THE DIAPASON MAY 2013

St. Joseph’s Oratory Montréal, Québec, Canada Cover feature on pages 28–30 Christopher Houlihan

“Houlihan is an eloquent musician. His rhythmic sense is clear-cut American. His feet elegantly tap dance on the pedals. Everything he plays is sharply and smartly delineated... In fact, more than four hours’ worth of punishingly gnomic organ writing proved in Houlihan’s hands ever graceful of shape and full of life.” -Los Angeles Times

“The registrations were expert: silky-smooth crescendi and decrescendi, complete mastery of the swell-boxes. The mutual chemistry of organist, composer, and instrument was apparent from the start.” -The Diapason

“His deft footwork on the pedals throughout the concerts prompted one listener to dub him ‘the Fred Astaire of the pipe organ.’” -Wall Street Journal www.concertartists.com www.ChristopherHoulihan.com [email protected] THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Fourth Year: No. 5, In this issue Whole No. 1242 Among the offerings in this issue of The Diapason, David MAY 2013 Rumsey reports on events involving the Medieval organ that Established in 1909 took place in Europe in 2012. He refl ects on the many aspects Jerome Butera ISSN 0012-2378 of that period of organbuilding, including such topics as tuning 847/391-1045; [email protected] and temperaments, pipe construction and materials, scaling www.TheDiapason.com An International Monthly Devoted to the Organ, and voicing, wind pressure, fi ngering and performance prac- the Harpsichord, Carillon, and Church Music tice, and the music and its structure. In Harpsichord News, Larry Palmer presents memorial Newsletters tributes for Rafael Puyana, who died March 1. Are you currently receiving The Diapason e-mail news- CONTENTS The cover feature is the restoration by Juget-Sinclair of the letters? We send three each month: classifi ed ads the second Beckerath organ at St. Joseph’s Oratory in Montréal. week of the month, artist spotlights the third, and general news FEATURES In his column “In the wind . . .”, John Bishop discusses the fourth week. These newsletters are free to Diapason sub- In Search of the Secrets of Medieval Organs: sacred spaces, creepy spaces, ladders, walkboards, safety in the scribers. Visit our website and click on “Newsletters.” You will The European Sumer of 2012 A Report and Some Refl ections workplace, and other concerns of organbuilders and techni- need to enter your Diapason subscriber number, which is by David Rumsey 20 cians, and ends with a personal story of concern. found above your name on the label of your copy of The Gavin Black offers part eight of his organ method, continu- Diapason. If you have any trouble or questions, contact me NEWS & DEPARTMENTS ing the section on pedal playing: the use of heels, posture, toe and I will help. Editor’s Notebook 3 and heel together, double pedal, and substitution. His column Letters to the Editor 3 includes 21 examples. New subscriptions Here & There 4 This issue also includes our regular departments of news, We are sending out a subscription promotional, attempt- Appointments 6 reviews, new organs, an international calendar, organ recital ing to reach organists, organbuilders and others interested Nunc Dimittis 10 programs, and more. in the organ. If your friends and colleagues do not already Harpsichord News by Larry Palmer 11 subscribe to The Diapason, this is an excellent time to On Teaching by Gavin Black 16 In preparation introduce or re-introduce them to The Diapason—our In the coming months, we will be publishing articles on new format, increased use of color, improved production In the wind . . . by John Bishop 18 organs in Poland, Franz Liszt and Johann Gottlob Töpfer, an and printing, as well as our online offerings. Let me know REVIEWS interview with Robert Clark, fugal improvisation, and more. and I will send a free sample copy. Q Music for Voices and Organ 13 Book Reviews 13 Letters to the Editor New Recordings 14 New Organ Music 15 Max B. Miller often with people sleeping in the pews While in California, he served in the NEW ORGANS 28 Another of my teachers is gone. In or behind the altar. United States Navy as a chaplain’s assis- CALENDAR 29 January of this year I received word that I fully expected that Max would lock tant. He was the organist at the North Max Miller had died at the age of 85. (See up the organ console to protect it from Chapel of the Naval Training Center, ORGAN RECITALS 32 “Nunc Dimittis,” The Diapason, March protesters. However, he left the console San Diego, and directed the recruit CLASSIFIED ADVERTISING 34 2013.) Now with his death and the death unlocked and let those who wanted to choir of over a hundred voices. He also last March of Heinz Wunderlich, I have play noodle around on it. His logic was had a 35-voice group that performed lost the remainder of my major organ that then they would not break the lock more extended anthems and larger teachers. I studied organ with Max for and lid trying to get into it. To his credit, works. He arranged many anthems for three years while I did my graduate work he was right; neither the organ nor TTBB, and the music library was quite at the Boston University School of The- his offi ce sustained any damage. That complete when he was discharged after ology. He was not only my organ teacher, is, until the FBI came to get the one Easter Sunday 1947. I followed him the but also my major professor, and during remaining AWOL soldier and they broke next week at the North Chapel. my second and third years I served as his down the heavy oak door to his offi ce Some eighteen months later, I assistant organist and choirmaster at the where the man was hiding. enrolled as a student at the University of university’s Marsh Chapel. He entrusted Max made one prediction about me Redlands and found that there were four many of the daily chapel services to during my study with him. I was plan- very bright, promising organ scholars: me, and under his direction I got basic ning, at that point, to go into the full- Clarence Ledbetter (who I lost track of), experience for running rehearsals and time music ministry. In my pipe dreams Raymond Boese (who became university services in a busy seminary setting. I I imagined a full-time music position in a organist at Redlands), Harold Oakes also had unlimited access to the chapel’s large urban church, so it came as rather Chaney (who earned his doctorate at the three-manual organ, which allowed me a shock when he said he could imagine University of Southern California and COVER to practice at the school instead of trudg- me doing something like . . . oh, organ- served for years at the Episcopal Church Juget-Sinclair Organbuilders, Montréal, ing down to the School of Fine Arts. building. It stung a little, although I soon of St. Ignatius of Antioch in New York Québec, Canada; St. Joseph’s Oratory, City), and Max Miller, who went on to Montréal, Québec, Canada 26 Max was probably the best all-around realized he was not knocking my playing, organ teacher I ever had. He was fl u- but recognizing my mechanical abilities. Boston University. While at Redlands, he ent in all schools of organ repertoire It turned out to be a good prediction as, was a master at music theory and stud- and encouraged me to play pieces that in addition to my church jobs, I spent ied with Paul Pisk and his twelve-tone Editor & Publisher JEROME BUTERA I might not have ventured to play if nearly 35 years building pipe organs. compositions. On Thursday he would [email protected] 847/391-1045 faced with the choice by myself. He I remember my study and friendship drive into Pasadena, where he served was unfl appable and I seldom had an with Max with great fondness. The time as organist for the large gothic First Associate Editor JOYCE ROBINSON opportunity to see him upset. One of at B. U. was made more pleasant by work- United Methodist Church and enjoyed [email protected] those rare times was one Sunday morn- ing with him. It was for my second gradu- playing their fi ne four-manual Ernest M. 847/391-1044 ing when something was wrong with the ate recital that I worked with Max on the Skinner organ. On Sunday afternoon he Designer DAN SOLTIS Swell keyboard, and he decided that he A-minor Chaconne by Johann Nepomuk would return to his studies. Again, as in Contributing Editors LARRY PALMER could fi x it himself. Lifting the top key- David. I have performed the music again his service days, he was fully organized Harpsichord board somehow, he managed to spring in the last couple years, actually with one and everything went perfectly according all the keys so that they were sticking out performance last Sunday, and it is with a to his schedule. JAMES MCCRAY Choral Music every which way. It made it impossible to sense of nostalgia that I look at notes that Now, more than 61 years later, I think play on the Swell manual, but somehow Max made in my music. I actually have back on those four remarkable organ BRIAN SWAGER he managed the service on just two key- a page of performance notes from his scholars. Max Burdorf Miller will always Carillon boards despite his ire at himself. notebook taped in the back of my music, be recalled as a kindly, considerate, help- JOHN BISHOP Another incident that showed his so it is almost as though he was reaching ful person who was liked and admired In the wind . . . wisdom happened during my third year. to me across the years. by professors and fellow students. His Anti-Vietnam War protesters were tak- Jay Zoller days in San Diego and Redlands leave GAVIN BLACK On Teaching ing over public buildings in what they Newcastle, Maine memories of a most amazing man. Most called “sanctuaries.” Protesters took certainly, his decades in Boston were just Reviewers John M. Bullard over Marsh Chapel, along with two I opened my copy of The Diapason as glorious! James M. Reed AWOL soldiers, and fi lled almost every and found the Nunc Dimittis section Douglas Ian Duncan David M. Lowry nook and cranny. The seminary contin- with the obituary of Max Burdorf Miller. Fourth Civic Organist, San Diego, John Collins ued to hold morning chapel services, Max was truly a wonderful person! Retired

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Creek This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1045. Fax 847/390-0408. E-mail: [email protected]. Copyright ©2013. Printed in the U.S.A. Subscriptions: 1 yr. $38; 2 yr. $60; 3 yr. $80 (United States and U.S. Possessions). Foreign subscriptions: 1 yr. $48; No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of 2 yr. $70; 3 yr. $95. Single copies $6 (U.S.A.); $8 (foreign). the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: Send address changes to course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. or for the same course offered subsequently. Routine items for publication must be received six weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited reviews THE DIAPASON accepts no responsibility or liability for the validity of information supplied by cannot be accepted. contributors, vendors, advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2013 Q 3 Here & There

Events St. John’s Episcopal Church, Hag- The eighth annual Organix Festi- Sacred Heart Church, Palos Hills, St. John’s Cathedral, Denver, Colo- erstown, Maryland, presents a concert on val takes place May 6–June 7 in Toronto, Illinois, presents its second annual summer rado, continues its music series: May May 5 (5 pm) celebrating the 850th anni- Canada: May 6, Mark Herman, Casa music series: May 19, hymn festival; 5/26, 3, Ensemble Pearl; 5/17, Jeb Barrett; versary of Notre Dame Cathedral. The Loma; 5/8, Jane Parker Smith, Metro- vocalist Cecelia Otto; June 4, jazz night; June 7, St. Martin’s Chamber Choir. For program features Vierne’s Solemn Mass, politan United Church; 5/10, Thomas 6/12, music for strings and woodwinds; information: http://sjcathedral.org. conducted by Mark King. For informa- Fitches, with guitar, St. Clement’s 6/30, musical theater and Broadway; July tion: www.stjohnshagerstown.org. Anglican Church; 5/11, Wayne Carroll, 7, music for brass and organ; 7/21, mezzo St. Thomas Church Fifth Avenue, with violin, Lawrence Park Community soprano Amanda Thomas; August 14, Sol- New York, continues its series of organ Peachtree Road United Methodist Church; 5/24, Karen Christianson, emn Choral Evening Prayer. For informa- recitals, Sundays at 5:15 pm: May 5, John Church, Atlanta, Georgia, continues Metropolitan United Church; 5/25, tion: 708/974-3336 x245. Scott; 5/12, Mark McClellan; 5/19, Ian its music series: May 5, Scott Atchison Organized Crime Duo, Metropolitan Tomesch. The St. Thomas concert series 30th-anniversary concert; 5/19, spring United Church; 5/31, Ryan Jackson, Presbyterian Homes, Evanston, Illi- continues: May 16, music of Bach, Tallis, concert; July 24, Olivier Latry. For infor- Metropolitan United Church; June 5, nois, continues its Elliott Chapel organ and Vaughan Williams. For information: mation: www.prumc.org. Barney Cayouette Duo, Church of the recitals: May 20, Wolfgang Rübsam; www.saintthomaschurch.org. Holy Trinity; 6/7, Wong Chen Duo, St. June 24, Margaret Martin. For informa- Rosary Cathedral, Toledo, Ohio, Clement’s Anglican Church. For infor- tion: 847/733-7390; Shadyside Presbyterian Church, continues its music series: May 6, World mation: www.organixconcerts.ca. www.presbyterianhomes.org. Pittsburgh, Pennsylvania, continues the Organ Day Concert, 850th anniversary 20th anniversary season of its music series of Notre Dame Cathedral, Paris. For Rockefeller Memorial Chapel, on May 5 with a Four Choirs Festival. For information: 419/244-9575; Chicago, continues its music series: May information: www.shadysidepres.org. www.rosarycathedral.org. 12, Christopher Houlihan. For informa- tion: rockefeller.uchicago.edu.

Park Congregational Church, Grand Rapids, Michigan, continues its fall concert series on Tuesdays at 12:15 pm: May 14, James R. Metzler. For information: 616/459-3203 x24; www.parkchurchgr.org.

Musica Sacra concludes its 2012–13 season on May 15 with a program of Methuen Memorial Music Hall Magnifi cats by Monteverdi and Pärt, along with works by Mendelssohn and Methuen Memorial Music Hall, Tavener, at the Church of St. Paul the Methuen, Massachusetts, presents its Apostle, New York City. For informa- 2013 Wednesday evening organ recital tion: www.musicasacra.org. series: May 22, Susan Ferré; 5/29, Karen Electra Christianson; June 5, K. Bryan Reading Town Hall (UK) contin- Kirk; 6/12, Stephen Hamilton; 6/19, Wil- ues its series of lunchtime concerts liam Ness; 6/26, Frederick Hohman; on Wednesdays: May 15, Christopher July 3, C.S. Teardo; 7/10, Margaret Nickol; July 3, student player from Eton Irwin-Brandon; 7/17, Peter Latona; 7/24 College. The series of celebrity organ Harry Lyn Huff; 7/31, Jung-A Lee; Michael Barone and Juilliard organ students at Alice Tully Hall recitals takes place at 7:30 pm: May 2, August 7, David Enlow; 8/14, Martin Robert Quinney. For information: Schmeding; 8/21, Yun Kyong Kim; 8/28, On January 22, several hundred hardy Manhattanites braved a chilly and blus- www.readingarts.com. Michael S. Murray. For information: tery evening to join in the continuing celebration of American Public Media’s www.mmmh.org. Pipedreams’ 30th anniversary. The program’s host/producer Michael Barone The Houston Chamber Choir con- teamed up with students from the Juilliard School’s organ studio of Paul Jacobs cludes its 17th season on May 18 with St. James Catholic Church, Charles for a rare solo concert use of the recently reinstalled, yet seldom heard 1974 Kuhn Mozart’s Great Mass in C Minor, K. 427, Town, West Virginia, presents Marian pipe organ in Alice Tully Hall at Lincoln Center. at the Church of St. John the Divine, music for organ and trebles on May 25 The program included traditional and contemporary repertoire, music for organ Houston, Texas. For information: www. at 6:30 pm. The program features the and instruments (violin, harp, trumpet, oboe, percussion), and transcriptions. houstonchamberchoir.org. St. Cecilia Choir and St. Gregory Choir, Participants (and their repertoire) included Michael Hey (his own transcription with organist Gary Penkala. For infor- of Smetana’s Bartered Bride Overture), David Ball (Bach’s Prelude and Fugue Crescent Avenue Presbyterian mation: www.stjameswv.org. in A Minor, BWV 543), Ben Sheen (Rachel Laurin’s Fantasia, op. 52, with harp- Church, Plainfi eld, New Jersey, con- ist Gwenllian Llyr), Janet Yieh (Vitali’s Chaconne, with violinist Eric Silberger), cludes its music series on May 19 with Quire Cleveland concludes its fi fth Raymond Nagem (Hindemith’s Sonata No. 3), Colin MacKnight (Prelude on Sine the Crescent Singers. For information: season on May 25 with a program entitled nomine by John Weaver), Gregory Zelek (Cochereau’s Bolero, with percussion- www.crescentonline.org. “Pure Palestrina: Mass & Motets,” with ist Charles Rosmarin), Griffi n McMahon (chorale settings by Krebs, with oboist guest conductor Jameson Marvin. For Harrison Linsey and trumpeter Mikio Sasaki), and David Crean (two preludes Brevard-Davidson Presbyterian information: www.quirecleveland.com. and fugues by Henry Martin, in their NYC premieres). The concert ended with a Church, Brevard, North Carolina, con- duet of Wagner’s Ride of the Valkyries played by Sheen and Hey. Barone provided tinues its music series: May 19, Even- The Sinsinawa Dominicans present verbal continuity between selections and interviewed three of the soloists after song; June 9, Mountains of Asheville their 2013 summer organ recital series the intermission. Flute Ensemble. For information: on Wednesdays at 7 pm. Recitals feature The event was recorded and will appear later in the Pipedreams broadcast www.bdrpc.org. the Casavant organ designed by Law- schedule. For information: www.pipedreams.org. rence Phelps and recently restored at Christ Church, Grosse Pointe Queen of the Rosary Chapel, Sinsinawa Farms, Michigan, continues its music Mound, Sinsinawa, Wisconsin: June 5, series: May 19, choral and orchestral Mark McClellan; 6/12, David Jonies; music of Handel; July 23, Bon voyage 6/19, Sister M. Arnold Staudt, OSF; concert—the Choir of Men and Girls 6/26, James Hammann; presents selections from their upcom- July 3, Paul Paviour with tenor John ing tour to England. For information: Lander; 7/10, Sister Patricia Galla- www.christchurchgp.org. gher, OP; 7/17, Charles Barland; 7/24, Michael Bottenhorn; St. Andrew Lutheran Church August 7, Gregory Peterson; 8/14, (ELCA), Mundelein, Illinois, continues Joan DeVee Dixon and Alice Fiedlerova; its music series: May 19, Jeffrey Schleff; 8/21, Bruce Bengtson; 8/28, Stephen June 2, Waukegan Swedish Glee Club Steely. For information: 608/748-4411 and Women’s Chorus. For information: x271; www.sinsinawa.org. www.standrewmundelein.com. ³ page 6

Robert Bates Craig Cramer Aaron David Miller

425.745.1316 [email protected] www.organists.net

4 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas Michael D. Boney Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organ/Choral Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Michael's, Boise, ID Battipaglia, Italy Paris, France Ann Arbor, Michigan

Paul Cienniwa Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Concert Harpsichordist Interpreter/Improviser Organist/Lecturer Organist/Pianist Organ/Carillon Organist Boston, Massachusetts Dijon, France Milwaukee, Wisconsin Bloomington, MN University of Florida Birmingham, England

Faythe Freese Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Professor of Organ Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer University of Alabama Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California

David K. Lamb Mark Laubach Yoon-Mi Lim Christopher Marks Katherine Meloan Scott Montgomery Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Organist/Professor of Music Organist Organist/Presenter Columbus, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX U of Nebraska-Lincoln New York, New York Champaign, Illinois

Shelly Moorman-Stahlman Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Organist/Pianist Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Lebanon Valley College University of Kansas Atlanta, Georgia Southern Methodist University Luther College William Jewell College

Brennan Szafron Timothy Tikker Michael Unger Beth Zucchino Rodland Duo Vinaccesi Ensemble Organist/Harpsichordist Organist/Composer/Improviser Organist/Harpsichordist Organist/Harpsichordist/Pianist Organ and Viola Voice and Continuo Spartanburg, S. Carolina Kalamazoo College, MI Rochester, New York Sebastopol, California St.Olaf College/ San Francisco, CA Eastman School of Music www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Associate Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 26th year of operation Here & There

³ page 4 Longwood Gardens presents its First Church of Christ, Wethers- inaugural International Organ Com- Appointments fi eld, Connecticut, presents the winners petition June 18–22 in the ballroom at St. Thomas Church and Choir School, of last year’s Albert Schweitzer Organ Longwood Gardens near Philadelphia, New York City, has announced the appoint- Festival on June 9 at 7 pm: Joseph Rus- Pennsylvania. Ten organists will com- ment of Stephen Buzard and Benjamin sell (fi rst place high school division) and pete for the $40,000 fi rst prize: Darla Sheen as assistant organists. Michael Gebhart (fi rst place young pro- Burlak, Thomas Gaynor, James Ken- Stephen Buzard is a Master of Music can- fessional division). nerley, Jinhee Kim, Matthieu Latreille, didate at the Yale Institute of Sacred Music, The church’s music series concludes Baptiste-Florian Marle-Ouvard, Silviya where he studies organ with Thomas Murray on June 23 with the Raleigh Ringers. For Mateva, Yuri McCoy, Adam Pajan, and and improvisation with Jeffrey Brillhart. He information: 860/529-1575, x209; Benjamin Sheen. Judges include Paul currently serves as organ scholar at Trinity www.fi rstchurch.org. Jacobs, Thomas Murray, Oliver Condy, on the Green, New Haven, Connecticut; Sophie-Véronique Cauchefer-Choplin, as principal organist of Berkeley Divinity Stephen Buzard The Shrine of Our Lady of Guada- and Peter Richard Conte. School at Yale University; and as organist for lupe, La Crosse, Wisconsin, presents its The winner receives the $40,000 Marquand Chapel, Yale Divinity School. 2013 summer organ recitals on Sunday Pierre S. du Pont fi rst prize, a contract Buzard earned his Bachelor of Music from afternoons at 3 pm: June 9, Anthony with Phillip Truckenbrod Concert Art- Westminster Choir College in 2010, where he Williams; 6/23, Stephen Hamilton; July ists, and a 2013–14 performance at Long- studied organ with Ken Cowan; he was organ 7, Wyatt Smith; 7/21, Jeffrey Verkuilen; wood Gardens. Second place receives scholar at Trinity Episcopal Church, Prince- August 4, Kraig Windschitl; 8/18, John the Firmin Swinnen $15,000 prize, and ton, New Jersey, and director of music for the Chappell Stowe. third place receives the Clarence Snyder Episcopal Church at Princeton University. The programs feature the shrine’s 2008 $5,000 prize. Buzard spent a year in England as senior three-manual, 54-rank Noack organ. For Longwood’s Aeolian organ comprises organ scholar of Wells Cathedral. He was the information: www.guadalupeshrine.org. 146 ranks and 10,010 pipes. After a winner of the 2010 Arthur Poister Competi- seven-year restoration completed in tion and the 2009 Joan Lippincott Competi- Early Music America announces 2011, the organ is restored to its original tion for Excellence in Organ Performance. Benjamin Sheen its Young Performers Festival the week 1930 condition and incorporates today’s Recent recitals have included the 2012 of June 10 and the recipients of EMA’s technology. For information: Organ Historical Society Convention, the 2013 Midwinter Organ Conference college-level ensemble grants for www.longwoodgardens.com. at Baylor University, and the 2009 and 2013 conventions of the American 2013. This year, EMA will present an Institute of Organbuilders. His premiere recording “In Light or Darkness,” eleven-concert festival, which includes available through Delos Records, has received wide critical acclaim. six ensembles awarded EMA’s College- Benjamin Sheen is currently studying organ performance at the Juilliard Level Ensemble Grants, as part of the School in New York. He was a chorister at St. Paul’s Cathedral, where he took Boston Early Music Festival. For infor- up the organ at age 10. In 2003, he became the youngest person ever to give a mation: www.earlymusic.org. recital in the cathedral’s Sunday evening series, at the age of just 13. At Eton College he studied organ with Alastair Sampson and David Goode, and pre- The University of Michigan pres- sented recitals at venues including Liverpool Cathedral, Westminster Abbey, ents its summer harpsichord workshops, and York Minster, toured the USA with the Eton College Choir, and gave solo taught by Edward Parmentier: June concerts in New York, Denver, Washington, and Princeton University. 10–14, harpsichord works of Sweelinck; For three years, Sheen was organ scholar at Christ Church Cathedral. While June 17–21, fundamentals of harpsi- studying at Oxford, he played numerous recitals in the U.K., Australia, and chord performance and repertoire. For Germany. Sheen has appeared on BBC Radio Oxford and BBC Radio 3 with information: www.music.umich.edu/ Christ Church Cathedral Choir, and has performed with the Royal Philhar- special_programs/adult/. monic Orchestra under Nicholas Cleobury, and Duisburg Philharmonie with Jonathan Darlington. The Oregon Bach Festival cel- Andrew Scanlon, Mrs. Jean Haislip Clay, Sheen is a Fellow of the Royal College of Organists, winning the Limpus, ebrates maestro Helmuth Rilling’s 80th and Dr. Christopher Buddo Durrant, and Frederick Shinn prizes, and was awarded the Worshipful Com- birthday and concluding season as found- pany of Musicians Silver Medal for 2011. For further information: ing artistic director in nearly 60 total East Carolina University School of www.SaintThomasChurch.org. Q events June 24–July 14. Based in Eugene, Music has announced the inauguration the University of Oregon event also takes of a new endowed scholarship for organ place in Ashland, Bend, Corvallis, and study at the university. During a Febru- People Riyehee Hong is featured on a new Florence, and with the four-concert ary 8 concert held in St. Paul’s Episcopal recording, made on the Taylor & Boody BachFest PDX series in Portland. Church, Greenville, North Carolina, the organ at York Springs, Pennsylvania, opus Rilling conducts the chorus and “Jean Haislip Clay Organ Scholarship” 12 (1986), two manuals. The program orchestra in Beethoven’s Missa Solemnis was formally announced to the commu- includes works by Reincken, Schildt, June 28; Bach’s St. John Passion in a four- nity. Mrs. Clay was present, and a recep- Bruhns, Sweelinck, Bruna, Homilius, part lecture-exploration July 1–8 and a tion in her honor followed the concert. Stanley, Handel, and Bach. full concert July 10; and, to conclude his The fund will support undergraduate Riyehee Hong has served as organist tenure, Bach’s B-Minor Mass in Portland and graduate students who are enrolled and choirmaster in Massachusetts, Cali- July 12 and Eugene July 14. in the organ and sacred music degree fornia, Texas, Pennsylvania, France, and Other programs are conducted by programs in the ECU School of Music. Spain. She has performed in Europe Rilling’s successor, Matthew Halls. Guest Pictured from left to right are: Andrew and the United States, including several artists include Midori, Tamara Wilson, Scanlon, organ professor at ECU; Mrs. programs of German Baroque music Jeffrey Kahane, Monica Huggett, and Jean Haislip Clay; and Dr. Christopher performed on historically signifi cant the Portland Baroque Orchestra. For Buddo, Dean of the College of Fine Arts organs. She received a Doctor of Musi- information: 800/457-1486; and Communication and Director of the Delbert Disselhorst cal Arts from the University of Houston, oregonbachfestival.com. ECU School of Music. Moores School of Music, where she was Delbert Disselhorst is featured on a student of Robert Bates, and com- a new recording, volume 3 in the series pleted a dissertation on the late-18th- Helmuth Walcha Chorale Preludes on the century post-Classical French organ Naxos label. Recorded on the Brombaugh composer Guillaume Lasceux. Riyehee Opus 35 organ at First Presbyterian Hong: Recital in York Springs, Loft Church, Springfi eld, Illinois, the program Recordings LRCD-1123; includes 24 of Walcha’s chorale preludes. www.gothic-catalog.com. For information: www.naxos.com. ³ page 8

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6 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM When Morrow Memorial United Methodist Church in Maplewood, New Jersey decided to replace their pipe organ, they turned to Allen. The following is excerpted from the church’s website: www.morrowchurch.org:

“This organ was designed to make worship more inspiring. It is rich with a kaleidoscope of different sounds, able to be plaintive or triumphant, mysterious or declamatory, whispering or roaring. All divisions except the String can be assigned to antiphonal speakers discreetly installed in the rafters over the balcony. This allows for greater support of congregational singing and permits special dialogue effects between the front of the sanctuary and the rear. The String Division is installed over the central transept area, inspired by the celestial divisions that builders would regularly install in transept domes during the pre-Depression heyday of organ building. The Festival Trumpet speaks from the balcony and is suitable for fanfares and ushering a bride down the aisle. We have a King of Instruments which will serve us for decades to come. Soli Deo Gloria!”

Holland Jancaitis, Director of Music Ministry

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³ page 6 Baptist Church of Worcester, Massachu- setts is by Scott Perkins of Greencastle, Indiana, where he is on the music faculty of DePauw University, teaching theory, musicianship, and composition. Entitled Peace I Leave with You, the anthem is based on John 14:23, 25–28 NRSV, for SATB choir, organ, and harp. Perkins earned his Ph.D. in composition at the Eastman School of Music, where his Stephen Paulus, Paul Jacobs, and Mi- primary teacher was Ricardo Zohn- chael Christie Muldoon. He holds master’s degrees from Eastman, and a bachelor’s degree In March Paul Jacobs gave the pre- from Boston University’s College of Fine miere of a new concerto for organ and Arts. His compositions are published by orchestra by Stephen Paulus. Organ Augsburg Fortress. Current and upcom- Concerto No. 4 is scored for organ and ing projects include a commission from Front row: Samuel Holmberg, Justin Maxey, Adrian Foster, Ramona Hummel; back full orchestra, 25 minutes in duration; the American Guild of Organists for a row: Thomas Gaynor, Aaron James, Stephen Tharp, Amanda Mole, Tom Mueller the three movements are I. Robust, II. work for choir and organ to be premiered Soaring, and III. Swirling Agitation. The at their national convention in 2014, the In the midst of a fi erce snowstorm on February 8, Stephen Tharp played a work was commissioned by Peggy and score for a fi lm by Emmy-winning direc- recital at Sacred Heart Cathedral, Rochester, New York. The program included Jerry Schuld for the Phoenix Symphony, tor David Marshall, and his second opera. Bach, Toccata in E Major, BWV 566; Franck, Prière; Baker, Variations on the with Michael Christie conducting. The Perkins’s anthem Peace I Leave with Hymn-tune ‘Rouen’; Falcinelli, Mathnavi; Vierne, Larghetto from Symphony performance took place at Symphony You will be premiered on May 5 at the No. 5; and Reger, Phantasie über den Choral Straf’ mich nicht in deinem Zorn. Hall, Phoenix. 10 am service at First Baptist Church, The next morning, Tharp conducted a masterclass for eight Eastman students Worcester, Massachusetts. Details of the from the Eastman School of Music: Adrian Foster, Ramona Hummel, Amanda 2014 eighth annual anthem competition Mole, Justin Maxey, Tom Mueller, Aaron James, Sam Holmberg, and Thomas can be found at www.fbc-worc.org. Gaynor. The recital and masterclass were the 2012–13 season fi nale of the Roch- ester Celebrity Organ Recital Series. Other artists on the series were Isabelle Demers and Ken Cowan.

University of Hawaii, and was senior for the Pine Mountain Music Festival in research scientist at Lockheed Martin in Michigan’s Upper Peninsula. Palo Alto, designing, among other things, Currently dean of the WIU AGO chap- telescopes for the detection of planets ter, she previously served in that capacity around other stars. He retired in 1998 from 1994–2003, and as Illinois District to devote himself to music. Currently Convener from 2003–2009. She has Scott Montgomery parish organist at St. Joseph’s Church in taught at Pipe Organ Encounters, pre- Cupertino, he writes music primarily for sented a workshop on “Service Music by Scott Montgomery is featured on James Welch and Lothar Bandermann church use and performance. Women Composers” at the 2006 national a new recording, Organo Plano, on the convention in Chicago, and judged the Raven label (OAR-944). Recorded on the On March 10, James Welch, organ- recorded round of the 2012 NYACOP. Reuter organ Opus 2235 at Christ United ist of Santa Clara University, premiered Methodist Church, Plano, Texas, the Refl ections on the Life of Jesus Christ, Publishers program includes works by Susa, Guilain, written by Lothar Bandermann. The Bärenreiter-Verlag announces new Bach, Bruhns, Gigout, Karg-Elert, Shear- work was performed as part of the organ publications. Enjoy the Organ 1 ing, Sowerby, Saint-Saëns, and Buck. For Lenten series at St. Andrew’s Episcopal presents a selection of easily playable information: www.ravencd.com. Church in Saratoga, California, on the pieces by such composers as Cherubini, church’s Schantz organ. Written in the Daquin, and Czerny, edited by Karl-Peter style of an organ symphony, the suite Chilla (BA 11207, €13.50). The two vol- comprises six programmatic movements: umes in the Sonntagsorgel series present Introduction: His Miraculous Birth; Pas- easier music for services: volume I (BA sacaglia: His Teaching and Miracles; His Anita Werling and John Eggert 9287, €10) comprises preludes, toccatas Sublime Transfi guration; Plaint: His Suf- and fugues, trios, and pastorales, by Ger- fering and Death; Toccata: His Glorious Anita Eggert Werling retired in man and French composers from the Resurrection; and Finale: His Ascension 2012, after 40 years at Western Illinois 17th through the 20th centuries; volume and the Growth of His Church. University, Macomb, where she taught II (BA 9288, €10) contains meditative Welch’s program also included Cor- organ and music history. At its annual works by Rinck and Salomé; a third vol- tège Académique, Ernest MacMillan; meeting in May, the WIU AGO chapter ume will contain chorale-based works. Procesión y Saeta, José Jesús Estrada; All surprised her with a work commissioned Organ Plus One is a collection of origi- Glory, Laud and Honor, Dale Wood; A in her honor, Partita on Veni Creator nal works and arrangements for organ Tuscan Adagio, Franklin Ashdown; and Spiritus by John Eggert, her brother, and a solo instrument, suitable both for Choral, Joseph Jongen. who was present to perform it. service and concert use; the most recent Scott Perkins Lothar Bandermann was born in 1936 Werling received her DMA in organ volume in this series is Death and Eter- near Dortmund, Germany. He earned a performance from the University of nity: Funeral Service (BA 8504, €17.95). The winning entry of the seventh Ph.D. in astrophysics in 1968 from the Michigan in 1972, studying with Marilyn Organ Plus Brass presents works for annual anthem competition of the First University of Maryland, taught at the Mason. She has performed throughout organ and brass quintet (score: BA the United States, Canada, and Europe. 11202, €12.95). For information: Her numerous faculty recitals included www.baerenreiter.com. a 1985 Bach series, a series featuring

Follow us on music of women composers, and tributes The Church Music Association to Alain, Durufl é, Langlais, Litaize, and of America announces the release of others. Werling won the Gruenstein Evangélia Cantáta: A Notated Book of Photo: Michael Timms Facebook National Organ Playing Competition and Gospels, Revised Edition, from the Lec- received critical acclaim for her recording tionary for Mass. Evangélia Cantáta is a ORGUES ÉTOURNEAU LTÉE of 19th and 20th century French music notated book of the Gospel readings for L on the historic Möller organ at Central Sundays and major feasts of the year. The Congregational Church in Galesburg, notated texts are in English and based CANADA UNITED STATES Illinois. She taught for fi ve summers at on Gregorian formulas. These texts are 16 355 avenue Savoie 1220 L St NW, Ste 100, Box 200 the National Music Camp in Interlo- provided to facilitate the celebration of a St-Hyacinthe (Québec) J2T 3N1 Washington, DC 20005 chen, Michigan. In 1998 and 1999, she fully sung Mass. Music is provided in this Tel: 450-774-2698 Tel: 800-625-PIPE was organ recitalist and workshop leader ³ page 10 [email protected] [email protected]

Photo: David Morrison

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8 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM The New Vivaldi Your musical companion for all four seasons.

The new Vivaldi 270 and 370 organs by Johannus bring the experience of a pipe organ right into your very own home. Infi nite possibilities, authentic sound and life-like reverb enable the Vivaldi to reproduce the atmosphere of virtually any pipe organ anywhere. Imagine hearing the sweet sounds of springtime at Notre Dame in Paris, or feeling the mood of a mellow summer evening in a concert hall in Holland, the rich colors of fall in a quaint church in Vermont or a brisk winter morning in a chapel in Bavaria. The Vivaldi sets a different tone for every season. Here & There

³ page 8 provided the opportunity for participants Nunc Dimittis edition for all the Sundays and principal to see and hear four instruments by the Fred Gluck, of Oldsmar, Florida, formerly of Erie, feasts of the liturgical year. The notation same builder in the same city. The day Pennsylvania, died March 22 at the age of 95. Born and used for this edition is that commonly began at Wynne Chapel, Highland Park raised in East Orange, New Jersey, he graduated from called “Vatican Square-Note Notation.” Presbyterian Church, home of Schoen- Cooper Union with a degree in electrical engineering. Available for $69.00, 775 pp., hardcover, stein No. 119, 1992, a three-manual, After working for the Pentagon during World War II, 8.25 x 10.75; www.MusicaSacra.com. 37-rank “symphonic organ in miniature.” he later moved to Erie, Pennsylvania as president of Jack Bethards, Schoenstein’s president Astatic Corporation, Conneaut, Ohio, from 1955 to Recordings and tonal director, gave a history of the 1970. In 1970, with two investors he purchased Durst Paraclete Press announces the fi rm and overview of their symphonic/ & Co. of Erie. In 1971, they purchased Organ Supply release of two new recordings. The romantic tonal philosophy. Organist and Corporation and began the process of integrating two Fred Gluck Chants of the Holy Spirit features the associate director of music Michael Shake competing companies in the pipe organ supply busi- Gloriae Dei Cantores Women’s Schola demonstrated various tonal colors and ness founded by brothers Fred and Val Durst. As president of Organ Supply performing Gregorian chants from two performed solo works. The next stop was Industries, Inc. (OSI), Fred Gluck quickly garnered the respect of American and Masses for Pentecost, including Veni Spring Valley United Methodist Church. international organ builders for quality products and reputable dealing. In 1982, Sancte Spiritus, Factus est repente, Con- Its Schoenstein organ, No. 134, 1999, Fred began the process of converting OSI from a privately held company to an fi rma hoc, Deus, and Emitte Spiritum. of three manuals and 34 ranks with two employee-owned corporation. Sacred Songs of France, Volume 1, double expressive divisions, was demon- When Fred retired in 1986, he left OSI as an employee-owned company. 1198–1609, features Gloriae Dei Can- strated by John Tarver. At the request of the new management, he continued his interest in the pipe tores singing works by Leonin, Perotin, Following a box lunch, the largest of organ industry as a member of OSI’s board of trustees and the ESOP commit- Josquin, Compère, Mouton, Fevin, the instruments was heard at Park Cities tee, serving until 2012. Fred Gluck is survived by three daughters and four Goudimel, and others. For information: Presbyterian Church. A 90-rank instru- grandsons. Memorial observances will be held later this year. www.paracletepress.com. ment, combining both a four-manual —Randy Wagner chancel organ and a two-manual gallery Organ Builders organ (Schoenstein Nos. 150 & 151, Ferenc (Frank) Gyuratz died March 5 in 2006 and 2007), it is an example of a Erie, Pennsylvania. Born May 1, 1928 in Buk, church organ in the symphonic style. Hungary, he worked as an accountant in Budapest, Schoenstein’s vice-president Louis Pat- Hungary, and immigrated to the United States terson guided participants on a brief after the Hungarian Revolution. He began his look inside the chancel organ. Organist career as a voicer and pipe maker with the Tell- and associate director of music Colin ers Organ Company in 1956. After the transition Howland played Tchaikovsky’s 1812 from Tellers to Phelps & Associates he remained Overture, assisted by a four-man percus- with Phelps in the capacity of head voicer until the sion battery to conclude the day. company closed in 1976. Gyuratz was approached Ferenc (Frank) Gyuratz The second day of activities focused by the Rodgers Organ Company in 1978 to estab- around a celebration of the twentieth lish a pipe-making facility in Erie. There, Gyuratz employed as many as 39 pipe anniversary of the organ at Wynne Cha- makers. When the Rodgers facility in Erie closed, Frank Gyuratz continued pel, Highland Park Presbyterian Church, to operate as an independent voicer and pipe maker in facilities leased from Schoenstein’s fi rst fully symphonic Henry Tellers in Erie until his retirement in 2002. Ference (Frank) Gyuratz organ with double expression. Professor was preceded in death by his wife Beverly and is survived by a daughter, two Schoenstein organ at Highland Park Thomas Murray of Yale University, who sons, two grandchildren, a great-grandson, and a sister. Presbyterian Church, Dallas inaugurated the organ in 1993, returned for a pair of recitals, with music of Bach, Delbert Saman died February 10. He was 73. Born in Myrtle, Minnesota, The work of Schoenstein & Co. in Saint-Saëns, Rheinberger, Elgar, and Saman exhibited a talent for music at an early age; during his years at Austin Dallas, Texas was celebrated with week- Widor. The event was organized by High School, he played several band instruments, and as a freshman became end activities, January 26–27. Schoenstein Michael Shake with his colleagues John the school choir accompanist. At Oberlin Conservatory Saman studied organ & Co.—1992–2012—A Retrospective, a Tarver and Colin Howland. For informa- with Garth Peacock, and abroad at the Salzburg Mozarteum. In 1966 he moved day-long organ crawl and demonstration, tion: www.schoenstein.com. to Portland, Oregon, working as organist at Fremont Methodist Church and accompanist for Portland Parks & Recreation musical productions. At this time he met his future wife, Helen Susan Carter. Saman served as organist for six years at Rose City Methodist, and subsequently studied organ and harpsichord with John Hamilton at the University of Oregon in Eugene. He served as organist at an Anglican church while in Wichita, and in Omaha as accompanist for a production of Stephen Sondheim’s Sweeney Todd. Returning to Portland in 1983, Saman served at Trinity Lutheran Church in Gresham, and for 25 years as organist for Cantores in Ecclesia, a Catholic choir dedicated to the preservation and promotion of Gregorian chant and sacred polyphony in liturgical context within the Latin Mass. Saman accom- panied weekly Masses at St. Patrick’s Catholic Church and toured with the group to Europe and Mexico. He also held organist positions at First Con- gregational Church and St. Mary’s Cathedral, and was involved with the Oregon Opera Ensemble, Male Ensemble Northwest, Pacifi c University, and numerous other groups. A regular performer in the Sack Lunch concert series at The Old Church in Portland, he was a member of its board of directors. Delbert Saman is survived by his wife Helen Saman, and by sisters Victoria Bjortant and Susan Woodle. Q

MANDER ORGANS Uni Grammar School students at Buzard shop New Mechanical Action Organs Twenty fi rst- and second-graders from the University of Illinois’ “Uni Grammar School” learned how pipe organs sound, work, and are built during a recent visit to the workshops of John-Paul Buzard Pipe Organ Builders, LLC, Champaign, Illinois. The students are currently exploring “how things work” in their class. Several are focused on musical instrument-making. The students toured the new organ currently being built for St. Bridget Catholic Church in Richmond, Virginia. Each got their turn at the console, playing the keys and manipulating the stops; a trip to the voicing studio demonstrated how organ pipes play, and what wind feels like coming out of a pipe’s mouth. The students discovered

³ St. Peter’s Square - London E 2 7AF - England how a pipe is tuned, and why pipes of different shapes sound different. The class then toured the service department shop a block away, where Keith Wil- Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 liams demonstrated a set of electro-pneumatic actions being releathered, and played Continuo Organs [e] [email protected] the pipe organs set up in the shop: an 1860 Willis Scudamore organ, an 1886 two- www.mander-organs.com manual Felgemaker, and a 26-note Memling-inspired portative. Buzard Pipe Organ Builders is committed to introducing children of all ages to the pipe organ through its various outreach programs, including support of the American Guild of Organists Imaginative Reconstructions POE program. For information: www.buzardorgans.com.

10 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM Here & There

Harpsichord News He was also in charge of harpsichord Hieronymus Albrecht Hass. This album by Larry Palmer instruction at the Curso Manuel de Falla, is currently being prepared for release. at the International Festival of Granada Others are to follow. in Spain. He founded and was president Rafael Puyana will be remembered A triptych for Rafael of the International Harpsichord Forum by all those who recognize the great- Memorial tributes by Betina of the Festival Estival de Paris, and was ness of his art for its exceptional beauty, Maag Santos, Jane Clark, and also a jury member for numerous harpsi- intelligence, refi nement, excitement, Larry Palmer chord competitions. force, and vitality of his playing and, A recognized authority in baroque most importantly, his musical integrity. Homage to Rafael Puyana (October music, Rafael Puyana also extended Those who had the privilege of knowing 14, 1931–March 1, 2013) his repertoire to works for eighteenth- and collaborating with him will remem- Rafael Antonio Lazaro Puyana century fortepiano and to principal com- ber further qualities: the sharpness Michelsen was born in Bogotá, Colom- positions composed for harpsichord in and brilliance of his unique mind, his bia. At age sixteen he entered the New the twentieth century, including Master incredibly vast knowledge and culture, England Conservatory of Music in Bos- Peter’s Puppet Show and the Concerto his outstanding sensitivity and creativ- ton; later he studied at the Hartt School by Manuel de Falla as well as the Con- ity, his aesthetic refi nement, his sense of Music in Hartford, Connecticut. His cert Champêtre by Francis Poulenc. of perfection, his impeccable memory, Rafael Puyana next to his Hieronymus passion for early music and harpsichord His refi ned yet strong and vital playing his force and intensity, his charm, his Albrecht Hass harpsichord of 1740 led him to the great harpsichordist inspired several contemporary compos- uncompromising nature and courage to (SanCtuS Records, Puyana bequest) Wanda Landowska, with whom he stud- ers to write works for him, among them stand by his beliefs, his loyalty, warmth, ied during the last seven years of her Frederico Mompou, Alain Louvier, Julian refi ned humor, and generosity. to fl y home to Bogotá, a fact that sad- life. During summer months he traveled Orbón, and Xavier Montsalvatge. The death of Rafael Puyana leaves dened him. It is, perhaps, an ultimate to France to enroll in the harmony and King Juan Carlos of Spain invested those who admired and loved him as irony that only his death allowed him composition courses of Nadia Boulanger Puyana with the highest decoration of that orphans. While Colombia lost one of its such a journey. in Fontainebleau and Paris. nation: the Orden de Isabel la Católica, in foremost internationally recognized cul- The other contemporary harpsi- Puyana’s career as a harpsichord- recognition of the artist’s merits in com- tural ambassadors, the world suffered an chord legend, harpsichordist Gustav ist began in 1957 with recitals at the municating his knowledge and apprecia- irreplaceable loss of one of the last artists Leonhardt, three years his senior, died Hotchkiss School, Jordan Hall in Bos- tion of early and contemporary Spanish from a golden era fi lled with larger-than- just more than a year ago, in January ton, and Town Hall in New York City. keyboard music. Puyana leaves behind an life musical personalities; Puyana was a 2012. Comments on Puyana’s playing, He was immediately ranked as one of important discography, several recordings direct link to the Landowska legacy as prompted by his death, show that com- the most striking musical personalities of which are deemed defi nitive. well as a player who possessed a striking parisons between these two major play- of his generation. He gave numerous Puyana had a longstanding relation- individuality. His spirit and art will live ers are inevitable. Puyana had a head performances across several continents, ship with SanCtuS Recordings, a col- on through the recorded legacy he has start on Leonhardt: he was an interna- performing with such musicians as laboration that lasted over a period of left behind, and in the hearts of those tional celebrity before the Dutchman Andrés Segovia, Leopold Stokowski, fi fteen years. During this time three who loved and admired him. had gained any reputation at all. Unlike Yehudi Menuhin, David Oistrakh, John new albums were released on this label: —Betina Maag Santos Leonhardt, however, Puyana was tem- Williams, Maxence Larrieu, and James Magica Sympathiae and The Musical peramentally unsuited to coping with Galway. He was an inspiring teacher Sun of Southern Europe (I and II). For Rafael Puyana: an appreciation the demands made by the commercial who gave masterclasses for many years the past four years, I worked together ‘Last of the harpsichord legends is world of a present-day recitalist, and, at the Santiago de Compostela, Prades, intensively with the artist on previously buried in Colombia’ reads a headline sadly, was somewhat eclipsed by the and Dartington summer schools. Trevor unissued recordings, one of which is his on the Arts Journal website. Rafael Puy- Dutch player. Pinnock, Christopher Hogwood, and magisterial recording of J. S. Bach’s Six ana, who lived for many years in Paris, This was understandable: many Genoveva Galvez were among the Partitas, played on his celebrated three- suffered poor health during the last listeners felt Leonhardt to be more students who attended these classes. manual harpsichord built in 1740 by several, and was not allowed by doctors ³ page 12

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WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2013 Q 11 Here & There

³ page 11 ‘informed’ and ‘expressive’. But like his teacher Landowska, Puyana was as well acquainted with seventeenth- and eighteenth-century writings as anyone. If he did not always act upon them, it was not because he was ignorant of these sources. His disadvantage was that he started life with a Pleyel harpsichord. Many listeners now accustomed to the sound of more classical instruments Rafael Puyana are unable to get past the sound of the Rochester, New York Pleyel to hear the music being played 16 February 1961 on it. Interestingly, Puyana’s interpre- Dear Mom and Dad, Rafael Puyana: The Golden Age of Harp- tations recorded on his magnifi cent . . . Tuesday afternoon [14 February] Ra- sichord Music (Mercury LP cover photo) three-manual Hass harpsichord, though fael Puyana, harpsichordist, gave a lecture- unchanged, are often admired by those recital in Kilbourn Hall. In the evening he totally new to all of us when the record played on the chamber music series there. Three-manual Hass harpsichord (SanCtuS who rejected his earlier recordings. This was such a treat—we were all very ex- was issued in 1970: Julián Orbón’s Tres Records, Puyana Bequest) His playing had an old-world Hispanic cited. [David] Craighead was so delighted Cantigas del Rey, sung with haunting dignity ideally suited to Hispanic music. that he dragged me off to his studio during intensity by soprano Heather Harper, This musical character was so strong that intermission to talk about the playing. Puy- supported by the London symphony The accompanying disc was the beau- it invaded all the music he played. He ana, a Colombian, studied for seven years String Quartet and Puyana, all conducted tifully recorded and packaged Magica with Landowska. After the concert a few of excelled in works that owed a lot to the us were going out to celebrate Mardi Gras by Antal Dorati. A second, digital record- Sympathiae: Tudor and Jacobean infl uence of Spain, those of the English [which fell that year on Valentine’s Day!], ing of these same pieces (Dorian 90214) masterpieces for keyboard, played by Virginalists and the French and Italian and I invited him to go along. He had an- dates from 1994, with soprano Julianne Puyana on an Italian harpsichord from seventeenth-century dance music infl u- other date, but joined us about midnight. Baird, conductor Eduardo Mata, and the 16th-century maker Domenico da enced by Spaniards who were employed He’s friendly and very interesting. I’ll hope Puyana performing on a 1993 Hass-copy Pesaro [Domenicus Pisaurensis] and to hear him again. by Louis XIV’s Spanish queen, or affected Yesterday, Ash Wednesday, was a full instrument by Robert Goble. a 1998 copy by Willard Martin of a by the Spanish domination of Naples. and most tiring day . . . [indeed it was, after The Golden Age of Harpsichord Flemish muselar virginal built by Jean He was a loyal and entertaining friend. such a late night of celebrations!] Music, recorded in New York by Mer- Couchet in 1650. This elegant album He once asked, when he was practic- cury Records during the springs of 1962 from SanCtuS (SCS015) was recorded in ing a piece by my husband, Stephen As it turned out, that was the only time and 1964, showcased Rafael playing France in 2000 and produced by Betina Dodgson: “Jane, has your husband got I heard Puyana in live performance. I Landowska favorites, such as Bach’s Maag Santos. a metronome?” “Yes,” I replied, “why?” remember the exhilaration and energy transcription of Alessandro Marcello’s Unfortunately, I never had the oppor- “Well, it is not the same as mine,” came of his playing; his announcement to the D-minor Concerto, Antoine Francisque’s tunity to accept Rafael’s generous invi- the answer. On another occasion when audience that, although he usually played Branle de Montirandé, works by Cham- tation to visit him in Paris. Work does, he was going to rehearse the Sonata from memory, he had experienced a pre- bonnières and Rameau, together with indeed, interfere with one’s social life! for Guitar and Harpsichord by Manuel concert night of fi tful sleep, including some of Puyana’s beloved early English Quite often I turn to Louis Couperin’s Ponce with John Williams: “Jane, will the premonition of a memory failure in keyboard works by Bull, Peerson, Byrd, F-major remembrance for a departed you come and turn my pages?” I was the Bach F-sharp minor Toccata, so he and Peter Philips, all played on a Pleyel friend, the sublimely moving Tombeau meant to be doing something else, so asked to be forgiven for placing the score harpsichord. This particular release was de Mr. de Blancrocher, as a memorial I asked: “Is it long?” “All bad music is on the music desk of his Pleyel harpsi- widely known as well for the strangely tribute for someone I have known and long,” was the dismissive reply. chord, “just in case.” And, as a foretaste evocative photograph gracing the record loved. For Rafael, a more fi tting postlude It is sad that Rafael Puyana is not here of my subsequent repertoire interests, jacket, portraying the young keyboard- might be his own recording of Thomas to see his many recordings now appear- I remember how beguiling I found his ist in full white tie and tails, playing his Tomkins’ autobiographical A sad pavan ing on the Internet as well as the many playing of Catalan composer Frederico harpsichord outside in a garden! Unfor- for these distracted tymes—track 18 appreciative comments about him. Since Mompou’s Canción y Danza XI (11), a tunately, when this program was reis- of Magica Sympathiae. Tomkins dated he had stopped playing in public some new piano piece dedicated to him, which sued on compact disc in 1995, someone this work on the 14th of February 1649: years ago, he might be happily surprised Rafael had transcribed for harpsichord. turned the negative upside down, so the indeed a sad time for the elderly organist to fi nd that he was by no means forgotten. Equally memorable (and somewhat to harpsichord lid appears attached to the of Worcester Cathedral, who, at age 78, —Jane Clark be envied) was the relative ease of Puy- right side of the instrument rather than endured the destruction of both political ana’s concert touring with such a large the left (Mercury CD 434 364-2). and musical worlds at the hands of the Memories of Rafael and heavy instrument, facilitated by his Occasionally other mentions of Rafael English Cromwellians. In a strangely In the years following those life- large Buick station wagon and a person- and his musical pursuits came from our apt concurrence, Tomkins’ composi- changing fi rst harpsichord lessons at the ally employed driver. As his fellow Land- mutual friend Jane Clark. At her urging tion, written just two weeks following Salzburg Mozarteum, I continued my owska student Paul Wolfe reminded me I sent Rafael a copy of my book Harp- the beheading of King Charles I, bears interest in that fascinating instrument, recently, Rafael was the son of a wealthy sichord in America. What a delight to a date exactly 312 years before my fi rst which, sadly, was not one for which family. Paul continued, “Of all WL’s stu- receive a handwritten communication meeting with Rafael Puyana. instruction was offered at the Eastman dents, he sounded most like her. [Also] from him, and thus reestablish personal —Larry Palmer School of Music in the 1960s. I also like her, he had small hands . . . and he contact after so many decades! continued my practice of writing let- was extremely well educated.” Betina Maag Santos, Puyana’s musical ters to my parents. In addition to many For the next forty years, Rafael Paris, November 7, 2004 producer and friend, is managing director of Dear Larry, SanCtuS Recordings. Letters from Salzburg (now published remained on my musical radar screen . . . Jane had mentioned your book about as a memoir with that title), my mother through his masterful recordings. His harpsichord life in the USA several times Jane Clark is a leading authority on the saved all of my letters. Thus I was able fi rst recording of Falla’s Concerto (Philips and I am now delighted to have some in- keyboard works of Domenico Scarlatti and to substantiate dates and some details of LP6505001) became my favorite inter- teresting reading for my hospital stay, after François Couperin. Her most recent book, the beginning of my acquaintance with pretation of that iconic work. But even my operation on November 15th. Jane, in with Derek Connon, is The Mirror of Human fact, suggested that I send you my latest re- Life: Refl ections on François Couperin’s Rafael Puyana. more exciting on that disc was a work cording effort, an album containing many Pièces de Clavecin, published by Keyword splendid English pieces that have given Press in 2011. me such a joyful time over the years. Two Larry Palmer, professor of harpsichord more records are in preparation (already recorded) and will eventually be released: and organ in the Meadows School of the Spanish and Portuguese music on original Arts, Southern Methodist University, Dallas, harpsichords and fortepianos. Our musical has been harpsichord editor of THE DIAPASON A. E. 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12 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM Reviews

Music for Voices and Organ Ev’ry Time I Feel the Spirit, arr. above a fl owing keyboard part. There are greatest ambassadors for the organ that by James McCray Lloyd Larson. SATB with piano and several divergent sections, all with the the world has ever seen.” Author Anthony optional guitar, bass, drums, and simple melody and no other text. Sweet, Hammond is an English concert organist, Arrangements of popular African- synthesizer, Hope Publishing Co., C effective music. improviser, and musicologist specializing American spirituals 5677, $1.90 (M-). in French Romantic and 20th-century (Music for summer choirs) Much of the choral writing is in unison, Steal Away, arr. Lloyd Larson. SATB organ music. He was privileged to have with brief passages that shift into four and piano, Hope Publishing Co., C been a friend and confi dant of Pierre I’m gonna sing when the Spirit says sing, I’m gonna sing when the Spirit says sing, parts. The piano is featured and helps 5566, $1.90 (M). Cochereau’s only son, Jean-Marc, a suc- I’m gonna sing when the Spirit says sing, create the mood with its steady but synco- This arrangement is more elaborate than cessful Parisian orchestral conductor and And obey the Spirit of the Lord. pated rhythms that serve as background the previous setting, but while it is gentle musician, who provided critical insights for the popular melody. Some arrange- in style, it does not seem to be as warmly and information. Other Cochereau fam- For church choirs, summer is often ments treat this in a fast pace and rollick- sensitive as Helvey’s arrangement. There is ily members and close friends provided diffi cult in terms of solid weekly atten- ing style, but Larson’s setting has a gentle, more text, more contrast of dynamics, and access to private documents, photographs, dance, which of course is directly related relaxed tempo. The instrumental parts are a more active keyboard part. and, in particular, to scarce recordings to motivation. Perhaps summer might not in the choral score; they are available of Cochereau’s unique and famous be a great time to do repertoire that has as C 5677R. Very attractive arrangement. This Little Light of Mine, arr. Mark improvisations. The archival papers of an immediate attraction for the singers. Patterson. SATB with piano and his teacher Marcel Dupré, housed in the One popular genre that sparks instanta- Little David, Play on Your Harp, arr. optional tambourine, Choristers Bibliothèque Nationale, plus recordings neous interest is the African-American Merryl Nelson. SATB unaccompa- Guild, CGA 1309, $2.10 (M). and fi lms, were used over a long period spiritual. The extroverted rhythms and nied, Concordia Publishing House, Full use of four parts is limited as the of careful and fruitful research. The result emotional texts are usually welcomed 98-3645, $1.35 (M). choir often sings in unison or two parts. is the very fi rst detailed critical biography enthusiastically by singers and congre- All parts are in the “for rehearsal only” The male tessitura tends to be high of Pierre Cochereau. His extremely high gations. Programming spirituals during piano staves, so for those choirs needing (young voices), and there are sections worldwide reputation fell into decline the usual downtime of summer might keyboard support, it is there. The music for three solo voices that could be sung after his death as ambitious newcom- result in better attendance. Advance looks more diffi cult than it is; numerous by one or even three different soloists. ers vied for attention. Moreover, he was preparation and notifi cation will be rests in the ATB parts appear as separa- The tambourine part (on the back cover) a brilliant improviser who has not yet needed for success. tions in repeated statements of “Halleluia” is easy, and is used in about half of the received due recognition because his best Elementary and secondary school that serve as background for the lyrical arrangement. The piano part helps drive creations were not written down. Ham- choirs often perform spirituals, and soprano melody. There are three verses, the rhythm but is not diffi cult. Also avail- mond’s book is a serious effort to correct they tend to establish an appreciation all are different; the music has repeated able for unison/two parts (CGA 1108). this imbalance and restore Cochereau’s in the young singers. As with “pop” passages and a coda. Tricky but enjoyable. rightful place in the history of 20th- music, the American culture quickly Swing Low, Sweet Chariot, arr. century music. absorbs the style and, in most cases, it is Didn’t My Lord Deliver Daniel?, Howard Helvey. SATB and key- On the one hand, Cochereau was a primarily “fi ne tuning”, not a real edu- Evelyn Larter. SATB, piano, fl ute, board, Beckenhorst Press, BP 1645, world-class performer with a Lisztian cation, that is needed to produce solid and cello, Augsburg Fortress, 978-0- $1.50 (M). fl air for exciting display. His perfor- performances. With musical elements 8066-9730-7, $1.75 (M). The keyboard music is soloistic in style mances were said to be inspiring. What such as driving, consistent rhythms Often this spiritual is slow and some- and is more challenging than that for the Widor, Vierne, and Dupré were to the and syncopations, plus texts that have what mournful; however, this arrange- choir. A mezzo-soprano soloist opens fi rst half of the 20th century in France, deep meaning, these well-known works ment has an upbeat tempo and character the work accompanied by choral hum- Cochereau was to the late 20th century. are enthusiastically welcomed. For after the free instrumental introduction. ming; this rhythmically free introduc- He was a non-fl amboyant showman who, example, the text at the beginning of The melody is sometimes modifi ed but tion changes when the tempo increases as a Frenchman, prized good taste above this column has a very simple, repeti- easily recognized. There are sections for and the piano enters. Later the soloist all else. His worldwide concerts, 25 in tive structure that usually translates a vocal solo, a lively instrumental inter- returns above the choir. This is a very the USA, dazzled audiences. They were into a repetitive melody; this simplicity lude, and a repeating coda that continues musical arrangement that would be use- sell-outs, and his recorded performances results in music that is quickly learned to ask “and why not every man?” The ful for church or school choirs. and improvisations sold on fi ve conti- and remembered. choral parts are often in unison and not nents. On the other hand, his personality Most church choir libraries will have diffi cult, but both choral and instrumen- could be childish and diffi cult. several spirituals. People enjoy singing tal music have much syncopation. Book Reviews Hammond surveys Cochereau’s life them and they never truly go out of favor. Pierre Cochereau, Organist of and career in Chapter 1, concentrat- In many instances their generic texts fi t Deep River, arr. Uzee Brown, Jr. Notre-Dame, by Anthony Hammond. ing on his position at the Cathedral of church services of most denominations. SATB unaccompanied with bass solo, Rochester, NY: University of Roch- Notre-Dame, where he succeeded the Whether the choir sings every Sunday or GIA Publications, G-7729, $1.90 (M). ester Press, 2012 (Eastman Studies unpopular Léonce de Saint-Martin in merely occasionally during the summer, This is from GIA’s African Ameri- in Music), 346 + x pp., hardcover, 1955. Cochereau deserves credit for re- programming two or three spirituals may can Church Music Series, which has ISBN: 978-1-58046-405-5, $85. establishing the glory of the cathedral as be a breath of fresh air for everyone. numerous settings and is a wonderful This interesting book celebrates one of the most prestigious recital venues Some suggestions for the use of spiri- resource for this style. The bass soloist the life and achievements of Pierre in the world. His earlier training in organ tuals include: sings throughout the entire work and is Cochereau (1924–84), “one of the ³ page 14 1. Announce to the congregation (and always heard over the choir. The music singers) that this will be the summer of is slow and contemplative, with brief spirituals, and one will be performed divisi for all sections but soprano, and every month. A more ambitious pro- the harmony is warmly rich. The soloist 4A?RRCPCBJC?TCQDPMKMSP4ICRAF@MMI gram might be to do the same spiritual has a portamento slide at the end, then text but use a different arrangement drops into a humming ninth-chord with each time. the choir, a dramatic touch. 2. Choose spirituals that can accom- modate adding extra instruments played I’m Gonna Sing, arr. H. L. Smith. by improvising soloists. These performers SATB, solo or ensemble, and piano, may be inserted into the music in a jazz- Theodore Presser, 312-41840, like fashion. The performer could play $1.75 (M). the melody fi rst, improvise on it (probably The directions state to play as “Quasi unaccompanied), then link that to the Reverent Funk (quarter equals 120) but more formal choral arrangement. 8ths are straight, not swung.” This exciting 3. Have the congregation sing the spir- setting is also available for unison choir itual in unison as a hymn immediately and piano (312-41839), which makes it before the choir sings it as an anthem. especially useful to summer choirs. The 4. In churches with non-traditional busy keyboard part has driving left-hand services, this might be a good time octaves. The soloist usually sings antipho- to have the “formal” choir visit and nally with the choir. There are jazzy perform there. This new audience, chords for choir/piano, and it ends fff. new environment, and new worship style may be good for both performers Steal Away, arr. Howard Helvey. and congregations. TTBB, soprano sax or violin or fl ute The important point is that summer or B-fl at clarinet and piano, Becken- offers opportunities for choirs. Stretch horst Press, BP 1850, $1.95 (M). them even farther with a three-month The arrangement is also available for immersion in spirituals. Choir directors SATB (BP 1682). The solo instrument’s who fi nd new ways for the choir to make part is in the score and on the back cover. Schoenstein & Co. sparkling contributions to worship services Its music usually is a countermelody to are certain to reap rewards. A summer of the choir. This tender setting opens with singing African-American spirituals may a four-part unaccompanied setting of e result in new singers in the fall. the melody, which changes into unison

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2013 Q 13 Reviews

³ page 13 this change, he had provided “Progressive four major organ solo works, a concerto touring organ), and lastly, a descriptive was with Paul Delafosse at Saint-Roch, Mixtures,” which increase the number of for organ and orchestra, an unpublished analysis of Cochereau’s Twenty-fi ve André Fleury, and Marcel Dupré at Principal pipes played per tone in stages “Hymne” and a dedicatory prayer for Improvisations on St. Matthew’s Gospel the Paris Conservatory. Before mov- as one ascends through the compass. choir, two organs, two brass ensembles, (1984). Copious notes and references, a ing to Notre-Dame, he was offered the Mixtures of the German and French clas- and six timpani, and unpublished cham- rich bibliography, and an excellent index directorship of the regional conservatory sic type generally use the same number ber music (“Songs” and “Piano Quintet”). bring the book to a close. at Le Mans, which proved altogether of pipes per tone throughout the compass In these compositions he comes close to All in all, Hammond has given us a successful. His subsequent appointment and “break back” at various stages to occasional atonality and serialism, but superb biography that all serious organ- at Notre-Dame ushered in the “golden maintain the same quality of sound. They stops just short of that, writing in essen- ists should read. He praises the good age of music in the 20th century at the are preferred for contrapuntal music.] tially tonal and diatonic harmony. Ham- characteristics of this great organist in cathedral” because of the unusual rap- During his tenure at Notre-Dame, mond identifi es specifi c infl uences on superlative and sometimes awe-inspiring port he enjoyed with the choirmaster Louis Vierne had argued for altering the his style, which include Dupré, Debussy, terms, but he does not hesitate to lay Jehan Revert. But after a very few years Progressive Mixtures and indeed, during Ravel, Tournemire, Messiaen, Vierne, bare human fl aws and understandable he grew “bored” and eagerly accepted Cochereau’s tenure, they were removed. Fauré, and even jazz, which Cochereau imperfections. His impeccably clear the offer from the mayor of Nice in 1961 After his death the Progressive Mixtures loved. He had an architectural approach and responsible writing, especially when to become chief administrative offi cer were again restored. This clearly refl ects to music, seeking proportion and balance. providing technical details, disarms the at the regional conservatory there. His the unrest and vacillation of taste that Finally, Chapter 5 takes us from compo- reader and commands admiration. work there was likewise entirely success- accompanied Cochereau’s entire profes- sition to improvisation, for which he was —John M. Bullard, Ph.D. ful; he left the Nice Conservatory one of sional life. Hammond comments that he so justly renowned. This is the most com- Spartanburg, South Carolina the leading establishments of its type in had a fatal fl aw: he never composed any plex and technical chapter in the book, France. The same cannot be said of his music. Music historians need the written starting with unexplored “gesture study” third administrative post, directorship of evidence; mere reports of improvisations within current musicology (rather recall- New Recordings a planned new Conservatoire National do not endure. ing eurhythmics), in the abstract sense of The Complete Psalms of David (The Supérieur de Musique et Danse in Lyon. In Chapter 2 we are shown Marcel “the use of music to mirror emotion,” a Second Priory Psalm Series), Volume This was intended by the government Dupré’s organ class at the Paris Conserva- diffi cult problem if one is using only aural One. The Choir of Exeter Cathedral, to be the equivalent of the great Paris toire. Cochereau was to spend three years recordings of improvised performances. Paul Morgan, organist; Andrew Mil- Conservatoire. About this same time, in that class and was permanently affected Hammond sees it in Cochereau’s employ- lington, director. Priory Records, Cochereau was made an Offi cier of the by the instruction of this acknowledged ment of “tremolando” chords, arpeg- PRCD1045, Légion d’Honneur by President Giscard master. Hammond describes the routine, giating the tones. Next, fast movement www.prioryrecords.co.uk. d’Estaing. He felt he could not refuse the class size, topics dealt with (e.g., Grego- forms—scherzo, toccata, and gigue—are Priory Records has a talent for pro- Lyon post, but it proved to be “a poisoned rian plainchant accompaniment, verset described. These became the “very cor- ducing interesting series of recordings, chalice.” At Lyon he ran into severe chal- improvisation, 4-voice fugue improvisa- nerstone of his art,” as he played one at and the new discs of The Complete lenges, was accused of incompetence, tion, free improvisation on a given theme, the conclusion of Mass every Sunday at Psalms of David are no exception. Hav- and discovered his colleagues doing and performance from memory of a work Notre-Dame to a cathedral full of rapt ing purchased their previous series of everything possible to undermine him. from the repertoire). He details each of admirers. Hammond devotes no less than the complete psalms, I was not expecting Gossip circulated about his private life Cochereau’s three years in the class and 38 pages to this subject, generously sup- anything to improve on the incredible and suggestions that his technique was in notes the high praise given him by Dupré. plying on every page clear musical quota- power and majesty of said earlier series; decline and his taste in music question- Maurice Durufl é also exerted infl uence in tions from Cochereau, Dupré, Vierne, however, from the fi rst phrase I was sim- able. He maintained a busy schedule of his early organ studies at Meudon, where Durufl é, and Fleury to illustrate analytical ply unable to turn this recording off! concertizing and recording but encoun- he took private lessons. comparisons. Slow movements and con- The singing of the psalms is one of the tered personal problems, fi nancial and Chapter 3 describes Pierre Cochereau trapuntal forms take up only sixteen great joys of the Anglican choral tradition otherwise, that took an obvious toll on as interpreter of the music of Bach, Cou- pages, but the examples show a fusion of Choral Evensong, and the Coverdale him. On the evening of March 5, 1984, perin, Franck, Vierne, Dupré, and fi nally of counterpoint and harmony refl ecting translation—which is traditionally used he suffered a fatal stroke and died. Messiaen, “cornerstones of the reper- the infl uence of Dupré. Cochereau’s in the English choral foundations—pro- His reputation was damaged. Fueled toire” as revealed by his famous record- 1977 recording, L’Art de l’Improvisation, vides a wealth of beautiful language that by professional jealousy and gossip about ings. Other than the ubiquitous “Toccata” featuring a “breathtaking fugue” from his is ripe for effective “word-painting” on his extravagant lifestyle, his love of jazz, a from Symphonie V, and the fi nal two Triptyque Symphonique, elicited high the part of the accompanist. Paul Morgan jet-setting love of fast cars and boats, and symphonies “Gothique” and “Romane,” praise from Hammond: “It is not perfect, does an outstanding job here of coloring increasing charges of deteriorating tech- Cochereau rarely played the works of but . . . . In the form of a huge crescendo, the texts, utilizing various combinations, nique in performance, his fi nal years were Widor. But Hammond appends a chrono- it should be considered as arguably his both of the lovely soft registrations on the clouded with depression and paranoia. logical list of some 46 composers in his greatest contrapuntal improvisation Cathedral organ, and the louder, majes- Unsettling reports of his controversial repertoire drawn from every period in the presently known.” His fi nal work, Impro- tic plenums when the text justifi es it. attempts to modernize and “improve” history of European music and testifying visation on the Gospel of St. Matthew, The organ accompaniment remains right Cavaillé-Coll’s great instrument for to the breadth of Cochereau’s arsenal. But interprets every episode somewhat darkly, “behind” the choir throughout, ensuring Notre-Dame turned many profession- we are cautioned not to rely on his read- and “contains some wonderful music, but that they are at no point drowned out. als against him. Hammond devotes an ings for historical propriety. “In terms of can be a harrowing listening experience.” (Should the listener be in any doubt as entire chapter (Appendix C) detailing historical authenticity one could not claim The day before he died, March 4, 1984, to the words being sung at any point, the the changes made to that organ: electri- that Cochereau was a good Bach player.” he played at Notre-Dame the fi nal move- excellent booklet provides the complete fi cation of the action, restoration, fi tting He saw the organ as an orchestra from ment from the St. Matthew Improvisation text of each chant, so clarifi cation should a new Anglo-American style console, which to draw color and effect. All his (chapter 28, the “Great Commission” or not pose a problem.) replacing terraced drawknobs with fl at, interpretations were heavily infl uenced Universal Mission, sending disciples forth The chants are, in Priory’s own words, 45-degree jambs, enlarging the original by Romanticism, with little concern for into the world). But when the crescendo “hitherto unrecorded,” and alongside specifi cation with many new ranks of interpreting pieces in the manner their reached its apogee, a prearranged brass some of the traditional Anglican fare pipes, etc. Cavaillé-Coll in 1868 had composers might have intended them to ensemble in the organ gallery pealed forth (Turle, Clucas, Crotch, etc.) there are revised the previous work of Clicquot and be heard, but “reinvented for modern Bach’s Passion Chorale! some wonderful modern chants by Mil- Thierry from 1720, radically altering the ears.” Franz Liszt would have approved. Chapter 6 is the four-page conclusion. lington, Dawson, Moore, and Bertalot, tonal character from French Baroque and Chapter 4 analyzes Cochereau’s musical Cochereau was a complex man and a and the booklet specifi es the chants for Classic to decidedly Romantic. [To effect language as defi ned in his written works: divisive fi gure; there are those who love each psalm. him for everything he did, and there are In the booklet there are, regrettably, those who hate him for his misguided no details of the organ, despite plenty of alterations to the organ at Notre-Dame. space, but for those interested in such But most have a more balanced opinion. matters, it is a sizeable four-manual instru- Hammond declares that “he was a wor- ment with a fl oating antiphonal division in thy inheritor of a great tradition, and one the Minstrel’s Gallery (Great: 16 8 8 8 4 4 2 of the fi nest musicians of his generation.” 4 2 ⁄3 2 IV III 16 8 4 / Swell: 16 8 8 8 8 4 4 2 2 3 Five appendices provide interest- 2 ⁄3 2 IV 8 16 8 4 / Choir: 16 8 8 4 2 ⁄3 2 1 ⁄5 1 ing information: a listing of all of 1 ⁄3 8 / Solo: 8 8 8 4 2 8 8 8 8 8 / Minstrel: Cochereau’s recordings, a description 16 8 8 4 2 V 8 / Pedal: 32 16 16 16 16 16 of his fi lms, a narrative account of the 8 8 8 4 4 II 32 16 8)— it remains essen- symbiosis between organist and organ, tially a “Father” Henry Willis instrument specifi cations of all the organs signifi cant from 1891, despite frequent rebuilds and in Cochereau’s career (including a photo additions by Harrison & Harrison (1933, of Philippe Hartmann’s portable Positif 1949, 1965, 1985, 2001, and 2002/3). AHIGHER L EVEL of E XCELLENCE Fruhauff Mussiic Publliicattiionss Music of Ed Nowak Compositions, Historical Transcriptions, Choral, hymn concertatos, psalm Great musicians need extraordinary instruments Hymn Tune Settings & Liturgical Music to deliver magnificent performances.  Scores for Organ, Voices, Carillon & Ensembles  settings, organ, piano, orchestral www.frumuspub.net and chamber ensembles D P.O. Box 22043 E Santa Barbara, CA 93121-2043 P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com http://ednowakmusic.com

14 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM Reviews

The choir’s chanting is generally very musical breaths had been taken. But that are anonymous, still await a modern clearly intended to be added in perfor- good, smooth and fl owing (there are curiously at Ich ruf’ zu dir Dressler starts critical edition. In this volume of some mance, a good template being the highly only a couple moments of “machine- loosening up a bit, and in Wenn wir he 150 pages, Candida Felici presents no embellished settings in the manuscript gun” chanting), and their diction is good becomes absolutely passionate in the fi n- fewer than 37 pieces (including two in of the printed volume of ricercars by throughout. The Gloria Patri is sung at est way. The Gravement of Pièce d’Orgue variant forms) that can be categorized Aurelio Bonelli, which are also available the end of each psalm, using the tradi- has subtle phrasing, especially as Dressler as either free-form—i.e., preambulum/ in a modern edition. No. 18 contains tional “Ghost” rather than the currently builds to the climax of the two-octave toccata, represented with 13 pieces— the descending chromatic tetrachord as fashionable “Spirit” and, for those inter- ascending pedal line toward the end. or entirely contrapuntal, i.e., ricercar part of its subject; many of the others ested in the specifi cs of psalm pointing, In registrations, the 8′ Baarpfeife (represented with 20 pieces), two fugas, are based on abstract vocalistic themes. ends with the slightly less preferable: | in the middle movement of the Bach and two fantasias (one by Carl van der No. 34 is a fantasia on la sol fa re mi, a end. A | - - | men. | (although this is, of E-fl at sonata is stunningly beautiful. Hoeven is a variant of a ricercar). very popular “obligo” or theme with course, a matter of personal preference). Dressler uses the 8′ Quintadena for the Several of the praembula require the composers of the Renaissance and early I never cease to be amazed at how ornamented solo in Wenn wir, and it pedals, and they can also be used to Baroque (including Segni, Merulo, and boy choristers, barely a teenager among absolutely restores one’s faith in Quin- good effect in the ricercars at cadences Frescobaldi, who wrote a capriccio on them, manage the incredible musical tadenas. The variable tremulant does all and in the bass entries of the subject in it). While crossed parts occur in several demands of daily cathedral worship, the right things. long note values. One interesting aspect pieces, there are only a few bars such as and based on this disc, the choir of men While some may wish the tempos of of the manuscript is the separation of in no. 34 that call for mental gymnastics. and boys deserves a place among the the outer movements of the Bach E-fl at the fugal sections from within many of This landscape-format volume is very very best of the English choral founda- trio were a little quicker and articulation the toccatas, these being copied into clearly printed on good quality paper tions. This is a series that, I suspect, will a little livelier, one cannot argue with the the manuscript volumes containing the and there is no problem in the pages be very much worth collecting, at least absolute clarity of line achieved by player ricercars as an independent composition. staying open on the music desk. The based on psalms 1–19 as recorded here. and instrument. However, it has been an The free-form pieces tend to open with extensive introduction in both English —James M. Reed increasing practice to work for faster tem- block chords before quickly dissolving and Italian contains information about Bergen, Norway pos in Baroque works in general, wher- into virtuoso passagework, mainly scalar, the manuscript volumes, the notation, ever the acoustic allows for it. That will passed from hand to hand against whole the copyist, the contents, information Thomas Dressler Plays the Paul always be an artist’s choice, of course, but notes or half notes, although in no. 7 the about the named composers whose Fritts Organ, Princeton Theological discovering a way to let the music have passagework combines scalar patterns works have been included in this volume, Seminary. Thomas Dressler Produc- character surely is important. In the case and leaps against eighth notes in the left- and some speculation about the possible tions, P. O. Box 913, Albrightsville, of the space at Miller Chapel, it seems hand tenor and bass. The contrapuntal identity of some of the pieces. There is PA 18210. For ordering and infor- that the Buxtehude, some of the verses pieces include quite a range of ornamen- also a bibliography of books, articles, mation: www.ThomasDressler.com. of the Scheidt, and the trio sonata could tal fi guration as well as long passages in and modern editions, not only of the Buxtehude: Praeludium in D Minor, have exhibited more élan (if a French quarter notes and half notes. pieces included here but also of other BuxWV 140; Böhm: Vater unser; Schlick: term can be used for German music). Named composers featured in this editions by composers whose works are Maria Zart; Scheidt: Jesus Christus, Having said that, Dressler’s attention publication include Valentin Trexell with to be found in the manuscript, but not unser Heiland; J. S. Bach: Trio Sonata in to period articulation (and fi ngering, one an introitus that contains loosely imita- necessarily in this edition. There is a full E-fl at, BWV 525; C. P. E. Bach: Sonata presumes) is excellent. This recording tive writing based on a descending scale critical commentary. in D Major, Wq70/5; Sorge: Trio II in could be a fi ne model for those studying as well as fragmentary motifs; Johann The player will need to be alert to the C and Trio V in G; J. S. Bach: Christus, the sounds and methods of playing early Staden with four toccatas, of which the potential for adding or subtracting acci- der uns selig macht, BWV 620, Ich ruf’ organ music on an appropriate instru- fi nal one is the most interesting with dentals, and to providing workable solu- zu dir, BWV 639, Wenn wir in höchsten ment. And the product of player and its greater rhythmic variety includ- tions to instances where large stretches Nöten sein, BWV 641, Pièce d’Orgue, organ are all-American! ing eighth-note triplets; Carl van der demand them. This volume does much BWV 572. —David M. Lowry Hoeven with four ricercars, far closer to to increase our knowledge of a little- In the summer of 2012 I was present Columbia, South Carolina toccatas, all of which contain frequent known repertoire (despite critical mod- in Miller Chapel at Princeton Theologi- division passages that sometimes com- ern editions, very few players seem to be cal Seminary for a wonderful concert of bine leaps and scalar runs, especially aware of the extensive keyboard works of instrumentalists and voices with the New Organ Music the fourth, and exert serious demands Christian Erbach and Hans Leo Hass- Opus 20 Fritts organ, and I treasure the Composizioni inedite dall’intavola- on the performer; and Giulio Radino, ler) and some of the pieces will tax even experience. I had only known the organ tura d’organo tedesca di Torino. the intabulations of whose four lengthy a player who is well versed in this area. through Joan Lippincott’s recording of Edited by Candida Felici, published ricercars carry some ornamentation, but There is much pleasure to be derived Bach concerti with another fi ne group by Arnaldo Forni Editore; available which is generally more restrained. from playing through these pieces, of instrumentalists. So I had two impres- from http://www.fornieditore.com/. The ricercars in this volume vary in which make such a welcome addition to sions, both good, and both very different. The wealth of material contained in length from a modest 40 or so double our knowledge of the 17th-century Ital- Now comes Dressler’s recording—expe- the 16 volumes of the German keyboard bars to 160; also varied is the amount ian and south German repertoire; some rience number three. Different again. tablatures preserved in the Biblioteca of written ornamentation, in addition to of them fully deserve to take their place And still good. Nazionale Universitaria of Turin has cadential formulae, which is based on in recitals as well as used as voluntaries. Fritts’s work throughout the USA has been known for many years, but many of the Venetian models by Andrea Gabri- —John Collins been remarkable. He has been a student the pieces it contains, particularly those eli and Claudio Merulo. Far more was Sussex, England of historic organs without trying to copy them, but he has been fascinated with what made historic instruments so valu- able. The results of his work continue to receive favorable reviews. His instruments Thousands of titles, top-tier publishers... do not necessarily attract those who bet their careers on eclectic instruments, and his instruments are not totally appropriate to many genres of organ composition. It is daring to do things like that, yet he and a few other builders have produced fi ne examples over the last 50 years. The organ world is richer for their efforts. Dressler’s love for music of the baroque German schools is obvious. This CD cap- OneLicense.net tures the Fritts organ sounds well. The principals sing beautifully. The plenum is very clear. The 16′ Posaune in the pedal is forSUNDAY ANNUAL and ONE-TIME remarkably fl exible and musical. Dressler BULLETINS, treats every stop with care and chooses CHURCH COPYRIGHT registrations that balance beautifully. The WEDDINGandFUNERAL program notes defi ne nearly every regis- tration for each piece. PROGRAMS, I fi nd the playing in the fi rst eight selec- PERMISSIONS tions to be very straightforward. I wish PROJECTION, that some nuance in rhythm and more SPECIALSERVICE BOOKLETS, CLAYTON ACOUSTICS GROUP Log on and take the tour today! 2 Wykagyl Road Carmel, NY 10512 PRACTICE TRACKS, 845-225-7515 [email protected] www.claytonacoustics.com and PODCASTS CLAYTON ACOUSTICS AND SOUND SYSTEM 800.663.1501 ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2013 Q 15 On Teaching

Organ Method VIII This month’s excerpt continues the dis- cussion of heel playing, with many exer- cises. It then deals briefl y with double pedal and with pedal substitution. This wraps up the chapter on pedal playing as such. The next part of the method is about manual playing—aspects of key- board technique specifi c to organ, and ways of getting comfortable at the organ keyboard for players who come from a Example 1 Example 2 piano or harpsichord background. Later Example 10 on I will deal with putting hands and feet together, and with overall organ practice techniques and habits.

Here are several other exercises along similar lines. Each one gives you the Example 11 chance to try out the heels with a differ- ent note pattern. For the moment, the principle that the toes take the raised keys and the heels take the natural keys remains (Examples 1 and 2). In the six short exercises above, I have Example 3 Example 4 Example 12 provided pedalings that allow each foot to play notes that are in the region of the pedal keyboard where that foot auto- matically falls as you sit on the bench. However, these very same note patterns can also be played by the opposite feet, Example 13 as follows (Examples 3 and 4). Each of the gestures in these exer- cises—playing a natural note with the heel after having played a sharp or a fl at with the toe, then again playing a sharp or fl at (the same one or a different one) with Example 14 the toe, turning the foot—feels different and of course requires different planning, depending on which foot is involved. It is not necessarily true that a gesture is eas- Example 5 Example 6 ier or more natural if it is carried out by the foot that is “proper” to the side of the keyboard where the notes are found. As you play these exercises notice whether you fi nd the note patterns easier with one Example 7 Example 8 foot or with the other. Also notice which exercises, with which pedaling, can most easily be played legato. In some cases it Example 15 may seem nearly impossible to keep a full legato through the turns of the foot. However, after you have practiced the exercise enough with detached articula- tion, and your feet have become adept at following the shape of the notes, the execution of the same exercise with full legato may begin to seem possible. This will vary from one player to another. (Note: do not try to connect notes with a Example 9 Example 16 strong legato in these exercises if doing so is awkward or creates tension in the feet, more you will fi nd it comfortable to play heels playing the naturals (Examples simple chains of notes with alternating legs, or ankles.) from the inside of the foot; the more 5 and 6). Again you can try these note toe and heel, or with irregular patterns that you prefer to let your knees move patterns with the feet reversed, as in the of toe and heel. Posture away from the center and follow the feet following (Examples 7 and 8), and so on. Everything about your posture will towards the notes, the more you will fi nd This might seem like a bit of a stretch. Toe and heel together affect how you carry out these exercises: it comfortable to play with the outside It will certainly be necessary to turn the Here is an example of a short phrase that is, which parts of the toe and heel of the foot. However, this varies greatly body a lot to reach the opposite sides in which toes and heels can used in an region of each foot you actually bring with individual posture and physique. of the keyboard with the heels. Each of irregular pattern geared to the shape of in contact with the keys. You must pay Only you, the player, can fi gure out what these exercises should be done slowly, the particular melody (Examples 11, 12, attention to this and work it out con- works best for you. paying maximum attention to foot posi- 13, and 14). I give it, however, with four sciously for yourself. It is different for The following exercises ask the foot to tion, especially during any turns. different pedalings. Which one do you each player. In general, as with the “toes span slightly longer distances between The next step is to use the heel on like best? Can you devise another that only” exercises, the more that you prefer the toe and the heel—still with the toes natural notes following the use of the toe you like better? to hold your knees close to each other, the playing the sharps and fl ats, and the on other nearby natural notes. This feels After you have become comfortable different from playing a natural with with the basic gesture of playing successive the heel when the toe has just been on notes with the toe and heel, you can begin Whole & Fast a sharp or fl at. The angles at which the to look at pedal passages from the reper- Half Sizes Shipping! feet need to be held are different. The toire in which a combination of toe and in 3 Widths following exercises begin to address this heel pedaling can be used. (Note that it is sort of playing (Examples 9 and 10). rare for a passage to be played with heels Try our suede soles and experience These should be played slowly and, at only. Any passage that is best played with- fi rst, non-legato. As you become com- out the application of alternating toe and the perfect combination of fortable with the shapes of the gestures heel is normally played with toes alone, slide and grip you can try connecting the notes. You not heels alone. Also, the heels rarely play on the pedals! may fi nd some of the pedalings in these raised keys, so any passage that is not all- exercises uncomfortable. Again, this is naturals will be played either by toes alone Mens & Unisex something that varies with the posture or by a combination of toe and heel.) Women’s Mary Oxford $60.50* and up Jane $52.50* and physique of the player. If you do, Here are two examples of such pas- *plus postage then move away from that exercise for sages, with possible pedalings. The fi rst is TOLL FREE: 1 (888) 773-0066 organmastershoes.com now. It may (or may not) feel more com- from Franck’s Choral No. 3 in E, begin- 44 Montague City Rd, Greenfield, MA 01301 USA fortable later. You should make up short ning at m. 138 (Example 15). The second exercises of your own in which you play is from the chorale setting Alles ist an

16 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM By Gavin Black

A small number of pieces in the organ repertoire have pedal parts in which for some of the time or all of the time two notes are to be played at once by the feet—or two ongoing independent con- Example 17 trapuntal lines in the pedals. Here is an example from a Bach chorale setting— Aus tiefer Not schrei ich zu dir, BWV 686 (Example 20). Once the second—higher—pedal line comes in here in the fourth measure of this excerpt, each of the two pedal lines has to be played in its entirety by one Example 18 foot. This is the norm for a double-pedal part. For anyone who has learned to look at pedal parts on a one-foot-at-a-time alignment and the passage can be prac- basis, as we have done here, this actually ticed as written. presents no conceptual challenge, and Substitution in pedal playing is either no more physical challenge than a simi- 1) changing feet on one key silently: that larly intricate single pedal part would. is, bringing the right foot onto a note that Example 19 In order to practice a double-pedal is being held by the left foot and then part, fi rst work out a pedaling for each removing the left foot from that note, separate pedal line: the upper line in the without releasing the note, or the same right foot, of course, and the lower line in with the roles of the feet reversed; or 2) the left foot. The pedaling will of neces- moving the heel of one foot onto a note sity be a mix of same-toe pedaling— being held by the toe of that foot, or vice which is intrinsically non-legato—and versa, again while holding the note—not heel/toe pedaling. Once the pedaling releasing and repeating it. has been worked out separately for each Substitution is a natural outgrowth, foot, each foot should be practiced sepa- technically, of the act of repeating a note rately. This is exactly the same process as using the other foot, as practiced in Exer- practicing each foot separately when the cise V of the March 2013 column. The two feet will end up being combined into change is, in a sense, just one of articula- one pedal line. tion: instead of putting a space between Next, you should practice putting the the “two” notes, you make them, in two feet together, but with the notes effect, legato—playing the second one staggered, so that you are not yet trying before the fi rst one has been released. to play two notes at the same time, but Planning is required whenever you play Example 20 are tracing the outline of the two-voice two notes that are close together: which pedal part as it will be. This step in the foot should be closer to the instrument each case, work out a few different pos- process is unmeasured: you are following and which closer to the bench? Should sible pedalings, and practice them slowly the physical shape of the pedal parts, but the new foot take over the key behind the and carefully. not their rhythm or the way that they will old foot, or in front of it? Above or below? Example 21 In general, organ music written after actually fi t together. For the sixth mea- Try Exercise V this way, not repeating about 1800 is likely to make more use of sure of this Bach example, the practice any of the notes that are the same as one Gottes Segen, op. 67, no. 2, by Max Reger, the heel than that written before then. line would look like Example 21. another, slipping the foot that would have beginning at m. 2 (Example 16). The ped- (Some of the reasons for this are discussed This should be practiced slowly and played the second note onto the key and alings that I have provided for each of the in the last section of this book.) The music reasonably steadily, without worrying then—but only then—silently removing complete passages are just suggestions: of the composers excerpted here and their about any particular rhythm. I have the fi rst foot and sending it on its way to each is one way that an organist might contemporaries will provide you with a not indicated a specifi c pedaling here its next note. This should feel like a natu- confi gure the pedaling, but not the only treasure trove of passages with which to because that will be up to the particu- ral outgrowth of the work that you have plausible way, and also not necessarily the practice the use of the heels. lar player, and makes no difference in already done. Q best way for any given player. Try each of principle for the working out of this these passages slowly and carefully with Double pedal and substitution approach. After the patterns of the two Gavin Black is Director of the Prince- the pedalings that I have given. Then try There are two special pedal playing feet have become comfortable inter- ton Early Keyboard Center in Princeton, to fi nd other pedalings for at least part techniques that should be mentioned spersed with each other in this way, they New Jersey. He can be reached by e-mail of each passage that would also work— here: double pedal and pedal substitution. can be brought into the proper rhythmic at [email protected]. perhaps that feel better to you. For the purpose of this exercise, assume that PIPE-DIGITAL COMBINATIONS • DIGITAL VOICE EXPANSIONS • SOLUTIONS FOR OLD PIPE ORGANS you want to use pedalings that would in theory allow you to play legato: that is, do not use the same part of the same foot for two successive notes in such a way as to require a break between those notes. First United Church of Christ in Salisbury, NC selected a custom Can you fi nd other pedalings that you Rodgers 3-manual with a colonial finish, mechanical drawknobs and like as well as or better than those that MIDI to be interfaced to 11 ranks of new Ruffatti pipes. The pipe ranks I have given? In the Franck, I have had each foot remain on its “proper” side of are 8’ Principal, 4’ Octave, 2’ Super Octave, IV Mixture, 8’ Gemshorn, the pedal keyboard—the left foot plays 8’ Flute Harmonique, 8’ Pedal Principal and 4’ Pedal Octave. tenor C and lower notes, the right foot plays tenor C and lower notes. In the The installation was completed by R. A. Daffer Church Organs, Inc. Reger, I have written in more crossing The late Paul E. Oakley was the consultant to the church. of the middle of the keyboard, especially involving the right foot’s reaching for some of the lower notes. Could you pedal either passage differently by crossing the middle line of the keyboard either more or less than I have done? Are there pairs of successive natural notes that I have assigned to the heel and the toe of the same foot for which you would fi nd it more comfortable to reverse that heel and toe (for example, the A and the C in the seventh measure of the Franck)? Here are a few more pedal passages that can or should be played by a mix of heel and toe. They are from Mendelssohn Sonata #3, fi rst movement (Example 17); Vierne Symphony #3, fi rst movement For more information, please contact (Example 18); and Elgar Organ Sonata, Rodgers Marketing at 503-648-4181. www.rodgersinstruments.com op. 28, fi rst movement (Example 19). In

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2013 Q 17 In the wind...

Sacred spaces imagine that the architect didn’t bother Several years ago the Organ Clear- to draw in the stairs—he just provided ing House was assisting a colleague a space with specifi ed fl oor levels and fi rm installing a large renovated organ expected the carpenter to fi ll in the in one of our country’s great cathe- blanks. It’s as treacherous a passage as drals. Halfway through the project we you’d care to fi nd—a couple angled half- encountered a logistical issue requiring stairs fi lling in the odd spaces, and there’s a hastily arranged conversation with the virtually no lighting. I imagine that cathedral administration. We set up a plenty of choir members have stumbled dozen folding chairs encircling a large there in the dark. It would never pass the bronze medallion inlaid in the chancel scrutiny of a modern building inspector. fl oor, and sat there with legal pads on In older buildings we fi nd hundred- Looking down the ladder of E. & G. G. our laps working through the issue of the year-old knob-and-tube electrical wiring Hook & Hastings #646 (1872), St. Charles day. It was an intense and complicated still in use, hulking ancient carbon- Borromeo RC, Woburn, MA conversation, but as colleagues and cli- smelling furnaces that have been con- ents worked the problem, I was struck verted from coal to gas, and thousand- collapses because she won’t surrender by the majesty of the place. The vaulted pound bells hung in rickety wood frames the cup, he can go ahead and tune the ceiling soared 120 feet above our heads. directly above the pipe organ. One E. M. Skinner #692 (1928), West Med- Solo Trumpet, Trumpet Harmonique, ford Congregational Church, West Surrounded by opulent carvings and organ I cared for, now long replaced, 1 and the Tuba Mirabilis on 25-inch wind. priceless artworks, we were sitting in was knocked out of tune every time they Medford, MA Next . . . next . . . next . . . one of the grandest interior spaces ever rang the bell. Another is plagued by the More than 30 years ago, I was work- built. A staccato comment, a laugh, even rainwater that comes down the bell rope. How many times has an organ tuner ing with my mentor on a renovation of a cough reverberated almost endlessly. Go inside the organ chamber and you encountered a local custodian who a large organ in Cleveland. The access What a wonderful place for a meeting. fi nd old gas light fi xtures that predate simply doesn’t understand how to oper- to the top of the organ was a tall verti- With the problem solved, we had Thomas Edison, even nineteenth- ate the mighty boiler in the basement? cal ladder nestled in sort of a four-sided a round of handshakes, a few quips, century batteries piled in a corner, left Last week, in that church with the funky chute formed by the ladder, two pipes and we went back on the job with over from the days before Intelli-power, stairway, I asked the custodian to have of the 16-foot Open Wood Diapason, new marching orders. I was left with a Astron, and Org-Electra rectifi ers, even the heat up for the two days I planned and the wall of the chamber—narrow strong sense of the privilege of working before belt-driven DC generators. to spend tuning. He said it would be no enough to allow the trick of climbing in such a place—sharing responsibility As Boston is America’s earliest center problem—he’d just set the timer. When down the ladder with my hands full, slid- for the stewardship of the magnifi cent of serious organbuilding, many instru- I showed up in the morning it was chilly ing my rump against the wall. But once, organ and all the other liturgical art that ments dating from before the Civil War in the sanctuary, so I tracked down the late on a Friday and eager to get on the combines to make such a great space so are still in use in rural churches around custodian. He scurried to the boiler road, I jumped onto the ladder with my special, so sacred. New England. I’ve seen hundred-fi fty- room, emerging a few minutes later hands full, missed my footing and shot When my kids were growing up, they year-old candles snugged in the tops mumbling something about “daylight straight down, landing hard on my feet. teased me for navigating by steeples. I of wood pipes, secured to the stoppers saving time.” No question about it—he I was young then. There was a jolt cared for dozens of organs in the Bos- by the drip method, left from tuners had no idea what he was doing. I know when I landed, but I gathered my senses, ton area, so if we ever lost our way in of bygone eras. Imagine spending your that because I’ve been tuning there for loaded the car, and drove home. My a strange neighborhood, I would catch time tuning by candlelight inside organs. almost 30 years and he’s been messing teeth stopped rattling a couple days later. sight of a distant steeple and head for How easy it would be to be distracted by up the heat for longer than that. it, knowing I’d soon be back on familiar a cell phone call or text message, and let Safety in the workplace turf. I still do that. the candle burn down, starting a fi re in The high-wire act In the summer of 2010, the Interna- A lifetime of working in and around the chamber. Gives me the willies! A large pipe organ is a magnifi cent tional Society of Organbuilders and the pipe organs has meant a lifetime of work- Many commercial and industrial structure. A beautiful architectural American Institute of Organbuilders ing in church buildings. They’re not all as buildings have purposeful departments organ case often serves the function of held a joint convention in Montreal. It grand as that great cathedral, but most of that employ stationary engineers who a steeple—it carries one’s eyes heaven- was a treat to participate in such a large them are wonderful in some way. Some plan and supervise the care of the ward. There’s a special sense of grandeur gathering of colleagues from around are beautiful little antique buildings machinery. When you have equipment and spaciousness when you change key- the world. We heard some spectacular out in the country, some are big broad- such as elevators, furnaces, air condition- boards between a Rückpositiv that stands organs and marvelous artists, and I was shouldered affairs with Romanesque ers, lighting controls, pumps, and pres- on the fl oor of the balcony and the lofty especially pleased to fi nally have a chance arches, some are stately, and while we sure vessels, it makes sense to provide a Swell, or Oberwerk, 30 feet above. Walk to visit the workshops of Casavant Frères can’t deny that some are dowdy or even maintenance budget and staff to ensure around behind the organ and you’ll fi nd in Saint-Hyacinthe, Quebec, where so tacky, there’s something special about safe and reliable operation. a spindly series of ladders and walkways many wonderful organs have been built sacred spaces. We fi nd this style of operation in large worthy of the Flying Wallendas. across the turns of two centuries. It’s and prosperous urban churches, but it’s Fifteen years ago, I was curator of another sort of hallowed space. Creepy corners more usual to fi nd that a church building the Aeolian-Skinner organ in the First In one of the daily programs that took Once you’ve taken in the grandeur of and its operating equipment are main- Church of Christ, Scientist (The Mother place in the hotel meeting rooms, I sat on the sanctuary, you’re likely to fi nd little tained by a volunteer property committee. Church) in Boston—one of the world’s a panel with several colleagues discussing shops of horrors when you go behind the If a church member who lives down the great instruments. It has more than pipe organ maintenance. Each of us had scenes. Last week we were working in a street buys a new snow-blower, he’ll be 12,000 pipes, about 240 ranks, including chosen a particular subject to address, large stone building with a heavily deco- on the property committee before he can 41 reeds. It’s three stories high—there’s with the moderator blending our presen- rated interior. To the right of the classic put down his gas can. It’s wonderful to see a full-length 32-foot stop in the Swell tations into an open discussion. Protestant Platform there’s a door that the dedication of church members who box. When walking across the top fl oor of Mark Venning, then managing director leads to a little corridor that connects volunteer to help run the place, but there the organ from Bombarde to Hauptwerk of Harrison & Harrison of Durham, Eng- an outside door, sacristy, and restroom is a time and a place for specifi c expertise, to Great, one is treated to a magnifi cent land, sat next to me on the panel. Harri- (complete with bible and hymnal!) to and the scale of the equipment found in a view of the auditorium that seats more son & Harrison has an impressive tour of an awkward stairway that leads to the large church building is often greater than than 3,000 people. As organs go, the organ maintenance that includes the care choir loft and a strange upstairs offi ce. I the skills of those who are responsible. structure is pretty sturdy, but there are of their organs in Westminster Abbey some places where you have to step in London, and King’s College, Cam- across some big holes. bridge—to name a couple high points! Saving organs throughout There’s a place on the top fl oor of the (So they tuned for Will and Kate’s wed- glorious Newberry Memorial organ in ding—remember the verger’s cartwheel?) Woolsey Hall at Yale University where Mark chose to discuss safety inside pipe America....affordably! you have to hold your breath and leap organs. He spoke about how the ladders through thin air. Across the top of that and walkways that allow access to the heroic façade you’re actually looking interiors of many organs are often rickety down on the chandeliers! It reminds me and dangerous. He encouraged his fellow of the scene in Indiana Jones and the organbuilders to avoid taking unnecessary Last Crusade, when Indiana is forced to risks, even if it means insisting that your lead the evil Donovan and Elsa across clients provide budgets for the construc- the abyss to the chamber that houses tion of new and safer access. the Holy Grail. Led by the clues in his Throughout the twentieth century, father’s (Sean Connery) notebook, Indi- the modern labor movement has taken ana comes to a huge open space, closes great strides emphasizing safety in the his eyes, and trusting the notebook, leans workplace. The fi rst step was limiting forward to be miraculously supported the length of the workday so people in by a bridge that appears as an optical reasonably good health can still be alert 1-800-621-2624 illusion. Once he has drunk from the and focused in the later hours of the day. carpenter’s cup, poured Holy Water on We have safety guards on machines, safety foleybaker.com his father’s gunshot wound, and failed glasses, hearing protection, fi re and smoke to save Elsa who falls as the temple alarms, eyewash stations, steel-toed boots,

18 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM By John Bishop and rubber fl oor mats to limit fatigue in a 130-year-old organ near home. The 40 pounds of tools hanging off their belts. feet, legs, and back. In fact, sometimes organist had noted that there was a No way should they come pounding into all the safety equipment gets in the way. cipher in the bass octave of the Great, that sweet antique organ. So with Josh’s If I had a nickel for each time my safety so I took a couple tools and climbed to support, and perhaps foolishly, I found glasses have fogged up while running the the walkboard. Josh poked around the my feet, left the organ, and lay on the table saw I’d have a lot of nickels. notes and we found that several were fl oor of the choir risers until the friendly Most modern organbuilders take great ciphering. Because they were chromatic crew arrived. Funny, turned out that two care to construct safe access to all areas neighbors I guessed that it might be the of them had grown up in that church. and components of their instruments. adjustment of the big action rail that was Wendy joined me in the emergency Sturdy ladders hang from steel hooks causing the cipher. I retraced my steps room for a lengthy day of poking, wait- so they cannot slip. Walkboards have to the ladder and stepped out on the ing, prodding, waiting, wondering. I handrails. But a century ago, no such two-by-four-ish beam on which it was got off with a titanium brace, a cracked standards were in place. If a candle was leaning. I heard a loud crack, a series of vertebra, bruises, strained muscles, and all you had for lighting, your attitude rattles, and a heavy thump. The thump a potent prescription. As I write now, toward fi re protection would be looser was me, landing fl at on my back after a I’m waiting for the clinic to call to give than what we’re used to today. A simple six-foot drop. I was Galileo’s cannonball. me an appointment for follow-up with ladder might lean against the large wood I am no longer young. If it’s middle the spine guy. I’m hurt, but I got off factory in Dorchester that included a 24-year- old Jason McKown. I met Jason in 1984 (he pipes at the back of the organ for access age, I guess I’ll live past 110. (The next easy. The auto mechanic two beds over? was eighty!) when I succeeded him as cura- to an upper-level Swell box, providing day was my birthday.) Breath came back Not so much. He caught his hoodie in tor of the organs at Trinity Church, Copley that you could clamber off the top of the slowly, but pain was prompt. the turning driveshaft of a car he was Square and the First Church of Christ, Scien- ladder and climb up the pipes as if they I lay on the walkboard that covers the working on, was fl own by helicopter tist (the Mother Church). Jason had cared for the Trinity Church organ for 50 years, and the were stairs. That all might have been pedal tracker action—thank goodness that from Cape Cod to Boston, and was being Mother Church organ since it was installed okay when the organ was new, but add held—for twenty minutes or so. Before rushed into surgery to correct his broken in 1952. He subsequently introduced me to 140 years to the story and things might trying to stand, I wondered if we’d need neck. Woof. I’ll be fi ne. Q many other churches, including that in West have gotten a little rickety. to call for help, but strangely, I thought Medford. He told me that Mr. Skinner had Note personally worked on the installation of that We care for an instrument in Boston of the organ. We’ve all seen the teams of 1. The Skinner Organ Company instru- organ. I took over its maintenance in 1984— that was built in the early 1970s, with fi refi ghters and EMTs arriving at a scene, ment in West Medford, Massachusetts (Opus there have been only two technicians caring a snazzy contemporary case that gives big swarthy guys in steel-toed boots with 692) was installed in 1928 by a team from the for that organ for over 85 years. a modern interpretation of the clas- sic Werkprinzip concept. The lowest keyboard plays the Rückpositiv, located on the edge of the balcony behind the organist. The top keyboard plays the Swell, which is behind shutters just THESE FIRMS ARE above the keydesk. And the middle BUILDER MEMBERS keyboard plays the Great, located above ANDOVER ORGAN COMPANY the Swell. The Pedal is in a separate free- NORTH BEDIENT PIPE ORGAN COMPANY standing case. When you walk behind the main case, you see a ladder fastened to BERGHAUS PIPE ORGAN BUILDERS, INC. a concrete wall on which you can climb AMERICA’S BIGELOW & CO. ORGAN BUILDERS to two walkboards. The fi rst, about fi ve BOND ORGAN BUILDERS, INC. feet up, allows access to doors that open to expose the tracker action and pallet PREMIER BUZARD PIPE ORGAN BUILDERS, LLC boxes of the Great. Climb up another C.B. FISK, INC. story to the walkboard from which you tune the Great. Let’s guess it’s twelve feet ORGAN BUILDING CASAVANT FRÈRES up, about the height of a usual balcony DOBSON PIPE ORGAN BUILDERS rail. When you fi rst get on, it seems wide GARLAND PIPE ORGANS, INC. enough—maybe two feet. But, there’s no & SERVICE FIRMS railing. Move around up there, opening GOULDING & WOOD, INC. and closing the wide access doors, sitting HENDRICKSON ORGAN COMPANY for hours tuning the Mixture that’s buried HOLTKAMP ORGAN COMPANY behind two reeds, and you realize that it would be mighty easy to miss concentra- J.H. & C.S. ODELL tion and step off the edge. KEGG PIPE ORGAN BUILDERS And—the entire case is coated with PIPE ORGAN LÉTOURNEAU PIPE ORGANS gray semi-gloss paint with a fi ne surface. The dust that collects on that painted QUESTIONS? NOACK ORGAN COMPANY, INC. walkboard feels like ball bearings under PARKEY ORGANBUILDERS your feet. Are you risking your life to tune a Trumpet? PARSONS PIPE ORGAN BUILDERS I started this ramble thinking of the PASI ORGANBUILDERS, INC. awe-inspiring buildings in which we WE HAVE PATRICK J. MURPHY & ASSOCIATES INC. work, and it follows that sometimes we are working up against priceless fi xtures. THE ANSWERS! PAUL FRITTS & CO. ORGAN BUILDERS In that same great cathedral, we build QUIMBY PIPE ORGANS, INC. a studs-and-plywood house around the RANDALL DYER & ASSOCIATES, INC. ten-ton, 40-saint marble pulpit so there would be no chance of dinging a carved SCHANTZ ORGAN COMPANY nose with a Violone pipe. Years ago, SCHOENSTEIN & CO. my fi rst wife Pat was working on our crew as we dismantled a large organ for TAYLOR & BOODY ORGANBUILDERS releathering. Suddenly she announced that she fi nally understood organbuild- SUPPLIER MEMBERS ing: “Organbuilding is carrying long, heavy, dirty, unbalanced things with lots A.R. SCHOPP’S SONS, INC. of sharp stuff poking out of them, down HARRIS PRECISION PRODUCTS rickety ladders, past Tiffany windows!” A little rule that’s common among INTEGRATED ORGAN TECHNOLOGIES, INC. organbuilders says that you pay atten- OSI - TOTAL PIPE ORGAN RESOURCES tion to each step you take, especially if PETERSON ELECTRO-MUSICAL PRODUCTS, INC. you’re not familiar with the organ, and especially if the organ is old. You really Call for our free SOLID STATE ORGAN SYSTEMS can’t assume that the guy who hung that 64 page color prospectus ladder in 1897 was thinking about you in 2013, or that he really knew what he was doing in the fi rst place. He had never the highest standards of integrity, quality and craftmanship in pipe organ building heard of the Occupational Safety and Health Administration. 1-800-473-5270 www.apoba.com Friday morning, my colleague Joshua Wood and I went to do a service call on

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2013 Q 19 Medieval organbuilding

In Search of the Secrets of Medieval Organs: The European Summer of 2012 A Report and Some Refl ections By David Rumsey

Basel Peterskirche concert June 9, 2012: (l to r) Marc Lewon (lute), Eva Kopli (so- Basel workshop: (l to r) Crawford Young (lute), Tobie Miller (hurdy-gurdy), Brett prano), Brett Leighton (organ), Nicolas Savoy (tenor), Elizabeth Rumsey (vielle); Leighton (organ), Elizabeth Rumsey (vielle) (photo: Bernhard Witzke) obscured: Dominik Hennig, (calcant) (photo: Gabriele Lewon)

n Friday and Saturday, June 9 and music has now spread both forwards hurdy-gurdy, harp, bells, whole families Stahl of Dresden6 and Stefan Keppler of O 10, 2012, a concert and workshop and backwards in time—from a “Bach- of antique instruments, and virtually Kötz,7 to name but two from Germany. focusing on the medieval organ were held fulcrum” that began with Mendelssohn, all music of any period. The ongoing at the Basel (Switzerland) Peterskirche. S.S. Wesley, et al. in the early 19th challenge in the medieval arena for 2012—European Medieval They dealt with concepts, designs, rep- century. By the late 20th century it had instrumentalists is that of surviving origi- Organ Summer ertoire and the medieval organ used in reached fortepiano, early Steinway, nals. Certainly extant and truly original On Saturday afternoon, September 8, ensemble.1 Another symposium and the “real” Wagner orchestra, and even 16th-century organs are scarce. Precious 2012, the Rhede symposium was near- series of concerts was later organized Stravinsky’s Le Sacre du printemps, little material dating from before the 15th ing its conclusion and running rather late, in and around East Friesland (Rhede), where authenticity of instruments used century is known—and then essentially since so many people had had so much commencing Monday, September 3, was a measure of performance excellence. only fragments. Iconography, contem- to offer. The interest was exceptionally 2012, running until Sunday, September Concurrently, moving back to ever earlier porary descriptions, the few compre- keen; most sessions had extended well 9, dealing with much the same topics.2 eras, the music of Buxtehude, Fresco- hensible early organbuilding tracts, and beyond their scheduled times. About 15 Some instruments and participants were baldi, Couperin, Correa de Arauxo, and much circumstantial evidence taken from different organs had been assembled in a common to both events. Elsewhere Kim- Sweelinck—among many others—has extant contemporary repertoire are about kind of “grand general meeting of gothic berly Marshall played and held courses been vigorously regenerated through all that there is to go on. At the Rhede organs.” They emulated everything from in Sion (Switzerland) during October performance on historic organs, careful conference, Winold van der Putten, who a hydraulis to 13th, 14th, and 15th- 2012. Other events in Europe during the emulation of their temperaments, key was responsible for building many of the century portatives and positives. There summer of 2012 dedicated to the medi- proportions, wind quality, specifi cations, instruments present, added another sig- were also some renaissance instruments, eval organ included one arranged by Jos tonal and mechanical attributes, all of nifi cant factor: the experience of special- including an original 16th-century Italian van der Giessen in the Netherlands. which illuminate performance practices. ist organbuilders who have now regularly organ, the most modern of the assembly, Kimberly Marshall’s 1989 book, Other 19th- and 20th-century contri- interpreted these old sources and learned a permanent fi xture in the Old Church Iconographical Evidence for the Late- butions to this historical consciousness how to put theories or confusing historic at Rhede, nodal point of this symposium. Medieval Organ in French, Flemish and included the continuum of English cho- descriptions into practice. This is a cut- Other venues around this East-Friesland English Manuscripts,3 was of seminal ral music, the rediscovery of Palestrina, ting edge where artistic fringe-dwellers region included Weener and Rysum. infl uence to much of this blossoming cul- and parallel developments in Gregorian live dangerously by constantly expanding Attendees came from Germany, Nether- ture. It was the most oft-quoted work at chant. In the educational arena it seeped boundaries. It is a little like “walking the lands, Scotland, Switzerland, Australia, the Basel and Rhede conferences. A col- into musical institutions such as Eugène plank,” just that the board gets narrower Czech Republic, USA, and Scandinavia. loquium in 1995 at Royaumont (France), Gigout’s 19th-century Organ School in as it seemingly extends back forever, At the outset Harald Vogel made the two years after an 11th-century Theophi- Paris or the early 20th-century Schola engaging the enquirer in an ever more poignant observation that this unusual lus organ had been reconstructed there Cantorum Basiliensis, not to forget the precarious balancing act. But the rewards gathering of medieval organs was an by Antoine Massoni, was a most impor- work of Solesmes and similar centers. are tangible, and in the past few years fully exceptionally important event in the tant sequel.4 Marcel Pérès, responsible High-profi le specialist performers such successful medieval constant-scaled ranks history of the instrument, a hitherto for the Royaumont Theophilus organ, as Gustav Leonhardt then came on the have been constructed and voiced. They virtually unthinkable assembly. It was also played in Basel during August 2011. scene, increasingly promoting serious were commonplace enough for much of organized by the Weener Organeum, The 2012 events were signifi cant vantage research, publications, recordings, and medieval instrument-building history and Winfried Dahlke in charge, supported points in an ongoing search for the Holy concerts. Discrete organ cultures began essential to its performance. by a squadron of organists, organbuild- Grail of understanding medieval organs to be brought back to life by dedicated Walter Chinaglia, from Como (Italy)5 ers, and others whose burning curiosity and performance practices. They contin- builders, researchers, performers, and was another of those present in both clearly motivated them strongly. ued to push back through the 15th, 14th, luminaries. A veritable explosion of Basel and Rhede with several of his Dr. Vogel inaugurated the “Rims” 13th centuries, even to the 3rd in Rhede. knowledge and activity erupted around own positives and portatives built from instrument, made for a German organ- the turn of the 21st century. extending what is “seen through a glass ist by Orgelmakerij van der Putten after The Phenomenon The phenomenon is now neither con- darkly” into convincing practical reali- mid-14th-century practices: constant- The observant phenomenologist fi ned to the organ nor the 16th–19th cen- ties, another fruit from the experiences scaling, two 8′s in parallel (effectively 8′ might well note something in the air: turies, but takes in viola da gamba, cor- of these increasingly skilled specialist II-ranks, always playing, no stop control) research into and performance of early netto, medieval fi ddle, lute, harpsichord, builders. There are others—Marcus and a 6′ (on a separate register, slider

20 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM Walter Chinaglia demonstrates one of The Rims organ with its “Praetorius” Walter Chinaglia demonstrates his posi- A new reconstruction of the Aquincum his portatives; two more are in the back- keys (photo: Winold van der Putten) tive organ emulating van der Goes (pho- organ (photo: Winold van der Putten) ground (photo: Jos van der Giessen) to: Jos van der Giessen) above the windchest). The resemblance a strong and spicy fi nish to the tonal Much of the woodwork is Lebanese Rhede (Germany), Groningen (Nether- to an organ described in the 10–12th- resources.14 He also brought along sev- cedar, again contributing scent to the total lands), Finsterwolde (Netherlands), and century Sélestat Manuscript gives its eral positives and portatives, one very experience. It was used in every concert back to Laufen (Switzerland) during this 8′+8′+6′ specifi cation full credibility.8 fi ne positive emulating that in the van and demonstration and featured twice northern sojourn—about 12 days. The prototypical culture that inspired der Goes painting in Scotland.15 on the cover of the fl yer. (Rysum was the The rest of the Rhede Symposium the Rims instrument used lead as pipe Of particular interest to everybody at third.) The two Rhede fl yer photos were consisted of demonstrations, concerts, material, constant scaling after the the symposium was a new interpretation taken at the Basel event by Jos van der lectures, a church service, socializing, 11th-century Berne Anonymous MS,9 of the ancient Roman organ fi nds from Giessen where the Peterskirche appro- and networking. The invitees included and keys as described by Praetorius for Aquincum (Hungary). It was built by priately provided a neatly framed, truly Harald Vogel, Winold van der Putten, Halberstadt.10 Its Gamba-Quintadena- A. Schuke Potsdam-Orgelbau GmbH “Gothic” background.18 The positive was Koos van de Linde, Cor Edskes (paper like bass tones with Principally-Flutey (Germany) for the Römisch-Ger- moved from Laufen (Switzerland, near read in absentia), Susanne Rühling, trebles were an experience all of their manisches Zentralmuseum Mainz (Ger- Basel) to Rhede (Germany), then Huiz- Winfried Dahlke, Jankees Braaksma, own. They came into good use during many); research, design, and concept inge (Netherlands), Rysum (Germany), Tomas Flegr, and myself. Themes ranged the symposium in Gregorian alternatims, were by Susanne Rühling M.A. and borduns supporting chanters, and works Michael Zierenberg.16 Extra time had to such as medieval Redeuntes with long- be allocated, taken from later sessions, held bass notes under more agile trebles. allowing a second round of discussion This instrument presented a left-hand about this amazing but potent little rep- cantus fi rmus of an early Felix namque11 lica. It stood there, like a proud Roman with remarkable ease and complete sentinel, on its brown hexagonal ped- conviction; its scaling allowing the estal, a living and working monument, “slow-note cantus fi rmus” to stand out mostly in copper or bronze, to the organ against right-hand elaborations as if two belonging to Aquincum’s 3rd-century fi re manuals were being used. Yet no normal brigade. Its prototype ironically survived HISTORIC ORGANS THE RECORDINGS FROM two-manual organ could ever achieve the a fi re by falling into the cellar. Were they THE SPLENDID 2005 effect so convincingly. An understanding all out that night? Perhaps the seem- of the 13th-century Notre Dame school ingly unanswerable question—“Was it a OF SOUTHERN OHS CONVENTION of Léonin and Pérotin—also tried out at hydraulis or a bellows organ?”—might the conference—was clarifi ed through be given a nudge towards hydraulis, since MASSACHUSETTS performance on this instrument. All its survival could have been the result of present knew instinctively that they were having water poured over it as it fell? in the presence of a special musical integ- It is doubtful that burning fl oors falling rity and masterly instrument building.12 into cellars with highly fl ammable organ Another organ, of an altogether dif- bellows would do anything more than ferent, rather later style, was the largest increase the confl agration. Such specula- of several provided by Walter China- tions aside, this instrument looked more glia. This remarkable organo di legno like something from the age of steam brought to mind a passage in Benvenuto and polished brass. Indeed, its amazing Cellini’s autobiography: sounds were quite reminiscent of steam whistles. Justus Willberg also tours My father began teaching me to play 17 upon the fl ute and sing by note; but not- Europe with a hydraulis, complete withstanding I was of that tender age with air-pumps, water cistern, pnigeus, when little children like to take pastime in and Greek repertoire, but following the whistles and such toys, I had an inexpress- older, Walcker-Mayer interpretation. ible dislike for it, and played and sang only He was in Basel not so long before the to obey him. At this time my father fash- $31.95 FOR OHS MEMBERS ioned wonderful organs with pipes made of June event, another manifestation of this wood, spinets the fairest and most excellent fascinating phenomenon. The sounds of $34.95 ALL OTHERS which could then be seen, viols and lutes these Roman organs seem not unrelated and harps of the most beautiful and perfect construction.13 to the new Rims organ when fi rst heard from a modern perspective, although IN STOCK FOR IMMEDIATE SHIPMENT! What could be called Chinaglia’s they are in reality tonally, musically, and NOW CHOOSE FROM OVER 5,000 TITLES! Cellini Principals are exceptionally fi ne mechanically universes apart. ranks, made from a beautiful red-yellow Another star of both events was the ORDER ANY TIME ONLINE: www.ohscatalog.org cypress, which even contributes scent to two-stop, one-manual and pedal positive the total experience of this organ. They made for the author in 2010 by van der ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we run through the entire range of its key- Putten. This instrument was also partly P.O. 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WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2013 Q 21 Medieval organbuilding around gothic pipe-making, wind pres- sures, voicing, repertoire, performance practice, the problems and advantages in the anachronous use of tuning slides in modern copies of early organs, the tower- ing fi gure of Arnaut de Zwolle, medieval organ design (cases, windchests, specifi - cations, keys), the Blockwerk, surviving literature, touch sensitivity on portatives, the use of bells with medieval organs, Pythagorean tempering, and much more. Time simply ran out. The richness of thematic material, available expertise, the many discussion by-products, and the ravenous cultural, intellectual, and musi- cal hunger of all gathered together for this event turned out to be quite overwhelm- ing for the organizers. Some speakers and players had to seriously curtail their offerings. Frustrating though this was, it should be no enduring problem as long as David Rumsey and Kimberly Marshall at Jankees Braaksma (recorder) in re- The Rims organ: two 8′ ranks and one 6′ the need for more is acknowledged. the Rumsey organ’s inauguration Laufen hearsal with RenaiDanse (photo: Jos van rank all with the same (27mm, “pigeon’s Thus it was that, on Saturday after- (CH), April 2010 (photo: Gabriele Lewon) der Giessen) egg”) diameter (photo: Jos van der Giessen) noon, September 8, 2012, momentarily lacking a program, I turned to Jos van der and Tomas Flegr (Czech Republic) were able to pose important questions, assumed by exponents of this culture, Giessen and asked, “When does this fi n- played it with the group Vox Resonans, the and even answer some, at least in the including Mark Lindley, although often ish?” Even the fascinating unscheduled ensemble adding that sparkle and trans- short term. But long-term answers are with serious reservations or caveats.24 double session by Koos van de Linde formed sound that has been frequently needed, since both the practice and the Others, such as Adam B. Rahbee, are (Netherlands/Germany) ranging from noted with this organ: those who had research is relatively recent, tends to be known to be investigating this.25 Further Arnaut de Zwolle to the much-discussed attended both events were still comment- revelatory, and is ongoing—very much results are eagerly awaited from him Utrecht Nicolaïkerk organ restoration19 ing on Tobie Miller’s hurdy-gurdy playing an essential part of the phenomenon. and others. However, the most likely was not fully done. Three more speak- in Basel and the amazing soundscapes There were questions posed about outcome, endemic to this medieval ers were impossibly scheduled in the 30 created when organistrum and organum the nicknaming of the Rutland Psalter discipline it would seem, is that there minutes before the close at 4:30 pm. My are played in ensemble. The dance group, copy as a “Theophilus” organ. Of course, was no single standard. One particularly question was intended to be “When does RenaiDanse,20 led by Veronique Daniels with hindsight we can now view this fascinating development of this was how, this (session) fi nish”—but the response (Switzerland), and instrumentalists also as two ends of a historical progression in the half-century or so before Schlick fi ttingly, amusingly, and intentionally featured in two of the Rhede Symposium and clearly distinguish between them (the work of Arnaut de Zwolle, Pietro misinterpreted it, summing up the spirit concerts as well as this Groningen event. as organ types. Simple, well-intended Aaron, et al), the pure thirds/diminished which had been engendered by all the They all earned a double standing ovation glossing can grow into habits that fourths were shifted and came into line 2012 events: “Never, I hope!” in Groningen—one after the concert, become less correct as time progresses. with four of what became mean-tone For the phenomenologists, at least four another after the encore. The calcant (the Such expressions tend to stick, even temperament’s normal eight.26 medieval organ events in around four organ’s builder), physically exhausted and when more recent knowledge overtakes Fingering: The use only of 2nd, 3rd, months—Basel, Netherlands, Rhede, suffering from a serious workshop injury them. Another habit of this kind began and 4th fi ngers when playing medieval Sion—must be something of a landmark incurred just before the symposium, was to be formed at these conferences keyboard music was strongly promoted for 2012. fi ttingly included with the performers in when—rightly enough as a new venture in the Rhede masterclasses. There was a • these accolades. in recreating pipe-making history—the claim that it was impossible to use thumb so-called “pigeon’s egg” registers (three and 5th fi nger anyway, especially when Immediately following the Rhede Quo vadis? on the Rims organ, one on the Rumsey playing portatives. Yet this was proven Symposium, on Sunday, September 9, The many themes raised by these con- organ) were referred to just so: “pigeon’s wrong by at least one participant, who after the closing church service in Rysum, ferences can only be dealt with through egg ranks.” The term comes from the repeatedly and comfortably used all fi n- a further concert was held in Groningen’s an enduring continuum of instrument 11th-century Codex Bern (see endnote gers. When an octave span is required in, De Oosterpoort Concert Hall. Arrange- building, research, discussion, publica- 9), where the measure of pipe diameters e.g., a 3-part Buxheim27 piece, and it can ments had been made that my instrument tion, and many more such events. This is explained as “the width of a pigeon’s only be played by one hand because the would remain in the Netherlands for a arena is a collection of musical swords egg.” Yet the eggs chosen were different other is too far removed to help out, then few days before being returned to Swit- that still need much more rattling in their and correctly discriminated between the how can the thumb not be used, espe- zerland. Jankees Braaksma (Netherlands) scabbards. Basel and Rhede together eras the two instruments represented. cially if the keys are substantially wider Thus the ranks were not scaled to the than modern keys and there is no pedal? same widths. The terminology really (Horror of horrors: was the rule of exclu- should have been “constant-scaled.” sively 2nd, 3rd, and 4th fi ngers partly After that we might talk ancient treatises formulated by people playing relatively A Precious Gift and ornithology.21 Likewise, in discussing narrow modern keyboards?) Aside from the “wolf” in Pythagorean tempering, Tobie Miller’s hurdy-gurdy playing in the interval really should have been Basel, the fi nely fi ngered performances from the Past referred to as “b to g♭” rather than “b to by Brett Leighton—who takes Buchner’s f♯”. And what were referred to as “pure Fundamentum organisandi of c. 1520 for the Present thirds” are in fact just ever so slightly and his Quem terra pontus as a point of impure acoustically, since they are really departure—also linger very well in col- Pythagorean diminished fourths, e.g., lective memory.28 and the Future d–g♭, which are 384.36 cents, whereas Music and its structures: Much of Supremely beautiful and blendable a truly pure major third is 386.31 cents. the medieval repertoire could have been True, normal human perception can- intended for constant-scaled ranks. The tonal color – a Gift from the Venetian not distinguish between them.22 Again, music of Robertsbridge29 and Faenza30 School of organbuilding, a monumental part of our strictly speaking, the hydraulis presented seem often to rely on the development JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH was closer to a bellows organ. of tension through tessitura variation SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN These matters need little further and the relation of this to changing tonal comment here; the intention is clear in qualities induced by scaling practices. every case once the context is clarifi ed Redeuntes, for example, sound wonder- Intriguing? Let us build your dream. and human nature to gloss, nickname, ful on constant-scaled ranks as the fi gura- and abbreviate is acknowledged. Exact tion rises and falls. This music thrives on terminology usually sorts itself out “intensity climaxes” that higher-pitched, eventually as needs arise and awareness fuller and fl utier constant-scaled ranks increases—although a general tendency produce. No modern scaling can possi- to slow progress is lamentable. bly achieve this. The fi rst Estampie from What needs probing now includes the Robertsbridge has one “punctus” after following: another, each getting successively higher Medieval Tuning and Tempering: than the preceding, until the fi nal one Builders of Fine Pipe Organs to the World A frequent modern assumption that ear- just blooms with the highest and most lier Pythagorean temperaments mostly intensely fl utey notes of all. It is not just www.ruffatti.com had the “wolf” at G♯–E♭23 seems only constant-scaled ranks but also other scal- Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 rarely to be hinted at in ancient sources. ing practices from this era—e.g., Arnaut’s It has sometimes been recommended or “halving on the octave with addition

22 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM love of F–G♯ rather than F–A♭ in his deliberate choice of a “nasty” F-minor tonality. Was the Pythagorean “wolf” sought out in like manner, or studiously avoided by these earlier musicians? Probably it was avoided if the evidence of modal transpositions is taken at face value—but even here there are ques- tions that need working through.37 In any case, there is no signifi cant evidence in medieval music for an Affektenlehre and Figurenlehre: that was the culture of Bach, Handel, and Roseingrave. To a degree, medieval voicing seems somewhat weather-prone: what barely works one day, might work well or not at all in the next cold snap or heat wave. And the organs of those days were only marginally protected from weather change compared to ours in air-conditioned buildings today. The Sion organ: possible original ap- Hamar’s apparently conical fl ue pipes(*) Winold van der Putten explaining his Thus: were their tolerances of pitch and pearance without the added pedal pipes 1999 Rutland (l) and 2010 Rumsey (r) tuning, including in ensemble, and with behind (Photoshop alterations by David Rumsey) positive organs (photo: Jos van der Giessen) bells, more fl exible than ours are today? Within limits, slight differences actually constant”—that can produce this effect. Winchester in the 10th century or Prae- thin to quite wide scaling, note the true make these organs more interesting, as do Essentially all early scaling practices do torius at Halberstadt in the 14th or 15th ranges available, and try out repertoire historical voicing techniques—particularly to varying degrees, but the more scaling century. Were some of these chroniclers, on them, for instance that spanning the the lack of total control with wide-open practice approaches modern schemes, like us, more impressed with size—or era between the Robertsbridge Codex footholes. The lowest generally work- such as Töpfer’s norms,31 the less marked hooked on hyperbole—than with mak- and Buxheimer Orgelbuch. If further able pitch from 27mm constant-scaled this effect becomes, and the music ends ing sober inventories of what was really funding were available, then some cop- lead pipes is about modern (A440) tenor up sounding relatively fl at and lifeless. there? Certainly, the three-rank Rims per pipes might also be tried, not for E♭. With 33mm it extends down to B♭, a Metallurgy—copper, lead, tin, and organ was closer to many Blockwerks of keyboard repertoire before this, since it fourth lower. Thus, pitches of organs pro- alloys—plays a most critical role. The use that era than the concept of a “Lokaz of virtually does not exist, but for ensembles duce differing manual compasses, or a few of wood for pipes is another question, at least 50 ranks,” to cite Schlick at the (especially those commonly iconographi- low pipes with ears needed to make them particularly the issue of its fi rst clearly end of the era around 1511. And the cally represented) and alternatim. speak. As Winold van der Putten pointed recorded use—Italy, late 15th century?32 Winchester organ: did this have copper Did some or all the music in Faenza out in Basel, “Medieval organ builders The Sion (Switzerland) Valeria organ has pipes? Presumably. Was that—apart assume copper pipes, lead pipes, tin were no fools: it only takes cupping a hand a “Copel” made from wood, now den- from its apparently anachronistically pipes, alloys? Constant or variable scal- around a pipe mouth to make it speak.” drochronologically dated from around large mixture—another reason why it ing? Pitches equivalent to A440, A466, Iconography showing ears is, however, early 15th century.33 Of course, wood was was reported as being so loud? Prima A520 or something else? And where to extremely elusive—jury out, experimenta- introduced at some stage between the facie, sources and iconography prior to place the “wolf”? A520, lead pipes, early tion and investigation still in. If, as seems hydraulis and Arnaut de Zwolle as a mate- the 15th century indicate the existence of Pythagorean tempering, and constant likely, constant scaling was perpetuated rial replacing the earlier copper/bronze relatively few large Blockwerks compared scaling certainly seem to work very well. well after the 11th century, whence these variants used in making windchests.34 to the many Positives and Portatives. But are our criteria correct? The experi- “pigeon’s egg” fi gures derive, then diam- Similarly, early conical metal pipe-forms As with scaling, pitch, keyboard ence of beautifully pure major thirds eters could well have increased in time, and the potential confusion they cause in design, metallurgy, and everything else from Renaissance mean-tone temper- allowing lower bass ranges and even more the iconography with wood needs inves- about medieval organs, there were no ing, or major thirds ranging from pure blooming trebles. The iconography, inter tigation.35 The relics at Hamar, Norway, DIN specifi cations. Any investigative to mistuned in the circular temperings alia, suggests that this tendency could may eventually provide a key. path is fl awed if standards like this are of the Baroque era, is very enticing to have persisted until early 15th century as The apparently sudden change from sought. A variety of options needs to be impressionable musicians travelling back diameters apparently became wider.38 A copper/bronze to lead at the turn of the tried within known tolerances, then opti- from an accustomed equal tempering. targeted study of this is overdue. 13th century is an interesting phenom- mums and limits found. Assessments can Yet the sober reality is that pure thirds If we retain all the parameters noted enon: that lead was far more malleable then follow, which might be region-, col- were sometimes expressly avoided, e.g., above, then reduce the size of the pigeon’s than copper may have been a driving lection- or even specifi c work-oriented. by Bach using remote keys with dis- egg taken to 27mm, as with the Rims motivation clinching change. But the It would be wonderful if some day sonant thirds to represent crucifi xion, organ, little of Robertsbridge and Faenza tonal effect was so strikingly softer and money could be found to build an entire or even just sheer doggedness as with at its notated pitch can be played satisfac- sweeter that this was expressly noted series of constant-scaled ranks from very Thomas Roseingrave’s self-proclaimed torily unless the instrument is higher than in many contemporary tracts.36 It must have come as a profoundly exciting development, part of the Ars Nova/ Ars Antiqua watershed. Notated organ music fi rst consistently appeared just after the change—some of it might suit the sound of tin or copper but most of it plays remarkably well on lead pipework. Did the notion of accompanied voices rather than alternatim also receive some kind of stimulus here? And the desire to separate a single 8′ out from a Block- werk: was this also part of the switch to lead? Later register names, such as Doof, hint at this, for the softer tones of lead must have seemed “deaf” compared either to copper pipes or the presence of upperwork of any kind. It was mainly in the centuries after this change that the typical, relatively small, medieval organ began to share the stage with some increasingly multi-ranked Blockwerks. The facility of the larger Blockwerks to be reduced to a single, sweet founda- tion rank must have been very alluring, whether for accompaniment or contrast. Blockwerk registrations were some- times recommended for pieces played by participants in Rhede—but how many organs pre-15th century had more than about one, two, or three ranks? Two of these ranks were often enough simply a doubled unison. The most spectacular Blockwerks were reported by Wulstan at

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2013 Q 23 Medieval organbuilding

A440. The very low notes cannot be voiced reliably using known medieval tools and techniques. Yet Léonin, Pérotin, or the Felix Namque of the Oxford MS sound totally convincing here with their more agile trebles—everything just bringing this music to a radiant vitality. The same applies for other parameters with Bux- heimer, Ileborgh,39 or various regional- or even specifi cally single-work instances. Even so, did Léonin and Pérotin ever know lead pipes? Research and experimentation not possible hitherto has now shown that constant scaling with pigeons’ egg dimen- sions around 33mm, and a pitch of at least A465 makes the fi rst Estampie from Robertsbridge sound simply magnifi cent when transposed up a tone. That equates Paris, Bibliothèque Nationale 13096, fol. Emulating Gerritsz, 1479 at Amsterdam Rodin’s organ thinker? A rare moment’s to A520—which should make some 46, Mer de cristal (used with kind permission Orgelpark (used with permission by Hans Fi- rest for Winold van der Putten, ready as players of medieval instruments happy, of M. Moleiro) dom of the Amsterdam Orgelpark ) calcant for his “Rutland” organ (photo: Jos van der Giessen) since many project that pitch for some of their repertoire. All this, or an even criticism of the Rhede Symposium was in the events described above. Winold costume from the National Institute of Dra- higher pitch, brings “43” from Faenza its predominance of talk over music. A van der Putten’s organs were not at all matic Art (AUS), and musicians playing period truly to life in 33mm constant scaling. four-way balance will always be needed alone in this, but he and his work were at instruments. He resigned his post in Sydney Lower that pitch and the bass notes of the with medieval organ cultures: talk, solo the center of two of these conferences.42 in 1998 and moved to Basel, Switzerland, Estampie are poor or missing, while the organ, alternatim, and in ensemble. In His 1999 realization of the copy of the where he continues working as an organist and consultant, and as a Senior Researcher at overall effect of “43” is relatively dull from a way, these instruments were born to Rutland Psalter organ was an important the University of Bern. Since 2007 he has been trebles that simply do not bloom so well. work in alternation with speech, chant- trailblazer. This instrument was featured responsible for the editing and CD-production Of necessity, these assessments will ing, silence, and possibly bells. It is at the Rhede conference, along with of historic organ recordings released under the always have a component of subjectivity particularly in ensemble that the iconog- some portatives for Jankees Braaksma OehmsClassics label using the historic Welte in them. But not entirely: low pitches and raphy, literature, and extant music seems and his group, Super Librum.43 These organ and its player-rolls at Seewen (SO-CH) constant scaling yield bass notes that do to be signposting the way ahead. Both were prototypes for most of what has and is regarded as an authority on aspects of not repeat promptly, and others that will Basel and Rhede showed that all four followed as van der Putten and others medieval organ culture. He is organist at Herz not speak properly, if at all—indicators are needed for a completely balanced investigated, experimented, and cracked Jesu Kirche in Laufen (BL-CH) and in-house that either pitch is too low, scaling too presentation of this highly fascinating the codes of medieval organbuilding and consultant and organist to the Museum der Musikautomaten, Seewen (SO-CH).45 narrow, or later scaling practices could be culture. Basel strongly promoted alter- voicing. His recent constant-scaled ranks appropriate. The physical limits of medi- natim and ensemble, and so did Rhede, for myself and the Rims instrument were eval organ compasses and pitch now need the latter chiefl y in concerts where essayed only after much investigation Acknowledgements probing and defi ning. Any temptation to dance was also represented. Would the and experimentation. In their own way, (*) Seemingly the only images currently a general conformity of anything—pitch, miracle or mystery plays of the era be a they alone deserved their rightful share available, taken here from Stein Johannes scaling, metal alloy, tempering, fi nger- good suggestion for some future events? of those standing ovations. Medieval Kolnes, Norsk orgelkultur—Instrument og ing—must be addressed as a range or The Mainzer Hoftag of 1184 is usually organ scaling of this kind now seems set miljø frå mellomalderen til I dag, Det Norske Samlaget, Oslo, 1987. tolerance, given a specifi c set of param- reckoned as the greatest medieval festi- to be one of the next “revelations” in the Thanks to John Liddy, Jos van der Giessen, eters. This expressly includes repertoire val in history. It was here that Friedrich performance of this music—not least Marc Lewon, and Elizabeth Rumsey for their and ensemble playing. Barbarossa knighted his sons, Heinrich in portatives where, oddly enough, it help with this article, and to all who contrib- Standardization was a new concept VI and Friedrich V. A contemporary remains relatively untried. Q uted photos and good advice. My apologies to that had to wait for Arnolt Schlick and description of it included these lines:41 Walter Chinaglia for not writing more about later centuries. Interestingly, Schlick, David Rumsey44 was born and educated his organo di legno—space allocation just relatively modern by comparison to the Dâ was spil end gesanc in Sydney, Australia. He studied with Anton became too acute and this instrument really End behurt ende dranc, belongs to a slightly later epoch than the one main thrust of these conferences, barely Pîpen ende singen Heiller and Marie-Claire Alain in Europe made it into the discussions. Vedelen ende springen, 1963–66, then returned to a position at the mainly under discussion here. A fuller report Orgeln ende seitspelen, University of Adelaide. Moving back to Sydney on it can be seen at http://www.davidrumsey. ch/Chinaglia.htm. A sequel? Meneger slachten frouden vele. in 1969 he established a Department of Organ and Church Music, which survives the recent Thus, there was a consensus that intel- There was playing and song, Australian educational and research funding Notes lectual and musical exchange should not And pushing and shoving, cuts. For over 25 years, until 1998, he was the 1. Some details are available at www.david simply vanish after this fl ush of medieval Piping and singing, regular organist with the Sydney Symphony rumsey.ch/Medieval.php. Fiddles and dancing, 2. www.ostfriesischelandschaft.de/1097.html organ symposia during the European Organs and strings playing, Orchestra and as such frequently presided over 3. Kimberly Marshall, Iconographical Evi- summer of 2012. Several events are Many joyful things mingling. the Grand Organs of Sydney Opera House and dence for the Late-Medieval Organ in French, already known to be foreshadowed. Of Sydney Town Hall. Associations with multime- Flemish, and English Manuscripts (New York: considerable interest will be a major Epilogue dia events have included performances of the Garland Publishing, 1989), ISBN 0-8240- Saint-Saëns “Organ Symphony” to 100,000 2047-2. symposium planned for the Amsterdam The standing ovations in Groningen 4. A description of the background to this, 40 people with the orchestra in the Sydney Orgelpark, June 6–8, 2013. Wherever mentioned above had something of a Domain, the organ via microwave link from including mention of an earlier instrument by future events are held, it would be cathartic feel to them, refl ecting the Yves Cabourdin, is available in Marcel Pérès, Sydney Town Hall. In 1998, he wrote, pro- editor, Les orgues gothiques: Actes du Col- most welcome if they were not primar- exegesis in medieval organbuilding and duced, acted, and performed in a highly suc- loque de Royaument, 1995 (Paris, Editions ily talk-fests, but also included strong musical performance that has taken place cessful 14-hour musical and dramatic spectacle Créaphis, 2000). performance components. One small over the past several decades, especially on the life of J.S. Bach, with actors in period 5. www.organa.it

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24 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM 6. www.marcus-stahl-orgelbauer.com Peter Williams, ed., The Organ Yearbook #7 7. Wolkenstayn Orgelbau—also represent- (Laaber: Laaber-Verlag 1976), pp. 4–15. ed at the Basel event—www.wolkenstayn.de. 26. With a B–G♭ wolf giving near-pure ma- He is arranging a course March 8–10, 2013, jor thirds (really diminished fourths) on A, the “13. Etappe zur Frühen Musik,” dealing D, E and B as opposed to the four (from a with Organetto/Portative playing, to be held G♯–E♭ wolf tuning) quasi-pure major thirds at Burg Fuersteneck. Details on his website. on B, G♯, F♯, C♯ (see also endnote 22). This 8. www.davidrumsey.ch/Bibliography.htm awakens interest in the potential adaptation of (see under 11th century) Pythagorean/B–G♭ tempering—seen as part 9. Anonymous of Bern(e) or Codex Bern, of a transition to meantone—bearing, e.g., on Anonymus Bernensis etc., excerpt De fi stulis the E-major/e-minor tuning dilemma in some organis/De organis. Bruhns and early Bach organ works. 10. In Michael Praetorius, Syntagma Musi- 27. Das Buxheimer Orgelbuch, MS 3725, cum, Volume II, Wolfenbüttel 1618 (1619/20), Bayerischen Staatsbibliothek, München. section V, and Volume III 1619, section 7: 28. Leighton’s point of departure is that Buch- “Das I. und II. Diskant-klavier.” ner was a Hofhaimer pupil, barely outlived his 11. Oxford Douce MS 381 master, and most likely merely codifi ed what he 12. An alternatim (Veni creator spiritus) had been taught. The “good” fi ngers are 2 and from an ad hoc Rhede performance can be 4, with scales played on lower keys executed, heard at http://www.youtube.com/watch?v=P r.h. ascending and l.h. descending, as 2-3-2-3 gtszdCw91o&feature=youtu.be. (starting on strong beats), r.h. descending and 13. John Addington Symonds (1840–1893), l.h. ascending as 4-3-2-3-2-3, turn fi gures r.h. trans., The Autobiography of Benvenuto Cel- high-middle-low-middle and l.h. low-middle- lini, Chapter V. It is now available online as high-middle as 4-3-2-3. The hand can be part of the “Gutenberg” project (see www. turned in the direction of travel when using gutenberg.org/ebooks/4028). paired fi ngerings (turning the hand in the di- 14. Further details at: www.organa.it/page1/ rection of movement and keeping the fi ngers page14/page41/page41.html. parallel to the keys were techniques used in the 15. Hugo van der Goes, Ange jouant de outgoing 16th century, their relative employ- l’orgue (Angel playing the organ), Flemish ca. ment before that is a matter of speculation; 1480, Sir Edward Bonkil, Holyrood Castle, Santa Maria and Diruta were in disagreement Edinburgh collection. For a sample (sec- about this). Thumbs and fi fth fi ngers are used ond from left) see https://d30dcznuokq8w8. in both hands (especially the left) when larger cloudfront.net/works/r/bal/6/8/0/399086_ intervals require them. The iconography indi- full_1024x520.jpg. cates use of left thumb when that hand played 16. ww w .schuke.com/pages/de/ longer note values in three parts. Impractical projects#reconstructions passages sometimes need rule-breaking ex- 17. www.hydraulis.de ceptions. Prohibition of using the same fi nger 18. Remains of a hydraulis were excavated twice in succession is not endorsed in Quem David Rumsey about to play the Rysum organ Sunday September 9, 2012 (photo: Jos in Dion, Greece, in August 1992. A recon- terra pontus (which seems to have been fi n- van der Giessen) struction has since been toured. See Peter gered by a scribe rather than Buchner) and in Williams and Jean-Paul Montagnier, eds., The polyphony, fi nger repetition is often the best Wolf B–G♭: G♭ D♭ A♭ E♭B♭ F C G D A E B 40. www.orgelpark.nl/pages/home Organ Yearbook #33 (Laaber: Laaber-Verlag, musical and technical solution. (E-mail corre- E♭/D♯ and B♭/A♯ choices (not yet built 2012) 41. Quoted in Jean Perrot, The Organ, 2004), p. 163; Michael Markovits, Die Orgel spondence of 12.11.2012-3.12.2012). would further increase these options with: from Its Invention in the Hellenistic Period in Altertum (Leiden: Brill, 2003); and web- 29. Robertsbridge Codex/Robertsbridge Wolf D♯–B♭: B♭ F C G D A E B F♯ C♯ G♯ D♯ to the End of the Thirteenth Century (Lon- sites: www.culture.gr/2/23/232/epked/en/00_ fragment, London, British Library Add. Wolf A♯–F: F C G D A E B F♯ C♯ G♯ D♯ A♯ don: Oxford University Press, 1971, ISBN standard_menu/00a_ydraulis/00a.htm and MS 28850. So far a lack of available time has allowed only 0 19 318418 4), trans. Norma Dean, p. 268. www.mlahanas.de/Greece/Cities/Dion.html. 30. Faenza Codex, Faenza, Biblioteca Co- limited exploration of these variants. Perrot is sourcing this from Th. Gérold, La 19. See Peter Williams, ed., The Organ munale, ms. 117. 38. www.davidrumsey.ch/Iconography.pdf Musique au Moyen Age (Paris: Champion, Yearbook #41 (Laaber: Laaber-Verlag, 2012), 31. See J.G. Töpfer, Lehrbuch der Orgel- 39. Incipiunt praeludia diversarium nota- 1932), p. 419. pp. 7–35. Program at www.david rumsey. baukunst, in 4 volumes (Weimar, 1855, and rum secundum modernum modum subitliter 42. www.orgelmakerij.nl ch/index.pdf, images at www.david rumsey. Mainz: Rheingold-Verlag, 1955–60). et diligentor collecta cum mensuris diversis 43. www.superlibrum.nl ch/2012/album/index.html. 32. See www.davidrumsey.ch/Technology.htm. hic infra annexis by Adam Ileborgh of Sten- 44. www.davidrumsey.ch/index.php 20. www.renaidanse.org/page/de/act.html 33. See Friedrich Jakob et al. in Die Valeria- dal, 1448 (Ileborgh: Paris, private collection 45. www.bundesmuseen.ch/musikautomat 21. The sizes of pigeons’ eggs are dis- Orgel. Ein gotisches Werk in der Burgkirche [‘Ileborgh Tablature’]). en/index.html?lang=en cussed in a footnote to Part II, Section 1, of zu Sitten/Sion (Zurich, Verlag der Fachver- Christhard Mahrenholz, Die Berechnung der eine, 1991), ISBN 3-7281-1666-1 and the Orgelpfeifenmensuren vom Mittelalter bis updates in La Tribune de L’orgue, ed. Guy zur Mitte des 19. Jahrhunderts (Bärenreiter, Bovet (Geneva), in numbers 56/3 and 61/2. A THE SIXTEENTH ANNUAL 1968); also in English translation (Oxford: subsidiary issue here is that many of the older Positif Press, 1975). metal pipes at Sion appear not to have been 22. See also www.davidrumsey.ch/ hammered, but retain a thick, rough—even Albert Schweitzer tempering.pdf. slightly porous?—post-casting appearance. 23. Really not a quint at all, but a diminished 34. As noted, e.g., by Markovits in Die Or- sixth, which has to function as a quint on the gel in Altertum. See, e.g., pp. 342, 418, and vast majority of keyboards where no split keys especially p. 444, where metal scarcities in the Organ Festival provide any better-tuned alternatives. This also middle ages are said to have driven the change applies to diminished fourths, which, in the Py- to wood, etc. (cf. pp. 198). Note also the tin- A Weekend in Celebration of Excellence in Organ Music: thagorean temperings under discussion here, or copper/bronze-veneered wooden plates more accommodatingly or even fortuitously of windchests. This book is also available for A Gala Concert, ORGAN COMPETITION, Services, and Masterclass provide a near-pure major third. viewing online at http://books.google.ca/book 24. An important essay on this subject by s?id=p7amFlH7Bg0C&pg=PA401&source=g Mark Lindley can be found online at http:// bs_toc_r&cad=4#v=onepage&q&f=false. High School Division First Prize: $2,000 independent.academia.edu/MarkLindley/ 35. A need to be cautious here is under- Other prizes also awarded Papers/242254/Pythagorean_intonation_and_ scored by an illusion in some representations, the_rise_of_the_triad. See particularly Table such as that of the Dame à la Licorne tapestry 2, page 27, and the general discussion involv- (http://www.davidrumsey.ch/Iconography.pdf, College/Young Professional First Prize: $3,500 ing Odington, Spechtshart, et al. Certainly he p. 5), where the pipe tops appear cylindrical, Through age 26 Other prizes also awarded presents much evidence for the B–G♭ wolf but lower down, under the bar, seem square. having more than a century’s demonstrable 36. E.g., see www.davidrumsey.ch/index. currency from 1413 to 1513 and correctly re- pdf—the Jerome de Moravia quote. In that This includes an appearance on our minds us that the organ’s tuning cultures were connection a question (cf. Markovits endnote 2013 – 2014 Concert Series 2013 JUDGES often at variance with those of other instru- 33 above) that needs raising may well be: If ments. The only signifi cant assertion he makes metal was scarce, then what drove the change for a G♯–E♭ wolf is for Robertsbridge (p. 33). to lead so strongly (and e.g., not to wood)? AUDITION CDS: Diane Another essay, by Margo Schulter, can be 37. Lindley (op. cit., p .5) for example claims Meredith viewed at www.medieval.org/emfaq/harmony/ that most of Buxheim seems “. . . in certain cas- Due on June 10, 2013 Belcher pyth4.html#1. See especially around “4.5 Py- es at least, to require some form of meantone thagorean tuning modifi ed: a transition around temperament for its proper effect” but gives no 1400,” where she assumes a G♯–E♭ wolf. In the clear criteria. My own experience is contrary to THE COMPETITION: fi nal analysis, these do not argue very convinc- this, having tried both, and I am mostly very ingly for a wolf at G♯–E♭ on purely statistical comfortable with a Pythagorean/B–G♭ wolf for September 6 – 8, 2013 grounds. Of course, this only became a press- Buxheim. Criteria of this kind are diffi cult to ing issue when keyboards came to be divided formulate, save to note that resting points in into 12 or more discrete notes. the music, apart from open fi fths and octaves, For Information & David Hurd 25. E.g., in a series of e-mail exchanges be- seem often enough to occur with the near-pure Application: tween Rahbee and the author dating June 28 thirds of e.g., an A-major or D-major triad (a to July 22, 2012. He is particularly interested feature also noted by Lindley, pp. 42–43). in 15th- and 16th-century tempering prac- We have to face the fact that medieval musi- tices and takes such relatively new material cians themselves applied no consistent criteria First Church as the Cambrai MS into account (see Patrizio here—a proposition that Lindley gives cre- Barbieri, “An Unknown 15th-century French dence to with his quotation (p. 4) of the Spa- of Christ Manuscript on Organ Building and Tuning,” in taro/Gaffurio and many other bitter contem- Peter Williams, ed., The Organ Yearbook #20 porary confl icts around such issues. By virtue 250 Main Street [Laaber: Laaber-Verlag, 1989]). Rahbee is also of its three additional pipes per octave, the Wethersfield, CT 06109 Cherry exploring a hypothesis that meantone temper- medieval organ built by Winold van der Putten Rhodes ing may have come into widespread use some- for me in 2010 is capable of playing in a variety what later than is commonly believed. The of early Pythagorean temperings. With options firstchurch.org/asof apparently dual-tempered instruments of late of pipes to play either D♭ or C♯, G♭ or F♯, and A♭ 15th century, e.g., the Lorenzo da Pavia style or G♯, this currently allows any of the following 860.529.1575 of organ, may yet have much to offer on this tempering confi gurations: Ext. 209 topic. See http://www.david rumsey.ch/Iconog- Wolf G♯–E♭: E♭ B♭ F C G D A E B F♯ C♯ G♯ raphy.pdf, pp. 7 and 8, and Marco Tiella, “The Wolf C♯–A♭: A♭ E♭ B♭ F C G D A E B F♯ C♯ music@firstchurch.org Positive Organ of Lorenzo da Pavia (1494),” in Wolf F♯–D♭: D♭ A♭ E♭ B♭ F C G D A E B F♯

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2013 Q 25 Cover feature

Juget-Sinclair Organbuilders, The copies allow musicians to play Montréal, Québec, Canada instruments that are as close as possible St. Joseph’s Oratory, Montréal, to the originals and to be informed by the Québec, Canada experience. This is clearly not an option for organs, and to add to the conun- From the builder drum, they exist primarily to accompany The idea to fully restore the Becker- a changing liturgy. Organs occupy a ath organ at St. Joseph’s Oratory came strange space somewhere between type- from then Organist Titulaire Philippe writer and violin—between pragmatism Bélanger. We came up with different and art—actually both at once. proposals, some involving changes to But surely this is not of concern for an the instrument, some not, but for the instrument of only 50 years? What made moment we were fi rmly in the world this project diffi cult to defi ne in the early of the hypothetical; no harm in talking stages? In a way, it was an organ of con- about changes to the instrument—it fl ict—wonderful to play, a beast to play; was only a mental exercise then. Any the specifi cation is huge, but with huge thought that this might actually occur holes; it is a historic monument, but only was accompanied by cold sweat and 50 years old. There are organbuilders the sleeplessness—after all, perhaps no world over who consider themselves the other instrument has had a greater infl u- spiritual sons of Rudolf von Beckerath, ence on organ building in Québec, and and the torchbearers of his tradition. its infl uence has been worldwide. The tension created by these issues The 16-8-4 battery of chamade reeds and the newly gilded pipe shades (photo credit: Eventually, to our great relief, the made the appointment of George Taylor, Robin Côté) authorities at St. Joseph’s Oratory wisely outside expert, a stroke of genius that came to the conclusion that an outside perhaps made the project the success laws of physics that we apparently no instrument into manageable chunks, and expert and a proper bidding process that we believe it is. longer have access to. The mass of the had the additional benefi t of allowing any were required. George Taylor was hired, It was decided to make no changes to rollers was adding a lot of inertia to the dust we created to settle below, to the deus ex machina, and three Québec the musical qualities of the instrument, action, but there was also friction and next division scheduled for restoration. companies were asked to bid on a very but to rebuild the key action completely. fl exibility. All trackers were replaced with Particular attention was paid to the thorough RFP that specifi ed no changes If a line can be drawn in an organ carbon fi ber—1 mm rod for vertical runs console, as it had lost the stark Ger- to the tonal specifi cation. “No changes” between the musical and the mechani- and ½ x 3mm section for horizontal runs. manic austerity—apparently not held in may seem an obvious requirement, but it cal, it is surely at the pallet itself, and This material, as well as being very light much esteem in the intervening years— is not. Most musicians sitting at the con- this became an important distinction. and strong, has the benefi t of remaining that now seems oddly exotic. The sole are soon surprised by what seems In this instrument, the pallet open- straight, so alignment is easy. But we did original plastic stopknobs had long ago missing from the specifi cation, despite ings on all divisions are unnecessarily notice a tendency for people to think that been replaced, so new maple ones were its 78-stop, 5-manual footprint. But any wide—up to 30 mm with only 5 mm of as long as carbon fi ber was involved, suc- made, copying examples from the other thought of making changes leads straight travel at the nose, a terribly ineffi cient cess was ensured. In reality, it is a mate- Montréal Beckeraths. A sequencer to dilemma. design, if effi ciency is what you are after. rial, like any other, whose qualities need was added, as were divisional pistons, One example is instructive: the idea Naturally, the question arose whether to be understood for success. using the same unorthodox arrange- had naturally surfaced to add a trumpet or not to change the pallet design—to The organ was fi rst stripped of its ment found on the 1963 Beckerath in to the Récit (yes, a 78-stop instru- provide as much or perhaps more wind action, and the console was removed and Pittsburgh—with inter-manual division- ment with French pretensions and no and reduce pluck at the same time. But taken to the shop. There was a feeling of als placed at e-f and b-c, between the Trompette on the Récit!). Now, how to inevitably, the nature of the pipe attack revisiting 1960 at this stage. We found sharps. Holes had been cut into the stop add it—it could be added to the back would be changed, even if the quantity cheeks on the sides of the console that jambs over the years to accommodate of the chest grid; that way no one could of wind was not. It was decided that in clearly had held a sling used to hoist various versions of instantly obsolete complain about any stop being removed. order to preserve the musical integrity the console up over the gallery rail. The combination action. These were fi lled Or, the Musette 4′ could be removed and of the instrument, the pallet dimen- hole in the ceiling was still there, at the and veneered with matching pear wood. replaced with a trumpet. The Musette sions should not be altered. This made perfect location, ready for us to run a The goal was to restore and update the could be racked mute on a wall in the for an interesting case study—without heavy rope through, and the console was console so that future additions to the swell box, for its own protection. I was reducing pluck, to what extent could the soon lowered to the fl oor of the nave and combination action would not deface amused by these two possibilities—the action be made more agreeable to play, brought to the shop. Then, restoration the console. To this end, Solid State fi rst pleases the musician at the console, with up to four manuals coupled? The continued with two teams, one at the Organ Systems provided touch screen who fi nds the original specifi cation action, as we found it, was slow to repeat, shop restoring the console and building functionality via a wireless iPad, so that intact—plus, it provides the trumpet but the spring force felt at the keyboard new action parts, the other on site restor- future changes can be handled here. they always needed. The second pleases was nearly right. By reducing mass in ing windchests and pipework. The fi ve largest pipes of the Grand- the restorer 50 years (or more!) from the action train, we would be able to Restoration of each division of the Orgue Montre 16′, visible in the large now, who fi nds a windchest that has not improve repetition, but the pluck would organ was undertaken one after another, central pipe fl at, had been repaired once been denatured by holes bored through not be greatly reduced. Would musicians starting at the top with the Récit. Pipes and collapsed twice since 1960. It was the frame to accommodate the extra fi nd the action to be improved, and if so, were removed and taken to be cleaned decided that new pipes were needed, toe board, and inevitably returns the by how much? and straightened in the chapelle des built with knowledge reacquired since Musette to its toe holes. A complete rebuild of the action was familles. This soundproof room just 1960, of how to make pipes that will This dilemma cannot be resolved and undertaken, using the tools available to below the organ loft is intended for stand. The rest of the tin façade pipes let us not pretend it can. Any restoration, us: reduce mass, reduce friction, and crying babies and their parents during were removed, cleaned, repaired, pol- no matter how respectful, will remove ensure proper functioning of all the Mass—ideal for pipe restoration, and ished, and returned to their holes. The some original material. In a museum elements. New roller boards were built roomy enough for a fairly complete twelve façade pipes that make up the setting, an ancient clavichord may be for the Grand-Orgue, Récit, Bombarde, pipe shop. At the same time, the Récit fi rst octave of the Pédale Montre 32′ are copied rather than restored so that the and Positif divisions. This was perhaps windchests were turned over and of zinc, and were cleaned in place. The original continues to exist, unmolested, responsible for the greatest reduction in restored in place. This top-to-bottom entire operation required full scaffolding as a document for future generations. action mass; the original design follows approach allowed us to break a large in front of the façade, which provided

Beckerath, 1960/restored by Juget-Sinclair Organbuilders, 2012

Positif Grand-Orgue Bombarde Récit expressif 8′ Montre 16′ Montre 16′ Bourdon 16′ Quintaton 8′ Bourdon 8′ Montre 8′ Flûte en montre 8′ Principal 4′ Prestant 8′ Flûte conique 4′ Prestant 8′ Flûte à fuseau 1 4′ Flûte conique 8′ Flûte à cheminée 5⁄3′ Gros Nazard 8′ Gemshorn 2 1 2⁄3′ Nazard 4′ Prestant 3⁄5′ Grosse Tierce 8′ Gemshorn céleste 2 2′ Doublette 4′ Cor de nuit 2⁄3′ Nazard 4′ Prestant 2 2′ Gemshorn 2⁄3′ Quinte 2′ Quarte de Nazard 4′ Flûte à bec 3 3 2 1⁄5′ Tierce 2′ Doublette 1⁄5′ Tierce 2⁄3′ Nazard 1 1⁄3′ Larigot Fourniture VI Grande Fourniture VI 2′ Cor de nuit Plein Jeu V Cymbale IV 16′ Bombarde en chamade 1′ Piccolo 16′ Saqueboute 16′ Trombone 8′ Trompette en chamade Plein Jeu V 8′ Cromorne 8′ Trompette 4′ Clairon en chamade Cymbale III 4′ Chalumeau Cornet VI 16′ Cor anglais 8′ Hautbois 4′ Musette

26 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM Stop jamb (photo credit: Robin Côté) The restored console (photo credit: Robin Installation of the fi ve new façade pipes The dome of St. Joseph’s Oratory is visi- Côté) of the Montre 16 (photo credit: Robin Côté) ble around Montréal (photo credit: Robin Côté) a clear signal to the public that a major is so changed that one’s approach to profession as a monk with the Congre- commenced. The inaugural recital was project was underway. playing the instrument is different, gation of the Holy Cross in Montréal in given by Parisian organist André Marchal Winding to the Montre 16′ was and it does sound different—it can be 1874, Brother André became a doorman on November 13, 1960. The opening originally provided pneumatically to more virile, and it sounds more precise, at the College of Notre Dame. In the piece, Bach’s Prelude and Fugue in D the bottom fi ve pipes of the stop, to because it can be played more precisely. ensuing years, healings attributed to his Major, was played by Raymond Daveluy. reduce wind demand on the channel. In our work building new organs, prayer and intercession quickly gained Marchal followed with a program fea- We continued this practice through Juget-Sinclair started with small instru- for him a reputation as a faith healer. turing the works of Louis and François the rest of the fi rst octave, as there was ments and has slowly grown, taking on Increasing numbers of congregants Couperin, Clérambault, Daquin, and considerable robbing going on, starting larger and larger work. This restoration drawn by the “Miracle Man of Montréal” Tournemire. He also played de Grigny’s from F. Surprisingly, we had never heard has given us the opportunity to take on quickly outgrew the small chapel he had Tierce en taille, Franck’s Choral No. 3, complaints about this, but we were sure a major instrument with new challenges erected in 1904 on the north slope of Bach’s Fantasy and Fugue in G Minor, that if it was not improved, we would. of design and infrastructure. The success Mont Royal. The building of the current Langlais’ Te Deum, and ended the pro- New pneumatic offset chests were con- of this project fi lls us with confi dence basilica commenced in 1924 and was gram with an improvisation. structed following the design of the old for the future, and we feel validates our completed in 1967. Today, St. Joseph’s That the building of the oratory one, which functions perfectly. approach of maintaining a small shop Oratory stands as a towering testament organ would be entrusted to a German Voicing was undertaken in a spirit of that builds as much as possible in-house. to the life of this humble brother and is a fi rm and not to Casavant Frères was a respect for the builder. Sunken languids The variety of skills that we are able to prominent destination for pilgrims, tour- shock to the nationalist sensibilities of were raised, speech problems were foster through this approach serves us ists, and music lovers alike. many. Coming only thirteen years after taken care of, and stops were equalized, particularly well in restoration, where Given the oratory’s importance in the the war in which Québecers were con- but every effort was taken to stay true one never knows what challenges will life of Montréal from its earliest days, scripted to fi ght against Germany, this to the intent of the builder. After pipes arise. And we hope, in an ever-shrinking the organ that was to be built here was decision unleashed quite a fi restorm in were straightened and cleaned, voicing new organ market, that this is a model going to have great civic importance the Québec media of the day. However, was checked on a voicing jack before that will keep us occupied for some time. from the outset. And given the immense there was a growing sense among many returning the pipes to their chests. The following participated in the res- grandeur of this sanctuary, the instru- North American organists and musicians Racking and pipe stays were improved toration, which amounted to over 8,000 ment would be of monumental propor- in the 1950s that the organ reform—as and solidifi ed where needed, but in gen- hours of work: Jocelyn Bélair, Robin Côté, tion. After bids were considered, the it was manifest in the work of Harrison, eral this had been well done originally. François Couture, Dean Eckmann, Jean- fathers of the Congregation of the Holy Holtkamp, and also Casavant Frères Façade pipes in danger of recollapse Dominique Felx, Denis Juget, Céline Cross sent a letter on February 25, 1958 during the postwar period—did not go were relieved of about half of their Richard, Stephen Sinclair, Raymond to Rudolf von Beckerath that he had far enough in restoring principles of weight by hanging them from springs, Batroussy, Arnaud Duchenaux, Richard been awarded the contract for the con- organ construction from the seventeenth and should be safe now. Houghten, and Vladimir Vaculik. struction of the basilica organ. The con- and eighteenth centuries. Many of these Reaction to the restoration has been —Stephen Sinclair tract was signed on June 23 of the same young organists became familiar with very positive, to our great pleasure and year and the builder was committed to organ reform in Holland and Germany even relief, but it has also been instruc- A musician’s perspective deliver an organ within thirty months. on their European journeys. tive. Musicians tend to feel that the In spite of widespread secularization Shortly thereafter, Beckerath submitted Then in 1957, Rudolf von Becker- voice of the organ has changed—not in Québec during the quiet revolution a design and several sketches. Among ath installed a 44-stop, four-manual for the worse—but we are quick to of the sixties, the attendance of about the various requests, Raymond Daveluy, instrument in Trinity Lutheran Church stress that every effort was taken not 50,000 Québecers at the celebration of titular organist, requested alterations to in Cleveland, Ohio. The instrument to change the voicing one iota. But the canonization of Brother André Bes- the stoplist that would allow the play- featured a freestanding case designed we’ve seen this before—the simple act sette in Montréal’s Olympic Stadium ing of a Récit de tierce, and the archi- according to the werkprinzip, mechani- of removing dust from an instrument on October 30, 2010 underscored the tects requested that the case embody cal key and stop action, lower wind changes its timbre. And we wonder if extent to which he is still very much this more vertical lines. In early 1960, 167 pressure, and classical voicing inspired something else isn’t at work: the action city’s beloved son. Shortly after making crates arrived by sea, and installation by the instruments of Arp Schnitger.

St. Joseph’s Oratory, Montréal, Québec, Canada

Écho Pédale 8′ Bourdon 32′ Montre 8′ Quintaton 16′ Montre 4′ Principal en bois 16′ Flûte 2′ Flûte sylvestre 16′ Soubasse 1 1⁄3′ Larigot 8′ Montre Sesquialtera II 8′ Flûte creuse Plein Jeu IV 4′ Prestant 16′ Ranquette 4′ Flûte à fuseau 8′ Régale 2′ Cor de nuit Fourniture IV Plein Jeu VI Récit and Écho under expression 32′ Bombarde Couplers: I/II - III/II - IV/II - II/P - III/P 16′ Bombarde Tremulants on the Positif (new 2012), Bom- 16′ Basson barde, Récit, and Écho 8′ Trompette 10 general pistons, thumb and toe 4′ Clairon 6 divisional pistons for each manual 4 divisional pistons in the pedal Solid State Organ Systems combination ac- tion with sequencer The façade (photo credit: Robin Côté)

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2013 Q 27 Cover feature New Organs

While in North America, Beckerath paid thorough cleaning and many pipes were a visit to Montréal in 1957 in response in danger of collapse. The fi rst initiatives to an invitation from a group of local toward restoration were taken in 2005 organists—Kenneth Gilbert, Raymond by Philippe Bélanger, who was organist Daveluy, and Gaston and Lucienne at the time. Following a grant from the Arel. In the aftermath of that meeting, Québec Ministry of Culture overseen the respective church administrations by the Conseil du patrimoine religieux of these organists signed contracts with du Québec, the project was underway. Beckerath. The instruments were deliv- George Taylor—having apprenticed ered and inaugurated at Queen Mary with Rudolf von Beckerath and having Road United Church in 1959, at St. restored the 1963 Beckerath organ at St. Joseph’s Oratory in 1960, and at Église Paul’s Cathedral, Pittsburgh in 2009— Immaculée Conception in 1961. was named consultant for the project. The fi rms of Casavant Frères, Juget- Sinclair Organbuilders, and Orgues Létourneau were asked to submit bids; Juget-Sinclair was selected to undertake the restoration. From the organist’s point of view, the changes to the instrument are subtle, but striking. Though playing with manuals coupled on any instrument of this size is not exactly light, the touch is consider- ably lighter and even more responsive than before. The action used to have a certain sponginess—releases were a little sluggish and manual couplers had a mildly sodden heaviness. These have been signifi cantly improved—the touch is lighter, there is increased precision of attack, crispness in release, and there Expanded 1958 Casavant Opus 2490, Trinity Lutheran Church, Auburn, Illinois Watercolor sketch from 1958—a fi rst seems to be a better calibration of attack look at case design (credit: archives of St. and release between divisions when the Berghaus Pipe Organ Builders, scaled and voiced to add brilliance with Joseph’s Oratory of Mount Royal) couplers are engaged. Also, there is a Bellwood, Illinois a “reedy” quality, in the absence of a remarkable clarity and brilliance to the Trinity Lutheran Church, proper Great reed. Open wood pipes of These three Montréal Beckerath sound. The crystalline shimmer of the Auburn, Ilinois the Great 8′ Hohlfl öte (Melodia) were organs succeeded in bringing the cur- plenum is especially arresting. Not least, Located a few miles southwest of revoiced with lower cut-ups in order rent wave of organ reform, not only to the combination action now avails the Springfi eld, Illinois, Trinity Lutheran to give the stop some light articulation Montréal and to Canada, but to North player with all current conveniences— Church is home to a new organ consisting on the new wind pressure. The exist- America as a whole. Indeed, along with there are copious general pistons, mul- of pipe resources from a 1958 Casavant, ing console was updated to include a the Beckerath at Trinity Lutheran and tiple levels of memory, and a sequencer. Opus 2490 (II/9), which was expanded new solid-state switching system, which the Flentrop organ installed in the Busch- by adding a new 8′ Trumpet and Mix- includes record/playback capabilities, as Reisinger Museum of Harvard University ture II–III to increase tonal fl exibility. well as MIDI input. Used primarily for in 1958, these instruments took North Originally installed in a large space, the the accompaniment of hymns and choir American organ reform to an entirely new organ had to be completely reconfi gured anthems, this organ is the fi rst pipe organ level. Beckerath’s renown was spreading in order to fi t in to the compact accom- for Trinity. quickly, and many young North American modations that were available on the Scott Riedel of Scott R. Riedel & organbuilders went to apprentice with left side of the chancel. Swell and Pedal Associates in Milwaukee, Wisconsin, him—including George Taylor, Fritz pipes are located in a pipe chamber, and served as consultant for the project. The Noack, and John Brombaugh. Great pipes are located on a chest that is organ was formally heard in recital in Meanwhile, back at home, Casavant cantilevered into the nave. December 2011, with Berghaus’s tonal Frères realized that changing concep- Great pipes were revoiced on 70mm director Jonathan Oblander as organist. tions of organbuilding and design wind pressure in order to compensate —Kelly Monette and required a new paradigm and decided for the change in environment from the Jonathan Oblander to embrace the organ reform. Casavant’s previous location. Existing fl ue pipes Charles Perrault and tonal and artistic were voiced mildly with generous toe Photo credit: Berghaus Pipe Organ director Lawrence Phelps brought to diameters, and the added mixture was Builders North America Karl Wilhelm in 1960 and Hellmuth Wolff in 1963 to run a mechanical organ department; since Berghaus Pipe Organ Builders then, very few mechanical action organs The case covered in scaffold (photo credit: have been imported into Québec. Each Robin Côté) Trinity Lutheran Church, Auburn, Illinois of these directors, in turn, went on to start their own workshops and shortly became The renovated instrument was cel- GREAT PEDAL major players, not only in Canada, but in ebrated in two inaugural concerts in 8′ Principal 16′ Bourdon (ext, Sw 8′ Stpd Diap) 8′ Hohlfl öte 8′ Principal (Gt) the organbuilding world internationally. October 2012. On October 7, Frédéric 4′ Octave 8′ Violone (Sw Geigen Principal) Going even further, Casavant recruited Champion, laureate of the fi rst Cana- 4′ Offenfl öte (ext, 8′ Hohlfl öte) 8′ Bourdon (Sw Stopped Diapason) Gerhard Brunzema—already an author- dian International Organ Competition, 2′ Fifteenth (ext, 4′ Octave) 4′ Choralbass (Gt) 1 ′ ′ ity in the organ world—as tonal and played a concert to a capacity audience. 1⁄3 Mixture II–III 4 Hohlfl ötenbass (Gt) 8′ Trumpet (Swell) 16′ Contra Trumpet (ext, Sw) artistic director of Casavant Frères in The recital featured works by Bruhns, 8′ Trumpet (Sw) 1972. Thus, the Beckerath instrument Florentz, Cabanilles, Robin, and Bach, SWELL 4′ Clarion (Sw) at St. Joseph’s Oratory had profound as well as Champion’s own transcrip- 16′ Lieblich Gedeckt (TC, from 8′) impact locally, but was also a key part tions of Debussy, Liszt, and Saint-Saëns. 8′ Geigen Principal 27 stops, 13 ranks, 811 pipes 8′ Stopped Diapason of that infl uential wavefront of reform The following week, there was a second 8′ Geigen Celeste (TC, prepared) that was both international and historic inaugural concert presented by Les 4′ Octave (ext, 8′ Geigen Principal) in scope. Petits Chanteurs du Mont-Royal under 4′ Kleingedackt (ext, 8′ Stpd Diap) 2 ′ Though quite young as organs go, the the direction of Gilbert Patenaude. The 2⁄3 Nasard (prepared) 2′ Flageolet oratory instrument had developed sev- fi rst half of the concert featured a cap- 3 1⁄5′ Tierce (prepared) eral problems requiring attention. Dur- pella choral works, while the second half 1′ Siffl öte (ext, 2′ Flageolet) ing its 1960 installation, construction of featured Louis Vierne’s Messe solennelle 8′ Trumpet the basilica was still underway. The stone en ut dièse, op. 16. The choir, situated fl oor had yet to be installed and many around the altar, was accompanied by interior modifi cations were still being the father-son team, Jacques and Vin- made in the sanctuary and in the organ cent Boucher, with the father playing the loft. This resulted in a premature inter- choir organ, and son playing the Becker- Advertise in THE DIAPASON nal accumulation of dust in the instru- ath. It was a stunning performance with ment such that, in that same decade, impeccable coordination between organ For information on rates and digital specifi cations the instrument was already in need of loft and chancel. With over 4,000 in cleaning and some internal components attendance, this was truly a celebration contact Jerome Butera had to be replaced. By the turn of the worthy of this grand instrument. 847/391-1045, [email protected] century, the organ was again in need of a —David Szanto

28 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Gail Archer, The Muses Voice: A Cel- Park Ridge Presbyterian Church This calendar runs from the 15th of the month ebration of International Women Compos- Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline ers; St. Paul the Apostle Church, New York, Pickle Piano & Church Organs is the fi rst of the preceding month (Jan. 1 for NEW YORK Feb. issue). All events are assumed to be organ NY 7:30 pm Bloomingdale, IL recitals unless otherwise indicated and are grouped C. Ralph Mills; St. Paul’s Lutheran, within each date north-south and east-west. •=AGO Charleston, WV 12:10 pm chapter event, • •=RCCO centre event, +=new organ Robert Myers, Bach, Clavierübung III; dedication, ++= OHS event. Trinity Evangelical Lutheran, Cleveland, Christopher Babcock Information cannot be accepted unless it OH 12:15 pm specifi es artist name, date, location, and hour in Kathrine Handford; Lawrence University writing. Multiple listings should be in chronological Memorial Chapel, Appleton, WI 12:15 pm St. Andrew’s by the Sea, order; please do not send duplicate listings. Hyannis Port THE DIAPASON regrets that it cannot assume 24 MAY responsibility for the accuracy of calendar entries. Christopher Dekker; Trinity Church, Co- pley Square, Boston, MA 12:15 pm Aaron David Miller; St. Matthias Episco- UNITED STATES pal, Minoqua, WI 7 pm East of the Mississippi Dean W. Billmeyer GAVIN BLACK 25 MAY Princeton Early Keyboard Center 15 MAY Gary Penkala, with Saint Cecilia Choir University of Minnesota Musica Sacra; Church of St. Paul the and Saint Gregory Choir; St. James Catho- 732/599-0392 Apostle, New York, NY 8 pm lic Church, Charles Town, WV 6:30 pm Minneapolis 55455 • [email protected] www.pekc.org C. Ralph Mills; St. Paul’s Lutheran, Quire Cleveland; St. Peter’s Catholic Charleston, WV 12:10 pm Church, Cleveland, OH 7:30 pm Travis Gu; Trinity Evangelical Lutheran, Cleveland, OH 12:15 pm 26 MAY Paul Carr; Washington National Cathe- Byron L. Blackmore THOMAS BROWN UNIVERSITY 16 MAY dral, Washington, DC 5:15 pm Crown of Life Lutheran Church Works of Tallis & Vaughan Williams; St. PRESBYTERIAN CHURCH Thomas Church Fifth Avenue, New York, 28 MAY Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Ken Cowan, with Lisa Shihoten, violin; NY 7:30 pm 623/214-4903 ThomasBrownMusic.com Grace Episcopal, Charleston, SC 7:30 pm 17 MAY Karen Beaumont; St. John’s on the Jacob Street; Trinity Church, Copley Lake, Milwaukee, WI 7:30 pm Square, Boston, MA 12:15 pm JAMES DORROH, AAGO, PhD Scott Lamlein; Sherwood-Bershad Res- 29 MAY ELBERT ISSELHORST idence, Sterling, MA 7 pm Karen Electra Christianson; Methuen D D Saint Luke’s Episcopal Church Memorial Music Hall, Methuen, MA 8 pm Ken Cowan; Emmanuel Episcopal, Professor Emeritus Samford University Chestertown, MD 7:30 pm Gordon Turk; Ocean Grove Auditorium, Birmingham, Alabama Ocean Grove, NJ 12 noon University of Iowa–Iowa City 18 MAY Robert Myers, Bach, Clavierübung III; Organ Consultant Organ Recitals Nigel Potts; Christ & St. Stephen’s Epis- Trinity Evangelical Lutheran, Cleveland, copal, New York, NY 5 pm OH 12:15 pm Isabelle Demers; Wanamaker Organ, Nancy Siebecker; First Presbyterian, STEVEN EGLER Macy’s, Philadelphia, PA 2:30 pm Neenah, WI 12:15 pm Central Michigan University JOHN FENSTERMAKER Cathedral Choir; Cathedral Church of St. Mt. Pleasant, Michigan Paul, Detroit, MI 7 pm 30 MAY Artist in Residence TRINITY-BY-THE-COVE John Gouwens, carillon; Memorial Cha- Leon Couch; St. Paul Lutheran, Neen- First Congregational Church pel, Culver Academies, Culver, IN 4 pm ah, WI 12:15 pm Saginaw, Michigan NAPLES, FLORIDA Jonathan Ryan; St. James’ Cathedral, [email protected] Chicago, IL 7 pm 31 MAY Mark McClellan; Trinity Church, Copley 19 MAY Square, Boston, MA 12:15 pm SharonRose Pfeiffer, James Jordan, Jeremy David Tarrant; Cathedral TEPHEN AMILTON WILL HEADLEE Church of St. Paul, Detroit, MI 7:30 pm S H David Chalmers; Church of the Transfi gu- 1650 James Street ration, Orleans, MA 3:30 pm recitalist–clinician–educator Gail Archer; St. Joseph of Arimathea, 1 JUNE Syracuse, NY 13203-2816 Choral Evensong; Christ Church Grosse White Plains, NY 2 pm www.stephenjonhamilton.com (315) 471-8451 Haydn, The Creation; Madison Avenue Pointe, Grosse Pointe Farms, MI 4:30 pm Presbyterian, New York, NY 3 pm John Gouwens, carillon; Memorial Cha- Raymond Nagem; Cathedral Church of pel, Culver Academies, Culver, IN 7:30 pm St. John the Divine, New York, NY 5 pm Gary L. Jenkins Choral Evensong; Riverside Church, 2 JUNE ANDREW HENDERSON, DMA Central Presbyterian Church New York, NY 5 pm Mozart, Requiem; Bethesda Lutheran, Madison Avenue Presbyterian Church Director, Schmidt Concert Series Ian Tomesch; St. Thomas Church Fifth New Haven, CT 4 pm Carmelite Monastery Bruce Neswick; Christ Episcopal, Alex- New York, NY Avenue, New York, NY 5:15 pm Curator of Organs Crescent Singers; Crescent Avenue andria, VA 5 pm www.andrewhenderson.net Rose-Hulman Institute of Technology Presbyterian, Plainfi eld, NJ 3 pm Mozart, Mass in C, K. 257; Christ Church Terre Haute, Indiana Richard Spotts; Washington National Grosse Pointe, Grosse Pointe Farms, MI Cathedral, Washington, DC 5:15 pm 4:30 pm Pentecost Evensong; Brevard-Davidson North Shore Choral Society; Glenview River Presbyterian, Brevard, NC 5 pm Community Church, Glenview, IL 3 pm Bruce Neswick, hymn festival; Episco- St. Andrew ensembles and soloists; St. David Herman pal Church of the Good Shepherd, Jack- Andrew Lutheran, Mundelein, IL 10 am sonville, FL 6 pm Waukegan Swedish Glee Club, Wauke- Trustees Distinguished Professor Emeritus of Music and University Organist gan Swedish Women’s Chorus; St. Andrew Sylvia Marcinko Chai; Sacred Heart The University of Delaware Q [email protected] Church, Tampa, FL 3 pm Lutheran, Mundelein, IL 3 pm Brahms, A German Requiem; Peachtree Northwest Choral Society; Schaumburg Road United Methodist, Atlanta, GA 7 pm Prairie Center for the Arts, Schaumburg, IL Christ Church Chorale and Schola, with 4 pm orchestra, Handel works; Christ Church A Professional Card in Grosse Pointe, Grosse Pointe Farms, MI 3 JUNE 4:30 pm Janette Fishell; Trinity Lutheran, Peoria, The Diapason Jeffrey Schleff; St. Andrew Lutheran, IL 7:30 pm For rates and digital specifi cations, contact Jerome Butera Mundelein, IL 3 pm Paul Nicholson; Madonna della Strada 5 JUNE 847/391-1045; [email protected] Chapel, Chicago, IL 3 pm K. Bryan Kirk; Methuen Memorial Music Hymn festival; Sacred Heart Church, Hall, Methuen, MA 8 pm Palos Hills, IL 4 pm Stephen Schnurr; St. Thomas Episco- LORRAINE BRUGH, Ph.D. Steele Family Singers; Cathedral of St. pal, Menasha, WI 12:15 pm Paul, St. Paul, MN 7 pm Mark McClellan; Sinsinawa Mound, Sin- sinawa, WI 7 pm Associate Professor 20 MAY University Organist Wolfgang Rübsam; Elliott Chapel, Pres- 6 JUNE byterian Homes, Evanston, IL 1:30 pm Rollie Hebeler; St. Mary’s, Menasha, WI Valparaiso University 12:15 pm Valparaiso, IN 21 MAY VocalEssence; St. Catherine University, 7 JUNE www.valpo.edu St. Paul, MN 7 pm Christine Yoshikawa; Trinity Church, Copley Square, Boston, MA 12:15 pm 22 MAY David Schrader, harpsichord, with Ba- 219-464-5084 Susan Ferré; Methuen Memorial Music roque Band; Augustana Lutheran, Chica- [email protected] Hall, Methuen, MA 8 pm go, IL 7:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2013 Q 29 CALIFORNIA LUTHERAN UNIVERSITY Calendar Visit The Diapason Kyle Johnson, DMA 8 JUNE John Gouwens, carillon, American website: University Organist David Schrader, harpsichord, with Ba- works; Memorial Chapel, Culver Acad- 

r
LFKPIOT!DBMMVUIFSBOFEV roque Band; Music Institute of Chicago, emies, Culver, IN 4 pm www.TheDiapason.com Evanston, IL 7:30 pm www.callutheran.edu 30 JUNE 9 JUNE Isabelle Demers; St. John’s Episcopal, Joseph Russell & Michael Gebhart; West Hartford, CT 8:30 pm First Church, Wethersfi eld, CT 7 pm •Bruce Neswick, conference service; Brian Jones KIM R. KASLING Thomas Murray; Myers Park Presbyte- First Congregational, Kalamazoo, MI 8 pm D.M.A. Director of Music Emeritus rian, Charlotte, NC 7 pm St. John’s University Choral Evensong; Christ Church Grosse UNITED STATES RINITY HURCH Pointe, Grosse Pointe Farms, MI 4:30 pm T C West of the Mississippi Collegeville, MN 56321 Anthony Williams; Shrine of Our Lady BOSTON of Guadalupe, La Crosse, WI 3 pm 15 MAY 11 JUNE Michael Olson; First Lutheran, Fargo, Donald VerKuilen; Gesu Parish, Mil- ND 12:45 pm JAMES KIBBIE waukee, WI 7:30 pm The University of Michigan 17 MAY Ann Arbor, MI 48109-2085 12 JUNE Jeb Barrett; St. John’s Cathedral, Den- ORGAN CONSULTANT Stephen Hamilton; Methuen Memorial ver, CO 7:30 pm 734-764-1591 FAX: 734-763-5097 www.gabrielkney.com Music Hall, Methuen, MA 8 pm Maxine Thevenot, Air & Hammers duo; email: [email protected] Jeremy Filsell; St. James’s Episcopal, First Presbyterian, Santa Fe, NM 5:30 pm Richmond, VA 7 pm Rose Whitmore; Christ Episcopal, Ta- David Schrader, harpsichord, with Ba- coma, WA 12:10 pm A Professional Card in roque Band; Grainger Ballroom, Sympho- David K. Lamb, D.Mus. ny Center, Chicago, IL 7:30 pm 18 MAY Director of Music/Organist The Diapason David Bohn; Faith Lutheran, Appleton, Chelsea Chen, masterclass; Leawood For rates and digital specifi cations, WI 12:15 pm United Methodist, Kansas City, MO 10 am First United Methodist Church contact Jerome Butera David Jonies; Sinsinawa Mound, Sin- Columbus, Indiana St. Louis Archdiocesan Choir & Orches- 847/391-1045 sinawa, WI 7 pm tra, Bruckner, Mass in f; Cathedral Basilica 812/372-2851 [email protected] of St. Louis, St. Louis, MO 8 pm 14 JUNE Houston Chamber Choir, Mozart, Mass Paul Cienniwa, harpsichord, with ba- in c, K. 427; Church of St. John the Divine, roque violin; First Lutheran, Boston, MA Houston, TX 7:30 pm 3:30 pm Donald VerKuilen; First Presbyterian, 19 MAY Neenah, WI 7 pm Stephen Hamilton; St. Stephen’s Epis- copal, Edina, MN 2 pm 16 JUNE Diana Lee Lucker, with orchestra; Way- William Ferris Chorale, Vierne, Messe zata Community Church, Wayzata, MN Solennelle; Madonna della Strada Chapel, 3 pm Loyola University, Chicago, IL 3 pm Choral Evensong; Our Lady of the 17 JUNE Atonement Catholic Church, San Antonio, Tom Trenney; Anderson Auditorium, TX 4 pm ANDREW PAUL MOORE Benjamin Erlich; St. John’s Cathedral, A.S.C.A.P. Montreat Conference Center, Montreat, FELLOW, AMERICAN GUILD OF ORGANISTS NC 8 pm Denver, CO 3 pm CHRIST CHURCH Choral Evensong; St. John’s Cathedral, 345 SADDLE LAKE DRIVE 19 JUNE Denver, CO 3:30 pm ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS (770) 594-0949 William Ness; Methuen Memorial Music Cathedral Choirs; Cathedral of St. John, Hall, Methuen, MA 8 pm Albuquerque, NM 3 pm Sarah Kraaz; Memorial Presbyterian, David Cherwien, hymn festival; Queen Appleton, WI 12:15 pm Anne Lutheran, Seattle, WA 4 pm DOUGLAS O’NEILL Sister M. Arnold Staudt, OSF; Sinsina- Cathedral Choir of Boys and Girls and St. LEON NELSON wa Mound, Sinsinawa, WI 7 pm Brigid School Honor Choir; St. Mary’s Ca- Director of Traditional Music Cathedral of the Madeleine thedral, San Francisco, CA 3:30 pm Southminster Presbyterian Church Salt Lake City, Utah 22 JUNE John Gouwens, carillon; Memorial Cha- 20 MAY Arlington Heights, IL 60005 [email protected] 801/671-8657 pel, Culver Academies, Culver, IN 4 pm Chelsea Chen; Kauffman Center, Helz- berg Hall, Kansas City, MO 7:30 pm 23 JUNE •James Welch, Richard Purvis presenta- MARILYN MASON Raleigh Ringers; First Church, Wethers- tion; St. Cecilia Catholic Church, San Fran- CHAIRMAN, DEPARTMENT OF ORGAN fi eld, CT 4 pm cisco, CA 7:30 pm Kenneth Danchik; St. Paul Cathedral, UNIVERSITY OF MICHIGAN Pittsburgh, PA 4 pm 22 MAY ANN ARBOR Erik Wm. Suter; Shepherd of the Bay “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Michael Olson; First Lutheran, Fargo, Lutheran, Ellison Bay, WI 7 pm with awesome technique and a thrilling command of its daring writing.” ND 12:45 pm Stephen Hamilton The American Organist, 1980 ; Shrine of Our Lady of Guadalupe, La Crosse, WI 3 pm 23 MAY Isabelle Demers; Christopher Cohan 24 JUNE Center, Cal Poly State University, San Luis ++Joan Lippincott; Southwick Music Obispo, CA 7:30 pm LARRY PALMER SYLVIE POIRIER Complex Recital Hall, University of Ver- mont, Burlington, VT 6:30 pm 24 MAY Professor of PHILIP CROZIER Tom Trenney; Anderson Auditorium, Scott Dettra; Christ Episcopal, Little ORGAN DUO Montreat Conference Center, Montreat, Rock, AR 8 pm Harpsichord and Organ NC 8 pm Maxine Thevenot, with New Mexico 3355 Queen Mary Road, Apt 424 Margaret Martin; Elliott Chapel, Presby- Bach Society; Basilica of St. Francis, Santa Meadows School of the Arts Montreal, H3V 1A5, P. Quebec terian Homes, Evanston, IL 1:30 pm Fe, NM 7 pm

SOUTHERN METHODIST UNIVERSITY Canada 26 JUNE 26 MAY (514) 739-8696 Frederick Hohman; Methuen Memorial Gerrit Lamain, Memorial Day tribute; Dallas, Texas 75275 Music Hall, Methuen, MA 8 pm Fax: (514) 739-4752 St. Stephen’s Lutheran, West St. Paul, MN Christopher Houlihan; All Saints’ Epis- 4 pm Musical Heritage Society recordings [email protected] copal, Atlanta, GA 7:30 pm Wyatt Smith; St. Mary’s Cathedral, San Derek Nickels; St. Mary’s Catholic Francisco, CA 3:45 pm Church, Menasha, WI 12:15 pm James Hammann; Sinsinawa Mound, 29 MAY Sinsinawa, WI 7 pm Michael Olson; First Lutheran, Fargo, ND 12:45 pm 27 JUNE A four-inch Professional Card ++Isabelle Demers; Holy Angels Roman 31 MAY Catholic Church, St. Albans, VT 9 am in THE DIAPASON Mark Brombaugh, pedal harpsichord; 28 JUNE Christ Episcopal, Tacoma, WA 7:30 pm For rates and specifi cations ++James David Christie; St. Paul’s Ca- 2 JUNE thedral, Burlington, VT 8 pm contact Jerome Butera Gail Archer; Community of Christ Tem- 29 JUNE ple, Independence, MO 3 pm 847/391-1045 Peter Richard Conte, Ray Cornils, & Maxine Thevenot, Air & Hammers duo; Christian Elliott, with Friends of the Wa- St. John’s United Methodist, Albuquerque, [email protected] namaker Organ Festival Chorus and Brass NM 2 pm Ensemble; Wanamaker Organ, Macy’s, Simon Jacobs; Grace Cathedral, San Philadelphia, PA 10 am–6 pm Francisco, CA 4 pm

30 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Stephen G. Schaeffer A Professional Card in Recitals – Consultations The Diapason Vinaccesi Ensemble; Resurrection Par- 21 MAY Director of Music Emeritus For rates and digital specifi cations, ish, Santa Rosa, CA 3:30 pm Babett Hartmann; St. Lawrence Jewry, contact Jerome Butera Aaron David Miller; Bethany Lutheran, London, UK 1 pm Cathedral Church of the Advent 847/391-1045 Long Beach, CA 8 am, 10:30 am Birmingham, Alabama [email protected] David Gell, with piano and vocal quar- 22 MAY tet; Trinity Episcopal, Santa Barbara, CA Stephan Leuthold; Frauenkirche, Dres- 3:30 pm den, Germany 8 pm Earline Moulder; St. Michael & All An- Nicholas E. Schmelter ROBERT L. 4 JUNE gels, West Croydon, London, UK 1:10 pm James Welch; Brigham Young Universi- Peter Stevens; Westminster Cathedral, Director of Music and Organist London, UK 7:30 pm SIMPSON ty-Hawaii, Laie, HI 7:30 pm First Congregational Church Christ Church Cathedral 24 MAY Saginaw, Michigan 1117 Texas Avenue 7 JUNE Colin Cousins; St. Jude’s Anglican, Houston, Texas 77002 St. Martin’s Chamber Choir; St. John’s Brantford, ON, Canada 12:15 pm Cathedral, Denver, CO 7:30 pm Karen Electra Christianson; Metropoli- tan United Church, Toronto, ON, Canada ORGAN MUSIC OF THE SPANISH BAROQUE 9 JUNE Stephen Tappe 7:30 pm Ken Cowan; King of Kings Lutheran, Organist and Director of Music Ken Cowan; St. Paul’s Presbyterian, David Troiano Chesterfi eld, MO 3 pm Hamilton, ON, Canada 8 pm Saint John's Cathedral DMA MAPM Grace Cathedral Choir of Men and Boys; Denver, Colorado 586.778.8035 Grace Cathedral, San Francisco, CA 3 pm 25 MAY www.sjcathedral.org Faythe Freese; Dom zu Magdeburg St. [email protected] 21 JUNE Maritius und Katharina, Magdeburg, Ger- Dana Robinson; Christ Episcopal, Ta- many 7:30 pm coma, WA 12:10 pm Alan Jackson; Metropolitan United James Welch; St. Paul’s Episcopal, Sa- Church, Toronto, ON, Canada 7:30 pm Marcia Van Oyen linas, CA 6 pm Rachel Mahon & Sarah Svendsen; Joe Utterback First United Methodist Church Metropolitan United Church, Toronto, ON, COMMISSIONS & CONCERTS 24 JUNE Canada 7:30 pm Plymouth, Michigan •Jeannine Jordan, with media artist, 732 . 747 . 5227 mvanoyen.com Bach and Sons; St. John Lutheran, Salem, 26 MAY OR 10:30 am Paul Goussot; Abbatiale Sainte-Croix, Bordeaux, France 5 pm 26 JUNE David Cook; Westminster Cathedral, Bruce Neswick; St. Mark Lutheran, Sa- London, UK 4:45 pm David Wagner DMA Kevin Walters lem, OR 3 pm 28 MAY Madonna University M.A., F.A.G.O. 30 JUNE Philip Schmidt-Madsen; St. Lawrence Livonia, Michigan Jewry, London, UK 1 pm Choral Evensong; St. John’s Cathedral, [email protected] Rye, New York Denver, CO 3:30 pm 29 MAY Holger Gehring; Kreuzkirche, Dresden, INTERNATIONAL Germany 8 pm Gedymin Grubba; St. Michael & All An- Davis Wortman 15 MAY gels, West Croydon, London, UK 1:10 pm KARL WATSON Ralf Stiewe; Kathedrale, Dresden, Ger- 30 MAY AINT UKE’S St. James’ Church many 8 pm S L Jacques Boucher, with violin; Chiesa di Christopher Nickol; Reading Town Hall, New York San Biagio, Biella, Italy 9 pm METUCHEN Reading, UK 1 pm Thomas Corns; St. Michael & All An- 31 MAY gels, West Croydon, London, UK 1:10 pm Ryan Jackson; Metropolitan United Church, Toronto, ON, Canada 7:30 pm 17 MAY RONALD WYATT RUDOLF ZUIDERVELD Joel Vanderzee; St. Jude’s Anglican, 1 JUNE Brantford, ON, Canada 12:15 pm Nigel Potts; King’s College Chapel, Trinity Church Illinois College, Jacksonville Wayne Carroll, with violin, cello, and Cambridge, UK 6:30 pm Galveston First Presbyterian Church, fl ute; Lawrence Park Community Church, Springfi eld Toronto, ON, Canada 7:30 pm 2 JUNE Thierry Escaich; Reduta Concert Hall, 19 MAY Bratislava, Slovakia 3 pm Richard Moore; St. Paul’s Cathedral, Jan Van Mol; St. Paul’s Cathedral, Lon- Charles Dodsley Walker, FAGO London, UK 4:45 pm don, UK 4:45 pm Artist-in-Residence Founder/Conductor Nicholas Prozzillo; Westminster Cathe- Peter Holder; Westminster Abbey, Lon- Saint Luke’s Parish Canterbury Choral Society dral, London, UK 4:45 pm don, UK 5:45 pm 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458

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WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2013 Q 31 Calendar Organ Recitals

5 JUNE Richard Moore; Westminster Abbey, JAMES E. BARRETT, St. Paul Lutheran Marie, Noël de Saintonge, Dandrieu; Intro- Gregor Knop; Kathedrale, Dresden, London, UK 5:45 pm Church, Missoula, MT, October 27: Little duction, Scherzo und Fuge on B-E-A-T-E, Germany 8 pm Toccata on ‘Ein feste Burg ist unser Gott’, Zahnbrecher; Prelude and Fugue on O TRAU- Sue Heath-Downey; St. Michael & 18 JUNE Schindler; Organ Concerto in F, op. 4, no. 5, RIGKEIT, O HERZELEID, Smyth; Le Mystère de All Angels, West Croydon, London, UK Jeremy David Tarrant; St. Paul’s Cathe- Handel; Six Variations on a theme by Corelli, Noël, Fauchard. 1:10 pm dral, London, ON, Canada 12:15 pm op. 56, Rinck; Prelude and Fugue in E, op. 99, Mélanie Barney, with viola; St. Clement’s no. 1, Saint-Saëns; Praeludium und Fuge in C- PHILIP CROZIER, Basiliek van Sint-Ser- Anglican, Toronto, ON, Canada 7:30 pm 19 JUNE Moll, BWV 546, Bach; Nimrod (Enigma Varia- vaas, Maastricht, Holland, August 7: Cantilena Thomas Schmitz ; Kreuzkirche, Dres- tions), Elgar, arr. Harris; Chorale-Fantasie: Ein Anglica Fortunae, SSWV 134, Scheidt; Trio den, Germany 8 pm 6 JUNE feste Burg ist unser Gott, Praetorius; Sanctuary: Sonata No. 1 in E-fl at, BWV 525, Bach; Alle- Massimo Nosetti; St. Michael & All An- Elmo Cosentini; Chiesa di San Biagio, A Refuge, Peace, Walker; Tu es Petra, Mulet. gro (Trois Voluntaries, no. 2), Bédard; Fan- gels, West Croydon, London, UK 1:10 pm Biella, Italy 9 pm taisie et fugue en si bémol, Boëly; Pastorale, ROBERT BATES, Trinity Episcopal Fricker; Scherzo (Dix Pièces, no. 8), Gigout; 7 JUNE 23 JUNE Chelsea Chen, with Lewis Wong, vio- Timothy Wakerell; St. Paul’s Cathedral, Church, Solebury, PA, October 7: Pavane, Sonata No. 4 in B-Dur, op. 65, no. 4, Mendels- lin; St. Clement’s Anglican, Toronto, ON, London, UK 4:45 pm Gaillarde, Hau, hau, le boys, Dolent depart, sohn; Nun lob mein Seel den Herren, BuxWV Canada 7:30 pm Mark Brafi eld; Westminster Cathedral, Tant que vivray, Anon., publ. Attaingnant; 213, Buxtehude; Grand Choeur, Reed. London, UK 4:45 pm Ave maris stella, Titelouze; Sonata II, Hin- Kyrka, Torrlösa, Sweden, August 9: Can- 9 JUNE Andrej Kouznetsov; Westminster Ab- demith; Ascent, Tower; Wir glauben all’ an tilena Anglica Fortunae, SSWV 134, Scheidt; James Metzler; St. Paul’s Cathedral, bey, London, UK 5:45 pm einen Gott, BWV 680, Allein Gott in der Höh’ Élevation–Tierce en taille, Couperin; Fantasia London, UK 4:45 pm sei Ehr’, BWV 676, Vater unser im Himmel- Chromatica, Sweelinck; Nun lob mein Seel Daniel Clark; Westminster Cathedral, 25 JUNE reich, BWV 682, Duetto No. 3 in G, BWV 804, den Herren, Canzona in C, Praeludium in London, UK 4:45 pm Stephanie Burgoyne & William Fugue in E-fl at, BWV 552/II, Bach. e, Buxtehude; Voluntary for Double Organ, Ben Bloor; Westminster Abbey, London, Vandertuin; St. Paul’s Anglican Cathedral, Purcell; Petit Prélude, Jongen; Sonata No. 4 in UK 5:45 pm London, ON, Canada 12:15 pm JULIA BROWN, First Presbyterian B-fl at, op. 65, no. 4, Mendelssohn. Church, Springfi eld, IL, October 14: Bene- Domkyrka, Lund, Sweden, August 11: 10 JUNE 26 JUNE dicam Domino, Dixit Maria ad Angelum, Fantaisie et fugue en si bémol, Boëly; Scherzo, Robert Quinney; Mansion House, Lon- Holger Gehring; Kathedrale, Dresden, Scheidemann; Ciacona in e, BuxWV 160, op. 2, Durufl é; Trois Voluntaries, Bédard; don, UK 6:30 pm Germany 8 pm Buxtehude; Magnifi cat Octavi Toni, Galliard Pastorale, Fricker; Moto ostinato (Sunday Thomas Allery; St. Michael & All Angels, and Variations, Scheidemann; O Heiland, reiß Music), Eben. 11 JUNE West Croydon, London, UK 1:10 pm die Himmel auf, Walcha; Wie soll ich Dich Karen Beaumont; Cathedral Church of Olivier Latry; Westminster Cathedral, empfangen, Entrée, Communio et Toccata on ROGER DAGGY, with Suzanne Duffy, St. James, Toronto, ON, Canada 1 pm London, UK 7:30 pm O Heiland, reiß, Rübsam; Mascarata & Varia- fl ute, and Temmo Korisheli, vocalist, Trinity tion in G, Vom Himmel hoch, Scheidemann; Episcopal Church, Santa Barbara, CA, Octo- 12 JUNE 27 JUNE Praeludium in e, Bruhns. ber 14: Prelude in C, BWV 547, Bach; A Sim- Andreas Sieling; Frauenkirche, Dres- Monica Melcova; Parroquia de Nuestro ple Song (Mass), Bernstein; Hamburg Sonata den, Germany 8 pm Salvador, Granada, Spain 9 pm STEPHANIE BURGOYNE, with WIL- in G, W133, C.P.E. Bach; Lass, o Welt, mich Simon Hogan; St. Michael & All Angels, West Croydon, London, UK 1:10 pm 28 JUNE LIAM VANDERTUIN, St. Andrew’s United aus Verauchtung (Cantata 123), Bach; Sonata Christian Lane; Christ Church Cathe- Church, Brantford, ON, Canada, November for Solo Flute, op. 140, Karg-Elert; Prelude 13 JUNE dral, Victoria, BC, Canada 7:30 pm 23: Variation sur ‘Christus Vincit’, Variations and Fugue on the name ALAIN, op. 7, Du- Mario Duella, with fl ute; Chiesa di San sur ‘In Dulci Jubilo’, Trilogie (pour orgue qua- rufl é; Trois mouvements pour fl ute et orgue, Biagio, Biella, Italy 9 pm 30 JUNE tre mains), Meditation sur ‘Salve Regina’, Toc- Alain; Fantasie, Gaubert; Carillon of West- David Jernigan; St. Paul’s Cathedral, cata sur ‘Il est né, le divin Enfant’, Bédard. minster, op. 54, no. 6, Vierne. 16 JUNE London, UK 4:45 pm Travis Baker; St. Paul’s Cathedral, Lon- Martin Baker; Westminster Cathedral, STEPHEN BUZARD, Presbyterian ROBERT DELCAMP, St. Paul’s Episcopal don, UK 4:45 pm London, UK 4:45 pm Homes, November 26: Praeludium in g, Church, Murfreesboro, TN, November 18: Edward Symington; Westminster Ca- Ian Le Grice; Westminster Abbey, Lon- BuxWV 149, Buxtehude; Schmücke dich, O March upon a Theme of Handel, op. 15, no. 2, thedral, London, UK 4:45 pm don, UK 5:45 pm liebe Seele, BWV 654, Bach; Psalm-Prelude, Guilmant; Concerto No. 13, Handel; Archan- Set 1, No. 2, Howells; Improvisation on St. gels Suite, Phillips; Weinen, Klagen, Sorgen, Clement (Fanfare), Hancock; Allegro vivace Zagen, Liszt; Pastorale (Suite de Morceaux, ORGAN BUILDERS (Symphony V in f), Widor. op. 24), Tournemire; Noël nouvelet, Archer; Prelude on NETTLETON, Phillips; Variations on JAMES DAVID CHRISTIE, First Pres- LASST UNS ERFREUEN, Bedard. L. W. BLACKINTON THE NOACK ORGAN CO., INC. byterian Church, Santa Fe, NM, October 5: and associates, inc. MAIN AND SCHOOL STREETS GEORGETOWN, MA 01833 Praeludium in g, BuxWV 148, Buxtehude; HENRY DI CRISTOFANO, Immaculate www.noackorgan.com Fuga in e, Buttstett; Partite diverse sopra: Sei Conception BVM Church, Chicago, IL, No- 380 FRONT ST. EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America gegrüßet, Jesu gütig, BWV 768, Bach; Sym- vember 4: Ave Maria, Schubert, arr. Simon; phonie, op. 5, Barié. No. VI (Short Preludes and Intermezzos), Schroeder; Sketch in c, Schumann; Fanfare, Member Firm: The Associated Pipe Organ Builders of America martin ott pipe CRAIG CRAMER, Furman University, Lemmens; Praeludium in e, BWV 533a, Bach; organ RANDALL DYER company Greenville, SC, October 25: Incarnation Marche (Symphony No. 1), Widor; Wash- inc. Suite on ‘Puer natus est nobis’, Martinson; ington Post March, Sousa, arr. Linger; No. I, & ASSOCIATES, INC. Freu dich sehr, o meine Seele, Böhm; Noël A Concerto in a after Vivaldi, BWV 593, Bach; PIPE ORGANS OF QUALITY AND DISTINCTION 7408 Somerset Ave. St. Louis, MO 63105 minuit fut un Reveil, Noël pour l’Amour de Toccata per l’Elevazione, Frescobaldi; In dir BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 314-504-0366 Phone Martin Ott [email protected] [email protected] ◆ www.rdyerorgans.com Orgelbaumeister www.ottpipeorgan.com

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32 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM Organ Recitals ist Freude, BWV 615, Bach; Marcia (Sympho- Morgenstern, BWV 739, Vom Himmel hoch, devant la gloire du Christ qui est la sienne No. 3 in G, BWV 1048, Bach, transcr. Fa- ny No. 3), Widor. da komm ich her, BWV 606, Sei gegrüsset, (L’Ascension), Messiaen. giani/Tharp; Intermezzo in A, op. 118, no. Jesu gütig, variation IV, BWV 768, Nun freut 2, Brahms, transcr. Tharp; Variations on the MATTHEW EMKEY, Episcopal Church euch, BWV 734a, Fantasie in G, BWV 572, JEFFREY SCHLEFF, St. Andrew Lu- hymn-tune ‘Rouen’, Baker; Organ Sonata No. of Bethesda-by-the-Sea, Palm Beach, FL, Wenn wir in höchsten Nöten sein, BWV 641, theran Church, Mundelein, IL, October 28: 2 in c, Mendelssohn; Trois Nouvelles Pièces, November 4: Choral No. 3 in a, Franck; O Allegro (Concerto in a, BWV 593), Allegro Prelude, Fugue, and Chaconne in C, BuxWV op. 87, Widor; Easter Fanfares, Tharp. Mensch, bewein dein Sünde gross, Bach; Car- (Trio Sonata in C, BWV 529), Pedal Exerci- 137, Nun bitten wir, BuxWV 208, Buxtehude; illon de Westminster, Vierne. tium, Vom Himmel hoch, da komm ich her, Christus, der ist mein Leben, Pachelbel; Ein ANITA EGGERT WERLING, First Pres- BWV 738, Wachet auf, ruft uns die Stimme, Feste Burg ist unser Gott, Praetorius; Jesu, byterian Church, Macomb, IL, November 11: FREDERICK FRAHM, with Nicolle BWV 645, Fugue in E-fl at, BWV 552, Bach. Joy of Man’s Desiring, Prelude and Fugue Prelude, Fugue, and Chaconne in C, BuxWV Maniaci, violin, and Jean Piatak Eickhoff, in b, BWV 544, Bach; Processional in E-fl at, 137, Buxtehude; Voluntary in D, Boyce; Vari- soprano, St. Luke Lutheran Church, Albu- C. RALPH MILLS, Bland St. United Johnson; Adagio (Sonata No. 1, op. 65), Al- ations on Nun komm’, der Heiden Heiland, querque, NM, November 11: Praeludium Methodist Church, Bluefi eld, WV, November legro maestoso e vivace, Fuga (Sonata No. 2, Heiller; Sonata in D, op. 65, no. 5, Mendels- in G-moll, Tunder; Violin Sonata in G, BWV 4: Pièce Heroïque, Franck; Two Tudor English op. 65), Mendelssohn; Erhalt uns, Herr, bei sohn; Partita on Veni Creator Spiritus, Egg- 1021, Bach; Kirchensonate, Frahm; Four Sa- Pieces, Wesley; Prelude and Fugue in G, Bach; deinem Wort, Walther; Lord, Keep Us Stead- ert; Prelude and Fugue in e, BWV 548, Bach. cred Songs, op. 89, Herzogenberg; Sonata II Now Thank We All Our God, Bach, arr. Fox; fast, Johnson. in c, op. 65, Mendelssohn. Jesu, Joy of Man’s Desiring, Bach; Stand Up, THOMAS WIKMAN, Lutheran School of Stand Up for Jesus, Jordan. RUDY SHACKELFORD, organ and piano, Theology, Chicago, IL, November 6: Prelude DAVID A. GELL, Trinity Episcopal Bethany United Methodist Church, Glouces- and Fugue in c, BWV 546, Bach; La Fête- Church, Santa Barbara, CA, November 4: FLORENCE MUSTRIC, Trinity Lu- ter Point, VA, October 21: Sonata No. 31 in Dieu, Dubois; III Final (Symphonie No. 1 in Fantasy on the old melody Urbs Beata Jerusa- theran Church, Cleveland, OH, November 7: A-fl at, op. 110, Beethoven; Trumpet Voluntary d), Guilmant. lem, op. 112, Faulkes; We praise your name, Toccata in F, Bach; Variations on What God (Homage to Beethoven), Shackelford; Prélude, Diemer; Little Partita on McKee, Gell; Varia- Ordains Is Always Best, Pachelbel; Adagio, Fugue et Variation, op. 18, Franck; Toccata in TODD WILSON, Trinity United Method- tions on ‘He leadeth me,’ Corl; All hail the Barber; Fugue in E, Bach. C, BWV 564, Bach; Toccata and Fugue in c ist Church, Wilmette, IL, October 26,: Pre- power of Jesus’ Name, Fields; Partita on New (Homage to César Franck), Shackelford; Pré- lude to Die Meistersinger von Nürnberg, Wag- Britain, Callahan. PRISCILLA NIERMANN, St. Martin’s lude, Choral et Fugue, Franck; Scherzo in E, ner, transcr. Lemare; Voluntary in F, Stanley; Lutheran Church, Sugar Land, TX, Decem- Gigout; Choral No. 1 in E, Franck. Tuba Tune in D, op. 15, Lang; Londonderry STEPHEN HAMILTON, Central Lu- ber 24: Vom Himmel hoch, da komm’ ich her, Air, arr. Lemare; Passacaglia in c, BWV 582, theran Church, Minneapolis, MN, October Bach, Pachelbel, Walther; Noel Basque, Ben- JAMES SPERRY, Campbellsville Uni- Bach; Carmen Suite, Bizet, arr. Lemare; 28: Allegro (Symphony Six), Widor; Pasto- oit; Rise Up Shepherds And Follow, spiritual; versity, Campbellsville, KY, November 13: There Is a Happy Land, I Love Thee, My rale, Franck; O Mensch, bewein’ dein’ Sünde Mary Had A Baby, spiritual; Improvisation on Fantasie in C, op. 16, Franck; Dies sind die Lord, Shearing; Allegro vivace (Symphonie gross, BWV 622, Passacaglia, BWV 582, Bach; Adeste Fideles, Dupré. heil’gen zehn Gebot, BWV 678, Bach; God of No. 5), Widor. Transports de joie d’une âme devant la glo- Grace, Manz; Dearest Jesus, at Your Word, rie du Christ qui est la sienne (L’Ascension), ANDREW SCANLON, University of Ten- Burkhardt; Festive Postlude on ‘Cwm Rhond- BETH ZUCCHINO, Episcopal Church Messiaen; Choral in b, Franck; Prelude and nessee, Knoxville, TN, October 7: Sonata in da’, Ashdown. of the Incarnation, Santa Rosa, CA, Decem- Fugue in B, op. 7, no. 1, Dupré. A, op. 65, no. 3, Mendelssohn; Allein Gott ber 14: Pastorella pro organo in F, BWV 590, in der Höh’ sei Ehr, BWV 662, Fantasia and STEPHEN THARP, Grace Covenant Bach; Quatorze préludes avec pédale obligée JEANNINE JORDAN, Bartholomäusen- Fugue in g, BWV 542, Bach; Toccata Terza Presbyterian Church, Richmond, VA, No- sur les cantiques de Denizot, op. 15, Boëly; kirche, Dornheim, Germany, August 20: Toc- (Book I), Frescobaldi; Sicilienne (Suite, op. vember 12: Ouverture (Music from the Royal Pastorale (Sonata for Organ No. 3 in G, op. cata in d, BWV 565, Wie schön leuchtet der 5), Durufl é; Transports de joie d’une âme Fireworks), Handel; Brandenburg Concerto 88), Rheinberger.

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POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Apprentice sought to train with and succeed Newtown Requiem by Joe Utterback, dedicated Certified appraisals—Collections of organ Frederick Hohman as primary Producer/Engineer to “the loved ones of Sandy Hook Elementary books, recordings, and music, for divorce, Harpsichord Technique: A Guide to Expres- and/or Director of Artists & Repertoire for the School” consists of “Balm in Gilead” for bari- estate, gift, and tax purposes. Stephen sivity—2nd edition with CDs, by Nancy American CD/DVD label PRO ORGANO. Appli- tone, SATB, fl ute, piano; “We Are Not Alone”, a L. Pinel, Appraiser. [email protected]; Metzger, now reduced 30% at author’s cant must display strong aptitude for acquiring gospel setting for tenor, choir ensemble, piano, 609/448-8427. website: www.rcip.com/musicadulce. modern skills in audio and video media production and possible guitar; “Requiem Aeternam” for and must possess a base level of knowledge and soprano, alto, SATB, fl ute, piano; and “Dona Eis Pamela Decker is featured on a new record- some practical experience in sacred music, with Pacem” for young soprano and fl ute. Sample ing, Suite Dreams and Fantasies, Decker Plays Wayne Leupold Editions announces new a focus on classical organ and choral literature. pages may be viewed on http://www.jazzmuze. Decker, Volume 3, on the Loft label. Recorded on publications. The Keyboard Manuscript of Fran- Applicant must be willing to commit to a seven-year com/catalog_newtown.html. Price for two bound the Flentrop organ at St. Mark’s Cathedral, Seat- cis Hopkinson, Volume 2 (WL600270, $37.50), apprentice program, the successful completion of copies and fl at sheets for local duplication is $50 which shall culminate with the eventual assump- tle, the program includes On This Day, Earth Shall edited by H. Joseph Butler, an anthology of key- + $6 postage (+NJ sales tax if applicable) from Ring (2009, fi ve hymn-based works for Advent tion of label operations in year 2020. Preference Jazzmuze, Inc., 80 Rumson Place, Little Silver, board music popular in America in the second given to applicants who are U.S. residents of 30 and Christmas), El Tigre (2007), La Pantera half of the eighteenth century, contains musical NJ 07739. Phone orders accepted: 732/747-5227 (2009), Liturgical Suite (2005, for right hand years of age and younger as of July, 2013. Those styles ranging from middle Baroque to early Questions? [email protected]. and pedal), Ave maris stella (2004), Jesu, dulcis interested are invited to send an introductory Classical. Historical editions include Susanne memoria (2010), and Golden Gates (2010). For cover letter by mail or FAX (574/271-9191)—no van Soldt Klavierboek (WL600275, $42.00), information: www.gothic-catalog.com. telephone or Internet inquiries, please—detailing Hymn Tunes from the British Isles, Settings for and The Netherlands, 1575–1700 (WL500018, reasons and motivation for pursuing this vocation, Organ, Volume 1: Prelude on Brother James’ Air; $59.00) both edited by Calvert Johnson. Con- along with a brief c.v., including contact informa- Trio on Bryn Calfaria; Rondo on Cwm Rhondda The Tracker —The Organ Historical Society gregational song titles include Gracia Grindal’s tion, to: Zarex Corp, F. Hohman, P.O. Box 8338, and Ton-y-Botel; Postlude on Duke Street; publishes its journal four times a year. The A Treasury of Faith: Lectionary Hymn Texts, Old South Bend IN 46660-8338. Prelude on Greensleeves; Prelude on Nicaea; Tr a c ke r includes news and articles about the Testament, Series A, B, and C (WL800043, Carillon-Toccata on St. Anne (also available as organ and its history, organbuilders, exemplary $32.50). For information: 800/765-3196; a single issue); Four Verses on St. Columba; organs, regional surveys of instruments, and PUBLICATIONS / RECORDINGS www.wayneleupold.com; e-mail: contact@ Rondo on St. Patrick and Deirdre. Visit www. the music played on the organ. The emphasis wayneleupold.com. frumuspub.net for complete listings. is on American organ topics of the 18th, 19th, Seth Bingham’s Roulade is his best-known and 20th centuries, and there are occasional organ work. A versatile piece for any organ, Virgil subjects on European topics. Most issues A Baroque Sampler for Organ: Composers Ed Nowak, Chicago-area composer, arranger, Fox recorded it at the Riverside Church and also run 32 pages with many illustrations and from The Continent and The British Isles (38 on the former Paramount Wurlitzer in Wichita! and church musician, announces his new web- photographs, and at least one annual issue site, featuring Nowak’s original choral works, pages) includes: Noel Suisse, D’Aquin; Clavier michaelsmusicservice.com; 704/567-1066. is published in full color. Membership in OHS Suite, Fiocco; Praeludium & Chaconne, Fischer; hymn concertatos, chamber and orchestral includes a subscription to The Tracker. Please Toccata & Ricercare, Pasquini; Sanctus, Christe works, organ hymn accompaniments, organ visit our website for more information or sub- en Passacaille, & Amen (Messe du 2e Ton), Rai- Pipe Organs of the Keweenaw by Anita and piano pieces, electronic music, and psalm scription: www.organsociety.org. Campbell and Jan Dalquist, contains his- settings. The website offers scores and recorded son. Visit www.frumuspub.net; phone 805/682- tories, stoplists, and photos of some of examples that are easy to sample and can be 5727; or mail P.O. Box 22043, Santa Barbara, the historic organs of the Keweenaw Pen- purchased in downloaded (PDF and MP3) or The OHS Catalog is online at www.ohscata- CA 93121-2043. insula, the northernmost tip of Michigan’s printed form. Visit ednowakmusic.com. log.org. More than 5,000 organ and theatre Upper Peninsula. Organs include an 1899 organ CDs, books, sheet music, DVDs and Barckhoff and an 1882 Felgemaker. The booklet VHS videos are listed for browsing and easy Request a free sample issue of The Diapason ($8.00 per copy, which includes postage) is Nigel Williams is pleased to offer a limited ordering. Use a link for adding your address for a student, friend, or colleague. Write to the available from the Isle Royale and Keweenaw selection of his organ and choral music free of to the OHS Catalog mailing list. Organ Histori- Editor, The Diapason, 3030 W. Salt Creek Lane, Parks Association, 49445 US Hwy 41, Hancock, charge. E-mail nigel@nigelwilliamscomposernz. cal Society, Box 26811, Richmond, VA 23261. Suite 201, Arlington Heights, IL 60005; or e-mail: Michigan 49930. For information: 800/678-6925. com or visit www.nigelwilliamscomposernz.com. E-mail [email protected]. [email protected].

TOTAL PIPE ORGAN RESOURCES

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Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, For advertising information contact: contact editor Jerome Butera, The Diapason 847/391-1045 847/391-1045 voice [email protected]

847/390-0408 fax Send a copy of THE DIAPASON to a friend: Editor, The Diapason, 847/391-1045; [email protected] e-mail e-mail: [email protected]

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3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com

34 Q THE DIAPASON Q MAY 2013 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found on page 33.

PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE SERVICES / SUPPLIES ANNOUNCEMENTS

1959 Moller Artiste #9458: 3 ranks, detached 1928 Casavant pipe organ, completely Releathering all types of pipe organ actions Longwood Gardens presents its inaugural rocker tab console, walnut case, electric restored with five new stops by Létourneau and mechanisms. Highest quality materi- International Organ Competition June 18–22 switches, good playable condition; $5,000 in 1987. Two manuals and pedals, 24 ranks. als and workmanship. Reasonable rates. in the ballroom at Longwood Gardens near Philadelphia, PA. Competing organists are Darla OBO. Steve Beddia 609/432-7876; acorgan@ Organ is in excellent condition and is a Columbia Organ Leathers 800/423-7003. comcast.net. good candidate for solid-state conversion. Burlak, Thomas Gaynor, James Kennerley, www.columbiaorgan.com/col. Asking $65,000 “as is” or can be rebuilt Jinhee Kim, Matthieu Latreille, Baptiste-Florian with modifications. For more information, Marle-Ouvard, Silviya Mateva, Yuri McCoy, Adam 1986 Rudolf von Beckerath, 2/15 (20 ranks) contact Létourneau Pipe Organs at mail@ Highest quality organ control systems since Pajan, and Benjamin Sheen. Judges include 162″ H, 146″ W, 114″ D. $150,000, Organ Paul Jacobs, Thomas Murray, Oliver Condy, letourneauorgans.com or 888/774-5105. 1989. Whether just a pipe relay, combination Clearing House, 617/688-9290, john@ Sophie-Véronique Cauchefer-Choplin, and Peter organclearinghouse.com. action or complete control system, all parts Richard Conte. Winner receives the $40,000 MISCELLANEOUS FOR SALE are compatible. Intelligent design, competitive Pierre S. du Pont fi rst prize, a contract with Phillip pricing, custom software to meet all of your Truckenbrod Concert Artists, and a 2013–14 per- 2001 Rieger house organ—Located in Dal- Consoles, pipes and numerous miscellaneous requirements. For more information call Westa- formance at Longwood Gardens. Second place las; 8 stops (GT Holzgedeckt 8, Principal 4, receives the Firmin Swinnen $15,000 prize; third Doublette 2, POS Nachthorn 8, Blockfl öte 4, parts. Let us know what you are looking for. cott Organ Systems, 215/353-0286, or e-mail E-mail [email protected] (not comcast), place receives the Clarence Snyder $5,000 prize. Flachfl öte 2, Dulcian 8, PED Subbass 16). [email protected]. phone 215/353-0286 or 215/788-3423. Longwood’s 146-rank, 10,010-pipe Aeolian organ $80,000, which includes Rieger dismantling, has been restored to its original 1930 condition shipping, and reconstructing the instrument in Aeolian/Robert Morton-style maroon and incorporates today’s technology. For informa- a new space. Ideal for a home or chapel, or as Have a Rodgers 925 and need pipes? leather is now available from Columbia Organ tion: www.longwoodgardens.com. a practice organ. Phone 212/289-0615; e-mail We have eight great sets of Laukhuff Leathers! Highest quality. 800/423-7003, [email protected]. pipes, windchests, a blower, etc. For more information please see our website: www.columbiaorgan.com. The 53rd Montreal Boys Choir Course will www.milnarorgan.com. be held July 28—August 4 at the Lawrenceville Two-manual, 9-rank Reuter pipe organ, Opus School outside Princeton, New Jersey. Course 1052, a fully operational pipe organ, is for sale. ATTENTION ORGANISTS! Are there director is Simon Lole, former director of music For specifi cations and more details, visit www. Atlantic City Pipe Organ Company—3-rank parishioners (especially some younger at Salisbury Cathedral. For information, contact Levsenpipeorgan.com. exposed oak DE chest with 4′ Principal, ones) who think that organ sound is Larry Tremsky, executive director of the course, at 4′ Gedeckt and 2′ Block Flute; very attrac- boring? We have the answer! Our new [email protected]. tive—$2,200. 16′ Double Open, 16′ Metal Dulci- Whammo Expression Pedal lets you 1978 Reuter pipe organ, 15 stops in excellent ana. 609/641-9422, [email protected]. apply a broad spectrum of sound to pipe condition tonally and great working condition. organ tone. Used with an app (available The Ann Arbor AGO Chapter AGO and the Uni- For specifi cations or more information, visit for smartphones or tablet computers) you versity of Michigan announce the second annual www.milnarorgan.com. Wood pipes. Missing pipes made to match. can select a sound effect, and then use the Michigan Improvisation Competition. Applications Damaged pipes in any condition repaired. Whammo Pedal—and our exclusive high- and recorded entries are due July 1; the fi nal Over 25 years experience. Filip Cerny, tech black-box technology—to increase round is held in Ann Arbor on October 1, during 1938 Kimball studio/practice organ, 4 ranks, 814/342-0975. the effect (just like using a swell pedal). the annual Conference on Organ Music. Prizes of 21 stops, excellent condition, 91″ H, 85″ W, Make your congregation sit up and take $3,000, $2,000, and $1,000 will be awarded. For 56″ D (+pedalboard). Organ Clearing House, notice when “O Sanctissima” starts to more information: www.music.umich.edu/depart- 617/688-9290, [email protected]. SERVICES / SUPPLIES sound more like the pop music they love, ments/organ/index.php or contact Michele Johns, with special effects like “Screaming Cat,” [email protected]. Wicks organ, 2 manuals, 4 ranks, ca. 1990. and “Dive Bomb” (great with pedal reeds!). Postal regulations require that mail to The 16′ Rohrfl ute 97 pipes, 8′ Principal 85 pipes, Need help with your re-leathering project? Take your recitals to a new dimension, and Diapason include a suite number to assure 4′ Gemshorn 73 pipes, 8′ Trumpet 61 pipes. All pneumatics including Austin. Over 45 spice up your service playing. Order yours delivery. Please send all correspondence Excellent condition. Oak casework and console. years experience (on the job assistance today! Box Whammo-Con, The Diapason, to: The Diapason, 3030 W. Salt Creek Lane, Lauck Pipe Organ Co. 269/694/4500; e-mail: available). 615/274-6400. [email protected]. Suite 201, Arlington Heights, IL 60005. [email protected].

Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America -+ &62GHOO odellorgans.com s 860-365-8233 P.O. Box 405, East Haddam, Connecticut 06423 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859

GUZOWSKI & STEPPE Advertise in The Diapason H.W. DEMARSE ORGANBUILDERS INC For rates and digital specifi cations TRACKER ORGANS NEW INSTRUMENTS REBUILDS - ADDITIONS contact Jerome Butera TUNING & SERVICE 518-761-0239 1070 N.E. 48th Court 847/391-1045 2 Zenus Dr., Queensbury, NY 12804-1930 FT. LAUDERDALE, FL 33334 (954) 491-6852 [email protected]

Visit The Diapason website: Own a piece of history! www.TheDiapason.com The cover of the 100th Anniversary Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. Patrick j. Murphy The historic cover image in full color & associates, inc. is bordered in gold-colored metal, and organbuilders the high-quality plaque has a marble- ized black fi nish; a slot on the back 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 makes it easy to hang for wall display. 610-970-9817 • 610-970-9297 fax Made in the USA, The Diapason [email protected] • www.pjmorgans.com 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Jacques Stinkens The Organ Clearing House members of the 50-Year Subscribers PO Box 290786 Organpipes - since 1914 Club. Order yours today: Charlestown, MA 02129 [email protected] Flues - Reeds Ph: 617.688.9290 847/391-1045 Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2013 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Daryl Robinson 2012 AGO National Competition Winner Available 2012-2014

Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*

Christian Lane Canadian International Organ Competition Winner Available 2012-2014

Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser

Choirs

The Choir of Saint Thomas Church, NYC John Scott, Director March 2014

The Choir of Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Westminster Abbey, UK James O’Donnell, Director October 2014

The Choir of Trinity College Cambridge, UK Stephen Layton, Director September 2015

Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Jonathan Ryan Ann Elise Smoot Donald Sutherland

Celebrating Our 92nd Season!

*=Artists based outside the U.S.A. Tom Trenney Thomas Trotter* Todd Wilson Christopher Young