THE DIAPASON JUNE, 2008
Portative organ Joseph Flummerfelt residence Cover feature on page 31
June 08 Cover.indd 1 5/9/08 11:06:24 AM WWW.TOWERHILL-RECORDINGS.COM
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French Symphonic Organ Works Stewart Wayne Foster Pierre de la Rue - Incessament at First (Scots) Presbyterian Church Rel#: RK ap 10105 Charleston, South Carolina Rel#: TH-71988
The French Romantics John Rose at Cathedral of St. Joseph Hartford, Connecticut Rel#: TH-900101 Nun Komm der Heiden Heiland Rel#: RK ap 10205 Festive and Fun Stephen Z. Cook at Williamsburg Presbyterian Church Williamsburg, Virginia Rel#: TH-72012
Star Wars John Rose In Adventu Domini at Cathedral of St. Joseph Rel#: RK ap 10101 Hartford, Connecticut Rel#: TH-1008 also available: This Son So Young Hear the Voice Rel#: apc 10201 John Rose, Organ Liesl Odenweller, Soprano Primavera Rebecca Flannery, Harp Bach, Grieg, Elgar, Poulenc et al. Rel#: TH-71986 Rel#: AMP 5114-2 WWW.TOWERHILL-RECORDINGS.COM Torrence & Yaeger, and M&O does not are virtual (not actually there, but their sell its own instruments. sounds can be excellent if recorded and THE DIAPASON A “virtual organ” does not actually ex- processed well—and if they are good pipe A Scranton Gillette Publication ist, I must assume; although in a way all representations to begin with). Marshall Ninety-ninth Year: No. 6, Whole No. 1183 JUNE, 2008 organs are “virtual” in that they are “man” & Ogletree builds virtual pipe organs, ac- made (Latin vir means “man”). A virtual cording to The New York Times. Established in 1909 ISSN 0012-2378 pipe organ means that only the pipes —Richard Torrence An International Monthly Devoted to the Organ, the Harpsichord, Carillon, and Church Music Here & There CONTENTS Editor & Publisher JEROME BUTERA [email protected] 847/391-1045 FEATURES The Basilica of the National August 6, Paul Weber, First English He said, she said: Shrine of the Immaculate Concep- Lutheran Church, Appleton; 8/13, John A conversation with James & Marilyn Biery Associate Editor JOYCE ROBINSON tion, Washington, DC, presents its sum- Skidmore, St. Joseph Catholic Church, by Joyce Johnson Robinson 22 [email protected] mer organ recitals on Sundays at 6 pm: Appleton; 8/20, Daniel Steinert, Zion 847/391-1044 June 1, Daniel Sañez; 6/8, Adam Brakel; Lutheran Church, Appleton; 8/27, Maril- Aspects of French Symphonic Organ Music: L’Organiste Liturgique, L’Organiste Moderne, 6/15, David Pickering; 6/22, Gereon & lyn Freeman, St. Paul Lutheran Church, L’Organiste Pratique? Contributing Editors LARRY PALMER Monika Krahforst; 6/29, Gail Archer; Neenah. For information: 920/734-3762; by Joris Verdin 26 Harpsichord July 6, Stephen Harouff; 7/13, Leo Ab-
No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses or for the same course offered subsequently.
Letters to the Editor
A virtual victory for the acoustic an electronically produced tone to be side heard. Ernest Skinner defi nitely knew The pages of this publication have what he was up to when creating the or- recently been afl ame with arguments chestral organ. I must admit, it was the for and against the “virtual” (read: elec- most bizarre thing I have ever done at tronic, digital, sampled, digital-analog, an organ console, but I came away with synthesized, etc.) organ. Well, the bad a renewed appreciation of Skinner’s news is the electronic genie has left the work, and a lot of boyish glee at having Mark Ball, Carlene Neihart, Jared Ostermann, Ahreum Han, Samuel Gaskin, and bottle, never to return. But, I have some taken something away from the elec- Nancy Stankiewicz good news to relate. tronic world and made good of it in the This past weekend (Mar 29, 30), the acoustic world. All hope is not lost! The Carlene Neihart Interna- In addition to Bach, he played the Si- Dayton Gay Men’s Chorus performed David Weingartner tional Pipe Organ Competition was cilienne by Durufl é and Tanz -Toccata by at the NCR Renaissance Auditorium Dayton, Ohio held April 12 at Village Presbyterian Heiller. The third place award of $1,000 of the Dayton Art Institute, and I was Church, Prairie Village, Kansas. The was won by Samuel Gaskin, a high school called on to co-accompany on the audi- Trinity Wall Street three fi nalists were required to play the student from Beaumont, Texas. In addi- torium’s recently restored 2M/16R E. Regarding Rick Tripodi’s “Letter to Fantasy and Fugue in G Minor, BWV tion to Bach, he played the Choral in A M. Skinner pipe organ. The chorus per- the Editor” in the April issue: 542, by Bach, a work by a romantic Minor by Franck and Poèmes I and III formed three sections of Seattle com- Marshall & Ogletree is an organ man- composer, and a work characteristic of by Escaich. poser/arranger David Maddux’s highly ufacturer, and its fi rst instrument was the 20th century. The fi rst place $2,500 Judges for the contest were Carlene complex and exhilarating Cole on the the double organ at Trinity Wall Street award winner was Ahreum Han, who is Neihart, John Obetz, and Ruth Kruse- Silver Screen, scored for TTBB chorus, (2003). Mr. Tripodi never worked with currently working toward her master’s mark. Chris Oelkers, from Austin, Texas, three synthesizers, bass, pitched and Marshall & Ogletree, as he erroneously degree at Yale as a student of Thomas was also involved in selecting the fi nalists. unpitched percussion. One of the syn- stated. However, Marshall Ogletree As- Murray. She received the artist’s di- Nancy Stankiewicz, competition chair thesizer parts was the piano accompa- sociates is the Boston-area dealer for ploma from the Curtis Institute of Mu- and treasurer, organized and supervised niment found in the chorus score, per- Rodgers Instruments and Fratelli Ruf- sic as a student of Alan Morrison. In the competition, and Mark Ball, director formed on the auditorium’s Steinway D. fatti. Douglas Marshall, a ten-year stu- addition to the Bach work, she played of music at the Village Church, arranged The other two synth parts (string pads, dent of Virgil Fox, and David Ogletree, Clair de Lune by Vierne and Te Deum practice opportunities and assisted with horn pads, brass hits, woodwind fl our- a student of John Weaver at Curtis In- by Demessieux. other duties. The next Carlene Neihart ishes), the entire bass part, and most of stitute, are principals of both companies; The second place Casavant Frères International Pipe Organ Competition the pitched percussion part were han- but the enterprises are entirely separate award of $1,500 was won by Jared Oster- will be held in the spring of 2010. More dled by the Skinner. The musical results entities. Marshall & Ogletree organs are mann, currently working toward a mas- information can be found on the website were electrifying, and yet there wasn’t exclusively represented worldwide by ter’s degree at Notre Dame University.
JUNE, 2008 3
June 08 pp. 2-21.indd 3 5/9/08 11:10:36 AM Schwandt; 7/15, Thomas Heywood; 7/29, cores,” a special Labor Day concert with Tom Trenney, silent movie; Michael Stairs and Gordon Turk. For in- August 5, Ken Cowan; 8/12, Dave formation:
4 THE DIAPASON
June 08 pp. 2-21.indd 4 5/9/08 11:11:08 AM Call My True Love to My Dance by Naji A new component to this year’s confer- and August. Venues include Lynaes Hakim. The second half of the concert ence was the worship service held in the Kirke, Hundested, Aalborg Domkirke, program consisted of Quatuor pour la UA school of music recital hall. Daniel and Haderslev Domkirke in Denmark; fi n du temps by Messiaen performed by Roth performed the closing concert with St. Nikolai Kirche, Flensburg, Barock- UA music faculty. a program of works by Nivers, Cléram- kirche St. Franziskus, Zwillbrock, Kath. Daniel Roth presented an organ mas- bault, Boëly, Widor, Tournemire, Messi- Pfarrkirche St. Nikolaus, Bonn, and terclass with two University of Alabama aen, Grunenwald, Roth and Falcinelli. Stadtkirche St. Wenzel, Naumburg in organists: Donald Given played Messi- Germany; and Brigidakerk, Geldrop, aen’s “Dieu parmi nous,” and Anna Davis Holland. See dates and times in the cal- performed the “Final” from Symphony endar pages. For information: 514/739- No. 1 in D Minor by Guilmant. Roth 8696;
Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Organist/Lecturer/ Organist/Harpsichordist/Conductor Organist/Lecturer/ Cauchefer-Choplin Organist/Harpsichordist/ Recording Artist Organ Faculty and Chair Recording Artist Interpreter/Improviser/ Recording Artist Lecturer, Organ Performance University of the Republic Organ and Soprano with Lecturer/Recording Artist Music Director and Organist & Sacred Music Studies Conductor, De Profundis Polina Balva (St. Petersburg) Titular Organist First Congregational Church East Carolina University Vocal/Instrumental Ensemble Titular Organist St. Jean-Baptiste de la Salle Toledo, Ohio School of Music Director, International Organ Festival St. Maria della Speranza Deputy Titular Organist Greenville, North Carolina Montevideo, Uruguay Battipaglia, Italy St. Sulpice, Paris, France
Maurice Clerc Leon Couch Laura Ellis Catherine Ennis Faythe Freese Interpreter/Improviser/ Organist/Lecturer Organist Organist/Lecturer/Recording Artist Organist/Lecturer Recording Artist College Organist Associate Professor of Director of Music Associate Professor of Organ Titular Organist Assistant Professor of Organ Organ and Carillon St. Lawrence Jewry School of Music St. Benigne’s Cathedral and Music Theory University of Florida Trinity Laban Organ Professor University of Alabama Faculty Converse College Gainesville, Florida Irish Piper & Organ Duo Tuscaloosa, Alabama National Conservatory Spartanburg, South Carolina The Reduced Handel Company Dijon, France London, England
Johan Hermans Michael Kaminski Angela Kraft Cross William Kuhlman Tong-Soon Kwak Organist/Lecturer/ Organist Organist/Pianist/Composer/ Organist Organist Recording Artist Director of Music Ministries Recording Artist Professor of Music Emeritus Professor of Organ Conservatory of Music Saint Francis Xavier Church Organist Luther College College of Music Cathedral Organist Brooklyn College Faculty The Congregational Church Decorah, Iowa Yonsei University St. Quintinus Cathedral St. Francis College Faculty San Mateo, California Artistic Director Artistic Director Brooklyn, New York Torch International Organ Academy International Organ Festival Seoul, Korea Hasselt, Belgium www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
JUNE, 2008 5
June 08 pp. 2-21.indd 5 5/9/08 11:11:35 AM college organist at Ripon College in Ri- pon, Wisconsin, where she has taught since 1989. She holds an undergraduate degree in music education from Olivet College and graduate degrees in music history and organ performance from the University of Colorado and the Universi- ty of Kansas, respectively, and has played recitals in California, Illinois, Michigan, and Wisconsin in the U.S. as well as in Italy and Scotland. Her settings of Scot- tish folksongs and sea chanteys have been published by Alliance Publications, Inc. of Fish Creek, Wisconsin, and her most recent anthem, The Bitter Winter, with text by Ralph Freeman of Neenah, Wisconsin, was premiered by the Ripon College Choral Union in April 2008. Dr. Joseph Ripka Hughes has edited the piano music of Veronica Cianchettini (neé Dussek) for University, and is an Artist Diploma can- ClarNan Editions and is a regular con- didate at Oberlin Conservatory studying tributor of reviews and feature articles to Leon Nelson organ with James David Christie. His The Diapason. previous teachers include James Higdon, composed for the installation and dedi- Charles Echols, Jack Winerock, Carmen Paul Jacobs in April performed what cation of a new solo reed stop in Octo- Wilhite, and Yakov Gelfand. In the last Martin Haselböck must have been a fi rst in the fi eld—an ber, 2005. The piece is available in the two years he has been a fi nalist in Euro- organ recital sponsored by a National collection 55 Timeless Favorites and pean competitions including the Erfurt, Viennese organist and conductor Football League team. His recital at the Contemporary Classics for the Church Prague, and Nijmegen competitions, and Martin Haselböck has been chosen to Weidner Center, Green Bay, Wisconsin, Organist, published by Hope Publishing most recently was awarded fi rst prize in play the fi rst modern performance of a for the Brown County Civic Music As- Company, Carol Stream, Illinois. Edited the 2008 San Marino National Organ newly discovered composition by Jo- sociation series, was sponsored by the by Jane Holstein, this collection includes Competition. This month, he competes hann Sebastian Bach. The performance Green Bay Packers. Jacobs countered by organ settings for the church year as well as a quarter fi nalist in the Dublin Inter- is scheduled for June 7 in a concert at telling the audience he had grown up in as for weddings. Code No. 8373;
6 THE DIAPASON
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8 THE DIAPASON
June 08 pp. 2-21.indd 8 5/9/08 11:12:32 AM
Fabry rebuilt console, First Congregational Church, Wauwatosa, Wisconsin
Fabry, Inc., Antioch, Illinois, has re- church and gutting the inside, David G. built the console of the three-manual, Fabry crafted new drawknob banks, in- 33-rank M. P. Möller organ at First Con- stalled new keyboards and fi tted an all- gregational Church, Wauwatosa, Wis- new Peterson MSP-1000 combination Hellmuth Wolff Opus 50, the University of North Texas, Denton (photo credit: Mike consin. Located in the historic district action and relay with the MIDI Resource Woodruff) of a suburb of Milwaukee, the church System into the console. At the time of has a thriving and active music ministry, installation, David J. Fabry installed the Hellmuth Wolff’s “Opus Ultimus” at including adult and children’s choirs as multiplex relay in the chamber and two the University of North Texas in Denton well as many community groups. After all-electric shade actions and tremolos; had its opening recital played by Jesse removing the console shell from the
10 THE DIAPASON
June 08 pp. 2-21.indd 10 5/9/08 11:13:06 AM Carlo strikes again!
This time on “…one of the noblest organs in all of Scandinavia and possibly beyond.”
VISIT ALLEN ORGAN IN THE ROCHESTER ROOM AT AGO ’08 TWIN CITIES
If you thought summer was the time for the great outdoors, Carlo Curley has given you a reason to stay in and watch TV — with the volume turned up! The Carlo Curley Classic Collection takes you on a visual and musical journey through ageless classics of organ music. Carlo has packed virtuoso performances of 30 selections played on the Ott/Allen “Merry Organ” of St. Nicholas Church, Trelleborg, Sweden, into three DVD Volumes—almost 3 1/2 hours total time! The three-manual, 110 Stop, 136 Rank The performances on The Carlo Curley Classic Collection DVDs Ott/Allen pipe & digital organ are recorded in Dolby Stereo® and 5.1 Dolby Surround Sound®.
Now available for purchase at www.allenorgan.com for $29.95 per volume. Or purchase all three volumes for $75.00. Please specify NTSC (American) or PAL (European) format. Shipping and handling charges are additional. Visit www.allenorgan.com for details!
Recorded in St. Nicholas Church, Trelleborg, Sweden, 2007. Produced by Svensk Orgelkonsult AB, Näsbydalsvägen 14, S-183 37, Taby, Sweden. www.allenorgel.com Copyright © 2007 by Svensk Orgelkonsult AB, Sweden. All rights reserved.
150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 Phone: 610-966-2202 Fax: 610-965-3098 E-mail: [email protected] Web site: www.allenorgan.com Harpsichord News by Larry Palmer
Ille at a recording session (Larry Palmer collection)
unique page for harpsichord solo, cre- Book jacket photograph: Portrait of ated “for her exclusive concert use” by Strauss’s autographed photograph, displayed with pride in Ahlgrimm’s Isolde Ahlgrimm by Josef Dobrowsky the master composer. Strudlhofgasse kitchen (1889–1964) Additionally, this 264-page book con- tains Ahlgrimm’s complete discography; own property, with exclusive right of use ciphered) a dedicated player is able to A Love Letter to Ille: Peter her own chronology of the concert series in concert.] /s/ Dr. Richard Strauss.” compare individual solutions with those Watchorn’s Ahlgrimm Biography (in German, with English translation fol- I was one of those who requested such chosen by the Viennese harpsichordist. Isolde Ahlgrimm (1914–1995), known lowing); a list of her publications (as well permission in 1986, after she had retired As for frequently changing registrations, as “Ille” to her close friends, was physi- as a complete text of the valedictory lec- from playing. Through the years she had Ahlgrimm felt that it would be of little use cally diminutive and personally self-ef- ture “Current Trends in Performance of made it evident that she was not be- to share her choices since they were for facing. She was also a woman of strong Baroque Music” [fi rst published in How- ing stingy with the work itself: she sent a German mass-produced harpsichord musical convictions, a prime mover in ard Schott’s English translation in The me a Xerox of the autograph ending, a with pedals—an instrument, she pointed the 20th-century revival of the harpsi- Diapason], re-transcribed by Mahan complete facsimile of the original three- out, increasingly diffi cult to fi nd. chord and fortepiano, and one of the Esfahani, with musical examples uni- movement dance suite from the opera (as Reading through the newly published outstanding teachers ever to be encoun- formly set by Geoffrey Burgess); and Kim scored for violin, cello and harpsichord), score, I am struck with the strong feel- tered. Now, after a lengthy gestation pe- Kasling’s 1977 Diapason article “Harp- with her fragmentary penciled “arrange- ing that Ille, coming directly from the riod, her life story is available at last in sichord Lessons for the Beginner—à la ment” notated below. She had, addition- opera’s Vienna premiere performances, Peter Watchorn’s book Isolde Ahlgrimm, Isolde Ahlgrimm.” ally, provided a taped copy of her unre- attempted a too-literal transcription of Vienna and the Early Music Revival With more than thirty photographs leased recording of the work (made for Strauss’s many notes, thereby making (Ashgate Publishing Limited: ISBN from Ahlgrimm’s personal collection, a Philips). But, just at the point at which the work both technically demanding 978-0-7546-5787-3). The wait has been graceful foreword by Penelope Crawford we were discussing legal matters, Ille and frequently unidiomatic for a plucked worth it! Dr. Watchorn has written a lu- and short preface from longtime friend was overwhelmed by a trio of permis- keyboard instrument. In her arrange- cid, loving, and memorable prose picture Virginia Pleasants, this is a beautiful and sion requests from Frau Alice Strauss, ment, many of the cello lines are placed of this pioneering Viennese fi gure, plac- indispensable volume, well worth its Hedwig Bilgram, and Professor Kohler of an octave higher than written, creating ing her, correctly, in the forefront of the substantial price ($99.95; online orders the Richard Strauss Institute in Munich. close duets with the violin part, but leav- early music revival, and documenting from
(315) 751-0505 Comments or news items for these pages are always welcome. Please ad- www.lewtakorgan.com dress them to Dr. Larry Palmer, Division of Music, Southern Methodist University, Dallas, TX 75275;
12 THE DIAPASON
June 08 pp. 2-21.indd 12 5/9/08 11:13:35 AM The love of music in its finest expression
theJOHANNUS revolution www.johannus.com Those mental pictures and virtual smells brought real pleasure to the chore In the wind . . . of turning over the soil, reminding me of by John Bishop why we do this work. Start with the basics Having my hands in the dirt early this morning reminds me of a sense I like to keep alive in our workshop. There might be a Swell engine on someone’s workbench—a complicated, even goofy- looking contraption with puffers and pullers that was seemingly and improb- ably inspired by the gear used to hitch up horses. The person at the bench can scrape off old leather and glue on new, lubricate the mechanical parts, clean up the fi nish and get it ready for new wir- ing and installation without ever really knowing what the thing is for. I like to be sure that our crew gets to hear organs of- ten enough that they can have some idea The Skinner Whiffl etree (photo courtesy Joseph Dzeda) of how a machine is used—what it’s for. John Bishop If while you’re scraping off the leather to put leftover vegetables in a stock pot, everything that doesn’t belong in the you can hear in your mind’s ear a proces- but not rotten ones. soup. We chose not to eat the bitter skin The sum of the parts sional hymn with swell shutters opening The organbuilder chooses his materi- or the tough top raw, so why would cook- Spring comes late where we live. Busi- in front of the reeds as the choir reaches als with the same care a chef might use ing it make it better? ness travel this year has treated me to the chancel steps, perhaps the machine squeezing tomatoes in the market. The Likewise, the organbuilder puts springtime in California and Virginia, but you’re working on will work a little better chef doesn’t decide on the menu until a skin of leather on a light table and here in Maine it’s about thirty degrees when you’re done. It’s the same as smell- he’s been to the market. With all the talk marks the imperfections with a Sharp- this morning. The ground freezes pretty ing that mint on a frosty morning—the about combining fl avors to create a fi n- ie® so he can avoid everything that deep here, so when it starts to thaw in tzatziki you make in August will be that ished dish, one of the best tasting things shouldn’t be part of an organ. A little spring the moisture cannot seep into much better because you had it in your I’ve ever eaten is the hot-in-the-sun pinhole in the leather will leak a tiny bit the ground. It sits above the freeze level mind in mid-April. cherry tomato snagged off the vine while of air and make that pouch move just and produces what we affectionately call By the way, The New Heritage Dic- driving by on a lawnmower. Think of the a touch slower. Will the organist notice mud season. The driveway feels like taffy tionary (Houghton Miffl in 2000) defi nes salad inspired by that fl avor. It’s a better that when playing a quick scale or trill? under the wheels of the car, and there “whiffl etree” as “The pivoted horizontal salad than the one that’s made because He might not be able to put his fi nger are places in the yard where you go in up crossbar to which the harness traces of you know there should be lettuce, onion, on it, but there’s something not quite to your ankles. a draft animal are attached and which is tomato, and dressing. Make the salad by right. And by the way, that pinhole is Chilly nights continue for another in turn attached to a vehicle or an imple- how each ingredient tastes, not by a stan- a weakness in the leather—that pouch month, so we don’t get the gardens start- ment.” The horse-and-cart whiffl etree dard list. will be the fi rst one to fail seventy-fi ve ed until mid-May, when we can sneak in was the inspiration for Ernest Skinner’s It’s a little like the organist who auto- years from now. Maybe it would be fi ve the fi rst peas and lettuce. Sounds grim famous Whiffl etree Swell Engine. It’s a matically draws eight-four-two-mixture more years before the next one failed. to those of you who live south of us, but good thing Ernest was working in the days without listening, or without thinking of That little pinhole had a noticeable ef- the trade-off is that our high summer is when you still might see horses hitched to trying it with a soft fl ute added, a gen- fect on the lifetime of the organ. glorious with ocean breezes and brilliant a carriage or we might have Swell motors tle sixteen-foot reed, or leaving out the The sheep had a run-in with a sunshine. And by then the garden is fi ll- that incorporate trailer balls. two-foot to make the sound a little more barbed-wire fence and the resulting ing the kitchen with glory. transparent. Registrations chosen by scar is a little tough spot in the skin. Today is the Ides of April, that most It’s all in the ingredients listening will always sound better than The pouch made of that piece of leather taxing day of the year, and although the I love to cook. I love thinking about those chosen by list. might open the valve a little cock-eyed. thermometer warns, it’s sunny and clear what we’ll have for dinner, being sure The organbuilder comes across a spe- One time in ten thousand, that valve and I started the day in the garden cut- that we have everything we need, and cial piece of wood—beautiful grain pat- will catch on the edge of the toe-hole ting back the remains of last year’s peren- fi ring up the kitchen at quitting time. tern, unusual colors—sees what it should and cause a cipher. The same pipe is nial growth and raking and turning over It’s fun to clean, scrape, chop and com- be made into, and sets it aside for the played three sixteenth-notes later and the raised beds where we start the early bine those ingredients and apply heat to perfect music rack, name board, bench the cipher goes away, but the observant vegetables. One of those beds is devoted them in just the right way. Will we grill top, or pipe shade. Fifty years later, the organist had a split second of wonder- to chives and mint, both of which grow or broil the meat? Will we steam or sauté organist sits through the thousandth ser- ing what was going on. And it happened abundantly and add much to summer the vegetables? Should it be dill or tar- mon admiring that beautiful grain pat- so fast that she couldn’t keep track of it meals. As I cut back the woody sticks of ragon? And the meal is made or broken tern. (When I left my last church posi- and couldn’t write it down after the ser- last summer’s mint plants, I got a good by the quality of the ingredients you start tion to join the Organ Clearing House, vice. It happens again the next Sunday. whiff of that real minty smell, and my with. Forty years ago, Julia Child told us I calculated that in seventeen years I This time it doesn’t go away and the ci- mind went directly to a summer evening not to use that cheap jug wine in your had listened to something close to 800 pher interrupts the service, all because cookout, of tzatziki, that cool refresh- cooking—if you wouldn’t choose to drink sermons and led close to 2300 hymns. the scar stayed in the pouch. It’s like ing dressing made of yoghurt, garlic, it, why would you want to eat it? Since Makes my fi ngers hurt.) fi nding a little stone in a beautiful dish olive oil, cucumber, and mint that goes Julia encouraged Americans to feel free Remember Michelangelo choosing of risotto. so beautifully with grilled lamb, and of to cook well, we’ve lived in a revolution his piece of marble and removing every- We drop a peach in boiling water for a course Mojitos and Gin and Tonics. Or is of understanding how important it is to thing that didn’t look like a saint? The minute or so, and the skin comes off easi- it Gins and Tonic? start with the right ingredients. It’s okay chef starts with a carrot and takes away ly. It’s an extra step, you might scald your
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14 THE DIAPASON
June 08 pp. 2-21.indd 14 5/9/08 11:14:10 AM ®
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® Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue Hillsboro, Oregon 97124 Inspiration, Innovation and Assurance Since 1958 503.648.4181 • fax 503.681.0444 Email: [email protected] On the Web: www.rodgersinstruments.com en steeples you see on country churches throughout New England. You didn’t need the expensive stained-glass win- On Teaching dows, the carved saints, or the marble al- by Gavin Black tar. And you didn’t need the magnifi cent pipe organ. But we have those things, we care for those things, we respect those things because of how effectively they express our faith. The building committee of the First Baptist Church in Damar- iscotta, Maine didn’t pay for the steeple when the church was built in 1862 be- cause it would look good on twenty-fi rst century postcards, they built it because it would stand as a symbol expressing their faith to their community. It’s at the top of the Main Street hill. You can see Damariscotta, Maine it from a couple miles down the river, and you can see it from the highway that bypasses the town. That building com- mittee got their money’s worth. Today the steeple is sitting somewhat forlornly on the lawn next to the church. It was leaning a little to the left and the town participated in a fund-raising drive to rebuild it. No one could imagine the town without it. Registration and teaching—Part IV So we justify the cost of a pipe organ. In this column—the last on registra- As we discuss the specifi cations and tion for now—I will offer suggestions the related costs, we are continually re- for ways in which teachers can help stu- minded of the need to economize. But dents choose sounds for particular piec- can we also inspire that committee to es. This is, of course, the practical es- think beyond the nuts and bolts of the sence of registration. The main point of price and think of the instrument as the the systematic approach to understand- fulfi llment of a vision? It’s not a “unit,” ing organ stops and becoming familiar it’s an expression of faith. It will be there with organ sounds that was outlined seventy-fi ve years later for the weddings in the last three columns is to enable of their grandchildren. It will be built by students to feel confi dent choosing craftsmen who know how important it sounds for pieces and to end up choos- is to scrape those pins, mark those pin- ing sounds that they will be happy with. holes, choose those boards. No fi fteen- The discussion in this column assumes stage Swell engines here. that the student has done some of the A carpenter building a house might analysis, the thinking, and the listen- grab the next two-by-four off the pile ing practice described in the last three The Forlorn Steeple and nail it in. It takes a little more time columns. This student will have a good for the organbuilder to set aside that spe- understanding of what stops are likely fi ngers on the hot peach, but there’s no we need a new organ. What can we do cial burl and turn it into a music rack. to combine well with one another, and fuzzy mouthful of skin interrupting the to save some money on this unit?” (It’s The moment when the congregation will also be open-minded about trying experience of eating the tart. Ptooey! the word “unit” that gets me.) I respond, really understands why the organ would combinations that are unconventional Before the Swell motor goes back in “All those projects are important, but I cost so much is the moment it comes and that might or might not work. He the organ we clean the pins by scraping don’t think that the organ is on the same out of the truck and its parts are laid out or she will also be in the habit of listen- with a knife or rubbing with some emery list as parking lots and elevators. I think across the backs of the pews. Thousands ing to sounds carefully, and will expect cloth. This guarantees a good connection it’s on the list with communion silver and of parts, each beautifully made. The con- to have a reaction to sounds—an aes- when the new wire is soldered on. It will stained-glass windows. It’s liturgical art, gregants walk around the room thinking thetic and/or emotional reaction—and never be that a stage of the motor fails to not a ‘unit.’” in terms of what they’ve paid for a dining to give importance and respect to that work because of a dirty solder joint. Af- By far the vast percentage of money table or a credenza, and the whole thing reaction. A signifi cant part of the pro- ter all, what good is a fi fteen-stage Swell I’ve earned during my career has been starts to make sense. Shortly after the cess of choosing appropriate sounds for motor? That choir mounting the chancel donated money—those cherished funds, Organ Clearing House started installing pieces consists of noting one’s aesthetic steps wouldn’t notice that stage number prayerfully raised by the faithful of the an organ in Virginia last fall, there was an or emotional reactions to those pieces 7 didn’t work, but the effect was lessened congregation. On one hand, it’s hard to evening event to which the congregation and allowing those reactions to suggest just a tiny bit. (I get a funny picture in say that you shouldn’t go with the lowest was invited. More than a hundred people sounds that evoke similar, compatible, or my mind of a couple of indignant choir bidder when purchasing a pipe organ. came to see the organ half assembled, to complementary reactions. This will be members confronting the organist after But in fact, if the organ is liturgical art, see the parts and pipes spread around the focus of this column. Another part the service complaining that the Swell doesn’t it somehow transcend money? I the room, and to hear something about of the process consists of learning about box didn’t sound just right!) If it’s good know that’s not a practical point of view, how the organ works, how parts are outside factors that might infl uence reg- enough for government work, is it good but without such thinking how did the made, how we care for our craft. I like istration. The most important of these enough for God? great cathedrals get built? Certainly to think that they went home knowing are any registration instructions that a there was a cheaper way to build a huge they were getting their money’s worth. I composer may have given, along with If it’s worth doing, it’s worth doing church than festooning it with vaulted recommend such an evening as part of any information about organs or types right ceilings, and why do you need a three- every installation. of organs that a composer knew. I will I’ve participated in dozens, maybe hundred-foot tower if only to hold up a And afterwards, sit down to a meal make a few comments about this below, hundreds of meetings with church com- bell? Those buildings are expressions of beautifully prepared from the freshest but it will receive much more attention mittees discussing the sale and purchase faith. The twenty-million-dollar tower is and fi nest ingredients, no stones in the in future columns devoted to the (often of pipe organs. Often enough there’s one a symbol of faith, forming a physical con- risotto, no cheap wine in the sauce, and vexing) subject of authenticity. guy (it’s always a guy!) who says, “We’ve nection between heaven and earth as if a no fuzz in the tart. If it’s worth doing, it’s There are two principles that serve got a roof that leaks, a parking lot with community were holding its hands to the worth doing well. as a foundation for my thinking about potholes, the city is making us install an heavens. You didn’t need that huge stone Now that I’ve fi nished writing, it’s time the teaching of this phase of the art of elevator and ramps, and the organist says tower. You didn’t need the simple wood- to go to the market. Q registration. The fi rst of these is that no
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16 THE DIAPASON
June 08 pp. 2-21.indd 16 5/9/08 11:14:38 AM registration is “right” or “wrong.” Rath- good—and inevitable—for each of us to it turned out that we were each simply also applies to a student’s using registra- er, any registration has a whole host have developed such tastes and prefer- advocating a sound just like the one tions that are found in a printed edition.) of things that can be said about it that ences, especially if we recognize them used in the recording of the piece that If, however, a student goes through a are descriptive rather than judgmen- as such. However, if we pass them on each of us happened to have heard fi rst process of listening to stops, listening to tal. Some of these might be simple de- to our students as “right” and “wrong,” and gotten used to!) combinations, and thinking about the scriptions of the sounds, such as “loud,” with the weight of our authority behind The second principle is this: that the aesthetic of a piece and about possible “soft,” “bright,” “mellow,” “pungent,” them, we are in great danger of limit- primary purpose of a student’s actions in sounds, the student will always learn a “hollow,” “beautiful,” etc. Some might ing and constraining our students rather choosing a registration for a piece is not great deal. This is true even if no listener be more situational or practical, like: than liberating and empowering them. the attainment of a registration that the likes the registrations that are found along “louder than the previous piece,” or We are also in danger of making regis- teacher likes, or that any other listener the way. If he or she creates registrations “so muddy that you can’t hear the inner tration—which has the capacity to be would like, or that the composer would that listeners do like, the student will also voices,” or “not to our pastor’s taste.” tremendous out-and-out fun—into a have liked, or even that the student likes. learn a great deal, all the more so if such a Some might be musicological or histori- source of anxiety: yet another opportu- The actual registration is not the goal at registration is signifi cantly different from cal, like: “not what the composer had in nity to get something wrong, in a world this stage. Rather the goal is for the pro- others that the student may have heard or mind,” or “uncannily like the mid-17th- that has too many such opportunities. cess to move the student along towards heard about. century plenum.” Any of these descrip- (Here’s an anecdote about the weight being more comfortable, confi dent, and There is one caveat that applies to this tions might be important to note, and of authority. Many years ago, when I skillful at choosing registrations for piec- second principle. There are times when might serve as a basis for choosing or was still a student, I had a friendly but es. Therefore the teacher, in guiding the someone who is still a student, and for rejecting a registration. However, none heartfelt argument with a fellow organ student in this process, should be very whom the work of registration should in- of them is the same as “good” or “bad.” afi cionado about what was the “right” hesitant about actually giving specifi c reg- deed be mostly about learning and trying Most of us (I emphatically do include registration for the long middle sec- istrations. It is easy for a student to use the things, does indeed—for some practical myself in this!) have an instinct to call tion of one of the Bach organ fugues. stops that a teacher has pulled out, and in reason—have to devise a registration a registration “bad” or “wrong” when We both had all sorts of musical, musi- so doing to play a piece with a registra- that will be acceptable in a particular what we mean is that it is “not what I am cological, analytical, even philosophical tion that the teacher likes and that some circumstance. This need will be more used to” or “not what I would do my- reasons to give in favor of our preferred other listeners will also like. It is unlikely compelling the more the circumstance is self” or, more simply, that “I do not like sound. We were each convinced that that this kind of transaction will teach the extra-musical. For example, in a church it.” It is of course absolutely fi ne and the other’s sound was wrong. Of course student very much. (The same criticism service, or a funeral or wedding, the stu-
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JUNE, 2008 17
June 08 pp. 2-21.indd 17 5/9/08 11:15:01 AM dent has to use sounds that will enhance end for your performance of the work it- effect the composer’s registration does rather than disrupt anything that is be- self, and certainly will serve just as well the work of step 2) above. However, it Music for Voices ing accompanied. Also, in these settings, as a learning experience.) is important to remember that the ex- a student might have to respect certain 3) Remembering the fruits of all of act stop names given by a composer do and organ traditions or needs as to the role of music your prior exploration of organ stops and not usually correspond perfectly to the by James McCray in the service, for example having to do combinations for their own sake, choose stops available on whatever organ the with dynamic levels during communion. a sound that seems to match the mood student is using. This is always true un- A teacher might have to step in and sug- or feeling that you are discerning in the less the student is playing the organ that Getting in, getting out gest solutions that fi t these circumstanc- piece—that is, concoct such a sound: it is the composer had in mind or one very (Music for starting and ending services) es, if the student is not yet ready to come not necessary or desirable to remember much like it indeed. (Again, I will discuss up with appropriate registrations direct- a specifi c sound from before—and play the ramifi cations of this at great length Doing liturgy with power can prove ly. A somewhat more cynical practical the piece with that sound. in future columns about authenticity.) compelling for visitors and regulars alike. —John Nordin reason might be this: that the student 4) Find another such sound. That is, In trying to recreate the effect asked for Can Traditional Ritual Be Evangelistic? needs to prepare an audition, and the a sound that also fi ts your basic sense by a composer, it is best to do something (1944) teacher knows how to help the student about the mood or feeling, but that like the following: match the known tastes of those who will is easily distinguishable from the fi rst 1) Glean from the composer’s suggest- In most of today’s churches it has be- be judging the audition. These practical sound. (An easy-to-describe example of ed registration, and of course from the come rare for choirs to begin a church circumstances should be recognized as this might be, in a quiet and gentle piece, notes of the piece, as much as you can service with an introit. Of course, the de- limited exceptions to the general princi- fi rst an 8′ Gedeckt alone, then an 8′ Dul- about what the composer thought the nomination of the church plays a key role ple that it is a better learning experience ciana alone; or in a loud, forthright piece, piece was like aesthetically and emotion- in the design of the liturgy. The organ pre- for students to work on coming up with fi rst a principal chorus-based combina- ally. (Again, a student who had already lude was, at one time, a mood setter that their own sounds, and then to try those tion, then a combination based on strong spent a fair amount of time trying many offered the congregation an opportunity sounds out in performance and see how reeds; or for a pungent but quiet sound, different sounds and listening carefully for personal prayer. Yet, these days, the effective they are. fi rst the quietest available reed, then a will have a good notion about how to ap- organ prelude has become background In an earlier column I mentioned Quintadena.) Play the piece a few times proach this.) music for people fi nding their selected “what I consider to be the soundest and with this second sound. 2) Try out registrations that your own pew, and in some instances the talking of most artistically thorough approach [to 5) Go back to the fi rst sound and listen sense of organ sound tells you will ex- the congregation is louder than the more choosing stops for a piece]: simply trying to it with ears that have now been infl u- press that mood or feeling well. As much meditative moments in the music. A for- the piece out on every possible sound, enced by the second sound. Perhaps in- as possible you should favor, or at least mal yet brief choral introit is a more em- listening carefully and with attention, troduce a third and fourth sound and go start with, registrations that resemble phatic way to bring a congregation into a and deciding which sound you like best.” back and forth among all of them. Listen what the composer has suggested—for worship focus. This is possible on the harpsichord, but for the differences and similarities. Has example, for a quiet pungent sound, try On special occasions such as Easter, almost never, just as a practical matter, this exercise enabled you to refi ne your a quiet reed fi rst if the composer’s regis- with the addition of brass, there is a on the organ. If the goal is to allow and sense of what the piece is like? Do you tration is a reed or try a Quintadena or festive start to the service. Choir direc- encourage students to come as close as prefer one of the sounds to another? If string fi rst if the composer’s registration tors who have used part of their yearly possible to this open and un-predeter- you initially chose your concept of the is a Quintadena or string; or for a bright budget to hire instrumental musicians 1 mined approach, the teacher can suggest piece at random, do you now fi nd that “tinkly” sound try an 8′+ 1 ⁄3′ fi rst if that’s often want to use them as much as pos- something like the following procedure: concept convincing? If not, how might what the composer suggested, or an 8′+ sible, so adding an introit accompanied (This is essentially for pieces that do you want to modify or replace it? If you 2′ fi rst if that is. But all the while, listen by a brass choir seems normal to those not have registration suggestions that chose your concept not at random, do to the sounds with the same alert ears worshippers not seen since last Easter; come directly from the composer, and you still fi nd it convincing? If not, in that you would apply to any sound that however, for the regular attending con- has to be modifi ed for those that do.) what way has your concept changed? If you chose yourself. Do not use a sound gregation, they are once again in for 1) Try, while learning a new piece, it has changed, then you should follow unless it works: that is, unless the com- something special. Introits and/or pro- either to stay away from recordings and the same procedure but with stop com- ponents of the sound blend properly, cessionals bring a sense of anticipation. other performances of the piece, or to binations that refl ect your new concept the various balances are right (between In the Renaissance, the herald trumpets’ listen to several, three at least. of the piece. different sounds if there is more than prime duty was to announce to everyone 2) During the earliest stages of learn- One of the points of asking a student one, among the different regions of the that royalty was arriving or that some- ing a piece, begin to form a sense of what to go through a procedure like this is to compass of the keyboard, between inner thing special was about to happen such it seems like in mood or feeling, in a very make sure that registration does not hap- and outer voices, between melody and as the entrance of the Boar’s Head from basic way: calm, excited, jaunty, disturb- pen by habituation, that is, that a student accompaniment—whatever is relevant), the kitchen. Weekly services probably ing, anxious, jubilant, peaceful, “in your does not just come upon a registration and the emotional/aesthetic impact of could use some of that separation from face,” mellow, etc. (As always with ad- more or less at random and then get the sound strikes you as right for the the outside world into a more profound jectives that describe a piece of music, used to it, the way my friend and I each piece. A sound is not right just because environment. Church is a change from these are probably best used within the got used to the registration that we had the stop names are right. Stop names the daily routine, and perhaps a brief mind of one person to help that person heard on the Bach fugue recordings, as are just a beginning wherever they come musical announcement to that effect will consolidate thoughts about the piece. mentioned above. It is fi ne to discover from, even the composer. help focus the congregation. Different people use adjectives so differ- some registrations at random, but it is That is all for now. Since the subject There are those who suggest that a ently that they can easily be misleading important to be systematic about listen- of registration is so multifaceted, I have weekly introit loses its effectiveness so in conveying anything in the aesthetic ing to them, and to be committed to try- posted on the Princeton Early Keyboard that it develops the same fate as the or- realm from one person to another.) Do ing others as well. Center website
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18 THE DIAPASON
June 08 pp. 2-21.indd 18 5/9/08 11:15:21 AM often a one-sentence statement by the with the adult choir’s parts on two staves. playing traditional harmonic passages. minister or priest. Occasionally, it might Both choirs share equally in the singing Part II only sings on the repeat, so that it Book Reviews be useful to have a fi nal choral benedic- and ringing. could be used in a shorter version to end tion. Ending a service that way returns a service. The music is sweet and gentle. a congregation to their everyday world Come Before Him with Song, Mark Scott M. Hyslop, The Journey Was in a special way that is unlike the con- Shepperd. SATB, keyboard, with May the Grace of God Go with You, Chosen: The Life and Work of Paul clusion of a business or club meeting. It optional bass guitar and percussion, Matthew Corl. SATB, keyboard, Manz. St. Louis: MorningStar Music seems to suggest that something special Beckenhorst Press, BP 1689, $1.75 and optional C or B-fl at instrument, Publishers (90-39), 2007, 246 pp., has happened and they have truly been (M). MorningStar Music Publishers, $24;
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JUNE, 2008 19
June 08 pp. 2-21.indd 19 5/9/08 11:15:42 AM traces Manz’s early career as a teacher better served by the use of more mea- his best-known anthems, Like as the hart and organist caught up inadvertently sured prose. New Recordings (from Four Anthems, 1941), for the same in the internecine squabbles of the Lu- Uniting and energizing people of words! The Anglican chant example is theran Church—Missouri Synod to the all denominations in the singing of followed by Purcell’s SATB anthem, O beginning of his long tenure, in 1946, hymns has been perhaps Manz’s great- One Day in Thy Courts: Settings of God, thou art my God, with its familiar at Mount Olive Lutheran Church in est achievement. He revitalized con- the Psalms. The Chapel Choir of alleluias at the end. There is a pleasant Minneapolis. From this base, Manz ex- gregational singing as a type of worship Selwyn College, Cambridge; Sarah organ accompaniment in Lennox Berke- panded his activities beyond the Mid- in keeping with the tradition of Martin MacDonald, conductor. Priory Re- ley’s The Lord is my shepherd, where So- west, presenting recitals and the hymn Luther, and he reached across synodi- cords, Ltd., compact disc PRCD 821 phia Apostolou does a fi ne job as soprano festivals for which he became much in cal and denominational lines to share
20 THE DIAPASON
June 08 pp. 2-21.indd 20 5/9/08 11:16:03 AM Messiaen wanted. By his own admis- tation. Two works not in the Leonhardt and the much shorter nos. 16 in C and the descending chromatic hexachord, sion, Messiaen wished to transfer “ . . . a edition are no. 15, an Echo Fantasia, 17 in D minor as well as the Fantasia but its somewhat inferior writing makes kind of communal praise to the concert and no. 18, a fantasia in 4 parts. The Contraria in 4 parts in G minor. A Fan- it unlikely to be by Sweelinck. Three hall.” The various movements of these fi ve works entitled “In the manner of tasia mit Bindungen is not much more ricercars (one of which is canzona-like two suites, enhanced by the performer’s an echo” include two that require two than an exercise in ties and syncopations with its dactylic rhythm, the other two playing, show how well he met his goal. manuals for performance, with phrases not dissimilar to the Italian durezze and being more toccata-like) are included Don’t miss the “Strength and Agility of marked forte being repeated by piano the Iberian falsas. Fantasia No. 8 in G purely on the basis of being ascribed to the Heavenly Bodies”! Dr. Archer un- phrases at the same pitch. The three uses a theme also found in Manuel Ro- the Amsterdam master in the otherwise derstands these wonderful pieces. others have echoes at the octave and drigues Coelho’s third Tiento on the 7th reliable Turin tablatures; although they therefore are suited to one manual only, Tone published in his Flores de Musica are quite dissimilar to any other works Studies in Relief, Marilyn Keiser, or- no. 14 being a lengthy work of some in 1620, and no. 20 in G, a relatively by Sweelinck, they are not without in- gan, the Ciompi Quartet, Don Eagle, 235 bars in seven sections. Ostinato sedate work, is entitled Fuga 7 Toni in terest and charm. trumpet. Casavant organ, First Bap- works include one on Ut sol fa mi at- the source. One short fantasia (no. 12 This volume concludes with a tist Church, Mount Gilead, North tributed in a 19th-century print to Bull in G minor) is in two parts only and may thoughtful essay in English and German Carolina. Pro Organo, CD 7143; but probably reworked and fi nished by well be a teaching piece, and no. 1 in C on the types of instruments Sweelinck
in length (13 minutes) is Langlais’ Piece DYERCASAVANT FISK GARLAND GOULDING & WOOD HENDRICKSON FRERES DOBSON R. in Free Form for String Quartet and Or- gan. It is effective music with a quick fu- gal section in the middle, surrounded by a quiet beginning and ending. The fi nal
piece is for organ alone—Mulet’s Caril- BOODY lon-Sortie, rippingly well played by Dr. Keiser. Applause to all concerned! —Charles Huddleston Heaton Pittsburgh, Pennsylvania
New Organ Music Pipe Organs - Jan Pieterszoon Sweelinck: Com- plete Keyboard Works, Volume 2: Fantasias, edited by Pieter Dirksen and Harald Vogel. Breitkopf & Här- tel EB8742; < www.breitkopf.com>. Not This is the last of the four volumes of Sweelinck’s keyboard works in the new edition by Dirksen and Vogel published Snob Appeal, by Breitkopf & Härtel. As I have written in my reviews of the previous volumes, one important difference from the older editions is the return to the original bar lengths and note groupings, as well as but the layout for each hand based on the premise that the staff notation indicates which hand plays which note, although a few exceptions will be noted in the text. Mass Appeal. The new layout presenting the bar length in cut C time of eight quarter notes gives rise to many variations of 16th-note and eighth-note beaming, which can at fi rst sight appear daunting; but once this ini- tial barrier has been overcome, the new groupings may well give rise to a more subtle application of articulation. The new edition is also based not on a colla- tion of various MSS, but essentially on a single source for each work, only slightly supplemented by readings from second- ary sources. The critical commentary Pipe Organs Are for Everyone! (unfortunately in German only) does, however, give variants. An excellent general introduction to Sweelinck’s life and compositions (amazingly, his key- board compositions were written more or less only during the last fi fteen years To receive information about pipe organs of his life), source evaluation, and nota- tion is followed by notes on the fantasias and recognized pipe organ builders with valuable comments on the differ- A write or call toll free 1-800-473-5270 ent genres (ostinato, echo and monothe- P matic) as well as the editors’ justifi cation or on the web @ www.apoba.com for classifying certain works as anonyma O Associated Pipe Organ Builders of America and incerta. B This thick volume runs to 223 pages A P.O. Box 155 • Chicago Ridge, Illinois 60415 and includes 29 pieces, 24 of which are ascribed by the editors with certainty to & REDMAN SCHANTZ SCHOENSTEIN TAYLOR QUIMBY PARSONS OTT Sweelinck despite several being anony- mous in the sources; 13 are preserved NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP in staff notation and 11 in tablature no-
JUNE, 2008 21
June 08 pp. 2-21.indd 21 5/9/08 11:16:25 AM He said, she said: A conversation with James & Marilyn Biery Joyce Johnson Robinson
ames and Marilyn Biery are two very Jactive composers, performers, and church musicians. Husband and wife, they share leadership of the music pro- gram at the Cathedral of St. Paul in St. Paul, Minnesota. They met at North- western University, where both studied organ (that organ department, as most know, no longer exists). Marilyn Biery, who holds bachelor’s and master’s degrees in organ and church music from Northwestern, and a DMA from the University of Min- nesota, served as director of music at First Church of Christ in Hartford from 1986–96; she is now associate director of music at the Cathedral of St. Paul. James Biery, who also holds bachelor’s and master’s degrees in organ and church music from Northwestern, served as director of music at Holy Trin- ity Church in Wallingford, Connecticut from 1982–89, and from 1989 until 1996 as organist and director of music at the Marilyn and James Biery, May 2006 The Bierys in 1989 Cathedral of St. Joseph in Hartford, as- suming the position of director of music at the Cathedral of St. Paul in 1996. Both Bierys are prolifi c composers (see the complete list of their works on their website,
22 THE DIAPASON
June 08 pp. 22-25.indd 22 5/9/08 11:18:27 AM During most of the year, we just split ten, that I want to try out, I will have her things up—sometimes it’s back and forth conduct it, because then I’ll fi nd out how in a rehearsal, sometimes she’ll take half clear I have been in the notation—there of the rehearsal and I’ll take the second are written indications that somebody half—it depends what we’re doing. else will interpret totally differently from MB: He sings baritone, and I sing so- the way I think it should be. prano. You know the Allegri Miserere, MB: He tends to write more choral the one with the high Cs—right now we things right now, and I tend to do a few only have one person in the choir who more organ pieces. So he tends to play can sing the high Cs. So it means that my organ pieces, more than I do. he has to conduct, because I have to JB: Another thing I like is if it’s a sing those. My voice tends to be better piece that we’re trying out, I would pre- for the Renaissance things; I don’t have fer to just listen, or if it’s accompanied, much vibrato, and it’s a small, light tone. just sit at the piano or organ, and not be During Lent I do more singing with the in charge. choir, because we do more Renaissance MB: I generally tend to do more of the works then, and he’ll do most of the con- conducting in his pieces, too. When we ducting, whereas we need him more for celebrated our tenth anniversary at the pieces of other periods, so then I’ll con- cathedral, we had decided that I would James and Marilyn at the Cathedral of St. Paul duct more of the things we need him to do all the conducting. In fact, the pro- sing on; if we have brass and such and gram says that I did all the conducting. it’s a big celebration that needs improvi- But then there were two pieces, which sation, we’re more comfortable having aren’t marked in your program, that at him at the organ and me conducting. the last minute we decided Jim should The things needing a lot of fi lling in or do, partly because of the makeup of our improvisation—he tends to get those. sopranos—he always conducts the Ubi The last deciding factor is whoever’s not Caritas—and they’re more used to him. sick of something. Sometimes I’ll say, “I JB: It kind of breaks the rule of what I conducted that last time, you do it”— it’s was just saying. In that case, they’re kind more a matter of what would be most of used to doing it in a certain way. We fun to do next time. had to do all these things in a short re- JB: One thing that sets us apart from hearsal time, so— 99% of the rest of the world is that MB: It was easier. The other piece neither of us likes to have an anthem was Ave Maria, and the sopranos needed marked—with all the breathing, and the me, so at the last minute we decided interpretation. And then everybody has to switch, and he conducted those two it marked, we sing it the way we did last pieces, and I did the rest of the conduct- time, and the time before that, and the ing. We have a recording of that. We also ten times before that! That just drives us have done hymn festivals, with Michael, both nutty—because every time we bring where we put our two choirs together. out a piece, you have different singers, JB: Michael is very interested in hym- things are always a little different, you nology. He has a gift for being able to put have a little different idea of how the things together in interesting ways, and piece should go, or maybe you’ve actu- he can also write a really nice script for a ally even learned something about it! program like that. Marilyn in Connecticut, 1987 1981 Toledo competition winner Part of it sometimes is boredom—you MB: For one of our Christmas pro- know, “I’ve done this piece fi ve times in grams, we had a set of poetry commis- We do four weekend masses with ter playing the oboe, and the main cho- a row, it’s time for you to do it.” It drives sioned, Near Breath, which is really won- organ; there is another one with can- rus singing the whole thing; the Schola our singers nutty, because most of them derful, from Anna George Meek, one of tor only, just a sung Mass. Right now all sings the middle section, and the boys are come from other choirs where you have our section leaders. The whole program three of us are going to be at the choir ringing the bells. We’re doing two pieces markings in your part, and you can ex- was based around that, and she inter- Mass, which is our high Mass. We both this year where we taught them the bass pect that the conductor will do it that twined the music we were doing. play the organ, we both direct; Lawrence line—I’m sure one of them’s going to be way. And people who have sung with us Lawyer, our music assistant, at this point a tenor—but James taught them how to for 11 years will say, “But I have marked JR: The cathedral is quite a pres- doesn’t do any directing, but we’re hop- read the bass line. a breath there”—well, we don’t want a ence—for instance, you’ve had the ing he will. We have the Cathedral Choir JB: Another wonderful thing as you breath there this time! (laughter) Minnesota Orchestra playing here, at the 10 am Mass and we both switch know with Voice for Life—they have doing the Bruckner symphonies, off and do everything—if we’re not play- some musical skills, rudimentary, but JR: Since both of you are composers, and those were conceived for a ca- ing, we sing. I do another weekend Mass, in some ways, better than some of our how do you handle pieces you’ve thedral-type ambiance. and we rotate, and he’ll do two Masses adult singers. written? If you wrote an anthem, do JB: We are really excited about that. a weekend and Lawrence does one. The MB: They learned the bass part of an you play it, do you conduct it? Osmo Vänskä, that’s his baby. St. Cecilia Choir is the kids’ choir, and Ave Verum of Byrd, and then of the Tallis JB: That’s a great question, because all three of us do that. You can listen If Ye Love Me, and With a Voice of Sing- sometimes if you’ve written a piece, you JR: Is that something you originated? to sound bites of that on the web. (See ing. The girls who were trebles sang the learn more if you’re not the one who JB: No, he was behind the whole
JUNE, 2008 23
June 08 pp. 22-25.indd 23 5/9/08 11:18:47 AM The Bierys in Connecticut, 1985
James Biery, age 13, playing his sister Jane’s wedding, 1969
MB: Grief and angst and paranoia— MB: That took a year. But anyway, Jim both of us. He’s just as bad. has a piece based on it, too, with descant, JB: Everything’s a little different. So and middle stanza parts. I don’t know if there really is any “pro- cess.” Choral music is different from or- JR: Tell me about Stir Up Thy Power, gan music. O Lord, which is a nice anthem for a MB: We do things without the key- small choir. board, sometimes. But I always use it, as JB: That anthem is almost entirely in I need to. unison. In fact, it could be done in uni- JB: I have found that the things that son. It’s kind of surprising. We have a I’m most proud of and happiest about composer friend who heard the premiere are pieces where the bulk of the whole of that, and he has a very sophisticated thing has been done at one session—like ear, and one of his comments at the end in one day. It takes weeks or months to was that he wasn’t really quite aware that fi nish it and fl esh out all the details, but it was almost all unison! I thought that Biery ad (artwork by Tom Colletta) I do fi nd that the best things are done at was a very nice compliment. one sitting. three times, only once in the cathedral, piece—his parents had died and he was JR: Congratulations, you got ASCA- but the cathedral one is the “main” per- in a situation where the church was full- JR: Do you have a keyboard hooked PLUS awards in 2006 and 2007. formance—it’s the one that gets broad- time but it didn’t take up his whole day. up to “Finale” at home? JB: Yes. It is really a nice little pro- cast, and so forth. And we lived nearby and I was gone most JB: We do. gram, because it recognizes composers MB: There are organizations that use of the day. MB: He just built us a “virtual organ.” who have pieces that are actually be- the building a lot—Philip Brunelle uses JB: At times it was very, very busy, He ordered the pedalboard and the key- ing performed, but in places that don’t it a lot for VocalEssence. Every time they but then there were other times when, boards, and he has it hooked up—which generate performance fees, namely in bring over a boy choir group, they use frankly, there wasn’t that much to do. organ are we playing right now, whose churches. I fi ll in an application, then I the cathedral; I’m not sure why not the MB: I remember coming home, and is it? Google my name and try to fi nd all these Basilica of St. Mary in Minneapolis, ex- he had said to me earlier, you know the JB: It’s a Casavant organ, from Cham- places where things are being done, and cept that probably we seat more people. famous Make Me a Channel of Your paign, Illinois. it’s amazing! But they’re all at church ser- JB: I think also he has sort of a Minne- Peace—he said, kind of on a dare to him- MB: It’s a great little practice in- vices, or occasionally recitals and things. apolis group, so it’s an outreach to come self, “I think I could write something on strument. Our basement’s small. It MB: College choirs do his O Sacrum over to “this” side. that text and I think I could get it pub- beats an electronic. It sounds just like Convivium a lot, and O Holy Night. MB: It’s just too much of a cavern for lished.” He’d never written anything a real organ. a small sixteen-voice group. We’ve had before except little choral sentences or JB: I can play that thing for hours JR: Marilyn, let me ask you about other groups like the National Lutheran whatever. I came home from Hartford on end and not get sick of it, which is your new music championing. You Choir try it, and they ended up over at one day, and he said, “I wrote a piece saying a lot. I never have run into any wrote an article for The Diapason the Basilica of St. Mary too, because the today.” And that kept happening for a electronic where I could do that. It has about MorningStar’s Concert Organ room’s too wide, too big. You can have while. I’d come home and say, “What the advantage of being connected to series, and last I looked it has three too much acoustic. did you do today, dear?” “Oh, I wrote a the computer. dozen titles in it. Is it doing well? piece.” (laughter) MB: We can compose on it. I’ve just JB: The publisher is not pulling the JR: Did either of you formally study JB: One day, she came home, and I started using it. I’m not as computer- plug on it, so I think that’s a good sign. composition? James, you reportedly said, “I wrote a Christmas piece, only it happy as he is; I love to use it once it’s all MB: I’ve been so disappointed all taught yourself—studying organ lit- needs words. No hurry!” set up, but he has to show me and then along in the way people are NOT inter- erature and orchestral scores. MB: “—but I want it for my rehearsal I’m fi ne. ested in new music—we’ve noticed it in JB: Marilyn thinks that’s how it started next week.” (laughter) He said “I want JB: It has been interesting to grow our own things, and I’ve noticed it a lot out, and I think she’s right! to do it for our Christmas program,” with this technology, because I always with organ music. I am disappointed in MB: We used to play duets. When we and could I do some text? He showed used to write things out, paper and pen- the lack of widespread interest in simply started out as players, we wanted to play me the tune, and I sat right down and cil, fi rst, and then gradually move to the supporting these composers. organ duets and we still do—we do two- wrote something, and we got that pub- computer program. I found as the years JB: My theory is that the problem is organ things now too—but there isn’t lished pretty fast. He always says “I don’t have gone by that the computer portion that there was a period where there was much repertoire out there that’s really need it right away—but could you do it of that has crept in earlier and earlier in so much avant garde music and music very interesting. tomorrow?” the process. In fact, it’s right at the be- that was just plain hard to listen to, and JB: We got bored in a hurry. So I ginning now; even if I do write things so many people got turned off to the just started looking around for different JR: Do you have any compositional on pencil and paper, generally there’s a idea of new music. It’s too bad, because things to do, and the transcription idea process, or do you just hear a tune computer fi le to start with. many composers are writing very easy- was appealing, and it ended up being in- going through your head and take it MB: It looks nice, and my handwrit- to-listen-to music now. If anything, I’d tensive score study. from there? ing’s terrible, and for me I just put ev- say that’s the preponderance of what’s MB: I’ll never forget his very fi rst JB: Grief. erything in after I plunk away, and then I being written. can fi ddle with it. MB: I think it’s coming back. JB: We have our laptops, and once you JB: I don’t think the market has caught get a piece to a certain point, you can up with the new trend yet. just sit there and listen to it, and change MB: And it’s hard to get things pub- things around, and you don’t have to be lished. anywhere near a keyboard. JB: And organists—well, churches— MB: I’ve been doing more words late- tend to be on the conservative side, so ly—organ music and more texts. The one that enters into the picture too. I’m happiest with is my setting of the Be- MB: I think that the more original atitudes—everybody wants to sing them, you are as a composer, the harder it is and there just are not many choral set- for your piece to get published. One tings that don’t get pretty redundant. composer I was working with for so long JB: It’s a hard text to set. The form wrote this incredible organ duet and 1184 Woodland St. SW, Hartville, Ohio 44632 doesn’t really lend itself too well. She did other pieces that were so amazing, and 330-966-2499 www.keggorgan.com a strophic hymn that’s inspired by the one response from a publisher was, “it’s text, to get around that problem. And I a magnifi cent piece of music, but it sim- think it’s really very nice. ply won’t sell.”
24 THE DIAPASON
June 08 pp. 22-25.indd 24 5/9/08 11:19:04 AM James Biery, mano a manual
was fun, but there are limits to what you can do with that. MB: The registration time is im- mense. It takes a good fi ve or six hours just to register pieces, and then if you’re lucky you’ve got four or fi ve hours the next day to work all the bugs out. It takes a lot of time. So we tend to play duets here, simply because it’s eas- James Russell Biery, age 15, in Cape- ier—it’s our instrument, we can register hart Chapel, Offutt Air Force Base, them over a period of a couple months, James and Marilyn in Milwaukee, 2006 1971 or whenever we feel like it. We’ve given up on the touring because it takes so We walk a lot—walk and talk. In winter situation that can be hard for people JR: How did you get into writing long. If we were going to do something, it’s hard to get out, because the wind is who aren’t as interested in getting de- texts? we would have to allow three full days so bad and it’s hard to walk. That’s when tails done. MB: We took a hymnody class togeth- of just practicing. We can do it in two, we’re better about going to the Y. But er at Northwestern. After that hymnody but it’s hard. we eat as healthfully as we can, so we JR: Do you have any other hobbies? class, and feeling “gee, I’d like to do try to do as much as we can. The mental MB: I’m the parent organizer for our this,” I would do a few a couple times a JR: One last question—how do you health—I have no clue! daughter’s swim team, so other than that, year, and I had maybe a dozen, but in my keep a general balance in life, physi- JB: Neither of us has ever fi gured out no, just exercise and eating right, and mind I felt that I’d written a hundred in cal health along with everything how to be well rounded! wine! And keeping up with our daugh- my life. All of a sudden I thought, “wait else? MB: Well, we’re two perfectionists, ter. When she leaves, I don’t know what a minute, I’m in my forties, I write one a JB: I bike ride. It helps. and we tend to be very precise, and it’s we’ll do. Internet stuff. year—how am I going to get up to a hun- MB: I’ve been riding a couple times a not easy to work with that. Our choir dred? This is not going to work.” week. And the Y’s right down the street. does really well with it, but in an office JR: Thank you! At that time my dad died. And—I think you have to have suffered a little before you can write any kind of hymno- dy. And I had quite a bit of suffering. My German-Romantic dad had Alzheimer’s, as his father did, Unique Opportunity cone chest organ and I was there at the end. His pastor said this wonderful prayer over him as In 1889 Theodor Kuhn completed work on a 24-stop organ for the protestant I. Manual C – f 3 he was dying, about how he knew that Al church of Zurich-Unterstrass. He constructed the instrument adhering to the 1. Bourdon 16 ' was in two wonderful places: he was very traditions laid down by his father Johann Nepomuk Kuhn, one year after our present on earth, that he can feel all his 2. Principal 8 ' company founder’s death. The organ was dismantled in 1911 and transferred 3. Gamba 8 ' family’s love, and yet he’s one step into to western Switzerland. heaven and he can see the glory. It set 4. Dolce 8 ' off a hymn, which I knew was inspired The restoration work of 2005–2006 embraced a thorough overhaul of the tech- 5. Gedeckt 8 ' from that. So I wrote a bunch of hymns; I nical systems with the aim of returning the instrument to a new and functio- 6. Octav 4 ' must have written three, four, fi ve dozen. nally reliable condition. The slight changes to the stop-list which the organ 7. Flûte harm. 4 ' I’m not quite up to a hundred, but I’m 8. Octav 2 ' not dead yet! underwent over the years were reversed through reconstruction, thus returning 9. Mixtur 4f. 2 2/ ' JB: For a while, Marilyn was doing the pipework to its original condition. For the design of the case several options 3 it as a daily discipline. You were going – historic or modern – are possible. 10. Trompete 8 ' through the meters—sitting down and writing one every day. A tonal documentation of the instrument was produced during four concerts II. Manual Å C – f 3 MB: That was hard to keep up every given in our workshop. The CD can be ordered free of charge via e-mail or day. It’s like practicing an etude every day, phone. 11. Liebl. Gedeckt 16 ' after a while you have a certain amount 12. Geigenprincipal 8 ' of technique. But I miss the discipline This organ offers a unique opportunity to purchase an authentic instrument in 13. Flauto dolce 8 ' of it; I’ve gotten out of that habit. I did German-Romantic style built in 1889. 14. Salicional 8 ' that for about a year or two. Now I do 15. Aeoline 8 ' things on request, or if he has something 16. Voix céleste 8 ' and he wants help. And this year, do you know the Eric Whitacre piece that ev- 17. Fugara 4 ' eryone sings—Lux aurumque—he had 18. Flûte d‘amour 4 ' this piece that he’d written, which was in 19. Oboe 8 ' English verse that he had translated into Tremulo Latin. I wrote a text, and then a woman in the choir translated it into Latin for P. Pedal C – d 1 us. That one will be published in a little bit. It’s a cool thing to have somebody in 20. Principalbass 16 ' your choir who can translate something 21. Harmonikabass 16 ' into Latin for you. 22. Subbass 16 ' JB: So she did an English text, and 23. Flötenbass 8 ' then Maryann Corbett did a Latin trans- lation, and then I wrote a piece on the 24. Violoncello 8 ' Latin, Surge inluminare, for choir and harp. The next step was that the pub- Å swell lisher wanted an English translation— an English text that could be sung. So Couplers: II-I, I-P, II-P then they had to go back and recre- ate another thing, so it was like going around in a circle back to the English. Cone chests It was interesting! Mechanical key action MB: We like to do a lot of different Mechanical stop action things: we both like to sing, to play, to conduct, to write, and I like to do the 5 permanent combinations hymn texts. It keeps us from getting burned out. So right at the moment, I’m writing general things. PDF-download with more The instrument in its original place in Zurich-Unterstrass detailed information: JR: What about your duets? You http://www.orgelbau.ch/ sometimes perform as a duo, is this conechest just occasionally? JB: Not so much recently. CD for free MB: We used to do two-organ Ask for the tonal documen- things, and we got a little tired of that, Kuhn Organ Builders Ltd. tation on CD free of charge. because we’d done all the repertoire Seestrasse 141 multiple times. CH-8708 Männedorf JB: Two-organ repertoire, you just Switzerland can’t take it on the road. Every situation Phone +41 43 843 45 50 Fax +41 43 843 45 51 Mail [email protected] Internet www.orgelbau.ch is totally different. We did do a two-or- gan program in Milwaukee last year. That
JUNE, 2008 25
June 08 pp. 22-25.indd 25 5/9/08 11:19:24 AM Aspects of French Symphonic Organ Music: L’Organiste Liturgique, L’Organiste Moderne, L’Organiste Pratique? Joris Verdin
Introduction In other words, we see here a clear We can no longer refer to the 19th line of separation between the secular century as the “last century”; it belongs symphony and organ repertoire. Only now, defi nitively, to history. As a result, the structural element remains impor- 19th century music has become “early tant within the context of the symphony; music.” Whether this is a positive or the performance elements become dif- negative development I cannot say, but ferent. They become adapted to the de- as a consequence of this music becom- mands of the “modern” organ—distant ing ever more distant from our own time, and monumental. the importance of collecting and pre- serving as much knowledge as possible It is not necessary to require the same precision and co-ordination of the hands increases. Such insights are essential for 3 an accurate assessment of the surviving and feet with the release as with the attack. scores, texts and other sources. This article will deal with several as- . . . whereby Widor indicates that such an pects of 19th-century French symphonic approach was considered sound. organ music, each of which can infl uence our appreciation and performance of this L’Orgue Moderne literature. Our perceptions of the reper- The French classical organ of around toire in question are colored by such typ- 1700 also had orchestral associations, ically 20th-century ideals that it is now referring to the orchestra of the time. high time for the 21st century to con- Trompettes, cromornes and fl utes were tribute its own. As well as the currently typical colors, but without the concept typical philological (“musicological”) of ensemble being of importance. The approach to the score, one should now irreplaceable Plein Jeu can be consid- evaluate the bigger picture. The context ered the most characteristic organ sound of French symphonic organ music as a in this context. But the Plein Jeu is of part of 19th century music in general is course decidedly non-orchestral, far less an important concept for those who ap- symphonic. It remains a Blockwerk, a proach it creatively. massive pyramid of sound. The Plein Jeu is also the fi rst element that disappears in “Mon orgue c’est mon orchestre” the 19th century. (The Plein Jeu as regis- “French” is not diffi cult to defi ne. It tration remains in use only in the liturgy, indicates, in general, the areas where the to accompany plainchant.) Of course the French language defi ned the culture in Jeu de Tierce also disappears; the sound the 19th century: France, Belgium, parts is too nasal, and reminded the listener of Switzerland and Spain, but with infl u- too much of old instruments with more ences felt throughout Europe. overtones than fundamental. As a result “Symphonic” has more or less the it was less useful for the ensemble regis- same clear meaning for everyone: we trational ideal. speak about symphonic music, a sym- Now, an important difference be- phony orchestra, a symphonic suite, etc. tween the classical and the symphonic Symphonic organ music, then, refers to organ can be found in the pitch basis of symphonic music played on the organ, or the basses, specifi cally in the pedal. The music played on a symphonic organ. The classical organ is based completely on the fi rst defi nition, in the sense of musical 8′. In the case of the Plein Jeu, a 16′ stop structure, requires no further comment. can be used, but the tonal basis remains It is self-explanatory that the typical the 8′. The pedal specifi cation is based forms of symphonic music could also be on the 8′ fl ute or trompette, not the 16′. applied to organ music. The second ex- The classical French organ shares this planation describes the ensemble playing feature with the French baroque orches- of different groups of instruments result- tra where no (or at least very few) double ing in a cumulative sound-concept: that basses were used. of the orchestra. This is nothing new, but The great change happened around still this idea has an essential importance 1750 with the so-called “Concerts Spi- for the sound of the organ. St. Eustache, taken from Ply’s 1878 book, showing the organist playing the bass rituels,”4 where double basses were The term “romantic” is often used in with his left foot, and using the swell box with his right one indeed introduced. From this time on- this context within the organ world. But ward, French organs began to feature what IS romantic? Is it a synonym for just as in an orchestra? This is why one limited to the study of the notes—insight 16′ stops in the pedal. This didn’t make tempo rubato? For legato? Ad libitum? fi nds a minimum of solo stops on small dictates which voices may have freedom, the organ symphonic, but it can at least Senza rigore? In any case it has little organs. Not for nothing did Lefébure- and which may not. be considered a condition for an organ to do with symphonic music, but refers Wely describe the harmonium as a “sym- The connotations of the term “sym- to be deemed symphonic. The pedal de- rather to the evoking or expressing of ex- phonic instrument”: an instrument with phonic” with regards to the organ changed partment of the symphonic organ is then tra-musical feelings. In this regard 19th- a compact and fl exible ensemble made substantially around the beginning of the just an expansion of the fl utes and reeds century music is no different than the up of strongly differentiated colors. 20th century. Initially it referred to the at 8′ and 4′ with the corresponding 16′ music of any other period. An O Mensch One of the consequences is as follows: sound-concept it shared in common with stops. The essential implication is that bewein dein Sünde gross is at least as In the context of the orchestra it is nor- the orchestra. However, with the reform the “symphonic” pedal completely takes “romantic” as a Scherzo Symphonique. mal practice to hold sectional rehearsals. movement in church music, and especial- over the bass function. A Toccata per l’elevazione conjures at Why not then for the organ? Because ly in organ philosophy, the term gradually One can see this in the music of Lefé- least as many images above the altar as an organist only has one head? But the began to become separated from its di- bure-Wely and his colleagues, for exam- a Prière à notre Dame. In fact, what we conductor also has only one head and he rect reference to orchestral instruments. ple Franck or Batiste. If one then consid- have here is one of those 20th-century allows the different groups to play beau- The symphonic organ became “elevated,” ers that the pedal represents the basses ideals that color our view of 19th-century tifully together. even “spiritualized.” of the orchestra, this leads of course to music: the term “romantic” was used in Symphonic organ music does some- Widor explains it as follows: implications for the way in which the the 20th century to distance itself from thing similar. The “symphonic organist” The possibility to enclose a complete pedal must be played. The double- the previous century, but today we are is comparable with the conductor; it is up organ in an opened or closed prison (at basses are of course played with bows, hardly aware of this. We would rather, to him to decide whether the oboe solo the will of the player), the freedom to while the bass trombones, and tubas (or therefore, speak about symphonic music works with the accompaniment of the mix sound-colors, the means by which to ophicleides in this musical context), rep- and symphonic organs. strings, for example. It is not the oboist’s louden or soften, independence of rhythm, resented in the organ by the reeds, are Of course some organs, mainly from problem in the fi rst instance. The two certainty of attack, equality of contrasts, dependent on the human breath, with all the early 19th century, were “romantic.” hands of the symphonic organist behave and, fi nally, a complete expansion of colors; the implied consequences for the initial However, the stops that were introduced in exactly the same way as the orchestra. palette full of the most varied sounds, har- sound. Total legato is, then, unthinkable, monic fl utes, strings with beards, English at the time to imitate colorful instru- The soloist determines his own expres- horns, trumpets, Voix Célestes, founda- just as in the symphony orchestra. ments were intended as “decoration,” sion while the accompaniment gives the tions and reeds of an until then [until the This original symphonic manner of without infl uence on the sound of the framework wherein the soloist’s freedom organs of Cavaillé-Coll] unknown quality playing, that is to say not absolutely le- ensemble, and therefore not symphonic. comes to life. In other instances, where and variety. This is the modern organ, es- gato, is mirrored by the construction of The “real” symphonic organ came about the orchestra sounds as one instrument sentially symphonic.1 the organs. Basses, by defi nition, sound when the ensemble-ideal began to de- to illustrate power and rhythm, for ex- low—in the lower regions of the pedal, termine the direction of organ-building ample in the scherzo or fi nale of a sym- This has consequences for perfor- easily accessible by the left foot. This development. Solo stops remained im- phony, then it is the responsibility of mance practice: leaves the right foot free to manipulate portant, but only on the condition that the conductor to ensure that everything This is the way in which the organ sym- the cuillère swell box, which is found on their function within the ensemble was sounds together. In short, the organist phony is different from the orchestral sym- the right hand side of the pedalboard. of primary importance. must be able to adapt his way of playing phony. Confusion of the styles is not possible. Legato playing in the pedal fi nds its ori- What would we think of a colorful Cor to every musical situation. Insight, when One shall never again write in the same man- gins when the organ began to become Anglais without the necessary Hautbois, referring to a symphonic score, is not ner for organ as for orchestra . . .2 considered “sacred” or least disassociat-
26 THE DIAPASON
June 08 pp. 26-29.indd 26 5/9/08 11:20:11 AM whole gamut of feelings, then one must and “planitude” of its accents, in order to middle of the 19th century. One of the have complete control over the dynam- introduce the nuances and convolutions of most notable results can be seen in organ ics. Therefore the right foot spends ever secular music which imposed themselves building: the cuillère became gradually more time on the swell pedal. (It goes on the expressing . . . of the sentiments of superseded by the centrally placed bal- man in his most earthly worries . . . some without saying that this clarifi es the great were not able to resist this fatal impulse, anced pedal. A protagonist of this static success of the harmonium.) In this way and, as a result the power of secular music conception of dynamics was Charles- the organ gains the power of expression has tried to impinge on spiritual music for Marie Widor, of whom more anon. Lefé- of any other instrument. This was essen- nearly two centuries . . . bure also followed this trend to a degree: tial to bring the organ out of the histori- The organ is “monotone,” it is distanced L’Organiste moderne (1867) contains cal low-point it had found itself in. from all earthly basis. But church music few dynamic indications, certainly much The old joke that French organists is just as “monotone,” that is to say plain, fewer than earlier in his works, like the could only play with the left foot was distanced from earthly expression, full of a Meditaciones religiosas (1858); there are calm and heavenly expression, and of the simply the truth! They were “left-foot human breath; I say again, the organ and a considerable number of pieces without virtuosi” and “right-foot virtuosi,” but the church music have the same character, just indications and his notated crescendi are right foot remained on the swell pedal as they share the same goal, and one can discreet. What a difference from his ear- (certain Hammond virtuosi still have this say that the circumstances of the origins of lier publications! The Madeleine at Lefébure’s time, technique). This is evidenced by an as- both are just as sacred as each other . . .8 Incidentally, it is worthwhile to com- showing the people attending the tonishing comment from Lefébure-Wely . . . this expression, which we view as pare the sacred music of Lefébure-Wely service, separated from the others destructive for the character of the in- writing in L’Organiste moderne (2ème 9 with his secular works. One sees from coming in and out for the pleasure of Livraison, Offertoire): “It is better to strument. the outset a differentiation with regards their ears and eyes (the author’s collection) abandon the swell pedal and to play the to dynamics: the church music is, in gen- pedal with both feet.” Dynamics there- The successors of d’Ortigue such as eral, less fl exible. A good example of this ed from its human elements. It receives, fore are incompatible with legato in the Joseph Regnier attack the “persistent al- is to be found in the Suites pour harmo- then, an endless, eternal breath, more bass: with the “left-foot virtuosi,” expres- lowing of the mouth of the public to fall nicorde. The second piece from the fi rst of which anon. From that moment the sion always took priority over legato. open” through the “persistent swelling of suite “Roma,” contains a footnote that swell box and its position also changed: December 31, 1869 (the day Lefé- the sound.” To quote him, “Your box is reads: “This Prayer can be performed, it became balanced and centrally located bure-Wely died) can be seen as the sym- the plague of the organ.”10 Adrien de La if desired, without expression (NB: Le- in the console. bolic end of the left-foot virtuosi. The Fage, the other authority on the subject fébure means the dynamic changes), as swell box became abandoned and both of church music, stuck resolutely to a po- long as one takes care to pump softly La Peste de l’orgue feet were now available for the perfor- sition against the opinions of d’Ortigue: where ‘p’ is indicated”—and at the end The swell box brings us to the follow- mance of legato passages. The arrival of of the piece: “played by the composer on ing essential element of the symphonic Widor as titulaire of St. Sulpice pushed The expression gained through such a the organ of the Madeleine Sunday 17 style: dynamics.5 In the context of the the organ in a totally new direction. simple method as a box with louvers is a May 1857 during the High Mass.” This importance of control and fl exibility of Widor’s succession of Franck at the Con- very useful improvement made available teaches us two important things: First, to organists and one which has long been volume in the symphonic “language,” it servatoire further strengthened his grip desired.11 that good composers made the distinc- must be recognized that the increase of on the organ culture. tion between church and concert; second, intensity, in the strings as well as in the Over the question of whether all that Lefébure-Wely within this context brass, is refl ected in the specifi cations Musica Sacra the manuals of an organ should be en- created for himself a clear line of separa- of the organs. As a direct consequence The turmoil of the revolution and ev- closed, Ply offers the following prag- tion. His music is also clear evidence of comes the desire to be able to complete- erything that followed severely affected matic answer: the ongoing evolution of church music. ly control the sound using a fl exible me- not only the church, but of course ev- A comparison of the dynamics of L’Offi ce chanical system. erything associated with it. To recover Recently Cavaillé-Coll and Merklin have catholique, op. 148, with Vademecum de In order to be able to understand this from such a low point the church had to applied swell boxes to all the manuals of an l’organiste, op. 187, shows a sobering of better, we turn our attention briefl y to “pull out all the stops.” One of its best organ, at the request of organists . . . is this the crescendi and diminuendi. a positive development? Or a negative one? the principles of expression in this pe- weapons was music. The up and coming The critics have not yet clarifi ed the offi cial This trend becomes more and more riod. The main factor when consider- bourgeoisie had set the tone as far as mu- position. As far as we are concerned we can common in church music; and in organ ing expression is dynamics. The normal sic was concerned. Musical culture was not reject it in an organ intended for con- building: less fl exible swell boxes; in or- shape of the dynamics is determined not only blossoming in the concert hall, cert use. On the other hand we would not gan-playing: the increasingly common by the content of the musical phrase. A but also at home. Those who wished to see it as useful should all stops of a church use of absolute legato; and the new organ normal curve describes a rise-and-fall attract these people to the church were organ be under expression.12 schools that were founded under the in- movement: an “opening out” from the duty-bound to offer music that refl ected fl uence of Palestrina and Cecilia: École point of departure, a climax, and a re- that of the secular world. For those from The tendency against dynamic expres- de Musique Classique et Religieuse turn to the initial point. To work against the lower echelons of society, the church sion becomes more important from the (École Niedermeyer, Paris), Kirchen- the gravity requires a certain energy— offered the only possibility to come into in other words, a general crescendo-di- contact with the musical fashion of the minuendo pattern is the basis for a nor- time. This is the reason that Boëly was so INTHROP NIVERSITY The work of the mal musical phrase. The beginning and unsuccessful—his music was simply too W U Æolian-Skinner Organ end of the phrase are determined by reminiscent of the Ancien Regime—and Rock Hill, South Carolina rests, or by slurs. If this was indeed the why Lefébure-Wely was seen by the par- Company under the normal dynamic pattern, then its nota- ish authorities as a hero. This fashionable leadership of G. Donald Harrison (1889-1956) has garnered much interest tion by composers was not necessary. music brought the extremes of dynamic in the past decade, though the number of instruments remaining in It was only when the composer wished fl exibility into the church. This was one to indicate another expression that the of the most important aspects objected unaltered condition from his tenure is lamentably few. Winthrop change in intensity was expressed in to by the opponents of the new church University’s Opus 1257 was an symbols or words. music. The problem, of course, was all-new instrument when Over this basic curve are added the nothing new. Berlioz describes it well in accents of a phrase. These accents were his Traité d’Instrumentation (1844): completed in 1955 and has seen classifi ed into three types, each of which only two minor changes since has a consequence for the dynamic.6 The Without wishing to again stir the debate then, showing a respectful fi rst is the metrical accent: this places the about the endless issue of expression in emphasis on the strong part of the bar. spiritual music, which above all should be awareness of this instrument’s simple (without a hidden agenda), we do value. The metrical accent determines how the allow the advocates of “plain” music, plain listener experiences the bar, and also de- chant, and the non-expressive organ, to ex- The D. B. Johnson Memorial termines the basic character of the piece. press their admiration when the perform- Organ is located in the resonant (In the current performance practice of ing choir, singing a spiritual work, delights early music, the metrical accent is omni- with its sophisticated nuances of crescendo- Byrnes Auditorium and present.) The second accent is rhythmic: diminuendo, light-dark, swelling, exalted displays all of the hallmarks of it determines the rhythms or fi gures, fur- sounds. They clearly contradict themselves; ther illustrated by upbeats, syncopation, at least by their asserting (which they do Harrison’s style, including a relatively mild Great division without reeds; very well) that the, in essence, moral, litur- several mixtures with each providing a different texture; a powerful Swell subdivision of the beat, etc. The rhythm gical and Catholic expressive possibilities of the phrase requires a dynamic indica- of the human voice, when applied to the division with French-inspired reeds; and a general emphasis on tonal clarity tion whereby the meter no longer fol- organ suddenly become immoral, not fi t for over density. lows a straight line, but instead follows liturgical use, Godless.7 an interesting and varied course. The We are honoured to have been selected by Winthrop University to carry third accent is pathetic: the feeling of the Berlioz was not the only fi gure to dis- out a mechanical restoration of this exceptional instrument. At the performer, or the transmission of this cuss the problem. One of the leading fi g- feeling to the listener giving rise to ad- ures in church music, Joseph d’Ortigue, completion of our work in the fall of 2008, every aspect of Æolian- ditional strong accents, independent of was very much against this increase of Skinner’s Opus 1257 will have been examined, documented and those already discussed. These accents expression. He cited the swell box as the conservatively restored without tonal changes. Throughout this project, it can be notated in the score, but this is defacing of the godly instrument: not necessarily the case. The essence of is our pleasure to work in close consultation with the instrument’s curator this accent is the experience of the per- . . . all the attempts today to corrupt and Professor of Music Emeritus at Winthrop, Dr. David Lowry. the organ from its origins and to rid it of its forming artist who transmits the expres- Christian roots, are no less reprehensible. sion of his emotions through dynamics. The ensemble of the organ—even, This phenomenon was already recog- continuous, plain—determines, precisely ORGUES LÉTOURNEAU LIMITÉE nized, by Rousseau for instance, but it because of these properties, the character becomes a parameter of primary impor- of the plain-chant. The orchestral instru- United States Canada tance in the middle of the 19th century. ments, which, in a certain context speak 1220 L Street NW 16355 avenue Savoie to our feelings, have, in the church only a A hierarchy of accents begins to develop. Suite 100 – No. 200 St-Hyacinthe, Québec The pathetic accent becomes more im- contrived and caricatured expression, but the organ, whose keyboard is cold and in- Washington, DC J2T 3N1 portant than the rhythmic, which in turn sensitive, has, in the same house of God, 20005-4018 Tel: (450) 774-2698 is more important than the metrical. The a grandiose expression full of majesty . . . Tel: (800) 625-PIPE Fax: (450) 774-3008 “virtuosity” of the swell box must be seen It is barely more than 160 years ago that Fax: (202) 737-1818 [email protected] within this context. If one, as a consum- people tried to rid the organ of the ma- [email protected] www.letourneauorgans.com mate artist, wishes to able to express the jestic character it had, due to the equality
JUNE, 2008 27
June 08 pp. 26-29.indd 27 5/9/08 11:20:32 AM musikschule (Regensburg), École de Just as with Christian architecture, the Musique Religieuse (“Lemmensinsti- Christian instrument is an anonymous tute,” Mechelen), Schola Cantorum and collective discovery, just as a learned (Paris). The development is noted in the fi gure once said (M. Boyer, Notice sur l’orgue et l’organiste), the person prompt- French edition of Riemann’s Diction- ed by the Holy Spirit to worship the su- naire de Musique: preme Lord.20 About the real crescendo, comparable to The literary source for this idea can be that of the orchestra, that is today certainly found in the manifesto of the revival of not applicable to the organ. Maybe this the Catholic Church in France: Le Gé- is a good thing, as it led to the loss of the organ’s majestic “impersonality” and also, nie du Christiansime (1802). In his short without doubt to the era of sentimental and chapter about music, De Chateaubri- pathetic organ playing.13 and sets the basis for the purifi cation of church music. He refers to Plato in order It is reported, incidentally, that Tinel, to determine the true basis of music: director of Lemmens Institute, solved the problem on behalf of that institution, Music is, in fact, an imitation of nature— by rephrasing the French term for “swell art is cited in the same way. Her perfection is then the most beautiful possible manner pedal” thus: “La pédale faussement ap- 21 pelée expressive” (The falsely named ex- in which to depict nature. pressive-pedal).14 The “real” music, produced by reli- L’Ecole du Choral gion, contains the essentials of harmony: The banning of expression of feeling beauty and mystery. It goes without say- in the form of dynamics is not the only ing that these are lost through all human way to improve church music. Another disturbances—“le trouble et les dis- element is rhythm. During the fi rst de- sonances.” The closing sentence of the cades of the 19th century cheerful and The Antwerp exhibition of 1880, where the organ is in the Gallery of Modern Arts last paragraph would later be endlessly driving pieces made a substantial im- (the author’s collection) quoted: “Christianity discovered the or- pact: the polka, mazurka, boléro, march, gan and gave it breath.”22 fanfare are interspersed with light and in the brilliant style, but the Romane Marche for harmonium and piano: 69 for D’Ortigue would also use this sen- restful cavatinas, serenades, nocturnes and Gothique are classic examples of the half note; Marche Religieuse: 60 for tence at the beginning of his extended and romances. The musical elements of the new religious style; inspiration from the quarter—in both pieces the smallest chapter about the organ. He goes on to these pieces were used in order to bring Gregorian chant, rhythmically calm, note value is a 16th note. A comparison add to it: a picture of the prosperity of the outside classical registrations without extreme of the metronome indications of Lefé- world into the church. In some parishes effects, sober dynamic indications. bure-Wely in his Meditaciones religiosas Indeed, the religious genius alone was these pieces entirely dictated the mood, Another nice example of this differ- with his opera indicates even more pro- able to make of the organ the wondrous in others their application was limited to entiation comes from Edgar Tinel, not nounced differences. instrument that we know, and with it the most complete and perfect expression of certain moments in the service. The be- only an important representative fi gure The question of tempo was then a the Christian life, in art envisaged in the lievers arrived and departed to a march, through his position. He was the suc- vexed one in the 19th century. The re- form of liturgy . . . antiquity, continuation, during the collection the public were cessor of Lemmens, after the latter’s view of the organ exams of the Lemmens universality, unity, authority. As a monu- treated to a brilliant offertoire, in order, untimely death just after the foundation Institute in 1882, written by Kanunnik mental instrument, it represents the un- of course, to encourage their generosity! of the École de Musique Religieuse in Van Damme, one of the founders of the changeable elements in the structures of The versets and communions reminded Mechelen. As its director he was in the school, tells us that the public criticized liturgical singing, in this art which develops the listener of the cozy Soirée musicale midst of Catholic church music in a the tempi of the performed works. Van independently.23 of the day before. country which, at the time, provided a Damme agreed that “certains artistes” However, a reaction against such mu- model in a number of fi elds for its south- had made the listeners accustomed to The Christian architect . . . with help sic also manifested itself, particularly ern neighbors. Because of this, Tinel had quicker tempi, but states fi rmly that from the organ and the suspended bronze, from those who considered the churches an important infl uence on the following such dizzy speeds often obscured clar- has attached as much to the Gothic temple himself, as the sound of wind and thunder, only to be full of believers attracted by generation of organists. His legendary ity, and, moreover, were not appropri- which rolls in the depth of the forest. The the mundane music. These fi gures went speech to the Societé Saint-Grégoire in ate for the church. In other words, in centuries summoned by these religious back to the sources of church music, 1883 was published in Musica Sacra, the the church music school, a moderate sounds, let their ancient voices sound again such as Gregorian chant and early po- magazine of the episcopacy. tempo was taught as an essential qual- from the heart of the stones, their breath in lyphony, preferably before Monteverdi ity in a performance: the enormous basilica.24 and the “seconda prattica”—in other How does one create a good organist? words, Palestrina. This aesthetic can be . . . it comes down to determining what is through them [the pupils], the listeners Chateaubriand of course wasn’t alone. recognized by its simple rhythm, prefer- good taste and to educate . . . what is appro- admired the incomparable qualities of the Victor Hugo (Chants du Crepuscule, ably made up of long note values: half priate to perform in this context . . . Some Master, perfection in fi ngering, excellent about the “suspended bronze”) and La- works written in a somewhat concertante use of the pedal . . . and, above all, the ex- notes or quarters. style . . . are easily recognizable because tremely steady rhythm that lends greatness martine added their voices: Via this “side door,” the Protestant of their joyful worldly style, of their lively to organ playing, is indeed for the organ, chorale made its entry. It answered mu- spiky rhythms, their military tempi, danc- what the claw is for the lion.16 One cannot hear his deep and lonely sically the requirements of “real” church ing or overly fast. Sometimes it suffi ces just voice/ mixes itself, outside the temple music; the associated text can be left out to survey which stops the composer indi- Here, the agogic aspect is highlight- with the idle sounds of the earth ( . . . )/ cates . . . Piccolo 1′ and Bourdon 16′ on the ( . . . ) But he directs himself to God in the or replaced. The vertical harmony with ed. Worthy church music is as fi rm and shadow of the church/ his great voice which its, ideally, affi liated melodic movement Grand Orgue, Hautbois with tremulant and immovable as the rock on which one dynamics on the Positif or Récit . . . these swells and hurries like a breeze/ And with brings forth a new genre, the choral. A works—sometimes composed by famous can build. This tallies exactly with a re- voices raised unto God/ The song of nature typical example is Gounod’s edition of a view of Lemmens’s piano playing, cited and humanity.25 people—are certainly not appropriate for 17 selection of Bach’s chorales. Their titles use in the church, whether performed be- by Duclos. have disappeared, but each is comment- fore, during, or after the service. The good Finally, Ply published the text of the ed upon from a harmonic viewpoint, taste of the pupil is formed by his study Just like all great musicians he has, at inaugural speech of the pastor of Cler- such as le Ré bémol, c’est de la démence of the great masters of the 16th and 17th the highest level, the feeling for rhythm, mont-Ferrard Cathedral, at the con- (the d-fl at is insane) in no. 130 (Vater un- centuries: Frescobaldi, Asola, Pitoni, Fa- and his expression is not reliant, as with secration of the new organ. Here, the ser im Himmelreich). solo, Hassler . . . also Palestrina . . . works many talented famous artists, on freedom ideas of “Le Génie du Christianisme” go where calm majesty and serene beauty are of tempo. That feeling for rhythm is so The rhythmic characteristics of the ideal encouragement for silent refl ection. strong that he never, even in the quickest rather in the direction of Widor’s “calme chorale and of counterpoint became an But these masters alone are not suffi cient. passages, hurries, and in slower passages des choses défi nitives.” The text quotes element of good Catholic church music. J. S. Bach and his school are also necessary never drags, a rare skill, which is at no time “un auteur très-compétent” (and should Rhythmic sobriety, simple meter, and . . . not the complete Bach of course, but a hindrance to the warmth of feeling, or the you, the reader, know who this author is, absence of whimsical interjections are the “Catholic” Bach . . . in one word, the unexpectedness of the poetry.18 I should be grateful to know). typical. The real church music is differ- Bach of the chorale. This “Bach of the cho- entiated from the mundane not only by rale” has already been, several years ago, Later we will see how Widor used There is in the thousand voices of the the rejection of lively accents, but also brought to the attention of Catholic organ- these ideas of Duclos in his manifesto organ, in that smooth, supporting, endur- through the rejection of clearly profi led ists, to their benefi t. Mr. Ferdinand Kuffer- for the new organ culture. Widor liked to ing static mass of sound, something of the ath . . . has published a book entitled “The restiveness of the Cathedral, vast and calm rhythmic fi gures (such as in a boléro). school of the chorale,” a volume containing see himself in the famous line which, via like the ecstasy and adoration; something This is clearly evident if one compares the purest teaching of the organ-playing Lemmens eventually leads back to Bach that fl ies as a “Hosanna” in an enormous Guilmant’s L’Organiste Liturgique style of the church.15 himself, but forgot to mention that, as heaven, something as unchangeable as God, with his sonatas, or Lefébure’s L’Offi ce far as is known, Lemmens himself never a knowledge, a meditation of the unknown catholique with his Soirées Napolit- Their tempi cited this link. being, indestructible, from an eternal Word, aines, or even Lemmens’s organ school The separation of church and concert This brings us, inevitably, to the tem- the unending story of him who is.26 and the songs written for Helen Sher- music manifests itself in another area, po problems of Franck. One statement rington. An amusing example can be also noted by Tinel. Tempo plays an we can make immediately: Franck’s Widor had, just as did all his con- found in the Messe Solennelle of Ros- important role in the character of 19th- “great” organ works are concert music; temporaries, read all these books. The sini: the Prélude religieux consists of century music in general, and of organ not a single title refers to the church. “organ-vision” of Widor fi ts precisely a 120-bar-long string of eighth notes. music in particular. Here, we must dif- After his death, his works were saved within the ideal of “Le Génie du Chris- Truly religious! ferentiate between two levels, the basic from certain obscurity by their “declara- tianisme.” Therefore, the organ, and the But we can also see this phenomenon tempo of a piece and the fl exibility of tion,” as it were, as church music. Pious way of playing it, had to become inde- in L’Organiste Moderne: the “strophes” the basic tempo during the course of the tempi and discreet nuances elevated pendent from human attributes (read on a Gregorian melody exhibit a uni- piece, the agogics. As a general rule, the Franck to the “worthwhile” composers “inadequacies”). There is in this context form picture of equal note values with tempo of concert music is fundamentally of the 19th century, and neatly to tally no place for the expression of personal the comment “dans le mouvement du quicker than that of church music: “their with Lenoir’s statue of Franck in the feelings which have anything to do with plain chant.” This trend is offi cially tempo” speaks volumes. This of course garden by St. Clotilde.19 sensuality, in the most literal sense of the recognized in Catholic church music should hardly surprise us, but it is inter- word. As a result, no strong accents, no in the encyclical Motu Proprio, 1903. esting to bear in mind that this is refl ect- Le Génie du Christianisme passionate crescendi, no excited agogics. Among organists, it was Widor who, ed in the tempo markings notated by Le- The sacred character of the organ can In their place came a musical architec- above all, explored and forwarded it. fébure-Wely, Guilmant and Lemmens. only convincingly be accounted for by ture with clear, straight lines, just as in His early symphonies are fi rmly rooted A typical example from Guilmant is a laying its origins in religion. the structure of cathedrals:
28 THE DIAPASON
June 08 pp. 26-29.indd 28 5/9/08 11:20:54 AM We fi nd ourselves again at the rythme 19. Joris Verdin, “Discussions on César more objective kind of expression, which imperturbable, of Lemmens, elevated Franck,” in Het Orgel 2001/2, pp. 5–9. is described by Widor as “architecture.” and stable, like a Grand Orgue. The ac- 20. Ply, op. cit. p. 309. Sigfrid Karg-Elert develops the notion of cents described by Lussy are limited to 21. François-René de Chateaubriand, expression into an idea of transcendent Oeuvres Completes, Tome Premier, Bruxelles, the metrical and the rhythmic, with the 1852, p. 251. art, in which controlling of dynamics is resolute exclusion of the dominant pa- 22. Ibid., pp. 252–253. regarded as the most important individ- thetic accents. However, and precisely 23. D’Ortigue, “Orgue.” ual means of expression. because of this, the organ gained its al- 24. Chateaubriand, op. cit., p. 262. lure of greatness and eternity: 25. Ply, op. cit., p. 311. “Discussions on César Franck” (Het 26. Ibid., p. 306. Orgel 2001/2) What string and brass instruments, the 27. Charles-Marie Widor, Technique de The discussions on the “correct” in- piano and the human voice gain through l’Orchestre Moderne, faisant suite au Traité terpretation of Franck’s organ works the bursting forth of the accent and the d’Instrumentation et l’Orchestration de H. are mainly a result of the difference unpredictability of the attack, the organ Berlioz, Édition Revue et Augmentée, Paris, gains as a result of its own majesty, speak- Lemoine, 1925, p. 188. between a certain a priori concept of ing as a philosopher; it alone can display 28. Ibid. Franck and musicological investigation. such an eternally unchanging volume, 29. Ibid. Whereas this concept is patently based that it creates a vision of the religious and 30. Ibid. on unverifi able “testimonies,” the musi- of the eternal. Surprises and accents are 31. Ibid. cological investigation, led by Joël-Ma- strangers to it; one lends them out, they rie Fauquet, results in a coherent whole. are “adopted” accents.30 Addenda: summaries of the men- A very important aspect is the difference tioned articles in Het Orgel between church and concert music. In- Through these words, Widor sets him- “The organ: fi t for expression?” (Het terpreting Franck’s organ works as re- self, for example, against the opinions of Orgel 2005/5) ligious music requires accepting some Berlioz regarding expression in religious Dynamic and agogic aspects play a assumptions that are contradictory to music. Moreover this is completely in major role in 19th-century expression. the entire context of organ playing in accordance with his rejection of Berlioz’s In this article the fi rst one of these is France, as well as to the objective indi- ideas about the organ: “Who informs explored. Based on investigation of pe- cations of Franck himself. Medallion of the Belgian builder Loret, Berlioz, which organist did he so un- riod literature we conclude that expres- very much competing with Merklin and fortunately seek advice from?” (Widor, siveness, dynamics and the term “ex- Joris Verdin studied both organ and mu- Cavaillé-Coll Technique, p. 176) This regarding the in- pression” cannot be separated, even are sicology. This combination is the reason for strumental aspect, but it becomes imme- quite inseparable. The importance that his preference of reviving forgotten music at The great voice of the organ must have the same time as he creates contemporary diately clear that this fi ts completely into is attributed to dynamics is not only doc- compositions. He has recorded over 30 CDs the calm of defi nite things: she was made a broader concept of the organ, which is umented in general publications about for stone arches, and is reliant on natural as a soloist, spanning many musical eras and resolutely against that of Berlioz. Though musical aesthetics (Lussy, Riemann), but styles. After various activities as accompanist, proportions. Where orchestral instruments the citing of accents, and, as a result, ex- also, and in the fi rst place, in harmonium search for more or less neurotic virtuoso af- arranger and producer, he now focuses on the fects, the organ gains its maximum strength pression, as being against the true nature methods (Lickl, Lefébure-Wely, Mustel). organ as well as the harmonium, and has be- through the simple chord of C major, and of the organ, one must consider tempo This makes completely sense, as the har- come internationally reputed as a specialist. with it the sound which seems to have nei- and fl exibility of agogics within this same monium is, among the keyboard instru- He teaches at the Royal Conservatory of Ant- ther beginning or end.27 context. The rigid structures of Roman ments, particularly suited to control the werp and the University of Leuven. Master classes, musical editions and articles and Gothic architecture are refl ected in parameter of volume. Several quotations are an important part of his activities—among Orgue is continuously written with a modern organ playing: from the above-mentioned literature them, the fi rst complete edtion of César Franck capital O, the supremely worthy instru- show that there are general “rules” with harmonium works and the fi rst handbook ment. Hereby the organ departs the Rhythm itself will be infl uenced by respect to the dynamic curve of a musical of harmonium technique. The Spanish town mortal world and the organist depicts a modern tendencies: it shall become a sentence (the up- and downwards move- Torre de Juan Abad (Ciudad Real) appointed new mysticism. In the early 1930s when sort of elasticity of the bar, though the ment of crescendo and diminuendo), and Joris Verdin as honorary organist of the his- essential elements shall be preserved. It torical organ built by Gaspar de la Redonda Widor himself was rather closer to his will allow the components of the musical that individual musicians, on the other own passing, he wrote in his preface hand, differ from each other, so each of in 1763. He obtained the Diapason d’Or and sentence to breathe when necessary and Cecilia award from the Belgian Press in 2001, to Felix Raugel’s Les Maitres français be phrased, assuming that it keeps hold of them can individualize his playing. was named Musician of the Year of the Flan- de l’Orgue aux XVIe, XVIIe, et XVIIIe the reins, and that it keeps pace . . . And With regard to the organ we conclude ders Festival 2002, and is artist in residence at Siècles, Recueil de 50 Pièces d’orgue ou when the essential qualities of the style that Charles-Marie Widor represents a the Fondation Royaumont, France 2008. harmonium: are defi ned by the words purity, clarity school with another point of view: the The author gratefully acknowledges the as- and precision, then we regard them as the sistance of Chris Bragg, Amersfoort, Holland/ 31 nature of the instrument, its location When . . . the sound of this pipe shall basis of organ music. and its repertoire demand a less fl exible, Perthshire, Scotland, in translating this article. become lost under the high arches of our Cathedral, taking with it our soul to the Provisional conclusion: the term eternal, only then shall the organ truly be “The mystic instrument.” “symphonic organ music” can be de- fi ned in very different ways. The whole The organist, due to the nature of his in- spectrum of musical genres in 19th strument, is elevated to the universe of century music is represented. The the almighty. repertoire is unique in its amalgam of Eloquence and Artistry profane and sacred ingredients. The When one can receive a note of un- performer must, therefore, continually limited duration under one’s fi nger, in all make decisions. The listener can either in Organ Building freedom, without the need to spare the follow him, or not. Q performer’s lungs, when one feels, so to say, the master of time and power, then one has Notes realized the true character of the instru- ment; of the language which it must speak, 1. Charles-Marie Widor, Symphonies pour 28 Orgue, ed 1901, Preface. and of the style to which it belongs. 2. Ibid. 3. Ibid. How far away the 1850s seem now! 4. Nicolas Gorenstein, L’Orgue post-clas- The predecessors of Widor, whether sique français, Chanvrelin, Paris, n.d., pp. Berlioz, Lefébure-Wely, or Franck, lived 7–11. in another world. The ideal organ of 5. Joris Verdin, “The Organ: fi t for expres- their time is fl exible, and is suited, just as sion?” in Het Orgel 2000/5, pp. 15–22. an orchestral instrument, to the transla- 6. Mathis Lussy, Traité de l’expression Mu- tion of the most refi ned nuances of the sicale, Paris, Heugel et Cie, 1877, and: idem, Le Rythme Musical, Paris, 1884. artistic sentiment. The organ and its 7. Hector Berlioz, Traité d’Instrumentation, music in that time really represented an Paris, 1844, p. 169. attempt to break free of monumentality 8. Joseph d’Ortigue, Dictionnaire litur- and stardom. In order to entice people gique, historique et theorique de Plain-Chant, into church, the organ had not to remind et de musique d’église, au moyen age et them of God, but had rather to refl ect dans les temps modernes, Paris, 1853–1860; the human, the artistic, the refi nement “Orgue.” of the circles in which good was to be 9. Ibid., “Expression.” 10. H.J. Ply, La Facture moderne etudiée à found, the earthly paradise. Dizzy lux- l’Orgue de St-Eustache, Paris 1878, facsimile ury, blinding colors, sumptuous decors, Leonce Laget, Paris, 1981, p. 18. all within easy reach of the man in the 11. A. de La Fage, Le Plain Chant, 2nd year, street. He who wishes to play Lefébure no. 7, quoted from Ply, p. 19. or Franck is best advised to read fi rst a 12. Ply, op. cit., p. 19, note 1. book by Zola, as this would give better 13. Hugo Riemann, Dictionnaire de Mu- results than reading a book about organ sique, entièrement remanié et augmenté par music or reading this article. The exu- Georges Humbert, Lausanne, 1913, p. 235. 14. Musica Sacra, 6th year, no. 2, 1886, p. All Saints Episcopal Church, Atlanta, GA berance of this time and its music were 11. Raymond & Elizabeth Chenault, Music Directors banished by Widor and his generation. 15. Musica Sacra, no. 12, p. 99. The technical means came fi rst, the ar- 16. Kanunnik Van Damme, cited by Jo- tistic consequences became sidelined: seph Duclos, “Essai sur la vie et les travaux de l’auteur,” in Du Chant Grégorien, ouvrage Member, Associated Pipe Organ She wants to sing in strict rhythm, this posthume de Jacques-Nicolas Lemmens, Gent, great voice needs rhythm, phrasing, a de- 1886, p. XXXVI. John-Paul Builders of America sire. Let us admire the cadences in Bach’s 17. Duclos, op. cit., p. XXXIV. 112 West Hill Street works which here and there break up the 18. Recent research has revealed the anony- Buzard fl ow of the text, so that we may enjoy a mous reviewer to be none other than Fétis; Pipe Organ Builders Champaign, Illinois 61820 minute rest. Whatever the movement, the see Annelies Focquaert, Jacques-Nicolas 800.397.3103 • www.Buzardorgans.com Master shuns all suggestion of restlessness, Lemmens: leven en werk van een organist, and of hurrying. He never loses his calm unpubl. dissertation at the Orpheusinstitute, and keeps his listeners with him.29 Gent, 2006 (2 vol., 314 + 181 pages).
JUNE, 2008 29
June 08 pp. 26-29.indd 29 5/9/08 11:21:14 AM New Organs
playing and accompanimental organ in consistent tone. We added a full-length our mature Anglican style, and comple- Pedal 16′ Trombone and a full-compass ment the existing McManis organ in the Swell 16′ Bassoon, which was not origi- chancel, creating an instrument that is nally installed. The new reeds are racked both an integral part of the room and an in multiple-level European reed traces of active participant in the liturgy. steel and felted wood for permanence. The Choir Organ is divided into two The stop names of the McManis or- sections, one inside each of the cases. gan have been slightly altered in some Both may be played together, to form a instances to more accurately refl ect the single Choir Organ, playable from the new tonal context; however, the scaling bottom manual keyboard. However, and overall tonal design of the McManis each section of the Choir Organ can work was revered and respected. Prior to be independently coupled to either the the re-installation of the McManis pipe- Great or Pedal keyboards, and the uni- work, the existing McManis windchests son of either shut off, so that one can use were cleaned to minimize the recurrence the Choir Organ to accompany itself, as of ciphers in the organ. though it were a small two-manual organ —John-Paul Buzard (much as in the divided Swells in other of our organs). 39 stops, 50 ranks, incorporating 1982 A lightly voiced 16′ Pedal Gedeckt is McManis organ located in the Choir Organ’s right case, John-Paul Buzard Pipe Organ Builders to provide this division with indepen- Opus 35 & 35R dent pedal sounds, and an independent GREAT ORGAN 3¼″ wind 8′ Open Diapason and 4′ Principal are 16′ Gemshorn located in the front and façade of the 8′ Open Diapason (new, in Choir Organ left case, and played from the Great case, 4″ wp) manual keyboard. 8′ Principal 8′ Chimney Flute (new basses) This achieves several goals. The new ′ ′ organ in the back fi lls the entire church 8 Gemshorn (ext 16 ) 8′ Unda Maris (old Dulciana tuned when leading hymns, leaving the front celeste) organ for antiphonal effects or to add 4′ Principal (new, in Choir Organ case, color and brightness to the registrations; 4″ wp) the pipes in the back of the church can 4′ Octave be played from two keyboards for musi- 4′ Spire Flute 2 cal fl exibility; the unenclosed Great Dia- 2⁄3′ Nazard pason chorus in the back of the church 2′ Doublette 3 1⁄5′ Tierce allowed us to voice the enclosed Choir 1 1⁄3′ Mixture III–IV Organ’s chorus at a softer volume for ac- 8′ Trumpet (Sw) companiment, so it would not have to Chimes (25 notes) serve the differing functions of choral accompanying versus supporting congre- SWELL ORGAN 3½″ wind gational singing. 16′ Lieblich Gedeckt Both instruments are controlled from 8′ Open Flute (new basses) 8′ Spitz Gamba (new basses) a new three-manual and pedal Eng- ′ lish drawknob wing-style console. The 8 Gamba Celeste (tc) 4′ Principal (new) console’s visual design is consistent with 4′ Koppel Flute the organ cases and complements the 2′ Principal church’s architecture and interior design. 1′ Mixture III (new) John-Paul Buzard Pipe Organ church, framing a large stained glass win- It is located near the new Choir Organ at 16′ Bassoon (new) Builders, Champaign, Illinois, dow and the entry doors. The impetus for the back of the church. 8′ Trompette (new) Opus 35 installing a portion of the church’s pipe 8′ Oboe (new, ext 16′) St. Peter’s Episcopal Church, organ at the narthex was the expansion of Scope of renovations to the 4′ Clarion (new, ext 8′) Chicago, Illinois the parish’s music program, in which the McManis organ Tremulant ′ choral singers were moved to the rear of All the pipes above 8 pitch were CHOIR ORGAN “A” 4″ wind A new divided Choir Organ in twin the church from their former location brought to the shop for repair, clean- (New Opus 35) cases on either side of the entry in the chancel. Horizontally mounted ing, and regulation of their voicing. All 8′ English Open Diapason door, combined with the existing solo trumpets have been planned for fu- the zinc basses were replaced with tin/ 8′ Salicional McManis organ of 1982 ture installation immediately under the lead metal pipes. The original McMa- 8′ Voix Celeste (tc) stained glass window. nis voicing was respected and restored 4′ Principal 2′ Full Mixture IV The artistic concept The organ cases complement and re- wherever possible. ′ Buzard organ Opus 35 is a new choir spect the church’s architecture and inte- The two ranks of reed stops were also 16 English Horn 8′ Cornopean accompanying organ, housed in two mir- rior design. The tonal specifi cation was replaced with new pipes of stout lead and Tremulant ror-image cases, located at the rear of the designed to provide a succinct service- tin pipe metal for darker, fuller, and more CHOIR ORGAN “B” 4″ wind (New Opus 35) 8′ Stopped Diapason (wood) 8′ Flute Cœlestis II (“Ludwigtone”) 4′ Harmonic Flute 2′ Recorder 1 1⁄3′ Larigot 8′ Clarinet Tremulant PEDAL ORGAN 3½″ wind 32′ Subbass (1–12 digital) 32′ Lieblich Gedeckt (1–12 digital) 16′ Open Diapason (wood, Kimball) 16′ Bourdon (wood, Kimball) 16′ Lieblich Gedeckt (Sw) 16′ Gemshorn (Gt) 16′ Choir Gedeckt (new, in Choir Organ case) 8′ Principal 8′ Bourdon (ext 16′) 8′ Gedeckt Flute (Sw) 8′ Gemshorn (Gt) 4′ Choral Bass (ext 8′) 4′ Gedeckt Flute (Sw) 2 2⁄3′ Mixture IV 16′ Trombone (new) 16′ Bassoon (new) 8′ Trompette (Sw) 4′ Clarion (Sw)
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30 THE DIAPASON
June 08 pp. 30-31.indd 30 5/9/08 11:21:58 AM Cover feature
New England Organbuilders, LLC, Willimantic, Connecticut Portative organ, Joseph Flummerfelt residence New England Organbuilders has built a positive organ for Dr. Joseph Flummerfelt. This instrument was pre- sented during the Princeton, New Jer- sey Bach Festival on June 30, 2007, by the builder, Christopher Walton. It was given in grateful appreciation for the years of teaching and musicianship Dr. Flummerfelt shared with so many stu- dents at Westminster Choir College of Rider University. This instrument was inspired by extant examples of such organs and by period artwork. The organ once belonging to Kaspar ab Yberg, housed in the Basel Historical Museum, Basel, Switzerland, was especially infl uential. The ab Yberg organ dates from ca. 1550, and as a con- sequence of restoration by Cecil Adkins, Ph.D., mechanical drawings of this organ are available. The key dimensions of Dr. Flummerfelt’s instrument were taken from the ab Yberg organ. The table posi- tives of the sixteenth and seventeenth centuries typically had a short compass, and tended to possess many ranks for Dr. Flummerfelt (right) and the builder with the organ in its new home their size. For example, the Basel organ contains four ranks: Metal Gedeckt 4′, 1 Principal 2′, Quinte 1 ⁄3′ and Zimbel ½′. Tuning and speech diffi culties can arise from this crowded arrangement. Within this modest instrument of two ranks, there is ample space for good projection. Tuning access is by a hinged Detail of carving, right side of case panel, situated well above the mouths of the pipes, or by a removable door for the larger pipes. By keeping the tuning “What a joy for me to receive this access as distant from pipe mouths as beautiful instrument from Chris Walton. possible, the pipes are less affected by That he spent several years and count- the “shading” effects sometimes found less hours creating this amazing gift is in encased organs. The key compass is quite overwhelming. The organ is a work extended to 45 notes with a short octave of art, both visually and tonally, and, as in the bass (excluding C#, D#, F#, and an erstwhile organist myself, it will afford G# in the low octave). This short octave me many hours of music-making in the is not only for space considerations but quiet of my own home.” also for a pragmatic reason—in the tun- —Dr. Joseph Flummerfelt ing systems of the period that inspired this instrument, such notes were not The casework is of white oak, with key- often used, particularly in the lowest board naturals, mouldings and carvings range of the keyboard. Extending the of Imbuya, a richly colored hardwood. compass to 45 notes makes performance The accidentals are maple. The curved of Renaissance and early Baroque works panel of the case was made with a bent more practical. lamination technique using a vacuum The scaling of the pipes was executed press, and then veneered with white oak for suffi cient breadth and power to ac- utilizing the same process. All other ele- company small choral or instrumental Keyboard detail ments of the case are of solid hardwoods. ensembles. The scaling of both ranks is Although the metal for the Principal was variable, changing throughout the com- supplied cut to our specifi cations, all pass for tonal and practical reasons. The aspects of the design, casework, wind- Gedeckt 4′ of oak begins as a small scale, chest, keyboard and pipework were ex- increasing rapidly throughout the short ecuted in our shop. Wind is provided by octave. This treatment enables the pipes a blower that easily attaches to the back, ample room to speak in the bass, and al- and is removable for transport. Wind lows for a comparatively larger overall pressure is 63mm. scale for good tone projection. This rank The instrument was exhibited at the is always on, with no stop action. The Boston Early Music Festival, June 2007, Principal 2′ scale is similarly varied. It and was played in the St. John Passion at is controlled by a slider accessed on the the Princeton Bach Festival. This was the right side of the case. fi rst instrument of this type produced by A challenging departure from church New England Organbuilders and proved organs and our scaling practices, design- an enjoyable task. ing an organ that will work well in dif- New England Organbuilders is based ferent acoustics is an exercise in compro- in northeastern Connecticut, building mise. Tonal fi nishing for an instrument primarily mechanical action and electric intended to be moved proved especially slider pipe organs, as well as restoring, diffi cult, for the stops would change rebuilding, and maintaining pipe organs character, even for the player. This dif- with any type of action. Information is fi culty was predictable, so we moved the obtainable on our web site at
JUNE, 2008 31
June 08 pp. 30-31.indd 31 5/9/08 11:22:19 AM 2008 Summer Carillon Concert Calendar by Brian Swager
Albany, New York Illinois Carillon Weekend Green Bay, Wisconsin Northfi eld, Vermont Albany City Hall September 20, Carlo van Ulft, 10 am First Evangelical Lutheran Church Norwich University Sundays and July 4 at 1 pm September 20, Sue Bergren, 2 pm July 2, George Matthew, Jr., 7 pm Saturdays at 1 pm June 8, Amy Heebner September 20, Tim Sleep, 3 pm May 11, Graduation, George Matthew, Jr. June 15, George Matthew, Jr. September 21, Jim Fackenthal, 2 pm Hartford, Connecticut July 5, Sergei Gratchev June 22, Claire Halpert September 21, Wylie Crawford, 3 pm Trinity College Chapel July 12, Gerald Martindale July 6, Charles Semowich Wednesdays at 7 pm July 19, Claire Halpert July 13, Alexander Solovov, Elena Sa- Chicago, Illinois June 18, Trinity College Guild of Caril- July 26, Linda Dzuris dina and Sergei Gratchev University of Chicago, Rockefeller Chapel lonneurs August 2, Elena Sadina July 27, Linda Dzuris Sundays at 6 pm June 25, Ann-Kirstine Christiansen August 9, Alexander Solovov July 6, Roel Smit July 2, Tin-shi Tam Alfred, New York July 13, Tim Sleep and Sue Bergren Saturday, July 5, 8 pm, Daniel Kerry Norwood, Massachusetts Alfred University, Davis Memorial Carillon July 20, Gordon Slater Kehoe Norwood Memorial Municipal Building Tuesdays at 7 pm July 27, Ronald Kressman July 9, Anne Kroeze Mondays at 7 pm July 1, Karel Keldermans August 3, John Gouwens July 16, Dionisio Lind June 30, Ulla Laage July 8, John Widmann August 10, Tiffany Ng July 23, Claire Halpert July 4, Lee Leach, 3 pm July 15, Gordon Slater August 17, Dave Johnson July 30, David Maker July 7, Anne Kroeze July 22, Lisa Lonie August 24, Wylie Crawford August 6, Ellen Dickinson July 14, George Matthew, Jr. July 29, Helen Hawley August 13, John Courter July 21, Claire Halpert July 28, David Maker Allendale, Michigan Cohasset, Massachusetts Kennett Square, Pennsylvania August 4, Andrea McCrady Grand Valley State University, Cook Caril- St. Stephen’s Episcopal Church Longwood Gardens August 11, Lee Leach lon, Sundays at 8 pm Sundays at 6 pm Sundays at 3 pm August 18, John Courter June 15, Open Tower Event June 29, Ulla Laage June 8, Claire Halpert June 22, Ulla Laage July 6, Anne Kroeze June 22, Janet Tebbel Ottawa, Ontario June 29, Linda Dzuris July 13, George Matthew, Jr. July 13, Steven Ball Peace Tower Carillon July 6, Carlo van Ulft July 20, Claire Halpert July 27, Patrick Macoska July and August, weekdays except Cana- July 13, Julia Walton July 27, David Maker August 3, Laurel MacKenzie da Day (July 1) at 2 pm July 20, GVSU Carillon Collaborative August 3, Andrea McCrady September to June, most weekdays, noon July 27, John Courter August 10, Sally Slade Warner LaPorte, Indiana Tuesday, July 15, Elizabeth Berghout August 3, Lee Cobb August 17, John Courter The Presbyterian Church of LaPorte Tuesday, July 29, George Gregory August 10, Ronald Kressman Sundays at 4 pm Tuesday, August 26, William De Turk August 17, Julianne Vanden Wyngaard Culver, Indiana June 1, Malgosia Fiebig Culver Academies, Memorial Chapel Caril- June 29, Jim Brown Owings Mills, Maryland Ames, Iowa lon, Saturdays at 4 pm August 3, Tim Sleep McDonogh School Iowa State University June 21, June 28, July 5, 12, 19, August Fridays at 7 pm Tuesdays at 7 pm 30, John Gouwens Luray, Virginia July 4, William Lyon-Vaiden July 8, Suzanne Magassy July 26, Lee Cobb Luray Singing Tower July 11, Edward Nassor August 5, Marc Van Eyck Tuesdays, Thursdays, Saturdays and Sun- July 18, Laurel MacKenzie Detroit, Michigan days in June, July, and August at 8 pm July 25, Jeremy Chesman Ann Arbor, Michigan Jefferson Avenue Presbyterian Church David Breneman, carillonneur August 1, Matthew Buechner University of Michigan, Burton Memorial June 29, Sue Bergren, noon Tower, Mondays at 7 pm August 24, Jenny King, noon Philadelphia, Pennsylvania July 21, David Hunsberger Madison, Wisconsin First United Methodist Church of German- July 28, Lee Cobb University of Wisconsin, Memorial Carillon town, Mondays at 7:30 pm St. Mary’s of Redford Catholic Church Thursdays at 7:30 pm August 11, Jenny King Saturdays at 5:15 pm June 23, Janet Tebel August 18, Trevor Workman July 3, George Matthew, Jr. June 30, Anne Kroeze July 5, Patrick Macoska July 10, Suzanne Magassy August 25, Dave Johnson July 12, Judy Ogden July 7, Laurel MacKenzie September 1, Steven Ball July 17, Lyle Anderson July 19, David Hunsberger July 24, Lyle Anderson July 26, John Courter Plainfi eld, New Jersey Arlington, Virginia July 31, Marc Van Wyck Grace Episcopal Church Arlington National Cemetery, Netherlands August 7, Tiffany Ng August 24, David Maker, 6 pm Carillon East Lansing, Michigan Saturdays at 6 pm; Independence Day, Michigan State University, Beaumont Tow- Middlebury, Vermont Princeton, New Jersey Labor Day, and Saturdays in September er Carillon, Wednesdays at 6 pm Middlebury College Princeton University, Grover Cleveland at 2 pm July 2, Carlo van Ulft Fridays at 4 pm Tower, Sundays at 1 pm June 7, Robert Grogan July 9, Ray McLellan June 27, Amy Heebner June 29, Laurel MacKenzie June 14, Edward Nassor July 16, David Hunsberger July 4, Sergei Gratchev July 6, George Matthew, Jr. June 21, Julia Littleton July 23, Lee Cobb July 11, Charles Semowich July 13, Margaret Pan June 28, Edward Nassor July 18, Claire Halpert July 20, Steven Ball July 4, Edward Nassor, 2 pm Erie, Pennsylvania July 25, Linda Dzuris July 27, Jeremy Chesman July 5, Edward Nassor Penn State University, Smith Chapel August 1, Elena Sadina August 3, Lisa Lonie July 12, Claire Halpert Thursdays at 7 pm August 8, Alexander Solovov August 10, Thomas Lee July 19, Edward Nassor July 17, Gordon Slater August 15, George Matthew, Jr. August 17, Scott Brink Parry July 26, Jeremy Chesman July 24, Lisa Lonie August 24, Lee Cobb August 2, Lawrence Robinson July 31, Helen Hawley Montréal, Québec August 31, Claire Halpert August 9, Edward Nassor St. Joseph’s Oratory August 16, Tin-shi Tam Fort Washington, Pennsylvania Sundays at 2:30 pm Rochester, Minnesota August 23, Gordon Slater St. Thomas Church, Whitemarsh July 6, Claude Aubin Mayo Clinic August 30, Edward Nassor Tuesdays at 7 pm July 20, Daniel Kerry Kehoe June 15, Jeffrey Daehn, 4 pm September 1, Edward Nassor, 2 pm July 1, Lisa Lonie & Steve Schreiber August 3, Claude Aubin June 30, George Matthew, Jr., 7 pm July 8, George Matthew, Jr. August 17, Tiffany Ng July 6, Suzanne Magassy, 4 pm Belmont, North Carolina July 15, Laurel MacKenzie August 3, Marc Van Eyck, 4 pm First Presbyterian Church July 22, Jeremy Chesman Naperville, Illinois August 24, Trevor Workman, 4 pm Sundays at 7 pm July 29, Patrick Macoska Naperville Millennium Carillon June 22, J. Samuel Hammond Tuesdays at 7 pm Rochester, New York July 27, Mary McFarland Frederick, Maryland June 10, Frans Haagen University of Rochester, Hopeman Memo- Joseph Dill Baker Memorial Carillon June 17, Koen Cosaert rial Carillon, Mondays at 7 pm Bloomfi eld Hills, Michigan Sundays at 6 pm June 24, Frank Deleu July 7, John Widmann Christ Church Cranbrook June 8, John Hammond July 1, Suzanne Magassy July 14, Gordon Slater Sundays at 5 pm June 15, Geert D’hollander July 8, Roel Smit July 21, Lisa Lonie June 8, Joseph Daniel July 13, Claire Halpert July 15, Tim Sleep and Sue Bergren July 28, Helen Hawley June 15, Jenny King July 20, William Lyon-Vaiden July 22, Gordon Slater June 29, Sue Bergren July 27, Robert Grogan July 29, Ronald Kressman St. Paul, Minnesota July 6, Jeremy Chesman August 3, Edward Nassor August 5, John Gouwens House of Hope Presbyterian Church July 13, Roel Smit August 24, Gordon Slater August 12, Tiffany Ng Friday, July 4 and Sundays at 4 pm July 20, David Hunsberger August 19, Dave Johnson July 4, Suzanne Magassy July 27, Lee Cobb July 13, James Smith Glencoe, Illinois August 26, Trevor Workman August 3, Jonathan Lehrer September 2, Wylie Crawford July 20, Lyle Anderson August 10, Judy Ogden Chicago Botanic Garden July 27, Dave Johnson Mondays at 7 pm Kirk in the Hills Presbyterian Church June 9, Frans Haagen New Canaan, Connecticut St. Louis, Missouri Sundays at 10 am and noon June 16, Koen Cosaert St. Mark’s Episcopal Church Concordia Seminary, Tuesdays at 7 pm June 15, Dennis Curry June 23, Frank Deleu Tuesdays at 7:30 pm June 3, Malgosia Fiebig June 22, Ulla Laage June 30, Suzanne Magassy June 17, George Matthew, Jr. June 10, Lyn Fuller June 29, Ronald Kressman July 7, Roel Smit June 24, Daniel Kerry Kehoe June 17, Karel Keldermans July 20, David Hunsberger July 14, Tim Sleep and Sue Bergren July 1, Claire Halpert June 24, Karel Keldermans July 27, Lee Cobb July 21, Gordon Slater July 8, Marietta Douglas August 17, Trevor Workman July 28, Ronald Kressman Santa Barbara, California August 24, Dave Johnson August 4, John Gouwens New Haven, Connecticut University of California, Storke Carillon August 31, Dennis Curry August 11, Tiffany Ng Yale University, Yale Memorial Carillon June 14, Margo Halsted August 18, Dave Johnson Fridays at 7 pm June 15, Margo Halsted Centralia, Illinois August 25, Wylie Crawford June 20, Thomas Lee Centralia Carillon June 27, Ann-Kirstine Christiansen Sewanee, Tennessee International Carillon Weekend Grand Rapids, Michigan July 4, Tin-shi Tam The University of the South June 6, Frans Haagen, 6:30 pm Grand Valley State University July 11, Jonathan Lehrer Sundays at 4:45 pm June 6, Koen Cosaert, 7:15 pm Wednesdays at noon July 18, Yale Summer Carillonneurs June 15, John Bordley June 7, Ann Kirstine Christiansen, 2 pm July 2, Carlo van Ulft July 25, Claire Halpert June 22, Daniel Stipe June 7, Carlo van Ulft, 2:45 pm July 16, Helen Hawley August 1, Ellen Dickinson June 29, John Bordley August 3, Carlo van Ulft, 2 pm July 23, Julianne Vanden Wyngaard August 8, Andrea McCrady July 6, J. Samuel Hammond August 31, Carlo van Ulft, 2 pm July 30, John Courter August 15, John Courter July 13, Richard Shadinger
32 THE DIAPASON
June 08 pp. 32-37.indd 32 5/9/08 11:23:02 AM Simsbury, Connecticut July 17, Marietta Douglas Simsbury United Methodist Church July 24, Linda Dzuris Sundays at 7 pm July 31, Justin Ryan Bert Adams, FAGO July 6, Mariah Klaneski Park Ridge Presbyterian Church PATRICK ALLEN July 13, Zolotoi Plyos Storrs, Connecticut Park Ridge, IL GRACE CHURCH July 20, David Maker Storrs Congregational Church Pickle Piano & Church Organs July 27, Claire Halpert Mondays at 7 pm NEW YORK August 3, Daniel Kerry Kehoe June 16, George Matthew, Jr. Bloomingdale, IL
Spokane, Washington West Hartford, Connecticut Cathedral of St. John the Evangelist First Church of Christ Congregational Christopher Babcock Thursdays at 7 pm Thursdays at 7 pm WILLIAM AYLESWORTH July 3, John Hammond July 3, Tin-shi Tam July 4, Andrea McCrady, 9 pm July 10, Margaret Angelini D. M. St. Andrew’s by the Sea, July 10, Laura Ellis July 17, First Church Carillonneurs Hyannis Port July 17, James Smith July 24, Charles Semowich July 20, Andrea McCrady July 31, David Maker EVANSTON, ILLINOIS St. David’s, South Yarmouth July 24, David Hunsberger July 31, Janet Tebbel Williamsville, New York Calvary Episcopal Church Springfi eld, Illinois Wednesdays at 7 pm Thomas Rees Memorial Carillon July 2, Karel Keldermans June 1, Laura Ellis 7 pm July 16, Gordon Slater June 1, Karel Keldermans, 7:45 pm July 23, Lisa Lonie June 2, Lyn Fuller, 7 pm July 30, Helen Hawley June 2, Sharon Hettinger, 7:45 pm August 6, Gloria Werblow June 3, Sue Bergren, 7 pm June 3, Laura Ellis, 7:45 pm Valley Forge, Pennsylvania June 5, Sharon Hettinger, 7 pm Washington Memorial Chapel June 5, Malgosia Fiebig, 7:45 pm Wednesdays at 7:30 pm June 6, Sue Bergren, 7 pm July 2, Doug Gefvert June 6, Lyn Fuller, 7:45 pm July 9, George Matthew, Jr. Dean W. Billmeyer June 7, Malgosia Fiebig, 7 pm July 16, Steven Ball June 7, Karel Keldermans, 7:45 pm July 23, Jeremy Chesman University of Minnesota July 30, Patrick Macoska Springfi eld, Missouri August 6, Doug Gefvert and the Irish Minneapolis 55455 • [email protected] Missouri State University Thunder Bag Pipe Band Sundays at 7 pm August 13, Laurel MacKenzie June 8, Thomas Lee August 20, Lee Cobb August 10, Jeremy Chesman August 27, Janet Tebbel THOMAS BROWN David Chalmers Stamford, Connecticut Victoria, British Columbia First Presbyterian Church Netherlands Centennial Carillon UNIVERSITY Concert Organist Thursdays at 7 pm Sundays at 3 pm, April–December PRESBYTERIAN CHURCH GLORIÆ DEI CANTORES July 3, Claire Halpert Saturdays at 3 pm, July–August July 10, Daniel Kerry Kehoe Rosemary Laing, carillonneur CHAPEL HILL, NORTH CAROLINA Orleans, MA
STEVEN EGLER Calendar DELBERT DISSELHORST Central Michigan University First Presbyterian Church A. MUS. D. Mt. Pleasant, Michigan 48858 19 JUNE UNIVERSITY OF IOWA SOLO Shelly-Egler This calendar runs from the 15th of the Connie Boruta; Houghton County Histori- RECITALS Flute and Organ Duo month of issue through the following month. cal Museum Heritage Center, Lake Linden, MI The deadline is the fi rst of the preceding 7:30 pm month (Jan. 1 for Feb. issue). All events are
assumed to be organ recitals unless other- 20 JUNE ELLEN KURTZ wise indicated and are grouped within each Craig Cramer; Colgate University Memorial JOHN FENSTERMAKER date north-south and east-west. •=AGO chap- Chapel, Hamilton, NY 7 pm ter event, • •=RCCO centre event, +=new or- TRINITY-BY-THE-COVE FUNK gan dedication, ++= OHS event. 21 JUNE M.Mus., A.A.G.O. John Gouwens, carillon; The Culver Acad- Information cannot be accepted unless it APLES LORIDA Concord, California specifi es artist name, date, location, and emies, Culver, IN 4 pm N , F hour in writing. Multiple listings should be in chronological order; please do not send du- 22 JUNE Scott Lamlein, hymn festival; First Congrega- plicate listings. THE DIAPASON regrets that Organist / Pianist it cannot assume responsibility for the accu- tional, Bristol, CT 10 am CHRISTOPHER racy of calendar entries. Frederick Teardo; Cathedral of St. Patrick, New York, NY 4:45 pm Michael Gailit Bruce Neswick; Washington National Cathe- [email protected] GARVEN http://www.gailit.at UNITED STATES dral, Washington, DC 5 pm Organist & Music Director East of the Mississippi Gereon & Monika Krahforst; Basilica of the St. Augustine’s Church Church of the Good Samaritan National Shrine of the Immaculate Conception, Conservatory / University (Vienna) Paoli, Pennsylvania Washington, DC 6 pm 15 JUNE Michele Johns, with violin; Moore Hall, Uni- Craig Cramer; Colgate University Memorial versity of Michigan, Ann Arbor, MI 4 pm Chapel, Hamilton, NY 7 pm Thomas Murray; Covenant Presbyterian, John M. Gearhart III J. Reilly Lewis; Washington National Cathe- Madison, WI 4 pm Robert Glasgow dral, Washington, DC 5 pm B.A., M.Mus. David Pickering; Basilica of the National 23 JUNE St. John the Divine (Episcopal) Professor Emeritus Shrine of the Immaculate Conception, Washing- Ken Cowan; First United Methodist, Waynes- 2450 River Oaks Blvd. The University of Michigan ton, DC 6 pm ville, NC 8 pm Houston, TX 77019 Marilyn Mason, with violin; Moore Hall, Uni- Edward Parmentier, harpsichord workshop; Ann Arbor versity of Michigan, Ann Arbor, MI 4 pm School of Music, University of Michigan, Ann Ar- bor, MI 9 am, through 6/27 16 JUNE Sarah Hughes; Bethany Lutheran, Ishpeming, Ken Cowan; First United Methodist, Waynes- MI 7:30 pm JAMES HAMMANN ville, NC 8 pm •St. Paul’s Cathedral Choir, London; Cathedral Antone Godding Edward Parmentier, harpsichord workshop; of St. Paul, St. Paul, MN 7:30 pm DMA-AAGO School of Music, University of Michigan, Ann Ar- Nichols Hills bor, MI 9 am, through 6/20 24 JUNE United Methodist Church University of New Orleans Jay Peterson; Elliott Chapel, Presbyterian Felix Hell; Portland City Hall, Portland, ME Oklahoma City Chapel of the Holy Comforter Homes, Evanston, IL 1:30 pm 7:30 pm Wilshire Baptist Church Youth Choir; King’s 17 JUNE Chapel, Boston, MA 12:15 pm Ray Cornils; Portland City Hall, Portland, ME •Carla Edwards; Shepherd of the Hills Luther- LORRAINE BRUGH, Ph.D. 7:30 pm an, Shoreview, MN 8:30 am Nadia Stevens; King’s Chapel, Boston, MA •Julia Brown; Maternity of Mary Roman Cath- A two-inch 12:15 pm olic Church, St. Paul, MN 8:30 am Associate Professor Janette Fishell; First Presbyterian, Glens •Cristina García Banegas; St. Paul Seminary, Professional Card Falls, NY 7:30 pm St. Paul, MN 8:30 am University Organist •Stephen Cleobury & James Diaz; Benson in The Diapason 18 JUNE Great Hall, Bethel University, St. Paul, MN 10:30 Valparaiso University Renée Anne Louprette; Methuen Memorial am and 1:30 pm Valparaiso, IN For information on rates and Music Hall, Methuen, MA 8 pm •John Weaver & Cameron Carpenter; St. specifi cations, contact: Jeffrey Verkuilen; Memorial Presbyterian Andrew’s Lutheran, Mahtomedi, MN 10:30 am www.valpo.edu Church, Appleton, WI 12:15 pm and 1:30 pm Jerome Butera Sarah Hughes; First Lutheran, Iron Mountain, 219-464-5084 MI 7:30 pm 25 JUNE [email protected] Charles Barland; Sinsinawa Mound, Sinsina- David Carrier; Methuen Memorial Music Hall, [email protected] 847/391-1045 wa, WI 7 pm Methuen, MA 8 pm
JUNE, 2008 33
June 08 pp. 32-37.indd 33 5/9/08 11:23:23 AM Sarah Hughes, workshop; St. Joseph Catho- 11 JULY lic Church, Lake Linden, MI 10 am Frederick Swann; Overture Hall, Madison, WI WILL HEADLEE Harry H. Huber Matthew Walsh; Holy Cross Catholic Church, 7:30 pm D. Mus. Kaukauna, WI 12:15 pm 1650 James Street Mark McClellan; Sinsinawa Mound, Sinsina- 12 JULY Kansas Wesleyan University, Emeritus Syracuse, NY 13203-2816 wa, WI 7 pm Gordon Turk; Ocean Grove Auditorium, University Methodist Church Ocean Grove, NJ 12 noon 26 JUNE (315) 471-8451 SALINA, KANSAS John Gouwens, carillon; The Culver Acad- Sarah Hughes; St. Joseph Catholic Church, emies, Culver, IN 4 pm Lake Linden, MI 7:30 pm Frederick Swann, hymn sing; Overture Hall, •Rachel Laurin; University of St. Thomas, St. Madison, WI 11 am MICHELE JOHNS Paul, MN 8:30 am and 10:30 am Brian Jones •Marie-Bernadette Dufourcet Hakim; House 13 JULY A.Mus.D of Hope Presbyterian, St. Paul, MN 8:30 am and +Susan Ferré, with narrator; Chapel Arts Gor- Director of Music Emeritus 10:30 am ham, Gorham, NH 4 pm Organ — Harpsichord •Jeremy Filsell; Nativity of Our Lord Roman RINITY HURCH Leo Abbott; Basilica of the National Shrine The University of Michigan T C Catholic Church, St. Paul, MN 8:30 am and of the Immaculate Conception, Washington, DC School of Music BOSTON 10:30 am 6 pm •Stewart Wayne Foster; Augustana Lutheran, West St. Paul, MN 8:30 am and 10:30 am 14 JULY •John Scott; St. Paul Cathedral, St. Paul, MN Bruce Neswick; Independent Presbyterian, 7:30 pm KIM R. KASLING JAMES KIBBIE Savannah, GA 7 pm 27 JUNE D.M.A. The University of Michigan Gail Archer; Fourth Presbyterian, Chicago, IL 15 JULY Ann Arbor, MI 48109-2085 12:10 pm Thomas Heywood; Portland City Hall, Port- St. John’s Univeristy land, ME 7:30 pm 734-764-1591 FAX: 734-763-5097 Timothy Smith; The Riverside Church, New Collegeville, MN 56321 28 JUNE email: [email protected] John Gouwens, carillon; The Culver Acad- York, NY 7 pm emies, Culver, IN 4 pm Neal Campbell; Christ Episcopal, Roanoke, VA 7:30 pm 29 JUNE David K. Lamb, D.Mus. Ralph Tilden; Banner Elk Presbyterian, Ban- 16 JULY ner Elk, NC 4 pm Carol Williams; Methuen Memorial Music Director of Music/Organist Richard Litterst Douglas Major; Washington National Cathe- Hall, Methuen, MA 8 pm First United Methodist Church First Church of Christ, Scientist dral, Washington, DC 5 pm Gordon Turk; Ocean Grove Auditorium, Columbus, Indiana Gail Archer; Basilica of the National Shrine Ocean Grove, NJ 7:30 pm 812/372-2851 Rockford, Illinois of the Immaculate Conception, Washington, DC Lydia Cain; Old Salem Visitor Center, Win- 6 pm ston-Salem, NC 12 noon Mary Kay Easty; First Congregational United 1 JULY Church of Christ, Appleton, WI 12:15 pm Gereon Krahforst; Portland City Hall, Port- Greg Peterson; Sinsinawa Mound, Sinsina- BETTY LOUISE LUMBY land, ME 7:30 pm wa, WI 7 pm David Lowry Martin Jean; College of the Holy Cross, THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO Worcester, MA 7:30 pm 17 JULY 1512 BLANDING STREET, COLUMBIA, SC 29201 Jane Watts; Trinity Wall Street, New York, NY DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO 2 JULY 1 pm Kevin Birch; Methuen Memorial Music Hall, ROCK HILL, SC 29733 MONTEVALLO, AL 35115 Bach Vespers; Holy Trinity Lutheran, New Methuen, MA 8 pm York, NY 5 pm Joseph Roenbeck; Old Salem Visitor Center, Felix Hell; Verizon Hall, Philadelphia, PA 7 Winston-Salem, NC 12 noon pm David Bohn; First United Methodist, Appleton, Todd Wilson, masterclass; St. Andrew’s Cha- WI 12:15 pm pel, Woodberry Forest School, Woodberry For- Stephen Schnurr; Sinsinawa Mound, Sin- est, VA 10 am James R. Metzler sinawa, WI 7 pm 19 JULY ARK ONGREGATIONAL HURCH P C C 3 JULY Bach Vespers; Holy Trinity Lutheran, New GRAND RAPIDS, MICHIGAN Federica Iannella & Giuliana Maccaroni; York, NY 6:30 pm Trinity Wall Street, New York, NY 1 pm Gordon Turk; Ocean Grove Auditorium, Ocean Grove, NJ 12 noon 4 JULY John Gouwens, carillon; The Culver Acad- Scott Dettra & Christopher Jacobson; emies, Culver, IN 4 pm Washington National Cathedral, Washington, William H. Murray DC 11 am 20 JULY Frank Rippl; All Saints Episcopal, Appleton, A.S.C.A.P. +Susan Ferré, with narrator; Chapel Arts Gor- FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. WI 12:15 pm ham, Gorham, NH 4 pm 345 SADDLE LAKE DRIVE Rodney Long; Cathedral of St. Patrick, New 5 JULY ROSWELL-ATLANTA, GEORGIA 30076 Fort Smith, Arkansas York, NY 4:45 pm Gordon Turk; Ocean Grove Auditorium, (770) 594-0949 Christopher Jacobson; Church of the Ad- Ocean Grove, NJ 12 noon vent, Cape May, NJ 4 pm John Gouwens, carillon; The Culver Acad- Roland Maria Stangier; Basilica of the Na- emies, Culver, IN 4 pm MARILYN MASON tional Shrine of the Immaculate Conception, Washington, DC 6 pm CHAIRMAN, DEPARTMENT OF ORGAN 6 JULY Marilyn Keiser; Boone United Methodist, UNIVERSITY OF MICHIGAN Nigel Groome; Cathedral of St. Patrick, New Boone, NC 4 pm ANN ARBOR York, NY 4:45 pm Choral concert; Peachtree Road United Meth- “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Stephen Harouff; Basilica of the National odist, Atlanta, GA 7 pm with awesome technique and a thrilling command of its daring writing.” Shrine of the Immaculate Conception, Washing- The American Organist, 1980 ton, DC 6 pm 22 JULY Marilyn Mason, with tenor; Moore Hall, Uni- Tom Trenney; First Presbyterian, Glens Falls, versity of Michigan, Ann Arbor, MI 4 pm NY 7:30 pm William Randolph, Jr.; The Riverside Church, 8 JULY New York, NY 7 pm John Schwandt; Portland City Hall, Portland, Mary Mozelle LARRY PALMER Jack Mitchener; Christ Episcopal, Roanoke, ME 7:30 pm Concert Organist VA 7:30 pm Professor of Robert Knupp; King’s Chapel, Boston, MA 12:15 pm 23 JULY “The Sights and Harpsichord and Organ Ken Cowan; The Riverside Church, New York, NY 7 pm Brett Maguire; Methuen Memorial Music Hall, Tom Trenney & Anne Wilson; Westminster Methuen, MA 8 pm Sounds of Meadows School of the Arts College, New Wilmington, PA 7 pm Carol Williams; Ocean Grove Auditorium, Thomas Baugh, with soprano; Christ Episco- Ocean Grove, NJ 7:30 pm the Pipe Organ” SOUTHERN METHODIST UNIVERSITY pal, Roanoke, VA 7:30 pm Alex Whitaker; Old Salem Visitor Center, Todd Wilson, with Burning River Brass; Ca- Winston-Salem, NC 12 noon 703.898.9609 Dallas, Texas 75275 thedral of St. John the Evangelist, Cleveland, Blake Doss; First Presbyterian, Neenah, WI 12:15 pm www.PipeOrganPro.com OH 8 pm Musical Heritage Society recordings Kirstin Synnestvedt; Sinsinawa Mound, Sin- 9 JULY sinawa, WI 7 pm Eric Plutz; Methuen Memorial Music Hall, Methuen, MA 8 pm 24 JULY Gordon Turk; Ocean Grove Auditorium, Joyce Jones; Trinity Wall Street, New York, Arthur LaMirande Ocean Grove, NJ 7:30 pm NY 1 pm Ann Westly; Old Salem Visitor Center, Win- LaMirande must be complimented upon investi- 25 JULY gating music that few of his fellow organists have ston-Salem, NC 12 noon Andrew Senn; Peachtree Road United Meth- Ken Cowan; Edenton Street United Method- had the foresight to examine and to bring before the ist, Raleigh, NC 7:30 pm public.—American Record Guide odist, Atlanta, GA 7:30 pm Nick Voermans; First Congregational United L’organiste traversa son programme entier avec Church of Christ, Appleton, WI 12:15 pm 26 JULY une authorité, une solidité technique et une fraîcheur Bruce Bengtson; Sinsinawa Mound, Sinsin- Gordon Turk; Ocean Grove Auditorium, de registration qui, loin de faiblir en fi n d’exercice, awa, WI 7 pm Ocean Grove, NJ 12 noon accompagnèrent les deux rappels d’ailleurs accordé Lee Cobb, carillon; The Culver Academies, sans la moindre hésitation.—La Presse, Montréal 10 JULY Culver, IN 4 pm Barbara Dennerlein; Trinity Wall Street, New 461 Fort Washington Avenue, Suite 33 York, NY 1 pm 27 JULY New York, NY 10033 Joan Lippincott, with the Princeton Univer- Jonathan Brannon; Basilica of the National 212/928-1050 [email protected] sity Chapel Camarata; Ocean Grove Auditorium, Shrine of the Immaculate Conception, Washing- Ocean Grove, NJ 7:30 pm ton, DC 6 pm
34 THE DIAPASON
June 08 pp. 32-37.indd 34 5/9/08 11:23:45 AM 29 JULY 25 JUNE Tom Trenney, silent fi lm accompaniment; •John Weaver, workshop; Great Hall, West- Merrill Auditorium, City Hall, Portland, ME 7:30 minster Presbyterian, Minneapolis, MN, 9 am LEON NELSON pm •Jan Kraybill; Wayzata Community Church, DOUGLAS REED Christopher Johnson; The Riverside Church, Wayzata, MN 9:30 am FIRST PRESBYTERIAN CHURCH New York, NY 7 pm •Marilyn Keiser, workshop; Gethsemane ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE Episcopal, Minneapolis, MN 10:15 am NORTH PARK UNIVERSITY 30 JULY •Jelani Eddington; Plymouth Congregational, EVANSVILLE, INDIANA Alan Morrison; Methuen Memorial Music Hall, Minneapolis, MN 1:30 pm and 3 pm CHICAGO, IL 60625 Methuen, MA 8 pm •Todd Wilson; Hennepin Avenue United Stephen Gourley; Old Salem Visitor Center, Methodist, Minneapolis, MN 1:30 pm and 3 pm Winston-Salem, NC 12 noon •Peter Sykes; St. Mark’s Episcopal Cathedral, Mark Paisar; First Presbyterian, Neenah, WI Minneapolis, MN 1:30 pm and 3 pm Stephen G. Schaeffer ROBERT L. 12:15 pm •Marilyn Keiser; Central Lutheran, Minneapo- D.M.A. Mark Baumann; Sinsinawa Mound, Sinsina- lis, MN 4:15 pm wa, WI 7 pm The Cathedral Church SIMPSON 28 JUNE of the Advent Christ Church Cathedral 31 JULY Aaron David Miller, workshop and hymn festi- 1117 Texas Avenue Ludmila Golub; Trinity Wall Street, New York, val; St. Mark’s Lutheran, San Francisco, CA 9:30 Birmingham, Alabama 35203 Houston, Texas 77002 NY 1 pm workshop, 10:15 am hymn festival 29 JUNE UNITED STATES Stephen Cleobury; Central Lutheran, Minne- Stephen Tappe West of the Mississippi apolis, MN 2 pm Felix Hell; Aspen Community Church, Aspen, Organist and Director of Music Joe Utterback CO 8 pm Saint John's Cathedral 15 JUNE Frederick Swann; Orange County Performing COMMISSIONS & CONCERTS Robert Bates; Palmer Memorial Episcopal, Arts Center, Costa Mesa, CA 2 pm Denver, Colorado 732 . 747 . 5227 Houston, TX 7 pm Community hymn sing; Trinity Episcopal, San- www.sjcathedral.org Felix Hell; Gardner Hall, University of Utah, ta Barbara, CA 3:30 pm Salt Lake City, UT 7:30 pm Arthur Johnson; St. Mary’s Cathedral, San 30 JUNE Francisco, CA 3:30 pm Robert Plimpton, with fl ute; Balboa Park, San Diego, CA 7:30 pm David Wagner 16 JUNE Marcia Van Oyen DMA Joseph Adam; Benaroya Hall, Seattle, WA 6 JULY First United Methodist Church, Madonna University 12:30 pm Warminster School Choir; St. Mary’s Cathe- Alison Luedecke, with brass and bagpipes; dral, San Francisco, CA 3:30 pm Plymouth, Michigan Livonia, Michigan Balboa Park, San Diego, CA 7:30 pm J. Thomas Strout; Westwood United Method- ist, Los Angeles, CA 3 pm mvanoyen.com [email protected] 17 JUNE Felix Hell; Mormon Tabernacle, Salt Lake 7 JULY City, UT 7:30 pm Lew Williams; Balboa Park, San Diego, CA A Professional Card in Paul Jacobs; Makawao Union Church, Paia, 7:30 pm HI 7:30 pm Kevin Walters The Diapason 11 JULY For rates and digital specifi cations, 21 JUNE Douglas Cleveland; Central Lutheran, Eu- M.A., F.A.G.O. gene, OR 7:30 pm contact Jerome Butera •Fred Hohman, with Bloomington Symphony 847/391-1045 Orchestra; St. Michael’s Lutheran, Bloomington, Rye, New York [email protected] MN 7:30 pm 13 JULY ++Thomas Joyce; St. Mark’s Cathedral, Se- Polyphony; Cathedral Church of St. John, Al- attle, WA 8:15 pm buquerque, NM 7:30 pm David Phillips; St. Mary’s Cathedral, San Francisco, CA 3:30 pm 22 JUNE Guy Didier; Hollywood United Methodist, Hol- •Scott Montgomery; Central Lutheran, Min- lywood, CA 4 pm KARL WATSON Cherie Wescott neapolis, MN 7:30 pm Concerts • Masterclasses • Coaching Gail Archer ; St. Mary’s Cathedral, San Fran- 14 JULY SAINT LUKE’S cisco, CA 3:30 pm Chanson; Doane College, Crete, NE 8 pm 405/942-3958 Music for brass and organ; Trinity Episcopal, ++J. Melvin Butler; St. Mark’s Cathedral, Se- METUCHEN e-mail: [email protected] Santa Barbara, CA 3:30 pm attle, WA 8 pm Craig Phillips, with brass and percussion; All James Welch; First Congregational, Berkeley, Saints’ Episcopal, Beverly Hills, CA 5 pm CA 1:30 pm Christoph Bull; Balboa Park, San Diego, CA 23 JUNE 7:30 pm Davis Wortman •Stephen Tharp; St. Olaf Roman Catholic RONALD WYATT Church, Minneapolis, MN 8:30 and 10 am 15 JULY •Elke Voelker; Basilica of St. Mary, Minneapo- Paul Jacobs; St. John’s Episcopal, Jackson, St. James’ Church Trinity Church lis, MN 8:30 and 10 am WY 8 pm •Jan Kraybill; Wayzata Community Church, New York Galveston Wayzata, MN 2:30 pm 18 JULY Iver Kleive; Balboa Park, San Diego, CA Douglas Cleveland; Seattle First Baptist, Se- 7:30 pm attle, WA 11:15 am
24 JUNE 19 JULY Charles Dodsley Walker, FAGO Choral Evensong; Basilica of St. Mary, Minne- James Welch; Church of Jesus Christ of Lat- Artist-in-Residence Founder/Conductor apolis, MN 5 pm ter-day Saints, Danville, CA 4 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458
Cathedral Church of St. John SYLVIE POIRIER Albuquerque, New Mexico A radio program for the king of instruments www.stjohnsabq.org PHILIP CROZIER 505-247-1581 #0822 - To Honor Saint Cecilia . . . in tribute to the ORGAN DUO patron saint of music, concert performances on the J recently installed, multi-faceted pipe organ at the 3355 Queen Mary Road, Apt 424 Cathedral of St. Cecilia in Omaha, Nebraska. Montreal, H3V 1A5, P. Quebec U #0823 - Some Southern Comfort . . . in the company Canada N of the Organ Historical Society, we make a selective (514) 739-8696 survey of pipe organs new and old in northern Fax: (514) 739-4752 Iain Quinn Maxine Thevenot E North Carolina and southern Virginia. Director of Cathedral Associate Organist- [email protected] Music & Organist Choir Director #0824 - Bach, Beethoven and Brahms . . . would 2 ‘The Three B’s” ever have imagined being represented by organ music in quite this way?! DAVID SPICER 0 #0825 - Some Favored Flavors . . . a collection of ‘organ 0 pops’, including a centenary tribute to American First Church of Christ Wethersfi eld, Connecticut Carol Williams 8 composer Leroy Anderson (born 6/29/1908). #0826 - Independence Thinkers . . . an all-American program that explores the sonic and virtuosic freedoms and San Diego Civic Organist possibilities of pipe organs and those who play them.
From American Public Media, Pipedreams® is public radio’s weekly APOBA is a proud program dedicated to the artistry of the pipe organ. Host Michael Barone’s supporter of Website: www.melcot.com celebration of the “king of instruments” is heard on stations nationwide. Pipedreams® Visit www.pipedreams.org to locate a broadcast station in your area. www.apoba.com House Organist E-mail: [email protected] The Bushnell Memorial SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO Hartford
JUNE, 2008 35
June 08 pp. 32-37.indd 35 5/9/08 11:24:06 AM 20 JULY 22 JUNE 4 JULY Paolo Bougeat; Cappella di S. Marta e Chie- Arthur Johnson; St. Mary’s Cathedral, San D’Arcy Trinkwon; Kirke, Asker, Norway Maxine Thevenot; St. Dominic’s Priory, Lon- sa di S. Giacomo, Campertogno, Italy 9 pm Francisco, CA 3:30 pm 7:30 pm don, UK 7:30 pm Audrey Jacobsen; Westwood United Meth- Winfried Bönig; St. Josef, Neu-Isenberg, 28 JULY odist, Los Angeles, CA 3 pm Germany 5 pm 5 JULY Mario Duella; Chiesa di S. Anna al Montri- Elzbieta Wlosek; Kaiser-Wilhelm-Gedächt- gone, Borgosesia, Italy 9 pm 21 JULY 23 JUNE nis-Kirche, Berlin, Germany 6 pm Sophie-Veronique Cauchefer-Choplin; Bal- Gillian Weir; St Chad’s Cathedral, Birming- 29 JULY boa Park, San Diego, CA 7:30 pm ham, UK 7:30 pm 8 JULY Ignace Michiels; Basilica Antica, Oropa, Italy Gillian Weir; Hereford Cathedral, Hereford, 9 pm 27 JULY 24 JUNE UK 7:30 pm Dominique Lupien; St. James United Church, Andrew Stewart-Cook; Central Lutheran, Eu- Willibald Bezler; Kaiser-Wilhelm-Gedächtnis- Gereon & Monika Krahforst; St. James Montreal, QC, Canada 12:30 pm gene, OR 4 pm Kirche, Berlin, Germany 8 pm United Church, Montreal, QC, Canada 12:30 Angela Kraft Cross; St. Mary’s Cathedral, Calvin and Chapel Handbell Choirs; St. James pm 30 JULY San Francisco, CA 3:30 pm United Church, Montreal, QC, Canada 12:30 pm Klaus Sonnleitner; Kathedrale, Dresden, 9 JULY Germany 8 pm 28 JULY 25 JUNE Jan Hora; Kathedrale, Dresden, Germany Xavier Deprez & Momoyo Kokubu; Collé- Nathan Laube; Balboa Park, San Diego, CA Kalevi Kiviniemi; Kaiser-Wilhelm-Gedächt- 8 pm giale, Neuchâtel, Switzerland 8 pm 7:30 pm nis-Kirche, Berlin, Germany 8 pm Giulio Mercati; Chiesa di S. Lorenzo, Sos- Winfried Bönig; Kreuzkirche, Dresden, Ger- 12 JULY tegno, Italy 9 pm 29 JULY many 8 pm Gillian Weir, Messiaen masterclass; Temple Felix Hell; Aspen Community Church, Aspen, Church, London, UK 3:30 pm 31 JULY CO 8 pm 26 JUNE Gillian Weir; Cathedral, Viborg, Denmark Philippe Lefebvre; Kaiser-Wilhelm-Gedächt- 14 JULY 7:30 pm nis-Kirche, Berlin, Germany 8 pm D’Arcy Trinkwon; Carlisle Cathedral, Carl- Mario Duella, with clarinet; Chiesa di Santa INTERNATIONAL isle, UK 7:30 pm Maria Vergine Assunta, Viverone, Italy 9 pm 27 JUNE Maija Lehtonen, with violin; Collégiale, 15 JULY 15 JUNE Neuchâtel, Switzerland 6:30 pm Gillian Weir, Messiaen; Westminster Abbey, David Jonies; St. Johannes der Taufer, Ober- Arno Hartmann; Cathédrale, Lausanne, Swit- London, UK 7 pm Organ Recitals thulba, Germany 7 pm zerland 8 pm Paul Jessen; St. James United Church, Mon- Andras Viragh; Chiesa Parrocchiale SS. Am- Gillian Weir; Passau Cathedral, Passau, Ger- treal, QC, Canada 12:30 pm brogio e Theodulo, Stresa, Italy 9:15 pm many 9 pm to 5 am 16 JULY STEPHEN ALLTOP, with Margaret Denis Bedard & Rachael Alfl att; Christ Church Wilson, Presbyterian Homes, Evanston, IL, 17 JUNE Cathedral, Vancouver, BC, Canada 7:30 pm Marie-Claire Alain; Kreuzkirche, Dresden, Donald Hunt Germany 8 pm March 24: Sinfonia to Cantata 29, Bach, , with cello; St. James United transcr. Dupré; Prelude and Fugue in D, Church, Montreal, QC, Canada 12:30 pm 28 JUNE Guy Bovet; Collégiale, Neuchâtel, Switzer- land 8 pm BWV 850, Prelude and Fugue in E-fl at, Silke Hamburger; Kaiser-Wilhelm-Gedächt- BWV 852 (Well-Tempered Clavier, Book I), 18 JUNE nis-Kirche, Berlin, Germany 6 pm 18 JULY Bach; Fugue for Organ Duet (Sonata for D’Arcy Trinkwon; Kirke, Kongsberg, Norway Martin Setchell; St. Katharinen, Oppenheim, Organ, op. 30), Merkel; Pastorale, op. 19, 7:30 pm Germany 11:15 am Gillian Weir; Heilig-Kreuz-Münster, Schwabische Gmünd, Germany 6:30 pm Franck; Adagio, Toccata (Symphony No. 5, Holger Gehring, Hansjürgen Scholze; Kath- op. 42), Widor. edrale, Dresden, Germany 8 pm 29 JUNE Choral concert, with orchestra; Kirche “Zur 19 JULY Wolfgang Kleber; Kaiser-Wilhelm-Gedächt- BRUCE BARBER, The Presbyterian 20 JUNE frohen Botschaft,” Berlin Karlshorst, Germany nis-Kirche, Berlin, Germany 6 pm Homes, Evanston, IL, February 25: Selected Franz Lörch; Cathédrale de Lausanne, Laus- 5 pm Versets (Suite du Premier Ton), Clérambault; anne, Switzerland 8 pm Carolyn Shuster Fournier; Chapel of the Do- 20 JULY Pièce d’Orgue, BWV 572, Bach; Kleine Pasto- minicans, Paris, France 8:30 pm Philip Crozier; Lynaes Kirke, Hundested, rale, Weggelaar; Choral No. 3 in a, Franck. 21 JUNE Denmark 5 pm Jürgen Ehlers; Kaiser-Wilhelm-Gedächtnis- 1 JULY D’Arcy Trinkwon; Cathedral Saint-Croix, Or- DIANE MEREDITH BELCHER, Illinois Kirche, Berlin, Germany 6 pm Kurt Ludwig Forg; St. James United Church, leans, France 4:30 pm College, Jacksonville, IL, February 24: Fan- Gillian Weir; St. Magnus Cathedral, Kirkwall, Montreal, QC, Canada 12:30 pm tasia for Organ, Weaver; Prelude and Fugue Orkney Islands, UK 6 pm 22 JULY in G, Mendelssohn; Voluntary No. 2 in F, Brian Jones , with Ensemble Singers of Ber- 2 JULY Walter D’Arcangelo, with violins; Chiesa di S. Russell; Fantasia and Fugue in g, BWV 542, Manfred Brandstetter muda; Wesley Methodist, Hamilton, Bermuda ; Frauenkirche, Dres- Eurosia, Pralungo, Italy 9 pm Bach; Prière, Franck; Organ, Timbrel and 8 pm den, Germany 8 pm Philippe Bournival; St. James United Church, Dance, Michel; Intermezzo, Adagio, Allegro Montreal, QC, Canada 12:30 pm (Symphony No. 6 in g, op. 42), Widor. martin ott pipe 23 JULY STEPHANIE BURGOYNE & WILLIAM Philip Crozier; Aalborg Domkirke, Denmark VANDERTUIN, Cathedral Church of St. organ 7:30 pm Paul, London, ON, Canada, February 19: company Hans-Ola Ericsson; Frauenkirche, Dresden, Prelude (Organ Sonata No. 1 in c, op. 28), M. L. BIGELOW & Co. inc. Germany 8 pm Rheinberger; Largo ma non troppo, BWV ORGAN BUILDERS Marie-Claire Alain; Collégiale, Neuchâtel, 1043, Bach; Concerto in g, Graun; Petite Suite 1353 Baur Boulevard pour Orgue, Bédard. (801) 756-5777 St. Louis, Missouri 63132 Switzerland 8 pm 130 W. 1st S., American Fork, UT 84003 (314) 569-0366 Walter D’Arcangelo, with violins; Santuario della Madonna delle Grazie, Portula/Novareia, DOUGLAS CLEVELAND, First Congre- Italy 9 pm gational Church, Sioux Falls, South Dakota, February 8: Carillon-Sortie, Mulet; Clair de 25 JULY Lune, Feux Follets, Hymne au Soleil (Pièces Parkey Gillian Weir; Heiligaandskirke, Copenhagen, de Fantaisie, op. 53), Vierne; Scherzetto, op. 108, Petite Prelude, op. 109, Toccata, op. 104, OrganBuilders Denmark 4:30 pm Philip Crozier; Haderslev Domkirke, Den- Jongen; Allegretto grazioso, Bridge; Four Distinguished Pipe Organs mark 5:30 pm Concert Etudes, Briggs. 3870 Peachtree Ind. Blvd. Voice 770-368-3216 Joris Verdin; Collégiale, Neuchâtel, Switzer- Suite 150-285 Fax 770-368-3209 land 6:30 pm PHILIP CROZIER, Chalmers-Wesley Duluth, Georgia 30096 www.parkeyorgans.com Jane Gamble; Chiesa di S. Maria, Valduggia, United Church, Quebec City, QC, Canada, Italy 9 pm August 19: Air and Gavotte, Wesley; Epi- NEW INSTRUMENTS sound INSPIRATION grams, Kodály; Praeludium in E, BuxWV MAINTENANCE 26 JULY 141, Buxtehude; Remembrance, Allegretto, Pasticcio (Organ Book), Langlais; Pastorale, RESTORATIONS Acoustical Design & Testing • Organ Consultation & Ulrich Brüggemann; Kaiser-Wilhelm- Fricker; Impromptu, op. 54, no. 2, Vierne; Inspection • Organ Maintenance & Tuning • Sound & Video Gedächtnis-Kirche, Berlin, Germany 6 pm 974 AUTUMN DRIVE Philip Crozier; St. Nikolai Kirche, Flensburg, Petite pièce, JA 33, Alain; Variations sur Sine System Design, Evaluation & Training ANTIOCH, ILLINOIS 60002 Germany 11 am Nomine, Bédard. ABR 847-395-1919 F INCY www.riedelassociates.com • (414) 771-8966 Wladimir Matesic; Chiesa di S. Maurizio, PIPE ORGANS FAX 847-395-1991 email: [email protected] Vocca, Italy 9 pm DELBERT DISSELHORST, with choir, www.fabryinc.com 819 NORTH CASS STREET•MILWAUKEE, WI 53202 D’Arcy Trinkwon; Arundel Cathedral, Arun- Elise Hacker, director, First Presbyterian del, UK 7:30 pm Church, Springfi eld, IL, March 30: Prae- ludium pro organo pleno, BWV 552, 1, Kyrie, 27 JULY Gott Vater in Ewigkeit, BWV 669, Christe, _ Pipe Organ Craftsmen & Builders Gillian Weir; Catharinen Kirke, Hjørring, Den- aller Welt Trost, BWV 670, Kyrie, Gott hei- Hupalo GF mark 8 pm liger Geist, BWV 671, Allein Gott in der Höh 1785 Timothy Drive, Unit 4 Philip Crozier; Barockkirche St. Franziskus, sei Ehr, BWV 675, 676, Fughetta super Al- & San Leandro, CA 94577 Zwillbrock, Germany 4 pm lein Gott in der Höh sei Ehr, BWV 677, Dies Repasky Tel: 510 483 6905 www.hupalorepasky.com
ORGANBUILDING & RESTORATIONS 3165 Hill Road Eagleville, TN 37060 (615) 274-6400 Dennis, Derek, Jeff, Todd and Greg Milnar and Associates 1717 Belle Street St. Joseph, MO 64503 www.milnarorgan.com E-mail: [email protected] (816) 232-2008 Fax (816) 364-6499
WOLFF & ASSOCIÉS A. David Moore, Inc. Facteurs d’orgues Organbuilders TRACKER ORGAN DESIGNERS & BUILDERS [email protected] www.orgelwolff.com HC 69 Box 6, North Pomfret, Vermont 05053 450-661-2073
802/457-3914 1260, rue Tellier, Laval QC Canada H7C 2H2
36 THE DIAPASON
June 08 pp. 32-37.indd 36 5/9/08 11:24:22 AM sind die heilgen zehn Gebot, BWV 678, Wir LUKE KESSLER, First Presbyterian Pieces), Werde munter (Six Hymn-Preludes), MAXINE THÉVENOT, St. Peter’s Epis- glauben all an einen Gott, BWV 680, Vater Church, Macomb, IL, March 30: Fanfare Whitlock; Toccata in Seven, Rutter; Elegy, copal Cathedral, St. Petersburg, FL, October unser im Himmelreich, BWV 682, Christ, (Organbook III), Rorem; Sonata II in c, op. Thalben-Ball; Fantasy on the tune ‘Babylon’s 28: Cortège et Litanie, Dupré; Ciacona in e, unser Herr, zum Jordan kam, BWV 684, Aus 65, no. 2, Mendelssohn; Toccata cromati- Streams’, Harris. BuxWV 160, Buxtehude; Prélude, Fugue et tiefer Not schrei ich zu dir, BWV 686, Jesus cha per le Levatione (Fiori Musicali: Missa Variation, op. 18, Franck; Antienne, Danse Christus, unser Heiland, der von uns den Zorn della Domenica), Frescobaldi; Le Banquet IAIN QUINN, King’s College, Cambridge, (Suite Mariales), Hakim; At the Ballet (Five Gottes wandt, BWV 688, Fuga a 5 con pedale Céleste, Messiaen; Prelude and Fugue in a, UK, January 26: Toccata alla Rumba, Plan- Dances), Hampton; Serenade, Bourgeois; pro organo pleno, BWV 552, 2, Bach. BWV 543, Bach; Prelude, Fugue, and Varia- yavsky; Prelude and Fugue in d, op. 98, Glazu- Carillon Sortie, Mulet; Joie et Clarté (Les tion, op. 18, Franck; Toccata II (Cathedral nov; Wondrous Love—Variations on a Shape Corps Glorieux), Messiaen; Nazard (Suite JANETTE FISHELL & COLIN AN- Music), Idenstam. Note Hymn, Barber; Continuum (Notre- Française), Chant de paix, Langlais; Alle- DREWS, Presbyterian Homes, Evanston, IL, Dame), Quinn; Triptych, Paulus. luyas, Preston; Adagio, Final (Symphonie October 22: Procession of the Sardar (Cau- ANN LABOUNSKY, East Liberty Presby- III), Vierne. casian Sketches, op. 10), Ippolitov-Ivanov, terian Church, Pittsburgh, PA, February 20: ANDREW SCANLON, East Liberty Pres- transcr. Fishell; Moto ostinato (Sunday A Gentle Heritage, Jenkins; Chorale Prelude byterian Church, Pittsburgh, PA, February Music), Eben; Prelude, Fugue and Varia- on O Sacred Head, Mendelssohn; Herzlieb- OLIVIER VERNET, Trinity College, 13: Paean, Master Tallis’ Testament, Howells; Hartford, CT, March 7: Rhumba, Pavane, El- tion, Franck; Passacaglia and Fugue in c, ster Jesu, O Welt, ich muss dich lassen, Herz- Prelude and Fugue in b, BWV 544, Bach; more; Le Boléro du divin Mozart, Hamburg- BWV 582, Jesus meine Zuversicht, BWV lich tut mich erfreuen die liebe Sommerzeit, Adagio for Strings, Barber, arr. Strickland; Fi- 728, Bach; Allegro moderato (Brandenburg Schmücke dich, o liebe Seele, O wie selig seid nal (Symphonie I), Vierne. er Totentanz, Bovet; Florinda pour orgue, Concerto No. 3 in G, BWV 1048), Bach, ihr doch, O Gott, du frommer Gott (Chorale Laprida; Coral, Piazzola; Tango sur D.S.C.H. (Dimitri Schostakovitch), Paso-doble sur transcr. Fishell. Preludes, op. 122), Brahms; Confi rmation in DONG-ILL SHIN, St. James’ Episcopal Chicago, Scherzo Cats (American Suite), In- D.S.C.H., Rumba sur les grands jeux, Chol- cantation pour un jour saint, Langlais. Church, Los Angeles, CA, October 14: Volun- ley; La ronde des lutins, La valse des anges, UWE-KARSTEN GROSS, Presbyterian tary for Double Organ, Purcell; Prelude and Homes, Evanston, IL, October 5: Prelude Bret; My Beethoven—concert rag, Toccata Fugue in e, BWV 548, Bach; Naïades, Toccata alla Rumba, Willscher. in E-fl at, Wake, Awake, for Night Is Flying, LEN LANGRICK, Presbyterian Homes, (24 Pièces de Fantaisie), Vierne; Fantaisie en We All Believe in One True God, Jesu, Joy of Evanston, IL, January 28: Salamanca, Bovet; la (Trois Pièces), Franck; Variations sur un Two Settings on Wie soll ich dich empfangen, Man’s Desiring, Bach; Prelude in d, A Mighty vieux Noël, Dupré. ARLENE WARD, with Jeffrey Piper, Fortress Is Our God, Entrust Your Days and Pepping; Fantasy and Fugue in g, BWV 542, Matthew McCrady and Wesley Campbell, Burden, From God Can Nothing Move Me, Bach; Lullaby, Trumpet Tunes (Suite No. 2), JEREMY DAVID TARRANT, Cathedral trumpet, and Scott Ney, percussion, Uni- Buxtehude; The Right Combination, Kun- Hampton; Magnifi cat I (15 Pieces, op. 18), versity of New Mexico, Albuquerque, NM, Prelude and Fugue in B, Dupré. Church of St. Paul, Detroit, MI, February kel; Jesus, Priceless Treasure, Goettsche; February 17: Concerto in D, Telemann; Go, Tell It on the Mountain, Behnke; Blues, 24: Prelude and Fugue in E-fl at, BWV 552, Michel; Festival March, Tambling; Fugue in Bach; Lied, Scherzo, Litaize; Choral dorien, Sonata III, Folksong Sonata, Hindemith; ZVONIMIR NAGY, Glenview Community Fantasia in F, Rossi; Fanfare for Three E-fl at, Bach. Church, Glenview, IL, March 2: De harmonia Litanies, Alain; Elegy, Still; Sketch in c, op. 58, no. 1, Sketch in D-fl at, op. 58, no. 4, Trumpets and Timpani, Truax; Angel Tears animae I, Nagy; Dieu est simple (Méditations and Earth Prayers, Thomas; Prelude and CHARLES HUDDLESTON HEATON, sur le mystère de la Sainte Trinité), Messiaen; Schumann; Choral, Finale (Symphonie VII, op. 42, no. 3), Widor. Fugue No. 4, Brown; Chorale Fantasy on an East Liberty Presbyterian Church, Pitts- Prelude, Fugue and Variation, op. 18, Franck; Advent Tune, Hutchison; Fanfare Proces- Toccata and Fugue in d, BWV 565, Bach; burgh, PA, February 27: Rhapsodie III in F, sional, Burkhart. op. 7, Saint-Saëns; A Latvian Mosaic, Wright; Incantation pour un jour saint, Langlais; Da STEPHEN THARP, The Neighborhood Old Easter Melody with Variations, West; pacem, Domine, Pärt; De harmonia animae Church, Palos Verdes Estates, CA, February Rhapsodie II in D, op. 7, Saint-Saëns. V, Nagy. 24: Bolero de Concert, op. 166, Lefébure- MARSHA WEBSTER, Presbyterian Wely; Canzonetta in G, BuxWV 171, Buxte- Homes, Evanston, IL, November 26: Fes- DAVID HURD, Christ Church Cathedral, MASSIMO NOSETTI, Parrocchia della hude; Fugue in G, BWV 577, Bach; Bouree, tive Processional on “Now Thank We All Our Nashville, TN, January 20: Praeludium in g, Blatta, Chivasso, Italy, October 6: Boléro de The Peace, The Rejoicing (Music for the God,” Burkhardt; Allein Gott in der Höh’ sei BuxWV 148, Nun freut euch, lieben Christen Concert, Lefébure-Wély; Divertissement, Royal Fireworks), Handel, transcr. Tharp; Ehr’ (Clavierübung III), Bach; Chorale and g’mein, BuxWV 210, Buxtehude; Hommage Berceuse (24 Pièces en Style Libre), Vierne; Passacaglia in c, BWV 582, Bach; Pavane, Variations, Fuga, Finale (Sonata VI in d, op. à Dietrich Buxtehude, Eben; Four Spiritual Matin Provençal (Poèmes d’Automne), Bon- op. 50, Fauré, transcr. Bird; Fantasia and 65), Mendelssohn; Prélude, Improvisation, Preludes, Hurd; Plymouth Suite, Whitlock; net; Mode de FA (Variations) (Huit Pièces Fugue on How brightly shines the morning Acclamations (Suite Médiévale en Forme de improvisation. Modales), Langlais; Allegretto (Five Short star, op. 40, no. 1, Reger. Messe Basse), Langlais.
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June 08 pp. 32-37.indd 37 5/9/08 11:24:39 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
POSITIONS PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS AVAILABLE RECORDINGS RECORDINGS WANTED
Director of Music Ministries/Organist, 450- Organ record collection—First time offer: 40+ Ives was not the only one to write organ mu- Schlicker organ wanted. Eight ranks or more. member congregation. Two Sunday services, years’ collection of discs, 78s, LPs. Over 3,000 sic on the tune “America.” This year, play move- Prefer some pistons and swell under expres- seasonal extras, funerals; weddings compen- discs. Greatest percentage is classical, some the- ments from Thayer’s 1860’s Sonatas I & II. Visit sion, but fl exible. Please call Rev. Moser at sated. Teaching privileges. Accompany/con- atre and Hammond included. All or nothing. Must our website for details. michaelsmusicservice. 201/835-5311 or [email protected]. duct adult, handbell, children’s choirs; accom- pick up in western suburb of Chicago, $3,000 fi rm. com; 704/567-1066. pany weekly chapel and special services for 847/683-2248. school. Bachelor’s degree in music, emphasis PIPE ORGANS on organ and conducting, knowledge of Lu- DVD: Pipe Organ Maintenance and Tuning. A theran theology and liturgical practice, skill and Refl ections: 1947–1997, The Organ Depart- video that shows you how. $25.00. ORGAN VID- FOR SALE competency in organ and piano, improvisation ment, School of Music, The University of Michi- EO, 1929 Belle Ave., San Carlos, CA 94070. and service playing. Instruments: 3-manual, 38- gan, edited by Marilyn Mason & Margarete Three-rank tracker organ, 1975 Hendrickson. rank Casavant organ (1969), grand piano, tym- Thomsen; dedicated to the memory of Albert Two manuals and pedal, 5′ deep, 8′ wide, 11′ pani, handbells. Salary/benefi ts commensurate Stanley, Earl V. Moore, and Palmer Christian. CD Recording, “In memoriam Mark Bux- high; solid red oak cabinetry, excellent condition, with experience and preparation. Submit résu- Includes an informal history-memoir of the ton (1961–1996).” Recorded at Église Notre- $20,000. Wisconsin location. Telephone 608/779- més to William C. Solomon, Chair, Musician organ department with papers by 12 current Dame de France in Leicester Square, London, 5857, or [email protected]. Search Committee, Trinity Evangelical Lutheran and former faculty and students; 11 scholarly between 1987 and 1996. Works of Callahan, Church, 6812 River Road, Newport News, VA articles; reminiscences and testimonials by Widor, Grunewald, Salome, Ropartz, and Boëll- 23607; e-mail [email protected]. graduates of the department; 12 appendices, mann, along with Buxton’s improvisations. $15 1975 Moller Opus 11106 Series 70-7B 2-man- and a CD recording, “Marilyn Mason in Re- postpaid: Sandy Buxton, 10 Beachview Cres- ual pipe organ, 9 ranks. Swell and Great sepa- cital,” recorded at the National Shrine of the cent, Toronto ON M4E 2L3 Canada. 416/699- rate cases under expression. Excellent condi- Organist position at Hebron Presbyterian Immaculate Conception in Washington, DC. 5387, FAX 416/964-2492; e-mail hannibal@ tion. Currently in use. Asking $30,000 or best Church in Augusta County, VA. Organ is Taylor $50 from The University of Michigan, Prof. idirect.com. offer. Buyer to remove. Located South Central & Boody op. 46 and church is across the road Marilyn Mason, School of Music, Ann Arbor, MI PA. Contact Charles Reynolds, 800/752-5080 or from Taylor & Boody shop. Part time; one ser- 48109-2085. [email protected] for information. vice and one rehearsal per week. Call Hannah Aging of Organ Leather by Harley Piltingsrud Bush at 540/885-0093 or e-mail mhbush@com- tells how to test and select organ leathers for lon- cast.net for details. Historic Organ Surveys on CD: recorded gevity of 60 years or more. Treats other aspects A college in Nashville closed its music program during national conventions of the Organ of leather production and the history of testing for in 1988 and is offering a two-manual and pedal Historical Society. Each set includes pho- longevity. New 48-page edition in 1994, $9.95 + Zimmer and Sons practice organ. Excellent con- QLF Custom Pipe Organ Components has tographs, stoplists, and histories. As many $4 shipping for entire order (within USA). Order dition with new long cable installed. Cost reduced openings for qualifi ed case and chest makers organists as organs and repertoire from the online at www.ohscatalog.org. to $10,000. Contact Milnar Organ Co. 615/274- to join our staff in Rocky Mount, VA. Wages usual to the unknown, Arne to Zundel, often in 6400 or www.milnarorgan.com for details. and benefi ts commensurate with experience. exceptional performances on beautiful organs. 540/484-1133, or e-mail qlfcomponents@ Each set includes many hymns sung by 200– The OHS Catalog is online at www.ohscatalog. aol.com. 400 musicians. Historic Organs of Louisville org. More than 4,000 organ and theatre organ 1971 Berkshire tracker rebuild of Steere. New (western Kentucky/eastern Indiana) 32 organs CDs, books, sheet music, DVDs and VHS vid- action, winding, pipework, façade. 15 stops. Ask- on 4 CDs, $29.95. Historic Organs of Maine eos are listed for browsing and easy ordering. ing $40,000. Church closing. St. John’s Luther- Position available for Organ Curator. Friends 39 organs on 4 CDs, $29.95. Historic Organs Use a link for adding your address to the OHS an, Hudson, NY. Phone 518/828-2372 or e-mail of the Kotzschmar Organ, Portland ME, are of Baltimore 30 organs on 4 CDs, $29.95. Catalog mailing list. Organ Historical Society, [email protected] for specs and photos. seeking organ builder/tuner/technician to pro- Historic Organs of Milwaukee 25 organs in Box 26811, Richmond, VA 23261. E-mail: vide regular care for 100-rank 1912 Austin or- Wisconsin on 2 CDs, $19.98. Historic Organs [email protected]. gan. Comprehensive annual tuning plus tuning of New Orleans 17 organs in the Bayous to Continuo organ, 8′, 4′, 2′; 8′ principal c1–g3 for twenty concerts/year along with general Natchez on 2 CDs, $19.98. Historic Organs of playable at A-440 or A-415; portable. $39,000. maintenance. Qualifi ed candidate will be fa- San Francisco 20 organs on 2 CDs, $19.98. Request a free sample issue of The Diapason A. David Moore Inc., telephone: 802/457-3914. miliar with Austin actions and have experience Add $4 shipping in U.S. per entire order from for a student, friend, or colleague. Write to the tuning large organs. Send résumé to Executive OHS, Box 26811, Richmond, VA 23261, by Editor, The Diapason, 3030 W. Salt Creek Lane, Director, FOKO, PO BOX 7455, Portland, ME telephone with Visa or MasterCard 804/353- Suite 201, Arlington Heights, IL 60005; or e-mail: Casavant pipe organ for sale. View www.casa- 04112. 9226; FAX 804/353-9266. [email protected]. vantorganforsale.com. 706/453-0980. glück newyork orgaNbuilders ATOS ExperienceAmerican Theatre Organ Society 170 Park Row, Suite 20A Preserving a unique art form. New York, NY 10038 Concerts, education, silent film, preservation, fellowship and more. www.atos.org 212.608.5651 Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838 www.glucknewyork.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
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38 THE DIAPASON
June 08 pp. 38-39.indd 38 5/9/08 11:25:31 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
1976 Schantz—19 ranks, 2 manuals and pedal. Wicks Pedal 16′–8′ Open Diapason—44 Austin actions: Come to the source. Fast de- Top Quality Releathering. Pouch rails, pri- Pristine condition; playable. Asking $185,000 + pipes, 1–12 mitred. Chests, racking included. livery. Guaranteed. 860/522-8293; www.austin- maries, reservoirs and any other pneumatic cost of removal. For details contact Pastor Judy Make offer; Cleveland area. 216/252-8264 or organs.com. action. Removal and installation service avail- Anderson at [email protected]. [email protected]. able. Full warranty. Skinner, Casavant and Kimball specialty. Spencer Organ Company, The Whistle Shop repairs and rebuilds pipe Inc. Call, Fax or visit our website for quotation 1960s Walcker (German) 14-rank tracker Atlantic City Pipe Organ Co.—Beautiful 3-man- organs. Southwestern U.S. Also, maintenance and information. 781/893-7624 Voice/Fax, organ. Open toe voicing on 2″ wind pressure. ual drawknob Moller console: walnut, ivory keys and tonal work. Finest materials, expert work- www.spencerorgan.com. Reverse console built into case. Footprint is 6′ and movable platform, $1200. Late 19th-century manship. K.E.M. Pipe Organ Builders, Austin, wide by 11′6″ deep (including console and ped- Johnson pipework. http://mywebpages.comcast. TX. 800/792-8180. al stops), 9′10″ tall. All encased with 4′ Princi- net.acorgan; 609/641-9422. RELEATHERING: also Pipe Organ Re- pal façade. Manual I—8′ Gedackt, 4′ Octave, II building, Repair and Maintenance Service Sesquialtera, II–III Mixture. Manual II—8′ Gem- Highest quality organ control systems since in New England area. Years of experience, shorn, 4′ Rohrfl ote, ′2 Principal, 1-1/3′ Quinte. 1969 Spencer Orgoblo, 5 HP, Cat. No. 7542, 1989. Whether just a pipe relay, combination fine workmanship. Reading Organ Works, Pedal—16′ Bourdon, 8′ Flute, 4′ Choralbass. 1150 RPU, 3000 CFM, 3–4″ pressure, serial action or complete control system, all parts A. Richard Hunter, 29 Baker Road, Spring- Playing and in use regularly. Asking $28,000. #30441. Contact Homer at 480/205-1857 or e- are compatible. Intelligent design, competitive field, VT 05156. 802/886-2304. E-mail For recordings and pictures contact djgeslin@ mail [email protected]. Asking $1,000 pricing, custom software to meet all of your [email protected]. gmail.com. or best offer, buyer to remove. requirements. For more information call Westa- cott Organ Systems, 215/353-0286, or e-mail [email protected]. Austin actions recovered. Over 30 years 1999 Morel & Associates organ. Two-manual Laptops, Pocket PCs and Tuning Software— experience. Units thoroughly tested and fully and pedal, 17 stops, 20 ranks. Originally built for tune harpsichords and pianos. Herb Huestis, guaranteed. Please call or e-mail for quotes. 1502–1574 Gulf Road, Point Roberts, WA 98281. Columbia Organ Leathers sells the fi nest a chamber installation, organ has a handsome leathers available for organ use. We sell pre- Technical assistance available. Foley-Baker, colonial-style case front. Excellent condition. Phone 604/946-3952, e-mail: [email protected]. Inc., 42 N. River Road, Tolland, CT 06084. Computer tuning software is sensitive to 1/10 punched pouches and pre-assembled pouches, Brochure and demonstration CD available. Call and we specialize in custom releathering ser- Phone 1-800/621-2624. FAX 860/870-7571. 303/355-3852, or e-mail [email protected]. cent, much greater than dial tuners. Over 100 pro- [email protected]. grammable temperaments. Check it out on www. vices. Call today for a catalogue. 800/423-7003 tunelab-world.com. Pocket PC Ipaq 3650 with or e-mail: [email protected]. shareware tuning software, $150, includes stand, New classified advertising rates went into MISCELLANEOUS power supply and shipping. 8x10x2 small Toshiba effect January 1, 2008. See page 37 for FOR SALE laptop used for shop tuning: $200 including ship- Need help with your re-leathering information. ping. Requires external microphone which is in- project? All pneumatics including cluded. Spreadsheets of historical tunings show- Austin. Over 45 years experience Wood pipes. Missing pipes made to match. ing both aural and electronic tuning data, $18 (on the job assistance available). If your company was not listed THE DIA- including shipping. Improve your tuning skills! in Damaged pipes in any condition repaired. Over 615/274-6400. PASON 2008 Resource Directory, be sure to be 25 years experience. Filip Cerny, 814/342-0975. part of the 2009 issue! Visit our website, www. TheDiapason.com, and from the left column select Supplier Login. For information, contact Peterson record/playback system Classifi ed ads are now with ALL REPLIES Joyce Robinson, 847/391-1044, e-mail: jrobin- Yamaha sequencer, $1500. Consoles, pipes, available—including photo- TO BOX NUMBERS [email protected]. magnets and numerous miscellaneous parts. graphs—on THE DIAPASON’s Let us know what you are looking for. E-mail that appear [email protected] (not comcast), phone website! 215/353-0286 or 215/788-3423. without an address Postal regulations require that mail Visit TheDiapason.com and should be sent to: to THE DIAPASON include a suite num- look for Classified Advertise- ber to assure delivery. Please send 1920s Gottfried French Horn, very good restor- THE DIAPASON ments in the SPOTLIGHTS all correspondence to: THE DIAPASON, able condition. $2,000 OBO; 1929/1930 Skinner 3030 W. Salt Creek Lane, Suite 201 Harp/Celesta unit, very good restorable condition column. 3030 W. Salt Creek Lane, Suite 201, $2,000 OBO. FOB Eagleville, Tenn. 615/274- Arlington Heights, IL 60005 Arlington Heights, IL 60005. 6400 or www.milnarorgan.com.
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE New! ORGANBUILDERS INC Charles W. McManis Classifi ed advertising on NEW INSTRUMENTS REBUILDS - ADDITIONS In Memoriam THE DIAPASON website: TUNING & SERVICE 1070 N.E. 48th Court March 17, 1913–December 3, 2004 www.TheDiapason.com FT. LAUDERDALE, FL 33334 (954) 491-6852
Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005
300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS City ______❑ $55.00—2 YEARS Jacques Stinkens W. Zimmer & Sons ❑ $35.00—1 YEAR Organpipes - since 1914 pipe organ builders State ______Zip ______FOREIGN SUBSCRIPTIONS ❑ $85.00—3 YEARS Flues - Reeds P.O. Box 520 ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" Pineville, NC 28134 Please allow four weeks for delivery of fi rst issue E-1 ❑ Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] on new subscriptions. $45.00—1 YEAR NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl (803) 547-2073
JUNE, 2008 39
June 08 pp. 38-39.indd 39 5/9/08 11:25:57 AM KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee AArAArrrtisttistiisststtstss 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] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008
Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
CHOIRSCHOIRS AVAILABLEAILABLE
The Choir of Saint Thomas Church, NYC John Scott, Director April 21-27, 2008
The Choir of St. John’s College Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Cambridge, UK West Coast USA Tour Spring 2009
*=European artists available 2008 -2009
Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith*
Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot Donald Sutherland Thomas Trotter*
WEBWEB SSITE:ITE: wwwwww.concertorganists.com..concertorganists.coconcertorganists.com
John Weaver Gillian Weir* Todd Wilson Christopher Young