THE DIAPASON DECEMBER 2015

First United Methodist Church Salt Lake City, Utah Cover feature on pages 26–27 ēęĊėēĆęĎĔēĆđĔĒĕĊęĎęĎĔē ĎēēĊėĘ

First International 28th International Organ Competition Organ Competition Longwood Gardens St. Albans, England

Pierre S. DuPont First Prize First Prize (Interpretation) BENJAMIN JOHANNES SHEEN ZEINLER

Assistant Organist University of Music and St. Thomas Church, Performing Arts Fifth Avenue, New York City Vienna, Austria

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‡ƒ‹Ž̿ ‘ ‡”–ƒ”–‹•–•Ǥ ‘Ȁͤ͢͜Ǧ͢͜͡Ǧͣͤ͜͜Ȁ™™™Ǥ ‘ ‡”–ƒ”–‹•–•Ǥ ‘ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Sixth Year: No. 12, In this issue Whole No. 1273 This month’s features profi le composers. Steven Young writes DECEMBER 2015 of the life and music of Frenchman Pierre Kunc (1865–1941), Established in 1909 and Brenda Portman interviews Dutch composer Ad Wammes Joyce Robinson ISSN 0012-2378 (perhaps best known for Miroir), focusing on a recent work 847/391-1044; [email protected] originally written for a mechanical organ, The Busy Drone. And www.TheDiapason.com An International Monthly Devoted to the Organ, Mander Organs has created a taste-inspiring new instrument. the Harpsichord, Carillon, and Church Music John Bishop has welcomed a new grandson, and he muses Nominations should include the nominee’s name, e-mail, on how the arts might be in this child’s future. Gavin Black birthdate, employer or school, and a brief statement (300–600 CONTENTS begins a discussion about playing fast. Our cover feature this words) detailing the nominee’s accomplishments and why he FEATURES month is Bigelow & Co. Organ Builders’ installation at First or she should be considered. Please include your own name, Pierre Kunc at 150 United Methodist Church, Salt Lake City. title, and company/school/church if applicable, and your e-mail Rediscovering a prize-winning composer address (or phone number, if no e-mail is available). by Steven Young 20 “20 under 30” nominations are open Only persons who have been nominated can be considered for The Eclectic Landscape Nominations are now selection. Self-nominations are not allowed. Persons nominated of Ride in a High-Speed Train An Interview with Ad Wammes open for our “20 under 30” last year but who were not selected may be nominated again. by Brenda Portman 23 Class of 2016. Nominations can be submitted via The- With appreciation NEWS & DEPARTMENTS Diapason.com (click on “20 This is the last issue under the design aegis of Dan Soltis, Editor’s Notebook 3 under 30”) or by e-mail (to whose responsibilities at Scranton Gillette Communications Letters to the Editor 3 Here & There 3 [email protected]), or will be changing. Dan has served as the designer of The Dia- Appointments 6 through the post (The Dia- pason for over three years, and his work has helped make this Nunc Dimittis 10 pason, 3030 W. Salt Creek the visually beautiful journal it is. We offer Dan much gratitude Harpsichord News by Larry Palmer 12 Lane, Suite 201, Arlington for his expertise as a designer and his good humor and support On Teaching by Gavin Black 17 Heights, IL 60005). as a colleague, and we wish him well in his future endeavors. Q In the wind . . . by John Bishop 18 REVIEWS Letters to the Editor Music for Voices and Organ 14 Book Reviews 14 New Recordings 15 John Bishop orders, however, are called “Révérend music all too often hold forth on mysti- New Organ Music 16 I always enjoy John Bishop’s enlight- Père.” So, therefore, not all abbés are cism, apparently ignoring that Catholic New Handbell Music 16 ening columns though I know nothing of priests, and not all priests are abbés. mysticism has a large and detailed organ building. In view of his distinctly But, should a not-abbé priest be specialist literature, ranging from the NEW ORGANS 28 heartfelt “requiem” for John Scott, I’m elected head of a Benedictine monastery, 16th-century St. John of the Cross CALENDAR 29 confi dent that had he pursued a career in this good monk, who was not an abbé, to the 20th-century Thomas Merton. ORGAN RECITALS 33 letters he’d have been equally successful. becomes an abbé—in English an abbot, Perhaps the clearest exposition of such CLASSIFIED ADVERTISING 34 Write on, John. but never a member of the diocesan matters can be found in the philosopher Gene A. Russell clergy. The French just use the same Jacques Maritain’s books The Degrees Nashville, Tennessee word in two meanings, whereas we in of Knowledge and The Range of Reason. English use two words, cleric and abbot. Also useful are the short books of the Catholic observations Hence it’s really bizarre for a text to Domincan friar M. A. Couturier. For Observation 1. Writers in The Diapa- state that Bonnet the abbot had a church them, artistic inspiration and veritable son regularly stumble over the French wedding. (September issue, p. 23.) He mysticism are quite distinct. The for- word abbé, which in French has two was a Benedictine oblate, that is, a lay mer results in an external artifact; the meanings. An abbé is a male who has “fellow traveler” affi liated with the latter leads to an inner silence with become a cleric, that is, a member of the Benedictines. Under Catholic Canon some features akin to those found in the diocesan clergy, though not necessarily a Law a real abbot could not validly marry. great Asian religions. priest. (Had I been French, I would, as a Catholic books contain the charm- To the informed reader, much discus- tonsured seminarian, once have been an ing phrase that such an unfortunate sion of fi gures like Messiaen reads more abbé myself. I thought the better of it.) “attempted marriage.” like L. Frank Baum than Thomas Merton. COVER Ordained diocesan priests are addressed Observation 2. The words mystic and Joseph Fitzer Bigelow & Co. Organ Builders, American Fork, as “Abbé.” Priest-members of religious mysticism. Commentators on religious La Grange, Illinois Utah; First United Methodist Church, Salt Lake City, Utah 26 Here & There

Events Advent organ recitals and Vespers. The Quire Cleveland continues its con- Editorial Director JOYCE ROBINSON and Publisher [email protected] series began November 29 with a recital certs: Carols for Quire VII, December 4 847/391-1044 by David Jonies. Recitals start at 3:30 (7:30 p.m., Trinity Cathedral), 12/5 and p.m. and are immediately followed by 12/6 (4 p.m., St. Peter Church); music VP/Group Publisher DIANE VOJCANIN Vespers at 4 p.m.: December 6, Richard of William Byrd, May 21 (7:30 p.m., St. [email protected] 847/391-1046 Hoskins; 12/13, Stephen Schnurr; 12/20, Bernard Church, Akron) and 5/22 (4 Jay Peterson. For information: p.m., St. Peter Church, Cleveland). For Editor-at-Large STEPHEN SCHNURR holynamecathedral.org. information: quirecleveland.org. [email protected] 219/531-0922 Morrison United Methodist The Cathedral Church of the Sales Director JEROME BUTERA Church, Leesburg, Florida, announces Advent, Birmingham, Alabama, con- [email protected] organ recitals at noon: December 2 and tinues concerts, all free and open to the 608/634-6253 February 24, David Bellows; March 2, public: December 4, Frederick Teardo; Circulation/ DONNA HEUBERGER Josiah Armes; 3/9, Ken Stoops. For infor- 12/20, Cathedral Ringers Handbell Subscriptions [email protected] mation: www.morrisonumc.org. Ensemble. For information: 847/954-7986 adventbirmingham.org. Designer DAN SOLTIS Methuen Memorial Music Hall, Methuen, Massachusetts, presents The University of Cincinnati Col- Contributing Editors LARRY PALMER holiday music events: December 4, lege-Conservatory of Music presents Harpsichord Holiday Open House. “A Merry Music concerts at Corbett Auditorium, Cincin- JAMES MCCRAY Holy Name Cathedral, Chicago, Flentrop Hall Christmas,” featuring music for nati, Ohio: December 5 and 6, Feast of Choral Music organ organ and trumpet, will be presented Carols, featuring multiple choirs; 12/12, BRIAN SWAGER 12/5 with Ray Cornils at the console and Cincinnati Children’s Choir holiday Carillon Holy Name Cathedral, Chicago, 12/6 with Peter Sykes. For information: concert; February 13, Honegger, Joan Illinois, continues its annual tradition of www.mmmh.org. ³ page 4 JOHN BISHOP In the wind . . .

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. GAVIN BLACK Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2015. Printed in the U.S.A. On Teaching 5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Subscriptions: 1 yr. $40; 2 yr. $64; 3 yr. $88 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Reviewers Sarah Mahler Kraaz Foreign subscriptions: 1 yr. $50; 2 yr. $80; 3 yr. $99. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading Carolyn Shuster Fournier Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: at the rate of one copy for every fi fteen students. Such copies may be reused for other John Collins Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington courses or for the same course offered subsequently. Andrew Schaeffer Heights, IL 60005-5025. Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for the Jay Zoller issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles validity of information supplied by contributors, vendors, Leon Nelson should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2015 Q 3 Here & There

³ page 3 Rick Ericksen, organ, Donald Meineke, of Arc at the Stake; April 23 (at Knox harpsichord, with dance interpretation, Presbyterian Church, Cincinnati), choral Bach, Art of Fugue; May 1, Vaughn music on Shakespearean texts. For infor- Mauren; 5/22, Rutter, Requiem; June mation: ccm.uc.edu. 5, Scott Lamlein. For information: www.sjparish.net. The Houston Chamber Choir continues its 20th-anniversary season: Crescent Avenue Presbyterian December 5, Britten, St. Nicolas; 12/12 Church, Plainfi eld, New Jersey, contin- and 12/13, Christmas at the Villa; January ues its concerts: December 13, Christmas 31, 17th annual Invitational School Cho- Carol Sing; February 21, Competition ral Festival; March 5, “Mexicantos,” fi ve Winners’ Recital; March 13, Festival of centuries of Mexican choral treasures; Organists; 3/25, Good Friday Tenebrae; May 22, “Just Gettin’ Started,” jazz music April 9, Crescent Choral Society, Simply with bassist Christian McBride. For Schubert; May 22, Crescent Singers. For information: houstonchamberchoir.org. information: crescentconcerts.org.

The Indianapolis Symphonic Shadyside Presbyterian Church, Choir presents the 25th anniversary Pittsburgh, Pennsylvania, continues its celebration of its annual Festival of music series: December 13, Advent con- Iain Quinn, Sarah Gilbert, Amy Nungesser, Margaret-Mary Owens, and Chad Spears Carols. Performances take place at the cert; 12/24, Candlelight service; January Scottish Rite Cathedral in downtown 31, Nathan Carterette, piano; February On September 29, the College of Music at Florida State University presented Indianapolis (December 6, 7 p.m.) and 21, Chatham Baroque; April 10, Ayre- a concert to celebrate the hundredth anniversary of the birth of Vincent Persichetti. the Palladium at the Center for the Per- heart; 4/17, Choral Evensong. For infor- The program was devised by Iain Quinn, assistant professor of organ and coordinator forming Arts in Carmel (12/18 and 12/19 mation: www.shadysidepres.org. of sacred music. Chad Spears performed Piano Sonata No. 10, op. 67, Margaret-Mary at 8 p.m., 12/20 at 3 p.m.). Tickets may Owens played the Auden Variations for Organ, op. 136, Amy Nungesser performed be purchased at indychoir.org. Christ Episcopal Church, Easton, the Dryden Liturgical Suite for Organ, op. 144, and Sarah Gilbert gave a pre-concert The Indianapolis Symphonic Choir Maryland, continues concerts: Decem- talk titled “Grit and Grace: Persichetti’s Modern Traditionalism.” The performance also presents: 12/13, Handel’s Messiah; ber 13, Advent Lessons & Carols; took place in the Opperman Music Hall. January 29–31, Holst’s The Planets; January 31, Peter DuBois; February 21, April 2, Bach’s St. John Passion; May Matthew Daley, piano; March 20, Bach, 13, Pops: A Choral Spectacular; 5/20, St. John Passion; April 3, Edward Taylor 5/21, Durufl é Requiem; June 10 and from Carlyle Cathedral, England; May 12, Bizet’s Carmen. For information: 1, Wes Lockfaw, with Christopher Sala, indychoir.org. trumpet. For information: www.christchurcheaston.org. St. George’s Episcopal Church, St. Louis Park, Minnesota, presents an South Church, New Britain, Con- Advent Festival Evensong December necticut, continues its music series: 6 at 3:30 p.m., featuring the choir, with December 20, Candlelight Festival of soprano Dorothy Benham, mezzo Eliza- Lessons & Carols; April 10, Organized beth Woolner, organist and choirmaster Rhythm: Clive Driskill-Smith, organist, Randall Egan, and harpist Rachel Brand- and Joseph Gramley, percussionist; May wein. Works include Bach, Lobet den 15, Lorelei Ensemble. For information: Herrn; McCabe, Magnifi cat & Nunc Dim- www.musicseries.org. ittis; Mendelssohn, I Waited for the Lord. For information: stgeorgesonline.org. Musica Sacra, New York City, contin- Philip Pampreen and Seamus Gethicker ues its concerts: December 22, Carnegie TENET continues its concerts, Hall, Handel’s Messiah; March 9, Alice On June 20, 2015, the Young Organist Collaborative, centered in Portsmouth, at various venues in New York City: Tully Hall, Lincoln Center, Mozart’s New Hampshire, awarded its annual Penn Brown Memorial Scholarship for Advanced December 12, Praetorius: A Weih- Solemn Vespers, K. 339, and Deborah, a Organ Study to Philip Pampreen of Dover, New Hampshire, and Seamus Geth- nachts Celebration; January 4, February newly commissioned oratorio by Ameri- icker of Bath, Maine. Qualifi ed applicants completed a judged audition for the Penn 5, and 2/6, Music of the Ars Subtilior; can composer Evan Fein. For informa- Brown conducted on the Lively-Fulcher organ at Christ Episcopal Church in Exeter, 2/27 and 2/28, Buxtehude’s Membra tion: www.musicasacrany.com. New Hampshire. The collaborative, funded exclusively by donations, supports sev- Jesu Nostri; March 6, The Secret Lover; enth- through twelfth-grade students in southern Maine, seacoast New Hampshire, April 16, Monteverdi’s Madrigals of National Conference for Sacred and northeastern Massachusetts by providing fi nancial support for lessons with local War and Love; May 20, Music of the Music will be held January 6–8 in Cor- organists, opportunities for masterclasses with well-known organists, and fi eld trips to Burgundians. For further information: pus Christi, Texas. Sponsored by the area pipe organs and organbuilders. The Penn Brown scholarship pays for 24 lessons www.tenet.nyc. Association of Lutheran Church Musi- of additional advanced study, and is named in honor of the late C.Pennington Brown, cians, the Presbyterian Association of a passionate YOC supporter. St. John’s Episcopal Church, West Musicians, and the Fellowship of United Hartford, Connecticut, continues its Methodists in Music and Worship Arts, music series: December 13, Candlelight the conference will include sessions on include David Cherwien, Eric Nelson, include concert organist Raúl Prieto Festival of Nine Lessons and Carols; worship planning ideas, choral tech- Susan Briehl, Heather Williams Potter, Ramírez, Christopher Anderson (South- January 3, Scott Lamlein; 1/8, silent nique, handbells, working with children, Jackson Henry, and Ed Rollins. Registra- ern Methodist University), Thomas fi lm screening with Jason Roberts; Feb- and reading new publications from tion fee is $150; for information: www. Dahl (Hamburg), Joyce Jones (Baylor), ruary 7, Natasha Ulyanovsky; March 6, Augsburg Fortress, Hinshaw, and Morn- augsburgmusic.org/ncsm/. Pipedreams host Michael Barone, and Kari Miller; April 3, Ben Gessner; 4/9, ingStar Music. Featured presenters Isabelle Demers (Baylor). For informa- The 2016 High School Organ Fes- tion, including schedule and registra- tival & Competition, co-hosted by the tion, visit www.baylor.edu/music/index. Winston-Salem AGO Chapter, Univer- php?id=859316 or call Teresa Reid at sity of North Carolina School of the Arts, (254) 710-1417. and Salem College, will be held January 29-31, 2016. The competition is open to Historic Organ Study Tours all high school seniors or younger who (HOST) announces its tour in Lorraine, are studying in the United States. A CD France, August 29–September 7, 2016. recording, application, and letters of The home bases for the tour will be in recommendation are due by December Metz, Nancy, and Épinal, with visits to 18, 2015. For audition requirements and many towns and villages. Numerous schedule information: www.timothyolse- organs will be visited, from 18th-century norganist.com/hs-competition.html. French Classic instruments to 19th- century Romantic and contemporary The organ department of Baylor Uni- examples, as well, spotlighting organs by versity announces the twenty-second Cavaillé-Coll, Mutin, Merklin, and Cal- annual Robert and Joyce Jones Mid- linet. The tour will be led by Christophe winter Organ Conference, to be held Mantoux, and tour directors are Bruce January 24-26, 2016. Funded through Stevens and William T. Van Pelt. For AUSTINORGANS.COM a generous grant from faculty emerita further information, including itiner- 
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Dr. Joyce Jones, the conference will be ary and costs, contact Bruce Stevens at devoted to Max Reger (1873–1916), [email protected]. on the centenary of his death. Guests ³ page 6

4 Q THE DIAPASON Q DECEMBER 2015 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Michael D. Boney Daniel Bruun Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Presenter Organist/Conductor Organist Organist/Harpsichordist Indiana University Montevideo, Uruguay Charlotte, North Carolina Indianapolis, Indiana Copenhagen, Denmark Ann Arbor, Michigan

Leon W. Couch III Joan DeVee Dixon Rhonda Sider Edgington Laura Ellis Henry Fairs Faythe Freese Organist/Lecturer Organist/Pianist Organist Organ/Carillon Head of Organ Studies Professor of Organ Birmingham, Alabama Hutchinson, MN Holland, Michigan University of Florida Birmingham Conservatoire University of Alabama

Simone Gheller Sarah Hawbecker Johan Hermans James D. Hicks Michael Kaminski Sarah Mahler Kraaz Organist/Recording Artist Organist/Presenter Organist/Lecturer Organist Organist Professor of Music/Organist Oconomowoc, WI Atlanta, GA Hasselt, Belgium Bernardsville, NJ Brooklyn, New York Ripon College

Angela Kraft Cross David K. Lamb Mark Laubach Colin Lynch Yoon-Mi Lim Philip Manwell Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Conductor Assoc. Prof. of Organ Organist San Mateo, California Clarksville, Indiana Wilkes-Barre, Pennsylvania Boston, Massachusetts SWBTS, Fort Worth, TX Reno, Nevada

Christopher Marks Katherine Meloan Scott Montgomery Shelly Moorman-Stahlman Anna Myeong David F. Oliver Organist/Professor of Music Organist/Faculty Organist/Presenter Organist/Pianist Organist/Lecturer Organist U of Nebraska-Lincoln Manhattan School of Music Champaign, Illinois Lebanon Valley College Mission, Kansas Morehouse College

Ann Marie Rigler Brennan Szafron Edward Taylor Michael Unger Rodland Duo Christine Westhoff Organist/Presenter Organist/Harpsichordist Organist/ Choral Conductor Organist/Harpsichordist Viola and Organ & Timothy Allen William Jewell College Spartanburg, S. Carolina Carlisle Cathedral, UK Cincinnati, Ohio Eastman School of Music/ Soprano & Organ St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 a non-traditional representation celebrating its 28th year of operation Here & There Appointments Lynn Trapp has been appointed director of music ministries for St. Joseph ³ page 4 Catholic Church, Cockeysville, Maryland. Since 1996 he has served as director Rider University, Lawrence, New of worship and music for St. Olaf Catholic Church, Minneapolis, Minnesota, Jersey, is considering discontinuing (as where he also coordinated a concert series and radio and television outreach. of this writing) thirteen majors and one He has played recitals throughout the United States and Europe, including minor, a move projected to save the uni- regional and national conventions of the National Association of Pastoral Musi- versity more than $2 million a year as it cians and the American Guild of Organists. His keyboard and choral works are tries to close its $7.6 million defi cit in this published by several fi rms, including Oxford University Press. year’s $216 million budget. More than 20 jobs, including 14 full-time faculty posi- Ryan Dye has been appointed canon for music for St. tions, would be eliminated. Among the Michael’s Episcopal Cathedral, Boise, Idaho, where he will majors to be dropped would be piano at direct two adult choirs and oversee all aspects of the music the school’s music campus, Westminster program. Dye previously served for thirteen years as min- Choir College, in Princeton. Current Michelle Walter, Jeremy Anantharaj, and ister of music for All Pilgrims Christian Church in Seattle. juniors and seniors in these programs Ericka McCarty at Knoxville Konzert Dye has served the American Guild of Organists as Seattle would be able to complete their degrees, Chapter Dean and chaired the 2009 Region VIII Conven- but sophomores and freshmen would On August 29, University of Ten- tion in Seattle. He holds degrees in religion and business need to make other plans. nessee organ students and faculty from Walla Walla University as well as a BMus and MMus Ryan Dye played a “Konzert” of music by German in organ performance from the University of Washington, In recognition of its 25th season, composers as a part of the annual Ger- where he studied with Carole Terry, Douglas Cleveland, and J. Melvin Butler. Q Spivey Hall of Clayton State Univer- manFest at Knoxville’s First Lutheran sity, Morrow, Georgia, has received a Church. The concert was played on $25,000 grant from the Charles Loridans the church’s 1974 Beckerath organ (two States. The featured guest artist and Foundation to support fees of musicians manuals, eighteen stops) and consisted adjudicator will be Dr. Paul M. Weber performing in the 2015–16 Spivey Series. of music by J. S. Bach, C. P. E. Bach, of Louisville, Kentucky. The competi- The hall is home to the Albert Schweitzer Scheidt, Buxtehude, and Mendelssohn. tion is being held earlier than usual, and Memorial Organ, built by Fratelli Ruf- Participating were students Jeremy the application deadline is January 25, fatti of Italy. Organ performers for early Anantharaj, Ericka McCarty, and 2016. For information, contact Andrew 2016 include Bryan Anderson (January Michelle Walter, and faculty members Scanlon, professor of organ at ECU 23) and Alan Morrison (February 27). John Brock and Edie Johnson. ([email protected]), or visit www.ecu. For information on all performances, edu/music for competition details. visit www.spiveyhall.org. The Marble Collegiate Church, New York, New York, dedicated its new The Setnor School of Music at four-manual, 101-rank organ by Glück Syracuse University, Syracuse, New Pipe Organs of New York City during York, has established the Arthur Pois- Sunday service on October 18. Music ter Endowed Prize Fund thanks to a director of the church is Kenneth V. generous endowment given by alumnus Dake. The fi rst recital for the organ was Richard A. Hudson, emeritus professor presented by Ken Cowan on October 27. of musicology at the University of Cali- Future recitals include performances by fornia, Los Angeles. The gift will be used Richard Elliott (March 10) and Diane to fund the fi rst and second prizes of the Bish (April 29). For further details, visit annual Arthur Poister Organ Competi- Robert Bates www.marblechurch.org. tion, which will be jointly hosted by the school and the Syracuse Chapter of the Washington, sponsored by the university American Guild of Organists. Hudson and its professor of organ, Carole Terry. Competitions studied with organ professor Arthur On January 11 at 7:30 p.m., Bates will The Third International Bach- Poister as an undergraduate at Oberlin present a masterclass in early French Restored 1899 Barckhoff organ at the Liszt Organ Competition Erfurt- College Conservatory of Music and later organ repertoire on the Fritts organ at Keweenaw Heritage Center (photo credit: Weimar, Germany, was held Septem- attended Syracuse University to pursue the University of Puget Sound in Tacoma, Sharon Butera) ber 29 through October 11, 2015. The a master’s degree in organ in 1950 after sponsored by the Tacoma AGO chapter. competition is organized by the city Poister was hired there. The competition All events are open to the public. The Organists of Keweenaw and cathedral of Erfurt in cooperation was established by the Syracuse Chapter Last August, Robert Bates performed continue to keep alive two of their four- with the University of Music Franz in 1975, expanded to AGO Regions I, II, four different concerts on four historic teen historic organs. Daily matinees Liszt of Weimar. The jury consisted and III in 1984, and to the United States French organs, at the Cathedral of are played on the 1899 Barckhoff at of Wolfgang Zerer (chair, Germany), and Canada in 1985. For the 2016 Pois- Rodez, the Abbey de La Chaise-Dieu, on the Keweenaw Heritage Center in Guy Bovet (Switzerland), James David ter Competition, the Syracuse Chapter the Bedos organ of the Church of Sainte- Calumet, Michigan, and weekly recit- Christie (United States), Alessio Corti will continue to administer the competi- Croix in Bordeaux under the auspices of als were played this July and August on (Italy), Andrew Dewar (England/ tion and Will Headlee, coordinator since the Association Renaissance de l’orgue the 1883–84 Garret House organ at the France), Hans-Ola Ericsson (Sweden/ 1998, will continue as coordinator. The de Bordeaux, and at the Cathedral of Houghton County Historical Society’s Canada), Christophe Mantoux (France), fi nal round of the competition will move Sarlat. He also performed recitals last Heritage Center in Lake Linden, Mich- and Jane Parker Smith (England). First to Hendricks Chapel, Syracuse Univer- fall at Vassar College in New York and igan. Neither the Garret House nor the prize (€12,000) was awarded to Thomas sity, on April 9, 2016 in Texas. Robert Bates is under manage- Barckhoff organ is in regular use dur- Gaynor; second prize (€8,000) to Anna- ment to Penny Lorenz Artist Manage- ing the year, whereas the other twelve Victoria Baltrusch; third prize (€5,000) ment. For information: organists.net. of the area’s historical organs are used to Chelsea Barton. Thomas Gaynor, People regularly for congregational services. of New Zealand, is pursuing his Doctor Robert Bates, professor of organ at Organists playing recitals at the Lake of Musical Arts degree in the studio of the University of Houston, will present Linden site included Jan Dalquist, David Higgs at the Eastman School of a mini-French festival in the Seattle area who played patriotic songs and early Music, Rochester, New York. Anna- January 9–11. On January 9 at 10 a.m. American hymns, and Fr. Corbin Eddy, Victoria Baltrusch, of Germany, is study- Bates will present a lecture on the devel- who featured classic organ sounds from ing for her Soloist Diploma in organ at opment of the organ in France leading Britain and classic pop sounds from the the Hochschule für Musik in Freiburg up to the time of Titelouze (1562–1633), 1960s, as well as organ works by compos- im Breisgau, Germany. Chelsea Barton, and performance issues in 16th- and ers dating from 1660 to 1991. Jan List of the United States, is pursuing master’s early 17th-century French organ music, gave a world tour of folk tune hymns; studies at the Schulich School of Music, including registration practices in the Kathen Alatalo-Arten featured Pachelbel McGill University, Montreal, Canada. pre-classical period. Sponsored by the and Bach in two different recitals along Seattle Chapter of the AGO-SPAC fund, with fl utist Susie Byykkonen. Carol Wai- East Carolina University invites this class will take place at Plymouth Jonathan Dimmock at Grace sanen led the congregation in a Vespers applications for its Tenth Annual Church in Seattle on the new French- program with soloists David Waisanen Young Artists Competition in Organ style Fisk organ. Jonathan Dimmock (www.jonathan- and Ruth Robertson. A closing recital Performance, to be held in Greenville, On January 10 at 3 p.m., Bates will dimmock.com) completed two interna- of classic organ music was presented by North Carolina, February 26–27, 2016. perform a recital of early French music tional concert tours. In June and July, he Tom Kraska, a Keweenaw summer resi- The competition is open to pre-college and Germanic repertoire on the Fritts played eight concerts in Europe, including dent from Chapel Hill, North Carolina. organists from the Southeast United organ in Kane Hall at the University of ³ page 8 Listen to the Music of Denice Rippentrop DeniceRippentrop.com BeautifulStar.com Email: [email protected]

6 Q THE DIAPASON Q DECEMBER 2015 WWW.THEDIAPASON.COM IT’S ALL IN THE DETAILS.

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³ page 6 approximately forty minutes in length. the Toccata from Suite Gothique by international festivals in Poland (Pelplin), The texts are all in English and are Boëllmann and on the piano Chopin’s Switzerland (Muri–a duo organ concert drawn from the traditional Requiem Ballade in G minor and Beethoven’s with his husband, George Emblom), Ger- Mass and the Book of Psalms. The music Moonlight Sonata. Together they played many (Silbermann Festival in Freiberg), is published by Subito Music Corpora- Joel Raney’s piano-organ arrangement of France (Montpellier), and Italy (Lake tion: www.subitomusic.com. Lord of the Dance. Como). In September and early October The world premiere of Locklair’s he gave four recitals, one masterclass, and Initial Memories: A Divertimento for two radio interviews in Australia (Sydney, Organ and Wind Quintet was presented Publishers Melbourne, Tanunda, and Adelaide), by the Indiana University of Pennsylva- Carl Fischer Music announces the including the recently restored 1877 Hill nia College of Fine Arts and the Depart- release of The Party Planner’s Christmas & Son organ in Tanunda. ment of Music, Indiana, Pennsylvania, Song and Recipe Book (VF18, $34.99). Dimmock is the principal organist at on November 7. A four-movement The book features over 90 popular carols the Palace of the Legion of Honor in divertimento, Initial Memories was arranged by Dan Fox for vocal, piano, San Francisco, principal organist for the commissioned by IUP in honor of the and guitar, suitable for beginners and San Francisco Symphony, and organist/ newly installed Ronald G. Pogorzelski intermediate players. Lyric sheets and choir director at Congregation Sherith and Lester D. Yankee pipe organ, built audio MP3s are available as separate Israel. He maintains an active recital, by R. J. Brunner & Company of Silver downloadable fi les for group sing-alongs accompanying, and recording career, Spring, Pennsylvania, which is being and caroling. Carols include Carol of the having recorded more than 40 CDs used by special arrangement with the Bells, The First Noel, The Twelve Days of (including the Grammy Award-winning American Guild of Organists. Christmas, Jingle Bells, Joy to the World, Mahler 8 with the San Francisco Sym- and Rudolph the Red-Nosed Reindeer. phony). He is the founder of Resonance, Austin Philemon (photo credit: Lauren Moore) Award-winning chef Lisa Keys has pro- a non-profi t that uses music in interna- vided 27 holiday recipes. For informa- tional confl ict resolution. The University of North Carolina at tion: www.carlfi scher.com. Charlotte has begun an organ perfor- mance major at the request of a student Edition Walhall announces a new in his junior year. Austin Philemon publication for harpsichord by Jean Henry began taking organ lessons at the age D’Anglebert (1635–91). The facsimile of 12 and landed his fi rst church posi- edition of Pièces de clavecin (Museo Civ- tion at age 15. Philemon is the student ico Belluno) includes an introduction by of Jacqueline Yost at UNC-C, lecturer Denis Herlin. Minkoff Faksimiles, ISBN in music theory and aural skills, and the 2-8266-0986-6, MI02, €46.00. For infor- curriculum for Austin’s organ major is mation: www.edition-walhall.de. being crafted as he progresses through his degree, modeled on a piano perfor- mance degree yet customized with spe- cial courses for the organ. Yost earned her doctor of musical arts degree in organ performance and literature from the Eastman School of Music. UNC-C expects to have more organ majors enrolling in the years to come. James Kibbie

James Kibbie continues his annual Norberto Guinaldo holiday tradition of offering free down- loads of a recording on his house organ, Norberto Guinaldo has been invited a 7-stop Létourneau tracker, as an “audio to be part of the 60th anniversary holiday card.” This year’s recording is of Redeemer Evangelical Lutheran Hugo Distler’s Frisch auf, gut Gsell, Church of New Paltz, New York, and available in MP3 and streaming audio play the c. 1890 Pilcher tracker that was formats at www.umich.edu/~jkibbie. in his home for 36 years. The organ was installed in the new sanctuary 15 years ago and rebuilt and tonally updated by organ builder Jeremy Cooper of New The First Casavant Frères Limitée Organ In Hampshire. Guinaldo visited the organ Alabama in 2014; the instrument, once of seven stops, has been enlarged to twelve. Gui- First Baptist Church, Huntsville, naldo subsequently wrote a collection of James and Nicholas Welch Alabama, has published The First ten pieces exclusively for the instrument’s Casavant Frères Limitée Organ In resources, called The New Paltz Organ On September 19, James Welch and Alabama—Opus 2849: 1965, Phelps/ Book, which he offered to Redeemer as his son Nicholas Welch performed in Casavant Opus 311, in celebration of a gift in memory of Mary Louise Farley, Solvang, California, during the town’s the instrument’s 50th anniversary. The whose vision made the tracker organ in annual Danish Days Festival. The book by Elizabeth Hostetter traces the the church a reality, and in appreciation recital was given on the 1970 Casavant history of First Baptist’s Casavant organ, for her children’s generosity. in Bethania Lutheran Church, which designed by Lawrence Phelps, installed The published set is available for pur- is built in traditional Danish style. The in 1965, the fi rst Casavant in the state. chase at Guinaldo’s website, along with a program included the world premiere Billy Orton is the minister of music and recording of this and other works of his. of Emma Lou Diemer’s Morning Song worship and Sherry Upshaw, associate For further information: After Grieg, commissioned by Welch for minister of music/organist. The book www.guinaldopublications.com. this occasion. can be ordered directly from the music Hector Olivera James and Nicholas Welch also per- offi ce of the church; 256/428-9421, or Dan Locklair’s Requiem, for SATB formed together in a recital on the Kegg [email protected]. chorus, soloists, string orchestra, and Hector Olivera will present mas- organ of Christ Episcopal Church in organ, received its world premiere terclasses at his residence in Sarasota, Eureka, California, on September 28. Encore Publications announces on November 1 as a part of Choral Florida. Two-day classes covering the The program included excerpts of the works by Philip Moore. Moore (b. 1943) Evensong for the Feast of All Saints at Roland Atelier will be held April 19–20, recital James Welch played at Notre- is president of the Royal College of St. Paul’s Episcopal Church, Winston- and on the classical organ April 21–22. Dame Cathedral in June, including Organists and has served in positions at Salem, North Carolina. Dedicated to Cost is $425 for each two-day class, or works by Rulon Christiansen, Richard Canterbury Cathedral, Guildford Cathe- the memory of the composer’s parents, $675 to attend both. For information: Purvis, Jean Langlais, Dale Wood, and dral, and York Minster. Organ works Requiem is in nine movements and www.hectorsfriends.com. Louis Vierne. Nicholas Welch performed ³ page 10 CLAYTON ACOUSTICS GROUP Duchon’s Organ Pipes Music of Ed Nowak 2 Wykagyl Road Carmel, NY 10512 New Reeds & New Flues Choral, hymn concertatos, psalm 845-225-7515 [email protected] Additions & Repairs settings, organ, piano, orchestral www.claytonacoustics.com and chamber ensembles CLAYTON ACOUSTICS AND SOUND SYSTEM 330/257-0491 ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP [email protected] http://ednowakmusic.com

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³ page 8 playing in New York, Detroit, and Saint- include Impromptu (£7.95) and Prelude Sulpice and also the cleaning of the and Fugue in G Major (£8.95). New cho- Philips recordings with Dupré at Saint- ral titles include Magnifi cat & Nunc Dim- Ouen. The restoration reveals inner ittis (St Thomas Service) for upper voices details and dynamics never heard on and organ (£3.50), Missa in Tempore any previous releases. The ten-disc set Paschali, Communion Service for SATB includes works by Bach, Franck, Messi- and organ with text in Latin (£4.25), aen, Widor, and Dupré, with some works and the German carol In dulci jubilo, released for the fi rst time. Priced at €40 arranged for SATB and organ (£3.15). plus shipping, the set can be ordered at Encore Publications also offers the pub- www.marceldupre.com. lication of a newly discovered anthem by Gordon Jacob (1895-1984). His anthem Gothic has released a new compact for harvest, O praise the Lord (£2.50), disc of the works of Gary Davison, was composed in 1922. Jacob taught at a native of the southwestern United the Royal College of Music for 40 years States, as part of its New American Gary Davison recording and arranged music for the coronation Marcel Dupré restoration Choral Music series from Washington of Queen Elizabeth II. For information: National Cathedral (G-49289, Loft www.encorepublications.com. Recordings, The Gothic Catalog). The Nunc Dimittis disc features the vocal ensemble Cathe- Kevin Mayhew announces new William Benjamin Hutto, III, 67, musician, composer, and teacher, died dra and the Washington National Cathe- publications edited by Christopher September 29 in Washington, D.C. Born in Charleston, South Carolina, on dral Girl Choristers, Michael McCarthy, Tambling. Essential Repertoire for the October 4, 1947, Hutto graduated in 1968 from Emory University in Atlanta, director, and Christopher Betts, organ, Church Organist (400536, £19.99) pro- Georgia, with additional study at Westminster Choir School, Princeton, New and includes the Mount Saint Alban vides a variety of interesting repertoire Jersey, the Royal School of Church Music in England, and in the Education for Communion Service and the Saint for the student organist. The book is Ministry program at the University of the South, Sewanee, Tennessee. In He Francis Canticles. For information: divided into two parts; Part 1 contains was named a Fellow of the Royal School of Church Music in 1998 and in 2013 www.gothic-catalog.com. music for manuals only, and Part 2 was awarded an honorary doctorate from the Virginia Theological Seminary, has pieces for both manuals and ped- Alexandria, Virginia. Hutto served as president of the Anglican Association of als. More Essential Repertoire for the Musicians from 1988 until 1989 and of the Royal School of Church Music in Organ Builders Church Organist (1400537, £24.99) America from 1999 until 2006. contains pieces from the lists for the In 1969, Hutto joined the staff of the Porter-Gaud School of Charleston as Associated Board of the Royal School of an English teacher and choral director. During this period, he also served as Music organ examinations, from pieces organist and choirmaster of the Episcopal Cathedral of St. Luke and St. Paul required for Grade 4 to the more chal- of Charleston. He was a co-founder of the organ recital series of the Piccolo lenging repertoire for Grade 8. Spoleto Festival. Hutto was appointed organist and choirmaster of Christ Fifty French Organ Pieces (£19.99) Episcopal Church, Charlotte, North Carolina, in 1985. In 1999, he moved is a collection of French organ music to Washington, D.C., to serve St. Albans School for Boys and National designed for liturgical use, as procession- Cathedral School for Girls as director of choral activities and director of als, recesssionals, and interludes. Lengths performing arts. During Hutto’s tenure, the choral program experienced are varied and some pieces contain tremendous growth that included tours across the United States and to Aus- optional editorial cuts, so that they can tralia, South Africa, Chile, and Argentina. In 2006, Hutto became organist fi t easily into the differing requirements of St. John’s Episcopal Church, Lafayette Square, in 2009 becoming director of liturgical celebration. For information: of music. As a composer, his work was included in The Hymnal 1982 of the www.kevinmayhew.com. Episcopal Church, and several of his anthems have been published. William Benjamin Hutto, III, is survived by his sister, Catherine B. Hutto, of Silver The Organ Historical Society has Spring, Maryland. released its 2016 calendar, which cele- brates the 61st Annual OHS Convention Kristopher Erik Lindquist died on October 11. He was 62. He studied to be held in Philadelphia, June 26–July organ with David N. Johnson at Arizona State University, graduating with a 2, and the Diamond Anniversary Year of bachelor of arts degree in music in 1977, and did graduate studies in theol- the OHS, founded June 27, 1956. The ogy and liturgy at Pacifi c Lutheran Theological Seminary, Berkeley, California. Grenzing organ, Auferstehungskirche, calendar features photography by Len Lindquist served as director of music and organist at Grace St. Paul’s Episcopal Hamburg-Großhansdorf Levasseur of twelve different instru- Church in Tucson until 2002; other various positions as organist and choir ments, ranging from a 1791 Tannenberg director included: in Arizona, Bethel Lutheran Church and Trinity Episcopal Gerhard Grenzing, organbuilder of to contemporary organs by Mander, Cathedral, Phoenix, and Lutheran Church of the Good Shepherd, Tempe; in Barcelona, Spain, announces the inau- Brombaugh, Kney, Rieger, and Dobson. California, St. Paul’s Lutheran Church, Oakland, Pacifi c Lutheran Seminary, guration of a new organ in the Auferste- An essay by Michael Krasulski presents Berkeley, Episcopal Church of the Holy Faith, Inglewood, and Episcopal hungskirche of Hamburg-Großhansdorf, local history. Non-member price: $19.99, Church of the Good Shepherd, Berkeley. Germany. The three-manual, 33-stop member price: $14.99. For information: The legacy of his teacher, David N. Johnson, was a lifelong infl uence on instrument of mechanical key action www.organsociety.org. Lindquist. In 2002 he organized a concert commemorating the 80th anniver- and electric stop action is housed in an sary of Johnson’s birth that included performances by Lindquist and other for- organ case from 1965. The instrument mer students, along with a massed choir. For many years, Lindquist composed was dedicated in service on November Recordings songs and chants for liturgical use. While at Grace St. Paul’s, his music became 1, with organ concerts following by Mar- Association des Amis de l’Art de the centerpiece of the groundbreaking Mass for the Third Millennium (M3M) tin Hasselböck (11/7), Wolfgang Zerer Marcel Dupré has released a restora- service. Both printed and recorded versions of Chants for Meditation and Cel- (11/14), Andrés Cea Galán (11/22), and tion of the original tapes of the Mercury ebration are available through links at kelmusic.com. Q Clemens Rasch (11/28). For informa- Living Presence recordings with Dupré tion: www.grenzing.com.

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Autobiography of a clavichord: As told to Larry Palmer I am known as “Number Nine”—a moniker bestowed on me because of my position in the handwritten logbook of instruments built by dedicated crafts- From the Dolmetsch-Chickering log book men of the Chickering Piano Company. This select group comprising the Early Music Department of the Massachu- setts fi rm was led by Arnold Dolmetsch, a great visionary who supervised the building of all 34 of us clavichord sib- lings during that fi rst decade of the 20th century. As clavichords go, I am big- boned: a large girl of fi ve full octaves with a polished, unblemished mahog- any body set on four sturdy legs. From 1906 until the 1911 fi nancial depression made it necessary for Chickering to discontinue the building of such fasci- nating examples of past keyboards and bowed instruments, Dolmetsch and his skilled workers produced approximately 100 instruments—the fi rst of their types Keeper Four (Larry Palmer) Mewsetta, bear, and Walph Vaughan Williams rest on Number Nine to be constructed in the United States in modern times. rights, she was well known in New Eng- Most of my fellow musical instru- land as a lecturer, a published composer, ments would refer to their purchasers as and author. Our household was often a “owners,” but in my more than 100 years gathering place not unlike the French of existence I have learned that these salons, and I became very accustomed caretakers might be described more to enjoying the gentle wit and intellec- accurately as “keepers” since our lon- tual bravura of the academic world: an gevity has proven to be more enduring ambiance that has continued to comfort than theirs! The fi rst of my four keepers and amuse me throughout the rest of my purchased me for $200 on November 1, softly voiced life. 1906, and I was delivered to 14 Harris In 1917 (I think it was) Miss Webster’s Street in Cambridge, where I began harpsichord was returned to Chickering, my active musical life with Miss Mary who resold it to Smith College. Like Dolmetsch-Chickering inscription Phillips Webster. My mistress loved me many maiden ladies, Miss Mary never At right, Miss Webster lecturing? dearly and took painstaking care of my mentioned her actual age to me, but as is back, “Do you own a clavichord?” It needs: dusting, polishing, tuning, and typical for musical folk, her love for this was Kirkpatrick who received the larger and stretching (and releasing) my strings. best of all, playing gently on my delicate divine art kept her youthful in spirit. But, surprise when Fowlie replied that he Dr. Fowlie’s “most precious possession” keys. In 1908 our family was increased as she became elderly and housebound, did, indeed, possess a clavichord built by arrived at the Harpsichord Clearing by the addition of a large mahogany my dear mistress continued the downsiz- Dolmetsch as his ninth early instrument House in 1992, and since “keeper four” (with boxwood inserts) Dolmetsch- ing of her earthly belongings, so a few for Chickering. Kirkpatrick responded, had previously requested the opportunity Chickering double-manual harpsi- years later, I, like my harpsichord brother, “I had wondered where No. 9 was. You to bid on the next Dolmetsch-Chickering chord—Number 52 in the logbook, and was passed on to a second keeper, the have one of the best clavichords—quite clavichord to come through the HCH, Miss Mary, an excellent pianist who had young academic named Austin Warren possibly the longest in the country.” he was not very pleased to learn, upon made her professional concert debut (1899–1986). Young Warren took good Demanding a visit to see the instru- inquiry, that I was already “spoken for.” in 1884, continued her explorations of care of me during his graduate student ment, RK touched me, tuned me care- Responding with righteous fury, my pres- pre-Beethoven music with both of us, days at Harvard and Princeton, but he fully, and then sat down to play the fi rst ent keeper caused a reconsideration of gradually giving pride of place to my was far from the profi cient musician that prelude from Bach’s Well-Tempered Cla- the prior sale and after some soothing louder younger brother, whose birth- my dear Miss Mary had been. When he vier. Entranced, he continued with the and needed “spa-time” with a fi rm of day, like J. S. Bach’s, occurred on March left Massachusetts in 1939 after thirteen fugue, and, Fowlie reports, ultimately furniture restorers who uphold the stellar 21. Number 52 was particularly happy years of teaching at Boston University to played most of the entire fi rst book of reputation of New England’s craftsper- with his special connection to “ancient” take a position as professor of English at the WTC during his visit. What glorious sons and their ability to clean and repair music’s foremost representative. the University of Iowa, he passed me on music we made together: it was defi nitely antiques, I was transported to my second Miss Webster (cited by Keeper Num- to his devoted friend, another younger the acme of my artistic life thus far! southern home, Texas. ber Three as the fi rst woman to study professor, Wallace Fowlie (1908–98). You can see why I (as a modest middle- The clavichord specialist Virginia Pleas- music at Radcliffe College), taught Fowlie’s encomium to me in his 1977 aged lady) would be moved to redness ants, nearly as old as I, played a splendid music theory and history privately from book Journal of Rehearsals continues to (or a darker mahogany) by these words. recital on me during a joint conference her home, as well as at the Perkins cause me to blush and even to intensify If I had my own copy of Fowlie’s won- of Southeastern and Midwestern His- School for the Blind, where she headed my capacity for “Bebung” (the German derful volume (and if I could read it), I torical Keyboard Societies in Fort Worth the girls’ music division for three years. term for one of the unique abilities that would surely pore over the special words and Dallas in 1998. What a pleasure to Later, during my years with her, she we clavichords have: the production of a about me on page 101 and concentrate have such a sensitive specialist bring out served on the music faculty of the Mil- gentle vibrato completely through fi nger even more on the ensuing description of wonderful music from my innards. But ton Academy. Politically active in the pressure—since our tone producer, the metaphysical effect my quiet musical it surely must be that my most glorious women’s movement to obtain voting a brass tangent, actually touches our tones had on my keeper, on the special Texas moment thus far was my 100th- strings directly, the application of slight aura of the room in which I resided, and birthday concert on October 27, 2006, pressure causes them to go sharp, while on his abilities to play and hear more when another splendid clavichordist, the lessening of the pressure brings the accurately the lovely notes that issued Gregory Crowell, joined Keeper Four in string back to pitch—something that from my resonant sound cavity. a program that culminated in J. S. Bach’s big brother harpsichord has never been Being family to Dr. Fowlie, a distin- Concerto in C Minor for Two Keyboards, capable of doing, to my great delight and guished scholar of the French language BWV 1060, played in partnership with his despair!). and its literature, who eventually moved my new younger brother at my Dallas But I digress! Wallace Fowlie, my on to spend the major part of his teach- home, a newly-acquired 1939 clavichord dear third keeper, rented his fi rst single- ing career at Duke University, I became by John Challis. What a fun evening that occupancy apartment at the beginning of especially nostalgic for my French-born was! And one overfl owing with historic 1940 while teaching at Bennington Col- maker Arnold Dolmetsch. Especially at synchronicity—for Challis, in 1939, was lege. This domicile was in Old Benning- Christmas time I would tremble with not long-returned to Ypsilanti, Michigan, ton, and my presence in this, his fi rst truly longing to have someone—anyone—play following his apprenticeship in Hasel- private space, led to my being described my favorites among the old French Noëls mere, UK, with my own maker, Arnold in his journal as the “one precious object as a reminder of such delightful holiday Dolmetsch. So we two instruments, of my possessions.” I also remember, music-making during my younger days. separated by a generational 33 years, are with great nostalgia, the visit to Wallace’s And while he is not a speaker of French both products of the USA, and both of us home by the young harpsichordist Ralph (or even a very good reader of that Gal- continue to survive and benefi t from the Kirkpatrick, who had been engaged to lic language) my fourth, and current, skillful craftsmanship of these builders teach at Bennington during one semes- keeper (who writes these columns for from those pioneering years of the early ter. Dr. Fowlie asked RK if he could The Diapason) has made certain that I instrument revival. take some clavichord lessons with him, occasionally get to make music with very This Christmas season we will be www.pipe-organ.com to which the skeptical Kirkpatrick fi red profi cient executants stroking my keys three clavichords at home, having

12 Q THE DIAPASON Q DECEMBER 2015 WWW.THEDIAPASON.COM By Larry Palmer

Austin Warren, Keeper Two

Number Nine Arnold Dolmetsch welcomed Keeper Four’s “other” clavi- Personal correspondence with Richard Comments or news items for these chord, returned from its longtime Troeger, Thomas MacCracken, and Peter pages are always welcome. Address them residency in his university offi ce. This, Brownlee, fellow afi cionados of Arnold to [email protected] or, via post, to 10125 the fi rst he had acquired of us delicate, Dolmetsch and his remarkable legacy. Cromwell Drive, Dallas, Texas 75229. Wallace Fowlie, Keeper Three quiet keyboards, was a German por- table instrument (“Reiseklavichord”) made by the Passau builder, his friend Kurt Sperrhake. It was a remarkable light-weight instrument whose proto- type was originally designed for Isolde Ahlgrimm, the much-travelled Austrian artist who needed a carry-on instrument for practicing during her many concert tours. Late at night on Christmas Eve, when all should be sleeping, perhaps we will all break forth in Christmas arrangements by LeBègue, Edwin McLean, or J. William Greene, and express our communal wishes for other visitors to come and play us—preferably those who specialize in artistic clavi- chording. In our letter to Santa we’re specifi cally pushing for Massachusetts resident Judith Conrad, whom we hear is particularly adept at both playing and singing (just a hint to Keeper if he should read this). As the oldest playable instrument in the house (yes, I know that I’m stored just in front of a 1797 Kirckman fortepiano, but that one is not playable) I continue to keep the other clavichords in line. And, covered by warm layers of protective padding, I provide a soft, safe sleeping “shelf” for my oft-dozing companion, the indoor cat Mewsetta, who occasionally shares her resting place with feline number one, Walph Vaughan Williams. I am totally certain that Miss Mary Webster, Professors Austin War- ren, Wallace Fowlie, and Keeper Four will all rest more comfortably knowing that all is under control and fl ourish- ing. (But I do wonder, quietly—with enhanced bebung—who will be my eventual Keeper Number Five?) Q

Sources Campbell, Margaret. Dolmetsch: the man and his work. London: Hamish Hamilton Ltd., 1975. Dolmetsch, Mabel. Personal Recol- lections of Arnold Dolmetsch. New York: The Macmillan Company, 1958; reprinted by DaCapo Press, 1980. Fowlie, Wallace. Journal of Rehearsals. Durham, NC: Duke University Press, 1977. MacCracken, Thomas G. “The Dol- metsch-Chickering Viols.” Journal of the Viola da Gamba Society of Amer- ica, volume 48 (2013–14), pp. 25–66. Palmer, Larry. Harpsichord in America: A Twentieth-Century Revival. Bloom- ington: Indiana University Press, 1989. Second paperback Midland Book edi- tion, 1993.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2015 Q 13 Reviews

Music for Voices and Organ are usually considered the beginning children are heading to Bethlehem to Ancient Peoples Searched the Sky, by James McCray and ending for the traditional Christ- view the Christ Child. Sally Ann Morris. SATB and key- mas period. It is best remembered by board, GIA Publications, G-8476, Christmastide and Epiphany: The the ancient song, “The Twelve Days of Gaudete, arr. Michael Burkhardt. $1.90 (E). work of Christmas Christmas.” For church choir direc- Unison treble choir, SATB, tam- Subtitled “Love on Earth,” the three tors, singing carols on the Sunday after bourine, and drum, MorningStar verses are almost entirely in unison with When the song of the angels is stilled, Christmas is a common way to relieve Music Publishers, MSM-50-1126, all having the same melody. The key- When the star in the sky is gone, When the kings and the princes are home, an exhausted choir that has presented $1.70 (M-) board music on two staves is very easy. When the shepherds are back with their numerous works for a Christmas Eve The treble choir sings the same melody This practical setting has a beautiful fl ock, service. Nevertheless, the reviews this alone and with the adult choir. There are text in which the sages follow a star that The work of Christmas begins: month feature a selection of repertoire three repeated verses and a fi nal verse brings them to “love on earth.” To fi nd the lost, to heal the broken, To feed the hungry, for these two seasons, and they merit with limited percussion use. The basic To release the pris’ner, your attention. melodic material is heard many times in To build the nations: I wish you all a very Happy New Year various arrangements. Easy music. Book Reviews To bring peace among the brothers, and hope that some of the reviews from By Heart: The Art of Memorizing To make music from the heart. —Howard Thurman (1899–1981) this past year have been useful to you. The Nativity of Our Lord, Robert Music, by Paul Cienniwa. Self- The Work of Christmas The beautiful words by Howard Thur- Convery. SATB, violoncello, and published via CreateSpace, North man at the opening of this column serve harp, ECS Publishing, No. 6490, Charleston, South Carolina, ISBN Gift giving is one of the most popular both to close our year and as a challenge $7.60 (M+). 1496180690, paperback, 93 pages; activities associated with Christmas. for 2016. Bring the spirit of Epiphany to This 15-minute work is in one com- www.paulcienniwa.com. For most folks that is completed before each of your singers and accompanist by plete movement and set to the poetry “This book is primarily an exploration Epiphany, the period from which the reading them at a future rehearsal. of Christopher Smart (1722–71). There of how one can memorize music . . . It activity is derived. The church designates is no keyboard part in this full score. is also how one should memorize.” Paul January 6 as the offi cial day of Epiphany, Christmastide The choral parts are a mixture of con- Cienniwa, the author—a harpsichord- and by then most of the gift giving is little Mary, Did You Know?, arr. Craig trapuntal and chordal lines, always with ist—begins the introduction with these more than memory. Courtney. SATB and piano, Becken- lots of changing dynamics and expressive words and hastens to add that the pro- Probably my favorite secular Epiphany horst Press, CU1034, $2.25 (M). markings. The harp music is diffi cult cess he explains in these pages is based tale is that short story written by William Originally recorded by Christian with busy running notes in both hands, on his own experience: “I am not so Sydney Porter (O. Henry) titled The Gift recording artist Michael English as a glissandi, pedal changes, etc.; this will naïve as to suggest there is only one way of the Magi. It has lingered with me since vocal solo, the song has since become require an accomplished performer. The to memorize music, but I would like to I fi rst read it during my freshman year a Christmastide classic, and this choral cello part has some pizzicato strumming, posit that my approach creates as solid a of college in a literature class. In it the arrangement is certain to revive it even but is not as diffi cult as the harp music. foundation as possible.” two married people (Della and Jim) are more. The opening fi ve-note tone clus- There are passages of unaccompanied Cienniwa explains that the techniques so poor that they do not have money to ters for women quietly move to the same singing, wide vocal ranges, and frequent described in the book emerged from purchase Christmas gifts for each other. notes fl owing in the piano score, and articulations that mirror the text. Expres- a blog he wrote describing his return Della sells her prized hair to buy the then these notes eventually become the sive music and poetry! to playing from memory after playing expensive gold chain for Jim’s watch; melody for a soloist or a small section exclusively from scores for 18 years. (See however, meanwhile Jim has sold his of singers. Later the choir sings divisi Angels from the Realms of Glory, Ste- his article, “Dear Harpsichordists: Why watch so he could purchase the tortoise chords while the soloist sings above ven Van Wye. SATB and organ, GIA Don’t We Play from Memory?” in The shell combs his wife had craved in a store them. The piano music is not diffi cult. Publications, G-8460, $2.05 (M-). Diapason, September 2011.) He was window. O. Henry’s poignant story closes This very expressive setting is certain to Although the traditional text is used, motivated by the desire to connect more as follows: become a work that is often repeated and this setting has new themes and is not the viscerally with the music, to making each also could be used throughout Epiphany. traditional melody. There are four verses piece his own. During the transition to The magi, as you know, were wise men— Highly recommended. with the last one different than the usual performing from memory, Cienniwa wonderfully wise men—who brought gifts to the Babe in the manger. They invented hymn. The organ accompaniment is on discovered some unexpected benefi ts: the art of giving Christmas presents. Carol of the Birds, J. William Greene. two staves with registration suggestions. his technique seemed more solid, his And here, I have lamely related to you SAB and organ, Augsburg Fortress, A brisk tempo is used throughout as the awareness of intonation and posture was the uneventful chronicle of two foolish 978-1-4514-9878-3, $1.80 (E). melody receives changing arrangements. heightened, and—most practically—he children in a fl at who most unwisely sac- rifi ced for each other the greatest trea- To have an easy work for that fi rst no longer needed page-turners. sures of their house. But in a last word to Sunday after Christmas is a good idea. Epiphany There are no discrete chapters, but sec- the wise of these days let it be said that This SAB work has four verses: the Go Tell It on the Mountain, arr. tion headings are titled, “Why Bother?,” of all who give gifts these two were the fi rst is for unison soprano, the second David Schelat. SATB, organ, and “The Early Stages of Memorization,” wisest. Of all who give and receive gifts, such as they are wisest. Everywhere they is for unison baritone, and the last two assembly, Augsburg Fortress, 978-1- “The Middle Stage of Memorization” are the wisest. are for SAB choir. The story in the text 4514-9882-0, $1.80 (M). (the heart of the book), “A Few Sticking They are the magi. is delightful and so is the independent The three verses are sung by the choir Points,” “The Memorized Recital,” and a organ part, which is on two staves, fi lled with the familiar refrain melody joined conclusion. There are three appendices Do yourself a favor by taking a few with trills and other ornamentations. by the assembly. The organ part has a that include checklists for memorization. minutes to fi nd and reread this entire Charming music. lengthy introduction and plays through- The reader is thus taken from the deci- story. It will be a gift to you from O. out. This African-American spiritual sion “to memorize or not to memorize” Henry! This delightful tale deserves How Far Is It to Bethlehem?, has a rhythmic energy using a pulsating (and it’s not always advisable, especially reading on or near the time of Epiphany arr. David W. Music. Unison with “doom, doom, doom,” bass line on the for chamber music and contemporary just as A Christmas Carol by Charles piano, Choristers Guild, CGA1378, verses. Fun and enjoyable music. scores) through suggestions on how to Dickens is read each season near $1.95 (E). do it. Along the way, Cienniwa addresses Christmas. Both timeless stories help Another idea for that Sunday after What Star Is This, Steven Van Wye. the issue of fear—truly the elephant in us to enjoy the true meaning of these Christmas is to use a children’s choir, SATB and organ, GIA Publications, the room for most musicians—and how joyous seasons. and this very easy selection may be of G-8814, $2.05 (M). to lay such a good foundation that you Christmastide is the brief season interest to directors. The tune and its This setting is an arrangement of can recover from any memory slips. He between Advent and Epiphany, which accompaniment are quite simple; the Quem stella sole pulchrior that uses advocates practicing with a metronome, legato writing in both the choral and using consistent fi ngering, score study organ parts. There is a soprano descant away from the keyboard, and keeping a The right added in the fourth and fi nal verse. The practice log. Developing aural memory, choral and the organ parts are each set establishing a daily routine that balances organ at the on two staves, and the melody is clearly regularity with variety, and knowing right price recognizable throughout. This is easy, when to set a piece aside temporarily are practical music with a lovely message in crucial issues addressed here. We’ll help you chRRse from the text. The tradition of performing solo the hundreds of vintage organs keyboard music from memory dates available through our website. The Star of Heavenly Grace, Paul from nineteenth-century artists Clara Gibson. TTBB and English horn, Schumann and Franz Liszt. While pia- We can deliver it to the ECS Publishing Co., No. 7877, nists are still expected to memorize con- organ builder of your choice $1.55 (M). cert music, harpsichordists and organists or refurbish, revoice, and The English horn plays throughout are not, at least not to the same degree. install it ourselves. with short, rhythmic phrases, and its Cienniwa acknowledges that his book is music is found on the back cover. The directed more to harpsichordists than “In choosing OCH, I know that the work has been done men sing in a chant-like style, but are organists, but the skills and techniques with the utmost knowledge, enthusiasm, care and integrity.” only in a true four-part texture for he describes in memorizing are impor- David Enlow, Sub-Dean, NYCAGO about half of this three-page setting. tant for all performers, regardless of The tender music is not diffi cult, and their instrument. Organ Clearing House this attractive work will be especially Cienniwa writes in a direct, conversa- www.organclearinghouse.com or call John Bishop at 617-688-9290 useful to a high school or college choir tional style and is honest about his own for a concert. initial failures with memorization—those

14 Q THE DIAPASON Q DECEMBER 2015 WWW.THEDIAPASON.COM Reviews bumps in the road—and how he drew (1889–90). Jean-Pierre Griveau plays composition, and the use of the Albacete The Fuga is quite loosely constructed, on his years of training, including sug- seven other selections from this latter organ is an inspired choice, which allows allowing Bruno Forst to vary the reg- gestions from his teachers, to achieve collection on the 1846 choir organ at the Bruno Forst to offer a quite richly varied istration to offer a range of tone colors his goals. One of the most interesting Orléans Cathedral. tonal palette. from fl ues to reeds, with some applica- aspects is how he came to reexamine Congratulations to these artists and to The opening piece is a raucous Batalla, tion of solo and accompaniment—an his approach to music, in the process Fugue State Films for this quality musi- which shows off the horizontal reeds in idiosyncratic performance, which may questioning ideas and habits acquired cal production: Will Fraser, direction; chordal passages and in less sonorous give the listener a sense of discontinuity over the years. This book describes his Simon Still, camera, and David Hinitt, two-part writing including a slower sec- here. The Obra that follows is toccata- own journey to successfully performing sound. May David Noël Hudson’s wish tion; some judicious echo effects add to like, and although there is no indication from memory and will serve as a guide “to enhance the appreciation of people the drama. This is followed by a Partido that it is to be treated as such, Forst to thoughtful performers, whether they who are listening again to the pieces de Segundo (Tono being understood), in has turned the opening into a piece play from memory or a score. they love, but also to reach those who which the writing for the solo voice is in for divided registers, passing the “solo” —Sarah Mahler Kraaz have never heard Franck’s music before” the right hand, this varying between pas- line from hand to hand, for much of its Ripon College come true. sages of repeated notes and fast passages length, which does not completely con- —Carolyn Shuster Fournier not infrequently in a dotted rhythm in the vince the reviewer. Paris, France fi rst section, the second section being in The fi nal piece from this manuscript, New Recordings triple time with Italianate writing more the Partido de Sexto Tono, has the solo Franck: Father of the Organ Sym- Joseph de Torres: Complete Organ typical of Vicente Rodriguez than of in the right hand, and unfortunately phony. David Noël-Hudson, organ, Music. Bruno Forst, organist. Bril- Bruna and Cabanilles. The third piece, remained incomplete in the manuscript, Joris Verdin, harmonium. Two DVDs liant Classics 94715, $7.50; www. the Obra de Mano Derecha (i.e., with but Forst has converted it into a piece (329 minutes) and two CDs (145 prestoclassical.co.uk. the solo line in the right hand), is in the in ternary form, playing the lengthy minutes), produced by Fugue State The pieces included on this CD have style of an Italian sonata, the right hand opening section after the short existing Films, www.fuguestatefi lms.co.uk, been subjected to some widely dif- solo in the opening Despacio being a fl ue second section in a highly ornamented also available from Raven Record- fering views as to the identity of their combination, before the reeds appear in format. The CD closes with a brief ings, $69.95, https://ravencd.com. composer, and although much has been the Andante and Grave, with more reeds Canción found in a manuscript now in This beautiful twin DVD and CD set, made of him being a native Mexican of added to produce a brilliantly piercing Oporto. In three repeated sections, with recorded on well-chosen intact historic a similar name, the weight of modern sound in the closing 12/8 ternary form the right hand melodic line featuring a Cavaillé-Coll organs, provides the con- scholarship has attributed them to one Alegro [sic] in which the hemiolic writ- dotted rhythm throughout, played here text to César Franck’s organ music and Joseph de Torres (early 1670s–1738), ing is stressed. Unfortunately in my copy on the reed for the fi rst time and then reveals David Noël-Hudson’s intuitive who received initial training from the the bass sounds muddy and indistinct in echoed on the fl ues of the accompani- musical playing, completely faithful to Jaraba y Brunas, both being nephews of the opening movements. ment, the whole piece is then repeated, the composer’s indications. the eminent Darocan composer Pablo The fourth piece is here entitled the melodic line being highly orna- The 52-page production booklet Bruna (1611–79), and who became sec- Obra de Séptimo Tono Bajo (i.e., solo mented most pleasingly. contains pictures of César Franck, the ond and then fi rst organist of the Royal in the left hand), although interestingly Bruno Forst’s playing is of a very high churches where he played, each per- Chapel, Madrid. In addition to compos- the original manuscript does not specify standard, and the years of careful study former, and gives the stoplist of each ing much sacred vocal music and a small Bajo, and is in the typical two sections, of source materials to develop his keen instrument. David Noël-Hudson’s three- amount of organ music, he wrote an closing in triple time. Indeed, the writing awareness of style is revealed in his many page introduction is printed in English, important treatise on accompaniment, does imply a solo, but in the right hand, added embellishments, which enliven French, German, Spanish, Italian, and this latter being published by his own which is how Bruno Forst plays it, using the at times relatively static writing. The Dutch. After defi ning a masterpiece as publishing house, which also printed much softer registers quite successfully occasional use of echo effects and choice a work that cannot be compared with many important treatises and pieces in both its sections. The next piece we of registration is mostly well thought any other, Noël-Hudson then explains by other eminent composers. As the hear is the Obra de Lleno de Séptimo out, and although in a few pieces repeats how Franck’s organ works use the great preserved manuscripts and prints of his Tono, which starts slowly on a moderate have been omitted, as have passages that forms of the past and their poetic musi- works testify, his fame extended as far as fl ue combination and then gathers speed have been speculatively added by the cal expression emanated from both the New World. as the reeds are added. editor of the modern edition, this does his head and his heart. Noël-Hudson The instrument chosen for this After this, Bruno Forst plays the Obra not detract from a generally faithful proposes that Franck’s Trois Chorals are recording is the two-manual organ in the de Primer Tono Bajo, the reed speaking recreation of the pieces. a single cyclic work: the grand variation parish church of Santa Quiteria, Elche clearly as the left hand moves from a The very short booklet contains a form in the fi rst Choral suggests birth de la Sierra (in the province of Albacete) pensive quarter-note and eighth-note brief biography of the composer, provid- and growth; the passacaglia form in the by an unknown builder, quite probably line to leaping eighth-note and scalar ing useful background information to second Choral depicts creation; the in the late 17th or 18th century, which sixteenth-note passages. Bruno Forst has his many activities and the extent of his reconciliation between the secular and was restored in 2005 by the Desmottes chosen to play the second section, which reputation, and a short paragraph about the divine in the third Choral reveals the Brothers of Cuenca. In each manual the continues in common time but has two the performer. The specifi cation of the coming of maturity. stops are divided, presumably C–C#, the voices in the bass, with both hands on organ is included; it would have been This collection includes the fi rst main manual having 14 stops for each the main manual using the reeds to great extremely helpful if space could have proper recording of the 1858 Cavaillé- half of the keyboard, with the left hand effect, rather than to follow the examples been found to include the registration Coll at the church of Saint-Louis d’Antin, including a Violón, the Flautado chorus of Bruna and Cabanilles who occasion- of each piece. A photo of the splendid where Noël-Hudson is organist. Franck’s of 8′, 4′, and Twelfth, with a Quincena ally specifi ed keeping the hands as in the instrument graces some two-thirds of Prélude, fugue et variation, Pastorale, and Decinovena (i.e., Fifteenth and fi rst section, thereby doubling the sonor- the front cover. Although by its very and Prière, recorded here, reveal the Nineteenth) as one stop, Nazardos ity of the solo line. The following Partido nature it is on the short side, this CD superb voicing of its 26 stops and sug- (Flutes) of 12th, 15th, and 17th, a de Primero Alto (i.e., on the fi rst tone contains suffi cient variety of composi- gest how Franck’s 1859 organ at Sainte- Lleno and Cimbala both of four ranks, with solo in the right hand), which is in tional genres to be highly recommended Clotilde sounded. The Trois Chorals, the and a Clarón of three ranks, an interior three parts throughout, is presented in a to those looking for a recording of the Pièce symphonique, the Fantaisie en ut, Trompeta Real, and horizontal reeds of similar manner, with the reed taking the lesser-known repertoire from the late and the Final sound so well on the 1855 Bajoncillo at 4′ and Clarín en 15. In the increasingly virtuosic solo line, and in the 17th and early 18th centuries, played Saint-Omer Cathedral organ. The Trois right hand there is the Violon, the same second section, in triple time, in which on an instrument contemporary with Pièces, composed for Franck’s concert pitch Flautados, a Flauta Traversa of two the solo line is doubled, it is delegated the music, as well as to those who are at the Trocadéro in 1878, were recorded ranks, the Lleno, Címbala, and a three- to fl ues. ³ page 16 on the 1894 secular organ for the Baron rank Tolosana. A seven-rank Corneta de l’Espée, now at the church of Saint- Magna, two interior reeds (Trompeta Antoine des Quinze-Vingts in Paris. Real and Trompeta Magna) and two The DVDs are in French and English horizontal reeds (Clarín Real and Clarín with subtitles in the other four languages, Claro) complete the registers. The Chair along with David Noël-Hudson’s perfor- organ is, as expected, of far more modest mances and analyses of Franck’s twelve dimensions, the left hand having only a organ pieces. Éric Lebrun, a biographer Violón, Octava, Quincena, and Nazardo of Franck and organist at Saint-Antoine- en 19th, the right hand offering addition- des-Quinze-Vingts, perceptively traces ally a two-rank Flautín, a Corneta Inglesa the main events of Franck’s life and situ- of fi ve ranks, a Clarín, and an Oboe. The 16355, avenue Savoie ates Franck’s organ works in the context organ is tuned to A=415. Saint-Hyacinthe (Québec) J2T 3N1 of Romantic music, his overall musical This CD includes all of Torres’s extant Canada production, and that of his contempo- organ music known to date, the small raries, at the organs of Notre-Dame- quantity requiring only eleven tracks, T 450 774-2698 [email protected] de-Lorette (1838) and Saint-Jean-Saint- the music for all but the last track being François (1845). Olivier Penin presents found in a manuscript now preserved www.letourneauorgans.com the Sainte-Clotilde organ (1859). Joris in Mexico; the pieces are not presented Verdin, organ professor at the Royal here in the order in which they appear Conservatory in Antwerp, presents in this manuscript, but this poses no Franck’s musical expression on a Mustel sense of discontinuity to the listener. harmonium, interpreting an Offertoire The pieces cover the majority of styles F O L L O W U S O N F A C E B O O K (1864) and fi ve pieces from L’Organiste common in Spain at the time of their

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2015 Q 15 Reviews

³ page 15 Gifts, Norwich, Jerusalem, Unser The fi rst piece, As the Grains of If your church uses these kinds of con- already afi cionados of the Iberian com- Herrscher, Sonne Der Gerechtig- Wheat, specifi es Swell strings, an 8′ solo temporary tunes, this collection may be posers of this period but are unlikely to keit, The Ash Grove, and Es Ist Das stop on the Great, and a 4′ in the Pedal. your cup of tea. As meditative music or be aware of this particular composer. Heil. Sedio’s unique ability to sympa- The Swell strings begin in a low register as communion music, I can recommend —John Collins thetically capture the essence of these with the Pedal carrying the tune. It is this collection, or it might serve as good Sussex, England unique hymns makes this a particularly never specifi ed where the Great solo is music for a student since most of it is useful addition to any library. to be used, although a few measures in easy to medium diffi culty. —Andrew Schaeffer the middle where the Swell fi nally rises —Jay Zoller New Organ Music First United Methodist Church to the treble clef, seem to me a likely Newcastle, Maine Mark Sedio, Come & Praise, Vol. Edmond, Oklahoma spot. Low strings end the piece with the 2. Augsburg Fortress, ISBN 978- 4′ once again in the Pedal. 0-8066-9692-8, $19.50, www.augs- Marilyn Biery, Gathered into One: Baptized and Set Free again calls for New Handbell Music burgfortress.org. Organ Settings of Contemporary Swell strings, coupled to Pedal this time, Music of the Masters 2, arranged for As the cantor of Central Lutheran Tunes. Augsburg Fortress, ISBN with the Great 8′ Flute as a solo. The 2 or 3 octaves of handbells or hand- Church in Minneapolis, Mark Sedio 978-1-4514-8606-3, $19.00, www. melody comes in on the Great, and the chimes, by Sharon Elery Rogers. has a deserved reputation as a creative augsburgfortress.org. opening notes are repeated in several Choristers Guild, CGB805, $39.95, and skillful hymn player and improviser. Some time ago I reviewed Marilyn voices, generally over sustained chords. Levels 1+ - 2+ (E–M). While this volume is particularly useful Biery’s volume An American Perspective. In the center of the piece, the melody This collection introduces ringers to for musicians working in Lutheran set- At that time I said, among other things, lies over a repeated eighth-note pattern. famous classics in progressing levels of tings, organists of all denominations will “The music of Marilyn Biery in An Amer- Be Not Afraid is the only piece in the diffi culty. Composers include Sibelius, fi nd it appealing. In choosing the tunes, ican Perspective is a collection of eight collection that is actually called a “medi- MacDowell, Mendelssohn, Pachelbel, Sedio thoughtfully avoided writing on tune settings. It is a unique and diverse tation.” It has luscious repetitive phrases Tchaikovsky, and Schubert. Teaching tunes that organists of many denomina- collection, which shows Ms. Biery to be with melody over sustained seventh suggestions are included as well as tions are likely to already have in their a highly competent composer, one of chords. Again, registration calls for Swell biographical pages on each composer. libraries. Furthermore, organists of imagination and boldness.” I went on to strings coupled to Pedal, with the addition Purchase one copy and reproduce them all skill levels are likely to fi nd useful talk about the effectiveness of some of the this time of Pedal 16′ and Great Flute 8′. for your choir. settings—from the diffi cult toccata on tunes and the variety in the settings. So, it Lord, Let My Heart Be Good Soil Atkinson (“O God of Light”) to simple was with this in mind that I approached appears in two versions—fi rst, a hymn Foundation, arranged for 5, 6, or 7 reharmonizations, such as Sedio’s own this volume, Gathered into One. introduction and then as a short prelude. ringers, 2, 3, or 4 octaves of bells, by tune Bethold (“Jesus on the Moun- I must admit that as I played through The material and approach is the same in Karen Thompson. Choristers Guild, tain Peak”). this collection of contemporary tunes, I each, except for length, the second being CGB872, $4.50, Level 2 (E+). Of particular interest was Sedio’s felt mildly disappointed. My initial reac- much more developed. The registration The melody appears in the treble refreshing setting of St. Clement, tion was that it did not quite live up to An calls for Swell Flute 8′, Viola 8′, Great after a layer of syncopated chords sets which was composed for the open- American Perspective, and that it might Flute 8′, with this time a solo reed on the pace for the piece. The familiar ing celebration of the 2008 National better be called “Meditations on Con- the Choir. Except for a four-measure early American tune Foundation is the Convention of the American Guild of temporary Tunes.” A title like that would reprieve in the center, the piece gets a melody used, as suggested by the title. Organists, held at Central Lutheran. In have prepared me for the more contem- little tedious with the solos on alternating Here is a spirited arrangement that will addition to the “Prelude,” his reharmo- plative and the less bold approach of Great and Choir played over sustained be a welcome addition for any choir. nization of the fourth stanza for SATTBB which this volume consists. left-hand chords on the Swell. voices as well as his descant for stanza I knew very few of the tunes them- Now We Remain has the sub-heading Triumphant Spirit, arranged for 2 or fi ve are provided with permission for selves, but fortunately, with every piece “Homage to Calvin Hampton.” Registra- 3 octaves of handbells, by Nicholas A. local use. Other tunes include Forest the tune name, the composer and year, tion, you guessed it, is Swell strings against Hanson. Choristers Guild, CGB841, Green, Kuortane, Thurnbull, and publication was carefully listed, so Flute 8′ on Great or Choir. Despite the $4.50, Level 3 (M-). Raabe, Holy Manna, Harvest there was no problem fi nding the music. registration, I found this piece to be the This lively piece begins in fanfare most interesting of the book. Much as fashion and takes shape as a “bolero- Calvin Hampton often did, Biery uses an type” march. The original theme could interesting repeating triplet fi gure in the serve well as a processional. left hand that patters along throughout the entire piece and changes just enough Take My Life and Let It Be, arranged here and there to require you to be very for 3–5 octave + Bb2 handbells, with careful playing it. optional 3–5 octaves and Bb2 hand- On Eagle’s Wings was one tune I chimes by Sandra Eithun. Agape (a knew without looking it up. The melody division of Hope Publishing Com- appears only in short phrases, which pany), Code No. 2710, $4.50, Level made it memorable here and there 3 (M+). PHILADELPHIA 2016 where it was recognizable. For the most This handbell setting brings together OHS PIPE ORGAN CALENDAR part the left hand plays sustained chords two great hymns, Hendon, “Take My and the Pedal, long held notes. Registra- Life and Let It Be,” and Angel’s Story, THE OHS 2016 CALENDAR celebrates the 61st tion was, once again, the usual. “O Jesus, I Have Promised.” Hand- Annual OHS Convention — Philadelphia, June The longest piece in the collection is chimes and suspended bell lines open to We Are Called, which extends to seven set up the melodic material. The piece 26 – July 2, 2016 and the Diamond Anniversary pages and calls for “Full to Mixtures”— builds to a full rendition of both tunes, Year of the OHS, founded June 27, 1956. This to me a welcome change! It is subtitled winding down to a refl ective ending of calendar is filled with gorgeous photographs by “Harmonization and Coda (or Introduc- these two great texts. Len Levasseur — 12 different instruments, one tion),” which allows for different uses in the service. However, for me, the A Celtic Ring, arranged for 3–5 for each month — ranging from a 1791 Tan- repetition got a little overwhelming, and octaves of handbells by Susan E. nenberg to an 1892 Hook & Hastings, a Roos- I longed for more variety. Geschke. Agape (a division of Hope evelt, E.M. Skinner, to the “Wanamaker” organ, With We Walk by Faith we are safely Publishing Company), Code No. back to Swell strings and Great Flute 2706, $4.50, Level 2 (M-). the Midmer-Losh at Atlantic City, Aeolian at 8′ with the solo in the Pedal. Harmoni- Using original melodic material and Longwood Gardens, and contemporary organs by cally, I found this piece to be much more incorporating the hymn tune Holy Mander, Rieger, and Dobson. Michael Krasulski’s interesting. The Pedal solo begins the Manna, Susan Geschke provides a lovely welcoming article offers wonderful local history, piece with a catchy little melody, which piece for church or community use. A soon gives way to 16′ in the Pedal and sprinkling of staccato notes throughout punctuated with still more stunning organ pho- the melody switching to the Great Flute. with no bell changes will give ringers just NON-MEMBER PRICE: $19.99 tos. The Calendar highlights US Holidays, and This continues to the end with buildups the right amount of challenge. MEMBER PRICE: $14.99 the major dates of the Christian and Jewish year. in the left-hand chord. The fi nal piece, You Are Mine, asks Fanfare on Coronation, arranged for Foundations 8′ and 4′ on both manu- for 3–5 octaves of bells by Ron Mal- IN STOCK FOR IMMEDIATE SHIPMENT! NOW CHOOSE FROM 4,367 SELECTIONS! als with couplers. The Pedal begins a lory. MorningStar Music Publishers, syncopated rhythm, which continues MSM-30-861, $4.50, Level II (M). ORDER ANY TIME ONLINE WWW.OHSCATALOG.ORG almost unabated throughout the fi rst Beginning with an opening fanfare, three quarters of the music. This is an this piece proceeds right into the interesting piece, made more so by the familiar hymn, “All Hail the Power of ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we syncopation, but again has much rep- Jesus’ Name.” With some special effects P.O. Box 26811 Richmond, VA 23261 recommend, is $10.00 for your entire order. etition, melodic and harmonic. Some of employed and a key modulation, the Media Mail shipping is $5.00 for your entire Telephone: (804) 353-9226 this repetition, in most of these pieces, arrangement develops into a joyful hymn order. Shipping outside U.S. is $4.50, plus is a result of over-repetition in these of praise. Monday–Friday 9:30am–5:00pm ET the cost of air postage, charged to your VISA contemporary tunes. This may appeal to —Leon Nelson [email protected] SHIPPING or MasterCard. some people even though I do not like it. Vernon Hills, Illinois

16 Q THE DIAPASON Q DECEMBER 2015 WWW.THEDIAPASON.COM On Teaching By Gavin Black

Velocity I practicing, and specifi cally the pacing of still above the threshold of how fast you This month and next I am writing work on tempo within practicing? The will ever need to move when playing. about the quest to play fast: fast enough, answer is “both.” But how exactly, and Now try it the other way around: 1-2-3- faster than before, faster than the next in what sort of proportions? Next month 4-5. This is no longer intuitive drumming person, fast and secure, fast and yet clear. I will look at some specifi c passages and on a table. It can feel a bit awkward, and This important thread runs through different fi ngerings, to try to address this the ceiling on velocity might be just a all aspects of learning to play music. It aspect of the question directly. touch lower, but still comfortably above can also touch upon all sorts of insecuri- There are different levels and types any real-life musical speed needs. It ties and sensitive spots. Can I play fast of playing “fast.” This is obvious, but feels awkward in part because the thumb enough? Will my soloist or the conductor worth noting. The act of getting notes is more comfortable as a point of arrival insist on a tempo that is too fast for me— right—and its important adjunct, which than as a starting point: releasing the either one that feels wrong musically or is having it feel comfortable or even thumb almost infi nitely quickly to go on one that I just plain can’t do? If I don’t easy—is almost always more likely the to 2 is tricky. How does it feel if you just play at least something—anything—fast, more slowly a passage is being played. do four notes: 2-3-4-5? With just non- will listeners assume that I am not really That’s the fundamental fact of learning thumb notes, is the difference in feel in command of what I am doing? pieces: it’s why we start practicing pas- between one direction or the other less No one’s self-esteem as a musician sages slowly and then speed them up. noticeable? How about the difference this sort you will feel a tiny hesitation or is ever undermined by the inability to For many pieces, speeding up will not between the two hands? notice that the overall speed is less than play slowly enough. (Well, it rarely is. take things past a comfortable level of (5-4-3-2-1 drumming is basically the you thought it would be. If this happens, Perhaps this should happen more. Play- velocity. For these pieces, that process same gesture as closing your fi st. How- try to recognize the feeling of whatever ing slowly effectively isn’t necessarily will always work and is not really within ever, 1-2-3-4-5 does not correspond to it is that is introducing that hesitation. It particularly easy.) But many of us worry the sphere of this discussion. If, however, any naturally shaped hand gesture.) is probably a split-second of uncertainty whether we can play fast enough, either the goal is to play a piece at a tempo that Now try the same thing at a keyboard, about what is supposed to come next. Go for what we want to do musically or seems to tax what the player can do with (ideally an organ or harpsichord), so that back to straight (5-4-3-2-1) drumming for what we think listeners will expect velocity, then there can be different, you won’t be distracted by thoughts of for a time or two, then make double- of us. We also worry that if we choose perhaps more complicated issues. dynamics. (If you are at a piano, play sure of what you want your non-adjacent a slower tempo for genuine musical/ The question is how much continuity near the very top of the keyboard where pattern to be. (Perhaps you will notice a expressive reasons, people will assume there is across these two areas. Is the the touch is lighter.) hierarchy of non-adjacent fi nger patterns we just can’t play it faster. We rarely process that we use to make a “normal” as to how easy it is to make them as pre- worry that our listeners will assume that piece comfortable and reliable what dictable as scalewise patterns. For me, we can’t play more slowly. we should also use to get something 5-1-4-2-3 is not appreciably different in Long ago I heard it recounted that very fast—fast enough that the velocity feel from 5-4-3-2-1, but I need to think Rachmaninoff had said that Alfred alone makes it a challenge? How are and prepare a bit more to make 2-1-5- Cortot always decided that the really these two processes related? The point 3-4, for example, feel that predictable.) hard bits had to be played “expres- of any normal systematic practice is to Another useful variation is to plan and sively,” that is, slowed down. This was create predictability: that is, to make then play non-adjacent note patterns of course meant to be a withering criti- us feel certain, as we play the piece, (Or whatever notes you want.) with adjacent fi ngers, for example: cism of Cortot: not only claiming that that we know what is coming up. In his keyboard facility was faulty when it “normal” situations, this predictability See if you can let the fact that you are came to velocity, but also claiming that comes from a blend of things—so-called actually playing, not just drumming on a his much-admired expressive playing “muscle memory,” conscious familiarity surface, not change the feel of what you was actually musically arbitrary, and with what is coming up in the piece are doing. Go through the same sequence just a way of covering up lack of skill. I (whether we are using notated music or of directions and hands. Predictability is have reacted to this by saying that often not), and the ability to read ahead and at 100% through all of these slightly dif- the hard bits are hard because they are combine memory with newly reviewed ferent ways of performing this exercise, musically involved and complicated, and information. Fingerings and pedalings but physical naturalness varies a bit. (or any note pattern that you like). maybe should be slowed down, for the that have some logic to them or are One next step in this exploration is to listener’s sake as much as for the players. simple or that use patterns of some sort try up and down, or vice versa. That is, You can take all of this through the But not-fast-enough seems to open us to can aid in this process. play (on the table at fi rst) 5-4-3-2-1-2-3- stages described above: each hand, both criticisms of this sort, and we often worry 4-5. Then do the same, but keep it going directions, back and forth once, back and about it. Tempo and fi ngering for a while, several times back and forth. forth repeatedly. Just never do anything Fortunately this (like most things) The key to playing fast is predict- Then try starting on the thumb: 1-2-3- that you haven’t mapped out in advance; can also be a source of humor. I recall ability. It is natural to believe that if we 4-5-4-3-2-1-2-3, etc. Is it easier to do use predictability to make very high- a moment a long time ago when I was have trouble playing fast, it is because we this ongoing repeated table-drumming velocity playing function easily. in the company of a fi ne young musi- just can’t quite move that fast. However, starting on 5 or starting on 1? After the So far, predictability has been cian who was about to play in a youth this is rarely the case. Most organ (and fi rst pass through all of the fi ngers, they achieved—and physical ease of move- orchestra concert. An older friend who harpsichord) music doesn’t tax the physi- resolve into the same thing, except for ment preserved at the same time—by was there clapped him on the back with cal ability of any player to move quickly. perhaps an underlying sense of where using patterns in which the hand a hearty “Play louder and faster than However, above a certain speed—which the strong beats are—even though in the maintains the same fi ve-fi nger position everyone else!” of course varies from person to person— absence of a musical context there aren’t throughout. A further step is simple As far as I can tell, conductors are not the conscious elements of “knowing exactly beats. (For me personally doing gestures that involve moving the hand. likely to be subjected to this sort of criti- what’s coming next” simply can’t come this, taking only one pass at the notes, Think of your favorite (for this purpose, cism if they are inclined to slow tempos. into play: there isn’t time. The sources of 5-4-3-2-1 is easier, quicker, and more easiest) such gesture. For a lot of us that The physical gestures of conducting rock-solid predictability that are below natural than 1-2-3-4-5; the repeated is a scale with the traditional modern relate to the music and its speed in a the level of conscious thought become drumming seems easier and faster fi ngering: 1-2-3-1-2-3-4-5 in one direc- different way. Also, keyboard continuo more important. when I start on 1 rather than on 5. This tion and 5-4-3-2-1-3-2-1 in the other. playing usually becomes actually easier Let’s take this one step at a time. difference is more pronounced in my Try playing this—just in one direction as tempo goes up—assuming that the How fast can you move your fi ngers? right hand than the left. But, again, the for now—with exactly the same feeling continuo part is being improvised by the The most direct way to explore this is to fundamental point is that as long as it is that you used for the fi ve-note exercises. player, or at least has been written by the drum your fi ngers on the table, the arm utterly predictable, the possible velocity Know for certain in advance what you player with the ultimate tempo in mind. of your chair, or wherever is comfort- of any of these patterns is greater than are planning to do and execute it as one This is because in general, the faster the able. That is, “play” fi ve “notes”—away the demands of repertoire.) very fast unmeasured gesture. tempo, the fewer notes or chords are from any instrument—with the fi nger- Another thing to try in exploring There are intermediate practice tech- needed in the continuo realization. (If ing 5-4-3-2-1. No beat, no timing: just predictability and comfort is using the niques that you can use to prepare for the bass line itself is too diffi cult at a fast drum those fi ngers as quickly and lightly same fi ve fi ngers, each playing once, but this—for example, drumming on the tempo, that can reverse this effect.) as you can. Make sure that your arm is changing the order. You should decide table with 5-4-3-2-1-3 without changing comfortable and that your wrist and fi n- clearly on an order before trying to play the position of 3, or drumming 1-2-3-1-2- Tempo and fi ngering gers are not turned too much to either and then do so as quickly and lightly as 3-4-5, again without changing the position My decision to write about this sub- side. It is OK—even a good idea—to possible. This is meant to be the opposite of the fi ngers on the table. Then 5-4-3-2- ject comes specifi cally from a reader’s have your arm resting on whatever sur- of improvisation: do not take yourself by 1-3, moving 3 over 1 for the last “note.” suggestion, in a recent e-mail, that a face you are using. surprise. So try, say 1-5-4-2-3, or 2-4- You can play around with this and invent “discussion of fi ngerings that will work How fast do your fi ngers go in this 5-1-3—or anything. But again, know new permutations, as long as the predict- at faster tempos would probably be exercise? You don’t need to come up with before you trigger the fi ve notes exactly ability, quickness, and lightness remain. Q interesting.” This indeed seems to me to a number—just a sense of whether the what you want them to be. Try this both be a good point of entry into the topic. velocity is greater than you are likely to drumming on a table and poised over To be continued . . . Is the quest to feel comfortable up-to- need in playing music. It almost certainly fi ve adjacent notes on a keyboard. Try to tempo—especially at fast tempos—best is. See whether there is an appreciable let those two feel as similar to each other Gavin Black is director of the Prince- addressed at the point of choosing difference between the two hands, either as possible. ton Early Keyboard Center in Princeton, fi ngerings (and pedalings—though I am in how this feels overall or how fast you As you play around with this, you will New Jersey. His website is gavinblack- focusing mostly on manual playing here) are able to move. There might be, but if probably notice that one time or another baroque.com and he can be reached by or best addressed by process—that is, one of them is slower, it is also probably through a non-adjacent fi nger pattern of e-mail at [email protected].

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2015 Q 17 In the wind...

Meeting the future employee conferences at the site so they This weekend, Wendy and I drove to could study the particulars of the design Massachusetts to visit our new grand- and construction, and he pointed out son. Samuel John Vichiett-Bishop was some incredible facts. I was especially born last Thursday (October 22) at 3:45 impressed by the fact that the 10,000- p.m., weighing 3.45 kilograms (7.61 seat structure occupied a section of a pounds), the second son of my second perfect sphere, and after thousands of son Christopher and his wife Alessan- years was still perfectly level. Christos dra. Big brother Benjamin is almost explained that the techniques used for three years old, a turbo-charged, bright- the design, surveying, and construction eyed, bilingual beauty. (Alex is Brazilian must have been written down, but that so they speak Portuguese at home.) all documentation had been lost through Sam is just big enough to rest in my the ages. He recalled his boss lowering two cupped hands. His feet are about his voice and posing the rhetorical ques- the size of my thumbs, and his toes are tion, “Who was the bastard who burned like the little peas in snow pea pods. the Library at Alexandria?” The whole thing is magical, remarkable, moving, and inspiring. The death of culture Three years ago when we were Just as hundreds of generations of anticipating Ben’s birth, I was looking accumulated recorded knowledge forward to the rite of passage of becom- was lost forever in the (multi-stage) ing a grandfather. But as those who destruction of that venerable library, know me have heard me say, I was not our modern society seems capable of prepared for the joy of seeing my son as losing important components, ironi- a father. And yesterday, watching Chris cally at the hands of the very advance confi dently scoop up the teeny boy, and of technology. As life becomes more seeing Chris and Alex as a team prepar- complicated and methods of informa- ing for Sam’s fi rst few weeks, discussing tion management and communication schedules about daycare and medical proliferate, our collective attention appointments, all while managing Ben’s spans are diminishing. National Public rambunctious motions, I was simply Radio is still able to retain an audience bursting with pride. willing to listen to news stories that last John Bishop and Samuel John Vichiett-Bishop Then, driving home to New York, several minutes, but most of our news is listening to news reports about national delivered to us in brief bursts. It’s easy provided by Miss Louden in Winchester, statue, David, is almost 17 feet tall and and international politics, I refl ected on to get the sense that some of the things Massachusetts, in the 1960s. When I weighs almost 12,500 pounds. Do we the fi rst days of the life of a tiny person, that are central to our culture are being was leading a church youth choir, most assume that the original block of marble wondering what kind of world he will threatened by our collective ability to of the kids had no background reading was twice that heavy (25,000 pounds), know as an adult. pay attention, to concentrate, and to music, so I gave it to them. I know that 2½ times (31,250 pounds) as heavy, or participate in activities that require the many of my colleagues do exactly that as more? It was removed from a quarry in Kids these days . . . thoughtful use of time. part of their work with children. But that Carrara, Italy, and the fi nished statue is Old fogies like me have been say- One example of this is as simple as covers only those kids going to church. If in Florence, over 80 miles away. No big ing that for centuries, but I still like to the written word. A friend who had the schools aren’t teaching basic musical deal; a heavy crane lifts it onto a truck, make comparisons between generations neurosurgery on her right arm fell and skills, a huge swath of children would and off we go on an asphalt highway. in my family. My grandfather pointed broke her left arm while traveling in never be exposed to quarter notes. Do No, Michelangelo completed the statue out that local transportation when he Italy. Her right hand is still tingly as we care about that? in 1503—that 13-ton stone was hauled was young involved horses, and he was her nerves heal, and her left arm is in Plato said, “I would teach children over hill and dale using carts with wood about the age I am now when humans a heavy rigid plaster cast. She reports music, physics, and philosophy; but wheels drawn by oxen over roads of mud walked on the moon. When my father the delight in taking advantage of the most importantly music, for the pat- and stone. was growing up, a truck drove around Dictation and Speech functions of her terns in music and all the arts are the When I was in college, I took several his urban neighborhood delivering ice MacBook. Having lost comfortable key to learning.” Imagine a Presidential art history courses, learning rudiments for iceboxes. My generation was the fi rst use of both hands at least temporarily, Education Commission that promoted of style, iconography, and techniques— to establish households that required she is able to continue her work as an the teaching of music as a basic tenet knowledge that enhances every visit refrigerators, air conditioners, stereo attorney, dictating letters, e-mails, and of public education. What a world that to an art museum forty years later. I’ve equipment, televisions, microwave formal documents into her machine. would be! watched droves of tourists stream from ovens, and, heaven-help-us, computers And I confess to frequent use of voice In 1920, the population of the United their buses along well-worn pathways at the outset. memos with my iPhone. But when I States was about 106,000,000, and toward an iconic masterpiece like Mona Our thirty-something children are recently heard a story on NPR about 300,000 new pianos were sold. That’s Lisa, ignoring hundreds of compelling of the fi rst generation to have had cell how some educators are starting to one new piano for every 353 Americans. artworks, actually missing the entire phones while attending school. CDs wonder whether it’s necessary to teach Today there are about 319,000,000 experience while snapping bootleg pho- were the standard format for recorded cursive writing in public schools, I shud- Americans, and according to an article tos, as I sneaked off in the other direction music, color television was ubiquitous, der while acknowledging my culpability. published in the New York Times, in to have sumptuous galleries to myself. and the Internet was barely a glimmer Will Sam go to school in an age when 2006, Americans bought only about Walking through a doorway from in Al Gore’s eye, used only by scientists copperplate script is obsolete? What 76,000 pianos.1 That’s one new piano one gallery to another, I’ve burst into and academics. would that mean to our society? Do we for every 4,197 Americans. That huge tears encountering an iconic painting. When I was a kid, Popular Mechanics care? Or would that be a lamentable loss? decline must have been caused largely I would have been introduced to the magazine predicted that by now, we’d § by the introduction of radio, television, image by a slide in a Carousel machine be whisking about in personal jet-pow- and electronic recordings. But I can’t in a darkened lecture hall forty years ago, ered vehicles. It didn’t bother me that Most readers of The Diapason escape the notion that a hundred years but seeing the real thing is visceral. The the cartoon renderings made them look can read music. With a glance at a ago, most households owned pianos and Starry Night on a tee-shirt doesn’t raise like trash cans—I’d be happy to stand score, we can accurately hear melody, included family members who could the hairs on your neck, but the very piece on banana peels and coffee grounds if harmony, and rhythm in our “minds’ play them. of canvas and streaks of paint that were my PJV would speed me through the ears.” We’re multilingual. We might Chris and his older brother Mike handled by Vincent Van Gogh sure do. Lincoln Tunnel two feet above the take it for granted, but we learned every grew up singing in choirs that I directed, Sam and Ben live more than 200 miles stalled traffi c. I’m a little disappointed jot-and-tittle purposefully. When and they both had piano lessons, and they from us. I’m looking forward to having that this hasn’t happened yet. I think where did we learn this? I’ll speak for were both often conscripted as “tuner’s them here for Grandpa visits when I they spent too much time developing myself—you can fi ll in your own story. helper,” but when they were out on their can take them to New York’s wonderful the fax machine. I had my fi rst piano lessons when I was own, they made their own choices about museums. Meanwhile, I know that Chris When I wonder what the future about eight, and I know Miss Swist laid church. I doubt that Sam or Ben will and Alex will take them to the great holds for four-day-old Sam, it’s safe to the foundation for my musical literacy. follow their grandfather’s footsteps into museums of Boston. I hope that forty- say the technological products that will I also remember the goitered and aptly church music, but I hope they’ll both go something Sam will take his children to be important to him when he’s a young named Mrs. Louden who crowed in through life with an understanding of the art museums. adult have yet to be imagined. But since front of elementary school classrooms, art of music, enough to allow them to be § I’m far from the fi eld of technological teaching us simple songs and writing free to be moved by it. development, I’ll leave that speculation quarter notes and rests on the black- § The three major broadcast networks to the engineers. board using a cool chalk gang-holder to and two UHF channels that were around A couple years ago, Wendy and I were draw staves. Throughout the centuries, artists when I was growing up have become visiting our daughter’s in-laws in Athens, Of course, I’ll encourage Chris have manipulated materials as vari- hundreds of cable channels broadcast- when Christos, an architect, took us to and Alex to give Ben and Sam music ous as marble and linseed oil to record ing everything from real art to pure visit an ancient amphitheater outside the lessons—I’ll offer to pay for them. But their observations and interpretations of bunk. Originally hailed as the greatest city. He told us that the large architec- I doubt they’ll experience anything like the world around them. And they took educational tool of the twentieth cen- tural fi rm for which he had worked held the even questionable musicianship it seriously. Michelangelo’s stunning tury, television has deteriorated into a

18 Q THE DIAPASON Q DECEMBER 2015 WWW.THEDIAPASON.COM By John Bishop

know that friends and family join us. Ben I imagine that Sam will be more loves to sit in a lap to “read” a familiar familiar with the pipe organ than other book. He knows many of them by heart kids in his classes—I’m looking forward and recites along as you read, imitating to sharing my passion with him as part infl ections and correcting errors. of his awareness of his family. And who I trust that Sam will become an adult knows, maybe he’ll take some lessons. in a world that reveres the printed page, I fully expect Sam to be familiar with in which information is disseminated and video games—his father and uncle are discussed on paper and in which stories products of the generation that started are told on paper. I trust that he will pass with PacMan and Mario Brothers and on that love to his friends and the family has since gone deeper into that world members that follow him. And I’ll be giv- that I don’t understand. As our kids ing him books at every opportunity. were the ones who understood how to § program a VCR, my grandsons will be virtuosic in operating gadgets we haven’t Mrs. Louden’s chalk holder (photo credit: Books, music, theater, and art are all dreamed of. www.jennyandpearl.com) still in the mainstream of our culture. But I hope, and I’ll do all I can to People who seek and appreciate them guarantee, that his education will not with love and passion. I’m not pretend- wasteland of misnamed experiences. enjoy the wealth of knowledge and only expose him to the wide world of ing that he’s going to be an artist, an You might tune in to Animal Planet, depth of expression of those who have culture, but also immerse him in it. He’ll actor, or a musician, but intending that expecting something like the carefully preceded us. And through their expo- be well versed in the latest games, mov- he’ll know enough about those things to researched nature programs of public sure to the heights of human culture, ies, music, and art. And he’ll be familiar care about them. I expect it of him, and I television, but fi nd a blood-and-guts they are open to the appreciation of less with Shakespeare and Shostakovich, expect it of me. Lucky for all of us. Q story about feeding habits, narrated in prevalent expressions. As participation Donatello and Don Giovanni, Brunelles- an emergency voice, as if normal feed- in the American church has diminished, chi and Stravinsky, Rodgers and Ham- Notes ing habits should be reported like war fewer members of society are likely to be merstein, and Bernstein and Sondheim. 1. Stephen J. Dubner and Steven D. Lev- zones. (Oh no! Look what that alligator familiar with pipe organs, or even have He’ll know the difference between Bach itt, “Laid-Back Labor” (Freakonomics blog), did to that egret!) The History Chan- experienced them at all. and Offenbach, and he’ll pass it all on The New York Times Magazine, May 6, 2007. nel shares idiotic testosterone-induced antics that have nothing to do with history, and while The Weather Chan- nel could teach us some fascinating science, you’re more likely to see poorly equipped, poorly educated “research- ers” racing across Texas and Oklahoma, intending not to be hit by a tornado and acting surprised when they are. Hollywood provides an endless sup- ply of violent, gory fantasies, and full- GET REAL length movies are instantly available to us, streaming through our laptops and phones, but what about live theater? When I was in high school, dozens of friends were gathered by the music department to learn, produce, and Are you purchasing sounds, perform Broadway musicals. I’ll never forget the lyrics to the songs of Okla- homa! or Little Mary Sunshine, having or samples of sounds? pounded out the tunes on the piano hundreds of times, and watching my friends spread their thespian wings was ...real pipes can last for centuries. a delight. Those productions were more ener- getic and enthusiastic than artistic, and our Curly was no Alfred Drake (original Broadway cast, 1943), but that troupe of school chums sure got a taste of what’s involved in live theater. We dealt with stage fright, casting jealousy, embar- rassing stage kisses, memory lapses, and missed cues, but that was really a life experience, giving us an appreciation of the emotion of acting. Two people NORTH AMERICA’S PREMIER PIPE ORGAN on a stage can make an audience gasp, BUILDING AND SERVICE FIRMS cringe, laugh, or cry. You see spittle fl y- ing between faces and realize the extent to which the actors have abandoned themselves in service of the story. I hope that Sam will appreciate and seek out live theater. Call today for § APOBA’s free 66+ Wendy is a literary agent, working to enable authors selling their manuscripts to publishers and laboring to promote page color prospectus and advocate the books as they arrive on the shelves in bookstores. In many ways, Please watch and share her work parallels mine. Books and pipe APOBA.COM organs are facing competition from elec- our short video at: tronic alternatives; both are viewed by 1-800-473-5270 www.apoba.com/video many as outdated, even unnecessary. But just like a pipe organ, there’s no substi- tute for a real book. You feel its weight in BUILDER MEMBERS SUPPLIER MEMBERS your lap, you handle the pages, you can ANDOVER ORGAN COMPANY DOBSON PIPE ORGAN BUILDERS NOACK ORGAN COMPANY, INC. QUIMBY PIPE ORGANS, INC. A.R. SCHOPP’S SONS, INC. BEDIENT PIPE ORGAN COMPANY GARLAND PIPE ORGANS, INC. PARKEY ORGANBUILDERS RANDALL DYER & ASSOCIATES, INC. HARRIS PRECISION PRODUCTS even write in it, leaving notes for yourself BERGHAUS PIPE ORGAN BUILDERS, INC. GOULDING & WOOD, INC. PARSONS PIPE ORGAN BUILDERS SCHANTZ ORGAN COMPANY INTEGRATED ORGAN TECHNOLOGIES, INC. or for the next person to read. BOND ORGAN BUILDERS, INC. HOLTKAMP ORGAN COMPANY PASI ORGANBUILDERS, INC. SCHOENSTEIN & CO. SOLID STATE ORGAN SYSTEMS I’m proud that my kids grew up lov- BUZARD PIPE ORGAN BUILDERS, LLC J.H. & C.S. ODELL PATRICK J. MURPHY & ASSOCIATES TAYLOR & BOODY ORGANBUILDERS SYNDYNE CORPORATION C.B. FISK, INC. KEGG PIPE ORGAN BUILDERS PAUL FRITTS & CO. ORGAN OSI - TOTAL PIPE ORGAN RESOURCES ing books, and that they love books as CASAVANT FRÈRES LÉTOURNEAU PIPE ORGANS PETERSON ELECTRO-MUSICAL PRODUCTS adults. Chris and Alex’s condo is alive with books—hundreds of books. We bring more each time we come, and we

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2015 Q 19 French organ music

Pierre Kunc at 150 Rediscovering a prize-winning composer

By Steven Young

he year 2015 marks the 150th anni- the Germanic school of Liszt and Wag- Tversary of the birth of Pierre Kunc ner. This sphere of infl uence, coupled (1865–1941), possibly one of the most with Kunc’s devout Catholicism, may award-winning organist/composers in have infl uenced his style. France’s musical history. Yet, despite Little is known about Kunc’s per- his regional renown, as evidenced by sonal life. He married twice, both times numerous performances and prizes, his to singers. His fi rst wife, Jane Gillet, fame remained mostly local and limited was a former student of Kunc’s who to his lifetime. It seems unusual that any performed with some of Paris’s fi n- composer would enjoy such success and est musicians. She premiered several eventually be consigned to obscurity. melodies of Guy Ropartz for the Société The principal reason for his lack of last- Nationale and performed a wide array ing fame may be the lack of published of repertoire, including songs by her music, as the bulk of Kunc’s output never husband and brother-in-law, Aymé. appeared in print. Few of his awards Jane died from pleurisy in 1912. Three offered the opportunity for publication; years later, at the age of fi fty, Kunc instead, they featured performances. married Elisabeth Tournier. That mar- The published materials in the Biblio- riage lasted over twenty years before Pierre Kunc (private collection, kindly provided by musimem.com) thèque Nationale (BN) include several Elisabeth passed away from an illness piano pieces, most of his organ works, she developed in 1931, which took her qualities “not smothered in tricks.”11 In review, one that referred to its energy numerous motets and Mass settings for life some four years later. Neither mar- an era where experimentation, creativ- as “snort[ing] with persistence,” and voices, two transcriptions for organ, and riage produced any children. According ity, and imagination were sought in new as being full of “clashing measures that his only two chamber works, the Sonate to his nephew, it was at this time that music, Kunc’s music may have seemed sometimes compensate for emotion.”16 and Rapsodie, both for viola and piano. Kunc devoted himself to writing mostly old-fashioned or outdated, so even the It should be noted that Kunc ultimately Not one of Kunc’s dozen or more sacred music.3 Perhaps this second positive reviews were often lukewarm, lost that competition to such notables as orchestral works appears to have been devastating personal loss gave Kunc a such as this one from a concert of the Charles Tournemire and Gabriel Pierné. published, nor are there any orchestral reason to renew his interest in sacred Société nationale in 1906, assessing his In 1913, Kunc’s Symphony Pyrénéenne manuscripts listed in the BN catalogue. music, turning to the familiar during a vocal settings of some poetry by Camille captured the Prix Antonin Marmontel Certain works, such as Au pied des monts low emotional period.4 Mauclair, pseudonym of Séverin Faust: from La Société des Compositeurs.17 Por- de Gavranie, suffered the typical fate of A very early review (1890) praises tions of this work received several perfor- a new composition: they received their Kunc as a composer with a bright I am beginning to think that it (modern mances over the next two decades, but music) is a dirty trick, because the simple premieres and were almost instantly future, and notes that Kunc’s composi- melody by Monsieur Pierre Kunc, titled it seems its fi rst complete performance forgotten. But others, such as Été pas- tional ability might make him a future “Complainte,” has given me great pleasure. took place in Toulouse under the direc- toral, enjoyed multiple performances candidate for the Prix de Rome.5 Many This musician appears to me to have cho- tion of Pierre’s brother Aymé in 1923, throughout Kunc’s lifetime.1 It seems of Kunc’s earliest musical compositions sen a poem quite suitable for music . . . I nearly a decade after its completion.18 was less fond of the second piece, “Under- likely that several works survived the rav- received reviews citing his stylistic growth,” but it does not lack originality.12 Despite the ongoing war, or perhaps ages of World War I in France, as several kinship with Wagner. In his review of in honor of France’s accomplishments, pieces were performed both prior to and Kunc’s Prelude d’Helene, critic André However, in the same concert, Kunc’s Kunc’s Overture héroïque et triomphale following 1914, but one has to question Gresse claimed that Kunc was a disciple performance of his Suite: Grand prière premiered in Paris to favorable reviews whether or not these were manuscripts of Wagner, calling the orchestral work [sic] symphonique for organ was well at the Salle Gaveau in 1916, right in the or published scores, and if they still exist. with voices that of a “real talent (réel received, though one reviewer did fi nd middle of the global confl ict.19 It would be a great boost to scholars to talent).”6 This attachment to Wagnerian the title questionable, as the work did As late as 1929, Kunc, at sixty-four have access to these scores in order to style remained part of Kunc’s musi- not provide a prayer-like atmosphere.13 years old, was still entering his works in more fully analyze the music and Kunc’s cal vocabulary throughout his career, Kunc wrote in nearly every genre, competitions and winning prizes, includ- contribution to the fi eld.2 resulting in confl icting comments from composing works for voice, choir, organ, ing the Prix Chartier given by the Acadé- Born in Toulouse, Kunc began his reviewers.7 The extreme differences piano, chamber ensembles, and orches- mie des beaux-arts for a piece of chamber musical training at home with his father, among them refl ect the two prevailing tra. It would seem he never stopped music.20 (The award announcement does Aloys Martin, who was maître de cha- schools of thought in Paris during this composing, producing a substantial not give the title of the work; it may have pelle at the cathedral in Toulouse, and time. Some preferred the more Ger- body of work, much of which remains been the Rapsodie pour alto et piano.) with his mother, Henriette Marie née manic style of symphonic music while unknown, unheard, and unpublished. Two years later, Kunc was awarded the Dargein, who had studied piano with others hoped that young composers Throughout his career, Kunc continued Prix Trémont (for a second time) by the Louise Farrenc and organ with César would help give France a new voice, to develop and hone his craft, and he Académie des beaux-arts. (The fi rst time Franck at the Paris Conservatoire. one that avoided Germanic styles and enjoyed notable success. In 1900, he he won this prize was in 1909, when Pierre’s education continued at a Jesuit references.8 A review of the premiere of won a prize in a competition sponsored he shared it with César-Abel Estyle.21) school in Toulouse, and later he pursued Kunc’s Été pastoral provides an example by the Société des Compositeurs for Finally, in 1940, the year before he died, further study at the Paris Conservatoire, of the negative opinion, asserting that his Symphonie-Fantaisie, which he had he received the Prix Jacques Durand where he had organ lessons with Eugène Kunc might best be a composer of completed in 1898. Pianist Georges de from the Académie des beaux-arts for his Gigout, a lifelong admirer of Franck, and “charming ballets and excellent panto- Lausnay performed the premiere with Rapsodie for viola and piano. composition study with Ernest Guiraud, mimes” rather than of serious music.9 the orchestra of the Concerts Victor Kunc’s music received frequent per- a winner of the Prix de Rome as well as a Another reviewer, upon hearing this Charpentier.14 This work enjoyed many formances at the concerts of the Société founding member of the Société Natio- same performance, wrote that it was performances during Kunc’s lifetime, nationale, an organization devoted to nale de Musique. While in Paris, Kunc regrettable that a new work had so little most often with de Lausnay as the pianist. performing chamber and vocal works of frequented concerts of the Schola Can- to offer with regard to originality.10 In Four years later, Kunc survived the young and upcoming French composers; torum and developed relationships with contrast to those comments, several three competitive rounds of judging in many of these works received critical some of Paris’s greatest musicians, many reviewers praised this same work for its the Concours de la Ville de Paris with his praise.22 Despite these positive reviews, of whom were devotees of Franck, whose clarity, color, and great candor, as well three-act tragedie lyrique, Canta.15 The many of his pieces languished in his library music clearly illustrates the infl uence of as claiming that Kunc possessed rare work ultimately received a rather mixed for years, while other pieces enjoyed

20 Q THE DIAPASON Q DECEMBER 2015 WWW.THEDIAPASON.COM In 1921, Kunc commenced work on themes in the work’s fi rst movement,  his only organ symphony. Completed in Fantaisie. Throughout the movement,  
1923, the Symphonie en Ré mineur was these themes intermingle and receive          entered into yet another competition diverse treatments, including rhythmic sponsored by the Procure générale de augmentation and varied harmonization; la musique religieuse, and, again, Kunc they undergo fugal treatment and imita-  
   garnered the premier prix. The work tion as well as modal changes. According
was published by the Procure générale to Renard, there are many unexpected the following year, and received its events, including the return of the fi nal premiere at the Salle Gaveau in Paris statement of the fi rst theme in the origi-  
      in March 1924, admirably performed nal minor key despite its having been     by Georges Jacob, to whom the work is heard in the parallel major mode for dedicated. (Jacob performed many of some time.  Kunc’s organ pieces.) The work enjoyed The only other organ work that     several more performances over the received signifi cant mention during       next few years, all given by Jacob. The Kunc’s career is the Grande pièce last documented performance of the symphonique, which he dedicated to  Symphonie en Ré mineur took place his teacher Eugène Gigout. The work   in 1927, at a concert sponsored by the seems to have been part of a larger suite  
   Union des Maîtres de Chapelles, once for organ, but this scherzo is the only again by Jacob. movement extant. The piece appeared Reviews of this symphonie were in 1901 as part of the series L’Orgue    extremely favorable. Georges Renard moderne, arguably the premier pub-   penned an extensive article, which lication of new organ music by young analyzed the piece in great detail.29 Ulti- French composers in the early part of mately, it may have been this essay that the twentieth century. The work was  aided in the disappearance of the work played by both Alexandre Guilmant and    31        from the standard organ repertoire of Georges Jacob. Kunc also seems to      the day, as Renard praised the work for have been taken with the music of his     its “Widorian concept of the orchestral contemporaries such as Léon Roques    symphony adapted to the organ.”30 By and Camille Saint-Saëns, as he arranged  
1924, the symphonies of Widor, which several works of these men for smaller were the fi rst of their kind, had been forces, including the Adagio from the  surpassed by the brilliant work of his so-called “Organ” symphony by Saint-   pupil, friend, and former assistant, Louis Saëns, which Kunc set for violin, violon- Vierne, organist of Notre-Dame, who, by cello, harp, and organ.32 1924, had published four of his six organ Among the works for organ, some Example 1, Grande pièce symphonique, theme of A section symphonies. It may be that the reviewer deserve special mention. The Grande sought to place the work within the ever- pièce symphonique assumes the same numerous hearings. For instance, his Toulouse Conservatory.27 Regardless growing genre of the organ symphony, name as the Franck work that is often Prélude to Les Cosaques, a play by Leo of Pierre’s noteworthy abilities as a but the suite-like structure initially used credited as the composition that initiated Tolstoy, was not performed until fi fteen composer, he and his music remained by Widor was, by this time, outmoded. the French symphonic organ school, but years after it had been completed.23 By in the shadow of his father and younger However, the Kunc work, while con- bears little resemblance to the earlier contrast, his piano piece, Rigaudon, brother. In spite of these regrettable taining traditional elements, certainly work. The Kunc work is in three large which he subsequently arranged for circumstances, Aymé appears to have contains newer ones as well, such as sections that together loosely resemble piano and orchestra, received countless been a strong supporter of his elder cyclic thematic material, chromatic tonal sonata form. The aggressive A theme is performances during his lifetime, and brother, conducting his music, including language, and tightly controlled tonal rhythmic and chromatic (Example 1). In may have been among his best-known the aforementioned fi rst complete per- relationships between the movements of contrast, the B section features sustained compositions. However, despite his formance of the Symphonie Pyrénéenne the symphony. harmonies and limited chromaticism local fame, numerous recognitions, and at concerts in Toulouse and Nancy. One unique quality of the Symphonie that abruptly becomes a fugato, whose frequent performances, a great deal of en Ré mineur is the structure of its subject uses the opening A material Kunc’s output remains unpublished.24 Works for piano and organ opening movement. Usually Vierne and then alternates with the B theme. A Kunc’s limited renown may be due Since Kunc spent the bulk of his pro- and Widor, the principal organ sym- brief development section follows, which to having come from a musical family, fessional life as a teacher of piano and phonists of their day, relied heavily on leads to a return of the A and B mate- where his father Aloys and younger organ at the Ecole Sainte-Geneviève sonata-allegro form or some version of rial, the A material in the tonic F# minor brother Aymé were extremely well in Paris, it comes as no surprise that he a binary form, but Kunc introduces four and the B material in the parallel major known, so possibly greater things may composed a fair amount of music for have been expected. A review of the both instruments.28 His piano music Quinze motets (1856) by Pierre’s father was performed by many of the greatest begins with this glowing statement: “If interpreters of the era, including Alfred Monsieur Kunc was not an excellent Cortot, Edouard Risler, and Blanche A Precious Gift musician full of verve and originality, we Selva. Kunc’s organ works (twelve in would tell him: ‘You deserve these words all) also remain little known, despite of praise, it is charming, gracious, and their accumulated accolades. Although from the Past sometimes even brilliant.’” 25 Kunc won several premières prix for his Aymé won second prize, along with organ compositions, not one of these for the Present Maurice Ravel, in the prestigious Prix compositions appears in the current de Rome competition of 1902, at the concert repertoire. (Music of the other tender age of twenty-fi ve. This honor prize winners, Henri Mulet and Joseph and the Future catapulted him to great fame and well- Jongen, still appear in the concert reper- Supremely beautiful and blendable deserved respect. tory.) With his Libera Me: Pièce funèbre Although Pierre was a fi ne composer and Communion, Kunc took fi rst place in tonal color – a Gift from the Venetian and musician, he suffered from being the 1911 competition sponsored by the School of organbuilding, a monumental part of our frequently confused with his brother. Procure générale de musique religieuse. JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH Two examples may provide a clearer Libera Me: Pièce funèbre was dedicated SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN picture of this awkward situation. A to the memory of his father; it uses review in Le Ménestrel mentioned the techniques found in the music of the era, pleasure of hearing the second move- including thematic combinations, a tech- Intriguing? Let us build your dream. ment of Pierre’s Symphonie Pyrénée- nique often associated with Franck and nne, which was followed by a work of Vierne. The order in which the thematic “his glorious brother, Aymé.”26 (Another material appears creates the sense of a critic went so far as to claim that Pierre tone poem or musical drama depicting had been taught his craft by Aymé, who the human experience at the end of life was twelve years Pierre’s junior!) One (death, regrets in life, the fear of judg- such confusion with his brother arose in ment, and the promise of redemption), 1922, during a search for a new director as noted in the publication’s preface. of the Conservatory of Nantes. Among The use of Gregorian chant themes Builders of Fine Pipe Organs to the World the listing of possible candidates was pays homage to Kunc’s father, who was Pierre, winner of the Prix de Rome, founder and editor of Musica Sacra, www.ruffatti.com though this was likely a reference to a periodical devoted to the Catholic Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 Aymé, then serving as director of the Church and its music.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2015 Q 21 French organ music with just a few hints of the A theme    (Example 2). 
              Another noteworthy piece is the brief    Adagietto in E Major from 1902, also  
     found in L’Orgue moderne. This lyrical        work utilizes some of the characteristic
 tone colors of the French symphonic organ, including the Cor de nuit and 
the Trompette harmonique. The closing     section uses some rich and vivid harmo-  nies, as seen in Example 3. Example 2, Grande pièce symphonique, development section

Choral works    Following the short-lived success of     
   his Symphonie pour orgue, Kunc appears            to have shifted his focus to chamber and   choral music, though he did not cease writing works for large ensembles and           even reworking music from earlier suc- 
            cesses. (He extracted the Deux Danses
Pierre Kunc at the organ of Notre Dame hindoues from his Canta originally de Bercy (private collection, kindly provided by completed in 1900; this excerpt received Example 3, Adagietto in E Major musimem.com) glowing praise at its premiere some thirty years later.33) During this period, Kunc and an extensive critique of a performance Notes 16. Le Ménestrel, vol. 70, no. 21, May 22, composed two Masses for choir and of Humperdinck’s Hansel et Gretel at the 1. Among the orchestral works, one fi nds 1904, p. 162. organ (dedicated to St. Bernadette and Opéra-Comique.35 the Prélude d’Helene (one tableau appears 17. Le Ménestrel, March 14, 1914, p. 87. to be in print in a British Library), Canta, 18. Comoedia, April 16, 1923, p. 3. The to des Saintes Reliques—“holy relics”), as As a whole, Kunc’s organ repertoire, Symphonie fantaisie pour piano et orchestre, review mentions that fragments had been well as the aforementioned Rapsodie for though small, admirably displays his Prélude (pour Les Cosaques), Deux Danses performed at several of the Concerts-Lamou- viola and piano or orchestra (published competency as a serious composer. His hindoues, Symphonie Pyrénéenne, and Été reux, but it was fi nally performed in its entire- posthumously). For several years, he entire extant output for his preferred pastoral (premiered in 1905 and performed ty in Toulouse, the composer’s hometown. as late as 1943), to name a few. 19. Le Gaulois, January 3, 1916, p. 4. The served as maître de chapelle at St. Sulpice instrument follows, with asterisks indi- 2. According to a personal e-mail cor- 36 work originally premiered in Toulouse as the in Paris, where Charles-Marie Widor was cating the prize-winning works. respondence with Francois Pellecer, Kunc’s Overture to Salammbô (see Revue française still serving as organiste titulaire. Happily nephew, whatever scores Pellecer possessed de musique, November 15, 1912, p. 110.) In- for Kunc, he was able to perform choral Grande pièce symphonique have been given to the Bibliothèque Natio- terestingly, the overture had three movements nale, though they do not as yet appear in the (sections): Gloria, Luctus, Victoria, possibly works that his father had written, as well * Communion (in A-fl at) catalogue. The BN collection has six manu- as some of his own sacred music, while * Pièce funèbre due to the storyline of the Flaubert text. scripts of Kunc, all but one for piano. 20. Académie des beaux-arts [Annuaire], fulfi lling his duties. His choral music Douze pieces pour orgue ou harmo- 3. Pellecer, Pierre Kunc. 1929, p. 20. seems to have enjoyed some local success nium sur des noëls français 4. In December 1937, the cathedral of 21. Le Journal (Paris), May 17, 1909, p. 7. Nantes gave the premiere performance of the 22. Le Ménestrel, vol. 82, no. 23, June 4, throughout several regions of France, as Adagietto (L’Orgue moderne) Messe de Sainte-Bernadette (L’Ouest-Éclair, many newspapers mention his works in Sortie fuguée (L’Orgue moderne) December 27, 1937, p. 4). 1920, p. 234; Le Ménestrel, vol. 84, no. 5, Feb- 5. Revue des Pyrénées et de France méridi- ruary 3, 1922, p. 49. The reviewer mentions their listings of music performed at reli- Marche religiuese that the composer achieved a happy balance gious services. Early works in the choral Entrée solennelle, Fughetta onale, p. 874 (1890). Kunc was awarded two fi rst prizes from l’Academie de musique in between the dramatic opening movement and genre include the Hodie Christus natus Offertoire en fa majeur Toulouse; one for an overture for orchestra, the fl owery exuberance of the third move- est and Regina coeli from 1901. Several Offertoire sur deux Noëls en si b and the other for his song, Extase. The judges ment in the Sonata. years later he composed settings of O majeur cited his work as being of a “modern and al- 23. The work, premiered at Concerts-Col- Salutaris, Tantum Ergo, O Sacrum Con- * Symphonie en ré mineur luring style” and of “great originality. ” onne, received a positive review in Paris-Soir, 6. Le Journal (Paris), February 25, 1895, p. March 24, 1925, p. 6. vivium, Cantique de Communion, and Adoremus (et laudate) 4, in a review of the Concerts d’Harcourt. 24. Francois Pellecer, Music et Memoria, Tota pulchra es (1910). Kunc dedicated Élévation 7. A review of Kunc’s Diptych Breton la- Pierre Kunc (2001), www.musimem.com/ these works to various maîtres de chapelle mented the need for young composers to kunc_pierre.htm. According to Pellecer, as in Toulouse (his birthplace) and Paris (his Kunc’s Symphonie en ré mineur is “compose La Morte de Isolde” over and over of the publication, numerous works are still adopted home). Kunc appears to have unlike many of its predecessors within again, suggesting that this music has already in the family’s collection with hopes of being been written (Revue musicale de Lyon, vol. 7, published posthumously. been well respected as a choral conduc- the genre in its compactness—it has only no. 25, 1910, pp. 750–753). However, another 25. “M. Kunc n’était pas un excellent mu- tor, as a review of some sacred music three movements whereas a four- or fi ve- review called the music “very evocative.” It sician, un artiste plein verve et d’originalité, quotes Kunc and comments that he is a movement design had been the standard. claimed that these “pages of music were not nous lui dirions: ‘Ce que vous avait fait mérite connoisseur and an excellent musician.34 This brevity is intensifi ed by Kunc’s use of negligible.” (See Le Rappel, March 22, 1910.) des éloges; c’est charmant, gracieuse et par- 8. A reviewer of a performance of some fois même brilliant.’” Revue de musique anci- a singular rhythmic idea, which supplies songs of Kunc lamented that “Kunc’s sin” was enne et modern, 1856, p. 776. In summary the momentum in each of the latter two a vain attempt to develop the work in a pseu- 26. Le Ménestrel, vol. 86, no. 23, June 6, Finally, Pierre Kunc proved himself to movements. One might fi nd such motoric do-Wagnerian vain. (See Le Mercure musical, 1924, p. 261. be a most well-rounded musician; not only patterns tiring on the ear, but the use of May 15, 1906, p. 471). 27. L’Ouest-Éclair, April 30, 1922 p. 4. 9. Le Mercure musical, December 15, 28. Among his more popular works for solo did he compose and perform music, he countermelodies and unusual harmonic 1905, p. 546. Interestingly, this work was 37 piano is the Suite symphonie. The earliest wrote critically about it. He served as music progressions keeps the listener’s interest. awarded a prize from la Société des Com- documented performance took place at a con- critic for two journals, Le Guide musicale Sadly, much of Kunc’s organ music positeurs in 1903. A more gracious review cert of the Société national des beaux-arts in and La Nouvelle revue. He wrote at least remains unavailable, though a few pieces appeared in Le Matin (October 30, 1905, p. May 1906, performed by Jean Batalla (see Le 5) immediately following the October pre- Figaro, May 29, 1906, p. 5). three lengthy articles on various musical appear in online catalogues. Both Kunc’s miere, though it too claimed that the piece personalities, scores, and performances, record of prizes and awards and fresh 29. Georges Renard, Revue Sainte-Cecile, lacked originality, possibly due to the Wag- 1927, pp. 103–104. including an insightful retrospective on the analyses of this works indicate an output nerian infl uences that dominated much of 30. “ . . . conception widorienne de la sym- career of Charles Lamoureux, conductor of considerable musical merit, worthy Kunc’s music. phonie orchestrale adaptée à l’orgue.” 10. Le Ménestrel, vol. 71, no. 43, November 31. Le Mercure musical, January 1, 1906, and organizer of the Concerts-Lamoureux, of rediscovery. Q 5, 1905, p. 357. 11. Revue Illustré, vol. 40, no. 23, Novem- p. 317. ber 15, 1905, p. 1. 32. Published by Durand et Cie. in 1924. 12. “Je commence à trouver que c’est un Kunc also adapted Saint-Säens’ Laudate villain tour, et ce porquoi la simple et franche Dominum. mélodie de M. Pierre Kunc, qui a pour titre 33. Le Journal, February 13, 1930, p. 6. See “Complainte,” m’a cause un vif plaisir. Ce also La Semaine à Paris, February 21, 1930, p. musicien me semble avoir choisi une poème 16, and Le Matin, February 10, 1930, p. 5. tout a fait “musicable” . . . J’ai moins aime la 34. Paris Musical et Dramatique, May 1906, seconde mélodie, ”Sous bois” . . . mais elle p. 4. manqué par trop d’originalité.” Le Mercure 35. See La Feu follet, volume 20, tome XI, Musical, 1906, vol. 2, p. 471 features a re- no. 1, pp. 152–155, and La Nouvelle revue, view of the Société Nationale concert of May–June 1900, pp. 624–630. March 17, 1906. 36. Pellecer, op. cit. He mentions Vingt 13. Kunc’s work is properly titled Grande prières but there is no record of them in pièce symphonique. It was published in 1901 the Bibliothèque nationale catalogue or by Alphonse Leduc. So, it would appear, that elsewhere. the critic either misread the title or there was 37. The reader is referred to the previously a misprint in the program. cited article by Georges Renard for more de- 14. Le Ménestrel, vol. 69, no. 2, January 11, tails about the work. 1903, p. 13. The work is entitled here as Suite pour piano et orchestre with Pierre Kunc We are working in your area, how can we help you? conducting. Steven Young, DMA, serves as pro- 15. There were thirty-one entries in that fessor of music and director of choral competition; only six received awards and activities at Bridgewater State Uni- performances. According to Kunc’s biogra- phy, Samuel Rousseau considered the work versity. He is also music director at St. to be “a little too Wagnerian.” (Pellecer, Fran- Thomas Episcopal Church, Taunton, çois, Pierre Kunc. Self-published, 2001). Massachusetts.

22 Q THE DIAPASON Q DECEMBER 2015 WWW.THEDIAPASON.COM Contemporary organ repertoire The Eclectic Landscape of Ride in a High-Speed Train An interview with Ad Wammes

By Brenda Portman

utch composer Ad Wammes (b. organ in 1993, Ride in a High-Speed D1953) achieved international noto- Train has an intriguing and multi-faceted riety in the organist community through history, but it was never intended to be a the publication of Miroir in 1989. Miroir minimalist piece. has been performed and recorded by For those who might attach the label many American and European concert of minimalist onto Ride in a High-Speed organists, including Thomas Trotter Train, I would emphasize that the pres- and the late John Scott. The piece has ence of repetition alone is not suffi cient. justifi ably yet erroneously been labeled According to Keith Potter, minimalism minimalist: many of the techniques used is “a style of composition characterized in Miroir are similar to the techniques by an intentionally simplifi ed rhythmic, in post-minimalist music, but we cannot melodic and harmonic vocabulary.”1 In trace any direct infl uence from minimal- other words, reduction is the primary ism. Just as American composers Terry characteristic, not repetition. But, unlike Riley, Steve Reich, and Philip Glass were visual art, music unfolds over time, so in attracted to the rhythmic and harmonic order for a composition to be produced elements in popular music and integrated with a minimum of materials, it needs to them into their style, Wammes’ primary have either long sustained tones or repeti- Ad Wammes (photo credit: Arnoud Verrips) infl uence was the 1970s symphonic rock tion of brief melodic patterns. Reduction group Gentle Giant. This infl uence can typically manifests itself through the nowhere and is endless, unlike most Brenda Portman: What was your be heard by comparing a recording of absence of melody (only short melodic Western music, which is goal-oriented inspiration for choosing the title? Is Miroir to a recording of Gentle Giant’s fragments exist in the repetitive fi gures); and directional. the piece meant to be programmatic? song Proclamation. a strong, steady pulse (except in the case Of course, the appeal of minimalism Ad Wammes: In 1981 my wife and I It is entirely possible that Wammes’ of long tones); a strong tonal center (e.g., could not last forever, so it evolved. As cycled for seven weeks through Europe. more recent organ work, Ride in a In C by Terry Riley, one of the very fi rst a result, the repetitive fi gures became When we were in former Yugoslavia I High-Speed Train (2011), could be simi- minimalist compositions); slow harmonic accompanimental to simple melodies, the had a breakdown with my bike (broken larly mislabeled, since it too has many change; and sometimes a limited number audible process became less important, spokes caused by the terrible condition repetitive fi gures. The title suggests of pitches. The second most important change began to happen at a quicker of the roads). I rang the doorbell of that it could be conceptually modeled characteristic of minimalism is gradual pace, and various means of expres- the nearest house and we were warmly after John Adams’ Short Ride in a Fast process: the idea that the listener should sion and directionality were added. welcomed by the man and woman living Machine, a post-minimalist piece for be able to hear and understand the com- Both Miroir and Ride in a High-Speed there. It was diffi cult to communicate orchestra. Originally given the title TGV positional process as it unfolds. This cre- Train seem to match this description of as they spoke only Serbian. Anyway, in and composed for a mechanical dance ates a feeling that the music is going post-minimalism. For instance, the one- the evening the man placed a map of measure repetitive cell in Miroir remains Yugoslavia on the kitchen table, took the same throughout the piece but with his accordion, pointed at a certain dis- simple melodies weaving in and out (see trict, and then played music from that Example 1). district. This way he went through the Despite the appearance of post-mini- whole map. And this story came to my malism, we need to take the composer at mind while composing, as it had Balkan his word when he himself denies having infl uences in it and, in my mind, I kept been infl uenced by minimalism. In Ride seeing a train (probably caused by the in a High-Speed Train, Wammes instead ongoing 5/4 beat) going through an ever- acknowledges a debt to symphonic rock changing landscape. music, Balkan music, and the process In 1993, the year in which I composed of composing for The Busy Drone (the this piece, a train named TGV (“train à name of the mechanical organ). The grande vitesse,” French for “high-speed repetitive devices alone do not convinc- train”) was introduced in Europe. In ingly indicate minimalism, but they do 2011, I made a transcription for (nor- give the piece a compelling energy that mal) organ and renamed it Ride in a makes it a refreshing contrast in any High-Speed Train (as English-speaking concert program. people probably don’t know what TGV While I was preparing to present this stands for). Example 1: Miroir, showing repetitive cell and added melody and several other pieces in a lecture- [The TGV, with its hub in Paris, is a recital, the composer revealed to me network of high-speed trains that can many details about the unique genesis reach a speed of over 300 miles per hour. The structure of Ride in a High-Speed Train of Ride in a High-Speed Train through It was introduced in Europe beginning Scale Root Key Rhythmic Deviation e-mail conversations in December 2014 in 1981, with its fi rst line between Paris and January 2015. and Lyon. In 1993, the year Wammes Measure 1 Major E-fl at 2+2+3+3 (eighth notes) Measure 23 Lydian C-fl at LH and RH: 2+2+3+3, Pedal: 3+3+1+3 Measure 30 Aeolian B-fl at LH and RH: 2+2+3+3, Pedal: 3+3+1+3 Measure 44 Lydian C-sharp LH and RH: 2+2+3+3, Pedal: 3+3+2+2 Measure 50 Aeolian A-fl at RH: 2+2+2+2+2, LH: undefi ned, Pedal: 3+3+2+2 Measure 64 Gypsy-like (Dorian B-fl at RH: 2+2+3+3, LH: 3+3+1+3 and with raised 4th) 2+2+2+2+2, Pedal: 3+3+2+2 Measure 72 Gypsy-like (Dorian A RH: 3+3+1+3 and 2+2+3+3, LH: with raised 4th) 2+2+3+3, Pedal: 3+3+2+2 Measure 83 Major E-fl at 2+2+3+3 The Busy Drone (photo credit: Sonja Duimel)

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2015 Q 23 Contemporary organ repertoire

Example 2: Differences between versions of Ride in a High-Speed Train

Example 2a: Measure 45, published version Example 2b: Measure 45, original version

Example 2c: Measure 66, published version Example 2d: Measure 66, original version composed the piece, the northern version after one day because Boosey Was Gentle Giant also an infl uence Intentionally it was only written for the Europe line opened from Paris to Lille, & Hawkes immediately took interest in on Ride in a High-Speed Train, as it mechanical organ; I had no real organists which was a connection for destinations publishing it. The original version differs was for Miroir? in mind. It was only in 2011 that I made in Belgium, the Netherlands, and north- from the score published by Boosey & I don’t know, but I am not the kind of a transcription for “normal” organ at ern Germany.2] Hawkes concerning the notation of the composer that tries to escape from his the request of the Dutch organist Age- rhythms. In the Boosey & Hawkes ver- infl uences, so probably yes. Freerk Bokma. He heard TGV on The Can you point out specifi c places in sion all the rhythms are notated in the Busy Drone and asked me if it was pos- Ride in a High-Speed Train that show deviation of 2-2-2-2-2 eighth notes. (See Could you tell me more about the sible to make a transcription for organ. I Balkan infl uences? Example 2.) But in fact the deviation mechanical dance organ for which answered him: “Well, I’ll have a look at it.” Ornamentation, scales (especially the constantly changes and is often diverse Ride in a High-Speed Train was After a week the transcription was ready, Lydian mode), unequal deviation over for both hands and feet at the same time written? and although diffi cult, it is playable! 5/4. [At this point Mr. Wammes referred [See the table on page 23 showing the [From the author: Ad Wammes sent me to an e-mail attachment that con- piece’s structure.] When changing the me the manual for The Busy Drone, What else can you tell me about the tained the fi rst four pages of the origi- scale, root key and rhythmic deviation, it which he wrote himself, explaining the process of composing TGV for The nal score to the piece.] I withdrew this feels like slipping into another landscape. instrument and how to appropriately Busy Drone? write music for it. The following infor- In 1993 I was asked to make a com- mation is derived from that manual.] position for The Busy Drone. While I The Busy Drone has three manuals was in the possession of the computer (Zang, Tegenzang, and Accompagne- sequencer program PRO 24 (ancestor ment), pedal (Bassen), and limited of Cubase), a sound sampler (ASR10 by A gift subscription to percussion capabilities (big drum, Sequential Circuits), and a portable DAT woodblock, cymbal, and snare drum). It recorder, I decided to do it differently. is a transposing instrument and sounds First I recorded all the different stops The Diapason a minor third higher than notated. Each (there is an organ book called GAMMA, manual/pedal division has a compass of which runs through the different stops The perfect gift for only one to two octaves, but, with stops note by note) and put the sound samples ranging from 32′ to 4′, it actually spans six in my sound sampler. Then I made my + organist colleagues octaves. The disposition can be found on composition and put the information + students the website for Het Orgelpark Amster- in the sequencer program on my Atari dam [www.orgelpark.nl/nl]. computer by playing it live. Finally I + teachers The speed of the engine is 360 cen- notated the score on large fi les of paper + choir directors timeters per minute, so the lengths of by indicating with pencil what had to be notes have to be calculated in millimeters chopped out. This gave me the benefi t + organ builders for the organ book, based on the desired of getting a musical interpretation of my + clergy tempo.3 The speed of the engine is the piece instead of a stiff interpretation of a key to understanding optimal tempos and normal score. note values that could be written for the Each month your gift will keep on giving by providing the important organ. If the note is too short, it does not How did other composers create news of the organ and church music fi eld. Send in the form below have enough time to sound, and if it is too their scores? with your check and know that your gift will be just right. long (longer than approximately six beats They made normal scores and from For information, contact Donna Heuberger, 847/954-7986; at a tempo of quarter note = 120), then the that the book-choppers (I don’t know if [email protected]. organ book will weaken. [An “organ book” this is the correct word for their profes- is comparable in function to a player piano sion) made the organ books. $40 one year USA ($50 foreign, $20 student) roll.] The most effective compositions The fi rst person that delivered his have a perpetual-motion type of energy piece as a MIDI fi le was Eric de Clercq. THE DIAPASON and are dance-like, in order to capitalize He made his piece Een meter sneeuw in 3030 W. Salt Creek Lane, Ste. 201 on the instrument’s history as a dance 2001. The book was chopped by Johan Arlington Heights, IL 60005-5025 organ. If performed at the indicated Weima, who has a chopping machine tempo, Ride in a High-Speed Train has a connected to a computer. However, For: continuous energy that propels the piece Een meter sneeuw was only premiered Name ______forward, making it sound like the motion on October 7, 2009, in Het Orgelpark of a train. The piece consists primarily of Amsterdam, because the concerts at Street ______eighth notes, although the organ is able to the City Museum stopped and shortly accommodate durations as short as thirty- after that the renovation of the Museum City ______second notes. The longest note value in started (2004–12). The second person State ______Zip ______the piece, which occurs only a few times, that delivered his piece as a MIDI fi le was is nine beats long at a tempo of 152. me! In 2010 I went to Het Orgelpark to From: ______listen to TGV. (The organ was restored, Did you intend for Ride in a High- so now it would sound much better!) The If a student, provide school and graduation year. Speed Train to be played on this organ book, however, was nowhere to be ______organ only, or did you write it with found. Then Johan Luijmes (the director) performing organists in mind as well? told me about this MIDI fi le chopping

24 Q THE DIAPASON Q DECEMBER 2015 WWW.THEDIAPASON.COM Example 3a: Large leaps in right hand, measures 84 and 86 Example 3b: Large leap from one manual to the next

registrations can be handled on the spot, YouTube features recordings of but usually the stop changes are already young American organists playing programmed (chopped out) in the book. Ride in a High-Speed Train: Karen Christianson (https://www.youtube. Do they still have to do this now, even com/watch?v=bmygJ5lobhs), Chinar with the organ reading MIDI fi les? Merjanian (https://www.youtube.com/ No, because there are no organ books watch?v=XOXjt3_sGmE), and Brenda to be transported anymore. The stop Portman (https://youtu.be/tujdOGm- changes still can be done by hand, but 9JE), and the Hauptwerk version by the usually they are programmed in the composer himself (https://www.youtube. MIDI fi le. com/watch?v=Ct7oNhSX-1w). The fi rst professional recording of the piece was Thank you for taking the time to tell recently released on the Acis label, by me more about Ride in a High-Speed Jonathan Ryan (acisproductions.com). Train. It is much easier to under- Information on Ad Wammes’ organ com- stand the musical language and per- positions is at http://adwammes.nl/. Q formance challenges after learning about all of the factors involved in Acknowledgements Ad Wammes in Hamburg at St. Michaelskirche (photo credit: Arnoud Verrips) its composition. Miroir by Ad Wammes, © 1992, 2006 by Boosey & Hawkes Music Publishers, machine. I still had the old MIDI fi les in Belgium and the Netherlands for Postscript: Performing Ride in a Ltd. Reprinted by permission. and from that a new version of TGV was many decades. A mechanical organ is High-Speed Train Ride in a High-Speed Train by Ad chopped, now with the correct tempo at like a player piano, which plays itself, As alluded to by the composer, there Wammes, © 2011 by Boosey & Hawkes 152 per quarter note. (The fi rst version but someone has to work the controls. are some performance challenges in Music Publishers, Ltd. Reprinted was chopped at 150 while the translation This particular organ was built in 1924 Ride in a High-Speed Train, due to by permission. of the MIDI data was too diffi cult at 152.) by the Belgian fi rm Mortier. It has 92 its original function as a mechanical- From that time, 2010 till mid-2014, keys and 17 registers. Originally a dance organ piece. For a live organist, the Notes I was the intermediary between com- organ in a café, it had fallen into disuse execution of multiple complex rhythmic 1. Keith Potter, “Minimalism,” Grove Music Online, Oxford Music Online (Ox- poser and chopping machine (handled and been abandoned. In 1965 it was patterns at a tempo of 152 is daunting ford University Press, 2007–13), accessed by Johan Weima) by translating normal purchased by the Amsterdam publisher at the very least, if not close to impos- July 3, 2014. scores to MIDI fi les. Many times the De Bezige Bij (The Busy Bee), with the sible. Performers may need to dial the 2. Russ Collins, “TGV History and Speed composers (especially the young ones) intent to provide background music for metronome down a few notches to Records,” TGV—High-Speed Train, last modifi ed 2014, accessed January 16, 2015, came with MIDI fi les. I checked those an annual book fair. The organ was given communicate the piece effectively. It is http://www.beyond.fr/travel/tgvhistory.html. and corrected them (notes being out a new look and a new name, “The Busy also impossible for an organist to carry 3. The Busy Drone manual, sent in an e- of range, notes being too short, adding Drone.” In 1973 the organ was moved out the intended registration changes mail attachment from Ad Wammes on De- bridges (short interruptions) to the notes to the auditorium of the City Museum and still maintain the tempo without cember 15, 2014. 4. Thom Jurek, “The Busy Drone,” All- that were too long). and remained there for nearly 35 years, either omitting notes to hit a piston or Music, accessed December 27, 2014, http:// playing a role in a concert series entitled enlisting the help of an assistant. For a www.allmusic.com/album/the-busy-drone- Can The Busy Drone read MIDI “Music Now.” Contemporary compos- mechanical organ, though, these details mw0000566283. fi les directly? ers were encouraged to write music are programmed into the organ book 5. Orgelpark, “The Busy Drone,” accessed January 16, 2015, http://orgelpark.nl/over-het- Since mid-2014 a MIDI device has specifi cally for the instrument during (or now the MIDI fi le) and present no orgelpark/de-instrumenten/the-busy-drone/. been installed in The Busy Drone by the its long stay at the City Museum. These problems at all. Additionally, the size of Belgian manufacturer DECAP (Heren- included Louis Andriessen (a key fi gure an organist’s hand or the distance from tals). Now it is no longer necessary to in the European minimalist movement), one note to the next were not an issue Brenda Portman is the resident make organ books. The Busy Drone Misha Mengelberg, Willem Breuker, for The Busy Drone; therefore, there are organist at Hyde Park Community directly reads the MIDI information. Bo van der Graaf, and others.4 When several instances of quick leaps greater United Methodist Church in Cincin- the City Museum underwent renova- than an octave, sometimes at the same nati, Ohio. She is currently fi nishing When you composed TGV in 1993, tions, it was moved to the museum “Van time as a manual change (see Example a D.M.A. degree in organ performance was The Busy Drone still in the Speeldoos tot Pierement” (“From Music 3). It is also worth mentioning that the at the University of Cincinnati College- museum in Amsterdam or had it been Box to Street Organ”) in Utrecht in rhythmic precision in this piece renders Conservatory of Music and presented a moved to the museum in Utrecht? 2008, restored by the Perlee fi rm, and a mechanical-action organ more suitable lecture-recital in February 2014 about Yes, it was still in Het Stedelijk then moved in 2009 to Het Orgelpark than electro-pneumatic, and a three- the minimalist techniques in several Museum Amsterdam (The City Amsterdam, where it stands today.5] manual instrument is necessary in order organ works by Dutch composers Ad Museum). It stayed for one year (2008) to implement all of the desired colors. Wammes and Bert Matter. in the museum “Van Speeldoos tot What exactly does it mean for a Pierement” (“From Music Box to Street person to “work the controls” of the Organ”) in Utrecht. It was taken over by organ? Het Orgelpark Amsterdam in 2009. They change the organ books and see MANDER ORGANS [We have little knowledge of mechani- to it that the transport of the organ book cal organs in the United States, but they runs smoothly. By the way, the organ New Mechanical were used frequently in various settings books can also be run by hand. Yes, the Action Organs

The Sound of Pipe Organs M. McNeil, 191 pages

A new technical study of the ³ St. Peter’s Square - London E 2 7AF - England relationships between scaling, Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 voicing, the wind system, and Continuo Organs [e] [email protected] tuning. Search on the title at www.mander-organs.com the Organ Historical Society and Amazon websites. Imaginative Reconstructions

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2015 Q 25 Cover feature

Bigelow & Co. Organ Builders, 29, 1924, in which the fi rst item reads: SWELL Beautifi cation Project,” the beautiful oak American Fork, Utah “To electrify the organ now located in 16′ Bourdon (TC)* casework was discarded and the façade 8′ Open Diapason* First United Methodist Church, their church using the most modern type 8′ Salicional pipes hidden from view. The organ was Salt Lake City, Utah action with silver contacts, brass encased 8′ Aeoline re-leathered and modifi ed at that time. magnets and paraffi ne [sic] cables.” That 8′ Stop Diapason* But, alas, by the 1980s the old ventil From the builder contract included several tonal changes as 8′ Quintadena chests and actions were failing again. A 4′ Fugara* Bigelow & Co. specializes in mechani- well, such as replacing the Great Mixture 4′ Flute Harmonic* hybrid electronic instrument provided cal action instruments that are both his- with a Flute Celeste, replacing the Dolce 2′ Flageolet* a quick and economical solution. After torically informed and innovative. It was, Cornet with a Vox Humana, and so on. III Dolce Cornet Scott R. Mills was hired as organist, 8′ Cornopean* therefore, a bit of a reach to tackle the From the 1924 contract stoplist and ′ the congregation moved toward a more rebuild of what had once been a tubular other physical clues we made an edu- 8 Oboe* comprehensive restoration of their pneumatic instrument. In retrospect, it cated guess as to the 1906 stoplist: PEDAL historic instrument, including a faithful has been a fascinating experience, made 16′ Open Diapason* reconstruction of the original oak case- all the more enjoyable by the enthu- 16′ Bourdon* work and stenciled façade. GREAT 8′ Violincello [sic]* siasm and support of the organist and 16′ Dbl. Open Diapason* Realizing that many of the original many others at First United Methodist 8′ Open Diapason* *Ranks that survive with all or most of pipes had been discarded or seriously Church, Salt Lake City. 8′ Viol d’Gamba* their pipes altered, the church purchased nearly 8′ Dulciana First United Methodist Church dedi- 8′ Melodia forty ranks of Kimball and Austin pipe- cated its new building on May 22, 1906, 8′ Dopple Flute [sic]* A photograph from 1915 reveals a work, including harp and chimes, from and the organ was dedicated six months 4′ Octave* handsome case with stenciled façade the nearby Masonic temple, where that later on December 7. The oldest docu- 4′ Flute d’Amour* pipes (all speaking) covering an open- organ had been sitting idle for over 2 2⁄3′ Twelfth ment in the church’s archives pertaining 2′ Fifteenth* ing sixteen feet wide and twenty feet twenty years. After examining what to the organ is a contract with the fi rm III Mixture high. Unfortunately, in conjunction was left of the original Kilgen organ of “Geo. Kilgen and Son,” dated January 8′ Trumpet* with a 1960 “Sanctuary and Chancel and additions, listening to whatever was playable, reviewing the inventory acquired from the Masonic temple, and perusing old photographs, we contracted with the church to “restore” and enlarge their historic organ. Adding only two new stops (four ranks of small pipes), the current three-manual speci- fi cation was developed. Most pipes of the Great, Swell, and Pedal divisions stand on their original ventil or unit chests, re-leathered and re-electrifi ed by Bigelow. It is interest- ing that the ventil chests are in the style of Roosevelt, and may have come from an earlier Farrand & Votey instrument. That fi rm had been active in Utah in the 1890s, when they had recently acquired Roosevelt’s patents. One wonders: did the previous Methodist church, located First United Methodist Church, Salt Lake City, Utah, 1915 about a block away, have a Farrand & Votey organ that Kilgen subsequently moved and adapted to the new space? The discovery of very old modifi cations to those chests and to the swell box make such a scenario seem likely. The main Choir chest is a new Black- ington-style slider chest by Organ Sup- ply Industries. That fi rm also supplied electro-pneumatic unit and offset chests used variously throughout the organ and several single-rise regulators. A 1930s “Style A” console was acquired from the Austin factory, and Jack Nelson of Nelson Woodworking re-surfaced the old worn-out ivory keys with new unbleached bone. The new stop-action magnets and control system are from Syndyne. With the completion of this instru- 2015 reconstruction 1960s renovation ment, Bigelow is pleased and proud to

Bigelow & Co., Opus 38 First United Methodist Church, Salt Lake City, Utah

Rebuild/enlargement of 1906/1924 Kilgen SWELL (Manual III, enclosed) 4′ Gemshorn [A] 8′ Bourdon (prepared) Three manuals and pedal: 61/32 notes 16′ Lieblich Gedackt 4′ Flute d’Amour 4′ Principal (Great 16′) 42 ranks: 36 voices + 19 transmissions = 55 8′ Open Diapason 2′ Flageolet 4′ Bourdon (prepared extension) 1 stops; 2 percussions. 8′ Salicional 1⁄3′ Nineteenth [N] 16′ Tuba (extension) Two additional stops (one rank/voice) are pre- 8′ Voix céleste (TC) [A] 8′ Trumpet 16′ Contra-Bassoon (Swell) pared for future addition. 8′ Stopped Diapason 8′ Clarinet [O] 8′ Tuba 4′ Fugara Tremulant 8′ Trumpet (Choir) GREAT (Manual II, unenclosed) 4′ Flute Harmonic 8′ Harp (TC)* [A] 8′ Bassoon (Swell 16′) 16′ Dbl. Open Diapason 2′ Flautino [O] 4′ Celesta* (extension) Great to Pedal 8 8′ Open Diapason III Cornet [A] Choir to Choir 16 Choir to Pedal 8 8′ Doppel Flute III Mixture (15.19.22) [N] Unison Off Choir to Pedal 4 8′ Dulciana (Choir) 16′ Contra-Bassoon [A] Choir to Choir 4 Swell to Pedal 8 4′ Octave 8′ Cornopean [A] Swell to Choir 8 Swell to Pedal 4 4′ Hohl Flute 8′ Oboe Swell to Choir 4 Chimes 2 2⁄3′ Octave Quint [O] 8′ Vox Humana [O] 16′ Tuba (T.C.)* 2′ Super Octave Tremulant 8′ Tuba* *Does not couple III Mixture (17.19.22) [O] Unison Off 4′ Tuba* 8′ Trumpet (Choir) Swell to Swell 4 [A] From Kimball/Austin 8′ Tuba* 16′ Tuba (T.C.)* PEDAL [N] New pipes Choir to Great 16 8′ Tuba* 32′ Open Resultant (from Open Diap.) [O] Vintage pipes from another source Choir to Great 8 4′ Tuba* 32′ Stopped Resultant (from Sub Bass) Choir to Great 4 16′ Open Diapason (wood) Electro-pneumatic action, including rebuilt Swell to Great 8 CHOIR (Manual I, enclosed) 16′ Principal (Great 16′) ventil chests for Swell and Great Swell to Great 4 8′ Geigen Principal [A] 16′ Sub Bass Solid state switching and multi-level combina- Chimes* 8′ Dulciana [A] 16′ Lieblich Gedackt (Swell) tion action 8′ Melodia [A] 8′ Principal (Great 16′) Most pipework is early 20th-century Kilgen 8′ Quintadena [A] 8′ Cello and Austin.

26 Q THE DIAPASON Q DECEMBER 2015 WWW.THEDIAPASON.COM Stenciling by Tony Devroude Organ and chancel before reconstruction 1930s Austin console claim responsibility for all three of Salt gold color. The organ console was moved Lake City’s most recent three-manual down to the main fl oor of the sanctu- organs, all very different from each ary during the tenure of organist and other, and each one uniquely beautiful. music director Dr. Frank W. Asper, who —Michael Bigelow served from 1924–1939. He conducted a 30-voice choir and gave weekly organ From the organist and recitals before worship. Dr. Asper was choir director also a Mormon Tabernacle organist, The vital ministry of First United serving from 1924–1965. Methodist Church (FUMC) of Salt Lake In 1960, at the time of the sanctuary City, Utah, began just a few short months and chancel beautifi cation project, the after the completion of the transconti- organ façade pipes were moved back nental railroad in 1869 when the Central and a translucent screen placed behind Pacifi c and Union Pacifi c Railroads were a wooden grille. A set of crosses were fi nally joined at Promontory Point on placed in front of the screen and lights the north shore of the Great Salt Lake. installed behind the screen. The pipes Methodist missionaries began arriving in were no longer visible. Permanent pul- Utah to organize churches and schools. pits were added with fl ower boxes and a The fi rst Methodist worship services new seating arrangement with benches were held in downtown Salt Lake City for the choir loft. Since then, there have in an unfi nished hay loft over a livery been several remodeling and renova- Reconstructed round tower (non-speaking pipes in arches) stable in May 1870. A year and a half tion efforts, the last major one in 1989. later, the cornerstone was laid, and by The organist at the time requested that Salt Lake City. The instrument was in the front of the sanctuary and the 1960s December our congregation was hold- the church have the organ fi xed so that originally built by the W. W. Kimball paneling and opened up the chancel area. ing services on the opposite block in the it would be reliable. One can be grate- Company. The Austin Organ Company Thus, we have brought back the “look and basement of our fi rst new building. By ful that they did not discard the historic enlarged the organ in 1915 (Opus 609). feel” of the original sanctuary space with 1905, it was determined to build a larger pipes or chests. Due to fi nancial restraints In 1917, Alexander Schreiner, later a the tremendous sound of the organ now building (about a block away) to house at the time, the church augmented the Mormon Tabernacle organist for 53 known as the Wesleyan Heritage Organ, the growing congregation. Frederick working components of the organ with years, was playing on this organ as a Bigelow Opus 38 (2015). A. Hale, a prominent architect in the an electronic Rodgers organ. The façade high school student purportedly making “Methodism was born in song.” The Mountain West, designed the building in pipes were brought back out to be seen more money than his teachers. Near the music and liturgy of the worship at First the Victorian Eclectic architectural style. in the sanctuary with new woodwork end of the silent movie era, local organ- United Methodist Church of SLC will Although he was responsible for several framing the pipes. The inaugural concert ists had the vision to preserve the organ return to its former glory. This was a true church buildings in Colorado, this was was given by American concert organist and move it from the American Theatre church and community effort. We are his only one in Utah. and principal organist of the Wanamaker to the new Masonic Temple building grateful to the members of FUMC, the The FUMC organ has been in its Organ, Keith Chapman, about three that had been fi nished in 1927. many, many donors in the community, to original location since 1906, thus known months before his untimely death. By 2014, with donors attending and the many workers with the remodeling as one of the oldest organs in the area. When I was hired as the organist in supporting organ recitals by community of the sanctuary, and especially to the There are two older organs in Utah. First 2008, I could tell that the organ was organists, grant writing, and a very suc- remarkable craftsmanship of Bigelow Congregational Church actually touts in need of signifi cant repair. So we cessful crowd-funding campaign, we had & Co. and for their meticulous care and the oldest organ in the region (Farrand embarked on that possibility. The pipes raised suffi cient funds to hire Bigelow & expertise in preserving this historical & Votey, 1892; renovated in 1992 by H. were tuned and amid the ciphers, we Co. of American Fork, Utah. We removed organ. Our hearts are full of gratitude for Ronald Poll & Assoc.), and First United could hear the potential warmth and the Rodgers console and purchased a their tireless efforts in making our dream Methodist Church of Ogden, Utah, pos- beauty that the organ had to offer. console that had been built in about 1930 become a reality. sesses an organ which has been in stor- In November 2009, we launched a that had previously been part Austin Preserving these instruments (First age for some time. fundraising campaign to raise money Opus 1702 in the Old St. Mary’s Catho- Methodist and the Masonic Temple) The earliest photo we have of our to restore the organ and sanctuary back lic Church of Cincinnati, Ohio. Bigelow with their treasured history provides a sanctuary is dated “Easter 1915.” The as close as possible to its original roots, restored the original fi nish of the console signifi cant connection with our past and pipes were stenciled and were various keeping with its integrity, period, and and replaced the insides with state-of-the- provides a sustaining commitment to shades of green in color. The organ con- design. The organ project included re- art controls. We hired Tony Devroude of who we are as a people in our worship sole sat near the pipes so that the organ- establishing the organ’s unique 1900s Artisan Organ to stencil the pipes. With to God. ist had a view of the congregation. The tonal style, its organ case from the 1915 his experience and expertise, Tony was —Scott R. Mills, Principal Organist/ stage area was open. To get to the choir photo, a vintage console, and augment- able to recreate the original paint colors Music Coordinator loft below the stained glass windows, ing its character with other vintage and stenciling designs, returning the members had to pass through the organ components. After looking around the original façade pipes back to their majes- Photo credit: Heidi Jensen chamber—the door can be seen in the country for vintage components, we tic beauty. He established the colors and middle of the photo. We have members found what we needed in our own back- designs by carefully peeling away layers who have recalled as little children “run- yard at the Salt Lake Masonic Temple. of paint. Tony also turned the beautiful • STENCILING • FABRICATION ning through the pipes” to get to the The organ at the Masonic Temple was round middle tower base, crafted much • CONSULTATION choir loft. originally in the American Theatre, a of the case ornament including the • ORNAMENTATION In the 1930s, the front façade pipes 3,000-seat silent movie theatre and the four pineapples on top and the wooden • CASEWORK DESIGN received the fi rst of three paint-overs largest in Utah at the time, which was dummy “stubby” pipes in the two arched ART & DESIGN FOR THE ORGAN INDUSTRY Tony Devroude • (435) 679-8602 • artisanorgan.com that occurred over the years with a dull located on Main Street in downtown openings. Finally, we removed the carpet

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2015 Q 27 New Organs

Mander Organs, London, England The Flavour Conductor Mander Organs has recently completed a most unusual commission, an organ to promote a premium-brand whisky. Research into the perception of taste and how it can be infl uenced by other senses has built on the idea of a fl avor organ as referred to occasionally in literature. J. K. Huysman’s novel A Rebours and Aldous Huxley’s Brave New World both contained references to a fl avor organ, which gave taste to music. More recently, Oxford University professor Charles Spence had researched taste and pitch, as well as sound quality to match particular tastes in whisky to certain musical sounds. Whisky producer Johnnie Walker appointed Bompas & Parr, a group that engages in fl avor-based experience design, culinary research, architectural installations, and contemporary food design, to bring these senses together in the promotion of Blue Label whisky in a novel way. The centerpiece was to be a real pipe organ, for which they approached and engaged Mander Organs to com- plete. Very little about the organ relates to Mander’s usual work. The instrument had to be suitable for the especially com- posed music, it had to be played half by an organist and half by computer, work as a model for a light show produced by computer mapping, and above all had to be transportable anywhere in the world and fully assembled and tuned within 12 hours of arrival at site. This dictated an instrument with electric action and built on the unit extension principle. The organ has fi ve ranks of pipes:

Bourdon/Flute rank 16′ to 1′ Diapason/Principal rank 8′ to 2′ 2 1 Nazard/Twelfth rank 2 ⁄3′ to 1 ⁄3′ 3 4 Tierce rank 1 ⁄5′ to ⁄5′ The Flavour Conductor Side view Trumpet Rank 16′ to 8′ Manuals I and II (identical) electronic sound effects and the light sometimes impractical ambitions and the The specifi cation had to afford the 16′ Double Diapason show would seek to enhance, describe, compositional fl ights of fancy together 8′ Open Diapason composer as much fl exibility as possible 8′ Stopped Diapason and refl ect the tasting experience. In in one instrument required a degree of and was settled at: 4′ Principal addition, the organ was to contain a resourcefulness and not a little diplomacy. 4′ Open Flute secret bar, which opened on drawing a There were, however, compensations. 2 ′ 2⁄3 Nazard stop engraved with the Johnnie Walker Members of Mander Organs were, on a 2′ Fifteenth 2′ Piccolo seal, revealing a bottle of Johnnie Walker number of occasions, required to take 3 1⁄5′ Tierce Blue Label, a carafe of iced water, and six part in whisky-tasting sessions, in order 1 1⁄3′ Larigot whisky glasses. that they could understand what was 1′ Flageolet 4 It was a different and interesting proj- being asked of the fi rm in creating a ⁄5′ Octave Tierce 8′ Trumpet ect, but also a challenging one, working whisky organ. between a rock musician who had never The organ has already been featured Pedal Organ composed for a pipe organ and the vision- in London, New York, and Malaysia, and 16′ Bourdon 8′ Principal aries at Bompas & Parr, who had no idea further tours are anticipated over the 8′ Bass Flute of the inner workings of an organ. As the next months and years. The musical pre- 4′ Fifteenth piggy-in-the-middle, Mander Organs had sentation of the six fl avors can be seen ′ 4 Octave Flute to inform the composer of what an organ and heard at https://www.youtube.com/ 16′ Trombone 8′ Trumpet was capable of, and almost as importantly, watch?v=6IndMKbJCkU&feature=yo what it was not capable of. The designers utu.be. The full blend can be seen and The Master Blender had identifi ed at Bompas & Parr had to be informed heard at https://www.youtube.com/watc six distinct fl avors of the whisky—Fresh, of the workings and practicalities of a h?v=8blMT7JEPKk&feature=youtu.be. Fruity, Malty, Peaty, Spicy, and Woody— pipe organ, which required turning their —John Pike Mander and while a master of ceremonies would inspired design ideas into something that The secret bar is easily accessible introduce these fl avors, the music with would work as a pipe organ. Pulling these Photo credit: Bompas & Parr FRESH MALTY PEATY SPICY WOODY FRUITY

The light show was designed to promote the various fl avors that make this whiskey special: Fresh, Fruity, Malty, Peaty, Spicy, and Woody.

28 Q THE DIAPASON Q DECEMBER 2015 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Handel, Messiah; First United Methodist, Park Ridge Presbyterian Church This calendar runs from the 15th of the month Anniston, AL 2 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Lessons & Carols; Cathedral Church of Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Feb. issue). All events are assumed to be organ the Advent, Birmingham, AL 3 pm Bloomingdale, IL recitals unless otherwise indicated and are grouped Eric Budzynski; Madonna della Strada within each date north-south and east-west. •=AGO Chapel, Loyola University, Chicago, IL chapter event, • •=RCCO centre event, +=new organ 3 pm dedication, ++= OHS event. Jay Peterson; Holy Name Cathedral, Christopher Babcock Michael J. Batcho Information cannot be accepted unless it Chicago, IL 3:30 pm specifi es artist name, date, location, and hour in Director of Music writing. Multiple listings should be in chronological 21 DECEMBER St. Andrew’s by the Sea, order; please do not send duplicate listings. Oratorio Society of New York, Handel, Hyannis Port CATHEDRAL OF ST. JOHN THE DIAPASON regrets that it cannot assume Messiah; Carnegie Hall, New York, NY MILWAUKEE responsibility for the accuracy of calendar entries. 8 pm

22 DECEMBER UNITED STATES Ray Cornils, with brass, handbells, and East of the Mississippi chorus; Merrill Auditorium, Portland, ME Dean W. Billmeyer 7:30 pm University of Minnesota 15 DECEMBER Musica Sacra, Handel, Messiah; Carn- egie Hall, New York, NY 7:30 pm Framingham State University Chorus; Minneapolis 55455 • [email protected] Heineman Ecumenical Center, Framingham State University, Framingham, MA 7 pm 23 DECEMBER Handel, Messiah; Avery Fisher Hall, New Christopher Urban, with piano; First York, NY 7:30 pm Presbyterian, Arlington Heights, IL 12 noon Paul Barte; Church of St. Louis, King of 24 DECEMBER GAVIN BLACK Byron L. Blackmore France, St. Paul, MN 12:35 pm Lessons & Carols; Camp Hill Presbyte- Princeton Early Keyboard Center Crown of Life Lutheran Church 16 DECEMBER rian, Camp Hill, PA 5 pm, 7 pm, 9 pm Lessons & Carols; Fourth Presbyterian, 732/599-0392 Sun City West, Arizona Choirs of All Saints Church, Worcester; www.pekc.org Mechanics Hall, Worcester, MA 12 noon Chicago, IL 8:30 pm, 11 pm 623/214-4903 Handel, Messiah; Avery Fisher Hall, New 25 DECEMBER York, NY 7:30 pm Benjamin Straley; Washington National 17 DECEMBER Cathedral, Washington, DC 4:30 pm THOMAS BROWN Bach, Christmas Oratorio, part I; Grace ROBERT CLARK Handel, Messiah; Avery Fisher Hall, NY UNIVERSITY Lutheran, River Forest, IL 10 am Houston Texas 7:30 pm PRESBYTERIAN CHURCH Master Classes, Consultation Michael Edward Stuart; Christ Church, CHAPEL HILL, NORTH CAROLINA [email protected] Bradenton, FL 12:15 pm 26 DECEMBER Bach, Christmas Oratorio, part II; Grace ThomasBrownMusic.com 513/478-0079 18 DECEMBER Lutheran, River Forest, IL 7 pm Handel, Messiah; Avery Fisher Hall, New York, NY 11 am 27 DECEMBER Capital Arts Children’s Choir; St. Patrick Bach, Christmas Oratorio, part III; Grace JAMES DORROH, AAGO, PhD Lutheran, River Forest, IL 4 pm Cathedral, New York, NY 4 pm DELBERT DISSELHORST Saint Luke’s Episcopal Church Clara Gerdes; St. Malachy’s Church, 29 DECEMBER Samford University New York, NY 6:30 pm Professor Emeritus Andrew Scanlon; King’s Chapel, Bos- Piffaro; Cathedral Basilica of Sts. Peter & University of Iowa–Iowa City Birmingham, Alabama ton, MA 12 noon Paul, Philadelphia, PA 8 pm Organ Consultant Organ Recitals Boar’s Head & Yule Log Festival; St. Georgia Boy Choir; Peachtree Road Paul United Methodist, Louisville, KY 5 United Methodist, Atlanta, GA 7 pm pm, 8 pm Indianapolis Symphonic Choir, Festival STEVEN EGLER OHN ENSTERMAKER of Carols; Palladium, Carmel, IN 8 pm 30 DECEMBER J F Central Michigan University Lakeside Singers; Fourth Presbyterian, Boar’s Head & Yule Log Festival; St. Chicago, IL 8 pm Paul United Methodist, Louisville, KY 5 School of Music TRINITY-BY-THE-COVE pm, 8 pm Mt. Pleasant, MI 48859 19 DECEMBER [email protected] NAPLES, FLORIDA Handel, Messiah; Avery Fisher Hall, New 31 DECEMBER York, NY 8 pm Cathedral Choir & Orchestra; Cathedral of Georgia Boy Choir; Peachtree Road St. John the Divine, New York, NY 7:30 pm Norberto United Methodist, Atlanta, GA 7 pm Craig Cramer; Central Reformed Choir of Trinity-by-the-Cove; Trinity-by- Church, Grand Rapids, MI 8 pm STEPHEN HAMILTON the-Cove Episcopal, Naples, FL 5 pm Guinaldo Boar’s Head & Yule Log Festival; St. Paul Lessons & Carols; Cathedral Church of United Methodist, Louisville, KY 6:30 pm recitalist–clinician–educator St. Paul, Detroit, MI 5 pm His Music See—Listen—Buy Lessons & Carols; Church of the Nativity, 1 JANUARY www.stephenjonhamilton.com www.GuinaldoPublications.com Huntsville, AL 5 pm Bach, Christmas Oratorio, part IV; Grace Indianapolis Symphonic Choir, Festival Lutheran, River Forest, IL 10 am of Carols; Palladium, Carmel, IN 8 pm Jay Warren, silent fi lm accompaniment; 3 JANUARY auditorium, St. John Cantius Catholic Scott Lamlein; St. John’s Episcopal, Church, Chicago, IL 3 pm West Hartford, CT 12:30 pm David Herman Tower Brass; Fourth Presbyterian, Chi- Evensong; Christ Church Grosse Pointe, Trustees Distinguished Professor Emeritus of Music and University Organist cago, IL 5 pm Grosse Pointe Farms, MI 4:30 pm, pre- Evensong organ recital 4 pm The University of Delaware Q [email protected] 20 DECEMBER Bach, Christmas Oratorio, part V; Grace Lessons & Carols; Holy Trinity Lutheran, Lutheran, River Forest, IL 4 pm New York, NY 5 pm Christmas Lessons & Carols; St. An- 4 JANUARY A Professional Card in drew’s Episcopal, Lambertville, NJ 4 pm TENET; Trinity Church, New York, NY Advent Lessons & Carols; St. John’s 5 pm Episcopal, Hagerstown, MD 10:15 am The Diapason Cathedral Choir & Washington Sym- 5 JANUARY For rates and digital specifi cations, contact Jerome Butera phonic Brass; Washington National Cathe- Karen Beaumont; Incarnation Lutheran, 847/391-1045; [email protected] dral, Washington, DC 3:30 pm, 7:30 pm Milwaukee, WI 11:30 am Coro Vocati Christmas Concert; All David Bartlett; Church of St. Louis, King Saints’ Episcopal, Atlanta, GA 3 pm of France, St. Paul, MN 12:35 pm Choir of Trinity-by-the-Cove; Trinity-by- LORRAINE BRUGH, Ph.D. the-Cove Episcopal, Naples, FL 4 pm 6 JANUARY Lessons & Carols; St. Mary Magdalene Epiphany Procession; Christ Church Associate Professor Episcopal, Lakewood Ranch, FL 5 pm Grosse Pointe, Grosse Pointe Farms, MI Lessons & Carols; St. Boniface Episco- 7 pm University Organist pal, Sarasota, FL 6 pm Bach, Christmas Oratorio, part VI; Grace Valparaiso University Handel, Messiah, Sing-a-long; Church of Lutheran, River Forest, IL 7 pm the Redeemer, Sarasota, FL 7:30 pm Valparaiso, IN Lessons & Carols; Christ Church Grosse 8 JANUARY www.valpo.edu Pointe, Grosse Pointe Farms, MI 4:30 pm Jason Roberts, silent fi lm accompani- Indianapolis Symphonic Choir, Festival ment; St. John’s Episcopal, West Hartford, of Carols; Palladium, Carmel, IN 3 pm CT 7 pm 219-464-5084 Lessons & Carols; Calvary Episcopal, Todd Wilson; First Presbyterian, Gaines- [email protected] Louisville, KY 7 pm ville, FL 7:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2015 Q 29 Calendar WILL HEADLEE ANDREW HENDERSON, DMA 1650 James Street Madison Avenue Presbyterian Church 9 JANUARY Evensong; Christ Church Grosse Pointe, New York, NY Jens Korndörfer; First Presbyterian, At- Grosse Pointe Farms, MI 4:30 pm Syracuse, NY 13203-2816 lanta, GA 2 pm Choral Evensong; Calvary Episcopal, (315) 471-8451 www.andrewhenderson.net Todd Wilson, masterclass; First Presby- Louisville, KY 5:30 pm terian, Gainesville, FL 10 am Scott Dettra; Christ Church Cathedral, Nashville, TN 3 pm CALIFORNIA LUTHERAN UNIVERSITY 10 JANUARY Frederick Teardo, recital and Evensong; Gary L. Jenkins David Crean; St. Thomas Fifth Avenue, Independent Presbyterian Church, Bir- Director, Schmidt Concert Series New York, NY 5:15 pm mingham, AL 3 pm Kyle Johnson, DMA Janet Yieh; Virginia Theological Semi- Director of Music, Carmelite Monastery Bruce Bengtson, Gary Lewis, and University Organist nary, Alexandria, VA 4 pm Samuel Hutchison; Overture Hall, Madi- Curator of Organs 

r
LFKPIOT!DBMMVUIFSBOFEV Todd Wilson, hymn festival; First Pres- son, WI 7:30 pm Rose-Hulman Institute of Technology byterian, Gainesville, FL 4 pm Terre Haute, Indiana www.callutheran.edu Menotti, Amahl and the Night Visitors; 25 JANUARY Church of the Redeemer, Sarasota, FL Gary Wendt; Elliott Chapel, Presbyterian 5:15 pm Homes, Evanston, IL 1:30 pm Zach Hemenway; St. Boniface Episco- Brian Jones KIM R. KASLING pal, Sarasota, FL 6 pm 26 JANUARY D.M.A. Evensong; Cathedral Church of St. Paul, Samuel Backman; Church of St. Louis, Director of Music Emeritus Detroit, MI 4 pm St. John’s University King of France, St. Paul, MN 12:35 pm TRINITY CHURCH Evensong; Christ Church Grosse Pointe, Collegeville, MN 56321 Grosse Pointe Farms, MI 4:30 pm 28 JANUARY OSTON B Karen Beaumont, with soprano & horn; David Schuler, with violin; St. Luke in St. Casimir Catholic Church, Milwaukee, the Fields, New York, NY 8 pm WI 4 pm 29 JANUARY JAMES KIBBIE 12 JANUARY Rosalind Mohnsen; Trinity Church, Bos- The University of Michigan William Chouinard; Church of St. Louis, ton, MA 12:15 pm Ann Arbor, MI 48109-2085 King of France, St. Paul, MN 12:35 pm David Higgs; Christ Church, Rochester, ORGAN CONSULTANT NY 8 pm 734-764-1591 FAX: 734-763-5097 www.gabrielkney.com 14 JANUARY The Chenaults; Christ Church, Frederi- email: [email protected] Dudley Oakes; Christ Church, Braden- ca, St. Simons Island, GA 7:30 pm ton, FL 4 pm Indianapolis Symphonic Choir, Holst, The Planets; Hilbert Circle Theater, India- David K. Lamb, D.Mus. 15 JANUARY napolis, IN 8 pm Baroque Band; Music Institute of Chi- Philip Brisson; Cathedral Church of the Director of Music cago, Evanston, IL 7:30 pm Advent, Birmingham, AL 12:30 pm John W. W. Sherer; Fourth Presbyterian, Trinity United Methodist Church 16 JANUARY Chicago, IL 12:10 pm New Albany, Indiana Ken Cowan; St. John’s Cathedral, Jack- Passagalli Consort; St. Chrysostom 812/944-2229 sonville, FL 4 pm Episcopal, Chicago, IL 7:30 pm Baroque Band; Augustana Lutheran, Chicago, IL 7:30 pm 30 JANUARY Nicole Marane 17 JANUARY , Peter and the Wolf, with Kurt Ison; St. Thomas Fifth Avenue, New percussion & narrator; Peachtree Road A.S.C.A.P. York, NY 5:15 pm United Methodist, Atlanta, GA 10 am FELLOW, AMERICAN GUILD OF ORGANISTS Evensong; Christ of the Redeemer, Chanticleer; Spivey Hall, Clayton State University, Morrow, GA 7:30 pm 345 SADDLE LAKE DRIVE Sarasota, FL 5:15 pm Indianapolis Symphonic Choir, Holst, ROSWELL-ATLANTA, GEORGIA 30076 Evensong; Christ Church Grosse Pointe, (770) 594-0949 Grosse Pointe Farms, MI 4:30 pm The Planets; Hilbert Circle Theater, India- Evensong; Cathedral Church of the Ad- napolis, IN 7 pm vent, Birmingham, AL 3 pm Daniel Schwandt; Madonna della Stra- 31 JANUARY da Chapel, Loyola University, Chicago, IL CONCORA; Trinity College Chapel, 3 pm Hartford, CT 4 pm Northwestern University Community Erik Wm. Suter; Woolsey Hall, Yale Uni- Professor Emeritus – University of Michigan – Ann Arbor Ensemble; First Presbyterian, Arlington versity, New Haven, CT 7:30 pm Professor of Organ for 67 years Heights, IL 4 pm Paul Thomas; St. Thomas Fifth Avenue, MarilynThe University’s longest-serving faculty memberMason New York, NY 5:15 pm 19 JANUARY Peter DuBois; Christ Episcopal, Easton, David Jenkins; Church of St. Louis, King MD 4 pm of France, St. Paul, MN 12:35 pm Martin Jean; Stetson University, De- LARRY PALMER Land, FL 3 pm PHILIP CROZIER 20 JANUARY Cathedra Chamber Choir; Trinity-by-the- Baroque Band; Grainger Ballroom, Sym- Cove Episcopal, Naples, FL 4 pm CONCERT ORGANIST Harpsichord – Organ phony Center, Chicago, IL 7:30 pm Stephen Tharp; Hyde Park Community ACCOMPANIST Marijim Thoene; Rogers Chapel, Tulane United Methodist, Cincinnati, OH 4 pm Professor of Music, Emeritus University, New Orleans, LA 12 noon Evensong; Christ Church Grosse Pointe, 3355 Queen Mary Road, Apt 424 Grosse Pointe Farms, MI 4:30 pm 22 JANUARY Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Bach, Cantata 125; Grace Lutheran, River Douglas Cleveland; FNB Concert Hall, Forest, IL 3:45 pm Canada University of Alabama, Tuscaloosa, AL (514) 739-8696 Recitals — Lectures — Consultancies 7:30 pm UNITED STATES Christopher Jacobson, with South Da- West of the Mississippi [email protected] kota Chorale; St. Mark’s Episcopal Cathe- [email protected] + 214.350-3628 dral, St. Paul, MN 7:30 pm 16 DECEMBER 23 JANUARY Handel, Messiah; Grace Cathedral, San Bradley Burgess; Dwight Chapel, Yale Francisco, CA 7:30 pm University, New Haven, CT 5 pm announces... David Simon; Christ Episcopal, New 17 DECEMBER The Diapason Haven, CT 7:30 pm Gerrit Lamain; St. Stephen’s Lutheran, Brian Anderson; Spivey Hall, Clayton West St. Paul, MN 10 am 20 Under 30 Nominations State University, Morrow, GA 3 pm Praetorius Christmas Vespers; Trinity Episcopal Cathedral, Portland, OR 7:30 Deadline: February 1, 2016 Douglas Cleveland, masterclass; Moody Concert Hall, University of Ala- pm We will be recognizing 20 young bama, Tuscaloosa, AL 9 am Handel, Messiah; Grace Cathedral, San men and women whose career Francisco, CA 7:30 pm accomplishments place them at 24 JANUARY Paul Cienniwa, harpsichord, with ALLI- 18 DECEMBER the forefront of the organ, church SON; Thomas Crane Public Library, Quin- Lessons & Carols; St. Mark’s Episcopal music, harpsichord, carillon, and cy, MA 3 pm Cathedral, Minneapolis, MN 5 pm organ-building fi elds—before Jonathan Ryan; Christ Church (Episco- St. Martin’s Chamber Choir; St. John’s their 30th birthday. pal), Greenwich, CT 4:30 pm Episcopal Cathedral, Denver, CO 7:30 pm Patrick Pope; St. Patrick Catholic Cathe- David Higgs; Walt Disney Concert Hall, Visit TheDiapason.com dral, New York, NY 3:15 pm Los Angeles, CA 8 pm for more information and to nominate. Cathedral Choral Society; Washington Na- Handel, Messiah; Grace Cathedral, San tional Cathedral, Washington, DC 7:30 pm Francisco, CA 7:30 pm Marilyn Keiser; Cathedral Church of St. Peter, St. Petersburg, FL 5 pm 19 DECEMBER Stay up to date on all of the latest industry news and events. Mark Kroll, harpsichord, with baroque Choir of Men and Boys, Cathedral Christ- Visit TheDiapason.com regularly. violin; Church of the Redeemer, Sarasota, mas; Grace Cathedral, San Francisco, CA FL 5:15 pm 3 pm

30 Q THE DIAPASON Q DECEMBER 2015 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Scott Montgomery 20 DECEMBER 17 JANUARY Concert Organist Gerrit Lamain; St. Stephen’s Lutheran, Young Artists from the Bach Society of West St. Paul, MN 4 pm St. Louis; Second Presbyterian, St. Louis, www.ScoMo.org Lessons & Carols; St. Mark’s Episcopal MO 4 pm [email protected] Cathedral, Minneapolis, MN 5 pm Paul Jacobs; Trinity First United Meth- Lessons & Carols; Zumbro Lutheran, odist, El Paso, TX 2 pm Rochester, MN 7 pm Thierry Escaich; Cathedral of the Mad- Choir of Men and Boys, Cathedral Christ- eleine, Salt Lake City, UT 8 pm mas; Grace Cathedral, San Francisco, CA Craig Cramer; Trinity Episcopal Cathe- ANDREW PAUL MOORE LEON NELSON 3 pm dral, Phoenix, AZ 4 pm Director of Traditional Music Carol Williams; Spreckels Organ Pavil- Tom Trenney; Neighborhood Church, CHRIST CHURCH ion, Balboa Park, San Diego, CA 2 pm Southminster Presbyterian Church Palos Verdes Estates, CA 4 pm SHORT HILLS Arlington Heights, IL 60005 22 DECEMBER Gail Archer; St. Mary Catholic Cathe- Northwest Boy Choir, Lessons & Carols; dral, San Francisco, CA 4 pm Benaroya Hall, Seattle, WA 7:30 pm Timothy Howard; St. Gregory Episco- Todd Wilson; Segerstrom Concert Hall, pal, Long Beach, CA 4 pm Stephen G. Schaeffer Nicholas E. Schmelter Costa Mesa, CA 7:30 pm Carol Williams; Spreckels Organ Pavil- ion, Balboa Park, San Diego, CA 2 pm Recitals – Consultations Director of Music 24 DECEMBER Director of Music Emeritus Immaculate Conception Lessons & Carols; Grace Cathedral, San 19 JANUARY Francisco, CA 4 pm Jan Kraybill; Kauffman Center for the Cathedral Church of the Advent Catholic Church Performing Arts, Kansas City, MO 6 pm Birmingham, Alabama Lapeer, Michigan 27 DECEMBER Carol Williams; Spreckels Organ Pavil- 22 JANUARY ion, Balboa Park, San Diego, CA 2 pm Samuel Metzger; Northminster Presby- terian, Tucson, AZ 7 pm ROBERT L. 28 DECEMBER James Welch; The Tabernacle, Temple 24 JANUARY SIMPSON Mark Steinbach Square, Salt Lake City, UT 12 noon Andrew Galuska, with piano; Church Christ Church Cathedral Brown University of St. John the Evangelist, Rochester, MN 2 JANUARY 1117 Texas Avenue 4 pm Houston, Texas 77002 Cappella Romana; Trinity Episcopal Ca- Choral Evensong; St. Paul United Meth- thedral, Portland, OR 7:30 pm odist, Houston, TX 4 pm 3 JANUARY Nathan Laube; Lutheran Church of the Stephen Tappe ORGAN MUSIC OF THE SPANISH BAROQUE Risen Savior, Green Valley, AZ 3 pm Carol Williams; Spreckels Organ Pavil- Organist and Director of Music ion, Balboa Park, San Diego, CA 2 pm Paul Jacobs, with soprano Christine David Troiano Brewer; Walt Disney Concert Hall, Los An- Saint John's Cathedral DMA MAPM 8 JANUARY geles, CA 7:30 pm Denver, Colorado 586.778.8035 Christopher Houlihan; All Saints Epis- Carol Williams ; Spreckels Organ Pavil- www.sjcathedral.org [email protected] copal, Phoenix, AZ 7:30 pm ion, Balboa Park, San Diego, CA 2 pm

9 JANUARY 26 JANUARY •Robert Bates, lecture; Plymouth Con- Jack Mitchener, masterclass; Christ the gregational Church UCC, Seattle, WA 10 King Catholic Church, Dallas, TX 7 pm Marcia Van Oyen am Joe Utterback First United Methodist Church 28 JANUARY COMMISSIONS & CONCERTS 10 JANUARY Jack Mitchener; Christ the King Catholic Plymouth, Michigan Robert Bates; Kane Hall, University of Church, Dallas, TX 7:30 pm 732 . 747 . 5227 Washington, Seattle, WA 3 pm mvanoyen.com Stephen Tharp; St. James’ Episcopal, 30 JANUARY Los Angeles, CA 6 pm Nathan Laube, masterclass; First Pres- Carol Williams; Spreckels Organ Pavil- byterian, Kirkwood, MO 10 am ion, Balboa Park, San Diego, CA 2 pm Michel Bouvard; Plymouth Congrega- Kevin Walters 11 JANUARY tional, Seattle, WA 7:30 pm David Wagner •Robert Bates; Kilworth Chapel, Univer- Christopher Houlihan; Our Lady Queen DMA M.A., F.A.G.O. sity of Puget Sound, Tacoma, WA 7 pm of Angels Catholic Church, Newport www.davidwagnerorganist.com Beach, CA 6:30 pm Rye, New York 14 JANUARY Jeffrey Patry; St. Barnabas Lutheran, 31 JANUARY Plymouth, MN 12:30 pm Nathan Laube; Cathedral Basilica of St. Louis, St. Louis, MO 2:30 pm 16 JANUARY Houston Chamber Choir, School Choral Alan G Woolley PhD KARL WATSON Luther College Nordic Choir; Trinity Epis- Festival; Grace Presbyterian, Houston, TX Musical Instrument Research copal Cathedral, Portland, OR 7 pm 4 pm SAINT LUKE’S Edinburgh

[email protected] METUCHEN

RONALD WYATT RUDOLF ZUIDERVELD Trinity Church Illinois College, Jacksonville Galveston First Presbyterian Church, + Springfi eld , $Q,QWHUQDWLRQDO&KULVWPDV&HOHEUDWLRQZLWK JUHHWLQJVIURP(QJODQG,FHODQG)UDQFH$XVWULD3RODQG * ,WDO\&DQDGDDQGWKH8QLWHG6WDWHV A two-inch Professional Card , +ROLGD\3RUWUDLWVWKH&KULVWPDVIHVWLYDOLVULFKZLWK 4 SLFWRULDOLPSOLFDWLRQVWKDWFRPSRVHUVKDYHLQWHUSUHWHGZLWK in The Diapason LQWULJXLQJLQJHQXLW\ For information on rates and specifi cations, contact Jerome Butera: ) [email protected] 608/634-6253 $Q$PHULFDQ&KULVWPDV)HVWLYDOIURPFRDVWWR , FRDVWPXVLFLDQVLQWKH8QLWHG6WDWHVKRQRUWKH&KULVWPDV 9 PLUDFOH DAVID SPICER $Q2UJDQLVW¶V69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2015 Q 31 Calendar

Carol Williams; Spreckels Organ Pavil- 31 DECEMBER Ken Cowan; Holy Rosary Cathedral, ROBERT BARNEY, Old West Church, ion, Balboa Park, San Diego, CA 2 pm Johannes Mayr, with brass; Sankt Maria Vancouver, BC, Canada 8 pm Boston, MA, August 18: Prelude and Fugue Kirche, Schramberg, Germany 9:30 pm in C, BWV 547; Bach; Partita on Jesu, me- INTERNATIONAL Hans-André Stamm, with fl ute; Ab- 31 JANUARY ine Freude, Walther; Sonata II, op. 65, no. teikirche, Brauweiler, Germany 8 pm Alexander Pott; Westminster Cathedral, 2, Mendelssohn; Homage à Johann Pachelbel Jean-Christophe Geiser; Cathedral, London, UK 4:45 pm (10 Variations on Lobe den Herren), Rakich; 15 DECEMBER Lausanne, Switzerland 10:45 pm John Wearmouth; Marlborough Road Daniel Cook; Westminster Abbey, Lon- Prelude and Fugue in g, WoO 10, Brahms. Methodist, St. Albans, UK 12:30 pm don, UK 5:45 pm 3 JANUARY VINCENT BOUCHER, St. James United Anthony Gritten; Westminster Abbey, Church, Montreal, Canada, August 25: Pré- 16 DECEMBER London, UK 5:45 pm Olivier Latry; Augustinerkirche, Würz- Lessons & Carols lude et fugue en la mineur, BWV 543, Vater burg, Germany 7:30 pm 10 JANUARY unser im Himmelreich, BWV 747, Jesu, meine Peter Stevens; Westminster Cathedral, Zuversicht, BWV 728, Bach; Choral No. 3 en 18 DECEMBER 20 DECEMBER London, UK 4:45 pm la mineur, FWV 40, Franck; Choral orné sur le Choral Evensong; St. Paul’s Cathedral, Martin Ford; Westminster Abbey, Lon- St. Mark’s Episcopal Cathedral, Minne- Pater Noster grégorien, Reboulot; Choral Allé- London, UK 3:15 pm don, UK 5:45 pm apolis, MN 5 pm luiatique no. 2 (L’Orgue Mystique, Dominica Martin Ford; Westminster Abbey, Lon- Peter Holder, Messiaen, La Nativité du XVII post Pentecosten, op. 57), Tournemire. don, UK 5:45 pm Seigneur; St. Paul’s Cathedral, London, 19 DECEMBER Lessons & Carols; St. Bartholomew the UK 6 pm St. Paul’s Cathedral, Detroit, MI 5 pm LORRAINE BRUGH, with Stacy Mau- Great, Smithfi eld, London, UK 6:30 pm Church of the Nativity, Huntsville, AL 5 pm gens, saxophone, Valparaiso University, Val- 16 JANUARY paraiso, IN, September 18: Sonate I, Bédard; 23 DECEMBER Dong-ill Shin; St. Albans Cathedral, St. 20 DECEMBER You Had Warned Me Not To Leave You, Lessons & Carols; Westminster Abbey, Albans, UK 5:30 pm St. Andrew’s Episcopal, Lambertville, NJ Blow, Blow, Stormy Weather, Wake Up, Rise London, UK 6 pm 4 pm Up, You Blazing Sun (Five Russian Folk Lessons & Carols; Christ Church Cathe- 17 JANUARY St. John’s Episcopal, Hagerstown, MD Songs), Mussorgsky, arr. Hemke; Prelude and dral, Oxford, UK 7:30 pm Simon Russell; Westminster Cathedral, 10:15 am Fugue in g, BWV 535, Bach; Music for a Short London, UK 4:45 pm St. Mary Magdalene Episcopal, Lake- Subject, DeBlasio; Flute Tune, Ostinato, Cho- 24 DECEMBER Jeremy Woodside; Westminster Abbey, wood Ranch, FL 5 pm rale, Dialogue (Music for a Quiet Sunday), Lessons & Carols; Westminster Abbey, London, UK 5:45 pm London, UK 4 pm St. Boniface Episcopal, Sarasota, FL 6 Pinkham; My Shepherd’s Sacred Throne, Lessons & Carols; King’s College Cha- 20 JANUARY pm Hartley; Cathedral, O’Riordan; In God Is pel, Cambridge, UK 3 pm Jonathan Holl; Reading Town Hall, Christ Church Grosse Pointe, Grosse Sheer Joy, God Grant Me a Little Space, arr. Lessons & Carols; Christ Church Cathe- Reading, UK 1 pm Pointe Farms, MI 4:30 pm Hemke; Veni Creator Spiritus, Litaize; Fan- dral, Oxford, UK 3 pm Calvary Episcopal, Louisville, KY 7 pm tasy on ‘Veni Creator Spiritus,’ Proulx. 23 JANUARY Cathedral Church of the Advent, Bir- 25 DECEMBER Thierry Escaich, silent fi lm accompani- mingham, AL 3 pm PHILIP CROZIER, Kongsberg Kirke, Hans Hermann Jansen; Abbey, Marien- ment; Maison Symphonique de Montreal, St. Mark’s Episcopal Cathedral, Minne- Norway, August 8: Suite du deuxième ton, münster, Germany 3 pm Montreal, QC, Canada 8 pm Bédard; Conradus, Ferdinandi, Proportio apolis, MN 5 pm Jean-Christophe Geiser; Cathedral, Ferdinandi Ulterius, Tablature of Jan z Lu- Zumbro Lutheran, Rochester, MN 7 pm Lausanne, Switzerland 5 pm 24 JANUARY blina; Praeludium und Fuge in C, Böhm; St. Bartholomew the Great, Smithfi eld, James Orford; Westminster Cathedral, Capriccio sopra la Girolmetta (Messa della 26 DECEMBER London, UK 4:45 pm London, UK 6:30 pm Madonna), Frescobaldi; Jesus Christus, unser Hans Hermann Jansen; Abbey, Marien- James O’Donnell; Westminster Abbey, Heiland, BWV 688, Allein Gott in der Höh’ sei 22 DECEMBER münster, Germany 3 pm London, UK 5:45 pm Ehr’, BWV 664, Bach; Partite diverse sopra Northwest Boy Choir; Benaroya Hall, Se- ‘De Lofzang van Maria,’ Post. 27 DECEMBER 29 JANUARY attle, WA 7:30 pm Matthew Jorysz; Westminster Abbey, ••Maxine Thevenot; Knox United Church, MONICA CZAUSZ, Mechanics Hall, London, UK 5:45 pm Calgary, AB, Canada 7 pm 23 DECEMBER Boston, MA, August 5: Toccata and Fugue in Westminster Abbey, London, UK 6 pm E, BWV 566, Bach; Adagio (Treize Prières, Christ Church Cathedral, Oxford, UK op. 64, no. 5), Alkan; Allegro, Chorale, and 7:30 pm Fugue, Mendelssohn; Clair de lune (Three Impressions, op. 72), Karg-Elert; Prelude and 24 DECEMBER Fugue in d-sharp, op. 56, Olsson; Allegretto, Camp Hill Presbyterian, Camp Hill, PA 5 Allegro Giocoso (Seven Improvisations, op. pm, 7 pm, 9 pm 150), Saint-Saëns. Fourth Presbyterian, Chicago, IL 8:30 pm, 11 pm JEROME FUNG & ALEX PATTAVINA, Lessons & Carols; Grace Episcopal Cat- Old West Church, Boston, MA, August 25: herdral, San Francisco, CA 4 pm Prelude, Fugue, and Chaconne in C, BuxWV King’s College Chapel, Cambridge, UK 137, Buxtehude; Prélude, Fugue et Variation, 3 pm op. 18, Franck; Aria Serena (Diptych, op. Christ Church Cathedral, Oxford, UK 1007), Cooman; Fugue in g, BWV 578, Bach; 3 pm Praeludium in f-sharp, BuxWV 146, Buxtehu- Westminster Abbey, London, UK 4 pm de; Air, Hancock; Andante tranquillo (Sonata

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32 Q THE DIAPASON Q DECEMBER 2015 WWW.THEDIAPASON.COM Organ Recitals

III), Mendelssohn; Prelude and Fugue in G, 42, no. 1), Widor; Deuxième Fantasie, Alain; Joie et clarté des Corps Glorieux (Les Corps CHRISTOPHER URBIEL & NICHO- BWV 541, Bach. Miroir, Wammes; Choral No. 3 in a, Franck; glorieux), Messiaen; Grand Choeur en sol LAS SCHMELTER, St. Francis De Sales Trio Sonata No. 4 in e, BWV 529, Bach; Sala- majeur, Salomé. Catholic Church, Newark, OH, July 16: Toc- STEPHEN HAMILTON, First United manca, Bovet; Aria, Final (Symphonie VI, op. cata, Sowerby; Two Spirituals, Proulx; Pièce d’ Methodist Church, Ames, IA, September 20: 59), Vierne. JOHN SCHAEFER, with Kayleigh Ay- Orgue, BWV 572, Pastorale, BWV 590, Bach; Hymne d’action de Grace “Te Deum” (Trois tes, soprano, Keith Benjamin, trumpet, and Offertoire sur les grands jeux (Mass for the Paraphrases Gregoriennes), Langlais; Partite BAPTISTE-FLORIAN MARLE-OUV- Susan Goldenberg, violin, Grace and Holy Parishes), F. Couperin; Antiphons I–V (Fif- Sopra la Aria della Folia de Espagne, Pasqui- RARD, St. James United Church, Montreal, Trinity Cathedral, Kansas City, MO, August teen Pieces for Organ Founded on Antiphons), ni; La Romanesca con Cingue Mutanze, Va- QC, Canada, July 21: Prélude et Fugue im- 7: Prelude in E-fl at, Bach; Beloved, Let Us Dupré; Thee We Adore, O Savior, Willan; lente; Prelude, Fugue, and Variation, Franck; provisés dans le style de J. S. Bach, Marle- Love, Proulx; Prayer of St. Gregory, Hovhan- Carillon de Westminster, Vierne. Prelude and Fugue in c, BWV 546, Bach; Lit- Ouvrard; Andante en Fa Majeur, K. 616, Mo- ess; At the Round Earth’s Imagined Corners, anies, JA 119, Alain; Three Chorale Preludes zart; Prélude et Fugue en sol mineur, WoO Burgon; Fugue in E-fl at, Bach; Variations PETER VAN DE VELDE, St. James (from the Sacred Harp), Coe; Prelude and 10, Brahms; Poème symphonique improvisé on ‘Amazing Grace’, Held; Pastorale and United Church, Montreal, QC, Canada, July Fugue in B, op. 7, no. 1, Dupré. dans le style romantique, Marle-Ouvrard; Aviary, Roberts; Evensong, La Montaine; 14: Marche des Marseillois et l’air Ça-ira, Bal- Scherzo, op. 2, Durufl é; Improvisation, Toccata, Weaver. bastre; Allegro, Fiocco; Second Symphony, DENNIS KING-YEUNG CHAN & KEV- Marle-Ouvrard. Wietz; Pièce héroïque, Franck. IN NEEL, Old West Church, Boston, MA, FREDERICK SWANN, Madonna della August 4: Sonata No. 8 in e, op. 132, Rhein- BRUNO MATHIEU, St. James United Strada Chapel, Loyola University, Chicago, JONATHAN VROMET, St. James United berger; Praeludium in E, BuxWV 141, Bux- Church, Montreal, QC, Canada, August 11: IL, July 19: Fugue sur le thème du Carillon Church, Montreal, QC, Canada, August tehude; Sonata II, Hindemith; Prelude and Toccata and Fugue in d, BWV 565, Bach; des Heures de la cathédrale de Soissons, Du- 18: Toccata, Adagio, and Fugue, BWV 564, Fugue on a theme of Gustav Holst, Briggs. La Virginité, La Pudeur (Les Dominos), F. rufl é; Sinfonischer Choral: Jesu, geh’ voran Christum wir sollen loben schon, BWV 696, Couperin; Allegro du concerto, op. 7 no. 4, (Seelenbraütigam), Karg-Elert; Prelude and Gelobet seist du, Jesu Christ, BWV 697, JEAN LADOUCEUR, St. James United Handel; Sortie en mi bémol, Lefébure Wély; Fugue in c, op. 37, no. 1, Mendelssohn; Cho- Herr Christ, der ein’ge Gottes Sohn, BWV Church, Montreal, QC, Canada, August 4: Scherzo, Final (Symphonie no. 6 en si mineur, rale in E, Franck; Introduction and Fugue 698, Gottes Sohn ist Kommen, BWV 703, Präludium in c-moll, Reger; Non est bonum, op. 59), Vierne; Les anges (La Nativité du Sei- on Saint Denio, Weaver; Improvisation on Lob sei dem allmächtigen Gott, BWV 704, hominem esse solum, Gastritz; Invocation gneur), Messiaen. New Britain; Introduction, Passacaglia, and Vater unser im Himmelreich, BWV 683, (Quatre Interludes, op. 38), Hétu; Postlude, Fugue, Willan. Bach; Fantaisie in f, K. 608, Mozart; Lar- Fleury; La Nativité (Trois Poèmes Évangé- MARK McDONALD, St. James United go, Allegro e molto energico (Sonate no. 2 liques), Langlais; Première Sonate en ré mi- Church, Montreal, QC, Canada, June 23: So- STEPHEN THARP, Covenant Presbyteri- in f), Daveluy. neur, op. 42, Guilmant. nata No. 5, op. 65, no. 5, Mendelssohn; An- an Church, Charlotte, NC, July 3: Variations dante in F, K. 616, Mozart; Toccata da sonarsi on the hymn tune ‘Rouen,’ Baker; Rosace, In PATRICK WEDD, St. James United OLIVIER LAVOIE-GAGNÉ, St. James alla levatione, FbWV 106, Froberger; Passa- Paradisum, Tu es Petrus (Esquisses Byzan- Church, Montreal, QC, Canada, July 9: Toc- United Church, Montreal, QC, Canada, June caglia in c, BWV 582, Bach. tines), Mulet; Jacob combat avec l’Ange, Du- cata on ‘O Filii et Filiae,’ Farnam; Pastourelle, 30: Prelude and Fugue in E-fl at, BWV 552, pré, reconstructed Stech; Pastorale, Roger- Gagnon; Chaconne (3e Sonate), Daveluy; Bach; Wie schön leuchtet der Morgenstern, JULIE PINSONNEAULT, St. James Unit- Ducasse; Daphnis et Chloé (Suite II), Ravel, Doux Repos, Reimer; Prélude: Vox clamans in BuxWV 223, Buxtehude; Andante Cantabile ed Church, Montreal, QC, Canada, July 7: transcr. Briggs. deserta, Tango, Jones; Récit de tierce en taille (Symphonie IV, op. 13, no. 4), Widor; Choral Allegro vivace (Symphonie V, op. 42, no. 1), (Sept Études), Mather; Fantasie sur le nom de No. 1 en mi Majeur, Franck. Widor; Berceuse (op. 31, no. 19), Naïades (op. MARIJIM THOENE, with Sister Anita LAVOIE, Bédard. 55, no. 4), Vierne; Beata es, Maria, Beatam Smisek, soprano, Sinsinawa Mound, Sinsina- ARDYTH LOHUIS, with ROBERT me dicent omnes generations, Hodie Chris- wa, WI, August 12: Veni Creator, Durufl é; St. BRADLEY HUNTER WELCH, Canyon MURRAY, violin, Grace Covenant Presbyte- tus natus est, Tribus miraculis ornatum diem Anne Fugue, Bach; Salamanca, Bovet; Medi- Creek Presbyterian Church, Richardson, TX, rian Church, Richmond, VA, August 19: Solo sanctum colimus (Postludes libres pour les tation, Vierne; Les Anges (La Nativité du August 30: Toccata in b, Gigout; Chorale Vari- V, op. 4, Stanley; Variations on ‘Amazing Antiennes de Magnifi cat, op. 68), Tournemire; Seigneur), Messiaen; Three Pieces for Organ, ations on ‘Veni Creator,’ Durufl é; Fugue in Grace,’ Held; Perpetual Motion (An Eclec- O Welt, ich muss dich lassen, op. 122, no. 3, Teml; Habakkuk, Hovhaness. G, BWV 577, Bach; Amazing Grace, Swann; tic Suite), Whikehart; Adagio (Suite im Alten Brahms; Fantasie und Fugue über den Namen Lobe den Herren, Miller; Nimrod, Elgar; So- Stil, op. 10), Sinding; Sonata per violin ed BACH, S. 26, Liszt. DAVID TROIANO, Old Salem Museums nata Eroica, Jongen. organo, Ravanello; Gavotte & Musette, In- and Gardens, Winston-Salem, NC, July 15: troduction & Gigue (Tartuffe: Suite), Gibbs; ABE ROSS, Mechanics Hall, Boston, MA, Voluntary in A, Selby; Prelude No. 2 in c, JOHN WEST, Point Loma Community Vocalise, op. 34, no. 14, Rachmaninoff; Rêv- August 12: Lebhaft, Ruhig bewegt (Sonate Prelude No. 3 in G, Latrobe; Fugue a 3 Voce, Presbyterian Church, San Diego, CA, July erie, op. 22, no. 3, Vieuxtemps; Hallelujah, II für Orgel), Hindemith; Es ist ein Ros’ Zeuner; Prelude and Fugue sobre ‘Ave Maris 2: Allegro (Symphonie II), Vierne; Grand op. 76, Weiner. entsprungen, Herzlich tut mich verlangen, O Stella,’ Elias; I Danced in the Morning, arr. Choeur, Hollins; Aspiración, Estrada; Com- Welt, ich muss dich lassen (Eleven Chorale Diemer; Fugue in Three Themes, Zundel; munion, Purvis; Two Pieces, Fax; Joshua COLIN LYNCH, Madonna della Strada Preludes, op. 122,), Brahms; Adagio (Sym- Sonata, Pergolesi; Il est un petit l’ange, Bal- fi t de battle of Jericho, Sowande; Weih- Chapel, Loyola University, Chicago, IL, Au- phonie III, op. 28), Vierne; Thème et varia- bastre; Heut triumphieret Gottes Sohn, BWV nachten, Reger; Clair de Lune, Debussy; gust 16: Allegro vivace (Symphony V in f, op. tions (Hommage à Frescobaldi), Langlais; 630, Bach. Final, Franck.

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A PDF fi le prepared in booklet for- E-mail correspondence only, please. mat has been posted on the website’s home page at www.frumuspub.net, available for download REED ORGANS FOR SALE The new Nordic Journey series of CD record- and reprint. Wanted: Organists visiting Maui. Lahaina’s ings reveals premiere recordings of symphonic Completely Restored Pump Organ by Seybold Holy Innocents Episcopal Church invites visit- organ music—much of it still unpublished—from Organ Co. Has reed and pipe action. Certifi ed ing organists to play its Beckerath Positiv organ Pipe Organs of the Keweenaw by Anita Nordic composers, played by American organist appraisal (1986) value of $6K. Excellent condi- at Sunday services. Built in 1972 by Rudolf von Campbell and Jan Dalquist, contains his- James Hicks on a variety of recently restored tion. Beautiful soft tones, also robust sound with Beckerath and then-apprentice Hans-Ulrich Swedish organs. It’s a little bit like Widor, Reger, tories, stoplists, and photos of some of Erbslöh for Honolulu’s Lutheran Church, the 408- the historic organs of the Keweenaw Pen- all stops. Location: East Texas. Price: $2,495.00, and Karg-Elert, but with a Nordic twist. Check it plus professional shipping. Call 936/569-1101. pipe Shrankpositiv has a 54-note “split” manual, out at www.proorgano.com and search for the insula, the northernmost tip of Michigan’s Upper Peninsula. Organs include an 1899 30-note pedal, 11 stops, 8 ranks, and 6 registers. term “Nordic Journey.” Holy Innocents acquired the instrument in 1977 Barckhoff and an 1882 Felgemaker. 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The parish community DVD/CD set about Cavaillé-Coll, the acclaimed is “exemplary in its hospitality to all visitors,” and The OHS 2016 Calendar celebrates the 61st Bach/Art of Fugue/DVD/CD set with George Annual OHS Convention–Philadelphia, June that especially includes visiting organists. For Ritchie, Ritchie’s 11-CD set of the complete organ information: 808/661-4202; holyimaui.org. 26–July 2, 2016, and the Diamond Anniversary PIPE ORGANS FOR SALE works of Bach, and recent CDs recorded by Jer- Year of the OHS, founded June 27, 1956. This emy Filsell (Epiphany Church, Washington, DC, calendar is fi lled with gorgeous photographs by Moller Artiste 2-manual, 4-rank pipe organ National Cathedral, National Shrine), Todd Wil- PUBLICATIONS / RECORDINGS Len Levasseur—12 different instruments, one 1959, opus 9392. Fourth rank adds Trompette. son (Gerre Hancock Organ Works at St. Thomas, for each month-ranging from a 1791 Tannenberg Pipes enclosed in 8x8x4 mahogany case. 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1981 Casavant tracker—3 manuals, 23 1938 Kimball studio/practice organ, 4 ranks, Schantz 16′ Bourdon, 32 stopped wood pipes, Releathering all types of pipe organ actions stops, 30 ranks. Footprint 10′ x 14′; height 18′. 21 stops, excellent condition, 91″ H, 85″ W, scale 1, with chest, rack, and stand, $4,000. and mechanisms. Highest quality materi- Good working order. Available now. Seller will 56″ D (+pedalboard). Organ Clearing House, Schantz 16′ Gedeckt, 18 capped metal pipes, als and workmanship. Reasonable rates. consider offers on a competitive basis. For 617/688-9290, [email protected]. CC–F, with chest, rack, and stand, as is, $500. Columbia Organ Leathers 800/423-7003. details, contact consultant Dr. David Lowry at Chimes and harp. Miami, Florida, 305/649-2194. www.columbiaorgan.com/col. [email protected]. Casavant (2/14, 1975), excellent condition, oak casework, $35,000. The Organ Clearing House, Wood pipes. Missing pipes made to match. Do you have a pipe organ that you would 1981/2015 BIGELOW tracker, II+Ped, six stops: 617/688-9290, [email protected]. Damaged pipes in any condition repaired. Over like to interface with an electronic or digital 8′, 4′; 8′, 4′; 16′, 8′. Excellent for a small chapel, 25 years experience. Filip Cerny, 814/342-0975. organ? We can interface any digital organ or residence, or practice room. www.bigeloworgans. ELECTRONIC ORGANS FOR SALE any organ console with any pipe organ. For more com. Click on News. information e-mail [email protected] (not Möller 16′ Principal (32 pipes) in zinc. Suit- Comcast) or call 215/353-0286. Allen MDS 8: 2 manuals, MIDI, transposer, able for a façade with over-length bodies. Asking Historic 1859 ROBJOHN, II+Ped, 11 ranks. 2 HC-15 speakers, internal speakers, AGO $5,000. For information: mail@letourneauor- Drop dead gorgeous rosewood case, 14′-2″ tall. specs, in very good condition. Ideal for small gans.com or 450/774-2698. Aeolian/Robert Morton-style maroon Lovely for chapel, large residence, or museum. church, chapel or home. [email protected] leather is now available from Columbia Organ www.bigeloworgans.com. Click on News. 609/641-9422. Leathers! Highest quality. 800/423-7003, Consoles, pipes and numerous miscellaneous www.columbiaorgan.com. parts. Let us know what you are looking for. Kimball Organ (3/29, 1930), all enclosed, MISCELLANEOUS FOR SALE E-mail [email protected] (not comcast), terrifi c Swell reeds, four 8-foot Diapasons, two phone 215/353-0286 or 215/788-3423. ANNOUNCEMENTS sets of celestes (and you know those Kimball Complete set of Maas Cathedral Chimes. strings!). $70,000. The Organ Clearing House, The vintage chimes are regarded by many as SERVICES / SUPPLIES 617/688-9290, [email protected]. having the best tone of all chimes. The brass THE DIAPASON’s 20 under 30 nominations are and actuators are in excellent working condition. open. To nominate, visit www.TheDiapason. Includes 21 huge brass chimes, 21-note key- Professional organ consultants assist com and click on 20 under 30. Nominees Oberlin Martini for sale. Built early 1960s. II/3/4. board, actuator unit, and cables. $500.00 or best with your church’s pipe organ project. New cannot have reached their 30th birthday Located in mid-west. Asking price $15,000.00. offer. Buyer responsible for shipping charges. organs, rebuilding, renovations, repairs, tonal before January 31, 2016. For assistance or Contact The Holtkamp Organ Company, 216/741- Call St. Paul’s UCC at 717/445-6256. See designs. Contact: Audio Forum, 254/230-8476, further information, contact Joyce Robinson, 5180; [email protected]. photo at http://www.thediapason.com/classifi ed/ [email protected]. 847/391-1044, [email protected]. maas-cathedral-chimes. Expressive and compact—3/27 Kilgen (1940). Complete Pipe Organ Services from the Organ Two expressive divisions. 17 manual 8-foot fl ues. Atlantic City Pipe Organ Company: Stinkens Clearing House: 450 vintage pipe organs avail- Postal regulations require that mail to THE ′ ′ Reeds include Tuba, Cornopean, Oboe, Clarinet, II–III Mixture and chest, 8 Prestant, 2 Principal, able, renovation, tuning, consultation. Other DIAPASON include a suite number to assure ′ ″, ′ Vox Humana. Harp. 16 Open Wood. H: 237 W: 1-1/3 Quint. Beautiful 1955 broad scale Möller services include transportation, cleaning and delivery. Please send all correspondence to: ″, ″. ′ ′ 170 D: 189 Stopkey console. Original restor- pipework: 1/3-tapered 8 Diapason, strings, 16 renovation of carvings, reredos, liturgical furnish- THE DIAPASON, 3030 W. Salt Creek Lane, Suite able condition. $30,000. Organ Clearing House, Rohrfl ute unit and more. E-mail acorgan@com- ings. Call John Bishop at 617/688-9290. john@ 201, Arlington Heights, IL 60005. 617/688-9290, [email protected]. cast.net or phone 609/432-7876. organclearinghouse.com.

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2015 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Jonathan Rudy 2014 AGO National Competition Winner Available 2014-2016

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

David Baskeyfield Canadian International Organ Competition Winner Available 2015-2017

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

Choir The Choir of Saint Thomas Church Fifth Avenue, New York City April 2016

Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Alan Morrison Thomas Murray Celebrating Our 94th Season!

James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Daryl Robinson Daniel Roth* Jonathan Ryan

*=Artists based outside the U.S.A.

Ann Elise Smoot Tom Trenney Thomas Trotter* Todd Wilson Christopher Young