THE DIAPASON JANUARY, 2007
Holy Trinity Church Utica, New York Cover feature on page 29 Introducing for Season 2007-2008 our 40th Anniversary Season
Olivier Vernet Jean-Baptiste French organist Olivier Vernet is Robin Titular Organist of Parisian organist- Monaco Cathedral composer Jean-Baptiste and Professor of Robin is Titular Organ at the Tours Organist of Poitiers Conservatory in Cathedral (Cathedral France and the of Saint-Pierre) and Academy of Music Professor of Organ at the Rainier III in Conservatoire National de Monaco. Région de Versailles. Tours: November 2007 & February-March 2008 Tours: October- November 2007 & Feb.-March 2008. “Jean-Baptiste Robin is the new Marcel Dupré, with his miraculous technique and the post-symphonic style of “Olivier Vernet is a formidable performer... always his compositions.” (Le Journal d’Alsace, France) accurate, musical, and satisfying.” (The American Organist) “Jean-Baptiste Robin performed one of the most beautiful recitals in the history of the Haarlem Organ “An unrivalled organist of dazzling virtuosity...Olivier Festival at St. Bavo—his is a name never to forget.” Vernet makes the organ dance.” (Haarlem magazine, Holland) (La Marseillaise, France) “Perfect clarity and virtuosity. This concert was “Vernet’s vision left us overwhelmed by so much synonymous with perfection.” (Le Figaro, Paris) strength and energy, but also such tenderness. Vernet brings together the ardor of youth with wise maturity.” (Classica, France)
Affabre Dong-Ill Shin Our “Winner’s Circle” Concinui artist for season 2007- The men’s a cappella 2008 won First Prize sextet Affabre in the 2006 Chartres Concinui (Latin for “ideally harmonized,” International Organ the ensemble’s Competition in France, artistic credo) was and has won prizes formed in 1983 at a number of other by alumni of two international performance famous men’s choirs competitions. He is in the city of Poznan. the Organist & Music Associate at First United Tours: October-November 2007 & February 2008 Methodist Church of Hurst, TX, and teaches “Astonishing vocal effects.” (Diapason, France) organ at Texas Wesleyan University. “These extraordinary six voices could replicate any musical instrument without hesitation.” “Brilliant young organist with unlimited potential.” (Rheinische Post, Germany) (The Audience, South Korea) “Interesting sound effects, talented actors, good sense of “Played with great virtuosity and made the instrument humor, able improvisers.” (Gazeta Wyborcza, Poland) sing.” (L’Union, France) “These Polish singers were able to charm, amuse, and win the hearts of the audience.” (Corrèze, France)
1 Gold St. #R, Hartford CT 06103-2914 toll-free (888) 999-0644 fax (860) 560-7800 CONCERTARTISTS.COM [email protected] February 10, Olivia Buthold; 2/24, June 25, James Russell Brown. For Robert Grogan; March 10, Jonathan information: 800/896-9095; THE DIAPASON Hellerman; 3/24, Leon Griesbach. For
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Here & There
Christ Church Cathedral, Houston, ter organ festival: January 10, Stephen Texas, continues its music series. Con- Tharp; 1/18, Nancianne Parrella, with certs are at 4:15 pm, followed by Even- viola and cello; and 1/21, Kent Tritle, song at 5 pm: January 7, Bruce Power; with trombone. The 2006–07 organ February 25, Diane Norton-Jackson; recital series continues: February 28, May 20, Mendelssohn, Elijah; 5/27, Gail Renée Anne Louprette; March 14, Archer. For information: 713/222-2593; Michel Bouvard; May 10, Paul Halley,
JANUARY, 2007 3 E 2/18, Mark Bani; April 29, Kyler Brown; Society present a celebration weekend liminary round takes place in Hamburg, May 6, Mark Bani, hymn festival; June in honor of Charles Villiers Stanford Germany (April 30–May 5), Worcester, 3, Mark Bani (fifth anniversary of the (1852–1924), March 10–11, in Cam- Massachusetts, USA (June 3–10), and church’s Schantz organ). For informa- bridge, England. The schedule includes Moscow, Russia (August 22–20). Con- e is the greatest tion: 212/744-2080. concerts, lectures, tea, Evensong, testants are free to choose in which city H morning service, and wine reception; they would like to compete. The com- artist who has embodied Trinity Church, New York City, the Choir of King’s College directed by petition is open to organists born no ear- continues its concert series, “An Early Stephen Cleobury, Clifford Benson, lier than January 1, 1971. First prize is in the sum of his works, Music Tour of Europe”: February 6, Jeremy Dibble, Stephen Varcoe, and $5,000, second $3,000, third $2,000, Carissimi, Jephte and Monteverdi, Sandy Goehr. The concerts, services two diplomas of $1,000 each, and a spe- the greatest number of the Messa à 4 Voci; March 27, F. J. Haydn, and lectures take place in King’s Col- cial prize for the best interpretation of Lord Nelson Mass and J. M. Haydn, lege Chapel, Trinity College Chapel, Mikael Tariverdiev’s music, $1,000. For Requiem; May 8, Lully, Charpentier, Queens’ College Chapel, and at the information:
The American Boychoir at Grace Church, The Plains, Virginia
The American Boychoir opened the Night Visitors, January 7; The Calder Grace Church Concert Series to a sold- Quartet, February 11; and the American out performance at Grace Episcopal Brass Quintet on April 22. The Grace Church in The Plains, Virginia on Octo- Church concert series is funded through ber 29. Concerts for 2007, presented by the generosity of Mrs. Jacqueline B. Samuel Carabetta, organist and choir- Mars in memory of her mother, Mrs. master and artistic director of the con- Forrest Mars, who was devoted to music cert series, will include Amahl and the and loved Grace Church.
4 THE DIAPASON san convention and all ordinations for Parish in West Roxbury, Massachusetts, Appointments the Diocese of Eastern Massachusetts, from 1996 to 2004. He recently became as well as directing the choir. The adjunct faculty and artist-in-residence at Cathedral Choir has a core of 12 profes- Eastern Nazarene College after a seven- sional voices supplemented by lay vol- year-long run as a musician with the unteers. The choir is featured each Sun- Grammy-nominated Blue Man Group. day at 7:30 am on WCRB 99.5 FM’s He leads several of his own ensembles “Sunday Mornings At The Cathedral,” including The Broms Organ Trio, the longest continuous running religious BROMS (rock) and Rooster (blues), radio program. Michael’s Daughter (Celtic), and The At St. Paul’s, Broms will also oversee Order of the Artists (multimedia). the Wednesday noontime recital series Active as a composer, Broms recently (recommencing in February 2007), which completed his first organ symphony, will feature local, national and internation- entitled Ainulindale, based on J.R.R. al organists, soloists, and ensembles. He Tolkien’s creation story at the opening also brings the monthly concert series, of the Simarillion. He is also nearing “The Spirit of Coltrane,” to the cathedral, completion of a complete Psalter for performing the complete recorded cata- Cantor, Choir, and Organ. Also active logue of John Coltrane with saxophonist as author, he has written such works as Edward A. Broms Timo Kielnecker. An Encyclopedia of Polyrhythm and his Dubbed a true “Renaissance Man” by current book, The Book of the Artist. Riyehee Hong Edward A. Broms has been The Boston Globe, Ed Broms has per- appointed music director and organist formed with the world’s leading rock, Riyehee Hong has been appointed Diocese of Pennsylvania together with at The Cathedral Church of St. Paul, jazz and classical musicians on bass, director of music and the arts at the all other musical events and arts pro- Boston, Massachusetts. His duties at the organ and voice. He previously served at Philadelphia Cathedral, Philadelphia, grams including artist-in-residence, cathedral include playing at all cathe- St. Mary’s Parish in Holliston, Massa- Pennsylvania. She will oversee all of the concert series, liturgical music series dral services including the annual dioce- chusetts, and was organist at Holy Name liturgical events at the Cathedral of the and art exhibitions. She also serves as ConcertArtistCooperative
Yoon-Mi Lim Mary Mozelle David F. Oliver Larry Palmer Gregory Peterson Organist Organist/Recording Artist Organist/Lecturer/ Harpsichordist/Organist Organist 2004 NYACOP Winner Associate Organist Recording Artist Professor of Harpsichord and Organ College Organist and Director of Music The National Presbyterian College Organist Meadows School of the Arts Assistant Professor of Music Fairlawn Presbyterian Church Church Assistant Professor Southern Methodist University Luther College Columbus, Indiana Washington DC Department of Music Dallas, Texas Decorah, Iowa “The Sights & Sounds Morehouse College of the Pipe Organ” Atlanta, Georgia
Stephen Roberts Clair Rozier Lisa Scrivani-Tidd Michael Stefanek Jeremy David Tarrant Organist/Harpsichordist/Lecturer Organist/Lecturer Organist/Lecturer Organist Organist Instructor of Organ Director of Music Assistant Professor of Music Director of Music Organist and Choirmaster Western CT State University St. David's Episcopal Church SUNY at Jefferson Aldersgate United Methodist Church The Cathedral Church of St. Paul Director of Music Wayne, Pennsylvania Watertown, New York Redford, Michigan Detroit, Michigan St. Peter Church University Organist Danbury, Connecticut St. Lawrence University Canton, New York
Heinrich Walther Jane Watts Beth Zucchino Brador Brass Quintet Duo Majoya Organist/Clavichordist/Virginalist/ Organist Organist/Harpsichordist/Pianist International Touring Ensemble Organ and Piano Recording Artist Exclusive Recording Artist Music Ministry Team Christopher Marsden Recording Artists Faculty, University of Music Priory Records Creative Arts Series Artistic Director Marnie Giesbrecht and Joachim Segger Freiburg, Germany First RCO Performer of the Year Knox Presbyterian Church Resident Ensemble Professors of Music Faculties, Church Music Schools Organist of the Bach Choir Santa Rosa, Calfornia San Diego State University University of Alberta Heidelberg and Rottenburg London, England San Diego, California The King’s University College Germany Edmonton, Alberta, Canada ConcertArtistCooperative Beth Zucchino, Director, [email protected] David K. Lamb, Associate Director, [email protected] 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 www.ConcertArtistCooperative.com
JANUARY, 2007 5 the cathedral organist. Her special The “Arts at St. Mark’s” co-sponsored interests are French classical and post- the event, attended by more than 500 classical organs and organ music. Her people. Douglas Cleveland is represent- study and edition of a hitherto unattrib- ed by Karen McFarlane Artists, Cleve- uted 18th-century manuscript has been land, Ohio. accepted for publication by Wayne Leupold Editions. She will complete her DMA at the University of Houston this year under Robert Bates. Her Mas- ter of Music degree is from Boston Uni- versity where she was an associate organist. As an organist and harpsi- chordist, she has performed numerous concerts in the USA and Switzerland, including the dedication organ recital at St. Paul Cathedral, Louisiana, and the complete Art of the Fugue at a biannual post-meeting concert of the American Bach Society in Houston in 2002. She is a founding member of the early-music group, The Stainer Ensemble. Kenneth Usher, Carl Staplin, The Rev. Diana Hoover, Mary Jane Crail, and Stephen Hamilton at the United Methodist Church, Clear Lake, Iowa
Stephen Hamilton, minister of Usher, from Dallas, whose father was a music at The Church of the Holy Trini- former minister of the church; Carl Sta- ty (Episcopal) in New York City, was the plin, professor of music at Drake Uni- recitalist honoring the 30th anniversary versity and the consultant for the pro- Craig Cramer of the installation of the Holtkamp ject; The Rev. Diana Hoover, pastor of organ and the 30th anniversary of min- the church; Mary Jane Crail, minister of In honor of the 300th anniversary of ister of music Mary Jane Crail at the music; and Stephen Hamilton, recitalist, the death of Dieterich Buxtehude in United Methodist Church in Clear whose program included music by 2007, Craig Cramer, artist in resi- Lake, Iowa, on October 29, 2006. Alain, Bach, Dupré, Franck, Langlais, dence and professor of organ at the Uni- Shown in the photograph is Kenneth Reger, and Mendelssohn. versity of Notre Dame in Indiana, will present the complete organ works of Buxtehude in a series of nine concerts; year, plans to focus on teaching, the first five concerts will be performed research and writing, and will continue during the months of January through as a research professor at the University May 2007. The concerts will take place of Wales, Bangor, which works with in the North German style organ built RSCM in sacred music studies. The Jean-Baptiste Robin by Paul Fritts in 2004 for the new organ RSCM has begun the process of finding hall on the University of Notre Dame a successor. Parisian composer and organist Jean- campus. Dates of the concerts are Janu- Baptiste Robin has been appointed ary 17, February 11, March 19, April 17 professor of organ at the Conservatoire and May 1. For tickets and further National de Région de Versailles in information, contact the De Bartolo France. M. Robin is also titular organist Center for the Performing Arts at the of Poitiers Cathedral (Cathedral of University of Notre Dame (574/631- Saint-Pierre) and its famous Clicquot 2800). Craig Cramer is represented by instrument. He is represented in North Penny Lorenz Artist Management. America by Phillip Truckenbrod Con- cert Artists
Paul Jacobs
The Juilliard School has honored its organ department chairman Paul Jacobs by appointment to the William Schuman Scholars Chair for 2007. The award, named for a former president of The Juilliard School, is given annually to an artist and educator who has made significant contributions to both the intellectual and artistic life of the Juil-
6 THE DIAPASON I R D T H
LT LAKE MORMO SA N TAB 67 ERN 18 ACL E 2007 Celebrating the reopening of the Salt Lake Mormon Tabernacle Salt Lake City, Utah April 18-22, 2007 Featured recitalists: Other Events: All events are free except Gillian Weir • Gala opening concert with the Utah Symphony, Keith for the banquet. Ken Cowan Lockhart, Music Director For information or to register: • Daily noon organ recitals with Tabernacle staff organists Mormon Tabernacle Choir Lecturers: • Mormon Tabernacle Choir rehearsal Joseph Dzeda 50 East North Temple Street • Music and the Spoken Word broadcast Salt Lake City, UT 84150 Jack Bethards • Round-table discussion Ken Cowan Phone: 801-240-4150 • Behind-the-scenes tour of the refurbished Tabernacle Fax: 801-240-4886 • Banquet ($25.00 per person) Email: [email protected]
For a complete schedule of events and online registration, visit: mormontabernaclechoir.org/acos
howcasing the majestic LDS Conference SCenter pipe organ, Now Let Us Rejoice: Organ Hymns for the Sabbath features Mormon
Tabernacle organists John Longhurst, Clay
Christiansen, and Richard Elliott performing 23 hymn-based compositions. In this 80-minute inaugural recording, familiar hymn tunes such as “I Need Th ee Every Hour” and “Sweet Is the
Work” combine with the regal strains of “Jehovah, Lord of Heaven and Earth” and “Now Th ank We All Our God” to provide a wide range of religious expression.
CD $16.98
For more information about this recording, visit mormontabernaclechoir.org liard community. Past recipients Mary Mozelle), former morning host for include the Juilliard String Quartet and WGMS classical radio in Washington composer Milton Babbitt, among a dis- DC. Organbuilder Paul Fulcher was tinguished list of other faculty mem- also on hand to answer questions from bers. The recipients of the award pre- the audience about the 2-manual, 35- sent lecture-performances during the rank tracker organ built by Lively- academic year, which are open to the Fulcher in 1997. Door prizes for this general public. performance included a solo organ CD, Paul Jacobs will offer three such pub- recently released by MSR Classics, lic forums. The first will be a presenta- Exultate, the organ works of Daniel E. tion “Blowing Hot Air for 2,600 Years” Gawthrop, recorded by Mary Mozelle at to be given at Juilliard at 11:30 am on Princeton University Chapel, and three Wednesday, March 21, 2007. Next will organ pipes, donated by Paul Fulcher. be a panel discussion entitled “A Broad- Mary Mozelle’s “The Sights and er View of the King of Instruments” at Sounds of the Pipe Organ” is a narrated The Juilliard School on Tuesday, April musical program, suitable for audiences 10, 2007, at 1 pm. Paul Jacobs will mod- of all ages. The program invites the lis- erate a panel consisting of Samuel Adler teners on a journey, both aural and visu- (composer), Barbara Jepson (classical al, through time and sound, exploring music critic for The Wall Street Jour- the historical development of the pipe nal), Greg Sandow (critic, composer, organ and taking a close-up look at how Front row l–r: John Schneier and Andy Kenney; top row, l–r: Jenny Bower, Scott consultant), and Craig Whitney (author the pipe organ generates its sounds. Montgomery, and S. William Aitken and assistant managing editor of The Past performances of “The Sights and New York Times). The final public event Sounds of the Pipe Organ” have been Scott Montgomery, winner of the RC Church, and Andy Kenney, organist of the award year will be a performance presented at The National Presbyterian 2006 AGO NYACOP, played a demon- of St. Francis de Sales RC Church; top of Olivier Messiaen’s Livre du Saint Church, Washington, DC, St. Luke’s stration for the St. Louis AGO Chapter row, l–r: Jenny Bower, organist of the Sacrement by Paul Jacobs at the Church Catholic Church in McLean, Virginia, on October 23 at St. Peter’s Episcopal Swedenborgian Church, Scott Mont- of St. Mary the Virgin, Times Square, and Aldersgate United Methodist Church. Students from the POE were gomery, and S. William Aitken, director on Tuesday, October 9, 2007, at 8 pm. Church in Alexandria, Virginia, to name invited, and posed after the meeting of music at St. Peter’s Church. (Photo a few. The program was also presented with Scott Montgomery. Front row l–r: by Rene G. Zajner) Dan Locklair’s In the Cross of for the Smithsonian Associates, Wash- John Schneier, organist of St. Ferdinand Christ I Glory was premiered on Octo- ington, DC, in 2003. For further infor- ber 8 at Duke University Chapel, mation:
Maxine Thévenot Walter Wendler, Ben van Oosten, Marianne Webb, Gail White, Lynn Trapp
Ben van Oosten performed the presentation on the recital music by annual recital of the Marianne Webb Lynn Trapp, principal artistic director and David N. Bateman Distinguished of the series. Pictured are (left to right) Organ Recital Series at Southern Illinois Walter Wendler (Chancellor), Ben van University at Carbondale on September Oosten, Marianne Webb, Gail White, 15. A pre-concert dinner included a and Lynn Trapp.
St. John (Episcopal) in Albuquerque, Quinn: Continuum and Quinn’s organ Mary Mozelle and Dennis Owens New Mexico, have each made inaugur- arrangement of Percy Grainger’s Early al CDs on the recently completed One Morning. The program includes Mary Mozelle, associate organist at Reuter pipe organ, op. 2210, for the Barrie Cabena’s Sonata Giojoso and The National Presbyterian Church in Raven CD label. Each plays traditional works by Mulet, Mendelssohn, Calvin Washington DC, presented another repertoire as well as unusual works, Hampton, and Dupré. performance of “The Sights and Sounds Romantic and new. The two CDs are The musicians are husband and wife of the Pipe Organ,” at The Old Presby- currently available online from and made separate presentations at the terian Meeting House in Alexandria,
8 THE DIAPASON Vtà{xwÜtÄ Éy itÄÄtwÉÄ|w
VALLADOLID, SPAIN 79 STOP FOUR-MANUAL RENAISSANCE QUANTUM™ BY ALLEN
he 79-Stop Four-Manual all-digital instrument recently installed in the historic T Cathedral of Valladolid, Spain, is a new Quantum™ instrument by Allen Organ Company. It contains four completely-independent specifications: American Classic, English Cathedral, French Romantic, and Neo-Baroque. At the request of Spain’s premier concert organist, Pilar Cabrera, the American Classic specification was customized to a more Spanish Classic tonal scheme, including a special “Trompeta Reál” that crowns the Solo Division. Allen designed a custom audio system for the organ, taking great care to preserve the magnificent aesthetics of the early 1600s building. The instrument speaks from the front of the church. The moveable console can be connected in multiple locations, allowing for either worship or concert use. The organ was introduced to the public at a special First Communion Mass celebrated by the Archbishop of Valladolid. The Cathedral plans a regular concert series, with the first performance by Ms. Cabrera.
www.allenorgan.com 150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 USA / Phone: 610-966-2202 / Fax: 610-965-3098 / E-mail: [email protected] Chichester Psalms of Bernstein. Musica Sacra). The antiphons and ues on Opus 130 (III/46) for the Orange On November 8, James Welch per- Psalms still represent the ideal for all County Performing Arts Center. A con- formed at Stanford Memorial Church, Catholic parishes, as recommended in tract has been signed for Opus 134 in tribute to the late Herbert Nanney, the General Instruction, and also fill a (III/47) for Covenant Presbyterian Stanford University Organist from 1947 gap in the existing chant books. The Church in Nashville, Tennessee. This to 1985. Nanney passed away in May CMAA offers these full versions of the winter Fisk begins the design of Opus 1996, 10 years ago. Welch’s program, Communion antiphons, including the 133 (II/25) for First Presbyterian performed on both the 1901 Murray full Psalm verses, as a free and quick Church in Santa Fe, New Mexico. For Harris and 1984 Fisk-Nanney organs, download, week by week, as they information:
10 THE DIAPASON WHY
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Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue • Hillsboro, Oregon 97124 503.648.4181 • fax: 503.681.0444 Email: [email protected] • www.rodgersinstruments.com America’s Most Respected Organ Builder digital voices where budget and space ringer of Notre Dame Cathedral in constraints require such consideration. Paris. If the massive numbers of cos- The St. Malachy organ is expanded tumed extras and scenery didn’t with a 61-note rank of flamed copper impress, Chaney’s poignant, unforget- pipes, scaled and finished to match the table performance and astonishing structural brickwork of the church. The make-up in his brilliant portrayal of the classic drawknob console is placed in cathedral’s bell ringer did. And so it the choir space at some distance from came to be that the Ann Arbor Summer the pipes and speakers, in order that the Festival, the Michigan Theatre, and the organist may accurately hear the organ University of Michigan School of Music, and balance it against choir and congre- Theatre & Dance combined their tech- gation, as well as conduct from the nical resources and marketing expertise bench. Mary Frimml, music director of in the production of an evening’s enter- St. Malachy, also led the organ selection tainment that was destined to simulta- committee and was instrumental in the neously make cinema and campanologi- design and placement of the organ. cal history. Attendance at the event surpassed anyone’s expectations. More than 2,000 people came to experience the late night spectacle. As part of the education Carillon News of the general public about the carillon, by Brian Swager it was publicized that visitors could take a free tour of the bell chamber and learn about the carillon for one hour either Burton Tower, University of Michigan before or after the event. Overwhelmed past capacity with more than 600 guests, never been tried before: a silent film it was a tremendously successful event accompanied by the carillon. in terms of exposing the public to the Free summer film screenings in a artistry and music of the carillon. local parking structure have been an immensely popular summer ritual at the Send items for “Carillon News” to Dr. Ann Arbor Summer Festival known as Brian Swager, c/o The Diapason, 3030 “Top of the Park” (that is, top of the W. Salt Creek Lane, Suite 201, Arling- Wicks Royal Classic II parking structure!) and have always ton Heights, IL 60005-5025. For infor- attracted huge crowds. Early in the pro- mation on the Guild of Carillonneurs in The Wicks Organ Company of gram season, it had come to the atten- North America, write to: GCNA, 37 Highland, Illinois, has installed a new 2- tion of University of Michigan Carillon- Noel Dr., Williamsville, NY 14221. manual all-digital organ, expanded with neur Steven Ball that, due to a major one rank of flamed copper pipes, in St. reconstruction of the parking ramp Malachy Roman Catholic Church in where the event is usually held, the Geneseo, Illinois. The new organ repre- “Top of the Park” series would be hap- sents a breakthrough in the Wicks Com- pening at the very foot of Burton Tower. In the wind . . . pany’s commitment to tradition, flexibil- Lynnette Geary For some years it had occurred to by John Bishop ity and affordability. Steven Ball, an accomplished theatre The basic digital organ, a Wicks Royal Baylor Appoints Lynnette Geary organist, that the carillon might well be Classic II, has all the color, flexibility Lynnette Geary, assistant to the dean the perfect instrument to accompany a The wind comes sweeping o’er and power of a large “American Classic” of the College of Arts and Sciences, has silent film. Ball is staff organist at the the plain . . . instrument: fully developed principal been named University Carillonneur of Michigan Theatre in Ann Arbor, a vin- We watch our car’s odometer choruses and mixtures in all divisions, a Baylor University in Waco, Texas. tage 1927 silent movie palace, where he approach 100,000 miles. It seems like fiery reed chorus in the Swell, a firm Geary succeeds Dr. Herbert Colvin, plays the original three-manual, 13- an important milestone, but we’re dis- Pedal division with two 32v stops and a emeritus professor of music theory, who rank Barton theatre organ. Like the tracted by traffic, go into a different full complement of reed voices, colorful served as a member of the Baylor music theatre organ, the carillon is a public train of thought, and miss the great celestes, and many independent flute faculty for nearly 50 years and as Uni- musical instrument, highly expressive, event. It reads 100,002.3 and we never and mutation voices for authentic ren- versity Carillonneur since 1988. and capable of many subtle changes in felt a thing. dering of organ literature from any peri- Geary holds both her undergraduate tonal color. There were, however, enor- Ten years ago we were anticipating od, as well as the color and flexibility and graduate degrees from Baylor, a mous technical challenges to overcome the start of a new millennium. As the necessary for a variety of demands in a bachelor of music education degree in if this were to happen. Where did one year 2000 approached we were told that liturgical setting. The console is Wicks’s instrumental music and band, and a find a screen and projector? How to the language of computer programming own design, at once familiar and com- master of music degree in music history advertise? How would the carillonneur did not allow for calendar years above fortable, with standard playing dimen- and literature. She served as carillon- be able to see the picture to cue the 1999—that we should expect computers sions and everything located where one neur at St. Alban’s Episcopal Church in score during the performance? How to all over the world to crash at midnight would expect it. Waco from 1980–88. fix the time delay problem between on January 1. Enough people nervously The “Royal Classic” line is a partner- Geary will play the 48-bell McLane what the audience saw on the screen withdrew money from ATMs that the ship between the Wicks Organ Compa- carillon in the tower of Pat Neff Hall. and what they heard from the bell banking system published concern ny (one of the oldest continually operat- The instrument was built by the Pac- chamber some several hundred feet about the supply of cash. We didn’t ing organ builders in the United States) card Bell Foundry of Annecy, France. away? These were all questions which even know how we would say what year and a family-owned firm in Italy, which had to be answered before such an it was. What would we say, two-oh-oh- builds the consoles to Wicks specifica- Hunchback at University of event could ever happen. one, aught-one, the aughts, the Ohs? tions, and digitally samples all voices Michigan There was yet one major question Some people planned to be in an air- directly from Wicks-built and Wicks- This year, the reinstatement of the left: which film could possibly fit with plane at the stroke of twelve, others voiced pipework made in the Illinois “Seven Mondays at Seven” Internation- carillon accompaniment? What goes assured us that the computer-driven air- shop. The Royal Classic instruments al Carillon Recital Series at the Univer- well with bell ringing? What do people traffic-control system would collapse at (currently, there are 2- and 3-manual sity of Michigan gave the carillon think of when they think about bells, that moment. designs offered) enables Wicks to pro- department a real reason to celebrate bell towers and bell ringing? Why who And what do you suppose happened? vide the finest in organ music to virtual- the peculiar aural magic of the Charles but Quasimodo, of course! The Hunch- Nothing. My computer kept working as ly any church, concert hall or individual, Baird Carillon, and the desire to do so in back of Notre Dame (Universal Pictures, did my alarm clock and microwave regardless of budget. The digital organs grand style. Thus was born the idea of 1923) stars legendary actor Lon oven. I have not met a single person are easily expandable, enabling real beginning the series with something Chaney—the “man of a thousand who has any trouble saying what year it organ pipes to be installed along with really different—something which had faces”—as the horribly disfigured bell is. Planes kept flying and landed safely
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12 THE DIAPASON and the ATM still spat out stacks of and innovative approach to the study of twenties. The clock struck twelve, the the organ. mouse ran down, hickory-dickory-dock. The School of Music is housed in the We tend to mark our progress in big Catlett Music Center on the north end blocks. If the Baroque era ended in of the campus, the entrance to which is 1750, what did Händel (1685–1759) do a striking contemporary space of cathe- for the last nine years of his life? The dral proportions. The Morris R. Pitman boundaries are muddy. We do this with Recital Hall and the Paul F. Sharp the history of the pipe organ. The begin- Concert Hall both open off this grand ning of the 20th century brought elec- space as does a corridor leading to the tric action and orchestral playing. The classrooms and teaching studios. This second half of the 20th century was The “lobby” is called the Grace B. Kerr Revival when some of us got excited Gothic Hall and is home to the Mildred about historic performance practices Andrews Boggess Memorial Organ, C. and tracker-action organs, and others B. Fisk’s Opus 111 (go to
www.mander-organs.com Imaginative Reconstructions
14 THE DIAPASON Chicks and ducks and geese The forty days (Sundays are exclud- capture, trial and crucifixion, the Last better scurry . . . Music for Voices ed) recall the time Jesus spent in the Supper, and the resurrection) should Meanwhile, the administrators at desert when the Devil offered three illuminate the range of emotions. The Penn were preparing to demolish their and Organ temptations involving food, having writer Matthew Arnold pointed this out building, and engaged me in a compli- by James McCray supernatural powers, and dominion in the nineteenth century in his famous cated conversation about what to do over cities (kingdoms) of the world. In statement, “The true meaning of reli- with the organ. They were less than the early days of the church, the period gion is thus not simply morality, but entranced with the idea of funding Traditions: Lent Through Easter of 40 days was not a firm number; the morality touched by emotion.” another moving project, but having gone phrase “40 days” actually just meant “a to considerable—really considerable— Every tradition grows ever more venera- long time.” This was a period of absti- Dazzling as the Sun, Gwyneth Walk- expense to dismantle, pack, and store it, ble—the more remote is its origin, the nence prior to Easter, which became er. SATB (some divisi) and organ, E. more confused that origin is. The rever- they were committed to its preservation. ence due to it increases from generation to adopted during the seventh century. C. Schirmer Music Co., No. 6513, When Dr. Schwandt and OU came into generation. The tradition finally becomes As with many elements used by the $2.05 (M+). view with the possibility of a new home holy and inspires awe. church, the palm had been a pagan sym- The text is for the Transfiguration of for the organ where it would be proper- —Friedrich Nietzsche (1844–1900) bol which represented victory. For Christ, especially on the second Sunday ly restored and used as part of a signifi- Human, All Too Human Christians it came to be associated with of Lent. Crafted so that the dissonances cant educational program, there started victory over death. Also, the palm tree are approached from a unison that a whirlwind of conversations between In 2007, Ash Wednesday is February had been a shelter for the Holy Family expands outward to create various clus- the two universities. We all have experi- 21, which places Easter on April 8. during their flight from Egypt following ters of sound, the music is dramatic, ence with large bureaucracies moving That’s about in the middle of possible the birth of Christ. Palm Sunday, which with a fast pace. The busy organ part is slowly, but picture this. In just four extremes, neither very early nor very heralds Jesus’s triumphant entry into on three staves. This striking piece weeks, OU expressed interest in the late. Winter will still be around, and of Jerusalem, dates from about the begin- draws on repeated notes in contrast organ, Penn agreed to make it a gift, and course spring is almost always tardy, ning of the fifth century, and today is with sustained flowing lines and a some- the myriad political and legal details especially where I live here in Colorado. often celebrated with children process- what improvisatory style of organ music. were worked out. Two other important Palm Sunday, which is the beginning of ing and waving palm branches. The tra- Highly recommended for solid choirs; a and usual hurdles were instantly Holy Week, is April 1, and for those liv- dition of a flowered cross dates from the sure winner! checked off—funds were immediately ing in the northern part of the United seventh century; the day was called available to move the organ, and first- States, the assurance that March went Pascha Florium (Flower Easter), and a Meditation for Lent (There Is a class space was immediately available in out “like a lamb” is unlikely. Philoso- cross decorated with flowers was carried Green Hill), arr. Michael Bedford. which to store it. The Organ Clearing pher/author Sydney J. Harris said that into the city to the principal church. Two-part children’s chorus and key- House lined up a fleet of five semi-trail- “If nature was really interested in our For church musicians, this season board, Augsburg Fortress, 0-8006- ers, and the 120,000-pound organ was welfare, it would have made health requires various moods and styles of 3839-5, $1.50 (M-). moved to Oklahoma, two days ahead of catching instead of disease.” Our hope is music. It is a long procession from Ash The keyboard part has a busy arpeg- Penn’s demolition schedule. Yikes! Go that the period from Lent through East- Wednesday through Easter, and the giated accompaniment in the left hand, to
Extra copies of the 2007 Resource Directory are available for $5 each. the JOHANNUS revolution Contact Jerome Butera, 847/391- 1045,
JANUARY, 2007 15 one in two parts; it combines the two filled with Alleluias and crisp, majestic ment. The song ends with the soprano previous unison verses. The gentle brass parts. The two octaves of hand- solo and a tutti. music is easy. bells often shake sustained polychords, The next three songs are appropriate adding to the dramatic character. Brass for all seasons. The first, Ise Oluwa (The CHANGE IS INEVITABLE. Procession and Hymn for Palm Sun- needed are two trumpets, two trom- Work of the Lord), Yoruba choral day, Craig Courtney. SATB, chil- bones, and tuba; their parts are available anthem, opens in unison for eight mea- dren’s choir, organ, congregation, separately (C 5449B). Using Lyra sures, and then develops into a three- GROWTH IS OPTIONAL. and optional handbells, brass quar- Davidica as a thematic base, this is cer- part accompaniment to the sopranos. tet and timpani, Beckenhorst Press, tain to be a favorite with musicians and This section subsequently evolves into a Inc. BP 1536, $1.50 (M-). congregation. Highly recommended. soprano and alto descant over the { Separate parts for 4–5 octave hand- melody sung by the tenors and basses. bells (BP 1536B) and instrumental parts Hallelujah!, Emma Lou Diemer. The song ends with all parts in unison, (BP 1536A) are available for sale. The SATB and keyboard, Santa Barbara including some call and response as it ARTISTRY IS CRITICAL. procession is built on ostinato instru- Music Publishing, SBMP 402, $2.05 moves to the end. mental phrases and starts with the men; (M+). Another all-season song is Kabiyesi O the women then enter and sing recur- The keyboard part may be played on Hosana (O Mighty Jesus, Hosanna), { ring “hosannas.” This continues to build, piano or with limited adjustment, organ, Nigerian choral anthem. It opens in then children sing “hosanna the little and is a challenging yet exciting element block unison for eight measures, then children sang” in unison. When the adult in the setting. The title word is used as develops through the use of parallel choir reenters, the children sing in uni- text. The choral parts mix contrapuntal motion, some call and response, and INTEGRITY AND AN INFORMED son with the women. The congregation passages that contrast with static chordal ends with parallel motion. The third all- joins at the end on a series of “hosan- outbursts of the text. This well-crafted season song is Ose Baba (Thank You, POINT OF VIEW,SINCE 1917 nas.” The music is simple and will be music would be useful for church or Father), Nigerian choral song. This learned easily by the various performers. concert and will require a solid group of opens with a call and response for 30 performers. Exciting music. measures, then evolves into parallel { O Master, Let Me Walk with Thee, motion for another eight measures, fol- Gregory Hamilton. SATB, key- I Am the Resurrection, K. Lee Scott. lowed by a soprano and alto unison with board, and optional violin or flute, SATB, organ, brass quartet, 2 a tenor and bass accompaniment. The MorningStar Music Publications, octave handbells, timpani, and con- song ends in call and response. The MSM- 50-6042, $1.75 (M). gregation, Concordia Publishing piano accompaniment is reminiscent of Based on the tune Maryton, this set- House, 98-4745, $1.75 (M). African drum beats. Ose Baba was ded- ting has four verses, each with the This narrative anthem has five verses, icated to and premiered by Jessica melody clearly heard; two are in unison. with the congregation singing the theme Freeman at the Evangelical Lutheran The violin and keyboard have a long on the final one. The back cover has the Church of the Good Shepherd, Fayet- introduction that presents the complete entire text including the music/text for teville, New York, on July 9, 2006. melody. The keyboard part has flowing the last verse, which may be duplicated Two songs are appropriate for spring. eighth notes in the right hand through- in the bulletin. The easy handbell part is The first is Akoi Wata Geri (There is a out all verses. This violin part is includ- included separately at the end, but this Town in Yonder), Hausa choral song. ed separately on the back cover. An easy score does not contain the brass music, This song’s introduction is purely in the anthem for Lent. and the full score is required (97-3078). Western compositional style in both the Reuter Organ Co. The music is not difficult—suitable for harmony and the singing style. Surely He Has Borne Our Griefs, the average church choir. Throughout the song, one does not see 1220 Timberedge Road Kevin Sadowski. SATB unaccompa- much of the devices prevalent in Lawrence, KS 66049 nied, Concordia Publishing House, African music, as seen in the other 98-3650, $1.10 (E). songs: parallel motion, call and 785/843-2622 This four-page setting of the Isaiah New Choral Music response, and ostinato. Here one finds text has a keyboard reduction of the the different parts taking the melody in www.reuterorgan.com choral parts. Most of the music moves in sequence at different points while the block chords except for one brief sec- Godwin Sadoh’s choral works other parts harmonize or perform a tion where the men and women are Music publishers regularly send choir descant over the principal melody. The heard separately with some divisi. The directors previews of new releases. This piano accompaniment simply acts like alto part has a low tessitura. year, among the scores I received are an ostinato drum beat throughout the seven choral works (published by song. One can also hear the difference Joy in the Morning with Hymn to Wayne Leupold Editions) by Godwin in the tonal system used in this song Joy, Natalie Sleeth and Lloyd Lar- Sadoh, a Nigerian composer. I first compared to the other songs. The son. SATB, brass choir and percus- came across Godwin Sadoh’s work in his Hausa choral work is largely in the pen- got pipes? sion, Hope Publishing Company, publication of E Korin S’Oluwa: Fifty tatonic scale, while the Yoruba and C5451, $1.90 (M). Indigenous Christian Hymns from Igbo music, because of their long asso- The original Sleeth anthem is the Nigeria (Wayne Leupold Editions, ciation with Christianity and the Chris- number one best seller of all time for 2005), arranged and composed by him. tian music, are in the diatonic scales. We do. Hope Publishing. This choral version by My excitement about these seven choral This explains the change in the compo- Larson combines it with Beethoven’s songs comes first of all from my being a sitional style that is different from the Ode to Joy in a festive and stirring Nigerian music teacher in America, and other songs—beautiful, but different arrangement that is certain to make second, that these are the kind of songs from the others. Easter a musically grand morning. The I have been looking for to enrich my The last song, Clap Your Hands, Bedient Pipe Organ Company brass parts are available as C 5451B choir multiculturally. In the past, in my Nigerian praise chorus, based on a 800.382.4225 [email protected] ($20.00 set). With its spirited tempo, fre- quest to introduce a multicultural flavor Yoruba folk song, is also recommended 1060 Saltillo Rd, Roca, NE 68430 www.bedientorgan.com quent modulations that increase intensi- into my choir, I have taught beautiful for spring. This song opens in a lively ty, yet relatively simple choral writing, African songs. These songs, however, and joyful parallel motion. In the mid- this will be very useful for most church were usually arrangements of African dle section we see the melody develop choirs. A keyboard version is available songs by non-African composers. into a variation of the call and response for those unable to have the full brass Godwin Sadoh’s songs are among the form, then ending in parallel motion. choir. This new setting is the one to use few that are written entirely by an The texts to these songs are mainly in on Easter for a guaranteed success. African composer. Sadoh’s background the indigenous languages, but with Eng- is in church music. These songs, which lish translation. In the composer’s notes, Easter Sequence, Richard Proulx. are very seasonal, feature a deep spiritu- we learn that the three major indige- SATB, cantor, assembly, organ, and ality. The songs are beautiful arrange- nous languages in Nigeria (Yoruba, Igbo trumpet, GIA Publications, G-4917, ments of well-known and original and Hausa) are tonal, and therefore, the $1.40 (M). hymns from Nigeria. meaning of a particular word depends Based on Victimae Paschali Laudes, The first song, Keresimesi Odun de on its intonation. In traditional practice, this setting opens with the refrain sung (Christmas Festival), a Nigerian melodies mirror the tonal inflections of by the cantor; it is then repeated by the Christmas carol, opens with a strong the song texts. In the Yoruba language, congregation, who also sing it after each four-part block unison for eight mea- the same group of syllables spoken with of the two verses. The refrain is on the sures, and then develops into a beauti- different intonations would convey dif- back cover for duplication. The verses ful call and response passage and paral- ferent meanings. For instance, the word tell the story of the tomb and are sung lel motion in the middle section. The oro can mean several things: masquer- by the mixed choir. The trumpet, which song ends as it began, in a strong block ade, pain, to think. So, too, the melodies plays throughout, has a transposed part unison. The second song, also appro- of songs reflect the speech intonations that is included with the score. The priate for Christmas, is titled Gbo of the texts. music is functional yet attractive. Ohun Awon Angeli (Hear the Voices of The piano accompaniments deserve Angels), Yoruba choral song. It opens special mention. They complement the Risen Alleluia!, Allen Pote. SATB, with a statement of the melody in uni- songs by providing a steady ostinato brass choir, timpani, organ and son, which is then developed into a rhythm reminiscent of African drum handbells, Hope Publishing, C short parallel movement section, fol- performance. The role of the accompa- 5449, $1.80 (M). lowed by a soprano and alto duet with niments is vividly that of an African Here is an exciting Easter anthem the other parts serving as accompani- piano style, with features such as the-
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16 THE DIAPASON matic and rhythmic repetition, the resources familiar to and used by Brit- states in its introduction, “In commis- employment of rhythmic motifs that ten, then continues with a chapter on sioning this series of essays from around New Recordings are based on African traditional idioms, the composer’s specifically liturgical the world, what I have sought to achieve percussive treatment of the piano, and music and four chapters devoted to is firstly to take a step aside from the the dance element resulting from the what is termed Britten’s “Parable purely English viewpoint from which The Temperamental Bach Organ motoristic rhythmic structures. The Music”: the canticles and Cantata mis- Delius has, in print at least, largely been CD. Frog Music Press, songs are tuneful as well as captivating ericordium, the church parables, the surveyed . . . and then in a further side-
JANUARY, 2007 17 Bach compositions: Fantasy and Fugue the Organ Historical Society ($18.98 ever, one easily perceives Davidsson’s disposition of this instrument in in A Minor (BWV 561), Kleines har- plus shipping), 804/353-9226; vivacious and especially clean playing. Örgryte New Church is detailed in pub- monisches Labyrinthe (BVW 591) and
18 THE DIAPASON 30 minutes devoted to Weckmann’s movements, a Fugue. The latter might Hommage à Jean-Jacques Grunen- professor of organ and improvisation at chorale variations to overwhelm the have sounded a little more convincing on wald. Ursina Motette MOT 10521. the Schola Cantorum and then from album, but the Bruhns showpiece sepa- the reeds. Recorded in 1981, originally issued 1961 to 1966 at the Geneva Conservato- rates them into two vivid 15-minute seg- Burke follows the Louis Marchand on LP and digitally remastered. The ry. Although he performed extensively ments. And, by a tenuous connection pieces with the inevitable Toccata from Cavaillé-Coll organ in St. Sulpice, in Europe and even in the United States posited in the liner notes, Davidsson Widor’s Symphony No. 5. This is well Paris. Available from the Organ His- as a recitalist, unlike his St. Sulpice pre- later provides a welcome contrast with a played, but the mixture sounds as if it torical Society ($14.98 plus ship- decessors Widor and Dupré he is not work by Arvo Pärt. The album opens contains a rather prominent tierce, mak- ping), 804/353-9226, well known outside of France. Grunen- with a splash, BuxWV 137, presents ing the instrument sound “scratchy” in
JANUARY, 2007 19 former today can draw such surprisingly that Reincken enjoyed not only during land) via Franck who was a composer in most frustratingly in German only. delicate sounds from this big French his lifetime, but also after his death Hamburg when Reincken was a direc- Dirksen provides the texts of the instrument shows that Cavaillé-Coll had through publications by Johann tor of the opera there, and later moved chorale fantasias and their correspon- an historical sensitivity and valued the Mattheson, J. G. Walther and C. P. E. to London, working there with Robert dence in the musical score, while Beck- sound of earlier instruments, too. Bach, who mentioned him as being one King (the opening 28 bars are found in mann provides this for An Wasser- It is fitting that music by Grunen- of the formative influences on J. S. the Babell manuscript preceding a uni- flüssen Babylon only, buried in the crit- wald’s predecessors Widor and Dupré, Bach. Dirksen views the chorale fanta- fied suite cycle ascribed to Master ical commentary—as I have mentioned whose combined tenure (1870–1971) on sia as a creation of Reincken’s teacher King)—note the possible confusion in a review of Scheidemann’s chorale this organ bench exceeded a century, is Scheidemann, who combined Sweel- between R. King and Reincken! Beck- settings, it would be most helpful to here presented. The performances are inck’s polyphony and the North Ger- mann dismissed this transmission and include melody and first verse text in full, rich and energetic, befitting this man chorale motet with the Hamburg refutes the possibility of Reincken’s scholarly Urtext editions. romantic French organ style. performing style on two or three man- authorship on the basis that it is so dif- Both editions are well presented and The one work not performed by uals and pedal. Reincken’s setting of ferent formally from his one known toc- clearly printed, but for your reviewer the Grunenwald is the one written by him. It An Wasserflüssen Babylon, a very early cata, and considers the writing to be Dirksen, although lacking a discussion of is performed by Françoise Renet, who work, is an absolute masterpiece; at much simpler and plainer. Additionally the various ornament signs, offers better served as organist in the gap 327 bars it is the longest surviving fan- he dismisses Dirksen’s theory connect- value through printing seven pieces, (1971–1973) between the tenures of tasia, with imitative passages passed ing Reincken’s use of 16th-note figura- three more than Beckmann. While acad- Dupré and Grunenwald. from hand to hand, rapid changes of tion in this piece with that used in the emics will argue the importance of cor- The two multi-movement improvisa- manuals, carefully written-out orna- chorale fantasia Was kann uns kommen, rect ascriptions to enable us to piece tions, with their differing styles reflected ments and elements of the stylus phan- commenting that since the 16th-note together and chart accurately the devel- in their respective names, are both on tasticus (see bar 205) all making con- figuration in the toccata proceeds main- opment and transmission of keyboard Gregorian themes. The romantically siderable demands on both left and ly by leaps, it cannot have any connec- music, there are many pieces languish- conceived Cinq Esquisses sym- right hand (including crossed-hands tion with the figuration in the chorale ing either in manuscript or in long unob- phoniques, inspired by the color palette passages for many bars at a stretch) and fantasia which is primarily stepwise. tainable editions that players will find and dynamic range of this organ, is feet, including double-pedaling at sev- Ascription arguments notwithstanding, well worth studying and adding to the idiomatic to this Cavaillé-Coll master- eral points. The second fantasia Was it is a powerfully effective piece with repertoire, making up their own minds piece. The Suite française improvisée, in kann uns kommen an für Not runs to a two of its three fugal sections contain- as to ascriptions. the French classic style, features individ- mere 222 bars, but contains the same ing driving 16th-note passagework (the —John Collins ual registers that evoke the organ built difficulties, being dominated by run- central fugato in F-sharp minor in Sussex, England by Clicquot and is an improvisation hon- ning 16th-note passagework. 18/16 being marked Presto) and fully oring the 200th anniversary of the dedi- The two toccatas common to both deserves to be restored to the concert cation of the Clicquot organ. The juxta- editions include one in G major and repertoire. position of these improvisations, there- one in G minor, added to the canon The manualiter Fugue in G minor New Handbell Music fore, limn the history of this organ. only in 1994 when it was discovered in was published in Apel’s edition of This compact disc is an historical doc- the Brussels National Library in a book Reincken’s collected keyboard works; ument as much about the organ as it is of pieces prepared for publication by unfortunately the source containing this Angels’ Carol, John Rutter, about the performer, encapsulating an Fétis in 1830. That in G major is in five and another fugue in E minor has dis- arranged by Sondra K. Tucker, for organ history lesson for the listening and sections, including two fugues based on appeared, but this work survives 3–5 octaves of handbells. Agape providing an interesting basis for dis- variants of the same subject, the second through being published in 1927. Its (Hope Publishing Company), Code cussing several facets of organ history. one being a driving gigue-like 12/8 with highly motoric subject finishing with No. 2359, $4.95, Level 3+ (M+). —Jeffrey K. Chase, M.Mus., J.D. some wide RH stretches in bar 140 fifteen (yes, that’s 15) repeated 16th- This popular Rutter tune has become Ann Arbor, Michigan before the final free section and also in note Gs and a bar of an arpeggiated a Christmas choral favorite over the the LH in bar 150 where a half-note triad will make demands on the player’s years, and Ms. Tucker has faithfully bass D is held under a chord of D and ability to maintain a clean performance transcribed it for the handbell idiom G and also continues into the next without flagging, but what a piece! with care to keep the lilting melody at New Organ Music bar—not so much of a problem on a Beckmann refutes Reincken’s author- the center of things. This familiar tune short-octave keyboard—but the LH ship by comparing it with the known will make a stunning and welcome addi- stretches in the penultimate bars will fugues in the two authenticated toc- tion to the handbell repertoire. Johann Adam Reincken: Complete not be solved so easily. The second of catas and a few gigues in the suites, Organ Works; edited by Klaus Beck- the free sections is based on arpeggio especially with regards to the keys in The Creative Use of Handbells in mann. Schott ED9783; figuration that is highly similar to that which the subject appears (the former Worship, Book 2, by Hal H. Hopson.
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20 THE DIAPASON Albert Schweitzer Organ Festival/USA 2006 David Spicer
On Tuesday, September 5, 2006, six awards. The Helen L. Reinfrank Music young organists began arriving in Fund provided $500 for the most cre- Wethersfield, Connecticut, to partici- ative hymn playing. In addition, several pate in the Ninth Annual Albert local residents gave gifts to this festival, Schweitzer Organ Festival/USA. This which are most appreciated. year the caliber of playing was especial- Special thanks go to Gordon Auchin- ly high. All who heard were greatly closs, who was on hand throughout the encouraged about the future of organ Saturday competition to offer assis- playing in our country. tance should the organ need it, and to We are grateful to the following Bon Smith of Austin Organ Service churches for allowing these six finalists Company of Avon, Connecticut, who to practice on their organs: Trinity graciously gave the gift of tuning for Episcopal Church, Wethersfield, Bruce this festival. Austin Organ Service Henley, organist-choirmaster; St. Company is the regular curator of this John’s Episcopal Church, West Hart- instrument, serviced by Alex Belair and ford, Ralph Valentine, organist-choir- Michael Tanguay. master; Asylum Hill Congregational Our thanks to Nancy Andersen, festi- Church, Hartford, Charles Miller, val manager; Karen Franzen, administra- organist and associate minister of tive assistant; Betty Standish and Laurie Music; Christ Church Cathedral (Epis- Allen, ASOF/USA Chair, for so ably per- copal) Hartford, Canon James Barry, forming the organizational work that organist and choirmaster; Bethany made the festival run smoothly and effi- Covenant Church, Berlin, Olga Ljung- ciently. A special note of thanks to Dana holm, minister of Music; and First Spicer and Mainly Tea of Wethersfield, Church of Christ, Glastonbury, Angela (L to R) Frederick Hohman, Mark Edwards, Laurie Allen, Samuel Kohei Gaskin, which provided a reception for the three Salcedo, organist-choirmaster. Thomas Heywood, Caroline Judith Robinson, David Spicer, Ahreum Han, Malcolm judges on Friday evening, and a wonder- Friday morning, the finalists were Ross Matthews, Brenda Portman, Nancy Andersen, Marilyn Mason, Karen Franzen ful dinner for finalists and judges on Sat- treated to a tour of the Austin organ fac- urday evening. tory in Hartford. Finalists were able to The Young Professional Division detailed, honest, and at times tough and At this moment, the Albert Schweitzer experience this institution, now in its finalists were Ahreum Han, Philadel- frank feedback of the jurors.” Organ Festival committee is preparing 114th year, and were able to see pipe phia, Pennsylvania (third prize), a stu- The total combined repertoire repre- for our tenth ASOF/USA, to be held in metal being cast as well as the many dent of Alan Morrison at the Curtis sented by these six finalists included Wethersfield, Connecticut, September unique machines used in the process of Institute of Music; Mark Edwards from Bach: Trio Sonatas No. 3, BWV 527, No. 7–9, 2007. Organists Paul Jacobs and making a pipe organ. Ontario, Canada (second prize), a stu- 5, BWV 529, and No. 6, BWV 530; Con- Diane Meredith Belcher will join Fred- Friday evening, September 9, a con- dent of David Higgs at the Eastman certo in d minor, BWV 596 (Vivaldi); Pre- erick Hohman as this year’s guest cert was held in the historic Meeting- School of Music; and Brenda Portman, lude and Fugue in C Major, BWV 545; artists/judges. Plans are underway to fea- house of the First Church of Christ in from Flint, Michigan (first prize), a from Dupré’s Opus 7: Prelude and ture these organists in the opening con- Wethersfield. The prelude was Andante graduate of Wheaton College and Fugue No. 1 in B Major and Prelude and cert of the festival on Friday evening, Espressivo (from Sonata in G Major, Northwestern University. Fugue No. 3 in g minor; Widor: Adagio September 7 at 7:30 pm. The committee op. 28) by Elgar. The Festival Choir Sunday morning, September 10, all from Symphony No. 2; Adagio from is hoping to invite six qualified young sang Psalm 150 by Franck. All in atten- finalists played portions of the 8, 9:15 Symphony No. 5, Cantabile from Sym- organists to compete in the two divisions dance sang “Christ Is Made the Sure and 11 am worship services. At 3 pm phony No. 6, Andante Sostenuto from on Saturday, September 8. Foundation” (tune Christ Church by awards were presented and first-place Symphonie Gothique; Franck: Choral Samuel Kohei Gaskin and Brenda Richard Dirksen). The choir then sang winners Samuel Kohei Gaskin and No. 1 in E Major, Choral No. 2 in b Portman will perform in recital on Sun- Kyrie (from Messe Solennelle, op. 16) Brenda Portman were heard in recital. minor, and Choral No. 3 in a minor; Hin- day, June 3, 2007 at 7:00 pm. I by Vierne. David Spicer served as Frederick Hohman remarked that “It demith: Sonata II (first movement); Per- organist-choirmaster for this portion of has been a privilege to have served as sichetti: Sonata for Organ (Vivace, move- David Spicer began as Minister of Music the concert. permanent juror at ASOF/USA for the ment III); Demessieux: Te Deum; hymn and the Arts at First Church of Christ in Music from West Africa was present- first nine years. All recent contestants tunes: Coronation, Diademata, Eventide, Wethersfield, Connecticut in 1986. In 1996 he and Harold Robles founded the Albert ed by St. Mary’s Ghanaian Catholic chosen for the finals have shown and St. Thomas. Schweitzer Organ Festival/USA. Spicer is a Ministry Choir from East Hartford. The remarkable levels of technical achieve- We are grateful to Ahlborn-Galanti graduate of the Curtis Institute of Music, choir, dressed in ceremonial garb, was ment. The technical ability and secure Organs for the $2000 award for first prize where he studied with Alexander McCur- directed by Rev. Fr. Savino-Gyimah and memory shown by High School and in the High School Division. The Young dy, and of the Eastern Baptist Theological Joachim Pennin. Music sung in the Young Professional contestants is at a Professional Division first prize of $3500 Seminary. Ghanaian tongue was a reminder of higher level than I can recall in any pre- was shared by the Helen L. Reinfrank Albert Schweitzer’s great missionary vious generation. ASOF/USA recog- fund, which provided $2000, and J.H. Information about the Albert Schweitzer work in Africa. Next, the three judges nizes and encourages this devotion and and C.S. Odell Organ Builders, which Organ Festival/USA and current require- for the competition played on the achievement in organ-playing with cash provided $1500. Bank of America, Hart- ments for the competition are available by telephone: 860/529-1575 ext. 209; e-mail: Austin IV/62. Marilyn Mason played prizes; however, equally valuable is the ford, provided $1500 for the second
JANUARY, 2007 21 Crisis in the Choir Loft Kenneth H. Phillips
Young conductors practicing their art Budding conductors: does the church need them?
hurch music and formally trained set to music by some of the world’s doctoral study, I conducted a choir in the heavens with its prayer for peace. In Cmusicians are in crisis within the greatest composers. The “Sanctus” what might be called a “gospel” church. these great works of art we come to religious community today: popular from J. S. Bach’s B-Minor Mass stands The position was the best paying church- understand, if only in a small measure, music genres have flooded the church as as one of the greatest achievements of choir job I’d ever had, and graduate stu- the mind and person of a God who is age-old traditions are being discarded praise. Its triplet figures ascend like dents can get rather hungry! I had no beyond our limited understanding. If for more contemporary forms of wor- prayers, as Isaiah must have envisioned. knowledge of Mosie Lister or any other mortal humankind can produce such ship. Today’s “pop” music is very viscer- This is not superficial “feel good” gospel music composer, and I nearly great works of high creativeness, what al, and many people who attend church music, but music of the highest order, ruined the choir with my best “snappy” must the mind of God be like? It is services expect to be entertained in a wedded to faith. Presbyterian and Methodist repertoire. unfathomable. manner they might otherwise encounter One day I discovered an anthology of Unfortunately, most of the general in a nightclub. “Let the good times roll,” Evangelism or worship? “Old Southern Gospel” music, and I was public is limited in its understanding of and there are congregations convinced Much of the contemporary “main- amazed to learn that this congregation great art; such masterpieces remain a that the only way to attract youth is to line” Christian community is struggling had its roots in the south. I hit pay dirt mystery. The key to unlocking the “let it roll” literally, in the aisles. today to find focus and content in its with those tunes! The trouble was, the meaning of art is in education; it takes Those of us who cling to tradition forms of worship. Many churches now choir really did not need a choir direc- time and study to reveal the depth of also believe that worship is central to conduct the worship time as an evangel- tor—just someone to say “start” and the artist’s intent, and most people are the ministry of the church. The act of ical service, and embrace popular musi- “stop.” I lasted two years there and was not willing to expend the time or ener- communal worship has been the means cal forms to the exclusions of all others, glad to move on when the time present- gy, including many church musicians. by which believers have demonstrated including traditional hymns. This ed itself. While I learned a lot about the When a person participates in, rather their devotion to God for centuries. approach is often successful in drawing Southern gospel style, this just wasn’t my than observes the arts, there is a sense The worship experience has reflected young people to the church who have background/ culture. I was the proverbial of ownership. This creation or recre- numerous and diverse forms, but no understanding of the great church duck out of water. What is the contem- ation produces a commitment to an among the commonalities are the peo- traditions. However, scripture teaches porary church choral director to do? understanding of the artistic product, ples’ expressions of praise through that worship is to be done “in spirit and First, the choral musician must rec- revealing greater depths of spirit, both music. The book of Psalms is especially in truth.” The worship service is meant ognize that pluralism in church music is human and divine. Research has shown replete with such exultations. for believers; services of evangelism a fact. Many churches are finding that to that people who participate in the arts One of the most beautiful scenes of bib- serve a different purpose. Unfortunate- hold on to their people they must speak as young people most often will be those lical worship is found in the book of Isaiah: ly, the two have become so blurred that in the vernacular. Second, trained who continue their commitment to the true worship is hard to find. Praising choral musicians must make a choice: arts as adults.2 The choir director who In the year that King Uzziah died, I saw God has become confused with saving (1) seek employment only in mainline chooses to work in a traditional church the Lord sitting on a throne, high and lift- souls and church growth. churches that continue to value tradi- must also be an educator, especially of ed up, and the train of His robe filled the temple. Above it stood seraphim; each one It is true that “form” in worship may tional choral music, (2) adapt to the the young. Creating a love for great art had six wings: with two he covered his lead to a formulaic approach that evangelical popular form of music mak- is an acquired taste, and the payoff in face, and with two he covered his feet, and becomes static and impersonal; it need ing and forget tradition, or (3) recognize church music goes beyond the with two he flew. And one cried to anoth- not be so. A highly creative approach to that pluralism exists and work for a bal- ephemeral to the divine. er and said: “Holy, holy, holy is the Lord of worship is found in many traditional anced program. The third position is not hosts; the whole earth is full of His glory!” churches. It also may be true that for- always possible when the minister of the Where are the singers? (Isaiah 6:1–3; NKJ) mal worship may end up emphasizing church wants only a youth-oriented A second crisis for many church the “performer” rather than the “host.” music style. Unfortunately, it is this choir directors today is the lack of From this great statement of praise is This, however, can be found among all third position that truly recognizes the singers, especially male singers. Mem- derived the “Sanctus,” which has been styles of worship. The exclusion of plurality of membership in so many bers in traditional church choirs are choir robes for wearing contemporary churches today.1 mostly of the 50+ set. This lack of dress does not guarantee that the spot- youth in choirs is troubling, and church light will be on the message and not on Great art reveals a great God choir directors must make it their the choir. For those who prefer great art as a responsibility to teach their young peo- means of creative worship, the experi- ple to sing. It will be a major crisis if Preparing church choir directors ence can be one that reveals the very the older generation passes on and I have been a choral director for over nature of God as reflected in the pre- leaves the choir loft empty. 35 years, conducting at all levels in pub- Adamic life. The book of Genesis Singing is central to the worship expe- lic and private venues, including eight records a creation that was perfect—a rience. We know that Jesus and his dis- churches. As a college and university garden free of weeds and disease. ciples sang, and that Paul and Silas sang professor I have taught undergraduate Imagine living in a world without pain while imprisoned. Worship without and graduate choral methods preparing and suffering, where everything stands music would be like corn-on-the-cob young people for their place in the as a tribute in its beauty to the nature of without butter. How bland! And worship choral profession. Many of these stu- God. Gaze upwards in the Sistine that involves the voices of children is dents are planning to become church Chapel at the historic artwork of especially sweet. Psalm 8:2 states, “From choir directors, and I must address the Michelangelo, and revel in the beauty the lips of children and infants you have issue of contemporary music in the of an Eden that was beyond our imagi- ordained praise” (NKJ). church. What is a choir director to do nation. Stroll through the Vatican Today our knowledge is far greater when their formal training in school museums experiencing the works of concerning instruction for singing.3 conflicts with the style of music a partic- Raphael, Titian, Caravaggio; what Research into musical intelligence has ular church may desire? The answer is genius, and to think that humankind revealed that all people possess a musi- not easy—many contemporary churches was created only “a little lower than the cal aptitude, which can and should be do not even have what could be called a angels.” Enter St. Peter’s and gaze upon developed to its fullest potential. Early “traditional” choir anymore. They have the magnificent Pietà of Michelangelo. exposure to artistic activities such as a “Praise Band.” Here the dead body of Jesus is held lov- singing helps to develop this aptitude, Rather than cast the subject into “bad” ingly in the arms of a mother who knew which noted Harvard psychologist music and “good” music, I try to discuss the pain of a dead child as only a parent Howard Gardner has stated is one of the the issue in regards to each church’s par- can know. Listen to the final movement eight basic intelligences of humankind.4 ticular culture and needs. When I was in of Bach’s B-Minor Mass as it soars to Unfortunately, many children do not
22 THE DIAPASON ministry at the elementary level is the we give up everything good about the weakest in a church music program. past. “Throwing the baby out with the The development of the singing voice bath water” is not a solution, but adapt- and music literacy are basic to develop- ing to change can reap benefits if we ing a church membership that values a are willing to try. I timeless music tradition. The Mennon- ites are excellent at providing musical Dr. Kenneth Phillips is Professor of Music instruction for their children. Attend a and Director of Graduate Studies in Music Mennonite service and hear four-part Education at Gordon College, Wenham, Massachusetts, and Professor Emeritus of hymn singing from the congregation— The University of Iowa. He is the author of quite a rarity today. Directing the Choral Music Program The church also must educate its peo- (Oxford University Press, 2004). ple as to the purposes and processes of meaningful worship. What are the verti- Notes cal elements (unto God) and the hori- 1. Phillips, Kenneth. Directing the Choral Music zontal (unto the people), and how do Program. New York: Oxford University Press, 2004. these differ and/or complement one 2. Frakes, Louise. Differences in Music Achievement, Academic Achievement, and Attitude another? This can be accomplished Among Participants, Dropouts, and Non-partici- through sermons or Sunday School pants in Secondary School Music. Unpublished classes. However it is done, the point doctoral dissertation, The University of Iowa, 1984. must be clear that the focus of worship 3. Phillips, Kenneth. Teaching Kids to Sing. New York: Schirmer Books, 1992. is not people—it is God. While “feel 4. Gardner, Howard. Frames of Mind: The The- Will there be jobs in the church for these young conductors? good” music may be a draw, it does not, ory of Multiple Intelligences. New York: Basic in the end, focus on God. Books, 1983/1993. learn to sing, even when we know they ground and will continue to do so if we Finally, church traditionalists must 5. Phillips, Kenneth and Randall Aitchison. “Effects of Psychomotor Instruction on General have the potential. Research has shown do not champion the need for worship not be afraid to at least consider move- Music Students’ Singing Performance.” Journal of that children who receive skills-based that centers on God, rather than people. ments within the contemporary scene Research in Music Education, 45/2 (1997), instruction do learn to sing with greater “Oh, give thanks to the Lord! Call upon that have relevance for a more “blend- 185–196. accuracy and confidence.5 Children who His name; Make known His deeds ed” approach to worship. Recently, I 6. Phillips, Kenneth and Randall Aitchison. “Second-Year Results of a Longitudinal Study of sing inaccurately may be, for a time, among the peoples. Sing to Him, sing attended a service at the Riverside the Relationship of Singing Instruction, Pitch Accu- developmentally lagging in aural acuity, psalms to Him; Talk of all His wondrous Church in New York City. In the same racy, and Gender to Aural Acuity, Vocal Achieve- but this processing problem seems to works” (Psalm 105: 1–2, NKJ). worship time there was a presentation ment, Musical Knowledge, and Attitude Towards disappear after the age of nine. From by a gospel group and a traditional Singing Among General Music Students.” Contri- then on there is no significant difference Hope for the future? church choir. A gospel selection (sway- butions to Music Education, 26/1, (1999), 67–85. 7. Phillips, Kenneth. “The Effects of Group on tests of aural hearing/processing The future of traditional church ing and all) and Vaughan Williams in Breath Control Training on the Singing Ability of between children who continue to sing music begins with the education of chil- the same service—how refreshing! We Elementary Students.” Journal of Research in inaccurately and those who match pitch dren. All too often however, the music can’t live in the past, but neither must Music Education, 33/3, (1985), 179–191. correctly.6 What is apparent is the inability of inaccurate singers to physi- cally coordinate the body for the pro- ANDOVER BEDIENT BERGHAUS BIGELOW BOND duction of singing tone. They have not discovered the kinesthetic “link” BUZARD CASAVANT DYER FISK GARLAND GOULDING FRERES DOBSON R. & WOOD between the brain and the physical motor process. My earliest research confirmed the link between motor skill and singing accuracy, and demonstrated that singing is a learned behavior.7 Armed with this knowledge, choir direc- tors can implement a program of vocal and aural skills instruction that will once APOBA more fill their choir lofts. Making a choice Choral directors who continue to practice the great choral traditions in Get the Best church music should not apologize for doing so. Those who embrace a more contemporary popular expression From the Best. should know that it does not require tra- ditional choral training. In the former, music attempts to bring the listener into an awareness of the Creator through a Then vertical dimension of worship, while the latter ministers to the listener in a more horizontal manner opting for a greater Rest Assured. emotional experience. The traditional route requires much study and exper- tise, while the contemporary is more spontaneous. A keyboardist who can play “by ear” is a valuable asset in a pop- ular worship setting. I once served in a church where the pastor said, “Beware of music that Whether your new organ is to appeals more to your feet than your head.” This is a good admonition, for be small or large, electric the distinction between worship and entertainment can be very narrow. It is or mechanical action, the role of church musicians to lead worship, not entertain. APOBA members are Only time will tell if popular-style con- temporary church music will so over- proven, ethical firms. whelm our culture as to make traditional choral training unnecessary. It may be that secular institutions will become the And we’ll be here tomorrow last bastions of great sacred choral litera- ture. Wouldn’t that be ironic? Whatever and for generations of the case, formally trained choral direc- tors who choose the traditional path will tomorrows to meet your needs. need to be able to defend their position. There is a crisis in the choir loft today. Entertainment has moved in, big time. Will there be a need for classically To receive information about pipe organs trained choral directors in 50 years? There will be if we as professionals do A and recognized pipe organ builders not cave in to the pressures of those in P write or call toll free 1-800-473-5270 ministry who see the worship service as a place to increase church membership. O or on the web @ www.apoba.com The worship service is about God. BA Associated Pipe Organ Builders of America Evangelistic services are about saving humanity. There is a place for both, and P.O. Box 155 • Chicago Ridge, Illinois 60415 each requires a different kind of musical experience. Let the classically trained BOODY & QUIMBY PARSONS OTT REDMAN SCHANTZ SCHOENSTEIN TAYLOR choir director be discerning and choose wisely. The future of our profession in NOACK MURPHY KEGG JAECKEL HOLTKAMP HENDRICKSON church music is at stake; we have lost
JANUARY, 2007 23 An Old Mexican Organ Edward Pepe and James Wyly
1. Introduction Recent years have seen a notable increase in interest among organists and scholars in old Mexican organs. Each year congresses, tours, and study trips of various kinds bring organists, organ his- torians, organ builders, and general enthusiasts to Mexico from Europe as well as North and South America. As we learn more about the old Iberian and Ibero-American organ repertory, the numerous1 old Mexican instruments surviving from the eighteenth, nine- teenth, and perhaps even the seven- teenth centuries, built as they are in styles closely related to Iberian organs, become ever more important to our understanding. Yet for the vast majority of organists, a study trip to Mexican organs remains impractical, especially as the number of old organs in Mexico that are actually in playing condition remains small, and of these, not a few are in rel- atively inaccessible locations. Therefore organists interested in this area must depend heavily on recordings. The organist who buys a compact disc The organ of San Dionisio Ocotepec (Oaxaca). A label on the organ gives in hopes of learning something about the the date of construction as 1721. Iberian tradition of organ music must Pipes, keyboard, key and register proceed with caution, however. The his- action, and bellows have all disap- tory of Mexico’s organs has been just as peared. The windchest survives. The complex as her politics, and just because organ’s “doors” are preserved in the an old Mexican organ is today in a state sacristy. (Photograph, Edward Pepe) of repair sufficient for the making of a recording does not necessarily mean that vault of the nave is made with bricks the recorded sounds will have a great placed on edge, set on the axis of the deal to do with either the way the organ nave.4 It could well be that the vaults was originally conceived or how its date from a major renovation during the sound may have evolved over time. 1730s, since in the west façade, which is Therefore, it seems useful to describe in not original to the church, the weather- some detail what is presently known damaged legend, se [ac]abo de renobar about one of the old Mexican organs of esta [por?]tada primero de agosto de which some recent recordings are avail- 1737aos can still be made out above the able.2 As will be seen, this, the organ in main door. The two west towers, each of the village church of San Jerónimo in which contains stairs to the gallery (one San Jerónimo Tlacochahuaya (also is currently blocked off), would then known as Tlacochahuaya de Morelos) in seem to date from that time, as probably the state of Oaxaca, presents us with a would the elaborate decorative painting The organ of San Pedro Quiatoni (Oaxaca) can be dated to 1729 through an history and a set of questions which, of the interior. inscription on the largest façade pipe. Pipes, windchest, keyboard, key and regis- while they are of course specific to this This implies that the gallery at the ter action, as well as a set of bellows, all survive. (Photograph, Edward Pepe) particular instrument, can also be con- west end of the original wooden-roofed sidered as generally characteristic of the church must have had a ceiling that was possible to have the usual entrance all changes as close to reversible as is kinds of issues one faces when one starts a good deal lower than the present one, leading directly from the second floor of mechanically feasible, making available to think about how an old Mexican organ especially since the walls of the choir the convent into the choir loft,7 which full documentation regarding the inter- might have originally sounded and been area were raised at the time the vaulting gave the friars easy access to the choir vention, and so on.10 Rather, we are played. As we formulate our questions was added (accounting for the unusual area for the performance of the monas- dealing with an old, working organ that we shall try to describe in some detail proportions of the church’s façade). The tic hours. Instead, the early bell tower in has been altered many times in the what is known about the history and floor of the loft, likely of wood, was also Tlacochahuaya seems to have served process of repeatedly repairing and present-day state of this instrument, lower, as is confirmed by the original this purpose. The two stairwells in Tla- updating it—which is of course the way which is currently one of the better- bell-tower, which still stands on the cochahuaya’s west towers,8 leading up almost all work on extant organs has known old organs of Mexico; and this, in south side of the nave. Halfway up its from the main floor to the choir, can been carried out for hundreds of years, turn, will enable us to make a few com- stair is a blocked-off doorway, apparently then be seen as an indication of a with the exception of a relatively few ments about the larger picture regarding the original way to the old gallery, which stronger indigenous participation in interventions in historically important old organs in Mexico. would have entered the church at a level music making in the later years of organs during our own time. lower than the present gallery floor. Not Dominican control.9 Let us begin with the existing disposi- 2. The Church Building only would this gallery have been lower, tion of the organ. The stops are divided, As is common in Mexico, we possess it would have been darker, for it would 3. The Organ: History those in the left column extending from only fragmentary documentation con- have lacked the present large west win- Now we may turn to what we know of C (short octave) to c1 and those in the cerning the Tlacochahuaya church and dow. This space, by the way, must have the changes this organ has undergone; right column from c#1 to c3 (21 and 24 its organ(s). As their history is inter- served, until Tlacochahuaya was secular- and while we may not possess a full notes, respectively). The names here twined let us review what is known. Tla- ized in the eighteenth century, as a coro record of them, it is already clear that, assigned to the stops appear on paper cochahuaya lies about 12 miles east of from which the friars sang their offices, as with so many old organs, it may be labels from the 1990 renovation; we do Oaxaca de Juárez, the capital of the for to this day it contains a large, four- misleading to speak of the Tla- not know what they were originally state. We know that the church was orig- sided lectern of the type used to hold cochahuaya instrument in terms of a called. Additional information supplied inally built in the 1550s and ’60s as part large choir books. Perhaps it also includ- single date or a style that relates exclu- by the authors appears in brackets. (See of an extensive network of Dominican ed choir stalls, and perhaps, as in nearby sively to one period or another. And if Stoplist 1 on page 25.) complexes intended to promote evange- Yanhuitlán, there was an indigenous we are to make real use of what we The disposition exhibits a Mexican lization in Oaxaca. The present structure choir that sang polyphony.5 know about its present state we need to penchant for keeping pitches low. In the conforms to the original dimensions of It must also be noted that Oaxaca know as much as we can about which left hand, pitches do not rise above the 11 by 45 meters. (The ratio of 1:4 is suffered a major earthquake in 1714. parts of that state date from when, and twenty-second (here a 1/2v), and even reflected in the interior, the roughly Perhaps there was damage to the Tla- what has happened to them over time. that register breaks back an octave in the square crossing at the front, to which a cochahuaya church that needed repair. We might remind ourselves that as tenor. In the right hand, there are no 1 shallow sanctuary is attached, and the A nearly simultaneous major rebuild- far as the present state of the organ is pitches above the twelfth (here a 1 ⁄3v), equivalent baptistry/gallery area at the ing project, completed in 1733, was concerned, we are not dealing with a and, once again, the register breaks back back being separated by a nave of rough- carried out at the largely destroyed “restoration” in the conservation world’s an octave. The absence of higher pitches ly double their length.) The church’s Oaxaca cathedral6 and might have currently accepted use of the term. In may be due to the fact that the chest, cruciform shape is original. The present acted as an impetus towards renova- fact, there is presently no organ in Mex- and hence the phonic conception, was church walls are also almost certainly tions in Tlacochahuaya. ico that can be considered to be originally that of a 4v organ. The dou- original3 but at least up to the 1660s they The overall layout of the Dominican “restored,” if restoration means that blings of the Flautado and Octava in the were spanned by wooden beams and a complex in Tlacochahuaya is also worth after a thorough and thoroughly docu- right hand conform with a Spanish prac- wooden roof. There are no external but- mentioning here, since it tells us much mented historical study a conscious plan tice (as, for instance, described by Pablo tresses, which might be expected had about the friars’ daily routine, including has been carried out to return a given Nassarre11) of strengthening pitches vaulting originally been contemplated. musical practices. In a departure from organ either to its original state or to a depending upon the acoustics of the Nevertheless, sometime between ca. the usual custom of placing the convent designated moment in its history, con- church building. The lack of compound 1660 and 1803 San Jerónimo was given on either the south or north side of the serving all old material, replacing stops has been discussed elsewhere.12 its present brick vaults. Over apse, cross- church, the convent in Tlacochahuaya is irrecoverably damaged or missing old The largest pipe of the Bardón is ing and choir, they are domical, con- for unknown reasons located to the east, work with the best possible working marked with the date 1735. This is prac- structed of diminishing rings: the barrel behind the apse. As a result, it was not reproductions of it, taking care to make tically the only concrete piece of evi-
24 THE DIAPASON Stoplist 1 Stoplist 2
Bardón [Tapado 8v] Bardón [Tapado 8v] Tapadillo 4v Tapadillo 4v Flautado de 6 [4v, in façade] Flautado de 6 [4v] Flautado 4v Flautado 4v Flautado IIa [4v] Flautado 4v Octava [2v] Octava Ia [2v] Octava 2v Octava 2v Octava IIa [2v] Octava 2v 1 2 1 2 Docena [1 ⁄3v, breaking to 2 ⁄3v on c2] Docena 1 ⁄3v, breaking to 2 ⁄3v on c2 Quincena [1v] Quincena 1v 2 2 Diez y novena [ ⁄3v] Decinovena ⁄3v 1 1 Veinta y docena [ ⁄2v, breaking to 1v on c] Veintidocena ⁄2v, breaking to 1v on c Bajoncillo [4v, interior] Tr. en Batalla [Clarín 8', in façade] Tambor Pájaros Pajaritos notion that they were added to the constructing several similar instruments San Pedro Mártir Yucuxaco (1740), both organ also implies some serious work to at one time. Thus, even if the Tla- in the state of Oaxaca. In addition, the the windchest. Indeed, an ingenious cochahuaya organ had an earlier version, disposition of the organ in San Pedro construction in Tlacochahuaya does it would seem to have been originally Quiatoni (1729) is identical to that of allow the grooveboard for the Clarín to built only a few years before its rebuild- Tlacochahuaya, except for the reeds.14 pass in front of and under that of the ing in 1735. This is possible, though such Indeed, Quiatoni’s Tapado also started Flautado. But this means that if the a thoroughgoing revision of a nearly new out at 4v pitch and was changed at some organ had a previous incarnation with- instrument would have required unusu- unknown time to 8v pitch. We shall out the Clarín, accommodating the new al circumstances. return to the implications of these and stop meant not only making a new toe- But there are other possibilities. Per- other similarities among these organs. board and slider, and drilling out the haps the Tlacochahuaya organ was Nonetheless, the notion that the 1735 table, but the grooveboard of the façade rethought as it was being built, employ- date marks a modification to a pre-exist- Flautado also would have had to be ing roughed-out components that were ing table organ, rather than the date of rebuilt. Accommodating the Bajoncillo semi-mass-produced and kept ready to the organ’s original conception, raises would have been a little easier since finish in the shop. Or, maybe the organ some difficult questions. As we have there could easily have been empty was ordered “like that in San Pedro noted, there are miters on the sides of space beside the treble pipes of the Quiatoni, but with a Clarín in the façade the case, which indicate that extensions Flautado, but the table still would have and a Bajoncillo.” In either case, we of the sliders once passed through them had to be drilled and a slider made. could suppose that the builder made and served as the stop action. While old From the point of view of organ con- some clever adaptations using a stock table organs were often so arranged, this struction, then, to achieve the present model of a 4v windchest already on neither demonstrates that the original version of the Tlacochahuaya organ from hand, and the organ was delivered as a construction was much before 1735 (the the hypothetical earlier one, whether new organ that already had its 8v foun- organ in San Dionisio Ocotepec, Oaxaca, table- or floor-standing, would have dation and reeds. And perhaps the of 1721 was built with such extensions) required some very elaborate rebuild- organbuilder fitted the new organ into nor that at one time it sat on a table (the ing. But other factors also speak against an already framed-up case that had to Ocotepec organ’s case extends to the an earlier version of the organ. The sim- be raised to accommodate the façade The organ of San Jerónimo Tla- floor). An examination of the Tla- ilarities among the Oaxacan instruments Clarín, which might account for the cochahuaya (Oaxaca) (Photograph, cochahuaya case also shows that the con- we have mentioned extend to the design inserted boards that have the slider Edward Pepe) figuration of miters constitutes an adap- of their upper cases, suggesting that they miters, as well as for the double row of tation of the case, since they are cut not were all built in the same shop, or at ornamental cartouches above the key- dence we have about the organ’s into the case itself, but into boards that least belonged to a “school” of organ- board (unusual for an organ this size). chronology; but even so, we cannot real- were themselves inserted into the case. building practices. It is quite possible In the end, all we can say is that there ly be sure of what it tells us. It is often When this was done is also unclear. that the organs are all variations on a are several plausible scenarios here, and assumed that the Tlacochahuaya organ The type of key action in the Tla- basic “model” that was produced in at present we lack sufficient evidence to predates 1735, and that the 8v Bardón cochahuaya organ is also relevant to our quantity: indeed, various parts of the make a firm choice among them. and the reed stops constitute a 1735 thinking both about the date and the Quiatoni organ are labeled “San Pedro,” It is worth pointing out that the Tla- modification to an earlier, more com- type of the hypothesized original which could suggest that the builder was cochahuaya organ is the only one of the pact version of the organ that perhaps organ—that is, whether it was built as a sat on a table. If we start from this table organ or as a freestanding positive. assumption, we will immediately note We are dealing with two possible TENTH ANNUAL that the pipe of the Bardón rank stand- actions here: on the one hand, the actu- ing on tenor c is marked with a cru- al key action, which is a suspended Albert Schweitzer Organ Festival/USA sader’s cross—with which Mexican action without a rollerboard (no table builders often signified the first pipe of a organ with a rollerboard is currently cat- North American Competition rank—and we will say that the register alogued in Mexico); and on the other was originally a 4v rank and that 1735 hand, a pin action.15 Essentially, a pin Panel of Judges marks a moment of major change in the action allows the keyboard to be placed High School Division organ’s nature, in which its fundamental above the pallets, more or less at the pitch dropped by an octave. It would fol- level of the sliders, so it can be seen as a low that the grooved toeboard upon height-saving measure. Table organs FIRST PRIZE: $2,000 which the bass octave of Bardón pipes with pin actions would seem to be par- Provided by Ahlborn - Galanti Organs now rests, which extends out beyond the ticularly suitable to Oaxaca, then, in two Other prizes also awarded edge of the windchest, was made new at regards: first because frequent earth- the time of the renovation. It is usually quakes required that churches be built assumed that the reed stops were added relatively low to the ground; and sec- College/Young Professional* at the same time, and while this certain- ond, because in Oaxaca’s villages ly makes sense, there exists no external resources were limited, so churches and evidence in support of this idea; nor their organs were often small. FIRST PRIZE: $3,500 Paul Jacobs need we assume that both reeds were What are the odds, then, of the Tla- Provided in part by J.H. & C.S. installed at the same time. We can say, cochahuaya organ’s originally having had Odell Organ Builders however, that at the time(s) the Bajon- a pin action? Among the eleven existing This includes an appearance on cillo and Clarín were added, the present table organs in the state of Tlaxcala, six stop action was not in place and the have rollerboard-less, suspended actions our 2007-2008 Concert Series Diane stops were still worked by extensions of like Tlacochahuaya’s, and five have pin Other prizes also awarded 16 Meredith the sliders at the sides of the case, for actions. In Oaxaca, however, the pin *Through age 26 there are slots for all the present sliders, action definitely dominates: only one Belcher including the reeds, plus one on the left, (Santa María Peñoles) of the fourteen presumably for a now-removed Tambor known table organs certainly had an (Drum), and one on the right which still action like Tlacochahuaya’s. On the other AUDITION TAPES/CDS: holds the slider that controls the Pájaros hand, there are no known floor-standing Due on June 1, 2007 (Birdsong). The Bajoncillo stands at the organs with pin actions in Oaxaca, or any- front of the chest, in the place the where else in Mexico (supporting the façade Flautado basses would have idea that pin actions were meant to save THE COMPETITION: occupied had they been side by side height). Given that the conversion of a 13 September 7-9, 2007 with their treble equivalents. pin action to a suspended action would Frederick The surviving old pipework (which have required an extensive and compli- constitutes about half the number of cated reworking of the fundamental For Information & Hohman flue pipes in the organ) is homogenous, structure of the organ, it would seem Application: and, since it coincides with the chest’s likely that the Tlacochahuaya organ toehole spacing, there is no real reason today contains the type of key action with PAST JUDGES: Colin Andrews, to assume that it is anything but original, which it was first built, and that the odds First Church of Christ Diane Meredith Belcher, Benjamin or at least contemporary with the wind- therefore do not favor its having been 250 Main Street chest. The disposition previous to the first built as a table organ. Here, the floor Doby, Paul Fejko, Janette Fishell, hypothesized c. 1735 intervention, then, of the original choir loft being lower Wethersfield, CT 06109 Frederick Hohman, Marilyn Mason, would be assumed to have been as means that, in spite of there having been www.firstchurch.org/asof Katharine Pardee, Cherry Rhodes, shown in Stoplist 2. a lower choir ceiling before the 1730s 860.529.1575 Ex. 209 Minus the Tapadillo, this coincides renovation, a floor organ could still have Catherine Rodland, John Rose, exactly with the dispositions of the table fit in the space. [email protected] John Walker and John Weaver organs at San Andrés Zautla (1726) and If we turn to the two reed stops, the
JANUARY, 2007 25 Scale chart 1
Scale chart 2
The organ of San Pedro Mártir Yucuxaco. The organ is datable to 1740 from an slide had begun, fueled by political and inals averaged around 1/4 in the bass, inscription on the largest façade pipe. 88 percent of the organ’s pipes, windchest, ecclesiastical conflicts, lack of funds, increasing to 2/5 in the treble. The sim- key and register action, as well as a beautifully crafted keyboard, survive. The bel- shifts in spending priorities towards ilarities are apparent in the following lows have disappeared. (Photograph, Edward Pepe) more secular projects, and social insta- table, which compares the diameters of bility; and the coup de grâce was deliv- the 4v façade ranks at Tlacochahuaya, above-mentioned group of organs to case painting. ered in the form of the 1910–1920 rev- Quiatoni, and Zautla, to which, for have a basic but complete Iberian-style Having been fitted into a pre-existing olution, during which many organs, interest’s sake, we have added the reed ensemble. The placement of a Baj- case, the stop action occupies insuffi- reportedly including that of Tla- Yucuxaco organ’s 4v façade rank.22 The oncillo inside the case is likewise unusu- cient space and its parts are too small to cochahuaya, having become increasing- Yucuxaco organ is about two pipes nar- al (the more common interior reed in develop leverage enough to move the ly decrepit from lack of maintenance, rower than the other three, though its Oaxaca—either just in the bass, or in sliders easily. To compound the prob- were rendered unplayable by occupying scales follow a similar pattern; again, we both bass and treble—is a Trompeta lem, the connections between the traces armies and subsequent vandalism.18 wonder if all of these organs could be by Real, invariably at 8v pitch). We do not and the (too short) levers on the rollers Changes in liturgical practice since Vat- the same builder.23 (See Scale chart 1.) know enough about Mexican organ are secured simply by loose-fitting nails. ican II (1962–65) have established There is every indication that at least music from the period to say whether All of this results in so much resistance tastes unsympathetic to the revival of in terms of its grosser measurements, this was due to budgetary or esthetic and slack in the system that changing older forms of ecclesiastical music, and the Tlacochahuaya pipework reflects considerations. The first documented the position of a stopknob in no way today in the overwhelming majority of early practice and that pipes were not occurrence of façade trumpets in Mexi- guarantees that the corresponding slid- Mexican churches the organs, whether substituted after “classical” (i.e., derived co seems to be the Jorge de Sesma er will have budged. Everything about functional or not, are regarded as mere from Iberian baroque practice) organ organ that was built in 1689 in Madrid the stop action suggests improvised curiosities—where they are recognized building ceased to be practiced in Oaxa- for the cathedral of Mexico City. Façade workmanship, which is inconsistent with as organs at all. ca around 1900. Furthermore, the prin- trumpets, then of relatively recent the rest of the organ, as well as with sur- cipal chorus stands substantially as it invention, might have taken some time viving eighteenth- and nineteenth-cen- 4. The Organ: Renovation was designed, and the proportional to reach a place like Tlacochahuaya, in tury stop actions in other Oaxacan Such was the state of the Tla- strength among its ranks probably does which case the right-hand reed stop organs.17 It would seem reasonable to cochahuaya organ until 1990–91, when not deviate far from the classic-period would date at the earliest from shortly assume that the stop action is a relative- the organ was disassembled, cleaned, organbuilders’ intentions. before 1735; but, if we assume the ly recent, cosmetic addition and that it and thoroughly rebuilt. The project was Not enough study of Oaxacan reed organ was reconstructed from a com- may well represent the last major alter- under the direction of the North Amer- stops has yet been made to determine plete, reedless original, either or both ation the organ endured before the ican organ builder, Susan Tattershall. whether the present duckbill shallots reeds could have been added at any Mexican Revolution of 1910. The nails, The Mexican builders José Luís Falcón and tongues (in both stops) reflect local point between 1735 and the installation which are inclined to fall out at inoppor- and Joaquín Wesslowski collaborated. 18th-century practice. Their similarity of the existing stop action, as well. tune moments, could be later still. We need only focus on two aspects of to Spanish and Mexican reeds of the Whenever they were installed (in an With Mexico’s war for independence this work as Tattershall has published a time, however, suggests that they do. adaptation of an existing almost-new from Spain (1810–1821), political fuller account of it.19 We need to think, Admittedly, neither of the reed stops at organ, as original to an organ built in events began to exercise significant however, about what happened to the Tlacochahuaya works very well; the 1735, or as a modification to the organ influence on the history of the organ in pipework and the bellows. quality is uneven and the pipes speak far after 1735), the reeds would have Mexico. Since independence, Mexican Luckily, about half of the pipework in more slowly than do 18th-century Span- marked a dramatic change in the sound politics have been characterized by fre- Tlacochahuaya is old (in the Tapado, for ish and Portuguese examples. Indeed, of the music, and the impulse that quent periods of instability punctuated instance, 20 of the 45 pipes are new, and they speak so slowly and irregularly that caused them to be included represents a by civil wars, not to mention political all but one of these is in the treble). The playing the kind of fast passages and change in the local musical esthetic— and military incursions from Europe extant pipes were repaired and the repeated notes called for in Iberian the dating of which carries large impli- and the United States. Such an environ- ranks were completed with new work by Tientos de clarínes, Tientos de batalla, cations for our understanding of the his- ment was hardly conducive to the cul- Joaquín Wesslowski.20 The new etc., is virtually impossible. tory of this organ and the way music of ture of the organ, for which the most pipework in Tlacochahuaya was finely As we have noted, the stopped 8v rank a given period was played on it. important single political event of the made to replicate the old, which has not was rebuilt from a 4v one; both of the As we have mentioned, the slots in period is probably the suppression of always been the case with modern-day two lowest octaves are numbered as if the sides of the case suggest that the religious orders and the nationalization interventions in Oaxaca’s organs. The they were the first octave, so presum- present stop action postdates the reed of ecclesiastical property that began in Oaxacan habit of numbering all pipes ably the lowest octave was added to a stops; and we have demonstrated that 1859. For the organ in general, this from 1 to 45 facilitated the relocation of pre-existing stop—which just possibly there existed in Oaxaca freestanding meant less funding for new building as pipes that had been moved. Notwith- could have come from another organ, or organs with a lower case that used the relationship between church and standing that pipes are sometimes from an existing supply of pipes in the extensions of the sliders protruding state as well as the ownership of church reused (and lengthened or shortened) builder’s shop. (An extension was built through the case as the register action. properties remained unresolved and can carry several numbers, and that on the topboard to hold the lowest eight In fact, if, as is often assumed, the organ through the third quarter of the nine- the presence of breaking registers can pipes.) It conforms in mouth shape, case was painted at the time the church teenth century as chaotic governments complicate the reconstruction of an scale, etc., with other similar eigh- was vaulted, then we have additional quickly succeeded one another. While organ’s disposition, similar organs in the teenth-century Mexican stops. The evidence that the stop action came later, organs of first-rate workmanship were area confirm Tattershall’s conclusions in diameters of the C-pipes are compared for the scribe marks for the stop action’s sometimes built and older instruments this regard. with those of the similar stop at San miters are still visible—on top of the were repaired after 1859, an irreversible Naturally the question arises as to Pedro Quiatoni in the following table. what alterations the pipework may have (See Scale chart 2.) endured over the years. The organs at Tattershall describes making what San Andrés Zautla and San Pedro Quia- was essentially a newly built bellows to toni provide a useful comparison, for replace the pre-1990 winding system, both organs are practically complete which, unless something happened after (the Quiatoni organ is unplayable), Fesperman and Kelemen photographed including almost all their pipework, and the organ, must have been intact, the Quiatoni organ gives every evidence although not functional, at the time of of being largely in its original (1729) her work; and she suggests that this state.21 As we have noted, both are in older winding system had in turn many ways similar to the Tlacochahuaya replaced one that had been behind the instrument. In all three organs all the organ. This of course assumes an alto- principal ranks are of almost the same gether different earlier location for the 1184 Woodland St. SW, Hartville, Ohio 44632 scale and have mouths 1/4 of their cir- organ, the bellows of which then would 330-966-2499 www.keggorgan.com cumference. Cutups vary and some in have been rebuilt when the organ was the Tlacochahuaya organ show signs of given its present location at the side of adjustment, but it is safe to say the orig- the gallery. She bases the theory that
26 THE DIAPASON differences, both in the way the organ sounded and in the way it had to be played. (The impetus for providing an 8v foundation might have had to do with a decline in the use of traditional counter- point and the introduction of the new- for-Oaxaca Italian basso continuo style.) In addition, we know the wind system was altered in 1990, though we cannot judge its effect; and we doubt that the reeds always sounded the way they do Bellows of the organ of San Pedro today. We have no way of knowing Quiatoni. A large cowhide has been when and how the pipes’ footholes may fastened to a set of rectangular frames. have been adjusted; we have some evi- It is unclear whether the bellows are dence of altered cutups; and we have no original to the organ, or are replace- idea what was thought to be the right ment bellows constructed in an old The paired vertical grooveboards manner. (Photograph, Edward Pepe) (tablones) that supply air to the Tla- wind pressure for the organ at any point cochahuaya façade Flautado pipes and previous to 1990. In short, we must to the Clarín. The construction is admit that while the organ’s sound is the bellows was once behind the organ shown upside down with one of the generally beautiful, integrated, authori- on the claim that the old right-hand toeboards on top. (Photograph, Edward tative, and convincing (the reed stops Photograph of the Tlacochahuaya Pepe) stops, which protruded through the side organ probably taken by Scott Odell excepted), it is a sound determined by of the case, could not be reached had ca. 1977, before the intervention. The the esthetic of our own times and our the bellows been at the side; but this is organ’s old, solid-wood back can be gallery, in which there almost cer- acceptance of it is a result of our own 31 not true, for experimentation demon- seen at the rear. (Photograph courtesy of the tainly stood an organ esthetic standards, not those of 1735 strates that the miters on the right of the American Organ Archives of the Organ Histori- Between 1660–1803 (1730s?): brick or any other point in the organ’s past; case are perfectly accessible to anyone cal Society, Princeton, New Jersey) vaults added for this is all that is possible given the standing at the organist’s right (the 1714: major earthquake fragmentary state of the evidence about Pájaro stop is still worked this way). least one performer has experimented 1720s and ’30s: several organs similar the organ’s past that we have. There is really no evidence to suggest with installing temporary backs, and to Tlacochahuaya’s built for nearby And so it is with all of the playable old that the bellows was ever behind the whether the back of the case is open or churches organs in Mexico—as well, we might organ. Most importantly, Tattershall closed makes a discernible difference in 1735 or before: organ perhaps built as add, as with a great many of the playable believes the pre-1990 bellows to have the organ’s sound. The age of the panel 4v instrument with no reeds? old organs in the world. When we look been of 19th-century construction and in the Fesperman photograph is of 1735: either an existing organ was closely at the history of these instru- she did not preserve it. She describes it course indeterminable. rebuilt, or a new organ was con- ments we most often find a long and as “a set of internal frames, onto which The organ’s keyboard is evidently not structed, adapting an existing chest imperfectly documented history of an enormous hand-sewn bag of cowskin original. The keys are stamped with to accommodate two façade reeds; interventions and alterations, whose had been tacked with upholstery numbers in the manner of a pre-fabri- 4v stopped converted to 8v stopped; exact natures tend to become less clear nails. . . . When open, it looked like an cated keyboard of the 19th century. case presumably painted the more carefully we examine them, enormous smithy’s bellows, though rec- That it was not built specifically for Tla- 1735 or later: reed stops possibly and all we can finally say with certainty tangular . . . A tell-tale strip of white cochahuaya is made completely clear by added, perhaps at different dates is that when most of these interventions fuzz and old glue around the rim of the its numbering: the lowest key begins 1737: church renovation completed, were newly finished the organs probably bellows covers made it clear that the with the number 5. The keys for C, C- which included the west façade, conformed, for the moment, to the cowhide arrangement was a later cre- sharp, D and E-flat were discarded in new towers, and new access to the esthetic standards and musical needs of ation . . .”24 But later than when? For, as adapting it to the short-octave chest. raised and expanded gallery their day. But, these things being in nobody knew in 1990, this is neither a Accordingly, the highest key is num- Probably after 1800: drawstops added constant flux and organs being compli- smithy bellows nor a 19th-century type bered 49. The octave span, 165mm, is After 1850: keyboard replaced cated machines that often require more of organ bellows, but a kind of organ characteristic of late 19th-century After 1859: conflicts between church maintenance than they get, the “ideal” bellows that was in use at least from the pianos and harmoniums.30 and state render many church or “original” state of an organ becomes a early 16th century (a Spanish example The present sound of the organ’s properties derelict shifting and amorphous thing about of which was recently documented by principal chorus is generally admired as 1867: work of unknown scope done which we pontificate at our peril. This Gerard A. C. de Graaf in a little organ being rich, dramatic, and full of charac- on organ means that the reconstruction or from the 1520s in Salamanca Cathe- ter; it is as exciting to listen to as to play. 1890: work of unknown scope done restoration of an old organ is not to be dral’s Capilla Dorada).25 It is not impos- At the same time it is undeniably on the on organ undertaken lightly, for if it is to do more sible that the old Tlacochahuaya bellows aggressive side—quite unlike the prin- Between 1890–1990: organ becomes than add another layer of changes to an was revised in the 19th century, but cipal choruses of any other old Mexican unplayable, about 50% of pipework already much-altered instrument, both nevertheless it represented a type of or Iberian organ known to the authors; disappears the research and the funding for the Iberian bellows with a long history and and given its history, it cannot be said 1990–91: Tattershall intervention: project will have to be extensive. it could have been made at any time with any certainty whether it now organ dismantled, cleaned and If there is a moral to this story, it during the organ’s existence—or earlier, resembles the sound it had either at its repaired, new bellows made, blow- probably has to do with the irresoluble given that it could have been brought construction, in 1735, or at any date er added, missing pipes replaced in conflict between, on the one hand, our from another location during a revision between 1735 and the time it fell silent conformity with surviving old work fully understandable and respectable in the Tlacochahuaya organ. As only its in the 20th century. It may, of course; desire to have playing instruments and weights are preserved, we are unlikely but then again, it may not. The tonal So what we find is hardly surprising, beautiful music in the sublime settings ever to resolve the questions about the esthetic certainly appears to have little yet easily lost sight of: that while there places like Mexican baroque churches old bellows’ date and provenance, to do with the character of the Lleno of are enormous gaps in our information afford, and, on the other hand, our which are raised by de Graaf’s descrip- the de Sesma organ built for the Cathe- about the Tlacochahuaya organ, we can sense of historical responsibility to our tion of the Capilla Dorada organ. Bel- dral of Mexico City in 1695, which con- be certain that there have been changes musical past, which demands of us the lows of the Capilla Dorada type survive temporary descriptions call “delicate,” made over its long history. Further- utmost in scholarship and restraint in other locations in Oaxaca,26 however, or with old descriptions of the sounds of more, some of the changes we know before we think of altering irreplaceable and study of them could help to clarify the Nassarre organ built there in about significantly altered the organ’s surviving artifacts—the nature of which the issue. 1734–36. But Tlacochahuaya is not overall sound. Whether or not it was we may well understand less perfectly This in turn opens the question of the Mexico City. In the absence of any his- carried through to completion, the chest than we believe. The decision of organ’s earlier windpressure(s). Today toric description of organ sounds in was apparently first designed for a reed- whether to rebuild, restore, repair, the organ speaks on 84mm, achieved by Oaxaca, we simply have no way to form less 4v organ with a stopped unison rank alter, replace, copy, throw out, or simply two 1990 wedge bellows weighted by an opinion here. that could have been considered part of leave intact under a hopefully protective the old but undatable weights.27 Some The dates 1867 and 1890 are to be the plenum. Its suppression in favor of coat of dust (which may not prove people have suggested this may be too found in the organ and seem to refer to the existing 8v stopped register and the impermeable to the ravages of weather, high, and the organ at San Andrés Zaut- repairs or changes. It would be logical to provision of reeds obviously made large wood-boring insects, nesting animals, la, whose principal pipes are virtually suppose that the stop action was added identical to those at Tlacochahuaya, and at one of these times, but we have no which was rebuilt by Tattershall in 1998 idea what else might have been done— with newly made wedge bellows, speaks for example, in a century of fast-chang- Built in the 21st Century on only 73mm.28 But the matter of Tla- ing tastes and social upheavals, attempts cochahuaya’s wind pressure remains to make the organ louder or softer by Installations in the United States speculative, for if it were lower than manipulating the pipes or the bellows United Congregational Church - Little Compton, Rhode Island 2001 84mm the reed pipes would behave weights could easily have altered its Church of the Epiphany - Miami, Florida 2002 even less satisfactorily than at present; character significantly. The poorly func- United Lutheran Church, Mt. Lebanon - Pittsburgh, Pennsylvania 2002 so all we can say about the pre-1990 tioning reed stops fall under particular Cathedral of the Immaculate Conception - Kansas City, Missouri 2003 winding system is that it was of the suspicion here. And lastly, we have one Brigham Young University - Rexburg, Idaho - fourth division addition 2004 Capilla Dorada type, its provenance is bit of anecdotal evidence about the Phillips Church, Phillips Exeter Academy - Exeter, New Hampshire 2004 undeterminable, and it may have organ’s sound: among the local people First Presbyterian Church - Naples, Florida 2004 endured several revisions over at least the organ has a longstanding reputation Immanuel Baptist Church - Little Rock, Arkansas 2005 the past 280 years. for being audible a long way from the Friendship Missionary Baptist Church - Charlotte, North Carolina 2006 Another factor influencing the church. Whether this implies a loud ~ Coming Soon ~ organ’s sound is that the case presently organ or quiet rural surroundings is any- Johns Creek Baptist Church - Alpharetta, Georgia • Wesley Chapel - Elkton, Maryland has no back, and in 1990–91 the organ one’s guess. Visit www.ruffatti.com for specifications was voiced on the assumption that this was the way it had always been. Howev- 5. Summary and Conclusions er, most old organ cases in Oaxaca have At this point it will be helpful to con- backs, and a pre-restoration photograph dense the facts we have discussed into a Distinguished pipe organ builders of Padua, Italy of the organ by John Fesperman’s chronological table: Smithsonian Institution team29 shows a Via Facciolati, 166 • 35126 Padua, Italy panel, unfastened at the top, leaning 1550s: Dominican convent estab- Telephone 39-049-750-666 • Fax 39-049-850-483 • In the United States: 330-867-4370 against the wall behind the organ. At lished and church built with
JANUARY, 2007 27 The pre-intervention bellows of the Tlacochahuaya organ are shown in this pho- tograph taken by John Fesperman’s Smithsonian team ca. 1977. (Photograph cour- tesy of the American Organ Archives of the Organ Historical Society, Princeton, New Jersey)
trop, The Organs of Mexico City Cathedral (Wash- and Mexico,” ISO Journal, forthcoming. ington, D.C.: Smithsonian Institution Press, 1986). 26. In Santiago Ixtaltepec, and San Pedro Quia- 11. Pablo Nassarre, Escuela música según la prác- toni, for example. tica moderna, vol. 1 (Saragossa: Herederos de Diego 27. Tattershall, op. cit., 116. de Larumbe, 1724), p. 483: “Siendo el Templo cre- 28. According to information supplied by Tatter- The organ of San Andrés Zautla. Intervention in 1997 by Susan Tattershall. Most cido, será muy conveniente que tenga doble los reg- shall for the information book for the Second Inter- pipes, as well as the windchest and register action, are original. New keyboard istros de octava, y quincena, por el mucho cuerpo, national Congress of the Instituto de Organos and bellows. (Photograph, Edward Pepe) que siendo así da a todas las vozes” (“The church Históricos de Oaxaca, “Normas para la Restauración being large, it will be very good that the octave and de Organos Históricos en México: Interpretación e Notes fifteenth be doubled for the body which this gives to Implementacíón,” 22–24 November 2002. and curious tourists) is one that requires 1. As of the present moment, researchers have all of the voices”). 29. A large quantity of photographs of Mexican the most careful thought, from as many documented several hundred old organs in Mexico, 12. Edward Pepe, “Another Look at Oaxaca’s organs were taken by the Fesperman team (proba- viewpoints and with input from as many the vast majority of which are in poor condition. The Organs,” The Organ Yearbook: 33 (2004), pp. 95–97. bly by Scott Odell). They are now housed in the knowledgeable people as possible. This number of still undocumented organs is probably 13. Typically for Oaxaca, the façade pipes, which American Organ Archives of the Organ Historical larger still. belong to the bass half of the Flautado, are fed by a Society at Westminster Choir College in Princeton, becomes of especial concern as we con- 2. Available recordings include: Órgano barroco vertical grooveboard (tablón), which of necessity New Jersey. tinue to document the many still-little- de Tlacochahuaya, José Suárez (FONCA, 1998), extends in front of the treble portion of the chest in 30. The corresponding measurement on the known old organs of Central and South and Orgue historique de Tlacochahuaya, order to spread the air across the entire façade of the beautiful and apparently original keyboard in Yucu- Dominique Ferran (Association Française d’Action organ. The treble pipes of the Flautado must be xaco is 152mm. America, for one thing about which we Artistique, 1994, K617 in the series Les Chemins du accommodated behind this grooveboard. 31. Which we must admit are inclined toward can be reasonably certain is that among Baroque). 14. In the instrument in Quiatoni, a reed also admiration of the loud, whether it be heavy metal them we shall find instruments of great 3. Carvings on some of the exterior masonry occupies the front of the bass side of the chest. This bands amplified by refrigerator-sized loudspeakers rarity, exceptional age, and extraordinary demonstrate that the church’s builders recycled reed, however, is unusual, consisting only of 13 or the stentorian brass section of the Chicago Sym- stones that were originally cut for buildings erected notes, and was probably added in the 1873 interven- phony Orchestra. potential beauty. The temptation to hear before the Spanish arrived in Oaxaca. tion by Pedro Nibra recorded on the bungboard. what they might sound like can be over- 4. This history is taken from Robert J. Mullen, 15. The typical Mexican pin action, a form of whelming, and an incompletely The Architecture and Sculpture of Oaxaca, sticker action, introduces a set of levers beneath the References researched, inadequately-funded “res- 1530s–1980s (Tempe: Arizona State University, keys, hinged at their fronts and splayed out at their Archivo General de la Nación, Ramo Indios, 1995), pp. 21–37. backs, which carry the downward motion of the keys Vol. 27, Exp. 228. toration” fueled more by enthusiasm 5. In Yanhuitlán, the presence of Indian singers to down-striking pins (stickers) that go through and instrumentalists is well documented (e.g., holes in the top of the pallet box to depress the pal- William O. Autry, Private communication to than knowledge can easily result. Yet the authors, February 2006. once a project has been carried out on Archivo General de la Nación, Ramo Indios, Vol. 27, lets, thus enabling the pallet box to be installed Exp. 228, f. 128v). Although there was also a second below the keyboard. There is a tradeoff: vertical Mark Brill, “Stylistic Evolution in the Oaxaca an organ, the instrument is changed, it is organ on the ground level of the church (Francisco space is saved at the expense of mechanical advan- Cathedral: 1600–1800.” Ph.D. dissertation, not likely to be changed again any time de Burgoa, Geográfica descripción [orig. published tage; the levers tend to make a pin action relatively University of California Davis, 1998. soon, and eventually undoing the 1670, modern edition Mexico City: Editorial Porrua, resistant and insensitive to nuances of touch. Francisco de Burgoa, Geográfica descripción S.A., 1989], Vol. 1, p. 296) , a stairwell was also pro- 16. See Josué Gastellou and Gustavo Mauleón, (originally published 1670, modern edition change, should further reflection find it vided in Yanhuitlán from the floor of the nave to the Catálogo de órganos tubulares históricos en el Esta- desirable, will probably be more difficult second floor of the convent, indicating that the do de Tlaxcala (Puebla: Universidad Iberoamericana Mexico City: Editorial Porrúa, S.A., 1989). than was changing it in the first place. indigenous choirs performed from the choir loft. Golfo Centro, 1999). G.A.C. DeGraff, “Das Positiv in der Capilla Surely these kinds of considerations, Musical practices in New Spanish mendicant com- 17. A relatively late example of solid workman- Dorada von Salamanca,” ISO Journal No. plexes, and the relationship of these to the architec- ship is to be found in the now unusable organ of San 17, July 2003, 51–55. which are implicit in every organ project ture of their complexes, have yet to be studied ade- Matías Jalatlaco, 1866. John Fesperman, Organs in Mexico (Raleigh: in any part of the world, deserve our quately. 18. The often-told story of the organ pipes having The Sunbury Press, 1980). utmost conscious attention. I 6. Virgina García Acosta and Gerardo Suárez been melted for bullets probably does not hold up in Dirk Flentrop, The Organs of Mexico City Reynoso, Los sismos en la historia de México, Vol. I, Tlacochahuaya’s case as almost all of the pipes that (Mexico City: Universidad Nacional Autónoma de were missing in 1990 were small ones, suggesting Cathedral (Washington, D.C.: Smithsonian A graduate of Yale University, Edward México, 1996), pp. 110–15. souvenir- or toy-hunting rather than a systematic Institution Press, 1986). Pepe holds master’s degrees in organ perfor- 7. Although the mendicant orders were not raid for metal. Virgina García Acosta and Gerardo Suárez mance (New England Conservatory of Music) cloistered in New Spain, and therefore did not need 19. S. Tattershall, “Oaxaca’s Amazing Organ Cul- Reynoso, Los sismos en la historia de Méx- and photography (University of Massachu- to segregate themselves, this entrance was neverthe- ture” in Litterae Organi: Essays in Honor of Bar- ico Vol. I (Mexico City: Universidad setts). He spent two years studying historic less still very practical. bara Owen (Richmond: OHS Press, 2005), 97–121. Nacional Autónoma de México, 1996). performance practice with Harald Vogel at 8. The stairwell in the north tower is presently Pre-1990 photographs of the Tlacochahuaya organ Josué Gastellou and Gustavo Mauleón, Catá- blocked off. are to be found in Pál Kelemen. Baroque and Roco- the Norddeutsche Orgelakademie. He is co- 9. The history of secularization is much more co in Latin America (New York: Macmillan, 1951), logo de órganos tubulares históricos en el founder of both the Westfield Center for Early complicated than that related by Mullen (op. cit., p. Plate 157, and in John Fesperman, Organs in Mexi- Estado de Tlaxcala (Puebla: Universidad Keyboard Studies in the United States of 21) or Peter Gerhard (A Guide to the Historical co (Raleigh: The Sunbury Press, 1980), Figures 36 Iberoamericana Golfo Centro, 1999). North America and the Instituto de Órganos Geography of New Spain, revised edition [Norman and 37. José Antonio Gay, Historia de Oaxaca (Mexi- Históricos de Oaxaca in Mexico. and London: University of Oklahoma Press, 1993], 20. Ibid, 107. co City: Editorial Porrúa, 1998). An organist and independent scholar living, p. 51). Conflicts between the secular and regular 21. At Quiatoni, as at Tlacochahuaya, a 4v stopped Peter Gerhard, A Guide to the Historical working, and performing in Oaxaca, Mexico clergy began early in the 18th century, and the metal rank was replaced or changed to 8v pitch early Geography of New Spain, revised edition agreement reached between them in 1710 did little on in the organ’s history; in addition, the pipes of the since 1999, he has presented talks on restora- to resolve the issue. See Mark Brill, Stylistic Evolu- left-hand twenty-second were cut to make a differ- (Norman and London: University of Okla- tion issues in various parts of that country, tion in the Oaxaca Cathedral: 1600–1800, Ph.D. dis- ent, undetermined register and a very odd reed of homa Press, 1993). and led tours to historic instruments in the sertation, UC Davis, 1998, p. 164. If Tlacochahuaya thirteen notes was at some point added or substitut- Pál Kelemen, Baroque and Rococo in Latin States of Tlaxcala, Queretaro and Guanajuato, was not yet under secular control in 1737, then facil- ed in the bass. Although the history of the organ’s America (New York: Macmillan, 1951). as well as in Mexico City for both Minnesota itating public access to the choir loft and redecorat- bellows is unclear, the organ otherwise appears to be Robert J. Mullen, The Architecture and Public Radio and the Yale Institute of Sacred ing the church must be seen as Dominican attempts original. In Zautla, the pipes had been cut to raise Sculpture of Oaxaca, 1530s–1980s (Tempe: Music. He is the author of numerous articles to consolidate relationships with the residents of the organ’s pitch to A=~415. In addition, the pipes Arizona State University, 1995). Tlacochahuaya. Like their gesture of voluntarily of the original bass short octave were cut to provide on historic organs and viceregal music in Mex- ceding control to the Bishop of seven locations prior a chromatic arrangement from E. The second of Pablo Nassarre, Escuela música según la ico, and is preparing a book on the subject. to 1753 (José Antonio Gay, Historia de Oaxaca these alterations was undone in 1998. práctica moderna, vol. 1 (Saragossa: [Mexico City: Editorial Porrúa, 1998], p.403), 22. The table compares pipes that originally stood Herederos de Diego de Larumbe, 1724). James Wyly is an artist and independent Dominican efforts in Tlacochahuaya were intended over the C’s in all four organs, which originally were Edward Pepe, “Another Look at Oaxaca’s scholar of the organ. A graduate of Amherst to stave off the secularization of all of their Oaxacan pitched about a tone lower than our modern stan- Organs,” The Organ Yearbook: 33 (2004). College, he holds doctoral degrees in music establishments. This strategy ultimately failed. (The dard A = 440. Modern C’s (relating to A = 440) ______, “Some Thoughts on Conservation (University of Missouri) and in clinical psy- authors wish to thank William O. Autry for his could not be used as D pipe measurements (sound- and Restoration in Spain and Mexico,” ISO insights into the complicated issue of the seculariza- ing C if A = 440) were not available for Tla- chology (Illinois School of Professional Psy- tion of mendicant establishments in 18th-century cochahuaya. For easier comparison to other organs, Journal (in preparation). chology). He has published a number of stud- New Spain.) How exactly the Dominicans reorga- the D pipe measurements for Quiatoni are: 80, 43, Second International Congress of the Institu- ies of Spanish organ building practices, which nized musical practices in Tlacochahuaya, and else- 25.5, 15.5. Tlacochahuaya’s and Zautla’s would be to de Organos Históricos de Oaxaca, “Nor- include his doctoral dissertation in music. As where in Oaxaca, during this period would be fasci- almost exactly the same. mas para la Restauración de Organos a musicologist, organist and harpsichordist, nating to know. 23. As we have noted, the now pipeless 1721 Históricos en México: Interpretación e Im- he taught music at the college level from 1964 10. The restoration of the two large 18th-century organ at San Dionisio Ocotepec may also belong to plementacíón” (Oaxaca: Instituto de to 1976 (Elmhurst College and Grinnell Col- organs in the cathedral of Mexico City by Dirk Flen- this group. Organos Históricos de Oaxaca, 2002). trop from 1977–78 certainly came the closest to this 24. Ibid, 104ff. lege), and subsequently practiced psychother- goal. A history of the organs (as it was then known), 25. See G.A.C. DeGraff, “Das Positiv in der Susan Tattershall, “Oaxaca’s Amazing Organ apy in Chicago until 2003. He currently lives a short account of the restoration, photographs, Capilla Dorada von Salamanca,” ISO Journal No. Culture” in Litterae Organi: Essays in in Oaxaca, Mexico. drawings, and, most importantly, pipe scales for 17, July 2003, 51–55, and Edward C. Pepe, “Some Honor of Barbara Owen (Richmond: OHS both organs were published in 1986. See Dirk Flen- Thoughts on Conservation and Restoration in Spain Press, 2005), 97–121.
28 THE DIAPASON Cover feature
Lewtak Pipe Organ Builders, Camillus, New York Holy Trinity Church, Utica, New York The pipe organ at Holy Trinity Church is, without doubt, a real trea- sure—not just for the parish communi- ty of Holy Trinity, but for the greater Utica area as well. It is a splendid instru- ment originally built in 1923 by Clarence E. Morey and his firm, located in Utica, New York. The organ has 29 Façade pipes required special treat- speaking ranks divided among three ment in order to remove old layers of manuals and pedal. Two of the manual paint divisions are enclosed in expression boxes. Interestingly, the original “identi- ty” of this organ has been very well dis- guised. Previous restorers took down the plaque with the builder’s name, and only after opening the windchests did we discover the name of the original maker. The pastor of Holy Trinity Church, Rev. Arthur Hapanowicz, took it upon himself to find some information about the original builder. Since little is known about this builder, it is worth providing a bit of history. Following is the obituary from the Utica newspaper, The Observer-Dispatch, June 22, 1935: Iwona Henschke and Janusz Rutkow- ski showing newly painted façade CLARENCE E. MOREY, ORGAN pipes BUILDER March 31, 1872–June 20 1935 tubing. Many years later, probably in the In addition, we added a completely C. E. MOREY, 63 SUCCUMBS HERE 1950s, the action was electrified. This new appearance to this organ by build- system, even though much better than ing a new façade. The cabinetry is made HAD BEEN MANUFACTURING the original purely pneumatic arrange- of solid white oak. Original pipes were ORGANS HERE SINCE 1893 ment, requires careful maintenance and stripped of the several layers of old paint complete renovation after a certain num- and cut to new dimensions. The dynam- Clarence E. Morey, 63, 1537 Oneida ber of years. Also, as time goes by, every ic configuration of the new design is the Street, organ builder, died in his home Thurs- organ naturally goes through the process original creation of my brother, architect day night after an illness of several months. of aging—dust accumulates, leather Pawel Lewtak. The colors on the new Mr. Morey was born in Little Falls, March 31, 1872. He was educated in the public deteriorates, air conduits start leaking, front of the organ were carefully select- schools and in Fairfield Seminary, and then and many other elements of the inner ed from the two predominant shades of came to Utica. He worked in the office of structure call for some serious attention. the stained glass windows and the Edward D. Mathews, attorney, for a short The organ had been renovated in 1972 entrance doors. time. Next he worked in the office of Crouse by Bryant Parsons & Sons (currently Par- It is with great joy that we present this & Brandagee, clothing manufacturers. sons Organbuilders) of Canandaigua, organ back to Holy Trinity Parish. We New York. The work performed was are confident that the beauty of the King Bought Equipment good, but some 30-plus years later the of Instruments will enhance all liturgical In 1893, with A. L. Barnes he formed the firm of Morey & Barnes and bought the instrument was obviously in need of seri- celebrations and will serve this church equipment of the organ factory of the late ous repairs. community for many years to come. It is John G. Marklove and continued the manu- In the spring of 2006, Holy Trinity truly gratifying to know that there are facture of organs. Three years later Mr. Parish contracted Lewtak Pipe Organ still people who believe in the value of a New façade Morey bought out the interest of his partner Builders of Camillus, New York, to carry real pipe organ. During his rededicatory and continued the business alone. In 1901 he out all necessary work in regards to both message, the church’s music director built a new factory at 305 Niagara Street and the internal technical problems and the and organist, Stephen Zielinski, stated: moved his business there. In 1925 Mr. external new appearance of this aging “There was never a doubt as to what to Morey sold this building and built a new fac- tory at 1024 Champlin Avenue. He has since instrument. A total overhaul was per- do with our aging pipe organ. The elec- continued his business at this location. formed, and a new façade was built over tronic substitute was never an option. During his long career in the business the past six months. The work done was This is because we know that the pipe Mr. Morey had constructed a great many truly all-encompassing: the organ was organ fills our church with beautiful organs and while they are in use in various completely disassembled; all pipes were sound, and the electronic organ would parts of New York and adjoining states, taken out for thorough cleaning and simply fill it with noise . . .” To this, we about a score of them are used in Utica. Mr. repairs of scrolls and stoppers; wind- just say AMEN. Morey had been from its organization in chests were thoroughly repaired, includ- —Tomasz Lewtak 1917 a junior member of the firm of Earl B. Worden & Company, dealers in pianos and ing some releathering; nearly all air con- Organbuilder talking machines. duits were replaced; the entire pipe sup- port was renovated and enhanced. The rededication ceremony and Active in Organizations There was a big problem with the organ recital took place on Sunday, Mr. Morey was a member of Utica Lodge structural support of the Great wind- October 29, 2006 at 5:00 p.m. The per- Old Pedal Flute 8v windchest after 47, F. & A.M Rotary Club, Utica Council, Boy chest, which rested on one of the 16v formance featured Gail Archer, who restoration Scouts of America, Winchell Camp 43, of pipes from the Pedal! We had no choice serves as Chair of the Music Depart- Union Veterans of the Civil War, Oneida His- but to design and build a new support for ment at Barnard College, Columbia Pawel Lewtak—façade design, wood- torical Society, and the Commercial Travelers Mutual Accident Association of America. He this part of the organ. Twelve new pipes University, and Professor of Organ at working attended Westminster Presbyterian Church. for the lowest octave of Bourdon 16v Manhattan School of Music. We are Janusz Rutkowski—general construc- February 10, 1897, Mr. Morey married were added to improve the bass range of most grateful for her gracious accep- tion Miss Jean H. Brockett, who is living. He the Great division. Several ranks of the tance of our invitation. Iwona Henschke—pipe stenciling has two sons, Frank B. of Albany, NY and original pipework were revoiced to make The following craftsmen took part in Gerry DeMoors—electronics and Nathaniel B. of Hamburg, NY. Five grand- them stronger in sound. The electrical the restoration of the organ at Holy electrical components children. system was also carefully checked and Trinity Church in Utica, New York: Rita Ostrom–tuning and voicing assis- repaired, all contacts cleaned, and the Tomasz Lewtak—mechanical design, tance In many ways the organ at Holy Trin- combination action repaired. voicing, woodworking Photo credit: Tomasz Lewtak ity Church is a special and valuable instrument. Many of the pipes have out- standing sonic qualities, rarely found in 1923 C. E. Morey organ other organs. Among stops that deserve special mention is a Double Flute 8v GREAT SWELL CHOIR PEDAL (Concert Flute) on the Great, wooden 16v Bourdon 8v Open Diapason 8v Geigen Principal 16v Double Open Diapason pipes, each pipe having two mouths. It 8v Open Diapason 8v Stopped Diapason 8v Melodia 16v Bourdon was originally voiced with very natural, 8v Viola da Gamba 8v Aeolian 8v Dolce 16v Lieblich Gedact 8v Concert Flute 8v Salicional 8v Unda Maris 8v Flute open and unobstructed sound of an 8v Dulciana 8v Quintadena 8v Flauto Traverso Gt/Ped 8v–4v unusual strength. Another stop of par- 4v Octave 8v Vox Celestis Ch 16v–UO–4v Sw/Ped 8v–4v ticular beauty is the Mixture III in the 4v Flute d’Amour 4v Harmonic Flute Sw/Ch 16v–8v–4v Ch/Ped 8v–4v same division, which adds brightness to III Mixture 2v Piccolo Tremolo the overall sound, but without the 8v Trumpet 8v Oboe unpleasant shrillness so often found in Chimes (21 tubes) 8v Vox Humana other instruments of lesser quality. Gt 16v–UO–4v 8v Cornopean Sw/Gt 16v–8v–4v Sw 16v–UO–4v The organ at Holy Trinity Church was v v v originally built with tubular-pneumatic Ch/Gt 16 –8 –4 Tremolo action, with its complicated array of lead
JANUARY, 2007 29 New Organs
GREAT Tremulant 16v Bourdon (ext) MIDI C 8v Principal MIDI D 8v Holz Gedeckt 16v Swell 4v Octave Unison Silent 4v Rohrflute 4v Swell 2 2 ⁄3v Nazard 2v Octavin PEDAL 3 1 ⁄5v Tierce 32v Resultant Bass IV Mixture 16v Subbass 8v Krummhorn 16v Bourdon (Gt) 8v Trompette (Sw) 8v Octave Tremulant 8v Pommer Gedeckt Chimes (digital) 4v Choralbass MIDI A 2v Doublette MIDI B 16v Bombarde (ext) 16v Swell to Great 16v Fagott (Sw) 8v Swell to Great 8v Trompette (Sw) 4v Swell to Great 4v Hautbois (Sw) MIDI E SWELL (expressive) 8v Great to Pedal 8v Bourdon 4v Great to Pedal 8v Gemshorn 8v Swell to Pedal 8v Gemshorn Celeste (T/C) 4v Swell to Pedal 4v Spitzflute 2v Principal Accessories 1 1 ⁄3v Quinte Cymbelstern—8 bells Fowler Organ Company, the opposite side of the chancel. Care III Scharff Custom programmed digital synthesizer and Lansing, Michigan was taken to blend the new ranks with 16v Fagott audio system Faith Lutheran Church those from the original construction in 8v Trompette Adjustable combination action, 32 memory 8v Hautbois (ext) levels Bridgeport, Michigan terms of scale and voicing. This forms a Sequencer The instrument was originally built nicely balanced ensemble with no dis- 4v Clarion (ext) by John Shawhan in the late 1950s as a cernible difference between new and two-manual unenclosed instrument of old. The Pedal division’s resources were 15 ranks, with a small floating Swell also expanded, bringing the organ to 25 division prepared for but never com- ranks. The original stop key console was pleted. Over the years the congregation retained and refitted with the usual com- has grown and the building has been plement of controls, including multiple- enlarged. The recent renovation of the memory combination action, transposer, building to improve accessibility, player system, and MIDI interface. appearance, and acoustics provided the The visible appearance of the organ is opportunity to update and expand the that of exposed pipes without much in organ. While the room is long and low, the way of formal casework. The oak the replacement of carpet in the chan- skirting on the Great side and the free- cel with a white polished slate floor standing oak swell box match the interi- gives the organ a much improved pres- or wood paneling in style and color. The ence throughout the sanctuary. original pipes were cleaned and pol- The original Great and Positiv divi- ished, with the zinc basses of both old sions were combined to become the and new ranks finished in a pewter- new, more complete Great division, and toned lacquer. a new Swell division was constructed on —Brian Fowler • Respect for Tradition • Vision for the Future • Passion for Reliability • Enabled with Innovative Technology WE BELIEVE BACH WOULD APPROVE. How About You?
An Unmatched Feature Set In A Compact Package That Is Easy to Operate and Install Karl Wilhelm Inc., Mont St. Hilaire, organ is winded with the schwimmer Québec, Canada, Opus 156 system (semi-flexible), and has a blower Holy Trinity Church, Ste. Agathe, with ample capacity operating on 115V Québec, Canada single-phase. The organ, opus 156, is a single-man- — Karl Wilhelm Inc. ual, suspended mechanical action instru- Facteurs d’Orgues-Organbuilders ment; manual/pedal compass is 54/30. Almost all the stops are divided in bass Karl Wilhelm Opus 156 and treble (at c25–c#26, except the Mix- Holy Trinity Church tur). In its design and construction, the Ste. Agathe, Québec, Canada organ is true to historic principles. The MANUAL (C–fvvv 54 notes) free-standing, self-contained case is 8v Gedackt made of solid white oak, stained brown 4v Principal with a waxed finish, with hand-carved 4v Rohrflöte 2 butternut pipeshades. The natural keys 2 ⁄3v Quinte are covered with cow bone and the 2v Superoktave Virtuoso 3/ sharps are solid ebony. 1 5v Terz PIPE ORGAN CONTROL SYSTEM There are seven stops of metal pipes. 1v Mixtur III Principal pipes are made of 70% pol- PEDAL (C–fv 30 notes, flat ished tin, and flute pipes are 40% tin and WWW.IOTI.COM & 770.772.4091 pedalboard) 60% lead. The Bourdon 16v is made of 16v Bourdon wood. There is a total of 516 pipes. The Manual/Pedal coupler
30 THE DIAPASON Bert Adams, FAGO ATRICK LLEN Calendar Park Ridge Presbyterian Church P A Park Ridge, IL GRACE CHURCH Pickle Piano & Church Organs Choral concert, with violin; Church of St. Luke NEW YORK This calendar runs from the 15th of the month in the Fields, New York, NY 8 pm Bloomingdale, IL of issue through the following month. The deadline Todd Wilson, masterclass; Crawford Hall, is the first of the preceding month (Jan. 1 for North Carolina School of the Arts, Winston- Feb. issue). All events are assumed to be organ Salem, NC 7:30 pm recitals unless otherwise indicated and are grouped Janette Fishell, with chorus; St. Paul’s Epis- within each date north-south and east-west. •=AGO copal, Greenville, NC 7:30 pm WILLIAM AYLESWORTH Christopher Babcock chapter event, • •=RCCO centre event, +=new St. Andrew’s by the Sea, organ dedication, ++= OHS event. 26 JANUARY D. M. Information cannot be accepted unless it spec- Michael Smith; Trinity Church, Boston, MA Hyannis Port ifies artist name, date, location, and hour in writ- 12:15 pm EVANSTON, ILLINOIS ing. Multiple listings should be in chronological Judith Hancock; Emmanuel Church, Christ the King, Mashpee order; please do not send duplicate listings. THE Chestertown, MD 8 pm DIAPASON regrets that it cannot assume responsi- Todd Wilson; Christ United Methodist, bility for the accuracy of calendar entries. Greensboro, NC 7:30 pm Gillian Weir; St. Paul’s Episcopal, Greenville, NC 7:30 pm The American Boychoir; First United UNITED STATES Methodist, Rocky Mount, NC 7:30 pm East of the Mississippi Scott Montgomery; Opperman Music Hall, Florida State University, Tallahassee, FL 8 pm 16 JANUARY Frederick Swann; The Lutheran Church of Harvey Burgett; King’s Chapel, Boston, MA the Redeemer, Atlanta, GA 7:30 pm 12:15 pm Tom Trenney, silent film accompaniment; Cj Sambach; Highland Presbyterian, Lan- University of Louisville, KY 8 pm caster, PA 9 am, 10:30 am, 1 pm School INfor- The Magic City Concert Choir; Cathedral mances Church of the Advent, Birmingham, AL 12:30 pm Dean W. Billmeyer Melanie Ohstad; Church of St. Louis, King of Hilliard Ensemble; Rockefeller Chapel, Chica- France, St. Paul, MN 12:35 pm go, IL 8 pm University of Minnesota 17 JANUARY 27 JANUARY Minneapolis 55455 • [email protected] Jessica French; Woolsey Hall, Yale Univer- Samuel Carabetta; Franciscan Monastery, sity, New Haven, CT 12:30 pm Washington, DC 12 noon Cj Sambach; Highland Presbyterian, Lan- Charles Boyd Tompkins, masterclass; St. caster, PA 7 pm Stephen’s Episcopal, Durham, NC 9 am Craig Cramer; Reyes Organ Hall, University Scott Montgomery, masterclass; Opperman of Notre Dame, South Bend, IN 8 pm Music Hall, Florida State University, Tallahas- THOMAS BROWN DAVID CHALMERS see, FL 10:30 am UNIVERSITY CONCERT ORGANIST 18 JANUARY Andrew Scanlon; Cathedral of St. Philip, Schola Cantorum; Sprague Memorial Hall, Atlanta, GA 3:15 pm PRESBYTERIAN CHURCH GLORIÆ DEI CANTORES •Choral Festival; St. Mark’s United Church of Yale University, New Haven, CT 8 pm CHAPEL HILL, NORTH CAROLINA ORLEANS, MA Christopher Babcock; Church of the Holy Christ, New Albany, IN 3 pm Family, New York, NY 12:45 pm Olivier Latry; House of Hope Presbyterian, Nancianne Parrella, with violin and cello; St. St. Paul, MN 8 pm Ignatius Loyola, New York, NY 7:30 pm Presidio Saxophone Quartet; St. Paul’s Epis- 28 JANUARY STEVEN EGLER copal, Chattanooga, TN 7 pm Ross Wood, with choir; King’s Chapel, Boston, MA 5 pm DELBERT DISSELHORST Central Michigan University John Scott; St. Thomas Church Fifth First Presbyterian Church 19 JANUARY A. MUS. D. Heinrich Christensen; Trinity Church, Avenue, New York, NY 5:15 pm Mt. Pleasant, Michigan 48858 UNIVERSITY OF IOWA Boston, MA 12:15 pm Leon Couch III; Christ Church, New SOLO Shelly-Egler Schola Cantorum; Sprague Memorial Hall, Brunswick, NJ 6:30 pm, following 6 pm choral RECITALS Flute and Organ Duo Yale University, New Haven, CT 8 pm vespers Paul Jacobs; St. Petersburg College, St. Choral Evensong; St. James’s Episcopal, Petersburg, FL 7:30 pm Richmond, VA 5 pm Josh Perschbacher; St. Luke’s Episcopal, Charles Boyd Tompkins; St. Stephen’s Atlanta, GA 7:30 pm Episcopal, Durham, NC 4 pm JOHN FENSTERMAKER Donald Filkins Ken Cowan; St. James Episcopal, Fairhope, The American Boychoir; St. Anthony of Webb Horton Memorial AL 7:30 pm Padua, Southern Pines, NC 7:30 pm TRINITY-BY-THE-COVE Nichol DelGiorno; First Presbyterian, Carol Williams; Covenant Presbyterian, Fort Presbyterian Church Springfield, IL 7:30 pm Myers, FL 4 pm Hilliard Ensemble; Harkness Chapel, Case NAPLES, FLORIDA Middletown, NY 10940 20 JANUARY Western Reserve University, Cleveland, OH 3 Schola Cantorum; Woolsey Hall, Yale Univer- pm sity, New Haven, CT 8 pm Samuel Melson; John Wesley United Organist / Pianist Nathaniel Dett Chorale; St. Bartholomew’s, Methodist, Cincinnati, OH 4 pm ELLEN KURTZ New York, NY 3 pm Martin Jean; Hyde Park Community United Daniel Sullivan; St. Norbert Abbey, De Pere, Methodist, Cincinnati, OH 4 pm Michael Gailit WI 2 pm Atlanta Baroque Orchestra; Peachtree Road FUNK [email protected] http://www.gailit.at John Behnke, handbell workshop; Concordia United Methodist, Atlanta, GA 3 pm M.Mus., A.A.G.O. University Wisconsin, Mequon, WI 9 am Mark Sudeith; St. Mary of the Lake, Gary, IN St. Augustine’s Church 3 pm Concord, California Conservatory / University (Vienna) 21 JANUARY Paul Jacobs; Nardin Park United Methodist, William Ness, with harp and flute; First Bap- Farmington Hills, MI 2 pm tist, Lexington, MA 4 pm Marilyn Mason; St. Paul’s United Methodist, Peter Togni, with bass clarinet and cello; St. Rochester, MI 4:30 pm Bartholomew’s, New York, NY 3 pm Todd Wilson; St. Mark’s Episcopal Cathe- CHRISTOPHER John M. Gearhart III Kent Tritle, with trombone; St. Ignatius Loy- dral, Shreveport, LA 4 pm B.A., M.Mus. ola, New York, NY 4 pm GARVEN St. John the Divine (Episcopal) Gail Archer; St. Thomas Church Fifth 29 JANUARY Organist & Music Director 2450 River Oaks Blvd. Avenue, New York, NY 5:15 pm The American Boychoir; First Presbyterian, Church of the Good Samaritan Lake City, SC 7:30 pm Houston, TX 77019 David Shuler; Christ Church, New Paoli, Pennsylvania Brunswick, NJ 6:30 pm, choral vespers at 6 pm David Higgs; Duke University Chapel, 30 JANUARY Durham, NC 5 pm Huw Lewis; Dimnent Memorial Chapel, Hol- Paul Jacobs; Our Lady of Hope, Port land, MI 7:30 pm Orange, FL 3:30 pm Sumner Jenkins; Church of St. Louis, King ROBERT GLASGOW Schuyler Robinson, with violin; Christ of France, St. Paul, MN 12:35 pm Antone Godding Church Cathedral, Lexington, KY 4:30 pm PROFESSOR EMERITUS Nichols Hills Choral Evensong; Christ Church Cathedral, 31 JANUARY Lexington, KY 5 pm Ryan Jackson; Woolsey Hall, Yale Universi- The University of Michigan United Methodist Church David Hurd; Christ Church Cathedral, ty, New Haven, CT 12:30 pm Ann Arbor Oklahoma City Nashville, TN 4 pm Paolo Bordignon; St. Bartholomew’s, New Jonathan Dimmock; St. James Episcopal York, NY 7:30 pm Cathedral, Chicago, IL 4 pm The American Boychoir; St. Ann’s Roman Catholic Church, DeBary, FL 7:30 pm LORRAINE BRUGH, Ph.D. 22 JANUARY Christopher Urban; Elliott Chapel, The Pres- 1 FEBRUARY A two-inch byterian Homes, Evanston, IL 1:30 pm The American Boychoir; St. Thomas Episco- Associate Professor pal, Coral Gables, FL 7:30 pm Professional Card 23 JANUARY University Organist Kirsten Uhlenberg; Church of St. Louis, King 2 FEBRUARY in THE DIAPASON of France, St. Paul, MN 12:35 pm Harry Huff; Trinity Church, Boston, MA 12:15 Valparaiso University pm Valparaiso, IN For information on rates and 24 JANUARY Carlo Curley & J. Christopher Pardini; www.valpo.edu specifications, contact: William Trafka, with orchestra; St. Shadyside Presbyterian, Pittsburgh, PA 7:30 pm Bartholomew’s, New York, NY 7:30 pm Susan Jane Matthews; Trinity Lutheran, Jerome Butera Lansdale, PA 7:45 pm 219-464-5084 25 JANUARY Shepherd University Chamber Singers/Wom- [email protected] Ross Wood, with choir; King’s Chapel, en’s Camerata; St. John’s Episcopal, Hagers- [email protected] 847/391-1045 Boston, MA 5 pm town, MD 7:30 pm
JANUARY, 2007 31 Diane Meredith Belcher, with Jacksonville 12 FEBRUARY Symphony; Jacoby Hall, Jacksonville, FL 11 am The American Boychoir; Memorial Presbyter- JAMES HAMMANN WILL HEADLEE and 8 pm ian, Montgomery, AL 7:30 pm DMA-AAGO John Weaver, hymn festival; Shrine of the 1650 James Street Immaculate Conception, Atlanta, GA 8 pm 13 FEBRUARY University of New Orleans Syracuse, NY 13203-2816 Jack Mitchener; First Baptist, Hickory, NC 3 FEBRUARY 7:30 pm Chapel of the Holy Comforter (315) 471-8451 Solemn Evensong; St. Paul’s Episcopal, Tom Trenney, organ demonstration; Hiram Doylestown, PA 6 pm Christian Church, Hiram, OH 9:30 am The American Boychoir; St. Mark’s Episcopal, Cathy Rodland; Church of St. Louis, King of Palm Beach Gardens, FL 7:30 pm France, St. Paul, MN 12:35 pm MICHELE JOHNS László Fassang; Spivey Hall, Clayton State Harry H. Huber University, Morrow, GA 3 pm 14 FEBRUARY D. Mus. A.Mus.D Preston Smith, with flute and trumpet; St. 4 FEBRUARY Organ — Harpsichord Bartholomew’s, New York, NY 7:30 pm Kansas Wesleyan University, Emeritus Andrew Peters; Wesley United Methodist, The American Boychoir; Central Presbyter- University Methodist Church The University of Michigan Worcester, MA 12:15 pm ian, Atlanta, GA 7:30 pm Choral Evensong; Trinity Episcopal, Hartford, SALINA, KANSAS School of Music CT 5 pm 15 FEBRUARY Andrew Pester; Woolsey Hall, Yale Universi- Charles Miller; Church of the Holy Family, ty, New Haven, CT 8 pm New York, NY 12:45 pm Bach, Cantata 92; Holy Trinity Lutheran, New Gillian Weir; Austin Auditorium, Wingate Uni- York, NY 5 pm versity, Wingate, NC 7:30 pm Brian Jones KIM R. KASLING Scott Lamlein; St. Thomas Church Fifth D.M.A. David Higgs, masterclass; James R. Cox Director of Music Emeritus Avenue, New York, NY 5:15 pm Auditorium, University of Tennessee, Knoxville, Gavin Black; Christ Church, New St. John’s Univeristy TN 2:45 pm TRINITY CHURCH Brunswick, NJ 6:30 pm, following 6 pm choral vespers BOSTON Collegeville, MN 56321 16 FEBRUARY David Hurd; First Presbyterian, Atlanta, GA 2 Richard Hill; Trinity Church, Boston, MA pm 12:15 pm Choral Evensong; St. James Episcopal Stefan Engels; St. Matthew’s Lutheran, Cathedral, Chicago, IL 4 pm Charleston, SC 7 pm DAVID K. LAMB, D.MUS. Diane Meredith Belcher; Trinity Lutheran, JAMES KIBBIE 5 FEBRUARY Akron, OH 8 pm The American Boychoir; First United The University of Michigan Director of Music/Organist Erik Suter; St. Mark’s Episcopal, Columbus, Methodist, St. Petersburg, FL 7:30 pm Ann Arbor, MI 48109-2085 First United Methodist Church OH 8 pm Bach choral and organ music; Christ Church 734-764-1591 FAX: 734-763-5097 Columbus, Indiana Cathedral, Indianapolis, IN 7:30 pm 812/372-2851 17 FEBRUARY email: [email protected] Zachary Hemenway; Battell Chapel, Yale 6 FEBRUARY University, New Haven, CT 5 pm Heinrich Christensen, with soprano and Satomi Akao; Woolsey Hall, Yale University, trumpet; King’s Chapel, Boston, MA 12:15 pm Carissimi, Jephte; Trinity Church, New York, New Haven, CT 8 pm David Lowry BETTY LOUISE LUMBY NY 6 pm Eric Lebrun, Susan Ferré, Carolyn Shuster Fournier, Ann Labounsky, Andrew Scanlon, THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD Dan Locklair; St. Paul’s Episcopal, Winston- DSM • FAGO Salem, NC 7 pm Robert Sutherland Lord, Jean Langlais Cele- 1512 BLANDING STREET, COLUMBIA, SC 29201 bration; First Presbyterian, Pittsburgh, PA 3 pm UNIVERSITY OF MONTEVALLO The American Boychoir; Covenant United DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Methodist, Port Orange, FL 7:30 pm David Higgs; James R. Cox Auditorium, Uni- ROCK HILL, SC 29733 MONTEVALLO, AL 35115 Aaron David Miller; Church of St. Louis, King versity of Tennessee, Knoxville, TN 8 pm of France, St. Paul, MN 12:35 pm 18 FEBRUARY 7 FEBRUARY Robert Richter; Ascension Memorial Episco- Enrico Contenti; Woolsey Hall, Yale Univer- pal, Ipswich, MA 4:30 pm, following Evensong sity, New Haven, CT 12:30 pm MDR Kinder Chor; Kent Performance Hall, AMES ETZLER Matteo Imbruno; Church of St. Ignatius Loy- Westerly, RI 4 pm, 6 pm J R. M ola, New York, NY 7 pm •David Westfall, James Gower, Christo- Italian choral works, with orchestra; Church of pher Houlihan, Christopher Jennings, Lois PARK CONGREGATIONAL CHURCH St. Ignatius Loyola, New York, NY 8 pm Toeppner, Jason Charneski; South Church, GRAND RAPIDS, MICHIGAN Matt Lawrenz; Cathedral of St. John, Milwau- New Britain, CT 4 pm kee, WI 12:15 pm William Trafka, with Excelsior Trombone Ensemble; St. Bartholomew’s, New York, NY 3 8 FEBRUARY pm The American Boychoir; First United Bach, Cantata 22; Holy Trinity Lutheran, New Methodist, Orlando, FL 7:30 pm York, NY 5 pm William H. Murray Mark Williams; St. Thomas Church Fifth A.S.C.A.P. 9 FEBRUARY Avenue, New York, NY 5:15 pm FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. Dennis James, silent film accompaniment; Marie-Louise Langlais; Brick Presbyterian, Portland City Hall, Portland, ME 7:30 pm New York, NY 8 pm 345 SADDLE LAKE DRIVE Scott Hanoian; Trinity Church, Boston, MA Benjamin Nicholas; Christ Church, New ROSWELL-ATLANTA, GEORGIA 30076 Fort Smith, Arkansas (770) 594-0949 12:15 pm Brunswick, NJ 6:30 pm, following 6 pm choral Gerre & Judith Hancock; All Saints Chapel, vespers Sewanee, TN 7:30 pm The American Boychoir; St. Matthew’s Epis- MARILYN MASON David Hurd; Cathedral Church of St. Peter, copal, Richmond, VA 3 pm Episcopal, St. Petersburg, FL 7:30 pm Choral Evensong; St. Paul’s Episcopal, Win- CHAIRMAN, DEPARTMENT OF ORGAN Anita Werling; First Presbyterian, Macomb, ston-Salem, NC 5 pm UNIVERSITY OF MICHIGAN IL 3 pm Ken Cowan; First Presbyterian, Wilmington, ANN ARBOR NC 5 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played 10 FEBRUARY Janette Fishell; St. Paul’s Episcopal, Peter Krasinski, silent film accompaniment; it with awesome technique and a thrilling command of its daring writing.” Greenville, NC 5 pm St. John’s Episcopal, Gloucester, MA 4 pm The American Organist, 1980 Peter Richard Conte; First Presbyterian, Paul Jacobs; Kimmel Center, Philadelphia, Gastonia, NC 7 pm PA 3 pm Stefan Engels; St. Joseph’s Catholic Church, Olivia Buthod; Franciscan Monastery, Orlando, FL 3 pm Washington, DC 12 noon Scott Montgomery; Epworth-Euclid United Mary Mozelle David Hurd, workshop; Cathedral Church Methodist, Cleveland, OH 2 pm LARRY PALMER of St. Peter, Episcopal, St. Petersburg, FL Mary Preston; St. John United Methodist, Associate Organist 9 am Augusta, GA 3 pm Professor of Festival Evensong; Peachtree Road United The National 11 FEBRUARY Methodist, Atlanta, GA 4 pm Harpsichord and Organ Paul Bisaccia, piano; Cheshire Library, Nathan Davy; First United Methodist, Colum- Presbyterian Church Cheshire, CT 4 pm bus, IN 3 pm Washington, DC Bach, Cantata 126; Holy Trinity Lutheran, Meadows School of the Arts Choral Evensong; Christ Church Cathedral, New York, NY 5 pm Indianapolis, IN 4:30 pm 703.898.9609 Kevin Bowyer; St. Thomas Church Fifth Choral Evensong; Christ Church Cathedral, SOUTHERN METHODIST UNIVERSITY Avenue, New York, NY 5:15 pm www.PipeOrganPro.com Lexington, KY 5 pm Gail Archer; Christ Church, New Brunswick, Organ-fest; First Presbyterian, Arlington “The Sights and Sounds Dallas, Texas 75275 NJ 6:30 pm, following 6 pm choral vespers Peter Brown, Murray Foreman, Larry Her- Heights, IL 4 pm of the Pipe Organ” The Classical Orchestra & Pro Arte Singers; Musical Heritage Society recordings shey, & Marcos Krieger; Grace Lutheran, Lan- caster, PA 4 pm St. James Episcopal Cathedral, Chicago, IL 4 pm Singing Boys of Pennsylvania; St. James James O’Donnell; Central Christian Church, Episcopal, Lancaster, PA 4 pm Decatur, IL 4:30 pm Marvin Mills; Jacoby Hall, Jacksonville, FL 3 Hymn Festival; Cathedral of St. Paul, St. pm Paul, MN 3 pm A four-inch Tom Trenney, silent film accompaniment; •Carolyn Shuster Fournier; St. Olaf Church, Hiram College, Hiram, OH 3 pm St. Paul, MN 7 pm Stefan Engels; RiverCenter, Columbus State Professional Card University, Columbus, GA 4 pm 19 FEBRUARY Lynne Davis; Okemos Community Church, Marilyn Keiser; Academy Chapel, Mercers- in THE DIAPASON Okemos, MI 3 pm burg Academy, Mercersburg, PA 7 pm Cj Sambach, Pipe Organ INformance®; First No additional charge for photos Congregational, Traverse City, MI 4 pm 20 FEBRUARY The American Boychoir; St. James Episcopal, Harry Huff; King’s Chapel, Boston, MA 12:15 Fairhope, AL 4 pm pm For information on rates and specifications, contact Michael Dirk; Trinity United Methodist, New Velda Bell; Church of St. Louis, King of Albany, IN 3 pm France, St. Paul, MN 12:35 pm Jerome Butera, 847/391-1045 Craig Cramer; Reyes Organ Hall, University of Notre Dame, South Bend, IN 8 pm 21 FEBRUARY [email protected] Bruce Barber, with violin; St. Chrysostom’s, Choir of the Church of The Advent; Church of Chicago, IL 2:30 pm The Advent, Boston, MA 6:30 pm
32 THE DIAPASON John Sittard; North Christian Church, Colum- Daniel Roth; Principia College, Elsah, IL bus, IN 12 noon 7:30 pm Bob Neinaber; Church of St. Louis, King of LEON NELSON DOUGLAS REED 23 FEBRUARY France, St. Paul, MN 12:35 pm FIRST PRESBYTERIAN CHURCH Birger Marmvik; Trinity Church, Boston, MA ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE 12:15 pm 28 FEBRUARY Gerre Hancock; The Cathedral of St. Mollie Nichols; St. Bartholomew’s, New NORTH PARK UNIVERSITY EVANSVILLE, INDIANA Joseph, Hartford, CT 8 pm York, NY 12:30 pm CHICAGO, IL 60625 Maxine Thevenot; St. Petersburg College, Renée Anne Louprette; St. Ignatius Loyola, St. Petersburg, FL 7:30 pm New York, NY 7:30 pm Rodrigo Guitar Trio; United Church of Marco Cj Sambach; First Presbyterian, Basking Ridge, Island, Marco Island, FL 7:30 pm NJ 12 noon, 4 pm Pipe Organ INformance® STEPHEN G. SCHAEFFER ROBERT L. Mary Vessels; St. Mary’s Catholic Church, Thomas DeWitt; Morrison United Methodist, New Albany, IN 12 noon Leesburg, FL 12 noon D.M.A. Karel Paukert; First Congregational, Crystal John Matthews, Jr.; Grace Lutheran, Colum- The Cathedral Church SIMPSON Lake, IL 7:30 pm bus, IN 12 noon Christ Church Cathedral of the Advent 1117 Texas Avenue 24 FEBRUARY Birmingham, Alabama 35203 Houston, Texas 77002 Gerre Hancock, masterclass; Cathedral of UNITED STATES St. Joseph, Hartford, CT 10 am West of the Mississippi Fauré, Requiem; Woolsey Hall, Yale Universi- ty, New Haven, CT 8 pm 19 JANUARY David Wagner DMA Robert Grogan; Franciscan Monastery, VocalEssence; Trinity Lutheran, Stillwater, Joe Utterback Madonna University Washington, DC 12 noon MN 8 pm Livonia, Michigan Bach, St. John Passion; Rockefeller Chapel, Douglas Cleveland; St. Barnabas Episcopal, COMMISSIONS & CONCERTS Chicago, IL 8 pm Bainbridge Island, WA 7:30 pm KMZT-FM 732 . 747 . 5227 Los Angeles, California 25 FEBRUARY 20 JANUARY [email protected] Heinrich Christensen, with trumpet; King’s VocalEssence; Ted Mann Concert Hall, Min- Chapel, Boston, MA 5 pm neapolis, MN 8 pm Maxine Thevenot; Unitarian Universalist Congregation, Shelter Rock, Manhasset, NY 21 JANUARY SALLY SLADE WARNER, AAGO, ChM 1:30 pm Stephen Tharp; Cathedral Church of St. Carillonneur KARL WATSON Concert vespers; Holy Trinity Lutheran, New John, Albuquerque, NM 4 pm York, NY 5 pm Tamara Still; First Presbyterian, Portland, St. Stephen’s Church, Cohasset, MA ST. RAYMOND’S CHURCH Jeremy Bruns; St. Thomas Church Fifth OR 3 pm Phillips Academy, Andover, MA Avenue, New York, NY 5:15 pm John Dillistone; Cathedral of St. Mary of the Recitals PARKCHESTER Joan Lippincott; Miller Chapel, Princeton Assumption, San Francisco, CA 3:30 pm Theological Seminary, Princeton, NJ 3 pm David Lamb; Knox Presbyterian, Santa Jonathan Moyer; Christ Church, New Rosa, CA 5 pm Brunswick, NJ 6:30 pm, choral vespers at 6 pm John Weaver; First Congregational, Los A Professional Card in The Chenaults; Wilson College, Chambers- Angeles, CA 4 pm burg, PA 2 pm Carol Williams; Balboa Park, San Diego, CA Cherie Wescott THE DIAPASON Singing Boys of Pennsylvania; Presbyterian 2 pm Concerts • Masterclasses • Coaching For rates and digital specifications, Church, Tunkhannock, PA 4 pm contact Jerome Butera Ulrich Knörr; with trumpet; Greene Memorial 23 JANUARY 405/942-3958 847/391-1045 United Methodist, Roanoke, VA 4 pm Steinbach and Helvey Piano Duo; Bishop e-mail: [email protected] [email protected] William Peterson; Duke University Chapel, Union High School, Bishop, CA 7:30 pm Durham, NC 5 pm Michael Corzine; Jacoby Hall, Jacksonville, 24 JANUARY FL 3 pm Hector Olivera; Mount Hermon Conference Bradley Hunter Welch; First Presbyterian, Center, Mount Hermon, CA 7 pm Pompano Beach, FL 4 pm Davis Wortman RONALD WYATT Ensemble Corund; Cathedral Church of the 26 JANUARY Advent, Birmingham, AL 4 pm Lynne Davis; Trinity University, San Antonio, ST. JAMES’ CHURCH Trinity Church Rodrigo Guitar Trio; Vineville United TX 7:30 pm NEW YORK Galveston Methodist, Macon, GA 4 pm Cj Sambach; Good Shepherd Lutheran, Emanuel Schmelzer-Ziringer; Kenilworth Downey, CA 9 am, 10:30 am, 1 pm School Union Church, Kenilworth, IL 5 pm INformances Ensemble Amarcord; Church of the Holy Spir- it, Episcopal, Lake Forest, IL 4 pm 27 JANUARY VocalEssence; Ordway Center for the Per- Lynne Davis, masterclass; Trinity University, Marcia van Oyen mvanoyen.com forming Arts, St. Paul, MN 4 pm San Antonio, TX 9 am
26 FEBRUARY 28 JANUARY Emanuel Schmelzer-Ziringer; Elliott John Romeri, with tenor; Cathedral Basilica Plymouth First United Methodist Church, Plymouth, Michigan Chapel, The Presbyterian Homes, Evanston, of St. Louis, St. Louis, MO 2:30 pm IL 1:30 pm Gerre Hancock, conducting choral even- song; St. Mark’s Chapel, St. Mark’s School, Dal- 27 FEBRUARY las, TX 7:30 pm Erik Wm. Suter; Portland City Hall, Portland, Ken Cowan; Northminster Presbyterian, Tuc- CHARLES DODSLEY WALKER, FAGO ME 7:30 pm son, AZ 3 pm Ensemble Amarcord; Wabash College, Craw- Roger Sherman, with English horn; St. TRINITY EPISCOPAL CHURCH fordsville, IN 8 pm Mark’s Cathedral, Seattle, WA 2 pm BOX 400 SOUTHPORT, CT 06890
Cathedral Church of St. John SYLVIE POIRIER Albuquerque, New Mexico www.stjohnsabq.org PHILIP CROZIER 505-247-1581 ORGAN DUO J Music for an Epiphany - #0701 . . . whether because of a guiding star, or a brilliant 3355 Queen Mary Road, Apt 424 A flash of inspiration, our composers make vivid that special moment of clarity. Montreal, H3V 1A5, P. Quebec N Dutch Treats - #0702 . . . the Netherlands, beyond its eye-catching windmills and Canada U colorful tulips, is home to an incredible treasure of historic and modern pipe organs. (514) 739-8696 A Join us on our tour (May 6-18, 2007; www.pipedreams.org) R Fax: (514) 739-4752 Iain Quinn Maxine Thevenot Director of Associate Organist- Y A Syracuse Organ Book - #0703 . . . Will Headlee, David Enos and Katharine Pardee [email protected] Cathedral Music Choir Director play four historic instruments in this New York university town as we explore a collection of cordial contemporary compositions. 2 0 Rootin' for the Youngsters - #0704 . . . from seventh grade to graduate school, aged 12 DAVID SPICER 0 to 21, talented players in Denver, Interlochen and Michigan point the way towards the pipe organ's future. First Church of Christ 7 Wethersfield, Connecticut Carol Williams Decade of Delight - #0705 . . . a sampler of six new American-built instruments that were inaugurated during the past ten years. San Diego Civic Organist
Website: www.melcot.com House Organist E-mail: [email protected] The Bushnell Memorial Hartford
JANUARY, 2007 33 Cj Sambach; St. Gregory’s Episcopal, Long 9 FEBRUARY 25 FEBRUARY 6 FEBRUARY Beach, CA 4 pm Mary Preston; Meyerson Symphony Center, Diane Norton-Jackson; Christ Church Daniel Hyde; St. Lawrence Jewry, London, Richard Gehrke, with Concordia Wind Dallas, TX 6:45 pm Cathedral, Houston TX 4:15 pm UK 1 pm Ensemble; Cathedral of St. Mary of the George Baker; St. Stephen Presbyterian, Choral Evensong; Christ Church Cathedral, Assumption, San Francisco, CA 6 pm Fort Worth, TX 7:30 pm Houston TX 5 pm 8 FEBRUARY Mel Butler & Thomas Joyce, hymn festival; The Buxtehude Trio; Christ the King Luther- James Johnstone; St. John’s Smith Square, 30 JANUARY St. Mark’s Cathedral, Seattle, WA 7:30 pm an, Houston, TX 7:30 pm London, UK 1 pm Daniel Fenn; Provine Chapel, Mississippi Jeffrey Lee, with soprano; Thomsen Chapel, College, Clinton, MS 7:30 pm 10 FEBRUARY St. Mark’s Cathedral, Seattle, WA 3 pm 11 FEBRUARY Michael Diorio, with Synergy Brass Quintet; Carol Williams; Balboa Park, San Diego, CA Michael Bonaventure; All Saints Church 2 FEBRUARY Grace Presbyterian, Houston, 7 pm 2 pm Blackheath, London, UK 5:30 pm •William Ness; First United Methodist, Ken Cowan; Knox United Church, Calgary, 11 FEBRUARY Casper, WY 7:30 pm 26 FEBRUARY AB, Canada, 3 pm James O’Donnell; St. James Episcopal, Los Joseph Adam; University of Puget Sound, Christopher Anderson; Caruth Auditorium, Angeles, CA 6 pm Tacoma, WA 12:05 pm Southern Methodist University, Dallas, TX 15 FEBRUARY László Fassang; Walt Disney Concert Hall, Choral Evensong; All Saints’ Episcopal, Bev- 8 pm Thomas Wilson; St. Matthew’s, Westmin- Los Angeles, CA 7:30 pm ster, London, UK 1:05 pm erly Hills, CA 7:30 pm Carol Williams; Balboa Park, San Diego, CA Gavin Roberts, with trumpet; St. Maryle- 2 pm bone, London, UK 7 pm 3 FEBRUARY INTERNATIONAL •Karel Paukert, workshop; Westminster 12 FEBRUARY 16 FEBRUARY Presbyterian, Lincoln, NE 10 am 16 JANUARY Emanuel Schmelzer-Ziringer; Grace Luther- John Tuttle; Holy Rosary Cathedral, Vancou- David Herman; St. Lawrence Jewry, London, an, Tacoma, WA 7:30 pm ver, BC, Canada 8 pm 4 FEBRUARY UK 1 pm •Karel Paukert; Westminster Presbyterian, 13 FEBRUARY 17 FEBRUARY Lincoln, NE 4 pm James O’Donnell; St. Margaret’s Episcopal, 17 JANUARY Ben Saul; St. George’s Cathedral, South- Bach, Cantata 106; Christ the King Lutheran, Palm Desert, CA 7:30 pm Huw Jones; Reading Town Hall, Reading, wark, London, UK 1:05 pm Houston, TX 5 pm UK 1 pm Ken Cowan; First Baptist, Abilene, TX 16 FEBRUARY 19 FEBRUARY 4 pm Douglas Cleveland; Clapp Recital Hall, The 18 JANUARY Felix Hell; Church of St. Andrew’s and St. Peter Richard Conte; St. Andrew's Episco- University of Iowa, Iowa City, IA 8 pm Stephen Disley; St. Martin’s, Dorking, UK Paul’s, Montreal, QC, Canada 7 pm pal, Amarillo, TX 7 pm Paul Bisaccia, piano; Trinity Cathedral (Epis- 1 pm Choral Evensong; Cathedral Church of St. copal), Little Rock, AR 7:30 pm Daniel Moult; St. Matthew’s, Westminster, 21 FEBRUARY John, Albuquerque, NM 4 pm Clive Driskill-Smith; All Saints Episcopal, London, UK 1:05 pm Naoko Imai; Minato Mirai Hall, Yokohama, Robert Bates; Organ Hall, Arizona State Uni- Fort Worth, TX 7:30 pm Japan, 12:15 pm versity, Tempe, AZ 2:30 pm 20 JANUARY Choral Evensong; Episcopal Church of the 18 FEBRUARY Matthew Owens; Huddersfield Town Hall, 23 FEBRUARY Resurrection, Eugene, OR 5 pm Paul Jacobs; Cathedral Basilica of St. Louis, Huddersfield, UK 1 pm Daniel Roth; Symphony Hall, Birmingham, William Peterson; Pomona College, Clare- St. Louis, MO 2:30 pm Thomas Trotter; St. Albans Cathedral and UK 7:30 pm mont, CA 3 pm Calmus Ensemble; Christ the King Lutheran, Abbey, St. Albans, UK 5:30 pm Ensemble Amarcord; Shallaway, St. John's, James Welch; Prince of Peace Lutheran, Houston, TX 5 pm Nicholas O’Neill; St. George’s Cathedral, NF and Labrador, Canada 7:30 pm Maxine Thevenot; Hamilton Recital Hall, Uni- Saratoga, CA 7:30 pm Southwark, London, UK 1:05 pm Paul Jacobs; Lawrence Park Community versity of Denver, Denver, CO 3 pm Carol Williams; Balboa Park, San Diego, CA Church, Toronto, ON Canada 8 pm Frederick Swann, with choirs and instrumen- 2 pm 22 JANUARY talists; Cathedral of Our Lady of the Angels, Los Matthew Owens; Huddersfield Town Hall, 24 FEBRUARY Angeles, CA 7 pm Huddersfield, Yorkshire, UK 1 pm Carolyn Shuster Fournier; Georg Philipp 5 FEBRUARY Carol Williams; Balboa Park, San Diego, CA Arnfinn Tobiassen; Leeds Town Hall, Leeds, Telemann Concert Hall, Magdeburg, Germany Karel Paukert, masterclass; Bethel College, 2 pm Prairie Village, KS 7:30 pm Yorkshire, UK 1:05 pm 7:30 pm Joseph Adam; Benaroya Hall, Seattle, WA 19 FEBRUARY Paul Jacobs, masterclass; Lawrence Park 23 JANUARY 7:30 pm Paul Jacobs, masterclass; Cathedral Basili- Community Church, Toronto, ON 10 am Catherine Ennis; St. Lawrence Jewry, Lon- ca of St. Louis, St. Louis, MO 7:30 pm 6 FEBRUARY don, UK 1 pm 25 FEBRUARY •Karel Paukert; Bethel College, Prairie Vil- 24 FEBRUARY Thomas Trotter; St. Lawrence’s, Alton, UK Carolyn Shuster Fournier, with piano and lage, KS 7:30 pm James David Christie; Arizona State Univer- 8 pm voice; The American Church, Paris, France 5 Frederick Swann; University Christian sity, Mesa, AZ masterclass 10:30 am, recital pm Church, Fort Worth, TX 3 pm 7:30 pm 24 JANUARY Genzo Takehisa, with violin; Minato Mirai Hall, Yokohama, Japan, 12:10 pm Organ Recitals ORGAN BUILDERS 25 JANUARY Steven Grahl; St. Marylebone, London, UK 7 pm MARIE-CLAIRE ALAIN, First Congre- gational Church, Ann Arbor, MI, October 3: L. W. BLACKINTON THE NOACK ORGAN CO., INC. and associates, inc. MAIN AND SCHOOL STREETS 26 JANUARY Suite, Campion; Schmücke dich, O liebe GEORGETOWN, MA 01833 Denis Bedard; Holy Rosary Cathedral, Van- Seele, BWV 654, 759, Prelude and Fugue in www.noackorgan.com 380 FRONT ST. couver, BC, Canada 8 pm C, BWV 547, Bach; Virgo mater, op. 40, EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America Dupré; Andantino in c-sharp, op. 437, Scher- 27 JANUARY zo in e, op. 423, Toccata on Cantemus Domi- Carlo Curley; Gillingham Methodist, Gilling- no, op. 324, A. Alain; Deux Danses à Agni martin ott pipe ham, Dorset, UK 7:30 pm Yavishta, JA 77, 78, Introduction et varia- Jamie McVinnie; St. Katharine’s, Knockholt, tions, JA 60, Scherzo, JA 70, Choral, JA 82 organ (Suite pour Orgue), Alain. company Kent, UK 12 noon inc. 28 JANUARY GARY BEARD, with Ryan Anthony, trumpet, Chapelwood United Methodist 1353 Baur Boulevard Rupert Jeffcoat; St. John’s Anglican Cathe- St. Louis, Missouri 63132 dral, Brisbane, Australia 3 pm Church, Houston, TX, October 15: Concerto (314) 569-0366 Saint-Marc, Albinoni; Après un rêve, Fauré; 30 JANUARY Grand Russian Fantasy, Levy; Simple Gifts, Simon Lindley; Leeds Town Hall, Leeds, Purifoy; Great Is Thy Faithfulness, Miller; NEW INSTRUMENTS Yorkshire, UK 5 pm Amazing Grace, arr. Anthony/Beard; Con- MAINTENANCE Parkey certo in A-flat, Vivaldi; Dreams of Karen, RESTORATIONS 1 FEBRUARY Milligan; Der Hölle Rache kocht in meinen 974 AUTUMN DRIVE OrganBuilders Martin Ellis; St. Martin’s Dorking, London, Herzen (Die Zauberflöte), Mozart, transcr. ANTIOCH, ILLINOIS 60002 UK 1 pm Anthony/Beard; Someone to Watch Over Me, ABR 847-395-1919 Distinguished Pipe Organs Gershwin, arr. Turrin; Carnival of Venice, F INCY 3870 Peachtree Ind. Blvd. Voice 770-368-3216 PIPE ORGANS FAX 847-395-1991 2 FEBRUARY Clarke. www.fabryinc.com Suite 150-285 Fax 770-368-3209 Duluth, Georgia 30096 www.parkeyorgans.com Julian Collings; SS Peter and Paul, Godalm- ing, UK 1 pm MAURICE CLERC, Hill Auditorium, Paul Jacobs; Francis Winspear Centre for Ann Arbor, MI, October 2: Spuntato Ecco Hupalo & Repasky Music, Edmonton, AB, Canada 8 pm (Don Carlos), Verdi, transcr. Clerc; Pièce Pipe Organs Héroïque, Franck; Suite of Dolly, Fauré, 3 FEBRUARY transcr. Clerc; Suite médiévale, Langlais; 1785 Timothy Dr. Unit 4 Paul Jacobs, masterclass; University of Scherzo in improvisation, Cochereau, San Leandro, Calif. 94577-2313 Alberta, Edmonton, AB, Canada 10:30 am transcr. Clerc. 510 483 6905
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34 THE DIAPASON JOHN COLLINS, St. George’s Parish in E, BWV 566, Trio Sonata No. 4 in e, BWV Wind in the Pines (Mountain Sketches), doux liens de l’amour, Eben; Variations sur Church, Worthing, UK, October 28: Toccata, 528, Bach; Flute Concerto in F, Rinck; Clokey; Prelude and Fugue on B-A-C-H, un thème original pour orgue quatre mains, Fugue in C, Der Tag der ist so freudenreich, Andante and Variations, Mendelssohn; Liszt; Scherzetto (Twenty-four Pieces in Free Bédard; Pastorale, Fricker; Fugue en sol Wir glauben all an einen Gott, Pachelbel; Sonata III in a, op. 23, Ritter. Style), Vierne; Sonata I, op. 42, Guilmant. mineur, K. 401, Fantasia in f, K. 608, Registo de 8 Tom de 2 Tiples, Torrelhas; Toc- Mozart. cata 70 in F, Pasquini; Voluntary 16 in C, TRACY FIGARD, Pullman Greenstone BRUCE NESWICK, Chevy Chase Blow; Prelude and Fugue in G, Van den United Methodist Church, Chicago, IL, Sep- Methodist Church, Chevy Chase, MD, Octo- ANDREW SCANLON, First Presbyter- Kerkhoven; Fantasia in E-flat, Ricercar in c, tember 24: Prelude and Fugue in E-flat, ber 28: Improvisation on a submitted theme; ian Church of Pittsburgh, Pittsburgh, PA, Aria Sexta (Sebaldina), Toccata, Fugue in F, BWV 552, Bach; Nocturne for Organ, Praeludium und Fuge in E-Moll, BWV 548, October 6: Concerto in B Minor after Vival- Pachelbel; Sonata No. 5 in C (Six Sonatas), Cohen; Toccata and Fugue in d, BWV 538, Bach; Psalm-Prelude, op. 32, no. 3, Howells; di, LV 133, Walther; Allein Gott, in der Höh Post Communion in B-flat, Toccata in G, Bach; Jesu, meine Freude, Karg-Elert. Variations on Ora Labora, Hancock; Cantile- sei Ehr, BWV 662, Passacaglia, BWV 582, Martini; Sinfonia in C (per Suor Maria na, Dirksen; Prélude et fugue en la Bémol Bach; Hymne d’Action de Grâce—Te Deum, Pierandrei), Anonymous; Orgelmesse 4 in G, THOMAS FOSTER, Grace Cathedral, majeur, op. 36, no. 2, Dupré; improvisation Langlais; Scherzo, op. 2, Duruflé; Choral No. Grünberger; Voluntary 6 in D, Voluntary 2 San Francisco, CA, October 29: Livre on a submitted theme. 3 in a, Franck. in g, Alcock; Voluntary in F (Set 2, no. 7), d’Orgue, DuMage; Symphonie VI, op. 42, Simper. Widor. DEREK E. NICKELS, Church of the KENT TRITLE, Church of St. Ignatius Holy Comforter, Kenilworth, IL, October Loyola, New York, NY, September 24: Pre- PETER RICHARD CONTE, Christ the DAVID A. GELL, St. Joseph the Worker 29: Praeludium in g, BuxWV 149, Buxte- lude and Fugue in a, BWV 543, Bach; King Lutheran Church, Mankato, MN, Catholic Church, Winnetka, CA, September Messe pour les Cou- Shimah B’Koli (Psalm 130), op. 89, Per- October 8: Empire March, Elgar, transcr. hude; Tierce en Taille ( 2: Concert Variations on The Star-Spangled vents), Couperin; Pièce d’Orgue, Calvière, sichetti; Sonata in A, op. 65, no. 3, Conte; Concerto in G, Ernst, transc. Bach; Banner, Buck; Introduction and Fugue in e, Mendelssohn; Pièce héroïque, Cantabile, Marche Religieuse, Guilmant; Prelude on Wachet auf, ruft uns die Stimme, BWV 645, Parker; America the Beautiful, Whitford; Nun komm, der Heiden Heiland, BWV 659, Franck; Méditation V (Méditations sur le Rhosymedre, Vaughan Williams; Cortège et Variations on America, Lovelace; Yankee mystère de la Sainte Trinité), Messiaen; Litanie, Dupré, transcr. Conte; Variations Toccata and Fugue in d, BWV 565, Bach; Doodle Battle Hymn, Balderston; Variations Andante in F, K. 616, Mozart; Schmücke Prélude et fugue sur le nom d’Alain, Duruflé. on a Theme of Arcangelo Corelli, Kreisler, on The Navy Hymn, Joseph; God of Our transcr. Conte; Fountain Reverie, Fletcher; dich, o liebe Seele (Eleven Chorale Pre- Fathers, Diemer; Prelude on Balm in Gilead, ludes, op. 122), Brahms; Ein feste Burg ist JOHANNES UNGER, Grace Lutheran Variations on a Theme of Joseph Haydn, En Seguido Litúrgico, Gell. Church, Lancaster, PA, October 1: Prelude Brahms, transcr. Conte. unser Gott, Vom Himmel hoch da komm ich her, Lobe den Herren, den mächtigen König and Fugue in C, BWV 547, Vater unser im CHARLES HUDDLESTON HEATON, der Ehren, Walcha; Choral No. 3 in a, Himmelreich, BWV 636, Christe, du Lamm PHILIP T.D. COOPER, The First Second Presbyterian Church, St. Louis, MO, Franck. Gottes, BWV 619, Gelobet seist du, Jesu Church of Deerfield, Deerfield, MA, Octo- September 18: Unter der Linden gruene, Christ, BWV 604, Bach; Drei Tonstücke, op. ber 15: Toccata ex C Dur, Allein zu dir, Herr Sweelinck; Trio Sonata V in C, BWV 529, 22, Gade; Adagio, Allegro assai vivace Jesu Christ, Fuga ex C Dur, Ein feste Burg ist Bach; Concert Variations on The Star-Span- PIERRE PINCEMAILLE, Vassar Col- (Sonata No. 1 in f, op. 65), Mendelssohn; Ave unser Gott, Pachelbel; Ave Maria klare, Fis- gled Banner, Buck; Swanee River, Foster, lege, Poughkeepsie, NY, October 27: Prelude Maria, op. 80, no. 5, Reger; Fugue sur le cher; Fuga ex C Dur, Vetter; Was Gott tut, transcr. Lemare; Three Rhapsodies, op. 7, and Fugue in E-flat, BWV 552, Bach; thème du Carillon des Heures de la Cathé- das ist wohlgetan, Magnificat sexti toni, Saint-Saëns. Prélude, Fugue et variation, Choral III in a, dral de Soissons, Duruflé; Postlude pour l’of- Pachelbel; Aria Terza ex E Dur, de Neufville; Franck; Scherzo (Symphony No. 4), Widor; fice de complies, Alain; Finale (Symphonie Vom Himmel hoch, da komm ich her, J. B. CHRISTINE KRAEMER, First Presby- Chorale (Symphony No. 2), Vierne; Choral No. 2 in D), Widor; Toccata and Fugue in d, Bach; Meinen Jesum laß ich nicht, Walther; terian Church, Arlington Heights, IL, Octo- varié sur Veni Creator, op. 4, Duruflé; BWV 565, Bach. Was Gott tut, das ist wohlgetan, BWV 1116, ber 18: Suite II, Clerambault; Verset on Nasard (Suite Française, op. 59), Langlais; O Lamm Gottes unschuldig, BWV 1095, Morning Has Broken, Proulx; Prelude and improvisation. ANITA EGGERT WERLING, First Machs mit mir, Gott, nach deiner Güt, BWV Fugue in E-flat, BWV 552, Bach; There Is a Presbyterian Church, Macomb, IL, October 957, Herzlieb lieb ich dich, O Herr, BWV Spirit That Delights to Do No Evil (A Quak- SYLVIE POIRIER & PHILIP CROZI- 13: Sonata de 1° tono, Lidon; Sonata per 1115, Praeludium und Fuga in C Dur, BWV er Reader), Rorem; Carillon, Murrill. ER, Cathedral, Langres, France, July 23: Organo, Pergolesi; Sonata in D, K. 288, Scar- 545, Bach. Prélude et fugue en ut majeur, Albrechts- latti; Fugue in g, BWV 578, Fugue in b on a THOMAS MURRAY, First United berger; Werde munter, mein Gemüte, Theme of Corelli, BWV 579, Fugue in G, ANDREW DEWAR, Luther College, Methodist Church, Oak Park, IL, October 8: Pachelbel; Premier concerto pour deux BWV 577, Bach; Sonata No. 5 in c, op. 80, Decorah, IA, October 1: Prelude and Fugue Fanfare, Cook; Three Pieces, op. 29, Pierné; orgues, Blanco; Petit Prélude, Jongen; Les Guilmant.
Advertise in THE DIAPASON For information on rates and digital specifications contact Jerome Butera 847/391-1045,
2151 Madison Street, Bellwood, IL 60104 phone 708-544-4052 • fax 708 544-4058 [email protected] berghausorgan.com
Visit The Diapason website: www.TheDiapason.com
CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected] Insert the advertisement shown below (or enclosed) in the Classified Advertising section of THE DIAPASON for the following issue(s): Regular classified advertising is single para- January February March April May June July August September October November December graph “want ad” style. First line only of each ad in bold face type. Category ______ Regular Boldface PAYMENT MUST ACCOMPANY ORDER Display classified advertisements are set entirely in bold face type with the addition of a ruled box (border) surrounding the adver- Ad Copy ______tisement. ______Regular Classified, per word $ .90 Regular Classified minimum 18.00 ______Display Classified, per word 1.25 Display Classified minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 ______NOTE: Orders for classified advertising must be accompanied by payment in full ______for the month(s) specified. Orders will be accepted for one, two, three, four, five, or ______six months in advance. ______Non-subscribers wanting single copies of the issue in which their advertisement ______appears should include $4.00 per issue desired with their payment. ______The Diapason reserves the right to desig- Name ______Phone ______nate appropriate classification to advertise- ments, and to reject the insertion of advertis- Address ______Total Enclosed ______ing deemed inappropriate to this magazine. City/State ______Zip ______Date Sent ______
JANUARY, 2007 35 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 35.
POSITIONS POSITIONS MISCELLANEOUS PIANOFORTE AVAILABLE AVAILABLE FOR SALE
Assistant University Organist, All Saints Berghaus Organ Company has an immediate The Organist Entertained! Organists visiting Brown and Allen/Boston square grand Chapel/School of Theology—Academic Year opening for an experienced Technical Designer. England may stay at Sarum College, situated pianoforte. 73 keys. Very good condition. Best Term Appointment (July 1, 2007–June 30, The successful applicant will have an architec- inside the walled Cathedral Close, Salisbury, offer. Nelson, 847/367-5102 or 312/304-5287. 2008). This is a term appointment for an under- tural degree and be proficient in AutoCAD use and use two new organs with mechanical graduate or graduate student following a degree and application. Experience with console/façade actions for private study. Options for lessons, or between degrees. The position is an intern- design a plus. This is a key position that provides time on the Cathedral Father Willis organ, visits PIPE ORGANS ship which involves assisting the University a significant opportunity for advancement. to local sights. Excellent food, welcoming staff. Organist in the preparation and performance of Berghaus offers an excellent compensation Website: www.sarum.ac.uk e-mail: FOR SALE all services in All Saints’ Chapel, including music package that includes paid vacation, compre- [email protected] Tel: +44 1722 424805. for Sunday services, Choral Evensongs, hensive health insurance and company-matched 1954 Moller 2/8, $6,400—still in place, buyer to Lessons and Carols, special university services, IRA. Send résumé or contact Allison Gateley at remove; 1962 Schantz 3/33, $26,400—still in chapel weddings, choir rehearsals/concerts/ Berghaus Organ Company; 2151 Madison St., PUBLICATIONS/ place, buyer to remove; 1925 Moller 2/10, tours, responsibility for the services during sum- Bellwood, IL 60104 (708/544-4052). $8,000—still in place, buyer to remove; 1976 mer school, and administrative work involved in Respond by e-mail to Brian Berghaus: RECORDINGS Berghaus 2/11, $8,800—still in place, buyer to the maintenance of the University Choir and [email protected]. remove. Parted out: 1966 Moller 2/10—some Chapel Music Programs. Assist in the music for Alec Wyton’s Lotus is back in print. Order pipework still available, contact for details; 195? the School of Theology including Morning and learn the full story behind Billy Strayhorn’s Reuter 2/9—some pipework still available, con- Rapidly growing service organization has tact for details. Sold! 1949 Moller 3/30; Sold! Prayer, weekly Eucharist and other services as immediate openings for experienced service haunting melody played at Duke Ellington’s needed. The position requires a Bachelor’s or funeral. www.michaelsmusicservice.com; 1962 Wicks 2/4; Sold! 1969 Moller 2/3; Just technicians. Excellent compensation package reduced! 1964 Wicks 2/6, All new Peterson Master’s degree in organ performance and/or includes paid vacation, comprehensive health 704/567-1066. church music. The successful candidate must relay, new DC wiring, ready to ship now! Seller insurance and company-matched IRA. Send wants to liquidate! $18,000 or best offer! Fabry, show dedication and potential as both an organ- résumé or contact Allison Gateley ist and church musician. The expected term of Request a free sample issue of The Diapason Inc. offers removal services and shipping at Berghaus Organ Company; 2151 Madison F.O.B. Antioch, IL. Large used pipe inventory this renewable academic year appointment is St., Bellwood, IL 60104 (708/544-4052). for a student, friend, or colleague. Write to the three years. Interested candidates should send a Editor, The Diapason, 3030 Salt Creek Lane, available and ready for use. Contact for avail- Respond by e-mail to Brian Berghaus: able ranks and specifications. Fabry, Inc. 974 résumé, letters of recommendation, and a [email protected]. Suite 201, Arlington Heights, IL 60005; or recording (two organ pieces: large-scale Bach e-mail: [email protected]. Autumn Drive, Antioch, IL 60002, tel: work and a major 19th or 20th century work) by 847/395-1919, fax: 847/395-1991, e-mail: March 15, 2007 to: Teresa Smith, Personnel MISCELLANEOUS [email protected]. Coordinator; The University of the South, 735 Harpsichord Technique: A Guide to University Avenue, Sewanee, TN 37383-1000. Expressivity, 2nd edition with CDs, by 1967 Wicks 2-manual, 3 ranks extended, E-mail: [email protected]. Visiting London? Bed and Breakfast accommo- Nancy Metzger. Still available and still under 8v residence ceiling, excellent condition; dation available in large parish house minutes the practical hands-on choice! $6,500 or best offer, buyer to remove. 870/772- Experienced voicers needed for expanded away from Westminster Abbey, the Thames, St. www.rcip.com/musicadulce. 8184; [email protected]. voicing department. Excellent compensation James’s Park and the Underground. Modern package includes paid vacation, comprehensive kitchen and laundry available. For information write: St. Matthew’s House, 20 Great Peter Street, West- 1935 7-rank Moller. 6-rank unit chest. Two 3- health insurance and company-matched IRA. rank sections with tremulants. Diapason, String, Send résumé or contact Allison Gateley at minster, London, SWIP 2BU. Tel. 0171 222 3704, HARPSICHORDS/ FAX 0171 233 0255, e-mail [email protected]. Celeste, Lieblich Gedeckt, Vox Humana, Clar- Berghaus Organ Company; 2151 Madison St., CLAVICHORDS inet. 56-note pedal Bourdon with chests. Bellwood, IL 60104 (708/544-4052). Chimes. 2 HP kinetic blower. Located in New Respond by e-mail to Brian Berghaus: Jersey. Best offer. Wendell Rotter, [email protected]. THE DIAPASON 2007 Resource Directory Harpsichords from the workshop of Knight was mailed to all subscribers with the January Vernon. Authentic replicas of historic instru- 315/469-1229. 2007 issue. Additional copies are available at a ments carefully made and elegantly decorated. New classified advertising rates went into cost of $5.00 postpaid. Contact the 8201 Keystone, Skokie, IL 60076. Telephone 1952 Wicks organ. Three manuals, 18 ranks, effect January 1, 2007. See page 35 for editor, Jerome Butera, at 847/391-1045, 847/679-2809. Web site: 36 stops. Playing in Cleveland area. $10,000 information. [email protected]. www.vernonharpsichords.mykeyboard.com. minus blower. Greg Sparks, 216/252-8264.
glück newyork orgaNbuilders
170 Park Row, Suite 20A New York, NY 10038
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Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
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For Pipe Organ Parts: arndtorgansupply.com Muller Or send for our CD-ROM catalog Pipe Organ Company Arndt Organ Supply Company P.O. Box 353 • Croton, Ohio 43013 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 9310 Dodd Road • Kilkenny, Minnesota 56052 800-543-0167 Phone (515) 964-1274 Fax (515) 963-1215 (507) 334-2277 www.MullerPipeOrgan.com
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PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
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I will and organist, or expertly refurbished and retro- manship. Reading Organ Works, A. Richard FOR SALE load Tunelab97 software, road test it, and return fitted using reliable technology from established Hunter, P.O. Box 267, 1324 Vermont Route your laptop for $135 including shipping, plus any suppliers. Prestigious references. Available 106, Reading, VT 05062. 802/484-1275. nationwide. Glück New York. Telephone Atlantic City Pipe Organ—1940 E.M. Skinner parts. Any repairs or replacements, hard drive, E-mail [email protected]. etc are extra. Options: Register your software, 212/608-5651 (office) or 917/903-8281 (general & Son: 3-manual drawknob console, Pedal manager). Bourdon with chest, Gt/Sw 8v & 4v Principals, $35; spreadsheets of historical tunings, no Trumpet, Vox, Cor D’amour, straight chests, charge; manual, no charge. Send your old lap- Austin actions recovered. 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Two Moller shade actions (six engines SUPPLIES each), $150 each, also pipes, consoles, Flue pipes in metal and wood–Mixtures Need help with your re-leathering relays, and miscellaneous parts. Let us know Pneumatic restoration available through our and upperwork are available from stock or what you are looking for. E-mail project? All pneumatics including specify custom orders to meet your exact full-service releathering and conservation Austin. Over 45 years experience [email protected] (not comcast), phone department. Meticulous work, quality hides, requirements. Tuning Sleeves with 215/353-0286 or 215/788-3423. (on the job assistance available). flare–Order complete sets ready to install parts duplication, spring replication, special ser- 615/274-6400. vices. Removal and reinstallation anywhere in or bulk quantities in each diameter. These the nation. Glück New York. Telephone sleeves are guaranteed to fit and will not Organ windchest for sale by Herb Huestis, tarnish or corrode. For excellent quality, #1502—1574 Gulf Road, Point Roberts, WA 212/608-5651 (office) or 917/903-8281 (general manager). great pricing and timely delivery contact: 98281, phone 604/946-3952, e-mail: ALL REPLIES International Organ Supply, P.O. Box 401, [email protected]. Shipping to U.S. or Cana- Riverside, IL 60546. 800/660-6360. FAX da—no overseas. Casavant offset pedal chest TO BOX NUMBERS 708/447-0702. 48w x 9.5w x 9w, 8 notes only, no rackboard. 6- The Whistle Shop repairs and rebuilds pipe that appear 1/2w spacing for 16v pedal reed. Price $275, organs. Southwestern U.S. Also, maintenance and tonal work. Finest materials, expert work- without an address includes shipping. Postal regulations require that mail manship. K.E.M. Pipe Organ Builders, Austin, should be sent to: TX. 800/792-8180. to THE DIAPASON include a suite num- ber to assure delivery. Please send Send recital programs to THE DIAPASON, THE DIAPASON all correspondence to: THE DIAPA- 3030 W. 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Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
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PATRICK J. MURPHY & ASSOCIATES, INC. THE DIAPASON ORGANBUILDERS 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 610-970-9817 • 610-970-9297 fax Name ______NEW SUBSCRIBER [email protected] • www.pjmorgans.com RENEWAL Street ______ENCLOSED IS $70.00—3 YEARS Jacques Stinkens City ______ $55.00—2 YEARS W. Zimmer & Sons $35.00—1 YEAR Organpipes - since 1914 pipe organ builders State ______Zip ______FOREIGN SUBSCRIPTIONS Your personal wishes are in good hands P.O. Box 520 $85.00—3 YEARS Please allow four weeks for delivery of first issue Pineville, NC 28134 $65.00—2 YEARS Antonlaan 8 Tel. +31 30 - 691 38 27 [email protected] on new subscriptions. $45.00—1 YEAR NL - 3701 VE Zeist Fax +31 30 - 692 06 20 www.stinkens.nl (803) 547-2073
JANUARY, 2007 37 *=picture +=musical examples 2006 In Review—An Index †=stoplist #=diagrams
Articles, Reports, and Reviews by author (boldface) and subject
Aeolian-Skinner. See Maycher. Landrum, Mary Fisher. The Sewanee Church Music Conference 2005. Jan 17* AGO National Convention. See Maki-Schramm, et al. ______. The Sewanee Church Music Conference 2006. Nov 21* Alain, Marie-Claire. See Christie. Letters to the Editor. Feb 3, Mar 3, April 3, May 3, June 3, July 3, Sept 3, Nov 3 Albert Schweitzer Organ Festival. See Spicer. Lo-Bamijoko, Joy Nwosu. New Hymn Book. July 19 Apple, Warren. New Organ Music. Feb 18, April 18, May 19 London. See Kuznik. Atkinson, Gordon, and James Wagner. Ann Arbor Summer Festival Classical Music Series; 27th International Organ and Church Music Institute. Oct 23 Maki-Schramm, Edward, Joy Schroeder, W. James Owen, and Jerome Atonality. See Sadoh. Butera. 2006 AGO National Convention. Dec 23–27* Aubertin. See Fournier. Mason, Marilyn. The University of Michigan Historic Organ Tour 52. Mar 17*† Maycher, Lorenz. The Williams Family of New Orleans: Installing and Maintain- Baggia, Aldo. Organs in the French Alps. A juxtaposition of great sound and great ing Aeolian-Skinner Organs. An Interview with Nora Williams. 24* scenery. June 20–23* McCray, James. Music for Voices and Organ. Jan 12, Feb 12, 14, Mar 12–14, Basch, Peter J. Book Reviews. Sept 16–17 May 16–17, June 15–16, July 14, 16, Aug 15–16, Sept 16, Oct 14, 16, Nov Bengston, Bruce. Searle Wright as a Teacher. Oct 24–25* 14–15, Dec 14, 16 Biggs, E. Power. See Warde. Mozart. See Palmer, Warde. Bishop, John. In the wind . . . Jan 8, 10, 12*, Feb 10, 12, Mar 10, 12*, April 14, Music for Voices and Organ. See McCray. 16, May 14, 16, June 14, July 10, 12, 14*, Aug 12, 14–15*, Sept 14–15*, Oct 14, Nov 13–14*, Dec 12, 14 Nelson, Leon. New Handbell Music. June 19, July 19, Aug 17, Nov 19 Book Reviews. See Basch, Bullat, Cavanagh, Chase, Hartman, Hettinger. New Hymn Book. See Lo-Bamijoko. British and French Organ Music Seminars. See Harmon. New Organ Music. See Apple, Collins, Gell, Hardwick, Hettinger, Kramer. Bruhns. See Knijff. New Recordings. See Chase, Collins, Heaton, Kuznik, Pickering, Robinson, Speed, Bullat, Nicholas. Book Reviews. Feb 14, April 16, June 16, Sept 17 Speller. Nigerian composers. See Sadoh. Carillon News. See Swager. Cavanagh, Lynn. Book Reviews. July 16–17, Oct 16, Dec 16 Obetz, John. Dobson Opus 76 Inaugural Concerts. Kimmel Center, Philadelphia. Chase, Jeffrey K. Book Reviews. Feb 14, 16, Mar 14–15 July 27–29*† ______. New Recordings. May 18–19, Sept 19, Nov 19 Organ Historical Society Conventions. See Dean, Rippl. Choral Music. See McCray. Organ Recitals. Jan 30–31, Feb 32–33, Mar 32–33, April 36–37, May 36–37, June Christie, James David, David Craighead, Thomas F. Froehlich, John 36–37, July 36–37, Aug 36–37, Sept 36–37, Oct 37, Nov 36–37, Dec 36–37 Grew, Stephen Hamilton, James Higdon, John Obetz, Norma Stevling- Organ Tours. See Harmon, Mason. son, and Donald S. Sutherland. Marie-Claire Alain—80th birthday tribute. Aug 18–21* Palmer, Larry. Harpsichord News. June 12* Coignet, Jean-Louis. Notes on the Organ in the Basilica of Sainte-Clotilde, Paris. ______. Mozart and the Harpsichord: An Alternate Ending for Fantasia in D Aug 26–27*† minor, K. 397. Nov 20*+ Coleberd, R. E. Stanley Wyatt Williams, 1881–1971. The Odyssey of an Organ- Pape, Uwe, edited by G. Nicholas Bullat. Documentation of Restorations. Dec builder. June 24–28*† 20–22* Collins, John. New Organ Music. Jan 16, April 18, July 19, Oct 19 Paris. See Fournier. ______. New Recordings. Jan 14–15, Feb 16, Mar 15–16, June 16, Sept Pickering, David C. New Recordings. Feb 17, April 17–18 18–19, Oct 17–18, Dec 18 Pedagogy. See Knijff. Dean, Ronald E. Organ Historical Society Convention, July 12–18, 2005. April Quef, Charles. See Young. 22–29* Dickinson, William. University of Iowa, Institute for Sacred Music 2006. Sept Restoration. See Pape. 29* Rippl, Frank G. The Organ Historical Society Fiftieth Anniversary Convention, Dobson Pipe Organ Builders. See Kuznik, Obetz. June 25–30, 2006. Nov 26–30* Documentation. See Pape. Robinson, Joyce Johnson. Challenging the culture: A conversation with Paul Dresden’s Frauenkirche. See Kuznik. Jacobs. Feb 22–25* ______. Globe Trotter: A conversation with Thomas Trotter. July 24–26* Europa Bach Festival. See Fournier. ______. New Recordings. Aug 16 Fournier, Carolyn Shuster. A New Aubertin Organ in the German Baroque Sadoh, Godwin. Hybrid Composition: An Introduction to the Age of Atonality in Style—Saint-Louis-en-l’Isle Church, Paris, France. Mar 22–25*† Nigeria. Nov 22–25+ ______. The First Europa Bach Festival in Paris. Feb 19* Saint Albans Organ Festival. See Kuhlman. Frauenkirche, Dresden. See Kuznik. Saint-Louis-en-l’Isle Church, Paris, France. See Fournier. French Alps. See Baggia. Sainte-Clotilde. See Coignet. Sewanee Church Music Conferences. See Landrum. Gell, David A. New Organ Music. Feb 17–18 Speed, Robert M. New Recordings. Jan 16, Dec 18 Speller, John L. New Recordings. Jan 15–16, Feb 16–17, Mar 15, April 16–17, Handbell Music. See Nelson. May 18, June 16–18, July 17–18, Aug 16–17, Sept 18, Oct 18–19, Dec 16–17 Hardwick, Peter. New Organ Music. June 18–19, Sept 20, Nov 19, Dec 19 ______. The Organ Music of William Walond. Mar 19–21+ Harmon, Christina. British and French Organ Music Seminars 2005. Mar 26 Spicer, David. Albert Schweitzer Organ Festival/USA. Mar 18* Harpsichord News. See Palmer. Swager, Brian. Carillon News. June 12*, July 10* Hartman, James B. Book Reviews. Jan 14, Mar 14, April 16, May 17–18, Nov ______. Carillon Summer Concert Calendar. June 32 15–16 Heaton, Charles Huddleston. New Recordings. Mar 16, April 18, Nov 18, Dec Trotter, Thomas. See Robinson. 17–18 Hettinger, Sharon L. Book Reviews. Jan 12, 14 University of Iowa. See Dickinson. ______. New Organ Music. Mar 16, June 19, Aug 17, Sept 20, Dec 19 University of Michigan. See Atkinson, Mason, Van Oyen. Huestis, Herbert L. Westfield Center Conference: Christ Church Cathedral, Victoria, British Columbia, Canada. Dec 28–29* Van Oyen, Marcia. The 45th Conference on Organ Music: The University of Hindemith Sonata No. 2. See Knijff. Michigan, October 9–12, 2005. May 20* In the wind . . . See Bishop. Walond, William. See Speller. Westfield Center Conference. See Huestis. Jacobs, Paul. See Robinson. Warde, Anton. E. Power Biggs in Mozart Country. Part 1, July 20–23*; Part 2, Aug 22–25*; Part 3, Sept 21–25*; Part 4, Oct 26–30* Kimmel Center, Philadelphia. See Kuznik, Obetz. Williams, Nora. See Maycher. Knijff, Jan-Piet. Bruhns’s “Little” E-minor: A Guide Towards Performance. Jan Williams, Stanley Wyatt. See Coleberd. 22–24+ Wright, Searle. See Bengtson. ______. Hindemith Sonata No. 2, second movement: A Guide Towards Per- formance. April 19–21+ Young, Steven. Introducing Charles Quef: Forgotten master of La Trinité in ______. Johann Ludwig Krebs, Prelude in F Major: A Guide Towards Perfor- Paris. Oct 20–22*+ mance. Aug 28–29+ Kramer, Gale. New Organ Music. Jan 16–17, Feb 18, May 19 Krebs, Prelude in F Major. See Knijff. Kuhlman, William. The 23rd International Organ Festival at Saint Albans 2005. Jan 19–21* Kuznik, Joel. Dresden’s Frauenkirche—Once a Silbermann, now a Kern. Feb 20–21*† ______. A London Musical Journal: Holy Week and Easter 2006. Sept 26–28* ______. New Recordings. Nov 16–18 ______. Philadelphia Joins the Ranks—Dobson Opus 76. Jan 18*#
38 THE DIAPASON Appointments Honors and Competitions Obituaries
Adams, Bert,* to Park Ridge Presby- Ahn, So-Yi,* wins Carlene Neihart Poister National Organ Competition, Angell, James.* July 10 terian Church, Park Ridge, IL. International Organ Competition, Syracuse, NY. June 8; awarded John Bantz, Jeffri W.* Oct 8, 10 April 6 Prairie Village, KS. July 4 R. Rodland Memorial Scholarship, Barnes, Raymond J.* Aug 8, 10 Anderson, Christopher,* to associate Alain, Marie-Claire,* awarded Doctor Ridgewood, NJ, July 6, 8; wins Schol- Brown, William P.* April 10 professor of sacred music, Perkins of Humane Letters degree by Johns arship Prize in Peter B. Knock Chalupka, Elizabeth Paul.* Feb 8 School of Theology, Southern Hopkins University. Oct 6 Memorial Scholarship Competition, Eve, Charles M. Aug 10 Methodist University, Dallas, TX. Alden, Susan,* awarded third prize, Rye, NY. Sept 10 Falcinelli, Rolande.* Aug 10 Nov 6 Miami International Organ Competi- Shin, Dong-ill,* wins Grand Prix at Fleischer, Heinrich.* June 10 Andrews, Colin,* to faculty, East Car- tion, Miami, FL. April 4 20th Concours International Fleming, Michael. April 10 olina University, Greenville, NC. Ashdown, Franklin D.,* wins d’Orgue, Chartres, France. Dec 10 Hansen, William A. July 8 Mar 5 ASCAPLUS Award. Nov 8 Sullivan, Daniel,* receives second Hazleton, Tom.* May 12 Bacon, Joel,* to Stewart and Sheron Berthier, Jacques, posthumously prize, Miami International Organ Kline, Dom Francis. Dec 10 Golden Chair in Organ and Liturgical given the Jubilate Deo Award by the Competition, Miami, FL. April 4 Kreamer, George M. Dec 10 Studies, Colorado State University, National Association of Pastoral Tappa, Richard J.,* honored at retire- Krueger, Richard L.* Oct 10 Fort Collins, CO. Sept 5 Musicians, Stamford, CT. Oct 4 ment, Covenant Presbyterian Lyall, Dorothy H. Jan 6, 8 Balling, Erich,* to Christ Church Brakel, Adam J.,* awarded third place Church, Sherman, TX. June 8 Mack, Forrest Campbell. Sept 10 Cathedral, Lexington, KY. Sept 5–6 in Carlene Neihart International Tate, Ken,* celebrated 40 years as a Peek, Richard.* Feb 8, 10 Belcher, Diane Meredith,* to organ Organ Competition, Prairie Village, church musician, First Presbyterian Portenga, Ann Rogalla. Dec 10 instructor, University of Pennsylva- KS. July 4 Church, Mankato, MN. Jan 6 Reese, William Heartt. Sept 10 nia, Philadelphia, PA. Nov 8 Brown, James Russell,* honored with te Velde, Rebecca Groom,* wins Steppe, John Anthony.* Aug 10 Bordignon, Paolo,* to associate organ- sabbatical after 20 years of service, St. 2005 AGO Region VII Composition Stout, Carl E. Dec 12 ist, St. Bartholomew’s Church, New Giles Episcopal Church, Northbrook, Competition. May 10 Sward, Scott. Mar 10 York, NY. Aug 4–5 IL. May 8 Weaver, John,* marks retirement CD Tillery, Maurice Odell. Dec 12 Brittenback, W. Michael,* to St. Brunelle, Philip,* named Honorary release, Madison Avenue Presbyter- Tsuji, Hiroshi. April 10, 12 George’s Episcopal Church, Dayton, Member of the Order of the British ian Church, New York, NY. Jan 6 Turnbull, John R. Nov 10 OH. Nov 8 Empire (MBE). Feb 6 Wyatt, Ronald,* honored for 30th VanSeters, Henry.* Aug 10 Cienniwa, Paul,* to First Church, Callahan, James P.,* retired from anniversary as Director of Music, Weathersby, Lucius R.* May 12 Boston, MA. April 6, 8 University of St. Thomas, St. Paul, Trinity Episcopal Church, Galveston, Williams, Steven. July 8 Cleveland, Douglas,* to visiting pro- MN. Dec 6 TX. Feb 8 Wilson, Grady W.* April 12 fessor of organ, University of Wash- Chenault, Elizabeth & Raymond,* ington, Seattle, WA. Jan 5 celebrated 30 years as organists and Colburn II, Daniel N.,* to executive choirmasters, All Saints’ Episcopal director, Organ Historical Society. Church, Atlanta, GA. Jan 6 Organ Stoplists July 5–6 Chotard, R. Craig,* honored after 35 Cummins, John,* to First-Plymouth years as organist and choirmaster, St. Congregational Church, United Mark’s Episcopal Church, Little Bedient Marceau Church of Christ, Lincoln, NE. Rock, AR. May 8 Amistad Chapel, United Church of St. Mark Lutheran Church, Anchor- April 8 Craighead, David,* to be honored by Christ Church House, Cleveland, OH. age, AL. 1/3,* Mar 28 Davis, Lynne,* to associate professor the American Guild of Organists, 2/14,* Jan 26 of organ and college organist, Wichi- Chestnut Hill Presbyterian Church, John Griffen Residence, Seattle, WA. Muller ta State University, Wichita, KS. Philadelphia, PA. May 8 2/12,* Mar 28 First (Park) Congregational Church, Sept 6 Engle, Randall D., awarded Ruth and St. Agatha Church, Upper Arlington, Grand Rapids, MI. 4/80,* Aug 32 Ferko, Frank,* to Archival Sound Clarence Mader Memorial Scholar- OH. 2/32,* July 32 Recording Cataloger, Archive of ship Fund research grant. June 4 St. Mark’s Pro-Cathedral, Hastings, Odell Recorded Sound, Stanford Universi- Ensemble Amarcord,* wins Best NE. 3/44*, Oct 1, 31–32 United Methodist Church of West- ty, Stanford, CA. Dec 5–6 Classical Album and Best Classical port and Weston, Westport, CT. 2/23,* Foster, Stewart Wayne,* to organist Song in the 2006 Contemporary A Buzard Dec 1, 30 in residence, First Congregational Cappella Recording Awards. June 4 St. Francis in the Fields Episcopal Church, Los Angeles, CA. May 6 Fairs, Henry, awarded Second Church, Zionsville, IN. 2/27*, Aug 1, Petty Grammer, Kathleen,* to executive Grand Prix at 20th Concours Inter- 30–31 First United Methodist Church, director, Friends of the Kotzschmar national d’Orgue, Chartres, France. Eugene, OR. 1/4,* Oct 32 Organ, Portland, ME. Aug 5 Dec 10 Casavant Hanson, J. Roy, to Rodgers Instru- Faulkner, Quentin,* retired from the Principia College, Cox Auditorium, Petty-Madden ments, LLC. April 8 University of Nebraska-Lincoln. Elsah, IL. 3/56,* May 1, 30 Dobbs Chapel at Trinity Presbyterian Lamb, David,* to associate director, June 6 Church, Atlanta, GA. 2/29,* Nov 32 Concert Artist Cooperative. Oct 5 Fournier, Carolyn Shuster, awarded Glück Long, Larry J.,* to associate organist, Ruth and Clarence Mader Memorial Union Church of Pocantico Hills, Reuter St. James’ Church (Episcopal), New Scholarship Fund research grant. Tarrytown, NY. 3/20,* July 1, 31 St. Francis Xavier Cathedral, Alexan- York, NY. Nov 8 June 4 dria, LA. 4/48,* June 29 Matthews, Susan Jane,* to St. Paul’s Frühauf, Tina, awarded Ruth and Gober Episcopal Church, Burlingame, CA. Clarence Mader Memorial Scholar- The Lutheran Church of the Good Schlueter April 8 ship Fund research grant. June 4 Shepherd (ELCA), Brooklyn, OH. First Presbyterian Church, Savannah, Metzler, James R.,* to First (Park) Gentile, Steve, completes 25 years as 2/27,* May 32 GA. 3/47,* April 1, 30–31 Congregational Church, Grand director of music/organist, Church The Oratory, St. Benedict’s Monastery, Rapids, MI. Aug 5 of St. Helena, Minneapolis, MN. St. Joseph, MN. 1/5,* Sept 32 Wicks Miller, Charles,* to National City Sept 6 First Congregational Church, Kala- Christian Church, Washington, DC. Hagmann, Jane,* honored for 50 years Goulding & Wood mazoo, MI. 3/45,* June 1, 30 Dec 4 of service as organist, First Baptist Second Presbyterian Church, Nowak, Ed,* to Saints Faith, Hope, Church, New Albany, IN. May 8 Roanoke, VA. 3/54,* Mar 1, 27 Wilhelm and Charity Parish, Winnetka, IL. Hieronymous, Bess,* retiring after 30 Emmanuel Episcopal Church, Dec 4 years at the University of Texas at San Hupalo & Repasky Killingworth, CT. 2/12,* Aug 32 Potts, Nigel,* to Christ & St. Stephen’s Antonio. May 8 St. Maria Goretti Parish, Scottsdale, Paris-Yates Chapel, University of Episcopal Church, New York, NY. Husa, Karel, celebrates 85th birthday. AZ. 3/37,* Nov 1, 31 Mississippi. 2/32, Feb 28 Sept 6 Nov 10 St. Thomas Episcopal Church, Berea, Ridgell, Robert P.,* to assistant organ- Karosi, Bálint,* wins first and audi- Kegg OH 2/23,* Dec 32 ist, Trinity Church (Wall Street), ence prizes, Miami International Texas A&M International University, New York, NY. Feb 5–6 Organ Competition, Miami, FL. Laredo, TX. 4/69,* Sept 1, 30–31 Cornel Zimmer Scholtz, Mark R., to tonal director, April 4 North Decatur Presbyterian Wicks Organ Company, Highland, Palmer, Larry, elected to second Létourneau Church, Decatur, GA. 3/17, +56 dig- IL. May 8 term as president, Southeastern His- The Abbey of Gethsemani, Trappist, ital,* Jan 1, 25 torical Keyboard Society, Rome, GA. KY. 2/29,* Jan 26 Schwandt, John,* to associate profes- May 10 sor of organ and director of the The Church of Christ at Dart- Park, Yoon J.,* awarded second place mouth College, Hanover, NH. 2/30,* American Organ Institute, University in Carlene Neihart International of Oklahoma, Norman, OK. Dec 5 Sept 32 Organ Competition, Prairie Village, The Lutheran Church of the Nativity, THE DIAPASON Shaffer, Charles, to assistant to the KS. July 4 director of music ministries for Alexandria, VA. 2/17,* June 29 Proulx, Richard, to be honored with The Pasquerilla Spiritual Center, The Jerome Butera, Editor organ concerts, Westwood United Distinguished Composer Award, Methodist Church, Los Angeles, CA. Pennsylvania State University, State 847/391-1045 American Guild of Organists, Chica- College, PA. 2/41,* Nov 32 [email protected] Feb 6 go, IL. Mar 8 Singleton, Adam G.,* to St. Peter’s Righetti, Benjamin, awarded Audi- Levsen Episcopal Church in Bay Shore, Long ence Prize at 20th Concours Interna- First United Methodist Church, Peo- Joyce Robinson, Associate Editor Island, NY. Dec 4–5 tional d’Orgue, Chartres, France. ria, IL. 3/63,* April 31 847/391-1044 Tharp, Maria Helena Vieira da Dec 10 St. Peter Lutheran Church, Denver, [email protected] Costa,* to St. Paul’s Ev. Lutheran Ritchie, George,* retired from the IA. 2/15, Dec 32 Church, New York, NY. June 4 University of Nebraska-Lincoln. St. Stephen’s Lutheran Church, web: TheDiapason.com Tritle, Kent,* to music director, Orato- June 6 Atkins, IA. 2/16,* Oct 32 rio Society of New York. April 8 Rowland, Pleasant, received AGO 3030 W. Salt Creek Lake, Suite 201 Yang, Sae Wan, to Westwood United President’s Award, at national con- Lewtak Arlington Heights, IL 60005-5025 Methodist Church, Los Angeles, CA. vention. Oct 4 St. Joseph’s Catholic Church “On the Feb 6 Ryan, Jonathan,* wins 2006 Arthur Hill,” Camillus, NY. 3/43,* Feb 1, 26
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