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THE DIAPASON NOVEMBER 2018

Buckfast , Cover feature on pages 26–28 ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS

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

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

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

CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER

IT’S ALL ABOUT THE ART ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Ninth Year: No. 11, As autumn quickly passes by Whole No. 1308 While I write this greeting on an autumn day in the Midwest NOVEMBER 2018 where the temperatures are expected to exceed 80 degrees, we Established in 1909 can all feel the weather change in the air. Later in November Stephen Schnurr ISSN 0012-2378 comes Thanksgiving; the staff of The Diapason wishes every- 847/954-7989; [email protected] one a safe and pleasant holiday. www.TheDiapason.com An International Monthly Devoted to the Organ, Soon thereafter, most of us will be busy with preparations the , Carillon, and Church Music for Advent and Christmas. May your endeavors be fruitful In “Harpsichord Notes,” Larry Palmer reviews for us three and rewarding. Be sure to check out our Calendar and Here recent recordings of Bach’s Goldberg Variations. Gavin Black, CONTENTS & There sections for announcements of special Advent and in “On Teaching,” muses on various aspects of . FEATURES Christmas recitals, concerts, and Lessons & Carols services. In “In the Wind . . .,” John Bishop provides insights as to how The 1864 William A. Johnson Opus 161, Take the time to experience one or more of these events! the wind systems of pipe organs function. Our Reviews section Piru Community United Methodist Church, contains selections of new choral music, organ music, organ Piru, California, Part 4 In this issue by Michael McNeil 20 recordings, and handbell music. We conclude Michael McNeil’s series of documentation for Our cover feature spotlights the recent installation of two The fi ftieth anniversary of the death of Healey Willan (1880–1968): A year of the 1864 William A. Johnson Opus 161 in the Piru Community organs at Buckfast Abbey, Devon, United Kingdom, by Fratelli remembrances in 2018 United Methodist Church of Piru, California. Father Scott Ruffatti of Padua, Italy. The organs, located at either end of the by Fr. Scott A. Haynes, SJC 25 Haynes, SJC, reports for us on remembrances of the fi ftieth abbey church, are each playable from two consoles. Q NEWS & DEPARTMENTS anniversary of the death of Healey Willan. Editor’s Notebook 3 Here & There 3 Appointments 6 Special Bulletin Nunc Dimittis 10 Harpsichord Notes by Larry Palmer 16 On Teaching by Gavin Black 17 20 under 30 publications and com- In the wind . . . by John Bishop 18 The Diapason announces its upcoming “20 under 30” positions, offi ces held, REVIEWS nominations for 2019. We will recognize young men and and signifi cant positions. New Choral Music 13 women whose career accomplishments place them at the Nominations will open New Organ Music 14 forefront of the organ, church music, harpsichord, carillon, December 1, 2018, and New Recordings 14 and organbuilding fi elds—before their 30th birthday. close February 1, 2019. New Handbell Music 15 Please consider whether any of your students, colleagues, or Nominees cannot friends would be worthy of this honor. (Self-nominations will have reached their 30th CALENDAR 29 not be allowed.) Nominees will be evaluated on how they have birthday before January 31, 2019. Nominees not selected in a RECITAL PROGRAMS 33 demonstrated such traits and accomplishments as leadership previous year can be nominated again. CLASSIFIED ADVERTISING 34 skills, creativity and innovation, career advancement, techni- Evaluation of the nominations and selection of the mem- cal skills, and community outreach. Evaluation of nominees bers of the Class of 2019 will take place in March; the winners will consider such things as awards and competition prizes, will be announced in the May 2019 issue of The Diapason.

THE DIAPASON NOVEMBER 2018 Here & There

Events 3/31, David Christopher; June 18–19, Trinity Lutheran Church, Worces- Longwood Gardens International Organ ter, Massachusetts, continues its Competition. For information: 2018–2019 series, Music at Trinity, cel- www.longwoodgardens.org. ebrating the 50th anniversary of Noack Organ Company Opus 40, completed Quire Cleveland, Cleveland, Ohio, in March 1969: November 1, Durufl é, Jay White, artistic director, announces ; December 2, Advent Les- its 2018–2019 season, the organiza-

Buckfast Abbey Devon, United Kingdom sons & Carols; March 3, 2019, Jonathan tion’s eleventh: In Lux Perpetuam, Cover feature on pages 26–28 Dimmock; 3/31, Sean Redrow; April 14, Journey into Eternal Light: November Fisk Opus 98, First Presbyterian Church, James MacMillan, St. Luke Passion; May 2, Cathedral of St. John the Evangelist, Evansville, Indiana 19, Nathaniel Gumbs. For information: Cleveland; 11/3, St. Sebastian Catholic COVER Fratelli Ruffatti, Padua, Italy; Buckfast Abbey, www.trinityworc.org. Church, Akron; Kira Garvie; August 2, Yong Zhang. For Devon, United Kingdom 26 Charpentier’s Midnight Mass, with further information: Délices: December 21, Holy Trinity http://fi rstpresevansville.com. Lutheran Church, Akron; 12/22, Lake- Editorial Director STEPHEN SCHNURR wood Congregational Church, Lake- and Publisher [email protected] wood; 12/23, Our Lady of Peace Catholic 847/954-7989 Church, Cleveland; President RICK SCHWER Ave Maria: ’s Rose: May 4, [email protected] Lakewood Congregational Church; 5/5, 847/391-1048 St. Peter , Cleveland. For information: Editor-at-Large ANDREW SCHAEFFER [email protected] www.quirecleveland.org.

Sales Director JEROME BUTERA First Presbyterian Church, Evans- [email protected] 608/634-6253 ville, Indiana, announces special music Circulation/ Longwood Gardens Aeolian organ events for 2018–2019: November 2, Subscriptions ROSE GERITANO console (photo credit: Duane Erdmann) Lucas Fletcher; 11/11, Thanksgiving Cathedral Church of the Advent, Bir- [email protected] mingham, Alabama, M. P. Möller organ 847/391-1030 festival with Giesecke organ Longwood Gardens, Kennett dedication; December 9, Advent Les- console Designer KIMBERLY PELLIKAN Square, Pennsylvania, continues its sons & Carols; February 1, 2019, Mat- [email protected] 847/391-1024 2018–2019 organ events: November 2, thew O’Neill, tenor; March 1, Jefi mija The Cathedral Church of the Peter Richard Conte and Jeremy Fil- Zlatanovic & Madeleine Varda; April Advent, Birmingham, Alabama, contin- Contributing Editors LARRY PALMER sell; 11/11, John Walthausen; February 5, Josiah Hamill; 4/28, Sr. Catherine ues special music events for 2018–2019. Harpsichord 9, 2019, Todd Wilson; 2/17, Parker Kit- Duenne, OSB; May 3, Jihye Choi; 5/6, Choral , Thursdays at 5:30 BRIAN SWAGER terman; March 3, Michael Smith; 3/22, Evansville Chapter American Guild of p.m.: November 15, December 20 Carillon David Briggs; 3/30, open console day; Organists service of installation; June 7, ³ page 4

JOHN BISHOP In the wind . . . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles GAVIN BLACK 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. On Teaching Subscriptions: 1 yr. $42; 2 yr. $75; 3 yr. $100 (United States and U.S. Possessions). Copyright ©2018. Printed in the U.S.A. Canada and Mexico: 1 yr. $42 + $10 shipping; 2 yr. $75 + $15 shipping; 3 yr. $100 + $18 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $42 + $30 shipping; 2 yr. $75 + $40 shipping; specifi c written permission of the Editor, except that libraries are authorized to make Reviewers Karen Schneider 3 yr. $100 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading Jay Zoller only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Carolyn Shuster Fournier Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the Paul R. Marchesano 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, Leon Nelson This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2018 Q 3 Here & There

³ page 3 Coltrane, with Imani Winds and Harlem (Christmas Lessons & Carols), January ; 2/24, Brahms, Requiem, 17, 2019, February 21, and May 30. and Mendelssohn ; March 3, Ste- Advent Lessons & Carols are presented phen Tharp; 3/21, without Words, December 2, 9:00 and 11:00 a.m. with Mark Markham; April 14, So We The Cathedral’s Midday Music Series, Must Make the Journey, with Lorelei Fridays at 12:30 p.m.: November 16, Ensemble; May 24, Handel, Dixit Domi- Peter H. Bloom, fl ute, Francis Grime, nus, and Haydn, Harmoniemesse; June , and Mary Jane Rupert, ; 2, Sing & Celebrate, with St. Ignatius December 14, Cathedral Ringers Hand- Children’s . For information: bell Ensemble; January 25, Birmingham www.smssconcerts.org. Boys ; March 1, Frederick Teardo, piano; April 26, Cathedral Ringers The Legion of Honor Museum, San Handbell Ensemble. Francisco, California, announces organ Johannes Zeinler with competitors and jury, Chartres Cathedral, In addition, the Cathedral Concert recitals on the museum’s 1924 Skinner Series presents: November 2, Frederick Organ Company organ, Saturdays at 4:00 The 26th International Organ Competition of Chartres, France, organized in Teardo; January 10, Michael Unger; p.m.: November 3, 10, 17, 24, Jonathan 1971 by of Grands Orgues of Chartres, was held September 9. The jury February 22, VOCES8; May 4, Festival Dimmock; December 1, 8, 15, 22, David for the interpretation fi nals consisted of Daniel Roth (Grand Prix de Chartres 1971, of , , and Spiritual Songs, Hegarty; 12/29, John Walko; January 5, France), chair, Susan Landale (Great Britain), Jon Laukvik (Norway), Dong-ill Shin with the cathedral choir and the choir of 12, 19, 26, 2019, Jonathan Dimmock. (Grand Prix de Chartres 2006, South Korea), Stephen Tharp (United States), and Véro- St. George’s Episcopal Church, Nash- For information: www.legionofhonor. nique Le Guen and Olivier Vernet (both of France). Johannes Zeinler, 25, of Austria, ville, Tennessee. For information: famsf.org/education/organ-concerts. won three awards: fi rst prize for interpretation, public prize for interpretation, and the www.adventbirmingham.org. prize for the best interpretation of a work of Thomas Lacôte (http://johanneszeinler. com/en_US/). Daria Burlak, 32, of Russia, was presented the second prize for inter- pretation (http://dariaburlak.com). Amélie Held, 21, of , is a fi nalist (www. amelieheld.com). The program for the fi nal round included Prelude and in G Major, BWV 550, by Bach, Phteggomai, by Thomas Lacôte (world premiere, commis- sioned by the Association des Grandes Orgues de Chartres), “Choral” from Symphonie VII, opus 42, by Charles-Marie Widor, and Prelude and Fugue on the Name of Alain, opus 7, by Maurice Durufl é. For information: www.orgues-chartres.org.

Shadyside Presbyterian Church, Pitts- burgh, Pennsylvania

Shadyside Presbyterian Church, St. Ignatius Loyola Catholic Church, Pittsburg, Pennsylvania, announces its New York, New York, Mander organ 2018–2019 Music in a Great Space series: November 4, Vierne, Messe Solennelle, Jeff Enns Tyler Jameson Pimm Sacred Music in a Sacred Space with the Shadyside Chancel Choir; announces its 2018–2019 season of December 6, Among Angels, with the The Twin Cities Chapter of the American Guild of Organists announces concerts at St. Ignatius Loyola Catholic Pittsburgh Camerata; 12/9, Lessons & results of its 2018 composition competition. Eleven works were submitted to the Church, New York, New York: November Carols with the Shadyside Chancel Choir; competition committee, each work for solo , consisting of a theme and 3, Yale Schola Cantorum; 11/12, Estonian February 3, 2019, Music of the Spheres, variations of three to fi ve minutes in length. In the unanimous opinion of the judges, Philharmonic Chamber Choir and the with the Pittsburgh Camerata; 2/16, Bach, no composition achieved fi rst prize. Winning $750 each, second-place is awarded to Tallinn Chamber in music Mass in B Minor, with Amici Musicae Jeff Enns of Elmira, Ontario, for Variations on D’où Vienstu, Bergère? and to Tyler of Arvo Pärt; 11/30 and December 2, A Leipzig Choir and Orchestra; March 31, Jameson Pimm of Madison, Wisconsin, for Christ lag in Todesbanden: with Chanticleer Christmas; 12/9 and 12/16, Chanticleer 40th anniversary program; Variations. Judges were Philip Brunelle, Aaron David Miller, and Lawrence Lawyer. Christmas concerts. April 13, Handel, Messiah, with the Pitts- Enns is music director for St. James Lutheran Church, Elmira, Ontario, and January 20, 2019, Renée Anne Lou- burgh Camerata and Chatham ; teaches and viola at the Beckett School in Waterloo, Ontario. His publishers prette with Ivan Goff, Uillean pipes; 4/26, John Walker; June 5, Britain and include MorningStar, Cypress Alliance, Renforth, and Kelman Hall. Pimm serves February 8, Passion for Bach and ³ page 6 as director of music at the of St. Peter, Ashton, Wisconsin, and St. Martin of Tours, Martinsville, Wisconsin. He holds a Master of Music in composition from Northern Illinois University, DeKalb, Illinois. Requirements for the 2019 composition competition will be announced at: www.tcago.org.

Andrew Scanlon (second from left) with RSCM Nigeria Course faculty

Andrew Scanlon was a clinician for the Royal School of Church Music (RSCM) Nigerian Training Course, held in Lagos, Nigeria, August 20–25. In addition to teach- ing organ, choir training, theory, and conducting to organists and choirmasters from various parts of Africa, he performed an organ recital at the Cathedral of St. Jude in Lagos and conducted the RSCM Nigeria National Choir in the closing performance “superb musicianship, masterly technique and savvy programming … Archer’s of the conference. sweeping assurance and stamina enable you to hear the music behind the virtuosity.” In July, Scanlon served as organist for the choir of St. John’s Episcopal Church, — GRAMOPHONE (JAN 2018) — Lynchburg, Virginia, during its residency at Gloucester Cathedral, UK. This fall, Scanlon performs concerts at St. Paul’s Episcopal Church in Greenville, North Caro- MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com lina, and at West Point Military Academy, West Point, New York.

4 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM Colin Andrews R. Monty Bennett Elisa Bickers Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Charlotte, North Carolina Prairie Village, Kansas Ann Arbor, Michigan Austin, Texas Hutchinson, MN

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

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

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

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

Beth Zucchino Clarion Duo Rodland Duo Christine Westhoff Organist/Harpsichordist/Pianist Keith Benjamin, Viola and Organ & Timothy Allen Sebastopol, California University of Missouri-Kansas City The Juilliard School/ Soprano and Organ Melody Steed, Elementary Music St. Olaf College Little Rock, Arkansas Specialist, Waterloo, Iowa www.ConcertArtist Cooperative.com R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 31st- year of operation Here & There

³ page 4 with gamelan and dancers; March 30, Beyond: Folksongs of the British Isles, King’s College Choir, Cambridge, UK; Appointments with the Pittsburgh Camerata. April 14, Mozart, Requiem; May 16, Carolyn Craig is appointed for Candlelight Vespers are offered Diderot String Quartet; 5/31, Diderot 2018–2019 at Truro Cathedral in Cornwall, Eng- Wednesdays in Advent and Lent at 7:30 String Quartet. For information: land. She will work with Christopher Gray, cathe- p.m., with the Shadyside Strings, Cha- https://cathedral.org/music/organ/. dral director of music, and Joseph Wicks, assistant tham Baroque, and the Pittsburgh Girls director of music. She will be responsible for daily Choir: December 5, 12, 19, March 6, 13, Holy Trinity Lutheran Church, rehearsal and training of Truro Cathedral Choir 20, 27, and April 3 and 10. For further Lynchburg, Virginia, continues special girl and boy choristers, as well as planning service information: music programs for 2018–2019, Sundays music, directing, and accompanying two to three www.shadysidepres.org/migs. at 4:00 p.m.: November 4, The Wren of the seven services sung each week by the choir. Masters; April 7, 2019, Marek Kudlicki; She will also serve as accompanist of the Truro May 5, Kimberly Marshall. For informa- Choral Society for the 2018–2019 season. tion: www.holytrinitylynchburg.org. Craig is a 2018 graduate of the Jacobs School of Carolyn Craig Music, Indiana University, Bloomington, where she earned a Bachelor of Music in organ performance with minors in conducting and German. At IU, she studied with Christopher Young. She also studied with Johannes Ebenbauer in , Austria, during fall semester 2017. She served as organ scholar at Trinity Episcopal Church, Bloomington, for four years under the tutelage of Marilyn Keiser and was accompanist for Indiana University children’s choir, First Voices.

Andrew Schaeffer is appointed director of music at Luther Memorial Church, Madison, Wis- consin, effective December 1. He succeeds Bruce A. Bengtson, who retired after forty years of ser- vice to the congregation (see October 2018 issue, p. 8). A Chicago native, Schaeffer holds degrees Peachtree Road United Methodist from St. Olaf College and Yale University and is Church, Atlanta, Georgia, Mander organ currently a doctoral candidate at the University of Oklahoma. He vacates a similar position at First Peachtree Road United Methodist United Methodist Church of Edmond, Oklahoma. Washington National Cathedral, Wash- Church, Atlanta, Georgia, announces At Luther Memorial, Schaeffer will direct the ington, D.C. music events for the 2018–2019 season: Andrew Schaeffer children’s, youth, and adult choirs, and serve as November 4, Su-Ryeon Ji, followed by principal organist. The church, located adjacent to Washington National Cathedral, All Saints’ choral ; 11/11, Scott the University of Wisconsin contains three pipe organs: 1987 Bedient (I/3); Washington, D.C., continues its 2018– Atchison and Nicole Marane; Decem- 1893 J. W. Steere and Son (II/19); and 1966 Austin (III/56). He will continue 2019 organ recital series, Sundays at 5:15 ber 9, The Many Moods of Christmas; as editor-at-large of The Diapason. Q p.m., unless otherwise noted: November 12/14–15, Georgia Boy Choir; 12/16, 4, Stefan Donner; 11/25, Jeremy Filsell; Carols by Candlelight; December 25, 1:30 p.m., George Fergus; February 10, 2019, Nicole Marane, Evensong for All Saints’ Sunday; 11/18, Tietze, organ. St. Mary’s Cathedral February 3, Alexander Straus-Fausto; Akerley, A Sweet for Mother Goose; 2/16, Cantors in Concert, featuring Sagee houses a 1971 Fratelli Ruffatti organ of 2/17, Stephen Kalnoske; March 3, Jeremy Georgia Boy Choir; 2/26, Oliver Brett Goldenholz, David Presler, Bruce Hur- four manuals, 89 ranks. For information: Filsell; 3/10, Jordan Prescott; 3/24, Jona- and Malcolm Matthews; March 3, The witz, , Gary Lawrence, piano; www.stmarycathedralsf.org. than Vaughn; April 7, Virginius Barkaus- Crown: Music from the Coronation, with December 2, Advent Lessons & Carols; kas; 4/21, 1:30 p.m., George Fergus; May the Chancel Choir and the Georgia Boy 12/16, the Billington and Gonzalez Duo; First Baptist Church, Ann Arbor, 5, Richard Spotts; 5/12, Chuyoung Suter; Choir; April 4, ; 12/30, Christmas Lessons & Carols; Michigan announces its eighth Coffee 5/26, Rebecca Marie Yoder; June 2, John 4/6, Coro Vocati; 4/7, Scott Atchison and 12/31, Paul Cienniwa, harpsichord, Break Concert Series, Thursday at 12:15 Walthausen; 6/9, Jeremy Filsell; 6/16, Schola; 4/26, Georgia Boy Choir; May 1, Bach, Goldberg Variations; p.m.: November 8, Philip Manwell; Paul Griffi ths; 6/23, Jackson Borges; July Su-Ryeon Ji; 5/8, Timothy Wissler; 5/15, January 20, 2019, Lynn University December 6, Shin-Ae Chun; March 14, 4, 11:00 a.m., Independence Day concert. Sarah Hawbecker; 5/22, Scott Atchison fi nalists; February 10, Music and Poetry; April 11, Music and Additional concerts are as follows: and Nicole Marane; 5/29, Patrick Scott; Anton Belov, baritone, and Milana Paintings; May 16, Gail Jennings, Shin-Ae November 5, PostClassical Ensemble; June 26, the Chenaults. For information: Strezeva, piano; March 3, Choral Even- Chun, and Alice Van Wambeke, Preludes 11/11, National Veterans Day Concert; www.prumc.org. ; 3/24, Emily Carter, soprano, Erin from Book 1, Well Tempered Clavier. For December 7–9, Handel, Messiah; 12/22, Paiva, piano, Laurice Campbell Buck- more information: www.fbca2.org. The King’s Singers; St. Paul’s Episcopal Church, Delray ton, violin, Marie Ridolfo, da gamba, January 16, 2019, Diderot String Beach, Florida, continues its 2018–2019 and Paul Cienniwa, harpsichord; April Emmanuel Episcopal Church, Quartet; 1/23, PostClassical Ensemble concert season: November 4, Choral 28, Amernet String Quartet, with Paul Chester , Chestertown, Maryland, Cienniwa, harpsichord; May 19, Giorgi announces its 2018–2019 music series, Chkhikvadze, piano; June 16, PEN Trio. the church’s 26th season: November 9, For information: Maryland State Boychoir; 11/21, Thanks- www.music.stpaulsdelray.org. giving Evensong; December 9, Lessons & Carols; January 6, 2019, Twelfth Night Evensong; March 29, Nicole Keller;

II — 19 ranks II — 19 April 26, Elizabeth Lenti; May 10, Ken Cowan; 5/30, Ascension Evensong. For more information: www.emmanuelchesterparish.org.

opus 133 valdese, north carolina north valdese, Trinity-by-the-Cove Episcopal Church, Naples, Florida, announces its 2018–2019 season of music events: November 11, Great Necks Classical Trio, with Adam Levin, Scott Cathedral of St. Mary of the Assump- Borg, and Matthew Rohde; December tion, San Francisco, California, Ruffatti 15–16, On Christmas Night, with the

Waldensian Presbyterian Church Waldensian organ choir of the church; January 13, 2019, Noah Waddell, piano; February 17, rneauor ou ga The Cathedral of St. Mary of the Elegante, with Glenn Basham, et n .l s .c w Assumption, San Francisco, Califor- violin; Miguel Arrabal, bandoneon; follow o w us on m w facebook! nia, continues recitals, Sundays at 4:00 Anibal Berraute, piano; March 17, John p.m.: November 4, Raymond Hawkins; Fenstermaker, organ; April 7, Manhat- 11/11, Elmo Cosentini; 11/18, Jin tan Piano Trio. For information: Kyung Kim, organ and piano, with www.trinitybythecove.com. Amabilis Ensemble; 11/25, Cavatina Music Society; St. Chrysostom’s Episcopal December 2, Amanda Mole; 12/9, Church, Chicago, Illinois, continues 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA Amy Stephens, piano; 12/16, Basma its 2018–2019 season of musical events: t 800 625-7473 [email protected] Edrees, violin; Chia-Lin Yang, piano; November 11, Erica Schuler, soprano, 12/23, Christoph Tietze; 12/30, Anna and Scott Brunscheen, tenor; January Maria Lopushanskaya, fl ute; Christoph ³ page 8

6 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM Congratulations Saint Peter’s Episcopal Church, Calloway, Virginia

Congratulations to St. Peter’s-in-the-Mountains Episcopal Church in Calloway, Virginia on the installation of their new customized Ecclesia T-170. This 2 manual organ with 26 stops plays a vital role in the life of this small, historic country church.

Nestled in the Blue Ridge Mountains, St. Peter’s selected Johannus after auditioning various builders. Only Johannus was able to customize even the smaller organ to meet their need. Adding an additional voice and repositioning the internal speakers to the console back, the organist uses a customized toggle switch to choose either the full audio experience or simply the internal speakers when the choir is leading worship. ECCLESIA T-170 All Ecclesia organs are 100% designed for use as a church organ, and this has been the secret to its success. The instrument is powerful enough to Technical Specifi cations fi ll every nook and cranny of the church with rousing pipe-organ music. Manuals 2 Audio System 4.1 Stops 26 Audio Control DEA™ From small country churches to large cathedrals, Johannus offers Ranks 31 Reverb Channels 2.1 organists the chance to shape the instrument in accordance with Couplers 3 Sample Styles 4 their personal wishes and requirements. You can choose a color that Tremulants 2 Temperaments 12 matches the interior of your church, expand your organ with elegantly crafted side panels, add wooden draw knobs and brass toe studs, or you can opt for extra orchestral voices. “The Johannus organ has the sound I have been waiting to hear for 18 years! Our Johannus dealer is a caring, knowledgeable person who works hard to meet our every need.”

Johannus US has dealers throughout the United States. Visit johannus-us.com to find a dealer near you. If you have any questions, or would like more information about any of our organs, Rev. John Heck you can contact a US representative at [email protected]. Saint Peter’s Episcopal Church

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³ page 6

St. Chrysostom’s Episcopal Church, Chicago, Illinois, C. B. Fisk, Inc., organ Ransdell Chapel, Campbellsville Uni- 6, 2019, choral Evensong for Epiphany; versity, Campbellsville, Kentucky 1/25, David Jonies, organ, and Ryan Berndt, trumpet; February 15, Bruce March 26, Jane Johnson; April 9, Wes- Neswick, hymn playing masterclass; ley Roberts. For information: Paul Jacobs (director), Ned Wright-Smith, Daniel Ficarri, Ethan Haman, Lauren March 22, Jason Moy, harpsichord, www.campbellsville.edu. Wittine, Zoe Kai Wai Lei, Shannon Murphy, Adan Fernandez, and Alexander Patta- Tönig-Tarasevich, baroque fl ute, and vina at the Oregon Bach Festival Organ Institute Anna Steinhoff, baroque ; May 7, North Shore Choral Society, Julia Ken Cowan. The church also hosts its Davids, music director, announces its The eight participants of the Oregon Bach Festival Organ Institute performed summer carillon festival, June 9, 16, 2018–2019 season, the organization’s a recital showcasing their work from the week long class, July 6–12. The performers, and 23. For information: 83rd: Handel, Judas Maccabaeus, selected through competitive auditions, took part in masterclasses and seminars led www.saintc.org. November 18, Jewish Reconstructionist by Grammy award-winning organist Paul Jacobs. This fi nal event on July 12 featured Congregation, Evanston, Illinois; Music a program of varied repertoire played on the Hochhalter organ of First United Meth- of Thomas W. Jefferson, March 9, Uni- odist Church, Eugene. Other organs experienced by the students during the Institute tarian Church of Evanston, 3/10, Basilica include the Brombaugh organ at Central Lutheran Church, Eugene, as well as vari- of Our Lady of Sorrows, Chicago; Bern- ous prominent organs of Portland. For information: www.oregonbachfestival.org. stein, Chichester Psalms, Orff, Carmina Burana, May 12, Northwestern Univer- sity, Evanston. For information: meditation. Weekend Organ Meditations www.northshorechoral.org. feature the diverse repertoire of the organ each Saturday and Sunday through May 26 in 45-minute informal programs. A free-will offering of dry goods for New Grace Presbyterian Church, Winnetka, York food pantries is accepted. The organ Illinois, W. W. Kimball organ of Grace Church is Taylor & Boody Opus 65 of four manuals, 87 ranks. For infor- Grace Presbyterian Church (for- mation: www.gracechurchnyc.org. merly First Church of Christ, Scientist), Winnetka, Illinois, will celebrate the Christ Episcopal Church, Bradenton, 80th birthday of its W. W. Kimball K.P.O. Florida, Létourneau organ Conferences 7245 with a recital by Robert E. Wood- Augsburg Fortress, Hinshaw Music, worth, Jr., November 11, 3:00 p.m. Madonna della Strada Chapel, Goulding Christ Episcopal Church, Bra- MorningStar Music Publishers, the Asso- The program will include the music of & Wood organ denton, Florida, announces its music ciation of Lutheran Church Musicians, Hewitt-Jones, Berg, Bach, Ore, Lidon, calendar for 2018–2019: November 25, the Fellowship of United Methodists in West, Harris, and Messiaen. Madonna della Strada Chapel, Mozart, Mass in F Major; December 8, Music and Worship Arts, and the Presby- www.gracenorthshore.org. Loyola University, Chicago, Illinois, Advent Lessons & Carols (morning) and terian Association of Musicians announce continues its 2018–2019 Third Sunday Sarasota Young Voices (evening); Febru- their National Conference for Sacred Campbellsville University, Camp- @3 Organ Concert Series: November 18, ary 10, 2019, Stephen Hamilton; 2/11, Music, January 9–11, 2019, headquar- bellsville, Kentucky, continues its 11th Susan Klotzbach; December 16, Mat- Richard Benedum, lecture on Mozart’s tered at St. Matthew Lutheran Church, Annual Noon Concert Series with organ thew Haider; January 20, 2019, Corrado The Magic ; March 3, Mozart, Mass Charleston, South Carolina. Presenters recitals at 12:20 p.m. in Ransdell Chapel Cavalli; February 17, Jeremy Kiolbassa; in C Major; 3/10, Gail Archer; 3/17, include Michael Burkhardt, Pearl Shang- or Our Lady of Perpetual Help Catholic March 17, Sharon Peterson; May 19, Sarasota-Manatee Bach Festival. kuan, Michael Glasgow, Al Travis, and Church: November 13, Larry Sharp; Thomas Fielding. For information: An Advent recital series is presented Michael Morgan. For information: February 19, 2019, Jim McFarland; www.luc.edu/organ. on Thursdays at 12:15 p.m.: December www.augsburgfortress.org/ncsm. 6, Julane Rodgers, harpsichord; 12/13, James Walton; 12/20, Richard Benedum. Furman University, Greenville, A Lenten recital series is also presented South Carolina, announces its Church on Thursdays at 12:15 p.m.: March 7, Music Conference, January 24–25, A Precious Gift Cynthia Roberts-Greene; 3/14, Michael 2019. is the fea- Edward Stuart; 3/21, James Guyer; tured musician for the conference. Cleo- from the Past 3/28, James Johnston, organ, and Nancy bury will rehearse the Furman Singers, Donaruma, cello; April 4, Nancy Sie- Furman Chamber Choir, Chicora Voices becker; 4/11, Ann Stephenson-Moe. For youth choirs, and speak about King’s Col- for the Present information: www.christchurchswfl a.org. lege music traditions. He will conduct the combined choirs of the conference at and the Future choral Evensong. For information: www. furman.edu/churchmusicconference. Supremely beautiful and blendable tonal color – a Gift from the Venetian School of organbuilding, a monumental part of our People JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN

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Grace Church, New York, New York, Tay- lor & Boody organ Gail Archer (photo credit: Stephanie Berger) Grace Church, New York, New York, continues its 2018–2019 Season of Bach at Gail Archer announces recitals and Builders of Fine Pipe Organs to the World Noon and Weekend Organ Meditations. other musical events: November 2, St. Bach at Noon takes place every Tuesday Mary on the Hill, Augusta, Georgia; www.ruffatti.com through Friday through May 22, 2019, 11/11, St. John Cantius Catholic Church, 12:20–12:50 p.m., featuring the organ Chicago, Illinois; 11/22, Organ Festival Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 works of as daily ³ page 10

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³ page 8 studies on that instrument. In the fol- Nunc Dimittis of Ragusa, Sicily; 11/24, International lowing years, Mole earned a Bachelor Walter Henry “Chick” Holtkamp, Organ Festival of Malta, Valletta, Malta; of Music degree at Eastman School of Jr., of Cleveland, Ohio, died August 27, December 2, Lessons & Carols, Vassar Music and a Master of Music at the Yale aged 89. He was a graduate of Western College, Poughkeepsie, New York; 12/8, Institute of Sacred Music, and is cur- Reserve Academy (1947) and University Bernard-Columbia Chorus Holiday rently completing her Doctor of Musical of Chicago (1951), and served in the Concert, New York, New York; 12/14, Arts degree at Eastman. She is repre- United States Navy for four years. He Orgue en Jeux la Cote Festival, Geneva, sented by Karen McFarlane Artists. then joined the Holtkamp Organ Com- Switzerland. For information: Smith is the proprietor of the Portage- pany in 1956 and became president of www.gailarcher.com. ville Chapel in western New York. As the company in 1962 upon the sudden part of the organ recital series at the cha- death of his father, Walter Holtkamp, Jonathan Dimmock, organist of pel, Smith invited Mole to play a recital Sr., continuing until his retirement in the Legion of Honor Museum, San on August 28 on the two-manual Schantz 1996. The company is the oldest con- Francisco, California, has begun a regu- organ. She played works by Buxtehude, tinuously operating pipe organ fi rm in lar weekly series of concert programs in Pachelbel, Schumann, Muhly, Bach, and the United States (1855) and the oldest which works of art from the museum’s Lefébure-Wély. continuously operating manufacturing collection are paired with pieces of organ company in Cleveland. music. When the museum opened in 1924 Walter Henry “Chick” Holtkamp, Jr. Holtkamp designed and built instru- with its instrument built by the Skinner ments for major schools such as The Organ Company, it was the aim of Ernest Juilliard School, Cleveland Institute of Music, Union Theological Seminary, M. Skinner and museum architects to use University of Notre Dame, University of Alabama, as well as several hundred organ music to enhance understanding other churches and colleges, including North Christian Church, Columbus, and appreciation of the works of art within Indiana, and Gartner Auditorium, the Cleveland Museum of Art. He com- the collection. Rather than organ recitals missioned new music by American for the pipe organ and founded about organ music, the intent was to have national competitions in the areas of organ composition and improvisation in organ music that refl ects the nature and conjunction with the American Guild of Organists. character of art. Holtkamp was a board member of the Musart Society of the Cleveland Dimmock has returned from two Museum of Art for decades, an active member and leader of the Rowfant concert tours in Europe this summer, Club, and a former president of the American Pipe Organ Builders Associa- playing 16 concerts on organs from tion. He enjoyed leisure oil painting, reading poetry, and collecting piano jazz the 15th through the 21st centuries in and . Germany, Denmark, the , Walter Holtkamp, Jr., is survived by his wife, Karen (McFarlane), sons Belgium, Sweden, Estonia, and Finland. Walter Henry Holtkamp, III, F. Christian Holtkamp (Heather Chapman), For information: and Mark B. Holtkamp, stepdaughter Sarah McFarlane Polly (Steven), and www.legionofhonor.famsf.org/education/ Charles W. Steele seven grandchildren. organ-concerts and A public memorial with eulogy will be held in Gartner Auditorium at the www.jonathandimmock.com. Charles W. Steele, minister of music Cleveland Museum of Art, November 10, 11:00 a.m. Organists will be John and organist at Brevard-Davidson River Ferguson and David Higgs. Presbyterian Church, Brevard, North Memorial gifts may be made to the Judson Foundation (specifi cally for Carolina, retired July 8 after over sev- the Richard Gardner Music Fund at Judson Manor), 2181 Ambleside Drive, enteen years of full-time service in the Cleveland, Ohio 44106, or the Musart Society of the Cleveland Museum of position. A native of Virginia, Steele Art, 11150 East Boulevard, Cleveland, Ohio 44106. earned a Bachelor of Arts degree (with honors) and a Master of Arts degree in Mary Prat-Molinier, 84, died music from Radford University, where August 28, 2018. She was titular organ- he studied organ with Carl Gilmer. Later, ist of the Christophe Moucherel organ Willie Martinez and Jeannine Jordan he earned the Doctor of Musical Arts at St. Cecilia Cathedral and of the degree from the University of Kentucky, Puget organ at the Collegiate Church of Jeannine Jordan, organist, and Lexington, where his organ study was Saint-Salvy in Albi, France, from 1968 David Jordan, media artist, presented with Schuyler Robinson. Prior to return- to 2011 and was honorary president their organ and multi-media program, ing to graduate school in mid-life, Steele 1 of the Christophe Moucherel Asso- Around the World in 80 Minutes, at served for 16 ⁄2 years as director of music ciation. She began studying the organ University Christian Church in Fort and organist at First United Methodist with Henri Cabié in Albi, continuing Worth, Texas, May 18. The concert was Church, Brevard. He also served several in Paris with Marcel Dupré, Gaston co-sponsored by the Fort Worth Chapter years as an adjunct instructor of organ at Litaize, and Maurice Durufl é and of the American Guild of Organists and Brevard College. obtained a fi rst prize in virtuosity at the the Belltower Series of University Chris- Steele is an active member of the Jehan Titelouze Institute in Rouen. She tian Church. For information: www. American Guild of Organists, having taught at the Tarn Conservatory. She aroundtheworldin80minutes.org. served as a board member of the former had an extensive repertoire of organ Bluefi eld Chapter, board member and Mary Prat-Molinier music, including works of two organists dean of the Western North Carolina from Albi: Léonce de Saint-Martin and Chapter, and dean of the Blue Ridge Adolphe Marty. She organized organ concerts in Albi and recorded a CD of Chapter. He was an interest session Louis-Claude Daquin’s Noëls (Valois-Audivis) there, which is available from presenter at the 2011 Region V AGO the Association Christophe Moucherel, http://www.moucherel.fr. The funeral Convention in Lexington, Kentucky; for Mary Prat-Molinier took place July 30 in St. Martin Chapel, Albi. the 2012 national AGO Convention —Carolyn Shuster Fournier Q in Nashville, Tennessee; and the 2016 national AGO Convention in Houston, Texas. His article, “Southern Harmony Revisited—In the Pew and on the Organ Bench,” was published in the January Timothy Smith and Amanda Mole 2011 issue of The Diapason. Steele lives in the mountains of west- Twenty years ago, the organ commit- ern North Carolina with his wife, Patricia tee of First Baptist Church in Holden, Black, a pianist in the Brevard area. Massachusetts, commissioned Timothy E. Smith to design and build a pipe Mark Steinbach performed fi ve organ for the church. The organ, built concerts in Europe this past summer. by Smith’s Southfi eld Organ Builders Venues included the cathedral of Frei- of Springfi eld, attracted the attention of berg (Gottfried Silbermann organs), St. 12-year-old church member and piano Georgenkirche and St. Marienkirche, student, Amanda Mole, who, with Rötha (Silbermann organs), Stadtkirche, Smith’s encouragement, began organ ³ page 12 WEEKEND ORGAN MEDITATIONS AUSTINORGANS.COM JL Weiler , Inc. t8PPEMBOE4U)BSUGPSE$5 Grace Church in New York Museum-Quality Restoration www.gracechurchnyc.org of Historic Pipe Organs jlweiler.com

10 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM

Here & There

³ page 10 A Prophecy of Peace: The Music of Sam- uel Adler, is the only recording devoted to this composer’s music. Also available is Leo Sowerby: American Master of Sacred Song. For information: www.paracleterecordings.com.

Organbuilders

Mark Steinbach with the 1714 Sil- bermann organ, cathedral, Freiberg, Germany Bach: Toccatas, Preludes, and

Görlitz, and Stadtkirche Weimar, Ger- many, as well as the cathedral of Aosta, Italy. Steinbach is university organist A Starlit Night It Was in Bethlehem for Brown University, Providence, Rhode Island. For futher information: church celebrations. The letter-sized [email protected]. PDF booklet is available for download throughout the Christmas season. Visit Fruhauf’s home page Bulletin Board to Publishers access the fi le. For information: Breitkopf & Härtel announces new www.frumuspub.net. choral publications: Missa in C Minor, Our Lady of Guadalupe Seminary, Den- K. 427, by , Michael’s Music Service announces ton, Nebraska, Juget-Sinclair Opus 48 for choir, soloists, and orchestra, com- new sheet music restorations: Medita- pleted and edited by Clemens Kemme tion, by Henry Eyre Brown (1848–1925), Juget-Sinclair , Canada, (EB 8654, piano vocal score, €15.90; PB organist of the Brooklyn Tabernacle, this completed its Opus 48 in April for Our 5562, complete score, €79.90); Messiah, piece is dedicated to Brown’s predeces- Edvard Grieg: Ballade/Geirr Tveitt: Hun- Lady of Guadalupe Seminary near by George Frederick Handel, edited by sor, George W. Morgan; Fantasia on drad Hardingtona Denton, Nebraska. The three-manual, Malcolm Bruno and Caroline Ritchie, Jerusalem the Golden, by Alexander 42-stop organ is inspired by the French focusing on the version of the work as Ewing (1830–1895), transcribed by Gor- St. Johanniskirche, Lüneburg, Germany. Symphonic style, including a Trompette conceived in 1741 (EB 8450, piano vocal don Balch Nevin (1892–1943), is a set of The release is part of a set of Nordstoga en chamade, 8′ Flute harmonique, a score, €16.90; PB 5560, complete score, theme and variations; Autumn Memo- playing Bach’s organ works on historic domed 8′ Clarinette, and a 32′ Bourdon. €79.00); Miserere in C Minor, ZWV 57, ries, by Gordon Balch Nevin, is a work instruments of Europe. The organ was dedicated in recital by by , edited by Mat- with the optional use of chimes; and The Edvard Grieg: Ballade/Geirr Tveitt: Stephen Tharp on September 19. thias Hutzel and Thomas Kohlhasse, for Continental, by Con Conrad (Conrad K. Hundrad Hardingtona (LWC 1151) Juget-Sinclair has also been restor- choir, soprano soloist, and orchestra, a Dober, 1891–1938), arranged by Charles features Niels Henrik Asheim perform- ing the organ at the Church of the musical setting of Psalm 50 (EB 8049, Cronham (1896–1969), this music fi rst ing the title works in transcription on the Immaculate Conception in Montreal, piano vocal score, €9.90; PB 5594, com- appeared in the 1934 movie, The Gay organ of Stavanger Concert Hall, Norway, built in 1961 by Rudolf von Beckerath. plete score, €36.90). For information: Divorcee. For information: a 65-stop instrument by Ryde & Berg of This landmark instrument fi rst became www.breitkopf.com. www.michaelsmusicservice.com. Fredrikstad. For information: www.law.no. famous through Bernard Lagacé’s recordings of the complete organ works Editions Walhall announces a new Oxford announces new choral pub- of Bach. The organ also serves as the publication: Advents- und Weihnachtslie- lications for Advent and Christmas: A fi rst round instrument for the Canadian der-Medley (EFL 1002, €7.50), by Adrian Coventry Carol, by Malcolm Archer International Organ Competition. The Wehlte. Five German Christmas carols (SATB and organ, 978-0-19-352377- restored organ will be re-inaugurated are arranged in a medley for soprano, 7, £2.05); Annunciation, by Cecilia November 16, with a recital featuring alto, and : “Es kommt McDowall (SATB with divisi, unaccom- Réal Gauthier (titular organist), Vin- ein Schiff, geladen;” “Maria durch ein panied, 978-0-19-351977-0, £2.35); The cent Boucher, Yves-G. Préfontaine, and Dornwald ging;” “Lobt Gott ihr Christen world has waited long, by Alan Bullard Antoine Leduc. allzugleich;” “Leise rieselt der Schnee;” (SATB and organ or piano, 978-0-19- A new instrument has been commis- and “Macht hoch die Tür.” For informa- 352299-2, £2.05); and Angels we have sioned for Christ Church, Pelham, tion: www.edition-walhall.de. heard on high, by Benjamin Harlan New York, containing 35 stops over (SATB with divisi and piano, 978-0-19- two manuals and pedal with detached Fruhauf Music Publications 352434-7, £2.35). For information: console. This organ will feature car- announces the second of three compli- www.oup.com/sheetmusic. bon fi ber trackers and console wires mentary hymn for mixed voices A Prophecy of Peace: The Music of Sam- to reduce the amount of mass in the and organ: A Starlit Night It Was in uel Adler action. Tonally, the instrument will Bethlehem, a four-verse Christmas carol Recordings be more eclectic than Opus 48 with for SATB, treble solo, and SAB voices Lawo Classics announces new CD a quarter-sawn white oak case that (a cappella and ensemble), with organ recordings: Bach: Toccatas, Preludes, and refl ects the architecture of the church. accompaniment. It is suitable for Les- Fugues (LWC 1153), a two-disc set featur- Delivery is scheduled for November sons & Carols services as well as festive ing Kàre Nordstoga in performance at 2019. For information: www.juget-sinclair.com.

Muller Pipe Organ Company of MANDER ORGANS Hartford, Ohio, has been selected for two projects. A 1934 Aeolian-Skinner organ of 24 ranks will be restored and New Mechanical Action Organs relocated to St. John the Evangelist Catholic Church, Jackson, Michigan. At Muskingum University, New Con- cord, Ohio, the 1963 Reuter organ of 50 Leo Sowerby: American Master of Sa- ranks will undergo a restoration project cred Song including several tonal changes as part of the renovation of the university’s Brown Paraclete Recordings announces Chapel. For information: new CDs, featuring Gloria Dei Cantores. www.mullerpiperogan.com. Q

³ St. Peter’s Square - London E 2 7AF - England Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 Continuo Organs [e] [email protected] www.mander-organs.com

Imaginative Reconstructions

12 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM Reviews

New Sacred Choral Music with optional 3–4 octaves handbells, O Come, Let Us Sing to the Lord, Six with just organ or piano or with the addi- It was a pleasure to preview newer MorningStar Music Publishers, Inc., Short Anthems or Introits, by Charles tion of a string quartet with two or sacred choral releases from ECS Pub- MSM-50-5445, $2.50. Callahan. SATB and organ, Morning- fl utes or brass quartet with timpani. The lishing Group, including MorningStar This is another perfect piece for a Star Music Publishers, Inc., Presbyte- highest note for sopranos is an F-sharp, and E. C. Schirmer. I was looking for hymn festival. It begins with bells and rian Association of Musicians Choral reasonable for most choirs. The text pieces with interesting organ accom- organ playing in octaves and expands Series, MSM-50-6086, $2.70. appears in its original version as well as paniments that would be useful to a beautifully before the assembly enters Other than the title text, other set- with an updated translation that works church musician working with a variety with the hymn tune. The organ part is tings include “Blessed Are the Pure in for a general song of praise. of musical forces, including instrumen- inventive, and the tune is strong and Heart,” “Lord, Thou Hast Been Our talists, handbells, and children’s choirs. stirring. There is interplay between Refuge,” “O Savior of the World,” “O What Does the Lord Require?, by Eric The caliber of writing was consistently men’s and women’s voices in verse two; Send Out Your Light,” and “The Spirit Nelson. SAB and piano, MorningStar high, based on solid texts and good verse three is set in fugal style, and the of the Lord.” It is always nice to fi nd Music Publishers, Inc., Atlanta Master theology. These are all pieces that could basses/baritones enter in octaves sing- arrangements such as this with a meaty Chorale Series, MSM-50-2012, $2.50. withstand the test of time, with lovely ing the melody in half notes. The fi nal organ accompaniment. Texts are based The keyboard part is easily adaptable to melodies, creative harmonies—music verse is homophonic, and the text is on psalms and scripture, and each set- organ; the melody is fl owing and lyrical. that enhances the text being prayed and engaging: “So shall I charm the list’ning ting is two to fi ve pages long. Choral The text, paraphrasing Micah 6:6–8, is by sung. You will be sure to fi nd music your throng and draw the living stones along parts are largely homophonic, and the twentieth-century author Albert F. Bayly. choir will love in the titles below. by Jesus’ tuneful name; the living organ parts are creative and colorful. Nelson’s music highlights the text with stones shall dance, shall rise, and form An independent pedal part is included pertinent dynamic changes. There is a Come to Us, Creative Spirit, by Robert a city in the skies, the New Jerusalem.” throughout, which is always nice to have fair amount of meter change and four key A. Hobby. SATB, congregation, fl ute, Highly recommended. for organists! There is good variety of changes, but these somehow do not seem and organ, MorningStar Music Pub- dynamic contrasts and tempo alterations overdone. The piece asks the question lishers, Inc., MSM-50-5019, $2.95. Come, Thou Fount, by Eric Nel- to highlight the text. This would be a of how our life can fulfi ll God’s law, and This selection would be appropriate son. SATB and piano, MorningStar nice addition to the library of anyone answers it: “To do justice, love mercy, and for a hymn festival, as well as Pentecost Music Publishers, Inc., Atlanta Mas- who uses introits on a regular basis. walk humbly with our God.” It is a very and confi rmation. The writing is inven- ter Chorale Choral Series, SM-50- prayerful setting of this text, easily acces- tive and the interplay between fl ute and 9770, $1.95. Sing Unto God, from Judas Mac- sible for choirs with few male singers. organ parts in the 29-measure introduc- This is a calm, lyrical setting of cabaeus, by , tion is beautifully constructed. The a favorite American hymn tune, edited and arranged by James J. Immaculate Mary, arranged by Paul organ part is substantial, even for more Nettleton, fi rst published in 1813, Chepponis. SATB and keyboard with French. SATB, assembly, brass quar- skilled organists, and truly “paints” the that features primarily an arpeggiated optional brass quartet, timpani, string tet, and organ, MorningStar Music text with thoughtful harmonic shifts. keyboard accompaniment designed for quartet, and two oboes. MorningStar Publishers, Inc., Cathedral Series, The fl ute part would be fun to play for piano that could be adapted to organ. Music Publishers, Inc., Parish Choral MSM-60-0005, $1.95 choral score, more advanced fl autists. The piece ends Nelson knows how to write beautifully Series, MSM-50-4710, $2.50. $10 full score, $30 instrumental parts. with an 11-measure coda for organ and for the voice, which takes center stage Since 1996, Fr. Chepponis has served French proves his considerable skills fl ute that is atmospheric and a pleasing in this setting. It ends with an aug- as director of the Offi ce for Music as an arranger: this is a useful setting for contrast to a piano dynamic. Highly rec- mented melody in hemiola and some Ministry of the Catholic Diocese of major Marian feasts. Verse three is set ommended if you are looking for a piece lovely twists to the closing harmonies Pittsburgh, and he has over a hundred as a choir-only verse, but a cantor could along these lines! after a dramatic forte setting of the text, published liturgical pieces to his credit. bring in the assembly here, since the “Prone to wander, Lord, I feel it, prone One notable change in this edition is melody is also sung by the basses. Verse The Musician’s Hymn (text altered to leave the God I love.” If you are that the score is in C major instead of four is set for unison choir with descant from “Thou God of Harmony and looking for a new setting of this beloved the original , “to make the piece by sopranos and tenors. Interludes are Love,” by Charles Wesley), by tune for your choir, both accompanist more accessible to singers and instru- beautifully constructed. Alfred V. Fedak. SATB and organ and choir will love it! mentalists.” Instrumentation can be ³ page 14

Not only for Christmas: The Organist’s Choice: Dr. J. Butz Books for Music Lovers New Organ Publications 2018 presents:

The 2019 organ calendar presents 13 German German Organ organs, photographed by Calendar 2019 Jenny Setchell. Handy sized (folded 8.3 x 11.7 inches) and with a practical monthly calendar (one square per day).

Magnets Set of 4 draw-stops for your (magnets with bottle-opener) fridge or notice board in the shape of organ draw-stops. Set contains Principal 8’, Bombarde 16’, Mixtur 4f. and Vox coelestis Jones, Robert (*1945) Jones, Robert (* 1945) 8’. With the bottle opener at the back, pull Studies in Baroque: Festschrift Ton Koop- An Easy Organ Album (= Organ works Vol. 7) Verleih uns Frieden – Grant us peace. out one more stop, the cork out of the bottle! man zum 70. Geburtstag (BuB 16) 32 pages 8 organ pieces (= Organ works Vol. 8) Cheers! edited by Albert Clement BU 2874 24 pages 392 pages, hardcover, pictures BU 2892 Intrada. 18 Festive Organ Preludes Licht im Dunkel – Lumière dans les 68 pages Mozart, Wolfgang Amadeus (1756–1791) ténèbres: Festschrift Daniel Roth (BuB 23) BU 2910 Symphony KV 550 1st movement edited by Birger Petersen for organ duet 432 pages, hardcover, with pictures and CD Famous Baroque Christmas Pastorales Vol. 2 28 pages Works by Geminiani, Händel, Molter, Sammar- BU 2897 The Haarlem Essays – tini, Schiassi, Stamitz, Stanley, Valentini. Das „Haarlem-Festbuch“ (BuB 15) 28 pages Romantic Music for Flute and Organ Vol. 3 edited by Paul Peeters BU 2853 Works by McDowell, de Falla, Elgar, Guilmant, 480 pages, hardcover, with pictures and CD Gade, Paderewski, Moszkowski, Reger, Dupont. Willscher, Andreas (*1955) BU 2886 Looking up: At Organs and Ceilings Dschungelarium. 8 Organ Pieces (BuB 17) for manuals only Willscher, Andreas (* 1955) by Jenny Setchell 32 pages Divertimento fascinating photos on 64 pages, hardcover with BU 2872 for trumpet [in B or C] and organ dust jacket, format 9.8 x 12 inches BU 2894 | Kern 2005 (IV, 67) , Frauenkirche Johann Strauss (1825–1899) MAY MAI Die Fledermaus MAI KW 22 Organs & Organists: Their Inside Stories Bach, Johann Sebastian (1685–1750) KW 21 KW 20 KW 19 KW 18 | Muttertag 19 26 512 (BuB 21) (= Organ goes 3) a minor BWV 593 (after Vivaldi), So Sun by Jenny Setchell arranged by Marcel Dupré Dim 27 28 pages 61320 416 pages, hardcover, format 7.1 x 7.1 inches, BU 2869 for organ and strings (first print!) Mo Mon Lun 400 full-colour photos and cartoons BU 2878 7142128 Di Tu e Mar Musikverlag Dr. J. Butz Bonn 22 29 Further information and sample pages: • Tag der Arbeit 815 1| Mi www.butz-verlag.de Tel. +49 - 228 - 946 949 24 • [email protected] • www.butz-verlag.de Wed Mer 30| Christi Himmelfahrt 23 16

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2018 Q 13 Reviews

³ page 13 us,” but the closing text is “and bring The writing for the brass and tympani New Recordings Great Creator, by Karen Marrolli. us peace.” Beautifully constructed and is effective and tightly constructed. I Órgano viajero, Étienne Baillot, SATB and piano, MorningStar very accessible, the piece is fi lled with particularly like the choral harmoniza- Anne-Marie Blondel, and Jean-Luc Music Publishers, Inc., MSM-50- hope and fresh harmonies that are very tion in verse three where the melody Ho play the organ in Saint-Éloi 0068, $1.95. appropriate for the time we are living “changes hands” regularly between the Church, Fresnes, France. Edi- Marrolli is one of MorningStar’s in. The work is dedicated to Heather four voices. Descants soar and highlight tions Son an ero, produced with “best selling composers,” and this piece Heyer, the 32-year old killed in a peace- the text appropriately. A festive setting of Art de la Fugue, 2017, 68 minutes, demonstrates why. It has a memorable ful march for tolerance and unity by a a much-loved hymn text and tune. 23 seconds, www.petitfestival.fr, melody that is never saccharine, and a car driver. —Karen Schneider www.lartdelafugue.org. wonderfully written text, based on Isaiah South Bend, Indiana Works by Géraud Chirol, Antonio de 65:17–25: “Use our hearts and hands in O Come, Desire of Nations (O Rex Cabezón, Anonyme, from the Livro de service: sculpt your kingdom here on gentium), by Gerald Near. SATB, obras de Órgão de Fr. Roue da Concei- earth.” The piece can be used in Advent and , E. C. Schirmer, New Organ Music caó, Alonso Mudarra, Pablo Bruna, Juan or for other occasions. Unison singing is #8521, $2.35. Ceremonial Suite for organ, by Car- Bautista Cabanilles, António Carreira, interspersed with three- and four-part This piece was written in memory of son Cooman. Zimbel Press, Subito Francisco Correa de Arauxo, Sebastián voices. If you do not have sopranos to American composer Stephen Paulus and Music Corporation, #80101387, Aguilera de Heredia, José Antonio Carlos fl oat the descant, it could be played by is of moderate diffi culty. The work is $9.95, www.subitomusic.com. de Seixas, and Francisco Xavier Baptista. one or two C instruments such as fl ute intended to be a plea for peace among Composer in residence at the This CD captures the fresh, vibrant, and/or violin. The piano part could be peoples and nations. The duration is Memorial Church, Harvard University, rustic sonorities of the historic eigh- quite easily adapted to the organ. about four minutes. The text is from Cambridge, Massachusetts, Carson teenth-century Spanish organ now the Great “O” for December Cooman composed a large volume of placed in Saint-Eloi Church in Fresnes, This is My Son (Hic est Filius meus), 22, translated by John Mason Neale. organ works in 2017, among which is a suburb located in the Val-de-Marne by Fred Gramann. SATB unaccom- This selection is perfect for an Advent Ceremonial Suite. Written in May, this Department just southeast of Paris, panied, E. C. Schirmer, #8432, $1.95. Lessons and Carols service. The text has three-movement work was produced in France, which is well known for its The piece is dedicated to Gramann’s never been more pertinent, “Bid thou honor of the marriage of Laura Theby prison. Originally constructed in 1768 by son; its text is macaronic — and our sad divisions cease.” It is reassuring and Colby Cooman. Joseph de Fuentes for the Buenfuente English. This is appropriate for to hear the joyful alleluias near the end. The movements are “Processional,” del Sistal Convent Church in the village the Sunday of the Baptism of the Lord, Near is a recognized composer of sacred “,” and “Grand choeur dialogué.” of Cobeta in Castile, its pipework had celebration of the Trinity, or for general church music, and he does not disap- I can easily visualize these movements never been modifi ed. After the organ use, and is moderately easy. The text point in this 2018 publication. being used in a wedding as a proces- was dismantled, the nuns realized they translation of the Latin is, “This is my sional and recessional, with a quiet song could not afford to restore it. Thankfully, Son. Listen to him.” With This Water, by Fred Gramann. of the “Aria” during the service. It also they sold it to the organ fi rm Hermanos SATB, soprano solo, unaccompa- works well in a recital setting. Desmottes, whose workshop was located Let Us Break Bread Together, by nied, E. C. Schirmer, #8540, $1.95. “Processional,” which is marked nearby, in the city of Myra (today Mira). Gwyneth Walker. SATB and piano, This anthem is very appropriate for a “Maestoso,” is majestic, stately, even This saved it from total destruction. E. C. Schirmer, #8646, $2.35. baptismal service and is moderately easy. pontifi cal in feeling. Cooman utilizes After beautifully restoring this organ in The piece is an arrangement of the It begins in unison or may be sung by a an A-B-A form in such a way that it can 2015, the Desmottes fi rm installed it well-known African American spiritual, solo soprano or tenor, and expands to fi ve be lengthened with a repeat or short- in its present location. The acoustics in but an additional verse is added at the parts—SATB with descant. I suggest the ened by leaving a section out so that Saint-Eloi Church in Fresnes allow the end: “Let us rise up together all as one.” use of a solo fl ute or violin for the closing the length can be adapted according to organ to resound beautifully. It begins and ends with a descending descant if you do not have enough high circumstances and necessities. Cooman’s This typical Spanish 4′ based organ, cascade of notes that sounds like tears sopranos. Gramann is employed at the harmonic progressions are always excit- lodged in a case made of pine, had been falling. The initial text we hear, and also American Church in Paris, France, and ing, as exhibited in this composition. originally placed against a wall. The near the end, is “Lord have mercy on is a skilled composer in many genres. Beginning with the A section in F major, Desmottes brothers constructed a back he swings briefl y through E major, then to the casework, rebuilt its side panels, : Make a Joyful Noise to C-sharp major, and fi nally through A-fl at and restored all its damaged pieces. They the Lord, by David Hurd. SATB and major before ending in C major. The B used traditional techniques to rebuild organ, E. C. Schirmer, #8456, $2.60. section extrapolates some of the A theme 310 of the 774 pipes, mainly the Cimbala The piece was commissioned to motives in a more contrapuntal fashion. III (135 pipes) and the Trompeta Real mark the fi ftieth anniversary of Saint The movement ends with a short coda. (45 pipes). Here is its stoplist: Violón (a Dunstan’s Episcopal Church in Atlanta, I experience “Aria” as a love song. Bourdon, its basic rank); a chorus of Prin- Georgia. There is a “meaty” organ part A lithesome tune, it is marked “Molto cipal stops: Flautado, Docena, Quincena, that adds to the festive character of the adagio cantabile” and could be easily Decinovena y ventidocena, Lleno III, piece. Hurd fi nds clever ways to simplify sung, although there are no words here. and Cimbala III; Corneta Magna VI, two the piece, such as having soprano/tenor It fl ows serenely over repeated chords horizontal reeds (Trompeta Real, Clarin), and alto/ sing at the octave unison in the left hand. Measure 20 brings us a and two accessory stops: Pajaritos (Rossi- and break apart at the end of the phrase. slightly different variant of the melody, gnol) and Gaïtas (Musette). Its chromatic The middle contrasting section with the this time over long left-hand chords, windchest is divided between the bass text “for the Lord is good” has interest- before coming back to the opening and the treble at c1/c#1. The ebony and ing harmonic shifts over more sustained material. Here, ornamental material bone manuals have 45 keys with a short chords played on the organ while voices elaborates the melody before the music octave. The organ is tuned at A = 392 Hz enter singing ascending four-note pat- comes to a quiet close. in a meantone temperament with eight terns. There is a lot of interplay between “Grand choeur dialogué” is marked pure thirds. For this CD, the organ was duple and triple rhythmic elements, with “Allegro gioioso” and is fi lled with repeats well-tuned by Jean-Marie Tricoteau and lots of dynamic contrasts, as well. Perfect that make it an easy vehicle for accompa- was expertly recorded under the artistic for any joyous occasion, and fun to play nying a wedding party and guests out of direction of Ken Yoshida. for the organist! a church. A dotted eighth- and sixteenth- This CD presents a well-selected note motive makes the music quite dance program of Spanish compositions from Christ Alone, by William Beckstrand. like and happy. This motive changes in the sixteenth to the eighteenth centuries, Two-part children’s voices (or 2-part the middle section to triplets that follow fi nely interpreted: Diferencias sobre women’s voices) and keyboard the previous melody line and make the el canto del Caballero by Antonio de with optional 4 octaves handbells. piece cohesive. A section near the end Cabezón, an anonymous Tento de pri- MorningStar Music Publishers, Inc., intermingles the dotted and triplet ideas meiro tom (Porto, 1695), a dancing Gal- MSM-50-6107, $1.95, $5 for hand- together, and the music ends in a thun- larda by Alonso Mudarra, Pablo Bruna’s bell parts. derous crescendo. Lucky the bride and de 1° tono de mano derecho, Tiento The text is by Thomas Troeger, and groom who have this music to send them sobre In exitu Israel by Juan Bautista the melody pulls you right into the text. off to their new life together! Cabanilles, Bruna’s Tiento de falsas de 2° The keyboard writing is inventive but I played this suite in a recital during tono, leading to Cabanilles’s magnifi cent not overly diffi cult. This piece would be the summer of 2017, and I received Batalla I Imperial de cinque, with its reeds an excellent “call to prayer” or prelude. many excited comments from attendees contrasting with the Flautado, Rossignol, about how well they “loved” the music. and Musette stops, brilliantly interpreted Christ Is Made the Sure Foundation, It is of moderate diffi culty and lasts by Jean-Luc Ho. António Carreira’s Can- by Jeremy Bankson. SATB and organ approximately ten minutes depending çáo a quarto glosada, Francisco Correa with optional assembly, treble choir, on how faithfully you play the repeats. de Arauxo’s Tiento XV de quarto tono, two , and tympani, Morn- For a fi rst time listener, the work is easily Aguilera de Heredia’s Tiento de 4° tono, ingStar, MSM-60-7040, $2.25, $15 for understood. For any organist, this would leading up to eighteenth-century works: full score, $12 for instrumental parts. be a great piece to have in his or her by José Antonio Carlos de Seixas The text is based on a seventh-century library as it would surely become a much and Tocata by Francisco Xavier Baptista, Latin text, translated by John Mason used volume. then to Pablo Bruna’s well-known Tiento Neale (1818–1866), while the tune is —Jay Zoller de 2° Tono por Ge sol re ut, sobre la Leta- Abbey by . Newcastle, Maine nia de la Virgen.

14 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM Reviews

In addition to this early Spanish reper- Readers of this review may purchase F Minor, K. 608, imaginatively featur- New Handbell Music tory, four short contemporary pieces for this CD and acquire Géraud Chirol’s ing the Corno di Bassetto stop as a solo In Christ There Is No East or West, four hands (each one lasting about two compositions at their website: www. voice in the slow movement, making this arranged for 3–5 octaves of hand- minutes), composed by Géraud Chirol, lartdelafugue.org. In addition, you may a worthwhile inclusion on this “recital” bells, optional handchimes, by are placed through this CD, from its sponsor their most innovative projects: disc. Edwin Lemare’s registrations and John Behnke. Concordia Publish- beginning to its end: Alamire (on the masterclasses and concerts given by art- tempos are clearly evident in the perfor- ing House, #97-7765, $4.25, Level Violon 8′), De Contratas sobre CABA ists from across the world, which enrich mance of Rheinberger’s Organ Sonata 3 (M-). (Violon 8′ with Flautado 4′), De Contras, the cultural offerings to communities and No. 4; one doesn’t feel like one is listen- This African American spiritual, sobre CABA (on the principal chorus), encourage young musicians to interpret ing to a Romantic period performance adapted by Harry T. Burleigh, is given and Eco (on the Bajoncillo/Violon 8′ and and to improvise music on this historic but a Romantic style improvised fantasia. a lazy blues style by the arranger. The Clarin 4′). These interesting pieces are organ. This CD confi rms that the human Three “standard” compositions, solidly hymn, focused on Christian unity, can part of a suite entitled Meantone Frag- quest for beauty goes beyond all cultural (if not imaginatively) played, fi ll out the be used throughout the entire church ments, composed for this organ in 2015 and time barriers. repertoire selection: Alexandre Guil- year. The arrangement makes use of and premiered at the founding concert —Carolyn Shuster Fournier mant’s Cantilène Pastorale, op. 15, Marco chimes, key changes, mart lifts, and of the Art de la Fugue Association. Inter- Paris, France Enrico Bossi’s in G Minor, op. mallets to create a plethora of tone preted by Anne-Marie Blondel and Jean- 49, and César Franck’s symphonic Pièce colors and rhythmic vitality. Luc Ho, who confi ded to me, “These The Moldau, Harry van Wijk, organ- héroïque. A delightful surprise and pieces are so much fun to play.” Their ist. Skinner Organ Company Opus discovery for this reviewer was two of Our God Reigns, arranged for 12 subtle harmonies and earthy timbres are 872, Girard College Chapel, Phila- Seven Dances, op. 60, by the Dutch com- bells, with or without keyboard directly inspired by the authentic sound delphia, Pennsylvania. Raven CD poser and organist Margreeth Chr. de accompaniment, by Sandra Eithun. of this vibrant Spanish organ. The use of OAR-979, $15.98, available from Jong, music director and organist of the Choristers Guild, CGB 1056, $54.95, contemporary music inspired by the past www.ravencd.com. Nieuwe Kerk, Middelburg. Taking on Levels 1 and 2 (E – E+). is truly a sign of hope for humanity: let Relatively few commercial recordings the musical form of their names, “Tango” Sandra Eithun is a church musician us all join hands to play these delightful exist of one of the most famous organs invokes the sultry and romantic dance; from Manitowoc, Wisconsin. At First pieces on organs with meantone tuning. designed by Ernest M. Skinner, Opus “” is a vigorous romp featur- Congregational Church (UCC), she All three talented artists of this CD 872 (1931–1933), for Girard College ing the Mirabilis, showing off this directs three handbell choirs, among play beautifully, sharing their love of Chapel, Philadelphia, Pennsylvania. A extraordinary stop at its fi nest—probably other duties. Her reproducible collec- music with great joy and fraternity. In welcome addition to an organ CD library, the best recorded example from Girard tion of hymn arrangements for twelve addition to Étienne Baillot (organist of this recording by the Dutch organist College. These short pieces were such bells is designed to help handbell choirs the Riepp/Stiehr organ in Dole, France) Harry van Wijk is beautifully engineered a delightful inclusion on the recording, stretch their music budgets while pro- and the 33-year old Jean-Luc Ho, for a natural and live sound—confi dently one wishes the entire suite was recorded. viding quality selections that are fl exible who both specialize in early keyboard stated, as this reviewer is personally very Typical for Raven recordings, the and not diffi cult. A small or shorthanded music, Anne-Marie Blondel, organist familiar with the organ and the chapel. disc is accompanied by a well-designed ensemble can turn to this book time at the Saint-Germain-des-Prés Church The recording is better listened to on and informative sixteen-page booklet in and again, which ranges in diffi culty in Paris, is also featured. In 2014, she traditional audio equipment—the bass English, Dutch, and German, complete from level 1 to 2. The optional keyboard founded Association L’Art de la Fugue and full organ power easily overwhelm with brief history of the organ and chapel part can offer a fullness to the settings with her husband, Géraud Chirol, good quality computer speakers and as well as a complete organ specifi cation. when ringers are limited. Titles include composer and director of the Fresnes earphones. I was most intrigued to hear There is some wind noise evident in “Morning Has Broken,” “Jesus Walked Conservatory. Their association fi nanced this transcription of Bed̗ich Smetana’s softer passages and a few minor tuning This Lonesome Valley,” “That Easter the installation and promotion of this wildly popular The Moldau. The pleasing and regulation issues, demonstrating Day with Joy Was Bright,” “Prelude on historic Spanish organ, thus proving that registrations used for this performance that the organ is defi nitely in need of a Kelvingove,” “Breathe on Me, Breath where there is a vision, there is a path are not slavish to the orchestral score restoration, but still sounds magnifi cent. of God,” and “Rejoice, the Lord Is King.” to follow: their artistic promotes and work well. The disc opens with a —Paul R. Marchesano —Leon Nelson beauty in our world. recital standard, Mozart’s Fantasia in Philadelphia, Pennsylvania Vernon Hills, Illinois

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WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2018 Q 15 Harpsichord Notes By Larry Palmer

Recent recordings of Bach’s of the Exhibition Goldberg Variations organized by Martin Elste of the Musical Now universally known as the Gold- Instrument Museum in Berlin, Germany. berg Variations, Johann Sebastian Bach’s On my way to offer congratulations to self-fi nanced 1741 publication of his the young artist, he met me halfway, as most extensive set of diverse variants he wished to speak with me. At that time on a simple theme bears this title on its Diego was a student in Basel, and we cover: Keyboard Exercise Comprising both expressed our regrets that he had an Aria and Differing Variations for a to return immediately to Switzerland for Two-Manual Harpsichord, composed his semester end examinations, espe- for Amateurs by Johann Sebastian Bach, cially since we each had a special interest Composer at the Courts of Poland and in contemporary harpsichord music. of the Elector of , Chapel Master We have, however, kept in touch since and Choir Master in Leipzig. Published that brief encounter, and Diego has been in Nuremberg by Balthasar Schmid generous in sending me his compact discs (translated from the original German). as they are produced. The immediate pre- Following the 1933 fi rst recording of decessor to his Goldberg Variations offer- Wolfgang Rübsam at his lautenwerk the complete masterwork by pioneering ing, his 2015 premiere recording of previ- harpsichordist Wanda Landowska (a ously unknown Soler harpsichord The proud owner of the fi fth such instru- weighty 78 rpm recording project that (discovered in a manuscript now owned ment to be built by the highly respected has been reissued in every successive by the Morgan Library in New York City) American harpsichord maker Keith Hill, record format) the “Goldbergs” have won international acclaim, garnering both Rübsam provides a totally different sound been consigned to disc by a widely var- a Diapason d’Or and the German Record picture for Bach’s variations. The constant ied list of , a tradition that Critics’ fi rst prize. I suspect that this latest arpeggiation certainly gives a different aura continues, seemingly without any ritar- two-disc set may well do the same. to the work, while the gentler plucked dandi. Indeed, while writing this report In eloquent notes to the record- tones produced from this single-manual on recent compact disc releases, I have ing, Ares writes of his daily ritual that instrument soothe the ear. To record the noted at least two more new recordings begins with a complete play through of entire work on one disc with a total timing advertised for sale. the entire set of variations, but also he of 78 minutes and 24 seconds, the artist Just as I look at my extensive col- expresses his feeling for the need of confi ded that he made his own choices as lection of books and think about the a prelude to precede Bach’s opening to which of the variations would be played immense amounts of time and energy statement of the Aria. For this recorded with the indicated repeats and which ones that are required for each publication performance, Ares made a clever choice: would not. I fi nd his selections well made (having been a writer all my adult life), I Bach’s own transcription of an Adagio and actually agree totally that not all of the Diego Ares, Bach, Goldberg Variations feel a similar empathy for the effort and (BWV 968) based on the composer’s arbitrary double dots at the conclusion of dedication required when we consign (BWV 1005). It is indeed each section need to be observed in any Variations. And, for one further surprise, our musical performances to disc (hav- a lovely piece, but, since Bach left us performance. I especially dislike the car- the recording engineer for all these ses- ing done a fair number of these, as well). only this one movement which cadences bon-copy reruns of the B sections once one sions was none other than Hugo Distler’s Thus, I try not to be overly critical in my in the dominant key, it is a diffi cult work has made that trip from dominant cadenc- brother-in-law, Erich Thienhaus! reviews but rather hope that I may serve to program. As the desired prelude it ing back to the tonic. Most of the time one The two-manual harpsichord used for primarily as a reporter: one who gives makes a perfectly logical opener, con- traversal is quite enough for my ears. Walcha’s recording sessions was built at enough information about the new offer- necting smoothly to the Aria in G Major. Amazing as it may seem to those of us the Ammer Brothers factory located in ings so that a reader may decide to seek Ares’s performance, with the added who require two manuals as specifi ed by Eisenberg in the eastern German prov- more information, or even, perhaps, prelude, spans 1 hour, 29 minutes. He the composer, , Rübsam, ince of Thuringia. What nostalgia that wish to acquire the item being discussed. performs on his two-manual harpsichord and some other players seem quite able inspired! My fi rst harpsichord teacher, In alphabetical order, I present by Joel Katzman (2002) based on a to negotiate the crossing of hands and Isolde Ahlgrimm, made her famous Bach for your consideration three recent Taskin instrument from 1769. notes, as well as the general awkward- recordings playing an Ammer instru- recordings of Bach’s magnum opus as ness of compressing such acrobatics to ment. My fi rst harpsichord was a small performed by Diego Ares (born 1983) Wolfgang Rübsam one keyboard only. Bravo to all involved. double built at the Passau factory of Kurt [ HMM 902283.84]; Appointed to succeed the far-too-early- Sperrhake, who also provided a larger Wolfgang Rübsam (born 1946) [Naxos deceased James Tallis as harpsichord and Helmut Walcha two-manual model instrument during 8.573921]; and, as an archival reissue, organ professor at Southern Methodist I fi rst experienced a concert by the our Mozarteum year. (Ahlgrimm’s com- a legacy from the renowned German University, I moved to Dallas, Texas, in legendary professor of organ at the ment: “I’ve slept in smaller rooms than organist and teacher, Helmut Walcha late August 1970, to join the music faculty Hochschule für Musik und Darstellende this instrument!”) While I would not want (1907–1991) [the last disc in a boxed set of the Meadows School of the Arts. Wolf- Kunst of Frankfurt, Germany, during the to return to these well-built, but heavy, of thirteen compact discs comprising gang Rübsam was, at that time, a stellar unforgettable summer trip that followed leather-quilled factory instruments, there all of the major Bach solo harpsichord student in Robert T. Anderson’s organ my year at the Salzburg Mozarteum is a certain nostalgia for that youthful works, Warner Classics 0190295849618]. class, and he went on to prove his stature as an Oberlin Conservatory junior time of discoveries and the blooming of To make matters even more interesting, by winning the fi rst prize for interpreta- (1958–1959). In Letters from Salzburg my fi rst love for the harpsichord. it so happens that I have had personal tion at the 1973 Chartres organ competi- (Skyline Publications, Eau Claire, Wis- Would I recommend the Walcha connections with each of these three tion. He also played a superb organ recital consin, 2006) I mentioned Walcha’s recordings? Perhaps. It is remarkable keyboard artists. during the dedication year of SMU’s Fisk organ recital at the Frankfurt cathedral, that he could play absolutely perfectly Opus 101 installation, and we continue to with its eight-second reverberation, and since he had been struck blind at age Diego Ares meet at various organ events throughout noted that the organist was “an inspired nineteen, most likely from a reaction to I met this brilliant harpsichordist in the United States. player.” While visiting the Hochschule I his vaccination for smallpox. I do not November 2009 and was blown away by Following a successful set of Bach met its harpsichord teacher, Frau Maria hear any mistakes or smudged notes at his virtuoso performance of the Manuel recordings on the modern piano, Rüb- Jäger, and did not realize that Walcha all, but I also do not hear much in the de Falla Concerto for Harpsichord and sam has turned his considerable musical was also a harpsichordist. way of personality or nuance either. It Five Instruments at the opening event insights to performing the Goldberg During many summer trips to Europe has somewhat the same effect as read- Variations on an instrument known to in the earlier years of an academic ing a dictionary—but as a source for have been of interest to J. S. Bach: the career, my German friend and “Euro- checking the notes as they appear in A. E. Schlueter Pipe Organ Co. lautenwerk or “ harpsichord” of pean manager” Alfred Rosenberger and the original Bach-Gesellschaft Editions which a postmortem inventory of Bach’s I often would attend Saturday Vespers at there would likely be no deviations belongings included two examples. Unfor- the Dreikönigskirche where Walcha was from that urtext. tunately, neither instrument is known to organist. There we could marvel at his And what a tribute to the human have survived the passage of time. expressive hymn playing and masterful spirit! Every note required for thirteen improvisations, while also enjoying both compact discs full of music was retained the intimate beauty of the rather sparsely in that brilliant memory! One of Walcha’s attended afternoon services as well as prize students, my SMU colleague Rob- the post service opportunities to speak ert Anderson, told many tales of being with the genial organ master. summoned to visit his mentor for the Still there was no mention of the harp- purpose of following a score while his sichord; so, imagine my surprise when I teacher played through the complete Art  New Instruments  Tonal Additions discovered that the present thirteen-disc of the Fugue or some other complex set  Rebuilding  Maintenance set comprising all the major solo harpsi- of organ pieces. And, said Bob, “There  New Consoles  Tuning chord repertoire of J. S. Bach had been was hardly ever even one wrong note!” Q recorded starting in the spring of 1958 in How can we help you? Hamburg, continuing for the next several Comments and questions are wel- years, and culminated during March of come. Address them to lpalmer@smu. 800-836-2726 1961 with the 75 minutes and 38 seconds edu or 10125 Cromwell Drive, Dallas, www.pipe-organ.com of Walcha’s interpretation of Goldberg Texas 75229.

16 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM On TeachingBy Gavin Black By Gavin Black

Further thoughts on chords and the actual chords—are made counterpoint up of essentially the same notes as one Recently, a student asked me during a another. They cannot be in counterpoint lesson to remind him about voices: what Example 1 with each other in the usual melodic they were and how to approach them Example 2 motivic sense. Yet, I think they cohere into while working on a piece. This surprised looking at counterpoint, one that does a texture—maybe the quick notes sort of me, since we had already dealt with not confl ict with the conversation model, But neither conversation nor the panoply emanate from the chords. But what I fi nd this fundamental aspect of music. This but coexists with it. A contrapuntal tex- of human and universal experience pres- interesting is that when the pedal comes student was a beginner at the time, and ture is an analogue for the world or even ents itself as orderly all of the time. in, I hear it as its own melody or motif. It I assumed that a basic understanding of the universe—anything and everything There are two pieces that have is also tracking the same notes much of what a “voice” is in a keyboard piece was that exists simultaneously. That is, for odd relationships to the concept of the time. But the different sonority and something that I had covered in lessons the much bigger real-life contrapuntal counterpoint that I have always found the longer rhythmic arc make it seem like early on—and thoroughly. texture consisting of billions of people, intriguing. I am speaking in particular a response rather than a redundancy. Perhaps I had not done so adequately, countless trillions of other creatures, an of the fi rst prelude from J. S. Bach’s All of the above is, in a sense, a set of but it turned out that there was something indescribable number of inanimate but Well-Tempered Clavier and the Toccata attempts to broaden the concept of coun- else going on here. The student had been active objects (clouds, waves, or celestial from Symphony No. 5 by Charles-Marie terpoint or of the range of reactions that using a computer music notation pro- bodies) and so on. A piece of music with Widor. What does it mean to say that one might have to it. I close by discussing gram and had bumped into some oddi- three or four voices is a vastly simplifi ed these two pieces involve counterpoint? basic rhythm in relation to voice notation ties about the way that program treated but powerful representation of that big- Is that accurate or meaningful? that my student mentioned above was the concept of voices. He was trying to ger, infi nite tapestry. Each piece of coun- The Bach prelude, which is a succes- grappling with. If you are unaware of, or type out a piece that was inconsistently terpoint is a representation of a different sion of , can be analyzed as confused by, the voice leading in a con- contrapuntal. The program conceived of part of that tapestry or a different way of three-voice counterpoint. The fi rst note trapuntal piece, it can be unclear which notes only as belonging to one voice or symbolically representing the whole of it. of each half-measure is one voice, the notes are placed where rhythmically. another and (I gather) kept complaining This manner of looking at counterpoint second note another, and the remaining For example, if we see something writ- about his attempts to add notes in the came to me as a consequence of my expe- six notes the third. You could generate ten like Example 1 and understand the ways that he thought were correct. rience attending certain kinds of immer- all of the notes of the piece by writing voice situation, it is clear that the F′ is I believe that he did fi gure out how to sive theater and dance—performances those “voices” out each on a separate on the third beat of the measure and the make the process work, possibly by fi nd- of narrative in which audience members staff, as we might more meaningfully do B is on the fourth beat. That B follows ing something to click on that enabled are not all engaged in watching the same with a three-voice fugue. It is probably the middle C in the lower voice. It is also chords. But through this experience and narrative unfold in front of them. Rather, correct to say that this notation actually clear that the F′ is held through the B, aided by the discussion that we then had, they walk around experiencing different means, “play the notes of these chords plus or minus any subtleties arising out he developed a fi rmer grasp of the notion aspects of a narrative that is unfold- in this order and overlap almost every- of articulation. that a given note might specifi cally follow ing simultaneously in parts in different thing.” This ostensibly contrapuntal However, if the voice-leading situation another specifi c note in a voice, not just spaces. It is a structure that is also in a notation is interesting perhaps mainly as is unclear to someone looking at this bit of be the next note in an overall texture. sense a direct analogue to the structure a commentary on the composer’s habits music, it could appear that the notes stack This helped him fi gure out certain things of all of existence. Most of the theater or ways of organizing his conception of up like Example 2 with the B on a (non- about rhythm that had previously eluded work in this form that I have experienced music. But what contrapuntal impulse existent) fi fth beat—that is, following the him. It was also interesting and useful has been largely or entirely non-verbal, or feeling is there in this piece, if any? entire half-note’s worth of the F′—and that this experience triggered my quick and therefore the analogy between it and I hear the bass line—the fi rst note of the middle C sort of left hanging. and unplanned review of the whole the non-verbal narrative of (instrumen- each half measure—as a melody, a line, This can be characterized as a fairly matter of voices and counterpoint in tal) music is direct and powerful. or voice. I then tend to hear the high- basic mistake, one that even a beginner keyboard music. Since that time I have It is debatable whether or not this est note of each half measure—which who had learned to read music would not been musing about the subject, and this concept holds deeper meaning pertain- is played twice per gesture, once on a make. In the case of my student, his tem- column discusses some thoughts loosely ing to the details of performance, for any beat and once off the beat—as a kind porary confusion about the voices—which bound together by their connection to particular performer, or for a student. I of half-heard counter melody. The force did indeed cause him to misinterpret the idea of playing in voices and the idea believe that it has sharpened my focus on or presence of that counter melody certain rhythms in this sort of manner— of playing counterpoint. the importance of lines that do not hap- shifts in and out from one part of the was caused by that notation program. I wrote a series of four columns about pen to be playing primary material (that piece to another in ways that I think However, that is not the only time that counterpoint ten years ago. (See the Sep- is, recurring subjects or motifs). In life, refl ect the ebb and fl ow of harmonic I have seen straightforward rhythms tember through December 2008 issues after all, everyone is the protagonist of tension more than anything else. It appear unnecessarily complicated, or just of The Diapason.) Having reread these their own story! I suspect that this way of feels to me like a kind of half-hidden, plain wrong, because the voice-leading is essays, I see nothing that I would now looking at it has tended to help me play impressionistic counterpoint served on unclear or being misunderstood. Untan- dissent. But I have ten years’ worth of contrapuntal lines more vividly and with a bed of harmony. gling voices can be an effi cient way of further experience and refl ection, some more rhythmic freedom. Playing indi- As a fi nal tip of the hat to my summer clarifying and simplifying rhythm. of which you may fi nd compelling. vidual contrapuntal lines with freedom London trip and its relevance to music Next month, I will describe some First, it is a common conception that involves something that can be thought of making and teaching, I recall an experi- ways that thinking about rhythm has counterpoint is a form of conversation: in as a paradox or just a practical problem, ence of me playing this prelude at a public made me rethink some of what I have any contrapuntal context there is a series since they all have to come out at the open-air piano at Tottenham Court Road said in the past about counting and basic of dialogues going on. One of the goals same place at the same time. I suspect Underground station in London. This is techniques for rendering rhythms cor- for many of us is to play contrapuntal that conceiving those lines as not just one of those set up for passers-by rectly. I will also write about music that lines with a naturalness that makes this things that the characters are saying but as to use. As far as I know, this is the only is partially or inconsistently contrapun- conversational aspect seem real and the characters themselves has allowed me time that I have played piano in public, tal, and some evolving ways in which I unforced. I tend to view conversation to intuit and explore ways of dealing with and probably also the only time that I discuss that concept with students. Q as something that is intrinsically about that paradox. However, I am in the early have played from memory in public. pairs—conversation is best exemplifi ed stages of exploring this as far as my own In the Widor, I hear counterpoint in Gavin Black is director of the Princ- by two people talking to one another. In playing is concerned. The point is that this rhythm, or in rhythm as texture. The two eton Early Keyboard Center, Princeton, larger groups, the overall conversation is an idea that a particular student or other components that are present for most of New Jersey. He can be reached by email is constructed out of simultaneously player might happen to fi nd interesting, the piece—the outlined sixteenth-note at [email protected]. overlapping and alternating two-part thought provoking, or inspiring. conversations, enhanced by listening. I I recently encountered the following tend to conceptualize the conversation quote in a memoir published in 2015 by of counterpoint that way—that what is the actor and director, Alvin Epstein. I going on in a texture of more than two offer it as another thought or image that voices is several simultaneous two-way can apply nicely to musical counterpoint Through December 31, conversations. This informs my process as well as to both its ostensible subject new subscribers and gift of working on and teaching contrapuntal of human conversation and to the writing music. As I wrote in those columns from of drama: subscriptions can receive ten years ago, I strongly favor practicing In real life, conversations between peo- one free Raven CD for pairs of voices. But in contrapuntal music ple don’t stick to one subject or one train of four voices, I do not see any point in of thought and follow straight through-to- a one-year subscription, practicing all of the possible groups the-end, period, and then introduce an- two free CDs for a of three voices, let alone the fi ve pos- other idea all neat and orderly. In real life we speak in interruptions, new ideas being two-year subscription, sible groups of four voices in a fi ve-voice introduced before old ones have been fi n- texture, and so on. I believe that going ished, old ones coming back again. There and three free CDs for straight from pairs to the full texture is are many threads to the way we actually effi cient, revealing, and informative. The speak to one another, it’s a tapestry. a three-year subscription. concept of contrapuntal conversation is well established and amply demon- I take this as a sort of challenge when it For details and to begin your new or gift subscription, strated to be fruitful. comes to playing counterpoint, since the Over the last several years I have also thrust of a lot of our analysis of contrapun- visit www.thediapason.com/subscribe.

come to see a different, parallel way of tal music is to try to fi nd order and logic. marzolino - stock.adobe.com

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2018 Q 17 In the wind...

Shifty and puffy pieces) are cut from supple heavy goat It is mid-September in mid-coast skins that have a buttery texture and are Maine, and the days are getting shorter. impossible to tear. The key to fi nishing Sunset here is about sixteen minutes ear- a wind regulator is fi nding a combina- lier than in New York City, as we are as tion of materials that are all very fl exible far east as we are north of the Big Apple. and strong, that are easy to cut, and that There are four windows facing east in receive glue well enough to ensure a our bedroom that allow us to track the really permanent joint. If the structural motion of the sun, which is rising further integrity of a regulator is iffy, the wind south than it did a month ago. When we will be shifty and puffy, and it will be are on the water, we notice that the after- a struggle to keep the music going in a noon sun is lower in the sky as the sunlit straight line. Just as you get going, you water sparkles differently than in the get “headed” by a burst of wind that height of summer. And the wind changes jiggles the music, or you get clobbered dramatically with the change of season. by a jolt from out of nowhere. In mid-summer, we cherish the warm sea breeze, predominant from the south What’s in a name? or southwest, caused by the air rising as I am referring to these essential it crosses the sun-warmed shore. All that organ components as “regulators.” We cooler air above the ocean rushes in to also commonly call them “bellows” or fi ll the void, and we can sail for miles “reservoirs.” All three terms are correct, without trimming the sails in the steady but I think regulator is the most accurate and sure wind. description of the function of the thing. We had our last sail of the season last Taken literally, a bellows produces air. weekend in lumpy, bumpy wind from Air is drawn in when it is opened and the northwest, which is never as steady pushed out when it is closed, like the as the southwesterlies. It is shifty and simple bellows you have by the fi replace. puffy, and it can be a struggle to keep the The hole that lets the air in is closed by boat going in a straight line. Just as you an internal fl ap when air is blown out. get going, you get “headed” by a burst A reservoir stores air. In an organ built of wind from straight ahead, or you get before the invention of electric blowers, clobbered abeam by a twenty-fi ve mile- it was common for an organ to have a per-hour gust. Oof. pair of “feeder bellows” operated by a You have read this kind of thing from rocking handle that blew air alternately me before, thinking about sailboats when into a large reservoir. The feeders had I should be writing about pipe organs, but the same internal fl aps as the fi replace because both are important parts of my bellows. The top of the reservoir was life, and both involve the management covered with weight (bricks, metal Full canvas hinges (photo credit: John Bishop) of wind, I cannot escape it. And I am ingots, etc.) to create the air pressure, thinking about it a little more than usual and the air fl owed into the organ as the inch (PSI). I infl ate the tires of my car to because at the moment I am releather- organ pipes consumed it. The bellows 35 PSI, and I use 80 or 100 PSI to operate ing three regulators for the organ I am were only operated, and the reservoir pneumatic tools. But while my workshop working on. My method for assembling was only fi lled when the organist was air compressor gauges those high pres- and gluing the ribs and frames of a wind playing. Just try to get that kid to keep sures, the actual fl ow is pretty small, regulator involves seven steps: pumping through the sermon. . . . something like two cubic feet per minute. • Glue outside belts on the pairs of ribs. With the introduction of the electric Organ wind pressure is much lower, • Glue inside canvas hinges on the blower, it became usual to turn the and we measure it as “inches on a water pairs of ribs. blower on at the beginning of a concert or column.” Picture a clear glass tube in the • Glue canvas hinges around regula- service and leave it running. That made shape of a “U” that is twenty-inches high. tor frames and bodies. it necessary to add a regulating valve Fill it halfway with water, and apply pres- • Glue ribs to top frames. between the blower and the reservoir. sure to one side of the U. The water goes • Glue ribs/top frames to body. When the reservoir fi lled and its top rose, down on that side of the tube, and up • Open regulator and glue gusset the valve closed, stopping the fl ow of air on the other. Use a ruler to measure the bodies. from the blower, so the system could idle difference, and voilà, inches on a water • Close regulator and glue gusset tails. with the blower turning and the reservoir column, or centimeters, or feet. You can It is still offi cially late summer as I full. When the organist played and there- easily make one of these using plastic write this, and my personal workshop is fore used air, the top of the reservoir tubing. The little puff it takes to raise a three-car garage. Since we are on the would fall, the valve would open, and the three inches of pressure is just the same shore, I love to have the overhead doors air could fl ow again. Like before, there little puff it takes to blow an organ pipe Pairs of ribs (photo credit: John Bishop) open to the breezes, though it is humid was weight or spring pressure applied you are holding in your hand. Instead of here. I am using the traditional fl ake hide to create the proper wind pressure. The the actual tube full of water, we use a Once you have determined pres- glue (the stuff that is made when the old addition of that valve added the function manometer that measures the pressure sure, you also have to consider volume. horse gets sent to the glue factory) that of pressure regulation to the bellows. In on a gauge without spurting water onto A twenty-rank organ at three inches of you cook in an electric pot with water, an organ with an electric blower, the bel- the reeds. pressure might need 1,000 cubic feet per apply hot, and wipe clean with a hot- lows are storing and regulating the pres- Did you ever wonder how the con- minute at that pressure to sustain a big water rag that I keep just hot enough that surized air. Calling it a regulator seems to version works? One PSI equals almost chord at full organ. Some of the largest I can put my hands in to wring the rag dry cover everything. 28 inches on a water column. Five organ blowers I have seen are rated at in the sort of double-boiler from which inches on a water column equals about 10,000 CFM at ten inches of pressure. you scoop oatmeal at a cafeteria line. For The longer you go, the .18 PSI. And how does that relate to the And when you lift the biggest pipe of a the glue to set, the moisture must evapo- heavier you get. organs you know? In a typical organ, it 32′ Open Wood Diapason and play the rate, and since the air is humid, I have to Twice in my life, I have heard EMTs is usual to fi nd wind pressures of three note as an empty hole, you will blow your wait overnight between each step. Run- comment about my weight when lifting or four inches. In general, smaller top knot off. It takes a hurricane coming ning fans all night keeps the humidity the stretcher, once after a traffi c accident organs with tracker action might have through a four-inch toehole to blow one down and speeds the drying. In winter, in the 1970s, and again after a fall in an pressures as low as forty millimeters, or of those monster organ pipes. when the air inside is dry, I can typically organ seven years ago. But that is not less than two inches. In a three-manual do two gluing steps in a day. what I am talking about here. We usu- Skinner organ, the Great might be on All the air you could wish for One of the regulators I am working ally think of an inch as a unit to measure four inches, the Swell on six, and the Before the introduction of the electric on is thirty inches square. For that one length or distance, so how can it refer to Choir on fi ve. In a big cathedral sized blower, most organs had at least two I am using around twenty-fi ve feet of pressure, as in, “the Swell division is on organ, solo reeds like French bellows. One would be in free fall, sup- one-inch-wide heavy canvas tape for six-inches of pressure?” and English Horn might be on fi fteen plying pressure to the organ while the the hinges and a comparable length of In industrial uses of pressurized air, inches, while the biggest are on other was raised by the organ pumper. laminated rubber cloth for the outside more familiarly, in the tires or of your car, twenty-fi ve. The world-famous State The system I described earlier with belts. The gussets (fl exible leather corner the unit of measure is pounds per square Trumpet at the Cathedral of Saint two feeders and a reservoir was a great John the Divine in New York City is innovation, because once the reservoir on fi fty inches (incredible), and in the was full, the pumper could slack off a Boardwalk Hall organ in Atlantic City, little if the organist was not demanding Visser Pipe Organ Co. New Jersey, the Grand Ophicleide, too much wind. The six-by-nine-foot Quality Craftsmanship, Creativity & Integrity Tuba Imperial, Tuba Maxima, Trumpet double-rise reservoir in the heart of a Mirabilis are on one hundred inches of fi fteen-stop organ by E. & G. G. Hook or New Organs–Restorations–Additions–Relocation pressure, or 3.61 PSI! Stand back. Thar Henry Erben has huge capacity, and can All Actions & Tonal Styles • 713-503-6487 • [email protected] she blows! blow a couple 8′ fl utes for quite a while

18 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM By John Bishop

between the languid and the lower lip. All of these factors affect the speech of the pipes, giving the impression that the organ is gasping for air. And worse still, you might hear the pitch drop each time you added another stop. I have worked on organs where adding an 8′ Principal made the 4′ Octave sag. How do you tune a thing like that? I marvel now at how air pressure moves through the best new tracker organs, especially at the wonder- Ready to ship (photo credit: John Bishop) ful response of large bass pipes. Organs by builders like Silbermann do not lack The evolution of modern tracker in bass response. Once the revival move- organs toward the powerful, thrilling, ment was underway in the middle of the reliable, sonorous instruments being twentieth century, it took a few decades built today has much to do with how to really start getting it right. in the organ are the 16′ Bourdon, and much the craft has learned about the § though there are only ten ranks, it is a management of wind over the years. A unit organ, and a lot of pipes can be play- Gussets glued to corners (photo credit: little tracker organ built in 1962 might The organ I am working on today is a ing at once. It is destined to be a prac- John Bishop) have key channels and pallets that did simple little thing with two unit action tice instrument for a university organ not have the capacity to blow their pipes. windchests. Each has its own regulator, program, so I know that talented and without pumping. Organs by Hook are It might have fl exible wind conductors to and there is a third “static” regulator that ambitious young organists will be giving great examples of effi ciency, with pipes offset bass pipes that were too small and mounts next to the blower. The blower it a workout as they learn the blockbuster voiced in such a way as to produce lots that jiggled when the notes were played, produces seven inches of pressure; the literature we all love so much. I hope of tone with very little air, and even large causing the tone to bounce. It might have static regulator brings it down to fi ve that those students never have to worry three-manual organs are pumped by just bass pipes with feet that were too short, inches and distributes the wind to the about having enough air. And perhaps one person using the two-feeders-and-a- so air did not have a chance to spread other two regulators, which each mea- Maine’s salty breezes will travel with the reservoir system. into a dependable sheet before passing sure out four inches. The biggest pipes organ, adding a little fl avor to the mix. Q The electric blower changed every- thing. Organbuilders and voicers could now work with a continuous fl ow of wind at higher pressures than were avail- able before. New styles of voicing were invented, and along with the introduction of electric keyboard actions, organs could be spread around a building, creating ste- reophonic and antiphonal effects. When DEFINING AFFORDABILITY organs were fi rst placed in chambers, and their sounds seemed remote, the build- ers raised the pressure and increased the fl ow of air through the pipes, driving the FOR THE NEXT GENERATION sound out into the room. While modest organs with electric blowers usually have only one wind regu- lator, larger instruments can have dozens. In a big electro-pneumatic organ, it is common to have a separate regulator for each main windchest. That is how Ernest Skinner could have the various divisions of an organ on different wind pressures, as each individual regulator can be set up INVEST ONCE... to deliver a specifi c pressure.

But what about wiggly? When I mention factors that can add THINK APOBA. to the stability of an organ’s wind system, I raise the question about “wiggly wind,” or “shaky wind,” both somewhat deroga- tory terms that refer to the lively fl exible wind supplies in smaller and mid-sized mechanical action organs with lower wind pressure. When wind pressure is low and an entire organ receives its air from a single regulator, the motion of NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING, REBUILDING AND SERVICE FIRMS the wind can be affected by the motion BUILDER MEMBERS of the music. It is especially noticeable A. Thompson-Allen Company Goulding & Wood, Inc. Randall Dyer & Associates, Inc. when larger bass pipes are played while Andover Organ Company Holtkamp Organ Company Schoenstein & Co. smaller treble pipes are sustained. At its Bedient Pipe Organ Company Kegg Pipe Organ Builders Taylor & Boody Organbuilders best, it is a delightful affect, akin to the Berghaus Pipe Organ Builders, Inc. Létourneau Pipe Organs Bond Organ Builders, Inc. Muller Pipe Organ Company natural fl ow of air through the human Buzard Pipe Organ Builders, LLC Parkey OrganBuilders SUPPLIER MEMBERS voice. At its worst, it is a distraction when C.B. Fisk, Inc. Parsons Pipe Organ Builders Integrated Organ Technologies, Inc. the organ’s tone wobbles and bounces. Casavant Frères Pasi Organbuilders, Inc. Solid State Organ Systems This phenomenon is part of the fi erce Dobson Pipe Organ Builders Patrick J. Murphy & Associates Syndyne Corporation Foley-Baker, Inc. Paul Fritts & Co. Organ OSI - Total Pipe Organ Resources twentieth-century debate concerning Garland Pipe Organs, Inc. Quimby Pipe Organs, Inc. Peterson Electro-Musical Products “stick” organs versus so-called “industrial- strength” electro-pneumatic organs. I have been servicing organs for more than forty years, and I have often thought that much of the criticism of the emerging tracker-action culture was because crafts- Call today for APOBA’s Please watch and share men were reinventing the wheel, learning Pipe Organ Resource Guide our short video at: the art of organbuilding from scratch. and Member Prospectus www.apoba.com/video They may have measured the dimensions of an organ bellows accurately but failed to compensate for the fact that the ancient model did not have an electric blower. And let’s face it: a lot of fl imsy plywood tracker organs were built in the 1960s and Apoba.com 1-800-473-5270 1970s, enough to give that movement a bad name from the start.

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2018 Q 19 Pipe organ documentation

The 1864 William A. Johnson Opus 161, Piru Community United Methodist Church Piru, California, Part 4

A virtually complete documentation and tonal analysis derived from the data, drawings, and photographs from the restoration of 1976 by Michael McNeil and David Sedlak

By Michael McNeil

Editor’s note: Part 1 of this article was areas. The spreadsheet generates graphs published in the August 2018 issue of for Normal Scale pipe diameters, Nor- THE DIAPASON, pages 16–19. Part 2 was mal Scale mouth widths, Normal Scale published in the September 2018 issue, mouth heights, toe C values, fl ueway pages 20–25. See the October 2018 issue, depths, and ratios of toe areas to fl ueway pages 26–28 for Part 3. areas. Spreadsheets of both the Johnson and Hook organs may be obtained at no A graphical analysis of William charge from the author; see References Johnson’s scaling and voicing at the end of this article. The graphical models used in this Scot L. Huntington carefully docu- section provide a visual means of under- mented the restoration of Johnson’s standing the scaling and voicing of an Opus 16 on pages 163–207 in the book, organ. More importantly, they serve as a Johnson Organs 1844–1898, co-authored means of comparing other styles of scal- with Barbara Owen, Stephen L. Pinel, ing and voicing. From these models we and Martin Walsh (see References). The can understand how the tonal structure only important data missing from this of an organ can be designed to suit any work are pipe fl ueway depths, but the desired outcome. fl ueway data on Opus 161 likely provides The graphical data of Johnson’s 1864 a guide for Opus 16 as well. The basis Opus 161 at Piru Community United for this assumption is the similarity in Methodist Church are presented side- scaling and voicing of the two Johnson 1864 William A. Johnson Opus 161, Piru Community United Methodist Church, Piru, by-side with data from E. & G. G. organs, both of which show a signifi cant California Hook’s Opus 322, built for the Church of reduction in power as the pitch of the the Immaculate Conception in Boston, stops in the principal chorus rises, and Hook V Mixture is signifi cantly narrower the 8′ Clarabella mouths are now slightly Massachusetts, in 1863. Unfortunately, both are very unlike the Hook. The than the foundations. By contrast in Fig- narrower than the 8′ Open Diapason. no recordings of Johnson’s Opus 161 reader can fi nd Huntington’s tabulated ure 14, the scales of the Johnson upper- Note that the bass of Johnson’s 8′ Open are known, but the Samuel Green organ data in the new book. work descend as the pitch of their stops Diapason is as wide as the Hook 8′ Open originally built for Litchfi eld Cathedral rises, i.e., the scales of the 4′ Principal Diapason in Figure 17—this is remark- and now located at the Church of St. Pipe diameters are narrower than the 8′ Open Diapason, able when we consider that the Johnson , Armitage, Stafford- The Normal Scale of pipe diameters is and the 2′ Fifteenth is narrower than was built for a much smaller acoustic. shire, bears a striking resemblance to a way to visualize relative power, where a the 4′ Principal. The narrowest stop in Again note that the Johnson VII Cymbal the scaling, voicing, and tonal quality of fl at line from bass to treble will produce the Hook chorus, the VII Cymbal rep- in the Hook chorus in Figure 17 is the Johnson. The Green organ can be relatively constant power. Pipes extend- resented by the blue line, was built by the narrowest stop in that chorus, even heard in the CD listed in the section on ing higher in the graph will produce more Johnson in 1870. though it was designed for the large and Recordings at the end of this article. power. Each half tone on the vertical Note the extremes of Johnson scal- vibrant acoustics of the Church of the Normal Scale tables were copied into scale is worth 0.5 dB of power. Interested ing in the wide 8′ Clarabella and the Immaculate Conception in Boston, the a spreadsheet and restructured in a man- readers can refer to The Sound of Pipe narrow 8′ Keraulophon. These stops original home of the Hook. We can see ner that would allow an Excel matching Organs for a discussion of the underlying share a common narrow bass, which how Johnson compensated for the larger function to fi nd the Normal Scale values theory and principles of all of the graphi- was scaled to match the modest power acoustic at Immaculate Conception by of the Johnson data. The spreadsheet for cal models of the Johnson data. of the Keraulophon. observing that he scaled this VII Cymbal the Johnson data calculates mouth width The scales of the principal chorus of Like Samuel Green, Johnson greatly slightly wider than the 2′ Fifteenth in his fractions of the pipe circumferences, C the Hook in Figure 15 are relatively widens his deepest foundation pipes; Opus 161 in Figure 16. values of the pipe toes, toe areas, fl ueway constant, i.e., they are the same for all note the scale of the 16′ Pedal Double The wind pressure of the Johnson was areas, and ratios of toe areas to fl ueway of the pipes of a given pitch—only the Open Diapason at +9 half tones, the probably about the same pressure as single blue data point in the upper left of the Hook (76 mm) in its original state. Figure 14. This stop produces a strong The reduction of the scales of Johnson’s tactile effect even in the dry acoustic of upperwork stops shows that he wanted Saving organs throughout the Piru church, whose walls are too thin a very refi ned chorus, and indeed the to reinforce bass tone. Johnson chorus is never overbearing. America....affordably! Like Samuel Green, Johnson provides Mouth widths grandeur to his chorus by making his The Normal Scale of mouth widths basses extremely wide and powerful; operates just like the pipe diameters, note how the mouth widths of the Great where a fl at line from bass to treble will Open Diapason increase rapidly from produce relatively constant power. Pipes the tenor to the bass, and also note how extending higher in the graph will pro- the mouth width of the Pedal Double duce more power. Each half tone on the Open Diapason (the single data point in vertical scale is worth 0.5 dB of power. the upper left of Figure 16) extends this Mouth widths are nearly always a trend linearly to 16′ low C. better indicator than pipe diameters of power balances; this is because mouth Mouth heights and toe diameters widths can be designed to vary consid- Mouth height, or “cutup,” as it is com- erably within the same diameters of monly called by voicers, is the primary 1-800-621-2624 pipes. Narrower mouths will produce means of adjusting the timbre of a pipe. less power. Low cutups will create a bright tone foleybaker.com The Johnson principal chorus in Fig- with many higher harmonics, while high ure 16 remains mostly unchanged, but cutups will produce smoother tone. It is

20 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM Figure 14 Figure 15 not uncommon to fi nd fl ute pipes cut as Note the mouth height of the low C are equal, and this is the normal lower never both. The ear is very sensitive to much as 12 half tones higher than prin- of the Johnson Pedal 16′ Double Open limit for pipes with prompt speech. the speed of pipe speech—it can sense cipal pipes in many classical pipe organs. Diapason in the extreme upper left of For example, the vast majority of the changes in milliseconds. In the Normal Scale of mouth Figure 18. At a value of +11 half tones, principal chorus pipes in the range of With this background in mind, we heights, a higher cutup value on the ver- this stop produces copious power on 4′ to 1′ pitch in the Isnard organ at St. can see that the speech of the Johnson tical scale will result in smoother tone. full wind without harmonic stridency, a Maximin, France, exhibit a value of chorus is slower than the Hook chorus. Cutups may be adjusted higher for further extension of the balances sought almost exactly 1:1, with higher pitches Indeed, the voicing of the lovely Johnson one or both of two reasons: the voicer by Green. approaching a value of 3:1. This gives chorus works well with the relatively low wants a smoother timbre, or the voicer the Isnard foundation pipes a lovely resonant frequency of its wind system to wants more power at the same timbre. Flueway depths “bloom” to their speech. impart what the author noted in 1976 as More power means more wind, and this Like the pipe toe, the fl ueway depth The speed of pipe speech is impor- a “light ‘give’ on full organ, a relatively means a larger toe opening (or deeper controls the fl ow of wind and strongly tant. A well-knit chorus of pipes may fast buildup to full fl ow.” The Johnson fl ueway) to admit more wind and raise correlates to the power and the speed have slower pipes or faster pipes, but 8′ Open Diapason is a bit faster with the pressure at the mouth. More pres- of the speech of the pipe. Both organs, sure at the mouth will always produce the Johnson in Figure 22 and the Hook a brighter tone, so the voicer can make in Figure 23, exhibit fl ueways that are a pipe louder and preserve a certain deep enough to claim that power is not timbre by opening the toe and raising at all regulated by the fl ueway. These Unprecedented Natural the cutup until the timbre is restored. fl ueways are characteristic of Romantic Pipe toe diameters can be normalized and Classical French voicing. Power in to the diameter of the pipe, the width of these pipes is regulated at the toes. The Pipe Organ Sound the mouth, and the depth of the fl ueway. fl ueways of the Johnson 4′ Principal and Higher values of C indicate larger toes 2′ Fifteenth in Figure 22 are wide even ,QWURGXFLQJGLJLWDOO\VDPSOHGSHGDOVSHGDO with more fl ow of wind and higher pres- by normal Romantic standards. Classical sures in the pipe foot. Germanic voicing typically maintains an H[WHQVLRQVDQGWXQHGSHUFXVVLRQVIURP,27, Now we can understand the graphs. open toe and controls power at the fl ue- In the Hook graph of mouth heights way. Gottfried Silbermann is the famous (Figure 19) and toe C numbers (Fig- exception to the Germanic custom; he ure 21) we see very high values. Hook learned organbuilding in France. was after power, and these graphs show In his book, The Johnson Organs, how you get it, even on a modest pres- John Elsworth noted that the Johnson sure of 76 mm. pipemakers would set the fl ueway and In the graphs for Johnson’s mouth the Johnson voicers would adjust the heights (Figure 18) we see that the toe and mouth height. It is probably mouth heights are cut lower as the safe to assume that a Johnson voicer pitches of the stops rise. This would nor- would adjust the fl ueway depth if it were mally make the upperwork brighter, but needed, but Elsworth’s description of Johnson also reduces the toe C numbers this process is interesting—it is the exact (Figure 20) as the pitches of his stops opposite of Germanic practice. rise, and this keeps the timbre constant. The net effect is that Johnson’s upper- Ratio of toe and fl ueway areas work is signifi cantly reduced in power; Once the scaling is set, the fl ow of the 4′ Principal is quieter than the 8′ wind and the available range of power Open Diapason and the 2′ Fifteenth is are controlled by the voicer at the toe quieter than the 4′ Principal. This fi ts and fl ueway of a pipe. The ratio of the the description of Samuel Green’s work area of the toe to the area of the fl ueway by Stephen Bicknell perfectly. is important. If the area of the toe is less We can see how Johnson compensated than the area of the fl ueway, which is for the larger acoustic at Immaculate a ratio less than 1:1, the speech will Conception by observing that the toe C be slower. “Slowness” in this instance numbers of his VII Cymbal in Figure 21 does not refer to the voicer’s term are as wide as the Hook voicing and as (which refl ects how the voicer adjusts fully winded as the Hook pipes—these VII the relative position of the languid and Cymbal toe C numbers are much larger upper lip) but rather to the effect of than the toe C numbers of the Opus 161 resistances (the toe and fl ueway areas) 2′ Fifteenth in Figure 20. In contrast, and capacitance (the volume of air in Johnson’s VII Cymbal in the Hook chorus the pipe foot). These resistances affect Integrated Organ Technologies in Figure 19 has lower mouth height the rise time of the buildup of sound ƹƸƸƵƷƳƵƷƹƵ_LQWHJUDWHGRUJDQWHFKFRP than the Hook voicing, and it is indeed to full power. The ratio is exactly 1:1 brighter than the Hook mixtures. when the area of the toe and fl ueway

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2018 Q 21 Pipe organ documentation

Figure 16 Figure 17

Figure 18 Figure 19 toe-to-fl ueway ratios above 1:1, but the but rather the lower resonant frequency most American churches. Johnson’s VII effort to keep the pipework intact, Kevin upperwork is slower with ratios well of its wind system. Cymbal in the Hook organ provides us R. Cartwright has been engaged recently below 1:1. with a window into Johnson’s thinking on by the church to reinstall the pipework in The Hook speech is very fast. The Refl ections the scaling and voicing for a much larger the organ; there is no funding to make it Hook chorus develops a lovely surge on The William A. Johnson tonal design is and reverberant acoustical setting. playable. The documentation in this essay full organ; this is not due to the voicing eminently suited to the dry acoustics of Whatever the reader’s opinion of the has provided a useful reference dur- aesthetic value of the Johnson chorus, ing the reassembly. Mr. Cartwright has its documentation has proved to be quite twenty-one years’ experience in organ- valuable. The Piru church disregarded building, the last three of them working the advice of the author to engage the as a contractor to Manuel Rosales.32 services of Manuel Rosales for the main- This essay on Johnson Opus 161 was a tenance of the organ when the author considerable effort. The goal was to pro- departed California in 1993. Some vide a template for the documentation time after the Northridge, California, of important and historically valuable 6.7-magnitude earthquake in 1994, the organs. Such documentation is often church contracted a different Los Ange- the only insurance we have against well- les fi rm to rebuild Johnson Opus 161; intentioned modernizations. It is the Piru was approximately 30 miles distant author’s hope that this essay will inspire from the epicenter. The work had not more thorough documentation of the been completed by the summer of 2017 world’s priceless gems. when Manuel Rosales was contracted to Although drawings crafted on comput- perform an inventory of the organ and ers are visually pleasing, most organbuild- assess its condition; the organ had been ers do not have the time or funding to dismantled leaving only the windchests make such graphics. If we want to see stripped of their topboards and sliders in good documentation in print, we must the frame. The pipes, topboards, sliders, also be willing to accept the lack of pol- and most of the mechanical parts, stored ish in hand drawings. The editorial staff in trays in the parish hall, were suffering of The Diapason has shown courage in damage from constant handling. In an their willingness to publish such drawings.

22 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM Figure 20 Figure 21

Figure 22 Figure 23

essay on Johnson. This gold-standard the impact of the organ), its sound bears home in this temperament. There are, un- level of documentation can be found a striking resemblance to that of William fortunately, no known recordings of John- A. Johnson’s Opus 161. The Green organ son Opus 161. on their website: www.williamdrake. on this CD is tuned in meantone, result- Murray, Thomas. The E. & G. G. Hook Or- co.uk/portfolio-items/clare-college-cam- ing in a gravity that enhances the already gan, Immaculate Conception Church, Bos- bridge/. If more organbuilders follow rich timbre of Green’s scaling and voicing. ton, Sheffi eld Town Hall Records, Album the lead of Drake we will begin to really The Johnson organ would sound equally at S-11 (ACM149STA-B), Santa Barbara, CA. understand how the sounds that inspire us are achieved. Q Confident pedal work Notes and Credits comes with practice and All photos, drawings, tables, and illustra- Piru Community United Methodist tions are courtesy of the author’s collection, if the right shoes Church (photo credit: David Sedlak) not otherwise noted. Most of the color photos were unfortunately taken by the author with There is some evidence that the need an inferior camera in low resolution. David on the Sedlak used a high quality camera, lenses, and for more thorough documentation is fi lm to produce the high-resolution color pho- gaining traction in the organbuilding tos of the church and its architectural details; pedals community. Pierre Chéron and Yves these are all attributed to Sedlak. Cabourdin published complete scaling 32. see www.cartwrightpipeorgan.com/ recent-projects/. x Men’s & Women’s Organ Shoes and voicing data on the Isnard organ at St. Maximin in 1991; Frank-Harald Greß with suede soles and heels published similar data on the organs of Recordings x Whole & Half Gottfried Silbermann in 1989, although Preston, Simon. 5 Organ , The English Concert, Simon Preston, 1984, Sizes in 3 Widths neither work addressed the documenta- Archiv D 150066. The organ concertos tion and analysis of wind systems. Of of George Frederick Handel are played x Quick & Easy great importance is the work of William on the Samuel Green organ, 1789–1791, Returns Drake, Ltd., in the United Kingdom. Church of St. John the Baptist, Armitage, Staffordshire, England. Although this or- OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET Their recent restoration of a 1755 Snet- gan was built for Litchfi eld Cathedral and zler organ included documentation that was later moved to its present location in 44 Montague City Rd Email: [email protected] has the depth of the data found in this a smaller acoustic (lending more force to Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2018 Q 23 Pipe organ documentation

Figure 24 Figure 25

Murray, Thomas. An American Masterpiece, Greß, Frank-Harald. Die Klanggestalt der CD, AFKA SK-507. (E. & G. G. Hook Orgeln Gottfried Silbermanns, VEB Opus 322) Deutscher Verlag für Musik, Leipzig, 1989, 176 pp. References Huntington, Scot L., Barbara Owen, Stephen Bicknell, Stephen. The History of the English L. Pinel, Martin R. Walsh. Johnson Organs Organ, Cambridge University Press, Cam- 1844–1898, The Princeton Academy of the bridge, 1996, 407 pp. Arts, Culture, and Society, 2015, Cranbury, Cabourdin, Yves, and Pierre Chéron. L’Orgue 239 pp. de Jean-Esprit et Joseph Isnard dans la McNeil, Michael. The Sound of Pipe Organs, Basilique de la Madeleine à Saint-Maximin, CC&A, Mead, 2012, 191 pp., Amazon.com. ARCAM, Nice, 1991, 208 pp. McNeil, Michael. Johnson_161_170807, an Elsworth, John Van Varick. The Johnson Or- Excel fi le containing all of the raw data and gans: The Story of One of Our Famous the models used to analyze the Johnson Opus American Organ Builders, The Boston Or- 161, 2017, available at no charge by emailing gan Club, 1984, Harrisville, 160 pp. the author at [email protected].

Christoph Rimmele installs the 4′ Flute a Cheminée on the Great windchest (Photo credit: Kevin R. Cartwright)

McNeil, Michael. Hook_322 Scales Voic- Michael McNeil has designed, con- ing_170228, an Excel fi le containing all of structed, and researched pipe organs the raw data and the models used to ana- lyze the Hook Opus 322, 2017, available at since 1973. He was also a research engi- no charge by emailing the author at mmc- neer in the disk drive industry with 27 [email protected]. patents. He has authored four hardbound Nolte, John M. Scaling Pipes in Wood, ISO Journal, No. 36, December 2010, pp. 8–19. books, among them The Sound of Pipe Owen, Barbara. The Organ in New England, Organs, several e-publications, and many The Sunbury Press, Raleigh, 1979, 629 pp. journal articles.

Church of Saint Jude the Apostle Wauwatosa, Wisconsin Three manuals – forty ranks

A RTISTRY – R ELIABILITY – A DAPTABILITY

24 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM Composers’ anniversaries

The fi ftieth anniversary of the death of Healey Willan (1880–1968) A year of remembrances in 2018 Healey Willan at the organ of the Church of Saint Mary Magdalene, Toronto, Ontario, Canada, 1959 By Fr. Scott A. Haynes, SJC

he English-Canadian composer effort has been organized to showcase THealey Willan had a lifelong love of Willan’s music through “Willan West sacred music. Gregorian , sacred 2018,” including a complete perfor- polyphony, and organ music were his mance of all of Willan’s Masses. The lifeblood. The “Dean of Canadian Com- Healey Willan Society is making efforts posers” wrote over 850 works, including to record any and all use of Willan’s , symphonies, songs, and chamber music, publishing a calendar of events music. Yet one might argue that his on its website. To this end, organists, church music is among his most beloved choirs, and other musical groups from work. Many a choir has in its library at around the world are invited to submit least one chestnut from Healey Willan. any 2018 events (including past events) Over his lifetime, he was commissioned to be included in the calendar of events, to write many sacred compositions for in order that a thorough record might festivals, convocations, and events. A be kept. review of his life shows how this “Man Biretta Books of Chicago has com- of Music” whose heart beat with melody missioned new choral works in hom- day and night was deeply committed to age to Willan. Composer Stephanie glorifying God through the gift God gave Martin has written a new anthem, The him—music! Earthly Tree, which will be premiered Shortly before he died in 1968, Willan on December 4 and 5 by the Toronto asked his daughter, Mary Willan Mason, Mendelssohn Choir. Nicholas White to take responsibility of promoting his has composed an arrangement of tradi- musical legacy. Mason enlisted the tional carols, Angel Carols, which will Healey Willan with choristers at the Church of Saint Mary Magdalene, Toronto, On- help of Giles Bryant, and together they be premiered at Lessons and Carols at tario, Canada, 1959 worked in concert with the National Saint John Cantius Church on Decem- Library of Canada to publish a com- ber 15. Composer Ed Frazier Davis is a cappella Masses, which are choral Catholic Church. He studied organ at plete catalog of his works in 1972. The writing new settings of Ave Verum and gems, there exist in his catalog other Washington National Cathedral under National Library received from the Maria, Mater Gratiae, while Stephen Masses that have not seen the light of the tutelage of Douglas Major, organist Willan family all of his manuscripts as a Cleobury is also preparing new musical day in decades. and choirmaster, and choral conducting national treasure of Canada. compositions that will be dedicated to For more information about the work at the University of Alabama and West- In 2011, Mary Willan Mason passed honor Healey Willan. These new choral of the Healey Willan Society please see minster Choir College. As a composer, the baton to the Canons Regular of Saint works will be soon available through our website (www.healeywillan.com) to he has won prizes in composition from John Cantius in Chicago with the author Biretta Books. The Healey Willan contact us. Q the American Society of Composers as trustee of his estate, assuming respon- Society also sponsored a composition and Arrangers. In 2011, after becoming sibility of promoting his musical legacy competition for the students at the Fr. Scott A. Haynes, SJC, is associ- Trustee of the Estate of Healey Willan, for the years to come. As the Healey Conservatorio Giuseppe Verdi, Torino, ate pastor and prefect of liturgy and he founded the Healey Willan Society to Willan Society was formed to promote Italy, earlier this year. Professor Ruo music at Chicago’s Saint John Cantius promote Willan’s musical legacy. Willan’s music, I began to imagine what Rui selected the best four student com- ways we might rejuvenate interest in positions for consideration. Camilla Willan’s music. In 2018, fi fty years after Andrea Piovano’s setting of Maria his passing, we have brought Willan’s Mater Gratiae was chosen as the win- catalog into the twenty-fi rst century and ning composition. put the full list of his works online with While Willan’s music continues to be a new website dedicated to Willan and published by , his music. C. F. Peters, Concordia, and others, the There have been some excellent fi lm Willan Estate has many works it is re- documentaries made about Willan’s publishing thanks to the assistance of the music in past years. The Healey Willan Healey Willan Society and Biretta Books. Society has now made a documentary, Among the organ works, canticles, and The Man Behind the Music, with Mary motets, Biretta Books also is providing Willan Mason, to tell Willan’s story from publication of Willan’s beautiful choral her perspective. Ruben Valenzuela and Masses. Some of Willan’s Masses were Angel Mannion, the artistic directors of written for the Roman liturgy. For exam- “Willan West 2018,” are in the process ple, Willan enjoyed friendship with the of making a new documentary during Basilian Fathers in Toronto, taught them this anniversary year with interviews of , and assisted them in those who knew Willan, from colleagues the preparation and publication of The to choristers. New St. Basil Hymnal in the 1950s. For To mark the fi ftieth anniversary of this hymnal he wrote the Mass of St. Willan’s death, many musical organiza- Theresa and some new hymns. tions and artists have been performing While most of Willan’s a cappella his music in church services and in Masses were written in English for concert. To promote Willan’s music the Anglican liturgy; these Masses are in 2018, the organists of Saint John easily adapted and arranged with Latin Cantius Catholic Church in Chicago, texts, making it possible to sing these Corrado Cavalli and Jonathan Rudy, beautiful works in the Roman liturgy. will perform the complete organ works Biretta Books publishes both the origi- of Willan, and the parish choirs will sing nal English versions and Latin versions nearly every page of his sacred choral (e.g., Missa Sancti Michaelis) for use works. In San Diego, a monumental in the Roman Rite. Besides Willan’s

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2018 Q 25 Cover feature

Fratelli Ruffatti, Padua, Italy inches (10 centimeters). This feature, Buckfast Abbey, along with the two height-adjustable Devon, United Kingdom benches (one for concert use, and one for teaching purposes), makes it very The sound easy for any organist to fi nd comfortable Designing an organ presents many playing space. challenges, many of which are related As G. Donald Harrison, the English- to making the instrument fi t tonally and man who became tonal director of visually into the building which will be Aeolian Skinner, once stated, “To me, its home. The challenges connected all art is international; one can draw with our recent installation at Buckfast from the best of all countries. I have Abbey, Devon, England, were, in many used the technique at my disposal to ways, out of the ordinary. We were asked produce instruments which I consider The principal chorus of the Positivo, lo- to design two instruments of consider- suitable for expressing the best in organ cated under one of the solid-oak arches at the top of the Quire cases. It produces able size, tonally interconnected, for a literature.” This instrument indeed Façade pipes of the Gallery Organ, a telling sound, at a wind pressure of 40 building of moderate size and very kind embraces this philosophy. The require- catching the colors of the rose window. The mouth design is typical of French millimeters, or slightly over 1½ inches. acoustics that amplify sound in a dream- ments for the seven initial worldwide Romantic organs. like fashion. While it was not diffi cult to organbuilders that were asked to submit design an instrument to play a variety of specifi cations included the need for the literature, much attention was required instrument to support a wide repertoire to scaling the sound to the building with- of accompanied music, as well as to suc- out sacrifi cing the proper characteriza- cessfully perform a wide range of organ tion of the many different stops. literature. Such requirements were not The tonal palette was based on an taken lightly and, drawing from decades initial draft by Matthew Martin, inter- of experience and from different tradi- national recitalist, former organist at tions, as Harrison advocated, Ruffatti the London Oratory and now Fellow introduced several tonal features that and Director of Music and College Lec- are new or rare to fi nd in England, with turer at Keble College, Oxford. Further the aim of sparking interest for impro- adjustments were coordinated between visation and creative registration for the Philip Arkwright, Organist and Master international repertoire. of the Music at Buckfast Abbey, and It is along these lines that the Gallery Fratelli Ruffatti. Organ was designed. It draws from the The main instrument, of four manuals French Romantic tradition of Cavaillé- and pedal, is located on two sides behind Coll. Dedicated studies were conducted the choir stalls and partially on the tri- on several organs in Paris and other forium level (the upper arcaded gallery) locations in order to ensure as close a above. Specifi cally, Great, Positivo (in the proximity as possible to the Cavaillé-Coll Italian style, hence the name), Swell, and style, by carefully copying pipe measure- Voicing the Gallery Organ façade was Pedal are housed inside solid oak cases ments and voicing methods, without quite an exciting project. at nave level, while the Solo division is pretentious claims of authenticity. The Some of the “special effects” of the placed at triforium level, along with a instrument is designed as a two-manual, It is also ideal for playing in alternatim Positivo: the three walnut (left) and the three mahogany pipes whole series of “special effects” playable but it can also be used as a large cohesive with the monastic choir. This is not just which play together to reproduce the from the Positivo, some of which belong division, part of which is under expres- a nice “toy” to have, but serves convinc- effect of the . to the early Italian tradition. sion, that can be played against, or in ingly as a Positiv division, in dialogue The second instrument, comprising tandem with, the main Quire Organ. with the Great for access to a broader two manual divisions with full pedal, is Along the same line of thought, the classical repertoire. guarantee for quality control. At the located in the west gallery and partially Italian Positivo was introduced in the Another note of interest concerns the same time, it provides the opportunity in the triforium level areas that are Quire. With the tonal consistency of an Solo division, which includes stops that to carefully select all the ingredients that closest to the west gallery. Two nearly early Italian instrument and the trade- have been drawn from the Skinner tradi- are necessary in the mind of the tonal identical four-manual consoles have mark low-pressure voicing, it provides tion, as well as other orchestral stops of designer. The difference is in the details. been provided, one in each location. The all tonal resources needed to faithfully Ruffatti design. Being able to pass any requirements that difference between the two is that the perform classical Italian literature from One of the aspects characteristic of experience dictates on to the pipe shop Quire console is equipped with an elec- the up to the early Roman- Fratelli Ruffatti is that we manufacture enables the voicers to exactly tailor the tric lift that adjusts the height of the key- tic period, an ingredient that is indeed almost everything in house, including sound to the room, resulting in that per- desk and stop jambs by more than four rare to fi nd in an instrument in England. fl ue and reed pipes. This is the best fect blend for which Ruffatti is famous.

Fratelli Ruffatti

2 QUIRE ORGAN 8′ Trumpet 61 pipes 2⁄3′ Harmonic Nazard 61 pipes GALLERY ORGAN Location: Quire and Triforium 4′ Clarion 61 pipes 2′ Harmonic Piccolo 61 pipes Location: West Gallery 3 8′ Pontifi cal Trumpet Solo 1⁄5′ Harmonic Tierce 61 pipes POSITIVO (unenclosed–Manual I) 8′ Abbatial Trumpet Solo 8′ Bassett Horn 61 pipes GRAND-ORGUE 8′ Principale 61 pipes Sub Octave 8′ Vox Humana 61 pipes (unenclosed–fl oating) 8′ Bordone 61 pipes Unison Off 8′ Pontifi cal Trumpet* 61 pipes 16′ Bourdon 61 pipes 8′ Voce Umana (tenor G) 42 pipes 8′ Abbatial Trumpet** 61 pipes 8′ Montre 61 pipes 4′ Ottava 61 pipes SWELL (enclosed–Manual III) Tremulant 8′ Flûte Harmonique 61 pipes 4′ Flauto Veneziano 61 pipes 8′ Flûte à Cheminée 61 pipes Sub Octave 8′ Bourdon 61 pipes 2′ Decimaquinta 61 pipes 8′ Gemshorn 61 pipes Unison Off 4′ Prestant 61 pipes 1 1⁄3′ Decimanona 61 pipes 8′ Viole de Gambe 61 pipes Super Octave 4′ Flûte Octaviante 61 pipes 2 2 2⁄3′ Sesquialtera II 122 pipes 8′ Voix Céleste (tenor C) 49 pipes * mounted horizontally from the front of the 2⁄3′ III (tenor G) 126 pipes 2 ⁄3′ Ripieno III 183 pipes 4′ Prestant 61 pipes Gallery Organ cases, divided at both sides. 2′ Doublette 61 pipes 8′ Cromorno 61 pipes 4′ Flûte Creuse 61 pipes Not affected by couplers 2′ Plein Jeu III–V 264 pipes 2 8′ Pontifi cal Trumpet Solo 2⁄3′ Nazard 61 pipes **located in the Triforium, unenclosed. Not 8′ Clarinette 61 pipes 8′ Abbatial Trumpet Solo 2′ Octavin 61 pipes affected by couplers 8′ Pontifi cal Trumpet Solo 3 Glockenspiel (tenor C) 30 bells 1⁄5′ Tierce 61 pipes 8′ Abbatial Trumpet Solo Tremulant 2′ Plein Jeu IV 244 pipes PEDAL Tremblant Nightingale 5 pipes 16′ Basson 61 pipes 32′ Contra Bourdon digital Sub Octave Cymbelstern 12 bells 8′ Trompette Harmonique 61 pipes 16′ 32 pipes Unison Off Drum 3 pipes 8′ Hautbois (ext 16′) 12 pipes 16′ Subbass 32 pipes 6′ Bagpipe F 1 pipe 4′ Clairon Harmonique (ext 8′) 12 pipes 16′ Bourdon Great EXPRESSIF (enclosed–fl oating) 4′ Bagpipe C 1 pipe Tremulant 16′ Lieblich Bourdon Solo 8′ Violoncelle 61 pipes 2 2 2⁄3′ Bagpipe G 1 pipe Sub Octave 10 ⁄3′ Quintfl öte 32 pipes 8′ Violoncelle Céleste (TC) 49 pipes Unison Off 8′ Octave 32 pipes 8′ Cor de Chamois 61 pipes GREAT (unenclosed–Manual II) Super Octave 8′ Flûte Ouverte 32 pipes 8′ Cor de Chamois Céleste (TC) 49 pipes 1 2 16′ Bourdon 61 pipes 5⁄3′ Nazard (ext 10 ⁄3′) 12 pipes 4′ Prestant 61 pipes 8′ Principal 61 pipes SOLO (enclosed–Manual IV) 4′ Superoctave 32 pipes 8′ Trompette 61 pipes 8′ Bourdon 61 pipes 16′ Lieblich Bourdon 61 pipes 2′ Flûte 32 pipes 4′ Clairon 61 pipes 2 8′ Spitzfl öte 61 pipes 8′ Orchestral Flute 61 pipes 2⁄3′ Mixture IV 128 pipes Tremblant 4′ Octave 61 pipes 8′ Doppelfl öte 61 pipes 32′ Fagott 32 pipes Sub Octave 4′ Blockfl öte 61 pipes 8′ Salicional 61 pipes 16′ Bombarde 32 pipes Unison Off 2 2⁄3′ Quint 61 pipes 8′ Unda Maris (tenor C) 49 pipes 16′ Basson Swell Super Octave 2′ Superoctave 61 pipes 8′ Flûte Douce 61 pipes 8′ Trompette (ext 16′) 12 pipes 1 1⁄3′ Mixture IV 244 pipes 8′ Flûte Céleste (tenor C) 49 pipes 4′ Schalmei 32 pipes 1 ⁄2′ Terz Zimbel III 183 pipes 4′ Flauto d’Amore 61 pipes

26 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM The organ façades at the north side of the Quire

The mahogany 32′ Bombarde placed horizontally in the Triforium

Bassett Horn 8′ in the Solo, of Skin- ner design. In the background, the double-length mahogany pipes of the harmonic Orchestral Flute 8′ are of Ruffatti design. The gleaming brass resonators of the Pontifi cal Trompette Versatility is only partially the product of having a variety of stops on hand; what precision of speech, an aspect that is of One of the Quire Organ façades with the traditional embossing on the center pipe really makes the difference is the ability paramount importance, especially when (photo credit: Buckfast Abbey Media Studios) of each stop to combine successfully with there is no close proximity of the player all others to produce countless tonal com- to the pipes (as there would be with a Orgelbewegung, or Organ Reform Move- harsh sounds. Open-toe voicing is instead binations. Open-toe voicing for principals mechanical action instrument). An old ment of the mid-twentieth century, where quite versatile, ideal for the effective voic- and fl utes is the key, as it favors blending misconception still fl ies around, deriving the open-toe voicing technique was ing of a rank of pipes in a variety of styles, of sounds, as well as promptness and from the early neo-Baroque times of the sometimes used to produce excessively regardless of the chosen wind pressures.

Buckfast Abbey, Devon, United Kingdom

PÉDALE Swell to Positivo 16-8-4 COMBINATION ACTION: SUMMARY OF PIPE MATERIALS: 16′ Soubasse 32 pipes Solo to Pedal 8 Twelve general pistons for Quire and Gallery 95% tin alloy for all façade and most larger 16′ Bourdon Grand-Orgue Swell to Pedal 8 organs pipes inside 8′ Basse 32 pipes Great to Pedal 8 Eight Quire Organ divisional pistons Bagpipes in the Positivo with walnut reso- 8′ Bourdon (ext 16′) 12 pipes Positivo to Pedal 8 Six Gallery Organ divisional pistons nators, blocks and shallots in the tradi- 4′ Flûte (ext 16′) 12 pipes Grand-Orgue to Pedal 8-4 Set, General Cancel tional style 32′ Bombarde* 32 pipes Expressif to Pedal 8-4 Previous (-), Next (+) in several locations 16′ Bombarde (ext 32′)* 12 pipes * Grand-Orgue and Expressif combined Thousands of memory levels for the “common All other wooden pipes, including 32′ reed 8′ Trompette (ext 32′)* 12 pipes memory area” resonators, made of African Sipo mahogany * located in the Gallery Organ Triforium Reeds Off (for entire organ) Thousands of private memory folders acces- Principal choruses 75% tin alloy Mixtures Off (for entire organ) sible by password or magnetic sensor : 8′ octaves 95% tin alloy, rest 30% tin Positivo special effects located in the Quire alloy (spotted) Organ Triforium Gallery* on Manual I on key cheek Touch-screen control panel featuring multiple Reeds, Strings: 8′ octaves 95% tin alloy, rest Grand-Orgue on Manual II on key cheek functions, including: 52% tin alloy (spotted) Solo located in the Quire Organ Triforium Expressif on Manual III on key cheek • Transposer *including both Gallery Organ manual divi- • Five “insert combinations” possible be- SUMMARY OF WIND PRESSURES: Four-manual movable Quire console, with sions tween each general piston for all available QUIRE ORGAN electric height-adjustment for keyboards folders Positivo 40 mm for Principal chorus, 50 mm and stop knobs Quire Organ Tutti • Option of automatic re-numbering of for fl utes and reed Four-manual movable Gallery console Full Organ Tutti combinations after inserts have been in- Great 80 mm for all stops, 95 mm for offsets The consoles can be used simultaneously to Pédale Off on key cheek troduced only perform repertoire for two organs • In addition to conventional piston storage, Swell 90 mm for all stops, 100 mm for offsets Sustain for Solo, Swell, Great, Positivo both the common area and the individual only CONSOLE CONTROLS folders offer: Solo 160 mm for all stops except Pontifi cal Identical for both consoles Great and Pedal combinations coupled Storage of piston sequences in “piece”-la- and Abbatial trumpets, 185 mm Grand-Orgue and Pédale combinations coupled belled folders Pedal 100 mm and 80 mm upperwork COUPLERS (tilting tablets) Storage of several “piece”-labelled folders Solo to Swell 16-8-4 All Swells to Swell to form “concert”-labelled folders GALLERY ORGAN Expressif on Manual III Grand Orgue 90 mm Solo to Great 16-8-4 Quire Organ On – on key cheek Swell, Expressif, Solo expression pedals Expressif 100 mm Swell to Great 16-8-4 Gallery Organ On – on key cheek Pédale 120 mm Positivo to Great 8 Crescendo Pedal: standard and multiple per- Grand-Orgue on Manual II Record and Playback sonalized settings STATISTICS Gallery* on Manual I 81 real stops Solo to Positivo 16-8-4 MIDI In, Out, Through 100 ranks of pipes Great to Positivo 16-8-4 5,542 pipes and 42 bells

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2018 Q 27 Cover feature

The Gallery Organ (photo credit: Buckfast Abbey Media Studios)

A mahogany windchest in the Solo divi- sion with slider action solenoids

The intricate hand-sculpted carvings The Quire console features a hand-carved oak cabinet and a height-adjustable key- are used as dividing elements for the desk. (photo credit: Buckfast Abbey Media Studios) various groups of pipes. (photo credit: Buckfast Abbey Media Studios) To achieve this goal, we chose a case featuring self-adjusting power for the design where the façade pipes are not initial stiffness of the slider movement Cathedral, Paris; David Briggs, Artist- topped by a ceiling. Instead, there is an and reduced power at the end of the Gallery Organ casework (photo credit: in-Residence at St. John the Divine, alternation between bays having pipes travel, for maximum silence. Buckfast Abbey Media Studios) New York City; Matthew Martin, Direc- with unobstructed tops and pipes with The twin consoles feature identical tor of Music at Keble College, Oxford; carved elements defi ning the top line. controls and can be played simultane- Materials for the construction of Richard Lester, international recitalist; The richness is provided by the carving, ously, as they often are. The control pipes include the ultra-shiny alloy of and in-house organists Richard Lea and which is also used to separate façade system is operated by the organist from ninety-fi ve percent tin, used for the Matthew Searles. pipes within the same bay. In the gen- a touch-screen panel, and it offers a pipes in the façade as well as for a —Francesco Ruffatti eral scheme, it gives visual continuity to large number of functions. The huge high number of larger internal pipes. the various bays. These elements have memory provides separate password- Its structural strength and incredible Architecture and technical features been hand-carved from European oak protected storage folders for many resonance properties make it ideal for The east and west organs at Buckfast by a gifted artist, from a Ruffatti design organists, where stop combinations, pipes of larger size. Other internal pipes Abbey are aesthetically quite different. inspired by the intricate and elaborate personal crescendo, and tutti settings are made with a tin percentage ranging The east organ (Quire) is intended to be carved wood of the Abbey’s choir stalls. can be stored. The system also fea- from 75 to 30 percent. discreet, as the client’s desire was that the Even the panels of the lower part of tures, among many other useful tools, a Many pipes are made of wood, front of the building should not have the the case are enriched by carvings in the transposer, a record/playback function, including the resonators of the two imposing presence of an intricate organ Gothic style. and on-board diagnostics, a useful tool majestic 32′ reeds, the Bombarde, and design. For this reason we chose a very The sunlight coming through the for maintenance. the Fagott. Only the fi nest African Sipo simple layout for the façade, with pipes windows is refl ected by the The height adjustment of the keydesk mahogany has been used, varnished recessed into three arches that crown shiny surface of the tin pipes, adding a of the Quire console is controlled by a inside and out to enhance resonance. the stalls on both sides of the Quire. The touch of color to the façade, an effect push button, operating a heavy-duty The Pontifi cal Trumpet, which projects pipes are hardly visible from the center that is remarkably spectacular. electric motor. Adjusting the level of the horizontally from the front of the Gal- of the building, but clearly show the The signature Ruffatti horizontal keydesk allows maximum comfort for the lery Organ, has highly polished solid brightness of the tin they are built from trumpets, with their fl ared brass bells, player, regardless of that person’s physi- brass resonators. when they are seen from the side. extend from the lower part of the cases, cal height and build. This organ was featured in the press The central pipe of each bay, with its projecting their shining beauty into the The organ is distributed over several for the fi rst time in the March 2018 diamond-shaped embossing, refl ects the Abbey’s central bay. locations and, true to Ruffatti philoso- issue of the British magazine Organists’ light in all directions, providing a touch The most frequent comment we have phy, uses several different wind pres- Review with an article by Philip Ark- of richness within the simplicity of the received on the design is that the organ sures to optimize the tonal result of the wright, Organist and Master of the Music design scheme. looks like it has always been there. I various stops. As a result, nine separate at Buckfast Abbey. It was inaugurated on The west organ (Gallery) gave us the believe that this is the biggest compli- blowers, twenty traditional reservoirs, April 20, 2018, with a splendid concert opportunity to offer a more sophisticated ment that can be paid to the designer, and nine schwimmers have been used to performed by Martin Baker, Organist architectural solution. The full visibility because it proves that the organ belongs provide adequate and stable wind at the and Master of Music at Westminster of the splendid stained glass windows to the building, without imposing its many different pressures, ranging from Cathedral, which I had the good fortune being paramount, we built two sym- presence. The initial aim has been 40 to 185 mm. to witness. The improvisation that closed metrical oak organ cases against the side reached: a light yet elegant result. —Piero Ruffatti the performance was stunning: a perfect walls of the gallery, with tunnels to grant On the strictly technical side, Afri- demonstration of creativity and a kalei- access to the balcony from can Sipo mahogany is widely used Builder’s website: www.ruffatti.com/en/ doscopic use of musical color. in the back corners. The aim was for a for functional parts, such as all of the Church’s website: www.buckfast.org.uk/ The opening organ series also design of lightness and richness at the windchests. The main units are of includes concerts by Vincent Dubois, same time—not an easy task, as the two the slider type, which are controlled Photo credit: Fratelli Ruffatti, except titular organist of Notre Dame qualities are normally in confl ict. by solenoids of the latest generation, where otherwise indicated.

28 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Choral Evensong; Cathedral Church of Park Ridge Presbyterian Church This calendar runs from the 15th of the month St. Paul, Detroit, MI 4 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Haydn, Nelsonmesse; Church of St. Ag- Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Feb. issue). All events are assumed to be organ nes, St. Paul, MN 10 am Bloomingdale, IL recitals unless otherwise indicated and are grouped within each date north-south and east-west. •=AGO 26 NOVEMBER chapter event, • •=RCCO centre event, +=new organ Hyea Young Cho; Presbyterian Homes, dedication, ++= OHS event. Evanston, IL 1:30 pm Christopher Babcock Michael J. Batcho Information cannot be accepted unless it 27 NOVEMBER specifi es artist name, date, location, and hour in Director of Music writing. Multiple listings should be in chronological Kathrine Handford; St. Louis King of St. Andrew’s by the Sea, order; please do not send duplicate listings. France Catholic Church, St. Paul, MN Hyannis Port CATHEDRAL OF ST. JOHN THE DIAPASON regrets that it cannot assume 12:35 pm MILWAUKEE responsibility for the accuracy of calendar entries. + Tom Hamilton, with brass; Cathedral of Christ the King, Superior, WI 7:30 pm

UNITED STATES 28 NOVEMBER East of the Mississippi Linda Kempke; Trinity Lutheran, Cleve- Dean W. Billmeyer land, OH 12:15 pm 15 NOVEMBER Jonathan Hehn; Basilica of the Sacred University of Minnesota Choral Evensong; Cathedral Church of Heart, Notre Dame University, South Bend, the Advent, Birmingham, AL 5:30 pm IN 12:15 pm Minneapolis 55455 • [email protected] Fauré, Requiem; Rockefeller Memorial Chapel, University of Chicago, Chicago, IL 30 NOVEMBER 7:30 pm Gloria Dei Cantores, Advent Lessons & Marsha Foxgrover; Wheaton Bible Carols; Church of the Transfi guration, Or- GAVIN BLACK Byron L. Blackmore Church, West Worship Center, West Chi- leans, MA 4:30 pm cago, IL 7 pm Chanticleer; St. Ignatius Loyola, New Princeton Early Keyboard Center Crown of Life Lutheran Church York, NY 8 pm 732/599-0392 Sun City West, Arizona 16 NOVEMBER Lessons & Carols; Elmhurst Collge, www.pekc.org Barbara Bruns; Old West Church, Bos- Elmhurst, IL 4 pm 623/214-4903 ton, MA 7:30 pm 1 DECEMBER • Jonathan Bezdegian, Wesley Hall & Lorraine Mihaliak; Our Lady of the Angels Gloria Dei Cantores, Advent Lessons & Catholic Church, Worcester, MA 7:30 pm Carols; Church of the Transfi guration, Or- THOMAS BROWN Carson Cooman Kimberly Marshall; St. Paul Catholic leans, MA 4:30 pm UNIVERSITY Cathedral, Pittsburgh, PA 7:30 pm Christmas concert; Methuen Memorial PRESBYTERIAN CHURCH Composer and Concert Organist Music Hall, Methuen, MA 7 pm Aaron Tan; St. Paul’s Episcopal, Chatta- CHAPEL HILL, NORTH CAROLINA Harvard University Yale Camerata; Battell Chapel, Yale Uni- nooga, TN 7:30 pm www.carsoncooman.com versity, New Haven, CT 7:30 pm ThomasBrownMusic.com Stephen Buzard, works of Sowerby; Lessons & Carols; Concordia University, Fourth Presbyterian, Chicago, IL 5:30 pm River Forest, IL 4 & 7 pm lecture; 7:30 pm recital Aaron David Miller, silent fi lm; First 2 DECEMBER Your professional card United Methodist, Duluth, MN 7 pm ELBERT ISSELHORST Christmas concert; Methuen Memorial D D could appear here! Music Hall, Methuen, MA 3 pm 17 NOVEMBER Advent Lessons & Carols; Trinity Luther- Professor Emeritus Yale Voxtet; Sprague Hall, Yale Univer- Contact: [email protected] an, Worcester, MA 4 pm University of Iowa–Iowa City or 608/634-6253 sity, New Haven, CT 7:30 pm Britten, Ceremony of Carols; Madison Avenue Presbyterian, New York, NY 3 pm 18 NOVEMBER Advent Lessons & Carols; Grace Church, Stephen Hamilton; First Church UCC; New York, NY 4 pm Nashua, NH 4 pm STEVEN EGLER Chanticleer; St. Ignatius Loyola, New JOHN FENSTERMAKER Thomas Trotter; Woolsey Hall, Yale Uni- Central Michigan University York, NY 4 pm versity, New Haven, CT 7:30 pm Benjamin Sheen; St. Thomas Church School of Music TRINITY-BY-THE-COVE St. Andrew Chorale & Orchestra; Madison Fifth Avenue, New York, NY 5:15 pm Mt. Pleasant, MI 48859 Avenue Presbyterian, New York, NY 3 pm Lessons & Carols; Vassar College, [email protected] NAPLES, FLORIDA • Bálint Karosi; Grace Episcopal, Elmira, Poughkeepsie, NY 7 pm NY 4 pm Capital Ringers; Christ Episcopal, Jared Cook; Cathedral of St. John the Easton, MD 4 pm Norberto Divine, New York, NY 5 pm Advent Lessons & Carols; St. Paul’s Raymond Nagem; St. Thomas Church Episcopal, Delray Beach, FL 3 pm Fifth Avenue, New York, NY 5:15 pm Susan Goodson Guinaldo Advent Lessons & Carols; Cathedral Basil- Todd Wilson , Poulenc, Organ Concerto; ica of the Assumption, Covington, KY 3 pm Emanuel United Church of Christ His Music First Congregational, Columbus, OH 4 pm Advent Lessons & Carols; Cathedral Manchester, Michigan See—Listen—Buy Nicholas Schmelter, with piano; St. Church of the Advent, Birmingham, AL 9 www.GuinaldoPublications.com Paul’s United Methodist, Rochester, MI 4 pm & 11 am Chelsea Chen; First Presbyterian, Bir- Lessons & Carols; Calvin College, Grand mingham, MI 5 pm Rapids, MI 3 pm A Professional Card in John Schwandt; Reyes Hall, Notre Advent Procession; Cathedral Church of TEPHEN AMILTON Dame University, South Bend, IN 2 pm St. Paul, Detroit, MI 4 pm The Diapason S H North Shore Choral Society; Handel, Ju- Handel, Messiah; Rockefeller Memorial recitalist–clinician–educator das Maccabaeus; Jewish Reconstructionist Chapel, University of Chicago, Chicago, IL For rates and digital specifi cations, Congregation, Evanston, IL 3 pm 3 pm contact Jerome Butera www.stephenjonhamilton.com Susan Klotzbach; Loyola University, Lessons & Carols; Concordia Univere- 847/391-1045; [email protected] Chicago, IL 3 pm sity, River Forest, IL 4 pm French and Italian ; St. Chrysos- Advent Lessons & Carols; St. Luke’s Lu- tom’s Episcopal, Chicago, IL 3 pm theran, Park Ridge, IL 4 pm Schubert, Mass in B-fl at; Church of St. Agnes, St. Paul, MN 10 am 3 DECEMBER David Herman Nathan Avakian; Fitzgerald Theatre, St. Jerrick Cavagnaro & Meg Cutting; Trustees Distinguished Professor Emeritus of Music and University Organist Paul, MN 2 pm Woolsey Hall, Yale University, New Haven, CT 5 pm The University of Delaware Q [email protected] 21 NOVEMBER Linda Kempke; Trinity Lutheran, Cleve- 4 DECEMBER land, OH 12:15 pm Justin Bischoff; St. Anne & the Holy Trinity Episcopal, Brooklyn, NY 1 pm 22 NOVEMBER Handel, Messiah; St. Thomas Church Gail Archer Karen Beaumont; Milwaukee Catholic Fifth Avenue, New York, NY 7:30 pm Home, Milwaukee, WI 2 pm Christmas concert, Duke University Cho- organist rale; Duke University Chapel, Durham, NC www.gailarcher.com Lorraine Brugh, Ph.D. 25 NOVEMBER 7 pm Professor of Music Austin Philemon; Cathedral of St. John David Jonies; Lutheran School of Theol- Vassar College the Divine, New York, NY 5 pm ogy at Chicago, Chicago, IL 12:15 pm Barnard College, Columbia University University Organist Frederick Teardo; St. Thomas Church Cristiano Rizzotto; St. Louis King of [email protected] Valparaiso, Ind. Fifth Avenue, New York, NY 5:15 pm France Catholic Church, St. Paul, MN (212) 854-5096 Jeremy Filsell; Washington National Ca- 12:35 pm valpo.edu Promotion thedral, Washington, DC 5:15 pm Nathan Laube; Northrop Auditorium, 219.464.5084 SOZO Media Mozart, Mass in F; Christ Episcopal, University of Minnesota, Minneapolis, MN, [email protected] [email protected] Bradenton, FL 11 am 7:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2018 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 5 DECEMBER Choir of Caro High School; First Presby- New York, NY Syracuse, NY 13203-2816 Thomas Ingui; Dwight Chapel, Yale Uni- terian, Caro, MI 12 noon www.andrewhenderson.net versity, New Haven, CT 12:30 pm (315) 471-8451 Community carol sing; Grace Church, 15 DECEMBER New York, NY 12:15 pm Christmas brass & organ concert; Candelight Vespers; Shadyside Presby- Church of the Transfi guration, Orleans, MA terian, Pittsburgh, PA 7 pm 7:30 pm Richard Barrick Hoskins Neal Campbell; Advent Lutheran, Mel- Festival of Carols; First Congregational, Director of Music & Organist bourne, FL 12 noon Cheshire, CT 5 pm Director of Music Emeritus Karen Beaumont; St. John the Evan- Anna Lapwood; St. Thomas Church St. Chrysostom's Church gelist Catholic Cathedral, Milwaukee, WI Fifth Avenue, New York, NY 5:15 pm TRINITY CHURCH Chicago 12:15 pm Georgia Boy Choir; Peachtree Road [email protected] BOSTON Christine Kraemer; St. Luke’s Episco- United Methodist, Atlanta, GA 7 pm pal, Evanston, IL 11:30 am Christmas concert; Trinity-by-the-Cove Episcopal, Naples, FL 5 pm 6 DECEMBER KIM R. KASLING JAMES KIBBIE Handel, Messiah; St. Thomas Church 16 DECEMBER D.M.A. The University of Michigan Fifth Avenue, New York, NY 7:30 pm Diana Chou; Center Church on the Christmas concert; Church of St. Luke in Ann Arbor, MI 48109-2085 Green, New Haven, CT 5 pm St. John’s University the Fields, New York, NY 8 pm Christmas concert; St. Ignatius Loyola, 734-764-1591 FAX: 734-763-5097 Julane Rodgers, harpsichord; Christ Collegeville, MN 56321 New York, NY 3 pm email: [email protected] Episcopal, Bradenton, FL 12:15 pm Carol concert; Madison Avenue Presby- Shin-Ae Chun; First Baptist, Ann Arbor, terian, New York, NY 4 pm MI 12:15 pm Pittsburgh Camerata; Shadyside Presby- David K. Lamb, D.Mus. terian, Pittsburgh, PA 3 pm Karen Schneider Kirner 7 DECEMBER Joseph Fala; Duke University Chapel, Director of Music Handel, Messiah; Washington National Durham, NC 5:15 pm Director, Notre Dame Handbell Choir Cathedral, Washington, DC 7:30 pm Carols by Candlelight; Peachtree Road Trinity United Methodist Church Nicholas Schmelter Assistant Director, Notre Dame Folk Choir ; First Presbyterian, United Methodist, Atlanta, GA 5:30 pm New Albany, Indiana Caro, MI 12 noon University of Notre Dame Christmas concert; Trinity-by-the-Cove 812/944-2229 Aaron Tan; First United Methodist, South Episcopal, Naples, FL 4 pm Bend, IN 7 pm Matthew Haider; Loyola University, Chi- 8 DECEMBER cago, IL 3 pm Christmas concert; Cathedral of St. John 17 DECEMBER the Divine, New York, NY 7 pm A.S.C.A.P. Handel, Messiah, Society of New ELLOW MERICAN UILD OF RGANISTS Barnard-Columbia Chorus; Church of F , A G O York; Carnegie Hall, New York, NY 8 pm the Ascension, New York, NY 8 pm 345 SADDLE LAKE DRIVE Handel, Messiah; Washington National ROSWELL-ATLANTA, GEORGIA 30076 18 DECEMBER (770) 594-0949 Cathedral, Washington, DC 12:30 & 4 pm James Kennerley; Merrill Auditorium, 9 DECEMBER Portland, ME 7:30 pm Yale Glee Club, Handel, Messiah Sing- 19 DECEMBER along; Battell Chapel, Yale University, New Musica Sacra, Handel, Messiah; Carn- Haven, CT 1:30 pm egie Hall, New York, NY 7:30 pm Candlelight Lessons & Carols; St. John’s Candelight Vespers; Shadyside Presby- Professor Emeritus – University of Michigan – Ann Arbor Episcopal, West Hartford, CT 3 pm Christmas concert; St. Ignatius Loyola, terian, Pittsburgh, PA 7 pm Professor of Organ for 67 years Betty Jo Couch; Advent Lutheran, Mel- MarilynThe University’s longest-serving faculty memberMason New York, NY 3 pm Britten, Ceremony of Carols; Grace bourne, FL 12 noon Church, New York, NY 4 pm Christine Kraemer; St. Luke’s Episco- Christian Lane; St. Thomas Church Fifth pal, Evanston, IL 11:30 am A two-inch Professional Card in The Diapason Avenue, New York, NY 5:15 pm 20 DECEMBER Lessons & Carols; Shadyside Presbyte- Christmas concert; St. Patrick’s Cathe- For information on rates and specifi cations, contact Jerome Butera: rian, Pittsburgh, PA 3 pm Lessons & Carols; Emmanuel Episcopal, dral, New York, NY 7 pm [email protected] 608/634-6253 Chester Parish, Chestertown, MD 4 pm Richard Benedum; Christ Episcopal, Handel, Messiah; Washington National Bradenton, FL 12:15 pm Cathedral, Washington, DC 4 pm Christmas Lessons & Carols; Cathedral Christmas concert; Peachtree Road Church of the Advent, Birmingham, AL United Methodist, Atlanta, GA 5:30 pm 5:30 pm Advent Lessons & Carols; Christ Episco- 21 DECEMBER PHILIP CROZIER LARRY PALMER pal, Bradenton, FL 11 am Sarasota Young Voices; Christ Episco- Quire Cleveland, Charpentier, Midnight CONCERT ORGANIST Harpsichord – Organ pal, Bradenton, FL 5 pm Mass; Holy Trinity Lutheran, Akron, OH 7:30 pm ACCOMPANIST Aaron Tan, with Warsaw Community Children’s Choir; First United Methodist, Professor of Music, Emeritus 22 DECEMBER 3355 Queen Mary Road, Apt 424 Warsaw, IN 2:30 pm Daniel Hyde, Messiaen, La Nativité du Advent Lessons & Carols; First Presbyte- Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Siegneur; St. Thomas Church Fifth Av- rian, Evansville, IN 10:30 am enue, New York, NY 3 pm Canada Advent Lessons & Carols; Church of the The King’s Singers; Washington National (514) 739-8696 Recitals — Lectures — Consultancies Holy Comforter, Kenilworth, IL 5 pm Cathedral, Washington, DC 7:30 pm [email protected] 11 DECEMBER Quire Cleveland, Charpentier, Midnight [email protected] + 214.350-3628 Yale Voxtet; Dwight Chapel, Yale Univer- Mass; Lakewood Congregational, Lake- sity, New Haven, CT 7:30 pm wood, OH 8 pm Joel Anderson; St. Louis King of France Lessons & Carols; Cathedral Church of Catholic Church, St. Paul, MN 12:35 pm St. Paul, Detroit, MI 5 pm

12 DECEMBER 23 DECEMBER announces... David Simon; Battell Chapel, Yale Uni- Lessons & Carols; St. John’s Episcopal, versity, New Haven, CT 12:30 pm Hagerstown, MD 10:15 am Candelight Vespers; Shadyside Presby- Quire Cleveland, Charpentier, Midnight 20 Under 30 Nominations terian, Pittsburgh, PA 7 pm Mass; Our Lady of Peace Catholic Church, Nominations open December 1 Christine Kraemer; St. Luke’s Episco- Cleveland, OH 4 pm pal, Evanston, IL 11:30 am We will be recognizing 20 young 24 DECEMBER men and women whose career 13 DECEMBER Christmas Lessons & Carols; Grace accomplishments place them at Britten, A Ceremony of Carols; St. Thomas Church, New York, NY 8 pm the forefront of the organ, church Church Fifth Avenue, New York, NY 7:30 pm Lessons & Carols; Rockefeller Memorial music, harpsichord, carillon, and James Walton; Christ Episcopal, Bra- Chapel, University of Chicago, Chicago, IL organbuilding fields—before denton, FL 12:15 pm 4 pm their 30th birthday. 14 DECEMBER 25 DECEMBER Visit TheDiapason.com Christmas brass & organ concert; George Fergus; Washington National Church of the Transfi guration, Orleans, MA for more information and to nominate. Cathedral, Washington, DC 1:30 pm 7:30 pm Mozart, Coronation Mass; Church of St. Georgia Boy Choir; Peachtree Road Agnes, St. Paul, MN 12 midnight & 10 am United Methodist, Atlanta, GA 7 pm Stay up to date on all of the latest industry news and events. Cathedral Ringers Handbell Ensemble; 30 DECEMBER Visit TheDiapason.com regularly. Cathedral Church of the Advent, Birming- Christmas Lessons & Carols; St. Paul’s ham, AL 12:30 pm Episcopal, Delray Beach, FL 10 am

30 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Nicholas Schmelter; Christ the Good 30 NOVEMBER Southminster Presbyterian Church Shepherd Catholic Parish (St. Helen Cam- Todd Wilson ; St. Thomas Aquinas Cath- SHORT HILLS Arlington Heights, IL 60005 pus), Saginaw, MI 4 pm olic Church, Dallas, TX 7:30 pm Schubert, Mass in G; Church of St. Ag- Wyatt Smith; University of Puget Sound, nes, St. Paul, MN 10 am Tacoma, WA 12 noon ANDREW SCHAEFFER, M.MUS 31 DECEMBER 1 DECEMBER DEREK E. NICKELS, DMA Concert for Peace; Cathedral of St. John David Hegarty; Legion of Honor Muse- Church of the Holy Comforter First United Methodist Church the Divine, New York, NY 7 pm um, San Francisco, CA 4 pm Edmond, Oklahoma Paul Cienniwa, harpsichord, Bach, Kenilworth, IL 60043 Goldberg Variations; St. Paul’s Episcopal, [email protected] 2 DECEMBER (847) 251-6120 • [email protected] Delray Beach, FL 4 pm Advent Procession; Mount Olive Luther- Recitals — Hymn Festivals an, Minneapolis, MN 4 pm UNITED STATES Advent Vespers; Second Presbyterian, West of the Mississippi St. Louis, MO 4 pm Stephen G. Schaeffer A one-inch Professional Card Amanda Mole; Cathedral of St. Mary of in The Diapason Recitals – Consultations 15 NOVEMBER the Assumption, San Francisco, CA 4 pm Graham Barber; St. Mark’s Episcopal Director of Music Emeritus For information on rates and specifi cations, 4 DECEMBER Cathedral, Shreveport, LA 10 am Cathedral Church of the Advent contact Jerome Butera: Christopher Marks; St. Mark’s Episco- Sr. Jo Baim; Trinity Episcopal, Seattle, Birmingham, Alabama [email protected] 608/634-6253 pal Cathedral, Shreveport, LA 3:30 pm WA 12:10 pm Katelyn Emerson; First Presbyterian, Kilgore, TX 7:30 pm 5 DECEMBER Christopher Stroh; St. Olaf Catholic Jeffrey Schleff, Ed.D. 16 NOVEMBER Church, Minneapolis, MN 12:30 pm Organist – Teacher – Consultant TEPHEN CHNURR Chelsea Chen; First Congregational, S S Boulder, CO 7:30 pm 8 DECEMBER Saint Paul Catholic Church Sulphur Public Schools, Sulphur, OK Michael Kleinschmidt; Christ Episco- David Hegarty; Legion of Honor Muse- United Disciples Christian Church, Richardson, TX Valparaiso, Indiana pal, Tacoma, WA 12:10 pm um, San Francisco, CA 4 pm [email protected] James Welch; Santa Clara University, Santa Clara, CA 7:30 pm 9 DECEMBER Frederick Swann; St. Margaret’s Episco- 17 NOVEMBER pal, Palm Desert, CA 6:30 pm; Lessons & ROBERT L. Ken Cowan; First Presbyterian, Amarillo, Carols 7 pm TX 5 pm SIMPSON Mark Steinbach Jonathan Dimmock; Legion of Honor 14 DECEMBER Brown University Museum, San Francisco, CA 4 pm Lessons & Carols; St. James Catholic Christ Church Cathedral 1117 Texas Avenue Cathedral, Seattle, WA 7:30 pm 18 NOVEMBER Houston, Texas 77002 Nathan Laube; First Christian, Jefferson 15 DECEMBER City, MO 4 pm

Jordan Smith, Jason Alden, Katie Min- ] Graham Barber; Southern Methodist ion, & Graham Schultz, with trumpets; University, Dallas, TX 7:30 pm Christ the Servant Lutheran, Allen, TX 7 pm Joe Utterback Jin Kyung Kim; Cathedral of St. Mary of David Wagner David Hegarty; Legion of Honor Muse- ]] ] the Assumption, San Francisco, CA 4 pm um, San Francisco, CA 4 pm www.jazzmuze.com DMA www.davidwagnerorganist.com 21 NOVEMBER 22 DECEMBER 203 386 9992 Kathy Borgen; St. Olaf Catholic Church, David Hegarty; Legion of Honor Muse- Minneapolis, MN 12:30 pm um, San Francisco, CA 4 pm 24 NOVEMBER 23 DECEMBER Jonathan Dimmock; Legion of Honor Mark Fideldy Museum, San Francisco, CA 4 pm ; Gethsemane Lutheran, Kevin Walters KARL WATSON Hopkins, MN 4 pm 27 NOVEMBER Christoph Tietze; Cathedral of St. Mary M.A., F.A.G.O. SAINT LUKE’S Chelsea Chen; First United Methodist, of the Assumption, San Francisco, CA 4 pm Rye, New York Fort Worth, TX 7 pm METUCHEN 24 DECEMBER 28 NOVEMBER Frederick Swann; St. Margaret’s Episco- Jessica Park; St. Olaf Catholic Church, pal, Palm Desert, CA 10:30 pm Minneapolis, MN 12:30 pm Alan G Woolley PhD RONALD WYATT Cavatina Music Society; Cathedral of St. 29 DECEMBER Research Mary of the Assumption, San Francisco, John Walko; Legion of Honor Museum, Edinburgh Trinity Church CA 4 pm San Francisco, CA 4 pm [email protected] Galveston

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

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1847 - Poland’s Pride (I)JXHVW$QGU]HM6]DGHMNR 2 LQWURGXFHVLQVWUXPHQWVDQGFRPSRVHUVLQFHOHEUDWLRQRI 0 WKHFHQWHQDU\RIWKHUHVWRUDWLRQRI3RODQG¶VVRYHUHLJQ ArtistArtist Spotlights Spotlightspotlight s 1 LQGHSHQGHQFH   Artist Spotlights 8 1848 - Poland’s Pride (II) . . . a continuation of our 3ROLVK&HQWHQQLDOFHOHEUDWLRQZLWKJXHVW0LFKDá are available on Your professional card 0DUNXV]HZVNL The Diapason website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

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WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2018 Q 31 Calendar

30 DECEMBER 25 NOVEMBER 7 DECEMBER 21 DECEMBER Christoph Tietze, with fl ute; Cathedral of Paul Thissen; St. Laurentius, Erwitte, Michael Grill; Erlöserkirche, München- Kaori Mune-Maier; Erlöserkirche, St. Mary of the Assumption, San Francisco, Germany 4:30 pm Schwabing, Germany 6 pm München-Schwabing, Germany 6 pm CA 4 pm Markus Eichenlaub; Dom St. Martin, Rottenburg, Germany 5 pm 8 DECEMBER 22 DECEMBER 31 DECEMBER Tobias Skuban; Basilika St. Gereon, Martin Sonnen; Kiliansdom, Würzburg, Teresa Schmid, Charlotte Berger, & New Year’s choir and orchestra concert; Köln, Germany 5 pm Germany 4 pm Stefan Schmidt; Kiliansdom, Würzburg, St. James Catholic Cathedral, Seattle, WA Barry Jordan, Messiaen, Les Corps Germany 4 pm 7:30 pm glorieux; Dom, Magdeburg, Germany 5 pm 9 DECEMBER Ansgar Schlei; Willibrordi-Dom, Wesel, James Welch; St. Mark’s Episcopal, Gabriele Giacomelli; Kapel Sint-Jans- Petra Veenswijk; Maria van Jessekerk, Germany 6:30 pm Alto, CA 8 pm gasthuis, Veurne, Netherlands 2 pm Delft, Netherlands 3 pm Jaap Kroonenburg; Groote Kerk, Maas- Wim Van den Broeck; Sint-Lambertus- sluis, Netherlands 8 pm INTERNATIONAL kerk, Geel, Netherlands 3 pm 11 DECEMBER Gerhard Löffler; St. Jakobikirche, Ham- 24 DECEMBER 27 NOVEMBER burg, Germany 8 pm Lessons & Carols; King’s College, Cam- 16 NOVEMBER Olivier Latry; Pfarrkirche St. Cyriakus, bridge, UK 3 pm Christoph Schoener; St. Mikaelis Krefeld-Hüls, Germany 6 pm 12 DECEMBER Kirche, Hamburg, Germany 7 pm Nicholas Schmelter, with piano; St. Paul’s Thierry Escaich; Augustinerkirche, 26 DECEMBER Bart Rodyns; O.-L.-Vrouw Ge- Cathedral, London, ON, Canada 12 noon Würzburg, Germany 7:30 pm Barry Jordan; Dom, Magdeburg, Ger- boortekerk, Hoboken, Netherlands 8 pm many 5 pm Réal Gauthier, Yves-G. Préfontaine, 28 NOVEMBER 14 DECEMBER Vincent Boucher, Antoine Leduc; Im- Johannes Trümpler; Kathedrale, Dres- Michael Grill, with brass; Erlöserkirche, 30 DECEMBER maculée-Conception, Montréal, QC, Can- den, Germany 8 pm München-Schwabing, Germany 6 pm Daniel Beckmann, with brass & percus- ada 7:30 pm Gail Archer; Orgue en Jeux la Cote Fes- sion; St. Nikolaus Kirche, Bergen-Enkheim, 30 NOVEMBER tival, Geneva, Switzerland 8 pm Germany 7 pm 17 NOVEMBER Andreas Boltz, with trumpets; Dom, Matthias Roth; Stadtpfarrkirche St. Mar- Frankfurt, Germany 8 pm 15 DECEMBER 31 DECEMBER tin, Bamberg, Germany 5:30 pm Jürgen Wolf; Kiliansdom, Würzburg, Christoph Schoener, with trumpet; St. 1 DECEMBER Germany 4 pm Mikaelis Kirche, Hamburg, Germany 7 pm 18 NOVEMBER Michael Hoppe; Kiliansdom, Würzburg, Ansgar Schlei, with brass; Willibrordi- Michael Grill, with orchestra; Er- Durufl é, Requiem; Dom, Altenberg, Ger- Germany 4 pm Dom, Wesel, Germany 6:30 pm löserkirche, München-Schwabing, Ger- many 2:30 pm Ralf Borghoff; St. Laurentius, Erwitte, many 9 pm Mozart, Requiem; Jesuitenkirche St. Mi- 2 DECEMBER Germany 7:30 pm Rudolf Peter, with trumpet; Au- chael, München, Germany 4 pm Carmen Jauch & Beate Vöhringer, with Umberto Pineschi; Salesian Church, gustinerkirche, Landau/Pfalz, Germany Philippe Lefebvre; Basilika St. Gereon, orchestra; Klosterkirche, Alpirsbach, Ger- Pistoia, Italy 5 pm 10 pm Köln, Germany 5 pm many 11:15 am Gerhard Löffler; St. Jakobikirche, Ham- Michel Bouvard; St-Sulpice, Paris, Christmas concert; Dom, Altenberg, Ger- 19 DECEMBER burg, Germany 10:30 pm France 4 pm many 2:30 pm Shin-Young Lee; Radio France, Paris, Johannes Krutmann, with choir; Lieb- Advent concert; Abteikirche, Amorbach, France 8 pm frauenkirche, Hamm, Germany 11:15 pm 21 NOVEMBER Germany 4 pm Samuel Kummer; Frauenkirche, Dres- Ireneusz Wyrwa; Basilika St. Gereon, den, Germany 8 pm Köln, Germany 5 pm Paul Goussot, silent fi lm; Radio France, Christmas concert; Augustinerkirche, Paris, France 8 pm Landau/Pfalz, Germany 6 pm Anna Picchiarini; Cathedral, Pistoia, 22 NOVEMBER Italy 5 pm Gail Archer; Organ Festival of Ragusa, Yun Zaunmayer, with trumpet; Basilika, Ragusa, Sicily 9 pm Tongeren, Belgium 8 pm

24 NOVEMBER 5 DECEMBER Holger Gehring, with trumpets; Dom, Manuel Gera & Christoph Schoener; St. Altenberg, Germany 2 pm Mikaelis Kirche, Hamburg, Germany 7 pm Gail Archer; International Organ Festival Holger Gehring; Kreuzkirche, Dresden, of Malta, Valletta, Malta 9 pm Germany 8 pm Kees van Houten; Cathrienkerk; Eind- Johannes Unger; Jesuitenkirche St. Mi- hoven, Netherlands 3 pm chael, München, Germany 8 pm

Edward S. Gillette 9/28/18

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Subscribers can view the digital David E. Wallace version of this issue (as well as A N D C O M PA N Y, L. L. C. selected past issues) at our website. Pipe Organ Builders New Organs Visit www.TheDiapason.com Restoration / Renovation / Relocation to experience this! www.wallacepipeorgans.com ATOS ExperienceAmerican Theatre Organ Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

32 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM Recital Programs

DAVID ARCUS, Old West Church, Bos- of Old American Dances), Bennett, transcr. Schmücke dich, o liebe Seele, BWV 654, Bach; IV in f, op. 13, no. 4), Widor; Finale (Sym- ton, MA, July 24: Prelude and Fugue in C, Gorby; Remembering, Diemer; Petite suite, Lied, Scherzetto (24 Pièces en style libre, op. phonie I, op. 14), Vierne. Schmoll; Magnifi cat VII Toni, Scheidemann; Debussy, transcr. Roques; Finale (Symphonie 31), Vierne; Quel art juste et agréable (15 A Prophecy, Pinkham; Fugue in g, Ploger; III in c, op. 78), Saint-Saëns, transcr. Briggs. Versets pour les Vêpres du Commun de Fêtes CHERRY RHODES, Church of the Trans- Seven Chorale Preludes, Pepping; Variations de la Saint Vierge, op. 18), Dupré; Allegro fi guration, Orleans, MA, June 10: Prelude and on Besançon, Arcus. DOUGLAS CLEVELAND, Village Pres- Maestoso (Vingt-quatre Pièces), Fleury. Fugue in e, BMV 548, Bach; 4 Piezas para la byterian Church, Prairie Village, KS, July Misa, Lidon; Chorale, Diferencia, and Glosa on Br. BENJAMIN S. BASILE, C.PP.S., 3: Praeludium in G, Bruhns; Vater unser im MICHAEL HEY, Loyola University, Chi- Puer Natus in Bethlehem, Walter; Combat de Christ Church, Michigan City, IN, July 25: Himmelreich, Böhm; Tierces (Four Concert cago, IL, June 17: Allegro (Symphonie VI, la mort et de la vie (Les Corps glorieux), Mes- Prelude in F, Shackley; Three Pastorales, Etudes), Briggs; The Seven Last Words and op. 42, no. 2), Widor; The Soul of the Lake, siaen; Fantasie und Fuge in d, op. 135b, Reger. Jenkins; Andante tranquillo (Three Litur- Triumph of Christ, Decker. Hymn to the Stars (Seven Pastels from the gical Improvisations), Oldroyd; Voluntary Lake Constance), Karg-Elert; Pomp and Cir- NAOMI ROWLEY, First United Methodist No. 1 (Sixteen Pieces or Voluntaries), Guest; CARSON COOMAN, Methuen Memorial cumstance No. 1, Elgar, transcr. Lemare; The Church, Appleton, WI, June 20: , Cook; Clair de lune (Suite bergamasque), Debussy, Music Hall, Methuen, MA, July 18: Variations Dancing Pipes, Dove; Prière, op. 108, no. 2, Variations to the Sicilian Hymn, Carr; Volun- transcr. Richter; Festival March, Mosenthal. on a Theme of Paganini, Willsher; . . . before Jongen; Scherzo Symphonique, Cochereau, tary VIII in d, Stanley; A Rejoicing, Fedak; Aria, knowledge of the physical Grove spines fades, arr. Filsell. Carter; Postlude on Tell Out My Soul, Bédard. MARIE RUBIS BAUER, Westport Pres- Dalton; Organ Visions, Muscio; Rhapsody in A, byterian Church, Kansas City, MO, July 6: op. 1248, Cooman; Yankee Doodle Variations, BÁLINT KAROSI, Methuen Memorial NICHOLAS SCHMELTER, St. Roch Hexachord Fantasia, Sweelinck; Pastorale in Ferrari; Three St. George Preludes, Åberg. Music Hall, Methuen, MA, June 13: Sonata Catholic Church, Caseville, MI, June 10: F, BWV 590, Bach; Toccata Prima, Rossi; Toc- IV, Koloss; , Karosi; Sonata I, Hin- Toccata, Mushel; Meditation on the Eucha- cata per l’Elevatione (Messa degli Apostoli), KEN COWAN & BRADLEY WELCH, demith; Toccata, Fugue, et Hymne sur Ave rist, Ellsasser; Capriccio, Lemaigre; Prelude Frescobaldi; Ciaccona, Storace; Freu dich sehr, St. Paul’s Episcopal Church, Rochester, NY, Maris Stella, Peeters. (Suite No. 1, BWV 1007), Pièce d’Orgue, o meine Seele, Böhm. July 30: Festive Overture, op. 96, Shostakov- BWV 572, Sinfonia (Ich steh mit einem Fuss ich; Nachtanz, Miller; Larghetto (Serenade NATHAN LAUBE, Stiftskirche, Stuttgart, im Grabe), Bach; Fantasia and Fugue in F, DIANE MEREDITH BELCHER, Wil- for Strings, op. 20), Elgar; Toccata (Dix Germany, August 10: Allegro vivace (Sym- KrebsWV 420, Krebs; Partita on Lobe den liam Jewell College, Liberty, MO, July 5: Pièces), Gigout; Fantasy and Fugue on Ge- phonie V in f, op. 42, no. 1), Widor; Funérailles Herren, Hebble; Meditation (Trois Impro- Pièce Jubilaire en forme de prelude et fugue, nevan Psalm 47, op. 62, Laurin; Jupiter, The (Harmonies poétiques et religieuses), Liszt; visations), Vierne; Sinfonia ( No. 29, Gigout; Moderato quasi andantino (L’Orgue Bringer of Jollity (The Planets, op. 32), Holst; Overture (Tannhäuser), Wagner, transcr. Le- BWV 29), Bach. mystique, In Festo Pentecostes), Tournemire; Improvisation on Nearer My God, to Thee, mare/Laube; Première Fantaisie, Deuxième Allegretto, Allegro giocoso (Sept Improvi- W 17, Karg-Elert; Toccata (Symphonie Con- Fantaisie, Alain; Deux Evocations, Baker. STEPHEN SCHNURR, Christ Church, sations, op. 150), Saint-Saëns; Symphonie certante, op. 81), Jongen. Michigan City, IN, June 20: Praeludium gothique, op. 70, Widor. DAVID LIM, Shrine of Our Lady of Gua- in e, BuxWV 142, Buxtehude; Soll es sein, EVAN WESLEY CURRIE, Old West dalupe, La Crosse, WI, June 10: Praeludium Sweelinck; Concerto del Sigr. Meck, Walther; ADAM BRAKEL, Balboa Park, San Diego, Church, Boston, MA, July 17: Prelude in e, in e, Bruhns; Corrente Italiana, Cabanilles; Praeludium in E, LübWV 7, Lübeck. CA, July 16: Grand Choeur Dialogué, Gigout; Bruhns; Prelude and Fugue in e, BWV 548, An Cinq Pièces pour l’Offi ce divin, Grunenwald; Variations on Land of Rest, Shearing; Prelude Wasserfl üssen Babylon, BWV 653, Jesus Chris- Sonata in E-fl at, BWV 525, Bach; Jerusa- JOHN SHERER, Fourth Presbyterian and Fugue in E, BWV 566, Bach; Cortège et tus unser Heiland, BWV 666, Bach; Scherzo in lem, My Happy Home, So Fades the Lovely Church, Chicago, IL, June 29: Sonata in the Litanie, Dupré; Praeludium in G, Bruhns; Fan- d, op. 65, no. 10, Reger; Chorale Varié sur le Blooming Flower (Sacred Sounds), Shearing; Style of Handel, Wolstenholme; O Had I tasy on Jerusalem, Rone; Fantasy and Fugue on thème du Veni Creator, op. 4, Durufl é. Allegro (Symphonie II, op. 20), Vierne. Jubal’s Lyre, Handel, transcr. Powell; Sara- B-A-C-H, Liszt; Americana Suite, arr. Brakel; bande, Handel, transcr. Machella; Andantino Sonata III in A, op. 65, no. 3, Mendelssohn; PETER DUBOIS, First Presbyterian RENÉE ANNE LOUPRETTE, Cathedral in D-fl at, Lemare; Prelude and Fugue in B- Variations on the Wedding March, Brakel. Church, Caledonia, NY, July 31: Prelude of St. John, Albuquerque, NM, June 3: Fanta- fl at, C. Schumann; Rhapsody on a Theme of and Fugue in c, op. 37, no. 1, Mendels- sia in G, BWV 572, Bach; Pange Lingua: Récit Paganini, Rachmaninoff, transcr. McVicker; ANNE-GAËLLE CHANON, Stifts- sohn; Mein Jesu, der du mich, op. 122, no. du Chant de l’Hymne precedent, de Grigny; Morning Songs, Walker; Final, Lemmens. kirche, Stuttgart, Germany, July 20: Suite du 1, Brahms; No. 1 in C, No. 5 in b (Studien Intermezzo, Moto Perpetuo, Fugue Triangu- quatrième ton, Guilain; Andante con moto in für den Pedal-Flügel, op. 56), Schumann; laire (Douze Courtes pièces pour orgue, op. JOSHUA STAFFORD, Southern Illinois E-fl at, Allegretto in b, Allegro ma non troppo Prélude, Fugue, et Variation, op. 18, Franck; 43, vol. 1), Laurin; Myto, Wammes; Deuxième University, Carbondale, IL, June 4: Sonata in f, Andante moderato in b, Boëly; Sym- Prelude and Fugue in E-fl at, op. 99, no. 3, Suite (Pièces de Fantaisie), op. 53, Vierne. Eroïca, op. 94, Jongen; Fantasia and Toc- phonie in b, Labole; L’Ascension, Messiaen. Saint-Saëns. cata, op. 57, Stanford; Canon in A-fl at, op. ERIC PLUTZ, Methuen Memorial Music 56, no. 4, Schumann; Sonata I in f, op. 65, CHELSEA CHEN, Kansas City Center THOMAS GOUWENS, Fourth Presby- Hall, Methuen, MA, June 27: Concert Over- no. 1, Mendelssohn; Rondo Capriccio, op. for the Performing Arts, Kansas City, MO, terian Church, Chicago, IL, June 15: Sonata ture in c, Hollins; Capriccio, Novelette II, 64, Lemare; Carnival Overture, Dvorák, July 4: Tu es petra et portæ inferi non præva- de 1˚ tono, Lidon; Sonata para Cimbalo, de Purvis; Sonata VI in d, op. 65, no. 6, Mendels- transcr. Lemare; Overture (Le Nozze de lebunt adversus te (Esquisses byzantines), Santo Elias; Ballo del granduca, Malle Sij- sohn; Ein feste Burg, Hirten; Variations on an Figaro, K. 492), Mozart, transcr. Scott; Ele- Mulet; Fantasia, Weaver; Cakewalk (Suite men, Sweelinck; Toccata Undecima, Muffat; American Air, Flagler; Scherzo (Symphonie giac Romance, Ireland.

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Morel and Associates, Organ Builders of Den- World Library Publications: From the Piano Celebrate the 200th Anniversary of “Silent The Tracker—The Organ Historical Society ver, Colorado, is seeking an experienced pipe Bench to the Organ Bench, by Alan J. Hommerd- Night” this year. We offer four arrangements quarterly journal includes news and articles organ technician to join our company to assume ing. This complete method book offers a variety by American organists. See them and read the about the organ and its history, organ builders, the position of Service Manager. Please mail or of exercises to increase pedal technique and history at wp.me/p1y2gn-2JJ or michaelsmusic- exemplary organs, and regional surveys of email résumé to: Rick Morel, 4221 Steele St., manual/pedal dexterity. Explore topics such as service.com. 704/567-1066. instruments. Both American and European organ Denver, CO 80216; email: [email protected]. service playing/accompanying—when to lead, topics are discussed, and most issues run 32 when to follow; playing pianistic accompani- pages with many illustrations and photographs. The new Nordic Journey series of CD record- ments on the organ; introduction to improvisation Membership in the OHS includes a subscrip- ings reveals premiere recordings of symphonic Wanted: Organists visiting Maui. Lahaina’s on the organ; basics of choral conducting from tion to The Tracker. Visit the OHS Web site for organ music—much of it still unpublished—from Holy Innocents Episcopal Church invites visit- the console; and much more. 003057, $19.95, subscription and membership information: www. Nordic composers, played by American organist ing organists to play its Beckerath Positiv organ 800/566-6150, Wlpmusic.com. organsociety.org. at Sunday services. Built in 1972 by Rudolf von James Hicks on a variety of recently restored Beckerath and then-apprentice Hans-Ulrich Swedish organs. It’s a little bit like Widor, Reger Erbslöh for Honolulu’s Lutheran Church, the 408- Certified appraisals—Collections of organ and Karg-Elert, but with a Nordic twist. Check it Pipe Organs of the Keweenaw by Anita pipe Shrankpositiv has a 54-note “split” manual, books, recordings, and music, for divorce, out at www.proorgano.com and search for the Campbell and Jan Dalquist, contains his- 30-note pedal, 11 stops, 8 ranks, and 6 registers. estate, gift, and tax purposes. Stephen L. term “Nordic Journey.” tories, stoplists, and photos of some of Holy Innocents acquired the instrument in 1977 Pinel, Appraiser. 629 Edison Drive, East Wind- the historic organs of the Keweenaw Pen- insula, the northernmost tip of Michigan’s and moved it to Maui where it has been played sor, NJ 08520-5205; phone: 609/448-8427; Ed Nowak, Chicago-area composer, arranger, Upper Peninsula. Organs include an 1899 by parish musicians such as Carol Monaghan email: [email protected]. and church musician, announces his new web- Barckhoff and an 1882 Felgemaker. The booklet and visiting artists including Angus Sinclair of site, featuring Nowak’s original choral works, ($8.00 per copy, which includes postage) is Canada and Dalibor Miklavcic of Slovenia. The hymn concertatos, chamber and orchestral Organa Europae calendars featuring famous available from the Isle Royale and Keweenaw instrument is extremely responsive and fi lls the works, organ hymn accompaniments, organ pipe organs of Europe; years 1969 to 1977. Parks Association, 49445 US Hwy 41, Hancock, worship space beautifully. The parish community and piano pieces, electronic music, and psalm $10.00 each. 219/662-0677, [email protected]. Michigan 49930. For information: 800/678-6925. is “exemplary in its hospitality to all visitors,” and settings. The website offers scores and recorded that especially includes visiting organists. For examples that are easy to sample and can be information: 808/661-4202; holyimaui.org. Raven has released the CD, Tell of His Love, purchased in downloaded (PDF and MP3) or HYBRID ORGANS FOR SALE Raven OAR-144, featuring the musicians of printed form. Visit ednowakmusic.com. PUBLICATIONS / RECORDINGS the Cathedral of St. John, Albuquerque, New Mexico. The Choirs of the Cathedral of St. Organs of Oberlin chronicles the rich history of Pipe/digital instrument available. Wicks/Allen John, Maxine Thévenot, Director and Organ- organs at Oberlin College, the Conservatory of 2008 with custom English console and façade. Fruhauf Music Publications is pleased to ist, and Edmund Connolly, Assistant Organist, Music, and the town of Oberlin, Ohio. The hard- 11 pipe ranks; 64 digital ranks. Mint tonal and offer the second of three complimentary hymn perform the Magnifi cat and Nunc Dimittis by bound, 160-page book with many illustrations physical condition. Immediately available. Com- anthems for mixed voices and organ. A Starlit Aaron David Miller; Andrew Carter’s setting of is the most comprehensive study of traceable plete brochure email [email protected] or Night It Was In Bethlehem is a four-verse Christ- “Consider the Lillies;” settings of O sacrum con- organs from 1854 to 2013. The book measures call 803/359-6352. mas Carol for SATB, treble solo, and SAB voices vivium and Haec Dies by McNeil Robinson; and 8½″ x 11″ and features a dust jacket with color- (a capella and ensemble), with organ accompani- other choral works by Philip Moore, Ola Gjeilo, ful illustrations not found in the book. Organs by ment. It is suitable for services of Lessons and Fauré, Samuel Wesley, Casals, Cabena, Lindley, the Skinner Organ Company, Aeolian-Skinner, PIPE ORGANS FOR SALE Carols, as well as for festive church celebrations. DeLong, Dyson, Gibson, and Stephanie Martin. C. B. 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Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, contact Jerome Butera, For advertising information contact: 608/634-6253 THE DIAPASON [email protected] 608/634-6253 voice Send a copy of THE DIAPASON to a friend! [email protected] e-mail Contact THE DIAPASON at 608/634-6253; [email protected]

For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 PIPE ORGAN BUILDERS, LTD. Phone (515) 964-1274 Fax (515) 963-1215 LAKE CITY, IOWA 51449 (712) 464-8065

Roy Redman PEEBLES-HERZOG, INC. Redman Pipe Organs LLC 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders www.peeblesherzog.com Member, International Society of Organ Builders e-mail: [email protected]

3030 W. Salt Creek Lane ph 847/954-7989 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com

34 Q THE DIAPASON Q NOVEMBER 2018 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found below.

PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE MISCELLANEOUS FOR SALE ANNOUNCEMENTS

26-rank Casavant - Létourneau pipe organ for Rieger 23-rank mechanical pipe organ for sale. Excellent used pipes, like new Austin actions, sale. Orgues Létourneau is offering a 22-stop Two 61-note manuals and 32-note AGO concave, all sizes of re-leathered bellows and many Peter- THE DIAPASON has a very special subscrip- Casavant Frères pipe organ (Opus 1274 from radiating pedals. 1,221 pipes, manual and pedal son parts, all ½ wholesale price. Milnar Organ tion offer! New subscriptions and gift sub- 1928) for sale. This electro-pneumatic instru- couplers, and tremulant; includes 3 separate Company, 615/274-6400, dennis@milnarorgan. scriptions received in 2018 qualify for free CDs ment was rebuilt by Létourneau in 1987 and is mixture stops and 2 reed stops. Gently voiced for com. Please visit our website for information on from Raven! A one-year subscription gives currently in storage at the Létourneau shops. It a chapel or home use. Compact design: width: available inventory: www.milnarorgan.com 1 you one free CD; a two-year subscription, two is available for purchase in “as is” condition for 5′-8 ⁄8″, depth 7′-3¼″, height 7′-3½″ with sepa- USD $35,000 with its original two-manual con- rate electric blower 2′ x 2′-1″ x 2′-5″. Mechanical CDs; a three-year subscription, three CDs. sole. Likewise, Létourneau would be pleased key and stop action, slider windchest. Reduced to SERVICES / SUPPLIES Raven has provided us a choice of six of their to provide a proposal to rebuild this instrument, $45,000.00. For more details call 360/945-0425 recent releases. CDs are also availalbe with taking into account any desired changes to the or see OHS Organ Data Base, Rieger Orgelbau, Releathering all types of pipe organ actions our digital subscriptions ($35 for one year) stoplist as well as installation costs, voicing, Gaspar Schulek Residence. and mechanisms. Highest quality materi- and student subscriptions ($20 for one year)! casework as required, and rebuilding the two- als and workmanship. Reasonable rates. Give the gift of THE DIAPASON, the gift that keeps manual console with a new solid-state switching Columbia Organ Leathers 800/423-7003. giving month after month! For details: www. Circa 1860 Pfeffer eight-rank organ, available system. The organ requires approximately 360 www.columbiaorgan.com/col. thediapason.com/subscribe. sq. ft. with 20′ ceiling for 16′ ranks. For more rebuilt and custom fi nished. Also 1884 choir details, visit www.letourneauorgans.com, email organ by Louis Debierre. Both are pictured on the [email protected] or call Andrew For- Redman website: www.redmanpipeorgans.com. Do you have a pipe organ that you would like to interface with an electronic or digital rest at 450/774-2698. THE DIAPASON’S 20 Under 30 program returns organ? We can interface any digital organ or Historic 1859 ROBJOHN, II+Ped, 11 ranks. Drop soon! Nominations for this award for young any organ console with any pipe organ. For more dead gorgeous rosewood case, 14′-2″ tall. Lovely leaders in the world of the organ, organbuild- 5-stop positive for sale. Organ was built by information e-mail [email protected] (not for chapel, large residence, or museum. www. James Louder of Montreal and can play at Comcast) or call 215/353-0286. ing, church music, carillon, and harpsichord A=392, 415, and 440. $60,000 US or best offer. bigeloworgans.com. Click on News. open December 1 and continue through [email protected] 312/961-1163. February 1, 2019. Nominees must not have Aeolian/Robert Morton-style maroon th 1968 Wicks, one divided manual and AGO reached their 30 birthday. Self nominations leather is now available from Columbia Organ pedalboard. Excellent condition. Self contained; are not permitted. Begin thinking now of Residence instrument available, Doug- Leathers! Highest quality. 800/423-7003, deserving people to nominate, and check our lasville, Georgia. Four manual, six division, direct electric action; chiffy, open toe voicing, www.columbiaorgan.com. website beginning December 1 to submit your hybrid instrument built in 2010. Short montage 85 unenclosed pipes. Ideal for small church or home. Fits under 8′ ceiling. $3,500 or best offer. nominations. See www.thediapason.com on YouTube by entering “HDG residence organ” SOLD [email protected]. in the browser. Complete stoplist and pictures ANNOUNCEMENTS and click on 20 Under 30. available. Contact M. Proscia, 770/258-3388 or 770/361-2485; [email protected]. MISCELLANEOUS FOR SALE THE DIAPASON E-Newsletters are emailed monthly to subscribers who sign up to receive them. Don’t Postal regulations require that mail to THE miss the latest news, featured artists, and clas- DIAPASON include a suite number to assure Aeolian-Skinner opus 1480. 2 manuals, 20 Consoles, pipes and numerous miscellaneous sifi ed ads—all with photos—some before they delivery. Please send all correspondence to: ranks, 4 divisions, enclosed and unenclosed parts. Let us know what you are looking for. appear in print! Visit www.TheDiapason.com and THE DIAPASON, 3030 W. Salt Creek Lane, Suite Great. Price reduced signifi cantly to $99,000. E-mail [email protected] (not comcast), click Subscribe to newsletter. Questions: contact 201, Arlington Heights, IL 60005. Details: [email protected]. phone 215/353-0286 or 215/788-3423. 847/954-7989, [email protected].

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3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 CLASSIFIED THE DIAPASON 608/634-6253 • [email protected] ADVERTISING RATES

Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): Regular classifi ed advertising is single T January T February T March T April T May T June T July T August T September T October T November T December paragraph “want ad” style. First line only of each ad in bold face type. Category ______T Regular T Boldface Display classifi ed advertisements are set PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website T of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ 1.00 Regular Classifi ed minimum 30.00 ______Display Classifi ed, per word 1.40 Display Classifi ed minimum 35.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 25.00 ______($40 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement ______appears should include $5.00 per issue desired with their payment. Name ______Phone ______

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WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2018 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

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

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

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

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

Choirs Available

Saint Thomas Church New York City (March 2019)

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

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