THE DIAPASON DECEMBER 2012

Sacred Heart Church New Philadelphia, Ohio Cover feature on pages 26–27 'DYLG%DVNH\¿HOG James David Christie Peter Richard Conte Lynne Davis Isabelle Demers Clive Driskill-Smith Jeremy Filsell

S. Wayne Foster Christopher Houlihan David Hurd Paul Jacobs Martin Jean Huw Lewis Bruce Neswick

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Due Solisti Duo MusArt Tin Pan Alley Alive Peter Fletcher Paul Bisaccia Steinbach & Helvey True North Brass THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Third Year: No. 12, In this issue Whole No. 1237 Among the offerings in this issue of The Diapason, Mark DECEMBER 2012 Merrill continues his series on Iberian organ music with a Established in 1909 discussion of the tiento; Stephen Taylor reports on the 2012 Jerome Butera ISSN 0012-2378 Haarlem International Organ Festival; and Scott Riedel offers 847/391-1045; [email protected] part 10 in his ongoing series (dating back to May 1983) on www.TheDiapason.com An International Monthly Devoted to the Organ, “Acoustics in the Worship Space.” The cover feature is Kegg the Harpsichord, Carillon, and Church Music Pipe Organ Builders’ new installation at Sacred Heart Church New look in New Philadelphia, Ohio. Thanks for the many phone calls and e-mail messages about CONTENTS John Bishop devotes his column “In the wind . . .” to “Feeding the redesign of The Diapason. It is gratifying to hear from our your passion,” with a discussion of church music, pipe organs, readers who value The Diapason as much as I do. I welcome FEATURES The Tiento: food, bird watching, and idealism. Gavin Black offers part responses to the new look, including constructive criticism. Let An Iberian Art Form three of his organ method, fi nishing up the Introduction with me know what works well and what does not. We continue to by Mark J. Merrill 20 a description of console layout, stop controls, and the pitches evaluate and refi ne our new layout and design. Haarlem International of organ stops. Brian Swager offers an installment of “Carillon Organ Festival 2012 News.” This is in addition to our regular departments of news, Digital edition by Stephen Taylor 22 reviews, new organs, an international calendar, organ recital We continue to explore the option of a digital edition of Acoustics in the Worship Space X programs, and more. The Diapason. An e-mail piece was sent out, with a link to a Good Acoustics—the Economic Factors sample digital edition. You can view this sample, the October by Scott R. Riedel 24 In preparation 2012 issue, at The Diapason website: scroll down to the small NEWS & DEPARTMENTS In the coming months, we will offer articles on Bach’s BWV box on the left-hand side of the home page. Subscribers would Editor’s Notebook 3 565, organs in Poland, reports on AGO and OHS conventions, have the option of choosing the print edition, digital edition, or Letters to the Editor 3 the Schweitzer Festival, and the University of Michigan organ both. Let me know if this would interest you. There will also be Here & There 3, 4, 6, 8, 10, 11, 12 conference, Copenhagen’s Orgelsamling, and much more. a special reduced student rate for the digital edition. Q Appointments 6 Nunc Dimittis 10 Carillon News by Brian Swager 12 In the wind . . . by John Bishop 13 Letters to the Editor On Teaching by Gavin Black 15 THE DIAPASON new look is elegant and the content is well orga- writers feel compelled to slam, criticize, REVIEWS I don’t like the new Diapason nized. All of the mechanical changes and tear down the previous installed Music for Voices and Organ 16 Design—I LOVE it! Great job! needed to make the new format refl ect instrument or its technician? Rather than New Recordings 17 I haven’t had time to read up on the new technology, much of which was not limiting themselves to writing about how New Organ Music 18 New Handbell Music 19 electronic version, but will probably available in the recent past, and devoted wonderful their new instrument is, they subscribe soon. staff work, which has always been a start their articles by tearing down the NEW ORGANS 28 Robert Sullivan hallmark of the publication from 1909 competition with harmful comments. CALENDAR 29 Canton, Ohio to the present. Considering a lot of the replaced Arthur Lawrence instruments end up being sold to another ORGAN RECITALS 32 The Diapason looks fantastic! New York, New York client, do the builders tell them they are CLASSIFIED ADVERTISING 34 The color photos are amazing! What a Editor and publisher, The Diapason purchasing a crummy organ? tremendous upgrade you have accom- 1976–1982 Every organ builder has their opinion plished at the magazine. of what a good organ should be, sound THE James R. Metzler, M.Mus., Your new format of the magazine is like, and how it should be built. This is DIAPASON DECEMBER 2012 (Hon) F.N.C.M., Ch.M. spectacular! I just got mine in the mail only their opinion and who designated Grand Rapids, Michigan yesterday. You should be very proud. them as experts? David Lowry, DMA, HonRSCM I am quite sure that other organ Many congratulations on the new Columbia, South Carolina builders go into churches with recently all-color format, which is attractive, installed organs and state they would logically designed, and easy to compre- New Organs have never built it that way! I wonder hend. With it you have achieved a new Regarding the “New Organs” section how the writers feel about that. milestone in more than a century of of The Diapason, does anyone ever Phil Spressart The Diapason. The coated paper stock notice that some organ builders’ article Lake Villa, Illinois Sacred Heart Church New Philadelphia, Ohio Cover feature on pages 26–27

COVER Kegg Pipe Organ Builders, Hartville, Ohio; Here & There Sacred Heart Church, New Philadelphia, Ohio 26 Events 3/22, Douglas Wimer. For information: Christmas in Tudor England; January Madison Avenue Presbyterian 717/397-2734; www.trinitylancaster.org. 31, David Shuler (works by Kuhnau, Editor & Publisher JEROME BUTERA Church, New York City, continues Bruhns, and Buxtehude); March 14, [email protected] its 2012–13 music series: December Holy Name Cathedral, Chicago, Telemann, St. Luke Passion; April 25, 847/391-1045 2, Andrew Henderson; 12/9, My Illinois, announces its Advent recitals on music by Allegri, Palestrina, Josquin, and Lord Chamberlain’s Consort; 12/16, Sundays in December at 3:30 pm, fol- Anerio. For information: 212/414-9419; Associate Editor JOYCE ROBINSON [email protected] 8th annual carol sing; January 27, lowed by Vespers at 4 pm: December 2, www.stlukeinthefi elds.org. 847/391-1044 Duo Marchand; February 10, pianist Rhonda Sider Edgington; 12/9, Stephen Nadejda Vlaeva; 2/24, Juillard415 with Schnurr; 12/16, David Jonies; 12/23, The Music of First Church Boston Designer DAN SOLTIS violinist Monica Huggett. For informa- John W.W. Sherer. For information: continues its Early Music Thursdays, Contributing Editors LARRY PALMER tion: 212/288-8920; www.holynamecathedral.org. a series of recitals on period instru- Harpsichord www.mapc.com/music/sams. ments at 12:15–12:45 pm: December St. John’s Cathedral, Denver, Colo- 6, Gavin Black, harpsichord; 12/13; JAMES MCCRAY Choral Music Holy Trinity Lutheran Church, rado, continues its music series: Decem- Mary Oleskiewicz, traverso, and Andrus Lancaster, Pennsylvania, continues its ber 2, Advent Lessons & Carols; 12/7, Madsen, harpsichord; 12/20, Frederic BRIAN SWAGER 2012–13 concert series: December 2, Kantorei; 12/8 and 12/9, Handel, Mes- Green, harpsichord; January 3, Ian Wat- Carillon Children’s Choir of Lancaster and the siah; 12/14, St. Martin’s Chamber Choir; son, harpsichord; 1/10, Music’s Quill; JOHN BISHOP Lancaster Liederkranz Chorus; Febru- 12/15 and 12/16, Christmas Lessons & 1/17, Héloïse Degrugillier, recorder, and In the wind . . . ary 10, Thomas Sheehan; March 17, Carols; January 8, Confl uence Saxophone friends; 1/24, Asako Takeuchi, baroque GAVIN BLACK Nathan Laube, April 14, Hymns of Faith; Quartet; 1/11, Garrett/Sterne Duo; 1/18, violin, Héloïse Degrugillier, recorder, On Teaching 4/28, the Heritage Choral of Lancaster. Colorado Bach Ensemble. For informa- and Paul Cienniwa, harpsichord; 1/31, Holy Trinity also presents its Friday tion: 303/577-7717; sjcathedral.org. Paul Cienniwa, harpsichord; February Reviewers Michael Fox noon organ recitals: February 15, Terry 2, Héloïse Degrugillier, recorder, and James M. Reed Jan-Piet Knijff Heisey; 2/22, Paul Reese; March 1, The Church of St. Luke in the friends. For information: 617/267-6730; Jay Zoller Ross Ellison; 3/8, Roger Kurtz; 3/15, Fields, New York City, continues its www.fi rstchurchbostonmusic.org. Leon Nelson Peter Brown and Timothy Mentzer; concert series: December 6, A Royal ³ page 4

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Creek This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1045. Fax 847/390-0408. E-mail: [email protected]. Copyright ©2012. Printed in the U.S.A. Subscriptions: 1 yr. $38; 2 yr. $60; 3 yr. $80 (United States and U.S. Possessions). Foreign subscriptions: 1 yr. $48; No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of 2 yr. $70; 3 yr. $95. Single copies $6 (U.S.A.); $8 (foreign). the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: Send address changes to course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. or for the same course offered subsequently. Routine items for publication must be received six weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited reviews THE DIAPASON accepts no responsibility or liability for the validity of information supplied by cannot be accepted. contributors, vendors, advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2012 Q 3 Here & There

³ page 3 Adams, who has led the organization St. Andrew’s Hymn Competition announces the St. Lorenz Lutheran Church, since 2000. For information: 312/409- winning entry, submitted by Matt Andrews. This was Frankenmuth, Michigan, continues 6890; www.ChicagoChamberChoir.org. chosen from more than 60 hymn tunes submitted from its concert series: December 8 and 9, around the world; the judging committee consisted of Christmas concert; February 7, Britten, The University of Texas at Austin Jackie Gilpin, Mary Kay Horner, Joel Nelson, Scott Noye’s Fludde; March 12, Concordia continues its recital series: December Robertson, and Robert Schroeder. This completes the University-Nebraska Symphonic Band; 14, 7:30 pm, Jessen Auditorium, Judith marriage of the tune (named Emily) with the text by 3/17, Alma College Choir; May 9, Choral Hancock and Scott Davis, dedication of Adrian Low. Vespers. For information: 989/652-6141; the Aeolian-Skinner organ; February 3, Matt Andrews serves as associate pastor at the First www.stlorenz.org. 4 pm, Bates Recital Hall, James David Baptist Church of Glendale, California. A Samford Christie. For information: University graduate, he holds a Master of Divinity The William Ferris Chorale, Chi- www.music.utexas.edu. degree from George W. Truett Theological Seminary at cago, Illinois, presents its 2012–13 season: Matt Andrews Baylor University in Waco, Texas. He previously served December 8 and 9, Christmas Triptychs; St. Louis Cathedral, St. Louis, as minister of music and youth at First Baptist Church February 23 and 24, Music of Grayston Missouri, continues its 20th anniversary of Rosebud, Texas, as well as the worship and chapel ministry associate in the Baylor Ives; April 27 and 28, The Chorale at the season of concerts: December 15 and 16, University Spiritual Life Department. Opera. For information: 773/508-2940; Christmas concert; February 2, Luther The hymn made its debut on St. Andrew’s Sunday, November 25, as St. Andrew’s www.williamferrischorale.org. College Nordic Choir; 2/28, Chanticleer; Episcopal Church, Kansas City, Missouri, began to celebrate its centennial year. March 10, gala 20th anniversary concert; First Church of Christ, Wethers- 3/15, Tafelmusik Baroque Orchestra; fi eld, Connecticut, continues its 2012–13 April 6, Regensburg Cathedral Choir; concert series: December 9, Christmas May 18, St. Louis Archdiocesan Choir concert; January 27, Super Bell XXI; and Orchestra. For information: February 24, concert of spirituals; March www.cathedralconcerts.org. 29, Good Friday concert; April 21, hymn festival; June 9, ASOF winners’ concert; The Church of Saint Vincent Fer- 6/23, Raleigh Ringers. For information: rer, New York City, continues its music 860/529-1575 x209; www.fi rstchurch.org. series: December 16, Ceremony of Les- sons and Carols; March 10, St. Vincent Emmanuel Church, Chestertown, Ferrer Chorale and Soloists, music by Maryland, continues its music series: Tallis, Bach, and Mendelssohn. Mark December 9, Lessons & Carols; Janu- Bani is director of music and organist. ary 5, Twelfth Night Evensong; 1/18, For information: 212/744-2080 x114. the Changed Voice Choir of the Mary- land State Boychoir; February 15, Gail Musica Sacra, New York City, con- Archer; March 15, Neil Harmon; April tinues its 2012–13 season: December 21, Brian Harlow; May 9, Ascension 20 and 23, Handel, Messiah, Carnegie Evensong; 5/17, Ken Cowan. For infor- Hall; May 15, The Soul Rejoices, Mag- mation: 410/778-3477; nifi cats of Monteverdi and Pärt, with www.emmanuelchesterparish.com. selections of Mendelssohn and Tavener, St. Etienne du Mont (l–r): John Wright, James Mellichamp, Louise Bass, Chris Sud- the Church of St. Paul the Apostle. For derth, Taylor Sexton, Nikolai Peek, Vincent Warnier Christ Church Cathedral, Hous- information: www.musicasacra.org. ton, Texas, continues its music series: As part of the Piedmont College Maymester study-travel program, organ stu- December 9, Advent Lessons & Carols; Quire Cleveland continues its fi fth dents of James F. Mellichamp spent May 6–14 in Paris, France. The Paris Organ 12/11, Baltimore Consort. For informa- season: “Carols for Quire from the Old Odyssey followed a spring semester seminar class in which students learned about tion: 713/222-2593; & New Worlds” December 21, 22, and French organ building, organ composers, and churches of Paris. Accompanied by Dr. www.christchurchcathedral.org. 23 at Trinity Cathedral; on May 25, Mellichamp and Louise Bass, organ artist-in-residence at the college, students were Quire Cleveland brings guest conductor given opportunities to see and play instruments at St. Etienne du Mont, St. Gervais, Musica Sacra San Antonio presents Jameson Marvin for a program called St. Louis en l’Ile, St. Eustache, St. Sulpice, and the Paris Conservatoire. A special its third season of Solemn Evensongs at “Pure Palestrina: Mass & Motets.” For morning was spent in the home of Mme. Marie-Louise Langlais, who talked about Our Lady of the Atonement Catholic information: quirecleveland.com. her husband’s music and shared many personal mementos. Church in San Antonio, Texas: Decem- ber 9, February 17, April 7, and May 19. Washington National Cathedral Robert Finster is musical director. For continues its recital series on Sundays information: www.MusicaSacraSA.org. at 5:15 pm: December 25, Jeremy Fil- sell; 12/30, John Alexander; January 6, The Chicago Chamber Choir pres- Jangoo Chapkhana; 1/13, Brink Bush; ents its 17th season: Bach, Magnifi cat: 1/20, Benjamin Straley; 1/27, Christine Christmas in Germany, December 13, Clewell; February 3, Gail Archer. For St. Matthias Church, Chicago; 12/15, information: 202/537-5757; St. Paul’s United Church of Christ, www.nationalcathedral.org. Chicago; 12/16, Our Lady of the Brook, Northbrook; The Church Music Association Burst Out Singing!, April 7, Unity of America presents its Winter Chant Lutheran Church, Chicago; 4/13, St. Intensive January 7–11 at St. Joseph Mark’s Episcopal Church, Evanston. Catholic Church in Macon, Georgia, The choir is led by artistic director Timm ³ page 6

The DC AGO Foundation

San Diego Pipe Organ Encounter

invites musicians and scholars to apply for a grant for the 2013 season. The San Diego Pipe Organ Encounter took place July 22–28. Participants included Alex Allsing, Nicholas Allsing, Sam Buse, Tiffany-Anne Calabro, Brendan The mission of the Foundation is to support the organ profession. Conner, Rachel Danielson, Chris Davenport, Heidi Fleischbein, Keil Fleischbein, Funding support for competitions, scholarships, educational initiatives, Ethan Haman, Laura Harker, Matthew Hartwig, Siriana Holst, Rebecca Holzer, Jared organ-related research and publication, new organ compositions, and the Jetter, Jess Juanich, Kimmy Kelly, Christopher Lindsay, Elizabeth Moody, Vance Noel, advancement of professional concerns will be considered. Ehren Schindelar, Kant Tran, Amanda Ullrick, Suzy Webster, and Ethan Williams. For more information about the DC AGO Foundation and grant applications, visit www.dcagofoundation.org Applications are due by March 1, 2013, electronically or by mail to: Samuel Baker 540 N ST SW, Suite S-804 Washington, DC 20024 Questions or additional information: [email protected]

4 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Paul Cienniwa Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Concert Harpsichordist Indiana University Montevideo, Uruguay Battipaglia, Italy Paris, France Ann Arbor, Michigan Boston, Massachusetts

Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Milwaukee, Wisconsin Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama

Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer Professor of Organ Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California Yonsei University, Korea

David K. Lamb Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Conductor Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana New York City SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois

Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Brennan Szafron Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Organist/Harpsichordist University of Kansas Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Spartanburg, South Carolina

Timothy Tikker Michael Unger Elke Voelker Eugeniusz Wawrzyniak Jeffrey Cohan Duo Majoya Organist/Composer/Improviser Organist/Harpsichordist Organist/Musicologist Organist Concert Flutist Organ/Piano/Harpsichord Kalamazoo College, Michigan Rochester, New York Mannheim, Germany Charleroi, Belgium Seattle, Washington U of Alberta, King's UC www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Assistant Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 25th year of operation Here & There

³ page 4 January 7–11, 2013. Participants will Appointments learn or review how to read and fully navigate all aspects of traditional Grego- Marilyn Perkins Biery has Isabelle Demers has been rian notation (square notes). The course been appointed minister of music appointed assistant professor will also address correct Latin pronun- at Metropolitan United Method- of organ at Baylor University, a ciation, the eight Church modes, Psalm ist Church in Detroit, Michigan, position she assumed in August tones and their applications, questions where she directs the choirs and of this year. She holds the BM concerning the rhythm of plainsong, the choral scholar program, admin- in piano and organ from Le and more. isters the concert activity, oversees Conservatoire de Musique The course will be offered in two sec- the musical life of the church, de Montréal, as well as MM tions: chant for men, taught by David and plays the Merton S. Rice and DMA degrees from the J. Hughes; and chant for women, with Memorial Organ, a 1970 Möller Juilliard School, where she instructor Arlene Oost-Zinner. Classes installation with fi ve manuals and Marilyn Perkins Biery studied with Paul Jacobs. will begin on Monday afternoon, January 121 ranks. An active composer, Dr. Demers’ recent engage- Isabelle Demers 7, and conclude with an 11 am chanted hymn writer, and ASCAPlus award winner, Biery’s music and ments include the cathedrals of Mass in the Ordinary Form on Friday, texts are published by Augsburg Fortress, GIA, MorningStar Cologne and Regensburg in Germany, St. Paul’s Cathedral January 11. Music, OCP, and Concordia; her fi rst collection of hymnody, in London, as well as universities and concert halls in the Arlene Oost-Zinner is the director of in collaboration with James Biery, is entitled Seek a Place of U.S., among them Davies Hall (San Francisco), Disney the St. Cecilia Schola at St. Michael’s Breathless Beauty, and was published by MorningStar in 2011. Hall (Los Angeles), the Kimmel Center (Philadelphia), Catholic Church in Auburn, Alabama, She recently fi nished commissions from the Cathedral Church Yale University, and the Eastman School of Music. She has composer of the Parish Book of Psalms of St. Paul in Detroit and St. Michael’s Lutheran Church in also been a featured performer at national conventions of (CMAA, 2012), editor of Words with Roseville, Minnesota, also in collaboration with James Biery, the American Guild of Organists and the Royal Canadian Wings (CMAA, 2012), and currently who wrote the music to her texts. Biery is a graduate of North- College of Organists, and has a special fondness for tran- serves as director of programs for the western University with Bachelor and Master of Music degrees scriptions and for the music of German composers, among Church Music Association of America. in organ performance; she received the D.M.A. in organ per- them J. S. Bach and Max Reger. Demers is represented by David J. Hughes is organist and formance from the University of Minnesota. Phillip Truckenbrod Concert Artists. choirmaster at St. Mary Church in Norwalk, Connecticut, where he Scott R. Riedel & Associates, Ltd., Acous- directs a professional choir for a weekly tic and Organ Consultants, based in Milwaukee, Solemn Mass in the Extraordinary Wisconsin, announces additions and changes Form of the Roman Rite (Missal of to their staff of acoustical engineers and archi- 1962), a volunteer choir for the Latin tectural associates. The new lead acoustical Mass according to the Roman Missal engineer and head of acoustical testing services of 2002, and several children’s choirs. is Craig R. Schaefer. His specialties include He is director of music for the annual acoustical testing and analysis, acoustical mod- Roman Forum Summer Symposium at eling, acoustical and architectural design, noise Lake Garda in the north of Italy. For control engineering, technical writing, and a information: http://musica sacra.com/ variety of CAD and 3D modeling software- winter-chant-intensive-2013/. aided design processes. Schaefer holds a bach- Timothy Foley, Scott Riedel, Christopher Penkala, David Beyer, Dave elor’s degree in architecture from the University Hosbach, and Craig Schaefer Augsburg Fortress presents the of Wisconsin-Milwaukee, as well as a master’s National Conference for Sacred Music degree in architectural acoustics from Rens- Penkala. Penkala is a 2009 graduate from the University January 9–11 at Naples United Church selaer Polytechnic University (RPI) in Troy, New York. His of Wisconsin, Milwaukee, and is currently enrolled as a of Christ, Naples, Florida. The schedule pioneering research developments at RPI made it possible graduate student in the School of Architecture. He leads includes choral technique classes, reading for the fi rst time in architectural acoustics work to visualize CAD drawing production, color renderings, and the sessions, worship services, instrumental sound propagations in enclosures in low-frequency ranges by management of drawing and information processing and workshops, and ideas on social media. way of animations based on scanned data from his custom- storage. He has experience using many different computer Presenters include Ann Howard Jones, designed coupled-spaces scale model. His work has been drafting and modeling programs including AutoCAD, Aaron David Miller, and others. For presented at the 159th meeting of the Acoustical Society of Revit, 3D Studio Max, and Microstation. information: augsburgfortress.org/ncsm. America, Baltimore, 2010, and the International Symposium The Riedel organization offers a full spectrum of acous- on Room Acoustics, Melbourne, Australia, 2010. tical engineering, design, and testing services for worship The University of Alabama pres- Prior to joining the Riedel organization, Schaefer has spaces, as well as for auditoriums, theaters, and commercial, ents its 2013 Church Music Conference worked for full-service architecture, engineering, and inte- industrial, and residential settings. The fi rm also provides January 25–26. The schedule includes rior design fi rms. His musical experience includes member- consultation on the design, selection, and installation of new, the fi nal round of the UA organ scholar- ship in both church and professional choirs, the Milwaukee restored, and re-purposed organs, and pipe organ tuning ship competition, a festival concert, con- Symphony Chorus, and in various chapters of the Barber- and service in the Midwest. Sound and video system design ference sessions, and a choral and organ shop Harmony Society. is offered in conjunction with partner fi rm DSH AudioVi- concert. For information: 205/348-1477; IT Specialist and Architectural Assistant Timothy sions, also based in Milwaukee, Wisconsin. More informa- music.ua.edu/departments/organ/ Foley continues with the Riedel organization part-time, tion about Riedel and DSH can be found on their websites, church-music-conference/church- along with new architectural associate, Christopher www.riedelassociates.com and www.dshaudiovisions.com. Q music-conference-pre-registration/.

The Association of Lutheran Church to recognize a recent musical work and worship practices. The composition The monetary portion of the prize will Musicians (ALCM) announces the 2013 that promotes and extends the practice so recognized will have been written be equally shared by the recipient and Raabe Prize for Excellence in Sacred of church music as it is informed and during the fi ve-year period prior to the a musical or ecclesiastical organization Composition. The prize is established shaped by Lutheran theological insight year in which the prize is awarded. ³ page 8

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6 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM Here & There

VPhilip Crozier VLynne Davis VJonathan Dimmock VDavid Jonies VJames Kibbie VLeon Nelson

³ page 6 children ages 10–16 by providing schol- People success of the American Alain Festival chosen by the recipient. This prize will arship money for organ lessons. Since VOn September 28, Philip Crozier she organized at Wichita to celebrate the be presented publicly to the recipient at its inception in 2001, the Collaborative gave the world premiere of Offerto- 100th anniversary of the birth of Jehan the biennial convention of the Associa- has subsidized the training of 80 organ rium—Chorale Partita on ‘Picardy’, by Alain, she was awarded as a French tion of Lutheran Church Musicians. The students. Four program graduates are Paul Halley, at St. James United Church, citizen the distinction of Chevalier de deadline for submissions is February 1, currently majoring in organ perfor- Montreal, during the Orgue et Couleurs l’Ordre des Arts et des Lettres from the 2013. Submissions should be sent to: mance. In addition to organ instruc- festival. The score bears the inscription: French Ministry of Culture and Com- ALCM – Raabe Prize, 810 Freeman St., tion, scholarship recipients are eligible “Commissioned for Philip Crozier to munication in 2012. Valparaiso, IN 46383. to participate in enrichment activities celebrate his twenty-fi fth year as Music that expose them to pipe organs around Director of St. James United Church, VJonathan Dimmock (www. The 7th World Choir Games took the region. For information: www. Montréal, and the restoration of Casa- JonathanDimmock.com) has recently place in Cincinnati, Ohio, July 4–14, stjohnsnh.org/music/. vant opus 1608, 2011–2012.” returned from a European tour, per- attracting 15,000 participants, including In addition, two choral works by Paul forming in the Netherlands, Sweden, 362 choirs, adjudicators, choir repre- The South German Organ Acad- Halley—an introit, We are not alone, and Germany, and Denmark. Earlier in the sentatives, and delegations from various emy took place August 5–8 in the Upper an anthem, The Grandeur of God—both summer he was conference teacher and countries. The games provided eleven Swabia region, drawing 20 participants commissioned on behalf of St. James, recitalist at the Montreat Worship and days of singing in competitions and con- from France, England, Russia, the and respectively in memory of Rev. Anne Music Conference, and then did a con- certs, and met with interest among Cin- Netherlands, Switzerland, Italy, and Hall and the restoration of the organ at cert tour in New England, performing cinnati residents and media representa- Germany. Sessions were led by Jürgen St. James, were premiered by the Choir concerts in Massachusetts and Maine, tives from print, radio and TV. Choirs Essl from the College of Music Stuttgart of St. James United Church in concert where he co-founded the Blue Hill Bach traveled from China, Brazil, Venezuela, and Gerhard Gnann from the College of on November 11. Festival. Dimmock has recently been Colombia, South Africa, Namibia, Nige- Music Mainz. Both lecturers performed appointed choir director and accompa- ria, Australia, New Zealand, Indonesia, in the church of Zeil Castle, where the VLynne Davis has returned to the nist at Congregation Sherith Israel in San India, and other countries. oldest extant original organ (circa 1600) roster of Phillip Truckenbrod Concert Francisco, the home of the 1904 Murray The medal tally of the choir games is in South Germany is located. Artists after a several-year hiatus. A Harris organ. He also has recently been led by the United States, with 76 medals Teaching was done on the Gabler native of Michigan, she graduated with reappointed as organist and choir direc- (23 gold, 46 silver, 7 bronze), followed organ in Ochsenhausen and on the honors in organ performance from the tor at St. Ignatius (Jesuit) Church, San by China and Hong Kong/SAR with 53 two Holzhey organs in Rot an der Rot University of Michigan. She moved to Francisco, and serves as organist for the (30 gold, 18 silver, 5 bronze), Indonesia and Weißenau. There were also visits France to study with Marie-Claire Alain, San Francisco Symphony, with which he with 17 (8 gold, 9 silver), Russia (3 gold, to historic organs in Weingarten and among others. For over thirty years, has earned a Grammy Award. Dimmock 7 silver, 1 bronze), and South Africa (10 Wolfegg. Included in the course was the Lynne Davis made France her home, has recorded more than 35 discs. gold, 1 silver). Germany won 2 silver fi rst international Joseph Gabler Organ marrying Chartres International Organ medals and 1 bronze. A total of 106 gold, Competition, in which six young organ- Competition founder, Pierre Firmin- VDavid Jonies played recitals last 139 silver, and 19 bronze medals were ists took part. For information: www. Didot. The couple played a major role in summer at the cathedrals in Trier, Ger- awarded by the international jury. organpromotion.org. the French organ music scene, initiating many; Helena, Montana; Milwaukee, Riga, Latvia will be the host city for among other things the 1992 exhibition Wisconsin; at Queen of the Rosary the 8th World Choir Games, July 9–19, The Leipzig Organ Masterclass and recording of “Les Orgues de Paris.” Chapel in Sinsinawa, Wisconsin, and at 2014. For information: took place August 14–18 at St. Thomas Davis’s career was launched by taking the centennial celebration for St. Joseph www.interkultur.com. Church. Led by Ullrich Böhme, the fi rst prize at the St. Albans International Parish in Homewood, Illinois. Jonies is classes were devoted to organ works of Organ Competition in England. She associate director of music at Holy Name The Young Organist Collaborative Bach and Mendelssohn, and utilized has been a featured performer at two Cathedral in Chicago. hosted a benefi t concert October 14 at St. the church’s 1889 Sauer organ and its AGO national conventions, a member of John’s Episcopal Church in Portsmouth, “Bach Organ” built in 2000 by Gerald international organ competition juries, VJames Kibbie continues his annual New Hampshire. Proceeds benefi ted Woehl. The schedule included lessons and given concerts, masterclasses, and holiday tradition of offering free down- the collaborative’s scholarship fund. at St. Thomas and visits to the Hildeb- lectures about French organ literature loads of a recording on his house organ, Performers included Abbey Siegfried, randt organ in the Naumburg Church and its history. a seven-stop Létourneau tracker, as an Bruce Adami, Beverly Caldon, Barbara of St. Wenzel, the Silbermann organ Davis holds the “Certifi cat d’Aptitude “audio holiday card.” This year’s record- Flocco, Kevin Lindsay, and David Wold. in Rötha, and the Ladegast organ in de Professeur d’Orgue” given by the ing is Joseph Clokey’s Pastorale, available All performers are currently faculty St. Maria Magdalena Church in Naum- Republic of France and has served as in MP3 and streaming audio formats at members for the Young Organist Col- burg. Recitals were played by Ullrich organ professor at the Conservatory of www.umich.edu/~jkibbie. laborative and mentor aspiring organists. Böhme and David Franke in Leipzig Music in Clamart near Paris and from 1997 The Young Organist Collaborative and Naumburg. For information: www. to 2006 at the French National Regional VLeon Nelson retired from North supports the musical education of organpromotion.org. Conservatory in Caen in Normandy. In Park University, Chicago, in May, after 2006, she was appointed associate profes- serving 26 years as adjunct professor of sor of organ, holding the Ann & Dennis music and university organist. He was Ross Endowed Faculty of Distinction the fi rst named university organist when chair at the Wichita State University Anderson Chapel was built in 1994, and School of Music in Kansas. Her record- the 57-rank Balcom and Vaughan pipe ings include Musique pour Cathédrales, organ was installed. He was instrumental recorded at Chartres Cathedral, which in the design of the organ, which continues won the French “5 Diapasons” award; to be used for teaching, as well as for cha- Lynne Davis en Concert on the Cavaillé- pel services and convocations. During his Coll organ at the Church of St. Etienne in time at North Park he also served as organ Caen in Normandy; and Lynne Davis at instructor, student advisor, taught music the Marcussen organ in Wiedemann Hall history, and directed the Women’s Chorale. at Wichita State University. A special luncheon was held on campus In 2011, Lynne Davis received the honoring fi ve retiring faculty members, Excellence in Creativity Award from with special presentations to each. Wichita State University. Following the ³ page 10 CLAYTON ACOUSTICS GROUP 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP

8 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM

Here & There

³ page 8 Nunc Dimittis

James Earl Bratcher died on August 14. He was 77. and Greek to become a teacher, In 1974 he formed the New Mexico Symphony Chorus and Henri Delorme studied organ with served as assistant conductor of the New Mexico Symphony Joseph Hetsch and Michel Chapuis, Orchestra. Bratcher earned degrees in voice, organ, and piano with Hélène Boschi, and musi- education from the University of New Mexico; after com- cology with Marc Honegger. After pleting his master’s degree, he moved to New York City, he had passed the agrégation (the where he enrolled in the Union Theological Seminary. He highest competitive exam for teach- performed with the original Robert Shaw Chorale and as a ers in France), he spent most of his soloist in concerts with Joan Sutherland and Marilyn Horne, teaching career at the Lycée Banville among others. in Moulins (Allier), where he was Bratcher taught at Bethel College in Tennessee and appreciated for his diverse cultural Henri Delorme And Glory Shone Columbus College in Georgia, then returned to Albuquer- background, his good humor, and que in 1970 and directed choirs and taught English at Eldo- love for the humanities, which he endeavored to impart to Alice Parker and The Musicians rado High School. In the late 1980s, he joined a Lutheran and share with his pupils. of Melodious Accord have released a Benedictine monastery in Michigan; when the order became Upon the untimely death of organist and organ scholar recording of Parker’s compositions and cloistered, he moved to Orlando, Florida, as a Franciscan Henri Legros, Delorme became the incumbent organist (tit- arrangements of Christmas music, And monk. There he established a home for AIDS patients and ulaire) of the François-Henri Clicquot organ (1783) of Sou- Glory Shone, including In the Bleak homeless men; he returned to Albuquerque in 1995. vigny, from 1971 until his death. He wrote articles for Marc Midwinter, The Friendly Beasts, and My Bratcher was one of the originators of Opera Southwest, Honegger’s music dictionary (Dictionnaire de la Musique) Dancing Day, along with new settings of which began in 1972 as Albuquerque Opera Theatre, serv- and also published the exhibition catalogue and the papers of While Shepherds Watched, Sweet Com- ing as its artistic/music director from 1979–1987 and in the the symposium he had organized for the 1983 bi-centenary of ing, and The Little Cradle. mid-1990s. A member of the University of New Mexico the Souvigny organ. The publication also included an inven- Alice Parker began composing at age John Donald Robb Musical Trust board of directors since tory of the organs of the Allier region. During his career, he eight and wrote her fi rst orchestral score 2003, Bratcher arranged and edited John Donald Robb wrote several articles on the organ for various journals. while still in high school. She studied compositions and traditional Hispanic music, most recently Henri Delorme conducted many organ classes for various composition and conducting at Smith editing Robb’s Requiem for its April 2012 debut by the Bach age groups, from primary school pupils to university students College and the Juilliard School, where Society of St. Louis. He was completing manuscripts for and professional musicians. He was a guest teacher for the she began her long association with Rob- the second edition of Robb’s Hispanic Folk Songs of New Souvigny week of Summer Institute for French Organ Stud- ert Shaw. As Shaw began to organize the Mexico at his death. He also staged Robb’s folk opera Little ies (SIFOS), founded by Gene Bedient and Jesse Eschbach. Robert Shaw Chorale, he enlisted the Jo at the National Hispanic Cultural Center in 2005, and Delorme was an indefatigable advocate of his instrument young Parker to do research and create designed the program for a February 2012 Robb Concert. and gave organ recitals in France, Spain, Italy, Switzerland, choral arrangements for the new ensem- In 2004, Bratcher received the Albuquerque Arts Alliance Canada, and the USA. ble. The many Parker/Shaw settings of Bravo Award for Excellence in Music. The founder of the Association Saint-Marc, which now American folksongs, hymns, and spiritu- runs the music festival of Souvigny, he was the chairman of als from that period formed an enduring Garland P. Bruce died July 9 in Bluefi eld, West Virginia. the Fédération Francophone des Amis de l’Orgue (FFAO) repertoire for choruses worldwide. He was 82. A Bluefi eld native, in his youth he played in from 1992 to 2002. He was also the offi cial organ adviser The Musicians of Melodious Accord, small churches as a substitute pianist and organist; he stud- for historical organs in the Auvergne region and in Brittany a sixteen-voice professional chorus, have ied organ with Elizabeth French. For more than 30 years from 1996 to 1998. recorded over a dozen CDs. The Alice he was organist-choirmaster at Westminster Presbyterian Learned, curious, good-humored, Henri Delorme was an Parker Recording Project, begun in Church in Bluefi eld, where he built the music program; the endearing man and very special organist, with a great gift for 2000, outlined an ambitious program of annual Christmas candlelight service was the area’s largest improvising in the French classical style. He knew, under- making more of her works available, most musical event. Bruce appeared on the March of Dimes stood, and played the Clicquot organ in Souvigny better recently on Saints Bound for Heaven telethon on WVVA, and played at venues throughout the than anyone else and contributed greatly to its reputation. (2010, a 25th anniversary collection of area. Garland P. Bruce is survived by his wife of 45 years, His death will be a great loss to the organ world. Alice Parker favorites). For information: Mary Josephine, four stepchildren, six grandchildren, and —Pierre Dubois www.melodiousaccord.org. four great-grandchildren. Pierre Dubois is Professor of English at the University of Tours, France. He has been deputy organist at Souvigny since 1984 and is VWolfgang Rübsam and Delbert Delores Bruch Cannon, of Lee’s Summit, Missouri, artistic director of the Souvigny music festival (Journées Musicales Disselhorst have completed recording died October 22. Born September 22, 1934, in Indepen- d’Automne de Souvigny). four CDs of the complete organ works of dence, Missouri, she earned an associate’s degree from In the mid-1970s, when I fi rst began hearing about his- Helmut Walcha on the John Brombaugh Graceland College in 1954 and a B.S.Ed. in 1956 from toric French organs, the name of a town that surfaced regu- organ at the First Presbyterian Church Central Missouri States. She taught high school English larly was Souvigny. Little did I know that a few years later, of Springfi eld, Illinois for Naxos records. and music for two years at the Laboratory School in Odessa, I would not only visit the church but have the opportunity Volume 1 is released, volume 2 will fol- Missouri, and subsequently music in elementary schools in over many subsequent trips to study in detail the treasure low in December, and volumes 3 and 4 Independence, Missouri. of St-Pierre et Paul: the 1783 organ of François-Henri Clic- will be released in 2013. For informa- She received an M.M. from the University of Missouri quot. Equally important, I would become an acquaintance tion: Naxos.com. at Kansas City in 1969 and a D.M.A. from the University and subsequently a good friend with the Souvigny organist, of Kansas in 1979. Her college teaching career began at Henri Delorme. VSt. Mark’s Episcopal Church in Emporia State University in 1975, followed by three years Jesse Eschbach and I hatched the concept of the Summer Glen Ellyn, Illinois, conducted a celebra- as an assistant instructor at the University of Kansas. In 1978 Institute for French Organ Studies in 1985 and we took our tion during the weekend of September she was appointed assistant professor and artist in residence fi rst small group to Souvigny/St-Dizier the summer of 1986. 30th in observance of the twenty-fi fth at Park College. She joined the organ department in the Henri Delorme was fi rst and foremost a gentleman in the anniversary of Charles Snider, organist School of Music at the University of Iowa in 1979 and was best sense of the word. He was always generous with his and choirmaster. On Saturday evening appointed professor of music in 1987; she was head of the time, his knowledge, his musicianship, his scholarship, and a concert featured a variety of soloists, organ department from 1989–92, and associate dean of the his willingness to help visitors understand and appreciate instrumentalists, and organist Bruce Nes- College of Liberal Arts in 1992–93. She retired from the French culture and an important part of that: the French wick. In addition, the Madrigal Singers of University of Iowa in 1999. organ. In 1994 I organized a small Bedient organ recital tour Glenbard East High School, where Snider Her interest in historic instruments led to fellowships for him in America. has been the choral associate and accom- and research grants in Germany, the Netherlands, Italy, To quote my colleague, Jesse Eschbach, “Henri was a big panist for twenty-fi ve years, performed and Mexico. She performed in the United States, Mexico, voice in France and we will feel his loss acutely.” his new setting of Adam Lay Ybounden, Canada, and Europe. She held leadership positions at local, —Gene Bedient which is scheduled to be published by regional and national levels in the American Guild of Organ- GIA Publications, Inc. Neswick offered ists. As a founding member of the Association of Lutheran Morley J. Lush, age 93, died July 11 in Concord, Mas- an improvisation on Charles’s name, and Church Musicians, Cannon served on its national board sachusetts. Born in Cambridge, he earned bachelor’s and wrote a new hymn tune named Snider of directors and was a contributing editor for the journal master’s degrees from Harvard. He was the chief engineer for the text “Dost thou in a manger lie?” CrossAccents. As a member of the Organ Historical Society, and president of Rawson Lush Instrument Co., a maker Snider’s choir has commissioned the writ- she was a founding member of the Eastern Iowa chapter. of scientifi c instruments in Acton, Massachusetts. Lush ing of a new icon, The Synaxis of the Holy Cannon was married to Ron Bruch and later to Donald Can- served as organist and choir director for the Church of the Angels, which will be fi nished next year. non, who survives her, along with sons Cris Alan Bruch and Good Shepherd, Acton, was a bell ringer at Christ Church, Gregory Scott Bruch; a sister, a brother, stepdaughters, and Cambridge, and producer of the radio show The King VJeremy David Tarrant was a fea- stepsons, along with numerous other family members. of Instruments on WCRB for 50 years. He was an active tured artist for Michigan’s Pine Moun- member of the Acton Historical Society and the Boston tain Music Festival in July, playing three Henri Delorme, organist of the Clicquot organ of AGO chapter. Morley J. Lush is survived by his wife of 63 recitals on organs in the copper country Souvigny, France, died on August 18, just before his 69th years, Mary Nutter Lush, a daughter, a son, three grand- of Michigan’s Upper Peninsula. In Calu- birthday. As a young man, while studying French, Latin, sons, and a brother. Q met, Tarrant performed on a restored Barckhoff organ of 1899, housed in the Keweenaw Heritage Center. The

10 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM Here & There

French, and German. For information: www.fuguestatefi lms.co.uk. Organ Builders Parkey OrganBuilders of Duluth, Georgia, in conjunction with Lawless and Associates of Greencastle, Pennsylvania, has completed the removal of Aeolian- Skinner Opus 1472. The organ will serve as the core for Parkey OrganBuilders Opus 14 for Providence United Method- VWolfgang Rübsam VDelbert Disselhorst VCharles Snider VJeremy David Tarrant ist Church, Charlotte, North Carolina. Installation is scheduled for summer 2013. Dr. Adam Ward is director of music remaining concerts were performed in and detailed specifi cations of the organs, subjects include Kurt Lueders, Ronald for Providence United Methodist Church. Bethany Lutheran Church, Ishpeming, plus bios of the performers and full Ebrecht, Carolyn Shuster Fournier, For information: www.parkeyorgans.com. and First Lutheran Church, Iron Moun- information about the contents of the Pierre Pincemaille, Thomas Monnet, tain. Jeremy David Tarrant is organist CDs and DVDs. Olivier Latry, and Eric Lebrun. The VSchoenstein & Co. has built a new and choirmaster of Detroit’s Episcopal The two CDs contain performances second DVD goes into detail about the four-manual console for Aeolian-Skinner Cathedral Church of St. Paul. on 16 Cavaillé-Coll organs. The organs individual organs, with detailed demon- Opus 1399 of 1962 at the Cathedral are listed in chronological order and strations and at least one performance in of St. Philip in Atlanta, Georgia. The Publishers the CDs feature compositions from each location. The third DVD showcases cathedral’s comprehensive music pro- Michael’s Music Service announces the same period as the organs or music contemporary improvisations and com- gram, headed by organist/choirmaster new organ sheet music releases. Scherzo- closely associated with the organ. positions, featuring Daniel Roth, Olivier Dale Adelmann and his associate David Mosaic (Dragonfl ies), by Harry Rowe The fi rst DVD contains three 50-min- Latry, Pierre Pincemaille, Jean-Pierre Fishburn, includes an extensive series of Shelley (1858–1947), composer of “The ute fi lms that make up the documentary Griveau, and Michel Bouvard. regular recitals as well as other programs King of Love My Shepherd Is,” is a fast mini-series, The Genius of Cavaillé-Coll. All material (fi lms, booklet, etc.) is involving visiting artists. The console concert piece that musically portrays (in Gerard Brooks presents, and interview presented in three languages: English, ³ page 12 tempo Prestissimo) dragonfl ies. Offertory in G Major, by W. Southwick, features arpeggios and scales and will appeal to those who like Batiste. W. T. Best’s tran- scription of Frédéric Chopin’s Polonaise (“Military”), op. 40, no. 1, is a balance of the pianistic and organistic. Best was one of the earliest transcribers and his efforts served as a model for Edwin H. Lemare. Christmas in Sicily, by Pietro Yon INSANITY \ in-’san-et-e\ noun: (1886–1943), is from 1912 while Yon was serving at St. Francis Xavier in New York Doing the same thing over and over City. Michael’s Music Service’s website also features recordings and videos, and again and expecting different results. a contest for a CD of orchestral music by Joseph W. Clokey. For information: ~Albert Einstein http://michaelsmusicservice.com. How many electronic organs will your congregation purchase before they realize that 3LSH2UJDQVODVWLQGHÀQLWHO\

OHS 2013 Vermont calendar APOBA.COM 1-800-473-5270

The Organ Historical Society announces the release of their Historic Pipe Organs of Vermont 2013 Wall Cal- endar. The calendar includes Len Levas- seur’s photographs of 13 organs that will be featured in the OHS 58th national convention in Vermont from June 24 to 29. Organbuilders represented include Hutchings, Hook, Wilhelm, Estey, Fisk, Simmons, Erben, Smith, Jardine, and Desmarais. Stephen Pinel provides information on the history of organ- building in Vermont. For information: NORTH AMERICA’S PREMIER www.organsociety.org. PIPE ORGAN BUILDING AND SERVICE FIRMS Recordings

Fugue State Films announces the BUILDER MEMBERS SUPPLIER MEMBERS release of their DVD/CD boxed set, ANDOVER ORGAN COMPANY CASAVANT FRÈRES KEGG PIPE ORGAN BUILDERS PAUL FRITTS & CO. ORGAN BUILDERS A.R. SCHOPP’S SONS, INC. celebrating the life and work of Aris- BEDIENT PIPE ORGAN COMPANY DOBSON PIPE ORGAN BUILDERS LÉTOURNEAU PIPE ORGANS QUIMBY PIPE ORGANS, INC. HARRIS PRECISION PRODUCTS BERGHAUS PIPE ORGAN BUILDERS, INC. GARLAND PIPE ORGANS, INC. NOACK ORGAN COMPANY, INC. RANDALL DYER & ASSOCIATES, INC. INTEGRATED ORGAN TECHNOLOGIES, INC. tide Cavaillé-Coll. The set includes BIGELOW & CO. ORGAN BUILDERS GOULDING & WOOD, INC. PARKEY ORGANBUILDERS SCHANTZ ORGAN COMPANY SOLID STATE ORGAN SYSTEMS three DVDs, two CDs, and an 80-page BOND ORGAN BUILDERS, INC. HENDRICKSON ORGAN COMPANY PARSONS PIPE ORGAN BUILDERS SCHOENSTEIN & CO. OSI - TOTAL PIPE ORGAN RESOURCES booklet—almost eight hours of fi lmed BUZARD PIPE ORGAN BUILDERS, LLC HOLTKAMP ORGAN COMPANY PASI ORGANBUILDERS, INC. TAYLOR & BOODY ORGANBUILDERS PETERSON ELECTRO-MUSICAL PRODUCTS C.B. FISK, INC. J.H. & C.S. ODELL PATRICK J. MURPHY & ASSOCIATES material plus almost three hours of CD recordings. The booklet contains photos

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2012 Q 11 Here & There

³ page 11 eastern suburb of Cincinnati, Ohio, for 45 years.

Mobile carillons in the news Dutch carillonneur Boudewijn Zwart took his mobile carillon to Ireland for a series of recitals in Cork City and St. Colman’s Cathedral in Cobh. The photos show the carillon being hoisted into the Blackpool Library in Cork for a series of children’s concerts, and Adrian Gebruers lending a helping hand for a budding carillonneur’s fi rst rendition of “Twinkle Twinkle Little Star.” This attracted considerable media attention, including headline billing on Irish televi- sion’s peak-time news bulletins.

Cast in Bronze creator Frank Del- laPenna commissioned the fi rst mobile Schoenstein console, Cathedral of St. carillon ever to be constructed in the Adrian Gebruers introducing the keyboard at children’s concert Philip, Atlanta, Georgia United States. The 35 bells on the caril- lon consist of 25 Petit & Fritsen bells and includes the most advanced playing aids 10 Eijsbouts bells. Both bell foundries are and a layout of stops and controls that in the Netherlands. Ewald A. Stellrecht, promotes effi ciency and ease of per- proprietor of ESE Machines in Coates- formance. Console mobility is another ville, Pennsylvania, designed and build important factor. Also, provision has a keyboard, frame, and carillon action. been made to accommodate the addition Michael Shaffer of Bandara, Texas, con- of a large Antiphonal organ in the west structed the wooden music rack. David gallery at some point. Mars, owner of Texas Trans Am Service Since it was impossible to fi t all of these and Restoration in Fort Worth, Texas, requirements into the existing console, custom-built the carillon trailer. The which required full renovation, it was bourdon, inscribed to Anne and Frank decided to start fresh. The new console DellaPenna, weighs 640 pounds. The has ivory key coverings, 181 drawknobs, batons (keys) are made from Lucite, and a Peterson ICS control system with which is more weather and rodent resis- 256 memories, piston sequencer with tant than traditional wood. For the audi- 12 conveniently placed controls, Great/ ence to visualize the carillon’s similarity Frank DellaPenna at the keyboard of his Choir transfer, and record/playback. with other keyboard instruments, the mobile carillon The console case, with internal casters, batons are purposefully colored black and Carillon being hoisted into library is of quarter-sawn white oak and kare- white. The new carillon was inaugurated lian birch. Paneling and moldings were at Longwood Gardens, Kennett Square, with the greater public. It contains no custom designed to complement the Pennsylvania. DellaPenna created Cast lists or inventories of carillons, but tells chancel furnishings. For information: in Bronze, a musical act employing his a story of development, fl ourishing and 707/747-5858; www.schoenstein.com. four-ton mobile carillon, over 20 years ago decline, of aspirations, successes, and to bring the haunting beauty of the caril- disappointments. Carillon News lon to more listeners by demonstrating its Three chapters are devoted to the caril- by Brian Swager versatility with other instruments. More lon art in North America: 1) “Memorial info at castinbronze.com. Bells,” about the English bell foundries The Carillon Academy of Lier, Bel- and the creation of carillons in the Anglo- gium, offered a carillon summer course New publication Saxon world between the two World in July for beginning and intermediate Publishing company Davidsfonds Wars; 2) “Dutch production vs. Carillon levels as well as a masterclass for advanced published a book by Luc Rombouts: Americana,” about the successes of the students. The course was taught by Koen Zingend brons. 500 jaar beiaardmuziek Dutch bell foundries after WW II and the Van Assche and Geert D’hollander, with in de Lage Landen en de Nieuwe Wereld struggle against electronic “carillons” in instruction on making carillon arrange- (“Singing Bronze. 500 Years of Carillon the USA and Europe; and 3) “American ments by Anna Maria Reverté. Lodging Music in the Low Countries and the Beauty,” about the advent of the Ameri- was in the abbey of Averbode. New World”). The book gives a complete can carillon movement and the creation overview of the past and present of the of a new carillon repertoire beginning in Dick Gegner was honored Monday carillon, starting with the fi rst jingling the 1950s. Luc Rombouts’s new book “Singing at Memorial Day ceremonies in the bells in the Middle East, and ending with Zingend brons is written in Dutch. Bronze” Village of Mariemont by being named the present status of the carillon and the It contains 460 pages and 230 full- Mariemont Citizen of the Year, by the threats to and potential of the instru- color pictures. Q Creek Lane, Suite 201, Arlington Heights, IL Mayor and Council. Gegner has been ment in the future. It is written not only 60005-5025; or e-mail brian@allegrofuoco. the carillonneur of the Mary M. Emery for carillon enthusiasts and specialists, Send items for “Carillon News” to Dr. com. For information on the Guild of Caril- Memorial Carillon in Mariemont, an but also to arouse interest for the carillon Brian Swager, c/o THE DIAPASON, 3030 W. Salt lonneurs in North America: www.gcna.org.

Fruhauff Mussiic Publliicattiionss Compositions, Historical Transcriptions, Hymn Tune Settings & Liturgical Music  Scores for Organ, Voices, Carillon & Ensembles  www.frumuspub.net D P.O. Box 22043 E Santa Barbara, CA 93121-2043

THE WANAMAKER ORGAN Listen to it worldwide over the Internet! Hourlong streamcasts are featured at 5pm ET the first Sunday of each month at wrti.org

12 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM In the wind... By John Bishop

Feeding your passion set out hors d’oeuvres, and the conver- Mayonnaise, Cilantro, and Lime; and sation picks up quickly. You go to the fi ve entrées, including Avocado Leaf- What do you want to be when kitchen and realize you’re in a pickle— Roasted Short Ribs with Spiced Red you grow up? the broccoli is overcooked, you forgot to Kuri Squash, Masa Dumplings, Heir- I caught the pipe organ bug when make salad dressing, and in spite of the loom Kale con Plátanos, Cotija Cheese, I was a kid growing up in Winchester, care you’ve taken with the temperature- and Red-Wine Cola Mole. Altogether Massachusetts. My father was rector of time continuum, the meat is simply not there were fi fteen different dishes (each the Episcopal church, and the organist done. (Never happened to me, but I’ve with at least fi ve major ingredients), sixty was a harpsichord builder. I sang in the heard it from others . . .) guests, and everything was served warm, choir, took piano lessons, took organ les- We went to a dinner at the James plated beautifully, each table was served sons, had summer jobs in organ shops, Beard House last Friday. Wendy’s assis- as one, and the houseful of New York accompanied all the ensembles at the tant, literary agent Lauren McLeod, foodies were full of praise. high school and countless rehearsals for is married to Chef Danny Bua of The It was the culinary equivalent of musicals, went to college to major in Painted Burro in Somerville, Massachu- getting off a train, walking cold into an organ performance, and never looked setts. His creative approach to Mexican unfamiliar hall, and playing the entire back. When my kids were teenagers and cuisine attracted the attention of the Clavier Übung (all parts) on an instru- well aware of how my career track had scouts, and he was invited to present a ment you’ve never seen before, from she’s familiar with my work as she sees started, they commented freely on how dinner—a very big deal for a young chef. memory. Danny is passionate about his it in the workshop, it’s fair to say that diffi cult it was for them to face adulthood Danny and his team prepped the art, and it’s a mighty amount of work. serious organ music is really not her without having such a clear track in mind. food in their own restaurant kitchen thing. It was really nice to have that sup- Working in the organ world as a player on Thursday. Before sunrise on Friday A memorable effort port from a family member, and David and builder for decades, I’ve known their truck was on the road, and they Last Monday night, colleague and made it worth her while. At home later many people with similar experiences. spent the day toiling in the unfamiliar friend David Enlow played a recital at in the evening, Meg talked about how After all, the young musician who is most cramped kitchen of the James Beard his home Church of the Resurrection impressed she was with David’s focus likely to be accepted as a performance House. The menu was sophisticated and on the 1915 Casavant organ we installed and command over what he was doing, major in a recognized school of music is complex. There were fi ve hors d’oeuvres, there, completed in 2011. Our daughter and knowing perfectly well that there is a person for whom regular and serious including Crispy Native Oyster Tacos Meg came to the recital with Wendy and nothing easy about what he was doing, practice at their chosen instrument was a with Cabbage-Jalapeño Slaw, Baja me, which meant a lot because while ³ page 14 priority from an early age. When I was in high school, I was the most accomplished organist in town under the age of twenty, and I was mighty pleased with myself. In my fi rst week as an entering freshman at Oberlin, I remember being impressed—fl abber- gasted—at how wonderfully some of my classmates played. Winchester was a pretty small pond. I wasn’t such a big fi sh Seamless ... at Oberlin.

Passionate feeding James Andrew Beard was a cook. He Visual Design: was born in 1903 in Portland, Oregon, and he said that his earliest memory was watching Triscuits™ and shredded Uncovering a Magnifi cent Treasure , wheat biscuits being made at the Lewis and Clark Centennial Exposition in Port- land in 1905. Two years old? Having studied music and theater, a stained glass window hidd en for 40 years Beard moved to New York City in 1937 (the same year that George Gershwin and Charles-Marie Widor died), hop- ing to forge a career in the wildly active Broadway scene. While he failed to fi nd a niche on stage, he was a smash hit on the Broadway cocktail party circuit, to the extent that he founded a catering company called “Hors d’Oeuvre, Inc.,” specializing in producing elaborate cocktail parties. He followed this with a cookbook called Hors d’Oeuvres and Canapés. In 1946, he was the fi rst to host a television cooking show, I Love to Eat on NBC. James Beard wrote more than twenty cookbooks, he founded several cooking schools across the country, and was an important advocate for the careers of many infl uential chefs, including Julia Child and Jacques Pépin. He was the original modern American “foodie.” He was a mountain of a man, a man of insatiable appetites, of unfl agging energy, and focused passion. When he died in 1985, his estate became a foun- dation, based in his Greenwich Village townhouse. Today, the James Beard St. Bridget Catholic Church, Richmond, Virginia. Buzard Opus 42, now in production, seamlessly weaves itself into the Foundation has provided over two mil- fabric of the Church. lion dollars in scholarships for promising chefs, and the James Beard House hosts countless dinners each year, promoting the work of chefs chosen from around Visit www.buzardorgans.com the world.

Medium-rare at 140 You’re giving a dinner party. You’ve worked hard to gather a list of great guests, organize a menu, shop for the John-Paul BUZARD Pipe Organ Builders food. You’ve made “the house fair as you 112 West Hill Street • Champaign, IL • 61820 • (217) 352-1955 • (800) 397-3103 are able, trimmed the hearth, and set the table.” The guests arrive, you mix drinks,

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2012 Q 13 In the wind...

³ page 13 Laboratories, and then committed to memory is based on a fascination with Ernest Skinner often added stops to she was impressed by the apparent ease a career as an organbuilder. He clearly food. In an examination room, there’s his organs not specifi ed in the contracts of it. His fi ngers and feet just fl ickered would have made more money working nothing like being treated by a doc- because he felt the building called for around the console as if there was noth- in the high levels of nuclear physics, but tor whose early dreams were to care them. Claude Monet and Vincent Van ing to it. the pipe organ was his real love. Those deeply for the health of patients. And if Gogh were impoverished through much David’s program included the enter- who worked with him and still oper- you’re meant to be a lawyer, for good- of their lives, and often couldn’t afford taining, the academic, the sophisti- ate the company that bears his name ness’ sake, be a great lawyer. We know paint to put on canvas. cated, and the sublime. He spared us remember him as a caring and thoughtful a brilliant young woman who fi nished Throughout history, passionate, the ridiculous—you can go somewhere mentor who taught by asking questions, law school with a large debt, held a inspired people have had to fi nd alter- else for that. His command of the encouraging his students and co-workers lucrative job long enough to pay back native means of support. That’s why repertory, the instrument, and his own to think well for themselves. Charlie was the debts, then dove into the world of I’m so impressed by those I know and person—his technique—was obvious at passionate about the pipe organ, and his law in developing nations. witness who bring their performance, every moment. contributions to the modern American their production, their offering to society organ can hardly be measured. Lovely idealism, isn’t it? apparently unfettered by the logistical It’s for the birds Charlie was one of the fi rst modern But what happens when the money requirements of modern life, like the Kenn Kaufmann is a client of Wendy’s American organbuilders to travel to runs out? Most organbuilders would concert organist who balances practicing literary agency, and he and his wife Kim Europe to study the “Old Master” love the luxury of unlimited time to and travel with the demands of the liturgi- are close friends of ours. With the sup- organs, collecting meticulous measure- get things right, but the organ is built cal year or a university teaching schedule. port of his parents, Kenn dropped out ments, and studying the relationships according to an agreed price, and as they J. S. Bach had a busy professional life, of school at sixteen and spent a year of the organs to the music of their day. I say in the real world, “Time is money.” was subject to the civic bureaucracy that hitchhiking around the United States in expect that his scientifi c background was Remember Charlie Fisk’s defi nition of employed him, and we know he spent at a quest for a birder’s Big Year—an effort integral to those studies—he must have a reed? “An organ stop that still needs least enough time with his children to to see the largest number of bird species had a great power of attention. three days of work.” give them music lessons. A family that in a year. Birding is a big business, and There are two Fisk organs in Win- The tuner might like to have another size must have taken up some of the old there have been several recent movies chester, Massachusetts, and at the time eight or ten hours to get things “just so,” man’s time and attention. But he left a that give a glimpse into what it means to I didn’t know how fortunate I was to but the church is supposed to pay for body of work that has inspired many devote one’s life to such an effort. have such access to fi ne instruments. that at an agreed hourly rate, and organ generations of great musicians. Kenn can look at an apparently empty Ironically, my fi rst real relationships with tuning is a line-item on the annual oper- Mozart also left a tremendous sky and pick out all the birds. He knows electro-pneumatic instruments hap- ating budget. To propose an increase in catalogue of some of the most beautiful their calls, their habits, what they like pened in the practice rooms at Oberlin! the tuning budget, the organist makes music ever written, but he died a pauper. to eat, what they’re afraid of. He knows § a recommendation to the Music Com- Were he living today, he’d be playing the what trees they prefer and why, and he mittee, which meets bi-monthly and accordion in the subways of New York. knows their migratory routes, schedules, Every one of these people knew his makes recommendations to the Finance Wouldn’t that be a treat! and destinations. He has written several career path early in life. I suppose we Committee, the Finance Committee fi eld guides, developing a new technique all know people who were forced into makes recommendations to the Parish Feeding a national passion for the computer-manipulation of photo- a career that was not their fi rst choice: Council, and the Parish Council makes Subscribers to The Diapason must graphs to create the “ideal” example of “I’m a lawyer, all your uncles are law- recommendations to the congregation at be well attuned to the importance of the each bird. yers, your grandfather was a lawyer, the Annual Meeting. (I know an old lady arts in modern society. As I write, we are Like so many of our musician friends, and you’re going to be a lawyer.” Felix who swallowed a fl y.) in the midst of the great crescendo of Kenn’s genius is communication. All of Mendelssohn’s father Abraham was a It’s mid-October now. The vote will political chaos, watching two otherwise that knowledge and intuition would be banker, and expected his son to follow happen on June 15. And during the dignifi ed men duke it out in the public lost if he couldn’t write or speak about in his footsteps. It was when he realized Annual Meeting, someone’s going to forum. We’re hearing a lot about the it in such a compelling way. We’ve been the depth of his son’s dedication that ask, “If it costs $150 to tune a piano, balance of public priorities, and how the with him when he leads big groups on Abraham Mendelssohn made peace why do we have to spend $2,500 tuning federal budget might be skewed in sup- bird walks and gives slide-show-lec- with Felix’s career choice. I don’t know if the organ?” port of different points of view. tures, and there’s never anyone in atten- Felix would have had much to offer the The organist might like to have One thing we have not heard in stump dance unmoved by all the information, world of banking, but we surely would another fi ve hours to practice anthem speeches, televised debates, or from the but even more, by the rich personality have been the poorer without the music accompaniments and postlude for the talking heads super-analyzing everything that has learned how it all fi ts into the he left us. The thought leaves me with- coming Sunday, but there’s a staff meet- that’s said, is a candidate standing up for big scheme. out words. ing, octavo scores to be fi led, a bride the arts. I cannot see how a nation can In the concert hall, there’s nothing to meet with, and then the sexton is fail to support the arts and humanities Measured success like hearing a performance by a master vacuuming the nave. If I had a nickel for and consider itself a leader on the inter- Charles Brenton Fisk (1925–1983) musician who in middle age is still work- every organist whose dream was fulfi lled national stage. Is military might or the studied nuclear physics at Stanford and ing toward the unattainable perfection by being offered a full-time position in a balance of trade more important than Harvard, worked with Robert Oppen- he envisioned as a six-year-old. In a prominent church with a terrifi c organ, the cultural heart of a great people? We heimer on the Manhattan Project at Los restaurant, there’s nothing like tasting a only to fi nd that there was never time for are the country of Aaron Copland and Alamos, worked at Brookhaven National dish created by someone whose earliest practicing, I’d have a lot of nickels. George Gershwin, of Louis Armstrong and Leonard Bernstein, of Herman Mel- ville, Arthur Miller, Ernest Hemingway, Orson Welles, and Virgil Fox, but I’ve read fi gures that compare the United States’ annual support of the arts with the hourly cost of warfare. It’s been a long time since I’ve heard an elected offi cial talk passionately about the artistic culture—the pas- sion—of our country. I think they’re missing something. Q

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14 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM On Teaching By Gavin Black

Organ Method III more about it later in this volume.) You hand are found in carillons, where they This is the next part of the Introduc- will probably indeed encounter organs are about as big as organ pedal keys, and tion, following directly from last month. on which the “white” keys are of some look similar.) The pattern of “white” and Next month’s column will include the dark or natural wood color, and the “black” keys is the normal one, though fi nal section of the Introduction—which “black” keys are of a different wood fairly often the keys are all of a natural will fi nish up the preliminary discussion color or perhaps are white. These colors wood color. (Raised keys may be black; of registration, and touch on one or two and materials make no difference to no pedal keys are normally white.) The smaller points—and the beginning of the the functioning of the instrument. (But lowest note of a pedal keyboard is again fi rst chapter, which will be about pedal if as a beginner, you fi nd yourself at an usually a C: the same C as the lowest playing. This Introduction includes, as organ that seems to have the notes of note of a manual keyboard—two octaves I mentioned last month, quite a bit that its keyboard(s) in a non-standard order, below middle C. The highest note is is very basic, that is really addressed to then consult the last chapter of this book, usually either the F or the G above someone who has never sat down at an or the proprietor of that organ!) middle C. This give a compass of about organ before. I want to include this for The manual keyboards of most organs two and a half octaves, corresponding to several reasons: fi rst of all, that some have a compass of four-and-a-half or fi ve the lower two and a half octaves of the such people may want to use the book; octaves. It is almost always the case that manual compass. that some of them may not have access the lowest note of the manuals is a C, Thus if you saw these notes above middle C on the manuals is prob- to an experienced teacher (though of and that it is specifi cally C two octaves ably directly above E or F below middle course working with a teacher is a very below middle C—the note two ledger C on the pedals. good idea whenever possible); and that a lines below the bass clef: this is also, for All of this quickly becomes intuitive or beginner’s perspective can be interesting example, the lowest note of the cello. second nature, but it is important to be as a refresher even for non-beginners. The highest note is usually one of three clear about it from the beginning. I would especially appreciate feedback notes: the C fi ve octaves above that low- Beyond the keyboards, what else about this aspect of what I have written est note, or either the G or the F below will you see when you fi rst approach here. I would also like to begin to solicit where that fi ve-octave C would have the organ? the following from readers: terms that been. Middle C is, therefore, a bit to the Surrounding the keyboards are vari- should be included in a Glossary. If you left of the actual middle of the keyboard. you would play, on a manual keyboard: ous switches, knobs, tabs, buttons, lights, have a term that you think is impor- It is normal—not universal, though close 1) the lowest key perhaps LCD-type displays, toe studs, tant but not obvious—I don’t need to to it—for the multiple manual keyboards 2) the next C up, which is the eighth pedals other than the pedal keys, and be reminded to include “Great” or of any given organ to have the same com- white key and the thirteenth key overall more. Organs vary from one another “Swell” or “Crescendo Pedal,” etc.—then pass as one another. 3) the next C up after that, the fi f- quite a lot in the confi guration of all of please send it along, with—if you wish— The most common numbers of manual teenth white key, the 25th key overall: these accessories. Some organs have your defi nition. keyboards on organs around the world are roughly the middle of the keyboard many more of them than others. Most two and three: any survey would probably 4) the F above that (18th, 30th), still of the pedals, knobs, and so on have to What do you the student need to know show that 90% of the organs out there are near the middle of the keyboard do, one way or another, with changing as you sit down at the keyboards of an either 2-manual or 3-manual. However, 5) the C above that (22nd, 37th) sounds, and, therefore, they can be of organ for the fi rst time? 4-manual organs are far from unheard of, critical importance in allowing the organ First, you should know in general and even more than that can be found. and on a pedal keyboard: to reach its full expressive potential. For terms what to expect to fi nd in front of The purpose of multiple manuals is to 1) also the lowest key the beginner at the organ, some of them you once you are seated at the organ provide different sounds, and more fl ex- 2) also the next C up (8th, 13th), but are more important to understand and to bench. There will be keyboards: prob- ible ways of using different sounds than near the middle of the keyboard use right off the bat than others. ably at least two manual keyboards could be achieved with just one keyboard: 3) also the next C up (15th, 25th), but Somewhere on or near the keyboards (routinely abbreviated as “manuals”) and much more about this below. rather near the top of the keyboard is a switch to turn the organ on. Almost one pedal keyboard (“pedals”). There The pedal keyboard is—appropriately 4) also the F above that (18th, 30th), every organ needs electricity, either to are a very few organs out there with only enough—down at your feet, or essen- but very near the top of the keyboard— pump wind, in the case of pipe organs, or one manual, and of course some without tially on the fl oor. Like the manuals, the perhaps the top note (on a few pedal to generate the sound directly, in the case pedals. A manual keyboard usually has pedalboard uses the regular keyboard keyboards this note is not there: it is of the various types of electronic organ. the same general setup and confi gura- confi guration: it is important to be aware above the compass of the pedals) Prior to the late nineteenth century, all tion as a piano or an electronic keyboard: that this is so, even though it looks so very 5) this note is well above the compass organs needed wind, and all pumping the same arrangement of seven “white” different. The keys of a pedal keyboard of any pedal keyboard. of wind was done by people: to play the keys and fi ve “black” (really “raised”) are of course bigger than the keys of a organ—even just to practice, however keys to the octave, the same letter names manual keyboard, or of a piano, say, or Note that “middle C” is more or less briefl y—required the help of someone for the notes: a harpsichord. Each key will be played, in the middle of a manual keyboard, but plying the bellows. The switch that when it is played, by a foot. Manual keys near the top of a pedal keyboard. The enables us now to play the organ alone are played not by the hand as such, of C that is found in the middle of a pedal can take any one of several forms—a course, but by individual fi ngers. (Man- keyboard is “C below middle C,” often button, something that looks like a light ual keys meant to be played by the whole called tenor C. Also note that E or F ³ page 16

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2012 Q 15 On Teaching Reviews

³ page 15 few as one to as many as, rarely, dozens. at unison pitch is not to transpose music, Music for Voices and Organ switch, a toggle switch of a different For a keyboard to have between about nor to alter the apparent pitch level of by James McCray shape, a timer knob, a key in a lock. It eight and sixteen stops is common. (A the music that is being heard. All of the can be located anywhere: right by the keyboard and its associated stops are nor- non-unison stops are used in combina- Choral music with percussion keyboards, on a nearby wall, in another mally referred to as a “division.”) There tion with unison stops. They blend in and In ancient times, sound itself, the very room. The fi rst time that you arrive at a are often, but not always, limited ways of change not the pitch level, but rather the basis of all music, was thought to be inti- new organ, the proprietor of that organ sharing stops between keyboards. Most sonority. It can be a bit of a leap of faith mately related in some way to non-physical will probably show you the switch. If of the accessories mentioned above, at fi rst to believe that this works or makes and sacred dimensions or planes of ex- not, look around: if you’re lucky it will be found around the actual keyboards of an sense, but it does. Stop knobs (or tabs, istence. Why was this? Because audible sound was considered to be an earthy re- labeled. If not, there might be some trial organ, are the switches that turn stops on etc.) are labeled with numbers that tell us fl ection of a vibratory taking place beyond and error involved. and off. These can be knobs, which are clearly what the pitch level of each stop the physical world. This vibration was more Other than the on/off switch, the most pulled out to turn stops on, giving rise to is. These numbers are expressed as feet; fundamental and nearer to the heart of the important set of “extras”—accessories— the expression “pulling out all the stops.” however, it is important to know that they meaning of things, than any audible sound. The Secret Power of Music that you need to understand before They can also be tabs, rectangles or are not about length: they are simply a David Tame embarking on the journey of learning to rounded rectangles, which are fl ipped up convention for describing pitch level. The play the organ is the stop controls—that or down, or tablets meant to be rocked meanings of the numbers are as follows: Although percussion may be less com- is, the knobs, switches, or whatever it back and forth. The stop controls for each 8′ - at unison pitch (that is, each mon within regular church anthems, might be that turn the stops of the organ keyboard are usually grouped together. note has the same pitch that you would its use will usually spark interest in the on and off, and that allow you to choose If the organ at which you fi nd yourself expect a piano to have, except for minor congregation. In recent years, small per- from among the many different sounds is well labeled, then it will probably be tuning differences) cussion instruments have become more of the instrument. clear which group of stop knobs or tabs 4′ - one octave higher than unison frequently employed in church and Thus we come to the subject of organ controls the stops for which keyboard. If 2′ - two octaves higher than unison concert performances, and the vibratory registration or the art of choosing sounds it is not clear, then it can be found out 1′ - three octaves higher than unison activity mentioned above more often an for organ pieces—or for any playing that very readily by trial and error. 16′ - one octave lower than unison option to conductors. you do at the instrument: repertoire, Organ stops can be used singly or in 32′ - two octaves lower than unison The types of percussion instruments 1 hymns, accompaniment, improvisation, combination. In general, just as each 5 ⁄3′ - a fi fth higher than unison (a C are extremely varied and may be clas- and so on. I discuss registration at some stop has its own distinct sound, so any key, for example, plays the G above it) sifi ed in diverse ways. Two of the most 2 length from historical and aesthetic per- possible combination of two or more 2 ⁄3′ - an octave and a fi fth higher than common classifi cations are: 1. Instru- spectives in the later chapter on registra- stops has its own sound. If a given unison (a C key plays the G a twelfth ments with or without defi nite pitch; 2. tion. Here I will go over the beginnings keyboard has just two stops, then that above it) How the sound is produced (by shaking 3 of what is a very big subject: enough keyboard has three possible sounds: stop 1 ⁄5′ - two octaves and a third above or striking). Using a small percussion to allow the beginner to start feeling A, stop B, and those two stops together. unison (a C key plays E a seventeenth instrument in church performances is comfortable using organ sound, and If a keyboard has eight stops—still a above it). relatively easy; however, in the case of therefore to be able to start practicing fairly small division—then it has a total It is very important for the student some larger, more expensive instru- and learning. of 255 different possible sounds. A large to know these numbers (there are a few ments, their immediate accessibility An organ has stops. A stop is a sound. division with, say, eighteen stops has over others that are used rarely, but can be may be limited. For example, only a few Traditionally—that is, in pipe organs— a quarter of a million possible combina- fi gured out). If a stop knob has a Roman of the larger churches have their own set a stop is a set of pipes, usually one per tions of stops, and thus that many dif- numeral—say V or III or IV—then that of timpani. key of a given keyboard, that make a ferent sounds. Of course many of these stop is a conglomeration of many very Smaller instruments such as a tambou- certain kind of sound. (Electronic organs sounds are similar to one another. Also, high-pitched pipes. rine or fi nger cymbals are relatively inex- make the sounds in different ways, and these numbers—which get even bigger Stop controls also have words on pensive, easy to play, and can be used by the sounds can be rather different, but when we talk about combinations of them—the likes of “diapason” or members of the church choir not having the concept is the same.) The pipes of sound across the whole organ—are for “gedeckt” or “salicional” or “trumpet”. formal percussion training. The addi- a given stop differ from one another in technically possible combinations. Only These are terms that attempt to describe tion of their sound in an anthem usually pitch, as they go up the compass of their a fraction of those possibilities are nor- the sonority of the stop. There is a lot to evokes theatrical empathy from the lis- keyboard, and resemble one another in mally judged to be musically attractive say about what these terms mean and teners in the congregation. Spontaneous sonority. Different stops cover the same and useful. This, of course, is subjective, where they come from (again, see the toe tapping is not uncommon from the notes as one another but differ, a little bit and open to disagreement and change. chapter on registration), but the best way usual cabala of disinterested members of or a lot, in sonority. No note will sound on Each organ stop is defi ned by two to look at it at the very beginning is this: the congregation when there are solid, an organ keyboard—no key will produce attributes: its pitch level and its sonor- the term attempts to describe the sound, repeated rhythms punctuated with a a sound—unless there is at least one stop ity. The pitch level is easy to defi ne or but if I pull out the stop and play some steady tambourine. turned on when the key is pressed. describe: a stop is either at unison pitch or notes I can hear the sound itself. Q The increased training in Orff instru- Stops are normally assigned to particu- at some other clearly defi ned non-unison ments has contributed to the interest in lar keyboards. So, if there are two manu- pitch, say, an octave above unison, or two Gavin Black is the director of the using percussion with singers. This has als and one pedal keyboard on a given octaves above unison, or an octave below Princeton Early Keyboard Center resulted in more choral publications with organ, each of those three keyboards unison, or an octave and a fi fth above in Princeton, New Jersey. He can be optional percussion parts. The percus- will have its own set of stops, from as unison. The purpose of stops that are not reached at [email protected]. sion part is usually indicated within the choral score, and in many instances that music also is included separately at the end for easy performance. A set of small percussion instruments is a valuable and useful acquisition for a church’s music department. The cost of a few handheld instruments such as tambourines, claves, maracas, or bongos is a minimal expense, and those items will fi nd frequent use in today’s church choirs. They are appropriate for choirs of children, youth, or adults. Even when not offi cially called for in published musical arrangements, cre- ative musical directors will fi nd use for them in many standard settings such as spirituals or anthems such as Psalm 150, which asks us to “Praise him with timbrel and dance; Praise him with loud clashing cymbals.” For those very musically active churches it is highly recommended that an investment be made in the purchase of a set of timpani; even if only two were bought there would be extensive oppor- tunities for their use. Anthems with brass quartets and percussion are common, and adding timpani to an annual per- formance of Handel’s stirring Hallelujah Chorus will certainly bring smiles to those exciting Easter services! So, spice up your weekly anthems with the occasional addition of percussion. The result this simple repertoire change

16 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM Reviews will bring will be worth any cost involved. The music is rhythmic and has some New Recordings music should read her recollections In most churches, the effort involved in handclapping for the choir. Although of Jehan, and the detailed analyses of a fund-raising drive to purchase a set of probably intended for young voices, this Jehan Alain: Complete Organ Works. each of the compositions that appeared used timpani may even result in a single delightful anthem also would be great Jean-Baptiste Robin, organist. Bril- in The Diapason in January–March gift from an enthusiastic musical sup- fun for adult women in the church choir. liant Classics 94233 (3 CDs), www. 1970.) Nonetheless, their performances porter in the congregation. For those Only three handbells are used. brilliantclassics.com. differ in several ways: she chose the who already have access to some percus- This is a signifi cant release. There “néo-classique” Valtrin-Callinet/ sion instruments, this month’s reviews Come and Sing a Song unto the Lord, have been other “complete” record- Schwenkedel organ of the Basilica of St. will be of special interest. Dan Edwards. Two-part with piano ings of Alain’s works, most notably by Christophe in Belfort as a single organ and optional B-fl at clarinet and his youngest sister Marie-Claire Alain, that in her view could best provide the Ring Out, Wild Bells, David Conte. tambourine, Choristers Guild, CGA but it turns out that there are degrees sonorities her brother had in mind. (She TTBB, TB soli, piano four-hand, 1272, $2.10 (M). of completeness, and Robin includes has also recorded some of the pieces on optional percussion and timpani, There is a folk-tune quality in this fast- three pieces not previously recorded, the actual Alain house organ, now safely E. C. Schirmer, No. 7734, $3.40 (D-). paced rhythmic work. The piano often even on the authoritative Marie-Claire preserved in Switzerland, but as she has This sophisticated and exciting work has a “boom-chick” accompaniment Alain records. pointed out, many of his suggested regis- for men is beyond the scope of most that helps increase the rhythmic drive. Robin, who holds the post of organist trations came from his imagination rather church choirs, but for those men’s The tambourine and clarinet parts are at the Royal Chapel of Versailles, studied than from any real-world organ.) Robin, choirs across America here is a concert in the choral score and separately at the with Marie-Claire for two years, with on the other hand, recorded the works work that will challenge and thrill. end; they are busy and play throughout the works of her brother as particularly on three different organs: the major The choral score does not contain the the entire setting. This very delightful important subjects, so he has certainly works (Suite pour Orgue, Trois Danses, percussion music, so a full score will arrangement will be popular with the absorbed her understanding of the Litanies) on the eclectic organ of St. be needed. The choral music is not singers and the congregation. pieces. (And any performer of Alain’s ³ page 18 especially diffi cult, often in two parts, and only is about two-thirds of the Hazermous Un Merenda (Let’s Make total; the soloists and two pianists have a Meal!), arr. Elliot Levine. Two-part more diffi cult music and complete the (SS) unaccompanied with drum, remainder of the scoring. This will be Transcontinental Music Publica- the highlight and central focus of any tions, 993452, $2.50 (E). concert for men’s chorus. The drum part is in the choral score Harbin Concert Hall and separately at the back; its repeat- Praise, My Soul, the King of Heaven, ing rhythms are used in every measure. Harbin, People’s Republic of China Timothy H. Waugh. SATB and Only a Hebrew text is given for this Sep- piano with optional handbells, hardic song to a four-verse text by Isaac handchimes, timpani, and organ, Levy. The choral parts are simple, often MorningStar Music Publications, in unison, and probably best suited to MSM-50-3450, $1.85 (M-). young voices. The famous Henry Lyte (1795–1847) text is set to newly composed music. The Let All Mortal Flesh Keep Silence, $QHZ choral parts are syllabic and in a hymn Robert Hobby. SATB, brass quin- style. There are various performance tet, timpani, handbells, and organ, pipe options, each with its own edition. Since with optional congregation and the choral score does not contain the suspended/crash cymbals or orches- organ various additional instruments, a full tra, MorningStar Music Publishers, score (MSM-50-3450A) will be needed. MSM-590-1950, $1.85 (M-). The outer two verses use the same basic Several performance options are music, with the middle verse having a given in the preface. The familiar hymn more fl owing character. melody is set to four verses, which are also on the back cover for congrega- Come, Celebrate God’s Gift of Music, tional duplication. Two of the verses are Mark Peterson. Unison with piano, unison, and the other two have a des- optional fl ute, fi nger cymbals, and cant. Different scores are available for claves, Choristers Guild, CGA1199, the various instrumental combinations. $1.95 (M). This very easy choral anthem will fi nd Designed for children’s chorus, this lots of uses. happy setting has all the music in the choral score, with separate parts for the In the Midst of New Dimensions, arr. fl ute and percussion also at the end. Jeremy Bankson. SATB, brass quin- After the repeated opening section, the tet, percussion, congregation, and music slides into fragmented phrases organ, MorningStar Music Publish- of “Praise God from whom all blessings ers, MSM-60-6500, $1.85 (M). fl ow,” then repeats the opening again There are fi ve verses and a refrain to before an extended coda. Delightful this hymn arrangement. The congrega- music for young voices. tion joins the choir on two of them; their music may be downloaded for A Mighty Fortress, arr. Nancy Raabe. free through the MorningStar website. Three SATB, organ, assembly, trumpet and After a long instrumental introduc- optional tambourine, Augsburg For- tion, the instrumental music becomes manuals tress, 978-1-4514-4, $1.95 (M). little more than duplicating the choral The trumpet and tambourine parts parts until between the fourth and fi fth VWRSV are not in the choral score but may be verses, when the introduction music retrieved as a download at the Augsburg returns. This is a pragmatic arrange- Fortress website. The congregation’s ment that will be useful for most part is on the back cover for bulletin church choirs.  duplication. There are four verses, with one for unaccompanied choir. The organ Amen Siakudumisa, arr. Cameron part, on three staves, is not diffi cult. This LeBarr. SATB unaccompanied, with arrangement is appropriate for most optional percussion, Choristers church choirs. Guild, CGA 1285, $1.95 (M-). Although two Djembe drums are I Will Clap My Hands, Joseph Mar- indicated, their music may be played tin. Unison/two-part, piano, with on congas and or other types of high/ optional percussion and handbells, low drums. Those rhythms are in two The Lorenz Corporation, 10/3768L, different four-bar phrases that are each Builders of Fine Pipe Organs $1.95 (M-). to be played on differing parts of the In this joyous setting of a James Ste- text. The two-word title constitutes to the World vens text, all percussion and handbell the entire text, which is translated as parts are included in the score as well “Amen, We Praise Your Name, O God.” www.ruffatti.com as separately on the back cover. The The music is very repetitive, with sim- vocal parts are not diffi cult and tend to ple rhythms in the choral statements. 9LD)DFFLRODWL‡3DGRYD,WDO\ be tuneful. It is the instrumental music This would be very useful for a youth  RUJDQV#UXIIDWWLFRP86$ that gives the character to the music. choir or adult choir.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2012 Q 17 Reviews

³ page 17 un Theme Donné de Rimsky-Korsakov, as concert musicians, to the glittering glorious climax following the reinstate- Etienne du Mont in Paris, made famous Fugue sur un Sujet de Henri Rabaud, array of famous judges, seldom can so ment of the intentionally absent D. The by Maurice Durufl é’s long tenure), the and Canon en Mode Dorien, none of many famous names be associated with work demonstrates the versatility of this shorter works on either Paris’s newest them particularly revelatory. one instrument. Recently (2007–09) great cathedral organ and Winpenny’s organ, the three-manual Aubertin of St. An added feature is the only record- completely renovated by the original superb technical skill (not to mention Louis en l’Ile, or its somewhat larger ing of Jehan Alain himself, playing the builders, this spectacular organ shines, the stately Fanfare Trumpet during contemporary, the Boiseau/Villard organ 11-rank organ of the Synagogue on the both visually (with its new façade pipes) the slightly bizarre section of demonic of Ste. Radegonde in Poitiers. More rue Notre-Dame de Nazareth, where and musically (including the addition quasi-fairground music!). signifi cantly, while Robin is faithful to he was organist. He plays his Les Fêtes of a plethora of reed stops, and the re- The disc is accompanied by a very Alain’s score, his readings show much de l’Année Israélite (also played by distribution of three solo stops onto a comprehensive 24-page booklet, giv- more freedom, and to these ears make Robin in the modern recording) and, new fourth manual), and clearly demon- ing much information about the organ, this sometimes-puzzling music more with choir and orchestra, Synagogue strates (along with the new Harrison in performer, and repertoire. There are convincing than I have heard before. Music. The music is straightforward St. Edmundsbury Cathedral) the fi rst- several beautiful photographs through- In Litanies, for example, Robin takes accompaniment to the service without class tonal skill and craftsmanship of the out, although the color photograph on a long pause before the two measures anything that might be recognized as Durham fi rm. the back page, of the organ surrounded marked “subito piu lento e intimo” and bearing Alain’s individual stamp, and And could there be a better performer by scaffolding, is a real waste of an then plays them more slowly and quietly given the primitive sonics of the 1938 than Tom Winpenny to put this mag- opportunity to showcase the magnifi cent than I have ever heard. It works. And recording, its inclusion is mostly of his- nifi cent instrument through its paces? twin cases designed by John Oldrid he manages to play those desperate torical interest. Having come through the time-honored Scott (1908); the only other downside of headlong descending triads just before Overall, however, I have nothing English church music system—fi rst as this CD is the card-fronted jewel case. the end at the proper breathless tempo but praise for this collection. I have a boy chorister (York Minster), then However, you should not allow these two while executing the called-for decre- not heard any of the instruments live, music scholar (Eton), several organ minor issues to detract from what is an scendo, something I don’t think I’ve ever so I can’t swear to the accuracy of the scholarships later (Worcester Cathedral, absolutely fi rst-class performance on a heard done quite as well before. And recording, but each of the three instru- St. George’s Chapel, and fi nally King’s world-class instrument featuring some I am quite certain I have never heard ments sounds completely convincing. College, Cambridge)—Winpenny was excellent repertoire, and which must a performance of the Trois Danses to And since Brilliant is a budget label, the appointed, in 2006, as sub-organist surely be the most compelling purchase equal Robin’s: by turns somber, poetic, 3-CD set sells for less than one might at St. Paul’s Cathedral, London. He for your collection this year. dramatic and even frenzied, it makes this expect to pay for a single CD. If you moved up to the assistant master of the —James M. Reed suite that so often sounds awkward come enjoy the music of Jehan Alain, you music position at St. Albans in 2008 Bergen, Norway alive as a unique masterpiece. should have this set. and nothing but praise for his outstand- Robin plays the shorter works, many —Michael Fox ing playing has been forthcoming ever New Organ Music of which are seldom played, with the Hillsboro, Oregon since. (Those who follow my suggestion same fi delity to the composer’s inten- and purchase this CD will immediately Johann Sebastian Bach, Complete tions and the same attention to the The Organ of St. Albans Cathe- see why that is so.) Organ Works. Vol. 4: Toccatas and music’s subtleties. One might regret dral, Tom Winpenny, organist. JAV The repertoire featured on this Fugues, Individual Works (ed. Jean- that in the Postlude pour l’Offi ce de Recordings, JAV190, $25.00, disc is an eclectic blend of old and Claude Zehnder), 182 pp., €26.80. Complies, that most evocative piece www.pipeorgancds.com. new, and begins with one of three Edition Breitkopf 8804; that Marie-Claire Alain described as “a There surely can be no more famous works premiered on this disc: Win- www.breitkopf.com. slow lullaby, but above all as a dream,” international organ competition than penny’s own arrangement of William Vol. 4 of Breitkopf’s new edition of it is unfortunate that Robin has to settle that launched by Peter Hurford in 1963 Walton’s March: An History of the Bach’s organ works contains the toccatas for a Bourdon rather than soft 8′ and 4′ upon the newly installed three-manual English-Speaking Peoples—it’s a grand and fugues and a handful of individual string stops for the sustained chords, Harrison & Harrison organ in St. Albans and glorious start to a great CD, and free organ works, edited by Jean-Claude but the poetry remains. The previously Cathedral: from the fi nest young com- showcases much of the tonal spectrum Zehnder. Surely one of the world’s unrecorded works are Variations sur petitors who go on to lifelong careers of the instrument. The Patrick Gow- foremost scholar-performers of Bach’s ers Trio Sonata is long (12:22) and, music, Zehnder has, perhaps more than quite frankly, rather tedious (even for anybody in the fi eld, been able to com- one who is not in any way opposed to bine his outstanding musicianship with contemporary organ music). Between broad scholarly knowledge. This edi- these two works is placed J. S. Bach’s tion, too, is clearly the work of a scholar Prelude and Fugue in D (BWV 532), who at the same time feels the music which is played fl awlessly and with tre- under his fi ngers. In addition, Zehnder’s mendous articulation—the registration yearlong teaching experience at the at the beginning does, however, feel a Schola Cantorum Basiliensis is obvious m A SPECIAL GIFT! little heavy, but that aside it is an excel- from many remarks in the Introduction Ve r o n T lent performance. and Commentary. 2013 HISTORIC PIPE ORGAN CALENDAR 2013 HISTORIC PIPE ORGAN CALENDAR Celebrating the Marcel Dupré’s arrangement of Although editorial consistency in ORGAN HISTORICAL SOCIETY’S 58TH NATIONAL CONVENTION Everyone know that the Vermont Hills are alive with music! Handel’s fi rst Organ Concerto in G following one source for the main text And some of the most wonderful music lies undiscovered Minor (op. 4) practically sings on the in the edition keeps Zehnder from fl ues of this organ, ending with a glorious incorporating the hand divisions from until you enter the pristine white-painted churches that climax, and Winpenny appears through- the Fétis manuscript in the opening emerge from their hidden valleys through the beckoning lure out this work (as indeed throughout the section of the C-major Toccata, he of their steeples. entire disc) to be the consummate mas- does give the passage with hand divi- Inside you find absolute treasures of fine craftsmanship ter of his instrument. For the Feux follets sions in the Commentary; after all, (from op. 53) of Louis Vierne, Winpenny even if the hand division does not go created by the lively Vermont pipe organ builders who flour- extracts some convincing French sounds, back to the composer, it gives valuable ished throughout these hills during the entire 19th- Century, but despite superb technical playing the insight in eighteenth-century keyboard and beyond. Find some of these treasures inside the pages piece does not seem entirely convincing technique and performance practice. on this very English organ. In discussing the ornaments (so abun- of this beautiful publication. The OHS celebrates the craft The fi rst of the two real highlights dantly present in some of the sources and fine music-making that still emanates from these works of this recording, for me, came in the of the works in this volume) Zehnder Join the OHS today of art. Photographer Len Levasseur has lovingly captured a Introduction, Passacaglia and Fugue in remarks wisely that “richly embellished dazzling range of these instruments in the 13-month calendar E-fl at Minor (opus 149) of Healey Wil- versions should . . . only be played and receive this lan: the strings shimmer, the plenums after one has acquired a certain skill in 13-month Calendar FREE that he created to herald the OHS 58th National Convention thrill, and Winpenny milks Willan’s this practice, preferably with French in Vermont from June 24-29. Historian Stephen Pinel brings dark, moody passages for all they’re keyboard music.” Yet another example with your membership! every page alive with stories that illuminate the history of worth. I would absolutely buy this CD of Zehnder’s “teaching” in this volume Vermont’s manufacture and music-making. for this piece alone! After Peter Hur- is the discussion of touch in the Intro- $9.99 $14.99 ford’s Two Dialogues (for which I have duction, with particular attention to WWW.ORGANSOCIETY.ORG member price all others never really cared, although Winpenny the use of legatissimo in chords. Such makes them dance and sing here, performance-directed features are all IN STOCK FOR IMMEDIATE SHIPMENT! bringing rather more appeal to them too rare in critical editions of music. NOW CHOOSE FROM OVER 5,000 TITLES! than they’ve ever had for me in the I have enjoyed working with this past) we then come to the fi nal piece volume more than with any of the new ORDER ANY TIME ONLINE: www.ohscatalog.org on the CD, and the second compel- Breitkopf Bach volumes so far. The ling reason I fi nd to highly recommend equally rich and concise Commentary ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we this recording—the premiere of Simon (German only, but an English translation P.O. Box 26811 Richmond, VA 23261 recommend, is $8.50 for your entire order. Preston’s Toccata (in d minus)—a far can be downloaded from the publisher’s Telephone: (804) 353-9226 Media Mail shipping is $4.50 for your entire more interesting and exciting work that website) is a wonderful source of infor- order. Shipping outside U.S. is $4.50, plus Monday-Friday 9:30am-5:00pm ET his Alleluyas, it combines an exciting mation (the possibility of two pedal mor- the cost of air postage, charged to your VISA rhythm and sense of movement with dents just before the end of the famous E-mail: [email protected] SHIPPING or MasterCard. several interesting motifs, ending in a pedal solo in the C-major Toccata, for

18 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM Reviews example), but the main text itself is twists. Modal expression meets with the Second Annual High School Organ Competition and Festival also good for many nice surprises. Take power of cross relationships, sequential Jan. 25-27, 2013 the grouping of the sixteenth-plus-two- logical patterns, contrary motion, suspen- thirty-seconds in the pedal solo: both in sions and the pedal point, resulting in PUL]HVLQFOXGHFDVKDQGRUWXLWLRQVFKRODUVKLSVLQH[FHVVRI the New Bach Edition (NBA) and in the church music which speaks to the heart :RUNVKRSVPDVWHUFODVVHVDQGOHVVRQVLQFOXGHG)RUGHWDLOVFRQWDFW Bach-Gesellschaft edition (available as and soul.” This is the perfect description. .HQDQ3URIHVVRURI2UJDQ7LPRWK\2OVHQDWROVHQW#XQFVDHGX Dover reprint), these groups are slurred The settings have surprises, are some- RUYLVLWZZZWLPRWK\ROVHQRUJDQLVWFRP “in threes”; Zehnder puts the slur only times startling, occasionally clashing, but over the two thirty-second notes. That always unique and convincing. reading sheds an interesting different Sometimes Rübsam’s comments are light on the passage, also from a techni- very interesting, as well as unusual. I cal point of view. More audible perhaps haven’t quite fi gured out how in Lo, How are some interesting accidentals: the last a Rose E’er Blooming the directions for note of m. 44 in the C-major Fugue is the right hand, which has the melody as an F-natural, beautifully rubbing with well as a moving line in 6/8, and includes the F-sharp in the alto. (The F-natural the admonition “no fi nger substitutions,” was there in the Bach-Gesellschaft edi- affects the fi nal sound. Several settings tion; NBA printed an F-sharp here.) Also have more than one movement, such interesting is the brief pedal solo just as O come, O come, Emmanuel, Fling before the end of the Fugue: the sec- Wide the Door, and Praise be to Jesus ond note in m. 133 is an F-natural, not Christ. Savior, tear open the heavens, F-sharp (despite both Bach-Gesellschaft ends with a fi erce-sounding toccata. and NBA), and Zehnder convincingly Single-movement chorales include Sav- points out that the passage echoes the ior of the Nations, Come, O Lord, How right hand of the previous bar. (It seems Shall I Meet You, Beside thy cradle here to me that this has implications for both I stand, From Heaven Above, and Good tempo and articulation.) Christian Friends, Rejoice. In addition to the “standard” versions, I would be hard pressed to select a the volume contains additional versions favorite setting, but Good Christian for the Passacaglia, the Pièce d’Orgue Friends, Rejoice would rank high for me, (a.k.a. the Fantasy in G major), and the as it is faintly reminiscent of the third Canzona. The early version of the Pièce movement of Mendelssohn’s fourth d’Orgue is an eye-opener, with valuable sonata, with the melody set against lightly hints for hand division and, of course, running sixteenth notes. Of course, that the very limited pedal. The densely orna- is where the resemblance ends as well! mented version of the Canzona is not Praise be to Jesus Christ is written in a only of enormous interest just for that classical French style—think Couperin reason, but perhaps even more because Mass. O come, O come Emanuel opens of very extensive fi ngering in the source with a double-pedal canon marked “non (with a fi ngering for nearly every note in legato, toes only.” By now you have the the piece!). idea that there is variety in the collec- A CD-ROM in the back of the book tion—something for everyone, as it were. contains early versions and ornamented The music is moderately diffi cult. It versions of various pieces. The version will take some work. But, as Rübsam 'DYLG7DQQHQEHUJ2UJDQ2OG6DOHP0XVHXPV *DUGHQV in F major of the Capriccio in E Major points out, the pieces may also serve for may come in handy for performance at improvisational practice as well. I have organs with a tuning closer to mean-tone no problem recommending this collec- temperament. In addition, the Little tion highly. Harmonic Labyrinth—surely not by —Jay Zoller Bach—and the Prelude in G major, BWV Newcastle, Maine 568, a nice-enough piece but unlikely to ‡0DVWHUFODVVHVZLWKLQWHUQDWLRQDOO\UHQRZQHGJXHVWDUWLVWV be authentic, are found here. New Handbell Music Although the edition is generally a ‡3DUWQHUVKLSZLWK6DOHP&ROOHJHLQFOXGLQJUHJXODUPDVWHUFODVVHV pleasure to play from, a few pages are Calypso on “He Leadeth Me,” William ZLWKZRUOGUHQRZQHGNH\ERDUGWHFKQLTXHSHGDJRJXH excessively crowded, with as many as R. Bradbury, arranged by Tammy %DUEDUD/LVWHU6LQN fi fteen staves on a page (the overall aver- Waldrop for 3–6 octaves of handbells age is twelve or fewer). The reason for with optional percussion. Agape (a ‡&RXUVHVLQVDFUHGPXVLFLPSURYLVDWLRQRUJDQKLVWRU\  this is sometimes hard to fathom: the division of Hope Publishing Com- OLWHUDWXUHDQGRUJDQSHGDJRJ\ Lentement section of the Pièce d’Orgue pany), Code No. 2609, $4.50; percus- is printed on three staves in the “stan- sion parts, conductor’s score, Code ‡*HQHURXVVFKRODUVKLSVDQGJUDGXDWHWHDFKLQJDVVLVWDQWVKLSV dard” version, but on two in the early No. 2609P, $12.50, Level 3- (M). version; yet the music is in essence the Adding a new twist to this beloved same. It is also a pity that, even with the hymn, arranger Tammy Waldrop provides many densely printed pages, page turns an authentic calypso fl avor throughout 2013 on-campus auditions: are often less than convenient. that should have the audience tapping 3ULRULW\IRUPHULWVFKRODUVKLS —Dr. Jan-Piet Knijff, FAGO their toes. This piece should be acces- -DQ )HE FRQVLGHUDWLRQZLOOEHJLYHQWR Armidale, NSW, Australia sible to most choirs and should provide DSSOLFDQWVZKRDXGLWLRQEHWZHHQ )HE $SULO -DQDQG)HE an upbeat learning experience! In dulci iubilo: 10 Chorale Preludes for Advent and Christmas, by Wolf- Holy, Holy, Holy, arranged by gang Rübsam. Edition Schott ED Sandra Eithun for 2 or 3 octaves of ‡3URIHVVLRQDO$UWLVW&HUWLÀFDWH ‡8QGHUJUDGXDWH$UWV&HUWLÀFDWH 21189, €17.99; handbells or handchimes. Choristers www.schott-music.com. Guild, CGB398, $4.50, Level 1 (E). ‡0DVWHURI0XVLF ‡+LJK6FKRRO'LSORPD In the July 2011 issue of The Dia- With original material for the intro- pason, I reviewed Rübsam’s Fourteen duction and interludes, this arrangement ‡%DFKHORURI0XVLF Chorale Preludes: A Guide to Liturgi- of John Dyke’s Nicaea is pretty straight- cal Improvisation, a volume in which forward, featuring effective harmonies Rübsam gives helpful directions in using and percussive effects. chorales to learn improvisation in diverse styles. Each chorale included is set in a This Is My Father’s World, arranged different style, with helpful suggestions by Anna Laura Page for 2 or 3 for the performer. octaves of handbells and optional It seems to me that this volume, In fl ute. Choristers Guild, CGB734, :DGH:HDVW'HDQ6FKRRORI0XVLF dulci iubilo, is an outgrowth of that pre- $4.50, Level 1+ (E). vious set. The settings are improvisatory Written with an introduction followed in style, the polyphony creating new and by a verse and a half of the hymn tune, 'DQFH 60DLQ6WUHHW sometimes unexpected harmonies. Prof. the arrangement is short but effective. 'HVLJQ 3URGXFWLRQ :LQVWRQ6DOHP1& Rübsam remarks in the preface that “The If one has the resource of a fl ute player, 'UDPD  German contrapuntal grammar has been the effectiveness of the piece would be )LOPPDNLQJ DGPLVVLRQV#XQFVDHGX merged with French colors of harmonic doubly enhanced. Music www.uncsa.edu fl air and some daring, enjoyable American —Leon Nelson

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2012 Q 19 Organ Literature The Tiento:

An Iberian Art Form Mark J. Merrill

uring my many years of playing very improvisatory in nature. So the real and the full title gives the player every The title will often have a reference Dand specializing in Iberian reper- answer is: a tiento is many things! bit of information that is required to to the eight church modes. This order- toire, the most frequently asked ques- As an undergraduate, I remember fully interpret, register, and realize the ing of the modes tells the performer tion was always: “What IS a tiento?” during our organ literature class each performance of the work in question— many important factors as regards the According to various textbooks, tiento student was assigned a genre to pres- much like French Classical titles tell the registrations required for the particular (Portuguese: tento) is a musical genre ent to the class. Having a double major organist what registration is required for work in question. (See performance originating in Spain in the mid-15th in Spanish, of course I was given the the particular piece. guildelines chart.) century. It is formally analogous to the Iberian portion to present. We were fantasia (fantasy), found in England, using two texts for this course: Corliss The title tells all! The 8 Gregorian modes Germany, and the Low Countries, and Arnold’s Organ Literature: A Com- Indeed, the title tells the performer The basis for interpretation of any tiento also the ricercare, fi rst found in Italy. prehensive Survey (The Scarecrow nearly everything one needs to know in lies in two major observations: the mode in The word derives from the Spanish Press, Second Edition, 1984) and terms of tempo, registrations, and orna- which it is written and the title of the work. verb tentar (meaning either to touch, to Marilou Kratzenstein’s Survey of Organ ments (or lack thereof). Let’s learn a few In determining the mode or tone the per- tempt, or to attempt), and was originally Literature and Editions (Iowa State basic terms fi rst. Tiple, mano derecha: former must refer to the authentic church applied to music for various instru- University Press, 1980). The two books both terms refer to the fact that the modes as defi ned by Cicero, who codifi ed ments. By the end of the 16th century, had a total of 11–14 pages devoted to melody is in the right hand. Bajo, baixo, the modes and attributed their astrological the tiento was exclusively a keyboard this repertoire as compared to English and mano izquierda all refer to the meanings in musical terms such as tempo, dynamics, registrations and especially tonal form, especially organ music. It con- repertoire, which had nearly 40 pages! melody being in the left hand. Tientos effects or qualities. The title will further tinued to be the predominant form in It was clear that Iberian repertoire was de falsas are generally always played on provide the given information as to specifi c the Spanish organ tradition through very under-represented. one manual. Some tientos are contra- or implied registrations.1 the time of Cabanilles, and developed During my investigation I quickly dis- puntal in nature and will be played on many variants. Additionally, many 20th- covered that the term tiento was a very one manual; this must be determined by Each mode has particular implica- century composers have written works generic label applied by many compos- studying the texture of the selection: is tions regarding the use of registrations entitled “tiento.” ers of the period and that many of these there an obvious melody line, an obvious as well as moods. The early modes So, “What is a tiento?” It is many works had no common variables. So the accompanying line, and so forth. One played a very important role and had things: it can be a fast- or slow-moving word “tiento” was a broad term. other notable point: the use of pedals a very strong connection to daily life. work; it can be a work with the cantus Keeping that in mind, it was obvious is generally only at cadences or where a The classical education consisted of in the left or right hand; sometimes it that the full title of the tiento was impor- pedalpoint is sustained and at 16′ pitch literature, poetry, science, astronomy/ is a structured form and sometimes it is tant. There are many types of tientos on a Bourdon or other fl ute. astrology, mathematics, and music. The

Tiento de mano izquierda de 1º tono, by Sebastián Aguilera de Heredia

20 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM Performance guidelines Type of Work Left Hand Registration Right Hand Registration General Implications

2 1 2 1 Tiento 8′, 4′, 2 ⁄3′, 2′, 1 ⁄3′ 8′, 4′, 2 ⁄3′, 2′, 1 ⁄3′ Generally played on one 16′, 8′, 4′, 2′ 16′, 8′, 4′, 2′ manual. Plenum through 8′, 4′, 2′, Mixture 8′, 4′, 2′, Mixture mixtures is possible. This work is contrapuntal in most cases. Tiento de falsas 8′ Gamba, 8′ Flute 8′ Gamba, 8′ Flute Generally played on one 8′ String tone, 8′ Flute 8′ String tone, 8′ Flute manual. Piece makes use 8′ Celeste, 8′ Gamba 8′ Celeste, 8′ Gamba of suspensions. The idea is 8′ Flute 8′ Flute confl ict and resolution; place emphasis on the confl ict, NOT the resolution. modes indicate the nature or spirit of Tiento de mano izquierda 8′ Trumpet 8′ Principal + (4′ Flute or The melody is in the left hand. Tiento de bajo tono 8′ Krummhorn Principal) It is important to make sure you the work: tempo, tonal colorings, and 2 Tiento de baixo 8′ Reed 8′ Flute, 4′ Flute, 2 ⁄3′ Flute balance the sound levels of registrations. This is very similar to the 2 1 8′, 4′, 2 ⁄3′, 2′, 1 ⁄3′ 8′ Gamba, 8′ Flute + (4′ Flute) each hand, while maintaining early French Classical school, in which 4′ Reed (bright) contrasting sounds. the title dictates the possible registra- Tiento de mano derecha 8′ Principal, possibly + 8′ Trumpet The melody is in the right hand. tions and mood of the work. Tiento de tiples (4′ Flute or Principal) 8′ Reed It is important again to contrast 2 1 8′ Flute, 4′ Flute 8′, 4′, 2 ⁄3′, 2′, 1 ⁄3′ the sounds while maintaining a 2 The most common 8′ Gamba, 8′ Flute + (4′ Flute) 8′, 4′, 2 ⁄3′ balance. types of tientos 8′ Flute 16′ Reed (bright) Tiento de falsas de 2º tono. The Plenum through Mixture name looks daunting, but in fact is rela- Tiento de Batalla This will vary depending upon This will vary depending upon This type of work makes use tively easy to understand. Falsas indicates the texture of each section; is the the texture of each section; is the of echo sections within each melody in the right/left hand, etc. melody in the right/left hand, etc. portion. Use contrasting reeds, that this work consists of many suspen- cornets, plenums, etc. sions: confl ict and resolution—simple enough. 2º tono tells us that this work is based upon the second mode (attrib- Tiento de mano derecha de 3º tono. hand (bajo meaning lower voice) and the uted to the moon)—the Hypodorian Again, the title tells all. The mano derecha accompaniment is in the right hand. 1º List of representative works mode; it is associated with somberness, indicates that the melody is in the right tono is the Dorian mode, which is associ- Antonio de Cabezón: sadness, and elicits tension. Knowing hand, leaving the left hand to accompany ated with the sun. The registration quali- Diferencias sobre ‘La Gallarda Milanesa’ that, one would use registrations that with 8′ pitches. 3º tono is attributed to ties are grave and solemn happiness. Diferencias sobre ‘La Pavana Italiana’ refl ect a somber mood: string tones and Mars and based upon the Phrygian mode, The left hand would use a Cornet or Tiento 2 del primer tono celestes at 8′ pitch, along with a soft 8′ which incites force, energy, and fi ery wide-scaled reed (Trumpet 8′ or possibly Un gay bergier fl ute, which creates an uneasy feeling of overtones. The registrations possible are: a Krummhorn 8′). a somber or sad quality. Mystery solved. a Cornet in the right hand, or a fi ery reed So, one can see that the title really Juan Cabanilles: Tientos de falsas are generally played on stop such as an 8′ Trumpet, or possibly a does tell a great deal about the registra- Corrente italiana one manual for the most part due to the cluster of trumpets 16′, 8′, 4′ or even a tions. The Spanish seemed to be very Tiento de falsas 4° tono intricate use of suspensions and close pleno if good reeds are unavailable. specifi c about their registrations. How- harmonies. Pedal is not used, except to Tiento de bajo de 1º tono tells one ever, one must also keep in mind that the Francisco Correa de Arauxo: emphasize cadences. that the work is for melody in the left Spanish favored the “divided” keyboard, Un gay bergier which means that one could play the solo Tiento de medio registro de tiple 7° tono (melody) and accompaniment on the same manual. Tomás Santamaría: The important aspect of registrations Arte de Tañer Fantasia in regard to this repertoire is found at the core of the associations between Pablo Bruna: astrology and the early modes of the Medio registro vasso church. The chart shown above outlines, Pange lingua in very basic terms, possible registration solutions. Of course, these are merely Sebastián Aguilera de Heredia: suggestions; ultimately the fi nal selection Tiento de falsas 6° tono will be determined by the stops available Pange lingua por ce sol fa ut on any given organ. Additionally, one must remember that on most American has studied organ with Montserrat Torrent organs one must use two manuals, as for nearly 30 years, earning his Maestría divided manuals are rare in this country. in Organ from the Conservatory of Music The author hopes that readers will in Barcelona, Spain, as well as his Título take time to investigate this vast and de Doctorado from the Real Academia de interesting repertoire, which is so seldom Bellas Artes in Spain. He has dedicated the heard or explored in this country. I have past 30 years to documenting, recording, and included a listing of works that will prove analyzing nearly 168 historical instruments in Spain. His dissertation, “The Effects and of interest, which is by no means compre- Implications on the Performance Practices of hensive; however, it is recommended as Early Iberian Keyboard Music,” earned him a starting point to begin your exploration a special citation of merit from the Spanish of this vast and vibrant school of organ Department of Culture. design and composition. Q Notes Mark J. Merrill holds a B.M. in church 1. Maria A. Ester Sala, La Ornamentacion en music and an M.A.T. in Spanish from la Música de Tecla Iberica Del Siglo XVI, Socie- Drake University, Des Moines, Iowa. He dad Española de Musicologia, Madrid, 1980.

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2012 Q 21 Festival Report

Haarlem International Organ Festival 2012 From Sweelinck to Szathmáry’s Fukushima Requiem

The 1738 Müller organ at St. Bavo’s By Stephen Taylor

n the second half of July, leading Poland, the USA (Jason Roberts, Con- The fi ve-member jury (Lionel Rogg, masterclasses plus a two-day sympo- I fi gures from the international organ necticut), and Holland were selected Wolfgang Seifen, Naji Hakim, Joost sium. In daily two-hour sessions, capita world gathered again in Haarlem, the in the spring of 2012 by means of Langeveld, and the Dutch composer selecta from more than four centuries of Netherlands, for the 49th edition of the submitted recorded improvisations on Klaas de Vries) refl ected different organ repertory were discussed in depth. Haarlem International Organ Festival. It short motifs by Louis Maillié (Lyon and schools of thought. Winner of the 2012 Center stage in the academy is the Mül- was here, in this wonderfully picturesque Paris). In the fi rst two rounds, all eight competition was the Frenchman Paul ler organ in St. Bavo’s (where the gallery town very near Amsterdam, that the fi rst selected competitors showed their skills Goussot, who competed in the grand fortunately accommodates up to 30!) But Haarlem improvisation competition was fi rst on the monumental Müller organ fi nale against French colleague Noël other important historic and modern held in 1951. Four years later, in 1955, in St. Bavo’s and then on the Cavaillé- Hazebroucq and the Polish organist instruments in the town are also used, all the summer academy was launched, and Coll instrument in the Philharmonie Edyta Müller (at last, a female impro- within walking distance. the two events were held annually until Concert Hall. The theme in Round 1 viser!). The Dutch national daily De Teachers at the 2012 summer acad- 1986, and thereafter biennially. was a melody from the 16th-century Volkskrant wrote: emy were Harald Vogel on Sweelinck, Antwerp Liedboek. Round 2 was some- Margaret Phillips on early English Improvisation competition thing of a surprise: instead of a musical Although the three fi nalists were a good music, Ton Koopman, Jean-Claude The competition is unique in its focus idea, a semi-abstract, 90-second fi lm match, Goussot achieved the most convinc- Zehnder, Jacques van Oortmerssen and on contemporary improvisation. In served to inspire the competitors! The ing balance between the virtues of ‘organ- James David Christie on J. S. Bach, istic’ freedom and the binding power of each round, after an hour’s preparation three fi nalists were presented with the the theme. He employed lucid rhythms, Olivier Latry and Louis Robilliard on with pencil and paper only, competitors following theme from the hand of the well-sounding harmonies, and did not shy French and German Romantics, Martin offer a 10-minute concert improvisa- Viennese organist (and Haarlem vet- away from adventurous harmonic progres- Sander on Max Reger, Roman Sum- tion. Eight participants from France, eran!) Peter Planyavsky. sions. Just before the end, chords erupted mereder on contemporary ‘keystones’, from the pipes like fl ashes of fi re, but then Zsigmond Szathmáry (working with he suddenly slowed, fi nishing his improvi- young composers), Jos van der Kooy sation in a whispering coda. This winner and Peter Planyavsky on improvisation, of the 49th improvisation competition is and Leo van Doeselaar on repertory for a man who combines musical instinct and organ and strings. craftsmanship with a sense of theatre. This year’s academy was attended by Another leading national daily added: 85 students from 27 countries and fi ve “With the Haarlem International Organ continents. In addition to a group of Improvisation Competition many great young Russian players (regular guests organ careers have been launched . . . ” for some years), a new group of Chinese students included young teachers from The International Beijing and Shanghai. Previously offi - Summer Academy cially a postgraduate program, the acad- The Haarlem Summer Academy emy now accepts undergraduate music 2013 2012 offered an 11-day program of students, refl ecting the festival’s policy to E. POWER BIGGS FELLOWSHIP

HONORING A NOTABLE ADVOCATE FOR examining and understanding the pipe organ, this year’s E. Power Biggs Fellows will attend the OHS 58th National Convention in Vermont, June 24–29, 2013. Hear and experience a wide variety of pipe organs in the company of professional musicians and enthusiasts. The Fellowship includes a two-year membership in the OHS and covers these DEADLINE FOR APPLICATIONS convention costs: is February 28, 2013. Open to women x Travel x Meals and men of all ages. To apply, go to x Hotel x Registration www.organsociety.org. 2012 FELLOWS LAURA CARRASCO MAYU HASHIGAYA ORGAN HISTORICAL SOCIETY JONATHAN GRADIN ROBERT WELCH JONATHAN GREGOIRE JOSHUA ZIEMSKI WWW.ORGANSOCIETY.ORG CACTUS SAM HARRIS SAMUEL BAKER CHAIR Louis Robilliard and Olivier Latry in a joint masterclass on German and French Romantics.

22 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM The three fi nalists of the improvisation competition: Edyta Müller, Noël Hazebroucq, Organ in ensemble: an opportunity for organists to work with Baroque strings and and Paul Goussot. Leo van Doeselaar

cordings of recitals and concerts (including attract the very best young players. Daily in other masterclasses—the Haarlem organ and panpipes by Klaas de Vries, Fukushima Requiem and The Rite of Spring), lectures and discussions allowed both disease is highly contagious! Radulescu’s Madrigali, Kagel’s Phan- are available through www.organfestival.nl, students and the general public to meet tasie für Orgel mit Obbligati for organ where news of the 2014 festival will appear in and hear all the academy teachers. Young composers and tape, Der Dom und das Meer for the coming months. The Haarlem young composers’ organ and tape by Mesías Maiguashca, Stephen Taylor was a chorister at Bristol Festival symposium course took place again under the and Szathmáry’s Leichte Brise—grosser Cathedral and organ scholar of Jesus Col- Midway between the two academy inspirational direction of the Hungarian- Orkan. In a spectacular closing recital, lege, Oxford. In the Netherlands he studied weeks, the festival symposium “From German Ligeti pupil Zsigmond Szath- Olivier Latry and Shin-Young Lee per- with Ewald Kooiman, Nico van den Hooven, Sweelinck to Bach” took the entire acad- máry. After an international call, three formed Stravinsky’s The Rite of Spring. and Jan Welmers, and was awarded the Prix d’Excellence in 1977. He was organist of the emy to the famous organs at Oosthuizen new organ pieces by young Dutch and Nicolaïkerk in Utrecht for more than twenty and Edam and to Amsterdam (Oude German composers were selected for 50th anniversary years and is active as a soloist and continuo and Nieuwe Kerk), where lectures and discussion during the six-session mas- The 50th edition of the Haarlem player and as an author and translator. Tay- recitals were given by Harald Vogel, terclass. Important considerations in International Organ Festival will take lor joined the Haarlem Festival organization in 2007. His translation of Ton de Leeuw’s Margaret Phillips, Jean-Claude Zehnder, the selection process were composition place July 11–26, 2014. Newcomers to Music of the Twentieth Century was pub- and Christoph Wolff, among others. technique, originality, and whether a the festival—and Haarlem veterans— lished by Amsterdam University Press. In work was idiomatically suited to the will be warmly welcomed! Q 2006 he was awarded the St. Martin Medal Young talents organ. The new works were discussed of the city of Utrecht for his contribution to Note its cultural life. His three-volume tutor on For the second time, the Haarlem sum- with the composers (two of whom per- Many of the items referred to in this arti- practical harmonization, The Lost Chord, mer academy included a six-day course formed their own works) and presented cle, including competition themes (and fi lm), has recently been published for the fi rst time for young talents aged 13 to 18. After to the public during a festival recital in academy repertoire, and audio and video re- in English. an international call, six players were St. Bavo’s. selected on the basis of a written recom- For the second time, the Leipzig mendation from their teachers and a sub- Summer Academy will include this mitted recording (a fast movement from a concert and a preparatory course under Bach trio sonata and a Pièce de Fantaisie Szathmáry in its 2013 program. Thus by Vierne). In six two-hour sessions, the young composers are assured of repeat young players (from Holland, Germany, performances of their new works at France, Croatia, Ireland, Portugal, and prominent international venues. the USA) were coached by Olivier Latry and Margaret Phillips. These young New music organists made good use of the opportu- The festival concert programs nity to attend all festival activities and to featured many premieres: Zsigmond visit other masterclasses. No fewer than Szathmáry’s Fukushima Requiem was three of the young talents from the 2010 broadcast live on Dutch national radio; course returned to Haarlem to take part Dutch premieres included EOOS for

Opus 116

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2012 Q 23 Acoustics Acoustics in the Worship Space X Good Acoustics—the Economic Factors By Scott R. Riedel

Acoustics in the Worship Space I, II, and rhythmic and tuning accuracy can the geometric form of a room (does the can result in a vibrant and reverberative III, IV, V, VI, VII, VIII, and IX have be scientifi cally tested and documented structure’s cubic air volume and shape space that enlivens music and liturgical appeared in THE DIAPASON, May 1983, as being perceived and valued by a cross enhance or detract from good sound?), participation, and produces May 1984, January 1986, May 1987, section of the population. The notion the interior materials of a room (to authoritative speech. Alternatively, April 1988, April 1990, July 1991, May that “regular folks” won’t notice good what extent do selected interior fi nishes excessive amounts of carpeting, draper- 1992, and April 2009 issues respectively. acoustics is just scientifi cally false! refl ect, absorb, or transmit sound energy ies, and other sound-absorbing features Economic issues are often the most dif- in a structure?), and the location of key can deliver a dull, dead effect that suf- n today’s world and economy, costs fi cult to resolve in many projects. Reduced elements (do the relative proximities of focates worship participation and leaves I and budgets loom large in almost all availability of funds, lack of confi dence things such as microphones, speakers, music and speech uninspiring. Having a activities and endeavors. During discus- in the economy, and the fear of future singers, organ pipes, instruments, and carefully selected ratio of sound-refl ect- sions of new church building or renova- economic conditions are often governing even potentially noise-generating equip- ing to sound-absorbing materials, which tion projects, it might not be uncommon factors. Indeed, when constructing a new ment help or hinder sound perception?). results in an appropriate reverberation to hear the following ideas expressed: worship facility or remodeling an existing Wise or poor design choices regarding period, is essential to a worthwhile acous- “Good acoustics aren’t really worth it for one, many important matters tug at the any of these factors can result in acoustic tic setting. the average worshipper who won’t notice purse strings, and budgeting can often be excellence or disaster. or appreciate it—that’s just for the elite a stressor to a project. That said, it would Location of key elements ‘Carnegie Hall crowd;’” or, “It will cost still be eminently benefi cial to consider Geometric form of a room Then there is location! The relative too much to have good acoustics, and we acoustic issues seriously, and not simply Geometric room forms can distribute placement of organ pipes and choir sing- cannot afford it.” When these notions dismiss acoustic excellence as being unaf- and project sound evenly through a ers together will allow choristers to hear surface they can sometimes be the cause fordable or unattainable. Acoustic excel- space, or can generate unwanted tonal accompaniments and each other clearly for a church being doomed to a less than lence does not necessarily mean purchas- focusing, echoes, and standing waves. and facilitate accurate rhythm and tun- excellent acoustic environment. ing “extra” or expensive features. Often, Successful worship space geometries ing. For example, positioning singers in Scientifi cally and experientially, it can acoustic excellence can be realized from typically have generous cubic air vol- an ensemble format, forward and below be proven that good acoustic settings are wise decisions and design choices regard- umes, longer and shorter axes, and unob- organ cases or chambers, can maximize indeed noticeable and appreciated by ing elements that are already a given part structed “line of sight” sound projection musical potential. If singers are placed many, and not only by the “Carnegie Hall of a project. paths. Sound-diffusing wall and ceiling far from organ pipes, within restrictive crowd”! In fact, acoustic qualities such as The primary architectural factors that surface profi les and features will also alcoves, behind obstructions, or strung out speech intelligibility, musical balance, affect the acoustic environment include contribute to even distribution and dis- in long lines, the entire musical ensemble persing of sound energy. Alternatively, will suffer from being disengaged. Simi- low ceilings, fl at and parallel surfaces, larly, the correct location of loudspeakers concave forms, deep transepts, etc., typi- relative to both microphones and the cally limit acoustical potential and create listening congregation can assure speech echoes, “hot spots,” “dead spots,” fl ut- intelligibility for all, while inappropriate ters, trapping, and other unwanted and placement of sound system components disturbing acoustical anomalies. can result in frustration and lost clarity for all; if loudspeakers are placed with direct Interior materials of a room “line of sight” access to all listeners, they Appropriate ratios of sound-refl ective can deliver sound with clarity. Ultimately, to sound-absorbing materials in a room it is not enough to have all of the sound sources and listeners “somewhere” in the room. Relational locations and proximi- ties are critical to success. Finally, even if all of the benefi cial acoustic design features for room geom- etry, material selections, and functional proximities are adopted, all can still be ruined if unwanted and interrupting noises invade the worship space. Tech- niques such as placing noise-generating equipment and functions away from Excessive amounts of sound-absorbing material, including carpeting, pew cush- Unwanted noise and vibration can be the worship space, and using resilient ions, draperies, and acoustical tiles, will lower reverberation periods and inhibit controlled when equipment is resil- mountings and discontinuous structures music and sung and spoken liturgical participation. iently mounted. can mitigate “noise to listener” pathways.

Hard-surfaced fl oor, wall, and ceiling materials, with sound-diffusing profi les, will Long and tall geometric forms, with organ and choir located at the end of the long help to reinforce sound energy and provide generous reverberation periods. axis of the room, have excellent acoustical potential.

24 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM Concave and curved geometric forms, low ceilings, and limited air volumes typi- cally cause acoustical difficulties.

Acoustic excellence intelligibility. It may cost more to line In all of these examples, acoustic air-conditioning ducts to prevent noise success is not derived from expensive transmission, but constant HVAC noise treatments or extra apparatus. Acoustic interrupting speech and music during excellence is instead derived from wise worship ruins the experience for all. design planning and decision-making While these and similarly important regarding elements that are already acoustic details do have an initial price “givens” within a project and budget. It tag, the cost of remedying these details may cost no more or less to place organ later is even greater. As a wise observer pipes in good or poor proximity to choir once said, “If you don’t have the funds to singers! It may cost no more or less to do it right the fi rst time, where are you place noise-generating air-conditioning going to fi nd the additional funds to do compressors near or far from the wor- it over again?” So, the functional value of ship space! It may cost no more or less to design decisions must also be considered angle a wall profi le to avoid or create an along with cost. echo! In many instances, the good acous- Substantial and signifi cant acoustic tic choice can indeed be the least costly benefi ts can result from making wise choice. For example, a hard surface fl oor choices about already-fi xed costs. A that reinforces sound energy will last building will have fl oors, walls, and ceil- A good choir layout with singers in an ensemble format, located below and forward a lifetime, while a carpeted fl oor that ing; these can be designed to work in of organ pipes removes sound energy from an environ- favor of a good acoustic environment ment will wear over time and eventually through careful detailing, and not neces- require replacement. sarily through additional expense. A good While signifi cant acoustic success acoustical environment can be defeated can be realized from informed design through uninformed and unwise design, and decision-making, it should not be and not necessarily because of lack of inferred, however, that all acoustic mat- spending! Great acoustical worship envi- ters are free and easy! There are some ronments are indeed achievable, even acoustic benefi ts worth paying for. Hard, on a budget. Careful overall planning dense walls that reinforce and balance that maximizes the acoustic potential low frequency tone near organ pipes and of a design, combined with reasonable choir singers are indeed more expensive spending on priority features, can result than thin gypsum board, but the price of in architectural, functional, and inspira- the thin walls can be perpetually brittle tional value for generations. Q and “tinny” music. It may cost more to hoist heavy loudspeakers to a high ceil- Scott R. Riedel is president of Scott R. ing location than to wall-mount smaller Riedel & Associates, Ltd., an acoustical and organ consulting fi rm based in Milwaukee, units, but the price of poor speaker Wisconsin. placement is a missed opportunity to proclaim the word with clarity and Photo credit: Scott R. Riedel & Associates.

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Locating choir singers in side transepts, under low ceilings, and too close to wor- shippers prevents good musical production and tone projection.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2012 Q 25 Cover feature

Console Pencil drawer

Kegg Pipe Organ Builders, a highly evolved system, using oversized individually and in combination, are very this organ is the Sesquialtera II on the Hartville, Ohio valves that feed copious wind to each different on each manual. This is another Great. The fl exibility of our chest action Sacred Heart Church, pipe by way of an expansion chamber. example of carefully “breaking the rules,” permits using the lowest rank of the 2 New Philadelphia, Ohio The expansion chamber then conditions while providing an interesting organ to Mixture for the tenor-C 2 ⁄3′ partial, the wind to the pipe such that it has a play. The unifi cation of the stops is musi- thus only needing the additional 37 3 From the organbuilder gentle attack and release. With this cally invisible. small pipes of the TC 1 ⁄5′ to be inde- I recently agreed with a colleague action, borrows are economical while Kegg organs of this size are surprising pendent for this stop, and these pipes who said you can determine a pipe retaining integrity of pipe speech. Unity because they give the player and the lis- can be bold. Thus we have a strong organ builder’s priorities by the design of speech is assured, regardless of the tener the impression that they are larger leading solo voice that takes little room of his smaller instruments. Large instru- size of the instrument, or how many than they actually are. Several key design in the organ, plus it is another sound ments are easier to design because you stops and couplers are in use. features contribute to this, including that is not expected in an instrument of have all the sounds required. Nothing Our new instrument for Sacred musical effects that are usually found 12 stops. needs to be left out; the only decision Heart Church in New Philadelphia, only on larger instruments. Some of Another signifi cant and unusual is where to place everything. In smaller Ohio is an example of what I consider these design features are effective swell sound in this organ is the 16′ Violone. instruments, decisions must be made close to ideal for a parish church. At 12 shades, a string celeste pair that are not This stop is an extension of the Viole regarding how to best use the resources stops and 15 ranks, it is not small. It is too soft, more than one enclosed reed and is slender in scale in the Cavaillé- available, and these reveal just what is large enough to include a great deal stop, at least one reed stop that continues Coll tradition. It is entirely enclosed most important to the builder. While our of color and variety, while still being to 16′ completely within the swell box, within the swell box. The incisiveness of fi rm has built many large pipe organs, affordable, and it can physically fi t into and if possible, a special sound that is not this stop blends well with the substan- we have made something of a name for many spaces. The key to successful expected from a smaller instrument. In tial Bourdon. It is a very present help ourselves with our smaller instruments, unit organ design is restraint, careful the case of the Sacred Heart organ, we when registering an intriguing Pedal and it is in these instruments where you scaling, and of course fi nish voicing of have all of these things. line. It would be a welcome addition to can discover our personal priorities for a the organ in its fi nal location. Scaling The organ is entirely enclosed, with any instrument, but particularly in one parish pipe organ. of the pipes must be treated differently the exception of the 8′ Great Principal where only a single 16′ Bourdon is usu- Some builders would say that any for a successful result on an extended and the 16′ Pedal Bourdon. The effec- ally found. organ of 12 stops would be simply 12 set of pipes. It is a different treatment tive swell shades allow the strings to While this instrument would be effec- stops. Since I was a young man discov- than you would give to the same pipes be more aggressive because you have tive in an intimate room, Sacred Heart ering the pipe organ, I have always felt for a straight stop, and it eliminates the control over them. The 8′ stops are of Church seats approximately 400 people, that the best use of funds, and the desire “unit” sound that older highly unifi ed similar volume, allowing combinations was built in the early 20th century, and for an interesting specifi cation, indicate organs usually exhibit. to blend while retaining individual enjoys a superb acoustic with an empty that careful borrowing of stops between The stoplist of a successful unit organ color. The Spitzfl ute’s milky sound gives reverberation time in excess of three manuals and pedal was the better design must contain a core ensemble that is the impression of a very soft stop with seconds. Placement is ideal, high in the choice for the smaller instrument than essentially straight. In the design of this the shades closed. Having a Trumpet rear gallery. The gallery is rather shal- the academic approach. To do this organ, the Great contains a chorus of and an Oboe on an organ of 12 stops low and there is a fi ne rose window that requires some kind of unit windchest 16-8-4-IV with no borrowing. There are is a happy discovery for the musician. commands respect. Conventional wis- action. Many years ago I chose to work two fl ute ranks of different character. The One reed stop doesn’t have to play all dom would place the organ case in the with the all-electric unit action to see if it wood Gedeckt is typical. The Spitzfl ute is the reed parts. The Oboe can be gentle, center, as was the previous instrument. could be built such that the undesirable delicate in the bass and increases in vol- while the Trumpet can shine. You are Because the gallery is only 10 feet deep, pipe speech characteristics associated ume as you ascend the scale. This makes not limited to one “medium” stop try- even a reasonably shallow organ case with this action could be corrected with a softer 8′ that can still sit above the ing to be all things for all music. Having would mean that the choristers would careful execution. This action offers Gedeckt well when used at the 4′ pitch, the Trumpet extended to 16′ pitch and be divided on either side of the case and/ complete freedom of chest layout, and and also provides a sparkling 2′. Note enclosed provides the exciting sound of or console and not be able to hear each it can offer long, trouble-free life. After that the fl utes are distributed differently fi ery reeds behind closed shades that is other well. The solution was to place the research and development and years of on each manual. Unifi cation is minimized frequently heard only on larger instru- organ case entirely on one side, rather use, the Kegg all-electric action is now within each manual and the sounds, both ments. An additional special sound on than in the center. This clears sight lines

Kegg Pipe Organ Builders

GREAT SWELL PEDAL 16′ Violone 73 pipes 8′ Gedeckt 73 pipes 32′ Resultant (from Bourdon 16′) 8′ Principal* 61 pipes 8′ Viole (Great) 16′ Bourdon 44 pipes 8′ Spitzfl ute 73 pipes 8′ Viole Celeste TC 49 pipes 16′ Violone (Great) 8′ Viole (ext) 4′ Principal (Great 4′ Octave) 8′ Principal (Great) 8′ Viole Celeste TC (Sw) 4′ Spitzfl ute (Great 8′ Spitzfl ute) 8′ Bourdon (ext) 2 1 4′ Octave 73 pipes 2⁄3′ Nazard TC (ext 1 ⁄3′) 8′ Viole (Great) 4′ Gedeckt (Sw) 2′ Octave (Great 4′ Octave) 8′ Gedeckt (Swell) 1 2′ Flute (ext Spitzfl ute) 1⁄3′ Quinte 49 pipes 4′ Octave (Great 8′ Principal) II Sesquialtera TC 37 pipes 16′ Bassoon TC (ext Oboe) 16′ Trumpet (ext, Swell) 12 pipes and from Mixture 8′ Trumpet 73 pipes 8′ Trumpet (Swell) IV Mixture 244 pipes 8′ Oboe 61 pipes 4′ Clarion (Swell) 8′ Trumpet (Sw) 4′ Clarion (ext Trumpet) 4′ Oboe (Swell) 8′ Oboe (Sw) Tremulant Great to Pedal 8 Chimes (Deagan, 21 notes) Swell to Swell 16 Great to Pedal 4 Great 4 Swell Unison Off Swell to Pedal 8 Swell to Great 16 Swell to Swell 4 Swell to Pedal 4 Swell to Great 8 Swell to Great 4 Eagle * Unenclosed

26 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM Façade and pipe shade panel for the window and keeps musicians bench is adjustable, and there is a large, together, leaving all remaining space in center pencil drawer. one contiguous block. The choirs are The Sacred Heart organ is an instru- already enjoying their new together- ment that has a wide dynamic range, ness, with confi dence and blend being provides warmth, fi re, and excitement immediately elevated. The free-standing for homophonic music, two contrasting case is away from each wall, leaving choruses for polyphonic music, and bal- an insulating space. Every part of the anced independence for trios. Its reeds instrument has a roof over it. These help provide color and fi re. Its fl utes and greatly with tuning stability, projection, strings are full of warmth and sparkle. In and blend. an age when substitute instrument deal- The organ case has several features ers would have you believe that you must of note. On the long side is a pipe have three manuals and 75 stops to play shade panel that has carved and gilded a hymn, it is gratifying to build, play, and representations of the symbols of the listen to an instrument of only 12 stops four Apostles: Matthew, Mark, Luke, that is so satisfying. and John. They are, in order: a human No pipe organ project can come to form, a lion, a bull, and an eagle. These be without the support of clergy and appear on the capitols of each column in the enthusiasm of musicians. Father Jeff Nave the church, which served as the inspira- Coning has been an unending fount of tion for these particular examples. The fi rm support for both his staff and this forward-facing façade will have a pipe project. Music director Beth Fragasse shade that will be an illumination. It is has led the project with understated being created now by Jed Gibbons of elegance, and always in a straight line Chicago and will be installed in the com- toward the conclusion. To them and the ing weeks. The corner tower extends congregation of Sacred Heart parish we the visual height of the case. Wanting shall be always grateful. the organ to visually balance this tall We invite you to come see this new- room, I designed the 8′ Principal with est addition to the Kegg family and to long feet and forced length. The tallest explore further on our website our ideas pipe in this tower is almost 16′ in length. for organs of all sizes. The forward façade is speaking, the side —Charles Kegg façade is mute. All pipes are polished, to refl ect the fi ltered color from the fi ne Kegg Pipe Organ Builders windows. The constant change in light Charles Kegg, President/Artistic Director is delightful. Philip Brown The console is our premium stepped- Michael Carden terrace drawknob design, with warm Joyce Harper LED lighting for music rack and pedal. Philip Laakso It is movable and includes a comprehen- Thomas Mierau sive combination system with unlimited Bruce Schutrum piston memory, performance record/ playback, and transposer. Manual keys [email protected] are wood with bone and rosewood cov- 330/877-8800 erings. As with all our instruments, the www.keggorgan.com

Sacred Heart Church, New Philadelphia, Ohio

Tonal Resources Reversibles 15 ranks Great to Pedal thumb & toe 12 stops Adjustable Full Organ thumb & toe 922 pipes Accessories Adjustable Combinations Expression pedal 30 memories per user Crescendo pedal with numeric indicator Unlimited users Concave and radiating pedal clavier Great 1–5 thumb Adjustable bench Swell 1–5 thumb Transposer Pedal 1–3 toe Full Organ indicator light General 1–8 thumb & toe Drawknob console, all-electric, detached. General Cancel thumb Pakkawood drawknobs. Console case, Set thumb bench, and pedalboard of oak. Range thumb Manual naturals covered in bone, sharps of Clear thumb rosewood. Pedal sharps of rosewood, natu- Undo thumb rals of maple.

Organ installed in rear gallery

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2012 Q 27 New Organs

Leek Pipe Organ Company, Bellows Oberlin, Ohio Little has changed in (reliable) re- St. Luke’s Lutheran Church, leathering since the beginning of organ North Baltimore, Ohio building itself. We still use hyde glue and The Leek Pipe Organ Company of a traditional time-tested method of re- Oberlin, Ohio has renovated the 1942 leathering at our shop. After the bellows Schantz organ at St. Luke’s Lutheran is completely disassembled, we go about Church in North Baltimore, Ohio. removing all the old leatherback, canvas, “All for the Glory of God” was Pastor and glue. In order to ensure a good Mineo’s passionate call to his fl ock for the bond for the new canvas and leather, it organ rededication service and the 115th is critical that every last spot of material anniversary celebration at St. Luke’s is removed from the ribs, body, and lid Lutheran in North Baltimore, Ohio. The of the bellows. Over the years we have sounds of the organ and enthusiastic developed a system to do this effi ciently. choir fi lled the church with celebra- Once prepped, new canvas and leather Completed console Lead tubing, before tion. As a member of the Northwestern is cut and applied. This is a two-person Ohio Synod of the Evangelical Lutheran project: one person keeps the rag hot so Church in America, St. Luke’s serves a that the glue stays activated for the other small but important area of North Balti- person, who ensures that the canvas and more, Ohio and surrounding cities. The leather belts are properly placed. Once city of North Baltimore is poised to grow re-leathered, the bellows sit overnight to into a key commercial center due to the dry and be tested in the morning. recent addition of a CSX depot. At the time that we performed an Windchests inspection on St. Luke’s Schantz organ in The organ is highly unifi ed, but takes early 2012, there were problems caused advantage of an electro-pneumatic by deteriorated leather in the bellows pouchboard and lead tube system. One and windchests, and an antiquated (the of the more challenging aspects of the original) control system in the console. It renovation was replacing lead tubing. was time to move forward with a thor- Such was a hallmark of earlier 20th- ough renovation of the instrument. century Schantz windchests. Prior to this, Schantz built tubular-pneumatic Clearing the chambers organs, with long runs of lead tubing The organ is housed in a single cham- from console to windchests. The photos ber behind the choir loft in the church’s show before and after their replacement. Organ chamber Lead tubing, after rear gallery. The church itself is an The original chest magnets, made of A-frame structure with a pitched timber Bakelite, were replaced with new Reis- ceiling, which provides ample acoustic ner magnets. New runs of copper com- processor. This data cable contains only enthusiastic litany, which moved the for the small instrument, despite its bur- mon line and escutcheon pins were also eight wires and replaces the bundles of congregation to respond, “All to the ied location. installed to ensure reliable operation. hundreds of electrical conductors that glory of God!” The pipe organ too was We began the project immediately in Finally, pouchboards were removed, were needed when the organ was built. poised to add its sounds for the glory of order to meet the time requirements of stripped, and releathered. Our resident New chrome toe pistons were God for many years to come. the church’s leaders and musicians. The wood shop expert, Jeff, has designed installed and a ten-level memory control —Natalie Leek, vice president fi rst step involved removing all the pipes, a jig that ensures extremely reliable included. The pedalboard was re-felted James Clouser, organist/consultant bellows, windchests, and electrical sys- tolerances for the new leather pouches. and all worn pedal keys were recapped tems from the chamber. The components Because of this, we never once had a with maple. New wiring was installed in Leek Pipe Organ Company were then shipped back to our shop in cipher due to expanding and contracting the keyboards and the pedal contacts and 14477 State Route 58 Oberlin, Ohio. After the chamber was of the leather, neither in testing prior to the stop keys were wired out to a fused Oberlin, Ohio 44074 entirely cleared, we went to work clean- installation nor anytime thereafter. wiring harness. A new music light was 440/775-4111 www.leekpipeorgans.com ing years of dust and debris—a job that is integrated into the music rack to blend not much fun, but does help to guarantee Pipework with the style of casework and new bench Originally from Mumbai, India, Natalie that ciphers won’t occur once the chests While the windchests were being blocks were made for organists with long Leek moved to the United States in 1991. She are re-leathered. We also installed a new rebuilt, pipes were also being cleaned legs. After that, the console was tested has a graduate degree in Business Manage- lighting system in the chamber, replacing and repaired, and voicing was corrected in the shop prior to re-installation in the ment from Case Western Reserve University an unhelpful single 60-watt bulb in the when needed. The Stopped Diapason church rear gallery. and over 20 years of experience in Human middle of a large room. pipes were checked for overturned The console was returned to the Resource Management and Marketing. Until 2008 she worked full-time as a senior assis- Finally, we removed the organ console screws, cracks, and loose stoppers. Given church, hoisted back into the rear tant director of admissions at Oberlin College from the fl oor of the rear gallery with the age of the instrument, the stoppers gallery with our convenient lift, and of Arts and Sciences. Since her marriage to a hydraulic lift. Our cabinetmaker, Jeff for this rank were complete releathered networked to a second solid-state sys- James Leek in 2002, she has apprenticed with Green, had to produce a platform for the to ensure that tuning would remain sta- tem in the chamber. After wiring all of him for a year and also worked part-time in console while it was still in the gallery, ble following the installation. The pipes the windchests to the chamber planes, the company, in addition to her job at Oberlin College. She has worked hands-on with the so that it could be correctly positioned to were, in general, in good shape so that we completed an extensive testing and pipe organs the fi rm services. As a 30-year move from the fl oor of the gallery to the not much repair was necessary. commissioning process to be sure that yoga practitioner, she integrates the best of the fork of the lift. Once strapped down, we “all systems were go.” After all the com- east and the west in her work and life. were able to turn a handle on the lift and Console and solid-state system ponents were reinstalled in the church slowly lower the console to the ground. The two-manual console has a horse- organ chambers, the organ was prepared James Clouser attended Hiram College and the Cleveland Institute of Music, studying or- The unit also doubled as a dolly, which shoe-styled nameboard layout, which for a test drive by the organist and offi cial gan performance with Sandra Tittle and Todd allowed us to easily roll the console out is typical of this vintage and builder. A completion of the project. Wilson, respectively. He is a member of the the door and into the truck. brand-new solid-state control system was The organ was rededicated with guest Cleveland AGO chapter and is currently serv- Once all the components were back installed with compatible engraved stop organist James Clouser during Sunday ing a term on the chapter’s executive commit- at the shop, we got to work releather- keys. The rebuilt console is controlled by worship services on August 5, 2012. The tee. He holds the Guild’s Colleague (CAGO) ing bellows and rebuilding windchests. its own solid-state processor and has its service was fi lled with inspiring music and Choir Master (ChM) certifi cates and won fi rst prize in the 2003 AGO/Quimby Region Meanwhile, Solid State Organ Systems own independent power supply. All con- and powerful preaching on community V Competition for Young Organists. He has was busy at work designing a new con- sole inputs are relayed to the pipes via a and the power of music. At the end of worked with the Leek Pipe Organ Company trol system. data cable linked to the organ chamber the homily, Pastor Mineo prayed an since 2007 in several different roles.

Leek Pipe Organ Company St. Luke’s Lutheran Church, North Baltimore, Ohio

GREAT SWELL PEDAL Summary Couplers 8′ Open Diapason* 16′ Bourdon** 16′ Bourdon** 8′ Salicional 73 pipes Great to Pedal 8, 4 8′ Stopped Diapason** 8′ Open Diapason* 8′ Dolce Flute** (lower 12 notes are 8′, 4′ Open Diapason 85 pipes Swell to Pedal 8 8′ Dulciana 8′ Stopped Diapason** in an offset chest, and also act as the 16′–2′ Flute 97 pipes Swell 16-UO-4 4′ Octave* 8′ Salicional low octave of the Open Diapason 8′) 8 Dulciana 61 pipes Great 16-UO-4 4′ Flute* 4′ Flute d’Amour** Chimes 21 tubes Swell to Great 16-8-4 2 Chimes** 2⁄3′ Nazard** * = from the Diapason 8′ 2′ Flautina** ** = from the Flute 16′ 11 pistons (5 per manual + 6 general) Set and General Cancel Tutti piston 2 reversible pistons needed Expression shoes: Crescendo, Swell

28 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN This calendar runs from the 15th of the month of 19 DECEMBER Park Ridge Presbyterian Church issue through the following month. The deadline is the Haddonfi eld Memorial High School Mad- Park Ridge, IL GRACE CHURCH fi rst of the preceding month (Jan. 1 for Feb. issue). All rigal Singers; Longwood Gardens, Kennett Pickle Piano & Church Organs NEW YORK events are assumed to be organ recitals unless otherwise Square, PA 7 pm, 8 pm indicated and are grouped within each date north-south Bloomingdale, IL Joseph O’Berry; Visitor Center, Old Sa- and east-west. •=AGO chapter event, • •=RCCO centre event, +=new organ dedication, ++= OHS event. lem Museums & Gardens, Winston-Salem, Information cannot be accepted unless it specifi es NC 12 noon artist name, date, location, and hour in writing. David Lamb, Matt Dickerson, Travis Christopher Babcock Multiple listings should be in chronological order; please Person, Lee Barlow, & Tom Nichols; In- do not send duplicate listings. THE DIAPASON regrets diana Landmarks Center, Indianapolis, IN that it cannot assume responsibility for the accuracy of 7 pm St. Andrew’s by the Sea, calendar entries. Rudolf Zuiderveld, with cantor; First Hyannis Port Presbyterian, Springfi eld, IL 12:15 pm UNITED STATES East of the Mississippi 20 DECEMBER Frederic Green, harpsichord; First Church, Boston, MA 12:15 pm 15 DECEMBER Britten, Ceremony of Carols; St. Thomas Dean W. Billmeyer GAVIN BLACK Martin Jean; Marquand Chapel, Yale Church Fifth Avenue, New York, NY 5:30 pm Princeton Early Keyboard Center University, New Haven, CT 5 pm Christmas concert; St. Patrick’s Cathe- University of Minnesota Gail Archer, with Barnard-Columbia dral, New York, NY 7 pm 732/599-0392 Chorus; Union Theological Seminary, New Handel, Messiah; Carnegie Hall, New Minneapolis 55455 • [email protected] www.pekc.org York, NY 8 pm York, NY 8 pm Georgia Boy Choir; Peachtree Road Upper Darby High School Encore Sing- United Methodist, Atlanta, GA 7 pm ers; Longwood Gardens, Kennett Square, Holiday concert; Glenview Community PA 7 pm, 8 pm Church, Glenview, IL 7 pm Byron L. Blackmore THOMAS BROWN Julane Rodgers, harpsichord; Christ UNIVERSITY Chicago Chamber Choir; St. Paul’s Church, Bradenton, FL 12:15 pm Crown of Life Lutheran Church United Church of Christ, Chicago, IL PRESBYTERIAN CHURCH 3 pm 21 DECEMBER Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Lakeside Singers; Wentz Concert Hall, Rich Spotts; Trinity Church, Copley 623/214-4903 ThomasBrownMusic.com Naperville, IL 8 pm Square, Boston, MA 12:15 pm Charles Miller; National City Christian 16 DECEMBER Church, Washington, DC 12:15 pm Christmas Concert; St. Anthony of Pad- Quire Cleveland; Trinity Cathedral, ua Church, New Bedford, MA 3 pm Cleveland, OH 7:30 pm David Chalmers DELBERT DISSELHORST Scott Lamlein, with trumpet; First Con- David Lamb, Matt Dickerson, Travis Concert Organist gregational, Bristol, CT 11:30 am Person, Lee Barlow, & Tom Nichols; First GLORIÆ DEI CANTORES Professor Emeritus David Baskeyfi eld; Reformed Church of United Methodist, Columbus, IN 7 pm University of Iowa–Iowa City the Tarrytowns, Tarrytown, NY 5 pm Orleans, MA Lessons & Carols; St. Vincent Ferrer 22 DECEMBER Church, New York, NY 3 pm Quire Cleveland; Trinity Cathedral, Cleveland, OH 7:30 pm 8th Annual Carol Sing; Madison Avenue AMES ORROH, AAGO, PhD STEVEN EGLER Presbyterian, New York, NY 3 pm Do-It-Yourself Messiah; Glenview Com- J D munity Church, Glenview, IL 7:30 pm Central Michigan University Candlelight Carol Festival; Riverside Saint Luke’s Episcopal Church Mt. Pleasant, Michigan Church, New York, NY 3:30 pm, 6 pm 23 DECEMBER Samford University Artist in Residence Britten, A Ceremony of Carols; Grace First Congregational Church Handel, Messiah; Carnegie Hall, New Birmingham, Alabama Church, New York, NY 4 pm Saginaw, Michigan York, NY 8 pm David Lamb; St. Mary the Virgin Church, Organ Consultant Organ Recitals [email protected] Advent Lessons & Carols; St. John’s New York, NY 4:40 pm Episcopal, Hagerstown, MD 10:15 am William Wisnom; St. Thomas Church Quire Cleveland; Trinity Cathedral, Fifth Avenue, New York, NY 5:15 pm A Professional Card in Cleveland, OH 3 pm JOHN FENSTERMAKER Candlelight Procession and Advent Les- Candlelight Service of Nine Lessons The Diapason sons & Carols; St. Mary’s Parish, Burling- & Carols; Christ Church Grosse Pointe, TRINITY-BY-THE-COVE For rates and digital specifi cations, ton, NJ 4 pm Grosse Pointe Farms, MI 4:30 pm contact Jerome Butera Crescent Singers; Crescent Avenue John W. W. Sherer; Holy Name Cathe- 847/391-1045 Presbyterian, Plainfi eld, NJ 5 pm dral, Chicago, IL 3:30 pm NAPLES, FLORIDA [email protected] Lessons & Carols; Cathedral of Mary Our Candlelight Service of Carols; First Pres- Queen, Baltimore, MD 5 pm byterian, Springfi eld, IL 10:30 am Lessons & Carols; St. Paul’s Episcopal, Greenville, NC 5 pm 24 DECEMBER Lessons & Carols for Advent; Christ Lessons & Carols; Grace Church, New STEPHEN HAMILTON WILL HEADLEE Church, Bradenton, FL 11 am York, NY 8 pm recitalist–clinician–educator 1650 James Street Mark Jones, with choirs and orchestra; Lessons & Carols; Camp Hill Presbyte- Syracuse, NY 13203-2816 First Presbyterian, Pompano Beach, FL rian, Camp Hill, PA 5 pm, 7 pm, 9 pm www.stephenjonhamilton.com 4 pm Lessons & Carols; First United Method- (315) 471-8451 Lessons & Carols; Peachtree Road Unit- ist, Columbus, IN 11 pm ed Methodist, Atlanta, GA 5:30 pm Lessons & Carols; Midway Presbyterian, 25 DECEMBER Gary L. Jenkins Midway, KY 4:30 pm Jeremy Filsell; Washington National Ca- ANDREW HENDERSON, DMA Central Presbyterian Church thedral, Washington, DC 5:15 pm Advent/Christmas cantata; St. Andrew Madison Avenue Presbyterian Church Director, Schmidt Concert Series Lutheran, Mundelein, IL 8:30 am 26 DECEMBER New York, NY Carmelite Monastery Chicago Chamber Choir; Our Lady of the Curator of Organs Brook, Northbrook, IL 3 pm John Coble; Visitor Center, Old Salem Museums & Gardens, Winston-Salem, NC www.andrewhenderson.net Rose-Hulman Institute of Technology Pergolesi, Magnifi cat; Edgebrook Com- Terre Haute, Indiana munity Church, Chicago, IL 10 am 12 noon Simone Gheller; Madonna della Strada 28 DECEMBER Chapel, Loyola University, Chicago, IL Iris Lan; Trinity Church, Copley Square, 3 pm Boston, MA 12:15 pm David Jonies; Holy Name Cathedral, John W. W. Sherer; Fourth Presbyterian, David Herman Chicago, IL 3:30 pm Chicago, IL 12:10 pm Trustees Distinguished Professor Emeritus of Music and University Organist

17 DECEMBER 30 DECEMBER The University of Delaware Q [email protected] Bach, Cantata 40, Lutheran Missa in F; John Alexander; Washington National St. Paul’s Chapel, Trinity Wall Street, New Cathedral, Washington, DC 5:15 pm York, NY 1 pm Karen Beaumont; St. Casimir’s Roman LORRAINE BRUGH, Ph.D. Handel, Messiah; Carnegie Hall, New Catholic Church, Milwaukee, WI 4 pm York, NY 8 pm Lessons & Carols; St. Simon’s Episcopal, Wilmington Handbell Ensemble; Long- Arlington Heights, IL 8 am, 10 am Associate Professor wood Gardens, Kennett Square, PA 7 pm, 8 pm 31 DECEMBER University Organist Cathedral Choir and Orchestra; Cathe- 18 DECEMBER dral of St. John the Divine, New York, NY Valparaiso University Ray Cornils, with brass, chorus, and 7:30 pm Valparaiso, IN handbells; Cathedral of St. Luke, Portland, Dionisio Lind, carillon; Riverside www.valpo.edu ME 7:30 pm Church, New York, NY 10:30 pm Valley Forge Chorale; Longwood Gar- Christopher Johnson; Riverside dens, Kennett Square, PA 7 pm, 8 pm Church, New York, NY 11 pm 219-464-5084 Carol McNally, with harp; Park Congre- William Trafka; St. Bartholomew’s, New [email protected] gational, Grand Rapids, MI 12:15 pm York, NY 11 pm

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2012 Q 29 CALIFORNIA LUTHERAN UNIVERSITY Calendar Visit The Diapason Kyle Johnson, DMA 2 JANUARY 16 JANUARY website: University Organist Karen Beaumont; St. John’s on the Kent Tritle; Cathedral of St. John the Di- www.TheDiapason.com 

r
LFKPIOT!DBMMVUIFSBOFEV Lake, Milwaukee, WI 4 pm vine, New York, NY 7:30 pm www.callutheran.edu Baroque Band; Grainger Ballroom, Sym- 3 JANUARY phony Center, Chicago, IL 7:30 pm Ian Watson, harpsichord; First Church, Boston, MA 12:15 pm 18 JANUARY Pavel Kohout; Trinity Church, Copley KIM R. KASLING 4 JANUARY Brian Jones Square, Boston, MA 12:15 pm D.M.A. Amanda Mole; Trinity Church, Copley Director of Music Emeritus Maryland State Boychoir; Emmanuel St. John’s University Square, Boston, MA 12:15 pm TRINITY CHURCH George Walton Comprehensive High Church, Chestertown, MD 7:30 pm Collegeville, MN 56321 School Choir; St. Patrick’s Cathedral, New Todd Wilson; St. Mary of the Immacu- BOSTON York, NY 4 pm late Conception Catholic Church, Freder- Paul Jacobs; St. Elizabeth Ann Seton icksburg, VA 8 pm Parish, Carnegie, PA 7 pm The Westminster Choir; St. Peter in Chains Cathedral, Cincinnati, OH 7:30 pm JAMES KIBBIE 5 JANUARY Baroque Band; Music Institute of Chi- The University of Michigan Evensong; Emmanuel Church, Chester- cago, Evanston, IL 7:30 pm Ann Arbor, MI 48109-2085 town, MD 6 pm ORGAN CONSULTANT Gail Archer; Calvary United Methodist, 19 JANUARY 734-764-1591 FAX: 734-763-5097 www.gabrielkney.com Lake Worth, FL 3 pm Isabelle Demers; Verizon Hall, Kimmel email: [email protected] Center, Philadelphia, PA 3 pm 6 JANUARY Bruce Neswick, music festival; Bryn Pittsburgh Camerata; Shadyside Presby- Mawr Presbyterian, Bryn Mawr, PA 11 am David K. Lamb, D.Mus. A Professional Card in terian, Pittsburgh, PA 4 pm •Dan Schwandt, service playing work- Jangoo Chapkhana; Washington Na- shop; Augustana Chapel, Lutheran School The Diapason tional Cathedral, Washington, DC 5:15 pm Director of Music/Organist of Theology, Chicago, IL 10 am For rates and digital specifi cations, Epiphany Procession; Christ Church First United Methodist Church contact Jerome Butera Baroque Band; Augustana Lutheran, Columbus, Indiana Grosse Pointe, Grosse Pointe Farms, MI 847/391-1045 4:30 pm Chicago, IL 7:30 pm 812/372-2851 [email protected] Rebecca Visser; House of Hope Presby- 20 JANUARY terian, St. Paul, MN 4 pm Paul Cienniwa, harpsichord; Amherst 7 JANUARY Town Library, Amherst, NH 4 pm Master Chorale of South Florida; Span- John Richardson; St. Thomas Church ish River Church, Boca Raton, FL 8 pm Fifth Avenue, New York, NY 5:15 pm Benjamin Straley; Washington National 8 JANUARY Cathedral, Washington, DC 5:15 pm Master Chorale of South Florida; Span- Frederick Teardo; Christ Church, Bra- ish River Church, Boca Raton, FL 8 pm denton, FL 4 pm Tom Trenney, recital and silent fi lm ac- Christopher Houlihan; Church of the companiment; St. Simons Presbyterian, St. Redeemer, Sarasota, FL 3:30 pm, 7:30 pm Simons Island, GA 7:30 pm Choral Evensong; Christ Church Grosse Peter Kurdziel; Park Congregational, Pointe, Grosse Pointe Farms, MI 4:30 pm ANDREW PAUL MOORE Grand Rapids, MI 12:15 pm A.S.C.A.P. Rick Erickson; Christ Church Cathedral, FELLOW, AMERICAN GUILD OF ORGANISTS Indianapolis, IN 4:30 pm CHRIST CHURCH 9 JANUARY Katie Minion; Madonna della Strada 345 SADDLE LAKE DRIVE Master Chorale of South Florida; Boca ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS Raton Community Church, Boca Raton, Chapel, Loyola University, Chicago, IL 3 pm (770) 594-0949 FL 8 pm Keith McNabb, Leon Nelson, & Rich Spantikow; Southminster Presbyterian, 10 JANUARY Arlington Heights, IL 4 pm Master Chorale of South Florida; Span- Craig Cramer; Bethany Lutheran, Crys- LEON NELSON DOUGLAS O’NEILL ish River Church, Boca Raton, FL 8 pm tal Lake, IL 4 pm Cathedral of the Madeleine Aaron David Miller; Naples United Director of Traditional Music Church of Christ, Naples, FL 8 pm 21 JANUARY Southminster Presbyterian Church Salt Lake City, Utah Master Chorale of South Florida; Span- Arlington Heights, IL 60005 [email protected] 11 JANUARY ish River Church, Boca Raton, FL 8 pm 801/671-8657 Colin Lynch; Trinity Church, Copley Square, Boston, MA 12:15 pm 22 JANUARY Tom Trenney, silent fi lm accompani- The Nordic Choir; St. Bartholomew’s, MARILYN MASON ment; Trinity Episcopal, Vero Beach, FL New York, NY 7:30 pm CHAIRMAN, DEPARTMENT OF ORGAN 7:30 pm Master Chorale of South Florida; Span- UNIVERSITY OF MICHIGAN ish River Church, Boca Raton, FL 8 pm 12 JANUARY ANN ARBOR Joel Gary; Park Congregational, Grand Sarasota-Manatee Bach Festival; Church “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Rapids, MI 12:15 pm with awesome technique and a thrilling command of its daring writing.” of the Redeemer, Sarasota, FL 7:30 pm Alan Morrison The American Organist, 1980 Master Chorale of South Florida; Boca ; St. Agnes Catholic Raton Community Church, Boca Raton, Church, Louisville, KY 7:30 pm FL 2 pm Westminster Choir; Overture Hall, Mil- 24 JANUARY SYLVIE POIRIER waukee, WI 7:30 pm Paul Cienniwa, harpsichord, with ba- LARRY PALMER roque violin and recorder; First Church, PHILIP CROZIER 13 JANUARY Boston, MA 12:15 pm Professor of Tom Bell; St. Thomas Church Fifth Av- ORGAN DUO enue, New York, NY 5:15 pm 25 JANUARY Harpsichord and Organ Heinrich Christensen; Trinity Church, 3355 Queen Mary Road, Apt 424 Brink Bush; Washington National Ca- thedral, Washington, DC 5:15 pm Copley Square, Boston, MA 12:15 pm Meadows School of the Arts Montreal, H3V 1A5, P. Quebec Paul Jacobs; John Knox Presbyterian, David Higgs; Lutheran Church of the SOUTHERN METHODIST UNIVERSITY Canada Greenville, SC 3 pm Redeemer, Atlanta, GA 7:30 pm Sarasota-Manatee Bach Festival; Christ Bruce Neswick; St. Paul’s Episcopal, (514) 739-8696 Dallas, Texas 75275 Church, Bradenton, FL 4 pm Chattanooga, TN 7:30 pm Fax: (514) 739-4752 David Higgs, Barber, Toccata Festiva; Faythe Freese, with dancers; Moody Hill Auditorium, University of Michigan, Ann Musical Heritage Society recordings [email protected] Music Building, University of Alabama, Arbor, MI 4 pm Tuscaloosa, AL 4 pm Peter Richard Conte, with Detroit Sym- phony; University of Michigan, Ann Arbor, 26 JANUARY MI 4 pm Craig Cramer; Chapel of the Holy Spir- Choral Evensong; Christ Church Grosse it, Sacred Heart University, Fairfi eld, CT A four-inch Professional Card Pointe, Grosse Pointe Farms, MI 4:30 pm 7:30 pm Bach works; St. Luke’s Lutheran, Chi- Nicole Marane, with narrator and per- cago, IL 4 pm in THE DIAPASON cussion, Prokofi ev: Peter and the Wolf; 14 JANUARY Peachtree Road United Methodist, Atlanta, For rates and specifi cations Master Chorale of South Florida; Span- GA 10 am ish River Church, Boca Raton, FL 8 pm contact Jerome Butera 27 JANUARY 15 JANUARY Choir of First Church in Boston; First 847/391-1045 Master Chorale of South Florida; Span- Church, Boston, MA 1:30 pm ish River Church, Boca Raton, FL 8 pm King’s Chapel Choir; King’s Chapel, Bos- [email protected] Ken Cowan, with Lisa Shihoten, violin; ton, MA 5 pm Bower Chapel, Moorings Park, Naples, FL Super Bell XXI; First Church, Wethers- 7:30 pm fi eld, CT 4 pm

30 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Stephen G. Schaeffer Recitals – Consultations Gail Archer; Grace Church, Nyack, NY Handel, Messiah; Popejoy Hall, Univer- 4 pm sity of New Mexico Center for the Arts, Al- Cathedral Church of the Advent Harry van Wijk; St. Thomas Church Fifth buquerque, NM 3 pm Birmingham, Alabama Avenue, New York, NY 5:15 pm Lessons & Carols; St. Alphonsus Church, www.AdventBirmingham.org Christine Clewell; Washington National Ballard, WA 7 pm Cathedral, Washington, DC 5:15 pm Christoph Tietze; St. Mary’s Cathedral, David Arcus; Duke University Chapel, San Francisco, CA 3:30 pm Durham, NC 5 pm David Gell; Trinity Episcopal, Santa Bar- Nicholas E. Schmelter ROBERT L. Scott Hanoian, with Sounding Light; bara, CA 3:30 pm Christ Church Grosse Pointe, Grosse Director of Music and Organist SIMPSON Pointe Farms, MI 4:30 pm 18 DECEMBER First Congregational Church Christ Church Cathedral Stephen Schnurr; St. Mary of the Lake, Todd Wilson, with Pacifi c Symphony; Saginaw, Michigan 1117 Texas Avenue Gary, IN 3 pm Renee and Henry Segerstrom Concert Houston, Texas 77002 Timothy Strand; Como Park Lutheran, Hall, Costa Mesa, CA 7:30 pm St. Paul, MN 4 pm 19 DECEMBER Stephen Tappe ORGAN MUSIC OF THE SPANISH BAROQUE 28 JANUARY Michael Olson; First Lutheran, Fargo, John Scott; Mercersburg Academy, Mer- ND 12:45 pm Organist and Director of Music David Troiano cersburg, PA 7:10 pm Saint John's Cathedral DMA MAPM Scott Montgomery; Elliott Chapel, Pres- 21 DECEMBER Denver, Colorado byterian Homes, Evanston, IL 1:30 pm 586.778.8035 Christmas Festival of Lessons & Carols; www.sjcathedral.org St. Mark’s Episcopal Cathedral, Minneapo- [email protected] 29 JANUARY lis, MN 7:30 pm Jared Johnson; Memorial Church, Har- Lessons & Carols; St. Mark’s Cathedral, vard University, Cambridge, MA 7:30 pm Seattle, WA 7:30 pm Kent Tritle; First United Methodist, Sara- Marcia Van Oyen sota, FL 7 pm 22 DECEMBER Joe Utterback First United Methodist Church Janet Hamilton; Our Lady of Perpetual Lessons & Carols; St. Mark’s Cathedral, COMMISSIONS & CONCERTS Help Catholic Church, New Albany, IN 7 pm Seattle, WA 7:30 pm Plymouth, Michigan 732 . 747 . 5227 mvanoyen.com 30 JANUARY 23 DECEMBER Gail Archer; St. Paul’s Chapel, Columbia Mark Fideldy, with friends; Gethsemane University, New York, NY 7:30 pm Lutheran, Hopkins, MN 4 pm 31 JANUARY Christmas Festival of Lessons & Carols; David Wagner Paul Cienniwa, harpsichord; First St. Mark’s Episcopal Cathedral, Minneapo- DMA Kevin Walters Church, Boston, MA 12:15 pm lis, MN 5 pm Madonna University M.A., F.A.G.O. David Shuler; Church of St. Luke in the Britten, A Ceremony of Carols; Cathedral Livonia, Michigan Fields, New York, NY 8 pm of St. John, Albuquerque, NM 3:30 pm Christmas Lessons & Carols; Cathedral [email protected] Rye, New York of St. John, Albuquerque, NM 4 pm UNITED STATES Lessons & Carols; Benaroya Hall, Se- West of the Mississippi attle, WA 7 pm Angela Kraft Cross; St. Mary’s Cathe- Davis Wortman 15 DECEMBER dral, San Francisco, CA 3:30 pm KARL WATSON Christmas concert; Cathedral Basilica of Mahlon Balderston; Trinity Episcopal, St. James’ Church St. Louis, St. Louis, MO 8 pm Santa Barbara, CA 3:30 pm SAINT LUKE’S Houston Chamber Choir; Chapel of the New York Villa de Matel, Houston, TX 3:30 pm and 30 DECEMBER METUCHEN 7:30 pm David Hatt; St. Mary’s Cathedral, San New Mexico Philharmonic, Choirs of the Francisco, CA 3:30 pm Cathedral of St. John; Popejoy Hall, Univer- sity of New Mexico, Santa Fe, NM 6 pm 31 DECEMBER RUDOLF ZUIDERVELD Lessons & Carols; Trinity Lutheran, Lyn- Ars Lyrica Houston; Zilka Hall, Hobby RONALD WYATT nwood, WA 7:30 pm Center for the Performing Arts, Houston, Trinity Church Illinois College, Jacksonville TX 9 pm Galveston First Presbyterian Church, 16 DECEMBER Springfi eld Christmas concert; Cathedral Basilica of 2 JANUARY St. Louis, St. Louis, MO 2:30 pm Michael Olson; First Lutheran, Fargo, Houston Chamber Choir; Chapel of the ND 12:45 pm Villa de Matel, Houston, TX 3:30 pm and Charles Dodsley Walker, FAGO 7:30 pm 6 JANUARY Artist-in-Residence Founder/Conductor Polyphony: Voices of New Mexico; Las Scott Dettra; All Saints Episcopal, Phoe- Saint Luke’s Parish Canterbury Choral Society Placitas Presbyterian, Placitas, NM 3 pm nix, AZ 3 pm 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458

William Webber, C.A.G.O. Organist, First Christian Church, Danville, KY Instructor of Music & Religious Studies, + Maysville Community College ±1RsOVDQG&KRUDOHV«DFROOHFWLRQRIVHDVRQDOPHORGLHV Contact Bill at , HODERUDWHGLQWKH)UHQFKDQG*HUPDQWUDGLWLRQV * ±,QWHUQDWLRQDO+ROLGD\6DPSOHU«DPXOWLFXOWXUDO H[SORUDWLRQRIGLYHUVHPXVLFNVIRUWKH)HVWLYDORIWKH A two-inch Professional Card , 1DWLYLW\ 4 in The Diapason ±$Q$PHULFDQ2UJDQLVW¶V&KULVWPDV«SHUIRUPHUV For information on rates and specifi cations, contact Jerome Butera: ) FRPSRVHUVDUUDQJHUVDQGLQVWUXPHQWEXLOGHUVMRLQLQ [email protected] 847/391-1045 , SURYLGLQJPXVLFIRUWKHKROLGD\FHOHEUDWLRQ ±)URP(QJOLVK&KDSHOVDQG&DWKHGUDOV«JORULRXV 9 VRXQGVUHVRXQGLQKLVWRULFEXLOGLQJVWHVWDPHQWWRWKH DAVID SPICER ULFKQHVVRIDFHQWXULHVROGPXVLFDODUW First Church of Christ  ±$Q2UJDQLVWV

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2012 Q 31 Calendar Organ Recitals

Epiphany Lessons & Carols; St. Mary’s Gail Archer; St. Mary’s Cathedral, San 18 DECEMBER CHARLES BARLAND, Sinsinawa Mound Cathedral, San Francisco, CA 3:30 pm Francisco, CA 3:30 pm Robin Coxon; Marlborough Road Meth- Center, Sinsinawa, WI, June 27: Toccata, Ada- Nathan Laube; Walt Disney Concert odist, St. Albans, UK 12:30 pm gio, and Fugue in C, BWV 564, Bach; Andante Hall, Los Angeles, CA 7:30 pm 22 JANUARY Richard Hobson; Grosvenor Chapel, in F, K. 616, Mozart; Sonata No. 14 in C, op. Ken Cowan; Church of the Incarnation, London, UK 1:10 pm 165, Rheinberger. 9 JANUARY Dallas, TX 7 pm Michael Olson; First Lutheran, Fargo, 23 DECEMBER BR. BENJAMIN BASILE, C.PP.S., First ND 12:45 pm 23 JANUARY Kumiko Konishi; Monastero della Visi- Congregational Church, Michigan City, IN, Michael Olson; First Lutheran, Fargo, tazione, Pistoia, Italy 5 pm June 20: March of the Priests (Athalie, op. 13 JANUARY ND 12:45 pm Gerard Brooks; Methodist Central Hall, 74), Mendelssohn, arr. Bartlett; Aria, Manz; David Tryggestad; Sacred Heart Music Westminster, London, UK 3 pm Three Impromptus, op. 78, Coleridge-Taylor; Center, Duluth, MN 3 pm 25 JANUARY Irina Rozalova; Westminster Cathedral, Clair de lune (Suite bergamasque), Debussy, Jeremy Filsell; Texas Christian Univer- London, UK 4:45 pm arr. Richter; Rondeau (Premier Suite de Sym- 16 JANUARY sity, Fort Worth, TX 7:30 pm phonies), Mouret, arr. Gardner; Nun danket Michael Olson; First Lutheran, Fargo, Herndon Spillman; Christopher Cohan 25 DECEMBER alle Gott [Marche Triomphale], op. 65, no. ND 12:45 pm Center, Cal Poly State University, San Luis Jean-Christopher Geiser; Cathedral, 59, Karg-Elert. Jan Kraybill; Kauffman Center, Kansas Obispo, CA 8 pm Lausanne, Switzerland 5 pm City, MO 7 pm YOLLANDA BORNHOFF, Sinsinawa 27 JANUARY 30 DECEMBER Mound Center, Sinsinawa, WI, June 20: Duo, 18 JANUARY Thomas Murray; Highland Park Presby- Anna Picchiarini; Monastero della Visi- Basse et Dessus Trompette, Dialogue sur les David Cherwien, hymn festival; terian, Dallas, TX 4 pm, 7 pm tazione, Pistoia, Italy 5 pm Grand Jeux (Suite du Premier Ton), Cleram- bault; Preludium and Fugue in E-fl at, Bach; Mount Olive Lutheran, Minneapolis, MN Norma Aamodt-Nelson, with fl ute; Trin- Peter Holder; Westminster Abbey, Lon- Sonata in c, Reubke. 12:45 pm ity Lutheran, Lynnwood, WA 7 pm don, UK 5:45 pm Joyce Jones Chelsea Chen; Davies Symphony Hall, ; Christ Church Episcopal, PHILIP CROZIER, St. James United as Vegas, NV 7:30 pm San Francisco, CA 3 pm 31 DECEMBER Ken Cowan; Memorial Chapel, Univer- Jean-Christopher Geiser; Cathedral, Church, Montreal, QC, Canada, June 5: Al- Gail Archer; St. Mark’s Episcopal, Palo lein Gott in der Höh’ sei Ehr’, BWV 664, sity of Redlands, Redlands, CA 3 pm Lausanne, Switzerland 10:45 pm Alto, CA 8 pm Bach; Praeludium in e, Bruhns; Andante (Trois Voluntaries), Bédard; A Gigge–Doctor 19 JANUARY 30 JANUARY 6 JANUARY Michael Olson; First Lutheran, Fargo, Martin Baker; Westminster Cathedral, Bull’s my selfe, Bull; Canzona in C, BuxWV Tom Trenney, Organ crawl and dem- 166, Buxtehude; Fantaisie et fugue en si bé- ND 12:45 pm London, UK 4:45 pm onstration; Zion Lutheran, Houston, TX mol, Boëly; Pastorale, Fricker; Prélude et Kurt Ison; Westminster Abbey, London, 12:15 pm Fugue sur le nom d’Alain, op. 7, Durufl é. •Gail Archer, workshop; St. Mark’s Epis- INTERNATIONAL UK 5:45 pm copal, Palo Alto, CA 10 am MICHAEL J. ELSBERND, Sinsinawa 12 JANUARY Mound Center, Sinsinawa, WI, June 6: Con- 15 DECEMBER Olivier Latry; St. Albans Cathedral, St. 20 JANUARY certo No. 2 in B-fl at, Handel, transcr. Dupré; Andrew Parmley; St. Stephen’s Church, Albans, UK 5:30 pm Tom Trenney, service of worship; Zion London, UK 12 noon Fugue in g, BWV 578, Bach; Prélude Modal, Lutheran, Houston, TX 11 am Langlais; Jig in a, Harmon; Four Refl ections 13 JANUARY Tom Trenney, hymn festival; Zion Lu- on Slane, Elsbernd; Rhosymedre (Three Pre- 16 DECEMBER Martin Baker; Westminster Cathedral, theran, Houston, TX 4 pm ludes), Vaughan Williams; Final (Symphony Andrea Vannucchi; Monastero della London, UK 4:45 pm The Chenaults No. 3), Vierne. ; Christ Church Cathe- Visitazione, Pistoia, Italy 5 pm Peter Holder; Westminster Abbey, Lon- dral, Houston, TX 5 pm Ben Giddens; Westminster Cathedral, don, UK 5:45 pm Mel Butler, with Jillon Dupree, harpsi- London, UK 4:45 pm MARSHA FOXGROVER, Presbyterian Homes, Evanston, IL, June 25: Intermezzo chord; St. Mark’s Cathedral, Seattle, WA Robert Quinney, with oboe; Westmin- 20 JANUARY 2 pm ster Abbey, London, UK 5:45 pm (Symphonie VI, op. 42), Widor; Fantasia in f, Robert Quinney; Methodist Central Hall, K. 608, Mozart; Prelude on a Melody by Sow- Westminster, London, UK 3 pm erby, Simmons; Scherzo (Symphonie II, op. Peter Stevens; Westminster Cathedral, 20), Vierne; Meditation on ‘Akatombo’ (Three martin ott pipe organ London, UK 4:45 pm Japanese Sketches for Organ), Bovet; Ballade company Ryan Leonard; Westminster Abbey, Lon- inc. en Mode Phrygien, Alain; Fugue in g, op. 7, don, UK 5:45 pm no. 3, Dupré. 7408 Somerset Ave. St. Louis, MO 63105 314-504-0366 Phone 23 JANUARY FREDERICK FRAHM, First Presby- 801-756-5777 Martin Ott [email protected] Peter Holder; Reading Town Hall, Read- terian Church, Santa Fe, NM, June 15: www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com ing, UK 1 pm Dalby’s Fancy, Howells; Three Voluntaries, Frahm; Allegro Moderato (Sonatine in A, Member Firm: The Associated Pipe Organ Builders of America 27 JANUARY op. 74), Karg-Elert. Martin Baker; Westminster Cathedral, RANDALL DYER London, UK 4:45 pm ROBERT GANT, St. Matthew’s Lutheran & ASSOCIATES, INC. Martin Ford; Westminster Abbey, Lon- Church, Charleston, SC, June 1: Cortège et

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32 Q THE DIAPASON Q DECEMBER 2012 WWW.THEDIAPASON.COM Organ Recitals

BWV 614, Dies sind die heiligen zehen Gebot, grand orgue), Vierne, transcr. Durufl é; Live (Flores del Desierto: Tangos for Organ), (Three Preludes and Fugues, op. 99), Saint- BWV 679, Fugue in E-fl at, BWV 522,2, Bach; Wire, Farrington. Decker; Toccata, Adagio and Fugue in C, Saëns; Fantasy on Halleluja! Gott zu loben Es ist ein Ros’ entsprungen (Eleven Chorale BWV 564, Bach; Mourning Blues, Sixten; bleibe meine Seelenfreud!, op. 52, no. 3, Re- Preludes, op. 122), Brahms; Canon in A-fl at, MARSHALL MARTIN, St. James’ Angli- Variations on ‘Est-ce Mars?’, Sweelinck; ger; Rhosymedre (Three Preludes Founded on op. 56, no. 4, Schumann; Amazing Grace! can Church, Orillia, ON, Canada, July 4: Al- Partita on ‘A Mighty Fortress’, Clarke; Welsh Hymn Tunes), Vaughan Williams; Five How Sweet the Sound, Shearing, arr. Ridout; leluia (Five Liturgical Inventions for Organ), Prière, op. 108, no. 2, Jongen; Vif et impé- Dances for Organ, Hampton. The Peace May Be Exchanged (Rubrics), Togni; Fantasia on ‘Materna,’ Hughes/Mer- tueux (Deuxième symphonie), Fleury. Ayre for the Dance, Locklair; Irish Tune from ritt; Toccata, Letondal; Ecce jam noctis, Wil- DAMIN SPRITZER, First (Scots) Pres- County Derry, Grainger; Introduction and lan; Crown Imperial, Walton, arr. Murrill. JULIE PINSONNEAULT, St. James byterian Church, Charleston, SC, June 5: Passacaglia in f, op. 63, nos. 5 and 6, Reger. United Church, Montreal, QC, Canada, Improvisation sur le Te Deum, Tournemire, J. NIXON McMILLAN, Sinsinawa Mound June 12: 6e Sonate en ré mineur, op. 65, no. transcr. Durufl é; Sur le Rhin (24 Pièces de PIERRE GRANDMAISON, St. James Center, Sinsinawa, WI, June 13: Entrée, Of- 6, Mendelssohn; Le jardin suspendu, JA 71, fantaisie, op. 54), Vierne; Vater unser im Him- United Church, Montreal, QC, Canada, June fertoire, Elévation, Communion, Sortie (Dix Alain; An Wasserfl üssen Babylon, BWV 653, melreich, Böhm; Fantasia super: ‘Valet will 19: Sept Pièces en ut majeur et en ut mi- Pièces), Dubois; Trois Pièces, Franck. Prélude en do majeur, BWV 846, Bach; Pre- ich dir geben,’ BWV 735, Bach; First Sonata neur (L’Organiste), Trois Pièces pour Grand mier Choral en mi majeur, Franck. in G, op. 40, Becker. Orgue, Franck. PETER K. MILLER, St. Werburgh’s Church, Chester, United Kingdom, June 26: NAOMI ROWLEY, Holy Cross Catholic MARK STEINBACH, Cathedral Church EMMANUEL HOCDÉ, Cathédrale de Agincourt Hymn, Dunstable; Puer nobis nas- Church, Kaukauna, WI, June 27: Variations of St. Luke and St. Paul, Charleston, SC, June Chartres, Chartres, France, July 15: 1er mou- citur, Sweelinck; Canzona Seconda (Il Sec- on ‘The Old Hundredth,’ Bédard; Prelude 4: Transports de joie (L’Ascension), Messiaen; vement (Symphonie VI), Widor; Concerto en ondo Libro di Toccate d’intavolatura di Cem- and Fughetta in g, Willan; Three Gospel ‘Kleines’ Preludium in e, Bruhns; Variations on ré mineur, BWV 593, Bach; 2e mouvement balo e Organo), Frescobaldi; Es ist das Heil Preludes, Near; Allegro (Concerto in d), To- ‘Nun komm, der Heiden Heiland,’ Passacaglia (Symphonie III), Fauchard; Variations sur uns kommen her, Scheidemann; Sei gegrüsset, relli, arr. Walther; Cantilène, op. 29, no. 2, in C, Heiller; Dance Number 4, Glass. un thème de Clément Janequin, Alain; Final Jesu gütig, BWV 768, Bach; Cantabile en Si Pierné; Toccata et Grand Choeur sur ‘Veni (Symphonie eucharistique IV), Fauchard. Majeur (Trois Pièces), Franck; Rhosymedre Creator,’ Bédard. BRENNAN SZAFRON, with Rhea Ja- (Three Preludes Founded on Welsh Hymn cobus and Sally Frick, fl ute, and Brenda DAVID JONIES, Holy Name Cathedral, Tunes), Vaughan Williams; Sarabande (Land DAVID RUNNER & CARLENE EAST- Leonard, ’cello, Congregation Kahal Chicago, IL, June 19: Praeludium in E-Dur, of Rest), Final (Suite for Organ), Near. RIDGE, St. Matthew’s Lutheran Church, Kadosh Beth Elohim, Charleston, SC, June BuxWV 141, Buxtehude; Sonate Nr. 2, BWV Charleston, SC, June 7: Variations on an 1: Navarra, op. 33, Sarasate; Sonata No. 4 526, Bach; Requiescat in Pace, Fantasy for JONATHAN OLDENGARM, St. James Easter Theme, Rutter; Max Cat Rag (Organ in B-fl at, Mendelssohn; Trio Sonata in G, Flute Stops, Toccata, Sowerby; Choralvor- United Church, Montreal, QC, Canada, July Duets, No. 3), Dinda; An American Olio (or BWV 1029, Bach; In Mystery and Wonder, spiel über ‘O Salutaris Hostia,’ Saint-Saëns; 24: Cortège académique, MacMillan; Ca- ‘General Ruckus’), Borroff; Praise to the Lord, Locklair; Rigoletto Fantasie, op. 38, F. & Symphonie Nr. 6, op. 42, Widor. vatina in A-fl at, Wheeldon; 2. Allegretto, 4. the Almighty, Burkhardt; Martyrs, Leigh- K. Doppler. Andante, 7. Allegretto, 8. Adagio (10 petits ton; Prelude on ‘Cradle Song,’ op. 29, no. 1, YUN KYONG KIM, St. Matthew’s Lu- morceaux de différent caractères), Pelletier; Thomas; The Ride of the Valkyries, Wagner, MARIJIM THOENE, Assumption of Our theran Church, Charleston, SC, June 8: Toc- Prelude and Fugue in c, Willan; Oboe Tune arr. Dickson and Lockwood. Lady Church, Bialystok, Poland, July 13: cata, Paponaud; In Memoriam: Titanic, op. and Gavotte, France; Postlude (Scherzo), Praeludium pro Organo pleno, BWV 552,1 10, no. 1, Bonnet; Partite 1, 2, 3, 6, 7, 10, and Lavallée-Smith. ANDREW M. SCHAEFFER, St. Andrews Fuga a 5 con pedale, BWV 522,2, Bach; Ro- 12 (Sarabanda con Partite), BWV 990, Bach; Lutheran Church, Park Ridge, IL, June 24: manza, Twardowski; Suite Médiévale, Lan- Concert Etude on an Australian Folk Tune, ANDREW PETERS, St. John’s Lutheran Fantasy on Komm, heiliger Geist, Herre Gott, glais; Habakkuk, op. 434, Hovhaness; Magni- Ampt; Méditation (Trois Improvisations pour Church, Charleston, SC, June 6: Albarda BWV 651, Bach; Prelude and Fugue in B fi cat (Fifteen Antiphons, op. 18), Dupré.

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PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Let’s recap some favorite recent restorations: Dom Bedos de Celles: The Organ-Builder. Pamela Decker is featured on a new record- Harpsichord Technique: A Guide to Expres- Elgar’s “Chanson de Matin” and “Chanson de Damaged, unbound, 2-volume sets of the beauti- ing, Suite Dreams and Fantasies, Decker Plays sivity—2nd edition with CDs, by Nancy Nuit,” Eddy’s “Festival Prelude on Old Hun- fully printed English translation by Charles Fer- Decker, Volume 3, on the Loft label. Recorded Metzger, now reduced 30% at author’s dredth,” Nordman’s “Mélodie Lyrique,” Yon’s guson are available in very limited quantity. Origi- on the Flentrop organ at St. Mark’s Cathedral, website: www.rcip.com/musicadulce. “Humoresque,” Thayer’s “Variations on the Sicil- nally published 1776–1778 in four installments, Seattle, the program includes On This Day, ian Hymn,” Smart’s “Postlude in D,” and Diggle’s it includes information on geometry, mechanics, Earth Shall Ring (2009, five hymn-based “Dixie Scherzo.” michaelsmusicservice.com; and tools; detailed instructions for making all the works for Advent and Christmas), El Tigre 704/567-1066. parts of an organ; voicing, tuning, enlarging, and Free shipping in December on Pro Organo (2007), La Pantera (2009), Liturgical Suite maintaining a fi nished instrument; models of telephone orders—Browse and search more (2005, for right hand and pedal), Ave maris than 200 CD and DVD titles in the Pro Organo The OHS Catalog is online at www.ohscatalog. stoplists and a specimen contract for having an stella (2004), Jesu, dulcis memoria (2010), catalog at www.proorgano.com. Get free org. More than 5,000 organ and theatre organ organ built; how to test an organ; registration sug- and Golden Gates (2010). For information: priority mail shipping only when you place CDs, books, sheet music, DVDs and VHS vid- gestions. The instructions for translating printed www.gothic-catalog.com. your order by telephone during December for eos are listed for browsing and easy ordering. music into mechanical organ form give insights four or more “in stock” items, and when you Use a link for adding your address to the OHS into mid-18th century French performance mention THE DIAPASON. Place your order at Historic Organs of Seattle: A Young Yet Catalog mailing list. Organ Historical Society, Box practices. With minor damage (minimal stains on 800/336-2224 (in USA/Canada) or at 574/271- Vibrant History, is a four-disc set recorded at 26811, Richmond, VA 23261. E-mail: catalog@ some pages, a few creased pages) $250 per set. 9151. Free shipping offer begins December the 2008 OHS national convention, held in the organsociety.org. With moderate damage (more staining) $175 per 1 and ends on December 31, 2012. No split Seattle area. Nearly fi ve hours of music feature set. With severe damage (major ugly staining, shipments to more than one address. Orders historic organs by Aeolian-Skinner, Casavant, creases, perhaps a minor tear at a page edge) Ed Nowak, Chicago-area composer, arranger, received from 10 am to 10 pm EST daily. If you Hook & Hastings, and Hutchings-Votey, Kilgen, but still usable, especially the drawings and and church musician, announces his new web- do not get through, leave your number and Tallman, Woodberry, Hinners, Cole & Wood- scaling sheets from volume 2 to be used in the site, featuring Nowak’s original choral works, we’ll call you back! berry, plus instruments by Flentrop, C. B. Fisk, hymn concertatos, chamber and orchestral workshop, $95. Shipping costs are extra. Please and Rosales, and Pacifi c Northwest organbuild- works, organ hymn accompaniments, organ contact Bill Van Pelt 804/355-6386 or bill@ ers Paul Fritts, Martin Pasi, John Brombaugh, Breitkopf & Härtel announces the publication and piano pieces, electronic music, and psalm ravencd.com to order the damaged volumes, Richard Bond, and many more! Organists of Engel und Hirten (Angels and Shepherds), settings. The website offers scores and recorded which will be shipped by OHS. Undamaged and Douglas Cleveland, Julia Brown, J. Melvin But- examples that are easy to sample and can be 21 Choralvorspiele zu volkstümlichen Weih- hardbound, the 2-volume set sells directly from ler, Carole Terry, Bruce Stevens, and others are purchased in downloaded (PDF and MP3) or nachtsliedern für orgel, by Klaus Uwe Ludwig OHS for $550 to OHS members and $650 to featured on 24 pipe organs built between 1871 printed form. Visit ednowakmusic.com. (EB 8837, €12). Following on the heels of non-members (makes sense to join OHS for $60 and 2000. Includes 36-page booklet with pho- Sonne und Glanz (EB 8836), in which Ludwig or less and buy the book for $550) + $30 shipping tographs and stoplists. $34.95; OHS members: presented chorale preludes for special occa- in the U.S. (more outside U.S.) at 804/353-9226; $31.95. For info or to order: http://OHSCatalog. Certifi ed appraisals—Collections of organ sions, here he presents 21 organ preludes on books, recordings, and music, for divorce, www.ohscatalog.org. com/hiorofse.html. popular Christmas carols and hymns. In Engel estate, gift, and tax purposes. Stephen L. Pinel, und Hirten, Ludwig has made a broad selection Appraiser. [email protected]; 609/448-8427. Pipe Organs of the Keweenaw by Jan Dalquist, of pieces that goes beyond the hymns of the James Kibbie continues his annual holiday contains histories, stoplists, and photos of Evangelical Hymnal (and its regional sections). tradition of offering free downloads of a recording From Fruhauf Music Publications—Picardy, some of the historic organs of the Keweenaw The musical design is stylistically wide-ranging. on his house organ, a seven-stop Létourneau a 4-verse unison hymn anthem (5 pages). Visit Peninsula, the northernmost tip of Michigan’s About half of the preludes can be played without tracker, as an “audio holiday card.” This year’s www.frumuspub.net to view listings and place Upper Peninsula. Organs include an 1899 pedal and thus on other keyboard instruments. recording is Joseph Clokey’s Pastorale, available e-mail orders. Printable PDF download of titles is Barckhoff and an 1882 Felgemaker. The booklet The pieces are suitable as hymn preludes in in MP3 and streaming audio formats at www. available for USPS orders. Contact: Eafruhauf@ ($8.00 per copy, which includes postage) is worship services, community celebrations, umich.edu/~jkibbie. aol.com; 805/682-5727, M–F mornings, Pacifi c available from the Isle Royale and Keweenaw interludes for nativity plays, and can be linked time; or write Fruhauf Music Publications, P.O. Parks Association, 49445 US Hwy 41, Hancock, together to form a Christmas carol suite. For Box 22043, Santa Barbara, CA 93121-2043. Michigan 49930. For information: 800/678-6925. information: www.breitkopf.com. Visit our website: www.TheDiapason.com.

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

Allen MDS-65—3-manual drawknob, 54 stops, Reuter, 15 stops, great condition. Moller Ornate Gothic oak organ case—Front and The Church Music Association of America 6 channels, 600 watts audio, 6 speakers, MIDI; Double Artiste, very good condition. 615/274- sides. H 312″, W 330″, D 174″. Includes façade presents Winter Chant Intensive at St. Joseph 1990s vintage, good condition: $29,500. Atlantic 6400 or milnarorgan.com. pipes and related ranks (Principal 16′, Principal Catholic Church, Macon, Georgia, January 7–11. City Pipe Organ Co.; 609/432-7876. 8′, Harmonic Flute 8′). $30,000. john@organ- Covers traditional Gregorian notation (square clearinghouse.com; 617/688-9290. notes), Latin pronunciation, Church modes, Psalm 1949 Holtkamp Organ from St. Paul’s Lutheran tones, plainsong rhythm, and more. Instructors: PIPE ORGANS FOR SALE Church, Cleveland, OH. Three manuals, 37 David J. Hughes and Arlene Oost-Zinner. http:// Atlantic City Pipe Organ Company—3-rank stops, 51 ranks. A true classic. Listed in Blanton. musica sacra.com/winter-chant-intensive-2013/. exposed oak DE Chest with 4′ Principal, 2001 Rieger house organ—Located in Dallas; 8 Restored, and installed, $450,000–500,000 4′ Gedeckt and 2′ Block Flute; very attrac- stops (GT Holzgedeckt 8, Principal 4, Doublette depending on confi guration and casework. See ′ ′ tive—$2,200. 16 Double Open, 16 Metal Dulci- Augsburg Fortress presents National Conference 2; POS Nachthorn 8, Blockfl öte 4, Flachfl öte 2, THE DIAPASON E-news or www.holtkamporgan. ana. 609/641-9422, [email protected]. for Sacred Music January 9–11 at Naples United Dulcian 8; PED Subbass 16). $80,000, which com for details, or call 216/741-5180. includes Rieger dismantling, shipping, and Church of Christ, Naples, Florida. Choral technique reconstructing the instrument in a new space. 16′ Double Open Wood Diapason with chests classes, reading sessions, worship services, instru- Ideal for a home or chapel, or as a practice 1928 Casavant pipe organ, completely and racks. 14″ Scale, 5″ WP. $8000 FOB Deer- mental workshops, more, with Ann Howard Jones, organ. Phone 212/289-0615; e-mail s.hamilton@ restored with fi ve new stops by Létourneau fi eld, NH. Can deliver. john@organclearinghouse. Aaron David Miller, and others. For information: augsburgfortress.org/ncsm. prodigy.net. in 1987. Two manuals and pedals, 24 ranks. com; 617/688-9290. Organ is in excellent condition and is a good candidate for solid-state conversion. Asking 1910 Felgemaker pipe organ, Opus 1067. 11 SERVICES / SUPPLIES $65,000 “as is” or can be rebuilt with modifi ca- ATTENTION ORGANISTS! Did your ranks in excellent condition. Removed from St. fi tness program work too well, and now Agnes R.C. Cathedral, Springfi eld, MO. Call for tions. For more information, contact Létourneau your natural padding has decreased, details. Price negotiable. 763/670-4771. Pipe Organs at [email protected] or Need help with your re-leathering project? 888/774-5105. All pneumatics including Austin. Over 45 making those hours on the bench years experience (on the job assistance much less comfortable? We have Portable pipe organ—Karl Wilhelm. Excellent available). 615/274-6400. the answer—the Happy Seat! This condition; self-contained: one-manual, 30-note Two-manual, 9-rank Reuter pipe organ, infl atable, customizable bench cover AGO pedalboard. 10-stop, 5-rank (Regal 8, Opus 1052, a fully operational pipe organ, is for lets you choose your “sit number” to Principal 2, Quint 1-1/3, Rohrfl ote 8, Gedeckt 8), sale. For specifi cations and more details, visit select the precise amount of fi rmness Releathering all types of pipe organ actions divided keyboard at middle C. Open-toe voicing, www.Levsenpipeorgan.com. for you. Microfi ber cover material ″ ″ ″ and mechanisms. Highest quality materi- lets you pivot with ease. Available 28 D, 57 W, 48 H, built 1976. $15,000. Win- als and workmanship. Reasonable rates. nipeg, Canada: 204/661-1437. in liturgical colors. Custom fabrics MISCELLANEOUS FOR SALE Columbia Organ Leathers 800/423-7003. can match chancel paraments, clergy www.columbiaorgan.com/col. vestments, choir robes, or handbell 1964 M.P. Möller pipe organ. 36-rank American table covers. Special order in desired Wood pipes. Missing pipes made to match. thickness from half-inch to four Classic specifi cation including two célestes, two Highest quality organ control systems since ′ Damaged pipes in any condition repaired. Over enclosed divisions and 32 reed. Three-manual 1989. Whether just a pipe relay, combination inches. Attaches to organ bench with 25 years experience. Filip Cerny, 814/342-0975. electro-pneumatic console. No casework or action or complete control system, all parts Velcro. Optional seat belt for those façades; instrument is in good condition but are compatible. Intelligent design, competitive pesky pedal solos. Box Derr-Con, THE will need re-leathering. New price: Asking DIAPASON, [email protected]. Kimball English Horn. Very good condition. pricing, custom software to meet all of your $35,000 “as is” or can be rebuilt. For more infor- requirements. For more information call Westa- 7″ wind. Bells on resonators. 61 pipes. Call for mation, contact Létourneau Pipe Organs at cott Organ Systems, 215/353-0286, or e-mail [email protected] or 888/774-5105. details. Price negotiable. 763/670-4771. [email protected]. Postal regulations require that mail to The Diapason include a suite number to assure Martin Pasi pipe organ—Two manuals, 24 Consoles, pipes and numerous miscellaneous Aeolian/Robert Morton-style maroon delivery. Please send all correspondence stops, suspended-tracker action. $350,000. Web: parts. Let us know what you are looking for. leather is now available from Columbia Organ to: The Diapason, 3030 W. Salt Creek Lane, http://martin-pasi-pipe-organ-sale.com; phone: E-mail [email protected] (not comcast), Leathers! Highest quality. 800/423-7003, Suite 201, Arlington Heights, IL 60005. 425/471-0826. phone 215/353-0286 or 215/788-3423. www.columbiaorgan.com.

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

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

HAGERSTOWN ORGAN COMPANY, INC. New • Rebuilding • Solid-State Updating Own a piece of history! 301/797-4309 The cover of the 100th Anniversary Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. Patrick j. Murphy The historic cover image in full color & associates, inc. is bordered in gold-colored metal, and organbuilders the high-quality plaque has a marble- ized black fi nish; a slot on the back 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 makes it easy to hang for wall display. 610-970-9817 • 610-970-9297 fax Made in the USA, The Diapason [email protected] • www.pjmorgans.com 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Jacques Stinkens The Organ Clearing House members of the 50-Year Subscribers PO Box 290786 Organpipes - since 1914 Club. Order yours today: Charlestown, MA 02129 [email protected] Flues - Reeds Ph: 617.688.9290 847/391-1045 Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2012 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 Diane Meredith Belcher Michel Bouvard* Guy Bovet* Chelsea Chen Douglas Cleveland Daryl Robinson 2012 AGO National Competition Winner Available 2012-2014

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

Christian Lane Canadian International Organ Competition Winner Available 2012-2014

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

Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012

Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney

Celebrating Our 91st Season!

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