THE DIAPASON FEBRUARY, 2007
Austin Organs Milestones 1893 – 1937 – 2007 Cover feature on pages 30–31 MEN of SONG the art of male a cappella singing perfected
ENSEMBLE AMARCORD
“Move over King’s Singers, Hilliard Ensemble and Chanticleer: There is a new male a cappella group on the international classical music scene...as pleasing as it was sophisticated. The daunting program was leavened by the fresh singing style and general appeal of the singers, a group of handsome and personable 20-som In the areas of balance and precision,ethings. the AFFABRE CONCINUI group sounds as if they started singing The Polish Chamber Singers together decades ago. Their youthfulness shows where it should—in lively “One of the most beautiful and successful concerts in this tone and a smooth blend that allows, vibrant for year’s festival....The cheering of the audience w each singer’s individuality....an unusually vociferous standing ovation...a fine stop, even after three encores.”ould not (Nordbayerischer Kurier performance by a group destined to have a , Wuerzburg, Germany) long and prosperous career.” “A standing ovation has never happened before in the (The Salt Lake Tribune, history of the festival, but these six gentlem Utah) get the audience to jum en managed to p from their chairs and cheer!” (Heider Anzeiger , Heide, Germany)
CHANSON “Simply splendid...The group’s six young m have been singing together for four years anden have achieved a vocal blend and a stylish finesse that far surpass m been in the business longer....closeany groups harm that have excellent diction and fine attention to styleonies, that characterized the entire perform ance. It was a moment to cherish.” (The Courier-Journal, Louisville)
Toll Free 888-999-0644 • Fax (860) 560-7788 www.concertartists.com [email protected] lair; 2/18, Evensong; March 6, Margaret Lehman, Leon Nelson, Kirsten Sandresky; May 1, Mary Louise Kapp Synnestvedt, and Christopher Urban; THE DIAPASON Peeples. For information: 336/723- March 11, Pilgrim Chamber Players; A Scranton Gillette Publication 4391;
FEBRUARY, 2007 3 Pepperdine University has script is completed, the recipient is craft Supply; and Mary Wick Haberer, announced a hymn tune search for a expected to submit it to the society’s manager of Wicks Custom Woods. symposium entitled “The Ascending director of publications. Voice,” June 4–7. Submitted hymns must Applications may be sent by mail or Brian K. Davis has been named be composed in four-part harmony e-mail. They must be postmarked or e- tonal director of John-Paul Buzard Pipe (SATB) and intended for a cappella mailed by June 15, 2007, and awards Organ Builders, LLC. His “field promo- singing. The text, which may be in any will be announced in early July. Send tion” was made at Mount Pleasant language, may be newly written or may applications or inquiries to: Dr. Christo- Lutheran Church, Racine, Wisconsin, come from an existing work. Deadline is pher S. Anderson, Associate Professor after completing tonal finishing of the March 12. For information: 310/506- of Sacred Music, Perkins School of The- new Buzard organ opus 34. Davis has 7644;
4 THE DIAPASON Pinkham, Craig Phillips, Michael Bed- Priory label (PRCD 830). Recorded on J. William Greene is featured on a ford, Purcell, Pachelbel, Bach, and oth- the Steinmeyer organ of Altoona Cathe- new recording, Buxtehude at Lynch- ers. For information: dral, Pennsylvania, the program burg, on the Pro Organo label (CD
Colin Andrews Emanuele Cardi Maurice Clerc Laura Ellis Faythe Freese Organist/Lecturer/ Organist/Lecturer/ Interpreter/Improviser/ Organist Organist/Lecturer Recording Artist Recording Artist Recording Artist Associate Professor of Associate Professor of Organ Lecturer, Organ Performance Organ and Soprano with Titular Organist Organ and Carillon School of Music & Sacred Music Studies Polina Balva (St. Petersburg) St. Benigne’s Cathedral University of Florida University of Alabama East Carolina University Titular Organist Faculty Gainesville, Florida Tuscaloosa, Alabama School of Music St. Maria della Speranza National Conservatory Greenville, North Carolina Battipaglia, Italy Dijon, France
Michael Gailit Johan Hermans Michael Kaminski Angela Kraft Cross William Kuhlman Organist/Pianist Organist/Lecturer/Recording Artist Organist Organist/Pianist/Composer/ Organist Organ Faculty Instructor of Organ Director of Music Ministries Recording Artist Professor of Music Emeritus Conservatory of Music Conservatory of Music Saint Francis Xavier Church Organist Luther College Piano Faculty University of Music Organist and Artistic Director Brooklyn College Faculty Congregational Church Decorah, Iowa Organist St. Augustine’s Church Sacred Heart Church St. Francis College Faculty San Mateo, California Vienna, Austria Organ Concert Series Brooklyn, New York Hasselt, Belgium
Tong-Soon Kwak David K. Lamb Maija Lehtonen Sabin Levi Bach Babes Organist Organist/Choral Conductor/ Organist/Pianist/ Organist/Harpsichordist/Carillonneur/ Baroque Music Ensemble Professor of Organ Oratorio Accompanist Recording Artist Lecturer/Recording Artist Variable Groupings College of Music Director of Music/Organist Senior Lecturer, Organ Faculty Organist and Composer in Residence Soprano, Strings, Flute, Oboe, Continuo Yonsei University First United Methodist Church Oulu Polytechnic First Christian Church of Independence Milwaukee Symphony Artistic Director Columbus, Indiana Organ and Violin Assistant Music Director Orchestra Associates Torch International Organ Academy with Manfred Grasbeck Shireinu Choir of Kansas City Martha H. Stiehl, Artistic Director Seoul, Korea Helsinki, Finland Kansas City, Missouri Organ and Harpsichord University of Wisconsin-Milwaukee ConcertArtistCooperative Beth Zucchino, Director, [email protected] David K. Lamb, Associate Director, [email protected] 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 www.ConcertArtistCooperative.com
FEBRUARY, 2007 5 neapolis, Minnesota. Cantus first per- December 16 at the Cathedral of Saints formed it in March 2006. An audio file of Peter and Paul, Providence, and Nunc Dimittis Cantus’s performance can be down- December 17 at St. Mary’s Church, loaded at
6 THE DIAPASON St. Olaf College’s Newest Laboratory Our renewed Boe Memorial Chapel, with its new Holtkamp organ, creates a uniquely versatile space for worship, concerts and recitals, and serves as a lab for teaching and learning church music in the 21st century.
Saturday, Feb. 24, 7:30 p.m. Chapel Rededication Hymn Festival featuring the St. Olaf Cantorei John Ferguson, conductor
Sunday, Feb. 25, 3:30 p.m. Inaugural Recital Catherine Rodland, organ
Sunday, March 18, 3:30 p.m. St. Olaf Orchestra Concert John Ferguson, organ Catherine Rodland, organ Christopher Atzinger, piano Steven Amundson, conductor
Saturday, April 21, 9 a.m. Master Class Larry Smith, professor of organ Indiana University
Sunday, April 22, 7:30 p.m. St. Olaf Band Concert John Ferguson, organ Catherine Rodland, organ Timothy Mahr, conductor company, which led to his (and Sea M.A. 1944) with A. Tillman Merritt, Wave’s) appearance in a Chevrolet com- Walter Piston, Archibald T. Davison Here & There mercial. At this point he became a and Aaron Copland. He also studied member of the Screen Actor’s Guild. harpsichord with Putnam Aldrich and Ray will be remembered as a vibrant, Wanda Landowska, and organ with E. Bärenreiter-Verlag announces new exciting performer who specialized in Power Biggs. At Tanglewood he studied Bach releases. Early Versions of the the French Romantic composers and composition with Arthur Honegger and Mass in B minor, edited by Uwe Wolf who was also a talented improviser. He Samuel Barber, and subsequently with (BA 5293a, €17.95), contains Missa is survived by his mother Genevieve, Nadia Boulanger. BWV 232I (1733 version), Credo in wife Patrice, former wife Shauneen, and In 1946 he was appointed to the facul- unum Deum BWV 233II/1 (early ver- children Sydney, Adrienne, and Mor- ty of the Boston Conservatory of Music. sion in G), and Sanctus BWV 232III gan. A Mass of Resurrection and memo- In 1953 and 1954, he also taught at Sim- (1724 version). These early versions rial was held on November 11, 2006 at mons College and Boston University. shed light on the history of movements St. Perpetua Church. After serving as visiting lecturer at Har- of Bach’s Mass in B minor. The corre- —David Hatt vard University in 1957–58, he joined the sponding volume of the New Bach Edi- faculty of New England Conservatory, tion (series II, volume 1a) serves as a where he remained until his death. At conducting score. Werner Neumann NEC, Pinkham taught harmony and Jon Spong has edited Schweigt stille, plaudert music history in addition to composition. nicht (Coffee Cantata, BWV 211) (BA He composed music well into his Spong held combined organist/choir- 10211a, €7), and Mer hahn en neue later years. The evening before master positions in many churches in Oberkeet (Peasant Cantata, BWV 212) Pinkham’s death, Edward E. Jones led Des Moines, Iowa City, and at Philadel- (BA10212a, €8), two of the best known the Harvard University Choir in the phia’s First Baptist Church. He also and most frequently performed of world premiere of Pinkham’s A Cradle taught at Drake University, Washington Bach’s cantatas. The editions are based Hymn at Memorial Church in Cam- State University, Angelo State Universi- on the New Bach Edition and feature bridge. Pinkham’s extensive catalog can ty, University of Missouri-Kansas City, straightforward and easy to play piano be found at
8 THE DIAPASON PEDAL 2nd Voices/Pipes 64 Resultant 32 Contre Bourdon LEVERINGTON PRESBYTERIAN CHURCH 32 Contra Violone 16 Diapason Prinzipal HILADELPHIA ENNSYLVANIA 16 Gedeckt Pipes only P , P 16 Bourdon 16 Bourdon doux (Sw) 16 Contra Gamba (So) 16 Violone 8 Principal Pipes only 8 Octave Oktav 8 Bass Flute Pipes only 8 Bourdon Pipes only 8 Gedacktflöte 8 Gamba (Solo) 4 Prestant Pipes only 4 Choralbass 4 Fife Pipes only 4 Flûte 2 Octave Pipes only IV Fourniture Pipes only IV Mixture 32 Contre Bombarde 32 Contre Dbl. Trumpet (Gt) 16 Bombarde Posaune 16 Double Trumpet (Gt) 8 Trompette 4 Clarion SWELL English Swell/Pipes 16 Bourdon doux 8 Geigen Diapason Open Diapason 8 Bourdon 8 Gedeckt Pipes only 8 Flute Celeste II Erzähler Celeste II 8 Erzähler Pipes only 8 Viola Pipes only 8 Viola Celeste Pipes only 8 Salicional Viole d’Orchestre 8 Voix Celeste Viole Celeste 4 Principal Pipes only 4 Octave Geigen Octave 4 Rohrflöte Pipes only 4 Traverse Flute 2 2/3 Nasard 2 Octavin Pipes only 2 Flautino Pipes only 2 Piccolo 1 3/5 Tierce IV Fourniture Mixture V III Plein jeu Pipes only 16 Contre Trompette Double Trumpet 8 Trompette Trumpet 8 Hautbois Orchestral Oboe 8 Vox Humana Vox Humana 4 Clairon Clarion Tremulant 16 Swell to Swell Swell Unison Off 4 Swell to Swell English Swell Chimes mechanical (in Swell chamber) GREAT Second Voices/Pipes 16 Double Diapason Quintaton 16 Bourdon 8 Principal Pipes only 8 Diapason Prinzipal 8 Bourdon 8 Gedeckt Pipes only 8 Harmonic Flute Metalgedackt 8 Gamba 4 Prestant Pipes only 4 Octave Oktav 4 Spitzflute 4 Harmonic Flute Pipes only 2 2/3 Twelfth Sesquialtera II 2 2/3 Nazard Pipes only 2 Super Octave Pipes only 2 Fifteenth 2 Waldflute IV Mixture III Cymbale Pipes only III Sharp Mixture 16 Double Trumpet 8 Tromba Tremulant Chimes Carillon SOLO (no pipes) A four-manual Allen Renaissance Heritage™ console in a special two-tone finish 16 Gamba Celeste II 8 Flauto Mirabilis has been recently installed in Philadelphia’s Leverington Presbyterian Church, 8 Solo Gamba located in the heart of the Roxborough section. The 24 Mudler-Hunter pipe ranks 8 Gamba Celeste 4 Gambette Celeste II and 79 Allen digital voices are controlled by individual drawknobs. The handsome 16 Trompeta Real 8 Trompeta Real console features rosewood manual and pedal sharps, rosewood rocker tablets, 8 French Horn rosewood drawknob faces with maple stems, and Skinner-style key cheeks. 8 Corno d’Bassetto 8 Cor Anglais The manual naturals are Laukhoff Ivora. Cathedral-style side panel mouldings 4 Trompeta Real Tremulant complement the inspired console design. An adjustable bench, adjustable music Celesta rack and console dolly are finished to match the console’s exterior finish, which CHOIR (no pipes) 16 Contra Viole is custom-matched to the existing woodwork of the sanctuary. The digital audio 8 Holzgedackt is located behind the pipe façades, in and near the pipe chambers. 8 Viole 8 Viole Celeste 4 Prinzipal 4 Koppelflöte 4 Violes II 150 Locust Street, P.O. Box 36 Macungie, PA 18062-0036 USA 2 Oktav Phone: 610-966-2202 Fax: 610-965-3098 1 1/3 Quintflöte III Cymbale E-mail: [email protected] 16 Bass Clarinet 8 Petite Clarinette www.allenorgan.com Tremulant PIPE AND DIGITAL CUSTOM ORGANS CUSTOM PIPE AND DIGITAL JAV Recordings has announced the resource for organists and organ com- release of Paul de Maleingreau: Sym- mittee members who are considering phonic Organ Works, Vol. 1 (AE- the purchase of a new pipe organ or hav- 10611). This new release is dedicated to ing their existing pipe organ rebuilt. the large-scale symphonic organ works
Walter Kraft Bach works
Musical Concepts has announced the release of Bach, Complete Organ Music, performed by Walter Kraft, from the Vox Box Recordings 1961–1967 (cat- alog no. MC 191, UPC 851950001919). Walter Kraft recorded Bach’s complete organ works on 20 historic instruments in Germany, France, Switzerland, the Netherlands, Sweden and Denmark, most built during the composer’s life- time. This set was regarded as complete at the time, although it leaves out all Fratelli Ruffatti three-manual, 49-rank mechanical-action organ at Chiesa del alternative versions of the many chorale Allen Quantum at BYU Santo Volto, Turin, Italy preludes. Released in a series of three- disc sets by Vox in one of the label’s most The Marriott Center at Brigham Fratelli Ruffatti has completed a ambitious undertakings, these record- Young University is not only home to new five-manual, 89-rank organ for ings made the works available to a wide Cougar basketball, but also hosts devo- Friendship Missionary Baptist Church, audience at a bargain price. Now for the tionals, forums, firesides, commence- Charlotte, North Carolina, which fea- first time this complete set is available ment exercises, concerts and pageants. tures a 32v Contra Principal in the main on 12 CDs in new digital remasterings of For such events, a large organ is needed façade. Installation began in May and the archival Vox tapes from sonically to support congregational singing, cam- was finished in mid-June; voicing contin- restored analog masters—over 14 hours pus choirs and orchestras, as well as ued through September. The dedication of music, 196 works. Available from other various musical events. recital was played by R. Monty Bennett,
New Organs: Atlanta First United Methodist Church: 5-manual, 120 stops New Orleans Baptist Theological Seminary, Leavell Chapel: 4-manual, 78 ranks Midway Presbyterian Church, Powder Springs, GA: 3-manual, 55 ranks First United Methodist Church, Carrollton, GA: 3-manual, 42 ranks New Orleans Baptist Theological Seminary, Recital Hall: 3-manual, 33 ranks (new & existing pipes) Newberry A.R.P., Newberry, SC: 2-manual, 13 ranks (new & existing pipes) Rebuilds: St. John’s Church, Savannah, GA: 4-manual, 76 rank Wicks - additions, tonal revisions & revoicing First Baptist Church, Orangeburg, SC: 3-manual, 31 rank M.P. Moller - complete rebuild with additions Selwyn Avenue Presbyterian Church, Charlotte, NC: 3-manual, 22 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Jackson, GA: 2-manaul, 20 rank Austin - complete rebuild with major additions Cumberland United Methodist Church, Florence, SC: 2-manual, 10 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Tennille, GA: 2-manual, 8 rank Tellers, complete restoration 800-836-2726 y www.pipe-organ.com
10 THE DIAPASON WHY
Because worship has no limits.
With the choices that worshippers have today, why limit the options in your music ministry? Allegiant organs have the À exibility to lead traditional hymn singing, support the praise band, or enable your youngest prodigy to shine at her ¿ rst recital. • The ability to play any style • Full dynamic range • Rodgers’ exclusive Mix-and-Match technology in Allegiant Model 778 that allows you to customize your own speci¿ cation instantly • Customization options for keyboards and console ALLEGIANT 778 ORGAN WITH FOUR BUILT-IN trim SPECIFICATIONS, 52 ORCHESTRAL SOUNDS, AND THE ABILITY TO MIX YOUR OWN CUSTOM SPECIFICATION
CONTACT US FOR THE SPECIFICATIONS OF THE NEW A778
Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue * Hillsboro, Oregon 97124 503.648.4181 * fax: 503.681.0444 America’s Most Respected Organ Builder Email: [email protected] * www.rodgersinstruments.com on Italian and Spanish organs with sense to spend hundreds of thousands We visited Taliesin West, the archi- divided keyboard. (Some fabulous duos of dollars on an organ that is hindered tecture school and enclave built by Das Orgeleinbuch can be played with a 16v in the right by poor placement. Wright on the outskirts of Phoenix, Ari- by Leonardo Ciampa (Op. 193) hand and a 4v in the left, or a Cornet in The organ should be placed where it zona. There we saw many examples of the right hand and a reed in the left.) can be best heard, where it can best Wright’s imposition of his opinions on However, most of the preludes assume lead, where its visual presence is most those who would use his buildings. I was Whereas Das Orgelbüchlein means one undivided keyboard. Not one work inspiring. The placement of the console particularly impressed by the auditori- “The Little Book for Organ,” Das in Orgeleinbuch will require pedal. This or keydesk should allow the organist a um, intended for performances of Orgeleinbuch is “The Book for a Little first installment is Jerusalem, Quae view of the choir, the altar, pulpit, cen- music, with very dry and close acoustics, Organ.” As much as I love a four-manu- Ædificatur, op. 193, no. 1. ter aisle—all the places in the building and permanently installed seats and al E. M. Skinner, I am equally thrilled where things might happen that would music racks for the performers. As a when I play historic, one-manual organs affect the player’s timing, response, and church musician, you might try that the in Europe. Sometimes the keyboard participation in the flow of worship. next time a brass quintet comes to offers only 45 notes. But what of it? An Also, the experience of the congregation play—nail some chairs and stands to the architect once told me, “The hardest In the wind . . . can be enhanced by their ability to see floor and see what reactions you get. plot to design for is an unflawed perfect by John Bishop and interact with the organist as a wor- In my work with the Organ Clearing square.” Did not Michelangelo carve ship leader. One church where I served House, I am often involved in deter- David out of a damaged hunk of mar- as music director had the organ console mining the placement of an organ. ble? (That’s why David is leaning slight- Location, location, location placed in an awkward hole in the chan- Sometimes we are charged with placing ly to one side.) In the same way, these Near where I live there’s a long hill cel floor, out of sight for most of the an historic organ in a new location, and organs need not be restricting—they with a sweeping curve on a two-lane congregation. There was a wonderful must deal with the constraints of floor can be liberating. U.S. highway. It’s often snow-covered, woman in the congregation who habitu- space as it relates to the “traffic” of the However, what do you play on them? or worse, covered with black ice, that ally sat in the little area where eye con- leaders of worship. Sometimes we are Since the time of Vierne, reams of spookiest of road conditions where a tact with the organist was possible. consulting with churches that are plan- “manuals only” music have been writ- sheet of invisible ice lurks to deceive the Every time I started a hymn, she’d nod ning new buildings, working with archi- ten. Unfortunately little of it is effective, unwary. Just about halfway up the hill or shake her head to let me know tects to help see that the building will if even playable, on these instruments. I there’s an auto body repair shop. When whether or not she liked that one. It was have a good place for an appropriate was determined to fill this void, creating I drive by I wonder if the proprietor a ritual that I really enjoyed. organ. Any organbuilder can tell war music not constrained by these limita- chose the site because it would take just stories about working with architects— tions but, instead, inspired by them. a few seconds for him to get his tow What’s Wright for one . . . and I expect that many architects have The Orgeleinbuch runs the gamut of truck onto the road. His location must Frank Lloyd Wright is revered for his equivalent organbuilder stories. styles—fugues, chorale preludes, Gre- be a primary source of his success. visual designs. But when touring his Several years ago a church engaged gorian preludes, and dance movements. When we place a pipe organ in a buildings, one is struck by their imprac- me as consultant. They had completed The ecclesiastical preludes touch on church building, we should remind our- ticability. Houses have built-in severe and dedicated a new building and were each of the major Christian seasons selves of this basic wisdom. Not that the furniture such as chairs with stiff ready to discuss commissioning a new (Advent, Christmas, Lent, etc.), while organ is preying on the unfortunate for upright backs and flat seats. Because organ. Large gifts had been announced the dance movements aren’t ecclesiasti- its success, but that good placement is Mr. Wright abhorred clutter, he to begin a fund, and I was told how cal at all. Some preludes will be playable simple wisdom. It doesn’t make much designed houses without closets. their architect had prepared a place for an organ. The drawings showed a figu- I rative organ façade on the wall of the church and a location for a console. But the façade was on an outside wall. The Jerusalem, Quæ Ædificatur architect showed some photos of organs # œ he had copied from a book on liturgical c œ œ œ œ œ œ œ œ œ œ œ œœ œ œ architecture that showed façade pipes & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ in various artistic arrangements on the #œ œ ‰ J œ ‰ œ œ wall of a church. When I told him (in front of the organ committee) that there would necessarily be an eight- or ? # ten-foot deep room behind the façade, c he admitted that he was not aware of that. I suppose the books to which he 5 ‰ j ‰ j ‰ j ‰‰ had referred left out that part. There # #œ œ œ j œ. œ œ#œ œ œ ‰ œ j œ j was simply no place in the room where & œ œ œ œ œ œ œ #œ œ Nœ œ œœ œ œ a pipe organ could be installed, and the ‰ #œ nœ ‰‰œ #œ #œ œ œ #œ ‰ parish was deeply disappointed. m.s. m.d. A study of organ history allows us three rules for good organ placement: ? # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1. The organ should be in the same œ Nœ œ œ œ œ#œ œ œ œ œ room in which it will be heard. ‰ J 2. The organ should be as high as possible on the center of the long axis of the room. 8 # 3 3. The organ should be in the same œ œ #œ #œ œ #œ œ œ œ œ location as the choir and any other & œ œ œ œ œ. œ œ œ œ œ #œ œ œ œ œ musical ensembles that would ordinari- Œ ‰ J ‰ J J Nœ œ œ ‰ Œ ly perform with it. J R J Rules are made to be broken. The œ œ œ j j r one about “the same room” is referring ? # œ œœ œ œ œ œ #œ œ. œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ to organ chambers. Sound waves do not œ œ œ œ bend. They travel in straight lines. If an ‰ J ‰Œ organ is placed in a deep chamber on the side wall of a chancel, most of the 3 congregation will necessarily be hearing 10 reflected sound rather than direct # œ œœ œœ œœ œ œ œ nœ ˙ sound. Following my rule number one, & œ. œœœ œ œœœ œ œnœ œ œœ#œ œœ #œ œ œ this would be a recipe for an unsuccess- œ nœ ful organ, but we’ve all heard wonderful œ œ œ œ œ œ œ œ œ œ œ #œ œ nœ œ instruments in situations like this. ? # œœ œœœ œ œ#œ œ œœ#œœœœœœ Placing an organ as high as possible & œ#œœ#œ#œœœœ on the center of an axis implies that the 3 instrument is either at the rear of the 13 # Ÿ , room, or front and center. When com- œ œ œ r j œ Ó bined with rule number three, placing & œœ œ œ.. œ œ œ œ œ œ œ œ œ œ œ œ œœ œ the organ in the back means that the #œ œ Œ‰œ œ œ œ œ #œ œ œ œ œ œ œ œ œ choir is in the back also. This is a classic, J traditional situation shared by the œ œ œ Ó ‰ œ œ Ó Thomaskirche in Leipzig and virtually # ? œ œ œ œ œ œ œ œœœœ œ œ all of the great churches in Paris. But & œœnœœ œœ œ #œ œ œœNœ œ many American congregations prefer Ó œ œ œ œÓ. Ó. œ the placement of the choir in the front œ of the sanctuary where they can be 17 j direct participants and leaders of the # œ œ œ œ œ. œ #œ #œ #œ œ œ U liturgy. St. Thomas Church on Fifth & œ œ œ œ œ œ œ œ œ#˙ n œ œ œ. Avenue in New York famously has the ˙œ#œ #œ œ œ œnœ œ œ œ Nœ œ œ œ J#œœ œ w organ placed in chancel chambers above Œ œ œ œ œ u the choir stalls. Attend Evensong there m.d. and I promise you will not be distracted œ œ œ Œ m.s. 3 œ U by the disadvantages of the placement ? # œ œ œ#œ œ œ #œœ. œœ ˙. œœœœ œœ#œœœ œ œ œ #w of choir and organ. w w œ Nœ ˙ œ œ œ œ w Or walk two blocks east and three uw blocks south to St. Bartholomew’s Church on Park Avenue, where you will From by Leonardo Ciampa (Op. 193, No. 1) 19.XII.06 O.H. find organs placed in the chancel, rear Das Orgeleinbuch gallery, and above the dome, all played
12 THE DIAPASON from one console, accompanying the I doubt that the operas of Mozart or the threaded, shallow-headed, crooked- The book is a pleasure to use. choir seated in the chancel. Again, bro- plays of Shakespeare would have shafted, out-of-center junk they sell at Tables, pipe scales, and the like are ken rules lead to terrific sound. become so popular if their contempo- Home Depot. But we don’t make clearly set out, and the illustrations, The organ placed front and center in rary audiences couldn’t understand the friends of the architects, the acousti- many of them in glorious color, are a a church sanctuary is common enough, words. The dramas of Aristophanes cians, the audio consultants, or the joy. Anyone interested in any aspect of but it is often the source of discontent. (448–380 BC), Euripides (440–406 members of the organ committee if we organs or organ music will treasure The fair question is raised, are we wor- BC), and Sophocles (496–406 BC) were are known for disdain of things modern. this volume. shiping the organ or the cross? Some- enhanced by glorious amphitheaters I don’t mean we have to accept micro- —W. G. Marigold how, hanging a big cross in front of the whose acoustics would baffle the best phones without question, and I certain- Urbana, Illinois organ doesn’t help. Other parishes find modern audio consultant. Ten years ago ly don’t mean we have to incorporate that the organ façade behind the altar I restored an organ for a small church in video screens in our organ façades. provides a magnificent inspiring archi- Lexington, Massachusetts, which We should look for any opportunity William Tortolano, A Gregorian tectural background for worship. enjoyed the legend that “Emerson to inform or enlighten our clients about Chant Handbook. GIA Publications, The examples I’ve cited are all tradi- preached here.” How did the congre- the factors that lead to a successful $7.95; 800/GIA-1358, tional settings. The challenge today is gants hear him without the tinny P.A. organ installation. We should encourage
www.mander-organs.com Imaginative Reconstructions
14 THE DIAPASON ment, interpretation, and various theo- ($16.98 plus shipping), 804/353- 1997. It is built very much in the was written in order to be as different as ries of Gregorian chant, this book is a 9226,
Mary Jane and David Sursa Performance Hall Ball State University Muncie, Indiana
823 Massachusetts Avenue • Indianapolis, Indiana Opus 5 • 006 Voice: 800.814.9690 • Facsimile: 317.637.5236 ranks • 51 stops www.gouldingandwood.com
FEBRUARY, 2007 15 was probably written with his 1932 Unit- becomes less Bach-like and reverts to Travers, but is not from the collection In the chorale prelude on O Mensch ed States tour in mind and dedicated to Karg-Elert’s own characteristic style. printed after his death, rather from an bewein the ranks composing the Cornet his daughter Katharina who accompa- This manner of incorporating 200 years 18th-century anthology containing give out the highly ornamented melody, nied him on the tour. The structure of of compositional development in a single pieces composed, according to the Malcolm Archer showing his skill in the cycle is interesting. The eight pieces work recalls the Poulenc Organ Concer- cover, by “Dr Green and Mr Travers,” conveying the highly charged spiritual are in four pairs, written in such a way to. The work, and the recording, ends but without specific pieces being allot- dimension to this work, all the orna- that the first half of each pair flows with a massive climax. ted to each composer. Another Trum- ments again being neat integrations into smoothly into the second. Each member This is an excellent recording, which pet Voluntary in two movements, again the melodic line. The Prelude and of each of the pair contrasts sharply with I thoroughly recommend. I hope that the bars intended as a Trumpet echo are Fugue in E-flat is also well played; in the the other, but in a way in which each this series of compact discs will do taken by the Swell. In both these pieces Prelude the contrasted choruses display seems to complement rather than to something toward rescuing some of the articulation is not always as sharp as their own charm, and the final Fugue subvert the other. Of particular interest Sigfrid Karg-Elert’s organ music from it could be, neither are all the marked finishes most magisterially, despite is the vigorous, arpeggiated Appassiona- the obscurity that it has for too long ornaments played. The Trumpet is close being taken at quite a pace. The pedal ta, reminiscent of Mendelssohn in its endured. to an 18th-century English Trumpet in Bassoon provides plenty of weight here extensive use of minor thirds, which —John L. Speller its gentler tone, commanding without in the final bars. leads into a warmly textured march-like St. Louis, Missouri being shrill in the upper octave. The booklet contains information Canzona. Also of interest is the bubbling The following four movements by about the performer, composers, and scherzo-like Toccatina leading to a mas- François Couperin are taken from his the pieces, as well as a brief introduc- sive and majestic Corale. Sounds of Fotheringhay: Malcolm Messe pour les Couvents. The Plein Jeu tion to the organ with a good color The Prelude in C is a charming minia- Archer plays the Vincent Woodstock shows off the transparent voicing of the photo on the cover; it would, however, ture that forms one of the ten sketches organ at St Mary and All Saints chorus, and the Fugue sur la Trompette have been nice to have had a list of reg- posthumously collected and published Church, Fotheringhay. Lammas gives another opportunity to savor the istrations provided. The playing is gen- by Karg-Elert’s English friend and biog- LAMM191D. TT 66:44; tone of the stop in a movement in which erally of a high standard showing aware- rapher Godfrey Sceats as A Second
• EASY—online permission and reporting • ECONOMICAL—based on average weekend attendance • THOROUGH—your favorite songs • CONVENIENT—includes a growing list of publishers
LOG ON TODAY! WWW.ONELICENSE.NET
16 THE DIAPASON researching the organs of this pivotal hear the liquid combination of flutes, Eugène Gigout’s Grand Choeur Dia- Zipoli, All’Offertorio, All’Elevazione II, organ builder. His present recording bourdons, salicionals, and the Récit Bas- logué, which demonstrates the organ’s Al Post Communio, Pastorale (Sonata spans organ music of the Second son-Hautbois, but it also introduces blazing tutti. Eschbach’s rhythmic pac- d’intavolatura); D. Scarlatti, Sonata in Empire in France, the period of govern- three of the other reed stops on this ing of this work is rock solid and per- C Major, K.255; Gherardeschi, Sonata ment from 1852–1870 established by organ—the Positif Cromorne, the fectly paced. per organo a guisa di banda militare che Napoléon III, nephew of Napoléon Grand-Orgue Clarinette, and Récit Cor This is a first-class recording and an suona una marcia; Quagliati, Toccata Bonaparte. The instrument featured on Anglais, the latter two of which are free absolute must for any serious organ stu- dell’Ottavo tuono [1593], Canzoni II, this recording is the 1857 Cavaillé-Coll reeds. Each of these stops has a charm- dent—particularly connoisseurs of 19th- XV (Ricercari e canzoni [1601]); Pasqui- organ at the Cathédrale Saint-Jean in ing and unique character. century French organ music. Much of ni, Ricercare con la fuga in più modi. Perpignan, a city located in southern Eschbach’s playing of César Franck the music on this recording is not part of Performed by three of the Eastman France. Unfortunately, this organ, like on this recording is one of those rare the mainstream organ repertoire, yet it is faculty, this recording of “the only full- many other French organs, did not unions of a superb organ and musician. a telling example of organ literature dur- size Italian Baroque organ in North escape the “additions” and “improve- It is here that the player’s love for ing the mid 1800s. Eschbach’s playing is America” is an aural portrait presenting ments” made by those associated with Cavaillé-Coll organs and the literature musical, informed, and a perfect com- a wide range of Italian organ music and the organ reform movement during the of 19th-century France is joyously man- plement to this music. He has written showing off the many splendid colors early 20th-century. In 1929–1930, Mau- ifest. Many listeners will be interested fine program notes and also provides an of this historic instrument. With four- rice Puget expanded the organ’s original in hearing the seldom-heard second informative description of the organ and teen stops over its single manual and compass, added new stops, and enclosed version of Franck’s Fantaisie in C its stoplist. The fine organ, playing, and pedal, the organ is a reasonably good- the Positif division. Thankfully, in 1990 Major, which Eschbach speculates is music will assure this recording’s status sized 18th-century instrument, discov- Jean Renaud restored the organ to its the version that people heard at the as a collector’s item for years to come. ered in a Florentine antique shop, original 1857 condition, complete with inauguration of the Saint-Sulpice organ —David C. Pickering restored, and now housed since mid- mechanical action, original wind pres- in 1862. This version has been available Graceland University 2005 in the University of Rochester’s sures, voicing, and removing Puget’s since 1980, published by the German Lamoni, Iowa Memorial Art Gallery. additions. The voicing of both founda- publisher Robert Forberg Musikverlag. The Frescobaldi Toccata that opens tion and reed stops, numerous solo reed Eschbach’s sense of phrasing through- the program displays the warm, sensu- registers (Cor Anglais, Cromorne, Bas- out this work is natural and elegant, and The Eastman Italian Baroque Organ. ous Voce umana, and the succeeding son-Hautbois, Clarinette), and harmonic his playing of the concluding Adagio Hans Davidsson [Frescobaldi and Bergamasca and Rossi Toccate provide flutes at 8v, 4v, and 2v pitch help yield an contains an almost prayer-like quality. Rossi], David Higgs [Zipoli, Scarlat- a sampler of the many combinations organ that is a telling example of Cavail- Little-known composer Nicolas- ti, Gherardeschi], William Porter possible from the organ’s disposition. lé-Coll’s work from the 1850s. Mammès Couturier, organist at the [Quagliati and Pasquini], organists. (The ending of Rossi’s Toccata VII is an There exists on this recording some Langres cathedral for 56 years, is repre- Loft LRCD 1077,
FEBRUARY, 2007 17 Pastorale adds the piquant flavoring of rather like preaching to the choir. If you the Tromboncini in a perhaps tongue- don’t know by now, Honey, as Virgil New Organ Music in-cheek imitation of a shepherd’s bag- would have said, you simply have not pipes. Like many contemporaneous been paying attention! This program CHANGE IS INEVITABLE. Italian and revolutionary French com- was recorded live, but congregation Heinrich Scheidemann, Complete positions, the Sonata . . . di banda mil- noise is minimal. Keyboard Works Part 2: 8 Magnificat itare provides all the “glorious” effects Three Schübler Chorales follow the Cycles, edited by Klaus Beckmann. € GROWTH IS OPTIONAL. of a military band on parade, with ripi- “Victimae,” and Sowerby’s Canon, Cha- Schott ED 9729, 34.95. eni and tromboncini on full display and cony and Fugue is played with Gerre’s Heinrich Scheidemann, Complete the warbling uccelliera providing an expected style and élan. A symphonic Keyboard Works Part 3: Free Organ { avian background. improvisation of nearly 29 minutes occu- Works, edited by Klaus Beckmann. The Quagliati and Pasquini works pies the second half of this splendid pro- Schott ED 9730, €26.95. bring back the simple, limpid flute regis- gram. A useful feature is that the themes Heinrich Scheidemann (c1595–1663) ARTISTRY IS CRITICAL. ters, with the Pasquini also providing an used during the four movements are was one of the leading composers of the opportunity to hear the beauties of the printed in the accompanying booklet. It North German school who studied with Principale 8v on its own. is wonderful playing, and we are fortu- Sweelinck in Amsterdam, becoming { All three performers display an affini- nate to have it available to hear again organist at the Katherinenkirche in ty for the instrument and literature alike. and again. Hamburg. These are the remaining two An opportunity to see, hear, and, per- volumes devoted to his organ works, haps, play this organ should impel many Philadelphia Gothic, Joseph Jack- edited by Klaus Beckmann and pub- INTEGRITY AND AN INFORMED a visit to Rochester. son, organist. The First Presbyterian lished by Schott in the Masters of the —G. Nicholas Bullat Church in Philadelphia, Möller/ North German Organ School series. POINT OF VIEW,SINCE 1917 River Forest, Illinois Reuter organ. Direct-to-Tape The second volume contains works Recording Co. DTR2011, 856/547- based on the Magnificat. There are, in 6890,
LUC LADURANTAYE TUYAUTIER INC. David Petty & Associates Organbuilders Organ pipes custom-made to your specifications AIO member - Luc Ladurantaye Since 1997 2, chemin Dubois, Lac-Saguay (Qc) J0W 1L0 Canada 27 Marlboro Lane • Eugene, OR 97405 Telephone: 819 278-0830 • Fax: 819 278-0831 (541) 521-7348 [email protected] e-mail: [email protected]
18 THE DIAPASON hand to hand (a possible solution would those not used to this form of notation. player must take care to read the nota- paraphrase of the 17th-century text, an be to play it on the pedals), and in the Many of the pieces do not attain the tion correctly, since dotted notes are not allegorical description of the Crucifix- bass in the seventh and eighth tones, in expressive power of Scheidemann’s tied over the barlines. ion—the Tree of Wisdom, Jesus, bears the latter finishing with a flourish of works based on chorales and the Magni- The introduction in German and Eng- the “scars of suffering,” yet “it lives!— 16th-note passagework. In the fifth tone ficat settings, and leave one to wonder lish contains much useful information on its grief has not destroyed it.” The tune the cantus firmus is given out in a deco- further about the role of the non-liturgi- the life and duties of the organist in owes a debt to the 18th century: Scott rated form in the treble. Much of the cally based works in the Hamburg ser- Hamburg in the 17th century (apparent- clothed this text with a simple, lovely writing is 16th-note passagework that vice. As mentioned above, with careful ly they received free accommodation!), foursquare classic-style melody, pri- will test the fingering. planning many of them are eminently as well as a penetrating stylistic analysis marily with intervals of a fourth and The third volume contains the surviv- suitable for performance on harpsichord of the genres and consideration of attri- smaller, over a direct harmonic scheme ing works not based on chorale melodies and clavichord as well. butions. As I have commented previous- in common time. Scott’s tune uses the or the Magnificat, comprising twelve These two volumes give a most valu- ly in my review of the chorale preludes same rhythms as the 1739 Bayeux praeambula, two fugues, two toccatas, able insight into what would have been (THE DIAPASON, October 2006, p. 19), it Antiphoner tune Diva Servatrix, to (that in G being marked for two key- improvised at this time, but the Magni- is a great pity that in this series devoted which this text has been set previously. boards, manualiter), a canzona, and a ficat settings in particular will require a to the masters of the North German Scott’s setting is available as a hymn fantasia, plus an anonymous arrange- suitable instrument and a performer Organ School, the extensive discussion tune—in Augsburg’s 1995 Lutheran ment of the Toccata in G for two manu- with a first-rate technique who is also of the sources and the critical commen- hymnal With One Voice, and in Yale als and pedals. A comparison with Wern- well versed in the performance prac- tary on the individual pieces is in Ger- University Press’s 1992 A New Hymnal er Breig’s edition of the chorale settings tice of the place and period for a con- man only. These two volumes are rec- for Colleges & Schools, for instance— for Bärenreiter in 1971 shows that Beck- vincing performance. That said, they ommended, but a fuller selection of the and also as a choral anthem (MSM-50- mann does not include Praeambula in C will most definitely repay the detailed free pieces and the same Magnificat set- 3000, see James McCray’s review in and G, the Canzona in G, Fantasias in C study required. tings are found in Breig’s edition, so August 2006 issue of THE DIAPASON). major and D minor, as well as variants of These editions are a valuable addition there is little need for players who The present voluntary, written for a the Praeambulum in E, the Canzona in to the series, but a scrutiny of the text of already own these to buy the Schott edi- two-manual instrument, is straight- G, and another variant of the Toccata in the second verse on the second tone tion reviewed here unless they can read forward, alternating a varying inter- G. Beckmann also uses a third stave to reveals that in the closing 11 bars the German fluently in order to benefit from lude (indicated for strings) with three indicate a pedal part in several pieces, changes between the Organo and the the extensive source information. iterations of the tune, each in a differ- but it is not overtaxing to mentally adjust Rückpositiv have not been indicated as —John Collins ent textural placement and registra- to using the left hand. such, and as in the Toccata in C in the Sussex, England tion. At just under five minutes and Most of the praeambula are relatively volume of the free works, the player is moderately easy, it will be appreciat- short at about 60–70 bars and are impro- left to work out from the direction of the ed not only by organists but also by visatory in feel, in mainly quarter- and stems and beaming of the notes what is K. Lee Scott, Voluntary on Shades congregations—both those who know eighth-note movement, frequently built played on which manual; this also occurs Mountain. MorningStar MSM-10- the tune and, given the tune’s melodi- on sequential patterns and imitations, in the second verse of the Magnificat on 592, $7.00. ousness, also by those who as yet do with a few containing stricter fugal the Eighth Tone in the closing three K. Lee Scott’s 1987 hymn tune not. Recommended. entries as a middle section, such as the bars. In several cases in each volume the Shades Mountain sets Erik Routley’s —Joyce Johnson Robinson canzona-like rhythm with repeated notes in no. 3 in d-minor. Particularly effective is the chromatic section in no. 4 in d- minor in a dotted quarter and eighth for- mula, leading to a closing section in 16th notes; such closing figuration is also found in no. 6. Of the two fugues in d- minor, the first is a contained working in 32 bars of the descending triad A F D a t y s u r at rising to A B C, while the second ... nd he o nd g e includes the subject in augmentation against 16th-note passagework before a close in quarters and eighths. The manualiter Toccata in C—with its scale passages and 16th-note figuration leading to another example of a canzona- like subject before a close built on sequences—is most successful, especial- ly so when played on harpsichord or clavichord. The toccata for two manuals requires some nimble fingerwork to change manuals, but a scrutiny of the text of the complex echo effects around bar 75 reveals that several changes between the Organo and the Rückposi- tiv have been omitted, as indeed have the changes from bar 150 to the end, and the player is left to work out what is played on which manual from the direc- tion of the stems and beaming of the notes. This magnificent piece would have benefited from more careful edit- ing. A manualiter Canzona in F is remi- niscent of Frescobaldi and Froberger in its three sections—in the second one the subject is transformed into a triple-time variant. The Fantasia in G is another piece that would sound particularly well on harpsichord and clavichord; in it Scheidemann shows his debt to Sweel- inck’s toccata style. The shorter pieces are still fresh today and offer useful material for services, while the longer ones should feature in concerts, whether on organ or stringed keyboard instruments. The printing is clear, and the introduction in German and English gives a brief introduction to the general style of the non-chorale- based works as well as reasons for reject- ing some of the pieces included by Breig in his edition. Facsimile pages of part of the Praeambulum on the Fourth Tone ex E and the Toccata in G in New German tablature make fascinating reading for www.johannus.com
The 2007 Resource Directory was mailed with the January issue of THE DIAPASON. Please check your listing in the Directory and make corrections at
FEBRUARY, 2007 19 Pipe Organs of the Keweenaw Houghton County, Michigan Janet Anuta Dalquist
Introduction Calumet church met with disaster The Keweenaw Peninsula, the north- when both the building and the organ ernmost part of Michigan’s Upper were destroyed by fire. The congrega- Peninsula, projects into Lake Superior tion joined with the Presbyterian con- and was the site of the first copper boom gregation that had in their building a in the United States. The land was 1905 Estey organ. Both the Estey, mined by prehistoric miners, starting in which was rebuilt in 1970, and the Gar- 3,000 B.C., and has produced over 1.5 ret House, which has been cleaned and billion pounds of pure copper. Its major reconditioned, are still in use. There is industries are now logging and tourism. a great irreplaceable investment in the The northern end, referred to locally as Keweenaw pipe organs! Copper Island, is separated from the Thurner writes that the German rest of the peninsula by the Keweenaw Lutherans in Laurium built a church Waterway, a natural river that was “early in the twentieth century [which dredged and expanded in the 1860s had] an altar with elaborate wood across the peninsula between the cities carving, three steeple bells, and an of Houghton on the south side and organ . . . ” (Strangers and Sojourn- Hancock on the north. ers, 134). Armas Holmio describes The Keweenaw’s importance in min- the Finnish Lutheran Church that ing led to the founding of the Michigan was built in 1889 on Reservation College of Mines (now Michigan Tech- Street in Hancock: “In the balcony of nological University) in Houghton in the new church, which was the most 1885. From 1964–1971, the University imposing one owned by Finnish of Michigan cooperated with NASA and Americans of that time, there was a the U.S. Navy to run the Keweenaw large pipe organ . . . ” (History of the Rocket launch site. Finns in Michigan, 2001, 188). That In the Keweenaw, many artifacts, organ, a Kilgen dating from 1915, was buildings, and locations have been doc- moved to the newly constructed Glo- umented and preserved for local histor- ria Dei building after the Lutheran ical museums and the Keweenaw Church mergers in 1964. National Historic Park. What have not The Houghton Methodists suffered been documented are the historic pipe several fires, the last one in 1916 organs in the area. It is the intent of this destroying a pipe organ, according to article to do that. Included are a brief Terry Reynolds’ history of the church description and history of each church (Grace of Houghton, 37). Until their new structure and a description, stoplist, and building was erected, the Methodists photos for each pipe organ featured. worshiped for a time with the First Pres- Information was gleaned from books byterians on Franklin Square, and then about the area, brochures and bulletins separately in the Masonic Temple. from the individual churches, clippings When the Methodists decided to pur- from Upper Peninsula newspapers, and chase an organ for their new church, the people—the local organists and pastors Presbyterians apparently took advantage and local historic preservationist, Ed of the opportunity. Both churches dealt Yarbrough. A bibliography is included with the same company during the same at the end of the catalog. period of time and ended up with simi- In 1995 the Pine Mountain Music lar instruments, the Methodists’ Maxcy- Festival (PMMF) for the first time Garret House, Heritage Center, Lake Linden Barton organ being somewhat larger. included a pipe organ recital and work- When the Presbyterian church was shop in their concert schedule. Two We hope this catalog will trigger inter- learned and remembered from the razed to allow for highway expansion major events happened at that time. est in the organs of the Keweenaw from words and tunes of their hymns. It was down Montezuma Hill, their Maxcy- First, the Keweenaw group formed the the local folk as well as travelers to this only in the last decades of the 20th cen- Barton was purchased by a local party Organists of the Keweenaw, and since unique place. To see the organs, visitors tury that some foreign-language hymnals and installed in the family home. then we have met three or four times a may contact the church offices to make ceased to be used and the hymns begun Sadly, the same did not happen for the year sharing in presenting programs for arrangements for a convenient visit. to be sung in English. During all that large Austin organ in the First Congrega- each other. The second event was an time the leader of that song was, and still tional Church of Hancock, which was organ crawl to visit the historic organs History is, the organ. razed about the same time. The music that David Short had “rediscovered” People have always had their songs. Reed pump organs were common in history of that church, which included thirty years earlier. Shortly after, I Prior to the boom of the music publish- both church and home. Thurner, in writ- among others the notable baritone Will began collecting material for a catalog ing industry in the early 1900s, people ing about the early 20th century, quotes Hall, was impressive. The organ had of the Keweenaw organs. matched their voices with whatever Clare Moyer who recalled a pump organ played a huge musical role in the church David Short has been a partner with instruments they had—homemade or in her home (Strangers and Sojourners, and community, but unfortunately could me in the collection of this material. In store-bought. Angus Murdoch writes in 1994, 187). Most likely, church congre- find no local home, and was sold to a his early enthusiasm he became Boom Copper of the “Grand Cal- gations that could not afford pipe organs party outside of the area. acquainted with all the instruments list- lithumpian” parade in Calumet (Boom bought reed pump organs instead. Some Another organ has lain in state for ed and registered some of them with the Copper, 1943, 199), where bands from of these instruments, now over 100 years over 30 years. When one local church Organ Historical Society. I am indebted all over the Copper Country gathered old, still survive. At least two are current- closed, no home could be found for the to him for providing access to the build- for the Fourth of July celebration. The ly used during summer services in local pipe organ. Pastor John Simonson dis- ings and the instruments and providing bands were from mining companies, chapels. Others, also in working order, mantled the instrument and made much of the history. I collected the lodges and guilds, various “locations,” can be seen in local museums. plans to install it in an enlarged garage stoplists, wrote the histories from the and represented various ethnic groups. Acquisition of pipe organs probably on his property. The project was not collected sources, did all the photogra- Larry Lankton quotes Bishop Baraga reflected the wealth of the congrega- completed, and the organ now awaits phy, and formatted the information. He being surprised at tion. Some instruments from the late resurrection, hopefully to be placed in read the draft and corrected technical 19th century cost little over $2000. The the St. Anne Heritage Center in errors. It is to him that I dedicate this “the fast spreading of civilization on the Boom Copper folks wanted for their Calumet, where it could be used for catalog. Errors are strictly my own. shores of Lake Superior . . . [where] there local churches what they had had “out concerts, weddings, and other events These magnificent music machines are was even a piano on which a young Amer- East”—the pipe organ. This was not and to echo the music of the ethnic ican woman played very skillfully . . . Many a valuable historic resource in the settlers undoubtedly brought musical uncommon for people in remote areas. people of the area. Keweenaw. They reflect the boom days instruments with them. Others special- During the “Gold Rush” in Canada’s The Keweenaw boasts pipe organs dat- of the copper mining era when people of ordered instruments at frontier stores. By Dawson City in the Yukon, a frame ing from 1870 to 1968. All are in working wealth who lived in the area sought the as early as 1849–50, John Senter’s store in Presbyterian Church, built to hold 650 order and in regular use, and several are best music for their churches and Eagle River did a modest trade in musical people, had a pipe organ, which had tracker organs. All of the Keweenaw arranged for the purchase of these instru- instruments, selling an accordion, a melo- been shipped to the church by steam- tracker organs now have electric blowers; ments. To replace any one of these pipe dion, bass violas and bows, a violin and boat up the Yukon River. The Congre- however, two of the trackers can still be organs at this time would cost a minimum bow, guitars and guitar strings. Flageolets, gational Church in Calumet bought a hand pumped. One has a detached and and a German flute, a tuning fork, and a of $200,000 and many times more for the violin and cello instruction book” (Beyond Garret House organ in 1870 from the reversed keydesk. Several of the larger instruments. Their great value the Boundaries 1997, 168–169). manufacturer in Buffalo, New York. It Keweenaw organs are in their original requires regular maintenance and care was shipped—keydesk, 16v metal and state with no changes having been made. similar to any other major investment The ethnic folk brought with them wood pipes and all—to Lake Linden They were installed with electric blowers such as automobile or home. Well-main- their song. They sang drinking songs, folk and then transported up the hill to and with either electro-pneumatic or tained pipe organs live for centuries. A songs, or parlor songs such as published Calumet. Some time later, the congre- electro-magnetic action. Three have been loss of any one of the Keweenaw pipe in The Gray Book of Favorite Songs, and gation decided to get a larger organ moved to different locations. Although organs is a loss of history, loss of a valu- they sang their hymns. Much of what and bought a Hook & Hastings instru- the consoles have been moved in at least able asset, and, because they are wind defined ethnic identity and culture ment, again from “out East.” The Gar- two churches, the innards of the instru- instruments similar to the human voice, a through the decades was the song of the ret House was given to the Lake Lin- ments remain the same. One organ has loss of the very best way to lead the peo- church in their hymnals. Indeed, the reli- den Church and made the journey been enlarged to meet the specifications ple of a congregation in their song. gious belief of people is, in large part, back down the hill. Sad to say, the for the original instrument. Others have
20 THE DIAPASON been so enlarged with additional pipes Lake Linden, Hubbell 8v Salicional 73 pipes and digital circuitry that they no longer Heritage Center (former First Congre- 8v Voix Celeste TC 49 pipes resemble the original instrument. Only gational Church), Houghton County His- 4v Principal 73 pipes 4' Flute d’Amour 12 pipes two organs have three manuals. One has torical Museum, Lake Linden. Garret 4v Salicet 61 notes an echo organ placed at the opposite end House 2M, 1870; cleaned, Dana Hull, 2 2 ⁄3v Nazard 61 notes of the sanctuary from the main organ 2001; restored, Helmut Schick, 2002 2v Principal 61 notes chamber. Another is a beautiful one- St. Cecilia RC, Hubbell. Felgemaker 2v Flautino 61 notes 3 manual, no-pedalboard organ with fully 2M, c1900 1 ⁄5v Tierce 57 notes exposed pipes. St. John’s Lutheran (Missouri Synod), 8v Trumpet 73 pipes The Keweenaw pipe organs are irre- Hubbell. Verlinden 1M, 1968 4v Clarion 61 notes placeable treasures, a legacy from those St. Joseph’s RC, Lake Linden. Casa- Tremolo 16v Swell to Swell folks of the Boom Copper days who vant Frères 2M, 1916; overhauled 1957; 4v Swell to Swell sought to bring the best of instruments electro-pneumatic, Verlinden, 1982; Swell Unison Off to their churches for their peoples’ song. cleaned, new console, J. A. Hebert, Four combination pistons These are instruments worthy of preser- 1995; additions, Lauck, 2001 vation, care, and constant use. Let them Lake Linden United Methodist, Lake PEDAL (enclosed) be heard! Linden. Lancashire-Marshall 2M, 1893; 16v Bourdon 32 pipes Hugh Stahl, 1950 16v Lieblich Gedeckt 12 pipes 8v Octave 12 pipes Pipe Organs of the Keweenaw, 8v Bass Flute 32 notes Keweenaw area 8v Gedeckt 32 notes Houghton County, Michigan Rockland Roman Catholic. Garret 4v Choral Bass 32 notes House, 1859 (not functional) 8v Trumpet 32 notes Calumet, Laurium 8v Great to Pedal Community Church, Calumet. Estey, 8v Swell to Pedal Estey, Community Church of Calumet 1907; Verlinden 2M, 1970 Calumet and Laurium 4v Great to Pedal St. Paul the Apostle, Calumet. Kilgen 1846–1960 and manufactured more than 2M, 1869; Lauck, 2001 Community Church of Calumet Deagan Chimes - 21 bells 3,200 pipe organs during the first half of Expression pedal for entire organ St. Paul Lutheran (Missouri Synod), 201 Red Jacket Road, Calumet, MI Crescendo pedal the 20th century. On November 5, 1969, Laurium. Schuelke 2M, 1902; Verlin- 49913; 906/337-4610. Sforzando toe piston the Calumet organ was removed by Ver- den, 1963 Estey tracker 1907; rebuilt, Verlinden Great to pedal reversible toe piston linden Organ Company, Milwaukee. “incorporating most of the stops from Roman J. Leese, president of Verlinden, Hancock, Houghton the original organ,” electro-pneumatic, The Calumet Congregational Church designed a new chamber, and the organ First United Methodist, Hancock. 1970. 2M/28 stops, 16 ranks was the church of James MacNaughton was reinstalled with most of the original Kimball 2M, 1905; electro-pneumatic Placement: center front of sanctuary and Alexander Agassiz and represented pipes on July 13, 1970. It was converted 1958; refurbished, Lauck, 2005 in well of choir loft, facing organ cham- the elite and wealthy of the community. to electro-pneumatic, and the console Gloria Dei Lutheran, Hancock. Kil- ber The original church, built in 1874, was moved from next to the chamber to gen 2M, 1915?; moved to new location burned down in 1949. In 1971 the con- a well at the opposite side of the choir 1969; rebuilt and enlarged, Fabry, 2000 GREAT (enclosed) gregation merged with the Calumet loft. It is totally under expression. The Grace United Methodist, Houghton. 8v Open Diapason 61 pipes Presbyterian Church, which had been first service with the new installation was 8v Melodia 61 pipes Maxcy-Barton, 1931; rebuilt, Verlinden, 8v Dulciana 61 pipes built in 1894 to serve the Scottish Pres- played July 17, 1970, with James Abrams 1971 4v Octave 61 pipes byterians in the area. The merged at the console. Dedicatory recitalist on Michigan Technological University. 4v Waldflote 12 pipes churches, first named the Federated November 5, 1970, was Harvey L. Wurlitzer, 3M, c1920; installed at MTU, 2' Fifteenth 12 pipes Church, then became the Community Gustafson. (Source: church records by John Wagner, Wicks, 1970–1975 II Grave Mixture 122 pipes Church of Calumet (Congregational- Charles Stetter) David and Carol Waisanen residence. 8v Trumpet 61 notes Presbyterian). In 2005 the congregation Maxcy-Barton 2M, c1931–1933; moved 16v Great to Great separated from the Presbyterian Church from original location, 1975 4v Great to Great (USA) in order to lease the basement St. Paul the Apostle Church 8v Swell to Great Sts. Peter & Paul Lutheran (Missouri 4v Swell to Great facilities to the Copper Country Com- 301 Eighth Street, Calumet, MI Synod), Hancock. Haase 2M, 1901; Four combination pistons munity Arts Council. It retains affiliation 49913; 906/337-2044. modified and electrified, Haase, 1960; with the United Church of Christ. Kilgen, 1905, reverse tracker, 2M, 17 rebuilt, Roscoe Wheeler, 1997 SWELL (enclosed) The organ was originally built from stops; oak, 18v wide, 9v deep; original Trinity Episcopal, Houghton. Austin 16v Bourdon 73 notes two Estey trackers from Brattleboro, cost $4,000. Rebuilt, cleaned, new 3M, 1913, 1976, 1987 8v Stopped Diapason 73 pipes Vermont. Estey was in business from trackers, manuals regulated, 1 stop*
I R T H D
LAKE M SALT ORMON T 67 ABER 18 NAC LE 2007 Celebrating the reopening of the Salt Lake Mormon Tabernacle Salt Lake City, Utah April 18-22, 2007
Featured recitalists: Other Events: Gillian Weir • Gala opening concert with the Utah Ken Cowan Symphony, Keith Lockhart, Music Lecturers: Director Joseph Dzeda • Daily noon organ recitals with Jack Bethards howcasing the majestic LDS Conference Center pipe Ken Cowan Tabernacle staff organists organ, Now Let Us Rejoice: Organ Hymns for the Sabbath • Mormon Tabernacle Choir rehearsal S features Mormon Tabernacle organists John Longhurst, Clay All events are free except • Music and the Spoken Word Christiansen, and Richard Elliott performing 23 hymn-based for the banquet. broadcast For information or to register: compositions. In this 80-minute inaugural recording, familiar • Round-table discussion Mormon Tabernacle Choir hymn tunes such as “I Need Thee Every Hour” and “Sweet Is 50 East North Temple Street • Behind-the-scenes tour of the Salt Lake City, UT 84150 the Work” combine with the regal strains of “Jehovah, Lord refurbished Tabernacle Phone: 801-240-4150 of Heaven and Earth” and “Now Thank We All Our God” to Fax: 801-240-4886 • Banquet ($25.00 per person) Email: [email protected] provide a wide range of religious expression. CD $16.98 For a complete schedule of events and online registration, visit: For more information about this recording, mormontabernaclechoir.org/acos visit mormontabernaclechoir.org
FEBRUARY, 2007 21 Hancock and Houghton with the organist’s back to the choir and congregation. In 1950 the organ was First United Methodist Church converted to electro-pneumatic and the 401 Quincy Street, Hancock, MI console moved from its tracker position 49930; 906/482-4190. to a well at the opposite side of the choir Kimball, 1905, tracker, 2M, 11 ranks; loft. In 1998 the sanctuary was renovat- rebuilt to electro-pneumatic action ed and choir loft was leveled to make a 1950; new wind lines, 1998; refurbished flat dais across the chancel area. The 2005 by Fabry, Antioch, Illinois. organ console was placed on a moveable Placement: front left dais; console is platform and new wind lines installed by on a moveable platform Fabry, Inc. In 2005 Fabry also replaced Console: not AGO, but radiating ped- slide tuners in the pipes, installed a new alboard blower, and repainted the pipes located above the paneling fronting the lower GREAT part of the chamber. (Sources: Monette; 8v Open Diapason church organist Carol Waisanen) 8v Melodia 8v Dulciana 4v Principal 4v Flute 2 2 ⁄3v Twelfth 2v 15th 4v Great to Great 16v Swell to Great 8v Swell to Great 4v Swell to Great Schuelke, St. Paul Lutheran Church, Kilgen, St. Paul the Apostle Church, Laurinum SWELL Calumet 8v Violin Diapason St. Paul Lutheran Church (Missouri 8v Stopped Diapason Synod) 8v Gamba 146 Tamarack, Laurium, MI 49913; 4v Flute d’Amour 2 906/337-0231. 2 ⁄3v Nazard Schuelke, 1902; rebuilt Verlinden, 2v Flautino Tremolo 1963 16v Swell to Swell Kilgen, Gloria Dei Lutheran Church, Placement: rear balcony, right side of 4v Swell to Swell Hancock console faces the front of the sanctuary PEDAL Gloria Dei Lutheran Church GREAT 16v Bourdon (ELCA) 8v Diapason 16v Gedeckt 1000 Quincy Street, Hancock, MI 8v Melodia 8v Principal 8v Dulciana 49930; 906/482-2381. 8v Bass Flute Kilgen, 1915? 2M; moved to new 4v Principal 4v Flute III Mixture 8v Great to Pedal building, 1969; console rebuilt and 8v Trumpet 4v Great to Pedal preparation made for additions, Fabry, 16v Great 8v Swell to Pedal 2002 4v Great Placement: rear balcony; left side of Great Unison Off console faces front of sanctuary 16v Swell to Great 8v Swell to Great GREAT 4v Swell to Great 8v Diapason Chimes 8v Gedeckt Tremulant 8v Dulciana 4v Principal SWELL 4v Flute d’Amour Console, St. Paul the Apostle Church, 8v Geigen 4v Dulcet Calumet 8v Bourdon 12th Dolce 8v Salicional 15th Dolce 3 8v Celeste 1 ⁄5v Dolce Tierce added, Lauck, 2001. Pneumatic pedal, 4v Harmonic Flute hand pump preserved. 16v Great to Great 2v Fifteenth 4v Great to Great Placement: rear balcony, facing front II Sesquialtera 16v Swell to Great of sanctuary 16v Krummhorn 8v Swell to Great 8v Krummhorn 4v Swell to Great GREAT 8v Trumpet Chimes 8v Open Diapason 4v Fagotto Unison Off 8v Trompette* 16v Swell MIDI to Great 8v Melodia 4v Swell 4v Octave Swell Unison Off SWELL 4v Flute d’Amour Chimes Kimball, First United Methodist Church, Hancock 8v Violin Diapason 2v Fifteenth Tremulant 8v Gedeckt 16v Bourdon 8v Salicional PEDAL 8v Voix Celeste SWELL (enclosed) 16v Bourdon 4v Principal 8v Violin Diapason 8v Octave Bass 4v Flute d’Amour 8v Salicional 2 4v Fagotto 2 ⁄3v Nazard 8v Aeoline 8v Great to Pedal 2v Flautino 8v Oboe Gamba (2 ranks, non-reed) 8v Swell to Pedal 8v Trompette 8v Stopped Diapason 4v Great to Pedal 8v Oboe 4v Violina 4v Swell to Pedal Tremolo 4v Flute Harmonique 16v Swell to Swell 2v Flautina Presets are inside the organ chamber 4v Swell to Swell Swell to Great Unison Off Tremolo The congregation formed in 1879. The first church building was located on PEDAL PEDAL 32v Resultant 16v Bourdon Scott Street in Calumet. The present building was dedicated 1899. 16v Bourdon 8v Violon Cello 16v Lieblich Gedeckt Great to Pedal The Schuelke tracker organ was given 8v Diapason Swell to Pedal to the congregation in 1902 by Mr. 8v Bass Flute Ernest Bollman. In 1929 two recitals 8v Gedeckt Pneumatic assist were performed by Mr. Martin, Chica- 4v Choral Bass Five foot pedals: soft to loud go, to celebrate the 50th anniversary of 8v Great to Pedal The parish was established in 1889 by the church. In 1961 Rudolf Patsloff 8v Swell to Pedal Slovenian immigrants and was originally donated the trumpet rank, which is 4v Great to Pedal named St. Joseph Roman Catholic mounted to the left of the chancel in the 4v Swell to Pedal Church. The original 1890 wood frame front of the church. Franz Ziems, organ- Memory Select building was destroyed by fire in 1902. ist for many years, left a bequest to ren- Transposer The new twin-spired church was built of ovate the organ. Renovation was com- Console, First United Methodist Swell presets: 5, Swell to Pedal Jacobsville sandstone from 1903 to 1908 pleted by Verlinden Co., Milwaukee, in Church, Hancock Great presets: 5, Great to Pedal at the cost $100,000. In 1928 St. Joseph’s October 1963. The dedicatory recital Generals: 10, Tutti Parish absorbed St. Anthony’s Polish was played by Rev. Harvey Gustafson, The congregation of the First Toe studs: Parish. After 1966 they absorbed St. Minneapolis. He played four more Methodist Church organized in 1860, General cancel Mary’s (Italian), St. Anne’s (French), St. recitals after that time. The chimes were the first of any denomination to be 10 generals Swell to Pedal John’s (Croatian), and took the name St. given in memory of John Messner. The established in Hancock. The first build- Great to Pedal Paul the Apostle Parish. The structure casework of the chamber is the work of ing was erected in 1861. The present Resultant was designated an Historical Building in Arthur Jarvela. (Source: e-mail from structure of Jacobsville sandstone and Tutti the State of Michigan in 1983. church organist Jan List) brick was dedicated in 1903. The 1905 Kilgen organ is a reverse In 1905 the Kimball tracker organ The Gloria Dei congregation traces tracker. Although operating with electric was installed, a gift from Mr. and Mrs. its roots to 1867 when the Scandina- power, the organ retains the original W. H. Roberts. The console was built vian Evangelical Lutheran Congrega- pump and can be operated in that man- into the paneling of the chamber with tion was formed. It was reorganized in ner. (Source: church brochure) the choir loft on either side and in front, 1880 as the Finnish Evangelical
22 THE DIAPASON Lutheran Congregation. The first wood David and Carol Waisanen resi- frame building was partly destroyed by dence, Hancock, MI. fire in 1896 and again in 1909. A brick Maxcy-Barton, Oshkosh, WI, 2M, 8 building was constructed in 1910. ranks, 1931–33?, electro-pneumatic; Shortly after, a member of the congre- installed by owner, 1975 gation, Andrew Johnson, gave the first Placement: music room, console on pipe organ to the church. In 1955 the balcony (former back porch); organ name of the church was changed to St. chamber installed with original paneling Matthew’s Evangelical Lutheran and grillework Church. In 1962 most of the national Lutheran church bodies merged into GREAT the Lutheran Church of America. 8v Open Diapason 61 pipes 8v Melodia 73 pipes Salem Lutheran (Swedish) and St. 8v Dulciana 61 pipes Matthew’s (Finnish) merged in 1966 4v Flute 61 notes and adopted the name Gloria Dei. Unison Off The present building was constructed in 1969, and the Kilgen organ from St. SWELL Matthew’s was moved and installed in 8v Stopped Diapason 73 pipes the new structure. In 2002, the organ 8v Salicional 73 pipes was rebuilt by Fabry, Inc. of Fox Lake, 8v Vox Humana 61 pipes 4v Flute d’Amour 61 notes Illinois. (Sources: Monette; church Tremulant records and members) Unison Off Maxcy-Barton, Waisanen residence, PEDAL Hancock 16v Bourdon 12 pipes (20 notes from Sw St. Diap.) at the front of the sanctuary and Console, Grace United Methodist 8v Flute (from Sw St. Diap.) enclosed in a wooden grillework similar Church, Houghton Couplers to the one in Grace. The detached con- 16v Great to Great sole was located below the rostrum and Grace’s history from 1854 to 2004 is 4v Great to Great in front of the choir loft, which was an documented in booklet form by Profes- 16v Swell to Great elevated tiered area at one side of the sor Terry Reynolds of the Social Science 8v Swell to Great chancel. The building was razed in 1976 Department of Michigan Technological 4v Swell to Great due to highway construction, and the University. The church stems from a 8v Great to Pedal instrument was purchased by a private “Methodist Class” that formed in 1854, 8v Swell to Pedal party. The owner converted his back an outgrowth of Methodist missions that yard to a vaulted music room. The organ Combination pistons: had begun around 1832 with the Ojibwa 3 Swell, controlling Swell and Pedal organs chamber is enclosed in the original natives of the Upper Peninsula. A frame and couplers, cancel wood grillework from the church and building was constructed in 1859 and in 3 Great, controlling Great and Pedal organs the console sits on what used to be the 1890 money was first raised to purchase and couplers, cancel back porch of the home. (Sources: The an organ. In 1893 a new sandstone Daily Mining Gazette; Waisanen) structure was built and again, in 1907, Balanced expression pedal church records show efforts to raise Balanced adjustable crescendo pedal money for an organ. Sts. Peter and Paul Lutheran An organ must have been installed in First installed in the First Presbyter- Church (Missouri Synod) that structure as the church history ian Church, Houghton between 1931 323 Hancock Street, Hancock, MI reports a fire in 1916, which destroyed, and 1933, it is believed that this instru- 49930; 906/482-4750. Maxcy-Barton, Grace United Methodist among other things, the organ. The ment was installed during the same Haase, tracker 1901; modified and Church, Houghton present Maxcy-Barton was installed in period that a larger Maxcy-Barton was electrified by Haase Organ Co., Maren- 1931. It is most likely that the Maxcy- placed in the Grace Methodist Church. go, IL, 1960; rebuilt, Roscoe Wheeler, Grace United Methodist Church Barton organ of the First Presbyterian Maxcy organs were custom built to fit Curran, MI, 1997 201 Isle Royale, Houghton, MI Church was also installed at that time as the acoustics of the space. The organ Placement: balcony, rear of church, left 49931; 906/482-2780. the organs are similar except that the chamber in the Presbyterian church was side of console faces front of sanctuary Maxcy-Barton, 1931; rebuilt Verlin- Methodist instrument is larger. In 1971 den, 1971 Verlinden rebuilt the instrument and in Placement: left of chancel, below dais the 1990s the console was moved from the dais to the main floor level on left GREAT side of the chancel. (Source: Reynolds) 8v Open Diapason 8v Melodia Refinement, Grandeur, 8v Salicional 8v Dulciana Michigan Technological University 4v Octave MacInnes Ice Arena, 1400 Townsend Delicacy, & Grace 4v Wald Flute Drive, Houghton, MI 49931. 4v Dulcet Rudolph Wurlitzer Company, c1920; 2 2 ⁄3v Twelfth installed May 1975 2v Fifteenth Placement: platform on rafters, west 16v Great to Great wall of MacInnes Ice Arena, access on a 4v Great to Great 8v Swell to Great 50-ft. ladder climb 4v Swell to Great 1119 pipes, 15 ranks, 130 stops Chimes drums bells SWELL 130 stops 16v Bourdon 24 notes, cathedral chimes 8v Stopped Flute 32-note pedalboard 8v Salicional 8v Dulciana 8v Vox Celeste This instrument was first installed in 4v Principal the Presbyterian Church, Utica, New 4v Flute d’Amour York, and later moved to the home of 4v Salicet James Thomas, who added theatre organ 2 2 ⁄3v Nazard components from two Pennsylvania the- 2v Flautino atre organs and accessories from a Boston 3 1 ⁄5v Tierce radio station. The instrument, valued at 8v (Syn) Orchestral Oboe $75,000, was donated to MTU in the late 16v Swell to Swell 4v Swell to Swell 1960s through the efforts of John Wag- Unison Off ner, class of ’61. It was moved to MTU in Tremulant 1970 with initial installation done by Wagner and completed by the Wicks PEDAL Organ Company, Highland, Illinois. 16v Sub Bass The organ was first played for Michi- 16v Bourdon gan Tech’s commencement exercises 8v Octave May 1975 by Gerrit Lamain, director of 8v Bass Flute 8v Bourdon the Suomi College (now Finlandia Uni- All Saints Episcopal Church, Atlanta, GA 8v Cello versity) Choir, Hancock, and later of Raymond & Elizabeth Chenault, Music Directors 4v Choral Bass Minneapolis, Minnesota. Lamain enter- 4v Flute tained hockey fans prior to Michigan 8v Great to Pedal Tech’s games until he left the area, 8v Swell to Pedal returning regularly to play for Tech’s Member, Associated Pipe Organ 4v Great to Pedal commencement exercises. The console John-Paul is mounted on a high platform at the Builders of America 3 pistons and cancel on Swell west end of the MacInnes Ice Arena. 112 West Hill Street 3 pistons and cancel on Great Buzard One toe stud, coupler Access is achieved by climbing a 50-foot Pipe Organ Builders Champaign, Illinois 61820 ladder. An article and pictures featuring 1 expression pedal 800.397.3103 • www.Buzardorgans.com 1 crescendo pedal this instrument can be found in the April 2000 “Alumnus” magazine of Michigan Tech. (Source: Nordberg)
FEBRUARY, 2007 23 The congregation, the first Lutheran one in the Copper Country, was found- ed in 1867 as the Deutsche Evangelische Lutherische Peter and Paul’s Gemeinde in Hancock. The first church structure was built in 1867 and the present church structure in 1881. In 1901 the organ was purchased for the sum of $500 from St. Stephen’s Lutheran Church in Milwaukee, Wis- consin. The dedicatory recital was played by Professor Karl Haase. Most of the original pipes were constructed in Berlin, Germany by August Laukhuff Orgelteile. New ones were constructed and added by the Durst Organ Co., Erie, Pennsylvania. Under the Rev. Mr. Boomhower the organ was refurbished in 1997 at the cost of Haase, Sts. Peter and Paul Lutheran $25,000. Improvements included work Church, Hancock on all inner mechanical works and solid state circuitry. Total cost for repairs GREAT and improvements up to 1998 was Austin, Trinity Episcopal Church, Houghton 8v Principal $30,000. This church also houses in its 8v Quintaten belfry tower three bells of 1,000, 800, CHOIR 8v Gemshorn and 600 pounds. (Sources: Monette; 8v Violin Cello Rank 7 4v Octave 8v Spitzflute Rank 8 2 service bulletin) 2 ⁄3v Twelfth 8v Dulciana Rank 9 2v Fifteenth 4v Flute Rank 10 Great Unison Off 8v Clarinet Rank 11 8v Great to Pedal Trinity Episcopal Church Tremolo 4v Great to Pedal 205 East Montezuma, Houghton, MI Choir 16, 4 16v Great to Great 49931; 906/482-2010. Choir Unison Off 4v Great to Great Austin, 1913, 3M, 26 ranks; new con- Swell to Choir 16, 8, 4 sole, 1958; rebuilt with new console, SWELL ECHO 8v Rohr Gedeckt 1976; rebuilt, Roscoe Wheeler, Iron Mountain, MI, 1987; repaired, including 8v Chimney Flute Rank 21 8v Salicional 8v Viole Aetheria Rank 22 4v Koppel Flute reinstallation of the Echo organ, Lauck, 8v Vox Angelica Rank 23 2 2 ⁄3v Nazard 2004. 4v Fern Flute Rank 24 Console, Trinity Episcopal Church, 2v Flautino Placement: chancel, right side, in well 8v Cor Anglais Rank 25 Houghton 8v Oboe facing the opposite side 8v Vox Humana Rank 26 Swell Unison Off Tremolo gregational denomination to jointly con- Tremolo GREAT Chimes 25 Bars struct a building in Hancock. Disagree- 16v Swell to Great 8v Open Diapason Rank 1 16v Pedal Bourdon (ext of Rank 21) ment followed as to which denomination 8v Swell to Great 8v Clarabella Rank 2 4v Swell to Great 8v Dulciana Choir PEDAL the building would be dedicated. The 16v Swell to Swell 4v Octave Rank 3 32v Resultant Bass Wired Episcopalians, who comprised the 4v Swell to Swell 4v Stopped Flute Choir 16v Open Diapason (ext of Rank 1) majority of the joint church board, float- 8v Swell to Pedal 2v Fifteenth (ext of Rank 1) 16v Bourdon Rank 27 ed the building across Portage Lake to III Mixture Ranks 4-5-6 16v Contra Dulciana (ext of Rank 9) Houghton to the site of the present PEDAL Great 16 16v Gedeckt Swell church. Construction on the present 16v Sub Bass Great 4 8v Flute (ext of Rank 27) church began in 1907 and was complet- 16v Quintaten Great Unison Off 16v Echo Bourdon (ext of Rank 21) 16v Posaune ed in 1910 when it was dedicated. Swell to Great 16, 8, 4 Great to Pedal 8, 4 The Austin organ was installed in 8v Principal Choir to Great 16, 8, 4 Swell to Pedal 8, 4 8v Rohr Flute Echo on Great Choir to Pedal 8, 4 1912 with the dedicatory service played 8v Oboe Echo on Great Off by Edwin Arthur Kraft of Trinity 4v Choral Bass Chimes (Echo) 25 bars Programmable thumb pistons under each Cathedral, Cleveland, Ohio. The Echo manual organ was dedicated in 1924 with a Great expression pedal SWELL Toe pistons: 10 General; 5 Pedal with some recital played by Joseph Kershaw. Dur- Swell expression pedal 16v Bourdon Rank 12 reversibles ing a building renovation in the 1970s Crescendo pedal 8v Rohrflute Rank 13 Crescendo pedal Sforzando pedal piston the wind lines and electrical work to 8v Viole d’Orchestre Rank 14 Swell expression the Echo organ were dismantled. In Swell enclosed 4v Geigen Principal Rank 15 Choir expression Great open 4v Flute Harmonique Rank 16 Choir and Great are on same wind chest 2001 Father Ted Durst initiated refur- 2 2 ⁄3v Nazard Rank 17 bishing during which time the Echo Presets for Swell and Great individually and 2v Flautino Rank 18 organ was again connected to the main in combination; located within the organ 8v Cornopean Rank 19 The forming of the Houghton Episco- organ. A re-dedicatory recital was chamber. 8v Oboe Rank 20 pal congregation began in 1860. The played in 2002 by Deward Rahm of St. MIDI to Swell, Great, Pedal Tremolo parish was officially founded in 1861 Peter’s Episcopal Church, Chicago, Schulmerich carillon keyboard attached to Swell 16, 4 console when the congregation entered into an Illinois. (Sources: Centennial History; Swell Unison Off agreement with members of the Con- recital service bulletin) • Lake Linden and Hubbell
/44/ (%533 /2'!. 0!243 Heritage Center (former First Con- gregational Church), Lake Linden, MI. 4RADITION AND 0ROGRESS Property of Houghton County Historical Museum Society. Garret House, Buffalo, New York, &OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN 1873–4, 2M/23 stops, tracker, installed CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND 1887; cleaned, Dana Hull, 2001; cleaned ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS and restored, blower replaced 2002, Helmut Schick, Ann Arbor, MI Placement: left front of sanctuary, /UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY bench faces away from audience MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR EXPERIMENTS n lNDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP GREAT 8v Open Diapason MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES 8v Viol d’Amour (TC) 8v Stopped Diapason Bass HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING 8v Melodia 7 4v Flute 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS 4v Principal 2v Fifteenth Tremolo %VERYWHERE AND AROUND THE WORLD /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING SWELL (enclosed) 8v Open Diapason 8v Clarabella (TC) 8v Stopped Diapason Bass 8v Stopped Diapason Treble 4v Violina /44/ (%533 'MB( n 'ERMANY 8v Hautboy (TC) 0HONE n s&AX n PEDAL E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE 16v Bourdon
24 THE DIAPASON pipe stoppers renewed. Interior actions were reconditioned as needed and one rank of pipes was added. Cost was $16,000. (Source: e-mail from organist June Peterson, 2-4-06)
Verlinden, St. John’s Lutheran Church, Hubbell
8v Dulciana 8v Unda Maris TC 4v Octave 4v Traverse Flute 2v Octave 16v Coupler 4v Coupler Tremulant Crescendo pedal No pedal organ No presets
The church was formed on May 15, 1893 by twelve men who gave the con- gregation the name “Saint Johannes Congregation.” The white frame build- ing was dedicated August 13, 1893. The organ was installed by Verlinden in 1968. The open pipes of this unique instrument are mounted in the rear Casavant Frères, St. Joseph’s Roman gallery of the sanctuary. The rope for Catholic Church, Lake Linden the steeple bell descends amidst the pipes. The console is placed at one end St. Joseph’s Roman Catholic Church of the gallery. The first part of the dedi- 701 Calumet Street, Lake Linden, Felgemaker, St. Cecilia Roman cation service in November 1968 was MI 49945; 906/296-6851. Garret House, Heritage Center, Lake Catholic Church, Hubbell played on the existing electronic instru- Casavant Frères Opus 41, 1916, tubu- Linden ment. During the service the pastor, lar pneumatic; overhauled by Pipe St. Cecilia Roman Catholic Church Frank J. Schulz, demonstrated the Organ Craftsmen, Minneapolis, Min- Couplers Guck Street, Hubbell, MI 49934; newly installed pipe organ, and the nesota, 1957; converted to electro- Swell to Great 906/296-6971. remainder of the service was played on pneumatic, Verlinden, 1982; dismantled Great to Pedal A. B. Felgemaker, Erie, Pennsylvania, that instrument. A 2v flute rank was and cleaned, new console, J. A. Hebert Swell to Pedal c1900, 2M, 12 ranks, tracker added in 1977 as a memorial to the & Son Associates, Troy, Michigan, 1995; Tracker (mechanical) action; parts and case Placement: gallery, rear of sanctuary longtime organist. enlarged to meet original specifications The organ was rebuilt during 2006. by Lauck Pipe Organ Company, Otsego, are all hand-crafted GREAT 580 pipes, 12 ranks, 2 manuals, 25 pedals Relay switches, console stop controls, Michigan, 2001*. 2M/23 stops, 25 ranks, Hitch-down Swell pedal 8v Open Diapason key contacting systems and wiring were electro-pneumatic. May be hand-winded (pumped) 8v Flute 8v Dulciana replaced, and the leather on the wind Placement: rear gallery, right side of 4v Octave regulator, the tremulant and the wooden console to front of church The organ was built in 1873–74 in 2v Super Octave Buffalo, New York, shipped to Lake Lin- 16v Bourdon den, and then transported in 1874 to the Bellows Signal First Presbyterian Church Congregational Church in Calumet, which served the wealthy class during SWELL A L B E M A R L E , N O R T H C A R O L I N A the copper boom era. It was replaced 8v Stopped Diapason 8v Viola there by a larger instrument (Hook & 8v Aolina We are pleased to announce the design and construction of a new Hastings of Boston) and returned, as a 4v Flute Harmonique mechanical action pipe organ for First Presbyterian Church of Albemarle, gift from the Calumet church, to the 8v Oboe Lake Linden church. North Carolina. With The Lake Linden church was built in PEDAL 26 stops over two 1896 at the cost of $8,325. A museum 16v Bourdon manuals and pedal, the piece in itself, the building was designed by Holabird & Roche of Chicago in the Couplers organ will be played Swell to Great Victorian Stick style on a non-coursed Swell to Pedal from a detached two- mine-rock foundation. It was dedicated Great to Pedal manual console with February 27, 1887, with the dedicatory service being played by Professor Roney, Tremolo terraced stopjambs. organist of the Michigan Grand Com- Currently under mander of the Knights Templar. St. Cecilia Church, organized in 1893 construction in our In the summer of 1887 a fire to provide for German, French, and destroyed almost all of Lake Linden, but Irish immigrants, was an offshoot of St. workshops, the the frame Congregational Church sur- Joseph’s Church in Lake Linden. The instrument will be vived. It housed eight families for sever- frame building was dedicated in 1893. It completed during the al months until new homes were found. features a stained glass window of St. The congregation ceased as a church in Cecilia, the patron saint of church first quarter of 2007. 1979, and ownership was taken over by music, playing an organ. (Source: e-mail the Houghton County Historical Muse- from David Short, 2-14-06) GREAT: SWELL: PEDAL: um. Grants have helped to renovate Bourdon ...... 16’ Stopped Diapason ...... 8’ Subbass ...... 16’ plumbing, roofing, electrical wiring, Open Diapason ...... 8’ Viola di Gamba ...... 8’ Bourdon (GT) ...... 16’ heating, and repainting of the outside of St. John’s Lutheran Church (Mis- Chimney Flute ...... 8’ Voix Celeste ...... 8’ Principal ...... 8’ the building. souri Synod) Salicional ...... 8’ Harmonic Flute ...... 4’ Flute ...... 8’ Dana Hull, Ann Arbor, representative 311 Guck Road, Torch Lake Town- Principal ...... 4’ Piccolo ...... 2’ Choral Bass ...... 4’ of the Organ Historical Society, and ship, Hubbell, MI; 906/296-1022. Open Flute ...... 4’ Mixture ...... III-IV Trombone ...... 16’ Helmut Schick of the University of Verlinden, 1M, 5 ranks, 1968, Roscoe Fifteenth ...... 2’ Trumpet ...... 8’ Trumpet ...... 8’ Michigan cleaned and restored the Wheeler, Iron Mountain, Michigan; 2v Mixture ...... IV Oboe ...... 8’ Usual unison couplers, plus organ during 2001 and 2002. A new flute added, Verlinden, 1977; rebuilt Cornet ...... III Tremulants for Great Swell to Great Suboctave. blower replaced the original. (Sources: 2006, B. K. Kellogg & Associates* Trumpet ...... 8’ Taylor; The Daily Mining Gazette) and Swell divisions. “Beautifully made, much detail and Stoplist (257 pipes) care; shows growth and refinement in an 8v Open Diapason 8v Flute Orgues Létourneau Limitée organ shipped to the hinterlands; finials, 8v String medallions in the casework, nice lines in 4v Flute the presentation; some expensive wood v 2 Flute In the USA: In Canada: here and there, very well cut and fin- 4v Coupler 1220 L Street N.W. 16355, avenue Savoie ished; excellent pipework.” (Source: e- 16v Coupler Suite 100 – No. 200 St-Hyacinthe, Québec J2T 3N1 mail from David Short quoting Dana Tremulant Washington, DC 20005-4018 Telephone: (450) 774-2698 Hull and Helmut Schick, 10-04-01) Toll Free: (800) 625-PIPE Fax: (450) 774-3008 *Rebuilding 2006 (354 pipes) Fax: (202) 737-1818 e-mail: [email protected] 8v Principal e-mail: [email protected] www.letourneauorgans.com 8v Holz Gedackt 8v Traverse Flute
FEBRUARY, 2007 25 [Brochure with photos (c1984) by Eric Munch]. St. Paul the Apostle Church, Calumet, MI. [n.d.] Celebrating 140 Years: 1861–2001. First United Methodist Church, Hancock, MI. Brochure about Estey Organ Museum. Brat- tleboro, VT, February 2006. Historic Churches of Calumet. Research and technical assistance by Ed Yarbrough and the Keweenaw National Historic Park. Calumet Heritage Celebration 2001 Committee. Keweenaw Family Resource Center: Benefit organ recital [Service Bulletin, October 13, Console, St. Joseph’s Roman Catholic 2002]. Trinity Episcopal Church. Church, Lake Linden Houghton, MI. Lancashire-Marshall, Lake Linden Unit- Organ dedicatory service & recital [Service GRAND-ORGUE ed Methodist Church Bulletin, March 29, 1998]. Sts. Peter & Paul 8v Montre 65 pipes Lutheran Church, Hancock, MI: 1998. 8v Melodia 65 pipes evening services. The organ was origi- Stetter, Charles. How Our New Pipe Organ 8v Dulciana 65 pipes nally winded by hand, and the blower Came About [Service Bulletin, November 4v Prestant 61 pipes 5, 1970. Organ Dedication]. Mimeo- 2 was installed after World War I, much 2 ⁄3v Quint* 61 pipes graphed copy of original kept in the organ 2v Doublette* 61 pipes earlier than work done by Stahl. It is chamber. Calumet Congregational Church. III Fourniture* 183 pipes thought he may have worked on the The History of the First Congregational 8v Trompette* 61 pipes pneumatics in the two pedal ranks, pos- Church of Lake Linden: now the Houghton 4v Grand-Orgue to Grand-Orgue Lancashire-Marshall, Lake Linden Unit- sibly doing needed repairs, and affixed Country Heritage Center. Program produc- ed Methodist Church the company tab to the keydesk at that tion by Andrew McInnes. Houghton Coun- RÉCIT (enclosed) time. Roscoe Wheeler of Iron Mountain, ty Heritage Center [Lake Linden, MI: n.d.]. 8v Principal 65 pipes Lake Linden United Methodist Michigan, did maintenance on the organ Work to be done on the pipe organ of St. 8v Bourdon 65 pipes Joseph Church. [Brochure with photos] 8v Viola di Gamba 65 pipes Church for many years prior to James Lauck tak- St. Joseph Church, Lake Linden, MI, n.d.] 8v Voix Céleste 53 pipes 53237 N. Avenue, Lake Linden, MI. ing over in 2001. (Source: e-mail from 4v Flute Harmonique 65 pipes Lancashire-Marshall, Moline, Illinois, David Short, 2-14-06) Newspaper Articles 2v Octavin* 61 pipes 1893, $2100, 2M/19 ranks, tracker, pneu- “Arts, Culture & Heritage.” The Daily Mining II Sesquialtera TC* 98 pipes matic assist pedal; Hugh Stahl, 1950 St. Mary’s Roman Catholic Church Gazette (Houghton, MI), July 31, 1994. 8v Hautbois 65 pipes Placement: center front of chancel, 71 Michigan Ave., Rockland, MI. Burack, Susan. “The Organs of Lake Linden: 4v Chalumeau* 61 pipes keydesk back of pulpit facing the case Garret House, 1859. On board inside carrying the tune of tradition.” The Daily Tremulant case: “1859 - Irish Hollow - Ontonagon - Mining Gazette (Houghton, MI), July 31, 4v Récit to Récit GREAT (58 notes) Lake Superior - Michigan” 1994. 8v Open Diapason The oldest pipe organ in Michigan, by “Church marks 110 years.” The Daily Mining PÉDALE 8v Dulciana Gazette (Houghton, MI), August 8, 2003. 16v Bourdon 30 pipes 8v Melodia 12 years. Thought by Dana Hull and Hel- “First Presbyterian Church of Houghton buys 16v Gedeckt 30 pipes 4v Octave mut Schick of Ann Arbor to be one of the Maxcy organ.” The Daily Mining Gazette 8v Flute Bouchée 12 pipes 4v Flute Harmonique first organs built by Garret House, possi- (Houghton, MI) [1930–33?] [photocopy]. 2 4v Prestant* 32 pipes 2 ⁄3v Twelfth bly made from a template instrument, Fisher, Nancy Beth. “Saving the music; 16v Bombarde*(ext G-O) 12 pipes 2v Fifteenth roughcut, less refined than the Lake Lin- restoring the 1874 Garret House organ.” 4v Chalumeau Recit 16v Trompette den instrument. The congregation is still The Marquette Monthly: arts & humanities Tremolo (Marquette, MI), August, 2001. Tirasses active. This organ must be restored. Pedal Check (Source: Short) “Museum gets grant for organ.” The Mar- 8v Grand-Orgue/Pédale Bellows Signal quette Monthly: arts & humanities (Mar- 4v Grand-Orgue/Pédale quette, MI), July, 2001. 8v Récit/Pédale SWELL (enclosed) Taylor, Richard. “Renowned organist to dedi- 4v Récit/Pédale 16v Lieblich Gedact Bibliography cate restored organ in Lake Linden.” The 16v Récit/Grand Orgue 16v Bourdon Bass Marquette Monthly: arts & humanities 8v Récit/Grand Orgue 8v Open Diapason Books, Pamphlets, Magazines (Marquette, MI), August 2003. 4v Récit/Grand-Orgue 8v Stopped Diapason Butler, Ruth Gibson. Centennial History, 1860–1960. With photos from Mr. and 8v Aeoline E-mail Notes and Personal Sources *Added stops 2001 8v Salicional Mrs. George Pruner. Hancock, MI: Trini- 23 stops, 25 ranks, 1340 pipes Arten, Kathleen. Organist, Community 4v Flauto Traverso ty Episcopal Church [1960] Church, Calumet, MI. 4v Fugara Fisher, James and Good, R. Allen. 100th Halkola, David and Viola. Members, Gloria Combination pistons: 2v Flautino Anniversary of the First Congregational 6 thumb pistons, Swell Dei Lutheran Church. 8v Oboe Church, 1862–1962. Hancock, MI [1962] Hokenson, Ron. Pastor, Gloria Dei Lutheran 8 thumb pistons, Great Holmio, Armas K. E. History of the Finns in 6 thumb pistons, Pedal Church, 1960s. PEDAL (27 notes) (pneumatic) Michigan. Translated by Ellen M. Ryynanen. List, Jan. Organist, St. Paul MSL Church, 8 general pistons (thumb/toe) 16v Bourdon Detroit: Wayne State University Press, 2001. 8 memory levels - Peterson Laurium, MI. 8v Flute Lankton, Larry. Beyond the Boundaries: Life Peterson, June. 2 February 2006. Organist, and Landscape at the Lake Superior Cop- St. John’s Lutheran Church, Hubbell, MI. Couplers per Mines, 1840–1875. New York: Oxford Photo St. Andrew’s Presbyterian Church, Daw- St. Joseph Church was founded and Swell to Great the first building dedicated in 1871. In University Press, 1997. son City, Yukon, 1995, taken by author. Swell to Pedal Monette, Clarence J. Churches of Hancock Seaton, Lois Isaac. Member of Gloria Dei 1902 a new structure was built on the Great to Pedal (Hancock, Michigan Remembered, vol. Lutheran Church. same site. The Casavant Frères organ II; Twenty-fifth of a Local History Series). Short, David. Numerous e-mail notes and con- was installed in the rear gallery in 1916 5 pedal presets, loud to soft Lake Linden, MI: Welden H. Curtin, versations. Director of Music and Organist, with the dedicatory recital played by Original cost: $2100 c1985. St. Joseph’s RC Church, Lake Linden, MI. the Rev. Father Dobblestein, Additional work done by Hugh Stahl Murdoch, Angus. Boom Copper: the Story of Waisanen, Carol. 13 February 2006. Organist, O.Praem., thought to be from DePere, the First U.S. Mining Boom. New York: First United Methodist Church, Hancock, MI. Wisconsin. The pipework is believed The Methodist Church was formed Macmillan, 1943. [Correspondence from Fabry, Inc. with Glo- to have been made in Canada and the shortly after 1868, the year that two Nordberg, Erick. “From the Archives: Just ria Dei Lutheran Church, 9 July 2001] workmen from South Haven, Michi- Methodist missionaries had been like the Montreal Forum.” Michigan Tech gan. During the late 1990s, through assigned to organize a Sunday School in Alumnus (April 2000), Houghton, MI: Janet Anuta Dalquist holds degrees from the efforts of director of music and the Lake Linden area. The present sanc- Michigan Technological University. Macalester College, McCormick Theological “Restoring the tracker organ—15th century Seminary, and the University of Michigan. organist David Short and Father Eric tuary was built and dedicated in 1886. design for the 21st century.” Newsletter Olson, the organ was cleaned and the The organ was installed in 1893 and She began playing for church services at the (Fall 2001), Lake Linden, MI: Houghton age of 12, served as a substitute organist in console replaced. In 2001 twelve ranks considered something of a “wonder.” At County Historical Society. various churches from 1956–1988, and in were added by the Lauck Organ Com- one point, an organist traveled to Lake Reynolds, Terry S. Grace of Houghton: A His- pany, Otsego, Michigan. (Source: Linden from Houghton and stayed the tory of Grace United Methodist Church, 1989 was appointed organist at Portage Lake church brochure) day so as to play both morning and Houghton, Michigan, first edition. United Church (UPUSA/UCC), Houghton, Houghton, MI: Grace United Methodist Michigan. She is a co-founder of the Organ- Church, 2004. ists of the Keweenaw and holds memberships Thurner, Arthur W. Strangers and Sojourners: a in the AGO, PAM, ALCM, OHS and the History of Michigan’s Keweenaw Peninsula. Hymn Society. As a professional academic Detroit: Wayne State University Press, 1994. librarian, she served as director of the Suomi College (now Finlandia University) library Brochures and Bulletins from 1968 to 1984 and as collection manager Blessing and rededication of the organ. [Ser- of the J. Robert Van Pelt Library at Michigan vice bulletin, April 22, 2001.] St. Joseph Technological University in Houghton from Church, Lake Linden, MI. 1984 to 1994.
The b e s t of the European tradition Proudly made in America
1003 Barnwood Lane Camillus, New York 13031
(315) 751-0505 www.lewtakorgan.com 1184 Woodland St. SW, Hartville, Ohio 44632 330-966-2499 www.keggorgan.com
26 THE DIAPASON EROI Festival 2006 Eastman School of Music Joel H. Kuznik
The 2006 EROI Festival was present- attendees with an authentic perfor- ed by the Eastman School of Music and mance on the mighty Wurlitzer Opus the Westfield Center October 12–15. 1492 (1926, 121 stops, 12 ranks; The topic was “Aspects of American restored by the Rochester Theatre Organ Building in the 20th Century Organ Society) at the Rochester Muse- with emphasis on E. M. Skinner and um and Science Center. John Brombaugh.” The Eastman Rochester Organ Initiative (EROI) When the Eastman School of Music opened its doors in 1921, it housed the largest and most lavish organ collection in the nation, befitting the interests of its founder, George Eastman. Mr. East- man provided the school with opulent facilities and stellar faculty, creating an expansive vision for organ art and edu- cation in the 20th century. Over the years, the Eastman School has built on this vision by offering one of the most distinguished organ pro- grams in the world. In keeping with this tradition of excellence, the East- man School of Music has embarked on a long-range plan, the Eastman Rochester Organ Initiative (EROI), which will extend George Eastman’s Holtkamp organ (1962, 40 stops, 45 ranks) at the Lutheran Church of the Incar- vision into the 21st century. nate Word, with its modern façade and neo-baroque tonal concept, typical of the With the aim of making Rochester Bozeman-Gibson Opus 24 (1984, 23 mid-20th century. a global center for organ perfor- stops, 31 ranks, with gifts of Vox mance, research, building, and Humana by Paul Fritts, 2005, and Pedal preservation, the Eastman School will 16v Posaunenbass by Flentrop Orgel- assemble a collection of new and his- bouw, 2006), modeled on Gottfried Sil- toric organs unparalleled in North bermann’s instrument at Grosshart- America. An incomparable teaching mansdorf, Germany. Currently on loan resource, this collection will offer to Eastman and housed at Asbury First access to organs of diverse styles and United Methodist Church. traditions to talented young musicians from around the world. Tourists, scholars, and music lovers will be drawn to Rochester to hear the varied sounds of these extraordinary instruments. The Italian Baroque organ inaugurated within the frame of the EROI Festival 2005 marks the first con- crete milestone in EROI Phase One. A new instrument closely modeled after a Lithuanian organ built by Casparini in Console of the South End Organ, Aeo- 1776 will be constructed and installed in lian Opus 947 (1904, 59 stops, 66 Christ Church (Episcopal) by 2008, in ranks), in the George Eastman House, cooperation with the Episcopal Diocese where Harold Gleason played for break- of Rochester. fast each day and musicales twice a The restoration of the historic Skin- week with a resident string quartet. Still ner organ, housed in the Eastman “Gleason’s Dream Machine” designed Builder John Brombaugh discusses playable by rolls or console. School’s Kilbourn Hall, and the restora- by the legendary Harold Gleason for the concept of his Opus 9 and the tion and replacement of the school’s Eastman’s Kilbourn Hall, Skinner importance of “vocale” voicing, inspired fourteen practice organs, will complete Opus 325 (1922, 6,030 pipes, 91 ranks, by his experience as a boy singer and the initial phase of this ten-year plan. 83 stops), scheduled to be restored by found in old instruments throughout —The EROI Brochure 2006 2010. Today it is Rochester’s largest Europe, typically in Principal sounds to organ. imitate the human voice. See
Computer image of the Craighead- Saunders organ to be installed in Christ Church (Episcopal) beginning John Brombaugh’s landmark 1972 July 2007, with completion in 2008. The Opus 9 (20 stops, 29 ranks), originally organ is modeled on the exceptional built for Ashland Avenue Baptist in Tole- Historic Pennsylvania Samuel Bohler Casparini organ (1776) at the Holy do, Ohio; now on loan to Sacred Heart organ (1869, 8 stops, 7 ranks), with a Ghost Church in Vilnius, Lithuania. Cathedral (RC), Rochester until 2008, clear, crisp sound, at the Lutheran when they receive a 52-stop Paul Fritts Church of the Incarnate Word. Built for At the opening of the EROI Festival organ. The compact casework and Muddy Creek Presbyterian Church, page 28 William Porter, known for his tradi- pipework of extraordinary craftsmanship Pennsylvania; restored by R. J. Brunner tional improvisatory skills, delighted complement the remarkable sound. and Co. in 2006.
FEBRUARY, 2007 27 Presenters
John Brombaugh and friends—how many do you know? Left to right: builder Martin Pasi, Aaron Reichert (Taylor & Boody), Munetaka Yokota (GOArt, Göteborg), John Brombaugh, builder George Taylor, builder Paul Fritts, Bruce Shull (Paul Roger Sherman led a panel on Brombaugh’s contributions to organbuilding and Fritts), Frits Elhout (Flentrop), and Mats Arvidsson (GOArt, Göteborg). impact on performance with Munetaka Yokota (GOArt, Göteborg), William Porter, David Boe (Oberlin) and Erica Johnson (student of Harald Vogel and DMA candidate at Eastman). Boe also gave a keynote speech on Brombaugh’s early formative years as a builder.
Thomas Murray of Yale gave an idiomatic demonstration of the Kil- bourn Hall Skinner Opus 325, the first of many organs he played.
Festival attendees listen attentively to the panel’s illuminating discussion on Brombaugh. Concerts Orpha Ochse, recipient of Eastman’s Alumni Achievement Award, gave a TENTH ANNUAL remarkably insightful keynote lecture on “The American Organ in the 20th Albert Schweitzer Organ Festival/USA Century,” citing builders and styles as they were affected by history and cul- North American Competition ture. Panel of Judges High School Division
FIRST PRIZE: $2,000 Provided by Ahlborn - Galanti Organs Other prizes also awarded A model opening recital at Asbury First United Methodist Church played on the Bozeman-Gibson and on an Austin College/Young Professional* Opus 215 (70 stops, 76 ranks) by talent- ed students (left to right) Christopher Petit, Erica Johnson, Robert Kwan, FIRST PRIZE: $3,500 Paul Jacobs and Kola Owolabi playing Provided in part by J.H. & C.S. Mendelssohn, an improvised partita, Odell Organ Builders Barbara Owen presented a truly infor- Gubaidulina, Saint-Saëns, and Krebs. This includes an appearance on mative illustrated lecture on “E. M. Skinner—The Man,” and Jack Bethards our 2007-2008 Concert Series Diane (not pictured) shared a moving tribute Other prizes also awarded Meredith to Skinner the builder with his focus on orchestral sound. *Through age 26 Belcher
AUDITION TAPES/CDS: Due on June 1, 2007 THE COMPETITION: September 7-9, 2007 Frederick Chair David Higgs with student artists For Information & Hohman Lars Gjerde, Justin Wallace, Application: Michelle Rae Martin, and Rudy de Vos in a skillfully rendered concert of PAST JUDGES: Colin Andrews, difficult contemporary music at St. First Church of Christ Mary’s Church (RC) on Austin’s Opus Diane Meredith Belcher, Benjamin 2186 (1952, 56 stops, 50 ranks). 250 Main Street Doby, Paul Fejko, Janette Fishell, Wethersfield, CT 06109 Frederick Hohman, Marilyn Mason, www.firstchurch.org/asof Katharine Pardee, Cherry Rhodes, 860.529.1575 Ex. 209 Jonathan Ambrosino articulately Catherine Rodland, John Rose, introduced Skinner Opus 325 in East- [email protected] John Walker and John Weaver man’s Kilbourn Hall and many other instruments during the festival.
28 THE DIAPASON Remarkable Spaces GREAT 16v Bourdon 8v Praestant I–II 8v Holpijp 4v Octave 4v Spielflöte 2v Octave III–X Mixture 8v Trumpet RÜCKPOSITIVE 8v Gedackt 4v Praestant 4v Rohrflöte 2v Octave 1 1 ⁄3v Quinte II Sesquialtera 8 Musette PEDAL 16v Subbass 8v Octave 16v Fagot 8v Trumpet (Gt)
Interior of the 1200-seat First Church Joel H. Kuznik, NYC, has been writing for of Christ, Scientist, with 1916 Casa- 50 years, with over 35 recently published Organbuilders and Eastman faculty after their impressively compelling recital on vant rebuilt by Möller (66 stops, 53 articles. A native of Waukegan, Illinois, he (Photo credit: Tiffany Ng.) studied organ with Austin Lovelace at North- Brombaugh’s Opus 9. Left to right: David Higgs, chair; John Brombaugh, William ranks). western University, David Craighead at the Porter, Hans Davidsson, and George Taylor, who assisted in building Opus 9. Eastman School of Music, Mme. Duruflé and Jean Langlais in Paris, and Anton Heiller at the International Concours in Haarlem. He Sacred Heart Cathedral (RC) (not has had a career as church musician and col- pictured), a recently renovated modern lege organist, and has served the AGO as liturgical space, features Brombaugh Dean of the Ft. Wayne Chapter, on the Exec- Opus 9, and is the future site of a 52- utive Board of the NYC Chapter, and on the stop organ by Paul Fritts, 2008. National Finance Committee.
ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD CASAVANT DYER FISK GARLAND GOULDING FRERES DOBSON R. & WOOD
Also at the St. Mary’s concert, the Schola Cantorum of Christ Church (Episcopal), composed of Eastman stu- dents under Stephen Kennedy, pre- sented refined, carefully blended read- ings of challenging contemporary choral music.
A relaxed post-concert Schola Canto- rum with David Higgs, accompanist, on the left and Stephen Kennedy, director, on the right.
APOBA We Finish What We Start And you can count on us tomorrow, and for generations of tomorrows!
To receive information about pipe organs A and recognized pipe organ builders P write or call toll free 1-800-473-5270 O or on the web @ www.apoba.com BA Associated Pipe Organ Builders of America P.O. Box 155 • Chicago Ridge, Illinois 60415 Francesco Cera of Rome displayed BOODY & QUIMBY TT PARSONS REDMAN SCHANTZ SCHOENSTEIN TAYLOR muscular virtuosity in the closing recital O on Eastman’s late 18th-century Italian Baroque organ in the Memorial Art NOACK MURPHY KEGG JAECKEL HOLTKAMP HENDRICKSON Gallery.
FEBRUARY, 2007 29 Cover feature: Austin Organs Milestones 1893 – 1937 – 2007
The old factory
pany was producing over 80 new pipe organs annually. This trend continued until the crash of 1929 and ensuing depression era. The company soldiered on, a bit weakened because of the lack of new business, tremendous overhead (the factory was expanded over three times from its original footprint), and company financing of new instruments to church- es, from which payments only dribbled in. In July 1935, THE DIAPASON pub- Key for the cover illustration lished the announcement that the Austin 1. Original factory building, 158 Wood- Organ Company would close its doors. land Street. Occupied from 1899–1937. The Austin mechanism 2. Opus 2, Sweetest Heart of Mary Non-specific Austin assets and raw mate- Church, Detroit, 2 manuals, 20 stops. Still in rials were sold, and remaining contracts regular service. early instruments, Opus 2 from 1894 organ continues to be heard in regular were completed (the final A.O.C. con- 3. Opus 500, Panama-Pacific Exhibition, for example, continue to play well year concerts and events. Dr. Carol Williams tract was number 1885). A few folks San Francisco, 4 manuals, 121 stops. Dam- after year. retains the position as Municipal remained to complete warranty work and aged in a 1989 earthquake, it remains in stor- A discussion of the Austin mecha- Organist, performing regularly to hun- move the Austin tools and machines into age awaiting completion of restoration and nism would easily consume an entire dreds (www.sosorgan.com). This organ storage. At this time, young Frederic installation. volume, but in digest form, the organ was originally built for the Panama-Cal- Basil Austin and long-time employee 4. Opus 2536, Trinity College Chapel, Hartford, 3 manuals, 62 stops. utilizes one manual motor (primary ifornia Exposition, before being re-gift- Harold Dubrule kept the fires burning 5. Opus 2719, Our Lady of Czestochowa, note action) for each note, or key, in a ed to the city. by completing some small rebuilds and Doylestown, Pennsylvania, 4 manuals, 65 division, and one stop action motor for Meanwhile, up the coast in San Fran- service jobs. It was this association that stops. each stop on a main windchest. The cisco, the Panama-Pacific Exposition in inspired John T. Austin’s nephew to con- 6. Opus 453, The Organ Pavilion, Balboa valves under each pipe are not leather San Francisco would open just two sider purchasing the company, a process Park, San Diego, 4 manuals, 62 stops. pouches, such as one might find in a months later and run concurrently with that was completed in 1937. 7. Opus 323, City Hall Auditorium, Port- Skinner, Möller, or other electro-pneu- the San Diego event. Austin was chosen land, Maine, 5 manuals, 124 stops. matic instrument, but in an Austin, they from a list of about 31 builders to con- The second Austin milestone: 8. Opus 2768, St. Mary’s College, Moraga, 1937—reorganization and move California, 4 manuals, 68 stops. are simply mechanical valves connected struct the organ for this exposition, and 9. Opus 2782, Fountain Street Church, by wooden trackers (yes, trackers!) to was given a stiff timeline: six months! It into a new facility Grand Rapids, Michigan, 4 manuals, 139 stops. the manual motor for each particular was completed the very morning that the The “new” Austin Organs, Incorporat- 10. The “new” factory building (1937), as note. This mechanism is reliable and exposition opened. When the exposition ed opened its doors in February of 1937. expanded several times. inherently self-adjusting. Springs and was concluded, the organ was moved to The transition from the old management Center: The Austin Universal Airchest felt guides allow wild changes in the Civic Auditorium. The city’s new to the new Austin was as seamless as logo, including the crest with the motto: Sci- humidity and temperature with no municipal organist, Edwin Lemare, could be expected. They were able to entia Artem Adjuvat. The motto and crest are degradation in performance. The whole specified scores of tonal and mechanical return most employees to their worksta- said to have been the design of former Austin employee Robert Hope-Jones. concept is, in a word, brilliant! changes that he required the Austin tions, however, in a scaled-down facility Background: The background is a blue- In 1899, perhaps the apex of the Company to complete upon re-installa- located directly behind the behemoth print, Opus 2786, Assumption Church, West- American Industrial Revolution, John tion. Of primary concern was the fact structure that had been home to the port, Connecticut. T. Austin was just 30 years old when he that the organ was being moved from a company for the previous 36 years. For moved into the facility on Woodland space that seated 3,000 to an auditorium the first few years, the company leased The first Austin milestone: Street in Hartford, Connecticut. Leg- with a capacity of over 10,000. The organ the property from G. F. Heublein & Bro. 1893—the first instrument end has it that that the crew (including had many years of fame, but fell to near- Distributors—liquor distributors for The Austin story begins like so many JTA) was installing the organ at the obscurity in the late 1950s. In 1963, the much of the East Coast, famous for their tales of European emigration. It was in Fourth Congregational Church (Opus Austin firm built a stunning black lacquer pre-mixed “Club Cocktails.” A wooden the year 1889 that young John T. 22, now the Liberty Christian Center) drawknob console. It saw a bit more use, guard mounted to an ancient band saw Austin sailed for the shores of the new when the factory in Detroit burned to but the horrific 1989 Loma Prieta earth- that is still in service in the Austin mill is world with a man he met who was vis- the ground. Actually, John T. Austin was quake rendered the organ silent. The actually a trespassing warning sign from iting England (the Austin family native in Woodstock, Ontario, supervising the organ sustained some damage due to the pre-1937 Heublein days. Within a soil) and was returning to California. construction of the first and only Austin falling debris. Funds were eventually few years, the property was purchased by The Austin family was considerably organ constructed by the Karn-Warren allocated to repair and re-install the the Austin corporation, and over the next well off: Jonathan Austin (the father) Company. The date of the fire was Feb- organ. The organ was returned to Hart- three decades the buildings were was a “gentleman farmer,” whose ruary 2, 1899 (the feast of Candlemas!). ford, and much work had been complet- expanded several times. hobby was tinkering with organs and On March 31 of that year, the Austin ed, but a few months into the project, a organbuilding. During the voyage, all Organ Company was incorporated in directive from the city ordered the organ of John’s money was liberated from his the state of Maine. The company actual- to be returned to San Francisco. It person before arriving in New York, ly signed a contract for a new organ on remains in storage beneath the city, presumably the result of the kindness March 1 of that year and rented factory much like that final scene of Indiana of his traveling companion! space in Boston—just down the street Jones’s Raiders of the Lost Ark! Penniless, he used his extraordinary from the first, soon-to-be Skinner organ Opus 558 would be the company’s wits to find his way to Michigan, and factory. The following August, the board first five-manual instrument, built for was immediately hired by the Farrand of directors authorized the acquisition the Medinah Temple (Masonic Lodge) & Votey firm in Detroit. In a few years’ of the Hartford facility. in Chicago. This organ also had a sister time, he had become plant superinten- The business moved along quickly. It stopkey console of four manuals. Dur- dent, and in his free time he developed would be safe to say that most instru- ing this period, the company production a concept for a new type of windchest. ments of this period were of moderate averaged over 60 new pipe organs a The new factory (current configuration) After building and servicing bar and size; literally dozens of three and four- year! The next major instrument would slider (tracker organ) windchests, and manual instruments were delivered be for the Eastman Theater (for the The original factory was rather certainly seeing many of the new elec- between 1900 and 1915. This was the Eastman School of Music); Opus 1010 foursquare—four stories, small foot- tro-pneumatic actions coming on the point in Austin’s history when some was a unique theatre organ—the largest print. Then a separate wood frame scene, he was convinced that there rather significant and interesting instru- ever—of 229 stops! It was, sadly, structure was built that served as an must be a better way. The folks at Far- ments were installed. For example: removed in the 1970s. There were addi- erecting room, then a fire, then the mill rand & Votey were not interested, so in Opus 323, The Kotzschmar Memorial tional notable instruments during this and new brick erecting room, additions 1893 he built and sold a new organ that Organ (www.foko.org) was built for the time: the University of Colorado to the main building that became pneu- he built at the Clough & Warren (reed City Hall in Portland, Maine. It was one received a four-manual, 119-stop instru- matic departments, more voicing organ) plant. of the first municipal organs installed in ment in 1922. The Cincinnati Music rooms, console and cabinet shop, etc. His concept was innovative, because the country. The organ has been played Hall awarded a contract for Opus 1109, The design department and metal pipe you could simply walk right into the and maintained with loving care. A an 87-stop instrument that utilized shop grew along the railroad tracks, windchest (he called it an airbox) and handsome, new five-manual drawknob much of the existing Hook & Hastings requiring the private rail siding to be service the complete mechanism. console was built for the organ by the pipework. Opus 1416, a four-manual moved. In the late 1960s, the final addi- Inside the airbox of many of these early Austin firm in 2000. instrument of 200 stops, was built for tion was the large shipping/receiving instruments were also the motor for the This organ was followed a few years the Sesquicentennial Exposition in and casting room. This expansion bellows and the electric (direct current) later by Opus 453, the Spreckels Organ Philadelphia. The final large concert required a somewhat more adventurous generator. He started selling these new in Balboa Park, San Diego, on New hall organ of this period, Opus 1627, move: purchase of land from the instruments with alacrity. It is an often- Year’s Eve, 1914. The largest and most four manuals and 102 stops, was built N.Y./N.H. & Hartford Railroad. Some- held belief that Austin organs have renowned outdoor organ, it was the gift for Hartford’s own Horace Bushnell how, it was pulled off; the centerline of tracker-like lifespan, and this is evi- of businessmen John D. Spreckels and Memorial Hall in 1929. the main rail appears to have been denced by the fact that several of these his brother Adolph B. Spreckels. The By the mid-1920s, Austin Organ Com- moved slightly north, and the siding was
30 THE DIAPASON completely eliminated. The sprawl of the factory now reached nearly 50,000 square feet. Sometimes it was not enough, but it is as efficient as any multi-story manufacturing space can be. A charming, vintage Otis elevator allows safe and uncomplicated material transport between floors. Systems throughout the factory are up to date, and have been carefully maintained by conscientious staff and the foresight of F. B. Austin’s son, Donald. Assuming the role of president in 1973, Don was a formidable figure in the organ industry. He was a very private person, well respected by his colleagues and employ- ees. Aside from his devotion to the com- pany and care of the physical plant, he maintained the Austin tradition of assid- Some current Austin personnel at work: (top row) Jordan Burill, Ginny Sica, Benton (Ozzie) Osgood, Rafael Ramos; (bottom uous design trends. row) Keith Taylor, Jadwiga Majewski, Stewart Skates, Colin Coderre & Tony Valdez The well-regarded voicer, David Broome, who retired as tonal director at Austin in 1998, describes the “Austin sound” as never one of extremes. Austin has, as he expresses it, not traditionally been a leader in any new tonal move- ment in organbuilding. That being said, the company has always built a well-bal- anced chorus. Even instruments from the 1930s, when so many of our hal- lowed builders (now gone) built the most tubby-sounding diapason chorus- es, one can hear the gentle articulation and effects of moderately scaled Austin pipework. We can argue about the sound of the vintage Austin trumpets and oboes, etc., but we never find reeds Lathe in one corner of the machine like them—they not only remain in shop tune, but have good, steady tonal color as well. The construction of reed pipes In 1999, Don Austin retired from was just one of the more than four active participation in the daily opera- dozen patents that the Austin Company tion of the company. He appointed his was granted through the years. daughter Kimberlee as president. He Factory superintendent & designer continued as CEO until his death in James Bennett at work in the latter role. the fall of 2004. In early 2005, Kimber- lee Austin resigned her position with the company. On an otherwise pleasant Monday in Michael Fazio (l), Richard Taylor (r) March of 2005, I received a phone call from Trinity College Organist John seminaries, and for a short time was a Rose. He told me that as of that after- novice in a small Franciscan religious noon, the Austin Company would be order. Leaving all that behind, I applied closing its doors. I was shocked. It felt science to music, and was working with as though my slightly peculiar but lov- Berkshire Organs in its final years, able old uncle had passed away. (We where I discovered the absolute won- were at that time competitors, of der of the technology that transmits course.) We wondered how in the world music from the organist, through the this could happen. Austin was always so console, windchests and eventually Daniel Kingman (senior voicer) and . . . solid. The truth of the matter was evokes sound from the pipework. Antonio Valdez from the pipeshop at the that, in fact, the company did not Following the demise of Berkshire Mormon Tabernacle, repairing pipework The company motto—Scientia Artem “close”, but just temporarily ceased Organs in 1989, we formed American from Aeolian-Skinner Opus 1075 Adjuvat—was not just a clever market- manufacturing new organs. There was Classic Organ Company. While remain- ing concept for the Austin family; it was no bankruptcy, no liquidation of tooling ing a modest-sized operation, we com- right now (Opus 2790) and other Austin a way of life. Many of the machines in or assets. Don Austin’s wife, Marilyn, pleted several new instruments and projects. We have also recently com- the factory that are used for Austin were retained the services of business consul- built a respectable service business. We pleted extensive repairs and historic made right here. So, we have the tants; the result of their consultation located the workshops in sleepy renovation on several sets of vintage machines that repair the machines, was basically a public offering in the Chester, Connecticut in 2000. Aeolian-Skinner pipework at the Mor- right here in the factory! The now form of a letter sent to nearly every We came into the Austin picture dur- mon Tabernacle. We continue to cast organbuilder or supplier in the country, ing the summer of 2005. Through a our own pipe metal, and manufacture while Marilyn and a few employees series of events, we received a letter both flue and reed pipes. kept the phones answered and made proposing financial investment or pur- The company is celebrating the mile- small parts for existing instruments. chase. After several weeks of soul- stones of 114 years since the first Austin searching and discussions, we were able organ was built, and 70 years since reor- The third Austin milestone: to come to an agreement. In January ganization and move into the current 2007—a new direction 2006, we purchased the assets and lia- factory. We are on solid footing and in In the late 1960s, Richard Taylor, a bilities of the company. Almost immedi- good shape to complete projects large former Aeolian-Skinner employee and ately a dozen employees returned to and small, with confident vision of sig- New England Conservatory graduate, their benches, sales representatives nificant growth and expansion. arrived at Austin Organs to assume the arrived back at the door, and the com- In quiet moments around the factory, position of the soon-to-retire Les Bar- pany has begun to rebuild. Several new you can hear the faint, yet distinct foot- rows, who had been purchasing manager people have since been added to the steps of John, Basil, F.B., and Don for 59 years. After a couple of years roster of Austin employees. The new Austin, as their spirits permeate every working in the plant and in the service management aims to build team spirit, process and instrument. The memories department, the day finally arrived when stay nimble, and remain rational in the of so many gifted and wonderful people he would occupy a small desk in the cor- face of terror! who have literally spent their lives here ner of the factory offices on the second Among the projects completed this continue to affect our days. They are all floor. At the rather generous rate of year have been dozens of action orders a constant reminder of our commitment $2.00 an hour, he was fairly pleased with for existing Austin organs (often deliv- and challenge to continue Austin’s her- his position. In the early 1970s, there was ered ahead of schedule). We designed, itage in American organbuilding. We a brief drop in organ sales, and Don built and delivered a mahogany four- are humbled to bring new life into this Edward Dubrule at work on the amaz- Austin decided to cut back in every manual drawknob console in 62 days. It venerable institution, and the many calls ing pedal action machine department. He decided that there was was constructed on the traditional and notes we receive encourage us to no need for a purchasing manager. So, Austin steel-frame system. We com- move forward to celebrate whatever famous seven-headed monster that is Mr. Taylor moved on to other industries, pleted a major project on an instrument might be the “next milestone.” used to build pedal and stop action among them, purchasing manager–mili- in Lansing, Michigan, which required a —Michael Brian Fazio blocks was originally built in the front tary operations for Colt Firearms. By the new console, utilizing the existing
FEBRUARY, 2007 31 New Organs
20th-century French repertoire, and ideal for choral accompaniment. All told, the Great and Swell divisions contain seven 8v flue stops of widely varying timbres. When drawn together they form what the French refer to as the fonds d’huit, or 8v foundations, a combination of stops frequently called for in 19th- and 20th-century scores. What is unusual about Opus 124’s fonds combination is that every one of the voices is open and full-length (or har- monic and double-length), resulting in a sonority of extreme opulence and depth. The organ’s five reed stops are also worthy of note. The Great Trompette 8v is modeled after the Trompette stops of 18th-century French organbuilder François-Henri Clicquot and exhibits musical qualities; the sacred choral the free-wheeling, bass-heavy brashness repertoire comes to life when supported of that builder’s reeds. The Swell by such rich, sharply defined, symphon- Trompette 8v and Hautbois 8v are both ic sounds. modeled after Cavaillé-Coll and are Pipe scalings, pipe metal alloys and therefore more restrained, refined, and surface treatments, pipe constructions, vocal. The Swell also contains a German and voicing techniques all follow his- reed, the Dulcian 16v, whose construc- toric precedents. One interesting exam- tion and voicing are based on a stop ple is the tapered, hammered lead found in Arp Schnitger’s famous 1670 Spillpfeife 8v on the Great; it is modeled instrument in the St. Cosmaekirche in after the elegant Spillpfeife found in the Stade, North Germany. It adds another Hauptwerk of Friedrich Stellwagen’s dimension to the otherwise French 1637 transept organ at the St. Jako- Swell division and allows for very con- bikirche in Lübeck, Germany. Standing vincing performance of Renaissance and beside it on the Great windchest of early Baroque repertoire. The Pedal Opus 124 is the hammered tin Violon- Posaune 16v is a full-blown, large-scaled celle 8v, scaled and voiced after Cavail- Schnitger reed and provides a powerful, lé-Coll’s numerous Violoncelle stops; foundational underpinning to large com- the pipe bodies are overlength with tun- binations on the manuals. ing slots à pavillon in the French style, The temperament is the mildly and the pipe mouths are fitted with unequal Fisk II, which, while favoring Cavaillé-Coll’s singular harmonic the common keys, allows for music of all C. B. Fisk, Inc., Gloucester, to each side to speak boldly into the nave. bridges, or freins harmoniques, all of styles to be performed. Wind pressures Massachusetts, Opus 124 The manual divisions are winded from a which contribute to the pipes’ charac- are 3w water column for the manual Christ Episcopal Church, single large wedge bellows to provide a teristically rich, edgy timbre. The divisions and 4w for the Pedal. Roanoke, Virginia unified breath for music requiring a flex- instrument is also home to a quartet of David C. Pike, tonal director The new organ at Christ Episcopal ible wind supply; a stopknob may be Cavaillé-Coll-inspired harmonic flutes. Gregory Bover, project manager Church, Roanoke, Virginia, is Opus 124 drawn to engage an integrated system of Due to their double-length construc- of the Fisk firm: two manuals, 38 ranks wind stabilizers. The mechanical stop tion, these flutes are voiced to sound Photo credit: Thomas Baugh housed in a mahogany case. Charles action ensures maximum longevity for their first, or octave, harmonic; this Nazarian, design consultant, developed the instrument. results in a very pure, slightly breathy GREAT (58 notes) the visual design of the organ with Rooted firmly in historic principles, tone with potential for great power in 16v Prestant members of the Fisk shop, and in con- Opus 124’s stoplist is a blending of ele- the treble range. The large-scaled Flûte 8v Octave sultation with the organ committee. ments representing several centuries of harmonique 8v in the Great division, 8v Violoncelle 8v Spillpfeife The mechanical key actions for Opus the most noteworthy schools of Euro- singing and voluptuous in tone, takes 8v Flûte harmonique 124 were made simple and direct to pean organbuilding. If there is a strong full advantage of this potential as the 4v Octave reduce the literal and figurative distance nod in the direction of 19th-century instrument’s primary solo flute. In con- 4v Offenflöte between musician and music. Some of Parisian builder Aristide Cavaillé-Coll, trast, the Swell Flûte traversière 8v, of 2v Superoctave the largest pipes are pneumatically con- it is because in his work one finds the moderate scale, is voiced to be imitative Mixture IV–VI trolled to preserve the lightness of touch. diversity, integrity, drama, and expres- of an orchestral traverse flute. Together Grand Cornet V (c1– f3) The Swell division was placed high in the siveness of tone most becoming to the with the Swell Flûte octaviante 4v and 8v Trompette v case, with its pipes arranged from back to modern-day Episcopal worship service. Octavin 2 it forms a chorus of harmon- SWELL (58 notes, enclosed) front in the 19th-century French style. The Hymnal 1982 and its many supple- ic flutes, all under expression—an indis- 8v Diapason The Great division was placed below and ments resolutely celebrate all of these pensable combination for 19th-and 8v Viole de gambe 8v Voix céleste 8v Flûte traversière 4v Principal 4v Flûte octaviante 2 2 ⁄3v Nazard 2v Octavin 3 1 ⁄5v Tierce Plein jeu IV 16v Dulcian 8v Trompette 8v Basson et Hautbois PEDAL (30 notes) 16v Prestant (Great) 16v Bourdon 8v Octave (Great) 8v Violoncelle (Great) 8v Spillpfeife (Great) 4v Octave (Great) 16v Posaune 8v Trompette (Great) Couplers Swell to Great Great to Pedal Swell to Pedal Swell Super to Pedal 26 voices, 38 ranks, 1,910 pipes Wind: stable, flexible, tremulant Key action: direct mechanical except for cer- tain large bass pipes Stop action: mechanical Keydesk: built into the case, two manuals and pedals; manuals 58 keys CC–a3, naturals of grenadil, sharps of rosewood capped with cowbone; pedalboard 30 keys CC–f1 Casework: a single cabinet of Honduras mahogany, free standing in the front of the sanctuary; front pipes of polished ham- mered spotted metal
32 THE DIAPASON Bert Adams, FAGO ATRICK LLEN Calendar Park Ridge Presbyterian Church P A Park Ridge, IL GRACE CHURCH Pickle Piano & Church Organs James O’Donnell; Central Christian Church, NEW YORK This calendar runs from the 15th of the month Decatur, IL 4:30 pm Bloomingdale, IL of issue through the following month. The deadline Hymn Festival; Cathedral of St. Paul, St. is the first of the preceding month (Jan. 1 for Paul, MN 3 pm Feb. issue). All events are assumed to be organ •Carolyn Shuster Fournier; St. Olaf Church, recitals unless otherwise indicated and are grouped St. Paul, MN 7 pm within each date north-south and east-west. •=AGO WILLIAM AYLESWORTH Christopher Babcock chapter event, • •=RCCO centre event, +=new 19 FEBRUARY organ dedication, ++= OHS event. Donald Wilkins; Calvary Church, Pittsburgh, D. M. St. Andrew’s by the Sea, Information cannot be accepted unless it spec- PA 4:30 pm, Choral Evensong at 5 pm Hyannis Port ifies artist name, date, location, and hour in writ- Marilyn Keiser; Academy Chapel, Mercers- EVANSTON, ILLINOIS ing. Multiple listings should be in chronological burg Academy, Mercersburg, PA 7 pm order; please do not send duplicate listings. THE Handel Week; Grace Episcopal, Oak Park, IL DIAPASON regrets that it cannot assume responsi- 7:30 pm bility for the accuracy of calendar entries. 20 FEBRUARY Harry Huff; King’s Chapel, Boston, MA 12:15 pm Velda Bell; Church of St. Louis, King of UNITED STATES France, St. Paul, MN 12:35 pm East of the Mississippi 21 FEBRUARY 15 FEBRUARY Choir of the Church of The Advent; Church of Charles Miller; Church of the Holy Family, the Advent, Boston, MA 6:30 pm New York, NY 12:45 pm John Sittard; North Christian Church, Colum- Gillian Weir; Austin Auditorium, Wingate Uni- bus, IN 12 noon versity, Wingate, NC 7:30 pm William Schnell; First Presbyterian, Arlington David Higgs, masterclass; James R. Cox Heights, IL 12:10 pm Dean W. Billmeyer Auditorium, University of Tennessee, Knoxville, TN 2:45 pm 23 FEBRUARY University of Minnesota Birger Marmvik; Trinity Church, Boston, MA 16 FEBRUARY 12:15 pm Minneapolis 55455 • [email protected] Richard Hill; Trinity Church, Boston, MA Gerre Hancock; The Cathedral of St. 12:15 pm Joseph, Hartford, CT 8 pm Stefan Engels; St. Matthew’s Lutheran, Maxine Thevenot; St. Petersburg College, Charleston, SC 7 pm St. Petersburg, FL 7:30 pm Diane Meredith Belcher; Trinity Lutheran, Rodrigo Guitar Trio; United Church of Marco Akron, OH 8 pm Island, Marco Island, FL 7:30 pm THOMAS BROWN DAVID CHALMERS Mary Vessels; St. Mary’s Catholic Church, Erik Suter; St. Mark’s Episcopal, Columbus, UNIVERSITY CONCERT ORGANIST OH 8 pm New Albany, IN 12 noon Karel Paukert; First Congregational, Crystal PRESBYTERIAN CHURCH GLORIÆ DEI CANTORES Lake, IL 7:30 pm 17 FEBRUARY CHAPEL HILL, NORTH CAROLINA ORLEANS, MA Zachary Hemenway; Battell Chapel, Yale University, New Haven, CT 5 pm 24 FEBRUARY Satomi Akao; Woolsey Hall, Yale University, Gerre Hancock, masterclass; Cathedral of New Haven, CT 8 pm St. Joseph, Hartford, CT 10 am John Scott; St. Thomas Church Fifth Fauré, Requiem; Woolsey Hall, Yale Universi- STEVEN EGLER ty, New Haven, CT 8 pm Avenue, New York, NY 4 pm DELBERT DISSELHORST Central Michigan University Eric Lebrun, Susan Ferré, Carolyn Shuster John Scott; St. Thomas Church Fifth Avenue, New York, NY 4 pm First Presbyterian Church Fournier, Ann Labounsky, Andrew Scanlon, A. MUS. D. Robert Sutherland Lord, Jean Langlais Cele- Robert Grogan; Franciscan Monastery, Mt. Pleasant, Michigan 48858 UNIVERSITY OF IOWA bration; First Presbyterian, Pittsburgh, PA 3 pm Washington, DC 12 noon SOLO Shelly-Egler David Higgs; James R. Cox Auditorium, Uni- Bach, St. John Passion; Rockefeller Chapel, RECITALS Flute and Organ Duo versity of Tennessee, Knoxville, TN 8 pm Chicago, IL 8 pm Handel Week; Grace Episcopal, Oak Park, IL 7:30 pm 25 FEBRUARY Heinrich Christensen, with trumpet; King’s 18 FEBRUARY Chapel, Boston, MA 5 pm JOHN FENSTERMAKER Donald Filkins Robert Richter; Ascension Memorial Episco- Maxine Thevenot; Unitarian Universalist Webb Horton Memorial pal, Ipswich, MA 4:30 pm, following Evensong Congregation, Shelter Rock, Manhasset, NY TRINITY-BY-THE-COVE MDR Kinder Chor; Kent Performance Hall, 1:30 pm Presbyterian Church Rick Erickson; Holy Trinity Lutheran, New Westerly, RI 4 pm, 6 pm APLES LORIDA Middletown, NY 10940 •David Westfall, James Gower, Christo- York, NY 5 pm N , F pher Houlihan, Christopher Jennings, Lois Jeremy Bruns; St. Thomas Church Fifth Toeppner, Jason Charneski; South Church, Avenue, New York, NY 5:15 pm New Britain, CT 4 pm Joan Lippincott; Miller Chapel, Princeton Organist / Pianist Carol Williams; Avila on the Hudson, Ger- Theological Seminary, Princeton, NJ 3 pm ELLEN KURTZ mantown, NY 2 pm Jonathan Moyer; Christ Church, New William Trafka, with Excelsior Trombone Brunswick, NJ 6:30 pm, following 6 pm Choral Michael Gailit Ensemble; St. Bartholomew’s, New York, NY 3 Vespers FUNK [email protected] The Chenaults; Wilson College, Chambers- http://www.gailit.at pm M.Mus., A.A.G.O. Bach, Cantata 22; Holy Trinity Lutheran, New burg, PA 2 pm St. Augustine’s Church York, NY 5 pm Singing Boys of Pennsylvania; Presbyterian Concord, California Conservatory / University (Vienna) Mark Williams; St. Thomas Church Fifth Church, Tunkhannock, PA 4 pm Avenue, New York, NY 5:15 pm Alan Morrison; Bomberger Auditorium, Ursi- Marie-Louise Langlais; Brick Presbyterian, nus College, Collegeville, PA 4 pm New York, NY 8 pm Ulrich Knörr; with trumpet; Greene Memorial Benjamin Nicholas; Christ Church, New United Methodist, Roanoke, VA 4 pm CHRISTOPHER John M. Gearhart III Brunswick, NJ 6:30 pm, following 6 pm Choral William Peterson; Duke University Chapel, B.A., M.Mus. Vespers Durham, NC 5 pm GARVEN St. John the Divine (Episcopal) Nathan Laube; Bryn Mawr Presbyterian, Michael Corzine; Jacoby Hall, Jacksonville, Organist & Music Director FL 3 pm 2450 River Oaks Blvd. Bryn Mawr, PA 4 pm Church of the Good Samaritan Bradley Hunter Welch; First Presbyterian, Houston, TX 77019 Donald Wilkins; Calvary Church, Pittsburgh, Paoli, Pennsylvania PA 4:30 pm, Evensong at 5 pm Pompano Beach, FL 4 pm The American Boychoir; St. Matthew’s Epis- Ensemble Corund; Cathedral Church of the copal, Richmond, VA 3 pm Advent, Birmingham, AL 4 pm Choral Evensong; St. Paul’s Episcopal, Win- Rodrigo Guitar Trio; Vineville United ston-Salem, NC 5 pm Methodist, Macon, GA 4 pm ROBERT GLASGOW Ken Cowan; First Presbyterian, Wilmington, Emanuel Schmelzer-Ziringer; Kenilworth Antone Godding NC 5 pm Union Church, Kenilworth, IL 5 pm PROFESSOR EMERITUS Nichols Hills Janette Fishell; St. Paul’s Episcopal, Ensemble Amarcord; Church of the Holy Spir- Greenville, NC 5 pm it, Episcopal, Lake Forest, IL 4 pm The University of Michigan United Methodist Church Peter Richard Conte; First Presbyterian, Handel, Samson; Grace Episcopal, Oak Park, Ann Arbor Oklahoma City Gastonia, NC 7 pm IL 3 pm Stefan Engels; St. Joseph’s Catholic Church, VocalEssence; Ordway Center for the Per- Orlando, FL 3 pm forming Arts, St. Paul, MN 4 pm Scott Montgomery; Epworth-Euclid United LORRAINE BRUGH, Ph.D. Methodist, Cleveland, OH 2 pm 26 FEBRUARY Mary Preston; St. John United Methodist, Ensemble Amarcord, masterclass; Wabash A two-inch Augusta, GA 3 pm College, Crawfordsville, IN 7 pm Associate Professor Festival Evensong; Peachtree Road United Emanuel Schmelzer-Ziringer; Elliott Chapel, Professional Card Methodist, Atlanta, GA 4 pm The Presbyterian Homes, Evanston, IL 1:30 pm University Organist Nathan Davy; First United Methodist, Colum- in THE DIAPASON bus, IN 3 pm 27 FEBRUARY Valparaiso University Choral Evensong; Christ Church Cathedral, Erik Wm. Suter; Portland City Hall, Portland, Valparaiso, IN For information on rates and Indianapolis, IN 4:30 pm ME 7:30 pm www.valpo.edu specifications, contact: Choral Evensong; Christ Church Cathedral, Ensemble Amarcord; Wabash College, Craw- Lexington, KY 5 pm fordsville, IN 8 pm Jerome Butera Organ-fest; First Presbyterian, Arlington Daniel Roth; Principia College, Elsah, IL 7:30 219-464-5084 Heights, IL 4 pm pm [email protected] The Classical Orchestra & Pro Arte Singers; Bob Neinaber; Church of St. Louis, King of [email protected] 847/391-1045 St. James Episcopal Cathedral, Chicago, IL 4 pm France, St. Paul, MN 12:35 pm
FEBRUARY, 2007 33 28 FEBRUARY Ensemble Amarcord; Trinity College, Hart- Mollie Nichols; St. Bartholomew’s, New ford, CT 7:30 pm JAMES HAMMANN WILL HEADLEE York, NY 12:30 pm Joseph Gramley, percussion; Trinity Episco- DMA-AAGO Renée Anne Louprette; St. Ignatius Loyola, pal, Hartford, CT 7:30 pm 1650 James Street New York, NY 7:30 pm Gail Archer; Emmanuel Church, Chester- University of New Orleans Syracuse, NY 13203-2816 Cj Sambach; First Presbyterian, Basking town, MD 8 pm Ridge, NJ 12 noon, Pipe Organ INformance® at Paul Jacobs; Capital University, Columbus, Chapel of the Holy Comforter (315) 471-8451 4 pm OH 7:30 pm Thomas DeWitt; Morrison United Methodist, Marci Dickinson & Judy Diekhoff; Central Leesburg, FL 12 noon Christian Church, New Albany, IN 12 noon John Matthews, Jr.; Grace Lutheran, Colum- MICHELE JOHNS bus, IN 12 noon 10 MARCH Harry H. Huber Chris Urban; First Presbyterian, Arlington Ensemble Amarcord; St. Martin’s Episcopal, A.Mus.D D. Mus. Heights, IL 12:10 pm Providence, RI 8 pm Jonathan Hellerman; Franciscan Monastery, Kansas Wesleyan University, Emeritus Organ — Harpsichord 1 MARCH Washington, DC 12 noon University Methodist Church The University of Michigan Ensemble Amarcord; St. Paul's Episcopal, Paul Jacobs, masterclass; Capital Universi- Chattanooga, TN 7 pm SALINA, KANSAS School of Music ty, Columbus, OH 10 am Erik Suter; Spivey Hall, Clayton State Uni- 2 MARCH versity, Morrow, GA 3 pm Paul Weber; Trinity Church, Boston, MA 12:15 pm 11 MARCH Brian Jones KIM R. KASLING Roland Martin; Slee Hall, University at Buffa- Peter Krasinski; St. Anthony of Padua, New D.M.A. lo (SUNY), Buffalo, NY 8 pm Bedford, MA 3 pm Director of Music Emeritus John Buckel; Church of St. Joseph, Assabet Valley Mastersingers; Wesley United Bronxville, NY 8 pm TRINITY CHURCH St. John’s Univeristy Methodist, Worcester, MA 3 pm Ensemble Amarcord; Covenant Presbyterian, Waverly Consort; South Church, New Britain, BOSTON Collegeville, MN 56321 Fort Myers, FL 7:30 pm CT 4 pm Community Sing with Alice Parker; First Rick Erickson, with clarinet and cello; Holy Presbyterian, Birmingham, MI 7:30 pm Trinity Lutheran, New York, NY 5 pm David Lamb; Trinity United Methodist, New Timothy Spelbring; St. Thomas Church Fifth Albany, IN 12 noon AVID AMB D.MUS. Avenue, New York, NY 5:15 pm JAMES KIBBIE D K. L , Kaori Hongo; Christ Church, New Brunswick, The University of Michigan Director of Music/Organist 3 MARCH NJ 6:30 pm Paul Bisaccia, piano; First Church, Glaston- True North Brass Ensemble; Shadyside Pres- Ann Arbor, MI 48109-2085 First United Methodist Church bury, CT 7 pm byterian, Pittsburgh, PA 4 pm 734-764-1591 FAX: 734-763-5097 Columbus, Indiana Choral Evensong; St. Paul’s Episcopal, Choral Evensong; St. John’s Episcopal, Doylestown, PA 6 pm email: [email protected] 812/372-2851 Hagerstown, MD 5 pm Paul Jacobs; Knowles Memorial Chapel, Ken Cowan; First United Methodist, Salem, Winter Park, FL 3 pm VA 5 pm Spiritus Collective; Harkness Chapel, Case Atlanta Baroque Orchestra; Peachtree Road Western Reserve University, Cleveland, OH United Methodist, Atlanta, GA 3 pm 7:30 pm David Lowry BETTY LOUISE LUMBY Cj Sambach; Presbyterian Church, South David Higgs, masterclasses; First Presbyter- Bend, IN 4 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO ian, Birmingham, MI 9:30, 11:30 am, 1:30 pm 1512 BLANDING STREET, COLUMBIA, SC 29201 Choral concert; Christ Church Cathedral, Indi- anapolis, IN 4:30 pm UNIVERSITY OF MONTEVALLO 4 MARCH DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Choral Evensong; Cathedral Church of the Paul Bisaccia, piano; First Church, Sims- ROCK HILL, SC 29733 Advent, Birmingham, AL 4 pm MONTEVALLO, AL 35115 bury, CT 3 pm Ensemble Amarcord; Cathedral of the Choral concert; Woolsey Hall, Yale Universi- Blessed Sacrament, Detroit, MI 4 pm ty, New Haven, CT 3 pm Choral Evensong; Trinity Episcopal, Hartford, Larry Long; Lutheran School of Theology, CT 5 pm Chicago, IL 4 pm Jan Piet Knijff, with violin and cello; Holy JAMES R. METZLER Trinity Lutheran, New York, NY 5 pm 12 MARCH Julie Evans; St. Thomas Church Fifth True North Brass, masterclass; Shadyside PARK CONGREGATIONAL CHURCH Avenue, New York, NY 5:15 pm Presbyterian, Pittsburgh, PA 10 am Michael O’Neal Singers; Peachtree Road GRAND RAPIDS, MICHIGAN Elizabeth Wong; Christ Church, New Brunswick, NJ 6:30 pm United Methodist, Atlanta, GA 7:30 pm Singing Boys of Pennsylvania; Jordan United Church of Christ, Allentown, PA 4 pm 13 MARCH Dubois, Seven Last Words of Christ; Church Ray Cornils, with oboe; Portland City Hall, of St. John the Evangelist, Severna Park, MD 7 Portland, ME 12 noon and 7:30 pm William H. Murray pm Carole Terry; Central Synagogue, New York, NY 12:30 pm A.S.C.A.P. Choral Evensong; St. James’s Episcopal, Anthony & Beard; St. Paul’s Episcopal, FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. Richmond, VA 5 pm Daniel Roth; First Presbyterian, Gainesville, Chattanooga, TN 7 pm 345 SADDLE LAKE DRIVE Fort Smith, Arkansas FL 4 pm Paul Weber; Church of St. Louis, King of ROSWELL-ATLANTA, GEORGIA 30076 France, St. Paul, MN 12:35 pm (770) 594-0949 The Texas Boys Choir; Park Ave. United Methodist, Valdosta, GA 2 pm David Higgs; Cathedral Church of St. Paul, 14 MARCH Detroit, MI 4 pm Robert McCormick; St. Bartholomew’s, New MARILYN MASON Cj Sambach; First Presbyterian, Columbus, York, NY 12:30 pm CHAIRMAN, DEPARTMENT OF ORGAN IN 10:30 am INformance, 3 pm performance Michel Bouvard; St. Ignatius Loyola, New UNIVERSITY OF MICHIGAN Choir of St. Thomas Church, New York City; York, NY 7:30 pm ANN ARBOR St. Francis in the Fields, Harrods Creek, KY 5 Wayne Marshall; Kimmel Center, Philadel- phia, PA 8 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played pm Ed Brunjes; Asbury United Methodist, it with awesome technique and a thrilling command of its daring writing.” Lenten Evensong; Church of the Holy Com- Columbus, IN 12 noon The American Organist, 1980 forter, Kenilworth, IL 5 pm North Shore Choral Society; Parish Church of Joyce Robinson; First Presbyterian, Arling- St. Luke, Evanston, IL 3 pm ton Heights, IL 12:10 pm Roger Stanley; St. Chrysostom’s, Chicago, John Weissrock; Cathedral of St. John the IL 2:30 pm Evangelist, Milwaukee, WI 12:15 pm Mary Mozelle Choral Evensong; St. James Episcopal LARRY PALMER Cathedral, Chicago, IL 4 pm 15 MARCH Associate Organist University of Minnesota Choirs; Cathedral of Scott Matthias; Church of the Holy Family, Professor of St. Paul, St. Paul, MN 2:30 pm New York, NY 12:45 pm The National Theile, St. Matthew Passion; Church of St. Presbyterian Church Harpsichord and Organ 6 MARCH Luke in the Fields, New York, NY 8 pm Choral concert; Mary, Queen of the Universe Washington, DC Margaret Sandresky; St. Paul’s Episcopal, Meadows School of the Arts Winston-Salem, NC 7 pm Shrine; Orlando, FL 7:30 pm 703.898.9609 Ensemble Amarcord; All Saints Episcopal, SOUTHERN METHODIST UNIVERSITY Atlanta, GA 7:30 pm 16 MARCH www.PipeOrganPro.com The Texas Boys Choir; St. Simons Presbyter- Andrea Macinanti; Trinity Church, Boston, Dallas, Texas 75275 ian, St. Simons Island, GA 8 pm MA 12:15 pm “The Sights and Sounds Anne Phillips; Church of St. Louis, King of Wilma Jensen, masterclass; East Carolina of the Pipe Organ” France, St. Paul, MN 12:35 pm University, Greenville, NC 11 am Musical Heritage Society recordings Wilma Jensen; St. Paul’s Episcopal, 7 MARCH Greenville, NC 7:30 pm Andrew Henderson; St. Bartholomew’s, Janet Hamilton; St. Mark’s United Church of New York, NY 12:30 pm Christ, New Albany, IN 12 noon Lisa Lohmeyer; St. Peter’s Lutheran, Colum- bus, IN 11:45 am 17 MARCH A four-inch Kent Jager; Cathedral of St. John the Evan- Bruce Neswick, masterclass; Covenant gelist, Milwaukee, WI 12:15 pm Presbyterian, Charlotte, NC 9 am Professional Card William Aylesworth; First Presbyterian, Aaron David Miller, with Masterworks Arlington Heights, IL 12:10 pm Chorale; Monroe Street Methodist, Toledo, OH in THE DIAPASON Choir of St. Thomas Church, New York City; 8 pm St. Joseph Cathedral, Baton Rouge, LA 7:30 pm 18 MARCH No additional charge for photos 8 MARCH Mark Nelson; St. John’s Episcopal, Glouces- Choir of St. Thomas Church, New York City; ter, MA 4 pm For information on rates and specifications, contact St. Francis Xavier Cathedral, Alexandria, LA David Kazimir, with choir; Ascension Memo- 7 pm rial Episcopal, Ipswich, MA 4:30 pm Jerome Butera, 847/391-1045 Andrew Scanlon; Church of the Advent, 9 MARCH Boston, MA 4:30 pm, Choral Evensong 5 pm [email protected] Harold Stover; Trinity Church, Boston, MA CONCORA; Immanuel Congregational, Hart- 12:15 pm ford, CT 4 pm
34 THE DIAPASON Keith Toth, followed by Duruflé, Requiem; Gillian Weir; St. Paul’s Episcopal, Greenville, Brick Presbyterian, New York, NY 4 pm NC 7:30 pm James Bobb; Holy Trinity Lutheran, New Birmingham-First Chamber Choir; First Pres- LEON NELSON DOUGLAS REED York, NY 5 pm byterian, Birmingham, MI 7:30 pm FIRST PRESBYTERIAN CHURCH Geoffrey Ward; St. Thomas Church Fifth Thomas Murray; Madison Street United ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE Avenue, New York, NY 5:15 pm Methodist, Clarksville, TN 7 pm Choral Evensong; Christ Church, New Judith Miller; St. John United Presbyterian, NORTH PARK UNIVERSITY EVANSVILLE, INDIANA Brunswick, NJ 6:30 pm New Albany, IN 12 noon CHICAGO, IL 60625 Choral concert; Bryn Mawr Presbyterian, Bryn Andrew Kotylo; First Presbyterian, Evans- Mawr, PA 4 pm ville, IN 7:30 pm Singing Boys of Pennsylvania; St. Theresa Catholic Church, Wilkes-Barre, PA 4 pm 24 MARCH STEPHEN G. SCHAEFFER Fauré, Requiem; Greene Memorial United Gillian Weir, masterclass; St. Paul’s Episco- ROBERT L. Methodist, Roanoke, VA 4 pm pal, Greenville, NC 9 am D.M.A. Bruce Neswick; Covenant Presbyterian, Leon Griesbach; Franciscan Monastery, Washington, DC 12 noon The Cathedral Church SIMPSON Charlotte, NC 3 pm Christ Church Cathedral Peter Richard Conte; St. Gregory’s Episco- of the Advent 1117 Texas Avenue 25 MARCH pal, Boca Raton, FL 4 pm Birmingham, Alabama 35203 Houston, Texas 77002 Cameron Carpenter; Jacoby Hall, Jack- Paul Bisaccia, piano; First Church, Windsor, sonville, FL 3 pm CT 3 pm Douglas Cleveland; First Presbyterian, Rick Erickson, with soprano and violin; Holy Naples, FL 7 pm Trinity Lutheran, New York, NY 5 pm DMA Rachmaninoff, Vespers; Holy Trinity Luther- Frederick Teardo; St. Thomas Church Fifth David Wagner an, Akron, OH 7 pm Avenue, New York, NY 5:15 pm Joe Utterback Madonna University Mark Laubach; Christ Church, New Choral concert; Peachtree Road United COMMISSIONS & CONCERTS Livonia, Michigan Methodist, Atlanta, GA 5 pm Brunswick, NJ 6:30 pm KMZT-FM Erich Balling; Christ Church Cathedral, Singing Boys of Pennsylvania; Calvary United 732 . 747 . 5227 Lexington, KY 4:30 pm, Choral Evensong at 5 Church of Christ, Reading, PA 3 pm Los Angeles, California pm Paul Jacobs; Abingdon Episcopal, White [email protected] Scott Hyslop, organ, Martha Folts, harpsi- Marsh, VA 5 pm chord, with tenor, Buxtehude Bash; St. Lorenz Robert Parkins; Duke University Chapel, Lutheran, Frankenmuth, MI 4 pm Durham, NC 2:30 pm, 5 pm SALLY SLADE WARNER, AAGO, ChM Anthony & Beard; Church of the Holy Spirit, Scott Montgomery; Sursa Performance Hall, Episcopal, Lake Forest, IL 4 pm Ball State University, Muncie, IN 4 pm Carillonneur KARL WATSON Bach, Cantata 48; St. Luke Church, Chicago, Richard Hoskins, with sopranos and viole de IL 4 pm gamba; St. Chrysostom’s, Chicago, IL 2:30 pm St. Stephen’s Church, Cohasset, MA ST. RAYMOND’S CHURCH David Schrader, with Cathedral Choir and •Organ and choral music of Buxtehude; First Phillips Academy, Andover, MA orchestra; St. James Episcopal Cathedral, Baptist, Macomb, IL 3 pm Recitals PARKCHESTER Chicago, IL 4 pm Kammerchor; Concordia University Wiscon- Erik Suter; Christ Episcopal, Milwaukee, WI sin, Mequon, WI 3:30 pm 3 pm 26 MARCH A Professional Card in 19 MARCH Timothy Weisman; Woolsey Hall, Yale Uni- Charles Tompkins; Furman University, versity, New Haven CT 8 pm Cherie Wescott THE DIAPASON Greenville, SC 8 pm Paul Ayres; Elliott Chapel, The Presbyterian Concerts • Masterclasses • Coaching For rates and digital specifications, Jamie Garvey, with piano and vocalists; St. Homes, Evanston, IL 1:30 pm contact Jerome Butera John United Methodist, Augusta, GA 3 pm Nancy Lancaster; House of Hope Presbyter- 405/942-3958 847/391-1045 Craig Cramer; Reyes Organ Hall, University ian, St. Paul, MN 4 pm e-mail: [email protected] [email protected] of Notre Dame, South Bend, IN 8 pm 27 MARCH 20 MARCH Haydn, Lord Nelson Mass; Trinity Church, Joshua Lawton; King’s Chapel, Boston, MA New York, NY 6 pm 12:15 pm Mary Newton; Church of St. Louis, King of Sarah Koehler; Church of St. Louis, King of France, St. Paul, MN 12:35 pm Davis Wortman RONALD WYATT France, St. Paul, MN 12:35 pm 28 MARCH ST. JAMES’ CHURCH Trinity Church 21 MARCH Jeremy Bruns; St. Bartholomew’s, New Paul Jacobs, workshop; The Juilliard School, York, NY 12:30 pm NEW YORK Galveston New York, NY 11:30 am Renée Anne Louprette; St. Ignatius Loyola, Nathan Laube; St. Bartholomew’s, New New York, NY 7 pm York, NY 12:30 pm Choral concert; St. Ignatius Loyola, New Todd Wilson; Trinity Episcopal Cathedral, York, NY 8 pm Cleveland, OH 7:30 pm David Lamb; First United Methodist, Colum- John Simpson; Sandy Hook United bus, IN 12 noon Marcia van Oyen mvanoyen.com Methodist, Columbus, IN 12 noon Mark Johnson; Cathedral of St. John the Derek Nickels; First Presbyterian, Arlington Evangelist, Milwaukee, WI 12:15 pm Heights, IL 12:10 pm Donald Mead; First Presbyterian, Arlington Heights, IL 12:10 pm Plymouth First United Methodist Church, Plymouth, Michigan 23 MARCH Stuart Forster; Trinity Church, Boston, MA 30 MARCH 12:15 pm Frederick Teardo; Trinity Church, Boston, Choir of St. Thomas Church, New York City, MA 12:15 pm Bach, St. Matthew Passion; St. Thomas Jeffrey Wood; Houghton Chapel, Wellesley CHARLES DODSLEY WALKER, FAGO Church, New York, NY 7:30 pm College, Wellesley, MA 8 pm The Eton College Choir; Woodberry Forest Jason Roberts; Trinity College Chapel, Hart- TRINITY EPISCOPAL CHURCH School, Woodberry Forest, VA 8 pm ford, CT 7:30 pm BOX 400 SOUTHPORT, CT 06890
Cathedral Church of St. John SYLVIE POIRIER Albuquerque, New Mexico www.stjohnsabq.org PHILIP CROZIER 505-247-1581 ORGAN DUO F Once Upon a Theatre - #0706 . . . at Ann Arbor's Michigan Theatre, 3355 Queen Mary Road, Apt 424 E an aging pipe organ served as keystone to the preservation of the Montreal, H3V 1A5, P. Quebec B downtown's heritage. Canada R (514) 739-8696 U Concert Capers - #0707 . . . unedited and without a net, four superb Fax: (514) 739-4752 Iain Quinn Maxine Thevenot A soloists know how to put three pipe organs through their paces. Director of Associate Organist- [email protected] Cathedral Music Choir Director R Joe's Amazing Venture - #0708 . . . a 10th anniversary salute to Y Joseph A. Vitacco, a young business major from Notre Dame University who set out to document some of the world's finest pipe DAVID SPICER 2 organs via JAV Recordings (www.pipeorgancds.com) First Church of Christ 0 Wethersfield, Connecticut Carol Williams 0 Beyond Sunday Morning - #0709 ...anexplorationofsomeorgan repertoire that takes on a life of its own apart from worship. 7 San Diego Civic Organist
Website: www.melcot.com House Organist E-mail: [email protected] The Bushnell Memorial Hartford
FEBRUARY, 2007 35 Russell Patterson; Slee Hall, University at James David Christie; Arizona State Univer- 9 MARCH 27 MARCH Buffalo (SUNY), Buffalo, NY 8 pm sity, Mesa, AZ masterclass 10:30 am, recital Joseph Adam; University of Puget Sound, Patrick Hawkins; Arizona State University Theresa Bauer; St. Paul’s Episcopal, New 7:30 pm Tacoma, WA 12:05 pm Organ Hall, Tempe, AZ 7:30 pm Albany, IN 12 noon St. John’s Lutheran Choir (Hamburg); Cathe- The Eton College Choir; Wichita State Uni- 25 FEBRUARY dral of Our Lady of the Angels, Los Angeles, CA versity, Wichita, KS 7:30 pm 31 MARCH Aaron David Miller, hymn festival; St. John 7 pm Parker Kitterman; Battell Chapel, Yale Uni- Lutheran, Minneapolis, MN 3 pm 28 MARCH versity, New Haven CT 5 pm +Catherine Rodland; St. Olaf College, 11 MARCH The Eton College Choir; St. Michael’s Cathe- Buxtehude, Passion music; Grace Episcopal, Northfield, MN 3:30 pm Christopher Marks; Zion Lutheran, Imperial, dral, Episcopal, Boise, ID 7:30 pm Hartford, CT 7:30 pm Diane Norton-Jackson; Christ Church NE 2:30 pm Christian Lane; Dwight Chapel, Yale Univer- Cathedral, Houston TX 4:15 pm Fred Swann; First-Plymouth Congregational, 30 MARCH sity, New Haven CT 8 pm Choral Evensong; Christ Church Cathedral, Lincoln, NE 7:30 pm Joseph Adam; University of Puget Sound, John Scott; St. Thomas Church Fifth Houston TX 5 pm Maxine Thevenot, followed by Fauré, Tacoma, WA 12:05 pm Avenue, New York, NY 4 pm The Buxtehude Trio; Christ the King Luther- Requiem; St. Michael’s Episcopal Cathedral, David Higgs; St. Mark’s Lutheran, San Fran- Fauré, Requiem; St. Paul’s Episcopal, an, Houston, TX 7:30 pm Boise, ID 4 pm cisco, CA 8 pm Greenville, NC 4 pm Jeffrey Lee, with soprano; Thomsen Chapel, Lola Wolf; St. Mark’s Cathedral, Seattle, WA Brahms, Requiem; First Presbyterian, St. Mark’s Cathedral, Seattle, WA 3 pm 3 pm Gainesville, FL 7:30 pm Carol Williams; Balboa Park, San Diego, CA James Warren; Grace Cathedral, San Fran- INTERNATIONAL 2 pm cisco, CA 4 pm 15 FEBRUARY UNITED STATES 26 FEBRUARY 12 MARCH Pascal Vigneron, organ, Christine Auger, West of the Mississippi Christopher Anderson; Caruth Auditori- Ann Elise Smoot; Zion Lutheran, Dallas, TX harpsichord, Dimitri Vassilakis, piano; Eglise um, Southern Methodist University, Dallas, 8 pm St-Louis en l’Ile, Paris, France 9 pm TX 8 pm Thomas Wilson; St. Matthew’s Westminster, 16 FEBRUARY 16 MARCH London, UK 1:05 pm Douglas Cleveland; Clapp Recital Hall, The 27 FEBRUARY True North Brass; First United Methodist, Gavin Roberts, with trumpet; St. Maryle- University of Iowa, Iowa City, IA 8 pm Goshen College Men’s Choir; Grace Cathe- Boise, ID 7:30 pm bone, London, UK 7 pm Paul Bisaccia, piano; Trinity Cathedral (Epis- dral, San Francisco, CA 1 pm Joseph Galema, with brass quintet; All copal), Little Rock, AR 7:30 pm Saints’ Episcopal, Beverly Hills, CA 8 pm 16 FEBRUARY Clive Driskill-Smith; All Saints Episcopal, 2 MARCH John Tuttle; Holy Rosary Cathedral, Vancou- Fort Worth, TX 7:30 pm John Friesen; St. Paul United Methodist, Lin- 17 MARCH ver, BC, Canada 8 pm coln, NE 12:10 pm Alan Morrison, with orchestra; Augustana 18 FEBRUARY Choir of St. Thomas Church, New York Lutheran, Denver, CO 7 pm 17 FEBRUARY Michael Burkhardt; First Presbyterian, Hast- City; St. Andrew’s Episcopal, Fort Worth, TX Ben Saul; St. George’s Cathedral, South- ings, NE 5 pm 7:30 pm 18 MARCH wark, London, UK 1:05 pm Paul Jacobs; Cathedral Basilica of St. Louis, Pacific Boychoir; Grace Cathedral, San Fran- Catherine Rodland & John Ferguson, with St. Louis, MO 2:30 pm cisco, CA 7:30 pm orchestra; St. Olaf College, Northfield, MN 19 FEBRUARY Calmus Ensemble; Christ the King Lutheran, Tavener, Lamentations & Praises; All Saints’ 3:30 pm Felix Hell; Church of St. Andrew’s and St. Houston, TX 5 pm Episcopal, Beverly Hills, CA 8 pm Ken Cowan; St. Martin’s Episcopal, Houston, Paul’s, Montreal, QC, Canada 7 pm Maxine Thevenot; Hamilton Recital Hall, Uni- TX 3 pm versity of Denver, Denver, CO 3 pm 4 MARCH Christoph Keggenhoff; Christ the King 21 FEBRUARY Graham Barber; Grace Cathedral, San Fran- Murray Forbes Somerville; First Presbyter- Lutheran, Houston, TX 5 pm Naoko Imai; Minato Mirai Hall, Yokohama, cisco, CA 4 pm ian, Lincoln, NE 4 pm Founders Day Choral Concert; Cathedral of Japan, 12:15 pm Frederick Swann, with choirs and instrumen- Ensemble Amarcord; St. Mark’s Episcopal, the Madeleine, Salt Lake City, UT 8 pm talists; Cathedral of Our Lady of the Angels, Los San Antonio, TX 4 pm Martin Jean; Cathedral Church of St. John, 23 FEBRUARY Angeles, CA 7 pm Choral Evensong; Cathedral Church of St. Albuquerque, NM 4 pm Daniel Roth; Symphony Hall, Birmingham, Carol Williams; Balboa Park, San Diego, CA John, Albuquerque, NM 4 pm Christiaan Teeuwsen; Trinity Lutheran, Lyn- UK 7:30 pm 2 pm Matthew Dirst; Lagerquist Hall, Pacific nwood, WA 7 pm Ensemble Amarcord; Shallaway, St. John’s, Lutheran University, Tacoma WA 3 pm Bach, St. Matthew Passion; Episcopal Church NF and Labrador, Canada 7:30 pm 19 FEBRUARY Carole Terry; Grace Cathedral, Episcopal, of the Resurrection, Eugene, OR 7 pm Paul Jacobs; Lawrence Park Community Paul Jacobs, masterclass; Cathedral Basili- San Francisco, CA 4 pm Thomas Joyce; Grace Cathedral, San Fran- Church, Toronto, ON Canada 8 pm ca of St. Louis, St. Louis, MO 7:30 pm cisco, CA 4 pm 5 MARCH 24 FEBRUARY Bach Birthday Bash; Trinity Episcopal, Santa 24 FEBRUARY Choir of St. Thomas Church, New York City; Carolyn Shuster Fournier; Georg Philipp Barbara, CA 3:30 pm +Hymn festival; St. Olaf College, Northfield, Cathedral Basilica of St. Louis, St. Louis, MO 8 Telemann Concert Hall, Magdeburg, Germany Handbell concert; Knox Presbyterian, Santa MN 7:30 pm pm 7:30 pm Rosa, CA 5 pm Paul Jacobs, masterclass; Lawrence Park Paul Jacobs; Walt Disney Concert Hall, Los Community Church, Toronto, ON 10 am Angeles, CA 7:30 pm martin ott pipe 25 FEBRUARY 19 MARCH Erik van Bruggen; Kirche “Zur frohen organ Carlene Neihart & David Diebold, with choir; Botschaft,” Berlin Karlshorst, Germany 5 pm Country Club Christian Church, Kansas City, company Carolyn Shuster Fournier, with piano and M. L. BIGELOW & Co. MO 8 pm inc. voice; The American Church, Paris, France 5 pm ORGAN BUILDERS 1353 Baur Boulevard (801) 756-5777 St. Louis, Missouri 63132 20 MARCH 2 MARCH 130 W. 1st S., American Fork, UT 84003 (314) 569-0366 Thomas Murray; Broadway Baptist, Fort John Belcher; SS. Peter and Paul, Godalm- Worth, TX 7:30 pm ing, UK 1 pm Parkey 21 MARCH 3 MARCH Maxine Thevenot & Iain Quinn; University of Margaret Phillips; St. Albans Cathedral, St. New Mexico, Albuquerque, NM 7:30 pm Albans, UK 5:30 pm OrganBuilders 24 MARCH Distinguished Pipe Organs 4 MARCH VocalEssence; Basilica of St. Mary, Min- David Scott; Our Lady of Grace, Chiswick, 3870 Peachtree Ind. Blvd. Voice 770-368-3216 neapolis, MN 8 pm Suite 150-285 Fax 770-368-3209 UK 4 pm Duluth, Georgia 30096 www.parkeyorgans.com Martin Jean; Bridges Hall of Music, Pomona College, Claremont, CA 8 pm 5 MARCH Carol Williams; Birmingham Symphony Hall, NEW INSTRUMENTS 25 MARCH Birmingham, UK 1 pm MAINTENANCE Paul Oakley; First Presbyterian, Hastings, RESTORATIONS NE 5 pm 10 MARCH 974 AUTUMN DRIVE The Tallis Scholars; Cathedral Basilica of St. Gillian Weir; Cheltenham Ladies’ College, ANTIOCH, ILLINOIS 60002 Louis, St. Louis, MO 7:30 pm Cheltenham, UK 7:30 pm ABR 847-395-1919 The Eton College Choir; St. John’s Cathedral F INCY PIPE ORGANS FAX 847-395-1991 (Episcopal), Denver, CO 4 pm 13 MARCH www.fabryinc.com Mel Butler, with saxophone; St. Mark’s Mami Sakato; Saint-Etienne du Mont, Paris, Cathedral, Seattle, WA 2 pm France 8:30 pm Susan Jane Matthews; St. Bede’s Episco- Hupalo & Repasky pal, Menlo Park, CA 14 MARCH Pipe Organs Ken Cowan; First Congregational, Los Ange- Keith Hearnshaw; Reading Town Hall, les, CA 4 pm Reading, UK 1 pm 1785 Timothy Dr. Unit 4 Carol Williams; Balboa Park, San Diego, CA Mami Yoneyama; Minato Mirai Hall, Yoko- San Leandro, Calif. 94577-2313 2 pm hama, Japan 2 pm 510 483 6905 www.hupalorepasky.com A. David Moore, Inc. TRACKER ORGAN DESIGNERS & BUILDERS HC 69 Box 6, North Pomfret, Vermont 05053 1717 Belle Street St. Joseph, MO 64503 802/457-3914 (816) 232-2008 Fax (816) 364-6499
Advertise in WOLFF & ASSOCIÉS Facteurs d’orgues Organbuilders THE DIAPASON For rates and digital specifications, [email protected] www.orgelwolff.com contact Jerome Butera 450-661-2073 847/391-1045
[email protected] 1260, rue Tellier, Laval QC Canada H7C 2H2
36 THE DIAPASON 15 MARCH TRACY FIGARD, Pullman Greenstone Complies, Deuxième Fantaisie, Alain; Final John Belcher; St. Martin’s, Dorking, UK 1 pm United Methodist Church, Chicago, IL, Sep- (Six Pièces d’Orgue, op. 21), Franck. Ashley Grote; St. Matthew’s Westminster, Organ Recitals tember 24: Prelude and Fugue in E-flat, London, UK 1:05 pm BWV 552, Bach; Nocturne for Organ, SYLVIE POIRIER & PHILIP CROZI- FRANCESCO CERA, Holy Name Cathe- Cohen; Toccata and Fugue in d, BWV 538, ER, Parish Church, Breitenfeld, Germany, 16 MARCH dral, Chicago, IL, October 22, and Illinois Bach; Jesu, meine Freude, Karg-Elert. July 28: Praeludium und Fuge in C-Dur, Jean-François Vauche; Eglise Saint- Albrechtsberger; Le tombeau de Georges François, Lausanne, Switzerland 8 pm College, Jacksonville, IL, October 28: Tocca- ta sesta, Rossi; Capriccio sopra la Girolmeta, DAVID A. GELL, St. Joseph the Work- Cziffra (Suite à 4 mains pour l’orgue dans le er Catholic Church, Winnetka, CA, Sep- style français), Perrot; Fantasie in f-Moll, K. 17 MARCH Toccata per l’elevazione, Toccata quinta sopra i pedali, Frescobaldi; Passagagli, tember 2: Concert Variations on The Star- 608, Mozart; A Fancy for Two to Play, Mark Swinton; St. George’s Cathedral Spangled Banner, Buck; Introduction and Tomkins; A Verse, Carleton; Variations sur Southwark, London, UK 1:05 pm Sonata, Pasquini; Offertoire sur les grands jeux, Benedictus chromorne en taille, Fugue in e, Parker; America the Beautiful, un thème original pour orgue quatre mains, Choir of St. Thomas Church, New York City, Whitford; Variations on America, Bédard; Mutationes, Eben. with Musica Angelica Los Angeles and Orch- Couperin; Praeludium in C, BuxWV 137, Buxtehude; Nun komm’ der Heiden Heiland, Lovelace; Yankee Doodle Battle Hymn, ester Wiener Akademie; Centro Historico and Balderston; Variations on The Navy Hymn, JOYCE JOHNSON ROBINSON, Sinsi- UNAM Salle Nezahualcoyotl, Mexico City, MX, BWV 659, Prelude and Fugue in E flat, BWV 552, Bach. Joseph; God of Our Fathers, Diemer; Pre- nawa Mound, Sinsinawa, Wisconsin, August also 3/18 lude on Balm in Gilead, En Seguido Litúr- 30: Prelude, Fugue & Chaconne, BuxWV gico, Gell. 137, Buxtehude; Pastorale (Sonata I in d), 21 MARCH CRAIG CRAMER, Holy Trinity Evangel- ical Lutheran Church, Hickory, NC, Sep- Guilmant; Magnificat du Premier Ton, Cor- Wolfgang Baumgratz; Catholic Cathedral, THOMAS GOUWENS, Cathedral of the rette; Come Thou Fount of Every Blessing, Moscow, Russia 7:30 pm tember 17: Fantasia and Fugue in g, BWV 542, Bach; Noël a minuit fut un Reveil, Noël Holy Angels, Gary, IN, October 15: Sonata Manz; Jerusalem, My Happy Home, Shear- de 1° tono, Lidon; Twee Danswijsjes, Sweel- ing; Pastorale (Symphonie I), Vierne; Adagio 22 MARCH Pour l’Amour de Marie, Noël de Saintonge, Dandrieu; Wondrous Love, op. 34, Barber; inck; Ach, bleib bei mir, BWV 649, Meine and Rondo, K. 617, Mozart, arr. Biggs; Pre- Andrew McCrea, lecture/recital; Organ Hall, Seele erhebt den Herren, BWV 648, Kommst lude and Fugue in D, BWV 532, Bach. Gnessins’ Academy of Music, Moscow, Russia Introduction, Scherzo und Fuge on B-E-A-T- E, Zahnbrecher; Incarnation Suite on Puer du nun, Jesu, vom Himmel herunter, BWV 7 pm 650, Praeludium und Fuge in G, BWV 541, natus est nobis, Martinson; Prelude and KENT TRITLE, Church of St. Ignatius Bach; Sonata III in A, op. 65, no. 3, Loyola, New York, NY, September 24: Pre- 24 MARCH Fugue on O Traurigkeit, O Herzeleid, Smyth; Mendelssohn; Deux Danses à Agni Yavishta, Sonata No. 1 in f, Mendelssohn. lude and Fugue in a, BWV 543, Bach; Edgar Krapp; Catholic Cathedral, Moscow, Alain; Prélude et Fugue sur le nom d’Alain, Shimah B’Koli (Psalm 130), op. 89, Per- Russia 8 pm Duruflé. sichetti; Sonata in A, op. 65, no. 3, ANDREW DEWAR, Bethany Lutheran Mendelssohn; Pièce héroïque, Cantabile, 25 MARCH College, Mankato, MN, October 5: Präludi- CHARLES HUDDLESTON HEATON, Franck; Méditation V (Méditations sur le Ronald Ebrecht; State M. Glinka Museum of um in e, Bruhns; Trio Sonata No. 4 in e, BWV Second Presbyterian Church, St. Louis, MO, mystère de la Sainte Trinité), Messiaen; Music Culture, Moscow, Russia 4 pm 528, Bach; Double Voluntary in d, Purcell; September 18: Unter der Linden gruene, Prélude et fugue sur le nom d’Alain, Alexander Fiseisky; Tchaikovsky Hall, Flute Concerto in F, Rinck; Andante and Sweelinck; Trio Sonata V in C, BWV 529, Duruflé. Moscow, Russia 7 pm Variations, Mendelssohn; Fantasia in f, K. Bach; Concert Variations on The Star-Span- Beate Kruppke, with chorus; Kirche “Zur 608, Mozart. gled Banner, Buck; Swanee River, Foster, JOHANNES UNGER, First Congrega- frohen Botschaft,” Berlin Karlshorst, Germany transcr. Lemare; Three Rhapsodies, op. 7, tional Church, Los Angeles, CA, October 22: 5 pm JAMES DORROH, St. Thomas Episcopal Saint-Saëns. Toccata und Fuge d-Moll, BWV 565, Ach was Marie-Ange Leurent & Eric Lebrun; Notre- Church, New York, NY, October 29: Prae- soll ich Sünder machen, BWV 770, Bach; Dame de Lorette, Paris, France 4 pm ludium und Fuge, e-moll, Bruhns; Proces- KAREL PAUKERT, Valparaiso Universi- Andante in F, K. 616, Mozart; O Gott du sional, Mathias; Fantaisie in A, Franck; Vier ty, Valparaiso, IN, September 25: A Flourish frommer Gott, BWV 767, Bach; Fuga VI 29 MARCH Stücke für die Flötenuhr, Haydn; Herzlich for Valpo, improvisation; Prelude and Fugue (Sechs Fugen über B-A-C-H, op. 60), Schu- David Pipe; St. Martin’s, Dorking, UK 1 pm tut mich verlangen, Brahms; Prelude on a in D, BWV 532, Bach; Adagio, Postludium mann; Christ der du bist der helle Tag, BWV Christmas Carol, Gibbs; Prelude on Cwm (Glagolitic Mass), Janácek; Tre pezzi per 769, Bach; Fugue sur le thème du Carillon 31 MARCH Rhondda, Manz; Irish Air from County organo, Teml; With (Etude No. 1), Baker; des Heures de la cathédrale de Soissons, Gerben Mourik; St. Saviour’s, St. Albans, UK Derry, Lemare; Hornpipe Humoresque, Albion II, D’Alessio; Prelude and Fugue in B, Duruflé; Sei gegrüßet, Jesu gütig, BWV 768, 5:30 pm Rawsthorne. op. 7, no. 1, Dupré; Postlude pour l’Office des Bach.
Advertise in THE DIAPASON For information on rates and digital specifications contact Jerome Butera 847/391-1045,
2151 Madison Street, Bellwood, IL 60104 phone 708-544-4052 • fax 708 544-4058 [email protected] berghausorgan.com
Visit The Diapason website: www.TheDiapason.com
CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected] Insert the advertisement shown below (or enclosed) in the Classified Advertising section of THE DIAPASON for the following issue(s): Regular classified advertising is single para- January February March April May June July August September October November December graph “want ad” style. First line only of each ad in bold face type. Category ______ Regular Boldface PAYMENT MUST ACCOMPANY ORDER Display classified advertisements are set entirely in bold face type with the addition of a ruled box (border) surrounding the adver- Ad Copy ______tisement. ______Regular Classified, per word $ .90 Regular Classified minimum 18.00 ______Display Classified, per word 1.25 Display Classified minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 ______NOTE: Orders for classified advertising must be accompanied by payment in full ______for the month(s) specified. Orders will be accepted for one, two, three, four, five, or ______six months in advance. ______Non-subscribers wanting single copies of the issue in which their advertisement ______appears should include $4.00 per issue desired with their payment. ______The Diapason reserves the right to desig- Name ______Phone ______nate appropriate classification to advertise- ments, and to reject the insertion of advertis- Address ______Total Enclosed ______ing deemed inappropriate to this magazine. City/State ______Zip ______Date Sent ______
FEBRUARY, 2007 37 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
POSITIONS POSITIONS PUBLICATIONS/ HARPSICHORDS/ AVAILABLE AVAILABLE RECORDINGS CLAVICHORDS
Goulding & Wood, Inc. is seeking a service Rapidly growing service organization has The OHS Catalog is online at Harpsichords from the workshop of Knight technician for immediate employment. A min- immediate openings for experienced service www.ohscatalog.org. More than 4,000 organ Vernon. Authentic replicas of historic instru- imum of three years prior experience is technicians. Excellent compensation package and theatre organ CDs, books, sheet music, ments carefully made and elegantly decorated. required. Starting salary well above industry includes paid vacation, comprehensive health DVDs and VHS videos are listed for browsing 8201 Keystone, Skokie, IL 60076. Telephone standards. The successful applicant will have insurance and company-matched IRA. Send and easy ordering. Use a link for adding your 847/679-2809. Web site: general knowledge of various action designs, résumé or contact Allison Gateley address to the OHS Catalog mailing list. Organ www.vernonharpsichords.mykeyboard.com. extensive tuning background, and strong at Berghaus Organ Company; 2151 Madison Historical Society, Box 26811, Richmond, VA interpersonal skills. Voicing skills a plus. St., Bellwood, IL 60104 (708/544-4052). 23261 E-mail: [email protected]. Please submit résumés or requests for more Respond by e-mail to Brian Berghaus: PIANOFORTE FOR SALE information to: Brandon Woods, Goulding & [email protected]. Wood, Inc., 823 Massachusetts Avenue, Reflections: 1947-1997, The Organ Depart- Brown and Allen/Boston square grand Indianapolis, IN 46204. Fax: 317/637-5236. MISCELLANEOUS ment, School of Music, The University of Michi- pianoforte. 73 keys. Very good condition. Best [email protected], gan, edited by Marilyn Mason & Margarete offer. Nelson, 847/367-5102 or 312/304-5287. www.gouldingandwood.com. Thomsen; dedicated to the memory of Albert Visiting London? Bed and Breakfast accom- Stanley, Earl V. Moore, and Palmer Christian. Experienced voicers needed for expanded modation available in large parish house min- Includes an informal history-memoir of the voicing department. Excellent compensation utes away from Westminster Abbey, the organ department with papers by 12 current ATTENTION ORGANISTS! With so many package includes paid vacation, comprehensive Thames, St. James’s Park and the Under- and former faculty and students; 11 scholarly expensive stops on organs these days, health insurance and company-matched IRA. ground. Modern kitchen and laundry available. articles; reminiscences and testimonials by here’s a new way to help defray the Send résumé or contact Allison Gateley at For information write: St. Matthew’s House, 20 graduates of the department; 12 appendices, cost—the PAY2PLAY. This novel device Berghaus Organ Company; 2151 Madison St., Great Peter Street, Westminster, London, SWIP and a CD recording, “Marilyn Mason in is a credit card reader that you install at Bellwood, IL 60104 (708/544-4052). 2BU. Tel. 0171 222 3704, FAX 0171 233 0255, Recital,” recorded at the National Shrine of the the console, and use to control access to Respond by e-mail to Brian Berghaus: e-mail [email protected]. Immaculate Conception in Washington, DC. particular stops. Just swipe your card, [email protected]. $50 from The University of Michigan, Prof. pull the stops you need, and the Marilyn Mason, School of Music, Ann Arbor, MI PAY2PLAY uses ultra-high-tech, black The Organist Entertained! Organists visiting 48109-2085. box technology to permit stop usage. For Berghaus Organ Company has an immediate England may stay at Sarum College, situated example, you could select the 32v Trom- opening for an experienced Technical Designer. inside the walled Cathedral Close, Salisbury, bone for 20 minutes of use for $10. This The successful applicant will have an architec- and use two new organs with mechanical CD Recording, “In memoriam Mark Buxton not only helps fund organ purchase or tural degree and be proficient in AutoCAD use actions for private study. Options for lessons, (1961-1996).” Recorded at Église Notre-Dame maintenance, but offers the means to and application. Experience with time on the Cathedral Father Willis organ, vis- de France in Leicester Square, London, control the use of such stops, although it console/façade design a plus. This is a key posi- its to local sights. Excellent food, welcoming between 1987 and 1996. Works of Callahan, might be best if the clergy and church tion that provides a significant opportunity for staff. Website: www.sarum.ac.uk. e-mail: Widor, Grunewald, Salome, Ropartz, and Boëll- elders were not privy to such informa- advancement. Berghaus offers an excellent [email protected]. Tel: +44 1722 424805. mann, along with Buxton’s improvisations. $15 tion. Other available system options compensation package that includes paid vaca- postpaid: Sandy Buxton, 10 Beachview include a retina scanner for security pur- tion, comprehensive health insurance and com- Crescent, Toronto ON M4E 2L3 Canada. poses that discreetly extends from the pany-matched IRA. Send résumé or contact Alli- PUBLICATIONS/ 416/699-5387, FAX 416/964-2492; e-mail music rack, and the “energy credits” by son Gateley at Berghaus Organ Company; [email protected]. which the extended use of strings, 2151Madison St., Bellwood, IL 60104 (708/544- RECORDINGS celestes and other quiet stops can build 4052). Respond by e-mail to Brian Berghaus: credit towards the use of a loud stop for [email protected]. Organ music reprints and organ CDs. Aging of Organ Leather by Harley Piltingsrud a short period of time. Installs easily in “Decadent” a specialty! American, Romantic, tells how to test and select organ leathers for an afternoon with ordinary sacristy tools, Request a free sample issue of The Diapason transcriptions, Ketèlbey, Buck, Thayer, longevity of 60 years or more. Treats other and causes little or no permanent dam- for a student, friend, or colleague. Write to the Mendelssohn. Original size, highest quality. aspects of leather production and the history of age to the switching system or action. Editor, The Diapason, 3030 Salt Creek Lane, Biographical and performance notes. testing for longevity. New 48-page edition in Order yours today! Box PLAY-Con, THE Suite 201, Arlington Heights, IL 60005; or www.michaelsmusicservice.com; 704/567- 1994, $9.95 + $4 shipping for entire order (with- DIAPASON; [email protected]. e-mail: [email protected]. 1066. in USA). Order online at www.ohscatalog.org.
glück newyork orgaNbuilders ATOS ExperienceAmerican Theatre Organ Society 170 Park Row, Suite 20A Preserving a unique art form. New York, NY 10038 Concerts, education, silent film, preservation, fellowship and more. www.atos.org 212.608.5651 Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838 www.glucknewyork.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
For Pipe Organ Parts: arndtorgansupply.com Muller Or send for our CD-ROM catalog Pipe Organ Company Arndt Organ Supply Company P.O. Box 353 • Croton, Ohio 43013 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 9310 Dodd Road • Kilkenny, Minnesota 56052 800-543-0167 Phone (515) 964-1274 Fax (515) 963-1215 (507) 334-2277 www.MullerPipeOrgan.com
Visit THE DIAPASON website at New Organ Sales • Rebuilding and Additions TheDiapason.com Maintenance and Tuning Box 838, Lithonia, Georgia 30058 • (770) 482-4845
3030 W. Salt Creek Lane ph 847/391-1045 Suite 201 fax 847/390-0408 THE DIAPASON e-mail [email protected] Arlington Heights, IL 60005 web www.TheDiapason.com
38 THE DIAPASON Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Aeolian-Skinner organ, 28 ranks, 3 manu- 10v electric metal shear originally from the Highest quality organ control systems since Top Quality Releathering. Pouch rails, pri- als, 1953. Opus 1216, originally built for First Aeolian-Skinner pipe shop. $5,000 or best offer. 1989. Whether just a pipe relay, combination maries, reservoirs and any other pneumatic Methodist Church, Tacoma, WA. The organ Contact: Sandee at A. R. Schopp’s Sons, Inc. action or complete control system, all parts are action. Removal and installation service avail- is removed from the church (demolished) and 330/821-8406. compatible. Intelligent design, competitive pric- able. Full warranty. Skinner, Casavant and stored in our shop. A fine, unaltered example ing, custom software to meet all of your require- Kimball specialty. Spencer Organ Company, of G. Donald Harrison. We will rebuild, Atlantic City Pipe Organ—1940 E.M. Skinner & ments. For more information call Westacott Inc. Call, Fax or visit our website for quotation including full releathering, and install any- and information. 781/893-7624 Voice/Fax, Son: 3-manual drawknob console, 4v Harmonic Organ Systems, 215/353-0286, or e-mail where in the U.S. Bond Organ Builders, Inc., [email protected]. www.spencerorgan.com. Portland, OR. 503/238-3987. Details at Flute, 8v 45sc Swell Principal and 4v Violin; Moller www.bondorgans.com. 3-rank Sputnik 1962 with direct electric chests; 3- manual drawknob Moller shell, Harp—1952. 8v Columbia Organ Leathers sells the finest RELEATHERING: also Pipe Organ Rebuild- Harmonic Flute, Moller Clarinet & Vox. More: ing, Repair and Maintenance Service in New 1954 Moller 2/8, $6,400—still in place, buyer to Visit http://mywebpages.comcast.net/acorgan. leathers available for organ use. We sell pre- punched pouches and pre-assembled pouches, England area. Years of experience, fine work- remove; 1962 Schantz 3/33, $26,400—still in E-mail: [email protected]. Phone manship. Reading Organ Works, A. Richard place, buyer to remove; 1925 Moller 2/10, 609/641-9422. and we specialize in custom releathering ser- Hunter, P.O. Box 267, 1324 Vermont Route $8,000—still in place, buyer to remove; 1976 vices. Call today for a catalogue. 800/423-7003 106, Reading, VT 05062. 802/484-1275. Berghaus 2/11, $8,800—still in place, buyer to Two Moller shade actions (six engines or e-mail: [email protected]. E-mail [email protected]. remove. Parted out: 1966 Moller 2/10—some each), $150 each, also pipes, consoles, pipework still available, contact for details; 195? relays, and miscellaneous parts. Let us know Reuter 2/9—some pipework still available, con- what you are looking for. E-mail The Whistle Shop repairs and rebuilds pipe Austin actions recovered. Over 30 years tact for details. Sold! 1949 Moller 3/30; Sold! [email protected] (not comcast), phone organs. Southwestern U.S. Also, maintenance experience. Units thoroughly tested and fully 1962 Wicks 2/4; Sold! 1969 Moller 2/3; Just 215/353-0286 or 215/788-3423. and tonal work. Finest materials, expert work- guaranteed. Please call or e-mail for quotes. reduced! 1964 Wicks 2/6, All new Peterson manship. K.E.M. Pipe Organ Builders, Austin, Technical assistance available. Foley-Baker, relay, new DC wiring, ready to ship now! Seller TX. 800/792-8180. Inc., 42 N. River Road, Tolland, CT 06084. wants to liquidate! $18,000 or best offer! Fabry, Laptops and Software for programmable tem- Phone 1-800/621-2624. FAX 860/870-7571. Inc. offers removal services and shipping F.O.B. peraments—tune harpsichords and pianos— [email protected]. Antioch, IL. Large used pipe inventory available from Herb Huestis, 1502–1574 Gulf Road, Point New classified advertising rates went into and ready for use. Contact for available ranks Roberts, WA 98281. Phone 604/946-3952, Fax effect January 1, 2006. See page 37 for and specifications. Fabry, Inc. 974 Autumn 604/946-5739, e-mail [email protected]. Laptop information. Drive, Antioch, IL 60002, tel: 847/395-1919, fax: screen-based tuning program that is sensitive to Flue pipes in metal and wood–Mixtures 847/395-1991, e-mail: [email protected]. 1/10 cent, much greater than dial tuners. Over Need help with your re-leathering and upperwork are available from stock or specify custom orders to meet your exact 100 programmable temperaments for harpsi- project? All pneumatics including chord, clavichord and pianos. Check it out on requirements. Tuning Sleeves with 1952 Wicks organ. Three manuals, 18 ranks, Austin. Over 45 years experience flare–Order complete sets ready to install the web: www.tunelab-world.com. 8x10x2 small (on the job assistance available). 36 stops. Playing in Cleveland area. $10,000 Toshiba laptop used for shop tuning: $285 with or bulk quantities in each diameter. These minus blower. Greg Sparks, 216/252-8264. shipping. Send your old laptop for recondition- 615/274-6400. sleeves are guaranteed to fit and will not ing and installation of tuning software to make it tarnish or corrode. For excellent quality, 1860 Wm. A. Johnson 1/8, including 12-note one of the best musical tools in your kit! I will great pricing and timely delivery contact: 16v Subbass. Meticulously restored, $39,500; load Tunelab97 software, road test it, and return ALL REPLIES International Organ Supply, P.O. Box 401, Pedal extension optional. Details: Andrew Smith your laptop for $135 including shipping, plus any TO BOX NUMBERS Riverside, IL 60546. 800/660-6360. FAX Pipe Organs, 522 East Rd., Cornish, NH 03745. parts. Any repairs or replacements, hard drive, 708/447-0702. 603/542-8316; [email protected]. etc are extra. Options: Register your software, that appear $35; spreadsheets of historical tunings, no without an address charge; manual, no charge. Send your old lap- Postal regulations require that mail REED ORGANS top for evaluation only: $85 (with return ship- should be sent to: ping). Install registered software: $50; Nylon to THE DIAPASON include a suite num- FOR SALE case: $20; Mouse: $1; 56k Modem: $35; Net- THE DIAPASON ber to assure delivery. Please send work Card: $35; Sensitive stem mike: $45. all correspondence to: THE DIAPA- Mason and Hamlin reed organ, 10 stops plus 3030 W. Salt Creek Lane, Suite 201 SON, 3030 W. Salt Creek Lane, Suite forte stop and octave coupler, with bench. Classified Ads must be prepaid and may be Arlington Heights, IL 60005 Excellent condition. Best offer. Nelson, ordered for 1, 2, 3, 4, 5, or 6 months. 201, Arlington Heights, IL 60005. 847/367-5102 or 312/304-5287.
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
J. H. & C. S. Odell Find the products H.W. DEMARSE East Hampton, Connecticut • web: www.odellorgans.com and services you’re TRACKER ORGANS voice: 860-365-0552 email: [email protected] looking for at 518-761-0239 PIPE ORGAN ARCHITECTS AND BUILDERS SINCE 1859 TheDiapason.com 2 Zenus Dr., Queensbury, NY 12804-1930 MEMBERS, AMERICAN INSTITUTE OF ORGANBUILDERS
GUZOWSKI & STEPPE Norman A. Greenwood ORGANBUILDERS INC CHARLES W. M CMANIS NEW INSTRUMENTS “Three Generations at Organ Building” REBUILDS - ADDITIONS In Memoriam TUNING & SERVICE CHARLOTTE, NORTH CAROLINA 28218 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 March 17, 1913–December 3, 2004 P.O. Box 18254 • 704/334-3819 • fax 704/544-0856 (954) 491-6852
PATRICK J. MURPHY & ASSOCIATES, INC. THE DIAPASON ORGANBUILDERS 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 610-970-9817 • 610-970-9297 fax Name ______NEW SUBSCRIBER [email protected] • www.pjmorgans.com RENEWAL Street ______ENCLOSED IS $70.00—3 YEARS Jacques Stinkens City ______ $55.00—2 YEARS W. Zimmer & Sons $35.00—1 YEAR Organpipes - since 1914 pipe organ builders State ______Zip ______FOREIGN SUBSCRIPTIONS Your personal wishes are in good hands P.O. Box 520 $85.00—3 YEARS Please allow four weeks for delivery of first issue Pineville, NC 28134 $65.00—2 YEARS Antonlaan 8 Tel. +31 30 - 691 38 27 [email protected] on new subscriptions. $45.00—1 YEAR NL - 3701 VE Zeist Fax +31 30 - 692 06 20 www.stinkens.nl (803) 547-2073
FEBRUARY, 2007 39 KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee ArAArArrtisttistiisststtstss 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008
Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Winchester Cathedral, UK Andrew Lumsden, Director October 17-29, 2007
The Choir of Saint Thomas Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Church, NYC John Scott, Director Available 2008
The Choir of St. John’s College Cambridge, UK West Coast USA Tour Spring 2009
*=European artists available 2007-2008 Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith*
Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland
WEBWEB SITE:SITE: wwwwww.concertorganists.com..concertorganists.coconcertorganists.com
Thomas Trotter* John Weaver Gillian Weir* Todd Wilson Christopher Young