Fork, UT 84003 (314) 569-0366 UK 5:45 pm Greg Walshaw; St. Jude’s Brantford, Toron- Alan Morrison; Westminster United Church, to, ON, Canada 12 noon Winnipeg, MB, Canada 8 pm Parkey 19 MAY 18 APRIL Rob Waltmans; Chiesa Parrocchiale SS. Clive Driskill-Smith, with percussion; Sym- Ambrogio e Theodulo, Stresa, Italy 9:15 pm OrganBuilders phony Hall, Birmingham, UK 7:30 pm 20 MAY Distinguished Pipe Organs Ashley Grote; Westminster Abbey, London, 3870 Peachtree Ind. Blvd. Voice 770-368-3216 19 APRIL Suite 150-285 Fax 770-368-3209 Maurizio Croci, with Ensemble Orlando; UK 5:45 pm Duluth, Georgia 30096 www.parkeyorgans.com Eglise des Cordeliers, Fribourg, Switzerland 8 pm 25 MAY Mario Duella; Cattedrale di S. Stefano, Biel- INSPIRATION NEW INSTRUMENTS sound 20 APRIL la, Italy 9 pm MAINTENANCE Lubbert Gnodde; Chapelle de l’Hôpital des Joseph Calverley; St. Jude’s Brantford, • RESTORATIONS Acoustical Design & Testing Organ Consultation & Bourgeois, Fribourg, Switzerland 12:15 pm Toronto, ON, Canada 12 noon • • 974 AUTUMN DRIVE Inspection Organ Maintenance & Tuning Sound & Video ANTIOCH, ILLINOIS 60002 System Design, Evaluation & Training 21 APRIL 26 MAY ABR 847-395-1919 F INCY Michel Bouvard; Cathédrale St-Nicolas, Fri- Mario Duella; Chiesa Parrocchiale SS. PIPE ORGANS FAX 847-395-1991 www.riedelassociates.com • (414) 771-8966 email: [email protected] bourg, Switzerland 8 pm Ambrogio e Theodulo, Stresa, Italy 9:15 pm www.fabryinc.com 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Anthony Hammond; St. George’s Cathedral Simon Johnson; St. Albans Cathedral, St. Southwark, London, UK 1:05 pm Albans, UK 5:30 pm Letizia Romiti; Bridlington Priory, Bridlington, Hupalo & Repasky 22 APRIL UK 6 pm Pipe Organs Manfred Theilen; Kirche “Zur frohen Botschaft,” Berlin Karlshorst, Germany 5 pm 27 MAY 1785 Timothy Dr. Unit 4 Luigi Ferdinando Tagliavini, with cornetto; Simon Jacobs; Westminster Abbey, London, San Leandro, Calif. 94577-2313 Abbatiale, Payerne, Switzerland 5 pm UK 5:45 pm 510 483 6905 www.hupalorepasky.com A. David Moore, Inc. TRACKER ORGAN DESIGNERS & BUILDERS HC 69 Box 6, North Pomfret, Vermont 05053 1717 Belle Street St. Joseph, MO 64503 802/457-3914 (816) 232-2008 Fax (816) 364-6499
Advertise in WOLFF & ASSOCIÉS Facteurs d’orgues Organbuilders THE DIAPASON For rates and digital specifications, [email protected] www.orgelwolff.com contact Jerome Butera 450-661-2073 847/391-1045
[email protected] 1260, rue Tellier, Laval QC Canada H7C 2H2
36 THE DIAPASON ta quinta tutta di salti, Kerll; Sonata in F, TANDY EDWARD DIX, McDaniel Col- Bach; Theme and Variations for Christmas HWV 427, Handel; Prelude and Fugue in C, lege, Westminster, MD, December 3: Con- Night, Monnikendam; Sonata for Worship, Organ Recitals BWV 547, Bach. certo in F, op. 4, no. 4, Handel; Divertimen- Fedak; Passacaglia in c, BWV 582, Bach; to, Callahan; Hymne, op. 78, Jongen; Sonata, Passepied, Delibes; Offertorium, Gounod; GORDON ATKINSON, Melbourne PETER RICHARD CONTE, Church of K. 61, Sonata, K. 62, Mozart; Concerto in g, Fantasy and Fugue on the Name ‘BACH’, Town Hall, Melbourne, Australia, October 4: St. John the Divine, Houston, TX, November op. 177, Rheinberger. Liszt. To a Wild Rose, MacDowell, arr. Scott; Car- 12: Overture to Candide, Bernstein, transcr. illon, Sowerby; Reflections, Atkinson; Elegy, Conte; Variations on a Theme of Arcangelo PETER DUBOIS, Third Presbyterian IAIN QUINN & MAXINE THEVENOT, Thalben-Ball; Psalm-Prelude No. 1, Set 1, Corelli, Kreisler, transcr. Conte; Choral No. Church, Rochester, NY, November 17: Pre- The Cathedral Church of St. John, Albu- Howells; Aria seriosa, Karg-Elert; Grand 2 in b, Franck; Comes Autumn time, Sower- lude and Fugue in B, op. 7, no. 1, Dupré; querque, NM, November 19: Fête, Langlais; Choeur, Salomé; Cloches, Fournier; Choral by; Cortège et Litanie, Dupré, transcr. Allein Gott in der Höh dei Ehr, BWV 662, Scherzo (Dix Pièces), Gigout; Five Liturgical in a, Franck. Conte; Fantasy on Nursery Tunes, Elmore; Toccata and Fugue in F, BWV 540, Bach; Inventions, Togni; At the Ballet (Five Variations on a Theme of Joseph Haydn, Sonate II, Hindemith; Scherzo, op. 2, Duruflé; Dances), Hampton; Carillon de Westminster MAHLON E. BALDERSTON, Trinity Brahms, transcr. Conte. Grande Pièce Symphonique, op. 17, Franck. (Pièces de fantaisie), Vierne; Placare Christe Episcopal Church, Santa Barbara, CA, servulis, op. 38, Dupré; Barcarolle, op. 10, December 3: Overture (Christmas Cantata), THOMAS FOSTER, St. Chrysostom’s Rachmaninoff, arr. Quinn; Pièce Héroïque, ROBERT DELCAMP, The University of Episcopal Church, Chicago, IL, November Franck; Introduction and Passacaglia, op. Gottes Sohn ist kommen, Now Thank We All the South, Sewanee, TN, November 3: Alle- Our God, Bach; Noël in G, Daquin; Come, 19: Plein Jeu, Tierce en taille, Basse de post, Reger; Max Cat Rag, Dinda. gro (Symphony in g, op. 42, no. 6), Salve Trompette, Recit, Grand Jeu (Livre Come Ye Saints, Diemer; Winchester New, Regina (Symphony in D, op. 13, no. 2), Autumn Rhapsody, Veni Redemptor Gen- d’Orgue), DuMage; Prelude in E-flat, Lem- RUDY SHACKELFORD, with Clair Andante cantabile (Symphony in f, op. 13, mens; Minuetto, Scherzo (Dix Pièces), Hillard, reader, Bethany United Methodist tium, Meditation on St. Louis, Verbum no. 4), Marche du Veilleur de Nuit (Bach’s Supernum Prodiens, Balderston. Gigout; Choral Dorien, Alain; Trois Pièces, Church, Gloucester Point, VA, December Memento), Marche Pontificale (Symphony op. 7, Barié. 3: Pictures at an Exhibition, Mussorgsky, in c, op. 13, no. 1), Mystique (Trois Nou- arr. John; Sweelinck Variations, Shack- JAMES BARRETT, St. Paul Lutheran velles Pièces, op. 87), Allegro vivace, Adagio, Church, Denver, CO, October 15: Praeludi- DAVID HATT, with Stuart Alan Duke, elford; The Nutcracker Suite, Tchaikovsky, Toccata (Symphony in f, op. 42, no. 5), baritone, and Carole Klein, trumpet, St. arr. Hohman. um in d, Böhm; Nun freut euch, lieben Chris- Widor. ten, gmein, BWV 734, Bach; Wir glauben all Mark’s Episcopal Church, Palo Alto, CA, an einen Gott, Vater, Praeludium und Fuge November 19: Donne Secours, Processional in CHERIE WESCOTT, Trinity Episcopal in G-dur, Krebs; Fantasy in E-flat, Saint- ANDREW DEWAR, First Presbyterian E-flat, Processional in D, Organ Variations on Church, Tulsa, OK, December 12: Love Saëns; Episode, Selleck; Carnival, Crandell; Church, Midland, TX, October 10: Choral Praise the Lord, Ye Heavens Adore Him, Three Came Down at Christmas, Utterback; Untitled Sketches, Serving You, Lord, Three Aeterna Christi munera (Five Preludes on A Diet of Worms, Horvit. Fantasia on O God our help in ages past, Parry; Sonata for Organ in E-flat, Bairstow; Chorales for Two Performers, #3, A Mighty Plainchant Melodies), Willan; Fantasia in E- Kaleidoscope, op. 144, Karg-Elert; Variations Fortress, God’s Radiance, Processional in D, flat, Saint-Saëns; Roulade, op. 9, no. 3, JAMES BIERY, Cathedral of St. Paul, St. Processional in C, The King’s Processional, Bingham; Stunde der Freude (Hora gau- Paul, MN, November 3: (pre-concert) Fanta- and Fugue on a theme by Mozart, op. 132, Reger, arr. Abbing. When the Church of Jesus, O Shepherd of diosa) (Five Pieces in Free Style), op. 132, sia and Fugue in g, BWV 542, Bach; Prelude Souls, There Is Enough, Carol and Toccata on no. 5, Bossi. and Fugue on the name Alain, Duruflé; (post- Puer nobis nascitur, Chorale and March in F, concert) Toccata and Fugue, op. 59, no. 5-6, EMMA LOU DIEMER, Trinity Episco- Andante in A, Trumpet Tune in E-flat, Lo, All CAROL WILLIAMS, Canterbury Cathe- Reger; Pastorale, op. 19, Franck; Of Things pal Church, Santa Barbara, CA, December Keys Are His, Variations on St. Anne, You dral, Canterbury, UK, November 4: Toccata Hoped For, Thomas. 17: Fantasy on Valet will ich dir geben & Gave to Me a Soul, three untitled works, A in Seven, Rutter; Voluntary for Double Hyfrydol, Diemer; Meditation on Picardy, Dove (A Wedding Song), Wedding Hymn, A Organ, Z. 719, Purcell; Dialogue (Troisième FRANCESCO CERA, First Presbyterian Gell; Sussex Carol, Wood; For Advent, on Little Lamb, I’m Sorry, Lord, for Those Who Livre), Marchand; Marche Funèbre et Chant Church, Springfield, IL, October 27: Toccata Two Themes, Benoit; Angels We Have Cannot See, Johnson. Séraphique, Guilmant; Toccata, Paponaud; sesta, Rossi; Bergamasca, Toccata per l’ele- Heard on High, Wood; Kindle the Taper, Larghetto, Stravinsky; Hungarian Dance No. vazione (Fiori Musicali), Toccata V sopra i Balderston; God Rest You, Merry People, HUW LEWIS, Christ United Methodist 1, Brahms, arr. Lemare; Mozart Changes, pedali (Il Secondo libro di Toccate), Capric- Elmore; Go Tell It on the Mountain, Church, Marietta, OH, December 3: Where Gardonyi; Adiemus: Songs of Sanctuary, cio sopra l’Aria di Ruggiero (Capricci), Fres- Diemer; Christmas Is Here, Wood; Toccata are all the merry shepherds going?, Balbâtre; Trumpeting Organ Morgan, Jenkins; Toccata cobaldi; Passagagli, Sonata, Pasquini; Tocca- Jubilosa, Noble. Come, Savior of the Gentiles, BWV 659, Store Gud, vi lover deg, Kleive.
Advertise in THE DIAPASON For information on rates and digital specifications contact Jerome Butera 847/391-1045,
2151 Madison Street, Bellwood, IL 60104 phone 708-544-4052 • fax 708 544-4058 [email protected] berghausorgan.com
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APRIL, 2007 37 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
POSITIONS POSITIONS PUBLICATIONS/ HARPSICHORDS/ AVAILABLE AVAILABLE RECORDINGS CLAVICHORDS
St. Francis UMC, 2965 Kildaire Farm Road, Pipe organ factory in the Northeast is cur- Aging of Organ Leather by Harley Piltingsrud Harpsichords from the workshop of Knight Cary, NC 27518. Telephone 919/362-1666 x-28. rently interviewing for positions in chest con- tells how to test and select organ leathers for Vernon. Authentic replicas of historic instru- Full-time organist/pianist/music associate. This struction; pneumatic and small parts machin- longevity of 60 years or more. Treats other ments carefully made and elegantly decorated. is a full-time position, with benefits, that involves ing; design and pipemaking. Please forward aspects of leather production and the history of 8201 Keystone, Skokie, IL 60076. Telephone playing organ and piano for two traditional wor- cover letter and c.v. to: Austin Organs, Inc., 156 testing for longevity. New 48-page edition in 847/679-2809. Web site: ship services and special services, accompany- Woodland St., Hartford, CT 06105 or e-mail to: 1994, $9.95 + $4 shipping for entire order (with- www.vernonharpsichords.mykeyboard.com. ing the Chancel and Youth Choirs, directing two [email protected]. Please, no in USA). Order online at www.ohscatalog.org. handbell choirs, and working in relationship with phone calls. All inquiries answered with privacy music staff and clergy. Salary is commensurate and respect. PIPE ORGANS with candidate’s experience. Position available Historic Organ Surveys on CD: recorded dur- FOR SALE May 1, 2007. Response deadline April 1, 2007. Foley-Baker Inc. of Tolland, CT has openings ing national conventions of the Organ Histori- cal Society. Each set includes photographs, Please send résumé to Jim White, Director of for two pipe organ technicians: general shop Two manual and pedal 8-rank Wangerin pipe Music Ministry, at above address or you may and field and also a voicer’s assistant. Travel. stoplists, and histories. As many organists as organs and repertoire from the usual to the organ for sale. In good condition in the Detroit reach him at the above telephone number. All benefits including excellent matching metro area. Currently located in a private 401K. Please send résumé to: unknown, Arne to Zundel, often in exceptional performances on beautiful organs. Each set residence but originally from a small rural Goulding & Wood, Inc. is seeking a service [email protected] or 42 N. River church. Asking $5,000. Buyer to Rd., Tolland, CT 06084. 800/621-2624. includes many hymns sung by 200–400 musi- technician for immediate employment. A mini- cians. Historic Organs of Louisville (western remove. Please call before 10 pm Eastern mum of three years prior experience is required. Kentucky/eastern Indiana) 32 organs on 4 Standard Time. 248/356-0896; Starting salary well above industry standards. The CDs, $29.95. Historic Organs of Maine 39 [email protected]. successful applicant will have general knowledge PUBLICATIONS/ organs on 4 CDs, $29.95. Historic Organs of of various action designs, extensive tuning back- RECORDINGS Baltimore 30 organs on 4 CDs, $29.95. Historic Home organ for hobby builder—console 3- ground, and strong interpersonal skills. Voicing Organs of Milwaukee 25 organs in Wisconsin manual/pedal; 12 ranks; Bourdon 16/8v; skills a plus. Please submit résumés or requests Dudley Buck arranged A Mighty Fortress. on 2 CDs, $19.98. Historic Organs of New Gemshorn 8v; Rohrflute 4v; Voix Celeste 4v; Pic- for more information to: Brandon Woods, Never recorded and rarely heard, his “Choral Orleans 17 organs in the Bayous to Natchez colo 2v; Tierce; Nazard; Larigot; Vox 8v; Oboe 8v; Goulding & Wood, Inc., 823 Massachusetts March” is now available as published in 1891. on 2 CDs, $19.98. Historic Organs of San Cor Anglais 8v; 75% complete, 9v ceiling. Also Avenue, Indianapolis, IN 46204. Fax: Includes historical and performance notes. Play Francisco 20 organs on 2 CDs, $19.98. Add $4 blowers, reservoirs, relay board, power supply, 317/637-5236. [email protected], it after singing the hymn. Everyone knows this shipping in U S. per entire order from OHS, pine frame; many other parts—pipes, chests, www.gouldingandwood.com. melody! www.michaelsmusicservice.com; Box 26811, Richmond, VA 23261, by tele- valves, etc. Location: SW Quebec, Canada. 704/567-1066. phone with Visa or MasterCard 804/353-9226; Buyer to remove and transport. Must sell due to Assistant Director of Music. Basilica of the FAX 804/353-9266. illness. Terms: cash $2000CAN, OBE. E-mail National Shrine of the Immaculate Conception, [email protected] or telephone 450/829-3153. Four Hundred Michigan Ave., NE, Washington, The OHS Catalog is online at Welcome to visit. D.C. 20017-1566. 202/526-8300. The assistant www.ohscatalog.org. More than 4,000 organ HARPSICHORDS/ director will work with the director of music in and theatre organ CDs, books, sheet music, CLAVICHORDS Schlicker organ, 6 ranks, 22 stops, semi- sustaining and growing a department dedicated DVDs and VHS videos are listed for browsing portable, 7v 8w high. Ample volume and tonal to providing excellence in sacred music within and easy ordering. Use a link for adding your Clavichord, built by Edward Kottick (2002), flexibility for medium size church. A wonder- and outside the context of liturgy. Require- address to the OHS Catalog mailing list. Organ double strung unfretted, beautiful cherry case ful organ in fine playing condition—all as ments: excellent skills in organ performance, Historical Society, Box 26811, Richmond, VA and stand with Louis XVI turned legs, ebony originally built. Easy to transport and install 23261 E-mail: [email protected]. especially in the areas of accompanying and naturals and bone sharps, range of FF to f3, quickly. $27,000. Call for details: improvisation; proficiency as a conductor; brass strung throughout. Excellent condition. 863/427-2865. administrative ability; knowledge of the Roman 65w long, 19w deep, on the stand Rite. Master’s degree or equivalent required. Send recital programs to THE DIAPASON, 31-1/2w tall. Asking $10,000. For further Competitive salary and benefits. Send letter of 3030 Salt Creek Lane, Suite 201, Arlington information and pictures please see Wilhelm studio organ. New six-stop two-man- interest, résumé, and a list of references to Dr. www.davidschrader.com/Clavichord- ual instrument, with Bourdon 16v in the pedal. Peter Latona, Director of Music. Applications will Heights, IL 60005. Kottick.htm. David Schrader, 773/262-3202 or For additional information, send e-mail to: be considered as they are received. [email protected]. [email protected].
glück newyork orgaNbuilders ATOS ExperienceAmerican Theatre Organ Society 170 Park Row, Suite 20A Preserving a unique art form. New York, NY 10038 Concerts, education, silent film, preservation, fellowship and more. www.atos.org 212.608.5651 Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838 www.glucknewyork.com
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For Pipe Organ Parts: arndtorgansupply.com Muller Or send for our CD-ROM catalog Pipe Organ Company Arndt Organ Supply Company P.O. Box 353 • Croton, Ohio 43013 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 9310 Dodd Road • Kilkenny, Minnesota 56052 800-543-0167 Phone (515) 964-1274 Fax (515) 963-1215 (507) 334-2277 www.MullerPipeOrgan.com
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PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
1954 Moller 2/8, $6,400—still in place, buyer to Organ blower—Laukhuff Ventola for small Austin actions: Come to the source. Fast Top Quality Releathering. Pouch rails, pri- remove; 1962 Schantz 3/33, $26,400—still in organ with one or two stops; .10 hp, 36cfm at delivery. Guaranteed. 860/522-8293; maries, reservoirs and any other pneumatic place, buyer to remove; 1925 Moller 2/10, 2w pressure, standard 120 volts. $645. Call www.austinorgans.com. action. Removal and installation service avail- $8,000—still in place, buyer to remove; 1976 Don, 830/606-1838. able. Full warranty. Skinner, Casavant and Berghaus 2/11, $8,800—still in place, buyer to The Whistle Shop repairs and rebuilds pipe Kimball specialty. Spencer Organ Company, remove. Parted out: 1966 Moller 2/10—some Consoles, pipes, relays, magnets and organs. Southwestern U.S. Also, maintenance Inc. Call, Fax or visit our website for quotation pipework still available, contact for details; 195? numerous miscellaneous parts. Let us know and tonal work. Finest materials, expert work- and information. 781/893-7624 Voice/Fax, Reuter 2/9—some pipework still available, con- what you are looking for. E-mail manship. K.E.M. Pipe Organ Builders, Austin, www.spencerorgan.com. tact for details. Sold! 1949 Moller 3/30; Sold! [email protected] (not comcast), phone TX. 800/792-8180. 1962 Wicks 2/4; Sold! 1969 Moller 2/3; Just 215/353-0286 or 215/788-3423. reduced! 1964 Wicks 2/6, All new Peterson RELEATHERING: also Pipe Organ Rebuild- ing, Repair and Maintenance Service in New relay, new DC wiring, ready to ship now! Seller Highest quality organ control systems since wants to liquidate! $18,000 or best offer! Fabry, Moller 8v Tuba, 5˝ pressure, Tellers 8v Tuba, 4˝ England area. Years of experience, fine work- 1989. Whether just a pipe relay, combination Inc. offers removal services and shipping F.O.B. pressure; both, 73 pipes; either set $800. Com- manship. Reading Organ Works, A. Richard Antioch, IL. Large used pipe inventory available plete 16v Moller manual Bourdon, 97 pipes; action or complete control system, all parts are Hunter, P.O. Box 267, 1324 Vermont Route and ready for use. Contact for available ranks chests and racks on 5˝ pressure, $1500. Moller compatible. Intelligent design, competitive pric- 106, Reading, VT 05062. 802/484-1275. and specifications. Fabry, Inc. 974 Autumn 8v Doppel Flute, 61 pipes; Clarinet 8v, 61 pipes, ing, custom software to meet all of your require- E-mail [email protected]. Drive, Antioch, IL 60002, tel: 847/395-1919, fax: 4˝ pressure, spotted metal, $800. Austin 8v ments. For more information call Westacott 847/395-1991, e-mail: [email protected]. Oboe, 4˝ pressure, $800. Austin Vox Humana, Organ Systems, 215/353-0286, or e-mail 4˝ pressure, $300. Siedle Organ Company, [email protected]. Austin actions recovered. Over 30 years 412/221-5484. experience. Units thoroughly tested and fully ELECTRONIC ORGANS guaranteed. Please call or e-mail for quotes. Columbia Organ Leathers sells the finest Technical assistance available. Foley-Baker, FOR SALE Shop equipment of retired organ builder: Inc., 42 N. River Road, Tolland, CT 06084. Delta Unisaw, 21˝ drillpress, Delta thickness leathers available for organ use. We sell pre- punched pouches and pre-assembled pouches, Phone 1-800/621-2624. FAX 860/870-7571. planer, Delter long-table jointer, Delta 12˝ turret [email protected]. Baldwin Organ, 3-manual, model 645, 45 saw, chip collector, benches, shop trucks, and we specialize in custom releathering ser- stops, 24 couplers. Microprocessor digital tech- numerous other items. Asking $6400. Prefer to vices. Call today for a catalogue. 800/423-7003 nology. Capture combination action, ample pis- sell the entire package. Buyer to move. Contact or e-mail: [email protected]. tons and toe studs, two expressive divisions, Tom Rench, 1601 Circlewood Drive, Racine, WI Flue pipes in metal and wood–Mixtures crescendo, antiphonal, 5-channel audio. To 53402. 262/639-3473, [email protected]. Need help with your re-leathering and upperwork are available from stock or ensure long future reliability, all main PC boards project? All pneumatics including specify custom orders to meet your exact exchanged in 2006 for new Baldwin boards. A 10v electric metal shear originally from the Austin. Over 45 years experience requirements. Tuning Sleeves with splendid organ. $9000 or best offer. flare–Order complete sets ready to install 863/427-2865. Aeolian-Skinner pipe shop. $5,000 or best offer. (on the job assistance available). Contact: Sandee at A. R. Schopp’s Sons, Inc. 615/274-6400. or bulk quantities in each diameter. These 330/821-8406. sleeves are guaranteed to fit and will not tarnish or corrode. For excellent quality, REED ORGANS great pricing and timely delivery contact: FOR SALE Atlantic City Pipe Organ—Moller: 3-manual ALL REPLIES International Organ Supply, P.O. Box 401, drawknob shell, 1952, oak, $500; Harp, $500. Riverside, IL 60546. 800/660-6360. FAX Five-rank Tellers unit chest, $900; 1932 Jame- TO BOX NUMBERS 708/447-0702. George Prince 2-manual Melodeon. Rare pre- son-designed Estey: Swell—8v Principal; that appear Civil War instrument in excellent original playing Choir—8v Principal, 4v Open Metal Flute, condition. Beautiful rosewood case. Light- Haskell Bass, Salicional and Celeste, Gamba. without an address weight. A real working instrument ideal for Postal regulations require that mail Visit http://mywebpages.comcast.net/acorgan. should be sent to: chapel use, a collector, or professional E-mail: [email protected]. Phone to THE DIAPASON include a suite num- designer. $10,000. 863/427-2865. 609/641-9422. THE DIAPASON ber to assure delivery. Please send all correspondence to: THE DIAPA- Mason and Hamlin reed organ, 10 stops plus 3030 W. Salt Creek Lane, Suite 201 forte stop and octave coupler, with bench. Classified Ads must be prepaid and may be SON, 3030 W. Salt Creek Lane, Suite Excellent condition. Best offer. Nelson, 847/367- ordered for 1, 2, 3, 4, 5, or 6 months. Arlington Heights, IL 60005 201, Arlington Heights, IL 60005. 5102 or 312/304-5287.
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
J. H. & C. S. Odell Find the products H.W. DEMARSE East Hampton, Connecticut • web: www.odellorgans.com and services you’re TRACKER ORGANS voice: 860-365-0552 email: [email protected] looking for at 518-761-0239 PIPE ORGAN ARCHITECTS AND BUILDERS SINCE 1859 TheDiapason.com 2 Zenus Dr., Queensbury, NY 12804-1930 MEMBERS, AMERICAN INSTITUTE OF ORGANBUILDERS
GUZOWSKI & STEPPE Norman A. Greenwood ORGANBUILDERS INC CHARLES W. M CMANIS NEW INSTRUMENTS “Three Generations at Organ Building” REBUILDS - ADDITIONS In Memoriam TUNING & SERVICE CHARLOTTE, NORTH CAROLINA 28218 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 March 17, 1913–December 3, 2004 P.O. Box 18254 • 704/334-3819 • fax 704/544-0856 (954) 491-6852
PATRICK J. MURPHY & ASSOCIATES, INC. THE DIAPASON ORGANBUILDERS 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 610-970-9817 • 610-970-9297 fax Name ______NEW SUBSCRIBER [email protected] • www.pjmorgans.com RENEWAL Street ______ENCLOSED IS $70.00—3 YEARS Jacques Stinkens City ______ $55.00—2 YEARS W. Zimmer & Sons $35.00—1 YEAR Organpipes - since 1914 pipe organ builders State ______Zip ______FOREIGN SUBSCRIPTIONS Your personal wishes are in good hands P.O. Box 520 $85.00—3 YEARS Please allow four weeks for delivery of first issue Pineville, NC 28134 $65.00—2 YEARS Antonlaan 8 Tel. +31 30 - 691 38 27 [email protected] on new subscriptions. $45.00—1 YEAR NL - 3701 VE Zeist Fax +31 30 - 692 06 20 www.stinkens.nl (803) 547-2073
APRIL, 2007 39 KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee ArAArArrtisttistiisststtstss 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] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008
Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Winchester Cathedral, UK Andrew Lumsden, Director October 17-29, 2007
The Choir of Saint Thomas Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Church, NYC John Scott, Director Available 2008
The Choir of St. John’s College Cambridge, UK West Coast USA Tour Spring 2009
*=European artists available 2007-2008 Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith*
Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland
WEBWEB SITE:SITE: wwwwww.concertorganists.com..concertorganists.coconcertorganists.com
Thomas Trotter* John Weaver Gillian Weir* Todd Wilson Christopher Young