THE DIAPASON FEBRUARY 2019

Saint John’s Episcopal Church Tulsa, Oklahoma Cover feature on pages 26–27 PHILLIP TRUCKENBROD CONCERT ARTISTS

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

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

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

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

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

ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 2, 2019 promises to be a good year Whole No. 1311 We have many exciting features to bring to you in this, our FEBRUARY 2019 110th year. We know that many of you enjoy interviews, and Established in 1909 we will feature conversations with Olivier Latry, Paul Jacobs, Stephen Schnurr ISSN 0012-2378 and Thomas Murray. Scott Cantrell has an article on the new 847/954-7989; [email protected] Dobson organ at St. Thomas Church Fifth Avenue, New York www.TheDiapason.com An International Monthly Devoted to the Organ, City. There will be several features on European organs, giving the Harpsichord, Carillon, and Church Music detailed information, stoplists, and photographs of instruments In this issue in England, Poland, and Ukraine. Joyce Robinson will examine Lorraine Brugh provides a report on the 2018 Three Choirs CONTENTS the many contributions Ernest Skinner made to The Diapason. Festival, hosted by Hereford and its cathedral in England. FEATURES There are many other features, more than we have space to Joy Schroeder writes on the 58th annual organ conference at 2018 Three Choirs Festival: Hereford mention here. So be sure your friends who love the organ have the University of Michigan, which concentrated on the con- Cathedral, UK subscriptions to receive these fascinating articles! tributions of women to the world of the organ, sacred music, by Lorraine S. Brugh 20 harpsichord, and carillon. John Collins profi les early organ Trailblazers: Women’s Impact on Organ, 20 Under 30 composers who have anniversaries in 2019. Carillon, Harpsichord, and Sacred Music, University of Michigan 58th Annual Organ We thank the many people who submitted nominations for In Here & There, we are pleased to provide the fi rst of what Conference, September 29–October 2 our 20 Under 30 Class of 2019. Nominations closed on Febru- we expect to be many profi les of carillons across the United by Joy Schroeder 22 ary 1. We will reveal our awardees in a video at our website in States. Kimberly Shafer focuses on St. Chrysostom’s Episcopal Early Organ Composer early March. Our May issue will feature our Class of 2019! Church, Chicago, Illinois. Anniversaries in 2019 In “Harpsichord Notes,” Larry Palmer brings to our atten- by John Collins 24 Our website and vintage issues tion another essay by his good friend, Jane Clark. Ever wonder NEWS & DEPARTMENTS I have previously mentioned that we have begun a project to what it takes to pack an organ for shipment? John Bishop pro- Editor’s Notebook 3 digitize vintage issues of The Diapason to make available at vides answers in “In the Wind . . .” In “On Teaching,” Gavin Here & There 3 our website. Further details will be forthcoming. At this time, Black muses on the various meanings of repetition. Appointments 6 though, most issues from the 1970s and 1980s are available at Our cover feature spotlights the new Schoenstein & Co. Carillon News 8 www.thediapason.com. Click on “Magazine” near the top, at organ in St. John’s Episcopal Church, Tulsa, Oklahoma. In Nunc Dimittis 10 “year” type in a year (e.g., 1972), and then click “apply.” You “Organ Projects,” the Case Organ Company has fi nished the Carillon Profi le by Kimberly Shafer 10 Harpsichord Notes by Larry Palmer 12 will then be able to view PDFs from the months available. The relocation and renovation of Aeolian-Skinner Opus 1204 for In the wind . . . by John Bishop 16 PDFs are searchable. Try it! Holy Name Catholic Center, Madison, Wisconsin. Q On Teaching by Gavin Black 18

REVIEWS Here & There New Organ Music 13 New Recordings 14 Events program November 15 to celebrate the New Handbell Music 15 tenth anniversary of the installation of ORGAN PROJECTS 28 Létourneau Organs Opus 109 in the CALENDAR 29 West Worship Center of Wheaton Bible Church, West Chicago, Illinois. Organ RECITAL PROGRAMS 33 solo works included pieces by Vierne CLASSIFIED ADVERTISING 34 and Bach. Collaborative works of organ and calligraphy featured works by Dan Locklair, Joe Utterback, and Adolphus THE Hailstork. The violin was featured in DIAPASON Community Presbyterian Church, Clar- music by Bach. FEBRUARY 2019 endon Hills, Illinois, Martin Ott organ

Scheidemann, Reincken, and Eggert. For information: www.chcpc.org. Cathedral of St. Mary of the Assump- tion, San Francisco, California, Ruffatti Historic Organ Study Tours organ (HOST) announces its 2019 summer tour to southern Germany (Bavaria and The Cathedral of St. Mary of Baden-Württemburg), August 20–29. Saint John’s Episcopal Church Tulsa, Oklahoma Cover feature on pages 26–27 the Assumption, San Francisco, The tour begins in Munich and contin- California, announces recitals, Sun- ues through Nuremberg, Augsburg, and COVER days at 4:00 p.m.: February 3, Grace Rothenberg ob der Tauber. Organs of Schoenstein & Co., Benicia, California; Renaud, organ, with Rafael Quinones, the 17th century through the modern Saint John’s Episcopal Church, tenor; 2/10, Young People’s Symphony era are featured. Tour leader is Michael Tulsa, Oklahoma 26 Orchestra; 2/17, Hans Uwe Hielscher; Grüber, tour directors are Bruce Ste- Stephen Hamilton at First Church, 2/24, Mark Bruce. St. Mary’s Cathedral vens and William T. Van Pelt. For Nashua, New Hampshire Editorial Director STEPHEN SCHNURR houses a 1971 Fratelli Ruffatti organ of information: [email protected]. and Publisher [email protected] four manuals, 89 ranks. For information: Stephen Hamilton opened the “Pops 847/954-7989 www.stmarycathedralsf.org. for Pipes IX” series of the 333rd anniver- President RICK SCHWER People sary celebration of First Church in Nashua, [email protected] St. James’s Episcopal Church, West New Hampshire, on November 18, with a 847/391-1048 Hartford, Connecticut, announces music program of music by Bach, Boëllmann, Editor-at-Large ANDREW SCHAEFFER events for 2019: February 10, Choral Dupré, Franck, and Widor on the church’s [email protected] Evensong; 2/24, cellist Owen Young and Austin organ. Joseph Olefi rowicz is pianist Alan Murchie; March 9, choral director of music of the church. Sales Director JEROME BUTERA music of Mendelssohn, performed by [email protected] 608/634-6253 the choir of St James’s Church with William Lincoln was honored upon Circulation/ members of the Hartford Symphony his retirement after 50 years of service Subscriptions ROSE GERITANO Orchestra; April 2, Vienna Boys Choir. as director of music and worship for St. [email protected] 847/391-1030 For information: www.stjameswh.org. Boniface Catholic Church, Louisville, Kentucky, at two morning Masses on Designer KIMBERLY PELLIKAN Community Presbyterian Church, Concert in West Chicago, Illinois, for or- Sunday, December 30. The choir and [email protected] gan, violin, and visual art 847/391-1024 Clarendon Hills, Illinois, will present a guest musicians presented works by recital by Kevin Chunko on February Bach, Claussen, and Widor. Receptions Contributing Editors LARRY PALMER 24, 3:00 p.m. The program will include Marsha Foxgrover, organist, Timo- followed each Mass. A special proc- Harpsichord works by Buxtehude, Bach, Schumann, thy R. Botts, visual artist, and Grace lamation was issued for the occasion BRIAN SWAGER Handel, Reger, Vierne, Pepping, Walker, violinist, collaborated in a ³ page 4 Carillon

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

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

³ page 3

Nicholas Schmelter, Philip Rice, and Kathryn Wills Cole

University now residing in Chicago, William Lincoln at St. Boniface Catholic on December 30 at First Presbyterian Thomas Murray with alumni of the Yale Institute of Sacred Music at a celebration in Church, Louisville, Kentucky Church, Caro, Michigan. Rice, program New Haven in November 2018 (photo credit: Anthony DeCarlo) director for the Mackinac Arts Council, is by the mayor of the City of Louisville, a prizewinning Michigan-based composer Greg Fischer. specializing in sacred music and song. For information: www.philiprice.net and Albinas Prizgintas was featured in www.schmeltermusic.com. the world premiere screening of a movie, The Heart Is an Organ, at the 29th New Orleans Film Festival. The festival Engaging the next shows fi lms from around the world and is generation an Academy qualifying event. The Heart The American Guild of Organists Is an Organ focuses on Prizgintas’s work announces its Pipe Organ Encounters with the Trinity Artist Series (featuring (POE) for 2019. POE (for ages 13–18) year-round weekly concerts and festi- includes: July 14–19, Seattle, Washington; vals) at Trinity Episcopal Church, New July 15–20, Cape Cod, Massachusetts; Orleans, where he served as organist and July 28–August 3, St. Louis, Missouri; Thomas Murray at the console of the Jon Laukvik choir director for nearly three decades. August 1–7, Helsinki, Finland. POE- Newberry Memorial Organ in Woolsey Prizgintas also performs keyboard music Advanced is offered June 23–28, Houston, Hall (photo credit: Robert A. Lisak) in the movie. Texas. POE-Tech (ages 16–23) will occur Equally featured in the movie is July 21–27, River Forest and Oak Park, The Yale Institute of Sacred Music (ISM) announces the retirement of Thomas Manon Prizgintas, concert publicist of Illinois. For information: www.agohq.org. Murray, professor in the practice of organ and Yale University Organist, effective at the the Trinity Artist Series. The movie cen- end of the 2018–2019 academic year. Since 1981 he has taught graduate organ students ters on the dynamics of their relationship and select undergraduates. Murray’s performing career has taken him to all parts of and their vision of the role of the arts in Competitions Europe and to Japan, Australia, and Argentina. He has appeared as a soloist with the the life of the community. The fi lm was The Cabra Bicentenary Composing Pittsburgh, Houston, Milwaukee, and New Haven Symphony Orchestras, the National shown at two locations: the Prytania The- Competition announces its song-writing Chamber Orchestra in Washington, D.C., and the Moscow Chamber Orchestra during ater and the Contemporary Arts Center, competition for new music for choir. The its tour of Finland in 1996. The New York City AGO Chapter named him International both in New Orleans, October 23 and winning composition will be sung at a con- Performer of the Year in 1986. In 2003, he received a diploma honoris causa as a Fellow 25, respectively. The New Orleans Film cert to be performed in December 2019 of the Royal College of Organists in England, and in 2007 the Yale School of Music Society’s magazine description of the in the chapel of St. Dominic’s College, awarded him the Gustave Stoeckel Award for excellence in teaching. He is also the move noted that it is “the story of a love Cabra, Ireland. Choral compositions, a recipient of an honorary fellowship from the Royal Canadian College of Organists. triangle between a musical genius, an art cappella or accompanied, no longer than Martin Jean, director of the Yale Institute of Sacred Music, has announced a festschrift lover, and the church organ that binds four minutes’ length, written for female in Professor Murray’s honor, to be edited by Patrick McCreless, professor of music them to the community.” For informa- voices (S, SA, or SSA), are accepted theory at Yale. The volume, tentatively called The Orchestral Organist, will explore ways tion: www.albinas.org. through May 10. There are two catego- that music has migrated from and to the organ and other musical forces. Inspired by ries, one for established composers, and Murray’s life-long interest in the practice of transcribing music for the organ, this new Godwin Sadoh has been awarded a one for new and emerging composers. volume will combine the work of scholars who will look at this process through the ages. grant by the Association Ephemere Awards are €700 for established compos- For the 2019–2020 year, Jon Laukvik has been appointed visiting professor of Classique/Project Myrelingues of ers and €300 new and emerging compos- organ. Laukvik, who retired from the University of Music and Performing Arts in France to compose a three-movement ers. For information: https://stdominics. Stuttgart, Germany, in 2016, has contributed two volumes to Historical Performance organ work in honor of French organist- ie/composing-competition/. Practice in Organ Playing and has edited a third; he has composed works for solo composer, Jean Louis Florentz (1947– organ, organ with other instruments, as well as vocal and instrumental works; and has 2004). The composition will be profession- concertized throughout the world. At Yale, he will take up Thomas Murray’s teaching ally recorded and premiered on compact Publishers duties for the year. disc in France in 2019, and the score will Augsburg Fortress announces new be published in the United States. keyboard publications for Lent: Lov- ing Spirit: Hymn Settings for Organ Nicholas Schmelter performed the (9781451420852, $18.50), by David Max- premiere of Anna’s Carol, by Philip Rice, well, is a collection of settings of hymn- with mezzo-soprano Kathryn Wills tunes for Lent, Easter, and general use, Cole, a singer with degrees from Central of moderate diffi culty; Grace and Peace, Michigan University and Northwestern ³ page 6

MANDER ORGANS

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Jeannine Jordan, minister of music and organist of St. Bede Episcopal Church, Forest Grove, Oregon, was the host for a daylong Orgelkids experience on November 20. The parish hall was fi lled with people of every age, discovering the intricacies of a tracker pipe organ—not by looking at one or attending a lecture or reading about a ³ St. Peter’s Square - London E 2 7AF - England tracker pipe organ, but by building a miniature playable pipe organ. Three “builds” Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 were held: one with 22 adults in attendance, the second for children (with more Continuo Organs [e] [email protected] than 25), and the third for youth. Assisted by David Jordan and her organ students, www.mander-organs.com Xoe Chapman and Sarah Gheorghita, the Orgelkids experience made the King of Instruments accessible for this multigenerational group. To view photos and a video of the Orgelkids experience: Imaginative Reconstructions www.promotiondownloads.info/st-bede-orgelkids.html.

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

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

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

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

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

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

R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 31st- year of operation Here & There

³ page 4 Volume 8: Songs of Lament and Long- Appointments ing (9781506413679, $19), by Nancy M. Giles Brightwell is appointed associate music Raabe, contains piano settings for Lent; director for All Saints’ Episcopal Church, Atlanta, and Cross of Jesus (9781451494105, $19), Georgia, where his responsibilities include accom- by Robert Lind, also contains piano works panying the adult choir and children’s choirs, sharing for use in Lent. For information: conducting with the director of music for two weekly www.augsburgfortress.org. choral services. Brightwell holds three degrees (Bachelor of Arts, Master of Arts, and PhD) in musi- Bärenreiter announces new choral cology from the University of Durham, England, publications: Stabat Mater in G Minor where his supervisor was Jeremy Dibble. He holds (vocal score, BA 5656, €6.50), D. 175, by the Licentiate diploma (LTCL) in organ perfor- Franz Schubert, edited by Rudolf Faber, mance from Trinity College, London. He was organ a scholarly-critical edition based on the scholar and a choral scholar at Durham Cathedral. “New Schubert Edition;” Magnifi cat in C Giles Brightwell His teachers include Stevie Farr, James Lancelot, Major (vocal score BA 5657-90, €10.95), An Ely Christmas John Wellingham, and William Whitehead. D. 486, also by Schubert, and based on the “New Schubert Edition;” Missa Kirk Michael Rich is appointed director of solemnis (full score, BA 9038, €98), op. music for All Saints’ Episcopal Church, Atlanta, 123, by Ludwig van Beethoven, edited by Georgia, where his responsibilities include direct- Barry Cooper; and Elijah (choral score, ing the adult choir, sharing organ playing with the BA 9070-91, €10.95), op. 70, by Felix associate director of music for two weekly choral Mendelssohn, edited by Douglass Seaton. services, and overseeing a children’s and youth choir For information: www.baerenreiter.com. curriculum. He will administer the church concert series and develop a weekly lunchtime series. Michael’s Music Service announces Rich holds degrees in organ performance new music restorations: White Orchids, from Oberlin Conservatory of Music, Oberlin, by James F. Cooke, transcribed by Clar- Ohio, Indiana University Jacobs School of Music, ence Kohlmann, was originally published Kirk Michael Rich Bloomington, Indiana, and recently completed in 1941 as a piano piece; Andante in D, the doctor of musical arts degree from the by Alfred Hollins, was believed by the University of Houston Moores School of Music, Houston, Texas. His organ composer to be his best work; Evening teachers include Douglas Reed, James David Christie, Christopher Young, Shadows, by R. S. Stoughton, was the Firebird and Robert Bates. Additionally, Rich has studied privately in Europe with next-to-last work by this banker and com- Francesco Cera and Ludger Lohmann. Choral conducting instructors include poser; and Prelude and Fugue in A Minor, the Girl Choristers and Lay Clerks at Ely Betsy Cook Weber and Charles Hausmann. Q by Clarence Eddy, is an extraordinarily Cathedral, with Sarah MacDonald, well-crafted piece from 1882. conductor, and Andrew Shilson, organ- Meditation, by Will C. Macfarlane, ist. The selections feature new carols and Violin and Harpsichord: Frankfurt, municipal organist for Portland, Maine, new arrangements, including works by 1715 ($14.99). The disc features Dorian was premiered by Ralph Kinder at his John Rutter and Philip Stopford. Komanoff, violin, and Paul Cienniwa, 400th recital at Holy Trinity Church, Firebird: Ravel–Paulus–Stravinsky harpsichord, performing seven sonatas Philadelphia; Moonlight on the Lagoon, (REGCD500), features organ duets by by Georg Philipp Telemann (1681– by Rudolf Friml, transcribed by Edward the Oxbridge Organ Duo, Benedict 1767). For information: Shippen Barnes; Love Light, by Clarence Lewis-Smith and Julian Collings, at the www.whalingcitysound.com. Kohlmann, makes use of various soft colors organ of Blackburn Cathedral, UK. The of the organ; Marche Triomphale, by René featured works are Ravel’s Boléro, Paulus’s Becker, is subtitled “Ite, Missa est” and is Paean, and Stravinsky’s The Firebird. For Organbuilders thus appropriate for a postlude. For infor- information: www.regentrecords.com. mation: www.michaelsmusicservice.com. Casavant Opus 3920, Strait Culture and Arts Center, Fuzhou, China Wayne Leupold Editions is devel- oping a supplemental series of pedal Just prior to this event, Casavant primer books (Basic Pedals) that will be reinstalled its Opus 9 in Monastère coordinated with Discover the Basics, des Soeurs du Précieux-Sang, Saint- a beginning, fi rst-year keyboard series Hyacinthe. Built in 1885, this is the for organ or most any keyboard instru- oldest extant Casavant organ, and it was ment. The series can be used by children restored by the builder. For information: or adults to begin keyboard or organ www.casavant.ca. study. The publisher seeks organ teach- ers willing to test teach these materials with students. For information: wayne@ wayneleupold.com or 336/996-8653. Telemann Sonatas for Violin and Harpsichord Recordings Regent Records announces new CDs: Whaling City Sound announces An Ely Christmas (REGCD527) features a new CD, Telemann Sonatas for

Casavant Opus 9, Monastère des Longwood Gardens console Soeurs du Précieux-Sang, Saint-Hya- cinthe, Québec, Canada Solid State Organ Systems In December, Pierre-Paul Ruiz, installed a new Capture for MultiSys- project director for Casavant Frères, tem II in January at Longwood Gar- Limitée, Saint-Hyacinthe, Québec, dens, Kennett Square, Pennsylvania. Canada, played the inaugural recital on The CFM-II controls 353 stop-tablets, the builder’s new organ at the Strait 70 pistons, and a custom Expression Culture and Arts Center, Fuzhou, Matrix of 72 luminous stops. The China. This instrument, Opus 3920, CFM-II works with Organist Palette, is the fi rm’s third concert hall organ in where organists can access their own China. The four-manual instrument fea- private library of memory and custom- tures a mechanical-action console with a ize features such as Pedal Divide and second electric-action console. ³ page 8

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³ page 6 many roles the instrument will fi ll in the the Advanced Sequencer. The project university’s Alumni Chapel for teaching, was managed by Richard Houghten, practice, recitals, and choral accompani- Inc., and specifi cations were made ment; the organ will also enhance the in conjunction with principal organ- approximately 160 weddings that take ist Peter Richard Conte. Also added place in the chapel annually. Project during this update were the Organist completion is expected before May 2020. Palette and Tuning for MultiSystem. The Létourneau team began 2019 by This update comes as a successor to dismantling an 1872 Louis Mitchell the SSOS Video MIDI Player installed organ at the Church of St-Roch-de- in 2008. Richelieu and transporting it to the SSOS has installed control systems builder’s workshops for restoration. around the world for over fi fty years. Among other details, replicas of the miss- MultiSystem II is the centerpiece of ing Gr-Orgue 8′ Trompette and 4′ Clai- Solid State Organ Systems product line. ron stops will be made and reinstated in A complete relay and switching system, their original positions. For information: Cherry Rhodes with students of Ewha Womans University, Seoul, Korea MSII also provides the opportunity for http://letourneauorgans.com. their Capture for MultiSystem, Organ- Ewha Womans University, Seoul, Korea, sponsored its 2018 Pipe Organ Festival ist Palette, Record for MultiSystem, Michael Proscia, Organbuilder, September 13–14, during which Cherry Rhodes presented a recital and a master- Tuning for MultiSystem, and the newly Inc., Bowdon, Georgia, has entered class. She performed works of Bach, Messiaen, Lidon, and gave the Asian premiere released Voicing for MultiSystem. an agreement with Christ Episcopal of a new American organ work, Chorale, Diferencias, and Glosas on “Puer Natus The company has drawings, spares, Church, Valdosta, Georgia, to provide in Bethlehem” by Fr. Joseph Walter, written for Rhodes. Thirty-two organ majors upgrades, manuals, and backup for a replacement console for its 42-rank attended the masterclass. Cherry Rhodes is adjunct professor of music at the Univer- every system they have made. For Schantz instrument, built in 1972 for All sity of Southern California, Thornton School of Music in Los Angeles. information: 703/933-0024 or ussales@ Saints’ Episcopal Church, Atlanta, Geor- ssosystems.com. gia. In 2004, the Schantz organ was sold to Christ Church. In November, Christ Church Vestry concluded that rather than rebuild the original, complicated action electro-pneumatic console, a new console would be built to accommodate Peterson solid-state components. It will be located in front of the organ, along with the choir, directly behind the altar and fi nished in Colonial style, matching church furnishings. For information: www.prosciaorgans.com.

Carillon News Michigan State University, where Lé- tourneau Opus 134 will be installed be- Andrew Segrest, Jordan DeRouen, Polina Golubkova, Alex Gilson, and Christina fore May 2020 Harmon (photo credit: Masako Gaskin)

The French Organ Music Seminar (FOMS) Young Artists’ Competition was held at Madison Avenue Presbyterian Church in New York, New York, on October 24. The fi nalists played “Final” from Symphonie I by Vierne and a short work by Daniel Roth. The competition was open to organists age 29 and under, and judged by Yannick Merlin and Béatrice Piertot. First Place was awarded to Alex Gilson, associate director of music at First Pres- byterian Church in Davenport, Iowa. He holds a Master of Music degree from East- man School of Music. Second Prize was awarded to Andrew Segrest, who earned a Master of Music degree from University of North Texas. Third Place winner was Jordan DeRouen, who holds a master’s degree in organ performance from South- ern Methodist University. Honorable mention was given to Polina Golubkova, a graduate student at Stephen F. Austin State University. The competition took place as a part of four-day event, FOMS in New York City, during which participants played instruments, attended organ concerts, and had mas- The Louis Mitchell organ in Church of terclasses and lectures at several churches. The French organists Beatrice Piertot and St-Roch-de-Richelieu Yannick Merlin were present as teachers and performers. Plans are underway for the Bok Tower, Lake Wales, Florida (courtesy 2019 French Organ Music Seminar in Europe. For information: www.bfoms.com. Michigan State University of East Bok Tower Gardens) Lansing, Michigan, has signed an agree- ment with Orgues Létourneau of The Guild of Carillonneurs in Saint-Hyacinthe, Québec, Canada for a North America announces its 77th new pipe organ. A two-manual design Congress, “Congress in Paradise,” of 36 ranks, the specifi cation refl ects the ³ page 10

www.pekc.org Princeton Early Keyboard Center Gavin Black, Director

The Princeton Early Keyboard Center, with its principal studios on Witherspoon Street in Princeton, NJ, is a small, Audrey Verde at First Lutheran Church and Marshall Joos at the Church of the Ad- independent school offering lessons and workshops in vent, Boston, Massachusetts harpsichord, clavichord, continuo playing, and all aspects The Young Organist Collaborative (YOC), which provides scholarships to of Baroque keyboard studies. Facilities include two young organists, hosted a student fi eld trip to notable Boston, Massachusetts, area antique harpsichords, several other fi ne harpsichords, pipe organs on November 3. The group, consisting of fi rst-year and more experi- and clavichords, both antique and modern. Lessons at the enced students, visited three varied instruments. Each student had an opportunity to play the three organs. The group fi rst visited First Lutheran Church and its Center are available in a wide variety of formats, tailored to 2000 Richards, Fowkes & Co. two-manual, 38-rank instrument. The second stop was the needs of each student. All enquiries are very welcome at the Church of the Advent and its 1936/1964 Aeolian-Skinner Organ Co. instru- 732/599-0392 or [email protected]. ment of three manuals, 77 ranks. The fi nal stop was Old West Church and its 1971 C. B. Fisk organ of three-manuals, 46 ranks. For information: www.stjohnsnh.org/ young-organist-collaborative/.

8 Q THE DIAPASON Q FEBRUARY 2019 WWW.THEDIAPASON.COM A Monarke organ perfectly blends your dreams and our craftsmanship Monarke V: 5 manuals, 89 stops, 44.7 audio system.

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³ page 8 to be held at Bok Tower Gardens, The May and June issues will Nunc Dimittis Lake Wales, Florida, June 10–14. The include announcements of summer Stephen Gothold, 77, died December 5, 2018. 60-bell carillon was cast by Taylor Bell organ and carillon recital series. After graduating from Whittier College, Whittier, Foundry in 1928. The foundry carried The Diapason’s unique Summer Car- California, Gothold went on to receive a Master out renovation and expansion projects illon Calendar is included in the June, of Arts degree in music from Occidental College, in 1967, 1987, and 2000. For informa- July, and August issues. Announcements Los Angeles, and a Doctor of Musical Arts degree tion: www.gcna.org. of recitals at your church or educational from the University of Southern California, Los institution are welcomed. Please send Angeles. He also studied at the International Bach Looking ahead event information by March 30 to Ste- Academy in Stuttgart, Germany, with Helmuth The April issue of The Diapason phen Schnurr: [email protected]. Rilling. Other teachers include Richard Lert, will include a list of summer conven- The August issue will begin Daniel Lewis, Robert Shaw, Frank Pooler, Rodney tions, conferences, institutes, work- announcement of organ, choral, and Eichenberger, and Charles Hirt. shops, and organ academies. If your carillon events for the 2018–2019 sea- He served as director of choral activities at Whit- event was not included in the 2018 list, son. Please submit information, if pos- tier College, Whittier, California, from 1977 to 2003. or to update your event listing, please sible, by June 30 to ensure announce- He also taught at the University of La Verne and send pertinent information including ment. All announcements should be at University of Southern California. From 1981 to website to Stephen Schnurr: sschnurr@ sent by email to Stephen Schnurr: Stephen Gothold 2018, he directed the City of Whittier’s community sgcmail.com. Deadline is February 15. [email protected]. Q masterworks ensemble, Chorale Bel Canto. Gothold served as president of the Southern California Chapter of the American Choral Directors Association, as an offi cer in the Choral Conductors Carillon Profi le Guild, and was a host, adjudicator, and clinician for the Southern California St. Chrysostom’s Episcopal Church, Chicago, Illinois Vocal Association for more than thirty years. He also served as musical direc- Gillett & Johnston, Croydon, England tor/conductor for more than 100 musical theatre productions in professional and university productions. He served as director of music ministries at First United Methodist Church, Pasadena, California, and Westwood United Meth- odist Church, Los Angeles. Gothold also composed and narrated for an edition of Tajar Tales, a children’s book.

William “Bill” Peter Zabel, 74, of Fort Wayne, Indiana, died Novem- ber 30, 2018. Zabel worked for the former Tokheim Corporation and was the founder of Z-Tronics, Inc., manufacturing solid-state electronic relays for pipe organs. He was a charter member of Beautiful Savior Evangelical Lutheran Church, Fort Wayne. St. Chrysostom’s Church (photo credit: A bell in the carillon (photo credit: Zabel was an instrumental charter member of Fort Wayne’s Embassy The- Alex Ballee) Christopher Chung) atre Foundation, organized to save the building from demolition. He was an honorary member of the American Theatre Organ Society, receiving the organization’s Industry Achievement Award in 1994. He also received an Arts United Award in 2017 as an Outstanding Arts Advocate. William Zabel is survived by his wife of 50 years, Barbara J. (Bendlin) Zabel. He is also survived by Steve and Melissa (Weirich) Zabel with Soren and Marek of Indianapolis, and Rebecca and Wes Rader with Cameron of Fort Wayne. A memorial service was held December 5 at Beautiful Savior Lutheran Church.

Peter M. Partridge, 76, died October 4, 2018. He grew up in Kingston, Ontario, Canada, and studied at the Royal Academy of Music, London, England, was the music master of Westminster School, and served as assistant to the organist at Westminster Abbey from 1961 to 1964. While there he played Battle Hymn of the Republic at a memo- rial service for John F. Kennedy that was broadcast worldwide by the BBC, and he played at the royal wedding of Princess Alexandra and Angus Ogilvy. Partridge returned to Canada in 1964 to Carillon keyboard (photo credit: Alex Ballee) become director of music at Ridley College in St. Catharines, where he taught for fi ve years. In The carillon of St. Chrysostom’s Episcopal Church, Chicago, Illinois, is the February 1970 he accepted a position as a stock- older of the two carillons in the city, and the second oldest in the Midwest. The Peter M. Partridge broker with AE Ames, a predecessor company of carillon was donated by Richard T. Crane, Jr., in memory of his father, the indus- RBC Dominion Securities, Inc., where he worked trial magnate whose company manufactured plumbing and heating fi xtures. The for 48 years, serving as a vice-president and portfolio manager, and was look- company still thrives today by manufacturing a diversity of industrial products. ing forward to his 50th anniversary with the fi rm. The carillon is housed in the tower dedicated to the younger Crane’s mother, Partridge was director of music and organist from 1970 until 1997 at St. Paul Mary Prentice Crane. St. United Church, Silver Spire, founded the fi rst choir at Brock University The 43 bells were cast and installed in 1927 by Gillett & Johnston of Croy- called the Brockenspiels in the mid 1960s, was past president of the Ontario don, England. The 3½ octaves range from a bourdon of C3 (approximately Choral Federation, past president of the St. Catharines Symphony, a board 5,000 lbs.) to G6. The bells possess a rich, full tone, particularly in the lower member of Community Concerts, current treasurer of the Canadian Interna- octaves, true to their foundry’s reputation. Gillett & Johnston were also known tional Organ Competition, and past chairman of the Royal Canadian College of for their penchant for experimentation, and that is found here in the gentle Organists. He hosted a radio show for ten years on CKTB, Invitation to Good concave design of the pedalboard and stretch tuning in the upper range of Music. He served two terms as a Brock University Trustee (2004–2010) and was bells. The Crane Memorial Carillon still operates with the original roller-bar named a trustee emeritus in 2016. In 2013 Partridge played an integral role as transmission system and the original keyboard. the fundraising chairman of the new Performing Arts Centre in downtown St. The carillon is performed before and after the 11:00 a.m. service on Sundays, Catharines. He and his wife made a gift of $1 million, and the largest of the four and at weddings, funerals, and in recital. Richard Hoskins is director of music, performance venues displays the name “Partridge Hall.” In 2017 he donated a organist, and carillonneur; Kimberly Schafer and Jim Fackenthal are the resi- practice organ to Westminster Abbey and subsequently was invited by Prince dent carillonneurs. Charles to a dinner at Buckingham Palace to celebrate the Queen’s Diamond —Kimberly Schafer, PhD Jubilee Galleries at Westminster Abbey. Founder and Partner, A memorial service for Peter Partridge was held October 27 in Partridge Community Bell Advocates, LLC Hall, FirstOntario Performing Arts Centre, St. Catharines. He is survived by www.communitybelladvocates.com his wife Janet (nee Burgoyne) Partridge, sons Peter W. (Poppy Gilliam) and [email protected] John Partridge, one brother, one sister, and three grandchildren. Q

BACH AT NOON

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10 Q THE DIAPASON Q FEBRUARY 2019 WWW.THEDIAPASON.COM

Harpsichord Notes

Jane Clark: “D’un goût nouveau:” the infl uence of Evaristo Gherardi’s Théâtre italien in François Couperin’s Pièces de Clavecin In the Preface to his fi rst book of harp- sichord pieces, Couperin praised the work of his “forbears” saying that their music still appealed to people of “refi ned taste” (ceux qui l’ont exquis). “As for my pieces,” he adds, “their new and diversi- fi ed character has assured them a favor- able reception with the people who mat- ter (le monde).” He also said the pieces were ideas that had occurred to him and that many of them were portraits. Titon du Tillet, in Le Parnasse François, wrote that Couperin’s Pièces de Clavecin were “d’un goût nouveau,” in a new style. He said the same of the playwright Charles Dufresny, writing that the author under- stood music perfectly and that his lively Theatrical chinoiserie decoration from Larry Palmer’s Yves Beaupré French-style harpsichord (1991) based on the only portraits of almost all the different char- surviving instrument by Vaudry (1681) (Photo credit: Andrew James Fullerton) acteristics of mankind were “d’un goût nouveau.” Was the playwright perhaps But who were “the people who matter,” L’Audacieuse, refers to Gherardi’s debut, Couperin’s “new and diversifi ed charac- an infl uence? “le monde?” We know Couperin played known as la tentative audacieuse. ter,” rather than those of “refi ned taste” There is a play by Dufresny called Les at the salon of Mme. de Lambert and Sometimes a title seems obvious when who appreciated his forbears. Mal-assortis. The stage represents the that Louis III de Condé employed him it is not. La Sophie from the 26th Ordre His references to the play Les Chinois Room of the Ill-matched Couples where to teach his children and engaged him is not a pretty girl, but rather a play, Mez- in his fi nal valedictory 27th Ordre fi t Hymen, god of marriage ceremonies, to entertain his guests. A member of zetin en Grand Sofi , which revealed the the stage directions so exactly it is likely sits among couples with their backs to his father’s household was La Bruyère, true meaning, a whirling dervish. Cou- they started as incidental music. The one another. He is sitting under a dead whose literary Caractères, a copy of perin portrays the whirling throughout troupe had a large orchestra and these tree on which perch birds of evil-omen: which Couperin possessed, were clearly the piece. To dress La Sophie in pretty pieces feel like arrangements. The scene cuckoos, owls, and bats. Couperin’s an infl uence. Condé’s sister, and cousin girls’ clothes makes a mockery of the referred to satirizes Apollo and the Muses piece, L’Himen-amour (Married Love) of the Prince de Conti, la duchesse du music. It comes between the nostalgic on Mount Parnassus, which implied the from the 16th Ordre, mimics cuckoos Maine, was a friend of Mme. de Lam- Gavotte and the heart-rending portrait whole edifi ce of the court of Versailles. (measures 18–22 and 41–43 in the bass), bert. All these people were patrons of of Maria Teresa d’Orsi, L’Epineuse, the Pegasus (symbol of literature), portrayed owls (measures 18–21 and 34–36), and the great Harlequin, Evaristo Gherardi’s Spinetta of Gherardi’s troupe, in the 26th as a winged ass, keeps interrupting the bats (measures 30–32), and wedding Italian comedians. Dufresny’s play, Les Ordre. Couperin’s theatrical sense never conversation, and when Apollo asks bells are heard briefl y in measure 5. Mal-assortis, comes from the collec- allows him to put three gentle pieces in Thalia why the authors have not fed him Almost certainly Dufresny was one of tion published by Gherardi, Le Théâtre a row. The fi nal piece, La Pantomime, she says, “The poor devils can scarcely Couperin’s inspirations. Like the play, the italien. There are many specifi c refer- is described by Gherardi. Scaramouche feed themselves these days, you can’t get composer’s piece is a powerful and often ences to these plays among Couperin’s sits playing his guitar; Pasquariel comes fat on chewing laurels,” a reference to the sad satire of a universal human condition. harpsichord pieces. It is interesting that up noiselessly behind him and beats time fact that the king had withdrawn his sup- Marked majestueusement, the piece Charles Couperin, François’s father, on his shoulder scaring him stiff: port for the troupe. The piece opens with refers back to the previous piece in the taught the duchesse d’Orléans who was the same fi gure used for the braying of It was in this pantomime of terror that 16th Ordre, Les Graces incomparables the dedicatee of this publication. he made his audience rock with laughter the ass in La Conti. Later the stage direc- ou La Conti, also marked majestueuse- As time went on the plays became for a good quarter of an hour, without once tions instruct that an ensemble of comic ment, a radiant portrait of the popular more and more subversive. They sati- opening his mouth to speak. He possessed instruments is heard. These appear in the Prince de Conti, whose marriage was rized Lully’s operas, thus satirizing the this marvelous talent to such a remarkable second part of the piece. degree, that he could, by the simplicity of not a great success. We know it to be glory of the King who eventually banned pure nature alone, touch hearts more ef- Les Vieux Seigneurs followed by Les this Conti because Saint Simon, who was the troupe. The reason for this is not fectively than the most expert orators. Jeunes Seigneurs, Cy-devant les petit very fond of him, tells us he had a laugh clear, but contributing factors included Maîtres from the 24th Ordre proves that like the braying of an ass (measures 9 obscenity and that they had overstepped The tragicommedia aspect of the plays is Couperin was infl uenced by Dufresny. and 15). He was also a great patron of the the mark with comments about the strong in this particular piece. In Les Vieux Seigneurs Couperin theater. Thus we have had an idea from unpopular Mme. de Maintenon. How- Another reference to Gheradi’s satirizes obsequious courtiers. To quote the theater and a portrait. It seems that ever, perhaps the real reason was the Théâtre is Le Gaillard-Boiteux from the Dufresny, from Les Amusemens sérieux many of Couperin’s contemporaries did subversive undercurrent, with which the 18th Ordre. It mocks a dancing master at et comiques, “The courtier thinks care- not understand this “new and diversifi ed patrons would have sympathized. Mme. Versailles, Jean Gaillard. In Regnard and fully before he speaks, the petit maître character:” “I am always astonished,” he de Maintenon was a lady of reforming Dufresny’s play Les Chinois we are told talks a lot and scarcely thinks at all . . .” said in the Preface to Book III, zeal, and she slowly turned the court into the actors are going to mock themselves The courtiers fl atter those they scorn, what one courtier called “a monastery at last: “There is not a profession that what dissimulation. The petit Maîtres after the pains I have taken to indicate the appropriate ornaments for my pieces, to in court dress.” The courtiers resented has escaped their satire; Attorneys, Doc- are more sincere, they hide neither their hear people who have learnt them without this. From 1688, for most of the rest of tors, Magistrates. They have not even friendship nor their scorn. The courtier’s heeding my instructions. Such negligence Louis XIV’s reign, France was at war and respected Roman Emperors or dancing speech is uniform, always polite, fl atter- is unpardonable, the more so as it is no ar- conditions at home became appalling for masters.” In the scene, from Boisfran’s ing, never direct. The speech of the petit bitrary matter to put in any ornament one wishes. I therefore declare that my pieces many people, so discontent and subver- Arlequin misanthrope, the dancing mas- Maître is high and low, a mixture of the must be performed just as I have marked sion rumbled on every side. ter has a wooden leg. Harlequin asks: sublime and the trivial. The fi rst part is a them, and that they will never make much Another piece that takes its inspira- “And what is your profession?” Colafon: mixture of “high and low” motifs and idle of an impression on people of real dis- tion from the theatre is L’Arlequine from “I was the dancing master at the opera chatter while the second, still “high and cernment if all that I have indicated is not obeyed to the letter, without adding or tak- the 23rd Ordre. It refers to a play by house in Lyon, but as the opera has low,” is beautiful. Les Vieux Seigneurs, if ing away anything. Regnard, Le Divorce, in which Gherardi fallen . . .” Harlequin: “It fell on you I all Couperin’s markings are obeyed, is, made his debut, and is a harlequin suppose, and there you are, completely once again, an apt portrait. Les Jeunes Perhaps one example may bring this chaconne. At the beginning Couperin is crippled?” Marked dans le gout Bur- Seigneurs chatter away both high and home. The allemande La Verneüil is imitating a fairground organ, remember- lesque this piece limps along cheerfully. low during the “trivial” fi rst half, but the presumably a portrait of Achile Varlet, ing that after the troupe was banned the People have wondered at the sexy second part is “sublime.” seigneur de Verneüil, a great tragic actor. actors took refuge in the fair theatres. words of Couperin’s canons but a glance In the fi nal piece of this Ordre, His wife was a soubrette actress, the sub- The passage of discords towards the end at Gherardi’s Théâtre reveals similar sex- L’Amphibie, we are back where we ject of the next piece in the 18th Ordre, (measures 25–31) is inspired by a scene ual references. Couperin’s Les Culbutes started, showing Couperin’s sense of La Verneüilléte. Couperin has marked from Le Divorce in which Harlequin is Jacobines from the 19th Ordre is about symmetry. Here we must be mindful ports de voix in the middle of many of the singing a duet with Mezzetin, the singing somersaulting in bed. These are the som- of eighteenth-century meanings. La chords, but almost always this important master. Harlequin’s efforts are a disaster ersaults of the Jacobin order of monks Bruyère used the term amphibious to ornament is simply played as part of a and Mezzetin pleads, “Do please sing and nuns, whose fallen morals were describe the ambitious courtier. Simi- spread chord (measures 1, 5, 18, and 19). in tune.” Harlequin replies, “Oh, sing the subject of many satirical poems. If larly Alexander Pope was scathing in his Surely this is “unpardonable negligence” in tune yourself, do you think I don’t all Couperin’s detailed markings, which portrait of Lord Hervey: “Amphibious and reduces this wonderful piece to just know that it’s necessary to mark a disso- include the slurs, commas, and aspira- thing! That acting either part, The tri- one more beautiful allemande. But if the nance there, and that the octave comes tions, are obeyed the piece becomes fl ing head, or the corrupted heart, Fop “appropriate ornament” is played the in clashing with the unison, forming a a sexy romp. Those who attended the at the toilet, fl atterer at the board, Now great actor declaims his tragic speech. B-sharp minor.” Like so much of Book salons and appreciated the theatre trips a lady, and now struts a Lord.” A It is easy to see how one ornament can IV, this piece has an element of nostalgia. were among those known as Le Monde. speech from Boisfran’s Les Bains de la change the whole meaning of a piece. The previous piece in the 23rd Ordre, They were in a position to appreciate Porte Saint Bernard describes a Lutin

12 Q THE DIAPASON Q FEBRUARY 2019 WWW.THEDIAPASON.COM By Larry Palmer Reviews

Amphibie, who ordains that: “The young New Organ Music with the theme tossed back and forth from the D minor of the beginning, men of fashion are by pleasures, by Hamburg Organbook, by Carson between the hands, alternating with through a number of keys complete with appearances, by gait, by patches, and by Cooman. Zimbel Press, Subito Music joyous measures in triplet time. modal infl uences before returning to manners made less men than women.” Corporation, #80101401, $24.95. Ostinato Postlude on a Motive of D minor for a repeat of the opening The ambiguity is refl ected throughout The six pieces in this volume are based Andreas Willscher is a two-part ostinato, material. One more repeat of the hymn L’Amphibie. Marked noblement, at the on themes and motives by the German much of it in contrary motion in the hands, tune with a different solo stop concludes beginning, it is indeed noble, but gradu- composer Andreas Willscher (b. 1955). set against two pedal points at the fi fth. In the piece except for a short reference ally gives way to “Wit that can creep and Willscher, a native of Hamburg, was two places a slow-moving melody appears to the opening material, one fi nal time. pride that licks the dust,” to quote Pope appointed organist of Saint Francis in the soprano. The music calls for full This is comfortable, enjoyable music. It again. We go through caution at the Church in Hamburg and later at the organ, but there is a note that the piece is not too diffi cult to play, if you watch court, obsequious bows, pleading, seem- church of Saint Joseph-Wandsbek in may be played simply on quiet stops. It is out for a few hard spots. ing success, sudden disillusion, anger, 2000. His organ works are very diverse, marked “Molto presto, molto brillante.” A short, three-page piece follows: Vol- resignation, till fi nally, nobility returns, ranging from large-scale, post-tonal Variations on a Theme of Andreas untary on a Motet by Andreas Willscher but with a startling G-natural, which can pieces to some that blend elements of the Willscher starts by laying out the theme (Laudate omnes gentes). Four measures perhaps imply scorn at the dissimulation traditional repertoire with contemporary complete with little echoes and cleverly marked “Maestoso” open the piece. The needed for success. Recent research has jazz and pop infl uences. In addition to placed augmented seconds. Moving music immediately switches to a 5/8 shown that Couperin worked very little his own composition and performing directly into the fi rst variation, the left rhythm, fast and brassy. The 1–2–3–1–2 at Versailles apart from his organist’s post activities, Willscher has published a hand becomes a repeated two-chord rhythm then continues to the end of the for three months a year. He was probably number of literary and scientifi c articles ostinato under the theme. The next piece, during the course of which we a bad courtier himself. Clearly he felt in journals and encyclopedias and has variation calls for Voix Celeste or 8′ Flute travel, as in the previous piece, through a great sympathy with the values expressed been very active in collecting and pre- with the theme in the left hand on the 8′ number of interesting keys, ending in D in Evaristo Gherardi’s Théâtre italien. serving lost and forgotten music from Principal and Nazard. “Quasi musette” major. I fi nd that the manual chords do earlier eras. YouTube has an interesting imitates sixteenth-century French not always want to fi t under my fi ngers Jane Clark is well known as a selection of his organ music. bagpipes in the following variation. A easily, and it is going to take some time harpsichord recitalist in Europe and Using his own creative style, Cooman two-measure fi gure using the Trumpet to get it learned. This is the most diffi cult the United States. Her research into has taken themes from Willscher’s and 4′ Principal demands attention as it piece in the collection. the music of François Couperin and compositions and used them as inspi- hammers away throughout the variation. Paraphrase on a Motive of Andreas Domenico Scarlatti has received interna- ration for music of his own. The fi rst There are a few moments of respite in Willscher is the fi nal piece in this series. tional recognition. The Mirror of Human is a three-movement work, Cortège, the next variation—lush strings with the The music alternates a grand, majestic Life: Refl ections on F. Couperin’s Pièces Intermezzo, and Litany on the Joseph- theme mostly in the alto. Most of the section with a section featuring a soft de Clavecin (written in collaboration Hymnus. The theme is used by Andreas stops are employed for the fi nal variation Cornet solo against strings. The piece with Derek Connon) explores the back- Willscher in his extensive Fantasie über that is imitative. The theme appears in concludes with a brisk toccata, inter- ground to these pieces and offers sugges- den Joseph-Hymnus. The “Cortège,” a all the parts except the pedal. rupted in the middle by the return of tions as to the meaning of many elusive ceremonial processional, begins with Pastorale on a Hymn by Andreas the opening Maestoso. The toccata is the titles. David Tunley, writing in Music a brief introduction before the theme Willscher could be used as a meditative most diffi cult portion of this piece, but and Letters (May 2012) suggested that is heard in the pedal, much like a pas- piece of music. A gently moving 16th- slow practice makes it accessible. “this book should be within arm’s reach sacaglia. The melody is treated for a note staccato fi gure repeats itself over a There is much new and exciting music in every studio where Couperin’s music short time in counterpoint before the slow moving premonition of the melody in this volume, so much so that I will is loved and practiced.” Q introduction returns. The movement to come in 6/8 time. The hymntune, have a diffi cult time programming all of concludes with a reiteration of the which calls for a solo stop, is also in 6/8 it. In every respect, it is rewarding music Comments and questions are wel- theme in six-part texture marked fff. against a mixed rhythm in the left hand to learn and play. come. Address them to lpalmer@smu. “Intermezzo” is tranquil and moves and pedal. Cooman then treats the tune —Jay Zoller edu or 10125 Cromwell Drive, Dallas, “between the several harmonic poles in a more ornamented and contrapuntal Newcastle, Maine Texas 75229. of the theme.” “Litany” is brilliant manner. During this we have traveled ³ page 14

OREGON BACH FESTIVAL ORGAN INSTITUTE July 8 – 13, 2019

Led by Grammy Award-winning organist PAUL JACOBS Daily master classes • Seminars on music theory, history, and organ design Tour of Portland organs • Recital performance in the Festival

A generous grant from The Reed Foundation provides free tuition, room, and board for Institute participants.

Participant auditions are due by March 20, 2019. Auditors can enroll through June 1.

For more information about the Organ Institute please visit OregonBachFestival.org/organ-institute Photo by Athena Delene

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2019 Q 13 Reviews

³ page 13 thousand years ago to provide boy cho- Jesus College, Cambridge, in 2008. This Parry, although with a distinctly modern risters for the cathedral. King Edward college has no choir school; instead there accent. Once again it capitalizes on the New Recordings the Confessor, whose death in 1066 led are both male and female undergradu- girls’ soaring voices. To Be a Light: Evening Canticles to the Norman Invasion of England by ates, together with nonresident boy The following two tracks introduce for Upper Voices. Ely Cathedral William the Conqueror, was educated and girl choristers recruited from local us to Sarah MacDonald’s own setting Girls’ Choir; Sarah MacDonald, there. The school began admitting girls schools. This is the longest of the settings of the evening canticles, her Service in conductor; Alexander Berry, organ- in 1970, and the Ely Cathedral Girls’ of the Magnifi cat and Nunc Dimittis on A fl at, composed in 2012 for two of her ist. Regent Records compact disc, Choir was founded in 2006. The girl this recording, being about half as long friends in Tennessee. The organ part was REGCD477, available from www. choristers are housed at the school in again as most of the others. It also has a written with the Ely Cathedral organ in regentrecords.com. Saint Etheldreda’s House, named after particularly fi ne organ part as might be mind and makes very effective use of the Berkshire Service, Malcolm Archer; a seventh-century Abbess of Ely. Cana- expected of such an organist as David Solo Orchestral Trumpet in the Magnifi - Service in G, Peter Aston; Jesus Service, dian-born Sarah MacDonald, who is also Briggs, and this comes off particularly cat. The composer intended the setting David Briggs; Service in D, William the music fellow and director of music well on the famous Harrison & Harrison for the average choir, and it is relatively Harris; Service in D (transposed to at Selwyn College, Cambridge, has been organ at Ely Cathedral. The harmonies easy to sing. I particularly like the begin- E-fl at), Herbert Howells; St. David’s the director of the Girls’ Choir since are rich and, as the leafl et notes, speak ning, where the phrase, “My soul doth Service, Simon Lole; Service in A-fl at, 2006. She will be familiar to some as a with something of a “French accent.” magnify,” is repeated several times at Sarah Macdonald; Service in C, Wayne frequent contributor to the “UK Report” Although he lived too long ago to have increasing volume, giving the impression Marshall; St. Alban’s Service, Cecilia in The American Organist. (Read an experienced the modern English cathe- that the sound is approaching the hearer. McDowall; Warwick Service, Philip interview with MacDonald in The dral trend toward girls’ choirs, for his day This effect is repeated on the words, “He Moore; Service in E, Bernard Rose. Diapason, August 2004.) The organ- Sir William Harris (1883–1973) knew a remembering.” Altogether a charming The American Boychoir School closed ist on this recording, Alexander Berry, lot about training young women to sing. setting in the best tradition of Anglican its doors in August 2017 owing to the dif- was responsible for accompanying the Among other things, when he was organ- church music. fi culty of recruiting a suffi cient number Girls’ Choir until 2014 when he moved ist of St. George’s Chapel, Windsor, he The English composer Wayne Mar- of boys interested in attending. Besides to teach at Magdalen College School in was music tutor to Princess Elizabeth shall (b. 1961) is unusual in being infl u- lack of interest some feel that in this Oxford, a choir school where one of the (now Queen Elizabeth II) and her sister, enced by a number of American compos- age of sexual equality it is unfair to have featured composers, Malcolm Archer, the late Princess Margaret Rose, both ers such as Gershwin, Duke Ellington, boys singing in a choir without girls. also once taught. Berry returned to Ely of whom had excellent soprano voices and Leonard Bernstein, who are not par- Boys’ choirs and men and boys’ choirs to help make this recording in 2016. and sang in a madrigal choir organized ticularly associated with church music. have been declining on both sides of the In the 1662 Book of Common Prayer by Harris in Windsor during World War Marshall’s Magnifi cat and Nunc Dimittis Atlantic, though the decline has been of the Church of England canticles II. One of my organ teachers, Geoffrey in C Major was commissioned by Chris- more pronounced in North America. based on biblical texts are sung after Thomson, a student of Harris at the topher Robinson for the boy choristers of In England there are fewer boys’ choirs the Old and New Testament readings at Royal College of Music, was one of the St. George’s Chapel in Windsor Castle, than there used to be, but in some of Evening Prayer. These are known by the basses. Harris wrote his Service in D in though it translates well to the Ely girls. the more important English cathedrals opening words of the text in Latin, with 1958 for the young women who made up Though technically somewhat diffi cult, it the choir school is still open, and they the Magnifi cat after the fi rst lesson and the choir of Whiteland’s College, Putney, has a richness of harmony and spirited are now recruiting both boys and girls. the Nunc Dimittis after the second. The a Normal School in South London. The freshness that render it an extremely Cathedral musicians have discovered Cantate Domino may be substituted for college was founded in 1841 to train attractive composition. that owing to subtle differences in tim- the Magnifi cat and the Deus Misereatur women teachers and according to the Marshall’s setting is followed by one for bre, some music is more effective with for the Nunc Dimittis. All the evening leafl et was the fi rst institute of tertiary girls’ voices from the pen of the Cecilia boys, some with girls, and some with services on this compact disc consist of education in Britain to admit women. McDowell (b. 1951), a London composer both together. settings of the Magnifi cat (“My soul doth This is not quite true since though who was educated at Edinburgh Univer- Ely Cathedral is a good example of magnify the Lord”) and the Nunc Dimit- Whiteland’s College may have been the sity and Trinity College, London. She is this. The choir school, known as The tis (“Lord, now lettest thou thy servant fi rst tertiary education institute founded probably best known for her choral work, King’s School, Ely, was founded over a depart in peace”). I wondered why no specifi cally to train women, the Royal The Shipping Forecast, which playfully settings of the other two canticles were Academy of Music in London had been combines Psalm 107:23–31, “They that included, but a little research suggested admitting women as well as men since go down to the sea in ships,” with a BBC Experience that there are not really any suitable ones it was founded in 1822. Charles Dick- shipping forecast. (It probably needs to for girls’ voices available. (Composers ens’s sister Fanny was one of its earliest be explained that in Britain the BBC THE DIAPASON’S take note!) female students. Harris’s setting is fairly shipping forecast has achieved approxi- new website! The fi rst featured composer is Mal- demanding on a girls’ choir, having been mately the same cult status as the Rocky colm Archer (b. 1952) who was suc- written for adult women, but the Ely Horror Picture Show has in the United cessively organist of Bristol Cathedral, choristers nevertheless take it in their States.) McDowell’s St. Alban’s Service Wells Cathedral, and St. Paul’s Cathe- stride. Once more there is plenty of was composed for the girl choristers of dral, London (where he succeeded John opportunity for soaring treble voices. St. Alban’s Cathedral in 2004 and has Scott), before taking up his present posi- Herbert Howells (1892–1983) requires since been widely performed including at tion as director of the Chapel Choir at little introduction as one of Britain’s lead- such places as the National Cathedral in Winchester College, a prestigious inde- ing choral composers of the twentieth cen- Washington, D.C. The booklet describes pendent school. The recording features tury. His Service in D was composed for its mystical, almost medieval, atmosphere his Berkshire Service, so called because the Vicars Choral of Westminster Abbey as consisting of “recurring dissonances of it was commissioned in 2008 for the girls in 1941. On this recording it is transposed minor ninths, augmented and diminished of Downe House School near Newbury an octave higher and then into E-fl at in thirds, and tritones . . . cajoled regularly in Berkshire. It is written in a conserva- order accommodate it to girls’ voices. A back into the bleak consonance of an tive style somewhat reminiscent of Stan- curious feature of the setting is that the open fi fth.” The result is an extremely ford and contains soaring melodies that phrase “according to thy word” is omit- effective work, perhaps the best setting the Ely girls exploit to great advantage in ted from the Nunc Dimittis—whether on the compact disc. the excellent acoustics of Ely Cathedral. on purpose or by accident nobody knows. Philip Moore (b. 1943) was succes- The Archer setting is followed by With its contrasting dynamic levels and sively organist of Guildford Cathedral Peter Aston’s Service in G, written for alluring harmonies it is fairly typical of and York Minster. Like Simon Lole’s the choristers of Derby Cathedral in Howells’s work, while in Sarah MacDon- earlier St. David’s Service, Moore wrote 2001. Peter Aston (1938–2013) was ald’s arrangement for girls’ voices it proves his Warwick Service (2004) for the girls’ professor of music at the University of to be an interesting alternative to the choir of St. Mary’s Warwick, this time on East Anglia in Norwich and a lay canon usual version for men’s voices. the occasion of the tenth anniversary of of Norwich Cathedral. He was so highly The next evening service is by Simon the choir’s founding. The Magnifi cat and thought of that in 1975 Benjamin Britten Lole (b. 1957), an eclectic composer Nunc Dimittis, including in each case the chose him as director of the Aldeburgh whose interests include rock as well Gloria Patri, are in very different moods, Festival Singers, a position he held until as classical music. Between 1985 and the former being joyful and triumphant 1988. His Evening Service has more of 1994 he was organist and choirmaster in contrast to the latter, which is tranquil a contemporary feel to it than Archer’s, of the Collegiate Church of St. Mary in and contemplative. with its syncopated rhythms and color- Warwick, one of the major churches in The fi nal service on the record- ful harmonies, though it is still melodic the West Midlands of England. He later ing, the Service in E by Bernard Rose Visit www.thediapason.com enough to include soaring passages to became organist of Salisbury Cathedral, (1916–1996), was composed for the boy frequently and enjoy all its new show off the girls’ voices. during which time in 1999 he wrote his choristers of Magdalen College, Oxford, features, including expanding Third on the list of composers is David St. David’s Service for his old church in where Rose was for many years director video resources and ongoing Briggs (b. 1962), who was organist of Warwick on the occasion of their girls’ of music. He composed it in 1957, at Truro and then Gloucester Cathedral choir singing at St. David’s Cathedral in which time his organ scholar was Dudley addiঞ ons before giving up his church position to Wales. The booklet describes the setting Moore (1935–2002) whose subsequent of issues from THE DIAPASON’S devote himself full time to a career as an as mingling infl uences of nineteenth- brilliant career was as a comedy actor 110-year history. international concert organist, in which century France with 1950s New York, rather than as an organist. Here the There’s more to C nd here capacity he is doubtless known to many but I do not think I agree. Rather, I would Magnifi cat—with the exception of a almost every day. readers of The Diapason. He wrote the say it is a relatively simple and melodic climax at “He has put down the mighty Jesus College Service for the choristers of setting in the tradition of Stanford and from their seat”—has again something

14 Q THE DIAPASON Q FEBRUARY 2019 WWW.THEDIAPASON.COM Reviews of a tranquil and contemplative mood, as The second selection on the compact Erkki-Sven Tüür (b. 1959). He has writ- “lilt” that is quite refreshing. The fl ute does the Nunc Dimittis—with the excep- disc is a keyboard piece by William Byrd, ten several compositions named Spec- part will only enhance the beauty of tion of a climax at “To be a light to lighten based on the tune of a rather bawdy six- trum for various instruments, including this gem. A conductor’s score and fl ute the Gentiles, and to be the glory of his teenth-century English ballad entitled, Spectrum I and Spectrum III for organ. part are available separately, Code No. people Israel.” In this case, however, the The Courteous Carman and the Amo- Spectrum I is probably Tüür’s best- 2850F, $8.95. Nunc Dimittis has the joyful Gloria Patri rous Maid: Or, The Carman’s Whistle. known work for organ. He composed it and the Magnifi cat the tranquil one. The The piece gives Boelen an opportunity to in 1989 a few weeks before the fall of The John B. Sails, arranged for 5, service translates well from boys’ choir to display the warmth of some of the softer the Soviet Union and dedicated it to his 6, or 7 octaves of handbells, with girls’ choir. principal stops of the Haarlem organ, at friend Andres Uibo. I have a recording optional 2 octaves of handchimes, Directors of music will fi nd this com- the same time as displaying considerable of Uibo playing it on the organ of the St. by Rett Richards. GIA Publications, pact disc useful for two reasons. For skill in the performance of early seven- Nikolaikirche in Tallinn, Estonia, so I Inc., G-9200, Level 3 (D-), $4.95. some it will show what the possibilities teenth-century English ornamentation. thought I would listen to it and compare This popular title from “The American for a girls’ choir might be. For others it We move then to seventeenth-century it with Boelen’s performance. The piece Songbag 1927” has been performed by will give an idea of the different evening Spain for Pablo Bruna’s Tiento de primer is diatonic and consists of three sections, the Beach Boys, the Kingston Trio, and services that are available to girls’ choirs. tono de mano derecha y en medio a dos a soft fi rst section on the fl utes, a louder others, and, in this setting, the arranger Furthermore on this recording Sarah tiples, a fantasia in dance-like rhythm central section, and a soft conclusion. has provided an impressive arrange- MacDonald and the Ely Cathedral Girls’ that showcases some of the solo stops of Uibo plays the central section on the ment for bells with great rhythm, hand Choir provide an excellent example how the organ. fl uework whereas Boelen makes color- claps by the ringers, and several other musical a girls’ choir can be. In some After this we move forward two cen- ful use of some of the reeds as well. The techniques. The musical and rhythmic ways, however, I think it is unfortunate turies to hear the more Romantic side main difference, however, is that Boelen momentum does not stop until the fi nal that the compact disc is devoted exclu- of the Müller organ in a transcription of makes very effective use of the marvelous chord and should bring the audience to sively to settings of the Evening Can- the Hungarian composer Béla Bartók’s acoustics of the St. Bavokerk by playing its feet. ticles—eleven different settings of each Romanian Folk Dances. It is something the room, producing an almost magical to be precise—and all of them from the of a breath of fresh air to hear transcrip- effect, especially in the fi rst section. Come, People, Join to Ring, Seven same general period. It would have been tions on an instrument that has the clarity This is a very unusual and interesting Reproducible Settings for Handbells, nice if a selection of other choral music and brilliance of the St. Bavokerk organ. recording, and I thoroughly recom- by Michael Burkhardt, for 3 octaves for girls’ voices, perhaps by the same Next comes Gijs Boelen’s own composi- mend it. of handbells or handchimes. Morn- composers, could have been included. tion, aptly titled Just Relax, which treats —John L. Speller ingStar Music Publishers, MSM-30- us to some very lush harmonies on the Port Huron, Michigan 715, Level 2 (E+ – M-), $25.00. Crossing Borders, Gijs Boelen plays Haarlem organ’s famous 8′ Baarpijp. This collection is part of Michael the Müller Organ of the St. Bavokerk, Following this are the transcriptions of Burkhardt’s Hearts, Hands and Voices Haarlem. STH Quality Classics com- fi ve movements from Bizet’s opera Car- New Handbell Music series and is especially intended for pact disc CD1416212, available from men, which again show how surprisingly Danse Festiva, arranged for 3–5 working with children in a church set- www.sthrecords.nl. well such music comes off on the Haar- octaves of handbells, by Paul A. ting. A helpful teaching/lesson plan Präludium und Fuge in C-Dur, lem organ. McKlveen. Agape (a division of sheet is provided with each piece. Böhm; The Carman’s Whistle, Byrd; The last three tracks on the CD are Hope Publishing Company), Code Tiento de primer tono de mano derecha modern compositions. First we hear No. 2851, Level 3- (M+), $4.95. We Gather Together, arranged for y en medio a dos tiples, Bruna; Román transcriptions by Gijs Boelen of two This original composition is written 2 or 3 octaves of handbells, by népi táncok (Roemeense volksdansen), piano works by Ludovico Einaudi (b. with simple rhythms and very few bell Anna Laura Page. Choristers Guild, Bartók, arr. Boelen; Just relax, Boelen; 1955), an Italian composer who tries to changes, which allows the piece to be CGB1083, Level 2 (E+), $4.95. Carmen (opera): Prélude—Duo (akte combine elements of classical and light easily learned. A quick tempo, dynamic This simple, yet well-crafted and 2)—Entracte (aktes 3 en 4)—Haba- music. The fi rst of these, Passagio, is from changes, and the frequent use of stopped engaging arrangement of the familiar nera—Chanson bohème, Bizet, arr. a series of piano pieces in a collection sounds enlivens this music. tune, Kremser, will be a great addition Boelen; Passaggio, Einaudi, arr. Boelen; called Le Onde, which was published in to your Thanksgiving repertoire. An edi- Nightbook, Einaudi, arr. Boelen; Spec- 2007. It is a gentle, modal, and deliber- O the Deep, Deep Love of Jesus, tion for 3, 4, or 5 octaves is also available, trum I, Tüür. ately repetitious work that comes of well arranged for 3–6 octaves of bells CGB1084. The two editions are compat- It might at fi rst seem a little odd to on the organ. The second transcription with optional fl ute, by Arnold B. ible for massed ringing. have a photograph of the Golden Gate of Einaudi’s music is Nightbook, a piano Sherman. Agape (a division of Hope —Leon Nelson Bridge on the front cover of a compact piece published in 2009. Again modal Publishing Company), Code No. Vernon Hills, Illinois disc of the organ of the St. Bavokerk in and deliberately repetitious, the opening 2850, Level 3 (M), $5.25. Haarlem, but in a sense this is the key is louder and more rhythmic than Pas- The hymn tune, Ebenezer, by to understanding the purpose of the sagio. It is written in ternary form with Thomas J. Williams, was arranged for Be sure to visit our website in recording, for it is all about bridging a short, soft adagio central section, fol- piano by Larry Schackley and adapted early March for announcement boundaries, or as the title puts it, Cross- lowed by a return to the louder and more for handbells by Arnold Sherman. The of our 20 Under 30 ing Borders. The composers are drawn rhythmic opening section, building up to well-known Welsh tune is written in a Class of 2019. from a number of different countries— a climax on full organ. lively Celtic style using a 3/4 pattern Visit www.thediapason.com Germany, England, Spain, Hungary, the The last work on the compact disc is rather than the familiar 4/4 rhythm we often to see what’s new! Netherlands, France, Italy, and Esto- Spectrum I by the Estonian composer all know, giving the piece a wonderful nia—but the recording is about more than just crossing international borders. It is also about bridging the boundar- ies between very different periods and Penny Lorenz Artist Management styles of music. presents The Müller organ of St. Bavokerk, Haarlem, the Netherlands, might seem an unlikely vehicle for doing this, but perhaps the most remarkable thing about this compact disc is how versatile it shows this famous instrument to be when it comes to playing music in many diverse styles. The featured organist, Gijs Boelen (b.1984), is a prominent Dutch pianist, organist, and composer, who studied at the Amsterdam Conservatory and elsewhere. It is his avowed purpose to make the organ and its repertoire Craig Cramer Kathrine Handford Balint Karosi Christophe Mantoux more accessible to the general public. The recording begins with one of the best-known works of Georg Böhm For Organ Recitals & Workshops, a leading North German organist of Please Contact: the generation before J. S. Bach. Like the works of Bach, the Präludium und Fuge in C-Dur is a two-part work com- Penny Lorenz prising just a prelude and fugue, rather than being a multi-sectional work of the 425.745.1316 Stylus fantasticus type that was charac- [email protected] teristic of Böhm’s contemporaries such www.organists.net as Buxtehude and Bruhns. The virtuosic pedal solo at the beginning of the pre- Aaron David Miller Jack Mitchener lude comes off particularly well on the Haarlem organ.

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2019 Q 15 In the wind...

Shipping and handling When there is no boat inside, I can get included four eight-foot trays in the car with the Wendy and I live in a building with doors closed. about two hundred households. We I took the pipes off the windchests and are mostly anonymous neighbors; just a laid them out in order on a big work sur- few fellow residents are casual acquain- face. I lined the bottom of each tray with tances. The people we chat with the a ¼-inch thick Styrofoam sheet (we buy most are the other dog owners, and we it in 250-foot rolls, perforated every foot, are more likely to know the dogs’ names three rolls come in a “tube”). I opened than their owners’. Farley the golden- a carton of clean 24-inch x 36-inch doodle is a cheerful and friendly guy so newsprint, and started wrapping pipes. he attracts a lot of attention in the eleva- With experience, you get a sense of how Building pipe trays. “Tubes” containing Highway meditations (photo credit: John tors and lobby. many pipes should be in a package. I use three rolls of styrofoam are visible in Bishop) Living in close proximity to that many several sheets of newsprint at a time to back left. (photo credit: John Bishop) people, we are constantly reminded of weave between six-foot pipes so they less than the tray count for the wonder- what a click-and-ship world we live in. cannot bump against each other. Going of a nicely mitered 16′ Bourdon (too ful Skinner/Aeolian-Skinner organ at the Adjoining the building’s lobby is a large up the scale, getting to around tenor F of big for trays), and the rest of the fl otsam Cathedral of Saint John the Divine in package room lined with shelves ten feet an 8′ stop (a three-foot pipe), each pipe and jetsam it takes to make an organ. I New York City. high where the doormen sort hundreds is wrapped individually. After middle am guessing the load will weigh around When we are packing an organ that of parcels. Since Amazon started same C, two to a package, then three, then 6,000 pounds including the trays and large, the trays are just the beginning. day delivery in the city, as many as a half- maybe as many as six or seven treble packing materials. We will also be carry- Think about the organ’s biggest pipes, dozen delivery trucks stop each day. pipes. When I am putting several pipes ing a new residence organ built by a col- like that 32′ Double Open Wood Dia- Twice a week, mountains of trash and in a package, I roll it each time so there league fi rm, as its new owner lives in the pason. The biggest pipe is more than recyclables are piled on the sidewalks is paper between each pipe, and I fold same western city. We are always happy 35-feet long, and about two-feet square. including thousands of collapsed card- the ends over opposite sides to increase to throw another organ on the back of I guess that pipe weighs 1,500 pounds board boxes tied with twine. Along with the padding. My favorite local butcher the truck if there is space. and by itself makes a big dent in an ′ the boxes, we routinely throw away bales does the same thing with the marvelous § empty trailer. Three 32 ranks (Diapason, of bubble wrap, tons of Styrofoam pea- sausages he makes. A piece of tape holds Bourdon, and reed) and the windchests nuts, and miles of strips of air-cushion the package closed, and the bundles are When we estimate the cost for dis- of that huge organ fi ll truck number bladders. It can be a wicked nuisance lined up in the trays. If the pipes are not mantling and packing an organ, we two. Reservoirs, shutters, expression dealing with a big carton of peanuts. very heavy, I can put a couple layers in a consider the number of person-days motors, tremulants, windlines, ladders, It is especially annoying when they get tray separated with Styrofoam. and crew expenses like travel, meals, and walkboards fi ll truck number three. charged with static electricity and I can- My personal shop is a three-car garage and lodging. We decide whether we And number four brings the console, not get them off me. And for goodness that adjoins our house, and this is a will need to rent scaffolding and set up frames, expression box panels, blowers, sake, keep them away from the dog. tiny organ. It started as an M. P. Möller hoisting equipment, and we fi gure how and 8,000 pounds of chowder. I am thinking about packaging today Double Artiste, and we are adding a much we will need in the way of packing § because I am just fi nishing an organ third three-rank division to make a total materials. An important variable is the project in my little workshop in Maine, of nine unifi ed ranks. The user interface tray count, which varies as much by the Most of the trucks with box trailers starting to take things apart and getting is a large three-manual console, also style of an organ as it does by number of that you see on the highway are carrying them ready for shipment. Yesterday, I by Möller but from a different organ, ranks. If we are packing an organ with loads of goods that are all the same size, went to a storage locker I rent nearby equipped with a fancy combination mechanical action built in the 1970s with packed on pallets whose dimensions are and loaded several empty pipe trays into action. It is to be a practice organ for a low wind pressure and small scales, we calculated to exactly fi ll the trailer’s inte- my car. The standard size we make at school of music, providing students with can fi gure on two or three ranks per tray. rior space. Paper towels, potato chips, the Organ Clearing House is eight-feet a platform for working on the complex (A usual four-rank mixture easily fi ts in mattresses, and tableware are packed in by two-feet by eight-inches deep. They Romantic and symphonic registrations a single tray. You just have to be sure boxes whose dimensions exactly corre- are larger than those made by some that are so popular these days. This will you label the packages so you do not mix spond with the pallets. A truck backs up other companies, and when they are full, be a simple shipment, nowhere near up the ranks.) If we are packing a heavy to a loading dock, and a forklift runs in they are heavy, but we think they are a full truck. The only complication is Romantic organ like something built by and out carrying pallets, two or three at just right. Low EE of most 8′ stops fi ts that we will be driving it over the Rocky Skinner, it is more like two or three trays a time. The trailer is nothing but a metal in those eight-foot trays, so we also make Mountains in mid-winter. per rank. A big fat Skinner 8′ French and fi berglass box. There are no hooks, some ten-footers to hold the biggest four That load will include eleven trays, Horn can fi ll four trays! cleats, or straps to fasten the load. There pipes. We can get the biggest four of an nine with pipes and two with odds and Based on long experience, we run is no need, because the load assembles to 8′ Principal into one of those, or the big- ends, bits and pieces (the stuff Alan down the printed stoplist of an organ and the same dimensions of the trailer, and it gest four of two 8′ strings. Laufman called “chowder”), console, note how many trays we will need for each takes fi fteen minutes to pack. My car is a Chevrolet Suburban, big bench, three windchests, two “expres- stop, and I enter the totals for eight-foot We engage special commodity trucks, enough to hold an eight-foot rowing din- sive” cases including shutters and shut- and ten-foot trays into a spreadsheet that which come with lots of special equip- ghy with the doors closed. A guy at a local ter motors, three wind regulators with spits out the lumber list. A four-by-eight ment. There are highway bars that span 7 boatyard called it a Chevy “Subdivision.” windlines, a blower, the biggest pipes sheet of ⁄16-inch OSB (Oriented Strand the interior by clicking into vertical tracks Board) makes two tray bottoms, and it on the trailer walls and support plywood takes two ten-foot pine 1 x 8s to make the fl oors, so we can build a second story that sides and ends. When we dismantled an safely carries smaller components. There eighty-rank Aeolian residence organ on are ramps and hydraulic tailgates because Long Island (imagine that!), we fi gured we almost never have the luxury of a load- we would need 160 eight-foot trays and ing dock, and a standard complement of — 38 ranks 40 ten-footers, and I sent this list to City twenty-dozen quilted furniture pads. We Lumber in Long Island City, New York: specify that we will need six or eight hours 120 4′ x 8′ sheets OSB to load the truck as they typically charge ′ ′′ ′′ tuscaloosa, alabama tuscaloosa,

320 10 1 x 8 extra when it is more than two hours. opus 132 80 12′ 1′′ x 8′′ The trays go into the truck fast and neat, 120 8′ 1′′ x 2′′ strapping (10 bun- and the rest of the organ is like a ten-ton dles) for battens on tray tops game of Tetrus. Because no two parts of 1,680 feet ¼′′ x 2′-wide Styrofoam the organ are the same size, the pallet- (7 rolls) and-forklift equation does not work at all. 5 Chri Episcopal Church Chri Episcopal 50 pounds 1 ⁄8′′ coarse thread Each piece of the organ is wrapped with drywall screws pads as it enters the truck. At the other The bill was $5,277.33, including deliv- end of the trip, it is a huge job just to fold ery, and we gave the driver a $50 tip. all those heavy pads, and the drivers are When we have fi nished dismantling always fussy about making neat piles. an organ, the packed trays go on the § follow truck fi rst. A standard semi-trailer is us on facebook! 100-inches wide inside so we can stack Most of the organs we move fi t into four piles wide. If we make stacks of ten “Bobtail” trucks, the standard single-body trays each, we can cap the stacks with box trucks we can rent from Ryder or sheets of plywood and put 16-foot metal Penske. A usual two-manual organ fi ts in bass pipes up top. The big metal pipes a single truck. Forty years ago, when I was are wrapped individually in Styrofoam fi rst in the organ business, there was little 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA for protection. Interior height of the in the way of regulation controlling the t 800 625-7473 [email protected] trailer is 110 inches. Four trays wide type of trucking we do. Today, the Fed- Visit our website at www.letourneauorgans.com and ten high, that is forty trays for each eral Motor Carrier Safety Administration eight feet of trailer. The trailer is 53-feet makes us jump through regulatory hoops. long—240 trays is a truck full. That is If we are carrying an organ that we have

16 Q THE DIAPASON Q FEBRUARY 2019 WWW.THEDIAPASON.COM By John Bishop

That shipment had an unusual stipula- tion. We were required to remove the organ from the building in New York before a certain date, and the delivery could not happen until after a certain date, which meant that the organ would be in the truck several days longer than the actual travel time, and we had arranged to pay a daily standstill fee. Naively, I imagined that the truck would sit still in a parking lot. It did not take very much digging to learn that the driver had taken advantage of the situation and made a detour to visit family in the mountains of Tennessee. The trucking company admitted that there had been “an incident” on the road, and the insurance claim was paid. § Through all the shipments over the It is fun to think of the romance of years, there was one that involved sig- building a fi ne organ, with dedicated nifi cant damage to the organ. We packed craftsmen working together in a com- and loaded an organ in New York City fortable shop, cutting and milling wood, and sent it off to Los Angeles. The working leather and metal, building the shipment was to be received by a crew thousands of individual pieces that com- from the European company that built bine to create an organ. The next time it, and they would install it in the church you are playing or listening to an organ, there. The truck arrived as scheduled, especially a really big one, give a thought and when they opened the doors, they to the physical challenge of taking all found a mess of broken woodwork and those pieces and parts from one place organ parts. There was a language bar- to another. The shipping industry calls it Holy Cross Cathedral, Boston (1875 E. & G. G. Hook & Hastings Opus 801), partial rier between the organbuilders and the logistics or material handling. I think it is dismantling to protect the organ during building renovation. Project by Andover insurance adjuster who viewed the dam- a great glimpse into yet another reason Organ Company and the Organ Clearing House. (photo credit: Matthew Bellocchio) age. When they told the adjuster that that pipe organs are so special. What they might have packed things differ- other musician can measure the size of owned and are selling to a client, there Many commercial drivers only come ently, he interpreted that they were say- the instrument by the truckload? is no problem. But if we are carrying an and go from big warehouses with load- ing we had been negligent. Knowing that When a load is complete, paperwork organ that belongs to someone else, like ing docks, while our work in churches was not true, I got the adjuster to agree signed, doors locked, and the driver a church or school, especially if we are around the country is anything but pre- to reconsider if I went to Los Angeles to climbs into his cab, we give a classic crossing state lines, we have to be ready dictable. It may be a narrow cross street present a case. truckers’ greeting, “Shiny side up!” Q with our DOT and MC (Motor Carrier) in Manhattan or a winding dirt road in numbers whenever we encounter a weigh a rural village. Richard could put that station on the highway. That makes us an rig anywhere. It is much more diffi cult offi cial trucking company, and I receive a to back a semi-trailer when you have to lot of a gear-jamming junk mail that has go backwards to the right, because that The 2019 Miami International nothing to do with organs. is the blind side. It was fun watching In 2008, we were engaged to bring him fi gure his angle, nudging the tailgate an organ to an important church in right where we wanted it. Organ Competition Antananarivo, the capital of Madagascar, Richard loved carrying pipe organs. and we would include a dozen pianos in He moved many organs for us, and we You are invited to attend. the shipment for a couple churches and recommended him to a number of col- orphanages I had visited. I found a mov- league companies. He considered organs First Prize ing company in Maine that had a barn full to be a specialty, and he was a treasure. Competition of surplus pianos, rented a truck, loaded Sadly, he had a heart attack that took him Finals them up, and started down the Maine off the road, but he is still around. We $5,000 Turnpike. As required, I stopped in the miss his great work and thank him for his weigh station where the state trooper terrifi c service to our industry. Richard Friday, and an invitation to asked me, “What are you carrying?” left us with one of the best driving tips February 22 appear in the “Pianos,” I answered. “Where are you ever. “I can drive down that hill too slow taking them?” My sense of the ridiculous as many times as I want. I can do it too Open to the public 2019-2020 Epiphany took control, and I answered, “Mada- fast only once.” We will remember that at no cost Concert Series gascar!” He directed me into a parking next month when we are driving down area where three troopers spent a half the far side of the Rockies. Church of the &QJQIBOZ
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Miami, Florida hour trying to fi nd something wrong with Then there is the guy who was dis- my paperwork, with the truck, with its patched to drive an organ from New required emergency fl ares and refl ectors, Haven, Connecticut, to Reno, Nevada. www.ruffatti.com anything they could think of. With the truck loaded, we were chatting Three-manual, twin-console, 61-rank pipe organ built in 2001 by We have worked with many drivers and joking on the sidewalk by the church over the years, mostly owner/operators when the driver mentioned that it was who contract with central dispatchers. a good thing we were not shipping the Richard Mowen was a special favorite, organ to Canada, because he had been a wiry little man with a huge Peterbilt busted for transporting fi rearms ille- tractor. He had replaced the Caterpillar gally and was not allowed to drive there [email protected] ruffattiorgans diesel engine after two million miles, and anymore. I called the dispatcher and 7JB
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WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2019 Q 17 On Teaching

Repetition I Recently I have been thinking about situations in which something in a piece of music happens more than once. This encompasses out-and-out repeti- tion—which may be written out or may be indicated by repeat signs—true da capo, the structural element known in some circumstances as “recapitulation,” Example 1, Bach, Prelude in C, Well-Tempered Clavier, Book I recurring sections in rondo forms, and any recurrence of a passage identi- played through the entire piece with both cally—even when it is not da capo. This of these patterns, and it is my feeling that also includes the ubiquitous practice of they work. Each one suggests something using recurring motifs—fugue subjects, different about performance. The most other motifs treated contrapuntally, any striking of these differences is that the sort of leitmotiv, the repeating bass line three-times-per-measure version feels to of a chaconne or passacaglia, and so on. I me like it should go a lot faster than the want to share some of these thoughts in other two. It ends up reminding me of this column and the next. this passage from the longer Praeludium These columns will be fi lled with ques- in E Minor of Bruhns, at measure 95 Example 2 tions and speculation about a number of (see Example 4). If Bach had written different aspects of repetition and how version 3, we might speculate that it was that as routine, but, as with the Bach My impression was that he accidentally we come to expect it. I will also offer a infl uenced by this passage, which he may prelude, we would never expect each started the fi rst ending after the second few practical thoughts about what the have known. such section to be repeated more than time through, and that led inevitably to concept of repetition and recurrence I tend to play the once-per-measure once: A-A-A-A-etc.-B-B-B-B-etc. Same replaying the whole section. I remember means for teaching, learning music, and version slower and with more rhythmic question, here applied to bigger incre- having the following reactions: fi rst of all, performance. The value of this specula- freedom than either of the others. It is ments of music: why not? I mean, why that it was nice to hear the passage an tion for teaching lies mostly in the possi- interesting that a mainstream analysis of not in both directions? Why is twice in a extra time, just because it is wonderful bility that students may fi nd it interesting, the piece, which would be an analysis of row effective, and why would more than music; but second to feel a little bit of and perhaps it will lead them to further harmony, since it is such a pure chord- that not be? The same question applies panic that it would never end! exploration. I also have thoughts about based piece, would be essentially identi- to other places in common musical struc- This experience makes me ponder, ways in which focusing on repetition and cal for each of these three very different tures where repeats are routine, such as how does our enjoyment of a particular recurrence can help with the practicality pieces. I doubt that we can answer the the fi rst section (and sometimes other passage play a role in interpreting or of the learning process. question of why Bach wrote it one way sections) of works in sonata-allegro form. perceiving repeats? Does this apply rather than another, or indeed whether in particular to pieces that are short How many times shall we repeat? one way is better. It seems pretty clear Tension and release enough that repeats will not try anyone’s Let’s begin with a curious example of that one repetition is very different both The most interesting effect and pur- patience? In the Bach variation set on repetition. Namely, why did Bach write from no repetition and from two or more pose of a repeat does not arise from or the chorale O Gott du frommer Gott the fi rst Prelude of the Well-Tempered repetitions. Would writing the chord during the repeat itself, but rather at the composer follows the structure of Clavier like the passage in Example pattern four or fi ve times in a row be the moment when the repeat does not the chorale melody as far as repeats are 1 rather than like in Example 2 or as different from three as three is from happen that second time. That is, the concerned, repeating the fi rst half of Example 3? two? At what point would it become repeat sets up a tension (about whether each variation, but not the second, at In Bach’s composition, the fi rst half ridiculous? If each chord pattern were it is indeed going to happen yet again, least in most variations. In Variation V of each measure is repeated exactly to repeated sixteen times, it would be a and whether it will end), and the motion and Variation VII he does indeed repeat form the second half of that measure. (It particular kind of extreme statement: to the next section relieves that tension. the second half as well, violating the is so fully exact that he could have used outside the realm of Bachian music or This tension is a fi ction that we allow relationship between the chorale melody repeat signs.) This pattern persists until most of what we ever encounter, but ourselves to experience, or that the and the shape of the variation. Why? the ending, where it is altered to lead to a valid nonetheless. music allows us to experience. After Well, I noticed practicing the piece that satisfying cadence. We are deeply accus- So what about repeats as such? We all, we know that the repeated material the opening measures of each of those tomed to the piece that is created by this accept it as normal that in many pieces will not go on forever. We know this second halves was especially charismatic, patterning: it is one of the most familiar of music, something—a defi nable pas- for certain if we know the piece, and unusual in texture, and harmonically in the repertoire. But a piece on either of sage that has a pretty clear beginning we know it essentially for certain even rich. These are moments that I would the other two models would have been a and an end, and not typically just a half- if we do not. But there is something in fi nd myself practicing over and over perfectly valid musical entity as well. If measure—will happen twice in a row. listening to music that allows our reac- again just because they are so cool to he had written it one of those ways, we This is a defi ning trait of late Renaissance tion—our appreciation—to feel surprise play and hear. I had to remind myself to would be deeply used to that. and Baroque dance forms: which usually even when listening to something that practice other bits that needed practic- Or would we? Maybe the “real” ver- consist of two sections, sometimes more, we know intimately. ing more. I noticed this before I stopped sion is somehow actually better. I have each repeated, like A-A-B-B. We accept I strongly suspect that this dynamic is to think about those repeats. But I one of the explanations for the persistent wonder whether Bach put in those extra, tendency for all of us to feel that “taking musicologically “wrong,” repeats just the repeats” is a different matter for the because he liked that bit of music! This fi rst section of a piece in binary form than is a kind of non-rigorous, taste-driven for the second section. When we come to choice making that we do not associate the end of the second section, fi rst time, with JSB. But perhaps we are wrong not the suspense-and-relief scenario has to do so. just happened once, and our appetite Do repeats generally have to do with for it is perhaps satisfi ed. Also, we know symmetry or logic? I think that we often that when the second section gives way, assume that they do or that they should. whether after a repeat or not, it will give If the allemande of a given suite is A-A- way to the silence following a cadence, B-B, then presumably the courante and and then perhaps another movement or the other movements will also be. Other- another piece. That is a less compelling wise there would be an imbalance. When change of direction. This may also tend playing the above-mentioned Bach to explain the almost universal practice variations, I have been aware of a pull of not taking repeats in da capos of the either to omit the extra repeats in the sort represented by the return of the two variations that have them or to add Aria at the end of the Goldberg Varia- repeats to all of the “B” sections. And tions of Bach. this would be in apparent direct contra- This may also tend to explain why vention of the wishes of the most august repeats of sections happen only once of composers. I once had a student who (AABB). If part of the point is to set up was working on the Goldberg Variations, the moment at which the repeat gives and who proposed to omit almost all way to something new, it is important for of the repeats, but to take one pair of the repeat not to wear out the listener’s repeats, namely in Variation VII. He had interest. Once makes the point, more an interesting registration idea for that than once risks irrelevance. movement, which required four rather “superb musicianship, masterly technique and savvy programming … Archer’s I once heard an experienced concert than two sections. I have to admit that sweeping assurance and stamina enable you to hear the music behind the virtuosity.” pianist, playing from memory, repeat the this bothered me: no logic or symmetry, — GRAMOPHONE (JAN 2018) — opening section of the fi rst movement just going with an aesthetic choice. It is of Beethoven’s Waldstein Sonata twice just an interesting light on what I (we?) MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com (that is, play the section three times). sometimes want out of repeats.

18 Q THE DIAPASON Q FEBRUARY 2019 WWW.THEDIAPASON.COM By Gavin Black

Example 3

the whole collection as being that short feels different from a recording twice as long that would have had to occupy at least two LPs. (I say at least because it was a rather long LP.) Making a piece long by repeating each of its parts is not the same thing Example 4, Bruhns, Praeludium in E Minor, measures 95–97 as making a piece long by composing a the time the second section appears. If longer amount of new material. And one the suspense created by the repetition To play the repeat or not, difference. But it is not meaningless thread over the long arc of western clas- has not been allowed to build, then the that is the question. or insignifi cant either. If you take no sical music has been to look for ways to resolution of that suspense through mov- This brings us to something pretty repeats in one of the Bach French create bigger structures without literal ing on to something new cannot have the concrete and specifi c: “should I take suites, it becomes a short piece. There repetition. But in making a choice about power that it was meant to have. Q the repeats?” Essentially we never fi nd is at least one recording of all six of whether to take repeats or not, the effect ourselves wanting to omit any part of a those pieces, by Thurston Dart from on overall length is part of the equation. To be continued. piece that is not a repeat. I have never 1961, that managed to fi t the whole In keeping with some of my thoughts had a student ask me about a through- collection onto one LP. Independent above, I do suspect that when I hear a Gavin Black is director of the Prince- composed piece, “should I or should I of anything about the playing or performance of a piece that features ton Early Keyboard Center in Princeton, not play measures 9–16?” or anything the instrument (clavichord) or the repeats as part of the structure, but are New Jersey. He can be reached by e-mail like that. Even though we accept recorded sound, that presentation of ignored, I usually feel disappointed by at . repeats, we clearly do not quite accept them. That is, we do not accord the notes indicated by repeat signs abso- lutely all of the status that we give to other notes. We give this higher status to passages that are a lot like, or exactly like, earlier passages, including actual da capos. Only when a few measures of material are repeated right away, DEFINING AFFORDABILITY and with such exactness that it can be notated by a repeat sign, do we consider it an issue whether to play those notes or not. In fact, we likely think that way FOR THE NEXT GENERATION only if the repeat is actually notated by a repeat sign. Once in a while a repeated passage, a literal, full repeat, is written out. In such a case I do not often hear a student, or anyone, suggesting cutting out the similar bits. For an interesting side note, in his notes for his 1950s recording of Scarlatti sonatas for Columbia, Ralph Kirkpatrick said of his not taking the repeats in the INVEST ONCE... pieces, almost all of them in binary form with repeats indicated, that if listeners wanted to hear them again, they could play them again on the record! This prob- THINK APOBA. ably indicates as much about his skepti- cal attitude towards recording as it does anything about his approach to repeats. As for myself, I recognize a strong tendency to want to take all repeats, in whatever way they are indicated by the composer. I think that this has to do in part with my having spent my life absorb- ing the ethos of “the composer is always NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING, REBUILDING AND SERVICE FIRMS right.” That ethos has grown pretty BUILDER MEMBERS steadily over the last couple of centuries A. Thompson-Allen Company Goulding & Wood, Inc. 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I also recognize Garland Pipe Organs, Inc. Quimby Pipe Organs, Inc. Peterson Electro-Musical Products that this could be a different story for pieces that were written in a style that made repeats a matter of routine—early dance movements, say—than for pieces written with no assumptions about repeats—nineteenth-century sonatas, for Call today for APOBA’s Please watch and share example—as to which composers made Pipe Organ Resource Guide our short video at: choices about repeats on a custom basis. and Member Prospectus www.apoba.com/video I also notice that, of course, repeats make a piece longer. That may seem trivially obvious, but the magnitude of a piece in time is a valid part of its aesthetic. The difference in length between a Haydn or Mozart symphony Apoba.com 1-800-473-5270 and a Mahler or Bruckner symphony is of course not even close to the whole

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2019 Q 19 Music festivals

2018 Three Choirs Festival Hereford Cathedral, UK

By Lorraine S. Brugh

his festival existed before America of our cities, the comfort of the fatherless; was even invented,” exclaimed Roy to the delight of mankind, of ourselves, and T all that come nigh us. Upon these grounds Massey, organist emeritus of Hereford it commenced, and upon these let our Cathedral and nine times conductor- brotherly love continue.1 in-chief of the Three Choirs Festival. We were standing beside the statue of Edward Elgar, in a corner of the No one can attend all events, as cathedral gardens. For each festival at there is some overlap of the schedule. Hereford, Ruth Massey places a wreath There are varieties of interest, rang- of fl owers around Elgar’s neck, and then ing from organbuilding to children’s stops by every day to water it. The Three crafts. All events are ticketed; some Choirs Festival is an annual summer require purchase and others are free. event shared between the Gloucester, One purchases tickets for the events Hereford, and Worcester cathedrals. one chooses over the eight-day period. Much like an American Guild of Organ- While I attended only a small number ists national convention, it is a combina- of events, I found remarkably high pro- tion of choral and orchestral concerts, fessional quality throughout. Following cathedral services, solo and chamber is a listing of this year’s events I was able music recitals, masterclasses, talks, to attend. theatre, exhibitions, and walks, rotating each summer between the three beau- Monday, July 30, 2018: tiful English cathedral cities. It is the Elgar Society Lecture oldest non-competitive classical music The lecture room was fi lled to capacity festival in the world, having celebrated with over a hundred people for this lecture Hereford Cathedral during Tenebrae performance (photo credit: Michael Whitefoot) its 300th anniversary in 2015. by Roger Judd, “George Sinclair: A Man At the heart of the modern festival are and His Dog.” Judd is the former assistant the large-scale evening concerts featur- organist of St. George’s Chapel, Windsor. ing the Three Choirs Festival Chorus He investigated the friendship between and the Philharmonia Orchestra, which Sir Edward Elgar and George Robertson has been resident at the festival since Sinclair, Hereford Cathedral organist and 2012. The Philharmonia is directed by music director during Elgar’s later years. Andrew Davis, who is also currently the Mr. Judd began by imagining meet- music director and principal conductor ing George Sinclair and learning of his of the Lyric Opera of Chicago. The fes- relation to Elgar and his history with tival’s packed schedule of daytime events the Three Choirs Festival. Born in is augmented by a community program 1863 in Croyden, Sinclair entered the that varies slightly in style in each city. Royal Academy of Music in Dublin at This year there were seventy-six events: the age of eight. Sinclair spent six years a combination of recitals, concerts, at St. Michael’s College and Cathedral worship, family events, theater, and late- in Tenbury under the instruction of night jazz. Arthur Frederick Ouseley. Ouseley was The origins of the annual music meet- a composer, organist, musicologist, and ings of the three choirs of Gloucester, priest and founded the cathedral school Roger Judd, Elgar Society lecture, George Sinclair: A Man and His Dog (photo credit: Worcester, and Hereford were outlined after visiting Leipzig and Dresden. He Michael Whitefoot) in 1729 in a sermon preached by Thomas hoped the higher standards of those Bisse, Chancellor of Hereford Cathe- choirs would transfer to England. With together the roles of performer, choir- three met and selected Elgar’s newly dral. His three-centuries-old words still John Stainer and Walter Parratt as well master, and orchestral conductor in one composed Te Deum to premiere at serve to describe the festival today. It as George Sinclair as students there at person. Curiously, no mention is made of the 1889 festival. This, along with the sprang from: the same time, the standards of church involvement in the Three Choirs Festival appointment of young organists at both music were certainly raised. in the position’s description. Gloucester and Worcester cathedrals, . . . a very small and accidental origin. It was At age sixteen Sinclair became assis- Sinclair went about improving the led to a revival of the Three Choirs . . . a fortuitous and friendly proposal, be- tant organist to Gloucester Cathedral, quality of the music at Hereford, add- Festival. The festival’s music changed tween a few lovers of harmony and breth- ren of the correspondent choirs, to com- then became organist at the newly cre- ing nine carols to the Christmas Eve greatly with Sinclair, adding orchestral mence an anniversary visit, to be kept in ated Truro Cathedral at age eighteen. services his fi rst year. In 1891 he wrote music of Wagner, Beethoven, Schubert, turn; which voluntary instance of friendship He was the mastermind in the design to the cathedral chapter noting that the Tchaikovsky, and Brahms. and fraternity was quickly strengthened and acquisition of the 1887 Father Willis organ was below acceptable standards. From then on, Elgar was a frequent by social compact; and afterwards, being blessed and sanctioned by a charity collec- organ there. The organ at St. Michael’s With no fi nancial assistance, he raised visitor to the Sinclair home. Sinclair was tion, with the word of exhortation added to in Tenbury had been rebuilt by Willis, the entire amount of the renovation cost single his whole life and lived at the edge confi rm the whole, it is arrived to the fi g- so Sinclair was familiar with his work. by playing a series of organ recitals. He of the cathedral garden with his canine ure and estimation as ye see this day . . . . Sinclair arranged all the musical celebra- commissioned Father Willis to carry out companion, Dan. In 1904 Elgar moved Though the members of that communion we have entered into, being voluntary, may tions of the dedication of the cathedral in the restoration. The cathedral organ to Hereford and wrote some of his larg- go off as their wills vary or as their affairs 1887. He expected he would stay there today is still very much the organ Willis est works. Sinclair received more single require, yet, by the accession of others, the his whole career. had restored. dedications from Elgar than anyone, Society may subsist unto many years, yea, However, just nine years after he In 1887 Elgar made his fi rst appear- including Pomp and Circumstance No. 4 generations, tendering to the furtherance of God’s glory, in the exaltation of His holy arrived, he won the appointment as ance as an audience member at the and Enigma Variations. In 1904 Sinclair worship, to the improvement of our choirs, director of music at Hereford Cathe- Three Choirs Festival. In 1889 Percy arranged a transcription of Pomp and the credit of our foundations; to the benefi t dral in 1889. The appointment brought Hull became assistant to Sinclair. The Circumstance for organ.

20 Q THE DIAPASON Q FEBRUARY 2019 WWW.THEDIAPASON.COM Tavener’s Song for Athene to the sound clear, nearly fl awless performance was clusters of Judith Bingham’s A Walk with aided by a light and versatile touch, clean Ivor Gurney, the choir showed great pre- articulation, and able rhythmic control. cision, vocal maturity, and overall endur- What mattered more to this listener was ance. The two-hour program closed with the expressive content he brought out of Arnold Schoenberg’s Friede auf Erden/ each piece, moving easily from one style Peace on Earth, leaving the audience to to another. Clarity and rhythmic pulse ponder the challenge to “forge weapons organized Bach, while great rubato and that are harmless, fl aming swords for overlapping legato enhanced Franck’s righteousness.” It is certainly as much Choral in B Minor. a challenge today as when he wrote it Latry exploited the colors of the organ in 1907. The remainder of the program in a transcription of Debussy’s Clair de included music of Elgar, Ivor Gurney, Lune. The softest stops made the piece Howells, and Parry. The choir handled shimmer in the cathedral’s morning light. the music of each composer as if it were Dupre’s Prelude and Fugue in G Minor their specialty, to enthusiastic acclaim. followed, fi lled with beautiful expression at breakneck speed. Latry rounded out Choral Evensong the French repertoire with Alain’s subtle The three cathedral choirs join forces Postlude pour l’offi ce des Complies and each year in leading worship for the fes- Thierry Escaich’s Evocation II. Latry tival. This Evensong was a commemora- then took the submitted theme and Tenebrae performance, Hereford Cathedral (photo credit: Michael Whitefoot) tion for three abolitionists, Thomas wound the program to a grand conclu- Clarkson, William Wilberforce, and sion. After two bows and a cheering sheer joy, whether at the festival or at the Ottobah Cugoano, who championed the crowd, he returned to the organ to play cathedral. On February 7, 1917, he was in cause until the Slave Trade Act of 1807 a transcription of a Bach Brandenburg Birmingham for a choral rehearsal. At his was enacted. Concerto movement. hotel that evening he died of heart failure. Adrian Partington, director of music at The only disaster of the morning His last festival was in 1912, as the Gloucester Cathedral, directed the com- came when Latry jumped up on to the festival was suspended during World bined choir, and Peter Dyke, assistant orchestral stage for a fi nal bow, missed War I, returning in 1920. At his funeral, director of music at Hereford Cathedral, a bit, and turned his ankle. One hoped the bishop remarked, “How he loved this was organist. The choir sang responses for a speedy recovery as he was on deck church, his work, and his sympathy for by Hubert Sumsion, a psalm chant by that weekend at his home base at Notre the choir boys.” Charles Stanford, canticles by Alan Gray, Dame Cathedral in Paris. Q and an anthem by William Harris. It was Tenebrae a thoroughly British Evensong! Lorraine Brugh is currently resident This eighteen-member professional director of Valparaiso University’s Study London choir, directed by Nigel Short, Tuesday, July 31: Olivier Latry Centre in Cambridge, England. She is a former King’s Singer, performed a Celebrity Organ Recital professor of music and the Frederick J. Olivier Latry takes a bow (photo credit: Mi- program that challenged the choir and Olivier Latry’s recital was formidable Kruse Organ Fellow at Valparaiso Uni- chael Whitefoot) listeners alike. Following the festival’s in every way. From opening with J. S. versity, Valparaiso, Indiana. World War I centenary theme, Short Bach’s Prelude and Fugue in E-fl at (the Sinclair and Elgar became close brought from the singers the widest array “St. Anne”) to closing with an improvisa- Notes 1. Three Choirs Festival website: friends, often cycling easily forty miles of sounds and emotions imaginable. tion on a submitted theme, Latry exuded https://3choirs.org/about-us/history-of-the- a day together. For Sinclair, work was From the relentless droning bass of John technique and artistry at every turn. His three-choirs-festival/long-history/.

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WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2019 Q 21 Conference report

Trailblazers: Women’s Impact on Organ, Carillon, Harpsichord, and Sacred Music

University of Michigan 58th Annual Organ Conference, September 29–October 2

By Joy Schroeder

he fi fty-eighth annual organ confer- place and audience prizes were awarded Catherine McMichael, William Jean Randall, James Kibbie, and Kola Owolabi Tence at the University of Michigan to David Simon, currently a student at celebrated women’s contributions as Yale University; second prize to Alejan- performers, composers, educators, and dro D. Consolación, II, from Manila; builders of the organ, harpsichord, and and third to Christopher Ganza from carillon. Distinguished guest artists Minnesota. The judges were James and lecturers from North America and Biery, Ann Labounsky, and Anne Europe joined University of Michigan Laver. Kola Owolabi chaired the faculty, students, and alumni in pre- event with assistance from preliminary senting an impressive range of events, round judges Joseph Gascho, Darlene beginning with the annual improvisation Kuperus, and Stephanie Nofar-Kelly. competition and concluding with the Timothy Huth of the American Center restaging of three choreographies by of Church Music provided historical the American modern dance pioneer, anecdotes along with host representative Doris Humphrey, set to the music of Richard Ingram. Johann Sebastian Bach. The confer- ence explored not only the music, per- Sunday, September 30 formance practices, and pedagogy of First Presbyterian Church hosted women in the fi eld, but also how their a hymn festival titled “Sing Justice! individual careers in a male-dominated Proclaim Justice! Hymnody in Word profession have helped shape the cur- and Song by Women Poets and Com- rent landscape. posers.” Scott Hyslop served as the Calvert Johnson Christina Scott Edelen organist, while the Reverend Kendra A prelude to the conference Mohn gave several meditations on Monday, October 1 François Couperin, Vittorio Rieti, and Jennifer Pascual, director of music injustice, with support from the First The day began with two lectures. Henri Sanguer. Italian virtuoso Letizia at St. Patrick’s Cathedral in New York Presbyterian Choir and interim direc- Michael Barone discussed women Romiti completed the afternoon’s City, performed a recital at the First tor of music, Richard Ingram. The organists past and present (including events with a recital, “Women, Italy, and Presbyterian Church of Ypsilanti on program featured works by Catherine music presented during the conference) the ‘Queen of Instruments.’” The pro- September 23. The performance was McMichael (prelude), Jane Marshall in “Ladies Be Good: One Guy’s Overview gram featured works by Andrea Gabrieli, presented by the Ypsilanti Pipe Organ (anthem), with hymn texts by Mary Lou- of Women Organists and Composers.” Merulo, Majone, Frescobaldi, Madame Festival and the Ann Arbor Chapter of ise Bringle, Carolyn Winfrey Gilette, Sylvia Wall presented “Call Me Fran: Ravissa de Turin, a manuscript from the the American Guild of Organists. Her Shirley Erena Murray, Jaroslav Vajda, Harpsichordist Frances Elaine Cole.” An Convent of Notre-Dame de Vitre, and program included a mixture of well- and Rusty Edwards, arranged by Alice American harpsichordist, Frances Cole Clara Schumann. known organ works by Bach, Guilmant, Parker and Hyslop. (1937–1983) was a musician from Cleve- The evening began with a carillon Duruflé, Yon, Ravel, and Cherubini That evening, the faculty recital fea- land, Ohio, who taught at Westminster recital at Burton Memorial Tower per- (both arranged by Machella), lesser- turing works by Pamela Decker, Rachel Choir College, Princeton, New Jersey, formed by Margaret Pan of Boston, known pieces by Hakim and Lidon, Laurin, and a world premiere of a work and died in New York. She organized Massachusetts. The pieces played were and music by women composers by Catherine McMichael was presented numerous harpsichord festivals, and her mainly by late twentieth-century women Clara Schumann, Jeanne Demessieux, at Hill Auditorium with Susan Clark life was commemorated in the lecture composers and included Refl ections from Fanny Hensel-Mendelssohn, and Sr. Joul, soprano; Joan Holland, harp; by Wall and by Cole’s niece, Mia Cole the Tower (1990) by Emma Lou Diemer. Mary David Callahan, serving as an James Kibbie and Kola Owolabi, Washington. Following, Annie Laver dis- The evening concluded with a recital introduction to the conference the fol- organ. McMichael’s The Apostle: A cussed and performed “An Introduction at Hill Auditorium, “Music by Women lowing weekend. Symphony in Three Linked Movements to the Organ Works of Judith Bingham.” Composers,” presented by students of drew thematically from the biblical Bingham has written about 300 works of James Kibbie and Kola Owolabi, includ- Saturday, September 29 character of Paul of Tarsus—persecu- which some twenty are for organ. ing Jenna Moon, Kaelan Hansson, The First Presbyterian Church of Ann tor, poet, and apostle. The last piece by In the afternoon, conference attend- Joseph Mutone, Sarah Simko, Joseph Arbor hosted the Seventh Annual Impro- Rachel Laurin, Fantasy and Fugue on ees heard music in a program entitled Moss, and Julian Goods, with featured visation Competition, and three con- the Genevan Psalm 47, op. 62, was a “Élizabeth Jacquet de la Guerre: Clave- works by Pamela Decker, Judith Bing- testants had been selected to enter the duet performed by Kibbie and Owolabi. ciniste Extraordinaire,” including ham, Libby Larsen, and Florence Bea- fi nal round. The contestants improvised The work has contrasting registrations the Chamber Sonata in D Major, the trice Price. on the hymntune, Wondrous Love, and themes utilizing four manuals and Harpsichord Suite in A Minor (played by and a selected chromatic theme. First pedal of the organ. Nico Canzano), and the dramatic cantata Tuesday, October 2 Semelé. The recitalists, Nico Canzano, The last day of the conference began Ellen Sauer, Leah Pemick, Leo with Ana Elias and Sara Elias present- Singer, Antona Yost, Alyssa Camp- ing “An Evolution of Women’s Role in The Sound of Pipe bell, Alex Baker, and Neil Robertson the Carillon World and Its Implications are all students of Joseph Gascho. for Arts Entrepreneurship.” Starting Organs Following the performance, a lec- with the historical evolution of women’s ture, “Sylvia’s Little Black Book: an role in the carillon, the current state of M. McNeil Intimate View into the Pioneering Life the profession in Portugal was discussed. 191 pages hardbound of Harpsichordist Sylvia Marlowe,” was Female entrepreneurship was encour- presented by Christina Scott Edelen. aged, and the presenters’ traveling now on sale at Amazon books Marlowe (1908–1981) was an American carillon was exhibited. Following, “Flor- $29.95 harpsichordist who commissioned many ence Price: The First African-American works from leading composers and per- Woman Composer Successful in Classi- formed Baroque repertoire. This recital cal Music: Newly Found Organ Works” included works by Virgil Thomson, was presented in lecture and recital by

22 Q THE DIAPASON Q FEBRUARY 2019 WWW.THEDIAPASON.COM James Kibbie and students from the University of Michigan Department of Dance Letizia Romiti

Joan Holland and Kola Owolabi Marcia Van Oyen and Darlene Kuperus

Calvert Johnson. In particular, Johnson Violence” (music of Pamela Reiter-Feen- discussed Price’s Passacaglia and Fugue stra); “Breaking the Tower Ceiling: of 1927. Black Composers” (music of Yvette Later that morning, the panel “The Jackson and Jessie Montgomery—both ‘Solo’ Keyboardist: When You’re the Michigan premieres); “Frontiers of Only ____ In Your Workplace—Profes- Space and Imagination” (music of Laura sional Perspectives” was moderated by Steenberge, Margo Halsted, Agniezka Tiffany Ng, university carillonist, and Stulginska), and “Not Your Quiet Model featured panelists Anne Laver (Syracuse Minority” (music by Carolyn Chen). University), Susan Tattershall (ID The conference concluded with Project at Colorado Legal Services), University of Michigan Dancers, Elena Tsai (freelance harpsichordist the University of Michigan Baroque and technician), Colin Knapp (Michi- Chamber Orchestra (Aaron Berof- gan Opera Theatre), and Anne Huh- sky and Joseph Gascho, directors), man (associate director of University of and James Kibbie on organ, recreating Michigan Sexual Assault Prevention and choreography staged by Gail Corbin, Awareness Center). Jillian Hopper, and Michela Esteban In the afternoon, students of James of Doris Humphrey (1895–1958) to the Kibbie and Kola Owolabi played music music of Bach. Non-danced music of by women composers at the First Con- de la Guerre was also included in “An gregational Church. The recitalists were Evening of Doris Humphrey and J. S. University of Michigan students Joseph Mutone, Joseph Moss, Jenna Moon, Sarah James Renfer, Matthew Durham, Bach: Romantic Post-Modernism in Simko, Julian Goods, and Kaelan Hansson Allison Barone, Samuel Ronning, Dance and Music.” The fi nal piece, Pas- Clayton Farmer, and Emily Solomon sacaglia and Fugue in C Minor, BWV Confident pedal work performing the music of Pamela Decker, 582, was played by Kibbie with stunning Ruth Zechlin, Erzsébet Szönyi, Brenda choreography by Humphrey from 1938. comes with practice and Portman, and Efrida Andrée. Jillian Hopper and Christian Matijas- “Living Legends . . . Lasting Legacies: Mecca are directors of the Dance the right shoes Emma Lou Diemer, Marilyn Mason, and Legacy Project. Alice Parker” was presented by Darlene The conference was one of trailblaz- on the Kuperus and Marcia Van Oyen, with ers, presenting music chiefl y by women, music by Diemer, Parker, Larry Visser, many of whom are unknown. Indeed, pedals and Joe Utterback, along with videos and the conference itself was a trailblazer remembrances of each “legend.” The in its presentation of women compos- x Men’s & Women’s Organ Shoes afternoon concluded with a presenta- ers, the breadth and varied scope of the tion of “The Work of Dana Hull, Organ offerings, and the immense educational with suede soles and heels Builder & Restorer” by Tom Curry and benefi ts to all attendees. Q x Whole & Half Elgin Clingaman, followed by a recep- Sizes in 3 Widths tion in honor of Hull. Joy Schroeder holds a Doctor of Tiffany Ng began the fi nal evening Musical Arts degree from University of x Quick & Easy with a carillon recital that utilized Michigan in organ performance. She is Returns added electronics. The recital, “Women currently a student, ABD, at the Univer- Who Rock the Bells,” was divided into sity of Oregon in music theory. OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET sections: “#METOO: The Movement 44 Montague City Rd Email: [email protected] to Support Survivors and End Sexual Photo credits: Sherri Brown Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2019 Q 23 2019 Anniversaries

Early Organ Composer Anniversaries in 2019

By John Collins

n 2019 there are several composers the fi nal two of which are also set at a Iwhose anniversaries can be com- fi fth and a fourth lower respectively, are memorated, albeit some of the precise for solo keyboard instrument. A toccata birth and death dates are not known for in eight parts is arranged for two key- certain. Several names below need no boards, as is a Dialoghi. A further piece introduction, but there are also quite in eight parts is for two choirs. a few lesser-known names listed here whose compositions are well worth Jakob Hassler (1569–1622), a exploring. No claim is made for com- brother of Hans Leo Hassler, was organ- pleteness, and there is no guarantee that ist to the Fuggers in Augsburg, and later every edition is readily available and in organist to the imperial court of Rudolf print—there may well also be editions II in Prague. In addition to some mad- by other publishers. Publishers’ websites rigals and choral music, seven pieces for have been given where known. Details keyboard including three ricercars, a of a few composers whose preserved canzona, a fantasia, a fuga, and a toccata output consists of only one or two pieces have survived in the Torino manuscripts. have been omitted. These have been edited by Hartmut An increasing number of pieces, rang- Krones for Verlag Doblinger as DM570 ing from complete, original publications in the Diletto Musicale series. or manuscripts (which present the usual problems of multiple clefs as well as orig- Anthoni van Noordt (ca. 1619– Louis Marchand inal printer’s errors) to modern versions 1675) lived in Amsterdam where he of complete or individual works, are to became organist of Nieuwezijdskapel in Editions Chanvrelin. A facsimile from d’ecos i contraecos, a Partit de mà dreta be found on various free download sites, 1652 and of the Nieuwe Kerk in 1664. Fuzeau is out of print but may be avail- (i.e., a piece for divided keyboard with most noticeably IMSLP/Petrucci Music His Tablatuur-Boeck van Psalmen en able from second hand sites. the solo in right hand), three sets of Library (http://imslp.org); however, the Fantasyen of 1659 contains ten psalm The second Livre d’orgue sur les Accla- Versos on the eight Tones, and a set of accuracy of some modern typesetting is settings with from one to eight verses mations de la Paix tant désirée (1714) eight Versos on the fi rst Tone have been highly questionable, and all should be and six fugal fantasias. The notation commemorates the Treaty of Utrecht and edited by David Pujol in Mestres de treated with caution before use. shows the pedal part in German organ contains preludes and fugues, an offer- L’Escolania de Monserrat, Vol. IV, which tablature. The complete book has been toire, ouverture, allemande grave, and also contains sixteen Pasos for keyboard Aurelio Bonelli (1569–ca.1620) was edited by Jan van Biezen for Vereniging some eighteen noëls. It has been edited by Narciso Casanoves. A further six set- born in Bologna. He succeeded Adriano voor Nederlandse Muziekgeschiedenis, by Jean Bonfi ls for Éditions Musicales tings of Pange Lingua and two settings Banchieri as organist of Boscom and was Amsterdam as MMN11. de la Schola Cantorum et de la Procure of Sacris Solemnis have been edited by listed as organist in Bologna in 1620. His Générale de musique (SCOLQ109). It Gregorio Estrada in pages 181–198 in collection Il primo Libro di Ricercari, et André Raison (ca. 1648–1719) has also been edited by Nicolas Goren- volume VI of the same series, the great canzoni a quattro voci con die Toccate became organist of the abbey of Sainte- stein in one volume for Editions Chan- majority of the volume containing vocal e doi dialoghi a otto was published in Genevieve, Paris, in 1665. His Livre vrelin. Further pieces are in the Livre settings of the Mass. Venice in 1602. The ricercars have been d’Orgue of 1688 contains fi ve Masses in d’Orgue de Limoges, which also contains edited by Candida Felice for Armelin, the fi rst, second, third, sixth, and eighth pieces by G. Julien and G. Corrette; this Louis Marchand (1669–1732) was Padua, as Fiori Musicali (FM 002). This Tones with fi ve versets for Kyrie, nine has been edited by Jolando Scarpa for organist of several churches in Paris edition also includes the intabulated ver- for Gloria, three for Sanctus, one Eleva- Musica Restituta, Music Reprints, and and also to the French King. Twelve of sions found in the Torino manuscripts. tion, two Agnus Dei versets, and a Deo also by Nicolas Gorenstein in two vol- his organ works were published post- The canzoni, toccate, and dialoghi have Gratias, along with an Offertoire in the umes for Editions Chanvrelin. A facsimile humously, and some forty-two survive been edited by Federico del Sordo, also 5th Tone. Edited by Alexandre Guilmant is available from Fuzeau (Ref 2632). in manuscript, which have been edited for Armelin (AMM 299). Eight canzonas, and André Pirro in Archives des Maîtres by Alexandre Guilmant in Archives des de l’Orgue des XVIe, XVIIe et XVIIIe Giovanni Maria Casini (1652–1719), Maîtres de l’Orgue des XVIe, XVIIe, et siècles, volume II for B. Schotts Söhne organist of the cathedral in Florence and XVIIIe siècles, volumes III (the print) A. E. Schlueter Pipe Organ Co. and by Norbert Dufourq for Éditions to Grand Duke Cosimo III in Tuscany, and V (manuscript pieces) for B. Schotts Musicales de la Schola Cantorum et published a set of twelve Pensieri per Söhne. Jean Bonfi ls has edited the organ de la Procure Générale de musique l’organo in Partitura in two volumes in works in three volumes for Alphonse (SCOL105). It has also been edited by 1714. Most of these elaborately contra- Leduc (ALHE32989-91); volume 1 con- Nicolas Gorenstein in three volumes for puntal pieces are in two or three move- tains the twelve pieces, volumes 2 and 3 ments, these being variations in a differ- contain manuscript works. A facsimile ent rhythm, frequently dance based, of of Pièces choisies pour l’orgue 1740 has the opening movement. The complete been published by Fuzeau (Ref 2665). set has been edited in one volume by Also available in facsimile from Fuzeau is Milton Sutter for Ricordi (133218) and Pièces d’orgues manuscrites (Ref 3172), in two volumes by Jörg Jacobi for Edition which includes autograph manuscripts Baroque, Bremen (eba 4013 and 4014). with the composer’s corrections, now in  New Instruments  Tonal Additions the Municipal Library of Versailles.  Rebuilding  Maintenance Miguel López (1669–1723), a Bene-  New Consoles  Tuning dictine friar who studied theology, was Marianus Königsperger (1708– also maestro de capella and organist 1769) was organist and choirmaster of How can we help you? in Marid, Valladolid, and Montserrat. Prüfening Abbey. He published a large He composed sacred and secular vocal amount of church music in Latin as well 800-836-2726 music, orchestral music, and organ as chamber music and keyboard pieces. www.pipe-organ.com music, of which three Llenos, an Exercici Modern editions of the latter include

24 Q THE DIAPASON Q FEBRUARY 2019 WWW.THEDIAPASON.COM Publishers’ websites A-R Editions: www.areditions.com Alphonse Leduc: www.alphonseleduc.com/en American Institute of Musicology—CEKM series: www.corpusmusicae.com/cekm.htm Anne Fuzeau facsimiles: www.editions-classique.com Armelin (and Zanibon): www.armelin.it B-Note Musikverlag: www.bnote.de Bärenreiter: www.baerenreiter.com Breitkopf & Hartel: www.breitkopf.com Broude Bros: www.broude.us Butz Verlag: www.butz-verlag.de Carus Verlag: www.carus-verlag.com Consejo Superior de Investigaciones Científi cas, Barcelona: www.csic.es Cornetto Verlag: www.cornetto-music.de Doblinger: www.doblinger-musikverlag.at Edition Baroque: www.edition-baroque.de Edition Walhall: www.edition-walhall.de Editions Chanvrelin: www.chanvrelin.free.fr Edizione Carrara: www.edizionicarrara.it Forni Editore: www.fornieditore.com Greg Lewin: www.greglewin.co.uk Il Levante Libreria: www.illevante-libreria.it Musedita: www.musedita.it Music Reprints: www.musicreprints.free.fr/ Norsk Musikforlag: www.musikkforlagene.no/ Oiseau Lyre: www.vca-mcm.unimelb.edu.au/about/publications/ lyrebird-press-australia Organon: www.organon.babnis.com Otto Heinrich Noetzel Verlag: www.heinrichshofen.de Schott Music: www.schott-music.com Scola Cantorum: www.schola-editions.com Sociedad Española de Musicología: www.sedem.es Stainer & Bell: www.stainer.co.uk Union Musical Española: www.musicsalesclassical.com/companies/ unionmusicalediciones Church of the Abbey of Sainte Genevieve, Paris, France, where André Raison served Ut Orpheus: www.utorpheus.com as organist Vereniging voor Nederlandse Muziek- geschiedenis: www.kvnl.nl Praeambulum cum fuga primi toni facili self-published (OM102; a facsimile is methodi elaboratum (prelude and fugue available as OM102A). Also there is Ten on each of the eight Tones) originally Voluntaries, opus 2, printed in 1758, with Fugues et plusieurs Noëls pour l’Orgue, Cattagna, left a handful of pieces in man- published in three volumes between a much wider range of pieces comprising which has been edited by Nicolas uscripts, of which three single-move- 1752 and 1756, edited by Laura Cerutti three single-movement fugues, a single- Gorenstein for Editions Chanvrelin. ment sonatas, an Elevazione Bellissima, for Armelin (AMM151)—the fugue movement piece alternating between Ses- a Presto, an Andante, and seven versetti on the eighth Tone is missing—Der quialtera in the left hand and the Swell, Pierre Nicolas Verheyen (ca. 1750– have been edited by Luca Lovisolo as wohl-unterwiesene Clavier-schüler . . . and six two-movement pieces including 1819) was an organist in Gent. Seven volume II of the Flores Organi Cisalpini VIII Praeambula, XXIV Versette, und one prelude and fugue, one Voluntary pieces in a manuscript (two andantes, four series, Edizione Carrara (4158). Q VIII Arien (i.e., eight sets of preludes, for Cornet and Flute, one for Trumpet, its one-movement sonatas, and a Nouvelle 24 versets, and 8 arias on each of the Echo and Flute, one Voluntary for the two Marche) have been edited by Armando John Collins has been playing and eight Tones) of 1755 edited by Laura Diapasons, Principal, and Fifteenth, one Carideo for Ut Orpheus (ES14). researching early keyboard music for Cerutti for Armelin (AMM030). A for the full swell and Vox Humana or Bas- over thirty-fi ve years, with special Praeambulum in C minor and a Fuga soon, and one for Flute, edited by Greg Carlo Gervasoni (1762–1819), born research interests in the English, Ital- in C major from Fingerstreit oder Lewin (OM110). in Milan, became maestro di cappella at ian, and Iberian repertoires. He has Klavierübung of 1760, together with Borotaro in 1789. His three-part treatise contributed many reviews and articles three of the preludes and fugues and Friedrich Christian Mohrheim La Scuola della Musica of 1800 contains on repertoire and performance practice, two arias, has been edited by Eber- (1719–1780) attended the Thomasschule much useful information about organs including translations and commentaries hard Kraus for Otto Heinrich Noetzel in Leipzig from 1733 to 1736 and acted and performance practice as well as on treatises in German, Spanish, and Verlag, Wilhemshaven, in Cantantibus as J. S. Bach’s copyist, later becoming some Lezioni d’organo, which have been Portuguese, to European and Ameri- Organis, volume 5 (ref 3465). This vol- Kapellmeister in Danzig. He left seven edited by Maurizio Machella for Armelin can journals, including THE DIAPASON. ume also contains three preludes and trios for organ, three of which are on (OIO 109). After serving as organist at St. George’s fugues by Placidus Metsch along with chorale melodies, and six chorale pre- Church, Worthing, UK, for thirty-three three fugues and two sets of Versetten ludes. The complete pieces have been Giulio Maria Delfrate-Alvazzi years, in June 2017 he began service for by Georg Pasterwitz. edited by Maciej Babnis for Organon (1772–1819), organist in Varzo and Christ Church, Worthing. in three volumes (ORG0007–9), and William Felton (1715–1769) was the trios have been edited by Maurizio vicar choral at the cathedral of Hereford Machella for Armelin (AMM 223). and an amateur composer. He left thirty- two concerti for organ or harpsichord Joaquín de Ojinaga (1719–1789), based on Handel’s, in fi ve sets of six, opp. born in Bilbao, became organist of the 1, 2, 4, 5, and 7 (the latter set was reis- Chapel Royal, Madrid, and then of the sued with eight concerti), and two sets of cathedral of Toledo. Eleven pieces com- Eight Lessons for the harpsichord, opp. 3 prising fi ve Fugas, a Paso, an Intento, and 6. The keyboard part for the six con- two sonatas, and two minuetos have certi in opus 1 has been edited by Greg been edited José López-Calo for Eusko Lewin and is self-published (OM131). Ikaskuntza Sociedad de Estudios Vascos as Cuadernos de música 2. It can be William Walond (1719–1768), assis- downloaded free of charge from http:// tant organist of Christ Church Cathedral, hedatuz.euskomedia.org/8679/1/obras_ Oxford, left two sets of works. Organ musicales.pdf. Voluntaries, opus 1, is a set of six two- movement voluntaries (ca. 1752)—three Nicolas Séjan (1745–1819), an organ- are for Cornet, one is for Cornet and ist in Paris, left a set of six sonatas for Flute, one is without registration indica- harpsichord with violin accompaniment AUSTINORGANS.COM tion, but clearly for Cornet or Flute, and as his opus 1, and a Recueil de pièces (13) 
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WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2019 Q 25 Cover feature

Schoenstein & Co., Benicia, California Saint John’s Episcopal Church, Tulsa, Oklahoma

Selling the idea A new pipe organ is, aside from the church building itself, often the most signifi cant investment a congregation can make. When I knew I had the oppor- tunity to see the commissioning of a new instrument for Saint John’s Episcopal Tubing conveying wind to display pipes Church, it was important for me that this project be a transformational experience for the parishioners. I wanted them to have an understanding of how a pipe organ works and become experienced enough listeners so that they would “know the difference” in the sound. I also believed a pipe organ project, when done right, could unite a parish commu- nity in a powerful way. In the summer of 2015, I offered several organ demonstrations in which parishioners came to the console and had a glance into the organ chamber. They saw me “pull out all the stops,” open the swell shades, and I demonstrated differ- ent types of sound colors. In the ensuing months I would share with them some of the serious mechanical problems that made playing the 1966 M. P. Möller organ a constant challenge. When the project took off, some lead donors and I fi rst talked of rebuilding Careful planning in design and building the existing organ. After fundraising was an organ helps make the instrument ac- cessible for maintenance in the genera- proving very successful, we believed tions to come a new instrument was the best use of funds. The Vestry ultimately approved a proposal from Schoenstein & Co. for a new instrument specifi cally designed to render music for a traditional Anglican service. Parish-wide enthusiasm culmi- nated with a large crowd of more than 150 people on the day the new organ was delivered in July 2018. I will never forget people of all ages coming to help carry Saint John’s Episcopal Church, Tulsa, Oklahoma pipes and parts into the church. It was a very hot day, so the Schoenstein crew Beautiful, rich 8′ tone is essential for There is so much variety in every tonal was relieved that with all the help, the playing an Anglican service, and this family, but I believe the biggest success truck was completely unloaded in just a new organ delivers. There are twelve is in the reed voicing. In the Swell, the few hours! separate 8′ foundation stops in the 16′ Contra Fagotto has an 8′ extension The new Schoenstein organ played for manuals. While each one has a distinct that is a darker contrast to the brighter worship the fi rst time on September 9, quality, they blend to form a sound that 8′ Cornopean. The Flügel Horn, sort of 2018, with a large congregation in atten- invites everyone to sing. Gone are the like a muted trumpet, makes a compel- dance. It is no understatement to say that days when the 4′ Fugara, played down ling addition to the 8′ foundations. This this instrument has completely changed an octave, was the best “diapason!” stop has been put to good use in “Hills the choral and congregational singing of The new organ has much more solid of the North,” an anthem for women’s the parish. Parishioners can clearly tell the bass that is powerful but never “tubby.” voices by Herbert Howells. Howells difference, with descriptions of “pleasing The 16′ Open Wood does much to sup- specifi cally calls for “darker” sounds in A view of the trebles of the Swell sound,” “warmth,” and “clear bass.” As port the congregation’s singing, and the some places. Cornopean for me, I am falling in love with many soft 16′s, the Swell Bourdon and Choir It is easy to forget that this new anthems all over again. The possibilities Dulciana, still have clear fundamental Schoenstein organ has merely thirty- Contra Fagotto. It also means that a for choral repertoire seem limitless, as tone. The upper work (2′ stops and mix- eight ranks. The inner swell box, when huge crescendo can be achieved by sim- my colleague Adam Pajan demonstrates tures) is restrained and adds brilliance to closed, gives a restrained and darker ply opening both sets of swell shades. A every time he plays an accompaniment. full ensembles. sound to the Mixture, Cornopean, and comparable effect on other instruments

Schoenstein & Co. Saint John’s Episcopal Church, Tulsa, Oklahoma

GREAT (Manual II) 8′ Cornopean † 61 pipes PEDAL Great 771 pipes 16′ Double Diapason 61 pipes 8′ Fagotto (ext 16′) † 12 pipes 32′ Resultant Swell 870 pipes 8′ First Open Diapason 61 pipes 8′ Oboe Horn 61 pipes 16′ Open Wood 32 pipes Choir 451 pipes 8′ Second Diapason (ext 16′) 12 pipes Tremulant 16′ Double Diapason (Gt) Pedal 88 pipes 8′ Harmonic Flute 61 pipes † Stops under double expression 16′ Double Dulciana (Ch) Total 2,180 pipes 8′ Bourdon 61 pipes 16′ Lieblich Bourdon (Sw) 4′ Principal 61 pipes CHOIR (Manual I, expressive) 8′ Principal 32 pipes TONAL ANALYSIS 4′ Silver Flute 61 pipes 16′ Double Dulciana (ext 8′) 12 pipes 8′ Horn Diapason (Sw) 2 2⁄3′ Twelfth (TC) 42 pipes 8′ Dulciana 61 pipes 8′ Dulciana (Ch) PITCH SUMMARY 2′ Fifteenth 61 pipes 8′ Unda-Maris (TC) 49 pipes 8′ Flute (Gt Harmonic) 16′ and below 5 16% 3 1⁄5′ Seventeenth (TC) 42 pipes 8′ Concert Flute 61 pipes 8′ Stopped Diapason (Sw) 8′ 16 52% 1 1⁄3′ Mixture III–IV 187 pipes 8′ Lieblich Gedeckt 49 pipes 4′ Fifteenth (ext 8′) 12 pipes 4′ 4 13% 8′ Trumpet 61 pipes (Concert Flute Bass) 4′ Flute (Gt Harmonic) Above 4′ 6 19% 4′ Concert Flute (ext 8′) 12 pipes 2′ Twentysecond (ext 8′) 12 pipes 31 100% SWELL (Manual III, expressive) 4′ Lieblich Gedeckt (ext 8′) 12 pipes 16′ Ophicleide (Ch) 2 16′ Lieblich Bourdon (ext 8′) 12 pipes 2⁄3′ Nazard (fr Lieb Ged) 16′ Contra Fagotto (Sw) TONAL FAMILIES 8′ Horn Diapason 61 pipes 16′ Ophicleide (ext 8′) 12 pipes 8′ Tuba (Ch) Diapasons 14 45% 8′ Stopped Diapason 61 pipes 8′ Tuba 61 pipes 8′ Fagotto (Sw) Open Flutes 5 16% 8′ Gamba † 61 pipes 8′ Flügel Horn 61 pipes 4′ Corno di Bassetto (Ch) Stopped Flutes 3 10% 8′ Gamba Celeste † 61 pipes 8′ Corno di Bassetto 61 pipes Strings 2 6% 4′ Gemshorn 61 pipes Tremulant Normal couplers and accessories Chorus Reeds 4 13% 4′ Harmonic Flute 61 pipes Color Reeds 3 10% 2′ Flageolet 61 pipes Three manuals, 31 voices, 38 ranks 31 100% 2′ Mixture III–V † 236 pipes Electric-pneumatic action 16′ Contra Fagotto † 61 pipes

26 Q THE DIAPASON Q FEBRUARY 2019 WWW.THEDIAPASON.COM The console would usually require adding a sequence Tubing that conveys the wind to the of many other stops. display pipes is arranged not only along In the end, it is no surprise to me the most effi cient path but is bundled that parishioners love both the sound neatly and secured, imitating exhaust and façade of the new organ. A most tubes of a classic Duesenberg SJ. The welcome surprise was the way in which cabling that transmits the desires of the this project rallied us all together. May organist to the appropriate pipes can be this new organ offer praise to God and found meandering its way throughout lift the hearts of worshippers for many the instrument in the neatest manner. generations to come. Why are all these things done with —Joseph Arndt, Music Director such care and pride, when no one except Saint John’s Episcopal Church the organ technician will see them? The main reason is an organ that exhibits The organ’s inner beauty careful design and thoughtfulness for When most people think about an the placement of each component dem- organ, the fi rst thing that comes to mind onstrates the commitment and pride of is the console or the organ case with the builder and wins the respect of organ display pipes. This would certainly be technicians. An organ whose workings true of our latest organ at Saint John’s are accessible for easy service will be The façade pipe decoration was designed and executed by prominent San Fran- Episcopal Church in Tulsa, Oklahoma. maintained well over the years because cisco artist, David Boysel. The fabric of the church includes especially lovely colors and decorative motifs. Mr. Boysel visited the church to create exact color matches With a handsome console and vibrantly it is a joy to work on. The occasional and design patterns from the church architecture and furnishings. He made full size stenciled display pipes, these visual por- issue that arises will be easy to resolve samples for client approval and then applied gold leaf and paint to the pipes at the tions certainly stand out. The casework due to the wisely considered layout of Schoenstein plant. and its display pipes offer an opportunity the systems. Accessible components to utilize elements inspired by the room’s allow everything to be maintained at the the church during the installation, fi rst which components really needed to be architecture to create a memorable and highest level. for unloading day and then later in the in place and which ones, while benefi - cohesive design. If done well, this often How does the congregation come process when the fi rst pipes started to cial and meritorious in their own right, results in the phrase, “it looks like it’s to appreciate this unseen portion of play. A local viewer saw the installation might acquiesce to those that could always been there,” a compliment the the organ? One way is to start with the on the news broadcast and came by the potentially better fulfi ll the vision. Our builder always appreciates. unloading of the organ on delivery day. church for a personal visit. It turns out conversation continued to evolve fol- Many also believe the visible display The response will vary by church, but at she was a friend of a Schoenstein family lowing a visit to a recent Schoenstein pipes encompass the entire sound- Saint John’s the one-hundred-fi fty-some member she had been out of touch with organ, which helped inform what would producing portion of the organ. There is members who assisted in that task cer- for many years. Because we still have become the fi nal specifi cation. no compelling reason for them to think tainly have a good idea of what makes up close ties with the Schoenstein family, The Choir division saw the most dra- that forty display pipes would not suffi ce the total pipe organ. Helping to carry in we were able assist her in reuniting with matic transformation toward a division to produce all the beautiful tones they the thousands of organ pipes and parts, her friend. with diverse 8′ color, intended primar- hear each Sunday at worship. And since they gained a hands-on knowledge. While the external portions of the pipe ily for accompanying and solo effects. organ chambers are usually off limits (for Throughout the installation, members organ are often a work of art, there is just Mutations moved to the Great, where good reason), any secrets held within would stop by to observe the progress as much, if not more, to see behind the they now play a role as members of the are kept safely guarded. After all, the and ask questions. Any naysayers to the façade. The expert skills of the artisans principal chorus. Double expression in display pipes are meant to conceal what acquisition of a new organ are often who built the instrument are on full the Swell division allows it to function is behind. converted to strong supporters during display and remain a testament to those like an additional manual. The amount But what happens inside the organ? this interval. who bring their talent to the task. As with of color and power that can be con- Although not thought of as beautiful in Another way to involve the church other endeavors built for the ages, future trolled to a dynamic level appropriate the traditional sense, the interior of the members is through education sessions generations will appreciate the “inner for choral accompaniment makes the pipe organ is attractive in many ways. during the installation. Music Director beauty” of their pipe organ. Schoenstein an overwhelming success. The supporting framework or chassis, Joseph Arndt offered these directly after —Louis Patterson, Each voice is individually beautiful, the expression shades, wind lines, regula- worship during the installation period Vice President and Plant Superintendent making the collective all the more so. It tors and electrical cables all create a dif- to demonstrate certain aspects of the Schoenstein & Co. is an honor to support Joseph as Artist ferent kind of beauty—that of organized organ before the case and display pipes in Residence and to have acted as a kind engineering. The care that goes into this were put in place. Easily observed at Collaboration of advisor and friend in the planning process, starting with the design on the this point is the working of the inner and I had the privilege of meeting Joseph process. Making music at Saint John’s is drawing board and following through to outer expression shades of the Swell. A Arndt and becoming involved in the music more fulfi lling than ever, and the future the end of the installation, is attended to visual demonstration of an aural effect ministry at Saint John’s Episcopal Church is bright indeed. by skilled craftsmen and artists whose is a tremendous teaching device. Inter- once the contract for the new instrument — Adam Pajan, Artist in Residence work may never be seen or appreciated ested members also posted short videos had already been signed. While some Saint John’s Episcopal Church except by the very few. to Facebook and other social media. The details of the specifi cation were still open The chassis—made up of wooden reaction to such postings continues to for discussion, the overall concept for the Photo credit (including cover): Louis legs, bearers, and other supporting generate interest. organ was clear: it needed to be a servant Patterson structure—are all made from the high- The local news media is another venue to the liturgy and the music that adorns it. est quality materials and fi nished as if that should not be overlooked. Two In the following months, Joseph and Builder’s website: www.schoenstein.com they were to be viewed by the public. crews from local news channels visited I spent many hours in discussion about Church website: www.sjtulsa.org

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2019 Q 27 Organ Projects

Case Organ Company, Inc., Verona, Wisconsin Bishop O’Connor Chapel, Holy Name Catholic Center, Madison, Wisconsin The Case Organ Company has com- pleted restoration and relocation of Aeolian-Skinner Opus 1204. The organ was installed in Bishop O’Connor Chapel at Holy Name Heights, Madi- son, Wisconsin. The instrument was blessed at a choral dedication recital with Lessons and Carols sung by the Madison Diocesan Choir and organ solos performed by Glenn Schuster on December 19, 2017. For this contract we originally pur- chased Opus 1244 from a Christian Science Church in Rockford, Wisconsin. This organ was a bit small for the new space so we intended to expand it with four ranks. Fortuitously we found out about the availability of the slightly larger Opus 1204 only two weeks later. Opus 1244 was put into storage at our shop where it remains, available for a future contract, while work commenced on Opus 1204. Opus 1204 was fi rst installed in First Congregational Church, Kenosha, Wisconsin. Originally ordered in 1949, the Korean War intervened to delay The console of the organ in Bishop O’Connor Chapel, Holy Name Catholic Center, Madison, Wisconsin production and delivery until 1953 due to both shortages in material and skilled pipe makers. The organ restora- tion has retained all original ranks and chests. The one addition has been to make the Pedal 16′ Gedeckt playable on the Swell manual. Due to limitations in borrowing from the Swell manual chest, an additional 29 new notes and chest were required. The pipes were sourced by Tommy Anderson, an origi- nal Aeolian-Skinner Company pipe A view of the console from an angle maker now retired. All zinc pipework was stripped of its resin coating and refi nished with tradi- tional shellac. Scrolls were replaced on all fl ues where metal had failed from fatigue. All reeds were stripped, cleaned, and re-shellacked. New brass wedges were fi tted throughout. Scrolls on all reeds were replaced. A view of part of the Swell division The oak console was stripped and refi nished to match the original dark The restoration was carried out in part- organs over the years. Tonal fi nishing was walnut fi nish. Stop knobs and tilting nership with Spencer Organ Company accomplished by Jonathan Ambrosino, tablets have been replaced with Harris of Boston. Great care has been taken to Martin Near, and Bruce Case. components. The console and chamber restore the organ in a historically sensitive —Bruce Case relay has been upgraded to a SSOS solid- manner with changes made only to correct state system. problematic issues with Aeolian-Skinner Photo credit: Richard Jones

Case Organ Company/Aeolian-Skinner Organ Co. Bishop O’Connor Chapel, Holy Name Catholic Center, Madison, Wisconsin Martin Near voicing in the Great division

3 GREAT (expressive, 3 ⁄4″ w.p.) PEDAL (4″ w.p.) Accessories 8′ Diapason 61 pipes 16′ Bourdon 32 pipes 10 General pistons 8′ Bourdon 61 pipes 16′ Gedeckt (Sw 8′) 12 pipes 5 Great pistons 8′ Flauto Dolce 61 pipes 8′ Octave 32 pipes 5 Swell pistons 8′ Flute Celeste (TC) 49 pipes 8′ Flute (ext Bourdon) 12 pipes 5 Pedal pistons 4′ Octave 61 pipes 8′ Gedeckt (Swell) General Cancel (thumb) Grave Mixture II 122 pipes 4′ Choral Bass 32 pipes Great to Pedal reversible (thumb) Chimes (21 tubes) Great to Pedal 8 Swell to Pedal reversible (thumb) Tremolo Swell to Pedal 8 Full Organ reversible (thumb) Great Unison Off Swell to Pedal 4 Setter (thumb) Great 4 Antiphonal on Pedal Next General piston (thumb) Swell to Great 16 Previous General piston (thumb) Swell to Great 8 ANTIPHONAL Transposer Up or Down (8 semitones) Swell to Great 4 (expressive, prepared) Relay system by Solid State Organ Systems Antiphonal on Great 8′ Diapason 61 pipes 8′ Flute 61 pipes SWELL (expressive, 4″ w.p.) 8′ Dulciana 61 pipes 16′ Gedeckt (Chimney Flute) 29 pipes 8′ Unda Maris (TC) 49 pipes 8′ Chimney Flute 73 pipes 4′ Principal 61 pipes 8′ Viole de Gambe 73 pipes 4′ Flute 61 pipes 8′ Viole Celeste (TC) 61 pipes Tremolo 4′ Gemshorn 73 pipes Antiphonal 16 Mixture III 183 pipes Antiphonal Unison Off 8′ Trompette 73 pipes Antiphonal 4 8′ Oboe 73 pipes Tremolo ANTIPHONAL PEDAL Swell 16 (expressive, prepared) Swell Unison Off 16′ Bourdon 32 pipes ′ Swell 4 8 Flute 32 pipes Bruce Case stands in the newly re- Antiphonal On Swell stored Swell division

28 Q THE DIAPASON Q FEBRUARY 2019 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN 23 FEBRUARY Park Ridge Presbyterian Church This calendar runs from the 15th of the month Yale Schola Cantorum; Christ Church, Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline New Haven, CT 7:30 pm Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK • Marie Rubis-Bauer, workshop; Win- Feb. issue). All events are assumed to be organ Bloomingdale, IL netka Congregational, Winnetka, IL 10 am recitals unless otherwise indicated and are grouped within each date north-south and east-west. •=AGO 24 FEBRUARY chapter event, • •=RCCO centre event, +=new organ Choral Evensong; St. John’s Episcopal, dedication, ++= OHS event. West Hartford, CT 5 pm Christopher Babcock Michael J. Batcho Information cannot be accepted unless it Brahms, Requiem, Mendelssohn motets; specifi es artist name, date, location, and hour in St. Ignatius Loyola, New York, NY 3 pm Director of Music writing. Multiple listings should be in chronological St. Andrew’s by the Sea, Russian Chamber Chorus of New York; order; please do not send duplicate listings. CATHEDRAL OF ST. JOHN Madison Avenue Presbyterian, New York, Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. NY 3 pm Lynn Trapp; Cathedral of St. John the Di- vine, New York, NY 5 pm UNITED STATES G. C. Bach, Siehe, wie fein und lieblich East of the Mississippi ist’s; Holy Trinity Lutheran, New York, NY Dean W. Billmeyer 5 pm Jeremy Bruns; St. Thomas Church Fifth 15 FEBRUARY University of Minnesota Avenue, New York, NY 5:15 pm Paul Rhoads; St. Paul’s Episcopal, Martin Baker; Calvary Episcopal, Pitts- Minneapolis 55455 • [email protected] Wilmington, NC 7:30 pm burgh, PA 3 pm Paul Jacobs; Knowles Memorial Cha- Nicholas Schmelter; Our Lady of Mount pel, Winter Haven, FL 7:30 pm Carmel Catholic Church, Altoona, PA 4 pm Thomas Gouwens; Fourth Presbyte- Christopher Jacobson; Duke University rian, Chicago, IL 12:10 pm Chapel, Durham, NC 5:15 pm GAVIN BLACK Byron L. Blackmore Bruce Neswick, hymn playing master- Jillian Gardner; Cathedral of St. Philip, Princeton Early Keyboard Center class; St. Chrysostom’s Episcopal, Chica- Atlanta, GA 3:15; Choral Evensong 4 pm Crown of Life Lutheran Church go, IL 7:30 pm Mignarda Ensemble; Cathedral of St. 732/599-0392 Sun City West, Arizona www.pekc.org John the Evangelist, Cleveland, OH 3 pm 623/214-4903 16 FEBRUARY Gail Archer; St. Paul’s United Methodist, Yale Voxtet, cantatas of Bach; St. Thom- Louisville, KY 3 pm as Episcopal, New Haven, CT 7:30 pm Bach Vespers; Calvary Episcopal, Louis- Katelyn Emerson; St. Thomas Church, ville, KY 4 pm Fifth Avenue, New York, NY 3 pm Kevin Chunko; Community Presbyte- THOMAS BROWN Carson Cooman UNIVERSITY Bach, Mass in B Minor; Shadyside Pres- rian, Clarendon Hills, IL 3 pm Composer and Concert Organist byterian, Pittsburgh, PA 3 pm Haydn, Mariazellermesse; Church of St. PRESBYTERIAN CHURCH Georgia Boy Choir Festival; Peachtree Agnes, St. Paul, MN 10 am CHAPEL HILL, NORTH CAROLINA Harvard University Road United Methodist, Atlanta, GA 7:30 pm ThomasBrownMusic.com www.carsoncooman.com 25 FEBRUARY 17 FEBRUARY Martin Baker, lecture; First Presbyterian, Matthew Daley; Woolsey Hall, Yale Uni- Pittsburgh, PA 7:45 pm Organized Rhythm (Clive Driskill-Smith, versity, New Haven, CT 7:30 pm Your professional card Douglas Cleveland; Vassar College, organ, & Joseph Gramley, percussion); All Saints’ Episcopal, Atlanta, GA 7:30 pm DELBERT DISSELHORST Poughkeepsie, NY 3 pm could appear here! Marianne Kim; Presbyterian Homes, Jordan Prescott; Cathedral of St. John Evanston, IL 1:30 pm Professor Emeritus the Divine, New York, NY 5 pm Contact: [email protected] University of Iowa–Iowa City or 608/634-6253 Buxtehude, Gott hilf mir; Holy Trinity Lu- 26 FEBRUARY theran, New York, NY 5 pm Students from University of Alabama; Parker Kitterman; Longwood Gardens, Central Synagogue, New York, NY 12:30 pm Kennett Square, PA 3 pm Oliver Brett & Malcolm Matthews; Stephen Kalnoske; Washington Nation- Peachtree Road United Methodist, Atlanta, STEVEN EGLER JOHN FENSTERMAKER al Cathedral, Washington, DC 5:15 pm GA 7 pm Central Michigan University Peter Waggoner; Cathedral of St. Philip, Cincinnati Conservatory organ students; School of Music TRINITY-BY-THE-COVE Atlanta, GA 3:15; Choral Evensong 4 pm Christ Church Cathedral, Cincinnati, OH Mt. Pleasant, MI 48859 Alcee Chriss; Christ Presbyterian, Can- 12:10 pm [email protected] NAPLES, FLORIDA ton, OH 4 pm Vincent Carr; Christ Church Cathedral, 28 FEBRUARY Choir concert; Church of St. Luke in the Lexington, KY 3:30; Choral Evensong 4 pm Norberto Huw Lewis; Southside Baptist, Birming- Fields, New York, NY 8 pm ham, AL 4 pm 1 MARCH Scott Dettra; Wabash College, Craw- Susan Goodson Guinaldo Rancocas Valley Regional High School fordsville, IN 3 pm Choirs; St. Patrick’s Cathedral, New York, Emanuel United Church of Christ His Music Jeremy Kiolbassa; Loyola University, NY 1:45 pm Manchester, Michigan See—Listen—Buy Chicago, IL 3 pm + Mark Pacoe; St. John’s Lutheran, Say- www.GuinaldoPublications.com Mozart, Spatzenmesse; Church of St. ville, NY 7:30 pm Agnes, St. Paul, MN 10 am Joshua Stafford; St. Paul’s Episcopal, Jessica Park; Como Park Lutheran, St. Wilmington, NC 7:30 pm A Professional Card in Paul, MN 4 pm Daryl Robinson; Moorings Presbyte- rian, Naples, FL 7:30 pm STEPHEN HAMILTON 19 FEBRUARY Nicholas Schmelter; First Presbyterian, The Diapason Jim McFarland; Campbellsville Univer- Caro, MI 12 noon For rates and digital specifi cations, recitalist–clinician–educator sity, Campbellsville, KY 12:20 pm Jefi mija Zlatanovic & Madeleine Varda; contact Jerome Butera www.stephenjonhamilton.com Chelsea Chen; Overture Hall, Madison, First Presbyterian, Evansville, IN 7 pm 847/391-1045; [email protected] WI 7:30 pm Gail Archer; St. Peter Catholic Cathe- Ryan Hulshizer; St. Louis King of France dral, Jackson, MS 7:30 pm Catholic Church, St. Paul, MN 12:35 pm 2 MARCH 21 FEBRUARY Christian Lane, masterclass; Evangeli- David Herman Choral Evensong; Cathedral Church of cal Lutheran Church, Frederick, MD 10 am the Advent, Birmingham, AL 5:30 pm Trustees Distinguished Professor Emeritus of Music and University Organist 3 MARCH 22 FEBRUARY Jonathan Dimmock; Trinity Lutheran, The University of Delaware Q [email protected] Katelyn Emerson; Park Street Church, Worcester, MA 4 pm Nathan Lively Boston, MA 7:30 pm ; St. John’s Episcopal, West Hartford, CT 12:15 pm Monte Vista High School Choirs; St. Pat- Alchemy Choral Ensemble; Bethany Lu- rick’s Cathedral, New York, NY 1:45 pm theran, Cromwell, CT 4 pm Gail Archer Eastman organ students; First Baptist Stephen Tharp; St. Ignatius Loyola, New organist Church, Rochester, NY 7 pm York, NY 3 pm Brad Hughley; Cathedral of the As- Honegger, King David; Grace Church, www.gailarcher.com Lorraine Brugh, Ph.D. sumption, Louisville, KY 7:30 pm New York, NY 4 pm Professor of Music VOCES8; Cathedral Church of the Ad- Bach, Cantata 96; Holy Trinity Lutheran, Vassar College vent, Birmingham, AL 7:30 pm New York, NY 5 pm Barnard College, Columbia University University Organist [email protected] Vincent Carr; Auer Hall, Indiana Univer- Joy-Leilani Garbutt; Cathedral of St. Valparaiso, Ind. sity, Bloomington, IN 8 pm John the Divine, New York, NY 5 pm (212) 854-5096 John Sherer; Fourth Presbyterian, Chi- Michael Smith; Longwood Gardens, valpo.edu Promotion cago, IL 12:10 pm Kennett Square, PA 3 pm 219.464.5084 SOZO Media • Marie Rubis-Bauer; Winnetka Congre- Katelyn Emerson; Indiana University of [email protected] [email protected] gational, Winnetka, IL 7:30 pm Pennsylvania, Indiana, PA 4 pm

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2019 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church Christian Lane; Evangelical Lutheran 13 MARCH New York, NY Syracuse, NY 13203-2816 Church, Frederick, MD 3 pm Garner-Hayfi eld-Ventura High School www.andrewhenderson.net Jeremy Filsell; Washington National Ca- Choir; St. Patrick’s Cathedral, New York, (315) 471-8451 thedral, Washington, DC 5:15 pm NY 1:45 pm Choir concert; Peachtree Road United Candelight Vespers; Shadyside Presby- Methodist, Atlanta, GA 7 pm terian, Pittsburgh, PA 7 pm Mozart, Mass in C; Christ Episcopal, Christine Kraemer; St. Luke’s Episco- Bradenton, FL 11 am pal, Evanston, IL 11:30 am Richard Barrick Hoskins Brian Jones Michael Hey; First Presbyterian, St. Pe- Director of Music & Organist tersburg, FL 4 pm Director of Music Emeritus 14 MARCH St. Chrysostom's Church Stephen Hamilton; Church of the Re- Michael Edward Stuart; Christ Episco- deemer, Sarasota, FL 4 pm Chicago TRINITY CHURCH pal, Bradenton, FL 12:15 pm Choral Evensong; St. Paul’s Episcopal, [email protected] OSTON Delray Beach, FL 5 pm B 15 MARCH Karen Beaumont; St. Hedwig Catholic Church, Milwaukee, WI 2 pm St. John Paul II High School Choir; St. Choral Evensong; St. Giles Episcopal, Patrick’s Cathedral, New York, NY 1:45 pm JAMES KIBBIE Northbrook, IL 4 pm Peter Krasinski, silent fi lm, Ben Hur; St. KIM R. KASLING Rheinberger, Mass in C; Church of St. Paul’s Episcopal, Greenville, NC 7:30 pm D.M.A. The University of Michigan Agnes, St. Paul, MN 10 am Todd Wilson, silent fi lm, Phantom of the Ann Arbor, MI 48109-2085 Kathrine Handford; Como Park Luther- Opera; Forrest Burdette Memorial United St. John’s University Methodist, Hurricane, WV 7 pm 734-764-1591 FAX: 734-763-5097 an, St. Paul, MN 4 pm Collegeville, MN 56321 email: [email protected] 5 MARCH 16 MARCH James Wetzel; St. Anne & the Holy Trin- Jonathan Ryan, masterclass; Covenant ity, Brooklyn, NY 1:10 pm Presbyterian, Charlotte, NC 9 am David K. Lamb, D.Mus. Musica Sacra; Cathedral of St. John the Alan Morrison, with trumpet; Spivey Karen Schneider Kirner Divine, New York, NY 7:30 pm Hall, Clayton State University, Morrow, GA, Director of Music Pierre Zevort; St. Louis King of France 3 pm Director, Notre Dame Handbell Choir Catholic Church, St. Paul, MN 12:35 pm Trinity United Methodist Church Bach cantatas and organ works; St. Assistant Director, Notre Dame Folk Choir Luke’s Episcopal, Evanston, IL 7 pm New Albany, Indiana 6 MARCH University of Notre Dame 812/944-2229 Candelight Vespers; Shadyside Presby- 17 MARCH terian, Pittsburgh, PA 7 pm Rosalind Mohnsen; St. Michael’s Epis- copal, Marblehead, MA 5 pm 7 MARCH Arvid Gast; Brown University, Provi- Horn Lake & Southaven High School Touring Choir; St. Patrick’s Cathedral, New dence, RI 4 pm York, NY 1:45 pm Charpentier, Miserere; Holy Trinity Lu- A.S.C.A.P. theran, New York, NY 5 pm FELLOW, AMERICAN GUILD OF ORGANISTS Cynthia Roberts-Greene; Christ Epis- copal, Bradenton, FL 12:15 pm Richard Gress; Cathedral of St. John 345 SADDLE LAKE DRIVE the Divine, New York, NY 5 pm ROSWELL-ATLANTA, GEORGIA 30076 (770) 594-0949 8 MARCH Dana Marsh; St. Thomas Church Fifth David Simon; Woolsey Hall, Yale Univer- Avenue, New York, NY 5:15 pm sity, New Haven, CT 7:30 pm Jonathan Ryan; Covenant Presbyterian, Klein High School Chorale; St. Patrick’s Charlotte, NC 3 pm Cathedral, New York, NY 1:45 pm Martin Jean; Trinity Episcopal Cathe- Plano West Senior High School Chorale; dral, Columbia, SC 5:15 pm St. Patrick’s Cathedral, New York, NY 4 pm John Fenstermaker; Trinity-by-the-Cove Stephen Hamilton, Dupré, Stations Episcopal, Naples, FL 4 pm Professor Emeritus – University of Michigan – Ann Arbor of the Cross; St. Anne’s Catholic Church, Gail Archer; Goshen College, Goshen, Professor of Organ for 67 years Bethlehem, PA 8 pm IN 4 pm MarilynThe University’s longest-serving faculty memberMason Amanda Mole; National City Christian, Sharon Peterson; Loyola University, Washington, DC 12:15 pm Chicago, IL 3 pm Thomas Gaynor; St. Michael’s Episco- Gedymin Grubba; St. Louis King of pal, Bon Air, VA 7:30 pm A two-inch Professional Card in The Diapason France Catholic Church, St. Paul, MN 9 MARCH 12:35 pm Choral music of Mendelssohn; St. Aaron Tan; University of St. Thomas, St. For information on rates and specifi cations, contact Jerome Butera: James’s Episcopal, West Hartford, CT 7 pm Paul, MN, 3 pm North Shore Choral Society; Unitarian [email protected] 608/634-6253 Church of Evanston, Evanston, IL 4 pm 20 MARCH Dean Billmeyer; Sacred Heart Music James Kennerley; Merrill Auditorium, Center, Duluth, MN 2 pm Portland, ME 7:30 pm Candelight Vespers; Shadyside Presby- 10 MARCH terian, Pittsburgh, PA 7 pm Mark Steinbach; Brown University, Prov- Christine Kraemer; St. Luke’s Episco- PHILIP CROZIER LARRY PALMER idence, RI 4 pm pal, Evanston, IL 11:30 am Carissimi, Jeptha; Holy Trinity Lutheran, CONCERT ORGANIST Harpsichord – Organ New York, NY 5 pm 21 MARCH Grant Wareham; Cathedral of St. John James Guyer; Christ Episcopal, Braden- ACCOMPANIST the Divine, New York, NY 5 pm Professor of Music, Emeritus ton, FL 12:15 pm 3355 Queen Mary Road, Apt 424 Virginia Bolena; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm 22 MARCH Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Christophe Mantoux; St. Luke’s Luther- San Clemente High School Choirs; St. Canada an, Ithaca, NY 3 pm Patrick’s Cathedral, New York, NY 1:45 pm District Eight; Christ Episcopal, Easton, Archbishop Jordan High School Choir; St. Recitals — Lectures — Consultancies (514) 739-8696 MD 4 pm Patrick’s Cathedral, New York, NY 4 pm Choral Evensong; St. John’s Episcopal, David Briggs; Longwood Gardens, Ken- [email protected] Hagerstown, MD 5 pm [email protected] + 214.350-3628 nett Square, PA 8 pm Jordan Prescott; Washington National Cathedral, Washington, DC 5:15 pm Jason Moy, harpsichord, with fl ute and Gail Archer; Christ Episcopal, Braden- cello; St. Chrysostom’s Episcopal, Chica- ton, FL 4 pm go, IL 7:30 pm Kola Owolabi; First Presbyterian, Ypsi- lanti, MI 4 pm 23 MARCH announces... Walt Strony; Phipps Center, Hudson, WI Durufl é, Requiem; St. John’s Episcopal, 2 pm West Hartford, CT 3 pm North Shore Choral Society; Basilica of Chelsea Chen; St. Thomas Church Fifth 20 Under 30 Nominations Our Lady of Sorrows, Chicago, IL 3 pm Avenue, New York, NY 3 pm 20 Under 30 Class of 2019 Nominations close February 1 11 MARCH 24 MARCH We will be recognizing 20 young Eastern Connecticut State University Jeremy Filsell; First Church UCC, Nash- men and women whose career Chamber Singers; St. Patrick’s Cathedral, ua, NH 4 pm New York, NY 1:45 pm Diana Chou; Woolsey Hall, Yale Univer- accomplishments place them at Aaron Tan; First Presbyterian, Battle sity, New Haven, CT 7:30 pm the forefront of the organ, church Creek, MI 7 pm White, Lamentations of Jeremiah; Holy music, harpsichord, carillon, and Trinity Lutheran, New York, NY 5 pm —before 12 MARCH Shannon Murphy; Cathedral of St. John their 30th birthday. Gottfried Trepke; Central Synagogue, the Divine, New York, NY 5 pm New York, NY 12:30 pm Edward Landin; St. Thomas Church Fifth Seven Lakes High School Choir; St. Pat- Avenue, New York, NY 5:15 pm WinnersVisit TheDiapason.com will be announced in early March, rick’s Cathedral, New York, NY 1:45 pm Jonathan Vaughn; Washington National andfor moreprofi led information in the May and issue. to nominate. Gregory Zelek; St. Paul the Apostle, New York, NY 7:30 pm Cathedral, Washington, DC 5:15 pm Jens Korndörfer, recital and lecture; Nathan Laube; Vanderbilt Presbyterian, First Presbyterian, Atlanta, GA 7:30 pm Naples, FL 4 pm Stay up to date on all of the latest industry news and events. Aaron David Miller; St. Louis King of Nicholas Schmelter, with piano; Sagi- Visit TheDiapason.com regularly. France Catholic Church, St. Paul, MN naw Valley State University, University 12:35 pm Center, MI 4 pm

30 Q THE DIAPASON Q FEBRUARY 2019 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Bellarmine Schola Cantorum; Calvary Choir of New College, Oxford, UK; Christ Southminster Presbyterian Church Episcopal, Louisville, KY 3:30 pm & Holy Trinity Episcopal, Westport, CT 5 pm SHORT HILLS Vincent Dubois; Christ Church Cathe- King’s College Choir, Cambridge, UK; Arlington Heights, IL 60005 dral, Nashville, TN 4 pm Washington National Cathedral, Washing- Isabelle Demers; Bethel University, Ar- ton, DC 5 pm David Higgs, masterclass; Auer Hall, den Hills, MN 3 pm ANDREW SCHAEFFER Indiana University, Bloomington, IN 10 am DEREK E. NICKELS, DMA David Jonies, with Milwaukee Sympho- 25 MARCH Church of the Holy Comforter Luther Memorial Church (ELCA) Herriman High School Choirs; St. Pat- ny Orchestra, Brahms, Requiem; Marcus Madison, Wisconsin rick’s Cathedral, New York, NY 1:45 pm Center, Milwaukee, WI 8 pm Kenilworth, IL 60043 Jackson Borges; Presbyterian Homes, 31 MARCH [email protected] Evanston, IL 1:30 pm (847) 251-6120 • [email protected] Sean Redrow; Trinity Lutheran, Worces- Recitals — Hymn Festivals ter, MA 4 pm 26 MARCH Choir of New College, Oxford, UK; Christ Students from Lebanon Valley College; & Holy Trinity Episcopal, Westport, CT 9:30 A one-inch Professional Card Central Synagogue, New York, NY 12:30 pm am worship service Jeffrey Schleff, Ed.D. Vincent Dubois in The Diapason ; St. Anne’s Church, Meg Cutting; Dwight Chapel, Yale Uni- Organist – Teacher – Consultant Washington, DC 7 pm versity, New Haven, CT 5 pm For information on rates and specifi cations, Jane Johnson; Campbellsville Univer- Buxtehude, Fürwahr, er trug unsere sity, Campbellsville, KY 12:20 pm Sulphur Public Schools, Sulphur, OK Krankheit; Holy Trinity Lutheran, New York, United Disciples Christian Church, Richardson, TX contact Jerome Butera: Colleen Ames; Campbellsville Univer- NY 5 pm [email protected] sity, Campbellsville, KY 8 pm Phoon Yu; Cathedral of St. John the Di- [email protected] 608/634-6253 Dorothy Young Riess; St. Louis King vine, New York, NY 5 pm of France Catholic Church, St. Paul, MN Erik Wm. Suter; St. Thomas Church Fifth 12:35 pm Avenue, New York, NY 5:15 pm Ken Cowan; Westminster Choir College, JOHN SCHWANDT 27 MARCH Princeton, NJ 7:30 pm STEPHEN SCHNURR Pius X Catholic High School Choir; St. Nathan Laube; Kimmel Center, Phila- Saint Paul Catholic Church American Organ Institute Patrick’s Cathedral, New York, NY 1:45 pm delphia, PA 2 pm University of Oklahoma Daryl Robinson; Bryn Mawr Presbyte- Valparaiso, Indiana Candelight Vespers; Shadyside Presby- aoi.ou.edu terian, Pittsburgh, PA 7 pm rian, Bryn Mawr, PA 2 pm Christine Kraemer; St. Luke’s Episco- David Christopher; Longwood Gar- pal, Evanston, IL 11:30 am dens, Kennett Square, PA 3 pm Chanticleer; Shadyside Presbyterian, 28 MARCH Pittsburgh, PA 3 pm ROBERT L. James Johnston, with cello; Christ Chelsea Chen, works for choir and or- Episcopal, Bradenton, FL 12:15 pm gan by Poulenc, Durufl é, and Vierne; Trinity Mark Steinbach Lutheran, Camp Hill, PA 4 pm SIMPSON Renée Anne Louprette; Christ Church Christ Church Cathedral Brown University 29 MARCH Christiana Hundred, Wilmington, DE 3 pm 1117 Texas Avenue Academic Chamber Choir of Uppsala; Gail Archer; St. Joseph Catholic Church, Houston, Texas 77002 Battell Chapel, Yale University, New Haven, Macon, GA 3 pm CT 7:30 pm Amanda Mole; Cathedral of St. Philip,

Waukesha West High School Choirs; St. Atlanta, GA 3:15 pm ] Patrick’s Cathedral, New York, NY 1:45 pm Jonathan Dimmock; St. Joseph Catho- Upper Arlington High School Symphonic lic Cathedral, Columbus, OH 3 pm Joe Utterback Choir; St. Patrick’s Cathedral, New York, David Wagner Bálint Karosi; Hyde Park Community ]] ] NY 4 pm United Methodist, Cincinnati, OH 4 pm www.jazzmuze.com DMA Students of Manhattan School of Music; Nicholas Schmelter; St. Paul’s Episco- www.davidwagnerorganist.com Madison Avenue Presbyterian, New York, pal, Flint, MI 4 pm 203 386 9992 NY 7:30 pm Vincent Dubois; First Baptist, Hunts- Nicole Keller; Emmanuel Church, Ches- ville, AL 5 pm ter Parish, Chestertown, MD 7 pm Michael Hey; Zion Lutheran, Appleton, Shawn Dawson & Emily Meixner; Ca- WI 4 pm thedral of the Assumption, Louisville, KY Kevin Walters ARL ATSON 7:30 pm UNITED STATES K W Vincent Dubois; Trinity United Method- West of the Mississippi M.A., F.A.G.O. FIRST PRESBYTERIAN CHURCH ist, Huntsville, AL 7:30 pm OODBRIDGE David Higgs; Auer Hall, Indiana Univer- 15 FEBRUARY Rye, New York W , NJ sity, Bloomington, IN 8 pm Ryan Enright; Christ Episcopal, Taco- David Jonies, with Milwaukee Sympho- ma, WA 12:10 pm ny Orchestra, Brahms, Requiem; Marcus Center, Milwaukee, WI 8 pm 17 FEBRUARY Craig Cramer, with students; University Alan G Woolley PhD RONALD WYATT 30 MARCH of Iowa, Iowa City, IA 3:30 & 5 pm Musical Instrument Research Jerrick Cavagnaro; Trinity Church on James O’Donnell; Meyerson Symphony Edinburgh Trinity Church the Green, New Haven, CT 2 pm Center, Dallas, TX 2:30 pm [email protected] Galveston

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

1905 - A New York Inaugural . . . David Hyde’s opening concert on the highly anticipated new Miller-Scott F Memorial Organ (Dobson Opus 93) at St. Thomas A two-inch Professional Card in The Diapason Church on 5th Avenue. E For information on rates and specifi cations, contact Jerome Butera: B 1906 - Prizewinners Play . . . young musicians on the way [email protected] 608/634-6253 up perform in Kansas, Georgia, and Massachusetts.

2 1907 - New Music from Boston . . . premieres of 0 commissioned works and spontaneous improvisations ArtistArtist Spotlights Spotlightspotlight s recorded during the 2014 AGO National Convention. 1 9 1908 - Preludes and Fugues . . . from the core format of Artist Spotlights organ music, these select and delectable items from are available on Your professional card beyond the standard repertoire. The Diapason website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

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

Nicholas Schmelter; St. Margaret’s 8 MARCH 23 MARCH Catherine Ennis; Royal Festival Hall, Episcopal, Palm Desert, CA 4 pm Wyatt Smith; University of Puget Sound, Ken Cowan, with Lisa Shihoten, violin; London, UK 7:30 pm Hans Uwe Hielscher; Cathedral of St. Tacoma, WA 12 noon South Main Baptist, Houston, TX, 5:30 pm 26 FEBRUARY Mary of the Assumption, San Francisco, 9 MARCH 24 MARCH Richard Hobson; Grosvenor Chapel, CA 4 pm Katelyn Emerson, masterclass; Univer- Musica Sacra; Our Lady of the Atone- London, UK 1:10 pm Adam Brakel; The Neighborhood sity of Utah, Salt Lake City, UT 10 am ment Catholic Church, San Antonio, Texas Church, Palos Verdes Estates, CA 4 pm 4 pm 27 FEBRUARY 10 MARCH David Higgs; Christ the King Lutheran, Vincent Genvrin, Mussorgsky, Pictures 20 FEBRUARY Lenten Procession; Mount Olive Luther- Houston, TX 6 pm at an Exhibition; Radio France, Paris, The Queen’s Six; St. Margaret’s Episco- an, Minneapolis, MN 4 pm Adam J. Brakel; Broadway Baptist, Fort France 8 pm pal, Palm Desert, CA 7 pm Kimberly Marshall; Luther College, Worth, TX 7 pm Decorah, IA 4 pm 2 MARCH Isabelle Demers; First-St. Andrew’s 21 FEBRUARY Greenville University Choir; Second 26 MARCH Presbyterian, St. Louis, MO 4 pm United Church, London, ON 7:30 pm Jan Kraybill, with choirs; Village Pres- Clare College Choir; St. Margaret’s Epis- Katelyn Emerson; Cathedral of the copal, Palm Desert, CA 7 pm byterian Church, Overland Park, KS 7 pm Madeleine, Salt Lake City, UT 8 pm 12 MARCH Ben van Oosten; Grote Zaalvan Philhar- David Higgs; St. James Episcopal, Los 27 MARCH 22 FEBRUARY monie, Haarlem, Netherands 8:15 pm Angeles, CA 6 pm Ruth Benning; First Presbyterian, Roch- David Jenkins; Nativity of Mary Catholic ester, MN 12:15 pm Church, Bloomington, MN 7 pm 13 MARCH 16 MARCH Edwin Higginbottom; St. Saviour’s, St. Organized Rhythm (Clive Driskill-Smith, Graeme Shields & Tyler Pimm; First 31 MARCH Presbyterian, Rochester, MN 12:15 pm Alban’s, UK 5:30 pm organ, & Joseph Gramley, percussion); All Olivier Latry; First United Methodist, Saints Episcopal, Fort Worth TX 7:30 pm 16 MARCH Shreveport, LA 4 pm 17 MARCH Douglas Cleveland; Catalina United Gedymin Grubba; Good Shepherd Cath- Thomas Ospital, with accordion; Phil- Methodist, Tucson, AZ 7 pm olic Church, Golden Valley, MN 6:15 pm INTERNATIONAL harmonic Hall, Berlin, Germany 11 am

23 FEBRUARY 17 MARCH 22 MARCH 16 FEBRUARY Stephen Hamilton; St. Matthaus Oliver Brett; St. Mark’s Episcopal Cathe- Choir of St. Thomas Church Fifth Ave- David Hill; St. Alban’s Cathedral, St. Al- nue; Church of the Incarnation, Dallas, TX Church, Munich, Germany 7 pm dral, Minneapolis, MN 7:30 pm ban’s, UK 5:30 pm 11 am worship service; 4 pm concert Justin Murphy-Mancini & Emma Whit- Stephen Hamilton 23 MARCH ; First United Method- 17 FEBRUARY ten; First Unitarian-Universalist, San Di- ist, Richardson, TX 7 pm Michael Rhodes; Victoria Hall Hanley, Andrew Furniss; Methodist Central Hall, ego, CA 7 pm Katelyn Emerson; First Presbyterian, Stoke-on-Trent, UK 12 noon Medford, OR 3 pm London, UK 3 pm Sue Heath-Downey; St. Paul’s, Dept- 24 FEBRUARY Duo MusArt Barcelona (Raúl Prieto Alexander Pott; St. Paul’s Cathedral, ford, UK 1 pm London, UK 4:45 pm Stephen Hamilton; St. Michael’s Luther- Ramírez, organ, & Maria Teresa Sierra, Matthew Jorysz; Westminster Abbey, 24 MARCH an, Bloomington, MN 4 pm piano); First United Methodist, San Diego, Stephen Hamilton; Christuskirches, CA 7 pm London, UK 5:45 pm David Cherwien, hymn festival; First Lu- Ken Cowan; Westminster United Kronach, Germany 7 pm theran, Sioux Falls, SD 4 pm Church, Winnepeg, MB, Canada 2:30 pm 18 MARCH 25 MARCH Jonathan Dimmock; Claremont United Choir of St. Thomas Church Fifth Avenue; Church of Christ, Claremont, CA 3 pm 20 FEBRUARY William McVicker; Reading Town Hall, First Presbyterian, Tyler, TX 7 pm Reading, UK 1 pm Mark Bruce; Cathedral of St. Mary of the Wayne Marshall; Benaroya Hall, Seattle, James O’Donnell; Church of St. Andrew & St. Paul, Montreal, QC, Canada 7:30 pm Assumption, San Francisco, CA 4 pm WA 7:30 pm 26 MARCH Chelsea Chen; Rancho Bernardo Com- Michael Stephens-Jones; Bloomsbury 19 MARCH 22 FEBRUARY munity Presbyterian, San Diego, CA 4 pm David Davies; Guildford United Re- Central Baptist, London, UK 1 pm Choir of St. Thomas Church Fifth Av- Gillian Weir, masterclass; Bloomsbury enue; St. Mark’s Episcopal Cathedral, formed Church, Guildford, UK 7:30 pm Central Baptist, London, UK 2:30 pm 1 MARCH Shreveport, LA 7 pm Michael Kleinschmidt, with Boston Isabelle Demers; Bloomsbury Central 23 FEBRUARY Baptist, London, UK 6 pm Brass; St. Mark’s Episcopal Cathedral, Se- 20 MARCH Donald Mackenzie; Victoria Hall Hanley, attle, WA 7:30 pm Bryan Williams; First Presbyterian, Stoke-on-Trent, UK 12 noon 27 MARCH Rochester, MN 12;15 pm Marilyn Harper; St. Paul’s, Deptford, UK Yves Lafargue, with mezzo-soprano & 3 MARCH 1 pm alto; Radio France, Paris, France 8 pm Ken Cowan; First Presbyterian, Fort 21 MARCH Tom Winpenny; Bloomsbury Central Choir of St. Thomas Church Fifth Ave- Baptist, London, UK 4 pm 29 MARCH Worth, TX 2 pm nue; Christ Episcopal, Little Rock, AR 7 pm Carole Terry; Pacifi c Lutheran Univer- Simon Gledhill; Bloomsbury Central David Higgs; Church of the Incarnation, 24 FEBRUARY Baptist, London, UK 4 pm sity, Tacoma, WA 3 pm Dallas, TX 7:30 pm Martin Stacey; Westminster Abbey, Lon- Edward Norman, with oboe; Holy Ro- don, UK 5:45 pm sary Catholic Cathedral, Vancouver, BC, Canada 8 pm 25 FEBRUARY Gordon Stewart; Huddersfi eld Town 31 MARCH Hall, Huddersfi eld, UK 1 pm Stephen Hamilton, Dupré, Stations of Paul Dewhurst; Royal Hospital School, the Cross; St. Paul Within the Walls, Rome, Holbrook, Ipswich, UK 1:30 pm Italy 8:30 pm

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

DAVID BASKEYFIELD, St. Mary’s DAVID JONIES, Sinsinawa Mound, Sin- CHRISTOPHER MARKS, Christ Episco- KrebsWV 420, Krebs; Pièce d’ Orgue, BWV Catholic Church, Auburn, NY, August 4: sinawa, WI, August 29: March on Theme by pal Church, Rochester, NY, August 1: Allegro 572, Sinfonia (Ich steh mit einem Fuss im Vorspiel und Fuge in c, Bruckner; No. 3, Handel, op. 15, Guilmant; Concerto in B- gioioso, Dethier; Rondo, Impromptu, Passaca- Grabe), Bach; Requiescat in Pace, Sowerby; Mit sanften Stimmen, No. 5, Lebhaft (Sechs fl at, op. 4, no. 2, Handel, transcr. Dupré; O glia, Fanfare, Fugue (Organbook III), Rorem; Offrande Musicale, op. 18, no. 2, Maleingreau; Fugen über den Namen BACH), Schumann; Salutaris Hostia, Saint-Saëns; Es ist ein Ros’ Second Sonata, op. 16, Dunham. Introduction, Passacaglia, and Fugue, Wright. No. 7, Andante, No. 10, Scherzando (11 entsprungen, Brahms; Salve Regina, op. 39, Grands Préludes pour Orgue ou Piano Piechler; Prelude and Fugue in D, BWV 532, ALAN MORRISON, Third Presbyterian NICOLE SIMENTAL, St. John’s Lutheran Pédalier, op. 66), Alkan; Folk Tune (Five Bach; Pavane—Danse liturgique, Proulx; Mo- Church, Rochester, NY, August 1: Pageant, Church, Lyons, NY, August 2: Toccata in d, Short Pieces), Whitlock; Sicilienne, Weitz; zart Changes, Gardonyi; Sonata I in f, op. 65, Sowerby; Nuages (Nocturnes), Debussy, BuxWV 155, Buxtehude; Variations on Est-ce Toccata in C, Schmidt. no. 1, Mendelssohn. transcr. Loomis; The Dancing Pipes, Dove; Mars, Sweelinck; Vater unser im Himmelreich, Pictures at an Exhibition, Mussorgsky, transcr. BWV 682, Bach; No. 5, Lebhaft, No. 2, Leb- EDOARDO BELLOTTI, Memorial Art CHRISTIAN LANE, United Church, Guillou/Morrison. haft (Six Fugues on BACH, op. 60), Schumann. Gallery, Rochester, NY, August 3: Capriccio Canandaigua, NY, August 4: Allegro maestoso Terzo sopra Chucho (Primo Libro di Capricci), (Sonata in G, op. 28), Elgar; Elegy, Brewer; JONATHAN MOYER, Grace Episcopal CHRISTIAAN TEEUWSEN, Old West Frescobaldi; Toccata Settima (Toccate e Cor- Sonata III in A, op. 65, no. 3, Mendelssohn; Church, Lyons, NY, August 2: Andante con Church, Boston, MA, August 14: Prelude in renti), Rossi; Toccata XIV in G, Froberger; Introduktion und Passacaglia in d, Reger; moto, op. 18, no. 5, Boëly; Larghetto–Moder- C, Lübeck; Freu dich sehr, o meine Seele, Concerto La Notte, op. 10, no. 2, Vivaldi, Theme and Variations in D, Mendelssohn; ato (Voluntary IX, op. 6), Wesley; Thema mit Böhm; Prelude, Fugue, and Postlude in g, transcr. Bellotti; Partite sopra Folia, Scarlatti; Hamburger Totentanz, Bovet; Gloucester Es- Variationen, Mendelssohn; Andantino–Etwas Passacaglia in d, Fischer; Ciacona in G, Muf- Sinfonia in Do maggiore, Provesi. tampie, op. 862, Cooman. Schneller (Canonic Studies, op. 56, no. 3), fat; Ciacona in e, Buxtehude; Wir Christen- Schumann; Andante in B-fl at (Bibliothèque leut, BWV 1090, O Lamm Gottes, BWV 1095, PHILIP CROZIER, Church of St. Simon NATHAN LAUBE, Sacred Heart Catholic de l’Organiste, Suite no. 8), Benoist; Éléva- Liebster Jesu, wir sind hier, BWV 731, Pièce and St. Jude, Tignish, Prince Edward Island, Cathedral, Rochester, NY, August 2: Toccata tion (L’Offi ce Catholique, op. 148, Suite no. d’Orgue, BWV 572, Bach. Canada, August 28: A Trumpet Minuet, Hol- Septima (Apparatus Musico-Organisticus), 7), Lefébure-Wély; Ostinato on Simple Gifts, lins; Air, Gavotte, Wesley; Sonata IV in B-fl at, Muffat; Magnifi cat II Toni, Weckmann; Par- Moyer; Variationen über das Volkslied Heil MARIJIM THOENE, Sinsinawa Mound, op. 65, no. 4, Mendelssohn; Variations: Can- tita diverse sopra Sei gegrüßet, Jesu gütig, dir im Siegerkranz, Ritter. Sinsinawa, WI, August 15: Ave Maris Stella, tilena Anglica Fortunae, SSWV 134, Scheidt; BWV 768, Bach; Fantasie und Fuge über de Grigny; Prelude in e, BWV 548i, Bach; Humoresque, Yon; Choral Dorien, JA 67, den Choral Ad nos, ad salutarem undam, ALEXANDER PATTAVINA, Methuen Meditation, Vierne; Woman of the Apoca- Alain; Scherzo (Dix Pièces, no. 8), Gigout; S. 259, Liszt. Memorial Music Hall, Methuen, MA, August lypse Crowned with Stars, Teml; Habakkuk, Praeludium in d, BuxWV 140, Buxtehude; 15: Toccata in d, Fugue in D (Zwölf Stücke, Hovhaness. Tango en rondeau (Livre d’Orgue II), Jones; THATCHER LYMAN, West Bloomfi eld op. 59), Reger; Andante espressivo (Sonata Hommage, Festive Toccata, Bédard. Congregational Church, West Bloomfi eld, in G, op. 28), Elgar; Adagio (Symphonie III, DAVID TROIANO, Sinsinawa Mound, St. Dunstan’s Basilica, Charlottetown, NY, August 4: Prelude and Fugue in a, WoO 9, op. 28), Vierne; Prelude and Fugue in a, BWV Sinsinawa, WI, August 1: Requiem, op. 182, Prince Edward Island, Canada, August 29: Brahms; Partita on Jesu, du bist allzu schöne, 543, Bach; Sonata III in A, op. 65, no. 3, Men- no. 4, Stanford; Rejoice, Goemanne; Prelude Partite diverse sopra De Lofzang van Maria, Böhm; Andante tranquillo, On a theme of Or- delssohn; Les bergers, Dieu parmi nous (La and Fugue in e, BWV 533, Bach; Veni Cre- Post; Epigrams, Kodály; Fantasia and Fugue lando Gibbons, Lento (Six Short Preludes and Nativité du Seigneur), Messiaen. ator Spiritus Variations, Ferko; Fanfare, Re- in G, Parry; Andantino (op. 51, no. 2), Im- Postludes, set 2, op. 105), Stanford. fl ection, Dance, Fedak; O Sacrum Convivi- promptu (op. 54, no. 2), Vierne; Conradus, DAVID PECKHAM, First Universalist um, arr. Alyward; I Danced in the Morning, Ferdinandi, Proportio Ferdinandi Ulterius COLIN LYNCH, St. Joseph’s Catholic Church, Rochester, NY, August 3: Trumpet Diemer; Carillon, Young. (Tablature of Jan z Lublina); Allein Gott in der Church, Penfi eld, NY, August 1: Boléro de Tune in D, Johnson; Chant de Paix (Nine Piec- Höh’ sei Ehr’, BWV 675, Bach; Hommage, concert, op. 166, Lefébure-Wély; Allegretto, es), Langlais; Festival March, Peake; Fountain MICHAEL UNGER, First Presbyterian Rhapsodie sur le nom de Lavoie, Bédard. Folk Tune (Five Short Pieces), Whitlock; Reverie, Fletcher; Partita on Picardy, Zabel; Church, Pittsford, NY, August 1: Concerto del The Rev’d Mustard His Installation Prelude, Toccata, op. 3, no. 4, Lindblad. Sigr. Torelli in a, transcr. Walther; Herzlich tut HANS HIELSCHER, Fourth Presbyterian Muhly; Aria Variata, J. C. Bach; Prelude and mich verlangen, Was Gott tut das ist wohlge- Church, Chicago, IL, October 19: Suite for Fugue in B, op. 7, no. 1, Dupré. CAROLINE ROBINSON, with Benja- tan, Kellner; Praeludium et Fuga in C, Krebs; Organ, Tambling; Pastorale in A, Jongen; Toc- Methuen Memorial Music Hall, Methuen, min Krug, cello, St. Mary’s Catholic Church, Andante with Variations in D, Mendelssohn; cata in d, Nevin; Scottish Rhapsody, Hielscher. MA, August 29: Allegro vivace (Symphonie Rochester, NY, August 3: Introduction and Fugue on BACH, op. 60, no. 2, Schumann. V, op. 42, no. 1), Widor; Lyric Rhapsody, Passacaglia in d, Reger; Herzlich tut mich FREDERICK HOHMAN, First Lutheran Wright; Miroir, Wammes; Toccata and erfreuen, op. 122, no. 4, Brahms; Prière, op. KEVIN VAUGHN, Shrine of Our Lady of Church, Lyons, NY, August 2: Toccata in F, Fugue in G major and E minor, Parry; Suite, 158, Saint-Saëns; Humoresque for cello and Guadalupe, La Crosse, WI, August 12: Varia- BWV 540i, Bach; Concerto II in a for two op. 5, Durufl é. organ, Jongen; Canzonetta, op. 36, no. 1, Nov- tions sur un noël Angevin (Douze pièces), violins (l’Estro harmonico, op. 3, no. 8), Viv- elette, op. 68, no. 3, Parker; Fanfare, Cook. Litaize; Herzlich lieb hab ich dich, O Herr (2 aldi, transcr. Bach; Le Romance de Monsieur COLIN MACKNIGHT, First Presbyterian settings), Krebs; Fantasia in D-fl at, op. 101, Balbastre, Balbastre; Langsam (Six Fugues on Church, Lyons, NY, August 2: Flourish for an NICHOLAS SCHMELTER, Trin- Saint-Saëns; O Lamm Gottes, unschuldig, BACH, op. 60, no. 1), Schumann; Fugue in F, Occasion, Harris; Fantasia in f, K. 594, Mo- ity Episcopal Church, Bay City, MI, August BWV 656, Bach; Sonata VI in D, op. 65, no. BWV 540ii, Bach. zart; Fantasia and Fugue in G, op. 188, Parry. 19: Toccata, Mushel; Fantasia et Fuga in F, 6, Mendelssohn.

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Don’t just tell people what you _ have for sale. Show them! Own a piece of history! The cover of the 100th Anniversary www.thediapason.com Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black fi nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classifi ed ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]

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We are seeking a Pipe Maker with 3 to 5 years World Library Publications: From the Piano Certified appraisals—Collections of organ Raven has released the fi rst in a series of new of experience. We are looking for candidates Bench to the Organ Bench, by Alan J. Hommerd- books, recordings, and music, for divorce, recordings by Timothy Olsen, Organs of North with competency in rounding, soldering, fl atten- ing. This complete method book offers a variety estate, gift, and tax purposes. Stephen L. Carolina. Vol. 1, The German Muse (OAR-977), ing, and cut up of new organ fl ue pipes as well of exercises to increase pedal technique and Pinel, Appraiser. 629 Edison Drive, East Wind- features the 1965 Flentrop at Salem College in as technical profi ciency in pipe repair. Applicants manual/pedal dexterity. Explore topics such as sor, NJ 08520-5205; phone: 609/448-8427; works by Buxtehude, Distler, Böhm, J. S. Bach, must also be conversant in the casting process, service playing/accompanying—when to lead, email: [email protected]. Pachelbel, Zipoli, Hindemith, and Walcha. Vol. metal compositions, and numerous variations of when to follow; playing pianistic accompani- 2, The American and French Muses (OAR-145), pipe anatomy and terminology. We are search- features the 1977 Fisk op. 75 at the University ments on the organ; introduction to improvisation My restoration of Weinberger’s Bible Poems ing for candidates interested in developing to of NC School of the Arts; works by Margaret on the organ; basics of choral conducting from includes the original Forward, Editor’s Note, and their fullest potential with our 100% employee the console; and much more. 003057, $19.95, Program Notes by Weinberger: Abide with Us, Sandresky, Aaron Travers, Ted Oliver, Claude owned company. We offer a competitive wage 800/566-6150, Wlpmusic.com. Lord Jesus Walking on the Sea, The Marriage at Gervaise, de Grigny, and Franck. $15.98 each, and excellent benefi ts including healthcare and Cana, Hosanna, The Last Supper, Hear, O Israel. postpaid worldwide from RavenCD.com. other ancillary benefi ts, paid time off, holiday michaelsmusicservice.com 704/567-1066 pay, and 401(K) and Employee Stock Ownership Celebrate the New Year with the strains of a retirement plans. Send resume by mail only: Pipe venerable hymn tune and the pealing of change- The new Nordic Journey series of CD record- Maker, 112 Kendal Drive, Oberlin, OH 44074 ringing bells: a Carillon-Toccata on St. Anne is The Tracker—The Organ Historical Society quar- ings reveals premiere recordings of symphonic available now as a complimentary online issue terly journal includes news and articles about the organ music—much of it still unpublished—from from Fruhauf Music Publications. The 12-page organ and its history, organbuilders, exemplary Nordic composers, played by American organist Wanted: Organists visiting Maui. Lahaina’s letter sized PDF booklet includes notes and 10 organs, and regional surveys of instruments. Both James Hicks on a variety of recently restored Holy Innocents Episcopal Church invites visit- pages of music, offered as a fresh alternative American and European organ topics are dis- Swedish organs. Check it out at www.proorgano. ing organists to play its Beckerath Positiv organ for enterprising organists in search of an uplift- cussed, and most issues run 32 pages with many com and search for the term “Nordic Journey.” at Sunday services. Built in 1972 by Rudolf von ing postlude or special recital feature. A visit illustrations and photographs. Membership in the Beckerath and then-apprentice Hans-Ulrich to FMP’s home page bulletin board at www. OHS includes a subscription to The Tracker. Visit Erbslöh for Honolulu’s Lutheran Church, the 408- the OHS Web site for subscription and member- Ed Nowak, Chicago-area composer, arranger, frumuspub.net will provide a link to the PDF fi le’s pipe Shrankpositiv has a 54-note “split” manual, ship information: www.organsociety.org. and church musician, announces his new web- download page. 30-note pedal, 11 stops, 8 ranks, and 6 registers. site, featuring Nowak’s original choral works, Holy Innocents acquired the instrument in 1977 hymn concertatos, chamber and orchestral Raven has released the CD, Tell of His Love, works, organ hymn accompaniments, organ and moved it to Maui where it has been played Foreshadows of the Cross. For the ambitious Raven OAR-144, and piano pieces, electronic music, and psalm by parish musicians such as Carol Monaghan featuring the musicians of the organist. Stunning, powerful. Extraordinary Cathedral of St. John, Albuquerque, New Mexico. settings. The website offers scores and recorded and visiting artists including Angus Sinclair of drama and profound emotional content. Look The Choirs of the Cathedral of St. John, Maxine examples that are easy to sample and can be Canada and Dalibor Miklavcic of Slovenia. The up “Agnus Dei” for composer’s recording of this Thévenot, Director and Organist, and Edmund purchased in downloaded (PDF and MP3) or instrument is extremely responsive and fi lls the and fi ve other equally powerful works, at www. Connolly, Assistant Organist, perform the Mag- printed form. Visit ednowakmusic.com. worship space beautifully. The parish community guinaldopublications.com. nifi cat and Nunc Dimittis by Aaron David Miller; is “exemplary in its hospitality to all visitors,” and Andrew Carter’s setting of “Consider the Lillies”; that especially includes visiting organists. For settings of O sacrum convivium and Haec Dies HYBRID ORGANS FOR SALE information: 808/661-4202; holyimaui.org. The Organ Historical Society announces the by McNeil Robinson; and other choral works by publication of its 2019 Pipe Organ Calendar. Philip Moore, Ola Gjeilo, Fauré, Samuel Wesley, The calendar features organs by Wolff, Schudi, Casals, Cabena, Lindley, DeLong, Dyson, Gibson, Pipe/digital instrument available. Wicks/Allen PUBLICATIONS / RECORDINGS Noack, Bedient, Sipe-Yarbrough, Fisk, Hook & and Stephanie Martin. Thévenot plays Variations 2008 with custom English console and façade. Hastings, Redman, Kern, and others. Available on Ubi Caritas by Denis Bédard and Robinson’s 11 pipe ranks; 64 digital ranks. Mint tonal and Organa Europae calendars featuring famous from the OHS e-Shoppe: $18 members ($21 non- Chorale Prelude on Llanfair. Edmund Connolly physical condition. Immediately available. Com- pipe organs of Europe; years 1969 to 1977. members), https://organhistoricalsociety.org/ plays Fanfare by Kenneth Leighton. Raven OAR- plete brochure email [email protected] or $10.00 each. 219/662-0677, [email protected]. product/ohs-2019-calendar/?v=7516fd43adaa. 144, RavenCD.com, $15.98 postpaid. call 803/359-6352.

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26-rank Casavant - Létourneau pipe organ for Reuter Antiphonal Organ and console (un- Residence instrument available, Doug- Do you have a pipe organ that you would sale. Orgues Létourneau is offering a 22-stop enclosed 3 ranks unifi ed to 25 stop-tab controls, lasville, Georgia. Four manual, six division, like to interface with an electronic or digital Casavant Frères pipe organ (Opus 1274 from 2 manual and pedal) for sale. Reuter 3 manual hybrid instrument built in 2010. Short montage organ? We can interface any digital organ or 1928) for sale. This electro-pneumatic instru- and pedal console also for sale (69 draw-knobs, on YouTube by entering “HDG residence organ” any organ console with any pipe organ. For more ment was rebuilt by Létourneau in 1987 and is 15 tilting tablets), all from Opus 1554, 1967. Can in the browser. Complete stoplist and pictures information e-mail [email protected] (not currently in storage at the Létourneau shops. It be purchased separately or together. Make offer, available. Contact M. Proscia, 770/258-3388 or Comcast) or call 215/353-0286. is available for purchase in “as is” condition for buyer to remove by April 26, 2019. Contact organ- 770/361-2485; [email protected]. USD $35,000 with its original two-manual con- ist Julia Tucker for full information and photos, sole. Likewise, Létourneau would be pleased Valley Presbyterian Church, 6947 E. McDonald Aeolian/Robert Morton-style maroon to provide a proposal to rebuild this instrument, Drive, Paradise Valley, AZ 85253, 480/991-6424, MISCELLANEOUS FOR SALE leather is now available from Columbia Organ taking into account any desired changes to the [email protected]. Leathers! Highest quality. 800/423-7003, www.columbiaorgan.com. stoplist as well as installation costs, voicing, 16′ OSI Metal Diapason (12 pipes), 34 scale casework as required, and rebuilding the two- ′ 1968 Schantz, opus 890, III Manual, 5 divisions. mitered to 12 on two chests with rackings. manual console with a new solid-state switching $1,700 OBO. Steve: 609/432-7876, acorgan@ system. The organ requires approximately 360 Organ is in good condition, console converted to ANNOUNCEMENTS comcast.net. sq. ft. with 20′ ceiling for 16′ ranks. For more solid-state, several additions to original stoplist, details, visit www.letourneauorgans.com, email organ to be removed professionally by new THE DIAPASON E-Newsletters are e-mailed [email protected] or call Andrew For- owner prior to new organ installation. Best offer. Consoles, pipes and numerous miscellaneous monthly to subscribers who sign up to receive rest at 450/774-2698. 1980 Milnar organ, 11 ranks on II Manuals and parts. Let us know what you are looking for. them. Don’t miss the latest news, featured artists, Pedal. Currently in climate-controlled storage. and classifi ed ads—all with photos—some before E-mail [email protected] (not comcast), they appear in print! Visit www.TheDiapason. Asking $17,500. Contact Milnar Organ Company phone 215/353-0286 or 215/788-3423. Rieger 23-rank mechanical pipe organ for for more information on either of these organs. com and click on Subscribe to our newsletter. For sale. Two 61-note manuals and 32-note AGO www.milnarorgan.com or 615/274-6400. assistance, contact Stephen Schnurr, 847/954- 7989, [email protected]. concave, radiating pedals. 1,221 pipes, manual SERVICES / SUPPLIES and pedal couplers, and tremulant; includes 3 separate mixture stops and 2 reed stops. Gen- 33-rank Wicks, Opus 3585 (1956) for sale. tly voiced for a chapel or home use. Compact Three-manual and pedal drawknob console, Complete Pipe Organ Services from the Organ THE DIAPASON’S new website has an increased 1 design: width: 5′-8 ⁄8″, depth 7′-3¼″, height duplexed to 60 playing stops. Exposed Great, Clearing House: 450 vintage pipe organs avail- capacity for new videos. Go to www.thediapa- 7′-3½″ with separate electric blower 2′ x 2′-1″ expressive Swell and Choir, chamber 22′ wide, able, renovation, tuning, consultation. Other son.com and click on videos to see what you’ve x 2′-5″. Mechanical key and stop action, slider 10′-6″ deep. Make offer. Christ King Catholic services include transportation, cleaning and missed! Visit www.thediapason.com often and windchest. Reduced to $45,000.00. For more Church, 2604 N. Swan Blvd., Wauwatosa, WI renovation of carvings, reredos, liturgical furnish- keep up to date with all the news items. details call 360/945-0425 or see OHS Organ 53226; 414/258-2604. Organist Bill Lieven, ings. Call John Bishop at 617/688-9290. john@ Data Base, Rieger Orgelbau, Gaspar Schulek [email protected]. organclearinghouse.com. Residence. Postal regulations require that mail to THE Pfeffer and Debierre organs. Circa 1860 Pfeffer Releathering all types of pipe organ actions DIAPASON include a suite number to assure Historic 1859 ROBJOHN, II+Ped, 11 ranks. eight-rank organ, available rebuilt and custom fi n- and mechanisms. Highest quality materi- delivery. Please send all correspondence to: ′ ″ Drop dead gorgeous rosewood case, 14 -2 tall. ished. Also 1884 choir organ by Louis Debierre. als and workmanship. Reasonable rates. THE DIAPASON, 3030 W. Salt Creek Lane, Suite Lovely for chapel, large residence, or museum. Both are pictured on the Redman website: www. Columbia Organ Leathers 800/423-7003. 201, Arlington Heights, IL 60005. www.bigeloworgans.com. Click on News. redmanpipeorgans.com. www.columbiaorgan.com/col.

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WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2019 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Michel Bouvard* Stephen Buzard Aaron Tan 2018 AGO National Competition Winner Available 2018-2020

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

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

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

Choirs Available

Saint Thomas Church New York City (March 2019)

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

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